Released in 2006, “E Be Like Say” is one of the first laid bricks in the cathedral of 2Baba’s mythology. Though his ‘Face 2 Face’ album debut already laid down the foundation for his socio-political agenda, it wasn’t till two years later when he released the followup project, ‘Grass 2 Grace’ that 2Baba’s name (then 2Face) was solidified as a legitimate pop star with a subversive message.
He has since continued to put out politically conscious songs, recently getting commissioned by INEC for the “Not For Sale” campaign song during the 2019 elections. But what makes “E Be Like Say” so distinct is how it transcends eras to become timeless political expression. Like any of his best songs, he places beautiful songwriting into mortal conflict with bitingly cynical lyrics that could be addressed at an unfaithful lover; “Looking back through all the years that you and I have spent together/ It seems like you’ve been playing me all along”. It’s a gimmick that worked to make the song more compelling and stirring for listeners who could relate with his feelings of being let down by a government he had put his trust in.
In the scheme of things today, 2Baba’s “E Be Like Say” is a brick through a window that doesn’t look any less brutal. These past few weeks have been rather rough on Nigerians with the Xenophobia attacks on Nigerians in South Africa, the government’s proposal for an increment in value-added tax which translates to a higher cost of living and news of a serial killer taking lives of women in Port Harcourt. Though the police have paraded a suspect, Mr Gracious David Wes, as the convicted murderer for the killings, it’s only natural to retain a healthy dose of scepticism with the reveal coming so quickly and without anything to indicate that due process of investigation was followed before he was convicted of the murders.
It’s just like the memorable lines from the song, “E be like say you want to tell me another story again oh/E be like say you want act another movie again oh/ E be like say you want to code another coding again oh”. 2Baba recognizes how hard it is to trust a government that never seems to fail to disappoint.
Stream 2Baba’s “E Be Like Say” below.
Featured Image Credits: Instagram/official2baba
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Like most, Love Island viewers, my summer nights were spent meticulously studying the Villa’s most handsome contestant, and if my carefully curated timeline of like-minded women on Twitter is anything to go by, I was not alone.
Not only attracted to his tantalising physique, I was mostly occupied with Ovie’s emotional intelligence, coupled with his care-free demeanour, with the added bonus of standing at 6 ft 7 inches!
As a closeted misandrist, men quite frankly abhor me, however, since the six-foot-seven professional basketball player first graced British TV screens on thesummer binge sensation, the game was drastically changed, and with it our expectations of other men.
I’m going to go ahead and give credit to Ovie’s parents for the all-round flawless human being they nurtured. A London native, Ovie Paul Soko was raised by Nigerian parents, mother, Foluso and father, Raymond, who both instilled the core cultural values from our nation in their young boy, which has helped shape the man he is today. Recounting the ideals his parents trained him with, Ovie kicks off with one of the most important mores to a Nigerian: respect
“Respect for people is one of the first things on that list, it has definitely helped me appreciate everyone around me”
Whether it’s watching him offer advice to every other Love Island contestant, or observing his effervescent interaction with demanding fans, Ovie’s respect for others, and humility when it comes to interpersonal relations, is unbridled. It’s this amiability that attracts Ovie to all those with whom he interacts, and his unique ability to make everyone around him feel cherished, that sets him apart as a human being.
Another inviting quality of Ovie’s, one that he in fact believes endeared fans to him the most, is his genuine character. Ovie is always himself, thanks to his professional training as an athlete where he mastered the requisite adaptability for him to comfortably express himself, regardless of the situations he finds himself in.
Self-awareness, self-confidence, self-assuredness, and all things to do with knowing and being unapologetically yourself, are some of the most difficult qualities to master. I, for one, have very little confidence in anything but my physical appearance, and when it comes to any other aspect of my life, I am riddled with self-doubt. For all those like me who aren’t confident in who they are, and/or don’t know quite how to confidently be that person all the time, Ovie Soko is here to tell you –leading by example of course–that being you is the best, and only way to be.
“My ultimate goal [with all this success] is to be a good example, to help out where I can and hopefully show people that being yourself can get you a long way.”
