Manny Norté brings Rema, 6lack and Tion Wayne together for “4AM”

Posted on by The Native

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

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ICYMI: Meet Rema, the kid from Benin with the world at his feet

For the Girls: Nigerian-American rapper Chika is not new to viral success

Posted on by Tami Makinde

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_

For the Girls: Kenya’s Xenia Manasseh is making relatable heartbreak bops

Rexxie to release debut project, ‘Afro Street’

Posted on by The Native

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
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ICYMI: Stream Sarz’s ‘SINYM(Sarz is Not Your Mate)’ tape here

Essentials: Harmonize links East & West Africa on debut album, ‘Afro East’

Posted on by Dennis Ade Peter

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

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

ICYMI: FOR THE GIRLS: KENYA’S XENIA MANASSEH IS MAKING RELATABLE HEARTBREAK BOPS

PREMIERE: Bella Alubo is sending a clear message in the video for “Don’t Trust Geminis”

Posted on by Tami Makinde

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_

ICYMI: Bella Alubo’s ‘Summers Over’ is a testament of her growth

Essentials: SoulBlackSheep’s ‘It’s Just Loneliness’ EP is the self-isolation soundtrack we didn’t know we needed

Posted on by The Native

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
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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: SoulBlackSheep’s Miles From Miles’ band features Paula B for “Asteroid Blues”

For the Girls: Kenya’s Xenia Manasseh is making relatable heartbreak bops

Posted on by Tami Makinde

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_

For the Girls: Shingai Shoniwa’s solo career is one to look out for

Watch Nigerian-American rapper Chika’s stunning NPR Tiny Desk performance

Posted on by Tami Makinde

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.

Watch Chika’s NPR Tiny Desk performance below.

Featured image credits/instgram: chikalogy

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

ICYMI: Watch Burna Boy’s reflective Tiny Desk performance

For The Girls: Shingai Shoniwa’s Solo Career Is One To Look Out For

Posted on by Adewojumi Aderemi

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.”

She tells ITV.

“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

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

The Shuffle: Fela’s “Water No Get Enemy” should be everyone’s mantra for 2020

Posted on by The Native

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
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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

Where Were You: Kalakuta Queens are the unsung heroes of Afrobeat

M.I Abaga makes a new update to a track on his 2018 album, ‘Yxng Dxnzl’

Posted on by Dennis Ade Peter

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

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

ICYMI: A LOOK AT OLAMIDE’S INFLUENCE ON NIGERIAN POP CULTURE OVER THE LAST DECADE

Nasty C, Sarkodie & M.I Abaga nominated for African Rapper of the Year at the 2020 256 Hip-Hop Awards

Posted on by Dennis Ade Peter

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.

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ICYMI: WACTH SAKORDIE’S STUNNING FREESTYLE IN CYPHER FOR 2019 BET HIP-HOP AWARDS

A look at Olamide’s influence on Nigerian pop culture over the last decade

Posted on by The Native

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

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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: Here’s how Olamide’s “Science Student” contributed to the governments ban of codeine in 2018

Songs of the day: New Music from Timi Dakolo, Olamide, Kwesi Arthur & more

Posted on by Dennis Ade Peter

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

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

ICYMI: CHECK OUT NEW MUSIC FROM PAUL PLAY, RUNTOWN, TOMI AGAPE & MORE

Watch Burna Boy claim his throne in the video for “Odogwu”

Posted on by Tami Makinde

Last year, we predicted that Burna Boy was setting himself to be one of afropop’s fiercest contenders and if his recent Grammy nod is anything to go by, the African Giant definitely succeeded. Last month, he released his first single of the year, “Odogwu”, an assertive cut which found him emphasising his status as a pioneer and one of Africa’s biggest musical exports all while playing over the laidback and colourful Igbo folk groove produced by Kel P.

To start off the new week, Burna Boy has come to save the people, amidst all the ‘rona palaver, with a new video for “Odogwu”. The exciting new video, directed by T.G Omori,  sees the self-proclaimed ‘Odogwu’ (champion) leaning further into the song’s Igbo folk groove as he surrounds himself with a large crop of Igbo men who cheerily chant his title as he dances for them. Burna Boy also plays on familiar tropes of traditional rituals, commonly seen in Nollywood movies, as he is ceremoniously knighted in a bathtub surrounded by fire.

Watch the video for “Odogwu” below.

Featured image credits/buchwiththelenses

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

ICYMI: Odunsi The Engine leaks “Staying Low (Quarantine) on Friday Cruise

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

Posted on by Tami Makinde

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. 

