Genevieve Nnaji made a big mark on the industry with her directorial debut, ‘Lionheart’. The film became the first of a slew of Nollywood movies to appear on Netflix’s vast film catalogue earlier this year, and then also went on to became Nigeria’s first-ever entry for the 2020 Oscars in the Best International Feature Film category.
The Oscars Academy has now announced that Nigeria’s entry ‘Lionheart’ has been disqualified from competing in this category, as it doesn’t use an indigenous language and is mostly in English. Following this announcement, many disgruntled Nigerians have taken to social media to debate the film’s ineligibility.
Many think the Oscars criteria selection is a bit suspect, given that it had already faced previous backlash for favouring more white leaning films. Others elsewhere, are calling for a new category, because a vast majority of overseas films are slumped into one category which automatically excludes regular films from outside the West.
To @TheAcademy, You disqualified Nigeria’s first-ever submission for Best International Feature because its in English. But English is the official language of Nigeria. Are you barring this country from ever competing for an Oscar in its official language? https://t.co/X3EGb01tPF
The film’s director, Genevieve Nnaji and award-winning filmmaker, Ava DuVernay, both spoke out about the Academy’s disqualification of ‘Lionheart’.
Nigeria’s official language is English, and this acts to wage the gap between the 500+ languages spoken in the country. The decision to speak predominantly the English language in ‘Lionheart’, as opposed to the Igbo language, is representative of Nigeria as a country, and that has been the case since we were colonised. This is the present reality of the country, a blending of vernacular mother tongues and English, which ‘Lionheart’ accurately represents.
1/1 1/2 Thank you so much @ava❤️. I am the director of Lionheart. This movie represents the way we speak as Nigerians. This includes English which acts as a bridge between the 500+ languages spoken in our country; thereby making us #OneNigeria. @TheAcademyhttps://t.co/LMfWDDNV3e
2/2 It’s no different to how French connects communities in former French colonies. We did not choose who colonized us. As ever, this film and many like it, is proudly Nigerian. @TheAcademyhttps://t.co/LMfWDDNV3e
Given this, the frustration is understandable, however, the fact still remains that the category has its requirements for eligibility, and up until this year was originally named Best Foreign Film. This blanket criteria covers all countries submitting in this category and as it has been a long-standing one.
The selection committee for Nigeria’s submission was formed in 2014, giving ample time for a suitable movie that fits into the category’s requirements to be put forward. ‘Lionheart’ is an undisputedly good film, and should the Oscars have really considered it, we would have broken record as one of the 29 films submitted in this category that were directed women. While its disqualification must hurt, we should have been more thorough researching what the criteria is before submitting the film.
Featured image credits/Netflix
Tami is a lover of astrology, music and women. Tweet your fave female artistes at her @tamimak_
dndSection’s new ‘Love Lies Bleeding’ tape offered a day to day detailing of the lifestyle of a young hustler. The Atlanta based rapper has shared the accompanying video for one of the project’s standout track, “Get Out Ya Feelings”, where he takes offensive shots mocking his opposition. ILYAONTHEFLY directs the music video with a simplistic direction that highlights dndSection’s thuggish intentions. The rapper is seen dominating his street, bullying a light-skinned dude in some obvious remake of scenes from Chris Talker’s famous “Friday” movie.
“Hot” by Young Thug, Gunna and Travis Scott
Travis joined the duo of Young Thug and Gunna on their “Hot” collaboration, from the former’s new album. He auto-tuned verse turned up the heat on the already accomplished hit record and they recognize its impact through an accompanying music video for the remix. Performing their verses while seemingly sitting in fire, the music video for “Hot” plays out as a tribute to the three artists’ penchant for making commercially successful songs.
“Ride” by Adenike
Pop songs have a reputation for being lightweight and dense, but Adenike channels it expertly to power her googly-eyed romantic new single, “Ride”. Produced by GB, “Ride” is set to the mid-tempo mix of percussion harmonies, synths, guitar riffs and a groovy xylophone sample that gives the song a dancefloor attribute. The music video Fli5star directs sticks to the romantic script provided by Adenike’s sultry vocals as it captures her performing her confessional lyrics while clips of her falling in love with a basketball player and going on a date with him are also feature in the 3-minute long video.
“Morning” by Teyana Taylor and Kehlani
Teyana Taylor and Kehlani have turned up the steam on their sex-drenched slow jam, “Morning”, with the Spike Tey directed music video. The R&B queens teamed up for the song expected to feature on Teyana Taylor’s sophomore tape when it drops in December. The music video ushered viewers into dark neon-lit rooms with beds with silky red bedsheets that match the artists’ red lipsticks as they seduce viewers by caressing their bodies in their sexy lingerie. Their sultry lyrics are brought to life through the sexual direction and intimate make-out scenes that highlight the charming chemistry the two share.
MTV Shuga Naija (Season 4)
The fourth season of the exciting TV drama, “MTV Shuja Naija”, premiered on Sunday, and already, the thrills and twists are coming in fast. The first episode continues to follow the story of the students battling teachers and parents as they demand justice for the alleged rape of Frances by Corper Yasmin. Faa is also seen battling for justice as she tries to bail her brother from prison while Tobi continues playing his playboy role, seen with a new girl before reuniting with an old lover. This season is already set up to be thoroughly entertaining and Top Oshin’s direction for the show is clearly one to watch after her impressive work on films like “Up North” and “New Money”. You can watch new episodes every Sunday at 7:30PM.
‘The Photograph’ Trailer
Issa Rae and Lakeith Stanfield have gained acclaim over the last few years since their involvement in coming of age comedy shows, Insecure and Atlanta respectively. The two have since racked up quite the resume from starring in blockbusters such as Little (Issa) and Get Out (Lakeith) to voicing characters in one of the most intentional shows of our time, Bojack Horseman.
