How Asa has explored romance and relationships over the years

Posted on by Dennis Ade Peter

No one could accuse Asa of optimism when she released her eponymous debut album back in 2007. On the now-iconic cover, there’s an immediately arresting photo of the singer born Bukola Elemide, part of her swinging dreads frozen in the air and her mouth wide open, as if she was captured while yelling, or wailing, or somewhere in between. For a moment, maybe you could read her expression as ecstasy, but when the first words sung on the LP are, “I’m in chains, you’re in chains too,” any notion of pleasure flies out of the window.

Album covers have always been a great way to envisage the thematic disposition of an Asa album, from the glossy, touched-up portrait of the pop-rock fare, ‘Beautiful Imperfection’, to her stoic demeanour on the inquisitive ‘Bed of Stone’. In her more recent work, Asa has become far less heady, as evidenced by the breeziness of 2022’s ‘V’ and her most recent single, “Odo,” a sweetly-scented ballad dipped in the honey and warmth of being romantically adored.

Perhaps, it makes a lot of sense that a 41-year old, now-seminal figure would be far less likely to probe everything and be more comfortable with embracing their own definition of wholesomeness. That’s what Asa’s last album and latest single seem to signify, with their overt focus on personal joy and fulfilling relationships, intimate kinds of ecstasy. This shift is nowhere more striking than her approach to making songs about love, a subject Asa has often treated with an engaging level of complexity.

Amidst the existential uncertainty of “Fire on the Mountain” and “No One knows,” as well as the bracing reverence in “So Beautiful” and “Iba,” there wasn’t too much digging into romantic love but you could hear cynicism with which she approached the subject, especially on “Subway.” Referencing the lessons she picked up from her mother, Asa describes falling in love as a transient feeling, a situation that inevitably seems to lead to emotional doom. It carries over into the other related songs in ‘Asa’.

One of the other two songs in that range is “Awe,” a telenovela-ready tale of paternal abandonment. The other is “Bibanke,” a misery-filled portrait in the throes of a heart-rending breakup. “I could cry you a river, I could cry you a waterfall,” she sang in the coda of a live rendition while performing in Paris just over a year after the release of ‘Asa’, a version I often return to for how it wrings out even more misery.



It is often said that an artist has their entire life to pull from in making their first album, which leads to deeply rooted expressions, and in the case of ‘Asa’ it was disillusionment. It’s not that she believed there was no joy to be found in loving someone wholeheartedly, but she saw through the madness of the world on that album, and that carried over into all the hurt she poured into “Bibanke.” Whether the experience that informed the song was Asa’s or not didn’t matter, she was angsty enough to share the same sentiment as Peyton Sawyer: People always leave.

For her sophomore album, ‘Beautiful Imperfection’, Asa was much more chipper. The change was drastic—maybe too drastic for some. In the video for lead single, “Be My Man,” Asa danced and slid across the counter of a restaurant, glasses double the size of what she wore before and colours popping all around her, as she proposed unreserved  reciprocity. What changed? The answer is most likely in the album’s intro, “Why Can’t We,” a song where she openly canvases for happiness, aided by the sagely advice of a friend. “Why not have some fun when you’re still young and still ok?”

It’s not that Asa was buying into a delusion, she was simply choosing to move from cynicism to excitement, embracing the brighter hues of life without being oblivious to the madness. “This world is full of pain,” she sings on “Maybe,” ultimately choosing to emanate positivity. As far as love, “Be My Man” is where all the giddiness stops. “Bimpe,” spiritual kin with “Awe,” mentions being in a relationship but only within the context of being deeply annoyed with the sister of her partner. Similarly, “Baby Gone” is kin with “Bibanke,” except this time Asa is ruing not being a better partner to a man who deeply cherished her.

Even with these few relationship-themed songs, the trademark profoundness in Asa’s writing and singing carried over, and what was most moving to glean was the singer’s innate understanding of how effort goes both ways, as well as the self-acceptance needed to nurture affection. To the latter point: “I always give love, never thought I deserved/To be the one to get love,” she sang on “How did Love Find Me,” a mid-album ballad from 2014’s ‘Bed of Stone’.

Compared to her previous albums, Asa was more even-keeled on her third LP, if more complex as a person. That manifests itself in songs that range in emotions, from the confrontational, no-fucks-given attitude of lead single “Dead Again,” to the rousing exultations of “Eyo” and “New Year,” and the customary ruminations on the title track and a song even titled “Sometimes I Wonder.”

More than before, ‘Bed of  Stone’ felt pointedly personal. Not that she had ever dabbled in mythos, but Asa seemed to make the point that she dealt with being human at the most sensitive levels, keenly aware of her own insecurities. On “The One That Never Comes,” she pleads with a person whose affection she can’t seem to reciprocate – at least not with the same intensity – asking them to move on. Depending on who you ask, there’s a certain grace in not leading a person on, the kind of reality check that goes both ways, since making that decision also confronts you with questions that need answers.

Emerging five years later with her fourth album, ‘Lucid’, Asa seemed far more at ease. It wasn’t necessarily that she may or may not have found answers, it’s that she seemed to have embraced the flaws of the human condition in our search for satisfaction. On the album, she sang of love as a risk worth taking, even if there’s the possibility a relationship will end on unceremonious, particularly mournful terms. On “Femi Mo,” she sings of the demise of a ten-year relationship from the perspective of the dumped partner, and the closer “My Dear,” she’s the bride left at the altar on her wedding day.

Balancing those romantically fatal narratives on ‘Lucid’, Asa sang some of her most euphoric love songs till that point, from the destination-hopping cheeriness of “You and Me” to the brassy anthem, “Until We Try (This Lo’).” Those were the precursors for the overall atmosphere of joy that hangs over ‘V’. In the period between, Asa was more outward-facing, showing herself to be a much lighter, vivacious person than many thought she was. She played virtual live sets during the Covid-19 lockdown, hung out and worked with younger artists who not only indulged her whimsical side, but actively encouraged it.

In a recent video shared to her social media, Benjamin Okorie, of Highlife-fusion brother duo the Cavemen., participates in a theatrical dance to “Oddo,” prancing around and behind Asa while the lyrics, “Money don’t impress me/I just need someone who complements me,” coos loudly in the background. Clearly, “Oddo” is tied to ‘V’, where she sings of wanting to be shown off by her person, and describes a romantic partner as the “Ocean.”

In a career that has spanned two decades and counting, Asa has explored what it means to love and be loved from a forthright outlook and a dreamy perspective. At a time when the complexity of romantic relationships is at the core of music, her shift towards something purer and easier feels alternative to the norm, which, more than anything, proves Asa doesn’t even need to try to be unique—even if her temperament has changed over the years.


[Featured Image Credits/The NATIVE]

ICYMI: THE SHUFFLE: ASA’S “BIBANKE” REPRESENTS AN ERA OF ROMANTIC NIGERIAN MUSIC AT ITS BEST

10 unrivalled pairings in Afropop

Posted on by Nwanneamaka Igwe

Many would agree that one of the more interesting aspects of music consumption that keeps it refreshing, is born out of great knowledge of collaborations. More than knowing what works for each creator’s sound, bringing various talents together allows the birth of new sounds and ultimately guarantees great music. 

Think Wizkid and Skepta, fostering a bromance that brought on timeless jams like “Energy (Stay Far Away)” or the brewing sisterhood between our resident IT girls, Tyla and Ayra Starr. Even official pairings like Mellow and Sleazy or TxC, taking the melodies of Bacardi and AfroHouse to the world, or The Cavemen, for their innumerable contributions in the resurgence of Eastern-Nigerian Highlife, do not fall short in this conversation. Read on to find out the pairings whose collaborations redefined African music forever. 

REMA & LONDON 

When you think of iconic artist-producer pairings in music history, most references are pulled from the hip-hop scene. Whether it’s the OG’s like Snoop Dogg & Dr Dre or Snoop Dogg & Pharrell Williams, or this decade’s stars with 21 Savage & Metro Boomin or Tay Keith & Travis Scott. Regardless of the combination, we’re reminded of the duo’s heaven sent collaboration the moment the iconic producer tag lands on the beat. Though the artists may branch out once in a while, the announcement of that all too familiar tag gives listeners a sense of relief that they have another banger in their hands. Speaking of bangers, one of Afropop’s most successful artist-producer duos to date is Rema and London. On most of the rave lord’s biggest hits, the charming chant of ‘another banger’ is usually accompanied by ‘London!’ 

The earlier days of Rema’s career, soundtracked by “Dumebi” and “Woman,” he mostly worked with Ozedikus Nwanne, another perfect pairing. But Rema’s relationship with London came into full bloom prior to his debut album, ‘Rave & Roses,’ where he snagged ten of sixteen production credits.  Remember the lush guitar strums and rhythmic drums on sex-themed “Soundgasm” to the high-tempo shrills and humming bass of “Addicted,” not to mention monster hit, “Calm Down” or the raver’s favourite “Oroma Baby.” The mutual understanding between the pair is undeniable, to the extent that they play within Rema’s soundscape while leaving room for experimentation. They reiterate their harmonious alliance on the debut’s deluxe, ‘Rave & Roses (Ultra)’ and further with the surprise 5-track EP dubbed ‘RAVAGE.’ These two are music’s version of jollof rice and chicken, good alone but even better together. 

KABZA DE SMALL & DJ MAPHORISA 

Since the pair’s joint release in 2019, this South African dynamic duo have collectively gone by the title of the hit-stacked 12 tracker, ‘Scorpion Kings.’ Their impact is so far reaching, it is hard to track the astronomical growth of Amapiano without mentioning Kabza De Small and DJ Maphorisa. Originally, the project’s title was the idea of Maphorisa who, being born on November 15th, is a Scorpio. While Kabza’s birthday is twelve days later during Saggitarius season, the pair bonded over their love for ‘piano and sharing the same birth month. Maphorisa, who considered himself a long time admirer and student of Amapiano, took interest in learning from who many call the genre’s king. Their meeting, half a decade ago, has played such a key role in transporting this underground movement from SA’s burbs to the world stage. 

It is almost impossible to point out all the ways these DJ-producers have done this, but songs like “Lorch,” or “Vula Vula” do a good job of encapsulating a fraction of it. Not only are those monster hits, but the pair’s dedication has made room for a younger generation of astounding acts like 22 year old Virgo Deep to emerge. When Kabza isn’t expanding the scope with cross-country collaboration from Wizkid and Burna Boy-assisted “Sponono,” Maphorisa is stepping away from the deck to deliver memorable verses on chart toppers like “Izolo.” Apart or together, the pair represent the broad spectrum of what the domineering genre could achieve. Then if you throw in the staggering vocals of Ami Faku, the result is bound to be an unrivalled partnership. Side by side, these three have created some of the biggest and most emotionally resonant tracks of ‘Piano; “Abalele” and “Asibe Happy,” and in the spirit of love, these piercing stories are worth bringing to the top of your playlist. 

BOJ & AJEBUTTER22

Music has a stockpile of successful stories of bromance. Not only have they produced tracks that remain relevant across several decades but you can’t call one’s name without the other due to their inseparable bond. The likes of Jay Z and Kanye West or Dave and Central Cee come to mind. Within the Nigerian context, Boj and Ajebutter22 fall close in replicating that admirable synergy between solo artists who in another lifetime would have formed the perfect group. 2014’s “Omo Pastor” launched the world into the pair’s potential individually and collectively, with a pop-rap classic that tells a captivating tale of a forbidden relationship. Together, they joined acts like Black Magic and Show Dem Camp, to usher in the first wave of alternative music in Nigeria, with hits hinged on individuality and a renewed creative perspective of music making. 

Boj and Ajebutter22 solidified their peerless union with the ‘Make E No Cause Fight’ trilogy, of which the third and final iteration was released in the final quarter of 2023. The first part housed buttery, slow jams like “24,” a heartfelt declaration of love on “Tungba” and three others in a brief narration of the tumultuous journey of finding love in Lagos. The project’s warm reception set the stage for Falz on the second version, who expanded the project’s reach with stories of infidelity, sex and his non-committal tales of love prominent amongst the younger generation of Nigerians. While “Baninam,” a play on Birmingham, showcases Falz’ whimsical touch as he recaps travelling across the world to visit a woman, “Too Many Woman” shows the trio spoilt for choice with the plethora of women vying for their attention. Boj and Ajebutter close off the 5-track trilogies with “DITR,” part three’s outro translating to ‘diamond in the rough,’ showcasing maturity as they veer away from the  player ways. These two’s contributions to the love-themed catalogues from Nigerian artists are invaluable and their unwavering bond is one Afropop will forever be thankful for. 

CRUEL SANTINO & ODUNSI(THE ENGINE)

You know those two inseparable friends in class, sharing everything from snacks to textbooks, wreaking havoc at the back and likely getting punished together? That’s Santi and Odunsi. Together, they reconfigured Nigeria’s music space with a penchant for originality and experimentation. Led on by the likes of Black Magic and DRB Lasgidi, they introduced a refreshing perspective to the ways we create and consume music, steering eyes away from the formulas of mainstream music. On one side, we have Santi with cult classics like “Rapid Fire” or “Freaky” which teased the world of the faultless release that is ‘Mandy & The Jungle.’ On the other hand is Odunsi with staple alté numbers like “Alté Cruise” padded by a sprinkle of mainstream touches with Runtown and Davido on “star signs” and “divine” for ‘rare.’

Fast forward to over half a decade later and the pair’s relationship is blossoming brighter than ever as they deliver spotless verses on the other’s track, coupled with a slew of production credits. The ties come through clearly on “NOSTALGIA,” off Odunsi’s ‘SPORT’ and “Panic Island” off Santi’s ‘Cincinnati Pumpin!!’  Together, Santi and Odunsi have, and are still redefining the face of African music of this decade. When you throw repeat collaborator and Ghana’s pop princess, Amaarae, into the mix, you have an unbeatable trio. From Santi’s “BORN AGAIN” and Amaarae’s Kojey Radical-assisted “JUMPING SHIP” or Odunsi’s “body count,” these three are alternative music’s holy trinity.  

UNCLE WAFFLES & TONY DUARDO 

For a genre that was originally hinged strictly on production without vocal accompaniments, most consider the instrumentals the primary ingredient to a great Amapiano song. As such, a significant number of songs house several production contributors. If you comb through the discography of Amapiano’s princess, Uncle Waffles, there’s a recurring collaborator across over half of her works. The Johannesburg-born producer, Tony Duardo is one of the other brains behind Waffles’ biggest singles, “Tanzania” and “Yahyuppiyah.” 

Other than producing some of the biggest ‘piano tunes, this team are the brains behind all 4 tracks on ‘Red Dragon,’ Waffles’ debut as well as two-sided EP, ‘ASYLUM’ & Manana-assisted pre-release, “Echoes” for ‘SOLACE’ One of the pair’s most impressive works can be seen on “Love I Need,” decorated with production so masterful, they can be compared to the veteran hands of DJ Lag or Kabza. The perfectly cinematic intro is distinguished from anything Waffles has made when the signature log drums take a back seat to looming piano chords that set the pace for Kunene’s rich vocals to take over. BoiBizza later arrives with sonorous croons to set a contrast, all the while maintaining the track’s airy atmosphere with the appearance of light shakers and crystal synths. This match made in heaven offers Amapiano’s spectrum of facets, making sure to include their unique inflections that make room for limitless possibilities. 

