“Jealous,” the breakout single that helped Fireboy DML gain instant ubiquity in the early months of 2019, introduced him as a quintessential, wide-eyed loverboy. He was a lovestruck singer who couldn’t stand the thought of his elusive love interest with anyone else. This familiar but charming trope is the bedrock that Fireboy built his first two projects on. ‘Laughter, Tears & Goosebumps,’ his classic debut, mostly frothed with feel-good vibes and relatable, lovesick lyrics that emphasized his nifty songwriting skill while ‘Apollo’ his sophomore, doubled down on this lane and also housed music that elevated mundane premises about love to the stuff of fantasies.
In an attempt at a narrative reset, Fireboy decided to trade in that adoring, loverboy persona for one of a smooth philanderer, on his third studio album ‘Playboy.’ This time, there was significantly less yearning and far more lustfulness as tales about the allure, access and temptations of his superstar lifestyle filled the tracks. The result was unfortunately mixed. While ‘Playboy’ houses a couple of the 28-year-old’s biggest hits to date, the album suffers slightly from both monotony, and the fact that this new direction lacked the irresistible charm that helped buoy his earlier works. It also did not help that the loverboy to casanova pipeline is pretty trite compared to the sonic and creative direction that a few of his peers have chosen.
While the singer seemed to have come into 2024 reinvigorated – thanks to his stellar verse on Ayo Maff’s “Dealer” and the extremely groovy “everyday” – there was still a little sense of precariousness going into ‘adedamola,’ his fourth studio album. The releases that followed 2022’s ‘Playboy’ didn’t exactly all land: bonus points for experimentation on “Someone” but the speed at which he moved on from the single is telling; “Yawa” and “obaa sima” were perhaps the two best singles he dropped in 2023 but they didn’t exactly light the world on fire, while “Oh My” seemed to have fallen between the cracks. This furthered the sense of uncertainty around an artist who seemed to be trying to rediscover his golden touch.
“iseoluwa,” the striking and introspective opener on ‘adedamola’ is, however, quick to dispel the air of uncertainty that preceded the album’s release. It’s arguably the most clear-headed he’s sounded in a while as he gently sings: “Mama say make I listen to Jah, make I no reason too far / Man, I’ve been living too fast, make I dey chill and relax,” over folk-inspired production that’s reminiscent of some of the stuff that made his debut incredibly catchy. On “Change” the opening track from ‘Playboy,’ the YBNL signee grapples with the pressure and allure of being a global star (It’s kind of hard to deal with the pressure but i’m trying / Different women in my DMs it’s a challenge) but on “iseoluwa,” the 28-year-old sings with the clarity and acuity of a superstar who has seen it all.
This sense of clarity is what helps propel the album as Fireboy manages to rediscover some of the charm that helped him stand out amidst the plethora of loverboy languish. “call me” is a smooth love confessional that makes for easy listening while “hell and back” sees him picking the bones out of a push-pull relationship over Nxrth’s bouncy percussion. “ecstasy,” which features gifted singer and saxophonist Seun Kuti, is arguably one of the album’s strongest offerings. Sonically, the devilishly seductive track finds a sweet spot between R&B and Afropop, as Fireboy’s weightless vocals float over muted synths and thumping log drums.
“back n forth” with legendary singer-songwriter Lagbaja and the SPINALL-assisted “wande’s bop” both offer a sparkly refresh to sounds from our recent past. The former largely benefits from the reclusive singer’s inclusion, adorning the track with his characteristic percussion and saxophone while the latter pays homage to Wande Coal, another legendary musician who Fireboy has repeatedly credited as a source of inspiration. The pre-released “yawa” and “obaa sima” are included on the album and while they nicely fit into the narrative here, both sonically and thematically, they don’t do much to elevate the overall experience.
Most of the tracks on ‘adedamola’ sound extremely polished and well put together. The writing is clean and incisive while his sugary vocal sprees all sit atop glossy and elegant production – thanks in large part to Nrxth and Basquially – that shimmer like expensive jewelry. While this isn’t necessarily a problem, it leaves ‘adedamola’ fairly safe, predictable even. In an attempt to rediscover his mojo, it appears Fireboy decided to err on the side of caution, perhaps for fear of producing another album that might receive a lukewarm reception. Arguably the most ambitious record on the album is “ready,” a slow-burning ballad alongside Grammy Award-winning singer and multi-instrumentalist Jon Batiste. Fireboy’s vocals – which seem to have improved, by the way – majestically roar over cinematic piano, giving his performance a bright poignancy; but even that, for all its execution, does not carry much ambition.
Four albums in and some might argue that Fireboy’s music could do with a little more inventiveness. ‘Playboy’, for all its shortcomings, was a bold attempt at rejigging the Fireboy brand, both sonically and thematically. Even though attempts to mix things up produced dismal cuts like “Havin’ Fun,” tracks like the R&B and Dancehall-influenced “Diana” and the electrifying closer “Glory” highlight the expanse of Fireboy’s artistry, something he fails to show often. With ‘ademamola,’ Fireboy largely plays it safe, going back to what worked in the earlier years of his career and giving it a more expensive makeover. And while his roots are arguably a comfortable place to be for the singer – it’s a formula that works – , the danger is he stands the risk of stagnancy in the long run.
As African music experiences a powerful renaissance, these emerging talents are some of the most promising artists at its core, blending originality with a deep sense of place. Their music reflects the rich tapestry of their local environments while rejuvenating a global audience with a keen thirst for diverse African music.
For those who thrive on the energy of underground music and a spirit of defiance, Ravington, Alor G, Janice Iche, and Chipego are the names to watch.
With each song, these artists inch closer to the spotlight, ready to captivate global audiences and leave an indelible mark across the local scene. Although their journeys are just beginning, and their impact is nascent, spotlighting these talents is not only a nod to uNder’s far-reaching gaze but a testament that no other discovery platform on the continent stays deeply connected to the underground, with an unwavering focus on identifying the most groundbreaking creators shaping the sound of our generation like uNder.
Ravington
For Fans of: Tochi Bedford & July Drama
There’s an unfaltering melancholia that lurks beneath Ravington’s latest project,‘Tranquil FM.’Even though the Lagos-based artist tries his hands at a number of fresh sounds across the project’s seven tracks – borrowing influences from Afropop, House, Hip-hop and even Disco – the songs all remain underpinned by a persistent heaviness that has come to define his music. While this particular quality is partly thanks to the 20-year-old’s voice: a rich baritone that swoops and curls around melodies and tight flows, it’s his pensive approach to music making that truly make his records sound intimate, varied and oftentimes morose.
Born Temisayo Durojaye, Ravington started out his musical career in 2018 as a producer but it wasn’t until 2020 that he started recording his own vocals. He put out his first project ‘SOMETHING TO LIVE FOR’ in 2021, a two-pack track that mostly featured sincere articulations about depression over stripped back production. His debut was quickly followed up by ‘SOMETHING TO DIE FOR,’ another two-pack that doubled as a strong statement of creative intent as well as proof of Ravington’s eclecticism.
Since his introductory back-to-back releases, Ravington has continued to prove he’s an artist worth paying attention to. His desire to fold musings about depression, love, and life into mostly experimental production that takes influences from an array of genres has continued to produce earnest projects like ‘GOD BLE$$ THE TRAP’ and‘Retrograde Blues.’ This approach has also earned him co-signs from alte stalwarts like Odunsi (The Engine) and Cruel Santino, two similarly innovative acts who push the boundaries of what their music can sound like.
While Ravington is undoubtedly still rough around the edges – there’s a noticeable lo-fi quality about his music – the potential is crystal clear. In an interview prior to the release of his latest project he was asked about the most difficult part of being an artist to which he replied: “The biggest problem for me right now, is waiting. it’s one thing to have such potential, everybody waiting on the manifestation of it, but in the meantime you have to wait. flowers take time to grow. I think I’m learning that more and more.” – B.A
Alor G
For fans of: King Promise, Rema, and KiDi.
AlorG is only a little over two years into his career but he’s already regarded as one of Ghana’s foremost next-gen talents thanks to a melodic style that melds the breeziness of Hiplife with the dynamism of Afropop for a style that’s both reflective and hypnotic. Born Alodia Gyamfi, AlorG got his start by performing medleys and covers of popular gospel songs to a social media audience, before transitioning to performing on breakfast and lunch shows in his native Ghana.
He took a tentative step to launching a recording career by collaborating with fellow next-gen artist, Octoblien, on “Closer,” in September 2022. A dedication to his dream girl, Alor G extols the features he wants from his lover over a balmy mid-tempo beat. He made his solo debut in April 2023 with “Baddy,” a showcase of all that he wanted to offer his lover as he promised a trip to Grenada, shopping runs to get her Gucci bandanas, and sexual pleasure. It was an earnest opening salvo from a singer eager to make his mark on the musical landscape. Months later, he returned with the groovy “Mariama,” leaning into his affection for the titular character and detailing what keeps him fascinated with her – the song’s suggestive verses bear some resemblance to Rema’s “Woman” in how it loops various elements to tastefully describe the fascination.
AlorG has had a big 2024 thanks to “Free My Mind,” a collaboration with BHADMAYORS that has surged to the top of the charts in Ghana and has all the hallmarks of a regional crossover hit. Built around a plea to live life in the moment and appreciate moments for what they represent, “Free My Mind” has become the biggest song of AlorG’s career to date and has gotten a remix with UK rap group, NSG. The success of “Free My Mind” has set the stage for AlorG to hone in on his sound and it’s what he does on his latest song, “For Di Road,” an ode to keeping one’s focus trained on their journey and what is to come. As he sings about his pains and the complexities of his journey, AlorG is urging his listeners to find solace in the fact that even the darkest nights lead to dawn. – W.O
Janice Iche
For fans of: Maya Amolo & Coco Em
For many, music is an outlet to express bottled up frustrations. Seconds into Janice Iche’s “Let Me Lose My Mind In Peace,” these pent up feelings are immediately brought to the forefront. Above thrilling melodies and breezy instrumentals lies Iche’s soothing delivery that leads you, though only momentarily, to forget the weight of her confessions and what they imply. She is evidently resigned to her fate in love, overwhelmed by confusion in actions that don’t match up with words spoken. The emotions are intentionally, yet somewhat recklessly sprawled across the low-tempo track, providing insight to just how perplexed the singer must be.
However, her needs aren’t too far away from her consciousness as her melodic vocals float over the self-produced track, urging her love interest to show up in the ways she requires. This invigorating delivery runs across Janice Iche’s entire discography, with skills alluding to years of practice. “I started writing music at a really young age, probably 7 years old. My early influences were music on the local radio. I was inspired by the art of music and simply wanted to partake. It felt magical to me how I didn’t feel alone when I listened to music [alone in my bedroom] and I wanted to learn how to do the same,” she shared in an interview.
While traversing safely within R&B, she doesn’t shy away from stretching her palette into Dance or Pop-leaning soundscapes as heard on her collaborative EP, ‘How You Flow’ with NKC. Her debut album, ‘The Journey Continues,’ where her most commercial releases lie, offers a thrilling compilation of her experiences and lessons, allowing Janice to appear most confident in the face of difficulties navigating her path. As songs like “All Up In Your Face” emphasise, she’s also here to reclaim her voice and power after becoming a victim of sexual abuse in the industry early on in her career. Although she shared that some of her earlier releases no longer resonated with her, for reasons she attributed to impatience with herself and her journey, Iche’s craft now not only reflects who she perceives herself to be but holds a tone of confidence, characteristic only of someone marching to the beat of their own drum. Despite having a silent year so far, Janice’s work holds promise of not just a remarkable return, but a steady rise that is sure to gather the attention of all R&B lovers across the continent.
Chipego
For Fans of: Sun el musician, Somadina, & Zri
Zambian-born Chipego, is capturing the African music scene with her innovative sound that transcends borders. Seamlessly flowing between genres and creating melodies that will resonate with almost any listener, the multifaceted storyteller weaves her evocative lyricism and spoken poetry into her melodies, painting narrative pictures of the human experience.
With her debut in June 2023, and a growing discography of three songs and a feature, Chipego doesn’t seem to be slowing down any time soon. Her debut single, “Keep On” speaks to the human experience with unwithering honesty. On it, she shares difficulties with a sense of hope, and the ability to grow through the struggles. “The hard gets easy and the grass will grow,” she sings hopefully, not neglecting to references her deep-rooted connection to the motherland with memories of her youth and the familiar craving for a better future.
This theme of growth carries on to her debut project, ‘2U,’ released in December 2023. Featuring two songs titled “CLEMENTINE” and “THESE OCEANS” which delve into self-discovery. “THESE OCEANS” have a heartfelt, emotive experience, of desire for longing, love, and frustration in referencing a deep bond. emotional lyrics like “I need you here in my world,” “You’re blood in my water,” and “It’s always been me and you,” are matched with an upbeat tune, with the contrast creating a soulful listening experience. “CLEMENTINE,” on the other hand, reflects on the need for closure and acceptance of a newfound reality through heartbreak and loss.
The infectious energy of Chipego’s music can be classified, by its attributes of African Shoegaze and Afro-soul genres, which hold traditional rhythms while incorporating dreamy Jazz and Pop elements. This result is a familiar, immersive experience, that draws her listeners into a utopian world. Chipego expressed her commitment to “remaining curious in her music” while striving to bring her sound to the global stage, a sentiment she recently shared during a talk and panel on her Instagram.
There’s always been a discernable sense of order to Asake’s chaotic process. From the first time I encountered him in the cavernous bowl that is Obafemi Awolowo University’s amphitheater as a student, the raw energy was invigorating, but even more thrilling were the elements that worked in service of his artistry. One night at amphi, mid-performance of an entirely different version of “Joha” from the one we know today, he breaks into a peppy dance routine while surrounded by a team of contortionists, and as the side-show threatens to swallow him whole, he emerges from their midst just in time to lead the song’s anthemic chorus. Even then, his music had a kinetic quality that ensured that pacing, theme, and performance coalesced into an undeniable spectacle.
Since the breakout success of 2022’s Olamide-featuring “Omo Ope,” Asake’s playing field has substantially widened. In the time since teaming up with the Street-pop don, Asake has kept audiences enraptured with dispatches of his experiences as he traveled the path from wide-eyed elation to more somber reflections on the lonesome burdens of superstardom. With Asake, the memorialisation of the journey has always been as important as the destination – if not more.
There’s a thrill in retracing the steps to his blistering debut album, ‘Mr Money With The Vibe’ today, because as he moves from seductive charmer on “Sungba” to self-effusive party-starter on “Peace Be Unto You” via “PALAZZO,” his groovy DJ Spinall collab, you already know he’s building up to the completion of an arc. By the time you are hearing Asake’s supplicatory opening verse on “Reason,” there’s sufficient information to contextualize the devil-may-care disposition that his debut album cackles with on occasion. Tracks like “Dull” and “Organise” detail the taxing specifics of his grind thanks to Asake’s word-bending flow and Magicsticks’ deft fusion of genres that sizzles with participatory intention – no detail feels out of place.
‘Work Of Art’ is similarly grounded in the realities of a world that Asake has roots in. There were fewer brighter moments in 2023 than when “2:30” made its presence known at the peak of the party. On days when the going got tough, “Sunshine” was a beacon urging listeners to strut on while there’s a summon to more revelry on “Basquiat.” Similarly, we bear witness to Asake’s passive-aggressive chest-thumping on “Great Guy,” a response to repeated criticisms of monotony. Guided by Olamide in the writing room, the world that Asake invites his audience into is thought-out, plotted, and brought to life with clarity; and enjoyment, regret, self-doubt, hope, and consideration are rendered in slang minted from Lagos’ principal Local Government Area, Ìsàlẹ̀ Èkó.
On Asake’s third album, ‘Lungu Boy,’ the narrational rigor that powered his blistering rise wanes, leaving the singer on shaky ground. There is no connective tissue between most of the tracks as he attempts to piece together his growth from Lagos Island hood rat to global pop icon. There are big holes that are left unplugged and ideas that seem undercooked even if the intent is clear. Part of this comes down to the sheer weight of expectation that Asake is performing under: mere days after the release of his sophomore album, ‘Work Of Art’ last year, questions were raised about the possibility of completing an unprecedented trifecta with his third. Too many times on ‘Lungu Boy,’ it feels like he is working with a heightened awareness of delivering on that expectation, while stuck on what direction to advance his story towards.
Typically, the best Asake songs dissolved the weight of the world they existed in, moving across eras with a nimble placelessness that made the distance between the past and present a mere suggestion. That is not the case for much of ‘Lungu Boy’ despite a valiant effort to broaden the scope of his sound. With the exception of a handful of songs, there’s a sense of vapid listlessness creeping into Asake’s writing that’s compounded by a mixing process that sterilizes his usual frenetic sound. “MMS,” named after the singer, is essentially a pale imitation of Wizkid’s post-‘Ayo’ mid-tempo R&B style. It benefits from the strengths of the style and suffers from the weakness that plagues it; making for a soul-refreshing groove that pleasantly washes over you at first until it threatens to suffocate you with lethargy.
