Mo’Believe shares tracklist & release date for new EP, ‘Big Daddy Mo’

Earlier this month, Urban-Folklore singer Mo’Believe lost all the equipment in his recording studio to a devastating fire incident. However, he’s not letting the incident derail the momentum he’s been building since dropping his breakout EP, ‘Ariwo Eko’, in 2018. Looking to get back on track, the singer has now shared details for ‘Big Daddy Mo’, the sophomore EP he’s been teasing for a few months.

He announced on his social media that ‘Big Daddy Mo’ is set to arrive on the 6th of March. The project will contain six tracks, with the previously released “Omo Ase” serving as the lead single. Last month, Mo’Believe dropped “Energy 2020”, a single promising himself and fans a great year ahead. With the impending release of ‘Big Daddy Mo’, despite the recent tragic event, the singer is committed to his promises for a fruitful 2020.

Check out the tracklist for ‘Big Daddy Mo’ below.

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06🅾️03⛔️2020 #BigDaddyMo Lets go!

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Featured Image Credits: YouTube/Mo’Believe

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ICYMI: MOBELIEVE SHARES EMPAWA-FLOATED VIDEO FOR “BI OBA (REMIX)”

Stormzy and Burna Boy at the BRITs 2020 and 6 other videos you need to watch this week

This week’s curation of the best videos across popular culture takes us through a celebration of Africa. We saw Burna Boy join Stormzy at BRITs 2020 stage while A$AP Ferg and Victoria Monét were in South Africa to bring their lustful fantasy on “Moments” to live. Oxlade and Reekado Banks’ “Craze” cut from the Ghanaian tributing ‘Afron Nation, Vol. 1’ tape also got a befitting video to mark Ghana’s ‘Year of Return’ campaign from last year.

Stormzy at the BRITs 2020 – “Heavy is the Head Medley” and “Anybody” feat. Burna Boy

Stormzy brought out Burna Boy to join him on stage during his performance at the BRIT Awards last week. Our birth issue cover star initially joined for the performance of Stomzy’s “Own It” before going on to perform “Anybody”, one of the hit songs from his Grammy-nominated ‘African Giant’ album. Stormzy performed a medley of “Own It”, “Wiley Flow” and “Rainfall”.

Dave at BRITs 2020 – “Black”

Dave’s “Black” performance at the BRITs 2020 was one of the highs of the award show. His emotionally charged pro-black performance resonated especially well with the timely messaged it delivered during the on-going black history month and the recently unveiled controversial immigration laws in the UK. He added verses written specifically for the night as he demanded justice for the victims of Grenfell and declared Boris Johnson “a real racist”. He was given a standing ovation by the end of his performance and he also went home with the Album of the Year award for his ‘Psychodrama’ tape.

Crayon – Kpano

The Mavin team aren’t letting their foot off the gas just yet. Crayon debuted his first track of 2020, “Kpano”, early in February and now has a music video to sustain the song through the rest of the year. Ozedikus produced the groovy beat to back Crayon’s boastful lyrics about his music’s efficiency on dancefloors and the Clarence Peters directed music video confirms his claims with the colourful dance-themed video that shows Crayon and some dancers turning up to the song.

Victoria Monét – “Moments”

Victoria Monét described her latest single, “Moments” as “a  psychedelic, musical mini world for a sensual dream that comes true after building tension. It’s a song encouraging a lover to step up to the beauty once imagined and make the satisfaction worth all of the salivations at last.” She has released the accompanying music video shot by A$AP Ferg (Valentin Petit), who captures the song’s lustful direction through artful, psychedelic VFX transitions meant to leave viewers feeling intoxicated. Victoria is shown enticing her love interest to come closer in a beautiful and tranquil landscape in South Africa.

Oxlade and Reekado Banks – “Craze”

Ghana’s year-long ‘Year of Return’ campaign from last year was soundtracked by Afronation’s ‘Afron Nation, Vol. 1’ tape. The 9-track compilation aimed to usher in the festival and capture Ghana’s musical range. Oxlade and Reekado Banks were among the highlights of the project with their romantic slow-burner, “Craze”, tailored to suit the mood of couples on dancefloors. The groovy earworm of the Ghanaian Highlife beat promised a memorable time on the dancefloor and the recently released music video directed by Naya sets the pair in a neon-lit room filled with beautiful women who dance while they perform their sensual lyrics.

Khalil – “Grown” Feat. Awe

The rapper formerly known as Ghetto P, Khalil has released his debut EP titled ‘Grown’. The 7-track project finds him expanding his sound to include dancehall and Afropop with features from Buju and Awe. His collaboration with the latter, “Grown” is the project’s standout track as it comes with a captivating music video directed by WG Films. The video follows Awe through the streets of Lagos as he performs the Yoruba-fueled hook while Khalil is shown walking through the desert as he raps about his return to making music.

Costa Titch – “Nkalakatha Remix” Feat. Riky Rick and AKA

South African rapper, Costa Titch is a talented dancer. His dance videos often go viral on the internet and have helped him secure a spot as one of the more exciting acts in SA hip-hop. All his hard work seems to have finally paid off as he features two of the biggest rap acts in South Africa, Riky Rick and AKA on his latest release, “NKalakatha Remix”. Though the song has been out since last year, the music video is building more buzz for the song as he performs more entertaining dance moves while celebrating SA’s hip-hop street culture.

Featured Image Credits: YouTube/Stormzy
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ICYMI: Watch the music video for “Location” by Dave and Burna Boy

2Baba set to release ‘Warrior’, his first album in six years

Over the weekend, Afropop legend 2Baba—fka 2Face Idibia—revealed the name and tracklist of his forthcoming album.  Warriors, his seventh solo album, and first in six years, is set to drop this Friday, February 28th 2020.

The 13-song tracklist is littered with appearances from the top table of Afropop: Burna Boy, Wizkid, Tiwa Savage and Olamide all are all due to feature on the long-awaited comeback album. This is coupled with numerous production credits for renown hitmakers Spellz and Speroach Beatz. Formerly released singles like the Peruzzi-assisted smash, “Amaka” and Best New Music Entry, “Important”, will also feature on the album.

Check out the tracklist and pre-add Warriors via Apple Music below.

Featured Image Credits: Instagram/official2baba

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ICYMI: 2BABA’S “E BE LIKE SAY” IS A TIMELESS SOCIO-POLITICAL ANTHEM

Essentials: Saudi continues his introspective journey on ‘The Drip’s Leak’

When the Kendrick Lamar-curated soundtrack for “Black Panther” arrived in early 2018, the major criticism levelled against the otherwise stellar compilation, was the lack of extensive representation for African artists on the project. For a film set in a pan-African Utopia, the expectation was that the biggest and most talented artists on the continent will be front and centre of the soundtrack, but only a handful of south African artists were featured, and to their credit, all of them justified their presence with standout appearances.

