Songs of the day: New music from Niniola, Femi Kuti, Nxwrth, Oxlade, LSMK and more

Posted on by The Native

The fast and furious pace of new music releases makes it hard to keep track of all different new sounds coming out of Africa as the music scene grows more and more expansive. We’ve decided to help out by sorting through all the new songs from across all the platforms and subgenres around the continent to curate a column with all the best  “Songs of the Day”, to highlight all the new releases you absolutely NEED to hear.

We started the week with new music from AYLØ, MOJO, Rema, Falz, Ms Banks, Darkovibes, King Promise, French Montana and Davido. Ninola, Femi Kuti, 808vic, Oxlade, Nxwrth, London Afrobeat band, Kokoroko and LSMK have given us the latest additions to our playlists with new songs celebrating the diverse sound of African originated music.

Niniola – “Fantasy” Feat. Femi Kuti

Niniola’s music always stands out because of her knack for channelling her raunchy lyrics through her indigenous African influences. Her latest release, “Fantasy”, explores the Afrobeat sound of Femi Kuti as she performs a sultry set over the mix of Afro-house instrumentals Jazz arrangements from the Femi. The resulting mix of EDM elements and horn riffs provides a groovy backdrop designed to serve dancefloors while she brags about the seductive allure of women’s body; “Oh Gina/ You’re my fantasy”

Nxwrth – “Ascend” Feat. Tsoobi

The space travel theme for Nxwrth’s coming ‘NASA (Thanks For Flying)’ album is apparent from the title. The album won’t be out till the 3rd of April but we got a taste of what’s to come with the atmospheric beats heard on his newly released “Ascend”, featuring Tsoobi. The Ghanaian singer’s autotuned vocals add to the otherwordly ambience of the Nxwrth produced beat as she performs a confident set in the patios dialect.

Oxlade – “Breathe”

One of the many benefits of the social media era is how much access we have to all our favourite musicians, and we can typically tell when they’re gearing up to a new release. Oxlade has been building anticipation for his debut tape with the features, pictures, covers and comments he shares on social media. Though there’s still no official release date for the project, he just released a new song, “Breath”, on Audiomack and IGTV. The song sounds like an interlude that could potentially feature on the EP as Oxlade harmonizes for most of the 1-minute duration of the song. His impressive vocal range is on full display here with Yung Ace’s minimalist production, laying a backdrop of atmospheric backing vocals for Oxlade’s impassioned performance in appreciation of a love interest. Oxlade hasn’t announced an official name for his EP yet, but his social media name, OXYGENE is a strong contender for the title.

Kokoroko – “Carry Me Home”

London based Afrobeat band, Kokoroko are proof of Fela’s sustained relevance in contemporary pop culture. The 8-musician band broke out with their Afrobeat sound on “Abusey junction”, and for their latest single, “Carry Me Home”, they sort inspiration from Dele Sosimi, a renowned member of Fela’s Egypt 80 band. The keyboard player inspired the groovy mix of psychedelic funk and Afrobeat while their lyrics invite listeners to the motherland; “Carry Me Home”.

LSMK – “Bad”

LSMK’s first release of 2020, “Bad”, is a warm and endearingly single about staying positive and self-confident through difficult times. With its melancholic piano bassline, frantic drum riffs and LSMK’s self-assured rap bars, “Bad” captures the feeling of being inspired to take on any challenge. Rapping “I’m so impatient with time/ Like if I had money, man shit will just move fast”, LSMK spoke about relatable challenges to make his personalized lyrics inclusive and motivational for everyone.

808Vic – “Video Games”

808vic is one of the artists expanding Nigeria’s indie music scene with the niche lo-fi sound of his rap songs. His cool voice has an immediate gravitational pull, and his latest single, “Video Games” makes one wonder where he’ll take it next as he raps a romantic set over the guitar-led lo-fi beat. He raps with nonchalant ease as though to match the laidback sound of the beat. And while his lyrics are convincing—“I’ve never been so free/ I swear you’re paradise”—it’s the way he leans forward into the production that makes “Video Games” infectious and worth playing over and over.

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

ICYMI: Stream “Omo Rapala” by Niniola and Sarz

For the Girls: Get to know Ghanaian neo-soul goddess, Ria Boss

Posted on by Tami Makinde

To commemorate Women’s History Month this year, we will be spotlighting a new female artist every day of this month. Some of these women you may know, others you may have heard of and some will be entirely new discoveries. The aim is to spotlight the remarkable young women from around Africa, who are finding their feet through music and giving women a voice of their own. 

Ghanaian r&b/soul artist, Ria Boss made her NATIVE debut back in 2017 when she made an appearance on the TRYBE section of our very first print issue. Her eclectic sounds urge you to find emotional honesty in yourself, and her music catalogue spans different genres from rap under the alias Hajia Kitty to r&b/soul.

Ria Boss found her foot in music, after taking on piano lessons in her childhood, but her career didn’t  take off for a few years, owing to her shyness, until the singer/songwriter and producer started living in New York. Actively releasing music since 2017, Ria Boss probably has one of the most impressive music catalogues I have come across. Back in 2018, the soulful artist embarked on a grand endeavour to release an EP every week for several months for a project she coined #THANKGODFORRIA.

The result is 11 EPs released in 11 weeks, a feat she openly celebrates in her Instagram bio. Her debut EP, Find Your Free is an open love letter to African women to embrace themselves and their individualities as she expands on that message of finding happiness by finding yourself. In an interview with gal-dem, Ria admits that “[she] was tired of pretending. Tired of acting like things didn’t hurt, that I wasn’t fragile” and this raw emotion is what we see on “Love Yourself” one of the standout tracks on the EP, where she urges us to know our worth so that we can look beyond social media to find happiness.

Ria Boss’ superpower is her voice, a strong smoky deeply confessional tone which is no surprise when you get to know her idols: from Nina Simone to Erykah Badu. The subject matter of her second weekly EP release ‘WILDWOMAN’ is spirituality and divine feminity just like her neo-soul idols, on “Who Gon’ Do It?” Ria firmly asks ‘Baby, who gon’ do it better than you?’ encouraging women to wake up and realise their power.

Her latest project and the last EP from #THANKGODFORRIA is ‘BORNDAY’ a mini 4-track project packed with the same honesty we have now come to expect from the neo-soul goddess. On the EP’s last track “Time”, Ria Boss speaks directly to women, rallying them up to do ‘these niggas’ the same dirty way they have done us while elsewhere on “Eden” she sings of herself and other women as the ultimate life source referring to them as ‘nectar’ that bees need for sustenance.

We are definitely loving Ria Boss’ sound and her love and support for women. Check out her Soundcloud here.