In the lead-up to the release of ‘Lungu Boy,’ a lot of the chatter around the project hinted at Asake introducing the world to Lagos Island and the quirks of its subculture, in order to contextualise his stunning rise. In a twist, ‘Lungu Boy’ only references Ìsàlẹ̀ Èkó in silos even if those songs represent some of the album’s brightest points: “Uhh Yeahh” feels like the sort of song engineered to headline a street rave in much the same way as “Joha” was intended, while the irrepressible “FujiVibe” pays a classy homage to the music that Asake heard as a child in Lagos Island, traditionally a Fuji stronghold. Even when his Fuji fundamentals are run through a Pop filter, the results are similarly admirable. “Suru,” enlivened by Stormzy’s verses, is a tale of redemption as much as it is a tribute to the restorative love of a mother. Similarly, the Travis Scott collab, “Active,” is a stirring declaration of intent that brings Fuji along for the fun via a sample of Jazzman Olofin and Adewale Ayuba’s seminal hit,“Raise Da Roof.”
Asake’s mainstream run had barely begun when critics started to question the stylistic monotony of his Amapiano-influenced sound. Production-wise, ‘Lungu Boy’ represents the biggest recalibration of that well-wrought path so far. On it, Asake charts an entirely new path, taking a chance with eking techno beats and alt-R&B influences. It’s the sort of risk that innovators work towards much like Rema’s left-field turn on the incisive ‘HEIS.’
Production heavyweights, Sarz and P.Priime, set the tone for Asake’s new arc with a number of instrumentals that are mesmerizing and throbbing if also stripped of the live instrumentation that his early stuff thrived off. “Mentally” charts his insane global travel schedule and the demands of a life he’s long pined for, but lacks the emotive candor of “Nzaza” or the grit that fuels “What’sUp My G.” There is something markedly jarring about the choice of “Skating” as a peg for exploring new interests in his life. “Skating issa lifestyle / Skating Skating Skating / Skating is a part of me,” he drones on the song’s chorus. Asake’s flow sounds ponderous, perhaps unsure himself of just how he’s come to be into skating.
“Wave,” the Magicsticks-produced banger that follows “Skating,” sits in the lineage of Asake’s best songs. “Make nobody stress me, I’m on a wave right now / When I get marijuana, na to flex, na to chill right now,” Asake sings on the chorus of the summer-ready anthem. There’s a palpable sense of relief in listening to this song. It’s a much-needed reminder of Asake’s ability to impose believability on the ideas – destiny, romance, and living it up – that he touches on, while keeping the audience totally transfixed. It used to be that listeners could come to Asake for songs that started strong and maintained the energetic pace that animated them from the start.
“Mood,” with its guitar and steel drum highlights, is forward-thinking but sorely lacks the propulsive energy that’s a key Asake feature. Put another way: too many songs on ‘Lungu Boy’ are identical and one-paced. All the talk about women in the backseat, the puerile signifiers of sexual indulgence, and being higher than he was yesterday sound exhausted and rote, leaving him a pace behind the world he attempts to front.
Whether it is recognised yet or not, Mr Money is a linguistic authority, articulating the moods and feelings of the Lagos Island trenches for a world that has no understanding of the inner workings of that hood. That feel for language is what powered songs like “Terminator” and “I Believe” into ubiquity. On ‘Lungu Boy,’ it shows up in bits and pieces like on the opening stretch of “Worldwide” where he’s channeling consternation at his haters who want to see him fail while the Sak Pase-produced “Whine” is an industrial-yet-rhythmic offspring of the konto sound that ruled Nigerian pop in the early 2000s with help from Brazilian singer, LUDMILLA. They don’t go all the way but there’s promise in what they aim at.
“My Heart” is perhaps the most emotionally wrenching song on ‘Lungu Boy,’ a clear microevolution on the dynamics of how Asake approaches romance, but it is not without its own reproach. “Atutu poyoyo she’s not from ghetto, speaking Spanish,” he tenderly sings in ode of his ideal woman that’s evidently not from the ghetto – but it’s a moment that show the stark disconnect between his idea of what a Lungu Boy is, and what being from the hood should represent, global stardom or not.
The liberation of any people depends on who is standing on the front lines of its struggle. For South Africa it was Nelson Mandela and for Kenya, though still hotly debated, it was Jomo Kenyatta who sneakily “led” the country to independence. Over six decades after becoming a republic, Kenya still languishes in the shadow of neo-colonialism. Corrupt, nepotistic and a fascist “democracy” are all terms that can be used to describe the state of the nation in the past few years. Power is held by two major tribes, the Kikuyu who are from the Bantu Speaking Group in Central Kenya, and the Kalenjin who are from the Nilotic Speaking Group in the former Rift Valley province. Both groups have taken turns ruling the country, always ensuring their tribesmen are in government and their power absolute.
Kenyan youth, through history, have rarely had their say in government. This was patently obvious in the previous general elections which saw William Ruto win the presidency where less than 5% of Kenyan youth actively participated in voting. The fact that we, the youth, have grown up under a regime of political dynasties where the same leaders are cycled through different government offices backed up by stolen elections, has created a country of youths who have no hope. If you asked any of us about the elections, the most popular answer would likely be: “I don’t bother myself with politics because we can’t change it.” Two months before the bill was publicised, Citizen TV Media Station hosted an interview with finance experts explaining the process leading up to the passing of the 2024 Finance bill, while discussing what to expect. Unlike 2023, when the public was made aware of the bill and public participation was enforced, very few youth were involved in public consultations. This means the 2024 finance bill was already on its way to parliament for the first reading by the time much of the public was made aware of its existence. This was enough to rile up the country’s Gen Z for a movement that would be unforgettable in Kenya’s history. Fast forward a few weeks, and the prevailing discourse among young people shifted from daily conversations about partying and bullying each other on X, to topics that were more politically driven, focusing on the 2024 finance bill.
May 2024 was when conversation about the finance bill really started to become popular online. Famous influencers like Mike Muchiri started by criticizing the 2023 bill, which included a Housing Levy Tax that was passed following a year of heavy taxation. This was the final blow that forced the country to pay attention to what the 2024 bill contained. Further, he took the initiative to create a TikTok channel that included people from all 47 ethnic tribes in Kenya with the aim of breaking down the bill in ways that would make it easy for the common Kenyan to understand. X users followed suit, with numerous influencers such as Kasmuel McOure speaking out about the issues the bill had. It was clear that there was a paradigm shift in our participation in the country’s governance.
What followed was a ripple effect. Gen-Z users on X created FinanceGPT, a limited online copy of AI application ChatGPT which was coded to break down the Finance Bill details for easier understanding. This lead to the start of the #RejectFinanceBill2024 online movement, which attracted so much attention the Kenyan Government censored the hashtag with spam bots and paid influencers who were “siding” with them.
But all attempts by the government to try and sabotage the #RejectFinanceBill2024 movement only led to its increased relevance, with almost every Kenyan on X using the hashtag in all of their tweets. This further pushed the issue into the massive Tiktok community, resulting in the inclusion of Millenials and Gen Alpha in the conversation. The explosion of this early grassroots resistance fuelled the government’s anger towards its young citizens, leading to the introduction of the popular phrase and movement “Leta number tumsalimie” translating to “bring the leaders numbers, we say hi.” Kenyans spammed corrupt leaders with calls, text messages and even WhatsApp messages, trying to hold them accountable for their actions. Members of Parliament were spammed on almost every platform, as citizens urged them to vote no and drop the bill. In response, some government leaders sent back abusive texts and told people to work hard so they could afford the heavy taxation. This flagrant display of government corruption ignited a new kind of fire among Kenyan citizens, pushing them to embark on nationwide protests to further push the #RejectFinanceBill2024 movement.
For his part, current president William Ruto Samoei, urged the Kenyan National Assembly to pass the recommended bill regardless of what Kenyans demanded. This pronouncement was followed by the first peaceful mass protest, “Tokea Tuesday,” held on Tuesday, June 18. The results of that protest were positive, despite the police using brutal force by deploying teargas canisters, water cannon trucks, beating peaceful protesters, shooting rubber bullets and arresting innocent people who were exercising their democratic rights under Article 37 of Kenya’s constitution.
This incident showed the disconnect between the Kenyan people and our leaders, as the proposed finance bill was set to heavily burden everyday Kenyans with high taxes, making life in the country unbearable. The bill was set to introduce a Motor Vehicle Tax with a rate of 2.5%, a Withholding Tax on goods supplied on public entities with rates of 3% on residents and 5% on non-residents, a new tax on the digital economy where anyone who monetizes digital content is taxed at a rate of 5% for residents and 20% for non-residents, and a Significant Economic Presence tax at 30% for certain non-residents, a replacement for the National Health Fund Insurance (NHIF) which is the SHIF (Social Health Insurance Fund). The already-existing post-retirement medical funds together with the ‘affordable’ housing levy would now become deductible funds, a staggering increase in the VAT (Value Added Tax), along with a tax on diapers, sanitary pads among other imported manufactured goods together with ancestral land. The amendments on the Lands Act of 2022 would force citizens to pay taxes for land inherited from family. This is merely a glance at the gruesome Finance Bill of 2024, proposed to improve the economy but instead seeming to be a way of improving the top government’s way of life and of funding weekly tours around the world for elected officials.
On Thursday June 20, the second wave of the #RejectFinanceBill2024 movement took off, which ultimately led to bloodshed within the Nairobi Central Business District. Protesters were subjected to unspeakable brutality from the National Police Service as thousands of Gen Z youth turned up adorned in black, marching through the streets chanting “We are peaceful,” while holding placards that expressed their grievances about the bill. But despite the bleak circumstances, the young people present at the protests found ways to be joyful, singing the popular protest anthem “Anguka Nayo,” while dancing and resisting unlawful arrests. In the evening, the police sent out plain clothes officers who shot at random civilians regardless of whether they were part of the march or were simply outside going about their day. During the march, hundreds were injured and two casualties, Rex Masai and Evans Kiraitu, succumbed to injuries from live bullets. “They sent goons who looted shops to make it look like we were at fault,” said George Kihoti, who was one of the protesters. “Afterwards they sent undercover police who sprayed live bullets at everyone causing confusion.”
We expected the Cabinet Secretaries, who are Ruto’s right hand men, to condemn the brutality after the loss of lives. Instead they mocked us telling us they have been in our position before, calling the protests useless and bearing no fruits. Those who are supposed to advise the president on the situation of the country instead turned their backs on Kenyan youth.
As the bill approached its third and final reading before the president signed off on June 27, Kenyans coined the term “Seven Days Of Rage,” and changed the hashtag from #RejectFinanceBill2024 to #OccupyParliament. This was a call to all youth within the country to come out and show their disapproval of the Finance Bill. Towns were filled with water dyed pink and green by police water cannon lorries throughout the week as the protesters showed up in massive numbers.
On June 27, 196 Members Of Parliament voted for the bill while 105 voted against it. This enraged Kenyan youth, causing the protests to turn violent as paid goons infiltrated the formerly peaceful demonstrations. This caused widespread confusion, leading to looting and destruction of both private and public property and the storming and infiltration of the Kenyan parliament. Police followed this with snipers and live ammunition, blood and brains scattering outside the parliament building. Still, the young people who had just survived the frontlines of this bloody incident took care of the deceased by covering them with the Kenyan Flags while singing the national anthem, throwing their arms in the air. At the same time, police fired teargas canisters at both the deceased in the street and the protestors trying to retrieve their bodies. “It was disheartening,” George Macharia, a protester who was on the frontline said of the massacre. “We watched the brains of one of our agemates smear on parliament road. The same parliament that is supposed to defend us.”
Meanwhile, Ruto – who is both a darling of the West and a pathological liar – denied that lives were lost, calling the Gen Z protesters spoiled brats while cabinet secretaries spoke down on them, mocking them for coming out to the protests with Keringet bottles of waters (Kerigent is a mineral water company that is associated with the middle and upper classes in Kenya), driven by Ubers and having lunch breaks at KFC. The night the bill was passed, the National Police Service, aided by the country’s Special Teams, went to the city of Githurai situated along Thika Road and fired live rounds of ammunition at residents there. The resulting casualties were those seen in videos of the police dragging dead bodies into lorries with no registration plates. Those bodies are still being found in different locations around the country, as the government attempts to mask the number of casualties. This was termed as the “Githurai Massacre,” soon followed by the “Rongai incident,” where police again shot multiple rounds at peaceful protestors and random civilians, including two children aged 9 and 12 who were just going to the shops.
In the aftermath of the unrest, Ruto stated that the bill would need to be revised, but Kenyans are in doubt. In Kenya there is a law that states if a bill is not passed in parliament, the parliament has 14 days to revise the bill and incase of no agreement, the bill will automatically be passed. At the moment, the Finance Bill was set to be amended and unfortunately no one knows where the bill stands. While conversing with different Kenyans you hear a variation of answers but the most common one is, the bill was already passed and the president pulled a PR stunt by “recalling” the bill. There have been noticeable changes in the cost of living in some areas, the price of a single stick of cigarettes was increased by 5/= making the cheapest pack 300/=. A 100/=increase. Groceries, commuting fares and even food prices have slowly been appreciating.
The pressure of this grassroots movement powered by Kenyan Gen Zs, has caused the entire continent to pay attention to our requests. While the president asked for dialogue between Gen Z leaders and himself, he stood shocked after he found out the protests were leaderless: we all came out to the streets to demand that the bill be cancelled not because we were organised by a union, but because we were tired of living under a corrupt leader while taking on heavy taxations. Ruto was ultimately forced to dissolve the same cabinet that mocked us for our attempt to #RejectTheBill.
Thanks to the iPhones, KFC and Uber service the government tried to disparage, we made it happen. The last time the Kenyan cabinet was dissolved was in 2005 when the country’s third president, the late Mwai Kibaki, lost a referendum over a new constitution. While Kibaki’s move was the result of him having no confidence in his government, Ruto had been under pressure defending his government despite the anti-tax campaigns.
With that said, the fires of resistance still rage on, as Kenyan Gen Z youth demand the dissolution of unconstitutional offices such as the Office of the Prime Cabinet Secretary. Gen Z also continues to look into further government bills as the weight of the previous mass protests sits heavy in the country’s heart. In the weeks after the dissolution of cabinet, the Kenyan youth are faced with another conundrum. While the president put on the facade that he had listened to the youth, behind their backs he had been trying to squash the protests. Ultimately, the Finance Bill 2024 was passed and new members were appointed to the cabinet, but to everyone’s shock it was a repetition of leaders who are incompetent full of embezzlement cases and drug cases. Just like Kenyan rapper Octopizzo said “The Movement is on!”
South Africa has always been a hotbed of music. Kwaito and House soundtracked the country’s dancefloors at the end of the Y2K era, and at the turn of the decade, Gqom and Amapiano cast a global spotlight on its pervasive dance scene.
In contemporary times, 3-step is edging its way as the country’s latest dance brainchild and DJ Lag – one of the most defining Gqom voices — is quick to differentiate between the genres when we hop on a Zoom call “I think Amapiano and Gqom really use the same sounds. Gqom is like stripped back Amapiano, and the 3-step I can say is Afro-tech but changed into broken beats”, he explains.
Raised in Durban on Kwaito influences, DJ Lag – Lwazi Gwala – was influenced by his rapper cousin to get into music production. After a short stint messing with Hip-Hop, DJ Lag leaned into his native Kwaito influences and narrowed into tribal house beats, eventually leading him up the alley of Gqom.
Since his ascendance, DJ Lag has emerged as perhaps the most prominent vanguard of the genre, playing festivals globally and pushing the local soundscape with a consistent flush of pulsating music. His latest offering, Rebellion, just arrived weeks ago, but DJ Lag isn’t letting up “I am thinking of dropping an EP in November or December. I can say Hade Boss made me want to make another project.” His thirteen-track sophomore, Rebellion, released in June was filled with party-rocking anthems like Yebo, Hade Boss and Kwenzakalan “Rebellion is an album I started last year, but Hade Boss, I did that in December and the reception was crazy. So I am just focused on that style, it’s a mixture of Amapiano and Gqom.”
In an era where partygoers are returning to dance floors & sound systems and parting ways with luxurious discotheques, Gqom is leading the charge as one of dance’s foremost genres, and DJ Lag is at the heart of this renaissance. “Novaboy, K.C. Driller who does Amapiano, Da Man who does Gqom, Dezzodigo are definitely people you should look out for”, he says before citing Mnike by Tyler I.C.U as the one song he would play if he had a single shot at putting people onto contemporary South African music. “It’s a classic. It tells you this is South Africa. There’s Gqom in there, there is Amapiano and it was like a remix of a classic song.”
As a DJ, crowd control is at the core of his artistry, and DJ Lag ensures the audience always gets a topnotch experience by watching the set of whichever DJ plays before him. It’s a practice he has held dear since his come-up days in Clermont, Durban till now as he tours global stages heralding the gospel of Gqom. For someone who has played countless sets across the world, I ponder what feeling DJ Lag seeks when he commandeers the turntable “Happiness, man. I just want to see people dancing to my music, that’s it.”
As someone who always sets the mood and gets the party going, we had DJ Lag curate a special playlist of songs that get him going.
The creation of MAGENTA: A Tale of Two Worlds was a largely personal process. From scripting to embodying the characters on screen, multidisciplinary artists, Ann-Maree Quaynor (AMKMQ) and Angel Oduko are adamant about presenting the stories of their debut collaboration, MAGENTA, on their own terms. Largely undertaken as a means of self reflection through which they could explore their similar post-pandemic realities, the short film turned into an investigation of the pair’s psyches.