Now, they’ll be starring in an upcoming romantic comedy, ‘The Photograph’ as a couple and we’re all the way here for it. The film follows the story of Mae, who finds a photograph tucked away in a safe-deposit box, which she soon finds herself delving into her mother’s early life as a famed photographer. This investigation leads to an unexpected romance with a rising journalist (Stanfield).
Featured Image Credits: YouTube/mtv
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You are meeting Debola at a strange time in his life. He wandered into a dream and lost his way back. Tweet at him@debola_abimbolu
Even though its recent streak of controversies has threatened to define the Nigerian hip-hop scene, a handful of rappers have used these situations as a remarkable avenue to break out. In 2017, Alpha Ojini emerged as a potential favourite for fans of Nigerian rap music, after the positive reception to “Vendetta”, his response track to M.I Abaga’s scathing “You Rappers Should Fix Up Your Lives”.
On the incisive reply, Alpha narrates the details around meeting M.I for the first time at a rap competition, ending with a stern declaration that he was here to stay. In the two years since then, he’s been steadily working his way up to notable prominence, with his well-received debut LP, 2018’s ‘Half Price’. In addition, he puts his skills as a producer and engineer to use for a long list of artists like Blaqbonez, M.I Abaga, Psycho YP, Ycee, GoodGirl LA and more.
https://www.instagram.com/p/B4UCq6pAIGP/
Last Friday, the multi-hyphenate rapper released his sophomore LP, ‘Chvmeleon’, and it continues his grind towards becoming a notable Nigerian rapper who is gaining mainstream level recognition. Similar to the quality of his debut album and the compilation of freestyles he dropped earlier this year, Alpha’s latest release serves a compelling entry point for new listeners, as well as remarkable showcase of growth for more familiar listeners.
Entirely produced and engineered by Alpha himself, the album highlights the range of his skill-set, especially as it’s a bit commercial in it’s delivery. While older tapes display Alpha’s penchant for experimenting with complex sounds like jazz and afrobeat, ‘Chvmeleon’ adapts those quirks into music that is contemporary, without obscuring his innovative edge.
On pre-released single, “Pop”, an oriental guitar riff is underpinned by the type of 808 bass that threatens to blow out your ears, while the Ycee-assisted “OneKnee” is driven by airy piano keys and fast-paced, afro-house drums.
https://www.instagram.com/p/B36Cr4fgTaB/
Further highlighting his intentions to reach a wider audience, the hooks on ‘Chvmeleon’ are some of the more memorable in Alpha’s catalogue till date, centring songs around his improved instincts as a musician. The handful of featured artists also enhances the album’s push for a broad appeal, while also establishing Alpha’s ability to find a middle ground regardless of who he’s working with.
On “BagX2”, Alpha trades boasts with Blaqbonez, contrasting his stern posturing with the whimsical cadence of the self-proclaimed Best Rapper in Africa. Elsewhere, he sets the scene on “PDA”, singing words of affection to a love interests, before M.I Abaga steals the scene with an intricate verse bursting with internal rhymes and a lively delivery.
The closest Alpha gets to being upstaged is on penultimate track, “Calm Down”, featuring a rousing hook by GoodGirl LA. Matching her assertive energy, Alpha turns in two stunning verses, on which he sneers at friends at who abandoned him at his lowest points, and reiterates his worth in decisive terms. “I work hard, keep your exposure, thanks/you can’t see me on no stages if I ain’t getting paid, I’m too talented to be earning minimum wage”, he calmly snaps, projecting the sense of clarity that guides ‘Chvmeleon’ throughout its 41-minute duration.
Stream ‘Chvmeleon’ here.
Featured Image Credits: Instagram/alpha_ojini
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Dennis is not an interesting person. Tweet Your Favourite Playboi Carti Songs at him @dennisadepeter
It’s been nearly four months since Naira Marley’s reign of notoriety came about, and it’s almost a miracle that he’s risen to even more prominence over the months. Given the backlash from glorifying fraud life to his viral “Soapy” dance being taken further than a step too far by fans, one would expect that cancel culture would have him out of here. He’s still here, however, and still has the entire industry in a chokehold.
Afropop is witnessing an evolution of how audiences interact with the lives of the rich and online famous, and it comes as no shock that Naira Marley’s fanbase grew very quickly and became a widespread phenomenon.
Marlians are a progression of fandoms ruled by similarly revered afropop stars, such as Wizkid, Davido and Burna Boy who all wield power over unyielding fans. Regardless of what pundits and gossip sites say about their music or characters, the choices or actions of these sometimes unruly superstars, the stan culture code is to defend the integrity of a fave at all costs.
As a piece of pop culture, “Am I A Yahoo Boy is both social commentary and a god-level troll of societal expectations in the age of social media standoms. Naira Marley’s worshipful ‘Marlians’, already divided public opinion because his music and opinions allude to his criticism of Nigeria’s federal government.
Naira Marley’s arrest following the release of “Am I A Yahoo Boy” , did not only validate Marlian ideals, it also projected their leader into divine truth-teller status. To show appreciation on the day was granted bail, Naira Marley released a new track dedicated to his fans titled, “Opotoyi (Marlians)”.
Historically, fan culture in Nigeria is crash course in beef and rivalries between two contemporaries of their time. For many years, this has been unassumingly so because fans often made comparisons that fuel rivalries, or the perception of rivalry. In the 70s, it was routine for record stands in Balogun Market, Lagos, to host loud debates about rumours of Fela vs King Sunny Ade feud. The only way to really link both artists, is their shared era of international success, and facts were often skewered by word-of-mouth accounts but it didn’t stop fan factions from pitting both artists side to side for years. Through history, the same pattern is repeated in the “rivalry” or cold wars between, highlife legends, Osadabe and Oliver De Coque, Fuji-groundbreakers, Pasuma and Saheed Osupa, contemporary Afropop pioneers, 2Face and D’Banj, and more recently with Davido and Wizkid. The rise of the latter two superstars coincided perfectly with the explosion in popularity for sites like Twitter and Facebook.