Featured image credits: instagram/iamelikem

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

For the Girls: Get familiar with the R&B/Trap leanings of South African artist, Elaine

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

Posted on by The Native

The Kutis know better than anyone that the nightlife can be a vehicle for social change. Fela’s legacy is sustained by the religious hero-worship of his rebellious attitude, and the activism he embodied in his music. His advocacy for maintaining African traditions, anti-corruption is still upheld today at the New Afrikan Shrine built in Ikeja in his honour. 22 years after his death, and tourists from all over the world still come here to experience the music concert that celebrates the Afrobeat music he pioneered and the culture and ideals he promoted through it.

You have to endure a security search at the gate before you’re permitted into the shrine. The site is mapped out like a theme park with different totem merchandise sold at every corner. Guests aren’t allowed to bring any food into the grounds so the stores and bars at the sides are filled out with people who are happy to just sit and patronize the merchants and watch the football match showing on the different TVs sets while the stage is being set up.

When Femi Kuti and his band, Positive Force aren’t touring the world, they spend their Sundays entertaining the mix of intellectuals, foreigners, downtown hipsters and uptown tastemakers who show up as guests to enjoy the show. Before Femi comes on stage, a different singer takes the stage and performs along with the Afrobeat instrumentalists and backup singers who embody the spirit of the Kalakuta Queens. The dancers are the main attraction of the show which also happened to be International Women’s Day.

The three women are dressed in seductive traditional clothes charged with the difficult task of staying grounded in the present while simultaneously preserving the past. They show remarkable strength and endurance, singing and dancing to entertain guests for the entire duration of the show. But with their ever smiling faces, they radiate a pleasant glow that portrays them as a liberated group of women who are doing what they enjoy. They represent women as powerful, beautiful and confident as they add to the spiritual ambience of the shrine with their captivating voice and alluring performance.

Fela’s legacy might loom over contemporary Nigerian pop culture, but the unsung heroes of the legacy he left behind are the Kalakuta Queens. They instilled a sense of pride to a generation of women who have been historically eschewed by society and helped convince everyone that Fela’s Shrine was indeed a space where marginalised people could feel safe and express themselves freely.

You can watch the video of the musical dedicated to honouring the Kalakuta Queens below.

Featured Image Credits: Web/nollywoodalive
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You are meeting Debola at a strange time in his life. He wandered into a dream and lost his way back. Tweet at him @debola_abimbolu

ICYMI: “Party in Art” shows the depth of the Lagos art scene

The Shuffle: The importance of Ego Iheanacho Ogbara on Lagbaja’s “Never Far Away”

Posted on by The Native

Before it became a worldwide phenomenon in the music industry to make twerk-ready music, Lagbaja had that game on lock in the 00’s with “Konko Below”. While all the different parts of the song came together nicely – from Lagbaja’s instructive lyrics to the immensely catchy beat – Ego Iheanacho Ogbara’s impressive bridge definitely stole the show and that was what led everyone to pay such close attention when they dropped “Never Far Away” five years later.

Ego Iheanacho Ogbara has been very quiet on the scene since she split from Lagbaja’s band, and we haven’t heard much from her other than music she created with the enigmatic musician, and a few other songs that never quite took off. Regardless, she made an impossible-to-erase mark on the music scene thanks to her stunning contribution to Lagbaja’s discography.

Where she only had a bridge on “Konko Below”, she carries the whole of “Never Far Away” with sparse vocal contributions from Lagbaja and the rest of the band. At the time this song was released (and even now) it was a rarity to hear Nigerian women baring their souls in song, and listening to the song as a young girl, “Never Far Away” evoked the same emotion Jojo’s “Get Out” or High School Musical’s “Gotta Go My Own Way” did.

As the world has evolved away from set norms, we have become more aware of the importance of women’s place in society, and looking back, I’m glad there were women like Ego holding it down against the odds. Given her clear talent, it’s a bit odd (not really, because, patriarchy) that she doesn’t have the reverence and recognition she ought to.

In 2013, she teamed up with Cobhams Asuquo for an emotive and politically charged song, “I Believe” which aimed to encourage younger generations in the face of society’s issues. In a time when older artists such as Obesere are seeing a renaissance of sorts through social media, it would be great for us to hear more from Ego.

Featured Image Credits: YouTube/Davido

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Essentials: M.I Abaga redresses his self-assured persona on ‘Judah (EP)’

Posted on by Dennis Ade Peter

For the first time in his longstanding career as the Shogun of rap music in Nigeria, M.I Abaga wasn’t aiming to look invincible. After years of speculation and on-and-off subliminal shots, the Jos-born rapper finally squared up with self-appointed arch-nemesis, Vector, resulting in one of the most monumental beefs in Nigerian hip-hop. For fans who avidly followed the squabble, the decision of who won was eventually based on who they were supporting, since both sides of the aisles can lay claim to winning jabs and blows. Given his spotless records—Kelly Handsome and Iceberg Slim—, the ambiguity of his latest beef is merely a perceived smear on his career.

‘Judah’, M.I’s newly released EP, was meant for release during the heat of beef. If it had dropped in its initially announced timing, the reception of the project would have been heavily tainted by the ongoing controversy. While there’s still some residual energy from the beef, the EP transcends that situation for a motif built around the end of an era. On the day of release, it was also announced that M.I would be departing Chocolate City—the place he’s called home since his break out—for his own self-floated record label, adding an extra layer of meaning to the EP.

https://www.instagram.com/p/B9YbbHupxzh/

On the equally thoughtful, brash and celebratory tape, M.I broaches what it means to find the inner strength to keep going and the importance of choosing the right, loyal people to surround you. He traces through past experiences and relationships, redressing his self-assured persona and using the lessons he’s picked up along the way as the foundation for the range of emotion he displays on the EP. Within the 8-track projected, M.I comes across as merciful (“The Parable”), conceited (“The Lion“), villainous (“The Trinity”), hurt (“The Blood”), wizened (“The Commandment”) and grateful (“The Tribe”), all of which is rooted in his status as a triumphant pioneer with even more fruitful years ahead of him.

Similar to his previous album, ‘Yxng Dxnzl’, ‘Judah’ finds a balance between portraiture and working an overarching concept. A side-by-side look at the album art covers of both projects suggests that they are two sides to a coin, or at  least there’s a direct link between them. Where ‘Yxng Dxnzl’ found M.I poking at the roots of his flaws, in order to figure out the meaning of self-worth, ‘Judah’ shows the rapper taking delight in who he is at the moment, an indication of a man who now knows his worth.

