There cannot be a discussion about the present – and future – of Afropop without Victony. Whether in terms of sonic malleability, imagery, or creative vision, the former rapper turned sirenic songbird is at the forefront of the genre’s stylistic revolution thanks to a meticulous mind and an abiding search for identity that brings heft to all of his music. It’s a pairing of tools that has largely served as the propelling force behind his rise since fully leaning into a new arc as a singer on 2020’s ‘Saturn.’ And in the years since that introductory EP, Victony has been through a series of crushing lows and euphoric highs that have further swelled his bank of experience and made him an artist with a burning message to pass on.
Now, on his debut album, ‘Stubborn,’ the singer makes a bold attempt to memorialise his journey from being a curious kid in Ojo, to standing on a pedestal as one of Afropop’s great hopes. It’s a delicate task that requires a slight recalibration of his sound from the sun-drenched dancehall and soul fusion of 2022’s ‘Outlaw’ for a more pared-down sound that still manages to be a vibrant mosaic of the people, places, and experiences that have made a mark on Victony.
In many ways, the artist is a product of a specific Lagos subculture that has survived for decades. Despite the divisive narratives spread by bigots online during the 2023 presidential elections, families from all over Nigeria, and across all income levels, have always lived side-by-side in the coastal city largely without issue. In these communities, kids of all tribes play football together, shop at the same local markets, sing aloud to the same songs, grow up celebrating at both Eid and Christmas, and have developed a creolization of their many languages that’s often adopted as a lingua franca. It’s a heritage that Victony proudly claims as his across ‘Stubborn.’
Per local hood lore, someone who is stubborn is usually viewed as an outcast or seen as possessing a strong sense of ambition that is typically out of the ordinary. Across ‘Stubborn,’ Victony channels his feelings of being misunderstood while weaving his come-up story around the Lagos-specific pidgin of his childhood for narrational effect. Album opener, “Oshaprapra,” takes its title from the street-lingo for radiant but it’s really a crash course in the path that set up Victony for future success as he battled societal pressures and self-doubt to make a name for himself. His soft, buttery voice skirts languidly over the mid-tempo instrumental to share how he has had to purposely steel himself to achieve everything he has. Guest, Shorae Moore, adds luster to the song via melodic singing on his delightful interlude but Victony is quick to return to explore how he’s still standing tall despite all he’s going through.
Often, debut albums are spent in service and remembrance of the places and themes that have left the biggest imprint on an artist and ‘Stubborn’ is no exception. The streets of Victony’s childhood and early adolescence colour its margins and are never too far away from the singer’s mind. “Tiny Apartment” with SAINt JHN is a ghetto love story played out for a global audience. On the song, Victony imagines what it might feel like to miss a love interest while all alone in the popular face-me-I-face-you apartments that dot Lagos’ landscape. Anyone that has dealt with the heartbreak can instantly recognize all the ways that a relationship’s end can shatter even the most composed person. And when Victony sings, “In my tiny apartment / As you say make I park well / Girl, na my blankie I use hold body,” he’s giving words to a whole universe of unspoken feelings. The genius of “Tiny Apartment” is how it manages to elevate a decidedly Lagos story by tying it into a global emotion with SAINt JHN’s dulcet vocals melding perfectly with Victony’s.
Love undoubtedly plays a crucial role in the narrative of this album. On “History,” Victony is asking a lover not to let the past determine the parameters of their love. It all comes to a head on the song’s chorus where the singer is gently pleading, “No go dey calculate my baby.” He’s more forthright on “Anita,” telling a love interest that he’s attracted to her. Thematically, “Anita” sticks out like a sore thumb on the project as it doesn’t advance any of the ideas that the singer builds towards throughout this album; if anything it feels like the long-lost twin of “All Power” off 2022’s ‘Outlaw,’ in the way it suggestively captures Victony’s fascination with a lover’s physical attributes.
Generally, the best Victony romance songs build towards a certain type of pulsating release that comes from his wide-eyed enthusiasm for the subject, rather than the kind of tired lasciviousness that can falter. It’s that abiding sense of elation that made his Blaisebeatz-produced “Everything” a must-listen upon release. Referencing his knowledge of Nigerian pop culture, the singer promises the world without reservation to a love interest. Within ‘Stubborn,’ “Everything” still retains its sense of magic and chromatic wonder as longing and genuine appreciation converge for a true highlight. “Pier 46” is similarly unique in how the singer approaches making a ballad. It’s the sort of writing and delivery that Victony has made a stock-in-trade since ‘Saturn’ as he deftly uses the upper registers of his sirenic voice to explore warmth and romantic desire in ways that many Nigerian male acts wouldn’t dare attempt.
Victony has always slipped between sounds and influences with the ease of a dexterous curator. His sense of non-conformity is heightened in patches on ‘Stubborn’ even if the ambition shown does not necessarily function in service of any distinctive purpose or cohesive vision. The trap-leaning “Risk” lives up to its name as it loops elements of Fuji and Blues into its delivery scheme for an experimental affair. The lyrics also paint a picture of a yearner who might fall in love with a girl he’s meeting for the first time on a random night. “Love in the club no be wetin you dey find / Excuse me, shey you know this your behind / E dey cause me me trouble, so make I no go blind / Darling, shey you know I for like to get to know you,” Victony sweetly coos for all to hear.
The collaborations on ‘Stubborn’ sway between inspired and lukewarm even if Victony manages to find interesting pockets to operate in throughout. Afropop juggernaut, Asake, dials in for an inspired cameo on the titular track that sets the pace for what the album is thematically built on. When Victony sings, “Me I no dey hear word / Me I no fit be your idolo,” it’s done with a relatable sense of mischief that brings the words to life. “Slow Down” offers much promise but lacks the riotous verve that a typical Teezo Touchdown showing typically offers while “Ludo,” featuring Shallipopi platforms the best of both artists with Shallipopi making space for the Benin-born rapper vocal tics.
Victony takes things up a notch on “Kolo (Kolomental II),” a swaggering update on “Kolomental,” off the ‘Outlaw’ EP. The only criticism for “Kolo (Kolomental II)” would be its brevity but it’s a highlight that articulates the self-confident energy coursing through this debut. “Jobless people dey find wetin do ogbeni / Get the fuck out my LinkedIn,” Victony briskly warns. It is rare to find him channeling this kind of angsty energy but he captures the essence of the emotion artfully. “Bs$tard, Don’t Be Silly” is similarly confrontational even if the chip on the singer’s shoulder is informed by previous unpleasant experiences.
The album ends on a somber note with “Street Affair,” a quasi-hymnal that finds Victony considering all the betrayal he’s faced, the feats he’s accomplished, and all that’s still ahead of him. It’s a solemn song that calls back to his larger message of being misunderstood, as he invokes divine guidance and prays that his affairs never become fodder for public dissection. For the first time on the record, the singer sounds genuinely weary as he sings into a swooning mix of guitar and piano keys. “Make e my family meeting no turn to street affair,” he softly whispers from time to time. It is the ardent prayer of a person that has belatedly found grounding and is eager to keep his winning streak going.
Since his foot-thumping debut single, “Dumebi,” Rema has continuously reaffirmed himself as a transformatory artist with a decidedly distinct aesthetic. A craftsman unmatched by his contemporaries.
Introduced with a boyish look, marked by a Balaclava and saddled with a teddy bear, Rema, 18 at the time, made one of the most audacious entrances for a newcomer within Nigerian music. He released an eponymous EP, maintained omnipresence across airwaves and billboards across the country, and commandeered social media through freestyle videos and colourful visuals layered with youthful exuberance. It was the year of Rema, the self-proclaimed Prince of Afrobeats, and multi-disciplinary creator, Niyi Okeowo had a front row seat from day one. “I photographed one of Rema’s first images,” Okeowo tells me over a zoom call. “There are some popular black and white images I shot for him [back then].”
Tife
Okeowo is one of the most magnetic visual design voices on the continent, stacking up a portfolio that boasts heavyweights such as Adobe, Uber, LVMH, among many others. “We got the brief that [Rema] wanted something that would read the same, front and back [like a palindrome], but with gothic elements that would spell ‘he is,’” Okeowo recalls. “We worked on keywords and did a moodboard. I think the first thing we did was to sketch it on a bat, and then we just went back and forth from there.”
The “we” Okeowo refers to here is himself and illustrator, Boluwatife Osinaike, whom Okeowo describes as an illustrator that thinks like a designer. The pair have since formed a Batman-and-Robin-esque relationship fueled by their mutual love for design and research, amassing an artist clientele list that ranges from ShowDemCamp to Wizkid.
“We built on the logo, Tife started working on sketches, and Rema added some elements. We built it on riot imagery. Not riot like [an] actual riot; I don’t know if you know this movie, Athena? More like that kind of riot. We also noticed he had been leaning towards that anarchy, rager, and riot direction so it was a no-brainer. We had about seven versions of the logo. We did a 3D and Chrome version.”
Within the five years of his ascendance, Rema has explored multiple iterations of himself, morphing into an absolute showman that commands attention. The video for the monumental single “Bounce,” erased any doubts about his confidence, “Soundgasm” put to bed questions about his innocence, and, finally, his critically-acclaimed debut album ‘Rave and Roses,’ cemented his coming-of-age moment. Each of these eras were accompanied by a selection of carefully-crafted aesthetics; from hair to fashion to imagery.
When Rema charmed his way into our hearts in early 2023 with his sensational footwork and newly-found dance moves, it was a prelude to the anarchy-driven rodeo aesthetic that characterized his ‘Ravage’ EP and formed the cornerstone of the design experience at his O2 Arena headline concert.
Now in a goth-laden phase, which is loosely termed “opium” after Playboi Carti’s rap collective and their all-black aesthetic, Rema leaves a lot to the imagination as he ushers in a new era – and his new insignia further complicates that mystique. “I kind of suspected that whenever he would use it, it would be for the revealing of something,” Okeowo says assuringly, eventually adding that he was as surprised and excited as everyone else by the bat signal reveal of the logo.
So far, Rema has brought in his opium era with a kinfolk collaboration with Shallipopi, “Benin Boys,” and a polarizing song “Hehehe” that sees him breathe in experimental pockets like never before.
Illuminati allegations have lingered over the Benin boy as he steps confidently into this new phase, with fans drawing overarching occultic undertones from his grim aesthetic and logo. “I think people just need to realize that within the confines of art and literature, people are allowed to explore different ideas. Nigerians are allowed to have occult imagery. Art will always form an opinion, it’s either you hate it, like it or you are in the middle. I don’t think we should police art but we can put a lens on it,” Okeowo says, before highlighting the importance of art direction and the countless benefits of artists building their own universes like The Weeknd and Travis Scott have.
Although this new logo marks a fresh chapter for Rema both visually and sonically, he’s long embodied this essence well before “HE IS” was even conceived. This new logo and sonic exploration are just affirmations of what he’s always been.
It has been four months since the Lagos Controller of Works, Olukorede Kesha, promised to compensate businesses affected by the Landmark Beach demolitions from a N2.7 billion fund. So far, only two brick buildings have been compensated – the restaurant Island Breeze and the Lagos Breeze Beach Club. Kesha had promised to pay shanties on “compassionate grounds,” but this changed when the Federal Minister of Works, David Umahi, defended the Landmark demolition, stating explicitly that the government “does not pay for shanties,” as they are located on the highway’s Right-of-Way.
But Onwuanibe and the traders aren’t the only ones bearing the consequences. There is much more at stake – from tourism, to the local economy, and of course, the environment. But to understand the ramifications, we need to first understand the importance of Landmark Beach to Nigerian society.
Landmark Beach: A once picturesque tourist escape
Before 2024, Landmark Beach – a popular tourist destination in Lagos known for its beauty, exorbitant fees, and concerts featuring A-list musicians – was a picturesque escape from the bustling city of Lagos. With its pristine sandy shores, turquoise waters and a panoramic view of the Atlantic Ocean, it was the perfect place for tourists – and the locals who could afford it – to enjoy a weekend of lively music, slightly overpriced but delicious food, and paintball activities with family, friends or even by themselves.
Landmark Beach before April 2024. Image Credit: Landmark Realty
Today, the carefree spirit of Landmark Beach has been ruthlessly silenced. Where joyous melodies once danced with the waves, an unsettling quiet now reigns. Bulldozers have devoured the remnants of hurriedly dismantled structures, leaving behind a desolate landscape. Offshore, you can hear monstrous dredging vessels churn in the water, turning its once inviting turquoise into a murky, frothy brown. The once-iconic beach is now a mere ghost of its former self, a hollow shell whispering tales of a vibrant past.
A sudden blow
For over 17 years, Landmark Beach reigned as Lagos’s premier private beachfront destination. A hive of entrepreneurial activity, it buzzed with over 40 businesses offering a kaleidoscope of leisure options, estimated to be worth over ₦20 billion.
But Landmark Beach wasn’t just fun; it was also a well-oiled machine. ₦25 billion had been spent on infrastructure, creating a solid foundation for success. Onwuanibe has proudly highlighted the beach’s economic impact – over 12,000 jobs were created and a staggering 3.5 million tourists flocked there annually. Revenue figures mirrored this success, with Landmark raking in at least ₦2 billion ($1.5 million) every year.
Tourists at Landmark Beach. Image Credit: Landmark Realty
Then, on April 24, 2024, a seven-day eviction notice and demolition warning from the Lagos State Government landed like a bombshell on Onwuanibe’s desk. Two days later, a meeting with the Federal Ministry of Works offered a mix of clarity and harsh reality for Landmark’s businesses.
The reason for the demolition, the government said, was the upcoming Lagos-Calabar coastal road project, a highway designed to be a ‘scenic route’ similar to coastal highways in other countries.
According to Onwuanibe, the original plans for the Lagos-Calabar coastal highway designated a 1.5km stretch along the Water Corporation Road median as the right-of-way. However, Umahi opted against this initial alignment, citing the area’s significant development with high-rise buildings and costly infrastructure, and the need for a revised design to reroute the coastal highway and accommodate these new structures.
In March, Umahi announced that the coastal highway – an idea first conceptualised in 1955 by then Federal Commissioner of Finance, Festus Okotie-Eboh – was to commence in April and to be completed within eight years, which aligns with a two-term tenure for current president Bola Tinubu.
The first phase of this would be constructing 47.7km of highway from Ahmadu Bello Way, Victoria Island, all the way to the Lekki Deep Sea Port within Lagos State. In the initial plan, the Water Corporation Road itself was to be part of the coastal highway, but that was changed to include the coastal shorelines, including Landmark Beach.
There was no pertinent reason as to “why,” but despite Onwuanibe’s disagreement with the plan, Umahi insisted that only 50 metres of the shoreline would be used, and said the decision was “irrevocable.”
Red marks the initial plan for the coastal highway to be built on Water Corporation Road. Yellow marks the revised plan to re-route the coastal road to the waterside. Image Credit: Landmark Beach
Business structures within the first three kilometers of the newly-designated right-of-way needed to be cleared out immediately. The news sent shockwaves through not just Landmark, but also neighboring beaches like Oniru, The Good Beach, and Sol Beach, all nestled within the close 1.4-kilometer stretch.
“In less than three hours, my dreams were destroyed”
When it came to perfect wedding destinations, Onyinyechi Achigbu, a communications specialist, always had Landmark Beach in mind. She and her partner of three years had made it a hobby to visit the beach at least once a month because of the lively atmosphere and close proximity to their home on the island.
On the verge of tears, Onyinye explained to NATIVE just how much the beach means to her. “There was this running joke my partner and I had that if we got married, our wedding guests must be clad in nothing more than shorts and swimsuits because the venue would be at Landmark Beach. It had become a place of peace and escapism for us.” Now, Onyinye has to settle for other beaches like Leisure beach, which is located in Lekki and which she complained was “too quiet for her tastes.”
While tourists may have only an emotional response, the after effect for entrepreneurs also has a financial overlay to it. Awni Berry, an Indian expatriate and General Manager for now-demolished Breeze Beach Club, disclosed to NATIVE that he was offered N100 million as compensation by the government, which is nowhere near the value of construction, a whopping N500 million.
Breeze Beach Club. Image Credit: Breeze Beach Club via Instagram
“For the past four years, I put my blood, sweat and tears into making this club a premium luxury relaxation spot. Now, I have to refund $4500 to nearly one? hundred subscribers in less than a month. I got government compensation yes, but can they repay all the running costs acquired in my four years of running this business? Absolutely not!” he angrily lamented. For now, Lagos Breeze Beach Club is closed until further notice.