Don Jazzy, is another unassuming influential figure on stan culture in the continent. D’Banj’s ‘Kokolets’ during the Mo-Hits days, and Korede Bello’s ‘Bellovers’ after the label became Mavins, were two early examples of how naming your fanbase provides a larger sense of belonging. He may not have intended to, but he initiated a framework that allowed artists on his label to have granular symbolisms with lifestyle implications on public image. Bellovers stan accounts and hashtags, tributed to Korede Bello from around the world, were very popular on Instagram between 2015 and 2016. Though there are not as many of them today due to flagging, the pattern is consistent with the stan culture around artists like Justin Beiber, BTS, Rihanna, Lady Gaga, Nicki Minaj and more. The rise of the Bellovers also tapped into something pure, as it was genuine love and support for Korede Bello that held these online communities together, regardless of geographical barrier.
In the last three years, music fans all over the world have increasingly idealised the concept of an organic artist, who is “real” all the time. This posed a limitation for A-list mega popstars brands who can’t always as entertaining online under the watchful gaze of a public relations support system. Unruly social media famous oddballs like Kanye West, Takeshi69 and xxxTentacion are indications of the rise of larger-than-life personalities who gamed the stan culture machinery by overloading it with controversy after controversy.
In Nigeria, fans factions have veered away from comparing two artists in their prime, to artists who fulfil certain criteria for ‘realness’ too. The timing may be purely coincidental, but Burna’s initially meteoric rise fell in the background of reports about his troubled partnerships or difficulty to work with for many years until his Redemption EP, in 2016. Over the past three years, Burna and his management have systematically repackaged his notoriety as validation for his self-aggrandised public persona and Africa-first messianic ethos. Nonetheless, a closer look at moments Burna has publicly disagreed with his management still leaves a sense of wonder about how much of “Burna Boy”, the self-declared ‘realest’, is tightly-curated. This is why Naira Marley’s run-up till now is so culturally relevant.
Nigerian stan culture has evolved at the turn of the decade, Naira Marley is at the peak of that evolution, and at the forefront of a new era. Every once in a blue moon, an outlier artist emerges out of the groves to break all conventions on their rise to popularity. This year, Naira Marley has not only embodied this archetype he’s also cornering a ‘controversial’ public image in a manner never seen before in contemporary African music. Not just because he ridicules the smoke and mirrors, that shapes our moral order, but because he represents the kind of entertainment Nigerians love best: raw, layered and at someone else’s detriment.
After the release of “Am I A Yahoo Boy” , Marley dove head-first into another controversy with “Soapy”. “Soapy”, an attempt by Naira to put a humorous spin on his time in prison, is another song replete with fraud-life references, although more narratively-refined in contrast to “Am I A Yahoo Boy” . Naira Marley uses the infamous “inside life” refrain, to describe harsh conditions in prison with subtle references to defying parental expectations. Naira could have left it at this seemingly humanitarian core message, but what gave the “Soapy” it’s real viral oomph was a lewd dance style, that mimics male masturbation. At the height of the track’s viral success, videos of men using the dance to harass women on the streets surfaced on Instagram and Twitter to the rage of Nigerian blogs and print press.
Marlians instantaneously fronted “Soapy” as social commentary. They felt that Naira was speaking out against the EFCC’s wrongful arrests and the horrible conditions found in Nigerian prisons. In the same vein of Olamide’s “Science Student”, the general public was divided over the true meaning of the song. Was it a cheap attempt at humour, or a biting satire reflecting societal ills? Any other artist would have been cancelled in 2019, but the interpretation of art is personal and when pop culture intersects with serious issues.
Marlians represent not only the new king of controversy in Nigerian music but the evolution of stan culture in Nigeria itself. Social media provides proximity to artists that other generations simply could not have. Even when he’s not releasing music, he engages fans through tweets, quick freestyles, Instagram posts and more. The power of social media was seen this year through the meteoric rise of Lil Nas X and his mastery of meme culture and online humour. Naira’s social media antics shows that he knows what people find funny these days. He often tweets philosophical, posting quotes on love, relationships, and offering general life advice like a parody account. The juxtaposition against his street-rapper persona adds a new layer of mystery and comedy combined to his entire act, giving Marlians more reason to consistently interact with their leader.
However, Marley is not all controversy and no charm. In 2014, he was behind UK street single smash, “Marry Juana”. The song was a glimpse of his uncanny ability to craft catchy hooks with double meanings. Naira Marley also has an adept understanding of how to create content that will stick. His shift to Nigerian “street” style hits like “Issa Goal”, allowed his popularity to blossom, while hits like “Japa” planted the seeds that would eventually lead to the cult of Naira Marley today. His arrest propelled him to a new level of stardom, but the Rexxie production on “Am I A Yahoo Boy” is a bouncy affair backed by clashing drums that demand your finest Zanku. Naira’s laidback flow unfolds in a conversational manner as he compares himself to Fela, Mandela, and JFK so casually it doesn’t feel like a joke.
No one has been able to create a narrative with more notoriety and entertainment than like Marley in recent Afropop history. Before the release of “Soapy” , “Why”, made for a serious turn from the usually high-spirited artist. It is a serious reflection on people that have wronged him, one of the few moments of vulnerability Marlians highlight as validation for his pseudo-divinity. The rise of Naira Marley is reminiscent of the golden age of gangster rap where hip-hop artists like NWA, Tupac, and Biggie were dogged by controversy. The infamy of these artists, caused their fans to support even harder as they adopted a ‘Us’ versus ‘Them’ mentality.