Also falling line with its predecessor, ‘Judah’ emphasises M.I’s renewed focus on playing to his technical abilities as a lyricist. No longer making music with the aim to garner mainstream hits, the production on ‘Judah’ is nimble, featuring evocative samples, moody piano chords and strings, as well as varying drum and percussion patterns that fit his vocal and thematic cadence. Rap wise, M.I barely slacks, turning in some truly MVP-worthy performances, like on “The Trinity”, where trades vicious bars with A-Q, dropping two of the best verses of his career in the process. In pushing his pen and overall craft, twelve long years after his break out, M.I shows his commitment to cementing himself as not just one of the greats, but one of the best rappers to come from this side of the Atlantic.

Stream ‘Judah’ here.

Featured Image Credits: Instagram/MI_Abaga

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

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John Boyega’s production company set to partner with Netflix for upcoming film

Posted on by Tami Makinde

Last month, online streaming service Netflix announced its launch in Nigeria following their actions to expand into the African continent since acquiring Genevieve Nnaji’s debut film, Lionheart. Since then, a slew of Nollywood movies, both from home and abroad, have been included in their film catalogue as well as plans for the release of the first Nigerian original series.

Netflix has now gone on to pen a new deal with with John Boyega’s production company, UpperRoom Productions with a specific focus on non-English language films from East and West Africa. According to the Hollywood Reporter, the multi-year deal with Netflix comes with three feature films: two from Nigeria, and one from Egypt.

According to Netflix the partnership “will develop film projects based on stories, cast, characters, crew, literary properties, mythology, screenplays and/or other elements in or around African countries.” Two other African originals, the South African teen drama “Blood & Water” and the animated series “Mama K’s Team 4” will premiere on the streaming service later this year.

Although there are no details on the upcoming productions from Boyega, we can’t wait to see what he will do.

Featured image credits/StewartCook

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

ICYMI: Nollywood and Bollywood are coming toegther for new film, ‘Namaste Wahala’

For the Girls: Get familiar with the r&b/trap leanings of South African artist, Elaine

Posted on by Tami Makinde

To commemorate Women’s History Month this year, we will be spotlighting a new female artist every day of this month. Some of these women you may know, others you may have heard of and some will be entirely new discoveries. The aim is to spotlight the remarkable young women from around Africa, who are finding their feet through music and giving women a voice of their own. 

R&B is often marketed as an alternative genre in Africa, and is unable to permeate the mainstream because of its lack of sustainability in the thriving nightlife or concert scenes in these parts. However, there is a new generation of emerging African artists challenging the status quo, and forging their own independent music careers with little or no help from the powers that be, being driven by nothing else other than their passion for music.

One of such artists is Elaine Mukheli, Pretoria-based singer/songwriter who last year released her debut EP, Elements a 7-track blend of r&b melodies with trap-soul aesthetics similar to those of Jhene Aiko and Summer Walker, which propelled her music career and landed her number 1 on Apple Music’s Album charts in South Africa.

Before gaining recognition for her debut project, twenty-year old Elaine had actually been singing since she was a young girl, making the decision to start making music after having her first solo at a school concert when she was six years old. Since then, the South African artist has been experimenting with different sounds and genres from reggae to jazz, before finding solace in her current genre, r&b.

In an interview with Hype Magazine, the young star explains that she settled on the genre because it helped her open up about her feelings, truly engage with them and confront them. This type of raw expression can be seen in “Slipping Away”, her recorded first single on Apple Music, where she pleads with a love interest not to leave her despite her own shortcomings in romantic relationships.

On her most recent release, Elements, Elaine offers an insightful look into adolescent relationships. The project, which was released with no label support or backing, was a mutual effort of a close knit of skilled friends from university and is a perfect place to get into Elaine’s buttery smooth vocals. Her songwriting abilities shine the most on standout track “I/You” where she deals with the loss of a relationship, while on “Risky”, her subject matter switches to self-reflection, as she sings about a love interest who was set out to break her from the beginning. In contrast, on “Changes”, Elaine admits to her own faults as well, she’s been the toxic one at some point to someone and she is not afraid to open herself up.

Listen to ‘Elements’ below.

Featured image credits/Instagram: elaineofficial

Tami is the Community Editor.

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Lady Zamar officially opens sexual assault case against Sjava

Posted on by Dennis Ade Peter

Last October, South African house singer-songwriter, Lady Zamar alleged that she was sexually assaulted by fellow South African artist and ex-boyfriend, Sjava. In a since deleted Twitter thread, Lady Zamar detailed the alleged event, stating that Sjava forcefully had sex with her in September 2017, after both artists performed solo sets at the Royal Heritage Festival in Limpopo. At the time of the alleged sexual abuse, both artists were in a relationship which reportedly ended after Lady Zamar found about Sjava’s marital status.

According to South African publication, Sunday World, Lady Zamar has now officially opened a rape case against Sjava. She initially opened the case at the local station in Thohoyandou back in November, and it’s now been passed on to the National Prosecution Authority, the body that will determine if the case will be prosecuted in court. In all of this, Sjava has maintained that he’s not guilty, recently putting out a statement via his Twitter account, giving a timeline of his reactions to the accusations.

While the case is now subject to legal proceedings, several brands have made moves to distance themselves from the controversy. Sjava, who increased his global following with an impressive performance on “Reasons” off the ‘Black Panther’ soundtrack, has been dropped from performing at the coming edition of the Cape Town International Jazz Festival in March, and his performance slot and two nominations at the DSTV Mzansi Viewers’ Choice Awards have also been withdrawn.

This is a developing case. We’ll be giving you updates as we get them.

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

ICYMI: OAU SEXUAL ASSAULT AND WHY ENDING RAPE CULTURE REQUIRES MAJOR INDIVIDUAL RESPONSIBILITY

Olamide’s video for “999” short film and 6 other videos you need to watch this week

Posted on by The Native

This week’s curation of the best videos across popular culture covers all the videos shaping today’s music scene. We look through Africa to explore Olamide’s impact on the Nigerian music scene while the video for “Ojumi Bloody” by Oyinbo Rebel video sheds light on the global appeal of Yoruba rap. Megan Thee Stallion’s empowering video for “B.I.T.C.H” came in handy to set the mood for yesterday’s International Women’s Day anniversary and we wrap things up with a short interview with GMK, the audio engineer, producer and artist pushing the boundaries of what we know today as the contemporary sound of Afropop.

Olamide – “999”

Don’t let the mixed reaction Olamide got for sharing a rap focused album, ‘999’ fool you into thinking he’s in any danger of falling off. He has consistently dominated the mainstream with his singles and recently signed a distribution deal with EMPIRE while still expanding the Yoruba rap sound he’s played a key part in championing.

“999” is a short film directed by Olu The Wave and it references all the tracks on Olamide’s ‘999’ album while painting a vivid picture of the street lifestyle Olamide embodies in his music. Though Olamide isn’t seen in the video, the 9-minute long video focuses on how quickly life comes at you on the streets of Lagos, with quick transitions from fighting scenes to partying and celebration to really bring it home.