South African rapper Saudi was one of the artists on the “Black Panther” soundtrack, appearing alongside Kendrick, ScHoolboy Q and 2 Chainz on the explosive banger, “X”. Switching between metaphor-driven raps and lines sung in IsiZulu, Saudi’s verse on “X” was a potent introduction to unfamiliar listeners, leaving a positive mark on the biggest look in his career till date. Since then, though, Saudi has been relatively quiet on new music, sometimes surfacing for the occasional feature.

Finally breaking the silence, Saudi’s newly released mixtape, ‘The Drip’s Leak’, is his first project since his brilliant 2017 debut album, ‘D.R.U.G.S Inc’, and it builds on the foundation of his previous work, both thematically and artistically. Released without any pre-promotion, the new tape is meant to serve as the first in the series of mixtapes leading up to his sophomore album, tentatively titled ‘Japan Four’, but it also stands on its own as a body of work that deserves the same attention as a ‘proper LP’.

In the post-digital era mixtapes are more or less the same as albums, it’s the stakes attached to the project by the artist that serves a major separating factor. With its surprise release and the occasionally crude mixing, Saudi might be selling ‘The Drip’s Leak’ a little too short, considering the amount of introspective material loaded into its thirteen tracks. On his debut LP, Saudi’s awareness of himself and his environment was a key element that pushed the album forward. This time around, that awareness is more acute, giving us a portrait of the rapper as a deeply flawed person with intentions to do better.

Coming from a financially poor background, Saudi’s current affluence is a well-worn theme in his catalogue, but it is always grounded by the type of previous experiences that makes his music instantly affecting. On “The Pieces of the Heart of a Thug”, he raps, “I keep 5000 in 20s in that brown paper bag/as a reminder I never had jack”, leading to one of the more striking moments in a project with many. Multiple times on the project, he raps about his motivation to keep getting money, but it’s with the knowledge that a brimming bank account will only lessen the pain from his past, not totally alleviate the trauma.

Entangled in this search for peace and a better self, amidst all his monetary wealth, are complicated relationships with friends and family—he’s quite spiteful to his “deadbeat dad”. On the first verse of the intro track, “Hug Me the Money”, he raps about letting go of a disloyal friend, exuding pain and vindictiveness in his voice. The entire song, which is basically him pledging an allegiance to money since it won’t backstab you, pushes the envelope toward solipsism, but he reins it in by owning up to his own flaws and admitting the importance of having people around. He goes in on two-faced friends again on the second verse of “Uself”, but that’s after he acknowledges that all he needs is enough money to take care of his family and close friends.

In a similar vein, Saudi shares his difficulties with romantic relationships on wax, even tying them back to his imperfections. On “Pink Sheben”, one of the album’s best tracks, Saudi sings about the difficulty of leaving a torturous relationship, using it as a sly admission of how hard it can be (for him) to let go of someone that has hurt you. Elsewhere, he pleads with a lover to continue giving him numerous chances despite his constant shortcomings on “Please Understand”, while on the low-key funny “Psych”, he breaks up with a lady in a manner so petty even Future would be jealous of.

Continuing the trend of his previous album, Saudi goes the majority of ‘The Drip Leak’ on his own, and it serves him best since there’s barely any guests waiting to cut in on his thoughts. In this way, his song-writing shines over a consistently stellar pack of immersive trap beats. Only two songs on the project are graced by features, and they are from South African rappers Emtee, Ranks and Sims, all fellow members of the collective, African Trap movement. Both songs, the hedonistic “Rockstar” and the celebratory cutthroat on “Been Through It”, are easily accessible, carried along the type of easy chemistry that might be difficult to achieve on the more personal cuts.

‘The Drip’s Leak’ closes out in challenging fashion with “The Need Way”, a 22-minute track on which Saudi piles on relentlessly about any and everything. Between mouthing off at inferior rappers, giving personalized insights on capitalism and admitting his misogyny, Saudi delivers each line promptly and with precision, enunciating in his words in a way that demands that listeners keep up with him. To be honest, “The Need Way” is longer than it needs to be, but it’s also captivating definition of Saudi as someone who’s more than a sum of his parts. Sure, his music is a tool for exposing the worst parts of his situations—as a way of evolving into a better version of himself—but altogether, it is whatever he determines it to be.

Listen to ‘The Drip’s Leak’ below.

Featured Image Credits: Instagram/saudi_rsa

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ICYMI: OLAMIDE RETURNS TO HARDCORE RAP WITH HIS LATEST ALBUM, ‘999’

Watch Rema & Rvssian in the new video for “Beamer (Bad Boys)”

Rema loves cars. He records the freeverses he shares on his social media from the passenger’s seat in cars and always has at least one car featuring in his music videos. He also just released a new single, “Beamer (Bad Boys)”, named after the BMW car.

“Beamer (Bad Boy)” is an afropop song with the type of flex expected from a rap song as Rema continues to merge his sonic influence from around the world. Rvssian produced the lightweight beat for Rema’s boastful lyrics about his allure as a ‘bad boy’ and the accompanying music video directed by FXRBES follows him as he calls different women, promising them the same things “This our love no go funny huh/ Me I no go dey play with my shawty huh”.

Watch the music video for Rema’s “Beamer (Bad Boy)” below.

Featured Image Credits: YouTube/Rema
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ICYMI: Essentials from Rema’s latest EP, ‘Bad Commando’

Rap Song of the Week: Shakez tells a difficult love story on “Long Distance”

Love is a precious, fickle thing. One minute it’s rainbows and kisses, the other minute it’s dark clouds and tears.At least, that’s kind of how Shakez describes it in his new song, “Long Distance”. In the emotionally resonant cut, the rapper describes going through the painful motions of parting ways with someone you thought you’d be with forever, all because of distance. At the beginning of the song, Shakez raps, “this is the hardest verse I’ve ever had to write”, and as he goes on to recite each lived-in line, you understand that opening sentiment.

On the first verse, Shakez paints the harrowing portrait of going to drop his lover off at the airport and watching her checking in at the airport. “I can’t believe we ‘bout to be done”, he mutters, conveying disappointment—definitely not in the person—and a deep pain via his sombre vocal cadence. He devolves into confusion on the second verse, looking to use alcohol as his escape and wondering if he would get into the same situation knowing what the eventual outcome would be. All he knows is that this love distance is killing him.