Naira Marley is in a unique position where a lot of odds are stacked in his favour, but eyes on him are hoping for another slip-up. Amidst an on-going trial, the noise around him is getting louder, but the support from the Marlians is stronger than ever, so Marely remains unbothered in eye of the storm; inside life.
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Seunfunmi would have made this bio a meme if he could. He writes and makes perfect jollof rice in his spare time. Tweet at him @TinubuTweets
Jinmi Abduls has built the bulk of his growing catalogue on being charming, with his affectionate lyrics and harmless voice. He continues this trend on his latest single, “Iyawo Jinmi”, the follow-up to his Oxlade-assisted single, “Greed” which definitely gained our attention to begin with.
Over the self-produced mix of smooth guitar riffs and groovy local percussions, Jinmi sings sweet lyrics adoring his love interest, while also asking her to spend the rest of her life with him. “Make you smile everyday, and when it’s time to go home, so ma ba mi l’ole (will you come with me)?”, he asks with an optimistic tone, enhancing the endearing quality of his sappy lyrics.
Listen to “Iyawo Jinmi” below.
Featured Image Credit: Instagram/jinmiabduls
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Dennis is not an interesting person. Tweet Your Favourite Playboi Carti Songs at him @dennisadepeter
In 2015, Ramsey Nouah acquired the rights to remake the 1992 Chris Obi Rapu-directed classic ‘Living in Bondage’. We last reported that the sequel ‘Living in Bondage: Breaking Free’ is set for release later on this month. Since then, anticipation has been building for the upcoming film, as Larry Gaaga releasing two new singles for the film’s soundtrack “Tene” and “Work” featuring Flavour and Davido respectively.
Over the weekend, Nollywood stars flocked into the Filmhouse cinema in Lekki to attend to film’s premiere ahead of its release in cinemas nationwide from November 8th. Now, to further whet our appetites for the Ramsey Nouah directorial debut, the official soundtrack for the upcoming film has been released to great acclaim.
The soundtrack is a 12-track project on which Larry Gaaga continues his streak of working with A-list artists, with a star-studded guestlist, which boasts of features from artists such as 2 Face Idibia, Waje, Duncan Mighty, Phyno, Iyanya, Reekado Banks and Omawunmi.
Stream ‘Living in Bondage: Breaking Free’ soundtrack.
The NATIVE is proud to partner with Gokada for their upcoming event, ‘Street Lights’ this weekend. The party promises to be a memorable experience, showcasing Lagos street culture through art, music, food and style. With an Okada-themed pop-up museum, a film screening and performances from The Cavemen and Aye! Gokada deftly mix all the best things about the Lagos street culture.
https://www.instagram.com/p/B4Xk33KlKcJ/
The Cavemen have remained one of the city’s best-kept secrets by keeping an indie aesthetic about their premium live music sound, despite featuring on major stages like Gidi Fest and ART X Lagos and working with artists such as Lady Donli, Odunsi The Engine, Santi.
While the band’s knack for interpolating 70s highlife music celebrates the rich history of Nigerian music, Aye! will serve contemporary music to set the festive mood for the dancefloor. You can expect ‘Street Lights’ to meet all your music, culture and partying needs. So if you’d like to be a part of the experience, download the Gokada app, and invites will be sent to active users.
Featured Image Credits: Instagram/gokadang
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You are meeting Debola at a strange time in his life. He wandered into a dream and lost his way back. Tweet at him@debola_abimbolu
Fans have been waiting for a new Wande Coal project, and it seems as though we can’t pin point exactly when or whether we’ll even be getting it. The last project he released was his sophomore project, Wanted, back in 2015, however, his stunning ability as a hit-maker has ensured Wande Coal’s continued relevance, popping up with occasional hits like “Tur-Key Nla” and “So Mi So”.
His latest release is “Vex”, another potential hit that aims to push the singer into rotation ahead of concert season next month. Sarz produces the fast-paced beat for “Vex”, pairing pulsating synths and thumping percussions that make the song’s party-inclined direction evident. Matching the beat’s energy, Wande Coal delivers a lively set where he brags about the clout he’s accumulated over the years, while also hailing attractive women who perform seductive dances at the club.
Listen to “Vex” here.
Featured Image Credits: Instagram/wandecoal
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Dennis is not an interesting person. Tweet Your Favourite Playboi Carti Songs at him @dennisadepeter
The Nigerian born, but Atlanta-based artist who goes by the alias ‘Hermez’ has just released his sophomore project, with features from very familiar and popular young names in music like Psycho YP, Lojay and Dami Oniru, the afro/r&b project is an admirable offering just before the end of the year. Toyosi Sanni wants every soulful music lover to listen to his new album ‘Garden Spirits’
Packed with cross-cultural references, ‘Garden Spirits’ is a 17-track project packed with something for just about everyone. R&b isn’t as popular in these parts, with many musical acts leaning towards the mainstream afropop tropes we’ve grown accustomed to, however, the likes of chigratt, Adaeze Obiagu, Preye, and now Hermez are changing the norm and making r&b a viable genre in Nigeria.
The opening track “Slowly” is clearly inspired by popular Nigerian music, with the drum-led beat produced by Pheelz offering an exciting introduction to the artist. ‘Dance like the Holy Spirit chose you’ he sings, instructing the listeners on exactly how he would like the song to be enjoyed.
He certainly leaves cause to wonder how much time he spends in Nigeria, as he constantly slips the name of the Holy Ghost or Holy Spirit into his lyrics, clearly with the aim to appeal to us and show us that he’s one of us.
On “Lagos Babe”, he wishes to make love to his girl like the Holy Ghost. Anyone who grew up in Nigeria will remember familiar superstitious tales of spiritual sex, and the inclusion cannot be merely coincidental. Hermez is endearing himself to a Nigerian audience by leaving an almost easter egg-like trail of cultural references that are sure to resonate with his hometown audience.