Awni Berry and architects at the construction of Lagos Breeze Beach Club in 2020. Image Credit: Lagos Breeze Beach Club via Instagram
Deji Akinjobi, a lawyer and investor in the Honey Night Club Lounge, a segment of the Mami Chula luxury resort on Oniru Beach, was only a new investment partner in the club as at February 2024. He has been making plans to relocate from Nigeria with help fromthe club’s earnings, but those plans have now ground to a halt with the demolitions. With a mixture of both anger and sadness, he said “words can’t begin to describe what I feel. I invested N40 million in Honey Club because I thought I could cash out from it and start life afresh in Canada. But the government came in and did its worst. It’s funny how you save all your pennies and get your dreams destroyed in less than three hours.” Still, it’s the businesses classified as shanties who have taken the most hits, as they are deemed ineligible for compensation. *Betty, a single mother of three who used to sell a variety of finger foods popularly known as “small chops” out of a metal container at Oniru Beach, now sits with a gloomy look on her face as she watches the structures around her being destroyed. She refused to have her photo taken for NATIVE, but she disclosed how she made nearly N150,000 every week from sales. “It’s hard for me because most of these new beaches don’t allow people like me to set up business anyhow. I have to start going to both Lagos State office and the beach for registration and build a proper structure. My kids are in secondary school and I am already owing a term’s school fees. This has set me back to square one,” she complained.
Despite a federal law restricting construction within 100 meters of rivers and 250 meters of shorelines to protect waterways, lack of enforcement has allowed developments to creep closer and closer to the Victoria Island beachfront over the years. This meant that while some occupants filed taxes, they had no valid claim over those spaces beyond largely undocumented approvals.
As a result, once the evacuation order was made, many entrepreneurs were asked to prove the value of their structures on the spot. Some fetched supporting documents, while others made panicked calls to their managers, and questioned the idea of valuing businesses by metrics that neglected losses incurred in irreversible financial obligations like bills or bank loans.
Understanding the EIA debacle
Since the Lagos-Calabar coastal highway was announced, there have been concerns about whether or not an Environmental and Social Impact Assessment (ESIA) was completed before construction began.
The EIA Act of 1992 mandates that such an assessment be conducted and approved by the Federal Ministry of Environment before any major project commences. This requirement aims to mitigate potential environmental and social disruptions caused by large-scale construction.
How does an EIA work?
The Environmental Impact Assessment (EIA) process is a critical step in ensuring environmentally responsible development. Here’s a breakdown of the key stages involved:
Scoping: This stage defines the environmental issues to be addressed in the EIA study. It helps identify the most significant environmental concerns associated with the project.
Baseline Studies: Data on various environmental aspects in the project area is gathered to establish a baseline. This data typically covers air quality, water quality, biodiversity, soil conditions, socio-economic factors, and other relevant aspects.
Impact Assessment Studies: The potential impacts of the project on the environment are evaluated. These studies consider both direct and indirect impacts, as well as cumulative effects over time.
Mitigation Measures: Plans are developed to minimize or offset any adverse environmental impacts identified during the assessment stage.
EIA Report Preparation: A comprehensive report is prepared that summarizes the findings of all the preceding stages. This report includes details on scoping, baseline studies, impact assessments, and proposed mitigation measures. The EIA report is submitted for review and approval before project commencement.
In speaking with Professor Ademola Omojola, a geography and remote sensing expert, he said that projects undertaken outside of “green zones” (areas with no significant human activity) must have a report with an additional social impact component which is to identify potential social disruptions to be caused by the project and the decisions to be made to mitigate these disruptions.
Now, here’s the controversial part: Umahi failed to confirm the existence of an ESIA when asked. A letter from Kesha had also been sent to residents in certain areas along the highway, asking them to attend a workshop after the implementation of the project. The letter stated that this data collection was to ensure that the project is developed “responsibly and sustainably” and in line with local regulations and international standards. The move suggests that an ESIA, meant to be done in a project’s planning stages, was non-existent when implementation commenced.
“Conducting an impact assessment before project planning could have revealed alternative solutions that wouldn’t have required this demolition,” Adebiyi Momoh, a Lagos-based civil engineer, pointed out.
Loss of tourism for economic growth?
There is no doubt that the demolition of these beachfront properties has put a huge strain on tourism in Lagos. Landmark beach was a magnet for foreign visitors into the country who were looking for a place of relaxation. The demolition reduces tourism opportunities and severely impacts local businesses that depend on visitor traffic.
Still, the construction of the 753 km coastal highway will bring its own opportunities for economic growth. As seasoned economist, Asue Ighodalo, told NATIVE,the highway could also improve transportation infrastructure as well as boost trade.
“It would be a huge advantage to the people of the South-South, as it would enable them access and distribute trade goods from Lagos faster than before,” he said. “However, it is wrong for the government to sacrifice tourism for business priorities and destroy livelihoods.”
The 10-lane coastal highway has been designed to connect Lagos to Cross River, passing through the coastal states of Ogun, Ondo, Delta, Bayelsa, Rivers, and Akwa Ibom, before terminating in Cross River. HITECH construction firm, (notably owned by President Bola Tinubu’s long-time friend and business partner, Gilbert Chagoury) was contracted at ₦15 trillion or $9.6 billion per km.
Lessons from Eko Atlantic
The Eko Atlantic project, a massive land reclamation endeavor, sparked its own environmental concerns due to the absence of a pre-vetted ESIA report. With Lagos facing escalating annual flooding, expert predictions warn of a two-meter sea level rise by the end of the century, putting the city’s low-lying topography at risk of complete submersion.
Launched in 2008, the project aims to reclaim 10 million square meters of ocean land in phases, constructing an ultra-modern city protected by an 8.5 km sea wall. While initially conceived as a solution to the perpetually overflowing Lagos Bar Beach, the project’s massive scale of ocean land reclamation has raised concerns about improperly diverting excess water, and possibly exacerbating flooding in nearby areas.
The project’s location on the former Bar Beach site has also raised concerns about the repurposing of beach fronts along the axis, resulting in the drainage of recreational water bodies at Oniru Private Beach, Landmark, The Good Beach, and Sol Beach in Victoria Island. Despite the Lagos State government’s enthusiasm for the project, its potential environmental impact has sparked widespread apprehension among citizens and experts.
As the Lagos-Calabar coastal highway, divided into sections, begins at Eko Atlantic’s Ahmadu Bello Road (0.0 km) and terminates at Ibeju Lekki (47.5 km), concerns about the project’s potential environmental footprint continue to grow.
Momoh, an engineer, continues to sound the alarm on the unchecked pace of land reclamation in Lagos, which imperils nearby structures. “The water displaced by sand-filling has to go somewhere, and it’s manifesting in Lekki’s frequent flooding during rainfall, a stark contrast to the past,” he observes.
Omojola highlights the alarming coastal erosion afflicting shorelines in Lagos, Ogun, and Ondo, cautioning that 80% of the stretch for the Lagos-Calabar highway will experience shoreline retreat, potentially culminating in a “catastrophe” if the project is not executed with due care. This concern is compounded by reports of flooding in the Niger Delta region due to coastal erosion.
While acknowledging the Eko Atlantic wall’s role as a buffer against beach recession in Lagos, Omojola stresses the need for comprehensive studies to determine its efficacy. He criticizes the haphazard approach to infrastructure development in Nigeria, citing examples of successful road constructions in countries with extensive coastal areas below sea level. Omojola also believes the coastal highway has the potential to revitalize tourism and spark a real estate boom in adjacent states like Ogun. He cites the example of Ode Omi, a community that should have flourished if not for lack of accessibility, and hopes that the road project would bring about positive transformation.
What happens next?
Landmark Beach Resort appears to be exploring new horizons, announcing on social media its intention to pursue investment opportunities outside of Lagos and Nigeria. Additionally, they are seeking monetary compensation from the government to revive businesses and livelihoods threatened by the demolition.
Official Press Statement from the Landmark Africa Group following the Demolition of the Landmark Beach, Current State of Business and Future Plans (Landmark 2.0). pic.twitter.com/MEnBfn0fOZ
A former governorship candidate of the Action Democratic Congress (ADC) in Lagos, Funsho Doherty, has also threatened to sue the Bureau of Public Procurement (BPP) due to their failure to uphold compliance with the Public Procurement Act of 2007 during the award process for the Lagos-Calabar coastal highway project, which enforces competition, efficiency, and affordability in project selection.
However, this does not seem to be a hindrance to the Federal Government’s coastal highway, as work on Sections 1(from Ahmadu Bello Way to Lekki Deep Sea Port) and 2 (Lekki Deep Sea Port to Lagos-Ogun border) of the highway has already commenced. The construction of Sections 3 and 4 (which cover Cross River state and Akwa Ibom) is set to be inaugurated by Tinubu in August.
However, a lingering question remains – why destroy the livelihoods of many with an unplanned and unassessed project?
Renowned fashion house This Is Us has teamed up with leading Scotch Whisky brand Johnnie Walker, to unveil “Walk With Us” – a capsule collection dedicated to Nigeria’s visionaries, dreamers, and doers. The collectionshowcased meticulously crafted pieces dipped in This Is Us’ signature indigo, adorned with hand-stitched messages designed to inspire a nation of trailblazers. The partnership is a testament to Johnnie Walker’s dedication to championing the vibrant Nigerian creative economy. The brand continues to find new ways to inspire the next generation of pioneers to stride confidently toward their dreams, just as the whisky itself has evolved and innovated throughout its storied history.
“Our collaboration with This Is Us is a celebration of the resilience of the Nigerian spirit: we are honored to have brought together such an esteemed group of creatives at the Walkers Mix,” said Osato Evbuomwan, Marketing Manager of premium spirit and reserve Brands, Diageo Nigeria. “Johnnie Walker has always been a catalyst for progress and ambition. With the ‘Walk With Us’ collection, we further solidify our commitment to fostering the creative spirit that defines Nigeria.”
To celebrate this collaboration, Johnnie Walker hosted luminaries and tastemakers from the worlds of fashion, art, and entertainment at an exclusive experience at the Royal Box, Victoria Island, Lagos on 29th June, 2024. Guests were treated to a sensory journey, beginning with an immersive exhibition of the “Walk With Us” collection. Attendees were also treated to a bespoke customization experience where they could leave their own mark by creating unique pieces as keepsakes of the evening. The atmosphere was further elevated by soulful melodies from Falana and Sisi Motara, culminating in an electrifying DJ set by Uncle Bubu. Explore the “Walk With Us” collection and discover this season’s must-have fashion statements, visit www.thisisusworld.com
There is a moment from the cover shoot for his latest project, ‘Love Lust,’ that Funbi remembers because of how easily things could have all gone left. Someone was supposed to come in and provide creative direction for the beachside shoot, but they never showed up. It was a pivotal phase in getting ‘Love Lust’ ready for the singer who was making a return to music after a near-three-year hiatus. Rather than let that absence scupper the shoot, someone asked Funbi to take his shirt off and step into a bathtub that had been placed against a backdrop of the sea. “Funny enough, it came out good,” the singer tells me about the result of the shoot over Zoom one Tuesday afternoon in May. The result was, in fact, so good, it became the project’s cover.
It’s instances like that – him forging ahead even with all the elements out of his control – that display Funbi’s passion for music and all that comes with it, after a period of intense personal loss and a long journey coming to terms with grief. A little over three years ago, the singer’s father passed away just as the world was grappling with the life-halting effects of the COVID-19 pandemic. It was the darkest period of his life as he spent years trying to get over the loss. A return to music was tentatively on the cards when he released a single titled “my intentions,” in October 2021, but it didn’t feel right just yet, leading to a three-year hiatus.
It’s no surprise that such a deeply personal loss could cause the singer to spiral. Anyone who has been listening to Funbi since he broke out as part of The Collectiv3 can attest to the interiority of his music; the music he makes feels like an extension of him in many ways. Luckily, the time away served its purpose of getting him back in a healthier headspace. “I just needed to really assess myself and get my mind state in that creative space again,” he says. “Life has just been carrying me on a rollercoaster.”
Much of Funbi’s new experiences are examined on his latest project, ‘Love Lust,’ a wondrous dispatch that subtly grieves relationships that never quite delivered on their early luster. “The whole idea of ‘Love Lust’ came from my own personal experience and me being in that position where I feel like there’s a line in between love and lust,” Funbi says. ‘Love Lust’ arrives six years after the singer’s first project, ‘Serenade’ and bears all the signs of the time it has taken to craft that follow-up as the singer reaches deeply into himself for stories that are both deeply personal and widely-resonant.
This interview has been edited for length and clarity.
NATIVE: You have a new project out, how does it feel to be getting back to making music again ?
Funbi: It’s been good, man. I feel like it took a while to get into the groove of it. I can’t lie, it’s been exciting and I’m glad to be back doing it. It’s been a while, so I’m just glad that the songs that I’ve kept in my laptop for a while can finally be heard by lots of people.
Was there a moment when you knew that it was time to go again?
So, I had the songs for a bit. [Then] last year around November or so, that’s when I decided that it was time to put this stuff out. There was some stuff behind the scenes that I needed to iron out, and so it was around that time that I was done sorting out everything and was like, “Yeah, it’s time for people to hear the music.”
I’m curious about the songs that make up ‘Love Lust.’ What was it like putting it together, writing these songs, and what was the inspiration behind them?
To be honest, I went into the project with the mind of just trying to create something cohesive. We had musicians, instrumentalists, producers, writers, everybody. We came together and we started working on a couple of songs. Some of the songs didn’t make this project and some of the songs came from before that, but the whole idea of ‘Love Lust’ came from just my own personal experience and me being in that position where I feel like there’s a line in between love and lust. In my own experience, that’s what it has been. Sometimes, it feels like there’s something more in this relationship, but then, things get physical and I realize that it’s not that much there. And sometimes, things go from being physical to being more emotional, and I just felt like I wanted to express that and talk about that. That’s how the idea of ‘Love Lust’ came.
How hard was it to be honest on this record? How do you get these emotions into the songs?
To be honest, I actually struggle with putting it into music sometimes, but I find that when I hear a beat, I try to put myself in the feeling of whatever it is that I’m trying to express. I just mentally try to put myself in that feeling and I freestyle the melodies. Once I freestyle the melodies, I start to find words in those melodies and I build from there. That’s essentially how I’ve been doing my music from the beginning. [It’s] how I still do it now. Obviously, sometimes, there are writers that come in and I explain to them what I’m trying to express, but even when I hear the instrumentals and I freestyle the melodies, it’s almost like you know exactly what the song already feels like. So, it’s just about finding the right words to express that.
The first time I heard about your music was about seven or eight years ago. I think it was Desire. How has your relationship with music evolved in that time?
I think in a way, the music has become a bit more personal to me over time. I feel like it may even be subconscious. It’s not like I mentally was like, “Oh, yeah. Now, I want to be all personal.” It wasn’t anything like that. It’s just something that became more personal for me as I grew. Music became my life. It became what I am. Sonically, when I’m introduced to new settings, new environments, new producers and things like that, I feel like I discover a different side of my artistry. I can’t remember which year it was but there was this period where I worked a lot with Spax [the producer] and if you listen to the music that I had back in the day and the ones that I have now, there’s a difference. There’s a feeling that is different and that’s because my experiences, the producers, the environments that I’ve been in have influenced the music in that way.
Let’s talk about your relationship with Spax. How did that come about? How did you guys start working so closely together?
So it’s crazy, right? I met Spax through SDC. I actually remember the exact day that that happened. It was the day I went to record my very first song with SDC called “BMW.” Spax happened to be in the studio at that time. He wasn’t the one that produced that song though but he was there, and that’s how we met. And I think it was even LadiPoe that introduced Spax to all of us, and since then, we’ve just kind of bonded. We didn’t start creating anything at that time but as things went along, Spax kind of became someone that I could really bounce ideas off of and I feel like we work really well together.
The last project you put out was ‘Serenade’ in 2018. There’s a six-year gap between ‘Serenade’ and ‘Love Lust.’ What happened in that time gap?
After I released ‘Serenade’ in 2018, we promoted it for a bit, and around when COVID hit, I was trying to create and make more music, but then it was soon after that that I lost my dad. Everybody grieves differently, right? But it took me a lot longer to deal with that loss. I actually put out a song called “my intentions”in 2021 and I felt like I was ready, but in hindsight, I may not have been. I just needed to really assess myself and get my mind state in that creative space again. Life has just been carrying me on a rollercoaster.
The grief never leaves you, but how did you start to feel like you were ready again to deal with music after your dad’s passing?
It took a lot of encouragement, mainly from people like Spax, actually. Spax became one of the people closest to me.
So, the relationship evolved from just being music to bring a friendship?
Yeah. We would talk about a lot of different things; family, music, life, all of that. Also, it helped having family and friends around to motivate me. Even Poe [of SDC] became one of the people that I leaned on for motivation. They were really helpful at that time. I just felt like I was in a much better place mentally and I felt like I was ready to get back out there and start performing again because I actually missed performing. I missed performing on stage and things like that. It’s now time to get back in it.