ASAKE & OLAMIDE

When you’re a star signee to a Nigerian rap and street pop legend like Asake, you’re bound to earn the title as one of Africa’s biggest breakout stars in decades. From a debut stage performance at Obafemi Awolowo University, Olamide decade-plus knowledge expertly positioned Asake as Nigeria’s next big thing, setting him up to sell out one of the world’s biggest stages, O2 Arena. Asake recalls the moment that started it all in his first cover, reminiscing on his viral reaction after hearing his friend delivered on his promise to get a verse on “Omo Ope” from Baddo, as he fondly calls the YBNL (Yahoo Boy No Laptop) label boss. “There’s up in your life and there’s down, and I was in the part of my life where I didn’t really know what next. So I wasn’t even taking Yemi[Yhemolee] seriously until I heard it,” he shared. 

Shortly after the astronomical growth of the single and a later Burna boy-assisted remix for hit single, “Sungba,” the pair were inseparable, smoking, catching a vibe and playing snippets of what will later be Asake’s ‘Mr Money With The Vibe’ — a promising LP  summation of his scorching streak thus far. The brewing mentor-mentee relationship quickly blossomed into a friendship and bromance of mutual benefit: Asake’s learning first hand under the tutelage of a Nigerian music icon and Olamide’s status as a legacy builder is further emphasised even taken to a world stage, after earning his first Grammy nomination for his contributions on “Amapiano” off Asake’s sophomore release, ‘Work of Art.’ With years and more tuneful hits like “New Religion” stacked up their sleeves, Olamide and Asake or Baddo and Mr Money, as they are colloquially referenced, remain a perfect example of potential from a collaboration written in the stars. 

SHOW DEM CAMP 

The duo of Wale Davies (Tec) and Olumide Ayeni (Ghost) have been, for over a decade, a permanent fixture in Nigerian rap, providing a refreshing perspective to the traditional formulas in the country’s Hip-Hop scene. While their gritty reflections on ‘Clone Wars’ launched them into the scene, Juls-produced “Feel Alright” introduced a new outlook on their battle-ready bars with a conscious addition of Highlife. The pair spearheaded the movement of what’s now dubbed Palmwine music, a melting pot of airy productions, groovy progressions and bars exploring love and lived experiences. The new series displayed their incomparable wit and masterful lyricism as they touched on generational topics with an emotionally resonant edge. 

Perfectly positioned at the centre of Nigeria’s budding alternative scene, the pair completed the final iteration of the series with ‘Palmwine Music 3,’ two years ago, a nod to their dedication to preaching the palmwine gospel and expanding the genre’s scope. The first version brought on breezy raps accompanied by tuneful hooks, soundtracked by the likes of Boj, Odunsi(The Engine) and Funbi, who would grow to become recurrent collaborators for the two. The second instalment brought on a unique summer warmth, set up by a stack of melodious confessions of love and desperate longing with tracks like Lady Donli-assisted “For A Minute.” Before the finale, the pair closed out 2019 with ‘The Palmwine Express,’ to balance the harsher realities of ‘Clone Wars Vol.IV “These Buhari Times”’ released at the start of the year. It goes without saying that Tec and Ghost’s innumerable contributions to Afropop and Hip-Hop’s rich tapestry, in Nigeria and beyond, will never go unnoticed. 

MAJOR LEAGUE DJZ

This twin-producer duo, Bandile and Banele Mbere, takes inimitable pairings to a whole new level. Collectively dubbed Major League DJz, the Sandton-raised duo drew inspiration from their pianist father and uncles, including Hugh Masekela and Caiphus Semenya. They propped up as Hip-Hop but made the switch to Amapiano when the infant scene began gaining traction locally and globally. Speaking on the pair for the NATIVE’s 2021 cover Sounds From This Side: Amapiano, Mohlomi explains, “Starting out producing New Age Kwaito music, which they describe as more Hip-Hop inclined variant of the House sound that prevails in South Africa, Major League are champions of the approach to “hlanganisa” (combine) that The Lowkeys describe as the principal characteristic in the collaborative ethos of Amapiano.”

In the spirit of love, it would be an injustice not to recognise their contribution to the romantic catalogue of the dance-driven genre. “Dinaledi” stands out from their generously delivered 31-track debut LP ‘Pianonation,’ with a stunning rendition delivered by Mpho Sebina and production-assist by Abidoza. The rhythmic log drums are accompanied by lush piano chords and a vibrant, passionate declaration of love in a lifetime commitment, “No matter where you are, I’ll be there beside you/No matter how deep, I’ll be there to guide you.” Nearing half a decade later and that song, alongside most of their contributions, continue to weave permanent imprints in the fabric of Afro-House. Together, they have and continue to take Amapiano to the furthest parts of the world, including a masterful set in Ibiza for one of the largest music broadcasting platforms, Boiler Room. 

BURNA BOY & JHUS 

With the amount of appearances this pair have made on each other’s projects, it’s surprising that they aren’t an official pair or at least, put out a joint project. This Nigerian and British-Gambian duo have been inseparable for nearly decade, with collaborations going back to Burna Boy’s 2018 album, ‘Outsider’ and J Hus’ ‘Common Sense.’ Dubbed “Sekkle Down” and “Good Time” respectively, these tracks opened a world of possibilities within Afropop’s melodious catalogue and the gritty refined touches of the Hip-Hip outputs from the UK. Burna would later deliver an unrivalled performance on “Play Play,” assisting J Hus’ resounding comeback into the scene after a near three-year hiatus. Even after Hus’ absence from the scene through 2022, he still lent a stellar verse to “Cloak & Dagger” from the Grammy nominated album. As expected, Burna returned the favour on ‘Beautiful And Brutal Yard,’ joined by an impressive feature cast including Jorja Smith, Popcaan, Drake and more. 

And this brotherhood runs deeper than a couple verses. Though J Hus didn’t make an appearance on Burna’s recent addition, ‘I Told Them…’ the comically narrated intro at the start of crowd favourite, “City Boys” was picked up from a video of Hus’ shared Instagram a couple years back. As these two continue to achieve outstanding feats in their respective genres, it is clear that this friendship is bound to birth more timeless hits that emphasise the sea of possibilities born of an Afropop-UK rap marriage. 



MOHBAD & BELLA SHMURDA 

The sudden passing of Mohbad October 2023 brought about a number of distraught fans, friends and music lovers across the world. With a rich discography etched with his life experiences, Imole’s death was particularly bitter news to digest considering the circumstances of his death. In his later years, the ex-Marlian Music signee spoke up about threats and contract tensions he faced after parting with the label, shedding light on the darker side of the country’s music industry. Fellow street-pop crooner and friend, Bella Shmurda, openly voiced his support and upon his passing months later, understandable bore the weight of his loss. He later released “My Brother,” a heartfelt tribute  where he reminisces on the bond they shared.   

Pre the tragic loss, the pair shared their sonic strengths on track’s  like “Pariwo” of Mohbad’s ‘Blessed’ EP. Ready to track a new path, Mohbad enlisted him for a short but passionate rendition where he opens up about the emotions of living. The pair take turns to effortlessly slide across the wave of the beat with sheer vulnerability, etching the track for a clear top spot for contemporary Nigerian pop hits. While these two undoubtedly had a blossoming relationship and slew of potential hits, stunted by a series of regrettable events, their brotherhood and support for each other was still a beautiful one to be modelled after. 

[Featured Image Credits/The NATIVE]

ICYMI: THE SHUFFLE: ASA’S “BIBANKE” REPRESENTS AN ERA OF ROMANTIC NIGERIAN MUSIC AT ITS BEST.

An African Takeover at the 2024 NBA All-Star Weekend

Posted on by Nwanneamaka Igwe

Since its establishment several decades ago, the National Basketball Association (NBA) has stretched it’s impact beyond the court to cut across a slew of creative industries including fashion, music, art and more. This introduction of other elements including the halftime show or fashion tunnel, currently considered as one of the most priced runways, has enabled a smooth intersection between sports and entertainment that allows others beyond stakeholders and superfans key into the fun. We’ve seen this influence trickle down to Africa, with the aid of Gbemisola Abudu, the Vice President of NBA Africa and country head  for NBA Nigeria. Back in 2022, Tems, Burna Boy and Rema graced the stage of the Afropop-themed halftime show and Nigerian visual artist, Dennis Osadebe, partnered for an installation dubbed ‘Passing/Building/Victory’ late last year.

 

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Consisting of five figurines, the exhibition explored the key role of teamwork and how collaborations aid in community development, a message that perfectly aligns with the NBA’s efforts to inspire audiences across the world with basketball. As expected, the 2024 All-Star game in Indiana last weekend was no different. In addition to a Milwaukee Bucks and Miami Heat link-up via Nigerian players, Giannis Antetokounmpo and Bam Adebayo, a slew of African creatives; TV and film personalities, Bontle Modiselle, Korty and Tobi Bakre, alongside  South African music stars, Robot Boii and Kamo Mphela, joined in the celebration of this sport-pop culture intersection. 

Speaking about the NBA Africa All Star Luncheon, Abudu shares “It was a great opportunity to engage with NBA senior leadership, FIBA [International Basketball Federation], NBA Africa investors and former NBA players and stakeholders from a cross section of industries. Some of them [were] from Nigeria, including Tope Lawani of Helios Investments and Afrobeats musician Pheelz to name a few. It was also a great platform [to] showcase the NBA and BAL’s economic and cultural impact to the continent. We look forward to continuing to build on this momentum and expand the game in Nigeria and across Africa seeing as the fourth BAL [Basketball Africa League] season is set to get underway in less than three weeks.” With the promise of more cross-industry collaborations and partnerships in the future, the NBA’s mission to enrich world communities is well under way. 

[Featured Image Credits/The NATIVE]

ICYMI: NATIVE EXCLUSIVE: IN CONVERSATION WITH DENNIS OSADEBE & GBEMISOLA ABUDU ABOUT NBA MEETS ART 

Best New Music: Una Rams makes a compelling declaration of love on “ilikeyou”

Posted on by The Native

In some corners of the internet, there’s an ongoing requiem for the present state of R&B. The growing ubiquity of a nihilistic edge in the genre since the 2010s has raised concerns among listeners, critics, and fans about an assumed disintegration of the genre they love and recognize thanks to the popularity of songs about loveless sex, complicated romance, and puerile machismo. While there’s indeed a spike in songs that fixate on these themes and propagate them, the global spread of R&B and its adjunct sounds means that hubs in South Africa, Nigeria, and the United Kingdom are still creating music that’s unabashedly pro-romance and whimsically erotic. 

There’s hints of all that’s alluring about golden age R&B and more in the work of South African singer, Una Rams. Across the six years of his professional recording career, Rams has made breaking down the intricacies of romance– both his and his partners’–an earnest mission while sneaking in influences from a broad spectrum cutting across shoegaze, electronic music, and Afropop in his experimentalist sounds. 

The title of Rams’ projects have also often sounded like cogent treatises on romance that should not be passed up. 2021’s ‘hold me when it’s cold: a mixtape’ set the pace for a more concise reflection on intimacy on 2023’s ‘hold me when it’s cold: the cuddle pack.’ Songs like “2 AM” and “Body Party” channeled a powerful yearning that wouldn’t have looked out of place in the 1990s R&B landscape. 

The follow-up to ‘hold me when it’s cold: the cuddle pack’ is an even shorter, pithier dispatch on love, romance, and attraction with a special focus on how these emotions move the components of Rams’ world. Subtlety has never been the forte of the “Shy” singer and he does away with all inhibitions across the 16-minute runtime of his latest project ‘so in love…’ And no song on the EP offers a more definitive proof of the singer being in tune with his feelings and spelling out his desires than the project’s first song, “ilikeyou.” From the beginning, the cards are all on the table with the first words offered being, “Don’t you want to start a relationship?”  It’s a potently declarative one-liner that cuts through the uncertainties that typically mess with modern relationships and sets the tone for what’s to come. 

Part of what has made Rams such an engaging listen is how he manages to invigorate his whispery style with innovative vocal tics and quirky production choices that allow his balmy voice to breathe and shine through without overpowering the message. “ilikeyou” is no exception in this regard; afrohouse grooves powered by production duo, London Rhodes, give an atmospheric feel to Ram’s weighty romantic impulses with Roctonic adding an extra layer of warmth. 

When Rams says, “I just thought I should speak / Say you’re perfect for me,” it rolls off his tongue with the same lightness and clarity of thought that made “next2me” a favorite off ‘hold me when it’s cold: a mixtape.’ While the world continues to go back and forth about the present and future of R&B, there can be no doubt about the ingenuity and applicability of Una Rams’ work and how “ilikeyou”  set the stage for his most declarative work yet. 

Listen to ‘ilikeyou” here.

[Featured Image Credits/The NATIVE]

Words by Wale Oloworekende 

ICYMI: TYLA’S TRANSPARENCY ABOUT HER HEALTH IS REFRESHING 

Identify: FromJerome is embracing the present of being a new, growing artist

Posted on by Dennis Ade Peter

FromJerome would rather not classify himself as an R&B artist. Part of that is because he thinks of the genre in pure terms, from the Boyz II Men and Usher that his siblings played in the house, to the formative influence of Bryson Tiller and PARTYNEXTDOOR on his craft. Across his several songs, mostly released via SoundCloud, the R&B elements in his music are vivid, but there are other components, including the bounce of dancehall and Afro-swing.

“I think of other people that are making real R&B music, and it’s not that there’s anything wrong with being called an R&B artist, but I personally wouldn’t say that about myself,” the London-raised artist tells The NATIVE over a Zoom call, while gearing up for a studio session. “I’ve made R&B songs and I love R&B, but I’ve never envisioned being labelled as that.” On “Granted,” the earliest song on his SoundCloud, FromJerome portrays the exhaustion of seeking reciprocity from a love interest, his soft tenor gliding over ambient keys and a sultry afro-Caribbean drum groove.

 

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Growing up in a part-Nigerian, part-Grenadian home, the 21-year old singer was surrounded by a diverse range of music. “I listened to the Afrobeats from dad, then dancehall, reggae, soca from my mum,” he says. In addition, his older siblings played a lot of R&B music. Interestingly, it was the wildfire success of Canadian superstar Justin Bieber, during his teen years especially, that lit the idea of someday becoming an artist. A decade after teens and tweens raved to “Baby,” FromJerome started recording his own songs during the Covid-19 lockdown, with Bryson Tiller as a template and primary inspiration.

“I remember my first time making music, I literally just typed in ‘How to Sound like Bryson Tiller’,” Jerome recalls. “I just kinda copied and built from that foundation.” It’s evident in the music, Tiller’s influence, from a preference from darkly lit music choices to his exploration of romance across the spectrum of lovelorn and lovestruck. Oh, and he has bars too: In the middle of his SoundCloud page, there’s a freestyle to the beat of Drake’s “Lose You,” where he proudly proclaims his worth with declarative quips like: “Tired of these A&Rs showering me with compliments, I’m good on my own/Don’t need no studio, I’m good in my home.”

To start 2024, FromJerome has dropped “Next Day Delivery,” his official debut single, where he sings devotional words over a silky groove. It’s an ear-holding introductory song that will stay with listeners immediately they hear it, and it sets the singer up for a potentially remarkable breakout year, as he preps his first project to be a timestamp of being a young, growing artist.