Last year, Shakez’s dropped his debut EP, ‘Suit & Tie Hustler’, a document of his ambitions and drive to survive and thrive as a Nigerian youth in Nigeria, and it placed an emphasis on his storytelling. On “Long Distance”, that ability is emboldened. Shakez doesn’t just deliver a compelling story, he brings out the emotions behind his narrative, letting each word sink into the pocket of Teckzilla’s immaculate, bare bones beat.

Listen to “Long Distance” here.

Featured Image Credits: Instagram/shakezbaba

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ICYMI: J MOLLEY & KA$HCPT’S “NARCO” IS BUBBLEGUM TRAP AT ITS MOST ADDICTIVE

Where were you: Daniel Kaluuya and Melina Matsoukas in Nigeria for “Queen and Slim” premiere

Los Angeles is currently home to the biggest film industry, but the glamour of Hollywood is incomplete without a global narrative. The success of Marvel’s ‘Black Panther’ sparked a renewed sense of excitement for exploring black and African culture in cinema, and Melina Matsoukas’ movie debut, ‘Queen and Slim’ leans into the black Americans’ experience with police brutality. However, her inclusion of Africa on the film’s promotional tour expands the film’s scope further as a vehicle for culture, education, leisure and propaganda.

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We coming home.

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The first screening of “Queen and Slim” in Nigeria happens on the 15th of February and the movie’s star, Daniel Kaluuya and the director, Melina Matsoukas, are present. The pair look slightly worn-out from their long trip down to Lagos but they keep their wits as they respond to questions from the guests at the press conference BWL set up ahead of the movie’s screening at the Filmhouse Cinema in Landmark.

Security lets in only a select few media houses into a living room where Daniel Kaluuya and Melina Matsoukas sit surrounded by the lights from the camera crew and mics that record everything they said. They offer everyone who makes eye contact a smile but they seem particularly pleased to see the media. “Oh good. Cause print is where it’s at”, Melina says when the NATIVE is introduced as a print publication.

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Lagos.

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David Kaluuya smiles as he answers our questions in a calm conversational tone. “I love carnivals”, he says in response to a question about how he likes to pass time. “I watch African movies on TV but the reality is you can watch the whole film and not know the name. You’re just enjoying it”, he says to admit his limited exposure to pop culture from Africa. No one is surprised when he mentions Burna Boy as one of his favourite artists. The singer performed at Coachella last year and collaborated with international stars like Drake and Lily Allen, before his ‘African Giant’ album got nominated for the Best World Album category of the 2020 Grammys. His Fela inspired soundtrack for “Queen and Slim”, “My Money, My Baby” was also one of the high-points of the film.

Melina and Daniel share a cordial chemistry, laughing as they bounce thoughts off of each other as they describe their involvement with bringing “Queen and Slim” to life, from the creative processes, costume selections and soundtrack selections. Melina is particularly vocal about the soundtrack and it’s no surprise given her background as a music video director. “I believe greatly in the power of storytelling through music. I also believe in connecting the elements we all have as black people”, she says before going on to confirm that she’s a big fan of Fela and Burna Boy.

Melina tells us she already made plans to see Seun Kuti’s performance at Fela’s Shrine on Sunday. It was starting to become apparent that for her, this trip to Africa was more than just a press run. Africa is effectively on the map; a marketplace attractive enough for a $44 million dollar grossing film and a place to seek inspiration for authentic African stories. Including Africa on the promotional tour is geared to push “Queen and Slim” to cult-classic status.

Daniel and Melina are at the cinema before the film is screened. They give a brief speech to thank Nigeria for hosting before the lights go out and we strap in for the black American tributing film.

Featured Image Credits: Instagram/msmelina
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ICYMI: Stream Burna Boy’s “My Money My Baby” here

Olamide’s YBNL signs new venture deal with international distribution company, EMPIRE

As a marker of afropop’s ongoing crossover success, several of the genre’s most popular artists have signed recording and distribution deals with international labels, from Burna Boy and Atlantic to Tiwa Savage and UMG.

Olamide, the latest addition to this list, recently announced a partnership with U.S-based record label and distribution company, EMPIRE. The veteran rapper and consistent hit-maker made the arrangement known in a tweet last night, announcing that deal is a joint venture between EMPIRE and his own recording imprint, YBNL.

Named after his excellent sophomore album, Olamide founded YBNL back in 2012, and he’s released all his music under the self-owned label. YBNL has also served as the launching pad for artists like Lil Kesh and Adekunle Gold in the recent past, and it’s currently home to budding superstar, Fireboy DML, the only other signee to the label. According to Olamide, the YBNL/EMPIRE deal will serve himself, Fireboy and any other new artist he signs.

Last week, Olamide dropped ‘999’, a 9-track EP mostly packed with rap cuts. Although the project was released under YBNL, it’s being distributed by EMPIRE, and this offers a look into how the arrangement will work going forward. In the last few years, EMPIRE has distributed charting albums and singles by artists like Tyga, Snoop Dogg, Anderson .Paak, Rotimi and more. Their international marketing and promotions experience will be integral to the success of the partnership.

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@empire @ghazi #YBNLEMPIRE

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Also, EMPIRE are no strangers to the African music terrain, having distributed projects for Patoranking (‘Wilmer’) and Wizkid (‘Soundman, Vol 1’) in the last year. The joint venture deal with Olamide’s YBNL—the first of its kind with an African artist/label—will see them promote and handle global distribution of upcoming albums by Olamide and Fireboy DML, both of which will most likely be released sometime this year.

Check out EMPIRE’s announcement post below.

Featured Image Credits: Instagram/Empire

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ICYMI: OLAMIDE RETURNS TO HARDCORE RAP WITH HIS LATEST ALBUM, ‘999’

The Shuffle: Revisiting “Mofe Mu’yan”, the song that brought Dr Victor Olaiya to a younger generation

On Wednesday, February 12, 2020, news of Dr. Victor Olaiya’s passing reached the public. It was the second time in two days that African music was losing a seminal figure to the cold hands of death—Joseph Shabalala, the founder of South Africa’s Ladysmith Black Mambazo band, passed away a day before. Passing away at 89 years old, though, the consolation is that Victor Olaiya, a bonafide Nigerian music legend, lived a full and very impactful life.