You put out “Distance” first on the album. What was the inspiration for that song?
You know when you have this person that you are kicking it with? For me, I wasn’t ready to be in a committed relationship at the time. The whole idea of the song came from that: being in different spaces emotionally. One person is wanting more than the other is willing to give. That essentially was where the idea for “Distance”came. “Distance”was one of the songs that we created in camp. It was something that I could connect to very well because I’ve been in that situation before. We are not in the space emotionally but if I had a little bit more time, I might be there.
I’m also curious about how you’ve felt about the project since it has been out. How have you found the reactions?
Everybody that has heard it loves it. I think one thing I pride myself on is making sure that the music sounds great and the product sounds great, and I feel like nobody has given me any negative comments about the project. Everybody loves the project and I’m just in awe because it’s been a while since I put out anything. There were some nerves. I was confident in the quality of the project, but still.
Jitters always come just a moment before it goes out.
Yeah. I’m just glad that people could resonate with it and actually enjoy the music.
Something I’ve noticed throughout our chat is that your community has been a constant theme that you return to. Spax, SDC, everybody around you, family and all. How important have they been for you on this journey?
Community is huge, man. No man is an island. It helps a lot to have people around you that can support, and that has been what I’ve experienced over time. With SDC, it [started] when I newly came into the industry and since then, they have been like brothers to me. It’s great to have a music family like that.
If the first half of 2024 is anything to go by, there’s so much to look forward to in African music through the rest of the year. Now more than ever, the world is plugged into the sounds from this side and a fresh batch of talent emerges ever so often, ready to stake a claim for their space in the industry. From bangers like “Tshawala Bam” earning spots on global music charts for months on end, to our self-proclaimed African Giant selling out his second 80,000 capacity tour in London Stadium, Afropop acts are well accustomed to remarkable cultural moments by now.
Between a content-driven landscape and the never-ending pool of content on streaming platforms, the list of artists eager to earn our ears is only getting longer. For this month’s uNder, we’re bringing four acts that deserve a spot at the top of your radar. From Nigerian R&B prodigy, Amaeya, who is confidently soundtracking the youth perspective of love; to Konyikeh, whose rich vocal tapestry transports listeners to a world laced with a myriad of feelings, here’s our roundup of the best new talent from across the continent.
Read on below for more info on this month’s distinct gems, listen to our uNder playlist and find your favourite new artist(s).
LLONA
For fans of: Omah Lay and Victony
While party-starting music and celebratory motifs are undoubtedly coded into the DNA of Afropop, the genre has undergone a textural evolution over the last few years, thanks to a class of rising singers and performers whose emotive recounting of tough times and mental struggles is helping broaden the genre’s emotional range. Kogi-born singer, Llona (real name Micheal Ajuma Attah), is at the forefront of this movement, turning mental health and past trauma into high art via a soul-inflected variant of Afropop that’s so deceptively tender it almost masks the depth of his message.
Before the singer evolved into his current form as a brooding, pensive archiver, he was formerly known as Tooclasiq; releasing a series of syrupy songs about his life as a young person navigating the nuances of life in Lagos while seeking upward mobility. An E.P., ‘4 Am,’ houses his most distinctive work as Tooclasiq, infusing pidgin-heavy lyrics with Hip-hop’s grittiness on tracks like “Somebody,” “Wave,” and “4 AM.” Even then, there was ample proof of who the achingly emotive vocalist singer would become on “Eko,” a song that finds the singer both confused and in awe of Lagos’ famed organised chaos.
A brief stint away from music led the singer down the path of embracing the brooding instrumentation, hauntingly piercing lyrics, and mellow soundscape that he’s become known for. Rebranding from Tooclassiq to Llona, he did away with the Pop-leaning lyrics and production style of ‘4 Am’ on 2022’s “Nobody,” settling on a mid-tempo instrumental, his muted rage at life, and a tightly-wounded narrative of being an outsider as his new direction. If “Nobody” hinted at the bravery of his new approach, “Comforter” showed his ease at bringing audiences into his world as he referenced God, weed, his mother, and a weed dealer as the only things that bring him peace in a world of strife.
In many ways, 2023 was the year when his bruising sound converged with the Nigerian mainstream sound. “HBP,” an August 2023 release, was an instant highlight due to its commentary on anxiety, betrayal, the revisiting of past trauma, and forging a path through the things that hurt. A remix of the song with street-pop star Bella Shmurda, two months later, further extended the song’s reach and set him up for more success in 2024. The scope of the singer’s music has only grown more focused in 2024: “How I Live” is effectively music as therapy as he narrates his shame at the state of his relationship with his family and the cost of maintaining his hold on reality over illusion; while a recent collab with Fave, “Cold War,” serves up more of the insular thoughts that’s fast making him a next gen icon. – W.O
ANAIS CARDOT
For fans of: Asa & Nneka
Anais Cardot’s ability to sing in multiple languages positions her as a boundless global artist. Her music, filled with pure soul and evoking a range of emotions, instantly pulls even the most casual of listeners into Cardot’s all-inclusive rollercoaster of emotions. As she coasts through themes of self-discovery and passion encrusted in unadulterated vulnerability, Cardot’s tender-toned enchanting melodies give audiences an appetising invite into her colourful world of romance, lust, and fantasies.
Recently, her 2023 debut EP, ‘Pink Magnolia’, received a deluxe treatment. This new version contains three additions that illuminate Cardot’s artistry in never-seen-before light, with the Canadian-based French-Gabonese artist capturing fractured emotions succinctly and stepping into her light as a modern-day mouthpiece of yearning and tenderness.
Initially debuting her music on Soundcloud, Anais Cardot set her professional music career afoot with the 2023 release of “Can’t Explain,” and since then the multi-lingual soul singer has slowly warmed her way through into global households with localised renditions of love across various languages. – J.F
KONYIKEH
For fans of: Asa, Tems, and Ruby Gyang
There are layers to Konyikeh’s work. Her background is perceptibly classical but the topics she tackles – love, femininity, and romantic angst – have weighty modern resonance. The singer’s earliest introduction to music came by way of her mum and what she played at home, with songs by Jenifer Hudson and Destiny’s Child on regular rotation throughout her childhood. Keen to broaden her understanding of music and sharpen her skills, Konyikeh became a music scholar at a prestigious school in West London while also attending Guildhall School of Music and Drama where she learned musical theory alongside piano and violin.
It all set the stage for her debut single, 2023’s “Sorrow,” where she artfully explores the dynamics of a relationship where expectations don’t match. Where other songs about romantic tussles usually favour a supersized remonstration or withering rebuke to push the plot along, the genius of “Sorrow” is how precise Konyikeh is with her approach, employing a third person narrative style to add more flourishes to the song. Another song, “Teenage Dream,” peeks delicately into her experiences with teenage drama and a romance that didn’t quite work out due to differing desires. It’s a simple story that Konyikeh can expand on thanks to her knack for storytelling and how she finds contexts to frame her feelings.
The release of “Sorrow” and “Teenage Dream” set the stage for her debut project, ‘LITANY,’ released in July 2023. True to form, the five-track features more amorphous singing over gorgeous piano-led instrumentation with tension from past relationships as its central theme. Still, the songs are approached from interesting perspectives that positions Konyikeh as someone who thinks deeply about the state of the human condition: “I Cry” is about letting go of a hurtful relationship that no longer serves purpose despite the pain that accompanies walking away while “Joy and Pride” is deeply relatable in how she frames pining after an ended relationship. For all the complexities explored on ‘LITANY,’ the project ends on a positive note with “Girls Like Us” where she makes a case for the risks that come with loving. – W.O
AMAEYA
For fans of: Qing Madi & Tems
Within the current landscape of Nigerian music, it is hard to find R&B talent that truly connects with the modern day interpretation of love like Amaeya does. Born Peace Amaefula, Amaeya got her start as a background vocalist for artists such asTems, Bnxn, and ShowDemCamp. Armed with a keen knowledge of musical artistry and the industry’s nuances, Amaeya kicked her solo musical career in full gear with her viral song,“On My Own,” released in September 2023.
Slowly but surely finding her footing within an oversaturated music industry, Amaeya’s releases have been more frequent since the turn of the new year yet the intersection between her various songs is her storytelling. The Delta-bred soul singer aptly echoes the elastic emotions that characterise modern-day dating.
With four singles to her name, Amaeya is slowly welling up an irrepressible avalanche on the music industry – both locally and globally – etching her clear-cut mark with candid lyricism and storytelling that’s sure to position her as a frontline Gen-Z R&B prodigy. – J.F
Sometime near the end of 2021, I developed a mild fascination with last words. After a year of seeing people die without warning and witnessing firsthand more grief than any other period in my life, I was deeply invested in understanding the ways of death, and I was trying to map it out with words. I wanted to decipher the language of death; and to do so, I’d look up the last words of whatever figure popped into my head intending to figure out what their mindstate was as they became all too painfully aware of their mortality and what was – or wasn’t – coming next.
As she was being led to the guillotine in the wake of the French Revolution, French-Austrian royal, Marie Antoinette, stepped on her executioner’s shoe and swiftly apologised. “Pardon me, sir, I didn’t do it on purpose,” she said. Those were her last words.
Dutch painter, Vincent Van Gogh, is widely remembered and celebrated for his contribution to the art world’s post-impressionist school of thought, but he died in squalor a few years after cutting his left ear off. His last words were, “The sadness will last forever.” Maybe Van Gogh was right and sadness is an immovable obstacle that we’re only fated to get a brief respite from, but the thing with last words is that they’re very tricky because death is so unpredictable and, too often, no one knows when they’re uttering their last.
In modern times, death is, rightly, a private affair that many families try to handle with as much care and dignity as humanly possible. Still, some deaths come along that profoundly alter the dynamics of how people engage with the grieving process. I don’t remember what exactly I was doing on the 12th of September, 2023, when someone called to tell me that MohBad had passed on. My initial reaction was disbelief. He could not be gone because he had barely started. Even when I had definitive proof of MohBad’s death, my brain could not accept that he had left these earthly plains because it felt abhorrent to acknowledge that reality. In those frantic weeks after his passing, I’ll confess to feeling that if I closed my eyes long enough, I could probably will him back to life.
Grieving a musician that you don’t personally know, of course, presents its own contradictions. You question if you are even allowed to feel this much pain for someone that you barely knew beyond their lyrics and whatever part of their lives they wished to share with the world; and then you play their music to the heavens, joining your own grief to the huge commonwealth of sorrow.
What made MohBad’s death especially hurtful was that just three months before he died, he released a new project, ‘Blessed,’ that was supposed to herald a new era in his career but is now, for all intents and purposes, his long-winded last word. In between the scenic Hip-hop jousting of “Beast and Peace” and the konto-inflected party summons of “Pariwo,” the singer was trying to fashion a new path for himself after working his way out of despair and institutional neglect in Ikorodu, where he grew up, and negotiating his way out of a record deal that he didn’t want to be bound to anymore. What was supposed to be a celebration of beating the odds twice, is now a denouement on a career that promised so much.
The thing that most people don’t know about Mohbad is that even he didn’t truly know how popular he was. As Street-pop was working to the pole position in the Afropop plexus circa 2109, the singer was working in the blind without fully realising how immense his contribution was. Sure, he was aware that he was “blown” but he didn’t know how big he was both among residents of the ghetto that he knew, as well as Nigerians with middle-class aspirations. There’s something to be said about your music being big enough to ignite raves in places like Agege, and still being deemed cool enough to soundtrack parties in Victoria Island, right in the heart of Nigerian elitism.
There’s a reason why MohBad didn’t fully get his flowers while his hands were still warm enough to grasp them. The moments following his death finally revealed the true picture of his turbulent relationship with his former record label, with MohBad reportedly being subject to both verbal and physical harassment in the wake of leaving Marlian Music.
The one time I met Mohbad, months before the release of ‘Blessed,’ it was easy to recognise the world-weariness that he cloaked with a cheery disposition and unassuming charm. On ‘Blessed,’ he put that weariness on full display without presenting himself in despair. The first line on the project is simple but holds tremendous weight: “I’m on silent mode but beast ni mi” is a practice in restraint from an artist trying to engage with the world without giving in to the devil dancing on his shoulder.
According to the announcement post for ‘Blessed,’ it was MohBad’s project of growth as he sought to move into a new phase of his career that purged the gimmicky shtick of his earlier work. There is proof of maturity in how he rides the beat on “Beast & Peace” to deliver a warning to those who would wish him ill and threaten to hold him back. Yes, part of growing up is recognising that our world is not ideal and that sometimes you have to fight for the respect you want to be accorded. MohBad knew this and that’s why he opened ‘Blessed,’ a project about embracing ease and finding peace, on that note. There’s intent but it’s all in service of abiding tranquility.
The song that is undoubtedly most indicative of MohBad’s second arc is “Ask About Me,” a song that’s unabashedly about flexing your street credentials in the face of people who wish that you would disappear and never be heard from again. For all its blustery angst, the true miracle of “Ask About Me” is in how it still leaves space for MohBad to hint at the things that hurt him and how he hoped to find some solace in his faith. Like many people working in Nigerian music, MohBad started making music as a kid in church but, unlike others, he never left the church or let the church leave him.
It made sense that the announcement for ‘Blessed’ would see MohBad return to church to share his testimony with the brethren. There is comfort in knowing that a certain place will always be open to you regardless of whatever burdens trouble your mind and that all you need to do is show up and lose yourself in the singing and dancing of those who pray to the same supreme being that you call on to. In many ways, MohBad was secure in the strength of his relationship with his God. In fact, on “Blessing,” he directly references it, singing, “Covered by your blessings / I’m living by your grace / I’m guided by your blessings / Nothing fit shake me.” At the time when ‘Blessed’ was released, MohBad was starting all over again but he wasn’t deterred as much as he was excited to share his light with anyone who cared to listen, thanks to the faith that he drew from being at one with God.
Much as we publicly loved him, MohBad belonged to family, friends, and loved ones before he was a voice that recorded a song that made a dreadful day easier to deal with. I say this because some of the commentary in the months after MohBad’s passing was uncharitable at best, and downright vitriolic at worst – all of it directed at the people who held him through the darkest of nights and worst of situations. Even when alive, he was keen to let people know where his priorities lay and you can hear it in the roll call of friends he shouts out at the end of “Beast & Peace.” It is that same impulse that moved the singer to make a song dedicated to the mother of his child and the great love of his life on “Omo Mi.”
I’m not at all ignorant of all the ways and times when even that love faltered but, my friends, what is love if not affection persevering? What is the cost of love if not consciously deciding to choose the ones we call ours, even when they fall short of the best versions of themselves and yet keep showing up? Many times on “Omo Mi,” MohBad acknowledges that he and his lover have hurt each other but they keep choosing one another because their best version is together despite their imperfections,and I instinctively want to run towards love that has seen me at my worst but still believes me worthy of treasuring. When I talk about love here, I mean it in all its forms, like when my friends nursed me through the hurt of a heartbreak while we constantly played “Ask About Me” on the loudest volume possible in 2023, or how Bella Shmurda always looked out for MohBad through his nasty split with Marlian Records.
It was perhaps fitting that on the day that Lagos said its final goodbye to MohBad last year, Victoria Island bore witness to his light as the streets surrounding Muri Okunola Park reverberated with his gravelly voice spilling out of speakers with people singing along. In life, MohBad didn’t get to witness the true reach of his music; it would have been cruel to deny him a fitting homage in death.While with us, he never stood still. Starting as a rapper, he slowly but surely showed himself to be at ease with melodies, refusing to let himself be limited sonically as he moved between gritty Hip-hop anthems and sunny Pop scorchers. ‘Blessed’ was supposed to be a window to another portal for the Ikorodu-born singer, and we were not supposed to be considering what could have been for a man who was exuding such confidence, healing, and camaraderie just one year after the project’s release.
No loss hits quite as hard as that of a person whose star is so clearly, and so undeniably on the rise. In a 1987 Newswatch column, Nigerian scholar, Adebayo Williams, correctly opined about Nigeria that, “Wastage has become the dominant metaphor, the all-embracing formula for the tragedy of our collective existence.” It’s an inestimable tragedy that MohBad cannot tell us how much his life shifted in the year since the release of ‘Blessed,’ but we must remember him as he was in the months directly leading to and just after the release of this project: Free, strong, and fighting for his future.
It’s pretty much common knowledge that Port Harcourt lies at the heart of Nigerian pop music. Just as the city’s cultural make-up reflects an array of residents who have come from across the breadth of the country, its musical heritage similarly defies stringent classification, pulling influences from Hip-hop, Soul, and Jazz. This ethos of fluid experimentation and astute genre-bending is evident in the work of Port Harcourt greats like Duncan Mighty, Burna Boy, and, more recently, Omah Lay. 2024 is shaping up to be the year when another Port Harcourt export takes off thanks to the exploits of rising star, Kaestyle.