Since our very first introduction to him at Casa Amor on Love Island‘s day 26, Ovie has been setting a strong example for everyone watching, especially for his fellow men. Though he’s spent a good few years within the hyper-masculine borders of gender-segregated professional sport, and was raised with an appreciation and understanding of Nigerian customs (inadvertently opening him to persisting colonial cultures that breed rampant misogyny in various aspects of a Nigerian’s life), Ovie Soko doesn’t fall into the typical pits of toxic masculinity that both realms teach young black boys. Quite the contrary, Ovie seems to be living his life free of the constraints of societal expectations and outside of the box, so to speak.
On National Ovie Day, I was fortunate enough to get first pickings of my timeline’s dream husband, as I joined him, and the ASOS team to celebrate the inaugural event. Here unveiling his debut collection in collaboration with ASOS (now available to shop here), Ovie revealed his affinity for thinking outside the box, and his heart’s desire of living in a world that does not constrain who we are; a world without borders, and other rules of identity. Also packaged neatly in an ASOS delivery of the “A World Without Flags” sweatshirt, these ideologies are firmly rooted within Ovie himself, grounded in his strive for “Peace & Unity” and love amongst fellow human beings.
So, in addition to being impossibly handsome, infectiously cheery and extremely rational, Ovie also stays woke when it comes to global affairs, weaving his socio-political views into his creations, as opposed to plugging his ears when political matters are brought up, like some of our well-respected cultural icons have done in the past.
As I confessed earlier, I am well on my way to misandry. So, complimenting my initial shock that a man kept me ogling at my TV screen for however many weeks, came my sheer surprise that this same man embodies all the characteristics I would associate with an exemplary human being.
My expectations of men lay pretty low, but now, I have the knowledge that such a man as Ovie Soko exists – I promise you he really does, I have physically touched him – I have now raised the bar to the tune of 6’7, and I implore everyone reading this to also lift their standards of what they expect from people (man people in particular). If Ovie can be so effortless in his flawlessness, the least the rest of us (read men) can do, is be decent.
Preyé Itams has become our self-prescribed poster child for realising your worth and walking away from toxic love and relationships. Her 2018 single “Cookies” is a neo-soul R&B post-break up song which literally screams Fuck-You-I’m-the-Shit, and sets the tone for “SPACE”, a collaboration with Soulsection artist, Tay Iwar and Santi on needing space from your lover.
Now, her latest single “Love Fumes”, released last month, follows in the same trend; on which Preyé raps and sings about leaving a Cassanova. In the music video, directed by Atide Studios, Preyé is first seen arguing with her lover played by Deime Inn on seeing messages from another woman on his phone. However, this anger quickly diffuses as Preyé realises her worth, and unapologetically leaves her toxic lover who searches frantically for her in an amusement park.
With the release of his “Audio Money” single earlier this month, Rudeboy tilted away from the romantic inclination of his preceding sleeper hit, “Reason With Me”, offering socially relevant commentary this time around. Backed by the Igbo Folk-inspired production from Lord Sky, the singer mocks the increasing need for people to present picture perfect lives, while also highlighting the role social media continues to play in fostering the fake life ideal.
Depicting his derision, Rudeboy has now shared an accompanying music video that features him donning a firefighter outfit for symbolic purposes. The metaphor is quite clear, though, as the video follows the singer and his similarly dressed posse, going around to physically extinguish virtual pretenders, one at a time. With the use of elaborate props and an identifiable narrative arch, the video for “Audio Money” continues Rudeboy’s commitment to striking visuals.
See Rudeboy in video for “Audio Money” below.
Featured Image Credits: YouTube/RudeboyVEVO
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There are few better things in hip-hop than two emerging stars from radically different scenes bringing their unique flows together. On “Pads”, Dubai based rapper, Seki SuperVillain (formerly Izzy) and Young Gaby combine their trap flow with Prettyboy D-O’s menacing street rap style. 1TakeNnandos laces the trio with a dark instrumental that has the pensive energy of a cathedral procession with bouncy trap drums layered over haunting synths.