Kendrick Lamar – “pgLang Visual Mission Statement” Feat. Baby Keem, Yara Shahdi, Jorja Smith

The 3-year wait for a new Kendrick album may finally be over. On Thursday, the TDE rapper announced his latest project, “pgLang” with a short video called “Visual mission statement” and a website that described pgLang as an “at service company” and “multilingual” collective. Kendrick also changed his Twitter and Instagram bio to read “founder @pglang an at service company” while the video featured a cast of Yara Shahidi, Baby Keem, Jorja Smith, and Kendrick.

The Dave Free-directed clip plays out as a poignant art film with deep life lessons and it also featured two new tracks including “Jump 2” by Baby Keem and Kendrick (which is yet to be released) and the end title music by Florence and the Machine. It’s still unclear if the announcement is a signal that a new album from Kendrick is on the way, but it certainly sparked more conversation about the anticipation for a new Kendrick project.

https://www.youtube.com/watch?v=QORt0mwzWnE

Oyinbo Rebel – “Ojumi Bloody”

Culture is dynamic and is naturally expected to be shared, and even though we are more than happy to see African culture being appreciated and referenced by more people all over the world, it’s hard to ignore Oyinbo Rebel’s Yoruba rap song, “Ojumi Bloody” as another instance of a white person appropriating a culture that’s not theirs.

The white rapper’s mix of English and Yoruba lyrics highlights the global appeal of the Yoruba rap scene with the standout feature from indigenous rappers, Chinko Ekun and Mz Kiss who have no problems showing off their Yoruba bars. Guygosis directed the video for “Ojumi Bloody” and the clown costumes, psychiatrist ward sets and riot direction of the video creates a crazy reality that fits a song with a white rapper spitting Yoruba bars fluidly.

M.O, Mr Eazi – “Going Out of My Way”

Mr Eazi continues to expand the range of his influence outside the continent with his latest collaboration. The “Skin Tight” singer Lagos contributed a guest verse on M.O’s “Going Out of My Way”, the romantic new song the UK girl band. The English group, consisting of Annie Ashcroft, Chanal Benjilali and Nadine Samuels sing catchy R&B bops under their Operator Records label and have started to gain some buzz with their concerts in the UK. The accompanying video for “Going Out of My Way” is at one of their shows where we see them performing backstage and on the stage before Mr Eazi also joins them.

Somadina – “but i should”

Somadina explored the different stages of grief on ‘Five Stages’, her latest project. She just released the music video for the opening track, “but i should”, and the bright outdoor set captures the lightweight ambience her songs conjure. The “lyric video” tag on the video’s description provides context for the laidback direction of the video which shows Somadina and a few friends at a picnic while her lyrics are emotive lyrics are written on the screen.

Megan Thee Stallion – “B.I.T.C.H”

Megan Thee Stallion has always been regarded as an empowering figure for women with the confidence she inspires through her rap bars. Her confidence is even more impactful now as she filed a lawsuit against her record label, 1501 Certified Entertainment, who offered her an unfair recording deal. She just released ‘Suga’, a 9-track EP which features collaborations with Kehlani and Gunna, plus production from The Neptunes, Timbaland, Lil Ju, J-White, Helluva, and Tommy Brown. The video for the Tupac-sampled lead single, “B.I.T.C.H”, was directed by Eif Rivera and it shows her Tina Snow alter ego giving advice to her newest alter ego, Suga. Her dominatrix outfit, hot tub twerking and riding around in a drop-top Rolls-Royce capture her in her ever-confident elements.

Artish Presents – “Metronomes and Monsters With GMK”

GMK is a member of the Monster Boys collective who have been key players in the alternative music scene in Nigeria. Since they dropped “Gangsta Fear” in 2016 and captured the popular zeitgeist with their unique take on afropop, the mainstream has grown more accepting of the youth culture they’re championing.

Without waiting for mainstream Nigerian media’s validation, GMK has shaped the sound of music coming out of Nigeria with his role as an audio engineer, producer and artists at the forefront of the alte scene. He recently granted Artish a rare interview where he speaks about how he got into music production, his family’s history with the Kuti family and how his collaborative efforts with other creatives in the scene developed into the alte community we have today.

Featured Image Credits: YouTube/YBNL Nation
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You are meeting Debola at a strange time in his life. He wandered into a dream and lost his way back. Tweet at him @debola_abimbolu

ICYMI: Check out the essentials from Olamide’s ‘999’ album

Songs of the day: New music from Rema, Falz, Darkovibes, Mojo & more

Posted on by Tami Makinde

The fast and furious pace of new music releases makes it hard to keep track of all different new sounds coming out of Africa as the music scene grows more and more expansive. We’ve decided to help out by sorting through all the new songs from across all the platforms and subgenres around the continent to curate a column with all the best  “Songs of the Day”, to highlight all the new releases you absolutely NEED to hear.

Last week, artists  Stonebwoy, Muthoni Drummer Queen, Darkoo, Kida Kudz, AYL∅ and Mojo caught our attention and made the latest additions to our playlists, and now this week, we have  have new songs for us to enjoy and update our playlists with.

Wunda B – “Claro” featuring AYLØ & Mojo

Boston-based producer, Wunda B has built a reputation for himself in these parts by teaming up with independent artists and for his first single this year he’s tapping into wunderkind duo, AYLØ and Mojo for a sure sleeper hit “Claro”. Over the pitched-down teetering drum beat, AYLØ and Mojo put on a bragging show about their boss status and the joys of being high. Mojo’s raps get explicit as he talks about his prowess in bed, ‘D**k game strong have you singing off key’ he says, recounting a sexual experience with a girl he took home.

 Falz – Bop Daddy featuring Ms Banks

Falz is back with another catchy banger that is sure to feature on playlists and Dj sets everywhere owing to its infectious beat. He is joined by UK-based rapper, Ms Banks who definitely holds her own as she raps about calling the shots with the men in her life. Falz brags about his success, picking up yet another moniker and alter eho, by referring to himself as bop daddy who is known for getting the club banging with “big tunes”.

Angel – “Blessings (Remix)” featuring French Montana and Davido

Last summer, after signing to RCA, UK-based singer and producer Angel released highly inspirational track “Blessings” which saw him full of gratitude for how far his come. For the remix, he’s teamed up with French Montana and Davido in an attempt to open up the song to a wider audience. Davido’s verse  first on the track, singing “I think I’ve found the right omo/I don’t want to lose your love”. Since we found out that Davido was in love, he hasn’t been ashamed to wear it on his sleeves in song.