Although he sits in the lineage of Port Harcourt’s musical evolution thanks to his use of the seaside city’s colorful slangs and euphemisms, Kaestyle is very much his own artist thanks to an inimitable style that blends bluesy singing with a delicate, lived-in style of songwriting that channels his emotions and feelings on a range of issues. Since he made his introduction to mainstream audience a with 2022’s “True Love,” a soul-inflected reflection on romance that featured Victony, the KeyQaad-signed singer has been inching towards the moment when his internal turmoil would match the never-ending theater that being young and alive in Nigeria represents.
In many ways, 2024 is proving to be Kaestyle’s moment. In a year when escapism – or even just the allure of it – has been the defining theme for young Nigerians dealing with the crushing effect of a terrible economy, Kaestyle’s voice has risen to the forefront of many listeners’ consciousness. His breakout song, “My Dealer,” has surged to popularity as both an ode to the state of the country and a call to action to cop some of the weed that many young Nigerians are turning to in a bid to deal with the relentless anxieties triggered by economic uncertainties. In the world that Keastyle and Omah Lay construct over plucky drums and twinkling piano keys, a dealer is a link to the bliss that being high confers, even if only momentarily.
The momentum of “My Dealer” has paved the way for ‘Another Style,’ a new project for Kaestyle as he continues to be the architect of his own narrative. Less structurally dense than ‘Asylum,’ last year’s collaborative tape with fellow Port Harcourt native LeriQ, ‘Another Style’ is steeped in traditional afropop influences that are less a recalibration of Kaestyle’s emotive R&B-influenced style, than they are building blocks for a more expansive take on his sound. Opener, “Gin & Juice,” takes influence for its blistering flow from Hip-hop as the singer bigs up his credentials from Port Harcourt to Ikate, an enclave in Lagos’ widely popular Lekki axis. It’s the sort of uber-confident line that the singer would not have said out loud only a year ago. Keastyle has a particular vision for his songs and it’s easy to notice his appreciation for sounds from the way the instrumental for “Kaestyle” switches between gritty boom-bap stretches to interludes punctuated by twinkling keys.
Fellow Keyqaad signee, M3LON, joins for a dedication to living in the moment on “Que Sera Sera.” It’s the song that most mirrors the style that Kaestyle patented upon his debut in 2022 with ‘Kae’s Study.’ The aesthetic is low-lit and it has a stripped-down vibe that heavily signals the inevitability of fate that the song is about. “You can’t take my shit from me / You can’t change my destiny,” Kaestyle soulfully sings about his journey. Beaming in with a verse delivered in English, pidgin, and Yoruba, M3LON stays on theme, recounting the cost of pursuing his dreams of musical stardom and all that comes with it.
While drill took a foothold in Ghana courtesy of Kumasi’s gritty Asakaa boys, the scuzzy Chicago-pioneered Hip-hop offshoot didn’t really take in the Nigerian mainstream with the exception of a few singles. However, “Egberi,” the most inventive song on ‘Another Style,’ takes a huge slice of inspiration from drill with some highlife influences as well. Typical drill songs are explosive affairs but things are dialed down on “Egberi” for a somewhat muted version that plays up the melodies at the core of Kaestyle’s work that’s so potent, even a cameo from Atlanta singer and songwriter, 6LACK, cannot outshine it. It has all the hallmarks of a star coming into his elements.
A sense of predestined success is a key part of what makes Afropop tick. Some of the genre’s biggest stars wholly believe in their status as miracles unto themselves and their loved ones. Kaestyle’s years navigating the Nigerian music industry have clearly imbued him with some of that mythos as well. ‘Another Style’ ends on a self-confident note with “God Sent,” a far cry from the pensive uncertainty of last year’s “Ugly Truth.” On “God Sent,” an orchestral-inspired scorcher, the Port Harcourt native is blunt and forthright about his purpose, “Say na me God send to take my people out of poverty,” he solemnly opens the tracks. It’s a powerful moment of self-realization that both ties into the urgency propelling his new work, and is a window into the mind of a singer eager to forge a reputation for himself and add his name to the storied musical legacy of his hometown.
Nigerian fashion never fails to make a statement. From traditional attire to streetwear, Nigerian brands have consistently produced impressive pieces that have helped establish the country’s reputation as an African style capital over the past decade. And of all the different types of clothing the country produces, streetwear is, undoubtedly, at the heart of Nigeria’s fashion explosion.
As homegrown brands sit at the forefront of fostering a vibrant fashion community across Africa, Nigerian brands have become renowned for their creativity and innovation, boasting celebrated designers such as Mai Atafo, Deola Sagoe, Banke Kuku, Kenneth Ize, Mowalola, and Andrea Iyamah. And with the global spotlight currently being shone on Nigerian music, we are suitably positioned as a leading cultivator of a robust creative community in Africa, with fashion leading the charge. Nigeria’s fashion industry is dynamic, diverse, and constantly evolving, thanks to a rich cultural heritage that serves as a source of inspiration for designers and creatives. Nigerian designers’ entrepreneurial spirit and resilience also contribute to the vibrancy of the fashion industry, and the increasing recognition of Nigerian designers at both domestic and international levels.
Still, it’s community building that lies at the heart of Nigeria’s streetwear brands, effectively setting them up to thrive on the global scene. Brands like Severe Nature, WWYD, Ashluxe, Pith Africa, Legacy, Daltimore, Forever Earth, Casimir Hero and several others exemplify this communal ethos, and the work they’ve done to build communities that encourage individuality and freedom of expression, is quietly shaping the narrative of streetwear fashion in the country.
The evolution of streetwear fashion in Nigeria can be traced back to the inception of Severe Nature. Created by Christopher Afolabi, Tobi Adeleye, and the late Michael Atobalele in 2012 with a vision to push the boundaries of street luxury fashion, they have stayed true to the core values of creativity, authenticity, and self-expression. Severe Nature takes personality, form, and nature to an extreme while blurring the boundaries of streetwear with the constant use of mixed fabrics and experimental clothing to stand out from other similar brands. The homegrown fashion brand has gone on to inspire and lead a plethora of burgeoning fashion brands across the country with a strong foothold across the continent.
Severe Nature’s success has not come without challenges, though. “One of the significant obstacles has been the lack of infrastructure to support production on the continent,” Afolabi admits. “For a brand that emphasizes quality, we had to come up with creative ways to find sustainable methods of producing our products. The fashion industry’s competitive landscape, both locally and internationally, necessitates constant innovation while maintaining quality.”
Those issues have not impeded the growth of the industry. Streetwear fashion in Nigeria surged beyond the shores of the continent in a giant leap thanks to the groundbreaking work of Ashluxe. Founded by Creative Director Yinka Ash, the homegrown brand oozes luxury, elegance, and style and has successfully built an engaged community and recorded highlights like a showcase at Paris Fashion Week in 2023. “I am hyper-focused on the quality of clothes,” Yinka Ash admits. “Before the creation of Ashluxe it was difficult to get good quality ready-to-wear menswear in Nigeria. I decided to solve that problem, by creating a fashion brand whose primary focus is an offering of good quality menswear with a streetwear aesthetic.”
One can also tie the rapidly growing streetwear community in Nigeria to the daring gusto of young Nigerian creatives like Ayanfe Olarinde, founder and team lead of WWYD. Inspired by her ongoing artistic research project that seeks to dismantle toxic masculinity, WWYD, an abbreviation for ‘What Would You Do?’ has emerged as a gender-fluid, community-driven brand that promotes inclusivity and freedom of expression regardless of race, gender, or body type. A haven for free thinkers, nonconformists, and go-getters to express themselves, WWYD promotes a nonjudgmental style that is committed to reshaping the notion that colorful fashion is gendered.
Fashion stylist and art director for the Homegrown Project, a Nigerian fashion archival group, Senami Maugbe applauds the commitment of Nigerian streetwear brands to individual style, community inclusivity, and innovation.“I love the gender fluidity and vibrancy WWYD brings to streetwear fashion,” she says. “When brands exclude the restrictions to colors and patterns traditionally meant for specific genders, it creates the ideal ambiance for individual styles to flourish.”
Young Nigerian creatives – in their quest to live authentic, creative, and expressive lives amidst the restrictions caused by the economy and absence of infrastructure that enables creatives to flourish – are constantly pushing boundaries through alternative, innovative practices; fashion sustainability efforts; and inclusive, community-led events. Notably, the Ireti Zacheus-owned platform, Street Souk, continues to create an atmosphere for homegrown streetwear and fashion brands to network, collaborate, and exchange knowledge; bringing together designers, retailers, influencers, and consumers, fostering collaboration over competition.
Nigerian street fashion brands also host a series of events and activations throughout the year that actively engage their communities. These events create opportunities for brand exposure and market expansion, promoting inclusivity and showcasing the diversity within the Nigerian fashion community. They display a wide range of styles and aesthetics, which is great for the industry’s growth. “Every brand included in this project shares a common trait: they cultivate a sense of community,” Ayorinde Olabamiji, model and fashion curator of the Homegrown Project, says. “Through pop-ups, parties, and various other events, they create an environment where individuals feel part of something larger. This sense of belonging is crucial for advancing streetwear culture.”
Additionally, innovative tech-based platforms such as Garmspot.com offer e-commerce solutions for indigenous brands seeking retail channels to help them reach wider audiences in Africa and beyond. By fostering meaningful interactions and partnerships, these channels help to strengthen the fabric of the Nigerian fashion industry and drive it forward.
As African kids who often looked to Western cultures as a yardstick for acceptance, the founders of PITH Africa felt the gap in the expressionism of young Black people in their unique self and style. This moved Cosmas Ojemen, Nez Anazodo, and Adedayo Laketu, who are storytellers at heart, to use fashion as a tool not only for expression but for documenting history, building communities, and creating a new paradigm for young people to feel free in self-understanding and their skin. The satisfaction that comes from being dressed in ourselves and feeling part of our growing pop culture is unmatched, “We’ve always been obsessed with Virgil Abloh for his design principles and ideas,” Ojemen says. “He really helped us defy certain boundaries that the global fashion industry has placed on “Black people.” He made us believe that we can create something on a taste level that matches the global state of fashion but from the view of a Black African man.”
Homegrown brands in Nigeria largely draw a unifying motivation from Abloh, the late and legendary fashion designer. His ideas, drive, and love for community have inspired brands like Forever Earth, which has taken community building up a notch with the introduction of FET radio, which encompasses parties, podcasts, and concerts.
For Casimir Hero, Abloh’s background and relentless efforts to break barriers as a fashionable Black man were all that was needed to fuel his vision to launch his own brand, which saw him morph hand-painted denim into bespoke beanies, biker jackets, signature tees, and lots more.
The beauty of homegrown brands goes beyond clothing. With, Legacy, founder and creative director Adesuwa is exploring Nigerian and Thai cultures to craft unique jewelry, bags, and shoes that promote love, self-confidence, and unity among cultures. She seeks to bridge the gap between distant cultures through her pieces, which have been worn by the likes of Asake, Victony, and BNXN, among other Nigerian musicians.
Nigerian homegrown brands collectively share a desire to express themselves through fashion and style, and it is no different for the Daltimore Brand. Owned by David Daltimore, his drive is fueled by merging cultural ideas with modern styles to create unique streetwear fashion pieces.
The Nigerian streetwear community has seen several cross-community collaborations through pop-ups, raves, and fusions of art and style. It is also exciting to see brands emerging with a greater emphasis on sustainability and ethical practices within the Nigerian streetwear community, as designers and consumers alike are becoming more aware of their environmental impact, leading to a more eco-friendly fashion culture throughout the country.
Despite the glaring challenges of sourcing quality materials at affordable prices, maintaining consistent production standards, bureaucratic red tape, and a lack of government support for creative industries, Nigerian designers and entrepreneurs are optimistic that the Nigerian streetwear community will continue to evolve over the next few years. “We are committed to sustainability and ethical practices, seeking to minimize our environmental footprint and make a positive impact on the communities we serve,” Afolabi says. “Through innovation, collaboration, and a relentless pursuit of excellence, we aspire to elevate Severe Nature to new heights of success and influence in the global fashion landscape.”
Credits: Photography: Laura Osare and Daniel Uwaga Model and curator: Ayorinde Olabamiji Art direction and styling: Senami Maugbe Wardrobe: Ashluxe, WWYD, PITH, Casimir Hero, Severe Nature, Legacy, Forever Earth, and Daltimore
Premium herbal liqueur brand Jägermeister, is partnering with iconic US label Santa Cruz, to launch a limited three-piece skateboard and fashion capsule collection. The centrepiece of the collaboration is the re-issue of the “Kendall Deck,” a 1990s-designed cult skateboard which Jeff Kendall, CEO of Santa Cruz and legendary American skateboarder, designed out of love for Jägermeister.
“With these limited-edition pieces, we want to inspire both fashion and skate enthusiasts alike,” says Sven Schindler, Head of Global Brand & Digital Marketing at Mast-Jägermeister SE.
Following the launch of the limited-edition pieces, Jägermeister is extending its campaign to skateboarding communities in other countries, including Nigeria. The brand is making plans to celebrate the youthful defiance and authenticity of the skateboarding community through branded merchandise and a skateboarding competition where top local skaters can showcase their skills. Winners of the competition stand a chance to win the exclusive skateboard and fashion pieces, amongst other prizes.
“Freedom, authenticity, tradition – and a dash of rebellion. Those are the values that unite our brands and skateboarding,” says Jeff Kendall, CEO Santa Cruz Skateboards. Originally one of Santa Cruz Skateboards’ most successful designs, the nostalgic retro design of the Kendall Deck board features Jägermeister’s symbolic deer.
The new limited pieces collection will be available starting from June 20, 2024, in selected Jägermeister online shops and directly at Santa Cruz.
Underlining both brands’ commitment to pushing boundaries and fostering a spirit of bold creativity and authenticity, the Jägermeister x Santa Cruz partnership is showcasing pieces that not only honour the past, but also inspire future generations of skaters and fashion enthusiasts.
Tems’ story is one many would agree was written in the stars. Not just for how seamlessly she forged a path to global stardom, but also how she seemed to arrive long before she got started. Only in stories like hers do words like “destiny” or “fate” arise to describe a trajectory so against the grain yet so inevitable, many struggle to register the colossal shift till it is much too late.
And as the world sat in eager anticipation for the glorious album debut from the R&B singer-producer, a slew of unbelievers rose to the surface to stir the pot around Tems’ talent or, according to them, lack thereof. Even though it would be easier to dismiss all sceptics as trolls, a more candid resolution lies in the reality that not many parallels – if any at all – in Nigeria’s music history can be drawn to Temilade Openiyi. Since quitting her corporate job in 2018, per a life-changing message she received from her daily devotion, to deliver one of the most promising R&B debuts of the decade, no amount of doubt can discredit the fact that Tems is currently fulfilling her life’s purpose.
While the rest of the world first caught wind of the unrivalled force that is Tems via a stellar performance on Wizkid’s “Essence,” back home, she had already scored points as an artist to watch when she audaciously declared herself the leading vibe in 2018’s “Mr Rebel.” Still, it wasn’t until “Try Me” – a striking embodiment of her emotional yet gritty artistry – that Tems slowly began seeping into mainstream listeners’ consciousness, later earning her a small cult following that set her up to invigorate what was then considered popular Nigerian music. Six years, an RCA record deal, two EPs and now a debut album down the line, it’s safe to say that Tems has done just that, and much more. When cataloguing the string of accomplishments under her belt, one might first think of Tems’ role as a peerless collaborator – and understandably so. Recruitments for Beyonce’s ‘RENAISSANCE,’ and Drake’s ‘Certified Lover Boy,’co-writing duties with Rihanna or even the Grammy-earning “Wait For U,” are accomplishments that would be criminal to glaze over. Still, ask any of the Nigerian women in Tems’ Rebel Gang and they’ll tell you that international stardom isn’t the reason they love Tems; for many, it’s the nuanced way she voices the stories of a generation that often goes unspoken for that truly makes us love her.
Following the titular track of her debut album, ‘Born in the Wild,’ Tems’ mother hops on “Special Baby(Interlude)” to emphasise just how fated her journey has been. Over melancholic piano chords borrowed from the intro, we sit in on an undiluted conversation between mother and daughter, where Tems’ mother highlights just how ordained the superstar’s journey is. “They keep on asking,“why Temi?, why Tems? Don’t they have another person again?/They themselves do not know why, they can’t understand it,” her mother laughs, recollecting the words of naysayers who are perplexed by the force that is Tems and the support she receives. Tems’ mother encourages her to push all the doubt aside, because she was born to do this. Tems’ own sentiments, however, are easily reflected on “Born in the Wild,” the perfect introductory insight into her headspace at the start of her journey, and all the obstacles she had to overcome before getting here. Silky guitar strums reiterate her evidently burdened spirit, casting a light on her need to conquer but by the end of the track, she arrives as assured as her mother singing, “The world…is mine and the time…is now.”