Armed with backgrounds in art and filmmaking, the two sought to visualise their lived experiences as African women traversing life both at home and in the diaspora, and how that affects their interactions with reality as well as the metaphysical world. “It was an attempt to deeply understand ourselves and our culture plus the effect of living as a global West African citizen,” Angel Oduko shared in an interview with The NATIVE.
AMKMQ and Oduko’s synergy is immediately established both on and off screen, allowing them to seamlessly overcome the countless difficulties women and independent filmmakers face in Nigeria. They dug deep, sorting through a plethora of emotions that unearth a search for oneself many can relate to. While paying homage to Afrofuturism and old Nollywood to reimagine African spirituality, the film largely took a personal approach, drawing inspiration from women the duo admire in their personal lives. Both Oduko and AMKMQ agree that MAGENTA was a labour of love but one well worth their while for the opportunity it gave them to shape their ideas of spirituality with a renewed perspective.
“She isn’t necessarily good or evil, she just is. She’s an ancestral spirit. She’s the truth that we’ve had to live with for centuries since colonisation. She’s a representation of our wildest dreams and also a great taboo, because traditional religion is still a great taboo in West Africa,” Angel Oduko on Spirit Guide
Following an Ivy Film Festival debut, which earned MAGENTA: A Tale of Two Worlds a Grand Jury Prize for Best Direction of an Experimental Film, AMKMQ and Oduko spoke to us about the film’s visual choices, its major reference points and more.
Our conversation has been lightly edited for clarity and length.
I watched the film and I am very intrigued by it. What first inspired the idea for the story?
AMKMQ: We were both in Nigeria for longer periods than usual, reflecting on these sort of existential themes; even [regarding] just how much our lives shifted when we came home. We were also processing things in our personal lives and Magenta started off as a passion project. It was something to keep us occupied and creatively stimulated whilst we were at home. The backdrop of everything still felt a bit strange considering it was post-pandemic and pre-election time. There was a lot that we wanted to explore within that and it just grew into a larger project.
Would you say characters in the film occupied similar positions?
AMKMQ:It was definitely a very reflective process but also an outlet in an abstract world where we could process our real lives, while realising we’re creating characters. There is that distance that gives you clarity over the entire process and the pain you’re experiencing in that moment.
Oduko: It was definitely used as a medium to express what we were going through at that time.
When it came down to the final process of writing the script, did you feel any catharsis or did it change the way you felt about being in Lagos?
Oduko: I wouldn’t say that it did. I think it just shone a spotlight on exactly what we were going through spiritually, emotionally and mentally because the film is really an exploration of both of our psyches, as well as our spiritual and mental health and well-being. It was an attempt to deeply understand ourselves and our culture plus the effect of living as a global West African citizen. The difficulties that come from living in Lagos were also very apparent through the course of filming. If anything, it just cemented how we were feeling.
AMKMQ: 100%. So much happened within that time period. We were learning about ourselves and the subject matter as we were shooting and editing. The actual production process was so experimental which made it a constant [learning] process. It felt like something that was shifting in our hands as we were moulding it.
You both developed the initial story idea together. What changed between your initial idea and the final product?
AMKMQ:We split up the process. It went through multiple layers of experiences and thought. We came up with the story and Angel wrote the script. Then we both conceptualised it into what it actually was. MAGENTA was both of our seeds but we nurtured it in separate ways to tap into our strongest individual capacities. It was a labour of love that went through a lot of thought, expectations, desires and what we have at the end is an amalgamation of the first few ideas and so many iterations of other new ideas.
Did you have any difficulty making sure both your visions were reflected?
Oduko: Yeah, definitely. I think in any creative collaboration, there’s bound to be creative friction. That is part of what makes it a living and breathing piece of art, especially when it’s something so personal and experimental. We were threading our own DNA into this film so there were definitely times when we were both sensitive and had to figure out how to traverse the difficulties. We had never worked together and it was also our first short film so that came with its own challenges. I would say in the pre-production stage, we had some friction because we both wanted to feel seen and in the end, we made sure that happened.
AMKMQ:I’ve worked in production and theatre but Angel’s actually studied that and I’m more of an independent artist. While we had different approaches to making it, we filled in the gaps where the other person was lacking. When you’re working with someone else you’re definitely gonna have points of contention. That’s part of the learning process. But we realised we both wanted the film so bad that we weathered through any sort of disagreement. The moments one of us is feeling more depleted then that other person can have a bit more energy. I even appreciate the contrast to my individual practice. There’re definitely pros and cons but it’s more like learning lessons and there are many things to be grateful for.
AMKMQ you have a background, as you said, as a multi-disciplinary artist. Do you think that impacted the way you approached the film visually? Did you draw inspiration from any other art forms?
AMKMQ:Definitely. In my personal practice, my current thesis is about moving paintings – so approaching film as paintings. I can’t divorce my background in paintings and other mediums from how I approached editing the film just as Angel’s background in writing the film informed the pace, the storytelling and the style. To me, paintings are almost like an elevated frame or screenshot where you’re trying to tell an extensive story or pass an extensive message, feeling or sentiment within the composition. I think that definitely imprints how I approach my video work in general.
With the visuals, what would you say were the main references used to develop the film?
Oduko: We had a lot of style influences but our major one was old Nollywood. We were really trying to make a 21st century contemporary Nollywood art theme by bringing together so many different art styles like Absurdism, Surrealism, African futurism, Horror and even Fantasy. It’s an amalgamation of all these different things.
AMKMQ:We even explored Anime. It was just a multidisciplinary process the entire way through. I think we also had our own ideas locked in so we knew where we wanted to harvest references. We knew the essence of our story and some cool ways that people have explored that in the past. From there, we started approaching it through our own lens. The Lost Okoroshi was a major reference. That was probably the most similar in terms of formats but definitely a lot of different references.
What informed your decision to cast yourselves as Akua and Sade?
AMKMQ: It was such a small cast we wanted everyone to really be in sync with the part they were playing.
It seemed like you could relate to the feelings that your characters were going through.
Oduko: That’s what I was saying earlier about how our experiences [are woven] into the DNA of the film. It was always our intention to play these characters because personally, as a writer and an actor, I write to be in the things I write. I just wanted to create something that I would love to act in and be a part of. I looked to the women around me to inform the characters. My mom, sister, friends and so on, just to highlight things we’ve all mutually experienced in this realm as West African women. I think it was about both us feeling close to the subject, but also really wanting the execution done properly and exactly how we envisioned it.
AMKMQ: We also both had trust in the other person even though we had our own set of experiences. If it was just the two of us and we had a camera, it would have been done in two days. But we didn’t have everything we wanted and there was a fear of destabilising all the shifting parts. When you’re in front of the camera, you need to have so much intrinsic trust with the person behind the camera and if that person is struggling, we’re meant to be supporting their vision to fruition. It sometimes caused momentary friction where things didn’t turn out as expected but realising it’s not just about ‘your’ creative process.
Oduko: It was pretty smooth for us, navigating the front and back of the camera. The one time I had a real difficulty with directing was when one of the men was trying to direct my actors for me. I’m a Leo and I’m not afraid to look like the bad guy. I’m here trying to take the role of director on my own film. The audacity of this man to question me, mansplaining things to me even.
AMKMQ:Especially with this subject matter, it was really weird. Angel has more onset film experience so I didn’t even realise. I was annoyed at how egregious it was.
I want to touch on the film’s characters a bit more. Where did the ideato use the Spirit Guide to represent the film’s themes come from, and what was the casting process for this role?
Oduko: It was an exploration and investigation of our culture … the effect living in the West has had on both our spiritual and mental health, and the Spirit Guide represents us trying to understand our culture, community and our old ways of life. She isn’t necessarily good or evil, she just is. She’s an ancestral Spirit. She’s the truth that we’ve had to live with for centuries since colonisation. She’s a representation of our wildest dreams and also a great taboo, because traditional religion is still a great taboo in West Africa now. She represents a world that could really never be ours because she’s a spirit walking amongst us, visible to us.
AMKMQ: Before even getting into the casting process, we wanted her to symbolise the sense of enlightenment and the pursuit of clarity. It’s clarity within the context of the past, present and the future. Africanism and Afrofuturism is so much about giving yourself solace for colonialism and all the other horrible things that happened.
Oduko: For the casting, we wanted the spirit guide to be a regal, authoritative figure.
AMKMQ: We didn’t want to demonise the ancestral spirituality in a way that made it seem like this is a distant evil spirit following the characters. We wanted it to be ambiguous but it turned out how it was supposed to.
Angel: Spirit Guide is about enlightenment. It represents what it would be like were we not interrupted by colonisation.
In terms of distribution, what was the process like? You’ve already screened at a festival and won an award. Can you talk about that process?
AMKMQ:The festivals were interesting and majorly about campaigning for yourself and the ideas we felt were important for the film. It was stressful but rewarding and we did it as a form of practice to apply ourselves. We knew it deserved the recognition but the submissions were majorly about getting the practice in. If we didn’t get in, we would’ve been completely ok with that. It made the process all the more rewarding when we went so far as getting an award. Not like the recognition could have confirmed or denied [how special] MAGENTA [was], but having that experience transcended all of the pain that came with the actual process. It was the first time I was able to step back and appreciate the film.
That must have been really special. The film can be described as quite abstract and absurdist, with potentially multiple ways to interpret it. If there’s just one thing you want audiences to take away from it, what would it be?
AMKMQ:It has to be something about enlightenment which is sometimes scary. Sometimes, what you fear is not what you should run from.
Angel: The theme song of the film is called “You Can’t Go Back” and that really does represent what the feeling of enlightenment is. You really can’t go back to a time where we were uninterrupted. We have to move forward with the knowledge that we could have been something else or existed in a completely different way as West Africans but we’re here now. We have been interrupted and we have this knowledge of our ancestors. We are striving towards the future with that knowledge and we’re living in the present. We have to keep moving, we have to go forward and we have to wake up.
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CAST
Spirit Guide: Tamilore Fashola
Sade Adebowale: Angel Oduko
Akua Mawusi: AMKMQ
CREW
Directed by: Angel Oduko & AMKMQ
Produced by: AMKMQ Studios tm & Angel Oduko
Executive Producers: Brown University, Angel Oduko, AMKMQ
Since the very start of his mainstream ascension, there has been very little doubt in Ahmed Ololade’s mind about who he is, what he represents, and how he should be regarded. On a verse off his 2022 hit,“Peace Be Unto You,” he famously affirmed, “I just blow but, omo, I know my set.” It’s a brag that points directly to a level of self-assuredness that’s rooted in Asake’s personal conviction about his status and a calmness about the journey that has landed him at the cutting edge of Afropop after years of toiling in the underground.
In many ways, the most distinctive factor about Asake’s music from 2022 till now, is how unabashedly reflective it is of his origins and where he comes from. No one can come away from listening to songs like “Sungba,”“PALAZZO” or “2:30” and think that Asake is anything but a Street-pop star forged in the crucible of Lagos Island for a global audience. Many times across his debut album, ‘Mr Money With The Vibe,’ Asake is leaning into Lagos-specific street slang and idioms that function both as a narrational tool and quasi-homage to the people that understand the weight of the topics he’s tackling and reflecting on. 2023’s ‘Work Of Art’ was more euphoric but no less instructive to understanding Asake’s id and how he’s engaging with the world as a kid from inner city Lagos that has seen his music garner a worldwide audience.
While the specifics might differ, there is a common thread woven through the lived experience of people in inner cities across the globe. Too often, they’re the most vulnerable, relegated to society’s lower rungs with little to no access to adequate healthcare, education, and social infrastructure needed to make their lives easier. In lieu of government-led interventions that can easily improve their conditions and help them escape the cycles of poverty that are endemic to these places, what most people have is dreams; using them as an escape from the collapse and rot that surrounds them.
With seemingly few other pathways to success, many inner city kids dream of blowing up as footballers or musicians. And having no help in sight, they often cling to the hope that they can will themselves and their loved ones into better circumstances off the backs of their skills on the pitch or in the studio. It’s the same story from the hoods on Lagos’ mainland, to the favelas of Rio De Janeiro – the goal is to blow up fast and escape systemic poverty.
Born and raised in Lagos Island, Asake understands the scale of what his people are up against and what it means to be a dreamer. On “Nzaza,” off ‘Mr Money With The Vibe,’ he famously sang, “I show them pepper kin to sanle,” which translates to an admission that he was mischievous before he ran away from home. In an interview with GQ, Asake shared that he got his stage name tattooed on him during a period of self-doubt, in order to essentially lock himself into his musical dream and spur him to go harder.
Per American psychologist Abraham Maslow’s hierarchy of needs, the highest level of personal achievement is self-actualisation. It’s the level at which one has conquered elemental concerns for safety and sustenance, as well as attained both self-understanding and freedom. In the less than three years since Asake and Olamide originally collaborated on a remix of “Omo Ope,” Asake has worked his way up Maslow’s pyramid, channeling joy and satisfaction every step of the way. Just 12 days into 2024, he released a new single, “Only Me,” that distilled his feelings about his new station in life into two minutes and 39 seconds of a maximum bragging about his class ascent and the perks of being rich, all while demanding applause from his audience.
Just weeks later, he kept up with his documentation of the good times, collaborating with Zlatan on “Bust Down,” a triumphant luxuriation in the success that their work has afforded them. It stands in stark contrast to the hopeful tenor of Asake’s hook on “Peace Be Unto You” from just two years ago where he sang, “Je ka won padi mi ma biza, thank you,” beseeching a supreme being to look positively on him and his friends as they put the work in. Still, as Asake prepares for a new era, it hasn’t been all parties and jet setting from him; there’s also been moments of reflection, with him recounting the cost of his success and the path that has led him on to being a global force. It’s evident on “BROTHER,” his stirring collaboration with long-time friend and confidant, Ashidapo. “The pain that you feel when food no dey / Na im go make you ginger properly,” Asake soulfully sings on the song’s first verse.
By the time he guested on Victony’s “Stubborn” in May, it was all too clear that Asake was gearing up for a monumental release later in the year. On his verse, he was hinting at the rougher edges of stardom and increased pressure, channeling the same melancholic energy that birthed “Lonely At The Top,” a ‘Work Of Art’ favourite that’s noted for its stripped down approach, vulnerability, and candour. Definitive confirmation of Asake’s third album came last month with the announcement of his “Lungu Boy” tour that takes its name from the album’s title, and means a hood boy or someone that maintains a close familiarity with the streets.
By tapping into a variety of emotions and sharing how he’s feeling with his audience ahead of his third album in three years, Asake is letting everyone know that he’s standing on the precipice of the highest step in Maslow’s hierarchy of needs: self-actualisation. A constant theme in Pop music is returning to – or reclaiming – one’s roots to seek fresh impetus for a forward vaunt, and it’s what Asake is potentially looking to do with ‘Lungu Boy.’ After the swashbuckling breakthrough of ‘Mr Money With The Vibe’ and the mythos-setting ‘Work Of Art,’ Asake is using his music as a tool of connection to the labyrinthine streets of Lagos Island and its propulsive energy, while finding new lanes of expression in Street-pop and helping to codify the sub-genre’s tenets. On a personal level, one can tell that the singer is in a new place as he looks to ring in ‘Lungu Boy’: gone are the colourful dreads and artsy grills that provided a visual accompaniment to his blistering come-up; in their place are smart twists and a liking for sport streetwear fits that accentuate his lean frame.
In June, Asake released “Wave,” the lead single off ‘Lungu Boy’ and it’s an instructive look at what the album might offer. Produced by close creative partner, Magicsticks, there are visible elements of Amapiano’s distinctive shakers and log drums as Asake sings about living up the good life and never backing away from a challenge. With a video shot in Lagos and referencing the iconic Afrikan Shrine, Asake is paying homage to one of the city’s most iconic cultural landmarks while his lyrics say that he doesn’t want to be stressed. Joined by British rapper, Central Cee, it’s the sort of groovy summer-ready song that Asake has made a stock-in-trade since his breakthrough in 2022.
In conversation for his 2022 NATIVE print cover story, Asake noted that his artistry is heavily influenced by Fuji, a mainstay in Lagos Island during his early years. “Omo, me I be Fuji artist o,” he said, proudly declaring his allegiance to the storied Yoruba oral genre that has produced legends like Barrister, KWAM 1, Saheed Osupa, Pasuma, and Adewale Ayuba. In fact, “Raise The Roof,” an Adewale Ayuba and Jazzman Olofin song is sampled on “Active,” the Travis Scott collaboration that’s sure to be a highlight on ‘Lungu Boy.’
As both he and his music travel the world, Asake has continued to find ways to infuse Fuji in his sets. Tour videos have shown him enjoying an instrumental performance of K1 De Ultimate’s “Aluji Mi” and vibing to Fuji jam sessions on stage. Per the album’s tracklist, “Fuji Bonus” will be a bonus track but it’s already one of the most eagerly-anticipated songs on the album due to some pre-release promotion that has seen snippets of it go viral on social media. Originally, many thought that the song would be titled “Fuji Extravaganza.” It was first recorded as a cover of Olamide’s 2017’s hit “Wo!!” but has now been reimagined as the latest evolution of Asake’s relationship with Fuji as he continues to pay homage to the iconic genre and bring it to more mainstream audiences.