South-London based MC, Shaybo has been rapping on and off for about 10 years. Since the Nigerian-born rapper was just 13, she knew she always wanted to become a star and make music, however being born into a Nigerian family meant she had to get her education sorted out first, before she was allowed to pursue her dreams.

A quick look at her Apple Music page will reveal that the talented rapper has only four official releases, however this does not detract from us seeing clearly that Shaybo’s ultimate strength lies in her crop of hard-hitting freestyles. Her first official release was actually a freestyle. “Shaybo HB Freestyle”, which packs an onslaught of word play is a product of Hardest Bars, an online community known to put on some of the hardest rappers from around the country.

Shaybo is hardly new to cursing, or to pointing out the double standards that women must face. “Ya Dun Know” is arguably her breakout track, and she delivers more of the hard-hitting bars we have come to expect of her. She raps about being in the game since the existence of Limewire, and does not shy away from dotting her braggadocious raps with Yoruba slangs and insults–which is sure to resonate with listeners from her birth country.

Shaybo is set to release her debut EP, ‘Queen of the South’ later this year, a term she is known to commonly shout out in her other singles and freestyles. The term serves as a double entendre–a nod to her status as one of the hardest female rappers in the game from South-East London and popular Netflix series, Queen of the South.

Shaybo’s most recent offering is “Anger”, a hard-hitting drill anthem on which she gives her unapologetic nature a free rein as she expresses her anger and frustration particularly with the music industry. In an interview with Apple Music, Shaybo reveals that she wanted to give women a song they could relate to as there are not enough women in the game showing other women that it’s okay to express themselves–even ugly emotions like anger.

Yesterday, Shaybo served up yet another freestyle on BBC 1 Extra with Tiffany Calver, and showed just about everyone that she’s really about that, as her bossy confident lyrics were put on display again. She also keeps true to her native roots by easily slipping in and out of Yoruba and pidgin English.

Featured image credits/complex

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

For the Girls: Jazzz Atta is the r&b singer captivating audiences with her voice

Shane Eagle & Nasty C team up for “Paris” and 6 other videos you need to watch this week

Posted on by The Native

This week’s curation of the best videos across popular culture covers all the videos shaping the music scene around the world. We start from Zlatan’s attempt to reestablish his reputation for making bangers through the dance-inclined video for “Unripe Pawpaw”. Shane Eagle and Nasty C give their latest collaboration, “Paris” a befitting video, Octavian and Skepta turn up the heat for their sensual collaboration, “Papi Chulo” while Lil Yachty shows off his acting range with the comical video for “Oprah’s Bank Account”. Tobi Lou and Amaarae also have new music with videos, but as usual, we wrap things up with something didactic, with Kiki Mordi’s video, “What Happened To Tarkwa Bay” documentary.

Octavian & Skepta – “Papi Chulo”

After the success of “Bet”, Octavian & Skepta have linked up for another hard-hitting single titled “Papi Chulo”. On this track, they chronicle their escapades with women over the lush production from Grizzly, Young Kid, and BricksDaMane who set a laidback mood through the relaxing percussion, flute samples, guitar samples and 808 drums. Lyle Lindgren directed the house party themed video, featuring cameos from A$AP Ferg, A$AP Nast, Michael Phantom, a couple of beautiful women and some bottles of Havana Club liquor.

Zlatan – “Unripe Pawpaw” Feat. Oberz, Papisnoop and Jamo Pyper

Like most good rappers, Zlatan has found the sweet spot of how to mix being introspective with commercially viable sounds fans can just dance to. On his debut album, ‘Zanku’ , he managed to articulately narrate his life story and struggles, however, his latest release, “Unripe Pawpaw”, finds him returning to the dance-inclined music that broke him into the mainstream. Featuring other less popular artists, Oberz, Papisnoop and Jamo Pyper, he’s putting the streets on, while adding more colour to the catchy and energetic produced by P Prime. Directed by Visionary Pictures, the music video for “Unripe Pawpaw” and he sticks to the song’s narrative with dancers performing different dance routines on the streets of Lagos.

Shane Eagle – “Paris” Feat. Nasty C

Shane Eagle released ‘Dark Moon Flower’, his third studio album in 3 years last year. One of the album’s standouts, “Paris” featured fellow South African rapper,  Nasty C, which has now been updated with an energetic video to go with the boastful bars from both rappers. Imraan Christian directed a series of shots which capture the assertive performance from Shane Eagle and Nasty C. While we see both rappers performing their lyrics in a dark room, we also watch as a young boy discovers his supernatural abilities and has to battle another kid on the street with similar powers.