Dreamily reminiscent of her introduction to the scene, “Burning” delves deeper into both external and self-inflicted pressures, set alight by an unbridled desire to succeed. The track acts as a mirror to her emotions and state of mind, aptly reflected in our 2020 cover story for The NATIVE’s Print Issue 4 where writer, Damilola Animashaun, described her as one who has “unlocked society’s cage and set herself on fire to light the way for a new vanguard.” Tems was, and still is, the girl on fire. But now more than ever, she is the perfect embodiment of just how far a fiery passion and an introspective approach to life can take you. “Burning” gives Tems the first opportunity on the album – later seen on “Ready” – to communicate just how badly she wants her story to be one of actualised dreams, while snagging production credits with assistance from Ghanaian producer, Guiltybeatz. The pair, whose combined talent is the undeniable backbone of the album’s production, further establish themselves as a dynamic duo after transporting us to the dancefloor with “Wickedest.” The track starts withMagic System’s global crowd pleaser, “1er Gaou” instantly uplifting the atmosphere, shortly followed by groovy basslines reminding us that R&B can have you up on your feet. She holds a composed tone with a sheer effortlessness that alludes to her laser focus on the grind, paired with an unshakeable confidence that her visions, however brazen, will be actualised.
The beauty of art, especially music, is its reinstative power. From sampling to interpolating, music draws references from the past to inform the stories of the present, intensifying the shared experience of the human race. When done right, we get badass anthems like “Wickedest” or the refreshing, reimagined version of Seyi Sodimu 1997 cult classic of the same name, “Love Me Jeje.”An evocative ode to her roots, Tems turned to one of the country’s greatest canonical love songs to soundtrack the official beginning of the journey to her debut album. Her interpretation was an instant favourite, building ammo for her hit-making abilities and versatility, clearly hinting at an exciting run that has only just begun. Tems is backed by her close-knit team, including her personal stylist and friend, Dunsin Wright, for a playful outro of the track. “Gangsta,” though it takes a rougher, more melancholic approach, doesn’t fall too far behind on the album’s successful reference pulls with its subtle Diana King interpolation. While the original, “L-L-Lies,” chronicles the story of a woman despondently confronting her partner’s infidelity, Tems comes in guns blazing “That’s why, that’s why I need a gangsta, That’s why, that’s why I need a bad one, That’s why, that’s why I need violence.” She clearly states that any attempts to dim her light will never go unnoticed, stressing that her circle only has room for genuine people.
As the intoxicating Amapiano melodies of “Get it Right” arrive,we’re fully abreast with Tems unrelenting hit-making abilities, spurred on by an experimental approach to her craft; and who better to enlist than seasoned vocalist, Asake and superstar producer, Sarz. Though Mr Money’s enchanting delivery is commendable, instantly making “Get it Right” one of the album’s earworms, he is well within his sonic comfort zone so a solid verse simply was to be expected. It is Tems’ ability to glide over the heart-thumping log drums and dazzling shakers, however, that leaves the track stuck on instant loop. She gracefully rides the wave, boldly expressing her desires for and commitment to her love interest, “All the boys dey on dnd, so you know what you mean to me.” A clear standout already, it helps that Asake comes armed with charming lines like, “You dey do me one kind, shey me I no go die/This your body like coke, too bad, maka why?”
The album’s tone takes a sharp turn with pensive strums on “Unfortunate,” where she expresses indifference to a love interest that treated her poorly but is trying to re-enter her life. Rather than seeing the unfavourable treatment as a reflection of herself, Tems knows that she’s too young to be hot and bothered, pointing back to the album’s overarching theme of self-empowerment.
In many ways, Tems has found the sweet spot between being unbothered and having moments of intense fixation that linger in her subconscious. “Boy O Boy” deals with the dissonance that comes with navigating those opposites while seeking resolution on her feelings. Her brain recognises that a love interest is no good for her but her heart is willing to give him another chance. “Hold me in your mind/Before I leave you on the streets,” she finally warns, seemingly deciding to focus on elevating her best self. Where “Boy O Boy” was contemplative, “Forever” is more boisterous as the singer moves assuredly over the magnetic DameDame and GuiltyBeatz-produced instrumental. Her delivery is also loosened in a way that recalls some of the ‘90s most classic post-heartbreak excoriations. Where those songs came from a place of deep-rooted passion, Tems is operating with resolution on “Forever.”
Since coming onto the scene, Tems has been a critical part of an innovative generation that has upended any traditionalist definitions of Afropop, and ‘Born in the Wild’ takes things up another notch, prioritising free flowing self-expression over conformist formulas. The J Cole-featuring“Free Fall”sees her dial in for a candid look at what happens when reality doesn’t match expectations. Tems is not a fan of lingering when she’s not getting what she wants and pointedly states that she’d rather be alone. It sounds like wisdom accumulated from a lifetime’s worth of navigating near-relationships that don’t quite work at the end of it all.
It was always an ambitious gambit to turn in an 18-song album, and there are moments when the sequencing on ‘Born in the Wild’ can be jarring, perhaps intended as a means to spark some life into the listening experience. There are other points where it feels like two songs were mixed together as one, as it does on “Turn Me Up.” The opening half sees Tems sing-rap about the state of the world and her place in it before settling into a pidgin-accented verse that sees more big-talking from the singer. It all feels like an attempt by Tems to stake her claim as one of her generation’s most well-regarded singers but it lacks the gritty appeal of an old classic like “Try Me” or the emotional lucidity of “Wickedest.” It’s a rare misstep that’s quickly corrected with the pre-released “Me & U.” Part faith hymnal and part love declaration, “Me & U” feels like a salve for tough times that could only have emerged from the deepest reservoirs of Tems’ consciousness as she weaves her personal convictions on love into her adoration for a larger-than-life divine figure that she clearly craves a closer connection to. It all works wonderfully for one of the album’s highlights.
Long-time listeners of Tems will have long worked out that she’s a fan of Hip-hop with the singer occasionally dipping into the genre for musical inspiration. Over a boom-bap instrumental on “T-Unit,” she pays homage to the genre and her own resilience. “Never surrender/Never afraid,” she tantalisingly raps about her journey. The secret genius of Tems’ music has always been how she uses her experiences as a map for her listeners looking to find themselves; it’s a task she takes quite seriously as evinced by the closing stretch of “T-Unit” where she breathlessly sings, “Throw your hands up, let me hear you say, ‘Victory until the death of me,’” as though delivering battle-time motivation to her weary troops.
Album closer, “Hold On” is similarly an admonishment. Anyone even faintly familiar with Tems’ story knows about her quitting her job at a digital marketing to start an improbable career in music. It’s been a whirlwind six years since her debut song came out and she’s now using her journey to urge her audience to hold on to their dreams however hard that may be. Perseverance is a theme that’s constantly returned to across Tems’ debut. “Do it crying, but fucking do it,” one of her managers admonishes her on “Voices In My Head (Interlude).” It’s what Tems has been doing since she sang her heart out all those years ago on “Mr Rebel.” Now, it’s time to recount the cost of her swashbuckling journey. With ‘Born In The World,’ Tems opens up a portal to her soul; tracking a meteoric rise to global superstardom, her triumphs over self-doubt and a complex journey to accepting, and as she does that, this is her moment.
As a new wave of hitmakers make their way to the mainstage, Afropop’s freshest faces are only getting younger, armed with refreshing perspectives and exciting recipes. Spurred on by the likes of Mavin Pop princess, Ayra Starr, and South African megastar, Tyla, this new generation boasts a robust catalogue of African music stars, serving as a reminder that it’s never too early to start. And with this, the foundation is set for the likes of Saràh Phenom to arrive with an admirably receptive attitude and world of cultural experiences, eager to explore the various facets of her identity and her artistry.
The Rwandan-born and UK-based artist describes her sound as a “melting pot,” adding: “I want Black women to not feel boxed in. You can be so many different things, we have so many layers to us. In my case, for example, I’m not only the Black girl that’s gonna make R&B. I can also make Pop. I could also be edgy tomorrow and the day after I could make classical music. We can be so many different things and I want to be able to show that.”
For her debut solo performance, “10%,” she leans into her Pop side, backed by reverberating basslines to soundtrack the chaos of young love, typically characterised by toxic back and forths and non-committal attitudes that ultimately result in hurt feelings.
Following the single’s release, we caught up with Saràh Phenom to discussher creative process and moments leading up to the release, with inside information on her upcoming debut EP.
Our Conversation, which follows below, has been lightly edited for clarity
NATIVE: When did you first realise that you wanted to be a musician?
Saràh Phenom: I always knew I wanted to be a musician. Every single time I had the opportunity to turn on Trace TV, I would. My grandpa used to be a huge fan of classical and Latin music as well. So every time I heard music, I’d think, ‘this is what I want to do with my life.’ Apparently, I told my mom when I was three that I wanted to become like Janet Jackson.
Wow, all the way back then?
I always knew, I was just scared. It’s a scary thing to say, especially if you live in Africa. They want you to say you want to become a doctor or something similar.
So when did you move past that fear and decide that this is something that you actually wanted to pursue?
I don’t even know if I’m over that fear. I tweeted the other day that I went to Koko and while I was outside, this person said “I really love your song.” Mind you, in my head, I’ve been an artist for two days since I dropped “10%” right? She’s like “It really inspired me. I’m going through something” and in my head, I was like, “What are you talking about what song?” and then I realised that she was talking about “10%” and I finally said thank you! There was a disconnect. I wasn’t aware that there are real-life people actually receiving the music. That made me feel amazing because [the music] transcends and that, to me, was beautiful. So right now, I’m in the process of getting up here and accepting that I’m an artist. It’s so scary to even say but people’s validation really does make your art worthy.
It sounds like meeting that fan was very meaningful.
That was a really big thing because it wasn’t because of anybody else. Before it used to be because of my affiliations or what I look like, anything but the art but that moment was purely because of something that I put out. I’m still indie even though I had a distribution deal, so I started working on this song alone. It felt like wow, you saw me and you got the message and it transcended to you. So to me, it doesn’t even matter if it’s a person with notoriety or not. It was the person who took the time and courage to talk to me, and tell me that she appreciated it. That was a very significant moment for me. I’ve opened up for other acts before and people do tell you that they like what you’re doing. It’s amazing and it makes it feel worthwhile.
You grew up in Rwanda, and currently live in London. How has experiencing both cultures impacted your work as an artist?
I think it’s funny, it’s not only impacted my work as an artist but as a human being. I understand different cultures to the next level. I understand that if someone reacts or talks in a certain way, it’s because of where they’re from. That’s very hard to understand if you’re not from a certain place. When I grew up in Rwanda, I ended up going to a Belgian school in an English-speaking country. I went to an international school as well where they spoke Kinyarwanda, their national language, and English. That’s how we learned English, plus what we saw on TV. So I grew up around a lot of people and that opened up my mind to not only music but aesthetics. Aesthetics are such a big thing that people don’t put enough emphasis on. That’s definitely something that I understood, how people in Europe dressed differently from the people in the UK or America. That helped open up my mind to all sorts of things. And in my music, when you guys discover my EP later on you’re gonna see how much it impacted me because most of my collaborators are Nigerians and Ghanaians. Every culture that has impacted my life, can be found on the EP. It’s a bit eclectic but it’s fun. It’s 100% Sarah. There’s a song that just sounds like EDM-leaning, another’s Amapiano etc. It’s a fun melting pot of who I am.
You described the EP as a reflection of accumulated experiences. Did you draw from any specific ones?
On the project, it’s like I’m taking you on a journey, from being a girl to a woman. Because I feel like women in general, we’re different, but all the same. Whether you’re a nurse or a PhD student, we all go home and talk to our girls about the same things. The reason I wanted to talk about that is because I didn’t grow up too close to my family. My friends were my family. It’s always from a perspective of “Okay, this disappointed me” or “This brought me joy,” or “ I don’t know, I’m scared.” I don’t want to give away too much but it talks about my disappointments and the growth I experienced through that. I also talk about finding love and different eras I had which I think a lot of women can relate to.
What was the initial inspiration behind your new single “10%”?
I had a situationship. He put me in a situation where a choice had to be made between me and another girl. Then it clicked to me that I’m not one to chase. It’s either you give 100% or nothing. I’m not gonna be in the middle and be the other girl. You’re wasting my time. So “10%” was me recouping my time. But then, I also understand that in situations like that, both parties have not been able to communicate because there are always two sets of stories. I feel like men speak a language that women don’t understand and there’s always a big barrier in the middle. That’s why in the visuals, there’s a big separation between the two of us. There’s his reality and then at the end, there’s kind of like this resolution. I think the lyrics go:
Sarah, why don’t you hear my side/ when I’m searching through the weeds/ and I’m trying to find the right one
I know that we got soul ties/ but I’m try to keep it P/ and I gotta find the right one
Maybe one day we’ll both try/ and I’ll find out then/ that you really was the right one/
till then/ I’ll just live my life/ but you really is the right one.
And we’re saying that together because we’re both gonna end up in a situation but he’s gonna figure out that he made the wrong choice. Eventually, we’re gonna be at peace and I’m just gonna carry on living my life. It’s exploring the lack of communication between two human beings and there being two sides to the story.
The music video was very striking. How did you first decide on its visual identity?
I’m a person that writes in journals and surfs Pinterest a lot. I find a lot of inspiration from those places. I love colours as well as old Japanese or Asian movies or photographers that play around with colours. I found this amazing photographer Cho Gi-Seok, I’m absolutely in love with all his work.
Are there any visual artists that have influenced you?
David Lachapelle is incredible. I like fantastic worlds. I like people that bring hope to the world. I also like things that are bright. Even though my video is very dark you can still see blue, which I feel is a hopeful colour. I just like colourful things and I love fashion so it all comes together.
Speaking of fashion, how did you approach finding the style for the video?
I got a stylist and a lot of our inspiration came from my time in Belgium, one of the biggest fashion capitals. There’s something called the Antwerp Six. You have Raf Simmons and all these big designers that became huge. You don’t really see it in the video, but my obsession for fashion came from there. When it came to doing silhouettes for a woman, I remembered I had seen one at the Academy of Fashion when I used to model for them. I wanted something similar to that so I told my stylists, El-Shaadi [Nyagodzi] and Kevin [Lacey]. They made it happen. I wanted something that could gain attention and be dramatic while still being simple.
Is there one piece of advice that you’ve gotten that’s been invaluable to you as an artist?
My sister once told me “Make a plan and stick to it.” That’s how I moved out and came to the UK in the most chaotic way. I think I came here with like £200 with a plan to make music. My plan has always been to make music, I just didn’t know how. I think one piece of advice I would give, is to give yourself the tools to do what you want to do. If you really want to be a dentist, don’t go to school to be an engineer. I also met James Fauntleroy [American singer-songwriter & producer] a few weeks ago and he just gave me the advice to just do it. He told me that in the beginning, people used to ask him if he knew how to write songs. He didn’t but he would just say yeah and that’s how he became who he is, he gave himself the tools to succeed.
So where there’s a will there’s a way.
100%. Even for this video, I remember telling my team I wanted to do choreography. They were like, “Can you dance?” I’m like, “Yeah I can!” I can’t dance for anything, by the way, I have two left feet. The African in me left the chat for that one. I only had two rehearsals because we were shooting back-to-back videos, and I did it. I learned that in a day. You have to be up for a lot of things. I think it depends on what kind of artist you want to be. In my case, I’ve always said that if I wanted to do it then I want to do it fully. No shyness.
What do you want people to take away from your music?
Freedom in the sense of expression. I wouldn’t say I do it for Black women [only], but I want Black women to not feel boxed in. You can be so many different things, we have so many layers to us. In my case, for example, I’m not only the Black girl that’s gonna make R&B. I can also make Pop. I could also be edgy tomorrow and the day after I could make classical music. We can be so many different things and I want to be able to show that. I want to be able to show the freedom and the range that we have. I want to be able to work with as many Black writers and artists as I can. That’s what I want to push. I don’t want to say Afrofuturism because it’s been overused but that is really the future of everything. We need to start opening up our minds to different types of music. So I want people to take freedom from what I’m doing and how I’m expressing myself.
Is there a specific artist you want to collaborate with in the future?
I think there’s too many. I have a list and monthly I post them on Twitter. Some people get it, some people are like, “what are you doing?” I also really believe in prayer and manifestation so I just put it out there. But I really like Baby Keem, I think he’s really cool. I like James Blake. I wish Britney Spears was from this era because I think she’s so cool. Right now, I really like Bloody Civilian. Kanye West would also make sense. Gunna, I think people were sleeping on him, now people are waking up. He’s so lyrically and melodically gifted. Don Toliver as well. I think Rosalia, SZA and Summer Walker are incredible. And Rihanna, but that’s in my deepest dreams.