A singer, trumpeter and bandleader, Victor Olaiya rose to fame as a highlife artist in the early 1950s, after a period playing with one of highlife’s pioneering artists, Bobby Benson. Performing and recording his music with his Cool Cats band—later renamed as the All Stars International band—Victor Olaiya maintained a high level of popularity till the 1960s and early 1970s, a period during which he delivered a consistent slew of hit songs like “Omopupa”“So Fun Mi”“Iye Jemila” and more. Even though he slowed his roll in the following decades, Victor Olaiya’s achievements afforded him the treatment of a living legend.

In 2013, a younger generation of Nigerians were given a proper introduction to Victor Olaiya during a short period of resurgence that saw him collaborate with 2Baba—fka 2Face Idibia—on the single, “Baby Mi Da”. The song was a remix of Olaiya’s hit song, “Mofe Mu’yan”—alternately known as “Baby Jowo” as a way to clean up its title. While the remix with 2Baba did a brilliant job of bringing the highlife classic into a modern context, the original track is a potent example of Dr Olaiya’s magic in his prime.

Highlife is known for being suited to light-hearted themes and Victor Olaiya’s “Mofe Mu’yan” plays into that trope, albeit with a lewd twist. Predominantly backed by strutting percussion, groovy guitar rhythms and blaring horn harmonies, he pleas with a lover for her affection, making his preferred type of physical affection known via his explicit lyrics. Similar to the titular adjustment, the lyrical content of “Baby Mi Da” is cleaned up as a puritanical face-lift for Dr Olaiya’s status as an elder statesman at the time, however, the original version is an authentic representation of why he earned the title, ‘Evil Genius of Highlife’.

Celebrate the life of Dr. Olaiya by listening to “Mo Fe Mu’yan” below.

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ICYMI: REMEMBERING HUGH MASEKELA’S BILLBOARD CHARTING HIT, “GRAZING IN THE GRASS”

Bella Shmurda gets spiritual in the video for “Omnipotent”

Religion and spirituality have always been a big part of Nigerian pop culture, and our pop stars never shy away from incorporating religious sentiments into their music. Tapping into his religious background, Bella Shmurda’s recently debut project, ‘High Tension’, is definitely one for the books.

To keep us interested, he has now released a new video for one of the project’s standouts just released the music video for “Omnipotent”, in keeping with the song’s religious subject matter. With symbolic images of angels and candle-lit shrines, the video aids listeners to feel the song.

Watch the video below.

Featured Image Credits: YouTube/BellashmurdaVEVO
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ICYMI: Essentials from Bella Shmurda’s ‘High Tension’ EP

Afropop needs romance to thrive, and these songs prove it

Love has been a central theme in Nigerian popular culture and that’s been the case for a long time. Just think about how crazy we all went when we found out that Banky W and Adesua Etomi were getting married in real life, after watching them in ‘The Wedding Party’, or how Davido declared the summer time cuffing season, when he dropped the romantic video for “Assurance”.

Early on in the year, you’ll find that songs being released are looking to be the soundtrack for the upcoming season of love, and even just last week, we found that most songs being released around then were geared more towards romantic narratives. Romantic songs seem to have a particular staying power in these parts, and often end up becoming massive hits.

This could be because the theme always evokes a good feeling in listeners, and whether or not you can relate, you can recognise that it’s a nice thing, which will warm even the coldest hearts. Whether you’re celebrating love with an upbeat dance number like Kizz Daniel’s “Laye”, or listening Burna Boy’s “On The Low” thinking about your special someone, love songs seem to have particular staying power.

Now that Valentine’s Day is over, the NATIVE team took a look back at the biggest love songs we’ve got so far, and created a list of these hits. From wistful ballads to upbeat dance tunes, here are some of the most defining love songs in Nigeria’s catalogue.

“Ololufe” – Wande Coal 

“Fall in Love” by D’Banj

“Laye” – Kizz Daniel

“Olufunmi” by Styl Plus

“Ife Eji Owuro” by Sola Allyson

“Jealous” by Fireboy 

“On The Low” by Burna Boy 

“African Queen” by 2Baba 

“Baby” by Joeboy

“Dawo Dawo” by Nazifi Asnanic

“Lady” by Rema

Yes/No – Banky W 

Eminado – Tiwa Savage ft Don Jazzy 

“Mamiwota” by Blaqbonez and Oxlade

“Miracle Girl” by Tay Iwar

Soldier – Falz & Simi 

“Sade” by Adekunle Gold

Featured Image Credits: Web/symmetrymagazine
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ICYMI: Check out the 16 songs that have defined Nigerian weddings

Songs of the Day: New music from Junior Boy, Naira Marley and more

We’ve watched the African music scene grow more expansive and accommodating of different new sounds with the introduction of artists like Tems, Naira Marley, Rema, Ama Rae and others. As a result, it’s hard to predict what the next biggest song out of the country would sound like. The fast and furious pace of new music releases also makes it hard to keep track of it all so we’ve decided to sort through all the new songs from across all the platforms and subgenres around the continent and curate a “Songs of the Day” column to highlight the song you need to hear. You’re welcome.

Junior Boy “Money” Feat. Naira Marley

The street has grown more notorious since 2017 when Irapada” earmarked Junior Boy as the new voice of the street. These days, the street is run by the Marlian fandom and Junior Boy has enlisted their leader to contribute a rap verse for his latest single, “Money”. The party-driven house beat produced by Chilly Ace serves as the backdrop for Junior Boy and Naira Marley’s verses as they offer their two cents on how to get rich. Avalon Okpe directed the music video showing the artists living their wealthy lifestyle to validate the big money talk heard through the song.

Ictooicy – “Channel” Feat. Anonvisible

Ictooicy has consistently given us emo tunes fueled by teenage angst and the melancholy of lo-fi instrumentals. Her latest offering, “Channel”, features Anonvisible who joins her on the confessional song about chasing dreams and ambitions.

Richie Benson – “I’m Ready”

New York-based Nigerian singer, Richie Benson has released a new single, “I’m Ready”, his first release since his impressive debut project from last year, ‘Croc City Boy’. There’s a distinct freshness to Richie Benson’s music when he hops on a Ransom Beatz beat. On “I’m Ready”, the airy melodies from the producer adds a chilling effect to Richie Benson’s narration of his troubled relationship. Thanks to the catchy beat, listeners can dance to the rhythm while Richie complains about his lover.

Sarkodie “Bumper” Feat. Rexxie

The tradition of Nigerian and Ghanaian collaboration continues with Sarkodie’s latest single, “Bumper”, featuring Nigerian producer, Rexxie. Sarkodie layered his Twi rap bars over the uptempo beat Rexxie produced in tune with the street-hop sound popular on the streets of Lagos. While none Twi speakers would struggle to keep up with Sarkodie’s lyrics, the merge of different African culture on “Bumper” makes it one for the record books.