The Psycho YP-assisted “Wait for Me” is one of the more stellar inclusions in the project, where the Abuja-based rapper is almost at home, oozing the familiar confidence we have come to expect from him. On this track, we get to discover more of Hermez’ range which also extends to rapping.
Hermez describes ‘Garden Spirits’ as a utopia for people to enjoy life and live freely. This theme of freedom runs through the whole album, particularly on “New Feels” where he entertains thoughts of being as free as a dove. ’Anything to keep my mind off that thing’ he sings, hedonism is the order of the day on this track and Hermez is unwilling to let lost love hurt him further.
On “Temporary Love” Hermez recounts how fleeting feelings can be, ‘she tryna get this cash, left all the feels for her last nigga’ he sings morosely with words drenched with regret for how he did everything for someone who didn’t see past the material gain. The opening of “Sxx stories” is something out of a Bryson Tiller record, offering velvety smooth vocals and focusing on the endless pleasures of sexual interactions.
“Low Low” with Lojay is one of the album’s pre-released singles, an up-tempo track which sounds closer to home, owing to Lojay’s vernacular-filled hook. “She wan use Hennesy block my liver” he sings, instantly drawing on the alcohol brand that has become the subject of many songs because of its prevalence in nightlife.
The closing track “Just Like You”features a smooth inclusion from Dami Oniru, who he thinks is one of the best artists in our generation owing to her penmanship. Both artists sing about matching the energy of their love interests, which involves playing ‘the game’ on them just like they have been played and hurt.
At the end of the album, we’re left wanting to delve further into Hermez’ world. ‘Garden Spirits’ is greatly enjoyable and truly a coming-of-age project for Hermez as an artist.
Abuja based music collective, Apex Village, has certainly built up a reputation as the biggest trap music group in the country, garnering support for Psycho YP, Zilla Oaks, AYÜÜ and Marv OTM, despite the choir of internet critics who prefer hardcore raps to the genre-fusing and melodic trap sound.
Psycho YP has proven to be one of the most marketable trap artists from the group, with several guest verses scattered across the Nigerian music scene from Odunsi to Blaqbonez. He has just released his anticipated sophomore project, ‘YPSZN2’, and the 16-track tape further highlights his knack for commercialising his trap sound for Nigerian audiences.
https://www.instagram.com/p/B4X_EgTAD35/
Pre-released singles, “City of Kings”, “ELEVATE” and “No Chaser” already hinted at the preppy direction of the project through the self-assured bars and the catchy trap beats suited for club-DJ setlists. His cocksure brags continue on “YP, The G.O.A.T” which paints a glamorous picture of his celebrity lifestyle. He expands that showy narrative through the ‘YPSZN2’ project, describing his love for partying on “Strip Club” and his romantic feelings on the Nathalie Sade-assisted “Superpowers” from a similarly self-assured perspective.
He takes a more reflective direction on sultry cuts like the Johnson IP-produced “i&u”, where he admits his vulnerable feelings. “ViBES” featuring LadiPoe also shows an upfront Psycho YP, delving into the time he has dedicated into his craft while LadiPoe matches YP’s confidence to deliver a kiss-off to an ex-lover. Most of the tape, however, remains within YP’s ostentatious mood, teaming up with Blaqbonez to brag on Sktch produced “Shots!”, then stunting on his haters on “OPPS”.
Teaming up with his Apex Village crew on “Pack Just Land3D”, he slips comfortably into the background, taking the hook while featured artists Zilla Oaks and AYÜÜ contribute rap verses over the bumping 808s and synths. “T.G.I.F” captures the range of YP’s sonic influences as he blends his trap sound with Nigerian adlibs. The song also features a rare moment of Skales rapping. Le Marv produces a sultry piano-led beat for “tbh” which sees LadiPoe return, this time in a romantic mood, delivering a verse dedicated to his lover. The closing track, “YPSZN”, sums up Psycho YP’s confidence in his commercial prowess as he features BOJ but still takes on the responsibility for performing the song’s catchy hook.
Stream ‘YPSZN2’ below.
Featured Image Credits: Instagram/psychoyp
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You are meeting Debola at a strange time in his life. He wandered into a dream and lost his way back. Tweet at him@debola_abimbolu
Burna Boy is on a clear path to back-to-back MVP years. In a year that’s already filled with highs from his performance at Coachella to bringing home the highly coveted BET award, the self-proclaimed African Giant is only adding to the highlight reel. Now he has picked up the award for Best African Act at the recently concluded ceremony for the 2019 MTV European Music Awards.
Succeeding last year’s winner, Tiwa Savage, Burna beat out other fan favourites such as Nigerian singer, Teni and South African rapper, Nasty C. Burna couldn’t make it to receive his award in person, however, as he was too booked and busy performing at his sold out show in London’s SSE Arena, where he brought out UK rap superstar Stormzy during his set.
Formerly referred to as the Wembley Arena, the venue is the second largest indoor arena after the O2 arena, and it holds a capacity of 12,500. Last night, Burna Boy became the first afropop act to sell out the SSE arena, further sealing the argument for his status as the current GOAT.
https://www.instagram.com/p/B4bRuFfBzv8/
Check out the full list of winners at the 2019 MTV EMAs below.
Best African Act
Burna Boy
Teni the Entertainer
Toofan
Prince Kaybee
Nasty C
Harmonize
Best Video
Taylor Swift ft. Brendon Urie of Panic! At The Disco. – “ME!”
Ariana Grande – “thank u, next“
Billie Eilish – “Bad guy“
Lil Nas X ft. Billy Ray Cyrus – “Old Town Road” (Remix)
Rosalia, J Balvin ft. El Guincho – “Con Altura”
Best Artist
Shawn Mendes
Ariana Grande
J Balvin?