Rema – “Dumebi” (Matoma Remix)

Rema’s “Dumebi” was one of the best songs out of these parts in these past year, which has garnered over 7 million plays on Audiomack alone. The track is enjoying new visibility as Rema rolls out remixes to it, starting last month with Latin-based singer, Becky. Now, the Benin native is teaming up with Norwegian Dj and producer, Matouma for yet another “Dumebi (Remix)” which sees Matouma playing around with the track’s beat, opting for a more dance-oriented house flow which he is known for.

Darkovibes – Inna Song (Gin & Lime) featuring King Promise

Ahead of his debut album which is set for release next month, Darkovibes has just shared a new single “Inna Song (Gin & Lime)” with fellow Ghanaian singer, King Promise. Over the Streetbeatz-produced beat, both artists sing about their love interests who seem to have impacted their lives, “[I put] all the good vibes you give me in a song” sings King Promise amorously over the chorus as they both try to convince their love interests of their love.

Featured image credits/instagram

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

ICYMI: New music from Stonebwoy, Darkoo, Kida Kudz and more

In conversation with Teezee of DRB in light of UBA Next Gen partnership

Posted on by The Native

DRB are set to release a new studio album, ‘Pioneers’ very soon, and the project promises to be the crowning jewel on their preeminence in the alté community. The trio; BOJ, Fresh L and Teezee have grown a reputation for their eclectic and vibrant collage of sonic influences, feeding on the euphoric energy of their home city, Lagos. Their upcoming album expands the musical universe which gained them acclaim since they started out in 2007, with an ensemble of elite guest verses guaranteeing that the project will make a mark this year. 

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The group has continued to grow steadily, and blazing the trail in various creative and entrepreneurial ventures from partnering with Jameson to helping integrate the whiskey in Lagos nightlife to starting up various media companies to push their message even further. Their latest business endeavour sees them partnering with UBA as part of the bank’s NextGen campaign, leveraging DRB’s influence on a younger generation to help provide convenient banking services for teenagers.

According to UBA’s head of marketing, Dupe Olusola  “As the face of the Alté subculture in Nigeria, DRB LasGidi is a perfect representation of the NextGen lifestyle of self-confidence and uniqueness”.

The NextGen Account is the bank’s inventive method of giving students autonomy over their own finances from a young age, so they can do more – especially at this critical stage of their lives with an account that comes free of fees.The new Account opens students and NYSC members up to several benefits and opportunities, including multiple digital channels that makes banking just another fun thing to do on their mobile phones.

Harnessing their individuality and maximizing their talents through smart business ventures, DRB has built the leverage necessary to maintain a sustainable career in Nigeria’s fast-changing music terrain. The path travelled by pioneers is often treacherous, and at times vague, however the continued success of groups like DRB, gives hope to the next generation to set even higher standards and achieve bigger dreams.

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Speaking on behalf of the group, Teezee sat down with us for a brief conversation on improving financial literacy for the next generation:

NATIVE: What saving tips do you have for young Nigerians, and how can we teach better financial literacy?

I would say any money you get, make sure to try and save at least 10% of it. Once you get into the habit of saving, it becomes something that is part of your life. The best way to teach financial literacy is to making it more fun, and accessible. If it’s easier to understand and access, young people will be more likely to be interested in adopting the lifestyle.

NATIVE: What financial goals did you set for yourselves last year, were you able to meet them?

Teezee: I set some financial goals for myself, it’s always good to have a target that some may deem unrealistic, so when you fall short you know you’ve still done well. But sometimes, you tend to want to exceed your expectations. I set pretty  high goals for myself last year, which I would’ve met if not for some unforeseen events.

NATIVE: What’s the best investment you’ve made so far?

Teezee: Investing in The NATIVE. Not even just financially but seeing the shift in the culture for everyone involved from the media angle to the actual music/musicians is amazing.

NATIVE: What do you hope to achieve with your partnership with UBA?

Teezee: We hope to reach as many young people as possible, and help them in understanding new ways of banking and making banking easier and accessible to the younger generation.

NATIVE: What is the best piece of advise you have received from someone younger than yourself?

Teezee: Always be yourself at all times.

NATIVE: What inspires you about the next generation?

Teezee: Their fearlessness, the next generation are not scared of anything. There’s just that lack of fear. doing what you want, and trying to get what you want is what excites me about the next generation.

 

Featured Image Credits: Web/ UBA
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ICYMI: DRB and Olamide show us how Lagos parties in their video for “Shomo”

Songwriting in Afropop should be more welcome and here’s why

Posted on by Dennis Ade Peter

Over the next week in a three-part series, The NATIVE will be breaking down the different unseen facets that go into making a song: songwriting, song sampling and sound engineering, in  a bid to pronounce their place and importance in creating a functioning ecosystem in the music industry. 

In its early days, contemporary afropop took many of its cues from hip-hop—and for good reason. Although it was only named the most popular genre in the U.S in 2017, the culture and aesthetic of hip-hop has been globally prominent since the ’90s. This influence spilled into pioneering Nigerian acts at the time, both in sound and identity. The then popular afropop groups— who mirrored hip-hop’s knack for group acts in the ’80s and early ’90s—usually had at least one resident rapper; their dressing imitated the glossy and kitschy swag of the shiny suit era; and the music contained influences from hip-hop and adjacent genres.

With all of these derivatives, afropop also seemed to co-opt hip-hop’s norm of frowning upon assisted songwriting. It’s an unwritten, yet, well-known rule that rappers are expected to write their raps, otherwise the music is deemed inauthentic. The same ideal is often extended to afropop artists by its fans, many of whom also believe that to be a singer, you must write your own songs, otherwise you’re using someone else’s work. From a wholesome standpoint, though, this stance is quite erroneous and definitely needs to be eradicated.

It is important to note that by virtue of being essentially ‘pop’ music, afropop should not be held to the same writing standards as rap— many of which are even getting more and more antiquated by the day. For rappers, the requirement of writing every verse boils down to the importance of authenticity in hip-hop, however, these days, the idea isn’t as important in service of making the best music possible. Although there’s still a high premium on being a lyricist, getting assistance for writing isn’t looked at with as much disdain, especially if you consider that superstar, award-winning rappers like Travis Scott, Cardi B and Kanye West turned out some of the best and biggest songs of the past decade even with a songwriter.

For fans of afropop, prioritising the quality of music over who wrote what, is the first step in acknowledging the validity and importance of songwriters. The idea that artists who write their lyrics are implicitly better than those who don’t is a misconception, because great music means more than a sum of its parts and collaborators. For all its rhythmic range and melodic catchiness, inventive lyricism is widely regarded as the Achilles heel of afropop. This is a weak spot that can be shored up with the assistance of songwriters, but many artists would rather restrain from calling for help due to potential backlash from the public.