Zarion Uti – “War”

The romantic lyrics heard on Zarion Uti’s latest single, “War” are perfect for the valentine season. However, it’s the catchy mix of string harmonies and percussion produced by Telz that gives the song legs strong enough to last well into the summer season. “War” is a joyous celebration of love and it’s a sure fit for dancefloor DJ sets.

David Garland – “Boy Enough”

The mellow ambience of R&B is often employed to evoke deeply sentimental feelings from the heart. David Garland dug deep into the romantic context of R&B for his debut, ‘Boy Enough’. The project’s lead single, “Boy Enough”, introduced him as a charmingly sentimental singer with his emotionally charged performance. Though he pours out his heart to attack an ex-lover, the lightweight mix of 808s, ambient synths and backing vocals invite listeners to disappear into a soft pink fog of blissful harmonies.

Featured Image Credits: YouTube/Obimzy Records
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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: Junior Boy and 9ice are the leading voice on the street

David Garland’s 3-track EP, ‘Boy Enough’, is an R&B masterpiece

The mellow ambience of R&B is often employed to evoke deeply sentimental feelings from the heart. You won’t hear a more R&B record from Nigeria today than David Garland’s ‘Boy Enough’ tape. The singer dug deep into the romantic context of R&B for his 3-track debut EP, ‘Boy Enough’. The project’s lead single, “Boy Enough”, introduced him as a charmingly sentimental singer with his emotionally charged performance. Though he pours out his heart to attack an ex-lover, the lightweight mix of 808s, ambient synths and backing vocals invite listeners to disappear into a soft pink fog of blissful harmonies.

Stream ‘Boy Enough’ below.


Featured Image Credits: Instagram/davidgarland_

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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 “Sominu”, a modern R&B classic by $pacely, Magnom and Cina Soul

Nollywood & Bollywood are coming together for new film, ‘Namaste Wahala’

Earlier today, the Twitter streets were lit with the news of an upcoming Nollywood/Bollywood collaborative film. The film, titled “Namaste Wahala”, was first announced in Late January by the producer/director, Hamisha Daryani Ahuja, however, the news went viral after it was posted by photographer Yagazie Emezi.

The poster was also shared by the film’s leading actress, Ini Dima-Okojie, extra confirmation that “Namaste Wahala” is coming soon, and we’re lowkey excited for it.

Over the years, Bollywood pictures have gained popularity in Nigeria, given the cultural similarities between the countries. Reports state that in Kano for instance, Indian films are shown pretty much every night in cinemas and remain among the most popular of TV programs. Currently, the leading broadcast cable stations, DSTV and GOtv, offer an entirely Bollywood-dedicated channel, Zee World, which has become a hit station amongst Nigerian subscribers.

Due to the films’ relatable plots which focus on family, romance and friendships, as well as the presence of elaborate costumes and dance moves, many Nigerians enjoy Bollywood films. In addition, they often offer a similar flavour of drama-driven entertainment, which is the hallmark of many Nollywood films, and with this “Namaste Wahala” will most likely be a box office hit when it comes out cinemas from April 22.

In the Facebook post announcing the film, first time director Hamisha Daryani Ahuja stated, “Namaste Wahala is a story of love, romance and family set over two diverse and rich cultures”. To bring the project to life, she’s tapped some of the biggest names in Nollywood, including the aforementioned Ini Dima-Okojie, Richard Mofe-Damijo, Joke Silva, Osas Ighodaro, Ibrahim Suleiman and more.

We’ll be on the look out for a trailer, and until then, check out the poster here.

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Guysssss so over the past few weeks, I've been on set as part of the cast for this beautiful movie #NamasteWahala. We're finally done filming and I can't wait for you to see it 🤗🤗🤗 Namaste Wahala is a love story that cuts across the cultures of two countries – India & Nigeria. The movie touches various genres – romance, comedy, drama, and is directed by @hamishadaryaniahuja. It was such a pleasure working with these amazing, fun professional cast… . . . @mofedamijo @ajokesilva @ruslaanmumtaz @segalsujata @aneeicha @officiallyk10 @officialosas @ibrahimsuleimanofficial @mi_abaga @brodashaggi @callme.frood @imoheboh @saileshahuja @mexemania @tiencepay @adella_makeup @maybaykar

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Featured Image Credits: Web

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


ICYMI: THERE’S A REMAKE OF NOLLYWOOD CLASSIC “GLAMOUR GIRLS” IN THE WORKS

The role of empathy in light of expressing moral differences in the digital age

Unlike what we were taught as children, the concept of what is morally right or wrong isn’t quite cut and dry. Luckily, as life stretches us into more self-conscious people, we question and everything in a bid to gain better understanding of the people around us, as well as our wider environment.

This personal reckoning, reinterpretations and eventual convictions on various ideals gives each person their distinct identity, however, all of this can also prove difficult. This is because typically, we’re all protective of our beliefs, and tend to self-righteously hold on tightly to our ideals.

More than often, we assume that our actions and thoughts are rational, but the reality is that our values, especially when it comes to contentious moral issues, are usually based on our own intuitions—impulses that we developed from years of ingrained biases—which usually takes a lot of effort to change. Given this, change is basically another way to renew the cycle. In as much as unlearning and relearning are things we do to become ‘better persons’, what we’re really doing is readjusting our intuitions to fit our new outlook on life, after a period of moral reasoning.

If all of this yarn about intuition sounds a little too theoretical, the practical part comes when we have to face views that differ from ours. Informed by each person’s intuitions, moral debates are quite the subjective affair. This means that we each have to defend our positions whenever we engage people whose values conflict with ours, which is not an easy thing to do because disagreements are seldom pleasant.

Living in an era where social media has cemented itself as the cultural fixture for global interaction, unpleasant disagreements have become commonplace. The positive side, is that we now have access to a commingling of thoughts about any and everything, in real time. The not-so-positive side however, is that at our our most connected in human history, our differences serve as a way to measure each other up, and this tends to push us apart.

At their roots, these differences are often caused by our personal positions during moral conversations, which presents differing opinions as competing ideologies. For example, discussions about feminism and same sex relationships always prove to be divisive, especially in a deeply conservative society like ours, because most people’s stances are informed by their religious beliefs or a lack thereof.