Miley Cyrus
Taylor Swift
Best Song
Billie Eilish – “bad guy”
Ariana Grande – “7 Rings”
Lil Nas X ft. Billy Ray Cyrus – “Old Town Road” (Remix)
Post Malone, Swae Lee – “Sunflower”
Shawn Mendes, Camila Cabello – “Señorita”
Best Collaboration
ROSALÍA, J Balvin ft. El Guincho – “Con Altura”
BTS, Halsey – “Boy With Luv”
Lil Nas X, Billy Ray Cyrus – “Old Town Road” (Remix)
Mark Ronson, Miley Cyrus – “Nothing Breaks Like a Heart”
Shawn Mendes, Camila Cabello – “Señorita”
The Chainsmokers, Bebe Rexha – “Call You Mine”
Best New
Billie Eilish
Ava Max
Lewis Capaldi
Lil Nas X
Lizzo
Mabel
Best Pop
Halsey
Ariana Grande
Becky G
Camila Cabello
Jonas Brothers
Shawn Mendes
Best Live
BTS
Ariana Grande
Ed Sheeran
P!NK
Travis Scott
Best Rock
Green Day
Imagine Dragons
Liam Gallagher
Panic! At The Disco
The 1975
Best Hip-Hop
Nicki Minaj
21 Savage
Cardi B
J. Cole
Travis Scott
Best Alternative
FKA Twigs
Lana Del Rey
Solange
twenty one pilots
Vampire Weekend
Best Electronic
Martin Garrix
Calvin Harris
DJ Snake
Marshmello
The Chainsmokers
Best Look
Halsey
J Balvin
Lil Nas X
Lizzo
ROSALÍA
Biggest Fans
BTS
Ariana Grande
Billie Eilish
Shawn Mendes
Taylor Swift
Best Push
Ava Max
Billie Eilish
CNCO
H.E.R.
Jade Bird
Juice WRLD
Kiana Ledé
Lauv
Lewis Capaldi
Lizzo
Mabel
Rosalia
Best World Stage
Muse (Bilbao, Spain, 2018)
Bebe Rexha (Isle of MTV Malta, 2019)
Hailee Steinfeld (Isle of MTV Malta, 2018)
The 1975 (Lollapalooza Paris Festival, 2019)
twenty one pilots (Lollapalooza Paris Festival, 2019)
Best U.K. & Ireland Act
Little Mix
Lewis Capaldi
Dave
Mabel
Ed Sheeran
Best U.S. Act
Taylor Swift
Lil Nas X
Ariana Grande
Billie Eilish
Lizzo
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Dennis is not an interesting person. Tweet Your Favourite Playboi Carti Songs at him @dennisadepeter
With his debut album, ‘Ycee vs Zaheer’on the horizon, Ycee has been giving us sneak peeks of what to expect, with pre-released singles “Dakun” and “Mo Salah”. He’s now shared the music video for “Dakun”, displaying the song’s light-hearted direction. Directed by Funky Pluto films, the video captures Ycee in the midst of beautiful models, while he sings his lyrics and performs a variety of popular dance steps, with a perpetual grin on his face.
Ycee also released “Wahala Dey” over the weekend, as the third single off his LP. It’s another cut off the singing side of the LP, as it finds YP expressing his affections towards a love interest over a mid-tempo beat by Ballartosh and J. Bids. “Be your James Bond, you know what that means, you gon live to die another”, he promises on the first verse.
Listen to “Wahala Dey” below.
Featured Image Credits: YouTube/YCeeVevo
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Dennis is not an interesting person. Tweet Your Favourite Playboi Carti Songs at him @dennisadepeter
Runtown has remained one of the most consistent artists we have, regardless of his scandalous exit from his record label. A few months ago, he released an EP, titled ‘Redemption’ which maintained his ability to have you in your feelings and wanting to turn up simultenously. Now, to circle attention to the project just in time for the turn up period, he’s released a new music video for “International Badman Killa”, the first video from the 6-track tape.
In the Clarence Peters directed video for “International Badman Killa”, we see Runtown peform the lyrics against a a picturesque motif with striking imageries. This paints an interesting parralel Runtown’s effortless calm attitude, as he remains unbothered by the weather as he sings along to his self-assured lyrics.
Watch the music video for Runtown’s “International Badman Killa” below.
Featured Image Credits: YouTube/Runtown
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You are meeting Debola at a strange time in his life. He wandered into a dream and lost his way back. Tweet at him@debola_abimbolu
Zlatan has grown into a force to be reckoned with in the Nigerian music scene since breaking into the mainstream with “Able God” and introducing the now-viral ‘Zanku’ dance. He has since remained in popular music conversation, delivering guest verses and singles to serve dancefloor audiences. While these songs showed him to be a crafty pop star with catchy and innovative Yoruba adlibs, he infused enough personality to establish him as the most entertaining street-inclined rapper. His newly released album debut, ‘Zanku’ however elevates his knack for compelling storytelling to match his pop sensibilities.
https://www.instagram.com/p/B4LUuKClkAU/
Pre-released singles, “Zanku”, “This Year”, “Shotan” featuring Tiwa Savage, “Gbeku” featuring Burna Boy and “Yeye Boyfriend” serve as pop highlights of the 17-track project, while other tracks like “Compulsory Course”, and Davido and Yonda assisted “Super Power” also provide festive moments on the project as Zlatan flexes his renowned mastery of fuji melodies and Yoruba lyrics.
The bass-heavy hip-hop beat Rexxie produced for “Love and Gain” highlights Zlatan’s ability to blend his indigenous and foreign influences as he performs confident and heartfelt Yoruba rap bars over the trap beat. kThe P Prime-produced Indian music influenced instrumentals for 3rd track, “Sunita” allows Zlatan attempts at some sonic experimentation, and gives him room to show off his range.