Omah Lay – “You”

Afropop’s primary aim to serve dancefloors makes lightweight themes of romance a staple in the genre. Omah Lay embodies the core values of Afropop on his latest release, “You”, where he dives headfirst into his intimate feelings for a love interest to make for an emotionally charged bop, which you still want to turn up to. Singing “I Love You” repeatedly over the catchy self-produced beat, his lyrics attempt to convince his lover about his heartfelt feelings and the accompanying video shows them together as they fight and makeup thanks to Omah Lay’s compelling vocals.

Lil Yachty – “Oprah’s Bank Account” Feat. Drake, DaBaby

Lil Yachty dropped the lead single from his upcoming album, ‘Lil Boat 3’ “Oprah’s Bank Account” , featuring guest verses from Drake and DaBaby. The surprise release came with a 9-minute long Director X video, where we see Yachty transforms Yachty into his Oprah-inspired character, Boprah. The video is centred around Boprah’s talk show, where he sits with special guests, Drake and DaBaby for a heart-to-heart interview.

Drake talks about reaching his full LSC (light-skinned capability) while DaBaby talks about making every song like an ongoing song. We’re in an internet era where nothing is off-limits for trolling and the video does a great job of trolling everything about the times.

Korede Bello – “Sun Momi”

Korede Bello continues to show off his mastery of the heartthrob act with his new “Sun Momi” single. He debuted the love song (whose title means “Come Closer” in English) in time for the Valentines Day last month,  and has now made an attempt to extend the shelf-life with a Moe Musa directed music video. The video sets him and his muse in a neon-lit studio space and though they’re both fully clothed through the 2-minute duration of the video, they exchange seductive looks that can make viewers blush.

Kiki Mordi – Trailer for “What Happened to Takwa Bay” Documentary

Award-winning journalist, Kiki Mordi is gearing up to release a new documentary with her platform, Documenting Women. She premiered the trailer for “What Happened to Takwa Bay” on her Instagram and confirmed that it’s the sequel to her 2019 “Life At The Bay” documentary which covered the harsh economic reality for women living on the popular island in Lagos. Life at the Bay has certainly changed since the forced eviction of the residents by the Navy in January. Reports confirmed that thousands were rendered homeless after the raid but no one could provide adequate information on why the evacuation occurred and what happened to the residents after. The documentary is expected to provide more information and context to the raid and how the people whose daily lives were affected have survived since.

Featured Image Credits: Instagram/octavianessie
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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: Catch up on all the videos you missed from last week

Odunsi The Engine leaks “Stayin’ Low (Quarantine)” on Friday Cruise

Posted on by The Native

It’s been exactly six months since we last heard from Odunsi The Engine. Back in the throes of summer, before the ‘rona, he dropped off the bouncy two-pack, “Wetin Dey/Better Days.” Despite not releasing any music since August last year, he’s been the topic of conversation seemingly every month. Whether it’s rumours about potential love interests, leaked snippets (will we ever get the full “Wicked, Sexy?”), or more recently, commentary around his style choices: Odunsi The Engine is on the agenda.

The topic this week? Odunsi posted a picture on his Instagram page from London, showing off his newly bleached hair, and rocking a Vivendii Sound t-shirt.

https://www.instagram.com/p/B9mv8E1BJCn/

Cue the outrage.

https://twitter.com/baba_random/status/1238070482672459777?s=21

Artists have historically used their hair to make statements about where they are at in their careers, and their lives as a whole. In the early noughties, Jay-Z was known to grow out his hair when he was recording a new album, and then shave it all off, to mark when it was done.

13 years ago, in one of the biggest moments in 21st century pop culture, Britney Spears infamously shaved her hair off. Whilst many saw it as just another episode in the media circus that surrounded the pop star at the time, she has long since maintained it was an act she did to show everyone she was in control. She was tired of being told what was expected of her at every turn. She was tired of making music for other people, rather than herself. Later that year, she released Blackout, her fifth studio album, and one which is widely regarded as her most progressive and consistent body of work. On the first day of release alone, she sold 147,000 copies, and it went on to go platinum.