Even within these facets, you’ll find disagreement. Last week on Twitter, there has been a huge debate centred around the complexities of what it means for a gay man—who knows he’s gay—to enter a heterosexual marriage. This debate was spurred on by British television presenter Phillip Schofield coming out, and also admitting that he knew he was gay when he got married. On one side of the debate were people hold the opinion that anyone who’s aware that they’re gay should be upfront about their sexual orientation, rather than cause their unsuspecting partners emotional problems in the future. On the other side were those who felt that women shouldn’t be complaining about getting married to gay men, unless they’re doing necessary work to dismantle the deep rooted homophobia in our society.

While you can see the validity of each opinion, there was a palpable aggressiveness on both sides of the argument, a prime example of how people don’t try to see past their own ideologies and biases. Since virtual platforms are the primary means for such difficult conversations these days, there’s barely any room for the type of nuanced back-and-forth that can change minds, so we’d rather filter our timelines to reflect a uniformity with our ideals.

Considering how much social media shapes the way we move in reality, this penchant to shield ourselves from contradictory opinions, extends into real life scenarios, and some of us even go as far as cutting off friends when dialogue could fix the rift in ideology. While it’s important that we screen those we interact with—peace of mind is paramount—being able to deal with didactic situations is an important life skill that informs the way we deal with a variety of people.

When we get into moral discussions, we’re typically just trying to inject our personal stances to the wider narrative, not particularly to know the other party’s point of view, which doesn’t always dissolve hostilities or change anybody’s mind. For better results, one thing we have to be conscious of is that is our moral intuitions usually gets the best of us. As such, we become defensive, trying to reason our way into justifying these intuitions, which in the end, makes us apprehensive of and downright unfriendly to people who don’t share our positions.

In order to check this impulse, empathy plays an important role in accepting that we’re all wired to defend our stances, and this acceptance helps us to see that disagreements are individual expressions. The effect of this is that moral-based dialogue, instead of being an avenue to shout down the other person, becomes a two-way street that widens and refreshes perspective—on both sides.

While it is possible to listen to, analyse and rebut someone else’s contradictory opinion without being the least bit attached, employing empathy during moral conversations is a way of recognising the other person’s agency. In doing this, we get a wholesome understanding of the motives behind the differing opinion and we’re either able to learn from it or respond wholesomely such that you could possibly change the person’s mind.

With all of the caveats required, resolving disagreements around moral issues seems like a serious task, but it becomes easier to rationalise an action like cutting off a former friend after putting in some effort. Being empathetic doesn’t mean one cannot make emphatic, self-serving decisions, it only means we should try as much as possible to put one before the other. Varying moral ideologies are already making it hard for many of us to get along in this maddening world, worsening it with outright intolerance is definitely not the way forward.

Featured Image Credits: Web

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


ICYMI: WHY REMAINING IN NIGERIA DOESN’T MEAN YOU’RE FAILING AT LIFE

Essentials: Olamide returns to hardcore rap with his latest album, ‘999’

When Olamide first broke out onto the scene a whole decade ago, he caught everyone’s attention with “Eni Duro” before we were introduced to his party-ready songs. After many years with back-to-back hits in circulation, it’s clear that Olamide has left a permanent mark on Nigerian music and popular culture as a whole, and now with his 8th studio album, is slowing down his roll.

At this point in his career, everybody is convinced of his ability, and he has made his point. This is translating to his music, and we’re seeing him return to his original form with his latest project, ‘999’. 

 

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If you let yourself, you might forget that you’re listening to an Olamide project, and this could be because he’s just having fun with the music and isn’t gunning for another hit song. Right from the opening track, “No Time“, Olamide builds a cocky persona who reminds us that he’s been here, he’s here to stay and can do what he wants. With a flow we’re not used to, he mimics the winning trap flow of the moment, seamlessly switching between Yoruba & English as he does.

The next song, “Warlords” where he enlists the talents of frequent collaborator Phyno, Snow, Cheque & Rhatti, is probably one of the project’s best songs. Against a reworked version of Jay Z & Kanye Wests “No Church In The Wild“, each rapper brings their a-game, reflecting on their success and comparing how far they have come in the game.

Olamide carries this sentiment into the next track, “Billion Talk“, where he affirms in the hook: ‘I’m hustling to pack the billion up, I’m tryna break that generational curse, some niggas doing popping competition in the club‘. At this point, we’ve grown used to this new Olamide we’re hearing before he switches up on us and mixes in with his usual form on the party starter, “Wonma”.

The rest of the project sees him stretching himself even more, delivering a wide range of different rap styles to back up the cocky persona he’s built throughout the project. Songs like “Demons” and “Mojo” benefit from their features with Jackmillz & JayBoi who’s hooks give the songs more flavour and show off Olamide’s ear.

Olamide’s trajectory through street-hop to this new trap-fueled album seems like the perfect arch for creating an authentically Nigerian rap project. Though the base, 808s and synths have all the elements you’d expect from a Young Thug or 21 Savage’s Atlanta flow, the slangs and reality portrayed in these songs and his switching between languages can only be truly appreciated in Nigeria and we continue to stan our rap king.

Listen to ‘999’ right here:

Featured Image Credits: Instagram/Olamide

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ICYMI: On the legacy of Olamide, a man who won some and lost many

AV Club: Everything about the drama-filled “Joy” is riveting and harrowing

(“Joy” was Austria’s entry for the Best International Film at the recent Oscars, but it was disqualified by the academy due to the bulk of its dialogue being in English. The film is currently streaming on Netflix.)

The first thing that welcomes viewers into ‘Joy’ is a ritual scene. Set somewhere in Edo state, a traditional priest performs the rites for an oath ceremony, wherein a young lady pledges to abide by certain rules and regulations regarding her emigration. Guided by the priest who makes sure she understands the terms, the lady surrenders her freedom until she’s able to pay her debts to the patron responsible for making her move to Europe a possibility.

The lady and the priest, both unnamed characters, do not surface for the rest of the film, but they play a pivotal role in easing viewers into the gut-wrenching story-line, especially for those who are unfamiliar with the elaborate and disturbing nature of sex trafficking in Nigeria. For the rest of the film, viewers are offered an look into the way young women deal with being exploited into becoming sex workers, many of whom accept this way of life in order to assist their impoverished families.

“Joy” is centred around two characters, Joy and Precious. The titular character is an older lady who has been a serf to her madame for a few years, while Precious is a young girl —around age 13 if I were to take a guess— who had only just migrated from Nigeria and was struggling to adapt to her new, unwanted life. For the first five minutes both characters appear on screen, their only vocal interaction is when Joy commands Precious to stand up while they are on the roadside looking for customers. This early parts frames their relationship as experienced colleague and understudy—which it is—but as the film goes on, their bond deepens to reflect a rarely spoken but very visible care for each other.