“Ko Easy World Wide” also stands out for the mix of Spanish guitar riffs Miraqulous Beatz infuses into the beat, however, most of the tracks on the project stay within the sound of the conventional street-inclined, pop genre with production from other producers like Spells, Kiddominant, Rexxie, Iambeatz and Speroach Beatz.
The Patoranking-assisted “Distracted” is one of the more sultry cuts from ‘Zanku’ as Zlatan channels his thoughts towards a love interest for lyrics that admit his human failings; “Money got me distracted oh baby”. The deeper the album goes, the more serious the themes Zlatan explores.
The 11th track, “If You No Know”, is delivered within the festive ambience of the highlife beat produced by P Prime, but the lyrics describe the traumatic backstories that often come with successful street-pop artists like Zlatan and the featured artists, Papisnoop and Jamo Pyper.
The started from the bottom story is a reoccurring theme on ‘Zanku’ and on “Life” he details some of the hardships he experienced while back in school. With the story arch on ‘Zanku’ centred on Zlatan’s come-up, the project conveniently retains the celebratory mood of his popular songs while still offering a deep dive into the singer’s psyche. It’s not exactly didactic music, but when it comes on you’d know what to do: dance and dream.
Stream Zlatan’s ‘Zanku’ below.
Featured Image Credits: YouTube/ZlatanIbileVEVO
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You are meeting Debola at a strange time in his life. He wandered into a dream and lost his way back. Tweet at him@debola_abimbolu
Peruzzi has spent the last few weeks building up to his debut album, ‘Huncho Vibes’, and last Friday, he dropped “Only One” as the album’s second single. With only a week to go until we get the full album, he’s just given us another taste of what to expect from “Sunshine”, featuring label boss Davido, the only featured artist on the 10-song project.
Produced by Vstix, the lively beat for “Sunshine”, with piano synths, guitar harmonies and gently knocking drums act as the perfect match for Peruzzi and Davido’s upbeat performance. Both singers perform a charming set aimed at their love interests, with heartfelt lyrics that could easily pass for wedding vows. “You’ve got me dancing in the rain, ‘cos I love you”, Peruzzi proclaims on the song’s pre-chorus.
Listen to “Sunshine” below.
Featured Image Credits: YouTube/Davido
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Dennis is not an interesting person. Tweet Your Favourite Playboi Carti Songs at him @dennisadepeter
WurlD and Sarz are finally making good on their promises for a joint EP, which we’ve been anticipating for a very long time. Two weeks ago, they announced its title, ‘I Love Girls With Trobul’, and have now followed up previously on released singles, “Trobul” and “Ego”, with a new song off the project, “Mad”;
Similar to preceding singles, “Mad” tows the line of romantic tension, as it finds WurlD describing a relationship where sex is used to shield their love from external pressures, like work stress and issues with friends. “Say you want and you need me, when you call I dey busy, make we take am dey easy”, he sings over the buzzing synths and thumping percussions Sarz produces.
With WurlD’s evocative writing and Sarz’s delightful production, “Mad” strengthens the case for the duo’s synergy, which we will fully gauge when the EP drops next Friday.
Pre-add ‘I Love Girls With Trobul’ and stream “Mad” here.
Featured Image Credits: Instagram/only1sarz
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Dennis is not an interesting person. Tweet Your Favourite Playboi Carti Songs at him @dennisadepeter
Over the past year, Bella Alubo has been teasing the release of her latest project with a handful of singles including “Unavailable” with Lady Donli, and the Zlatan-assisted single “Agbani (Remix). Now fans finally can stream the highly anticipated project, ‘Summer’s Over’ which cements Bella as one of the most promising Afropop acts working today.
Upon first listen, Bella’s undeniable growth is made abundantly clear, with her sound, message and execution being further than a step’s throw away from the Bella we saw on her last project ‘Re-Bella’.‘Summer’s Over’ is a crisp 10-track offering, which presents the theme of heartbreak with catchy bops laced with memorable lyrics, and there’s definitely something for everyone on it.
The opening track, “Don’t trust Geminis” features, Ezi Emela, where they sing: ‘Many men don play the girl don do the girl something’. The song gives insight into the hurt she’s had to deal with in past relationships with Geminis. People of this star sign get a really bad rep for being one of the worst signs to deal with in the zodiac, and both artists explore this, with their voices intermingling for a down-to-earth, relatable record.
Elsewhere on “Fire”, Bella is more optimistic about love, singing “Call me on the phone I’m available” and openly inviting love into her life. On “Summer’s Over” the project’s titular track, she enlists Ajebutter 22 and Mavin rapper, Ladipoe for a breezy lighthearted track which traces a relationship from its early stages before the summer until it dies out towards the end of the year. Produced by Quebeat, the song truly reflects things ending; ‘Really loved you September…maybe I’ll see you December’ Bella sings, mirroring how fickle feelings are in Lagos, as they always seem to always die down before the crazy December period.
Mr Eazi joins Bella on “Kolombi” for a catchy sex positive track, which explores having a partner who wants you just as much as you want them. Fresh L & Ghanaian artist, Ko-jo Cue also feature on “4 Am” where Bella praises her love interest who stays by her side even in the madness of Lagos city. ‘Na me go out with you when the popo dey for road’ she sings, providing relatable lyrics for anyone who’s lived in Lagos and given love a chance.
On “Follow Me” Bella turns her subject matter to social media and the importance our generation places on it. “Wanna be your favourite girl on the timeline” she sings, imitating a rhyming trance-like tone. She sings about how baseless she thinks social media relationships can be and how efforts placed to maintain them are futile.
The closing track is a French remix to the project’s pre-released single “Agbani” which earlier also picked up a feature from everyone’s go-to feature guy, Zlatan. On the French remix, Tengo John sing-raps in French about how different his life has been since his love interest walked away.
While women certainly do not need men telling them how beautiful they are, sometimes when it’s not cloaked in misogyny and as a shot at another woman, it can be nice to hear man lending his voice to the self love movement without coming off as condescending. This is a feat Mayorkun manages to pull off with his latest single, “Up To Something”.