Our extended conversation with FromJerome has been lightly edited and continues below.

 

What’s your background like?

I’m half-Nigerian and half-Grenadian. My dad’s from Nigeria and my mum’s Grenadian, and I grew up in a musical household. I listened to the Afrobeats from dad, then dancehall, reggae, soca from my mum. I just had a mixture of genres that was brought to me, and I’ve got two older siblings, who I got a lot of influences from as well, just the type of music they were listening to as well. They listened to R&B from Usher, Chris Brown, Boyz II Men, that type of music. So, in my house, there was that mixture of culture and music, from my parents and my siblings.

What artist would you say pushed you to want to sing?

Honestly, the first person, it had to be Justin Bieber. For real. He was the first person that made me listen to the music and made me want to sing as well, it was when he came out with “Baby” and people were going crazy. I was like, “If he can do it, I can do it as well.” So, yeah, definitely Justin Bieber.

As you grew older, which artists became a blueprint for the kind of artist you want to be?

I’d say the likes of Bryson Tiller, PARTYNEXTDOOR, majorly those two artists. I started recording in lockdown, that’s when I was a big fan of the R&B scene. I remember my first time making music, I literally just typed in “How to Sound like Bryson Tiller.” I just kinda copied and built from that foundation. It’s basically those two artists that showed me who I want to be as an artist.

What was recording for the first time in lockdown like?

I got introduced to music by my brother, he used to make music as well and he had a little MacBook that he made music on in his bedroom. I just sat and watched him make music, and it was really interesting to me. One day during lockdown, he let me use his laptop to record music, and that was literally my start. It was the first week of lockdown, he was busy doing some stuff and the laptop was free, so I just decided to try and see if I could make my own song. I got a YouTube beat, put it into the computer and recorded. The song was terrible but it was fun to make, and I realised that I really like how this feels.

What was the first not-terrible song that you made?

It was called “Insecure.” I can’t remember what it sounds like right now, but for someone who was just making his first songs, it sounded good to me. All my friends were surprised that I made it. That was the song that made me think that, if I keep going, this could be something.

I don’t think “Insecure” is on your SoundCloud.

Nah, it’s not. I only started releasing stuff on SoundCloud in 2022 and I recorded that way earlier. It’s on my laptop with some of my old stuff that I never released, maybe I’ll put them out eventually, but that’s when I really perfect my craft, so I’ll just be going down memory lane if I drop them.

What do you think you need to perfect your craft?

I’d say lyricism. I’ve definitely gotten better and I’ve taken more time with my songwriting, but I feel like, as time goes on and I get old, I can go through life more, get more experiences and my writing will get better. Obviously, singing too, you can always get better. I don’t produce yet, but I definitely want to learn how to produce and make my own beats, I think that would help my music a lot. But improving my songwriting and singing ability is really important now.

Where do the romance-themed stories in your music currently come from?

Some of it is from what has happened to me and my friends, stuff that we’ve gone through, or just stuff I see. Also, I have a broad imagination. I’d say 40% of the time, I have a made-up story, a made-up character in my head. I’ve even made songs based off movies and TV shows, I just try to flip it in a way that it sounds like it’s coming from me. It’s a mixture of everything.

What was the confident push for you to leap from dropping songs on SoundCloud to now debuting officially?

When I’d record, all my friends would be telling me they want to hear the full song. I was trying to figure out how to put my stuff out because I couldn’t pay for beats or the mastering and all of that, so I just started dropping on SoundCloud. I didn’t expect anything but the songs got around quickly, a lot of people in my Uni heard them, and that helped my confidence.

 

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Why did you go with “Next Day Delivery” as your official debut song?

When I showed my team, everyone loved it. I remember when I put it on TikTok, it just went off—that’s my biggest TikTok till date. I had other songs that could have been the first single but with the reception it got before it dropped, it just made sense to put this one out as the lead single. You can ask anyone, too, I always felt this song was the one and I’m happy that I stuck to my gut. I remember when I was making it in the summer, around June, I just looked for a beat and recorded spontaneously, all freestyled, and I got to the end of the song and I thought, “This is a banger.” When I make songs, I usually leave them and go back after a while with a fresh mind. I went back after a week and I still felt really good about it.

Do You Create off Spontaneity a lot?

Yeah, 100%. I truly believe that the best music is made off of a whim. Obviously you’ll plan some stuff, but you get an idea and I don’t think you should sit too long on it. I have this belief that the first idea is the best idea, it’s in your head for a reason. It might take some time to execute and fine-tune but it’s already there.

There’ll be more drops from you this year, including a project. Do you have any expectations?

I have expectations of what I want things to be. I’m still in the process of making the project, but I want it to be the perfect embodiment of where I am in life now. I feel like music is a perfect timestamp of an artist’s time and journey, and that’s what I want my first project to be, just away from the past and the future and just being in the present. I want it to be something I listen to in 10 years’ time and think, “Okay, cool. This is what I was going through as a 21-year old just starting to navigate the music scene, learning more about himself and the people around him.”

IDENTIFY: MILA SMITH IS MAKING HEALING MUSIC

The Shuffle: Asa’s “Bibanke” represents an era of romantic Nigerian music at it’s best

Posted on by Nwanneamaka Igwe

Ask anyone who’s recently stumbled on a playlist from the 90’s or noughties, and they’re likely of the opinion that our generation’s musicians are just not speaking of love in the same way. Whether or not you think the music stars of R&B had no business dancing fully clothed under the rain, the truth remains that no one’s desperately begging for the others’ affection like they used to.  

In fact, we’ve grown accustomed to exactly the opposite. We have CKay who after shedding the scales of “Love Nwantiti” and all its accompanying remixes, proudly wore the armour of toxicity on “you cheated, i cheated too” and “WATAWI” for his debut LP, ‘Sad Romance.’ For the latter, a monster hit and admittedly catchy tune in its own right, enlists top crooners to reiterate his non-committal approach to relationships. The track’s intoxicating Amapiano-infused melodies almost distract from its message where the trio of CKay, Focalistic and Davido repeatedly tease a woman for asking the forbidden question, ‘what are we?’ CKay’s buttery chords set the pace for the track where he sings, “She wants to have my kids but I don’t want to have kids.” “She tell me watawi, she tell me watawi/I tell her we are what we are, I tell her baby, no reason am too fast,” he adds. And that’s fair enough: no one wants to be rushed into a relationship they aren’t ready for. 

On the extreme end, we have Ruger’s “Girlfriend,” garnering millions of streams and undoubtedly one of the artist’s biggest songs yet. For a song with such a title, you’d at least expect a declaration of love here and there but Ruger takes the Kukbeats-produced, drum-led instrumentals to do just the opposite. He starts off strong as he admits to his love interest, “Can’t seem to take my eyes off you,” but before we can fully bask in the journey we’re about to embark on, Ruger aptly changes course “Oh, lord. I want all the girls in the whole world/I know what I’m doing is so wrong.” While the situation is now far from ideal, we atleast have an acknowledgement of wrongdoing with possibly even guilt. That doesn’t last long though because Ruger follows up saying, “Since no man can focus, we definitely don’t give a fuck.” With all that behind, the most comical part and evidently the inspiration for the track’s title is revealed on the tuneful hook, “She know me got a girlfriend and so what?/What if I do?”

And these aren’t the only examples of the relationship and allegedly romance themed catalogue Nigerian musicians are putting out. To a great extent, they aren’t solely to blame. The new era of teenagers and young adults have adopted a largely nonchalant attitude to love, with terms like situationship or talking stage ruling the decisions on how we share affection. That isn’t to say that cheating or external lovers aren’t an age old phenomenon, Brick and Lace were right to soundtrack the early 2000s with “Love is Wicked,” but at least people were less keen on finding a thousand loopholes to justify their issues with commitment. Many believe that in order to move forward and grow, some reflection and digging into the past is necessary. That’s where we have songs like “Tungba,” off Boj and Ajebutter22’s joint debut, ‘Make E No Cause Fight’ or Davido’s classic “Aye,” the love song of this decade and likely decades to come. Of this sparse but rich collection, we have standout acts like Asa’s “Bibanke,” taking home gold as arguably one of the best love songs from Nigeria’s vast discography. 

Asa’s lush chords and slow guitar strums set the tone for dreamy violin notes to take over and warm up for the vocal’s arrival, a seamless blend delivered in Yoruba and English. She is heartbroken and this is instantly clear from the weighty tone the intro lines hold, “I wake up, I see you as you leave/I feel it, I see it as you leave.” The mood is further established shortly after with the all too familiar pre-hook “Bim ba n ke, bomi ban shan, fi mi si le, Bim ba n ke, bo’jo ba n ro, fi mi si le,”  which loosely translates to “if i’m in tears in the rain, leave me alone.” It instantly feels like an elegy is imminent, as she recaps the lover she used to know and the natural death their love has now undergone. Asa’s take is raw as she pedals back and forth between questioning the things she once believed and just how much she regrettably invested into the relationship. 

As many do while basking in the ruins of a former relationship, Asa reminisces on ecstatic feelings shared with a new found love, and how looking back, it might’ve been too good to be true, “He used to be my everything, treated me like I was a queen/What spell did you cast on me?, Or is it the make believe?”  She blames herself for believing the words, “Oh God, I was a fool” and she reprimands herself for sticking beside him, despite having an inkling that things could go south. The bridge’s arrival showcases an undeniably distraught Asa, who’s vocals peak octaves higher as she cries “Bi ba n ke o ko kun basia fi mi sile, Bim ba n ke o, ko kun ba si a, ko kun ba si a” which explains that even if her tears are enough to fill a basin, she wants to be left alone. 

She eventually resigns her faith to God with a deflated spirit characterised by solemn vocals and distant keys, “K’o so, k’o so wa” – “May He guard us,” but not before taking time to repeatedly express her desire, “Iwo, Iwo ni ko shosho” – “It’s you and only you.” Granted, this love story is not a happy one but “Bibanke” undoubtedly encapsulates the familiar feeling of a love, shared or lost, and the uncertainty of what the future could hold. As the track’s keys fade away, the most refreshing aspect of Asa’s song is how honest and non-performative it felt. Over a decade down the line and Asa isn’t letting up from expanding her love-themed catalogue, housing potential classics in each new release. 

Listen to “Bibanke” here.

[Featured Image Credits/The NATIVE]

REVIEW: ASA’S ‘V’

The important history of Nigeria and South Africa’s relationship in African football

Posted on by Dennis Ade Peter

Last night, Nigeria’s Men’s National football team, the Super Eagles, defeated South Africa’s Bafana Bafana in the semi-finals of the ongoing African Cup of Nations (AFCON). After 90 minutes of regulation time and 30 minutes of extra time, the teams were deadlocked at a goal apiece, both scored from the penalty spot, which made it fitting for the knockout match to be determined through penalty shootouts.

 

Nigerian goalkeeper Stanley Nwabali, who plays his club football in the South African Premier League with Chippa United, saved two penalty kicks enroute to being named the Man of the Match. Striker Kelechi Iheanacho buried the deciding penalty kick off the inside of the post, sending the Super Eagles into the final of this year’s AFCON, a feat that was last achieved eleven years ago, which is also the last time Nigeria won the top continental prize in national team football. (In Sunday’s final, they will face the host country’s team, the Elephants of Cote d’Ivoire, who also qualified last night after a lone goal win over Congo.)

This marks the third straight time Nigeria has defeated South Africa in the knockout stage at AFCON. Back in 2000, Nigerian football legend Tijani Babangida scored two goals against Bafana Bafana in the semi-final, a clean sheet win which sent Nigeria into that year’s AFCON final match. 24 years later, although on the much dicier terms of a penalty shootout, Nigeria’s latest win exemplifies how its male football team has edged South Africa’s over the decades. In 15 recorded meetings since 1992, Nigeria has won eight times, South Africa has won just twice, and both sides have drawn five matches.

In October ’92, the Super Eagles scored four unanswered goals against Bafana Bafana at the National Stadium in Surulere. The match was a continental group stage qualifier for the FIFA World Cup, USA ’94, which Nigeria easily qualified for as top of its group. The return fixture in January ’93, at Johannesburg’s Soccer City, was a goalless draw. For the rest of the ‘90s, both teams didn’t face each other, more for political than footballing reasons.

In 1996, South Africa hosted AFCON, two years after Nigeria had won the tournament in Tunisia. As title holders, the Super Eagles were due to defend their award at AFCON ’96, but the country pulled out at the directive of its then dictator Sani Abacha. The marquee event was the execution by hanging of nine Nigerian activists in November 1995, to the horror of Nigerians and loud criticisms of the international community.

Led by author Ken Saro-Wiwa, the nine were members of the Movement for the Survival of the Ogoni People (MOSOP), an organisation campaigning against environmental degradation in Ogoni land, due to the crude oil mining operations in the region. Saro-Wiwa, who was president of MOSOP at the time, was vocally critical of the Nigerian government, at a time when political dissent was met with brute force by a brutal authoritarian. The nine activists were arrested for allegedly orchestrating the murder of several Ogoni chiefs, and were sentenced to death upon trial by a special military tribunal.

To many observers, the charges were trumped up as a way for Abacha to get rid of these critics and also send a message to any opposing figures. In response to their execution, Nigerian was banned from the Commonwealth of Nations for over three years, and many countries were loud in their disapproval, none more than South Africa. In the documentary, ‘Super Eagles ‘96’, several players shared their disappointment at not playing in AFCON ‘96, with Emmanuel Ammunike stating that football didn’t need to mix with politics, especially since the sport was a bright spot for Nigerians who were reeling under despotic rule.

Boasting of one of the most complete squads in Africa at the time, and also widely regarded as the golden generation of Nigerian football, the Super Eagles were the favourites going into AFCON ‘96. For post-apartheid South Africa, Bafana Bafana was a rising force in African football, and in their path to winning the Nation’s Cup, they could’ve faced Nigeria during the knockout round.

In the 2000s, the football history between Nigeria and South African has been extensive so far, with matches whose results have been consequential. At the 2004 edition of AFCON, the Super Eagles beat Bafana Bafana 4-0 in a group stage that played a key role in South Africa not qualifying the competition’s knockout stage. (That match was also notable for introducing forward Osaze Odemwingie to Nigerians, as he scored two goals off the bench in that match.) Four years later, the Super Eagles stopped South Africa from participating at AFCON 2010, handing them two clean sheet losses during the qualification group stage.

In 2014, Bafana Bafana repaid the favour, forcing two draws against Nigeria during the qualifiers, while three of their four other matches to emerge as one of the two countries—alongside second-placed Congo—to play in Equatorial Guinea for the competition proper. For AFCON 2019, both countries were drawn in the same qualifying group again, but they both qualified to the main competition this time, with Bafana Bafana winning the fixture in Nigeria and holding the Super Eagles to a draw at home. During AFCON 2019 proper, though, Nigeria eliminated South Africa in the quarter-final phase, ending a 5-match winless run against Bafana Bafana.

As the most important football match both countries had played against each other in the hyper-connected era of social media, the 2019 match resulted in vitriolic banter being exchanged, primarily on X (fka Twitter), between citizens of both countries. Often, football banter is loaded with witty insults, but the exchange after that Nigerian win became particularly toxic. Playing a central role was the late rapper AKA, who shared several tweets about his deep annoyance at losing to Nigeria.