Well you said you have to back yourself, so it could probably happen.
If they say “You have to do this with Rihanna,” I’ll say “Yep!”
Dope Saint Jude strives to spread joy through her work.
Nurturing this positivity hasn’t always been easy. The wormhole of endless negative news cycles used to take a heavy toll on her: “I was feeling hopeless and like ‘what’s the point of releasing music, it feels so small compared to other issues,’” she recalls. “I spoke to someone who was an activist in the apartheid days here in South Africa and they told me it’s actually my job to nurture hope.”
Nothing mirrors her innate vibrancy more than her latest single, ‘Happy Day’. Although the track was written in 2022, Dope Saint Jude knew now was the time to release it. With intense global strife at the forefront of our minds, she knew, now more than ever, the world needs infectious positive energy. Happy Day serves as an ode to confidence, with affirmative lyrics such as “the only one in charge is me.” Its inspiring message and invigorating instrumental makes it one to listen to especially during dark times.
Speaking on how she wants her audience to feel when listening to her music, Dope Saint Jude says:
“I want them to feel good. I want them to feel uplifted and ready to start the day. That’s because I primarily listen to music in the mornings, when I’m getting ready I try to listen to music that’s gonna hype me up for the day and I hope that I can make music that serves that purpose for other people”
If fans want to start the day the way Saint Jude intended, they can use her playlist ‘Heart Songs’ for their early morning setlist. The tracks range from stimulating to soulful, making it an ideal playlist to wake up to.
Stream ‘Heart Songs,’ a playlist by Dope Saint Jude.
With each passing year, African music grows further in global preeminence, with its stars racking up placements on the biggest stages, and emerging as main characters at the biggest award shows and festivals. Back home, there has been an upsurge in the demand for more zest and ingenuity within the African soundscape.
At NATIVE, we are constantly exploring avenues to platform the plethora of emerging talent across the continent. uNder live – a live showcase of emerging talents – is one of such channels powered by NATIVE with the intent of providing a home for music enthusiasts to partake in the rise of next generation of superstars, and a hotbed for emerging artists across different genres to hone their artistry and connect with their audience, at home and at large. Take a look at the last edition of uNder Live, here.
For this month’s uNder, we’re spotlighting some of the most promising talent from across the continent who embody the cadence of the streets, and have become the cradle of novelty within continental music. These artists are breathing new life into the music scene and providing a much needed revitalisation of our creative ecosystems.
AYO MAFF
For fans of: Bella Shmurda, Mohbad and Seyi Vibez
Bariga is still one of street-pop’s most important locales. The lived experiences of its residents continue to inspire some of the most heartbreakingly cathartic music coming out of Lagos as it did when YBNL head, Olamide, broke out of there over a decade ago. In the time since Olamide’s rise, street-pop has evolved as an art form, gaining an emotional core and textural range that is indicative of the sub-genre’s maturity, and the deep pool of talent it’s blessed with. Hailing from Bariga, newcomer Ayo Maff, is a key part of that evolution, distilling his angst, joy, anger, and confusion into songs that place him in the lineage of street-pop’s greatest storytellers.
Born Mafoluku Ayorinde Ayodele, the singer draws on his experience on the streets and what lessons he took from them in his candid songs. His first official release, “Saturday Night,” from May 2023, was an Amapiano-influenced glimpse into the things–money, street cred, and being hip – that motivate him. It’s delivered in a syrupy drawl that gives the song an out-of-body perspective as he recounts his days of being counted out. His next song, “Journey,” is a continuation of that theme with a more pointed reflection on balancing his musical dreams with the cost of maintaining daily sustenance.
Ayo Maff really started to pop onto mainstream radars with his 2023 two-pack release, “Jama Jama/ Another Day.” Where Olamide employed hard-hitting bars to send his message all those years ago, Ayo Maff is a wide-eyed singer referencing Frank Ocean on “Jama Jama,” a hymnal on his daily struggles. Still, it’s not all bleak as the singer crafts a dancefloor summons with “Another Day,” deftly interpolating Mr Eazi’s “Bankulize” on the quintessential hood love anthem.
Earlier in 2024, the singer had a definitive breakthrough with the release of another two-pack release, “STREET ANTHEM/ 7 Days,” that’s a sharp-eyed deconstruction of hood politics and the constant police harassment that’s still a fixture in lower-income societies across Nigeria. “STREET ANTHEM” opens with the singer earnestly singing, “EFCC leave my brothers, we’re not scammers o.” It’s a line that anyone who has dealt with the violent, overbearing nature of the Nigerian Police Force can instantly relate to. Still, the most stirring moments come on “7 Days,” a pseudo-dedication to Ojo, a hood brother who died shortly after a stint in police custody. There’s unfiltered pain in how Ayo Maff beautifies the memory of Ojo and links it to his burning desire to work his way out of Bariga but there’s a lingering sadness at how his success will inevitably put some distance between himself and the community he grew up in.
Further success has come for Ayo Maff following a series of co-signs and a collaboration with Fireboy DML, “Dealer,” that explores how both singers seek escapism when overwhelmed with the weight of the world. Next to the YBNL singer, Ayo Maff is calm and assured; it all hints at the arrival of a new king from Bariga. – W.O
KAESTYLE
For fans of: Omah Lay and Victony
Kaestyle has an unwavering dedication to excellence that is clear in how he approaches music-making. The mood, lyrics, and composition of his music are all synchronised to maximise his exploration of whatever emotion he’s working through with auteur-like precision. There’s an almost-obsessive fixation on getting all elements right that comes from his background as a producer. Born and raised in Port Harcourt, Kaestyle channels the genre agnosticism of the popular southern Nigerian city, borrowing from Cloud Rap, R&B, and Soul to create music. He was discovered when an A&R visited Port Harcourt to scout talent, leading to him inking a deal with Lagos-based record label, KeyQaad.
In 2022, he put out his official debut, “True Love,” with Victony, to explore the pleasures of a blissful romance over a percussive instrumental. It was soon followed by “Moving Mad,” a true arrival for the singer that served as a lodestar for his 2022 debut project, ‘Kae’s Study.’ The six-track extended play is meditative and relaxing as he explores toxic masculinity, growth, and love. The project opener, “Better,” is a wholesome declaration of romantic intent that interpolates 2Face’s “Right Here” off his debut solo album, ‘Face2Face.’ Fellow Port Harcourt-raised star, Omah Lay, joined for an ode to material breakthrough on “Blessings.”
2023 was a similarly busy year for Kaestyle who opened the year with the Afrobeats-leaning “Soundtrack” before returning to his neo-R&B roots on ‘Asylum,’ a five-track joint project with LeriQ that has more moments of Kaestyle’s dulcet vocals gently riding mid-tempo beats and bringing listeners along for an immersive ride into his world and the motifs that define him. “21” is an artsy dedication to a female interest that the singer is unabashedly attracted to while “YOLO,” built around dense drum loops, details his desire for carefree fun. Keastyle has hit the ground running in 2024;a two-song pack titled “My Dealer” is quickly becoming a fixture of the year. Teaming up with Omah Lay again, Kaestyle is letting the world know how important his weed dealer is to him in the moments where he’s facing uncertainty and heartbreak. The other song on the pack, “Egberi,” is a drill-inspired cut that melds the specificity of the singer’s songwriting with the explosive bounce of the Chicago-pioneered sound. It’s a delicate but vibrant collage that displays Kaestyle’s knack for fusing sounds from all over into a distinct vision. – W.O
NABALAYO
For fans of: Labdi and Janice Iche
Nabalayo’s penchant for experimentation, harboured from a very young age, has taken her from exploring various creative outlets to pioneering her own genre. But before delving into her boundary-pushing music charged predominantly with Jazz sensibilities, the Kenya-born musician sought to gain formal education on her craft, only to be met with pushback from trained ears for refusing to follow the rules. When the classical training route didn’t meet her vision, she hypothesised new ways to shape her sound, with emphasis on the production landscapes she leaned towards.
All this prompted Nabalayo to start her own genre where she could openly explore complex compositions of East African music that would otherwise be classified as non-traditional. Changanya, according to the genre’s pioneer, is defined by its versatility, evident in the english translation of the Kiswahili word which means “mix.” “[The music is] ethereal, combining light airy vocals with complex African idioms and heavy electronic sounds to give her listeners an experience that is out of this world,” Nabalayo explained, while discussing the making of a modern legacy in an interview with Tangaza Magazine.
Paying homage to Kenyan Folk music, Nabalayo touches on common themes of hope, love and pain, all the while maintaining the unique essence and qualities she loves about her origins. She also comes armed with the Obakano, an eight-stringed bowl shaped lyre whose soft strums accompany Nabalayo’s messaging. Her official debut in 2020,“Mwana Wa Gorofa” delivers loud, cry-like chants over soft, melodious croons and a slow rhythmic base. With soothing vocals like no other, Nabalayo’s music demonstrates a refreshing perspective to musical storytelling. While the soundscapes are consistently slow-paced and punctuated by slow hums and drawn out chords, Nabalayo easily translates a range of emotions through her warm vocal renditions. From her genre-inspired debut album ‘Changanya’to ‘Her Garden,’ Nabalayo’s unbridled childlike wonder has allowed her to create genre-fusion sounds that tell stories which capture the diversity of various African landscapes. – N.I
MO$HPIT CINDY
For fans of: Elaine and Rowlene
Mo$hpit Cindy’s R&B gloss over trap-like beats sets her apart from many South African artists. Drawing from relatable experiences and pairing rhythmical beats with candid lyricism, Mo$hpit Cindy’s music is as intentional as it is carefree. The 24-year old Zimbabwean-born singer channels music as an outlet for her authentic and unapologetic nature.
Based in Johannesburg, the artist earned her stage name after losing her shoes in a mosh pit frenzy during Ricky Rick’s famous Cottonfest Festival in 2019. The following year would see her kick start her music career and forge a work partnership with Johannesburg-based producer, Lee Global.
So far, Mo$hpit Cindy has notched two EP’s in her catalogue, and toured with acclaimed rapper, Nasty C, but her greatest success is her ability to appeal to different audiences with skittering versatility; often grazing through Hip-Hop, R&B and trap influences and baring her most intrepid thoughts in mellifluous ways. – J.F
[Featured Image Credits/The NATIVE]
Words by Wale Oloworekende, Nwanneamaka Igwe & Jim Falola.
To say Ayra Starr is having a moment would be an understatement because said moment has lasted over three years now. It feels like just yesterday when the 19-year-old burst onto the scene with a childlike wonder that has now metamorphosed into the self-assured candour of a bonafide superstar. The career growth between her self-titled debut and her critically-acclaimed album, ‘19 & Dangerous’was inarguably an inimitable moment in Afropop history. But the success of one or two hits didn’t stop Ayra’s dedication to shaping her craft and taking control of the narrative of young African women. She took on the mantle with grace, extending her winning streak to cement herself as one of the most reliable hitmakers from this side.
Now, ‘The Year I Turned 21’ arrives with pomp and glamour, chronicling the Popstar’s rise to global stardom. The 14-tracker is stacked with humble brags like “Commas” and groovy, yet melancholic storytelling on “Lagos Love Story” or Giveon-assisted “Last Heartbreak Song.” Once a fresh face breaking glass ceilings and inverting the industry’s gender stereotypes with her confident aura, Ayra is now deservedly a main contributor to Afropop’s rich tapestry and she won’t be shying away from the limelight anytime soon. For her highly anticipated sophomore album, the NATIVE team shares our expectations leading up to release, our favourite songs and even the biggest skips. Tap in!
What were your expectations of Ayra Starr going into this album?
Tayo: Ayra is an incredible artist who is very intentional about her craft so I expected amazing vocals and a few bops that would carry us through summer. Judging by the singles she released off the project over the last few months like “Commas” and the snippets we heard off “Goodbye (Warm Up),” I knew this was going to be a project that got people’s attention and one where she would be experimenting with her sound.
Jim: Over the years, Ayra has shown incredible growth and made it clear that she is ready for the big moments, and the big stages. Off the back of her singles, debut EP and debut album, I expected heavy R&B themes throughout the album with the occasional Afrobeats song, and Ayra did not disappoint, presenting a sumptuous blend of both worlds. My biggest expectation, however, was extreme confidence in her lyricism, delivery, and melodies, and Ayra delivered without question. On this album, she forcefully and undoubtedly shines through with reckless abandon.
What songs stood out on the first listen?
Nwanneamaka: It has to be “Lagos Love Story” because Ayra’s mic was ON. Considering I typically lean into the more upbeat numbers for the first listen, I loved this song simply for how crystal her vocals came through. She hit all those notes with so much ease and flair with the groovy production taking the back seat to let her vocals really shine through. Delivery aside, it’s nice to hear a love song chronicling the Lagos experience in a non-toxic way. It’s sweet, innocent even.
Wale: This feels like an obvious pick but “Goodbye (Warm Up)” felt like a hit once that snippet of Ayra previewing it landed on the internet. It still has that X Factor on first listen and I think it works for me because it feels like an extension of Ayra’s personality. She’s genuinely having fun on this song and it suits the theme of ‘TYIT21’ perfectly and, then, there’s the Asake factor as well. I also liked the GIVEON collab, “Last Heartbreak Song,” because it ties into the narrative of the album of Ayra maturing as a performer and person.
How well did the guest appearances enhance your first listen?
Jim: All the guest appearances enhanced the experience of the album within their own pockets. What particularly shines through with the features, though, is Ayra’s ability to let each guest artist revel in their own world, and seamlessly fuse their distinct deliveries with her effervescent melodies, offering fans meticulously refined compositions of their unique artistries.
Daniel B.: I loved all the features. Every artist brought their own signature style but they all merged so well with Ayra’s sound. Nothing short of amazing from her.
What song is the biggest skip?
Israel: “Birds sing of money” is definitely my biggest skip. It’s a wonderful introduction to the album but not one I’m too keen on hearing every time I play the 15-song record.
Moore: If I had to pick one, my biggest skip from the album would have to be “1942.” While the track is touching, it doesn’t quite hit the emotional notes of some of the other more soulful numbers, such as “Last Heartbreak Song.” Its sombre tone also means that it might be one of the last songs to be reached for, if the vibe called for something more upbeat.
What song is the biggest potential hit?
Damilola: I can really see “Woman Commando” taking off as a baddie anthem and going triple platinum on girls trips this summer. Twerk-ready beat, karaoke-able lyrics, and a general feel-good vibe, I can’t see any other outcome.
Nwanneamaka: We LOVE a good collab and as much as there’s huge international names on this project, my pick would have to “Goodbye(Warm up),” with Asake.The rhythmic instrumentals are so radio-ready but paired with Ayra’s lush vocals, you’re bound to get on your feet within the first few seconds of track. Then Mr Money swoops in with the “Oh baby plea-e ease, Oh baby plea-e ease,” I’m sold! My ears also caught on to those light log drums. I don’t see it being any other song.
Overall first impressions
Damilola: I was very touched by this album, and the importance of the storytelling stood out the most to me. We can really hear, feel and sometimes even see the story being told on each song, and she weaves through almost every theme one experiences at the infancy of adulthood seamlessly. Underneath the bops and ballads, we’re hearing a raw confession from a young woman coming of age, accepting of everything she’s experienced and looking forward to learning more lessons as she goes along. She sounds strapped and ready for the rollercoaster ride the rest of adulthood usually is.
Tayo: Overall, I think this was a fantastic sophomore effort from the budding megastar. Listening to this album from top to bottom, you can really hear all the different ways that she’s transformed into the artist and young woman we’ve watched over the years. From ballads about the pain of young romance and the realisation that boundaries are necessary even when you love someone, to her reflections on grief and the ways it can shape a person’s worldview, young people need a voice that speaks for them and Ayra Starr is a more than worthy messenger.
Deeply resonant themes articulated in her signature relatable style, set against a mix of moving instrumentals and catchy, fun beats? What more could we possibly ask for?
When we first encountered Ayra Starr, she gripped a yellow solo cup and stood amidst a wall of colored stickers, as though she were a clipping in a scrapbook. Her self-titled debut, the ‘Ayra Starr’ EP, unveiled an act as fresh as air, whose ethos was youth-centric without pandering, whose feel was girl-next-door to the core, and whose sound was wistful in a way that we had hardly before heard. With the whimsical romance of “Sare” and the unrelenting yearning of “Memories,” she offered lyrics that carried so much youthful sincerity, one could imagine that she had hand-written them in a sticker-filled journal, sprawled across a tastefully disheveled mattress with her legs crossed in the air. Her debut project may have dropped on the same evening that she was officially announced as Mavin Records’ newest signee, but the masses did not require much convincing. In a single night, a star(r) was born.