Seki SuperVillain’s laid back vocals shine with his tough-talking lyrics fueled by the effortless flow. Prettyboy D-O verse, however, stands out with his distinct blend of patois, Afropop and rap serving as a testament to the hustler ambition he sings of in his verse. Young Gaby’s closing verse is shorter than the others but his fast-paced flow gives him room to drop just as many bars to defend his right to be on the boastful track. With each artist’s unique delivery highlighted, “Pads” is an indicator that international collaborations don’t have to come at the cost of sacrificing style. The song features as the second track on the Seki SuperVillain’s newly released self-titled ‘Seki SuperVillain’ project which also features other international act like Danish rapper, Noah Carter.
Stream “Pads” by Seki SuperVillain, Young Gaby and Prettyboy D-O below.
Featured Image Credits: Instagram/seki_supervillain
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In full flow, DMW resident rapper Dremo is an impressionable artist. While he may not capture that form consistently, it can be undeniably striking, like his scene-stealing verse on UK-based, Nigerian artist Linosz’s new single, “Kakiri”. “I make money count, no be the type wey dey your bank account”, he cracks in the opening seconds, setting the stage for a song brimming with brag-fueled lines. Delivered in an infectious mix of assertion and jest, Dremo’s lyrics are coated in an unbothered cool, further embellishing the glossiness of his sticky hook. While he wisely cedes majority of the song to his guest, Linosz also chimes in with a verse filled with like-minded boasts. Adey produces the groovy beat for “Kakiri”, making it a worthy contender for DJ sets at both radios and clubs.
Stream “Kakiri” via Apple Music here.
Featured Image Credits: Instagram/linosz.apg
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With or without winning the grand prize, a significant number of the contestants of the popular reality TV show, Big Brother Nigeria, try to leverage their newfound ubiquity into careers in the entertainment space. 2017 edition winner Efe made it clear that he would return to pursuing a career as a musician—he’d released an EP in 2016 before entering the BBNaija house. Shortly after, that decision started to garner negative reactions from fans and critics alike, following a string of sub-par singles and an unremarkable EP, ‘Am Sorry Am Winning [sic]’.
Regardless, Efe has stuck to his guns in the face of unfavourable criticisms, and it looks like it might just be paying off. Earlier this year, he put out his giggle-inducing “Scammer” single, with a guest feature by ‘Best New Music’ alum Tulenkey, and late last week, his appearance on online performance platform, Aktivated Sessions, made the rounds on social media for his vividly improved abilities. As a marker of an ongoing renaissance, his newly released single, “Campaign”, serves as the best song Efe has put out yet.
The xylophone riff and bouncy, mid-tempo drum pattern WXLA produces, elicits a vibrant tone for “Campaign”, while serial hook killer BOJ, opens with a rendition of the catchy hook referencing Efe’s unyielding ambitions. Following the already laid out, colourful ethos, Efe delivers his rapped lines with an assured cadence, but amidst the streetwise quotables, he quickly bends the song back to accommodate contemplative quips, that ultimately hinge on overcoming self-destructive behaviours induced by responses to his music. “Na so I come dey booze just to clear my bruise/but i thank God for my life o, there’s so much to live for than to die for”, he merrily raps. Nigerian rap veteran Ice Prince completes the line-up, contributing a similar-minded second verse, grounding his come-up story with anecdotes about initial doubters.
Since the first edition in 2012, the Lagos Comic Convention has successfully brought comics, animation, films and book enthusiasts together to celebrate their pop-culture fandoms. Organized by Mustardseed Communication International, the event has grown from, 300 guests in 2012 to become Africa’s biggest geek event with over 4000 guests in 2017 in a one-day event.
This year’s Lagos Comic-con held at AF (Alliance Francaise) in Ikoyi where young people came to appreciate the displayed arts and comics inspired by our African culture. The 3-day event was themed “Fearless Lagos” and seminars were held to encourage young artists to brand their art and be more marketable. Niyi Akinmolayan also premiered the “Malika: Warrior Queen” animated film for Anthill Studios at the event and the studio used the platform to appreciate its team. There were also drawing aids like colouring pages to guide children as they explore their artistic expressions.