Beyond shying away from enlisting help, afropop artists also tend to hide non-performing writers, so as to mitigate negative reactions. In 2017, Teni publicised her involvement in writing “Like Dat”, one of Davido’s comeback hits during his stunning ‘Back to Basics’ run. While it was a way of taking pride in her work, and appreciating the opportunity to work with one of the genre biggest stars, the reception to Teni’s announcement was far from encouraging. There’s a theory that “Like Dat”, which was accompanied by a fabulous music video, would have been way bigger if listeners weren’t privy to the particulars of the songwriting process and in a year where Davido dropped multiple smash hits, you can see the validity of this argument.

From this scenario, it is easy to glean why artists and songwriters might not be so keen on letting the wider audience in on collaborations. On a more direct note, the positive side of the “Like Dat” situation is that Davido has only strengthened his resolve in getting help with writing, and it has continued to serve him well. His sophomore album, ‘A Good Time’, is littered with writing credits from colleagues like Adekunle Gold, Peruzzi, WurlD and more. These contributors play important roles in enhancing the warm and lush direction of Davido’s best album yet, serving as a prime showcase of the benefits of having multiple chefs in the songwriting kitchen.

Perhaps the biggest objection to assisted to songwriting, is that it might obscure the artist’s personality, however, finding the right, enhancing collaborator is where artists show that they have a vision. For “1 Milli”, a standout cut off ‘AGT’, Davido recruited the writing abilities of Adekunle Gold, coining in on AG’s flair for unabashed love songs without losing the self-assured personality he’s known for. This stellar example points to the ideal that songwriters, when employed tactfully and correctly, build up the craft of a song rather than water it down.

In addition to the value it will add to the genre craft-wise, the public embrace of songwriters improves the chances for our growing ecosystem to become an all-inclusive, structured and accountable space. Currently, the music industry favours the vocal/performing artists, placing little value on the other parties involved putting the music together. Just last week, there was heated debate on Twitter about artist-producer relationships in Nigeria, further highlighting the hoops producers have to go through in order to get what’s due to them. Considering how much more prominent production work is on a song, one can only wonder what songwriters, credited and uncredited, have to go through on the business side of things.

Recognising that assisted songwriting is a regular, critical part of the music-making process is a starting point to mitigating those hoops. Songwriters can publicly take pride in their work, and even air grievances against artists without fear of backlash. Also, with the ability to digitally collect royalties, they can continue earning money off their work, even after initial payments. With its destigmatisation and improved viability as a well-paying endeavour, songwriting offers an opportunity for both performing and non-performing to continually make their mark on Afropop and be duly compensated for their efforts.

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

ICYMI: Here’s a list of songwriters Davido for sophomore album,”A Good Time”

Kwesi Arthur is politically charged on new single, “Revolution Sound”

Posted on by The Native

Last Friday marked Ghana’s 63rd independence day, and it seems that political discourse surrounding the anniversary seemed to inspire Kwesi Arthur to get in his political bag. He premiered his new single, “Revolution Sound”, that day and spoke passionately about the role the government plays in societal ills. Addressing them directly, he raps: “Do you see the suffering?/ Do you have a soul?/ Blood on the streets/ Do you see the roads?”

Kwesi Arthur is definitely shaping the sound of mainstream Ghanaian music with his penchant to switch between hardcore raps and catchy afropop melodies. On his latest release however, he mostly channels his rap side, over a hip-hop beat produced by MOG Beatz and delivering conscious bars aimed at inspiring listeners to work towards making a better nation for the future generations. The accompanying video for “Revolution Sound” shows Kwesi Arthur performing his verses in a studio while short clips from news channels flash on the screen, to make his protest against bad governance more convincing.

“Revolution” is Kwesi Arthur’s first release of 2020 and his first single since his impressive 2019 mixtape, ‘Live From Nkrumah Krom, Vol. II’. Watch the video for “Revolution” below.

Featured Image Credits: YouTube/Ground Up Chale
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You are meeting Debola at a strange time in his life. He wandered into a dream and lost his way back. Tweet at him @debola_abimbolu

ICYMI: Kwesi Arthur is a hometown hero in his video for “See No Evil”

For the Girls: LunaLovesYou is making the dream-pop melodies you want to hear

Posted on by Tami Makinde

To commemorate Women’s History Month this year, we will be spotlighting a new female artist every day of this month. Some of these women you may know, others you may have heard of and some will be entirely new discoveries. The aim is to spotlight the remarkable young women from around Africa, who are finding their feet through music and giving women a voice of their own. 

18-year-old UK based singer, LunaLovesYou has racked up quite a bit of interest from only three songs so far from her Soundcloud page. Although her first single was released just over a year ago, LunaLovesYou has actually been making music for much longer, and her love for music took form from an early age when she would take piano and singing lessons. It was through discovering her way with words and falling in love with piano compositions that the budding singer made the decision to start releasing music and growing in her sound.

When LunaLovesYou is not making music, she’s studying Business Management at uni, which could explain why she’s yet to release a full body of work. You can still get into her impressive singles, beginning with “Glitters” a good introduction to her buttery smooth vocals and ability to make the hypnotic dream-pop melodies that anyone is sure to get lost in.

Her most played single, “Dear V, I’m Sorry” is a rueful track which portrays the stress from the trauma of mourning the end of a sour relationship. LunaLovesYou’s latest offering, “What If” which she released in August last year, is probably her most impressive track till date. In just under 3-minutes, LunaLovesYou tries to make sense of the fact that she’s lost someone in her life, and reveals how she tries to escape the pain with by getting high.

For Luna, music is her therapy, where she expresses the emotions she is feeling, and needs to release. If there’s one thing we know for sure, it’s that her soothing vocals are sure to resonate with anyone going through loss of their own and that’s a sure sign of a good r&b record.

Featured image credits/lunalovesyou

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

For the Girls: Meet Yung Meagan, the Cameroonian rapper from Mr Eazi’s emPAWA programme

Rap Song of the Week: Sizz The Truth’s “Be Yourself” is an ode to trusting the process

Posted on by Dennis Ade Peter

Like his name implies, Sizz the Truth underpins his raps with a personal sincerity. Across his impressive new EP, ‘Greyskies Are Smokescreens’, the Ghanaian rapper displays his adeptness at weaving interesting stories, but as standout track “Be Yourself” shows, Sizz is at his best when he’s passing out his truths and distilling them into life lessons. On the enthralling “Be Yourself”, he delivers a personalised TED talk on the virtue and difficulty of sticking to his ideals as an artist, over an immaculate chipmunk sample and sturdy boom bap drums.