Her airtight branding was, in part, the product of over a year spent in Mavin’s artist development academy, but it was also a direct reflection of Ayra’s irresistible allure. Following the success of her 2021 debut, she quickly morphed from local phenomenon into a continental and global flagbearer for Nigerian music. Her debut album, ‘19 & Dangerous,’ cemented her role as a Gen-Z sounding board, with its mega-hit “Bloody Samaritan” marking a shift: Ayra Starr could make soulful bedroom Afropop, and she could make global hits, too. The likes of “Sability,” “Commas,” and “Rush” have hauled her name across borders, the latter securing her a coveted Grammy nomination in this year’s inaugural Best African Music Performance category. Her global reach is clear, as her three-year career has seen her secure features from around the world with Tyla, Kelly Rowland, David Guetta, Morocco’s El Grande Toto, and most recently, Puerto Rican reggaetonero Rauw Alejandro. The artist who was once a girl-next-door has formally evolved into a global brand that cannot be restrained; and this year, she is officially coming of age.
The Year I Turned 21, Ayra Starr’s newest project, seems to chart the artist at a pivotal turning point; one that sees her, literally, come of age, and figuratively, step into a new era of superstardom. “Birds Sing of Money,” the project’s intro, encapsulates this shift, beginning with warbled praises from a Fuji vocalist before Ayra proclaims that she “runs her city” and that “money makes the rain come.” The track presents a marked shift from the ‘19 & Dangerous’ intro “Cast (Gen-Z Anthem),” which opened with an introspective Eartha Kitt quote and encouraged youth liberation. With its emphasis on dominance, “Birds Sing of Money” instead positions Ayra as its focus, proclaiming her power to be limitless.
Its focus on money unintentionally alludes to mounting commentary about Ayra’s pop offerings, and how their seeming emphasis on commercial success creates a stark contrast with the thoughtful musings that defined her in her debut EP. “Birds Sing of Money,” however, seems to provide a response to this sentiment: her sonic evolution is a testament to her unending starpower, and as such it cannot be stopped. In her own words, “I don’t watch my tone / because I like how it sounds.” While the song is not as strong sonically as its predecessor on her first album, it appropriately primes audiences for the slant of this project.
Tracks like “Woman Commando” reflect the balance between the commercial and this strategic usage of “starpower.” With pulsing Amapiano production from Grammy-nominated producer Ragee, and lyricism about popping Hennessy at tables, the track is nothing if not club-ready. However, Ayra weaponizes this digestibility to “feminize” Afropop. The club night in question is a “ladies’ night,” and Ayra rounds up a collection of her “woman commandos” in the form of Brazilian megastar Anitta and R&B sweetheart Coco Jones. Calling these global acts to her world – Coco adapting to Afrobeats with such ease that it nearly calls her identity into question – the track creates an argument about cross-continental connection while placing womanhood at its thematic center.
The pre-released “Bad Vibes,” combining sultry verses with a crowd-backed chorus and an assist from Seyi Vibez, skillfully rides the demarcation between the widely consumable and the authentic Ayra. “Goodbye” with Asake recruits yet another national treasure of Nigerian streep-pop, and Mr. Money meets Ayra in her sonic comfort zone in an expertly produced track about ditching an ex-flame. While the track almost begs for a more fitting feature to amplify Ayra’s smooth offering, Asake does his best on what will undoubtedly be a standout hit from the project. Even amidst a competitive set of commercial tracks from the project, “Jazzy’s Song” takes the lead. Ayra pays homage to label boss Don Jazzy by interpolating the intro of Wande Coal’s “You Bad” – which was masterminded by Jazzy himself – in her song’s chorus. With “Jazzy’s Song,” Ayra presents a club banger and a summer song all in one, and in the same breath links contemporary Nigerian pop with its foundational past. Even with only half of 2024 gone, one does not need to be a prophet to imagine a future in which “Jazzy’s Song” becomes a solid contender for song of the year.
With plenty of reflective offerings, the project also quells critics’ fears about Ayra becoming lost to the mainstream. “Lagos Love Story” takes a leaf out “Beggie Beggie”s book, beautifully conveying the mundanities of young Nigerian romance. Her paramours take a sour turn with “Last Heartbreak Song,” where she croons longingly about unrequited love over Afro-R&B production from her longtime collaborator Louddaaa. American R&B act, Giveon, smoothly coats the second verse in his rich baritone, making Ayra two for two where her American features are concerned.
“1942,” a haunting number underpinned by an emotive guitar, sees her lament the loss of dwindling youth. Ayra declares that “this moment makes it all worth it/all the time we put into the job,” and her journey as a girl crossing over into adulthood seems to parallel directly with her growth as an artist who is blooming in real time. The track also features her brother Milar, a close collaborator from Ayra’s youth whose songwriting featured on ‘19 & Dangerous’. While his vocals on “1942” offer little to the song, his presence provides an added sense of intimacy to the story that Ayra tells. The song is something like a final message to herself before she crosses over into superstardom, almost implying that once she steps into the new, she might have to bid farewell to her old self forever.
Rounding off the project, “The Kids Are Alright” tackles Ayra’s career from a deeply personal lens. Including audio from her, her mother, and her siblings, Ayra dedicates the entire song to her late father, to whom she cries out, “Hope you can see what I turned into/hope I’m out here making you proud.” While thematically, it sits in stark contrast with the rest of the songs on the album, “The Kids are All Right” provides critical context about just who the Ayra Starr journey is for. It is not one that she embarks upon blindly, seeking fame for fame’s sake. It is instead a quest that the artist engages in with intentionality, wholly aware that she has a lineage behind her and below her, lifting her up.
‘The Year I Turned 21’ is an exploration in equilibrium, one that aims to prove the unstoppable dominance of Ayra Starr, the phenomenon across sounds, demographics, and continents. With less sonic cohesion than her tight-knit debut album, the project is in part a testament to growing pains. But with hit tracks a-plenty across all sides of the sonic spectrum, ‘The Year I Turned 21’ renders indisputable the limitless nature of Ayra’s capabilities. She has, after all, been a gem from the onset, one so clearly destined for global prominence that stardom practically oozes from all that she touches. With this sophomore project, she makes a case for multiplicity, for sonic mastery, and for global domination, and she emerges victorious.
A new generation of Nigerian women is redefining the slogan “girls just wanna have fun” by creating spaces exclusive to women. The trend began as both a product of pushback against a deeply patriarchal society and a way for women to enjoy each other’s company in a safe, carefree environment. The parties feature activities that cater to women, from fashion shows to performances by female artists from across the country, while fueling stronger female solidarity and promising freedom from harassment or violence that’s common in regular parties.
“The party no go sweet if girls no dey” is unfortunately not a sentiment that is appreciated by Nigerian women when it comes to co-ed partying. The catchphrase, which was popularized by Nigerian artist, Falz, on his 2019 hit song, “Girls,” suggests that men are more inclined to attend parties graced with the female presence; which many would agree with. As a result, most mainstream parties inadvertently place men as their primary customers, and women as a source of entertainment and/or pleasure. For example, the popular “no entrance fee for women” policies are intended to attract more women into expectedly male-dominated spaces; and this include house parties, many of which have become a series of horrorstories for women, with testimonies of over-sexualization in the form of games like Truth or Dare.
This fear of being caught in predatory situations has prompted a desire for spaces where women can have fun without being preyed upon. And in response, Nigerian women have created women only parties, such as Hertitude by Z!koko magazine – described as the biggest women-only party in Nigeria – that cater to and center women and the activities that they enjoy.
The editor-in-chief of Z!koko Magazine, Ruth Zakari, describes these spaces as a place for women to have a good time and find community. For many others, women-only spaces are a place to let loose while avoiding being mocked or sexually harassed. These parties feature not just an all-female audience, but also female performers, to prioritize women in the entertainment industry.
Ending the Female Enmity Stereotype
“I just feel safe,” says *Chioma, a regular attendee of women-only parties. “There’s no one groping me or looking at me like they’re planning something sinister or refusing to let go of me simply because I decided not to dance with them.”
Apart from the sense of security that they offer, these parties are a place where women can socialize and find like-minded friends, especially, as *Peju admits, making friends in adulthood can be difficult. “In those parties, women are always pushing other women to be happy,” she says, adding that women-only spaces have helped her navigate how to form new relationships with other women.
Despite their clear benefits, the idea of women-only partying has not escaped criticism, most of it coming from men who claim they are being excluded from spaces that they feel entitled to and women who believe that men are being unfairly demonized. Some critics have gone as far as maliciously describing women-only parties as lesbian parties, purposefully endangering partygoers in an anti-LGBTQ country where violence against queer people is rampant.
In even more worrisome cases, some men have attempted to infiltrate these parties by surrounding the venues or waiting at the entrance to harass attendees, and have also taken their harassment online, making a mockery of the parties on social media. “The peeking and insults some women got as soon as they stepped out of the gates just further proves why we feel unsafe among men sometimes,” says *Chelsea, an attendee at HERtitude 2024.
This behavior further proves why these spaces are so necessary. Aside from reinforcing the fact that women are much safer with each other, they also help defy the notion that women are each other’s worst enemies, an often-regurgitated patriarchal trope that is intended to make women wary of each other. “I’ve never actually believed that women hate other women,” says *Peju, “I think that’s just a thing men cooked up for women to be at loggerheads, because when we are, men have the upper hand.” For these women, female solidarity is a necessary tool for ending a system of oppression.
Where “All Women” Excludes Trans Women
When it comes to women-only parties, there is one main rule – no men allowed. So when the attendees at Femme Fest 2024 (the annual event put together by Femme Africa, an organization that provides a platform for female entrepreneurs), poured in through the gates and guests realized that some of them were men, it killed the excitement of women who attended with the hopes of only being around other women. Femme Fest, based on its name and advertising, had been mistaken for a women-only event. The confusion led to onlinebacklash as people demanded an apology and clarification for future events. “I think the title was a bait,” says *Josephine, an attendee who also works in advertising and marketing. “I’m aware that it implies celebrating women, not necessarily a women-only party, but everything about the [fest] was targeted at women.”
To set the record straight, Ayomide Dokunmu, founder of Femme Africa, stated that the event was created for the purpose of platforming female artists and business owners. “We want to expand [female artists’] reach and we don’t want to limit their audience to one section of society,” she says, adding that while Femme Fest is marketed specifically towards women, the festival is open to everyone.
Acknowledging the need for women-only spaces, she reiterates that Femme Africa hosts other events for an all-female audience, however, Femme Fest is not one of them.
“There would be a clearer marketing for the next [festival] but the point has always been to have an increased reach for the artists that platform our stage and for the female businesses to get as many customers as well.”
In a disappointing turn, the same critique was thrown online at Z!koko, a popularly queer-inclusive magazine, for making HERtitude inclusive of trans women, who many claim make cis women feel unsafe. “Trans women find it harder to navigate spaces with cis people,” says *Liber, a trans woman who was at HERrtitude and was bullied viciously online when photos of her at the event made their way into the hands of bigoted social media users. “So, if a trans woman is in a space with cis women, it’ll be harder for her.”
Liber said that she did not feel any hostility while at the party, but only met shocking vitriol online. “The reaction I got on Twitter was different from what I got at the party,” she says. “There weren’t any men [at the party], but on Twitter there were a lot of men propagating transphobia towards me,” she added, suggesting that the difference in both experiences was due to the lack of male presence.
Unfortunately, men were not the only ones pushing this agenda. Some cisgender women also expressed that by making women-only parties inclusive of trans women, it gives way for cisgender men to infiltrate these spaces disguised as trans women, a statement which not only holds trans women accountable for the actions of men, but also stigmatises all women who don’t present in traditionally feminine ways.
So, while women-only parties were created to be a safe haven, it is evident that more work must be done to protect women from harassment both online and in real life, and that awarding safety to only certain women defeats the core purpose of all this; making safe spaces for all women.
[Featured Image Credits/Zikoko Mag]
In order to protect their identities, we only referred to certain speakers in this piece by their first names.
Tiwa Savage’s debut feature film, ‘Water & Garri,’ should not be confused with her 2021 EP of the same name. While planning to shoot a visual to commemorate the EP with the help of long-time collaborator and director, Meji Alabi, Savage’s attention was captured by the story they developed for the visual. Plans for the visual EP were scrapped and Alabi and Savage began to develop the story into a feature film. Even though the film’s creation began through the 2021 EP, Savage felt that none of the songs fit, and so decided to create a whole new ‘Water & Garri’ soundtrack featuring Asa, Ayra Starr and frequent collaborators, Reekado Banks and Young Jonn.
Water & Garri, the film, starring Tiwa Savage, follows fashion designer Aisha’s return to her hometown, the fictional Eastside, after 10 years in the US. Her trip home is a bittersweet one, as long-awaited reunions trigger painful memories she’d rather bury. Eastside has become more turbulent with its residents falling deeper and deeper into hardship and crimes to survive. This is Meji Alabi’s first attempt at directing a feature film and Savage’s first time leading and executive producing one. Their common reference is music video production so it’s no surprise that ‘Water & Garri’ feels like one. Beautiful, well-lit and visually evocative but its content lacks the exposition and conviction that a full-length film requires. Its masterful soundtrack, though under-utilised in the film, is the saving grace of my experience. This is where the intentionality lies.
The soundtrack opens with “Eastside Intro,” a cinematic piano instrumental that sets the aesthetic tone, taking us to the coastal West African town, Eastside, where the film is set. Smooth and nostalgic, the beat is timeless, reminiscent of early Brandy or Alicia Keys’ catalog. The lead single of the project, “Lost Time,” continues the theme of R&B wistfulness with its lyrics expressing pure yearning for a love that has faced many setbacks in its progression, a significant theme that runs through much of the film. “Feels like I missed you before we met/Not meeting you sooner, I regret,” she croons. The track is stripped just enough to let us appreciate Savage’s vocal talents. The unique guitar instrumental on “Lost Time” is used liberally throughout the film, even in scenes not about love. It’s an enjoyable instrumental, but it loses its appeal as a romantic soundtrack when used so often.
On the Fuji-inspired track, “Commona” featuring Savage’s frequent collaborators, Olamide and Mystro, we’re thrust back to familiar Afrobeats. It’s a hypnotic track, a perfect party starter for the summer. Olamide is in his element exemplified by his excellent wordplay and acclaimed producer, Mystro makes a return to the mic. Things are kicked into high gear on the next track, “Reason” featuring another popular collaborator of Ms. Savage, Reekado Banks. Hungry, declarative and cinematic, this amapiano-influenced track spurs you into action, inspiring you to go after what you want, no questions asked. It’s another masterful addition to the collaborations between Savage and Reekado Banks including “Go Down”, “Like” and “Speak To Me”.
Savage’s second and final solo track on this soundtrack, “Love O,” puts us back in our feels with lyrics boldly declaring the desire for a love on our own terms. Toeing the line between serenade and declaration, she affirms: “Guess I must shame them (shame them) wey talk say I no fit fall again/Here we go again o/I’m doing this my way o”. Her voice sparkles on the track with a bubbly instrumental which creates an elevated version of the classic Tiwa Savage Afropop ballads from the 2010s.
Passion reaches a new high with the next track, “Emotions,” featuring first-time collaborator and legend, Asa. This folk song’s arrangement is inspired by Yoruba gospel music traditions and describes the high of clinging to a love that leaves you in distress. “Drown me in your emotions/Save all your love for me,” they fervently chorus in unison. Asa and Savage’s voices are filled with longing and meld beautifully to create a striking harmony. This track is by far the most complimentary collaboration on this soundtrack, a high bar to reach given the quality of the project. The last dose of yearning is delivered on “I Need You” featuring American gospel singer, Zacardi Cortez. A surprising collaboration but an exultant addition to the soundtrack with masterful vocal displays from both Savage and Cortez.
The original soundtrack also delves headfirst into its festive Afropop roots, showing off the party-starting groove that propels the genre. The Ayra starr-featured “Gara” is built for shameless celebration. Teaming up for the first time, the duo delivers boastful lyrics over a boisterous Afrobeats rhythm. This was one of the few songs that was utilised prominently in the film, specifically in a club scene near the end of the movie. Black Sherif and Young Jonn drop in for a deft blend of amapiano and classic Afropop on “Kilimanjaro,” with the former delivering an outstanding verse. Out of all the tracks, these are probably the least uniquely produced, but are still good fun.
The title track marks the soundtrack’s creative peak, as it unites multiple generations of African talent. Featuring Nigerian highlife duo, The Cavemen. and renowned Cameroonian jazz musician, Richard Bona, “Water & Garri” is a multi-genre composition that blends jazz, highlife, and Cameroonian music traditions. The message of the song also references the metaphor repeated throughout the film: life-giving “water” and coarse “garri” represent love and pain, good and bad but one can’t exist without the other. This song is a mixture of multiple elements to create something new and desirable which we have to do when coping with life, relationships and change. “Water and garri make eba for your wedding day” is a chant that is repeated throughout the song. The soundtrack concludes here on a note of outstanding musicality.