Of course, a film with sex trafficking as its central theme is already harrowing, however, “Joy” sometimes pushes the envelope to point blank heart-breaking. In the closing scene of the first act, Precious is raped at the command of the madame, after complaining about the nature of what she’s been asked to do. While the abhorrent act isn’t pictured on camera, its importance to the unflinching story is driven home by Precious’ anguish-driven cries, Joy’s uneasy reactions, the nondescript look on the faces of the other sex workers, and the satisfaction on the madame’s face. As the film goes on, we see the effect of Precious’ shattered innocence on both main characters and their drive to survive and escape.

Accompanied by great cinematography, the film’s knack for saying as much with words as it says without, makes it riveting. It is by no means an easy watch, but this superb use of negative space suits the film’s character-driven trajectory, relying on the main cast to shine in their respective roles—which they do. Channelling pain and frustration in equal measure, Anwulika Alphonsus plays the role of Joy in a captivating manner, while Mariam Sanusi’s childlike innocence and subsequent bubbliness is effective in the endearing portrayal of Precious. The fringe cast with multiple scenes also pull their weight: Angela Ekeleme’s Madame is often ruthless and sometimes patronising, and Christian Ludwig does a superb job as the well-meaning but clueless Christian.

Austrian-Iranian filmmaker, Sudabeh Mortezai is the brain and hands behind “Joy”, and she does a great job of keeping the film from veering into overly sentimental. Her writing and direction work plays up the contrast of women with little to no power but have been saddled with enormous responsibilities. In this approach, “Joy” brings a joyless reality into an empathetic light, and many of us get to understand a reality we haven’t—and hopefully, never will—come in contact with.

Featured Image Credits: YouTube/Filmladen Filmverleih

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


ICYMI: “CRAZY, LOVELY, COOL” IS A MIXED PORTRAYAL OF THE NIGERIAN UNIVERSITY EXPERIENCE

Songs of the day: Rema’s “Dumebi (Remix)”, AYLØ’s “Project 19” & more

It’s only a few weeks into 2020, and we’ve already seen some very strong collaborations that could set the pace for African music for the rest of the year and decade. Just this weekend, Rema kept eyes on him globally, at his half-time performance at the NBA All-Star game last night alongside 2 Chains.

On the music side, he’s also just dropped a remix to his magnum opus, “Dumebi” with Becky G, and it looks like the catchy song will be making it way further out than President Obama’s playlist after this. Continent wide, Ckay’s new collaboration with Joeboy and Kwame Eugene solidifies the great synergy between Nigerian and Ghanaian musicians, while within the country, L.A.X and 2baba make a fantastic pair we didn’t know we needed.

In the NATIVE’s new daily column, Songs of the day, the team will be curating a list of the best new releases every day from across the continent, so get ready to update your playlists today.

Rema – “Dumebi (Remix)” ft. Becky G

Rema’s 2019 breakout campaign was characterised by a consistent slew of hit songs, “Dumebi” arguably being the biggest of the bunch. No to take his agenda even further, his first release of the year leaves a stronger mark on afropop’s global footprint, with the Becky G-assisted remix to the Ozedikus-produced banger. While the catchy beat remains the same, Becky G adds a verse in Spanish, as well as a bridge which the pair harmonise.

CKay – “love nwantiti (ah ah ah)” ft. Joeboy & Kuami Eugene

Last August, CKay finally released his long-awaited debut EP, ‘CKay the First’. Still in promotion of the 8-track project, dropped an extended version of one of the project’s standouts, “love nwantiti (ah ah ah)”, featuring Joeboy and Ghanaian singer Kuami Eugene, just in time for Valentine’s day.

The song was released with a music video which plays into the track’s flirty narrative, and we see each artist being amorous with their love interest.

Shaykeh – “Joro”

Although Shaykeh has only three songs in her discography so far, her music presents her formidable abilities, which we see again on her latest single, “Joro”. Elegantly written and sung,  she details the flirty advances of a man who is enamoured by her beauty and considers himself a suitable love interest due to his affluence.

“Stop, don’t touch it/I know you want to touch it”, Shaykeh sings over the catchy mid-tempo beat, staying in control of the situation at all time.

L.A.X – “Gobe” ft. 2Baba

After giving us sparce hits throughout the last decade, L.A.X has come into the new decade with a bang. His first release of the year is “Gobe”, featuring 2Baba is already set to be a hit we will be hearing on radios and at parties all year. Over the mid-tempo production by Clemzy, both singers confess their unfaithfulness to their love interests, detailing the women they cheated with and how they went about their creeping.

AYLØ – “Project 19”

After two years of relative silence, AYLØ re-emerged last August with his excellent sophomore mixtape, ‘dnt’dlt’. Now, to show us that he’s back in the flow of things, the rapper/singer is currently working on his debut album, and he’s just dropped a new loose single, “Project 19” to prove it.

Over Benny Que’s submerged piano and plodding 808 drums, AYLØ sings about exiting a relationship on peaceful terms, using his ornate writing to capture his side in the difficult scenario.

Scarlet – “Ulipo”

After a four-year hiatus, Zambian singer-songwriter recently made a return with “Ulipo”, a new romantic single released just in time for Valentine’s Day. On her new track, she celebrates reconnecting with an old flame over a gorgeous bed of piano harmonies, colourful guitar riffs and groovy percussions. While she doesn’t perform any of her lyrics, her radiant voice and appealing melodies aptly convey her blue-eyed intentions.

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


ICYMI: PLUG INTO THE SOULFUL SOUNDS OF BEMISOUL WITH HER TWO NEW SINGLES

Charly Boy & Falz’s “God of Me” and 6 other videos to watch this week

We’re heading into Mercury’s first retrograde of 2020, and you’ll notice some changes in your day-to-day which can throw you off balance. What you can rely on in this retrograde, however, is our weekly curation of the best videos across popular culture in the past week to distract you from your woes temporarily.

This week, Charly Boy & Falz join forces for some social commentary on religious leaders, while across the globe J Cole released a basketball-themed short film, “The Dreamer” in time for the NBA All-Star Weekend.

 

Charly Boy and Falz – “God of  Men (Fake Pastor)”

After their individual contributions to Nigeria’s socially conscious music catalogue, Charly Boy and Falz have teamed up for a new song, “God of Men (Fake Pastor)”. On the track, they address some religious norms, brought to life by the accompanying music video directed by Unlimited L.A. Starring Nollywood favourites such as Segun Arinze, who plays a pastor performing spiritual exorcism for his congregation, they were clearly aiming for the jugular and it worked.