Also embedded in that conversation was South Africa’s history of xenophobia towards African migrants, of which several Nigerians had been victims of xenophobic attacks. For decades, South Africa has been dealing with high poverty rates, stemming from the brutal inequality of apartheid, as well as the constant mismanagement and deep corruption practices of post-apartheid governments. That has led to no lasting, tangible solution to high unemployment rates, with many imbibing nationalist ethos and blaming prospering immigrants for taking jobs that they think should be reserved by locals.

None of those sentiments are new, and it’s even a key part of Nigerian history. (For the oblivious, find out the history of those hugely popular ‘Ghana Must Go’ bags.) In South Africa, though, its effects have gone beyond mere sentiments into injurious acts. As recent as Operation Dudula in 2022 and the heart-breaking events of 2019, just two months after that quarter-final match, African migrants in South Africa have been greeted by xenophobic attacks on a frequent basis.

Generally, Nigeria and South Africa have a complex, long relationship. Nigeria was an ally during the fight to end apartheid, and it made sense that the South African government would stand with the Nigerian citizenry in opposition to the autocratic Abacha. Currently, citizens of both countries are being led by governments that continue to plumb new depths of economic lows, largely due to rampant, endemic corruption and questionable monetary and fiscal policies. Nigerians don’t have electricity? Well, load shedding isn’t paradise for South Africans.

Possibly the most relevant one for young Nigerians is music. Nigerian artists and South African artists have collaborated over the past decade to great results, from AKA and Burna Boy to Davido and Focalistic. These days, the conduit is Amapiano—albeit controversially. For The NATIVE, there’s no need to rehash our stance: Nigeria cannot and should not be aiming to own Amapiano. In the aftermath of last night’s win, the banter flowed and the primary narrative is that Nigeria owns the genre now. It’s easy to say that it’s all jokes, but at the expense of being called a killjoy, jokes can go too far—especially when you consider Nigeria’s cultural dominance as far as dictating the narrative within African music.

Even before last night’s match, there was a viral video circulating X (fka Twitter) where several Nigerians supporting the Super Eagles in Cote d’Ivoire were blatant in stating that Nigeria is responsible for the growth of Amapiano. With how much Nigerians view its music through the “Afrobeats to the World” lens, and very little regards to local and pan-African narratives, those assertions aren’t shocking. These sentiments are only going to get bolder, which would increase animosity. Describe it as arrogance or the need to dominate or whatever else, the loudness of Nigerians is integral to its relationship with South Africans, and just like the music, football will always be a rallying point to exchange words.

It doesn’t feel appropriate to deem the Super Eagles and Bafana Bafana as rivals. For the former, two wins in 15 matches—one in a friendly and one in AFCON qualifying—means it’s playing catch-up from afar, a distance that just got wider with yesterday’s loss. Amidst all of the celebration (for Nigerians) and ruing (for South Africans), it feels relevant to acknowledge how connected both countries are where the round leather game is concerned. It’s not a rivalry, but the history is important.

ICYMI: ASAKE, DJ MAPHORISA & NIGERIA’S QUEST TO ADOPT AMAPIANO

uNder (January 2024): Four Artists You Should Be Paying Attention To

Posted on by The Native

In a few months, NATIVE’s uNder column will hit the 4-year milestone—‘Fresh Meat’ inclusive. That means four years of consistently presenting artists we believe are deserving of the wider world’s attention. It’s remarkable, but this is not the time to pat ourselves on the back; we’re just committed to our mission of spotlighting the future right now. As we recommit ourselves this New Year, it also means re-evaluating and making sure our column is impactful.

For the January edition of uNder, we’ve selected just four artists, each with their unique appeal, from rapping to making soulful R&B. There’s Delasi, the Ghanaian music veteran who’s been underground for over a decade but should really be heard by many more; we bring you London-raised FromJerome, an R&B-fusion upstart who has made the leap from SoundCloud. Nigerian drill rapper Daddyluwa and South African songbird Phiwo complete the list. Read on to find out why you really should be pressing play on these artists’ music! (And listen to our uNder playlist here, too.)

DELASI

For Fans Of: Juls, Fokn Bois, Karyendasoul

With projects dating back to 2013, Ghanaian multidisciplinary artist Delasi is an OG. He joined Yaw P on ‘Imperfections: The Break up, Vol 1’ for an official long-form introduction, stacked with emotionally resonant love-themed tracks. He broadened the scope of his music even further with generous offerings inform of a 25-track Hip-Hip opus dubbed ‘#ThoughtJourney.’ Here, he effortlessly merged influence from his then base in Nairobi, Kenya, coupled with several neo-traditional influences. Delasi, armed with trap snares and a deep bass, paid homage to his Ghanaian roots with his Ewe mother tongue and folksy drums, paired with an unbridled confidence used to track a journey of self-discovery.  The rest of his discography is earmarked by a series of honest and raw moments, packaged with a slew of influences and sounds from various parts that perfectly allude to Delasi’s exploratory spirit.

After almost a decade, Delasi returns as an artist with a renewed vim on the new EP, ‘The Audacity of Free Thought.’ Self-described as a “prophetic insight into the future,” Delasi provides a sonic melting pot of alternative R&B, jazz,  and inventive dance elements, shone through the gleaming chords on “Perception” and electronic synths of “Amplifier.” At its core, ‘The Audacity of Free Thought’ provides a soulful approach to deliver a cutting edge message that refreshingly encourages self-assuredness and individualism through thought, while preaching against all notions that encourage herd mentality for our society. Delasi effortlessly presents these perspectives in a light and digestible manner, without distracting too much from its overarching themes or taking away from the track’s melodious nature. For an artist who already has great mastery of craft, new listeners are bound to be enthralled.

DADDYLUWA

For Fans Of: ODUMODUBLVCK, PsychoYP, Backroad Gee

From his small but substantial catalogue of songs so far, it’s easy to get the impression that Daddyluwa has never been scared a day in his life. Obviously, there’s the imposing effect of his baritone voice, a tool that amplifies every larger-than-life bar in his raps. Tracing it back all the way to “Secure the Bag,” off a 2017 compilation tape featuring teen rappers, the Lagos-born artist always sounds like he has both middle fingers perpetually stuck up. On that song, the Migos influence is incredibly clear, his staccato triplet flow bouncing off a beat that sounds like a low-res adaptation of Wiz Khalifa’s “We Dem Boyz.” Years later, Daddyluwa is a much refined artist, channelling that trademark overconfidence into exuberant drill bangers.

With American and UK rap scenes as obvious touchstones for his style, he cycled through trap on a handful of singles, before settling into his current position as one of the more exciting young drillers in Nigeria. “Man, fuck all that city talk, bring me in Abuja/I’m probably the sickest young rapper they heard,” he declared on last October’s “Girlie Dem Crase,” an irreverent nod to Abuja’s tone-setting drill scene within Nigerian rap. Daddyluwa’s songs are always high-octane capers, packed with boastful, outlandish taunts, like on “Opic,” a standout on Lemon Vinyl’s compilation project, where every line lands with a playful, energetic force. It’s taken him time to figure out the intricacies of his style, up next is the part where he elbows his way into wider attention.

PHIWO

For Fans Of: Elaine, Maya Amolo, Shekhinah

As the social climate evolves, so does the way we interact with others and in turn the way we create and consume music. From the early to late 1900s or the early 2000s and 2010s, the themes we bother on and the ways we deliver them have seen significant levels of change. The shift is particularly clear for R&B, and as many keen consumers have expressed, the men just aren’t dancing in the rain anymore. Whether their approach to love is toxic or refreshing, a consistent quality spanning across decades is the soul stirring vocals of the genre’s proponents. Since her 2021 debut, South African crooner, Phiwo, has stayed true to the cause with chilling performances on emotive tracks. 

Following her MILES-assisted debut in 2021, she joined fellow songbird, Adrienne Foo, popular for her verse on Scorpion Kings’ “Nguwe,” for a three track joint offering dubbed ‘NMBRS.’ The pair delivered passion-driven renditions, reaffirming themselves and brazenly expressed their desires while calling out the bs of their love interests. Phiwo’s solo debut on ‘Letters’ tracked the same thematic path with an even more confident approach, loosely tied together by soft guitar strums and soothing rhythms of the bass. Her dedication shines through even clearer on ‘Things We Feel,’ her sophomore EP stacked with pointed addresses and raw reflections that feel straight out of a diary entry. “In the Moment” ruminates on the conflicting feelings shared post-breakup, punctuated by airy whispers and daunting keys while pre-release, “ALL4U” struggles to understand her commitment to unreciprocated love. For all those ruled by love and searching for those with similar perspectives, look no further than Phiwo for all gut-wrenching and buoyant thrills of romance. 


FROMJEROME

For Fans Of: Odeal, Ayo Jay, Wani

No genre wholly embraces the task of mirroring the complexities of our interior romantic lives like R&B. While sonic boundaries have expanded and its thematic breadth has been adjusted due to the current realities and conversations of finding and staying in love, the human core is unmissable. FromJerome is an R&B artist, even with his musical fusion base. The evidence is in the songs he’s released so far, starting from SoundCloud with August 2022’s “Granted,” where he’s baffled and disappointed at the lack of reciprocity from a love interest. “Trying to find love but you wan take me for granted,” he sings over ambient piano and chunky bass.

Raised in London, FromJerome’s Nigerianness shows itself on every song, whether that’s throwing in some pidgin lines or the distinct ‘Afro-R&B’ bounce (via Carribean pop) of his music selection. This adds colour to his songs, even when they’re wrenched with navigating toxicity. That doesn’t mean he doesn’t deal in the more wholesome side of things. Last Valentine’s single, “Kosi,” rides the ecstasy of chipmunk vocals into a love-drunk confession. New single and official debut, “Next Day Delivery,” is commitment personified: “You’ll get it right away,” he sings several times on the smooth hook. After some time in the underground halls of SoundCloud, FromJerome is out in the sun, looking to shine brightly in the near future.



[Featured image credits/The NATIVE]

Words by Dennis Ade Peter & Nwanneamaka Igwe 

Best New Music: Blinky Bill mines inspiration from the old on the rap banger, “Boss”

Posted on by Dennis Ade Peter

Blinky Bill is a savant of the avant. Since the late 2000s, the Kenyan artist and producer has gained a rep for being authentic, creating with very little reverence for norms or trends. As a foundational tone-setter for the eventual arrival of Nu Nairobi, a loose community of artists who champion expression that’s alternate to the mainstream, Blinky’s bonafides are sealed, especially buoyed by a formidable solo catalogue since the much beloved, seminal group, Just A Band, dispersed—and reassembled in 2022.

In late January, Blinky Bill released ‘We Cut Keys 2’, his first project release in over five years and the sequel to his debut project, ‘We Cut Keys While You Wait’. The new album is a semi-sprawling 16-song set where Blinky jams in a truckload of viscerally exciting music ideas, roaming across jazzy keys, pounding electronic bass, funky guitar riffs, and traditionally-inspired rhythms. As with all of his albums, there are lyrical moments driven by profundity, fitting for an artist who’s adept at exploring personal concern with an accessible, everyman’s rapper finesse.

At that, what really elevates ‘We Cut Keys 2’ is that it feels like the most fun album Blinky Bill has made till date. As exciting as the genre-blurring swings on his previous two projects were, there’s a lot more assuredness to the music here, even when his inspiration ventures further than anything he’s done before. Lodged in the lower middle part of the album is “Boss,” a rollicking banger that repurposes the rustic groove of traditional Luo music. The result is a swaggering rap banger with a distinctly Kenyan and East African core.

The first thing that meets listeners’ ears on “Boss” are thick low end drums, all pounding bass and no snare, accented by handclaps and what sounds like a glinting triangle sample. It doesn’t take long for the song to get fuller, with the addition of local drums and a central Benga guitar riff. It’s a musical carnival, where the old informs the new, where the urban is rooted in the pure charm of heritage. Even though the ethos is very familiar in current Afropop, it’s nothing like I’ve ever heard, and that will probably be the same for many listeners.

 

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Blinky Bill doesn’t complicate things with his raps, “Boss” is a celebration of self and declaration of reverence of the culture and music that came before him. “They need to know I’m a champion,” Blinky coolly asserts in a sing-rap cadence, segueing into a hook that repeats the song’s title with an infectious stomp. As for reverence, it’s in the performance as much as it is in the music. Amongst one of the more thoughtful guests, early 2000s Kenyan rap icon Maji Maji, of the seminal duo GidiGidi MajiMaji, delivers an energetic verse, with his grizzled chants floating over a section of the arrangement stripped of the pounding.

Rounding out the song are the yelped adlibs by another Kenyan music legend Melkizedo, making the union of old and new feel even fuller. On an album with over a dozen guests, including American rapper Goldlink and British-Ghanaian artist Fuse ODG, Blinky Bill hits a novel, incredibly rewarding note with “Boss.”

ICYMI: “SHRAP OVER THE REST”: THE RISE OF A KENYAN GENRE FOR THE YOUTH, BY THE YOUTH

It’s Tyla’s Time

Posted on by Nwanneamaka Igwe

Following the global breakthrough of “Water” Tyla engaged in several interviews, some of which she shared details of making the Sammy Soso-produced track. The superstar, in one of such appearances, cited Aaliyah’s iconic single “Rock The Boat” as one of her inspirations. Tyla explained that while the song was heavily sex-themed, it was, more than anything, a fun song people of various ages and backgrounds can enjoy. It is only upon listening closely that you hear the brazenly expressed desires behind the tracks’ lush chords.

In many ways, Tyla’s “Water” is the same. But zooming the lenses even closer, Tyla’s effortless style, charming personality, hit-making lyrical recipes and instantly recognisable chords perfectly align with global phenomenons and contemporary R&B/pop stars like Aaliyah. In Tyla’s case however, we have a South African crooner drawing inspiration from her African roots, rightfully earning her a series of viral moments and now, the title of the inaugural winner of the Best African Music Performance category at the Grammys. 

 

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Per the new category announcements back in June 2023, Tyla made several memorable appearances across world stages to perform her chart-topping single, gracefully supported by the song’s virality on TikTok. Her effortless starpower and hypnotic dance moves sold millions of music lovers across the globe, who joined her with the #TylaWater and #TylaWaterChallengevideos. The dance challenge to “Water” existed on the territory of a major South African dance genre, Bacardi which holds heavy ties to Amapiano. “Usually, this dance style is not paired with this type of music, but I felt it would fit so well,” she said in an interview. 

By the time the nominations were announced in November, the song had already accomplished numerous feats across local and international charts, including the Billboard Hot 100, making her an obvious shoe-in for the category. She took home the gold, sitting amongst a stellar class including Burna Boy’s “City Boys,” Asake and Olamide’s “Amapiano,” Davido’s “UNAVAILABLE” ft Musa Keys and finally, with the only other woman in the category, Ayra Starr for “Rush.” In her acceptance speech, she shared

“Last year, God decided to change my whole life So thank you so much to God, my team, my family. I know my mother is crying somewhere in here. Thank you to the Recording Academy for this category, it’s so important.”