An important part of the ‘Lungu Boy’ universe has been the visuals that have propped up the world Asake is building. Some of his tour stops have featured memorabilia that proudly celebrates the streets of Lagos Island as the singer leans into his heritage. Places like Adeniji Adele, Freedom Park, and Marina are referenced and brought to life from stop to stop and will be a key part of the ‘Lungu Boy’ tour going forward. Whatever happens next, one thing is certain: now more than ever, Asake knows who he is and where he’s headed and he’s determined to bring his hood on the ride with him.
For the last six years or so, Show Dem Camp and The Cavemen have both drawn from the same creative well. The former, rap veterans Tec and Ghost, initially built an underground following in the early 2010s with the release of ‘Clone Wars Vol 1,’ the first installment in an extended line of stellar rap mixtapes and albums that houses the sort of witty lyricism, sharp wordplay and relevant social and economic observations that rap heads and career no-sellout vets live and breathe for. 2013’s “Feel Alright” was, however, the duo’s first real dalliance with the mainstream; the Juls-produced highlife-inspired record teased a burgeoning sound that would become fully realized four years later on ‘PalmWine Music Vol 1.’
While the veterans were fleshing out a rap and highlife hybrid that has come to define their illustrious career, The Cavemen – sibling duo Kingsley Okorie and Benjamin James – were similarly tinkering with familiar genres, producing a fresh and unique variant that fused elements of jazz and soul music but still managed to retain its traditional essence. Before the release of their official debut single in early 2019, the duo cut their teeth next to alte royalty Lady Donli, performing at various live events and eventually producing 11 of the 15 songs on Donli’s colorful debut ‘Enjoy Your Life.’ Following their stint with the singer, the duo went on to release a string of singles that culminated in ‘Roots,’, their highly refreshing debut that seethed with the acute nostalgia of highlife but also staked a claim for the new future.
So when it was officially announced a few weeks ago that Show Dem Camp and The Cavemen were releasing a joint album, it seemed like a match made in heaven. The respective duos are, however, not just a great fit because of their overlapping stylistic similarities but also because highlife, for the longest, has served as the bedrock sound for common gathering, an ethos that’s clearly evident in the careers of both acts. And that is exactly what ‘No Love In Lagos’ is: a confluence of talents that explore the intersection between neo-highlife and hip-hop as well as the complexities of love and living in the country’s largest city.
The project opens with the “Intro” track that features a brief but intimate spoken word performance that’s awash in a cascade of warm instrumentation; but it’s the eponymous lead single that truly sets the tone for the project. The title track pulls together the respective duo’s strengths: Tec and Ghost bookend a sonorous and sticky hook – courtesy of Benjamin’s elastic falsetto and Kingsley’s more measured tenor – with ruminations about Lagos’ frigid and unforgiving dating scene over slow, rhythmic drums. The track is also peppered with melodious guitar riffs courtesy of the prolific David Nsikak, who appears alongside The Cavemen and Show Dem Camp throughout the entirety of the album.
Spax, another frequent collaborator, and one of the major architects of the Palmwine sound that has become Show Dem Camp’s calling card, is also here for the entire ride and his presence is instantly felt on “Johni,” another pre-released single that benefits largely from the producer’s booming drums. “Fall” is instantly groovy and is buoyed by the kind of breezy, sing-along hook that made some of The Cavemen’s earlier cuts so endearing, while “Why” sees Show Dem Camp once again pondering about their city’s cutthroat nature. “If I start to craze, they’ll say I’ve lost my mind / I’ve seen this film before, some people cross the line,” Tec raps with the insight of a man who has seen a lot. He ultimately resigns himself to protecting his peace instead of playing the same old games.
There’s a reasonable paranoia that permeates most of ‘No Love In Lagos.’ It’s a running theme that stands in stark contrast to the warm and fuzzy instrumentation that drives the album. This is not a novel creative choice though, especially for Show Dem Camp. The duo have turned to their city for inspiration on numerous occasions, painting vivid vignettes of Lagos’ sordid inner workings over silky production that’s equal parts lulling and groovy. This is, however, the slight downfall of ‘No Love In Lagos’: it mostly offers tracks that sound familiar, perhaps a little too familiar. Regardless, the album remains a good time, at least for the most part.
Genre-bending singer Tim Lyre is entrusted with hook duties on “Buga” and he delivers splendidly, expertly riding beautiful guitar licks and syncopated drums that are sure to get you off your feet. Nsikak also delivers a standout solo performance towards the end of the record, continually reminding listeners of both his presence and stellar skills. “Blessings” finds Tec and Ghost taking stock of their early days: “Used to close my eyes and imagine packed stadiums / Become the national grid and shut down Lagos / Dreams of blowing mixed with fears of being famous,” the latter raps in his usual baritone. It is, however, longtime collaborator Moelogo that steals the show here. The British-Nigerian singer delivers arguably the most moving chorus on the entire album, rendering sweet-sounding prayer requests in his native Yoruba language. It’s catchy, uplifting and incredibly soothing all at once.
“Sudden Day,” the final track on the album, is a masterclass in arrangement: sharp tugs of the guitar are followed by skittering percussions and jazzy horns that all combine perfectly to serve as a delicious backdrop for Tec and Ghost’s introspective back-and-forth along with Benjamin’s soft vocals. Spax and Nsikak also make their presence felt here, with the former acting as director, overseeing the entire affair, while the gifted guitarist once again shows off his unmatched skills.
Since the beginning of their respective careers, Show Dem Camp and The Cavemen have both shown an ardent devotion to sounds that lie outside of the current mainstream canon. This decision has pushed the individual duos to turn to a near-forgotten era for inspiration while carving out a loyal following that have bought into the dulcet gospel of modern day highlife and its variants. So for these duos to finally join forces for a joint album – alongside trusted hands Nsikak and Spax – is not only remarkable, but it feels just right – like a prophecy fulfilled, a dream come true. And even though ‘No Love Lagos’ tends to sound fairly familiar, the album manages to capture some of the magic of both groups’ best works, leaving fans with a fresh batch of songs that ultimately extends the enduring legacy of Show Dem Camp and continues The Cavemen’s rejuvenation of one of West Africa’s richest genres.
In a recent interview with GQ, Asake said of his meteoric rise: “People are counting the days you’re successful. They don’t count the days you’ve been working towards it. Nobody gives a fuck about that.” This explains the impressive effortlessness that the 29-year-old has operated with since his breakthrough a couple of years ago.
After years of silent sonic evolutions and false starts with singles like 2020’s “Mr Money,” Asake came out swinging in 2022, captivating the masses with an infectious alchemy of Fuji music and Amapiano that culminated in his critically acclaimed debut ‘Mr Money With The Vibe.’ This delightful blend of distinct styles has been the main driving force of his rapid, dazzling run; it fuelled ‘Work Of Art,’ an impressive sophomore that doubled down on his winning formula, and now, it’s priming him for a possible trifecta, all in less than three years.
While Asake rarely stepped out of his comfort zone in the first couple of years after his breakout – mostly working with his trusted producer Magicsticks and barely doing features – he’s shown a proclivity since the turn of the year for exploring new musical terrains and for collaborating more. That’s why it didn’t come as much of a surprise when the tracklist for his forthcoming third studio album, ‘Lungu Boy,’ revealed a number of eye-catching features like Wizkid, Travis Scott and Brazilian sensation Ludmilla. The features not only enforce his willingness to push the limits of his sound but it also highlights just how far he’s come in such a short time.
Earlier today, the Grammy-nominated singer released “Active,” presumably the final single before the album finally arrives on the 10th of August, 2024. The song dials down some of the vigor that has characterized most of his biggest hits. Here, he employs a more mid-tempo flow, coasting over an exquisite Sarz beat that expertly flips bits of Jazzman Olofin and Adewale Ayuba’s classic anthem “Raise The Roof” over a log-drum loop.
The sample, which predominantly features a snippet of Ayuba repeatedly singing “ma jo fine girl,” is tasteful and poignant, adding a slice of nostalgia to a track that borrows influences from Afrboeats, House music and Hip-Hop. The lyrics here range from braggadocious to celebratory but ultimately the message is simple: “Oh man I’m active,” Asake repeatedly sings on the hook, simultaneously propping himself up and letting everyone know he’s on top of his game.
Rap megastar Travis Scott is here for company. The 33-year-old punctuates the record with a short but enjoyable verse that sees him bragging about his affluent lifestyle and numerous shenanigans. The song is also accompanied by a colorful and trippy video directed by Edgar Esteves, Joshua Valle, and Nikita Vilchinski. It features flattering shots of the pair in different well-put together sets and a bunch of b-roll footage from a couple of Asake’s recent shows.
Even as the self-proclaimed Mr Money rapidly progressed following his watershed moment in early 2022, a few things still reasonably seemed out of reach. For one, it still seemed slightly inconceivable, for various reasons, that you would hear the iconic “It’s lit” ad-lib on an Asake record. But here we are; the 29-year-old continues to defy the odds as he gears up to complete what could possibly be the greatest three-album run the country has ever seen in record time.
Through the years, Nigerian popular music has undergone a plethora of interesting phases where audience interaction is concerned. In an effort to both understand the various new sounds emerging from Nigeria, and de-center Western narratives and their umbrella terms like “Afrobeats,” artists and fans alike have taken it upon themselves to create new genres for the country’s music. As Rema’s Afro-Rave or Burna Boy’s Afro-Fusion dominated the conversations, a slew of debatable options rose to the surface, including “Afro-Emo” and “Yahoopiano,” of which CKay and Shallipopi were crowned pioneers. Another running joke during this time was Omah Lay’s Afro-Depression; and while the name sounds distasteful, it accurately represents the thematic elements of Omah Lay’s music thus far, more specifically on his acclaimed debut ‘Boy Alone.’
While the project was littered with groovy, upbeat synths alongside more melancholic rhythms, praise for the debut was largely due to the unbridled honesty and vulnerability captured throughout the album. Unlike his peers whose music orbited similar themes of women, sex and money, Omah Lay’s messaging and delivery stuck out mostly for how unafraid he was to discuss mental health; specifically anxiety and depression. This was an even bigger deal because it was happening in an African context, where those topics are only just beginning to gain serious attention; it was rare to find people talking openly about struggling mentally, let alone putting those struggles at the forefront of a newcomer’s music.
On Justin Bieber-assisted “attention” and “tell everybody,” Omah Lay delved into heartbreak, unabashedly begging his love interest for her undivided attention while screaming of their love from the highest rooftops. Despite retaining the same storyline, “never forget” and “soso” provide an even more wounded perspective to heartbreak, alluding to Omah’s over-dependence on his muse for his survival. However, he uses tracks like “understand” to get personal, emphasising his utter confusion with life with brooding hums on the melodious hook, “Everything I do I under under, I no fit under under under/Me I no fit under oh, under under I no fit understand.”
Heartbreak-leaning hits aside, Omah Lay’s unfiltered rawness becomes most apparent on the early album opener “i’m a mess.”Pensive guitar strings create a tender atmosphere on “i’m a mess,” ushering in Omah Lay’s weighty confessions. “Sometimes I’m happy, sometimes I’m sad/I don’t know what’s over me,” he sings on the intro. His confusion becomes clearer in subsequent lines as he shares his struggle to understand the inconsistencies of his feelings. As much as “i’m a mess” details a very personal journey to self-discovery, it also expands on the effects that kind of instability can have on the people we surround ourselves with. Ultimately, when turning to those around him yielded no results, Omah Lay commits to a new found friend, alcohol, and a heavy reliance on substances, while searching for an escape from his reality. Despite the heavy messaging of the track, the groovy Niphkeys-produced instrumentals balance the mood without allowing listeners to lose sight of the self-deprecating number. And by the time it draws to its unsettling close, Omah Lay feelings are still unresolved. On “i’m a mess” and through the rest of ‘Boy Alone,’ Omah Lay is clearly most interested in flipping melancholy on its many sides, showing listeners the inner workings of his mind.
Now a few weeks past the two year anniversary of ‘Boy Alone’ and a cryptic sophomore album announcement shared via X, it’s safe to say that Omah Lay’s tone in recent releases and features has taken a new direction. From a glittering delivery on Victony & Tempoe’s “Soweto (Remix)” to his final single of 2023, “Holy Ghost,”Omah Lay’s artistry has proven to be one stacked with consistent hit contributions but day 1 listeners are still weary we may have lost the sad boy elements he vehemently led with in the early stages of his career. Whether that is true or not, we can always rely on the fact that Omah Lay’s sophomore release will be one laced with honest, personal confessionals truly representative of the artist and whatever phase of life he is currently experiencing.
When Khaid jumps on our Zoom call on a cozy Thursday afternoon, I immediately notice his red dreadlocks, a shock he definitely intended to evoke with the bright contrast from his previous duotone of black and off-white. “I think red has always been my thing. Like this, when I walk in the room, everyone is like ‘who the hell is that guy?’” he says with a chuckle.
Religion has always been an anchor – and perhaps the most influential crucible – in Afrobeats, and Khaid is no stranger to the confluence of religion and music. Born Sulaimon Shekoni Solomon, and raised in a Christian-Muslim household of ten, hope was a heavy tenet of Khaid’s formative years and music offered him the creative outlet he dearly desired. “I started off rapping. I used to think singing was mainly for females, you feel me? At a particular time, I discovered that these people that were singing were so talented and creative, so I started trying it and I just got better and better,” he recalls honestly.
A native of Ojo, a South Lagos suburb steeped in Yoruba tradition and renowned for both its trade industry and its music stars, Khaid – which he pronounces as /Keid/ like cake with a d – found his early path in a vocational trade. At age 14, while his artist dreams picked up steam off freestyles that became popular throughout neighbouring locales, he picked up the practice of fixing cars under the stewardship of a roadside mechanic, and lived out his fantasies through social media, idolising the artistry of Juicewrld, XXXTentacion, and Lil Durk. “The power of the mind is one of the most underrated things. People don’t believe in their mind. They don’t believe in their intuition. As powerful as it is to walk physically, that’s as powerful as it is to walk spiritually, too. The mind is a big space where everything can come to life in an instant,” he says with so much conviction that you can almost see his belief through his plain white shirt and prim jumper.
It wasn’t long before his mental fortitude was rewarded and his many fantasies turned reality. By January 2022, 17-year-old Khaid was announced as Neville Records’ premier artist under the tutelage of internet sensation, Sydney Talker. Sydney had discovered Khaid through one of his many freestyles on Instagram, one year before.
“Social media has done a lot of good for me, not like it hasn’t caused me harm, but it has done a lot of good. I can’t imagine how it would be if there was no social media,” he says, acknowledging the complex bedrock behind his growing influence. “It has helped me push my music harder and just give me more exposure and with social media, you have to be smart about what you are doing.”
TikTok in particular, helped cement his debut single, “With You”– released eight days after his label signing – as one of the romance anthems of 2022. The fresh-faced beady-eyed teenager was a sensation on arrival. By May, he’d released his debut EP, “Diversity”, a six-track mesh of trap and Afrobeats pillowed with youthful exuberance that served as a full-fledged foundational iteration of Khaid’s artistic fantasies.
2023 sealed Khaid as a music industry mainstay. He started the year with the shimmery RnB number, “Jolie,”and then followed with a succession of critically-acclaimed party-starters, “Carry Me Go” with Boy Spyce, and “Annabella.” Later that same year, he released a six-track sophomore EP, ‘Emotions’ before capping the year off with a much-awaited linkup with one of his idols, Lil Durk, and a nomination for Rookie of the Year at the 2023 Headies in Atlanta. “I had no idea I was that big outside Nigeria. I get a little boxed in, sometimes. For me, no matter how big or no matter how little the crowd is, you just need to have that heart of appreciation. I can see my songs are healing people, getting them through some tough times, and just keeping them happy, and it really makes me glad that I’m doing something to help people. Music is therapy, that’s the highest form of therapy. I feel like a therapist right now,” he says jokingly before affirming God as his therapist when I ask who he runs to for help.
Primed for an explosive 2024, and flying high off backlift collaborations with fellow newcomers Gyakie, Tar1q, then spinning the block with Boy Spyce within the first quarter of the year, Khaid encountered his greatest setback yet – himself. He was hospitalised, reportedly for internal bleeding. His faith carried him through the tumultuous four-month ordeal which he barely speaks about over the course of our forty-minute chat. “It’s so crazy having someone tell you not to go to sleep until they approve. That’s what I was talking about on “I Don’t Wanna Die”, he explains. “I’m grateful for living and having life. I think what’s keeping me excited right now is my relationship with God and how my faith has grown.”
On the artwork for his latest EP, ‘444’ – released weeks after he was discharged from the hospital — a grim red aesthetic is emblazoned with a bright cross centred on Khaid’s forehead, signalling his Christian faith and possibly protection from higher powers. “Red is just intense. Pink is actually my favourite colour but red is intense. I think I have a lot to do with red in the future,” he muses. Red has long been splattered across Khaid’s visual aesthetic, but it takes its most daring form yet on ‘444’ casting him as a resilient fighter bleating out a war cry. “This EP is the road to the album. 444 has three meanings,” he explains “The first meaning of 444 is trusting in your intuition. The second meaning is your guardian angel watching over you. The third meaning is that God created the main components of the earth, the sky, the sun, the moon, on the fourth day.”