We are beyond tired of being men ‘mansplaining’ everything from our bodies to what we wear, with most comments only prepping women for desirability for the male gaze, and given that this is the status quo in the music industry, songs like this are a breath of fresh air.
Sampling a classic track “Faze” from veteran rap group, Plantashun Boiz, Mayorkun presents words of affirmation to women in his usual melodious form. On the Speroach-produced song, Mayorkun touches on body shaming and lack of self love in black women. “But you don’t really understand, that you’re beautiful just the way you are” he sings, with the accompanying music video showing various clips of women of different ages and skin tones feeling beautiful in their skin.
Lakin Ogunbanwo debuted his latest photography collection, “E Wá Wo Mi (Come Look at Me)” with Niki Cryan Gallery last month. Women wearing veils are the subject of the new photographs, seemingly contrasting his previous “Are We Good Enough” which captured men wearing different hats. While both portrait collections carry Lakin’s signature bold and vivid tones, “E Wá Wo Mi” explores the Nigerian wedding ceremony culture through the bridal direction of the costumes.
He’s able to create a striking impression with the silky fabrics while also balancing bright colours with dark shadow in the portrait pictures of his brides. To achieve the punchy images, he tells me he was very hands-on and involved with every aspect of what went into each frame. “From the models to the clothes, to the lighting to the makeup, I pick very specifically to what I think fits the narrative I’m trying to put out.”
Having started out commercially as a fashion photographer, it’s no surprise that he’s so adept at picking appropriate costumes to express his art. However, it wasn’t till 2012 when he began shooting the “Are We Good Enough” hat collection that his artistic vision and the ideology he wants to put out crystallized. “I realized I wanted to capture my culture and document it as best as I can but also put a contemporary world view on it.”
Lakin Ogunbanwo has gotten international recognition for his works, using photography to expand the contemporary African visual art archive. He has featured on magazines like Times, New Yorker, British GQ and making it on “British Journal of Photography”‘s Top 25 Photographers of 2015 in their annual ‘Ones to Watch’ list. But Lakin tells me Nigeria is his favourite place to display his work because he doesn’t have to answer overly philosophical questions about the cultural significance of every little detail in his work. “Everyone just gets that the concept is a bridal ceremony.”
Though the media attention has certainly helped the trajectory of his career, Lakin explains that it’s the days where he shares his art with people who appreciate it that means the most to him. “To be able to show the work that is very inspired by my culture to people who are part of that culture and understand it and its layers and nuisances.” He describes his audience at the Niki Cryan Gallery with a fondness that suggests he knows most people present by name. With everyone around expressing pleasant thoughts about his work, he tells me it’s very humbling to be described as an inspiration but ultimately, it doesn’t affect what he creates. “I choose not to define my work based on who is affected by it or who are inspired by it. I don’t do it cause I want an audience to like it. I do it cause I want to put it out.”
https://www.instagram.com/p/BwEchjmB1bV/
As a result of his unapologetic self-expression, he has become a sort of ambassador for Africa, using his works to challenge the monolithic narratives of Africa. His “Are We Good Enough” series, for instance, used traditional Nigerian hats to explore the individuality within the Nigerian culture. “I don’t like when people speak of Africa as just this one body of people. There are many ways to be African.” Now he’s looking to expand his artistic expression to film-making as he’s expected to release a short film later this year. Though he prefered to remain mysterious about the themes the film would explore, snippets from the viewing of his “E Wá Wo Mi (Come Look at Me)” hints at an expansion on the wedding ceremony photographs.
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You are meeting Debola at a strange time in his life. He wandered into a dream and lost his way back. Tweet at him@debola_abimbolu
Since she made her way into mainstream with Sarz-produced “Maradona” in 2017, Niniola continuously proves that the pair are a match made in heaven. Clearly, if it’s not broken, don’t fix it, as she has stuck to her frequent collaborator, Sarz for her third release this year, “Omo Rapala”, which we’re expecting to make the rounds much like her other releases.
Niniola’s Yoruba lyrics build on the pulse of the drums, percussions, horns and sensual moan samples Sarz places amidst the groovy instrumentals. Singing “Oya gbondi titi ale (Shake your booty till the night time)”, she describes the seduction of the dancefloor with gentle and caressing vocals and inventive Yoruba rhymes that are as exciting as dancing. “Omo Rapala” is coming out ahead of her “The Human Radio Concert” scheduled for the 8th of November at the Balmoral Hall in Victoria Island, Lagos.
Stream Niniola’s “Omo Rapala” below.
Featured Image Credits: Instagram/officialniniola
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You are meeting Debola at a strange time in his life. He wandered into a dream and lost his way back. Tweet at him@debola_abimbolu
The Mr Eazi-led emPawa initiative has made commendable strides in about one year of existence, and has successfully broken Joeboy – one of the key players in the music industry today- into mainstream
While the initiative is currently sorting through entries for its next batch of applicants, emPawa is putting together a compilation project, and has officially started its rollout. “Call Waiting”, featuring vocals from Mr Eazi, and Ghanaian artists King Promise and Joey B, serves as the project’s lead single, and it also comes with a fitting music video.
Over the sunny, mid-tempo beat E-Kelly produces, all three artists trade lyrics yearning for affection, while also pledging their undying love to their love interests. Mr Eazi and King Promise deliver a verse each, while Joey B adds a recurring bridge. Set at the beach, the music video sees Mr Eazi and King Promise perform their set in the company of models who act their muse, while Joey B moves around in agitation, waiting for a lover to pick his phone call.
Watch “Call Waiting” here.
Featured Image Credits: YouTube/emPawa Africa
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Dennis is not an interesting person. Tweet Your Favourite Playboi Carti Songs at him @dennisadepeter