Unlike most movie soundtracks, ‘Water & Garri,’ is not one you’ll forget after you leave the theater. It’s an aspirational collection of addictive songs with a healthy dose of nostalgia. The ‘Water & Garri’ soundtrack may be unique to the film, but it serves as a journey through Savage’s old and new sounds and collaborations, revealing a clear sonic evolution. Despite the film’s critique, Water & Garri remains a remarkable feat for Savage as her first feature film and hopefully might inspire other Nigerian artists to invest in visual storytelling. Savage has indicated her continued interest in the world of filmmaking and ‘Water & Garri’ is a reminder of her legacy of curating modern musical experiences, while paying homage to what has come before.
It’s a widely held belief that most people are a product of their environment; and that idea really rings true for Ghanaian-Nigerian act, Boistory, who grew up consuming a myriad of influences from across the globe. To tie all of that together, he spent part of his childhood in Johannesburg, South Africa where he began sharpening the ear for music that would later inform the holistic approach he adopts today. “I was also at the exploratory age where I was listening to a lot of African psychedelic sounds as well as Ghanaian and Nigerian HighLife. I’m Igbo on my mom’s side, Ghanaian on my dad’s. There were a lot of different influences and I was finding the commonalities between all of them to fuse that into my own sound,” he shares with the NATIVE. Born Ozor Agyare-Kumi, Boistory’s ties to three of the biggest exports of African music today have exposed him to the unique perspective and unbridled creative freedom we enjoy in his music.
With his introduction to the world via debut single, “Bruised,” Boistory arrived with open and honest confessions on a track he describes as “homemade” but was a clear indication of an artist with promise. The ascendant star continued sharpening his writing, performance and production skills, laying the foundation for feel-good tracks reminiscent of diary entries. While unbridled sexual expression remains at the core of his messaging, Biostory’s music bears the hallmarks of a keen self-awareness and emotional maturity.
Following his recently released 2-pack, ‘BEBE/CINNAMON,’ we caught up with the rising star about his creative process, the creative autonomy that comes with producing and writing his own music as well as the years-long journey to where he is today.
Our conversation which follows below has been lightly edited for clarity.
NATIVE:Who is Boistory?
Boistory: I’m Boistory but some people call me story. As time goes on, I’m preferring ‘story’. I’m a singer, songwriter and producer. I make vibey tunes about life, living, sensual topics and occasionally, some deeper, [more] introspective ideas.
Apart from being both from Ghana and Nigeria, you also partially lived in Johannesburg so you must have a wealth of inspirations. Talk to me about some of them.
The time I started making music, I had just moved to South Africa and I was 15 or 16. Amapiano was not a thing yet but there was just a lot in general in Joburg. There’s a lot of House and Electronic music, even R&B and just different flavors of music just always bursting out. Of course I had my own upbringing with Ghanaian and Nigerian music as well. I was also very much a Trace kid. I was always watching Trace Africa, MTV Base and co. I had never been around so much House music till I was in South Africa. You could just get into a taxi and it’s Deep House playing. It was such an eye opener for me and it really influenced a lot of my approach. I was also at the exploratory age where I was listening to a lot of African psychedelic sounds as well as Ghanaian and Nigerian HighLife. I’m Igbo on my mom’s side, Ghanaian on my dad’s. There were a lot of different influences and I was finding the commonalities between all of them to fuse that into my own sound.
As for names,I feel like it’s always changing. When I was a lot younger I had very set ones but now I’d call them the touchstones or foundational artists I return to when I’m lost.I would put William Onyeabor from Nigeria because I think he was one of the first musicians I listened to who gave me something different than anything I had heard from the country. He is my reminder to keep experimenting, keep being weird and keep making stuff you want whether or not it’s the most easily digestible. I would definitely throw in Frank Ocean. He’s definitely been a big cornerstone for me. He was one of the first R&B singers I listened to on my own as opposed to music I heard growing up.
Your 2019 debut was “Bruised.” What were the moments leading up to that like?
I was very young, early days of early uni. I’d been making music for five six years at that point and I had a plan. I was going to get a job, buy equipment and make music as my extra curricular. I didn’t care about any of the other stuff going on in university and once I started recording, I was itching to release something. I just wanted to see what people would think because I had played “Bruised” to a couple of close people and it sounded good. It’s very homemade but it has its own vibe. People liked it which was nice and it got me on the radar of some cool people.
What do you want people to think when they hear your name?
Freedom and bliss. I’m not gonna get too explicit but definitely a sense of bliss. I definitely want people to feel happy even if what I’m writing about isn’t necessarily a happy topic. For a lot of my songs I try to put the medicine in the sweet if you get what I mean. Even if at first it seems like a song is just about sex or whatever, you realize there’s also a bunch of other things going on. I craft a world that focuses on things that interest me and I mean sex definitely interests me, but outside of that, there’s anxiety. I have a lot of anxiety and I write about that a lot in almost all my music. A lot of the time when I’m writing a song, it feels like drinking and having fun in the midst of a crisis. That’s the thesis of Boistory. So I guess when they think of me, that’s what I want them to think – the world might be ending but we’re still gonna pour one out and cheers to the end of the world.
With half a decade of being an artist under your belt, what moments or experiences stand out to you?
I did a show for Spotify in Ghana last year which was really cool. It was at a very intimate venue, Freedom skatepark, which I’m attached to because people I know skate there. Another one was the first show I ever did. We had over 150 people show up and that was cool because everybody knew the words to the songs. Even if 20 people were in a room for me then and they all knew all the lyrics, I would have reacted the exact same. No one tells you what that feels like – hearing something you wrote coming out of other people’s mouths. It’s trippy and I can’t wait to do more shows to experience that again.
Earlier you spoke about being a writer, producer and singer. What made you take the creative decision to produce your tracks in that way?
My family has big church singers, interestingly enough, but I never really sang. I wanted to be a producer though. I would send people beats but they wouldn’t like them. I kept at it and decided to use them for myself because I thought they were good. It also just made sense because I feel the music more when I’m directly involved in it, writing included. It’s way better when it’s a beat I’ve had some involvement in even if it’s just that I played the chords.
Do you think being your own producer gives you an edge when you’re making music?
Definitely, there’s a benefit to it. I just pull up my workstation and go at it until I get what I’m looking for. I definitely think there’s that edge but autonomyis the big piece of this for me. [I like] not having to rely on people. That isn’t to say not say that there’s anything wrong with collaboration but if I have an idea and I want to pursue it, no one else can get into [my] head to put it down.
How would you typically describe your creative process?
I think it depends on whether I’m trying to get something done quickly or if I’m just working. If I’m trying to get something done fast, then it’ll be melodies and lyrics. I’ve likely already made the beat and stored that somewhere. If I’m just working, it could be any combination of the lyrics, beats and melodies. I could just be walking on the street and think of a melody then I’ll try on a couple beats to see where it sticks. With “BEBE” for example, I had the saxophone chords looping in my brain. We put that down, I wrote lyrics and from there we added the drums. Actually, I didn’t add drums until six months after I had recorded. Sometimes I go with whatever comes first to me.
How would you say you’ve grown in the past couple years regarding the quality of your music and maybe even the ease of your process as well?
I think it’s actually gotten harder. When I was starting out, everything felt so easy. I didn’t know how to use any software but there was always YouTube. Once I got the hang of things, it was so easy to make stuff. But the more I knew and learned, things started to get more difficult and complicated.
That makes sense. When you get good at something, your expectations increase and the bar is only getting higher.
Exactly, you expect more from yourself. You start to make comparisons to people you want to be like or the music you’re listening to, and you’re not just listening for the sake of it anymore. You’re listening, trying to pick out that one snare or that one drum kick so you can replicate. Everything becomes more difficult because you’ve got a different standard. I sometimes feel more clueless than I was at 16, and it’s been years since then.
We spoke earlier about some of the themes you explore in your music and channeling vulnerability for the type of music you make. How do you manage to translate your feelings so clearly on paper and even with your voice?
Art in general is a very giving process. You have to be willing to give yourself in every respect and even if that’s just a feeling that you’re giving up or an actual experience, it’s better when it’s done wholeheartedly. I’ve always understood that exchange and I’m not afraid of it. Even if it’s a situation where people around me feel uncomfortable because I’ve aired my “dirty laundry,” it’s the price you pay. I’ve always been able to accept that.
Let’s talk about your recent 2-pack release, ‘BEBE/CINNAMON.’ You tapped Odunsi (The Engine) for that. How did you guys meet and what was it like working on that?
He reached out to me. I had a version of “BEBE” out way before that I think he heard but never really told me how. Obviously, Odunsi is this music super ninja guy. I don’t know how he finds people or how anything works in his world. He found me and reached out on Instagram. The first thing he said was “send “BEBE””. There was no hi or nothing, it was hilarious. But what would I say about working with him? He has a very set idea of his own existence and general contribution to the music space. He knows what he wants things to look and sound like and that was something that I took away from working with him in person. Also just him being willing to show up for music videos or help put input in the visual design was something I appreciated. I also learned a lot regarding that level of precision and intention.
Music is definitely a very subjective experience but did you have any messages or feelings you wanted listeners to take away from these two releases?
“BEBE” I wrote during the pandemic, when I was in Ghana. The moments were weird. It felt very dystopian because people were still throwing parties and going clubbing like normal. At the same time , people were dying and there was a lot to contain. I remember someone inviting me for this party and 10 minutes later, I learned that someone I knew passed away from COVID. I couldn’t compute it and I think a lot of “BEBE” [came from there]. The idea of another late night out in the middle of a crisis. Everything is happening at once. People are dying. I found that juxtaposition so interesting and a lot of my work flows in that direction.
“CINNAMON” was written maybe two years after “BEBE” and I was talking to a lot of different people in the music space. Record labels had been approaching me and I was seeing a lot of different ideas on what people thought I should be doing. It was weird and I didn’t like it one bit. It made me very frustrated because I couldn’t always explain why. Then of course, there’s also that self doubt that had me thinking “am I only as good as this one song? Is everything else trash?” When I wrote “CINNAMON,” I was presenting that frustration and juxtaposing it with a sense of power that attention gave me. A lot of that song is really explicit but what that is trying to reflect is the idea of someone trying to exercise control over someone else because they’re feeling a lack of control in their own spaces. That song explored that message using sexual control as a means of therapy. As a means of regaining control over one’s life. That was the key messaging but of course, whatever people take away must work for them.
This is your first release of the year so what more can we expect from you for the rest of the year?
So many more projects and singles dropping over the next couple months. Pretty soon actually. Just more interesting ideas being put forth.
These countries you have various ties to – South Africa, Ghana & Nigeria – are dominating global and African music conversations. How would you say your music is fitting into the grain of what’s being exported now or maybe standing out from that crowd? Are you trying to be that voice that’s saying SA is more than Amapiano or Ghana and Nigeria are more than Afrobeats ? Where would you place yourself?
Great question. I mean, I see myself as an underground superstar man. I don’t know how else to explain it. I don’t think I’ve ever wanted to be everybody’s everything or be the world’s biggest ever but I definitely want the respect. I want a career where the people who know my music, know my music deeply. Regarding the more global conversation, we have some of our best foot forward now but there’s so much interesting stuff going on in the underground, independent scenes. The artists are doing incredible things with sound and I think I want to be in that group. I want to be one of the people that is talked about for my contributions as opposed to just being talked about because I had a hit song that one time. I want to be meaningful. I want my impact to hit my community.
With identity, that’s something I’ve often always played with in terms of where I’m from versus where people think I’m from based on how I sound. I’ve had the privilege to live in a lot of places and I’ve picked up different things from a variety of places, my heritage included. I want to make music that is true to how I see these places as opposed to just whatever people want to sell. Of course, it’s important to make money as well but I want to make music that feels true to my perspective on these places and that’s not always the most traditional sound. There’s a lot of other identities and perspectives that we have on our continent that are a lot more like mine so I’d like to stick to that.
Adidas Originals has introduced its latest campaign, which pays homage to three iconic silhouettes from football culture – the Gazelle, the Samba, and the Handball Spezial – and the communities that have worn them.
Founded in 2001, the adidas Originals lifestyle brand has maintained a keen commitment to product innovation and a unique ability to translate the creativity found in the sporting arenas through the lens of contemporary youth culture.
Shot and directed by Vincent Haycock, the “1000 Back” campaign visuals show a tableau of life seen through the story of a thousand originals. The single-take film, which stars Carlisle Aikens, a professional skateboarder and member of the adidas Skate Team, captures a protagonist as they make their way through a street – along the way shining a light on the people, communities, identities, and subcultures that have incorporated the iconic Trefoil logo into their everyday lives and made it their own.
Capturing the Samba, Handball Spezial, and Gazelle in a variety of locations and contexts, the story of the campaign brings to life a single shoe, worn a thousand ways.
The latest iteration of the adidas Originals “1000 Back” campaign is available now in US, UK and Nigerian stores.
If there’s one thing to be learned from the creative renaissance ushered in by the rise in popularity of West Africa’s Alte community, it’s that art manifests – and evolves – across multiple diverse formats. And the artistic journey of Seyi Akinlade provides what is perhaps some of the most unmistakable proof of that idea. Applying his talents across multiple different facets of the creative scene, Akinlade’s work continues to defy categorization. And this most recent phase of his evolution as a storyteller sees him taking on the challenge through soulful melodies and deeply resonant lyrics.
Best known as Ua.x, the work that first propelled him to mainstream attention was largely done out of the public’s view. Starting as a photographer, Ua.x evolved into a video director and helped curate visual treatments for acts like Prettyboy D-O, Tems, Lojay, and Rema. The next frontier of Ua.x’s artistic evolution is as a music-maker and he’s approaching it with the same level of rigor and sophistication that made him a go-to for artsy music videos that still carry a visible Nigerian identity.
There’s ample proof of Ua.x’s sonic vision from the get-go on “Safe,” his debut track that explores the warmth of romance. The Illkeyz-featuring single is teeming with influences from neo-R&B and alt-pop as Ua.x vocals float weightlessly over the languid instrumental. There’s also a methodical precision to Ua.x’s songwriting style that emphasizes every action and promise, making it sound genuinely lived-in and considered. All these factors hand his debut album, ‘Love & Hustle,’ a dreamy quality that feels almost deliberately movie-like. In one interview with Album Talks, he confirms as much. ‘Love & Hustle’ feels like the score from a film,” he says. “It’s a soundtrack to a part of life we can all relate to and I hope people find themselves in the music when they listen to it.”
Opening track, “Sweet Time,” is an earnest plea for love’s arrival that acknowledges the waiting process and the beauty that can come of persevering for the right person. Much of the opening stretch of ‘Love & Hustle’ is, similarly, an extensive study on the mechanics of waiting: for the right moment, the right person, the right experiences. The stakes are dramatically upped on “Nothing Compares” where Ua.x softly croons, “I need you here for my sanity,” atop rolling drums and plucky guitar strings while “Evergreen” feels like a belated glimpse at peace and stability that sets the pace for tracks like “Commas” and “Koselomi.”
There’s a number of songs on ‘Love & Hustle’ like “Everseen” and “Too Proud To Beg” that are tethered to everyday life and raw emotions but few cut to the heart of a specific feeling in the way that “Lagos 2 Crazy” expertly captures a generation’s wish for escapism and hedonism. We are living in unprecedented times as a global recession, rising inflation levels in Nigeria, and a general dissatisfaction with national leadership is leading to widespread apathy that is localized in Lagos as Nigeria’s cultural and commercial capital.
In many ways, people are looking for ways to escape Lagos and the opening lyrics of “Lagos 2Crazy” – “Lagos too crazy so I dipped to the Buj”–brings that sentiment to life with a sense of clarity that feels both honest and whimsical. In an interview with Deeds Mag, he explained that he envisioned the song while hiking in Abuja. “I like walking/running to clear my head,” he says. “Abuja is good for that, plus you can hike. The idea for the song came on one of those hikes, in the evening too. It was one of those periods when life was moving mad. When Lagos gets too hot, this song is a good daydream.”
Far from being just a daydream, “Lagos 2 Crazy” also loops in elements of what young people everywhere in Nigeria and Lagos especially are looking for: a good time, romance, and a jet-set lifestyle. It is a mark of the specificity that informs Ua.x’s writing style that he’s able to bring all three motifs together without appearing scatterbrained. By the time that he brings in a reference to Lagos’ inbuilt chaos with the line, “the streets too crazy men don’t play by the rules,” it’s clear that “Lagos 2 Crazy” belongs to the canon of great songs about Nigeria’s most compelling city.