The three-track EP features a highly-coveted guest verse from rap legend and music mogul, Olamide, which Khaid credits to the power of social media. “I just went on Twitter [now X] and tagged Baddo in a tweet, and he replied. I didn’t even reply on time yet he replied quickly. Even my guys aren’t that quick with replying me,” he jokes. “From there, we just spoke. You know when Baddoo is speaking, you listen and jot things. He just showed me love. I haven’t even met him till now, so I’m like, what if I meet him, how is it going to be?” A week after my conversation with Khaid, a video surfaced on social media of him and Olamide making a Tiktok to their track, “Way Back.”
@Olamide rapper with the hardest melodies😮💨‼️.
Respect Grand chief🙌🙇🏽♂️.
‘444’ is arguably Khaid’s most reflective project yet. Battered by adversity and energised by the awakening of new-found purpose, the 19-year old artist showcases a deep well of versatility, channelling his angst and pain with a familiar cadence and introspective messaging. Although he doesn’t believe in traditional therapy, Khaid wants listeners to find therapy, lightheartedness and healing through his music. Armed with a brand new outlook on life, he cranes to become a source of self-love and a ray of hope to the many children across Ojo and beyond, relying on music for solace. “I just want people to know that as big and as good as the world is, there is still a lot of pain in the world. As sad as it may sound, the music is basically talking about self-love. I want to leave a stain of self-love. I just want them to look at me and say that guy really gave us hope.”
At NATIVE, we are committed to highlighting the freshest talent in African music, and offering a platform to the next generation of superstars. No other African discovery platform stays on the pulse of the underground scene like uNder, with its far-reaching gaze and commitment to pin-pointing the most innovative creators of our time.
In a time where the musical zeitgeist on the continent is experiencing a rebirth, these rising talents are at the heartbeat of the underground scene across Africa, seamlessly fusing innovation and authenticity to create music that represents the texture of their locality, but is still layered with global resonance.
For lovers of underground music and nonconformity, Kojo Blak, Ras Amor, Zerry DL and We Are Nubia are definitely ones to watch – trail blazers set to redefine the musical landscape and steal the spotlight any moment from now.
KOJO BLACK
For fans of: KiDi, King Promise and Omah Lay
Ghanaian rising star, Kojo Blak, places his identity and feelings at the heart of all the music he makes. Born McDonald Braide, the singer’s music is largely reflective of the angst he contends with due to the state of his life. Intuitively, Kojo Blak knows what the stakes are, coming from Dansoman, a sprawling Accra suburb that’s one of the largest estates in West Africa. It’s an experience that he’s deeply grateful for. “Growing up in Dansoman in Ghana, life was tough but it gave me a deep connection to my roots,” he said in one interview. “The struggles and the vibrant culture deeply influenced my music, grounding it in authenticity.”
Blak pays homage to his journey and the places and experiences that have made a mark on him from track to track. On 2023’s “Rulling 1 (Day Ones),” he places his love and appreciation for old friends and acquaintances on record with a startling candour that’s only matched by the emotional acuity of his delivery. “So many love for ma day ones /Them wey dey sing to the songs and the melodies I draw,” he tenderly utters over a percussion-led instrumental. In June 2023, he released an update on “Rulling 1” titled “Rulling Freestyle II (Luv N Presence).” Where “Rulling 1 (Day Ones)” mulled about his OGs and how they grounded and supported him, “Rulling Freestyle II (Luv N Presence”) pulsates with the weight of the singer’s devotion to a love interest as he floats over an Hiplife-adjacent beat.
Most of Kojo’s subsequent releases have focused on his attraction to women and his desire for material success. “Something” is a mid-tempo ode to his ideal woman while “Maja” explores the intersection of attraction and betrayal atop Amapiano’s signature log drums. 2024 has been a similarly prolific year for the singer; “Ready,” a collab with Chop Daily set the pace for his year following the blueprint laid down on “Maja.” A song with Ghanaian shapeshifter, Moliy, soon followed where both singers duetted about needing their lovers on “Calender.”
All of these releases made the May 2024 arrival of Kojo Blak’s debut mixtape, ‘757,’ an anticipated release. Across nine songs, the Dansoman singer pulled a thread between his past and present while laying the foundation for his future. The titular track holds the premise of Blak’s journey as he recounts his paranoia and eagerness for success while declaring that he’s all about his business. Despite all that he says on that song, the brightest moments on ‘757’ come when he leans into his yearning for a romance to last the ages. “Abena” gently pulls at the heartstrings as he confesses that he’s not scared to love while another song, “Anything,” is a cogent promise to satisfy his lover no matter what she craves. – W.O
RAS AMOR
For fans of: Asa and Savara
Ras Amor does not play by pop conventions. The Kenyan musician sways to the rhythms of his heart, experimenting with Folk, Soul, R&B, and Electronica as he sees fit. Through all of his genre-meshing and trials, Ras Amor’s emotion-laden voice is a virtual constant that helps him sift through even the painful emotions and situations. Like most African artists, Ras developed his knack for singing as part of a choir, performing in the Redfourth Chorus for two years after high school before beginning his solo career. Keen to bring his ideas to life, the artist worked on his production skills and has since collaborated with a number of Nairobi-based artists.
His first credit as an artist came on poet Dorphange’s “Nyota Yangu,” a quasi-ballad released in 2018 that features words spoken over squeaky guitar plucks. By the next time Ras Amor emerged on streaming platforms in 2024, he was operating as a fully-realised music talent attuned to his own message and direction. Released in February 2024, his first project, ‘The Lost Tapes,’ catalogues a world of styles and moods that veer from orchestral rock to neo-soul and hypnotic blues. “Fluid” is a dedication to a woman that the singer finds irresistible while the shoegaze-leaning “Morning Sun” narrates how a love interest won his heart over. The Afropop-inspired “Love Is Forever” is an instant reminder of love’s redemptive powers.
Creative freedom is crucial to Ras Amor’s work and his Sanctuary Nation imprint allows him to release music as he wishes. Two other projects, ‘Kitweo,’ a collaborative tape with Clef and Bandana as well as ‘Time Machine’ show that the artist loves to work at his own furious pace and inclination. The groundbreaking 2024 protests against oppressive legislation in Kenya might have disrupted the plans of other artists but not Ras Amor. The polymath threw himself fully into the spirit of protesting and has remained vocally active against the Ruto-led administration across social media. The uncertainty has not slowed down his creative prowess however; to celebrate his birthday earlier in July, he released an acoustic project of selected songs from his projects up till now. – W.O
ZERRY DL
For fans of: Shallipopi, Seyi Vibez and Zlatan
As one would imagine, having a brother who had an entry as boisterous as Shallipopi’s comes with a series of benefits. A hit song with the hottest newcomer on the block, in a scene stacked with an infinite number of new entrants, would be the perfect opportunity to stake a claim as one of the artists to watch. The stars couldn’t have been more aligned for Divine Uzama, aka Zerry DL, who tapped his older brother on the remix of his debut single “Puff & Pass.” On the Busy Pluto-produced number, Zerry tabled his concerns from Nigeria’s dwindling economy and how large sums of money are now spent in seconds to the need for drug-induced escapism from reality. Analysis aside, “Puff & Pass,” as the name implies, is simply a feel-good track that gives insight into his downtime with friends. With the addition of Shallipopi’s verse on the remix’s introduction, bolstered up by on-stage performances over Nigeria’s peak festival season at the end of the year, Zerry DL effectively garnered the attention of audiences eager for brotherly synergy.
Riding the high of “Puff & Pass (Remix),” Zerry DL released a 5-track EP before the end of 2023 with club-ready hits like “Popo” and “Knack Am.” He has since dropped another single and sophomore extended play tagged ‘Wara Wara Szn.’He seemingly arrived armed with a lot more to say, albeit over the same flow and Amapiano-tinged rhythm, on tracks like “O.U.A.T” – Once Upon A Time. For “Cash” assisted by Seyi Vibez, he talks about his plans to spend the money derived from his impending success while “Big Body Benz” celebrated his muse and the buzzing lifestyle of escaping authorities. While he is yet to have a moment as viral as his debut, Zerry DL’s discography, though sparse, holds promise of more dancefloor-ready tunes in the coming years. – N.I
WE ARE NUBIA
For fans of: Maya Amolo, Ami Faku and Brandy Maina
Originally a three-member girl group from Nairobi, We are Nubia made their way onto the scene in 2022 with “Usiku Na Mchana,” a feathery mid-tempo execution that glides over varying instruments to bring the atmosphere of their soulful, heartwarming renditions to land. From the ominous saxophone intro to the groovy drum patterns and piano chords scattered across the track, the trio are immersed in the perfect soundscape to passionately deliver their story of unwavering love. Their debut immediately landed them a small cult following, largely due to their distinct vocals execution and a seamless blend of English and their local dialect. When they later became a two-member group, We are Nubia continued to steal the audiences’ hearts with soul-stirring lyrics and rhumba-leaning melodies on tracks like “Mvingo” or “Mapaenzi Ya Sinema” off their upcoming project.
When 2024 arrived, the pair reaffirmed their penchant for making feel-good music on “Niko Sawa,” telling stories of love, loss and the resilience it takes to pursue one’s dreams. To further expand their catalogue, We are Nubia tapped Chris Clave for a balmy verse and production credits on “NINGEWEZA,” sharing their most intimate desires and dedication to a love interest. Through each new release, We are Nubia deliver impactful performances that transcend language barriers. Together, they’ve shown the potential to leave an indelible mark on Kenya’s soulful R&B scene, with moody, candid lyrics, lovesick numbers and versatile melodies. – N.I
Navigating the music industry as a newcomer can leave any artist feeling burdened under the weight of several responsibilities; even more so when the journey begins at an early age. However, with a solid team and adequate support systems around them, some acts are able to defy all odds and emerge victorious on their paths to much sought-after stardom. Take Davido, who broke out with his hit single, “Dami Duro” at 18 years old, or Wizkid, who put out arguably one of the best contributions of Afropop, ‘Superstar’ just weeks to his 21st birthday.
Today, Afropop’s stars are only getting younger, with talents emerging from all parts of the country with both the childlike wonder of a newbie and the confidence of a veteran. Here’s a look back at some of the best young acts that paved the way, and a new class of artists dominating music conversations in the country today.
OLD-CLASS OF ARTISTS
BENITA OKOJIE
Benita Okojie was always surrounded by music. As a young child, she used to make medleys of Benin and English songs with her mother and sister. That history played a huge part in establishing her as one of Nigeria’s pre-social media child pop stars when her debut single, “Osemudiamen” was released to commercial success in 1998. In the three decades since “Osemudiamen,” Okojie has continued to enjoy success as a gospel singer while pivoting to working as an actress on occasion. Her early success laid the foundation for a number of child stars to break out in the years to come.
WIZKID
There can be no discussion about Afropop without the outsized contributions of Wizkid, who has been a critical part of the genre’s journey to global music’s high table over the last decade and a half. Wizkid broke through with his debut single, “Holla At Your Boy,” released under Empire Mates Entertainment on January 2, 2010, when he was 19 years old. Since then, the Surulere-born star’s trajectory has been an upward incline that has shaped the tone, texture, and style of Afropop. His debut album, ‘Superstar,’ is regularly referenced by many as an undisputed classic in the Afropop canon while other projects have also deepened his legend.
DAVIDO
Emerging in the wake of the continental success of Afropop forebearers like 2Face and P Square, Davido had originally aspired to being a mysterious behind-the-scenes creative behemoth like Don Jazzy. However, he found himself thrust into the limelight when his breakout single, “Dami Duro,” landed him in the stratosphere at just 18-years-old, and set the stage for a run that’s still unfurling new layers into its second decade. Davido added a new level of dynamism and pomp to Nigerian and African music that instantly elevated the game and made him one of the genre’s foremost avatars, widely admired for his collaborative prowess and ever-evolving curatorial instincts.
BURNA BOY
Port Harcourt has long been an important city for Afropop, and in Burna Boy, the city found its great export. The gravelly-toned singer was always regarded as a generational talent thanks to a sonic malleability that made him stand out clearly from his peers, from his late teen start. Right from the beginning, no two Burna Boy songs have sounded the same as he pulled from Reggae, Dancehall, Hip-hop, and R&B for a sound that he has always called Afro-fusion. He kickstarted his international campaign with the release of 2019’s ‘Outside’ and has continued to be one of the most inspiring acts of his generation as well as a reference point for popular music from Africa.
ICE PRINCE
Hip-hop has always been a critical influence in Afropop; and the middle belt and Northern parts of Nigeria have served as incubators for some of Nigeria’s biggest Hip-hop stars. Jos rapper, Ice Prince, came on the scene courtesy of M.I. Abaga, but he was determined to make a name for himself and did so with a number of pop-rap anthems that ruled the lands during the 2010s. His smash hit, “Oleku,” is a cornerstone record in Afropop history while other songs like “Superstar” and “Whiskey” propelled him to the history books without losing touch of his Hip-hop sensibilities.
At just 19, Khaid has showcased a broad spectrum of musical abilities under the glaring lights of mainstream audiences. He ascended the scene’s ranks armed with Afropop-influenced songs like “Anabella” and “Carry Me Go,” all efforts which snagged him a Rookie of the Year nomination at the 2023 Headies. In just a few short years, Khaid has been able to showcase and blend a myriad of influences, borrowing elements of AfroTrap on ‘DIVERSITY’ and straight up lover-boy anthems on ‘Emotions.’These, in addition to the singles and features under his belt, have positioned Khaid as one of the more promising hitmakers orbiting the Afropop landscape.
QING MADI
It’s more and more common for artists to emerge after experiencing viral moments on the internet and 18-year-old Qing Madi is no stranger to the TikTok effect. The Benin-born artist enjoyed her moment in the sun when the uncompleted version of her debut single, “See Finish,” began making the rounds on TikTok and Instagram. After unburdening herself on the debut, her followup singles, “Why” and a BNXN cosign for “Ole” set Qing Madi on a journey hardly anyone could have anticipated. With several standout singles and an eponymous debut EP under her belt, Madi shows clear signs of being one of the leading faces from this current upcoming generation of music.
MUYEEZ
Born Moshood Abdulmuiz, Muyeez is one of the youngest entrants in the Nigerian music scene after arriving under Seyi Vibez’s label, Vibez Inc still in his early teens. The Abuja-based artist made his debut on “Instagram,” delivering a staggering performance alongside his label boss and later on “247,” with other members of Vibez Inc. One self-titled EP and a follow up sophomore release just weeks after, Muyeez is evidently adamant on staking a claim as one of Nigerian music’s brightest budding acts.
TAVES
While Taves’ “Folake” earned him a spot at the top of most ‘up next’ lists, preceded by the BNXN seal of approval following a cover for BNXN’s “For Days” , the Ibadan-born artist had been releasing music long before that. Those years of experience prepared the 20-year-old for his recently released debut album, ‘Are You Listening,’ stacked with emotive, love-struck numbers sure to leave a searing impact on the fabric of Nigerian R&B music.
SHINETTW
ShineTTW released his debut single, “No Religion” to instant acclaim with over 175K views on Youtube. The earworm track pieces together the singer’s background by chronicling his experiences as a young man in Lagos. What helps him stand out amongst other trail blazers is the confidence that shines across his vivid lyricism. ShineTTW’s penchant for emotionally resonant tracks was beautifully showcased across his newly released debut EP, ‘THE CHOSEN ONE’, a clear nod to his relentless efforts to fulfil his destiny through music.
Queer art takes many shapes and forms and in the world of contemporary art, these Nigerian creatives are challenging convention and reshaping narratives with their unique perspectives. We asked them about how their artistry not only reflects personal truths but also serves as a catalyst for social change and innovation.
These responses have been edited for length and clarity.
How long have you been an artist, and how would you describe your work?
Tega Akpomedaye (Digital artist, she/her)
I’ve been an artist for as long as I can remember, I don’t think there was a “when” for me. Although, I started digital art in 2019. Not exactly sure how to describe my art, to be honest. It’s been called whimsical, dark, and more, but I don’t pinpoint it to a specific style. I create whatever comes to mind, whether it’s a hot, sexy fem-boy (my favourite subjects), a stunning woman, or simply my dark emotions.
Tega Akpomedaye
SHIN by Tega Akpomedaye
Alexandra Obochi (Photographer, she/her)
I’ve been creating from two different outlets since about 2016, I would say. My work started from being a makeup artist to kind of moving into creative direction through collaborations and then eventually falling into content creation and then photography. So I kind of have just been moving around and exploring which suits me better. I would describe my work as non conforming a huge part of my work is just telling stories that, you know, have not been told or trying to at least involve marginalised communities like nigerian queer community, and also making sure that my culture is a big part of the work that I do
How has your identity influenced your artistic vision and style?
Ayomikun Bamishaye (Digital artist, he/him)
I would say my identity as a queer person is intricately woven into my art. Growing up in a stigmatised society, Art made me able to explore a feminine side that I couldn’t necessarily explore in real life. An aspect of my art which is heavily inspired by my identity is the makeup looks I add to my artworks. I’ve been an ardent lover of makeup growing up, and of course, growing up in a Nigerian home, there was no opportunity for me to explore that. I then realised that I could use my art to explore that side of me that I had kept hidden for years and it made me experience the life I’ve always wanted through my art.