Being a rapper in a space where rap music is seldom the fastest route to mainstream acclaim, there’s always doubters and even well-meaning associates who would advise a switch in sound to improve the chances of breaking out. For Sizz, the thought of changing is not something he’s accommodating. “Niggas hit me up like, ‘Sizz you the next star, but you gotta do it like this make you catch fire'”, he mimics on the searing second verse, going on to reiterate that he won’t acquiesce to anything or anyone that will compromise his vision.

Beyond his unwavering determination, though, Sizz’s admission of his own uncertainties at the song’s end, humanises him in the best way possible. It’s in that quick but captivating sequence—“paused by doubt sey my dreams go fit come to pass…self doubt is admitted but i stay committed”—that “Be Yourself” transcends into a soul-reaching and relatable ode to trusting the process.

Listen to “Be Yourself” here.

Featured Image Credits: Instagram/Sizzthetruth

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

ICYMI: 1641 DELIVER INFECTIOUS SWAG RAP ON “DESIGNER”

Songs of the day: New music from Stonebwoy, Darkoo, Drummer Queen, Kida Kudz, and more

Posted on by The Native

The fast and furious pace of new music releases makes it hard to keep track of all different new sounds coming out of Africa as the music scene grows more and more expansive. We’ve decided to help out by sorting through all the new songs from across all the platforms and subgenres around the continent to curate a column with all the best  “Songs of the Day”, to highlight all the new releases you absolutely NEED to hear.

Last week, we got new music from TMXO, Sauti Sol, Nxwrth, Sho Madjozi, Cuppy, Niniola, Burna Boy, Ictooicy and more. This week, Stonebwoy, Muthoni Drummer Queen, Darkoo, Kida Kudz, AYL∅ and Mojo have new songs for us to enjoy and update our playlists with.

Stonebwoy – “Good Morning”

It’s Ghana’s independence day today and Ghanaian dancehall front runner, Stonebwoy has new music to help us celebrate it. He just released his 4th studio album, ‘Anloga Junction’, named after his hometown, with an accompanying video for the lead Spanker-produced single, “Good Morning”. 

The song highlights Stonebwoy’s dominance, and sees him bragging about his wealth and success, and Dutch rapper, Chivv, also featured with a guest verse reflecting the same self-assured sentiments. The accompanying Azad Wastara-directed video confirmed the song’s lyrics, showing both artists are shown in a villa in Jamaica, partying with beautiful women who also dance to the beat.

Muthoni Drummer Queen – “Power”

Kenyan rapper, Muthoni Drummer Queen has been a bit quiet since she dropped her 2018 album, ‘She’, but now she’s back  come with her first release since, “Power”. He Swiss beatmaker duo, GR! and Hook produce the beat for her tribute to African and Kenyan women. Released during the Women’s History Month, she explained that the song is dedicated to “Women who organize and resist oppression, break molds and defy stereotypes, forge paths and occupy space”. The accompanying video was set at the McMillan Library in Nairobi which reflects Kenya’s colonial past.

Jords – “So It Go” Feat. Kida Kudz

UK rapper, Jords has just released a new single, “So It Go”, featuring Kida Kudz to remind us why we fuck with him heavy. The song finds him reconnecting with his Jamaican roots as he raps over the tropical beat produced by Wengi Kofia. Curtis Essel & Nwabugo directed the music video mirroring the song’s intention to tribute the rich and vibrant culture in Kingston, Jamaica.

Darkoo –  “Juicy (Brown Skin Like Eva)” Feat. Hardy Caprio

Darkoo broke into mainstream last year after she released “Gangsta”, a romantic party starter featuring Davido, Tion Wayne, SL, Ms Banks and Br3nya on the remix. Her latest offering, “Juicy” featuring Hardy Caprio builds on her dancehall-inspired catalogue through her sultry performance appreciating the beauty of women over the Afropop beat produced by Diztortion. Capone directed the video for “Juicy” and set Darkoo on a runway in Los Angeles with beautiful models and featured artist Hardy Caprio.

Olakira – “Aya Mi”

Olakira just premiered the music video for “Aya Mi”, the lead single from his ‘Wakana Jollof’ EP. The project saw him attempt to capture the essence of music from Africa through romantic songs influenced by different regions of the continent. The video continues the thematic direction of the album as Olakira walks around a playboy-esque mansion with doors labelled after different countries like Morocco, Ghana, etc.

Featured Image Credits: YouTube/Muthoni Drummer Queen
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You are meeting Debola at a strange time in his life. He wandered into a dream and lost his way back. Tweet at him @debola_abimbolu

Happy independece day Ghana. Revisit “NATIVE Roots; Highlife”

For the Girls: Meet Yung Meagan, Cameroonian rapper from Mr Eazi’s emPawa programme

Posted on by Tami Makinde

To commemorate Women’s History Month this year, we will be spotlighting a new female artist every day of this month. Some of these women you may know, others you may have heard of and some will be entirely new discoveries. The aim is to spotlight the remarkable young women from around Africa, who are finding their feet through music and giving women a voice of their own. 

Cameroonian artist, Yung Meagan is currently one of the 30 artists taking part in the second edition of Mr Eazi’s emPawa Africa programme. She and a host of other artists from around the continent will receive a $10,000 grant to go towards a music video, along with mentorship from professional singers, producers, and video directors.

Yung Meagan is a rapper–well for the most part–but her earlier career as an artist actually began with her singing. At the age of 11, a young, reserved Meagan began making her own music as a means of expressing herself and finding her own voice. Drawing on inspiration from legendary rapper, TuPac, Meagan was charged to channel the same braggadocious raps in her music.

Her Soundcloud page is bursting at its seams with everything from covers to freestyles to singles; her cover of Mr Eazi’s “Tony Montana” featuring Tyga was actually what caught the attention of the emPawa founder and artist and set her apart as one of the female artists from Cameroon to watch. Yung Meagan has range; her earliest track on her Youtube is “Like This”, an r&b slice from 2 years ago on which she sings about her infatuation for her love interest who she’s more than willing to go the extra mile for.

Meagan’s singles usually feature a mix of her switching between rapping and singing, and she often ups her tempo and charges ahead regardless of the song’s subject matter. This ability shines the brightest on “Black Girl Magic” , where she seamlessly throws in her mastery of the French language. Her latest release, “Life (Interlude)” is a good entry point into her off-the-cuff raps, as the young rapper addresses the fickleness of life and speaks on being bipolar.

Featured image credits/instagram

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

For the Girls: Why Ictooicy deserves to top Nigeria’s charts

M.I Abaga (finally) releases EP, ‘Judah’

Posted on by Dennis Ade Peter

As far back as last October, M.I Abaga announced that he’d be dropping an EP, ‘Judah’. Five months later, the Nigerian rap veteran has finally delivered on that promise, albeit with some welcome changes. Instead of its initially reported 5-song tracklist, the newly released project now comprises eight tracks, with the Kauna-assisted “The Warrior” serving as the lead single. ‘Judah’ features vocal assists from AQ, Alpha Ojini, Buckyraw and Nawe, while production credits include M.I, Reinhard, Finito and DOZ.