While this is her first nomination and win, Tyla is not new to viral moments soundtracked by a distinct and vibrant melting pot of her diverse sounds which draw influence from contemporary R&B, pop, Amapiano and more. As much as these songs did not travel at the scale or with the speed of “Water,” tracks like “Overdue” and Kooldrink-assisted “Getting Late” share equally viral moments, at the time, cementing Tyla as a star on the brink of breakthrough. If the heart-thumping log drums and twinkling keys of “Getting Late” didn’t draw your attention to Tyla’s pending entrance into the spotlight, then the emotional-laden heartbreak story of “To Last” was sure to clear any doubts that Tyla has been preparing for the moment since the start of her career. 

Tyla has since peeled back more layers of her charm, backed by several contributions that thread her seamlessly into the ever-expanding scope of Afropop. She released a 5-track self-titled EP, stacked with a “Water – Remix,” assisted by Travis Scott and soothing R&B leaning numbers that reaffirm Tyla as the lovergirl she proudly established herself as. On “Truth or Dare” she tells a chilling story characterised by the toxic back and forth of modern romance. She openly calls out a former love interest attempting to spin the block now that she’s gained some fame and success, “Message received, oh, now you want me back?/I know the procedure, tryna come to my place.” She unapologetically calls him a fan, daring him to reminisce on all the times he did her wrong. 

 

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This moment is undeniably special. At only 22, she’s not only the youngest South African to win but Tyla’s the youngest female African to earn a nomination and win in the award’s history. This win has not only shed a burning light on her own potential, positioning her for more outstanding accomplishments in the future, it has opened doors for the rising generation of female music superstars from Africa. With building blocks of what promises to be exceptional years ahead, Tyla’s magical moment is only a sliver of what we can expect from the women of Afropop’s domineering scene. 


[Featured Image Credits/The NATIVE]

6 Important Highlights for African Music at the 2024 Grammys

Posted on by The Native

Are the Grammys still music’s biggest night? The answer depends on who you ask. A couple of years ago, there was clamour for better inclusivity at the prestigious awards, from women being better acknowledged to respecting the global impact of urban African music. In its past two to three editions, the Recording Academy has made visible changes to reflect a broader, more liberal outlook, whether that’s renaming categories or simply creating new ones.

For many Africans, the 66th Grammys, scheduled to be held next Sunday, is a better representation of Afropop’s standing within the wider scope of global music. There’s an all-new category, over a dozen artists are nominated beyond the Global categories, and it’s just an indication that our music isn’t just being heard and played in the biggest places, it’s also worthy of the highest honours. Ahead of the ceremonies, here are six important highlights we’ll be paying close attention to during the premiere show and televised event in the Crypto.com arena.

The Grammys introduce ‘Best African Music Performance’ Category

Noms: Asake and Olamide – “Amapiano,” Burna Boy – “City Boys,” Ayra Starr – “Rush,” Tyla – “Water” & Davido ft Musa Keys – “UNAVAILABLE.”

Back in June 2023, the Recording Academy unveiled three new categories for the 2024 ceremony and one category generated a significant amount of buzz—with good reason. The Best African Music Performance category, according to the board, is set to feature a slew of ‘local expressions’ including Amapiano, Fuji, Ghanaian Drill, Alternative music and so on. This introduction is meant to be a not-so-silent nod at the sold out stadium tours, outstanding break-out runs, unbelievable streaming numbers, record breaking tours and remarkable cross-continental collaborations emanating from these parts. At home and beyond, Afropop veterans and newcomers are championing fresh and innovative sounds not only contributing but dominating worldwide music conversations. 

It is for this reason, amongst others, that a category for Best African Music Performance comes off as lazy and ambiguous, lumping a continent with rich and diverse sounds under one nomination slot. This isn’t untrue but that also doesn’t mean the category comes with no benefit whatsoever. This season always springs up conversations regarding the validity of these ceremonies and why the award system is outdated and almost irrelevant, particularly when deserving recipients fail to gain recognition. But it is important to take into account the windows of opportunity these accreditation systems provide, beyond one’s name engraved on a gold gramophone statuette.

The golden legacy of Olamide

Noms: Best African Music Performance – Asake and Olamide for “Amapiano”

For most of the 2010s, Olamide was the most consistent hit-maker in Nigerian music. Where all of the proverbial Big Three had their lulls in that period, Olamide had the streets of Lagos and the entire southwest region on lock, and that dominance reverberated throughout Nigeria and even spilled over to the rest of the continent. At that, there was chatter that primarily rapping Yoruba and being overly tethered to the grit of the streets limited his impact in pushing Nigerian music to a wider, global audience.

Well, the man is now a Grammy-nominated artist, on a song he co-headlines with the biggest artist he’s signed to his YBNL label till date. Asake is a much different artist to the man who helped barrel into the Nigerian pop mainstream, but there’s a deep musical and spiritual kinship that ties his ongoing successes to the feats Olamide achieved at his peak. “Amapiano,” the song they’re both nominated for, is easily one of the best party-ready songs of this decade already, even if you roll your eyes at its title and the kind of appropriation it stands for. Right now, though, what’s most immediate is the additional validation this nomination provides. Olamide’s legacy is already sealed, now it deserves to be even more gilded than before. As the man declares, “Streets shi wa in charge.”

It’s Davido’s time… finally 

Noms: Best African Music Performance – “UNAVAILABLE,” Best Global Music Performance – “FEEL” & Best Global Music Album ‘Timeless.’ 

After over a decade in the music industry, Davido is finally getting his well-deserved recognition at the highest highs, with three big nominations. All conversations surrounding the Big 3 in Nigerian Pop have never left out Davido’s name and with good reason. He has remained a consistent force propelling the ropes of African music well beyond its borders with a series of monster singles, peerless collaborations and stage performances across the world. The moment is all the more special considering his nominations are for an album birth by a grief-induced hiatus. The 6-month absence, tagged by his absence from social media, marked the first time the singer drifted away from the limelight after becoming an unwavering persona in Afropop from his momentous introduction to the scene with “Dami Duro.” In a heartfelt tweet, post the announcement made in the earlier parts of November, Davido says “3 nominations at the Grammys!! Delay is not Denial!!,” perfectly encapsulating the feelings running through his fans across the world, who’d been watching the superstar since his debut.

Burna Boy Told Us

Noms: Best African Music Performance – “City Boys,” Best Melodic Rap Performance – “Sittin’ On Top Of The World,” Best Global Music Album – ‘I Told Them…’ & Best Global Music Performance – “Alone” 

“I know say one day e go better/I go carry Grammy,” Burna Boy sang on the eponymous intro to his fourth studio album, ‘African Giant’. That was nearly five years ago. Burna has won the Grammy he so dearly coveted at the time but he hasn’t let up, broadening the scope of his music even further and being just as productive as the initial 3-album run that brought him to international popularity. At this year’s Grammys, he’s nominated four times, a record-setting feat for Afropop.

In addition to nods in the two Global music categories and the new Best African Music Performance category, he’s nominated for Best Melodic Rap Performance, for “Sittin’ on Top of the World” with British-American rap artist 21 Savage. The latter nod is significant for its consideration in one of the  more mainstream categories, perhaps a fringe indicator that African artists can make music that will simply not be shunted to “Global” and “African” sides at future Grammys. Regardless of the outcome of his nods, Burna’s bar-setting, ambassadorial role will be made even more undeniable by his performance at the awards show itself, an upgrade from his telecast performance back in 2021.

Being on-stage at the Grammys might even be beyond what Burna Boy envisaged for himself when he simply hoped for one gramophone, but his unbendable self-belief, to the point of narcissism, is a huge part of what keeps on elevating his mythos.

‘Black Panther: Wakanda Forever’ Widens the Playing Field

Noms: Best Song Written For Visual Media – “Lift Me Up,” Best Compilation Soundtrack for Visual Media & Best Score Soundtrack For Visual Media – ‘Black Panther: Wakanda Forever – Music From And Inpsired By’.

In creating the music for ‘Black Panther: Wakanda Forever’, returning director and composer, Ryan Coogler and Ludwig Goransson, visited Lagos to collaborate with Nigerian artists and musicians. On the final  soundtrack, the “music from and inspired by” compilation, eleven African artists are primary contributors, including five South Africans and six Nigerians. (To up the tally, you can add British-Ghanaian rap artist Stormzy and American-Nigerian rapper Tobe Nwigwe.) All of them are up for a Grammy, as the project is nominated in the Best Compilation Soundtrack for Visual Media category.

In addition to this group nod, Tems’ contribution to Rihanna’s “Lift Me Up” snags her another nomination in the Best Song Written for Visual Media category, while Burna Boy’s emotionally resonant “Alone” is up for Best Global Music Performance. For artists like Bloody Civilian, DBN Gogo, Kamo Mphela, and more, who are scoring their first nod, it’s a heart-warming achievement regardless of Sunday night’s outcome. A win, though, would widen the number of African artists who are Grammy winners—which is always welcome.

Make room for the IT Girls, Tyla and Ayra Starr. 

Noms: Best African Music Performance – Tyla for “Water” and Ayra Starr for “Rush.”

After decades of women being sidelined from major Afropop conversations even on home turf, well-deserved recognition can hardly go unnoticed. The consistent efforts of Sho Madjozi, Yemi Alade, Tiwa Savage, Angelique Kidjo, Fatoumata Diawara and others—who are just now enjoying a semblance of a level playing field as global stars—says a lot. Their relentless efforts and peerless stardom have ushered in acts like Ayra Starr and Tyla, who are now afforded shots at a lasting legacy so early on in their career.

As much as the nominations, regardless of a win or lack thereof cement these stars as the youngest female acts from their respective countries to gain global recognition, the best part lies in the message behind the tracks. Women across the globe are not new being policed and playing by the confines of performative respectability politics. So when “Water,” a song that brazenly expresses sexual desires and “Rush,” a melody stacked with cheeky yet assertive proclamations of generational greatness, earns a nomination, it is worth an acknowledgment. More than being recognised for being some of the most consistent hit makers of this generation, we’re more than excited to see women finally playing ball and on their own terms at that.

 

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Words by Dennis Ade Peter and Nwanneamaka Igwe


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‘Ugo: A Homecoming Story’ is a heart-warming portrayal of Giannis Antetokounmpo’s first time in Nigeria

Posted on by Dennis Ade Peter

Giannis Antetokounmpo, the 6’11” NBA superstar, is in a hurdle surrounded by a pack of kids who barely reach up to his waist. “1! 2! 3!” he intones, “NBA!!!” the kids scream back at him. Giannis has rang out many hurdle breaks, probably hundreds, but this is one of those he most likely won’t forget—ever.

According to lore, Rowe Park in Yaba, is where the iconic basketball player and 2-time NBA MVP Hakeem Olajuwon was discovered. Over four decades later, there was Giannis, visiting the court, himself already an iconic basketball player and 2-time NBA MVP. It was a pilgrimage, it was also a homecoming. To even the most casual basketball fan and NBA follower, it is well-known that Giannis is also referred to as the Greek Freak. That nickname stuck really quickly because it fit so perfectly for an uber-athletic player whose primary features when he got into the NBA were his gangly, flailing limbs.

These days, the build is much different. A network of muscles from shoulders to toes that culminate in one of the most imposing physical figures in basketball history. He might as well be fashioned after a Greek god, or be referred to as one—even the brawny jawline suggests as much—but trademarks are premium, and Greek Freak is synonymous to the Giannis brand. Also essential is his Nigerian heritage, something Giannis has emphasised on a narrative level, shown in the biopic film ‘Rise’ and the WhatsApp-partnered short film, ‘Naija Odyssey’, and even in a design for his signature shoe line. These portrayals and discussions often centred on identity, the need for people to understand that “I like being the Greek Freak but I’m also a Nigerian Freak.”

As far as the visual representations of Giannis’ relationship with being Nigerian, the recent mini-documentary, ‘Ugo: A Homecoming Story’, is the most visceral one yet. “When I close my eyes, I can see Nigeria, even though I’ve never been there,” Giannis narrated on ‘Naija Odyssey’ while an Afro-funk arrangement played underneath. For several days in the summer of 2023, he didn’t need to close eyes and imagine, or rely on memories from his childhood and anecdotes from his parents. Along with his mum, Veronica, Ugo visited his parents’ birthplace and the country of their youth, for the first time ever.

The most obvious qualifying term for ‘Ugo’—also a collaboration with WhatsApp—is heart-warming, which shouldn’t be surprising considering the man himself. In the NBA, Giannis is known for his dominance, a battering ram who asserts his will by sheer force and unbendable will. He’s the type of player opposing teams build a wall against, because of how he easily obliterates single coverages and can barrel through multiple defenders on his way to scoring at the rim. The combination of his freakish abilities and an ultra-competitive drive makes him one of the more intimidating and intense players at the highest levels of basketball. It’s quite different off the floor, though. Ugo has shown himself to be incredibly jovial, the type of guy who amuses himself and wants to amuse everyone else with dad jokes.

A day after becoming an NBA champion, Giannis went to a Chick-Fil-A drive-through and ordered 50-piece nuggets, an obvious, fun reference to scoring 50 points in the closeout game of the finals series. Everyone is happy when they win but it takes a level of joy and levity to be that effortlessly endearing. After all, this is the guy who pokes fun at himself for being a not-so-good 3-point shooter. He’s also the kind of player that would try to rationalise being upset by a series loss because failure is relative but resilience is absolute. Joy and resilience, two things that are incredibly Nigerian.

In ‘Ugo’, several of the featured interviewees reinforce the trope of Nigerians being perennial seekers of happiness, and working really hard is sewn into wanting better for ourselves. In relation to the ‘Japaing’ era especially, that’s Giannis’ story, a son of two illegal immigrants who were both national sportsmen but moved in search of a better life, to an entirely new country where their family surname—Adetokunbo—was drastically altered. Basketball provided an opportunity for several of the Antetokounmpo brothers to create a better life for their family, and Giannis ran with it. By his sixth and seventh seasons, he had become the NBA’s Most Valuable Player for two years in a row. He finally won the coveted championship chip in his eight, stacking a highlight of all-time NBA Finals plays.

Three years later, Giannis has explicitly stated that he’s hungry for more success. Part of that also stems from legacy considerations, and that applies away from basketball too. ‘Ugo’ is about touching your roots, going one giant step further than repeatedly acknowledging the spiritual origins of your traits and person even. The excitement on Giannis’ face is front and centre of the documentary. Arguably its most wholesome is an early sequence where Ugo spots a counterfeit Giannis jersey and goes to buy it, even haggling with the seller just because, you know, he’s Nigerian. Haggling is one of the things we do.

The rest of the documentary follows a laid out itinerary that makes sense from a cultural immersion standpoint: Going to watch surfers at Tarkwa Bay, a landmark area in Lagos despite recent displacement acts by the government; swinging by Rowe Park to surprise young hoopers; the Afrikan Shrine, a foundational spot for Nigerian music; and buying fish at the seaport market in preparation for a dinner prepared by a celebrated chef. There’s the trademark Giannis vigour in every conversation, and seeing him revel in the warmth of seeing extended family for the first time might as well melt your heart.

‘Ugo’ is worthwhile for seeing Ugo soak in all this experience. Where it gets compelling is in its depth, with Giannis bringing viewers into his own identity. Where ‘Naija Odyssey’ could veer into Meta and get unwieldy in defining its central person, there’s a more accessible approach to ‘Ugo’ that allows Ugo speak more spontaneously, as opposed to being heavily scripted. Around the lower middle part of the mini-doc, Giannis explains how he’s slightly more familiar with the Igbo side of his heritage, through a closer relationship with his mother, even though his Yoruba father disapproved.