Freddie Jacob (Digital artist, she/her)
Most of my creative wandering comes from my identity and experiences as a human being in society through the lens of wanting to tell a story but my work is not limited to or by it.
Folarin Omolayole (Photographer, he/him)
I aim to create art that evokes a sense of connection and introspection in my audience, challenging them to consider their own identities and experiences. My work is deeply personal, often reflecting the intersections of joy and struggle that come with living authentically
What’s been your most memorable moment so far as an artist?
Folarin Omolayole (Photographer, he/him)
A really memorable moment for me was releasing my first photo essay “Beacon of light.” The essay took an introspective dive into my early childhood experiences, and was my first body of work that really connected me to my audience and gave me a taste of the type and themes of work I would love to keep making in the future.
Alexandra Obochi (Photographer, she/her)
So I said my work was featured in Time Square in 2022 for NFT NYC. I was really into NFT’s then. Last year I had an exhibition in Kampnagel Hamburg the A WA NI BI exhibition by Matthew Blaise for Obodo which is a Nigerian Queer NGO. I was the recipient of the Black women photographers grant in 2023 which I used to create my latest work, “Project celebrating queer” which is a project I started in 2021 aimed at celebrating and documenting queer nigerian people. I was in the PhMuseum black female photographers to watch in 2024 list as well. Yeah I think those have been some highlights of my journey so far.
Alxeandra Obochi
The Maidens By Alxeandra Obochi
Do you ever include your personal experiences in your work? Can you talk about an example?
Tega Akpomedaye (Digital artist, she/her)
That’s exactly what my art is about, my experiences. Last year, I created an animation after my girlfriend and I broke up. It was the best way for me to express the emotions I felt at the time. I based the animation on the song ‘Strange’ by Celeste.
Alexandra Obochi (Photographer, she/her)
I wouldn’t say my personal experiences. I don’t think my life is that interesting, really. I think I am more inspired by things that happen around me. For example cultural attires, you know people, the events that have happened are the kind of things that inspire me and have like a big impact in my work. Even with photographing people it’s the same thing. So I’m always interested in the people and their stories
Ayomikun Bamishaye (Digital Artist, he/him)
I’m not one to usually express my emotions or experiences through my art consciously. However, there are instances where my personal experience has been portrayed in my work. In 2023, I suffered from severe anxiety and panic attacks. It was a terrible experience and was usually characterized by my heart literally beating out of my chest. That year, I made an art piece (animated) that I titled ‘Raindrops’. It featured a female character with flowing blue hair, and her golden heart beating outside her chest. The piece was quite straightforward to whoever thought to reflect on it as the title itself reflected the erratic beating of my heart at the time.
Ayomikun Bamishaye
I’m Doing Okay By Ayomikun Bamishaye
Have you encountered any issues from your audiences or clients because of how you identify?
Tega Akpomedaye (Digital artist, she/her)
A client refused to work with me after finding out I was queer through my art portfolio. I’m careful about what I share on Instagram because of my family, but on Twitter, I’m free to express myself and connect with the queer community through my art
Folarin Omolayole (Photographer, he/him)
Honestly not that I know of. I try to block out the noise and focus on being authentic and making work that is true to me. I don’t stew in negativity, most times once I feel hostility about the way my work is being digested, I take it elsewhere.
Alexandra Obochi (Photographer)
So far, not really. I think one of the reasons why that happens is that I present as “normal” or what a straight person would look like. So I don’t really come across that much negativity when it comes to my work, because I feel like my community is filled with people who are like me, so they kind of also already understand what I am doing.
What themes or messages do you look to convey through your art, particularly concerning LGBTQ+ experiences and narratives?
Folarin Omolayole (Photographer, he/him)
I would say for me visibility and representation is one of the most important messages I could convey through my work. Oftentimes I find that LGBTQ+ individuals are subject to erasure, so I think its important for me to make work that validates queer existence and experiences so that future generations have imagery and stories to reference from the archives. I want all of us to be able to find solace in our shared experiences.
Brian Ibeh (Photographer/Filmmaker)
Maybe it’s not something that happens so consciously. Like maybe I’m aware of it happening, but I think just growing up queer I always looked at life beyond the traditional perspective. It has always given me a wider perspective because when you look at it I guess one of the premises of being queer is just like deconstructing constructs about sexuality and gender that exist in the everyday world. So in the same way I guess that experience has also just informed even just my eye for aesthetics like the things I consider beautiful are definitely influenced by just having a widened perspective that think queer people are just naturally oriented with just based on what it means to actually navigate the experience.
Bryan Ibeh
Bryan Ibeh Cover Shoot
Ayomikun Bamishaye (Digital artist, he/him)
I hope to inspire feelings of self-love, empowerment, and a sense of belonging in those who view my work. My art is also an exploration of peace. That is the peace that comes with living authentically as one’s true self, the peace found in safe spaces, and the inner peace that develops when we embrace our true selves.
We know that Nigeria is extremely anti-LGBTQ. Have you encountered any resistance or backlash due to the queer themes or content in your artwork? How do you navigate such challenges?
Freddie Jacob (Digital artist, she/her)
My work isn’t queer-centric and that is probably why I have had the privilege and protection from hateful backlash. I fear I would not have this protection if it was, and I believe queer centric Nigerian art and artists do not get to access this protection and that is deeply tragic.
Tega Akpomedaye (Digital artist, she/her)
Not exactly, I think this is due to the fetishisation of queer women by cis men. I’ve received a few negative comments on two of my posts that explicitly featured queer women kissing, but I’ve learned to ignore them and move on. I’m confident that my art has already resonated with my target audience, and that’s what matters most to me.
Ayomikun Bamishaye (Digital Artist, he/him)
Not really actually, there have been occasions when people have looked at me strangely and asked why I only draw female characters, but it hasn’t exactly moved past that. And of course, there have been a couple of times that my art has gotten to the wrong side of Nigerian Twitter. I’ve learned over the years to sort of just mute it all and not dwell on it. I think overcoming such challenges really boils down to having like-minded individuals around you for support as well. It really helps.
Are there specific artists or movements within the LGBTQ+ community that have inspired or influenced your work?
Folarin Omolayole (Photographer, he/him)
My two favourite photographers are Rotimi Fani Kayode who was an Older Queer Nigerian photographer from the 80’s and Clifford Prince king who is a queer American photographer that I love his storytelling. I love both of their abilities to tell queer stories in a soft plush way and their lack of fear when turning the lens on themselves with self portraiture.
Self Portrait By Folarin Omolayole
Freddie Jacob (Digital artist, she/her)
It is a very long list but I will like to highlight Frank Ocean because his music has inspired me as a human for a long time and also influenced my creative journey as an artist with a multi-faceted identity. I’m grateful he and his art exists.
Ayomikun Bamishaye (Digital artist, he/him)
Oh yes definitely, I’ve met so many artists who have inspired and influenced my work in so many ways. The first person on my list would definitely be Tega. She’s one of the artists whose art really spoke to me and inspired me, to be honest. I love how open and provocative she is with her art, she’s such an inspiration to me. Also, people like Freddie and Hazel as I have mentioned previously have really inspired me in the space. As for communities, I used to be part of a Twitter community hosted by Mxtter and Cyber Yuyu with Glitch of Mind. They hosted Twitter spaces weekly for us queer artists to connect and chat freely. It was really fun and made me feel welcome and seen in the community.
How do you think queer art contributes to broader conversations about gender, sexuality, and identity?
Freddie Jacob (Digital artist, she/her)
I think queer art contributes to these conversations in nuanced and angled ways. Art can be used as a tool of amplifying voices and ideas. Queer art and queer artists are very important in the world.
Tems Baby By Freddie Jacob
Brian Ibeh (Photographer/Filmmaker)
While I don’t think art is only activism, it takes on this quality of activism because it’s pulling from real people’s experiences. So I think queer art does this, by just providing more diverse perspectives because queerness is extremely diverse and gender identity is extremely diverse, and because sexuality is extremely diverse but this only means so much, as a statement
Tega Akpomedaye (Digital artist, she/her)
Through my art, I was able to meet other amazing queer artists (like Ayo, Freddie, Gigi) and other amazing artists who liked my work. It created a sense of community for me, I found my people and it only happened because I shared my art.
What advice would you give to other queer artists who are trying to navigate through their own artistic journey or seeking to amplify queer voices through their work?
Ayomikun Bamishaye (Digital artist, he/him)
The best advice I could give would be to be more open to meeting new people and making new friends. Conversations with artists like yourself who understand you truly is a blessing and the best thing to navigate through this journey. Don’t be scared to meet people, join communities, and talk about your art.
Alexandra Obochi (Photographer, she/her)
I would say if you want to do it fully come into it. A lot of people speak about it and then if they get any backlash, they immediately fall back which is quite understandable but these are the consequences of what you’re doing, and you should know that in the first place before actually going into it. That’s if this person is a queer person trying to speak about queer rights and for artists in general I’d just say, be passionate about what you’re doing, before going into it because it’s pretty hard.
There’s no way to tell the story of the UK’s Black music and entertainment scene, without Julie Adenuga. From appearing in front of the camera for hosting duties at numerous events to settling in behind the mic to break down your favourite album releases, Adenuga’s decade-long career has seen her document several untold stories with a refreshing style and perspective. “I’ve found that in all aspects of my career, I’m always trying to lead, guide and encourage the people around me to get some sort of job done,” she shares in an exclusive interview with The NATIVE. “As a result, whatever spaces I occupy, I always want to present myself in that way.”.
Yet even with her skills as a journalist on constant display, we would be remiss to ignore how effortlessly stylish she always appears, armed with a perfectly curated wardrobe that allows her to deliver on responsibilities as the most confident version of herself.
At the heart of all her endeavours, remains Adenuga’s focus on fostering community; and her debut capsule event, Collections, is the latest extension of that. Aimed at encouraging second-hand shopping, Collections gathered a small mob of shoppers, eager to get their hands on some of Julie’s prized possessions for a reasonable bargain. The first iteration, hosted at the start of June, curated everything from daily streetwear to a more elevated wardrobe. Following the successful debut event, we caught up with Adenuga mid-selfcare routine to discuss her personal style and what the future holds for Collections.
The conversation has been lightly edited for clarity.
NATIVE: Throughout your career, you’ve always had a big focus on community. What would you say inspired Collections and would you say it’s an extension of that philosophy?
Julie: My career is predominantly centred around music and as with everything within media and entertainment, you tend to branch out into a couple different but related things. ‘Collections’ was just an extension of me finding more ways to bring people together. It’s more than just selling; we try to make all the events an experience. We want people to enjoy music and just have a good time as well as getting clothes for good bargains. It was essentially to bring people together in another way that wasn’t necessarily through a generic party or club but still meets interests
Talk to me about your personal style. What is it about an outfit that first grabs your attention?
A lot of my styling comes from a feeling. It is based on how I want to feel wherever I’m going whether it’s a concert, party, event, wedding or just going to run some errands for the day. My style is based on how I want to feel when I’m doing my things. It can vary but ultimately I’m really always trying to build confidence in myself in the way that makes me proud. So a lot of my clothing choices come from anything that will do that.
Which would you say is more of a priority, comfort or style?
I would say style, easy. I think if you want to go for comfort all the time, then wear some tracksuit bottoms and a baggy shirt every day. If you want to just be chill and relaxed all the time, then there’s no point thinking about style. The act of putting an outfit together is almost like art. It’s not something that’s easy, creating something many may not have seen before. However, I do understand the conflict and if you can combine the two, that’d be great. But if your goal is style, then you have to give away the idea of comfort to accomplish that sometimes.
You’re someone who wears multiple hats and some may even say that you’ve lived many lives. How is that reflected in your style?
I’ve found that in all aspects of my career, I’m always trying to lead, guide and encourage the people around me to get some sort of job done. As a result, whatever spaces I occupy, I always want to present myself in that way. Whether that is me hosting an event in front of thousands of people, presenting in front of a camera or running a business with staff who need guidance, my style is about giving me the confidence to deliver in those positions and get the results I need. My style has evolved so much and we always just wanted to make sure I find clothes that put me in the space to command and give people direction. And I think the more I develop in the role of being a leader and a business owner and a director, I think the more my style grows within that as well. I tend to find pieces that continue to push me in that direction.
In that case, what would you say is your go-to style? Do you lean more towards casual street wear or more elevated looks?
I’m definitely not into what is considered ‘drip’ but if I had to give my style word it’s grown. I feel like that’s a perfect word for it. It’s grown but it is still very me. Elevated grown if you will.
Who are some of your personal style icons or favourite designers?
Oh that’s a good one. For personal style icons it is always going to be Tracee Ellis Ross. Favourite designers are really on an endless list. Daily Paper’s definitely up there alongside Burberry. They make fantastic art and pieces.
What are your plans for Collections moving forward regarding location, event scale and maybe frequency of the event?
The first one was almost like a test for us, to see if the concept worked. It went incredibly well. We had an amazing time. The team really enjoyed themselves and our customers, most importantly, really enjoyed themselves. So the goal is definitely to do more of them and to reach out to more people who want to get their clothes for us to sell to other people. We really want to partner with some cool people with great wardrobes, evening expanding to some male celebrities as well. Yeah just continue to find people who have got loads of items to pass on and hopefully find the right people to buy them.
Trying to see inside the mind behind LMBSKN is a journey that is always fruitful but seemingly never ending. As several conversations between us unfolded, he peeled back one complex layer after the other to reveal the network of operations that make up his contributions to the Electronic music scene in Nigeria. A key player in the genre for the last half decade, LMBSKN defines himself not as a DJ but as an ‘Electronic music performer.’
“I build a set of mostly my songs or remixes that I’ve made over the years, and perform those in front of a crowd. In some cases, that may entail mashing up two of my songs,” LMBSKN explains in an exclusive interview with NATIVE. “But it’s important to remember that they’re mostly my songs and that’s not DJing at all. It’s a lot more fun but a lot more stressful.” This seemingly trivial detail not only distinguishes LMBSKN from his peers, but is crucial to informing the way he – and others – understand his craft. And after over a decade dabbling in music, punctuated by a few off moments where he was told his music was ‘not commercial enough,’ it’s clear that LMBSKN is marching to the beat of his own drum with a self-assured vigour.
Although LMBSKN wouldn’t call himself one, it’s impossible to trace the trajectory of Electronic music without recognising the role of DJs in that history. Before the pandemic-induced resurgence of House came in the form of South Africa’s mainstay genre, Amapiano, DJ’s had begun climbing the music industry ladder with imaginative sound experiments across Hip-Hop and Techno. Names like Vinni Da Vinci sprung to the forefront, and then just a couple of years down the line, Black Coffee rose to prominence, cementing South Africa as a one-stop-shop for reimagined yet authentic Electronic music inflected with uniquely African sensibilities. As veteran acts took over the mainstage, DJs in the ’burbs of South Africa used intoxicating beats to garner the ears of music lovers across Africa, hinged on sub-genres like Gqom. The sound seeped through cracks and sprouted to the top of playlists and party tracklists, later informing an even deeper exploration into other facets of House music beyond the now commercialised rhythm of log drums.
The growth of House and the appetite for all the other sounds it’s birthed, led to the emergence of party initiatives and spaces where Electronic music could live and grow. “As much as popular Nigerian music has gained prominence globally, I sense that we’re growing a bit tired of the party experiences that go along with that sound,” LMBSKN observes. “At the same time, many more people are accepting and exploring Electronic music and it seems pretty obvious that in a couple years, we’d have figured out a couple of things regarding our contribution to the global Electronic music conversation.” Alongside others likeGroup Therapy and Element House, Wolf In The Hen House – LMBKSN’s own Electronic-led party – has carved special room for itself in the scene, propping up acts like Weareallchemicals, Aniko and Yosa to name a few.
“I thought it was important to hold space for experimentation and weirdness”
Only a few months since its establishment, Wolf In The Hen House is gradually growing into a community space where like-minded music lovers can commune over their passion for Electronic music. Considering the initiative is still in its infancy, LMBSKN is careful to shape the course of its growth to avoid getting lost in the noise of the current music scene. He describes it as an “interactive” space, which not only includes the transfer of ideas between attendants, but also between the performance acts and the audience. “I find that I’m at my best as a curator, music producer or performer when I’m following my instincts… I might ask somebody to give me a melody idea or a riff to make something out of and that would be absolutely unplanned. I’m just being a producer and performing my own music, whatever that means,” he says. The success of spaces and community-driven initiatives like Wolf in the Hen House, LMBSKN explains, largely relies on a relationship of trust between artist and audience. And for LMBSKN, that trust extends beyond the dance floor and into the studio, where even more magic happens.
Despite establishing himself as a mainstay curator and performer in Nigeria’s underground scene, LMBSKN has not left the world of music production, making sure to build a bridge from his comfort zone to mainstream audiences. His chords, created mostly on his synthesiser, have touched music from the likes of Pan African rockstar herself, Lady Donli, to Nairobi-born vocalist, Nikita Kering. He explains that all collaborations require the artists to submit to the process, whatever that may entail, because it will more than likely require them to try something outside their comfort zone. In the end, the goal is to leave them better than they came and more willing to experiment in the future: “I find that the best sessions are those where the artists either trust me beforehand, or I am able to earn their trust in the first few minutes of the conversation. I start most sessions by just chatting for an hour or two to help everybody drop their artist persona at the door and feel like we’re just hanging out and creating,” he says. Think tracks like “Hello Lady” and “Industreets,” off Lady Donli’s ‘Pan-African Rockstar’ or NATIVE Sound System’s Ayra Starr-assisted “Stuck on You,” where we see these artists fully embrace new directions to birth pristine artistry.