This isn’t the first time Odunsi The Engine has unexpectedly switched up his look. Following the release and commercial success of his slow-tempo R&B single, “Desire”, he decided to completely bleach his hair. Similar to Britney, he felt he was being pushed in a direction that wasn’t his choice. Both critics and listeners were ready to box him in, the way they have unknowingly done to so many artists before him. Feeling the pressure, this also led to the birth of the infamous friday cruise account. In our cover story last year, Odunsi explained how friday cruise – his unlisted Soundcloud account filled with unreleased gems – was his way of testing the waters, but importantly, a platform for him and his friends to freely create, without the stress of planning releases and roll-outs.  As his avid fans managed to catch on, this account would see the early demos of tracks that would end up on rare., as well as songs we haven’t heard since.

Late on Friday night, Odunsi returned to the cruise, and dropped off “Stayin’ Low (Quarantine)”, a timely song for the current times. But more than that, it may be an indication of where he’s heading musically. If the switch up from “Desire” to rare. is anything to go by, we should start prepping for a new Engine.

“heard they miss the old me, but they don’t wanna love, they just want to own me 

oh me oh my niggas tryna clone me, I’ve been riding solo, long time never lonely, yeah you know it’s all me” 

Songs of the Day: New Music from Paul Play, Runtown, Tomi Agape & more

Posted on by Dennis Ade Peter

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.

Our previous instalment of the column brought you new music from Niniola, Femi Kuti, Nxwrth, London Afrobeat band Kokoroko and more. For the latest additions to our playlist, we bring you music from Nigerian music legend Paul Play, Ghanaian artist Supa Guaeta, Kenyan singers Nviiri the Storyteller and Maya Amolo, and Nigerian singers Remy Baggins and Tomi Agape.

Paul Play x Runtown – “Angel of My Life (Remake)”

Not too many songs are on the same pedestal as Paul Play Dairo’s evergreen hit songs, “Angel of My Life”. Since its release in 2006, the song has become a mainstay in romantic events, and is generally accorded a different level of reverence. Capitalising on its cultural capital, Paul Play has linked up with Runtown for a new version of the song. “Angel of My Life (Remake)” comes with a new, EDM-infused beat that echoes the production on the original, while Runtown adds a new verse that reflects his international badaman killer persona. Although “Angel of My Life (Remake)” doesn’t have the same fresh magic as the original, it serviceably reacquaints us with Paul Play as one of the golden voices of contemporary Afropop.

Nviiri The Storyteller – “Kesi Baadae”

With the ability he’s shown over four solo singles and a few features, Nviiri the Storyteller is an artist worth keeping eyes and ears on. The Kenyan singer-songwriter is currently signed to Sauti Soul’s record label, Sol generation, and upon pressing play on his newest single, “Kesi Baadae”, it’s immediately apparent why he caught the Afropop quartet’s ears. In his music, Nviiri tells easily digestible stories, detailing both the situation and emotion through his writing and ear-catching melodies. The sway-inducing “Kesi Baadae” continues to hone in on that flair, as he sings about a situation with a love interest whose father doesn’t approve of their relationship.

Tomi Agape – “This Way”

UK-based Nigerian singer, Tomi Agape has a thing for keeping quiet on new music for long periods of time. That might just be changing. The singer’s latest single, “This Way”, arrives less than five months after her last drop, “Full Moon”, which is pretty rapid in Tomi’s case. The good thing is, she always delivers, and “This Way” is no exception. Tomi thrives in the pocket where vulnerability and confidence mix, and her new single uses that trait to full effect. Over humming piano chords and bouncy mid-tempo drums, she wags her finger at a trifling ex, recalling his past misdeeds and flaunting her agency to move on after a difficult heartbreak. “Love has changed me today, take time with emotion, pour brown let me zone”, she sings in a dancehall-inflected tone on the beautifully sung hook.

Supa Gaeta – “Never Again”

Sometimes, getting heartbroken results in spitefulness towards someone you used to hold a flame toward. Ghanaian singer Supa Gaeta captures this feeling on his new single, “Never Again”, where his mix of disappointment and anger is palpable and relatable. Supa sings about getting jilted by someone who’s still texting her ex, promising to never open his heart if she comes back around. In letting out his emotions, the good thing about “Never Again” is that he never crosses into the type of distasteful name-calling that many male singers are prone to while singing about their women exes.

Maya Amolo – “I Know”

Maya Amolo possesses a captivating, conversational voice that makes it easy to get engrossed in her music. Over the last three years, the Kenyan singer has littered her SoundCloud page with loose singles and covers that impressively showcases her immersive brand of lo-fi neo-soul. “I Know” is her new single and it’s the first release ahead of her yet-to-be announced debut project. The single continues her knack for confessional writing, as she laments the imminent end of a relationship. Although “I Know” sounds a bit more polished than Maya’s previous work, it still contains the raw and unfiltered feeling that’s become associated with her.