The importance of Igbo people handing down their language, culture and practices to their offspring is not lost on anyone who understands the weight of the civil war in Eastern Nigeria back in the late 1960s. Already, there have been incredibly stupid tribalistic comments online, a holdover of the gross events and propaganda from the last election, with some being angry at Giannis for being more familiar with his Igbo heritage, regardless of how he’s never disparaged being Yoruba. During his visit, revered fashion house ALARA Lagos created custom traditional for Ugo and his mother Veronica, blending both his Yoruba and Igbo heritage into distinctly beautiful pieces.

“I know I am Nigerian but you gotta go back,” Giannis says near the very end of ‘Ugo’. “It allowed me to understand better who I am and what kind of person I want to be, what kind of son, what kind of husband, what kind of father I want to be.” It’s a profound encapsulation of what we already saw on screen in the prior 25-plus minutes. There are many things Giannis Ugo Antetokounmpo will never forget about his first time coming to Nigeria.

ICYMI: IN CONVERSATION WITH DENNIS OSADEBE & GBEMISOLA ABUDU ABOUT NBA MEETS ART

“No Gree for Anybody” is a perfect reflection of the current Nigerian experience

Posted on by Dennis Ade Peter

Primarily because they’ve become a symbol of civil antipathy towards authority, there’s a general shrug when the Nigeria Police Force is strongly against something. In this case, it’s a viral social media parlance that’s now been adopted as a widespread mantra. About two weeks ago, The Nigerian Police force spokesperson held a press briefing to state that ‘No gree for anybody’ is a threat to national security. “No gree for anybody has been seen as normal talk, but in the security business and the security community, we have seen it as a dangerous slogan that can trigger crisis,” Muyiwa Adejobi said.

Yeah, right.

Not to make this about the Nigerian Police, an institution that’s definitely not a friend to the vast portion of Nigerian youth, but its stance can be classified as further validation for the “dangerous slogan.” In a time where insecurity keeps hitting alarming highs, with entire communities being attacked by terrorists and kidnappers even breaking into homes to abduct entire families, it’s disturbing that words, with incredibly clear meaning, got the attention of the institution that should be serving and protecting human lives.

The exact origin point of “No gree for anybody” is somewhat hazy, but it generally caught on during December, last year. As with many things, it was amplified on TikTok, where random videos of people fighting went viral, with the catchphrase as the tag for these videos. In one of the videos I saw first, a woman who’s hawking her goods in traffic pulls a passenger down from the bus and the duo slug it out on red clay. What kick-started the fight was unclear, but the passenger had hit the trader, and because the cars were parked in standstill traffic, she decided to dish out some get-back, plus more.

The context of “No gree for anybody” is simple: Stand up for yourself. Opening 2024, it has carried over and has been adopted as a mantra for wanting more and wanting better. Not ‘greeing’ means doing whatever is necessary to achieve set personal goals for the year, even if that means the anybody is yourself. As people have applied it to the annual resolutions conversations, there have been tweets like “No gree for yourself,” with respect to complacency and procrastination. As a resolve, it’s has the same galvanising yet jovial force of slangs like “Standing on bidness” and “Keeping it 100.”

Just beyond the immediacy of its personal context, the mantra also has its wider importance, in response to the conditions of Nigeria’s ailing economy and general social issues. Over a week ago, the National Bureau of Statistics (NBS) reported that headline inflation for December 2023 hit 28.92%, and food inflation rose to 33.9%, both significantly worse numbers compared to a year ago.

Generally, the mood is sour, with the aforementioned insecurity woes being a prominent theme, and a social infrastructure that doesn’t elevate the quality of life for everyday Nigerians. Electricity supply has become worse, the price of petrol has reached historic highs, transportation has gotten more expensive without being more efficient, and for many there’s lack of faith in the federal administration that entered office following last year’s controversial elections. All of this, plus more, has pushed Nigerians into high alert mode, where survival is essential, however, we also want to find pockets of joy without our actual pockets drying up.

@enioluwaWho else is with me? This Year We TakeOver!♬ original sound – 📍Eni

“No gree for anybody” is a self-serving mantra in service of the difficult times we find ourselves in. There’s always been a prevailing theory that Nigerians often look out for ourselves first, many times at the expense of others—this slogan might as well be evidence. But it always bears mentioning that it’s in response to the times, desperate times warrant desperate measures and other similar sentiments. Perhaps, the positive part is that the generally agreed measures that align with “No gree for anybody” means Nigerians, especially the youth, are doubling down on working hard and working smart. It’s not like there are any other viable options, earning more (as a lazy Nigerian youth no less) is a necessity.

No one is going to define Nigerians as altruistic but, even in our prescribed self-absorbedness, there’s a communal aspect to our lives that’s been amplified in bracing moments, from the EndSARS protests, to the crowdfunding for victims and survivors of insecurity attacks, and even a woman and her family’s life changing overnight. (For the latter, let’s save the discussion about broke-shaming and fragile male egos for another day.) These instances would make it disingenuous to reduce “No gree for anybody” into a clarion call for selfishness. The fact that it was unanimously agreed upon speaks to the dynamism of the Nigerian experience.

It feels apt to end on the addendum: “You wan gree? If you like, gree!”

@ayomidejai “No Gree For Anybody” is not a criminal statement – Lagos Commissioner of Police, Fayoade Adegoke Mustapha #foryou #foryoupage #duet #viralvideos #trending #viral #fyp ♬ original sound – Ayomide Jai

TOP STORIES: 9 HEADLINES FROM A BUSY & FUN FESTIVE PERIOD

Top Stories: 9 Headlines from a busy & fun festive period

Posted on by Dennis Ade Peter

December in Lagos is always chaotic. Fun, yes. But the chaos comes with the package. Most of it is always centred on the many, many concerts, festivals, parties, live events, and influx of people that the period comes with. In this moment, the gears of entertainment and pop culture turns from the daily grind and focuses on these happenings, but that doesn’t mean new, fascinating events aren’t feeding the timeline with stuff to discuss. The past month-plus had more than its fair share of cultural moments, which The NATIVE’s editorial team was out of office for – due to our festival NATIVELAND. Here’s a quick recap of some of the headlines that kept December 2023 and early 2024 going.

The Davido & Wizkid Bromance Reaches a New High at ‘Even With SkylaTylaa’

Amidst all of the tiffs and controversies they’ve been central to, there isn’t any bromance in Nigerian pop quite like Wizkid and Davido’s current relationship. The consuming embers of rivalry have seemingly cooled off for years, dating back to Davido stating that the pair had embraced maturity in his 2018 cover story with The NATIVE. During the Detty December festivities in Lagos, both artists reunited at The Good Village for a great party time at ‘Even With Skyla Tyla’. 

The daytime party, headlined by renowned British DJ SkylaTylaa, who’s sisters with music executive and Wizkid manager Jada Pollock, saw Davido pull up with members of his 30BG crew, as well as Nigerian rap artist (and “IDK” collaborator) Zlatan. Clips of the superstars from the party, featuring Davido’s trademark exuberance and Wizkid’s chill aura, populated social media. It might be trivial to some, but it was a heartwarming moment that reinforced how far past they’re beyond the toxicity of the past. Maybe, it’s time their respective Stans follow suit.

Shallipopi Goes Home for A Watershed Moment

During the Detty SZN, you could count the number of artists as hot as Shallipopi on one hand and not exhaust those five fingers. The Benin-raised artist was everywhere, from Dvpper Digital’s ‘Trench Fest’ to NATIVELAND 2023. Every time, he’d saunter on stage and scream “PLUTOMANIA!!” to an even more raucous crowd reception. In clubs and pretty much everywhere you went, the Odumodu-assisted “Cast” rang off, and it was emblematic of the star power he wielded throughout the festive period.

In addition to cameo and feature appearances on ensemble festival and concert line-ups, Shalli headlined his own concerts in Lagos and Benin, Edo State. The homecoming concert was a watershed moment, one where the melodic rapper was joined on stage by his mother—this is after a video of him going to see his mother at home went viral online. In addition to that, Shalli was joined by his brother and fellow artist Zerry DL for an emotional moment, where both of them performed the hit song “Puff & Pass (Remix)” with tears of joy streaming down their faces. There’s a reason why tears fly into the wind during rollercoaster rides.

 

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Prime Video’s ‘Breath of Life’ Elicits Warm Reception

For nearly two years now, Amazon’s Prime Video has been looking for ways to better imprint its presence on Nigerian cinephiles and the general public. 2023 was arguably the streamer’s most fruitful year in Nollywood yet, unveiling ‘Gangs of Lagos’ as its first commissioned film and acquiring showing rights to dozens of films, including the Nigerian cinema blockbusters, ‘Battle on Buka Street’ and ‘King of Thieves’. To close out the year, Prime Video finally released the much teased BB Sasore original, ‘Breath of Life’. Part of the exclusive deal Sasore and Nemsia studio signed with Prime, the December 15th-released film is a faith-based story set in 1960s Nigeria.

It stars Wale Ojo, Eku Edewor and Ademola Adedoyin in lead roles. Within days of its release on Prime Video, social media was filled with opinions, mostly positive, especially concerning the film’s affecting themes. ‘Breath of Life’ also rocketed up the Prime Video charts in at least 11 countries, claiming top spots in Nigeria and Ghana. Just yesterday, January 18, Prime announced that it will be cutting down investments in Africa and the Middle East, a sign that it will be restricting its operations to acquisition of films in these regions. If that’s the case, ‘Breath of Life’ can at least be acquitted as a well-received film amongst the definitely short roster of Prime originals in Nollywood.

KENDRICK LAMAR HEADLINES CONCERT IN RWANDA

In 2022, Compton-born rapper Kendrick Lamar traveled to Ghana amidst the roll out for a new album that was feverishly anticipated for years prior to its release. It was culturally significant that the Best rap artist of his generation was on the continent at such a personally momentous time, extending his relationship with the continent. Last December, the Pulitzer winner headlined a concert at the BK Arena in Kigali, Rwanda, for Move Afrika. The concert, which had Rwandan president Paul Kagame in attendance and on stage for a bit, was held in celebration of African music and unity, with opening performances by local superstar Bruce Melodie and popular Tanzanian singer Zuchu. Kendrick’s set, which lasted well over an hour, held the 8,000 concertgoers in awe of his showmanship. It’s not just another casual flex of his greatness, it also shows that African live shows and festivals are attracting the biggest names in music.

ODUMODUBLVCK and Shallipopi perform “Cast” for the first time at NATIVELAND ‘23

After a long morning of waiting, an outsider wouldn’t have guessed that it was almost past 6am when the pair of 2023 breakout stars, Shallipopi and ODUMODUBLVCK, united on stage for the most anticipated performance of NATIVELAND ‘23. A  few moments before, Bloody Civilian had joined the NATIVE Records signee for a memorable rendition of an ‘EZIOKWU’ favourite, “BLOOD ON THE DANCE FLOOR.” Switching up from the calm atmosphere, the self acclaimed pluto presido brought life to the crowd chanting the duo’s collab song, “Cast,” word for word, which many would consider the song for Detty December in Lagos. The pair’s effortless bromance shone through clearly as they drifted back and forth along the high-tempo Ampaino-tinged rhythm with a beautiful firework display to close out the night on a raucous high.

 

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Funke Akindele Sets a New Nollywood Record With ‘A Tribe Called Judah’

Funke Akindele has figured out the art and business of dropping holiday film blockbusters. For her latest bar-setting feat, the filmmaker released her new film, ‘A Tribe Called Judah’, to huge fanfare. Coming in a year after ‘Battle on Buka Street’ quickly became a runaway box office hit, this new film packed out theatres across Nigeria right from its debut screening date of December 15th. Even more gratifying is that the film has been well-received for being an action-comedy caper that weaves in familial themes to its core. To open the year, it was announced that ‘A Tribe Called Judah’ has become the first Nigerian film to hit the 1 billion naira revenue threshold, a landmark accomplishment for Funke Akindele, a leading woman in Nollywood who’s used to breaking and setting new records.

BRAZY’S ELECTRIC PERFORMANCE AT NATIVELAND ‘23

Post her breakout hit song, “Attends,” Brazy has slowly cultivated a fanbase with a steady stream of refreshing content in her usual fashion. Alongside new releases like Kelela’s “Closure” or her breezy December single, “Daddy,” Brazy has since appeared on a slew of stages across the world including opening for Ayra Starr at Koko, London. Last December, she took on her biggest stage yet – NATIVELAND ‘23 – with soul stirring vocal renditions accompanied by her enthralling dance moves and masterful mixing. She opened up her set with crowd favourite “Attends,” sustaining the crowd’s momentum after a buzzing performance by South Africa’s Uncle Waffles. However, she really got the crowd buzzing when she introduced her dance-rap fusions of “omg” with the iconic single “Azonto,” taking us all the way back 2014.

“That’s the life of a City Boy! Ahn Ahn Ahnnn!”

Like many of his colleagues, Burna Boy was in Lagos in December. Unlike many, he barely performed at public events. Perhaps it was the best thing for everyone, considering the debacle of his last Lagos headline show in early 2023, where he came on stage six hours after the show was billed to start, and started off by cussing out the crowd before performing one song. At that, it’s undeniable that Burna is one of the best performers working in global pop music. For a brief cameo, street pop superstar Seyi Vibez brought out the singer at his Lagos headline concert in December, and Burna proceeded to turn things up with a performance of the stomping banger, “City Boys.” In the video clips that quickly went viral, you can hear the crowd ripping its collective voice to match Burna’s electric energy, another indicator that the Port Harcourt-raised phenom will always be loved at home—regardless of what he thinks.

“YOU LOOK LIKE METRO TOO, TOO MUCH!”

Pop culture finds some of its best slangs from stuff that’s uttered mundanely. Obviously, it has to be latently funny, and that’s pretty much the case with the now infamous Rahman Jago quip: “You look like Metro too much.” That iconic, incredibly hilarious moment came while Jago, a respected high fashion connoisseur, was in the presence of Roddy Ricch, the American rap artist who was in Lagos for a concert appearance. While telling Roddy about how much he loved the artist’s official debut album, ‘Please Excuse Me for being Antisocial’, Jago turned to one of the rapper’s associates and let him know that he looked a lot like the American super-producer Metro Boomin’. The associate mean-mugged, some people captured in the video giggled, Nigerian twitter collectively laughed and turned the moment into a meme, and Metro Boomin’ joined in on the raucous fun. Throughout December, a lot of people looked into their mirrors to make sure that they didn’t (or maybe did) look like Metro too much.

[Featured Image Credits: NATIVE]

Additional words by Nwanneamaka Igwe

ICYMI: PRESENTING THE SECOND EDITION OF BLACKLIST WEST AFRICA IN COLLABORATION WITH GUAP MAGAZINE

Ibadan residents are recovering from a deadly blast

Posted on by Dennis Ade Peter

On the evening of Tuesday, Jan. 16, a deadly blast occurred in Bodija, a suburban area of Ibadan, the capital city of Oyo State. The blast, which happened around 7:45PM local time, originated on Adeyi street and its effects spanned across a 14 KM radius. According to Oyo State Governor, Seyi Makinde, preliminary investigations have revealed that the fatal event was caused by explosive devices that had been stored by illegal miners.