Arizona Zervas – “Roxanne”

Arizona Zervas has been taking over the charts and airwaves since his breakout single, “Roxanne”, was released last year. After going viral on TikTok, peaking at No. 4 on the Billboard Hot 100 and getting certified double platinum, the American artist has followed up with a music video directed by Nicholas Jandora. The video is set in a desert, and finds him waking up in a motel room before living through different scenarios with his high-maintenance girlfriend, Roxanne.

Bosom P-Yung – “Odo Ndwom”

Bosom P-Yung first rose to some prominence after his animated performance on “Flowrhythmz Show” turned into a meme and was shared across social media. His latest release, “Odo Ndwom” doubles down on his passionate singing with the video Gordon Appiah directed. The bottles of liquor shown in the video provide context for Bosom P-Yung’s emotive performance.

J Cole – “The Dreamer”

Over the weekend, J Cole released a basketball-themed short film, titled “The Dreamer”, just in time for the NBA All-Star Weekend. The nearly-5-minute long clip is in collaboration with Puma, who are launching a new basketball-inspired collection. While Labi Siffre’s “My Song” and Billy Joel’s “Vienna” serve as the soundtrack, we watch throwback footage of J Cole taking shots before we see present-day J Cole sinking a bucket.

YoungstaCPT – “For Coloured Girls”

“For Coloured Girls” was one of the standout tracks from ‘3T (Things Take Time)’, YoungstaCPT’s album debut. The South African rapper has now released the music video for the rap song and as the title suggests, it’s a tribute to the girls of colour. His Dale Fortune directed music video also stays on theme and it features women of colour smiling on a beautiful and sunny afternoon.

“The French Dispatch” Trailer

The anticipation for Wes Anderson films is heightened by his often exciting direction. His latest film, “The French Dispatch”, was no exception after the trailer gave us the first look at the new tricks he has up his sleeves, in the world of Andersonian chaos.

Featured Image Credits: YouTube/Charles Oputa
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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: Falz’s “This is Nigeria” says a lot about Nigeria but not enough

Essentials: Mafeni presents an evolved man with latest EP, ‘3P’

Mafeni is a musical hermit of sorts. After dropping his excellent debut EP, ‘Enjoy’, back in 2016, the rapper seemed to disappear just when he started building momentum. On occasion, he’d come out of his cave for the rare feature or loose single, which we took to mean that Mafeni has been refining his craft, and very importantly, living his life to the fullest. The two are interdependent, because Mafeni’s music, as much as it showcases his incredible skill, also has a lived-in feel which makes his songs relatable.

‘3P’, the rapper’s latest release, is not quite as pesonal & introspective as his previous work, however, as a way of easing himself back into putting out projects, the 3-song EP has an acquainting charm, which makes it a necessary (re-)entry point into Mafeni’s fairly sparse catalogue. “How I been? I been feeling great lately/and I got some music on the way, baby”, he happily proclaims on intro track, “Shuturmouf”, acknowledging his absence and giving listeners a quick look into his clear headspace.

After the painful loss of Mac Miller in 2018, Mafeni shared “growing pains”, a loose single where he gave an honest depiction of his fight with his inner demons, and the difficulty of waking up each morning. Reflecting that he’s in better spirits, ‘3P’ is a celebration of life, of being a young adult with dreams and endless possibilities to aspire to. “This one’s for my niggas who ain’t smiled in a while/when life gets you down, stunt on them with a style”, he raps on “Shuturmouf”, after which he launches into a flurry of sharply written bars—“spitting marble flows and they all versatile”—as a way of showcasing that there’s no rust in his pen.

‘3P’ also deals with a prominent theme in Mafeni’s catalogue: friendships. Whether it’s his hesitance to tell friends about his issues or warning others to stay off fair-weather friends, Mafeni has always been vocal about keeping the right people around, and he continues to do so here. “Friends” is a straight-up diss to fake friends, where he sings, “I hate them, I spray them with my ray gun” on the hook. Ending the EP on a positive note, Mafeni does a 180 on the final track, “Special Request”, where he evokes an atmosphere where trusted friends gather to get lit. “Come through, we like to get rowdy/we say that shit proudly, we smoking that loud-y”, he chants over Le Mav’s glistening keys and lazily infectious drums.

As usual, Mafeni’s vocal delivery on ‘3P’ effortlessly transitions between rhythmic flows and buttery melodies within songs, which make the tracks more relatable. his lyricism an accessible feel. His beat selection also serves to flatter his voice, like DOZ’s foggy organ keys and thumping bass on “Shuturmouf”, which match the assertive nature of the rapper’s vocal tone. Within six minutes, ‘3P’ only allows for striking, repeat-worthy music that puts all of Mafeni’s best abilities on full display, with an implied promise that there’s more to come from the supremely talented rapper in the near future.

Listen to ‘3P’ here.

Featured Image Credits: Soundcloud/Mafeni

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


ICYMI: ‘GOLD’ IS A STUNNING DEBUT EP FROM THE TALENTED DUO, TAY IWAR AND LE MAV

Rap Song of the Week: J Molley & Ka$hCpt’s “Narco” is bubblegum trap at its most addictive

With the myriad of tattoos on his body and his off-kilter, sung-rap flow, J Molley is the type of artist older hip-hop heads would refer to as an archetypal internet rapper. Although the connotation of that description is meant to be inherently negative, the South African rapper and NATIVE TRYBE alum is self-aware enough to proudly wear that tag, saying that being young and famous in the 2010s “means being a rockstar; live fast, have no regrets.”

While he frequently delves into introspective topics like heartbreak, the weight of fame and its effect on his young adult life, some of J Molley’s most addictive songs, like his latest single “Narco”, finds him championing the viscerally thrilling parts of living fast and feeling invincible. “Whole entourage is dripping in designer/she like the finer things, I like them finer/fire up blunt and get higher than Gaia”, he raps on a simple but intricate passage of the first verse, coating every word with a syrupy flow that makes the song more catchy.

On “Narco”, J Molley is joined by fellow Never Broke member, Ka$hCpt, who brings a similar larger-than-life attitude with assertive raps saying, “I ain’t chasing a duffle, bitch I am the bag”. J Molley and Ka$hCpt’s exuberance is matched by Lincoln’s bubblegum trap beat, where positively haunted keys and blown-out bass provides the sparse backdrop for every excited lyric to shine through.

Watch the similarly exuberant video for “Narco” here.

Featured Image Credits: YouTube/Never Broke

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


ICYMI: ZILLA OAKS, DREMO & PRETTYBOY D-O FORM A FIERY TRIO ON “OGINI”