Stream ‘Judah’ below.

Featured Image Credits: Instagram/MI_Abaga

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

ICYMI: ZORO, VECTOR & M.I ABAGA AREN’T WITH THE FAKE SHIT ON “ONE ON ONE (REMIX)”

Watch DJ Neptune, Mr Eazi & Joeboy in the shimmery video for “Nobody”

Posted on by Dennis Ade Peter

DJ Neptune is currently prepping ‘The Greatness II (Sounds of Neptune)’, the follow-up to his 2018 album, ‘Greatness’ which housed some  He started the roll out for the upcoming album with the January release of lead single, “Tomorrow”, which featured Victor AD. He’s just shared a new single, “Nobody”, and it features vocal performances from Mr Eazi and Joeboy.

Relying on the featured singers’ proven ability to turn make romantic subjects ready for radio and dancefloor rotation, “Nobody” finds Joeboy and Mr Eazi confessing affectionate feelings for their love interest, over an uptempo beat by Magic Sticks. “Nobody” is accompanied by a TG Omori-directed video, and while it indulges in a glossy tropes attached to afropop videos, the striking parts of the video show the three artists dancing and performing their set in Michael Jackson-inspired attire.

Watch “Nobody” here.

Featured Image Credits: YouTube/empawa Africa

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

ICYMI: 30 NEW ARTISTS JOIN MR EAZI’S EMPAWA AFRICA PROGRAM

5 Books by African authors we’re excited to read this year

Posted on by Tami Makinde

A good book will have you curled on the couch soaking in every last word, and have you missing out on a few minutes of sleep just  to read the last few pages of a juicy chapter. This World Book Day, we’re highlighting a number of books from around the continent that will be released this year; from romance, to fiction to fantasy, we’ve got you covered.

The Death of Vivek Oji by Akwaeke Emezi

Nigerian-born writer, Akwaeke Emezi is back with their second adult novel, The Death of Vivek Oji. The vivid tale follows the tumultuous heart-wrenching story of a mother who finds her daughter’s lifeless body on her doorstep and moves backwards through time to recount the story of Vivek’s life and the mystery surrounding her death. Out in November.

Love in Colour by Bolu Babalola

When London-based writer and columnist, Bolu Babalola is not writing for Dazed Digital, she penning down beautiful stories that retell popular love stories from history and mythology with a twist. In 18 stories, Babalola weaves through homoromantic Greek myths, to magical Nigerian folktales, and to the ancient stories of South Asia, all while showing the universality of love. Out this March.

The Gilded Ones by Namina Forna

Sierra-Leone-American screenwriter and novelist, Namina Forna is releasing a fantasy trilogy and the first installment will be out pretty soon. Drawing on comparisons with The Handmaid’s Tale, Forna’s novel is set in an ancient West African world where 16 year old Deka lives. Her world is inherently toxic, as a woman’s worth is tied to her purity–when young Deka bleeds gold instead of red, and is labelled impure and goes on a journey of self-discovery. Out in July.

Slay in Your Lane presents: Loud Black Girls by Yomi Adegoke and Elizabeth Uviebinené

Back in 2018, the pair released Slay in Your Lane: The Black Girl Bible to great acclaim, and now they are both back with the anthology Loud Black Girls. They talk to 20 established and emerging black British writers on what really matters to black women today and what the future holds in our dystopia–cue Brexit and Trump. Out in June.

Ikenga by Nnedi Okorafor

Nigerian-American author, Nnedi Okorafor has done everything from write about afrofuturism for both children and adults, to writing for comics like Marvel and Shuri. Her latest work is Ikenga, follows the story of young Nnamdi who loses his father and resolves to avenge his death. Little wonder what a twelve year old can do to seek revenge, until one night he comes in contact with a host of superpowers from the mystical Ikenga and is charged to use his powers for good. Out in August.

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

ICYMI: Nnedi Okorafor’s novella ‘Binti’ is being adapted into a Hulu TV series

For The Girls: Why ICTOOICY Deserves To Top Nigeria’s Charts

Posted on by Adewojumi Aderemi

To commemorate Women’s History Month this year, we will be discovering a new female artist every day of this month. Some of these women you may know, others you may have heard of and some will be entirely new discoveries. The aim is to spotlight the remarkable young women from around Africa, who are finding their feet through music and giving women a voice of their own. 

ICTOOICY is likely to fit in amongst the “women you may know” or at least within the category of artists “you may have heard of”, as her debut on Nigeria’s Apple Music Charts indicates a level of popularity currently comparable with the ubiquitous Mandy & The Jungle, Billie Eilish’s Grammy sweeping, WHEN WE FALL ASLEEP WHERE DO WE GO, and Wizkid’s self-titled.

Released just last week, ICTOOICY’s Sorry I Don’t Like Phone Calls already boasts the number 3 spot on Apple Music’s Alternative Album chart, and is ranked 75 in the top 100 Nigerian albums, of all genres. Given her newcomer status, this feat is not one to be overlooked.

ICTOOICY’s achievements become even more awe-inspiring when you consider her paradoxically inaudible Do It Yourself approach to making music. ICTOOICY doesn’t drown her music in technology in order to hide her beginners studio settings, but rather emphasises her circumstances in a way that celebrates the rustic energy of low-quality recordings. It is this refreshingly disruptive contribution to our widely homogenous musical landscape that immediately attracts listeners, and her dexterous versatility that keeps them.

The Poet With A Flow – self-proclaimed in her SoundCloud bio – ICTOOICY doesn’t shy away from enchanting listeners with her mild-mannered singing performances (“Liberty Road”), opponent to her overconfident rap persona which we hear on songs like “Sage“ and “Strep Throat Flow”. Playing with echoes (“Forget About Us”) and layering diverse vocal deliveries, the imaginative artist is able to bring vibrance to simpler beats, as exemplified on “Park Bench” or the Kiyo-assisted “Lights”. Through her numerous creative techniques, ICTOOICY’s music fashions around us a dream-like utopia in which perfection is possible, simply because imperfection is not.

Sorry I Don’t Like Phone Calls, her early 2020 offering, is her fourth project within the year – ICY, as the voice messages that litter the project refer to her, is dedicated to music, her music.Throughout her first couple of years, ICY has remained equally as consistent with her sound as she is consistent with her releases, and it’s payed off.

Join in the rave and stream the chart-topping drop, right now:

Featured Image Credits: ICYTOOICY/Instagram

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