Speaking on his past collaborations, LMBSKN shares, “We can make six songs and two of them are going to leave you thinking, ‘hm, I didn’t know I could do that.’ Another part of your brain would’ve been opened up and hopefully, willing to do more of it. That’s when I know it’s working.”
One unrivalled career high however, came from his long time love for film and manifested with score production credits for Ryan Coogler and Ludwig Goransson’s ‘Black Panther: Wakanda Forever- Music From and Inspired By.’ “We absolutely also deserve to be there.” he candidly expressed as he detailed the process of working in the Lagos camp for the project. If the important role of Africans, especially Nigerians, in shaping global music wasn’t clear before, that moment dismissed any lingering doubt in LMBSKN’s mind. The message came through perfectly in a full circle moment for the artist, considering it was delivered by people he draws inspiration from, “I grew up idolising film composers like Hans Zimmer, Alexandre Desplat and even Ludwig.”
Beyond iconic film geniuses, LMBSKN, draws inspiration from a slew of veteran acts in the Dance and Pop scene like Daft Punk, who he referenced when finalising his artist moniker. The French Electronic music duo whose music took the world by storm after forming in the 1990s, are widely recognised for their robot-like helmets, adding an air of mystery to their craft, but more importantly, allowing the music to stay at the centre of everything they do. While physical recognisability does not rank high when considering what ways to communicate his work, LMBSKN still hopes to continue making music that resonates so clearly, any listener can pick it out of a thousand-song playlist – a common trait of the music from two of his idols, Pharell Williams and Kaytranada. “Of course my personality will shine through but music is the priority,” he says. “The most important fact about LMBSKN is that he makes the music that he makes.”
Back home in Nigeria, he cites William Onyeabor who not only played the synthesiser but holds admirable levels of tenacity that shone through in his music and his modes of production. While the idea of separating the art from artist typically appears in more problematic stories, the distinction only sheds light on LMBSKN’s laser focus and his determination to package the message he was placed in the world to deliver.
“The most important one for me is if the people who lived through this time I’m living, think back and say ‘that was a moment’”
More than anything, LMBSKN is here to reinvent the ways we approach music as both consumers and creators. Whether it’s through Wolf In The Hen House, his captivating Youtube series, LMB Chops or even his upcoming music, the name LMBSKN comes with a promise of good vibes and artistic innovation, now and always.
The 2024 documentary Record Found Here opens with narration, against the image of the sun setting over the Abeokuta landscape. Filmmaker Lanaire Aderemi’s voice tells the audience about her grandmother’s story of the Egba women’s revolt, setting the tone for the film’s main goal: Aderemi wants us to “see the unseen, know the unknown and learn our resistant history anew.” It’s a project that takes the audience on an intimate journey into the past, giving new perspectives on the enduring effects of human memory.
Record Found Here is a film that puts a spotlight on the 1940s Egba women’s revolt, in Nigeria. The harsh taxation on the women of Abeokuta by Nigeria’s colonial government led to a massive protest, with the women calling for an end to the oppressive practice. The taxes heavily impacted market women, who could not afford to pay those fees, and the activist Funmilayo Ransome-Kuti played an important role in rallying them.
In the documentary, Aderemi interviews several people who were around at the time of the revolt, getting firsthand accounts of how it came to be. The interviewees detail the rising stress of the women affected, and how they were forced to sell at night to avoid taxation. They speak on how Ransome-Kuti began to mobilise some of the women, helping empower them by teaching them how to read and calculate the profits they should earn, before subtly mentioning the taxation issue. Some of the film’s interviewees give a rendition of an old song used to mock the Alake of Abeokuta, one of many that ridiculed the Oba who would not hear the women’s pleas.
Through these interviews, we see how deeply people were personally affected by the events, including long after the protests ended. One of the interviewees, Oluwafunmilayo Adunola, despite being a child at the time, was driven by the actions of the women throughout her life, going on to become the first female leader of Nigeria Labour Congress.
The film gives us a look into history more personal to Aderemi as well. We see glimpses of her old family photos as she interviews her grandparents, who tell her to preserve memories. Preservation of memories can often be taken for granted in the digital age when many people could document any meaningful event with a quick tap on their smartphone. With evidence of how easily digital archives can be lost, both on the internet and on people’s devices, connecting with real people, as well as physical archives is becoming more important than ever. We spoke to Aderemi about the importance of preserving history, as well as how she carried out the research to complete this project.
Our conversation has been lightly edited for clarity.
NATIVE: What made you realise that now was the time to tell this story?
LANAIRE ADEREMI: The time is always now for telling untold stories. I didn’t decide on a particular moment. I’ve been working on this research as part of my PhD since 2021 and since the PhD is coming to an end, I wanted to challenge myself to create something that memorialised the Abeokuta Women’s Union.
What was the most meaningful piece of information you discovered when researching this project?
The Abeokuta Women’s Union were incredibly meticulous about archiving themselves and their achievements. For instance, they wrote a list of the names of members that attended meetings. It’s almost as though they were waiting for someone to enter the archive and share their stories, songs and strategies.
How did hearing your grandmother’s memories about the revolt impact your relationship or the way you view her as a person?
It didn’t change anything really. Perhaps because conversations on the revolt were a tiny fraction of our conversations. I felt blessed to hear her views on the Abeokuta Women’s Union’s courage and fearlessness but my Grandma’s recollection of this movement was more of a seed. Speaking to her excited me and listening to her memories several years ago re-energised me.
What was the hardest part about making this project?
Finding the participants to interview for the oral history interviews. Since the event took place in the 1940s, most of the protestors or witnesses have passed.
Stories like this are often hard to tell because of a lack of proper documentation in much of our country’s history. How were you able to fill in the blanks outside of what your grandmother told you?
Visiting archival sites like the National Archives in Abeokuta. We came across documents from the Egba Council records such as letters and meeting notes which helped to fill the blanks. Asking family and friends. With the support of researcher Joseph Ayodokun, we found people who had witnessed the revolt at a young age. We conducted oral history interviews with them to fill the gap. Judith A Byfield wrote a seminal paper titled ‘Taxation, Women, and the Colonial State: Egba Women’s Tax Revolt’. This paper solidified my understanding of this revolt. I also spoke to Judith to fill in the gaps since she had studied this subject extensively.
You first explored this topic on your podcast Story Story. Do you think exploring the story in a visual medium will change the impact it has on audiences?
Yes. Adding another sense always changes things. Sound forced an audience to concentrate on only the sonic experience. I love awakening audiences’ imaginations through different senses but I was intrigued by sound for how simple yet versatile it is. In a way, ‘Record Found Here’ is the story in a visual medium.
Has working on this project inspired you to look into other aspects of Nigerian history?
Yes, there are some aspects of Nigerian history I am intrigued by and we’ve covered most of them in Story Story pod; for instance, the Ogoni 9. I’m also intrigued by the Aba Women’s Protests which pioneered anti-colonial protests against tax in Nigeria.
What do you most want viewers to take away from this project?
Preserving history is important.
Archiving personal histories is important.
Nigerian women have been doing the work for a very long time.
Documenting our times is important work.
Has the project impacted your approach to feminism in any way?
I value oral histories even more. The methods I used through my research are feminist methods since they value women’s diverse subjectivities. In academia, the written word or words found in texts are often deemed to be more important than what is spoken. I’m glad that the project documented the enchanting lived experiences of women by recording oral histories.
Featured Image Credits/Peekopapzz
Get Tickets to her London screening on September 13th here
There cannot be a discussion about the present – and future – of Afropop without Victony. Whether in terms of sonic malleability, imagery, or creative vision, the former rapper turned sirenic songbird is at the forefront of the genre’s stylistic revolution thanks to a meticulous mind and an abiding search for identity that brings heft to all of his music. It’s a pairing of tools that has largely served as the propelling force behind his rise since fully leaning into a new arc as a singer on 2020’s ‘Saturn.’ And in the years since that introductory EP, Victony has been through a series of crushing lows and euphoric highs that have further swelled his bank of experience and made him an artist with a burning message to pass on.
Now, on his debut album, ‘Stubborn,’ the singer makes a bold attempt to memorialise his journey from being a curious kid in Ojo, to standing on a pedestal as one of Afropop’s great hopes. It’s a delicate task that requires a slight recalibration of his sound from the sun-drenched dancehall and soul fusion of 2022’s ‘Outlaw’ for a more pared-down sound that still manages to be a vibrant mosaic of the people, places, and experiences that have made a mark on Victony.
In many ways, the artist is a product of a specific Lagos subculture that has survived for decades. Despite the divisive narratives spread by bigots online during the 2023 presidential elections, families from all over Nigeria, and across all income levels, have always lived side-by-side in the coastal city largely without issue. In these communities, kids of all tribes play football together, shop at the same local markets, sing aloud to the same songs, grow up celebrating at both Eid and Christmas, and have developed a creolization of their many languages that’s often adopted as a lingua franca. It’s a heritage that Victony proudly claims as his across ‘Stubborn.’
Per local hood lore, someone who is stubborn is usually viewed as an outcast or seen as possessing a strong sense of ambition that is typically out of the ordinary. Across ‘Stubborn,’ Victony channels his feelings of being misunderstood while weaving his come-up story around the Lagos-specific pidgin of his childhood for narrational effect. Album opener, “Oshaprapra,” takes its title from the street-lingo for radiant but it’s really a crash course in the path that set up Victony for future success as he battled societal pressures and self-doubt to make a name for himself. His soft, buttery voice skirts languidly over the mid-tempo instrumental to share how he has had to purposely steel himself to achieve everything he has. Guest, Shorae Moore, adds luster to the song via melodic singing on his delightful interlude but Victony is quick to return to explore how he’s still standing tall despite all he’s going through.
Often, debut albums are spent in service and remembrance of the places and themes that have left the biggest imprint on an artist and ‘Stubborn’ is no exception. The streets of Victony’s childhood and early adolescence colour its margins and are never too far away from the singer’s mind. “Tiny Apartment” with SAINt JHN is a ghetto love story played out for a global audience. On the song, Victony imagines what it might feel like to miss a love interest while all alone in the popular face-me-I-face-you apartments that dot Lagos’ landscape. Anyone that has dealt with the heartbreak can instantly recognize all the ways that a relationship’s end can shatter even the most composed person. And when Victony sings, “In my tiny apartment / As you say make I park well / Girl, na my blankie I use hold body,” he’s giving words to a whole universe of unspoken feelings. The genius of “Tiny Apartment” is how it manages to elevate a decidedly Lagos story by tying it into a global emotion with SAINt JHN’s dulcet vocals melding perfectly with Victony’s.
Love undoubtedly plays a crucial role in the narrative of this album. On “History,” Victony is asking a lover not to let the past determine the parameters of their love. It all comes to a head on the song’s chorus where the singer is gently pleading, “No go dey calculate my baby.” He’s more forthright on “Anita,” telling a love interest that he’s attracted to her. Thematically, “Anita” sticks out like a sore thumb on the project as it doesn’t advance any of the ideas that the singer builds towards throughout this album; if anything it feels like the long-lost twin of “All Power” off 2022’s ‘Outlaw,’ in the way it suggestively captures Victony’s fascination with a lover’s physical attributes.
Generally, the best Victony romance songs build towards a certain type of pulsating release that comes from his wide-eyed enthusiasm for the subject, rather than the kind of tired lasciviousness that can falter. It’s that abiding sense of elation that made his Blaisebeatz-produced “Everything” a must-listen upon release. Referencing his knowledge of Nigerian pop culture, the singer promises the world without reservation to a love interest. Within ‘Stubborn,’ “Everything” still retains its sense of magic and chromatic wonder as longing and genuine appreciation converge for a true highlight. “Pier 46” is similarly unique in how the singer approaches making a ballad. It’s the sort of writing and delivery that Victony has made a stock-in-trade since ‘Saturn’ as he deftly uses the upper registers of his sirenic voice to explore warmth and romantic desire in ways that many Nigerian male acts wouldn’t dare attempt.
Victony has always slipped between sounds and influences with the ease of a dexterous curator. His sense of non-conformity is heightened in patches on ‘Stubborn’ even if the ambition shown does not necessarily function in service of any distinctive purpose or cohesive vision. The trap-leaning “Risk” lives up to its name as it loops elements of Fuji and Blues into its delivery scheme for an experimental affair. The lyrics also paint a picture of a yearner who might fall in love with a girl he’s meeting for the first time on a random night. “Love in the club no be wetin you dey find / Excuse me, shey you know this your behind / E dey cause me me trouble, so make I no go blind / Darling, shey you know I for like to get to know you,” Victony sweetly coos for all to hear.
The collaborations on ‘Stubborn’ sway between inspired and lukewarm even if Victony manages to find interesting pockets to operate in throughout. Afropop juggernaut, Asake, dials in for an inspired cameo on the titular track that sets the pace for what the album is thematically built on. When Victony sings, “Me I no dey hear word / Me I no fit be your idolo,” it’s done with a relatable sense of mischief that brings the words to life. “Slow Down” offers much promise but lacks the riotous verve that a typical Teezo Touchdown showing typically offers while “Ludo,” featuring Shallipopi platforms the best of both artists with Shallipopi making space for the Benin-born rapper vocal tics.
Victony takes things up a notch on “Kolo (Kolomental II),” a swaggering update on “Kolomental,” off the ‘Outlaw’ EP. The only criticism for “Kolo (Kolomental II)” would be its brevity but it’s a highlight that articulates the self-confident energy coursing through this debut. “Jobless people dey find wetin do ogbeni / Get the fuck out my LinkedIn,” Victony briskly warns. It is rare to find him channeling this kind of angsty energy but he captures the essence of the emotion artfully. “Bs$tard, Don’t Be Silly” is similarly confrontational even if the chip on the singer’s shoulder is informed by previous unpleasant experiences.
The album ends on a somber note with “Street Affair,” a quasi-hymnal that finds Victony considering all the betrayal he’s faced, the feats he’s accomplished, and all that’s still ahead of him. It’s a solemn song that calls back to his larger message of being misunderstood, as he invokes divine guidance and prays that his affairs never become fodder for public dissection. For the first time on the record, the singer sounds genuinely weary as he sings into a swooning mix of guitar and piano keys. “Make e my family meeting no turn to street affair,” he softly whispers from time to time. It is the ardent prayer of a person that has belatedly found grounding and is eager to keep his winning streak going.
Since his foot-thumping debut single, “Dumebi,” Rema has continuously reaffirmed himself as a transformatory artist with a decidedly distinct aesthetic. A craftsman unmatched by his contemporaries.
Introduced with a boyish look, marked by a Balaclava and saddled with a teddy bear, Rema, 18 at the time, made one of the most audacious entrances for a newcomer within Nigerian music. He released an eponymous EP, maintained omnipresence across airwaves and billboards across the country, and commandeered social media through freestyle videos and colourful visuals layered with youthful exuberance. It was the year of Rema, the self-proclaimed Prince of Afrobeats, and multi-disciplinary creator, Niyi Okeowo had a front row seat from day one. “I photographed one of Rema’s first images,” Okeowo tells me over a zoom call. “There are some popular black and white images I shot for him [back then].”
Tife
Okeowo is one of the most magnetic visual design voices on the continent, stacking up a portfolio that boasts heavyweights such as Adobe, Uber, LVMH, among many others. “We got the brief that [Rema] wanted something that would read the same, front and back [like a palindrome], but with gothic elements that would spell ‘he is,’” Okeowo recalls. “We worked on keywords and did a moodboard. I think the first thing we did was to sketch it on a bat, and then we just went back and forth from there.”
The “we” Okeowo refers to here is himself and illustrator, Boluwatife Osinaike, whom Okeowo describes as an illustrator that thinks like a designer. The pair have since formed a Batman-and-Robin-esque relationship fueled by their mutual love for design and research, amassing an artist clientele list that ranges from ShowDemCamp to Wizkid.
“We built on the logo, Tife started working on sketches, and Rema added some elements. We built it on riot imagery. Not riot like [an] actual riot; I don’t know if you know this movie, Athena? More like that kind of riot. We also noticed he had been leaning towards that anarchy, rager, and riot direction so it was a no-brainer. We had about seven versions of the logo. We did a 3D and Chrome version.”
Within the five years of his ascendance, Rema has explored multiple iterations of himself, morphing into an absolute showman that commands attention. The video for the monumental single “Bounce,” erased any doubts about his confidence, “Soundgasm” put to bed questions about his innocence, and, finally, his critically-acclaimed debut album ‘Rave and Roses,’ cemented his coming-of-age moment. Each of these eras were accompanied by a selection of carefully-crafted aesthetics; from hair to fashion to imagery.
When Rema charmed his way into our hearts in early 2023 with his sensational footwork and newly-found dance moves, it was a prelude to the anarchy-driven rodeo aesthetic that characterized his ‘Ravage’ EP and formed the cornerstone of the design experience at his O2 Arena headline concert.