 

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The blast destroyed several buildings within its epicentre, reportedly sinking two houses. Cars around were also destroyed beyond repair. In the wider radius, people’s homes and properties were badly damaged. So far, five people have been reported dead, and 77 people have been hospitalised for varying grades of injuries. Since the night of the blast, rescue workers, led by the National Emergency Management Agency, have been searching for survivors in and around the affected areas, pulling out several people trapped under the rubble. Also, hundreds have been displaced from their homes, with houses needing to be rebuilt and renovated.

Joining first responders and concerned citizens shortly after the blast, Governor Makinde has ordered that displaced individuals and families are to be temporarily sheltered in hotels, and will be assisted by the Oyo state government as they recover and rebuild their lives. Of the people in hospitals, 60 people have been discharged so far, with hopes that the other injured persons will make full recoveries. Also, in his public statement on Wednesday morning, Makinde has stated that finding the person(s) who stored the illegal mining equipment is a top priority for the state government and security agencies.

Speaking from Ibadan on the Channels TV program, Politics Today, Makinde stated that nothing will be covered from the public during these investigations. “We’ve done a few fact-finding on the company involved and yes, there are indeed some foreign names on the CAC [Corporate Affairs Commission] documents of the company involved but these are still early days,” he said. The Nigerian police have declared the owners of the house wanted, while the Miners Association of Nigeria (MAN) have stated that the mining company allegedly responsible for the blast is not a registered member of the body.

 

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This is a developing story, and we will be updating this page with general resources for assistance for those that would like to help.

[Featured Image: Vanguard NG]

ICYMI: HOW IBADAN IS FASHIONING THE NEXT GENERATION OF MUSIC STARS

Armed attackers raid communities in Plateau state amidst last year’s Christmas preparations

Posted on by Dennis Ade Peter

Since the turn of the millennium, Plateau state has been beset by fatal bouts of insecurity, leading to the killings of thousands and injuries to many more. Dating all the way back to the deeply saddening Jos riots of 2001, the central Northern/middle belt state has dealt with several conflicts, many of them reportedly centred on religious tensions. Amidst last year’s Christmas festivities, armed groups killed over 100 people, injured and displaced many more across three local government areas in the state.

According to reports, the fatal attacks began in the evening of Saturday, 23rd December, and lasted untill the early hours of Christmas morning. Initially, local authorities stated that 16 people had been killed in the attacks, before the numbers were reported to be more than 113 people. Addressing the press just in the aftermath of the attacks, Monday Kassah, head of the local government in Bokkos, said the attacks were “well-coordinated” and they happened across “not fewer than 20 different communities.”

With rural communities making up the grounds of these attacks, analysts have pointed at climate conditions as a core cause of the attacks, noting that farmer-herder clashes have been frequent in the region, owing to locals seeking to protect their farmlands at a time where fertile lands are decreasing. The local community have also claimed that ethnoreligious motivations play a huge role in fulani, muslim herdsmen attacking local, predominantly christian communities. In survivor accounts, the herdsmen – or bandits as they’re often referred to by news media – killed, maimed and chased people out of their homes, and also razed houses and food barns to the ground.

Located in the middle of the country, separating the mainly muslim north from the south, Plateau State is in close proximity to the insurgency that has plagued the North. In the last two-plus years, the danger of armed herdsmen attacking locals in communities as far as Southeastern states and Southwestern states has been a recurrent issue, with concerned citizens even forming vigilante groups. The attacked communities in Plateau state also formed vigilante groups for self-defence, however, locals claim that local police frequently arrest and disarm young people found with firearms, which leave them at the mercy of the same police force and military personnel who reportedly have extremely slow response times.

The Christmas attacks took affected communities by surprise, bloodying what should have been a joyous festive period. “We were scared because we weren’t expecting an attack. People hid, but the assailants captured many of us, some were killed, others wounded,” Markus Amorodu, a resident of Mushu village, told AFP. Immediately after the tragedies, condolence messages poured out across social media, from concerned Nigerians to the global Christian community, who identified the attacks as a fatal persecution for the thousands who live in these communities.

Currently, many of the survivors have been displaced, while many killed victims were buried in mass graves. Many displaced survivors are living in IDPs, barely subsisting on donations from individuals. A GoFundMe account has been set up to assist survivors during these difficult times, and volunteers have reached out to people from these communities, publicly sharing their stories and how the donated funds are being used. The NATIVE urges everyone who can donate to please do so.

WHAT’S GOING ON SPECIAL: THE CRUELTY OF UGANDA’S ANTI-GAY LAWS

Get to know the uNder artists performing at NATIVELAND 2023

Posted on by The Native

Since our very first festival in 2016, the NATIVE has existed at the fringes of popular culture committed to highlighting, analysing and championing the rising talent coming from the African continent tomorrow: today. Right from the very start, we’ve aligned ourselves with telling important stories and connecting audiences at home and in the diaspora with culture from both sides of the world.

At NATIVELAND Festival, we serve as the bridge that connects the people at home with the diaspora. Our diverse roster of artists from around the world have attracted these audiences and artists alike to spend one memorable night with NATIVE every year. From headliners such as Burna Boy, J Hus, Dave, Naira Marley, Davido, Tems, Rema and more, our vision has always been clear in bringing together the best in class talent to an audience deeply connected to their music and sensibilities.

 

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In March 2020, we launched Fresh Meat (now known as uNder), a monthly column that stayed true to our mission to reshape the face of African popular culture with a monthly list that highlighted a rising generation of fearless artists who refuse to conform to norms, and are creating their own paths, on their own terms. The inaugural edition featured artists such as Omah Lay, Zilla Oaks, emose (now known as Bloody Civilian), Olayinka Ehi, FOREVATIRED and more stellar acts who have only grown to become household names today.

In 2022, we revamped Fresh Meat into uNder giving it a new name and face, albeit the same mission. The name was a play on the word underground. Usually, the trope attached to underground music is its distance from mainstream success, however, the Internet has revolutionised music streaming and success at the click of a button. As such, the artists who featured in this column were far from “under the radar,” but come from a line of talented artists, from around the continent and diaspora, including those that you may have heard of before, and others you might never have heard of, but are on the cusp of their biggest moment.

For our fifth edition of our festival, we’re merging the worlds of uNder and NATIVELAND with a special uNder artist presentation powered by our partnership with Hennessy. This Friday, we’ll be unveiling a new artist to perform on the NATIVELAND2023 stage with a “Very Special Freestyle” challenge that invites artists from around the country to submit a verse to Trill Xöe’s Very Special beat. While we wait to unveil the final artist on the lineup, we’re placing the spotlight on the talented spate of uNder artists who are all at various stages of their career and drumming up anticipation with each new release.

From 2023’s breakout star Brazy to new names such as xinsomniac, here are the exciting acts gracing the stage at NATIVELAND 2023 this Friday. 

BRAZY 

Brazy is a name to get familiar with before the year runs out. After creating bright spots on the Afropop canvas this year with genre-bending music from “Attends,” “omg,” “Brazy Skank” and the recently released bopper, “Daddy,” Brazy makes her debut on the NATIVELAND stage this year. Given that she’s embarked on a near-peerless run, topping charts, weaving dance music with alternative Rap and racking up new listeners in the space of twelve months, we’re very certain the Afro Sexy rapper will bring the same heat to the main stage with an unforgettable performance.

Read our exclusive interview with Brazy here.

DEELA 

DEELA is no stranger to the NATIVE platform. Since her debut, we’ve been keenly covering her off-the-cuff raps and delectable cadence leading to her feature on uNder in August 2021. After two years spent improving her skills and working on her mixtapes including ‘DONE DEEL’ and ‘Is This On?..’ the London-based rapper makes her debut on the NATIVELAND stage after an impressive year spent racking up accolades including a guest feature from Flo Milli. The rising star has consistently fine-tuned her penmanship, armed with a youthful outlook on life and an unbridled confidence.

Read our full-length interview with DEELA here.

SGAWD

SGaWD has been running laps around her contemporaries since her debut on the scene in 2019. Since then, she’s been offering fierce reflections about life as a female rapper in Nigeria and delivering bars at a breakneck pace. SGaWD unapologetically comes with affirming sex-positive bars, reminding women that they call all the shots. She does all this armed with an experimental approach, constantly reshaping the face of rap music in Nigeria with fusions across EDM, R&B, pop and other soundscapes. This year, she debuts on the NATIVELAND stage after featuring on TRYBE in our NATIVE The Reset Issue 5.

Read our full-length interview with SGaWD here.

LIFESIZE TEDDY

Lifesize Teddy launched into our radar at the top of the year when she arrived as Mavins Records latest act on its growing all-star lineup. Arriving with a self-titled EP laced with confident hits and charming slappers, Lifesize Teddy introduced herself as the rapper and poet with a heart of gold. Not up to a year after her debut on the scene, the rapper is already recording wins from performing with Ayra Starr on the London leg of her tour to making her memorable debut at NATIVELAND. Lifesize Teddy is only getting better and better.

Read everything we know about Lifesize Teddy here.

YARDEN

Last year, Yarden reiterated his penchant for feel-good hits on Afropop chart-topping single “Wetin,” a melting pot of mainstream sounds padded with his uniquely alternative touches. This reintroduced Yarden to a new world of listeners, only just getting familiar with his sweet-sounding synths and smooth cadenced raps as he tells stories of love and life. With each new release, Yarden continues to navigate a gradual come up, learning the ropes of mainstream audience appeal while staying true to himself. This is what makes him the perfect addition to our all-star lineup.

XINSOMNIAC

xlnsomniac’s chameleon-like tendencies allow him traverse bedroom pop-leaning sounds with flagrant touches of electronic music and other relative influences. His debut project, ‘House of X’ snagged production credits and features from artists within the alternative pop soundscape such as Tochi Bedford, T3agray and Icitooicy. With an electrifying sound and fierce rhyming skills, xinsomniac has a lot to offer the NATIVELAND crowd as he makes his debut on stage this weekend with hit songs such as “Running” and “All I Had.”

Read xinsomniac’s uNder feature here.

MORRAVEY

Davido’s return was marked by a classic album titled ‘Timeless,’ and the introduction of two new acts in the revamped version of his record label, DMW 2.0. After the global superstar discovered her through a freestyle on Instagram, Morravey went on to deliver a noteworthy debut on “In the Garden” for the album. The Rivers-born crooner came clutch with dreamy chords and awe-inspiring delivery for the Amapiano-driven record. Since then, Morravey’s star has only continued to shine and it’s this energy she brings to NATIVELAND 2023.

Revisit Project Timeless with Davido here.

ADHNOK

In the age of social media, one viral second can change the course of an artist’s whole entire trajectory. For an artist like Adhnok, he’s no stranger to the success of viral moments. After working behind the scenes with the NATIVE as a videographer, Adhnok is making his debut on the NATIVELAND stage off the back of his viral hit single, “Straight From Naija.” The memorable track invites audiences to share memories of being Nigerian and proud. Adhnok is a performance you don’t want to miss.

 

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KOLD AF

Kold AF is a name to get familiar with this year. Her sonic influences span genres such as Dancehall commingled with Caribbean-birthed sensibilities and rap cadences which have honed the singer’s trademark flow. With a two-pack release and debut EP now under her belt, Kold AF’s unique sensitivity and refined vocal delivery gives her a visceral edge among the new generation of young women musicians waxing lyrical through song.

Read her full uNder feature of September 2023 here.

REEPLAY

REEPLAY is a member of the ANTI WORLD GANGSTARS–a music collective emanating from the country’s capital city, Abuja. The rapper’s effervescent bars shine through across solo releases like ‘The Jig is Over’ and on “Homebase” with ODUMODUBLVCK for tracks like “SAINT OBI” or “BADMAN BOUNCE.” With his gritty bars and clever wordplay, he’s a prime candidate for wowing the crowd at NATIVELAND 2023.

CHI VIRGO

Chi’s mellifluous vocals glaze through a series of R&B, pop and dance sound waves, gleaming with a pomp and sensual energy allows her define her craft on her own terms. Her recently release extended play, ‘I’ve Seen The Lizard People’ perfectly encapsulates this, showcasing Chi’s dexterity and air of honesty as she tells stories of love and life in bewitching vocal performances.

TRILL TEGA

The way Trill Tega tells it a few years ago, he and his friends were hustling tickets to get into NATIVELAND and this year, he makes his memorable debut on the stage of a lifetime. Armed with gritty bars and textured palettes, Trill Tega has always displayed an ear for transforming Hip-Hop with a slew of other genres. His charismatic energy shines through on his music and translates to high-energy performances which you can catch this Friday.

Read our review of Trill Tega’s EP here.

Featured Image Credits/

ICYMI: A STARTER’S GUIDE TO NATIVELAND 2023

The continued presence of Hennessy in Nigeria’s hip-hop scene

Posted on by The Native

In 2012, the third edition of Hennessy Nigeria’s ‘Hennessy Artistry Cypher’ was headlined by Naeto C and M.I Abaga. The resulting song, “Bartender,” is one of the few on-wax collaborations between two of the most essential names in Nigeria’s rap music history. It’s also arguably the best and most memorable in the series of songs created by headlining acts of the cognac brand’s music-centric venture. A glossy pop-rap cut driven by Tee-Y Mix’s bubbly production, both rappers revel in the luxurious perks of living the high life, with their preference for Henny coming across as worthy signifiers, even though it was obvious brand-extolling.

Over its two preceding editions, the headline song was graced by Rap in a more auxiliary way, from M.I and Ice Prince trading bars over the Kas-produced, electronic Juju cut “Like A Bottle,” to eLDee delivering slick raps on the clubby and kitschy “Toast to the Good Life.” Where those installments featured non-rap headliners – Sir Shina Peters, Bez and Nneka on the former, and Banky W and Tiwa Savage on the latter – Naeto and M.I’s headlining tenure was the first (and only, so far) all-rap affair. It’s a consequential detail to point out, largely because of the time in which it took place.

Depending on who you ask, the golden period of Rap music in Nigeria is a debatable point. One of the periods in contention, though, is the stretch between the late 2000s and early 2010s. In 2012, specifically, M.I and Naeto were at the top of the totem, leading a burgeoning but albeit, commercially vibrant English rap scene. At the same time, the multiplying effect of Dagrin’s supernova run and his untimely demise was beginning to take hold, with lyricists who rapped in their indigenous tongue proudly emerging from the fringes of the country. It was an abundant time for Rap music in these parts, and not only did that year’s Hennessy Artistry Cypher reflect this, but it also marked a practical starting point for Hennessy’s consistent presence in Nigerian Hip-Hop.

For fans of Rap music in Nigeria and its lyricists, there’s one thing that’s a certainty going into every new year: Hennessy cyphers. First debuting back in 2015, the Hennessy Cyphers have become the most prominent cypher platform in Nigeria, the go-to place for audiences to see and hear a range of rappers, both popular and emerging, engage in one of the most basic forms of exhibition associated with hip-hop. In the company of their peers, rappers in a cypher attack a single beat, taking turns with freestyle or written bars or a mix of both, a no-frills, sometimes low stakes, avenue to (partially) highlight the talent pool of Rap music in Nigeria.