Remy Baggins – “As Friends Tho”

With his 2019 EP, ‘Hentai’, Remy Baggins anointed himself as a connoisseur of singing about the intricacies of casual sex. While that EP portrayed Remy as as the one in control of those situationships, his new single, “As Friends Tho”, flips the script. Over a colourful, self-produced beat, Remy plays out a scenario where he gets stuck into the friendzone, even though he and his interest continue to have physical relations in the past. Between the overconfident bridge packed with sexual innuendos and the declarative hook personifying his partner, “As Friends Tho” leaves an open-ended storyline, since it isn’t clear whether Remy is fine with the arrangement or not.

Featured Image Credits: Instagram

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

ICYMI: CHECK OUT NEW MUSIC FROM NXWRTH, OXLADE, LSMK AND MORE

For the Girls: JaZzz Atta is the r&b singer captivating audiences with her voice

Posted on by Tami Makinde

To commemorate Women’s History Month this year, we will be spotlighting a new female artist every day of this 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. 

Jazz Atta is a Lagos-based, r&b/soul singer, whose heartfelt voice has earned her constant admiration and praise as one of the most spiritually-charged young performers of our generation earning her a performance slot at the fourth showcase of Femme Africa held last weekend.

The Kogi-born artist has been releasing music since 2017, when she released her debut project ‘Practice’ a 7-track project which she shared through her Soundcloud, which was very popular at the time for indie artists looking to put their music out there in Nigeria.

‘Practice’ gave the world a taste of Jazz Atta’s eclectic sounds, from the self-realising opener “Pill” which featured the rapper Boogey, to embracing her fears on “Free Failing” and even the super sweet “Sugar” on which she portrays love as a fantasy while showing off her love for jazz-inflected tunes. Jazz’s instagram page is also home to a number of freestyles and covers, including “You”, one of her most viewed covers to date which at the time of release instantly caught our attention and landed Jazz her NATIVE debut.

In the past, the talented artist has been vocal about facing rejection from peers and other artists in the music industry because her sound wasn’t considered commercial enough. Rather than deter her, this actually strengthened her resolve and made her committed to perfecting her sound and working harder. The result definitely came through on her next two projects ‘No Left Overs’ &‘Yummy Vibes’ – where she explored themes like mental health on tracks like “Ridiculous” featuring Djaji Prime and mused on sexual liberation and expression on “Wild Thing”.

Her latest offering ‘Yummy Vibes’ is 7-track project on which she draws on inspiration from her ‘everlasting muse’ the Yoruba goddess, Yemoja. As she weaves through the pain of relationships on “Gbim Gbim” and deals with acceptance on “My Body”, Jazzz takes listeners on a afro-futuristic cosmic musical journey.

Listen to ‘Yummy Vibes’ below.

Featured image credits/instagram: obi_d 

Rap Song of the Week: ByLwansta’s “How ‘Bout Now?” is a personal conflict creatives know all too well

Posted on by Dennis Ade Peter

A lot of ByLwansta’s music sounds like an exercise on convincing himself that he’s doing okay. The South African rapper often uses his raps to annotate his reality, letting his listeners in on the good, the bad and ugly situations in his life. ‘SPIJØNGET (Chapter 2)’, his newly released 4-track EP and the second instalment of the 3-part ‘SPIJØNGET’ series, continues to tap into ByLwansta’s flair for soul-baring rap music, with intro track “HOW ‘BOUT NOW?” serving as the most resonant song of the affecting bunch.

On “HOW ‘BOUT NOW?”, ByLwansta taps into a personal conflict many creatives face: the fight for fulfilment against the need for stability. Usually, the ideal thing is to get a job after finishing a degree and ‘start a life’, but for those who kick against the 9-5 lifestyle and would prefer to work in unorthodox spaces, stability is not guaranteed. Simultaneously playing the advocate and the devil, ByLawansta bares out this dilemma over gently thumping, Jazz-inflected production.

Between Lungelo Manzi’s soulful hook, and his verses where he berates himself and props himself up in equal measure, the rapper doesn’t dwell on what ifs or what the future holds, only assuring himself that he’s doing what’s best for him at the moment, even if it might be the long and difficult road less travelled.

Listen to “HOW ‘BOUT NOW?” here.

Featured Image Credits: Instagram/pleasesaythe_by

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

ICYMI: SIZZ THE TRUTH’S “BE YOURSELF” IS AN ODE TO TRUSTING THE PROCESS