Now in a goth-laden phase, which is loosely termed “opium” after Playboi Carti’s rap collective and their all-black aesthetic, Rema leaves a lot to the imagination as he ushers in a new era – and his new insignia further complicates that mystique. “I kind of suspected that whenever he would use it, it would be for the revealing of something,” Okeowo says assuringly, eventually adding that he was as surprised and excited as everyone else by the bat signal reveal of the logo.
So far, Rema has brought in his opium era with a kinfolk collaboration with Shallipopi, “Benin Boys,” and a polarizing song “Hehehe” that sees him breathe in experimental pockets like never before.
Illuminati allegations have lingered over the Benin boy as he steps confidently into this new phase, with fans drawing overarching occultic undertones from his grim aesthetic and logo. “I think people just need to realize that within the confines of art and literature, people are allowed to explore different ideas. Nigerians are allowed to have occult imagery. Art will always form an opinion, it’s either you hate it, like it or you are in the middle. I don’t think we should police art but we can put a lens on it,” Okeowo says, before highlighting the importance of art direction and the countless benefits of artists building their own universes like The Weeknd and Travis Scott have.
Although this new logo marks a fresh chapter for Rema both visually and sonically, he’s long embodied this essence well before “HE IS” was even conceived. This new logo and sonic exploration are just affirmations of what he’s always been.
It has been four months since the Lagos Controller of Works, Olukorede Kesha, promised to compensate businesses affected by the Landmark Beach demolitions from a N2.7 billion fund. So far, only two brick buildings have been compensated – the restaurant Island Breeze and the Lagos Breeze Beach Club. Kesha had promised to pay shanties on “compassionate grounds,” but this changed when the Federal Minister of Works, David Umahi, defended the Landmark demolition, stating explicitly that the government “does not pay for shanties,” as they are located on the highway’s Right-of-Way.
But Onwuanibe and the traders aren’t the only ones bearing the consequences. There is much more at stake – from tourism, to the local economy, and of course, the environment. But to understand the ramifications, we need to first understand the importance of Landmark Beach to Nigerian society.
Landmark Beach: A once picturesque tourist escape
Before 2024, Landmark Beach – a popular tourist destination in Lagos known for its beauty, exorbitant fees, and concerts featuring A-list musicians – was a picturesque escape from the bustling city of Lagos. With its pristine sandy shores, turquoise waters and a panoramic view of the Atlantic Ocean, it was the perfect place for tourists – and the locals who could afford it – to enjoy a weekend of lively music, slightly overpriced but delicious food, and paintball activities with family, friends or even by themselves.
Landmark Beach before April 2024. Image Credit: Landmark Realty
Today, the carefree spirit of Landmark Beach has been ruthlessly silenced. Where joyous melodies once danced with the waves, an unsettling quiet now reigns. Bulldozers have devoured the remnants of hurriedly dismantled structures, leaving behind a desolate landscape. Offshore, you can hear monstrous dredging vessels churn in the water, turning its once inviting turquoise into a murky, frothy brown. The once-iconic beach is now a mere ghost of its former self, a hollow shell whispering tales of a vibrant past.
A sudden blow
For over 17 years, Landmark Beach reigned as Lagos’s premier private beachfront destination. A hive of entrepreneurial activity, it buzzed with over 40 businesses offering a kaleidoscope of leisure options, estimated to be worth over ₦20 billion.
But Landmark Beach wasn’t just fun; it was also a well-oiled machine. ₦25 billion had been spent on infrastructure, creating a solid foundation for success. Onwuanibe has proudly highlighted the beach’s economic impact – over 12,000 jobs were created and a staggering 3.5 million tourists flocked there annually. Revenue figures mirrored this success, with Landmark raking in at least ₦2 billion ($1.5 million) every year.
Tourists at Landmark Beach. Image Credit: Landmark Realty
Then, on April 24, 2024, a seven-day eviction notice and demolition warning from the Lagos State Government landed like a bombshell on Onwuanibe’s desk. Two days later, a meeting with the Federal Ministry of Works offered a mix of clarity and harsh reality for Landmark’s businesses.
The reason for the demolition, the government said, was the upcoming Lagos-Calabar coastal road project, a highway designed to be a ‘scenic route’ similar to coastal highways in other countries.
According to Onwuanibe, the original plans for the Lagos-Calabar coastal highway designated a 1.5km stretch along the Water Corporation Road median as the right-of-way. However, Umahi opted against this initial alignment, citing the area’s significant development with high-rise buildings and costly infrastructure, and the need for a revised design to reroute the coastal highway and accommodate these new structures.
In March, Umahi announced that the coastal highway – an idea first conceptualised in 1955 by then Federal Commissioner of Finance, Festus Okotie-Eboh – was to commence in April and to be completed within eight years, which aligns with a two-term tenure for current president Bola Tinubu.
The first phase of this would be constructing 47.7km of highway from Ahmadu Bello Way, Victoria Island, all the way to the Lekki Deep Sea Port within Lagos State. In the initial plan, the Water Corporation Road itself was to be part of the coastal highway, but that was changed to include the coastal shorelines, including Landmark Beach.
There was no pertinent reason as to “why,” but despite Onwuanibe’s disagreement with the plan, Umahi insisted that only 50 metres of the shoreline would be used, and said the decision was “irrevocable.”
Red marks the initial plan for the coastal highway to be built on Water Corporation Road. Yellow marks the revised plan to re-route the coastal road to the waterside. Image Credit: Landmark Beach
Business structures within the first three kilometers of the newly-designated right-of-way needed to be cleared out immediately. The news sent shockwaves through not just Landmark, but also neighboring beaches like Oniru, The Good Beach, and Sol Beach, all nestled within the close 1.4-kilometer stretch.
“In less than three hours, my dreams were destroyed”
When it came to perfect wedding destinations, Onyinyechi Achigbu, a communications specialist, always had Landmark Beach in mind. She and her partner of three years had made it a hobby to visit the beach at least once a month because of the lively atmosphere and close proximity to their home on the island.
On the verge of tears, Onyinye explained to NATIVE just how much the beach means to her. “There was this running joke my partner and I had that if we got married, our wedding guests must be clad in nothing more than shorts and swimsuits because the venue would be at Landmark Beach. It had become a place of peace and escapism for us.” Now, Onyinye has to settle for other beaches like Leisure beach, which is located in Lekki and which she complained was “too quiet for her tastes.”
While tourists may have only an emotional response, the after effect for entrepreneurs also has a financial overlay to it. Awni Berry, an Indian expatriate and General Manager for now-demolished Breeze Beach Club, disclosed to NATIVE that he was offered N100 million as compensation by the government, which is nowhere near the value of construction, a whopping N500 million.
Breeze Beach Club. Image Credit: Breeze Beach Club via Instagram
“For the past four years, I put my blood, sweat and tears into making this club a premium luxury relaxation spot. Now, I have to refund $4500 to nearly one? hundred subscribers in less than a month. I got government compensation yes, but can they repay all the running costs acquired in my four years of running this business? Absolutely not!” he angrily lamented. For now, Lagos Breeze Beach Club is closed until further notice.
Awni Berry and architects at the construction of Lagos Breeze Beach Club in 2020. Image Credit: Lagos Breeze Beach Club via Instagram
Deji Akinjobi, a lawyer and investor in the Honey Night Club Lounge, a segment of the Mami Chula luxury resort on Oniru Beach, was only a new investment partner in the club as at February 2024. He has been making plans to relocate from Nigeria with help fromthe club’s earnings, but those plans have now ground to a halt with the demolitions. With a mixture of both anger and sadness, he said “words can’t begin to describe what I feel. I invested N40 million in Honey Club because I thought I could cash out from it and start life afresh in Canada. But the government came in and did its worst. It’s funny how you save all your pennies and get your dreams destroyed in less than three hours.” Still, it’s the businesses classified as shanties who have taken the most hits, as they are deemed ineligible for compensation. *Betty, a single mother of three who used to sell a variety of finger foods popularly known as “small chops” out of a metal container at Oniru Beach, now sits with a gloomy look on her face as she watches the structures around her being destroyed. She refused to have her photo taken for NATIVE, but she disclosed how she made nearly N150,000 every week from sales. “It’s hard for me because most of these new beaches don’t allow people like me to set up business anyhow. I have to start going to both Lagos State office and the beach for registration and build a proper structure. My kids are in secondary school and I am already owing a term’s school fees. This has set me back to square one,” she complained.
Despite a federal law restricting construction within 100 meters of rivers and 250 meters of shorelines to protect waterways, lack of enforcement has allowed developments to creep closer and closer to the Victoria Island beachfront over the years. This meant that while some occupants filed taxes, they had no valid claim over those spaces beyond largely undocumented approvals.
As a result, once the evacuation order was made, many entrepreneurs were asked to prove the value of their structures on the spot. Some fetched supporting documents, while others made panicked calls to their managers, and questioned the idea of valuing businesses by metrics that neglected losses incurred in irreversible financial obligations like bills or bank loans.
Understanding the EIA debacle
Since the Lagos-Calabar coastal highway was announced, there have been concerns about whether or not an Environmental and Social Impact Assessment (ESIA) was completed before construction began.
The EIA Act of 1992 mandates that such an assessment be conducted and approved by the Federal Ministry of Environment before any major project commences. This requirement aims to mitigate potential environmental and social disruptions caused by large-scale construction.
How does an EIA work?
The Environmental Impact Assessment (EIA) process is a critical step in ensuring environmentally responsible development. Here’s a breakdown of the key stages involved:
Scoping: This stage defines the environmental issues to be addressed in the EIA study. It helps identify the most significant environmental concerns associated with the project.
Baseline Studies: Data on various environmental aspects in the project area is gathered to establish a baseline. This data typically covers air quality, water quality, biodiversity, soil conditions, socio-economic factors, and other relevant aspects.
Impact Assessment Studies: The potential impacts of the project on the environment are evaluated. These studies consider both direct and indirect impacts, as well as cumulative effects over time.
Mitigation Measures: Plans are developed to minimize or offset any adverse environmental impacts identified during the assessment stage.
EIA Report Preparation: A comprehensive report is prepared that summarizes the findings of all the preceding stages. This report includes details on scoping, baseline studies, impact assessments, and proposed mitigation measures. The EIA report is submitted for review and approval before project commencement.
In speaking with Professor Ademola Omojola, a geography and remote sensing expert, he said that projects undertaken outside of “green zones” (areas with no significant human activity) must have a report with an additional social impact component which is to identify potential social disruptions to be caused by the project and the decisions to be made to mitigate these disruptions.
Now, here’s the controversial part: Umahi failed to confirm the existence of an ESIA when asked. A letter from Kesha had also been sent to residents in certain areas along the highway, asking them to attend a workshop after the implementation of the project. The letter stated that this data collection was to ensure that the project is developed “responsibly and sustainably” and in line with local regulations and international standards. The move suggests that an ESIA, meant to be done in a project’s planning stages, was non-existent when implementation commenced.
“Conducting an impact assessment before project planning could have revealed alternative solutions that wouldn’t have required this demolition,” Adebiyi Momoh, a Lagos-based civil engineer, pointed out.
Loss of tourism for economic growth?
There is no doubt that the demolition of these beachfront properties has put a huge strain on tourism in Lagos. Landmark beach was a magnet for foreign visitors into the country who were looking for a place of relaxation. The demolition reduces tourism opportunities and severely impacts local businesses that depend on visitor traffic.
Still, the construction of the 753 km coastal highway will bring its own opportunities for economic growth. As seasoned economist, Asue Ighodalo, told NATIVE,the highway could also improve transportation infrastructure as well as boost trade.
“It would be a huge advantage to the people of the South-South, as it would enable them access and distribute trade goods from Lagos faster than before,” he said. “However, it is wrong for the government to sacrifice tourism for business priorities and destroy livelihoods.”
The 10-lane coastal highway has been designed to connect Lagos to Cross River, passing through the coastal states of Ogun, Ondo, Delta, Bayelsa, Rivers, and Akwa Ibom, before terminating in Cross River. HITECH construction firm, (notably owned by President Bola Tinubu’s long-time friend and business partner, Gilbert Chagoury) was contracted at ₦15 trillion or $9.6 billion per km.
Lessons from Eko Atlantic
The Eko Atlantic project, a massive land reclamation endeavor, sparked its own environmental concerns due to the absence of a pre-vetted ESIA report. With Lagos facing escalating annual flooding, expert predictions warn of a two-meter sea level rise by the end of the century, putting the city’s low-lying topography at risk of complete submersion.
Launched in 2008, the project aims to reclaim 10 million square meters of ocean land in phases, constructing an ultra-modern city protected by an 8.5 km sea wall. While initially conceived as a solution to the perpetually overflowing Lagos Bar Beach, the project’s massive scale of ocean land reclamation has raised concerns about improperly diverting excess water, and possibly exacerbating flooding in nearby areas.
The project’s location on the former Bar Beach site has also raised concerns about the repurposing of beach fronts along the axis, resulting in the drainage of recreational water bodies at Oniru Private Beach, Landmark, The Good Beach, and Sol Beach in Victoria Island. Despite the Lagos State government’s enthusiasm for the project, its potential environmental impact has sparked widespread apprehension among citizens and experts.
As the Lagos-Calabar coastal highway, divided into sections, begins at Eko Atlantic’s Ahmadu Bello Road (0.0 km) and terminates at Ibeju Lekki (47.5 km), concerns about the project’s potential environmental footprint continue to grow.
Momoh, an engineer, continues to sound the alarm on the unchecked pace of land reclamation in Lagos, which imperils nearby structures. “The water displaced by sand-filling has to go somewhere, and it’s manifesting in Lekki’s frequent flooding during rainfall, a stark contrast to the past,” he observes.
Omojola highlights the alarming coastal erosion afflicting shorelines in Lagos, Ogun, and Ondo, cautioning that 80% of the stretch for the Lagos-Calabar highway will experience shoreline retreat, potentially culminating in a “catastrophe” if the project is not executed with due care. This concern is compounded by reports of flooding in the Niger Delta region due to coastal erosion.
While acknowledging the Eko Atlantic wall’s role as a buffer against beach recession in Lagos, Omojola stresses the need for comprehensive studies to determine its efficacy. He criticizes the haphazard approach to infrastructure development in Nigeria, citing examples of successful road constructions in countries with extensive coastal areas below sea level. Omojola also believes the coastal highway has the potential to revitalize tourism and spark a real estate boom in adjacent states like Ogun. He cites the example of Ode Omi, a community that should have flourished if not for lack of accessibility, and hopes that the road project would bring about positive transformation.
What happens next?
Landmark Beach Resort appears to be exploring new horizons, announcing on social media its intention to pursue investment opportunities outside of Lagos and Nigeria. Additionally, they are seeking monetary compensation from the government to revive businesses and livelihoods threatened by the demolition.
Official Press Statement from the Landmark Africa Group following the Demolition of the Landmark Beach, Current State of Business and Future Plans (Landmark 2.0). pic.twitter.com/MEnBfn0fOZ
A former governorship candidate of the Action Democratic Congress (ADC) in Lagos, Funsho Doherty, has also threatened to sue the Bureau of Public Procurement (BPP) due to their failure to uphold compliance with the Public Procurement Act of 2007 during the award process for the Lagos-Calabar coastal highway project, which enforces competition, efficiency, and affordability in project selection.
However, this does not seem to be a hindrance to the Federal Government’s coastal highway, as work on Sections 1(from Ahmadu Bello Way to Lekki Deep Sea Port) and 2 (Lekki Deep Sea Port to Lagos-Ogun border) of the highway has already commenced. The construction of Sections 3 and 4 (which cover Cross River state and Akwa Ibom) is set to be inaugurated by Tinubu in August.
However, a lingering question remains – why destroy the livelihoods of many with an unplanned and unassessed project?
Renowned fashion house This Is Us has teamed up with leading Scotch Whisky brand Johnnie Walker, to unveil “Walk With Us” – a capsule collection dedicated to Nigeria’s visionaries, dreamers, and doers. The collectionshowcased meticulously crafted pieces dipped in This Is Us’ signature indigo, adorned with hand-stitched messages designed to inspire a nation of trailblazers. The partnership is a testament to Johnnie Walker’s dedication to championing the vibrant Nigerian creative economy. The brand continues to find new ways to inspire the next generation of pioneers to stride confidently toward their dreams, just as the whisky itself has evolved and innovated throughout its storied history.
“Our collaboration with This Is Us is a celebration of the resilience of the Nigerian spirit: we are honored to have brought together such an esteemed group of creatives at the Walkers Mix,” said Osato Evbuomwan, Marketing Manager of premium spirit and reserve Brands, Diageo Nigeria. “Johnnie Walker has always been a catalyst for progress and ambition. With the ‘Walk With Us’ collection, we further solidify our commitment to fostering the creative spirit that defines Nigeria.”
To celebrate this collaboration, Johnnie Walker hosted luminaries and tastemakers from the worlds of fashion, art, and entertainment at an exclusive experience at the Royal Box, Victoria Island, Lagos on 29th June, 2024. Guests were treated to a sensory journey, beginning with an immersive exhibition of the “Walk With Us” collection. Attendees were also treated to a bespoke customization experience where they could leave their own mark by creating unique pieces as keepsakes of the evening. The atmosphere was further elevated by soulful melodies from Falana and Sisi Motara, culminating in an electrifying DJ set by Uncle Bubu. Explore the “Walk With Us” collection and discover this season’s must-have fashion statements, visit www.thisisusworld.com