The launch of the cypher was preceded by the introduction of VS Class, a freestyle battle space for yet-to-be-popular rappers to battle each other for a chance to win and make launch their careers. Inclusive of the first Hennessy VS Class competition in 2014 was a freestyle series by more prominent rappers, who also doubled as judges. Aired live on Lagos-based radio station, 99.9 Beat FM, these first batch of freestyles from Reminisce, Show Dem Camp, Illbliss, and more, set the stage for the Hennessy cyphers, an annual ritual that’s now in its tenth consecutive year.

Since its inception, the number of Hennessy cyphers in Nigeria has varied from year to year, but it’s never been less than three in one annual installment, accounting for at least twelve of the country’s rap artists at each time. While it’s difficult to determine the exact number of Nigerian rap artists who’ve graced the famed platform, I can safely say the number ranges somewhere beyond sixty. With that nebulous but certain ballpark figure, it’s definite to claim that Hennessy cyphers has hosted more rappers than any other freestyle platform of its specific kind in the country.

With each year the cyphers take place, and as these speculative figures increase, Hennessy’s dedication to Nigerian Hip-Hop is reconfirmed, however, this has not always been matched by a consistent streak of stellar execution. The cyphers’ 10-year run has been graced by the good, the middling and even the wearying, leading to a mixed bag of reception from viewers. At the beginning of 2019, M.I—in an ironic twist—led a charge against the lukewarm results of the Hennessy Cyphers in the immediate past two years, pitching his tent with a competing cognac brand. That cypher, which also featured A-Q, Loose Kaynon and Blaqbonez, immediately went viral, sparking a deluge of hot takes that leaned into the derisive energy.

Beyond the hot takes, there were those who hoped the situation would spark a renaissance on the path of the Hennessy Cyphers. In revisiting the cyphers from 2017 and 2018 for this story, the sentiments were understandable. Compared to the fiery, competitive verve of the first two installments, things had clearly gotten wry. A year later, those expecting a corrective course in 2019 were disappointed. Complaints ranged from near-atrocious beat selection to poor video editing and generally uninspiring rapping. Not too long after, M.I and associates would return for another round of taunts, which would contribute to one of the biggest rap beefs in Nigerian Hip-Hop history. Pulling off a much-needed feat of perseverance, Hennessy remained steadfast in its commitment to Nigeria’s Hip-Hop scene.

To an extent, the uninspired spell of Hennessy Cyphers mirrored Rap music in Nigeria, a space that had been effectively taken over by indigenous Rap proponents. In the latter part of the last decade, the commercial space for English-speaking rap music shrunk significantly, a situation unwittingly aided by divisiveness. At that time, organisers of the cyphers tried—but not hard enough, in my opinion—and failed to meaningfully integrate rappers with a preference for spitting in their respective mother tongues. 

It became clear that cyphers weren’t fully representing rap music in Nigeria, from the indigenous rap issues to the severely limited number of women who’ve graced the platform. These are complaints that deserve urgent and wholesome treatments, and the continued presence of the cyphers projects hope that they will get sorted, especially since cyphers such as Hennessy have been back to a green patch over the last two editions.

In 2020, following a highly publicised reconciliation between M.I and Hennessy’s long term Nigerian rap ambassador, Vector, the cyphers returned with its best curation since 2016. Twelve rap artists across three cyphers took to three knocking, Chopstix-produced beats, cumulatively delivering an entertaining and engaging cypher experience. For the first time in years, the freewheeling essence of freestyle cyphers was at the fore, from Falz’s joyful raps to Vader the Wildcard’s confrontational energy, to Phlow’s infectious confidence, to Vector’s eye-widening punchlines, and more highlights. It was the sort of long-awaited return to exciting execution that signalled a better path going forward.

Building on the previous year’s premise, the 2021 cypher utilised the same format of twelve rappers across three cyphers. The first cypher, featuring Alpha Ojini’s topical verve, PsychoYP’s flashy lyricism, Barrylane’s proto-Kendrick delivery, and Legendary Styles’ impish puns over a creeping drill beat, was the most forward-facing of the trio. In comparison to the other two, the second featuring VS Class alumni and the third featuring the “headline” cypher acts rapping over beats of similar tenor, it shows rappers with different and distinct rap inclinations, a hallmark of where Rap music in Nigeria is currently at and could be.

Following last year’s all VS Class alumni showcase and the headline, pan-African cypher line-up, this year’s solitary Hennessy cypher went for flash—and rightfully so. To be cautious, it’s difficult to use the term ‘renaissance’, but rap music in Nigeria is flourishing creatively and recording tangible commercial success, whether it’s something like the niche corner of women-dominated dance and electronic-infused stylings, or the nationwide success of slang generators Shallipopi and ODUMODUBLVCK.

Currently, Ladipoe, Vector, Blaqbonez and Zlatan are part of the rap artists moving the genre beyond any limitations, and subtly redefining hip-hop culture in relation to Nigerian youth culture. Their participation in this year’s cypher is visibly defined by joy, for the scene they represent and its upward trajectory. It’s not the most blistering execution of a Hennessy cypher on a lyrical level, but the visuals are stunning and there’s a much higher sense of camaraderie, which is notable for a community that has often undercut its cumulative growth by overly relying on beefs and controversies for nationwide attention.

With this year’s cypher primarily centred on stars, it slightly obscured a key aspect of Hennessy’s relationship with Nigerian rap: Platforming up-and-coming talent. From the VS cypher competitions to the multi-tiered cypher editions, many rappers have passed through the Hennessy platforms, so much so it’s a rite of passage. Perhaps, that’s why the collaboration with NATIVELAND feels more appropriate than corrective. Ahead of the anticipated music and culture festival, the NATIVELAND x Hennessy ‘Very Special’ freestyle challenge is a space for exhibition, with solid payoff—especially for the winner who gets a performance slot on the main stage and a chance to vault into ‘Next Up’ conversations.

Prior to this moment, it would be a little preposterous to describe as rap music in Nigeria as popular, to the point where it’s at the centre of a partnership between two illustrious brands. It’s not unprecedented, though, with NATIVE’s consistent, conversation-starting coverage of Hip-Hop over the years. For the cognac brand, this is another statement in itself: Hennessy has been along for Nigerian Hip-Hop’s heavily bumpy ride for a decade and, as the rewards are becoming tangible, it isn’t looking to stop anytime soon.

HERE’S HOW TO ENTER THE NATIVELAND X HENNESSY ‘VERY SPECIAL’ FREESTYLE CHALLENGE

NATIVELAND x Hennessy Presents: “Very Special Freestyle” Challenge

Posted on by The Native

With NATIVELAND only a week away, we’re unveiling many special surprises and announcements in the run up to the highly anticipated festival. This week, we’re partnering with Hennessy–one of our official sponsors for NATIVELAND 2023 to give back to our community and allow one lucky artist the chance to make their debut on the NATIVELAND lineup.

Kicking off today, NATIVELAND and Hennessy have partnered on the “Very Special Freestyle” which invites artists from around the country to submit an open freestyle verse to award-winning NATIVE Records and 44DB producer, Trill Xöe’s “Very Special” beat.

To participate, rappers must record a 45-second verse over the beat titled: “Very Special” by Award-Winning Hip Hop Producer, Trill Xoe. The verse must include these three words: NATIVE, Very Special, and Hennessy and be uploaded to social media using the hashtag #nativelandxhennessy. The winner of the competition will be selected by our judges Trill Xoe (Producer), Teezee (NATIVE Records Label Exec), and Odumodublvck (Rapper).

In 2023, Nigerian hip-hop continued solidifying its place as a force resonating across the nation and beyond. The “Very Special Freestyle Challenge” is an effort to continue championing the future of Nigerian rap today. This partnership aligns with our unwavering commitment to spotlighting the best of talent in the underground and mainstream talent coming out of Africa tomorrow: today.

NATIVELAND 2023 will return to Lagos next week Friday on December 22, 2023 at an all new location, SOL Beach Lagos. Click here to purchase your tickets.

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Dvpper Music set to close out dominant 2023 with Lagos all-star concert, ‘Trench Fest’

Posted on by The Native

“Street music is the sound of the moment.”

Music history is littered with record labels whose specific focus helped elevate genres and heighten the hype of subcultures. Think Motown in the 1960s/70s and Soul Music, Def Jam and the early days of Hip-Hop popularity in the ‘80s, Death Row and West Coast Gangsta Rap in the ‘90s, Kennis Music and the foundational era of Nigerian pop post-mid-‘90s, and several more. In just a few years of becoming a mainstream fixture, Dvpper Music already fits the bill of similar labels—as label services, artist management and distribution company—through its clear dedication to amplifying Nigerian street music.

Over the last three years, Dvpper Music has digitally distributed music for a range of artists, from the emo-pop of Omah Lay to the accessible pop-rap of Falz to Savage’s omnivorous curations. However, its primary identity these days is hitched to its affiliation with street music acts, evident in current roster of Dvpper signees and partner artists: the irreverent and ultra-prolific Seyi Vibez, Benin-raised street-rap hit-maker Shallipopi, the self-professed ‘Trench Kid’, Balloranking, the poignant crooner TI Blaze, and many more.

The current phase of Street Music, broadly and alternately referred to as Street-Pop and Street-Hop, has seen an influx of stars emerge from the grittier areas of Nigeria’s southern hoods, southwest especially, hitting regional success, viral nationwide attention and, in some cases, veritable global popularity. Post-Covid, Dvpper Music has become synonymous to street-pop, a frontline player in arguably the most defining part of secular youth culture and music. With its track record of breaking out and supporting street-bred artists, a tangible show of domination during the Detty December live shows and music festivals period seems appropriate and well-earned.

On December 20th, at the Palms, Lagos, Dvpper Music and Entertainment, through its subsidiary Dvpper Live, is curating Trench Fest, a concert experience featuring live performances from artists on the label services company’s packed roster, alongside other stars and related street-pop acts. Seyi Vibez, Shallipopi, Balloranking and TI Blaze are undoubtedly on the bill, and they will be joined by street-rap superstar Zlatan, UK-based group and self-acclaimed ‘Area Boyz’, NSG, neo-Fuji singer Barry Jhay, Ghanaian pop breakout act Lasmid, Nigerian rap OG Ice Prince, popular singers L.A.X, Skiibii, and Bad Boy Timz, and more. The bill also features emerging Dvpper artists like Zerry DL, Kashcoming, and TML Vibez.

Trench Fest is set to be a celebration on several levels: of some the artists who currently are defining Nigerian music through musical style, slang and substance; of the places and environments that have informed street-pop; of an entertainment company with an in-the-moment yet forward-facing agenda. In a time where achievements in Nigerian pop are viewed through an outward-looking, globalised lens, Trench Fest is the perfect avenue to celebrate the deeply-rooted parts of music culture.

You can buy your tickets ahead of December 20th here.

 

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ICYMI: NATIVELAND RETURNS WITH A NEW LOCATION & ALL-STAR LINEUP

A starter’s guide to NATIVELAND 2023

Posted on by The Native

In ten days, the doors of NATIVELAND 2023 will be opening to music lovers and listeners from around the continent at the SOL Beach in Victoria Island, Lagos. Anticipation is already rife for one of the most highly anticipated festivals of the year which will mark a welcome return after a four year break since 2019.

As we count down the days, it’s easy to fall victim to overpacking for the festival or turning up with little to no essentials. Attending a concert is no menial task, it requires rapt attention, awareness of your physical surroundings, carefulness with friends and concert-goers, and much more. Never fear, we’ve got you covered and we will be spending the next week making sure you’re ready to rage at the ‘Land.

If you’re already thinking of what to bring to the NATIVELAND festival, then look no further than this starter’s guide to attending NATIVELAND 2023. Whether you’re a first-time attendee or a series regular since 2016, or just discovering us for the very first time, we’ve got you covered on all the necessary essentials to bring with you next week.

From your digital concert ticket which can be used to redeem a wristband at SOL Beach to a trusty hand fan and enough cash to enjoy the myriad of food stalls and entertainment, here’s everything you need to know when getting ready for NATIVELAND this year.

DIGITAL TICKET

No ticket, No entry! It’s important that all attendees for NATIVELAND 2023 arrive on time at the venue with a copy of their digital ticket which will be used to redeem a physical wristband at the venue. No digital ticket means no wristband and all wristbands are given out once, so don’t lose yours!

CASH

It’s imperative that you stay strapped with enough cash to allow you access to the food stalls, drink vendors and exciting offers that we have in store for you next week. Whether you’re looking to try out some of the exciting restaurants that SOL Beach offers such as Danfo Bistro, Rapa Nui and more, or you’re looking to try out some incredible pouches of unique Quacktails flavour then come ready with some extra cash to splurge. There will also be point of sale terminals at the venue for bank transfers and Apple Pay.

FACE MASKS

The Coronavirus pandemic introduced facemasks to our everyday lives and looking back at life before 2020 while gaining awareness on just how quickly germs spread, it’s astonishing to see our lives without. While there will be no mask mandates at the festival, it is advised concert goers wear one for their own safety, especially if you or anyone you’ve been around had a flu in recent days. Considering the end of year in Lagos comes with Harmattan’s dry and dusty winds, a facemask would ensure you —particularly the asthma and other respiratory health attendants— enjoy the show without feeling uncomfortable. 

ID

A valid means of identification is just as important as your ticket barcode when you’re attending NATIVELAND. For students, a valid student ID from a recognised educational institution is required. For those above 18+, we have bevvy of cocktails and alcohol available on the day so come down with your ID card to verify purchases. 

PORTABLE CHARGER

Ain’t no party like a Lagos party. It’s very easy to lose charge while attending the ‘Land for several hours. This year, we highly advise attendees to come with a portable charging system to ensure that their devices stay connected while on the beach. There are lots of unmissable acts and you won’t want to miss the action due to low battery. It is also very important to make sure no one is stranded and you can easily contact your Bolt to safely exit the festival grounds. 

HAND FAN

Anyone that’s been in Lagos for the past couple of weeks can testify to the mind-numbing heat we’ve experienced, with a temperature ranging from degrees in lower twenties to early thirties. Hydration is important now more than ever so bringing a bottle of water and a fan to stay cool and hydrated comes highly recommended. The last thing you want is also looking sweaty in those pictures.  

 

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HAND SANITISER, WIPES OR POCKET TISSUES 

We might be back outside again but safety measure have not taken a backseat. For anyone attending the festival next week, it’s imperative you come with items that can aid sanitation and cleanliness. Essentials include hand sanitisers, disinfectant wipes, pocket tissues and more, that are portable and compact to fit into your purse.

COMFORTABLE SHOES

NATIVELAND 2023 is at SOL Beach in Victoria Island, Lagos. This means that we’ll be watching artists perform on the beach. As such, comfortable footwear is advised for standing and walking for several hours. There will be chairs and seating areas provided as well.

COMPACT BAG

All the aforementioned items will have to go somewhere and rather than clumsily stuffing items into your pocket, a shoulder bag, crossbody or fanny pack would be perfect. However, not all bags will be appropriate like a tote bag considering those don’t have any top covering. A small bag is also easier to carry around without hindering movements or weighing you down.

CAMERA 

While your phone camera is one way to document the night, a film or digital camera is another way to capture all the excitement. For those weary of carrying a film or digital camera, you could purchase a simple Fujifilm or Kodak disposable camera beforehand. 

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ICYMI: NATIVELAND RETURNS WITH A NEW LOCATION & ALL-STAR LINEUP