Brands like “Freak the Fxxk out” were present with their stand where they displayed their spooky clips with eerily compelling soundtracks. Other comic brands had stands where they displayed their comics for sale while some stalls offered art and merch for sale, face paintings and dart throwing games that kept the event lively. The red carpet saw cosplays from attendees with Thor, Joker, Batman Mario’s Nintendo costumes and others being paraded. But a young boy in a Miles Morales costume won the award for best cosplay.
The 3-day event provided a networking avenue for comic book lovers to engage with their fellow geeks and exchange pop culture experiences while learning new creative avenues.
Featured Image Credits: Instagram/lagoscomiccon
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Olutosin, more commonly known by her fans as Olú, dubs herself a sage; she currently hosts a series of intuitive sessions in Lagos, and her profound desire to help others connect to their truest nature reflects in her music. Her latest venture, ‘Aye’—Yourba for ‘Life’— is an 11-minute music film directed by Shaun Kalu, which marries the 3 variations of her near 2-year old single, “Aye”.
In November of 2017, she released “Aye (About A)“ and “Aye (About Z)” as a two pack single, while the final version with Femi Johnson opened up her 2018 EP, ‘Language’. While all three are musically different—“A” is an Afrobeat bop, “Z” is a zen-inducing ballad, and Femi Johnson’s voice is digitally muffled for a Folktronica bent on the last version—they are all connected by Olú’s ruminative lyrics on feeling whole in life.
On why it took so long to put out a set of visuals, Olú tells the NATIVE that she was in no rush to put out a music video. Aye of Z was the first version created, but Olú found the song ‘awkward and melancholic’ as it did not accurately translate what she was experiencing. It was through creating Aye of A and the version in which she enlists Femi Johnson that she was able to accurately capture how holistic life could be, she explains via phone call.
Using performance art, Olú and her cast are able to tell a story: the story of unconditional love and sacrifice in which Lokoja, played by Olú, surrenders herself to atone for the suffering of those around her. Her vision for the music film to translate as a spiritual experience is realised when she comes face to face with her godmother, played by Uche Uba, and she feels the profound peace that comes with such a sacrifice. Lokoja is born anew; this echoes a similar sentiment to the repeated phrase in the music film ‘Life is complete’. It seems that this phrase also explains Olú’s current attitude towards her upcoming music, as she reveals that she is taking necessary time to process the film’s release and does not know what is next for her.
Just days after releasing his debut single for the year, “Ghetto Love”, Wizkid has more good news for fans. The singer has announced the lineup and schedule dates for his Stayboy Fest concert this October. Afro B, Eugy, Tiwa Savage, Maleek Berry, Nafe Smallz and Ms Banks have been confirmed to perform at the show but the flier promises that there are more artists who haven’t been announced yet.
Starboy Fest 2019 is scheduled to hold in Manchester at the 02 Victoria Warehouse on the 18th of October and at the 02 in London on the 19th of October before concluding in Paris at the Les Dock Pullman on the 26th of October. You can get more information concerning ticket purchases at the Starboy Fest website.
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Featured Image Credits: NATIVELAND18′
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Goldkeyz has built a reputation for silently dropping gems, with each release displaying his growing power as a music maker and collaborator. The producer kicked off the year with his definitive project, ‘Bloom’, pulling in lengthy cast of assists from artists like Minz, Ogranya, Barelyanyhook and more. A month after releasing “Secret”, a honest and lilting song with singer Ilaye, he most recently put out “Mr. Loving”, this time with vocals from Ayo Folarin and Lefty.
Mixing a cloudy piano chord progression, intermittent blaring horns and folksy local percussions, Goldkeyz weaves a gently groovy instrumental arrangement, showing off his knack for lightweight but composite production, and also accentuate the romantic sentiments his featured guests express. Ayo Folarin sings the hook and the first verse in a charming mix of pidgin English and Yoruba, while Lefty chips in with a superb rapped verse, his gruff voice conveying the seriousness of the song’s pining centre: “Please don’t break my heart”.
Listen to Goldkeyz’ “Mr. Loving” here.
Featured Image Credits: Instagram/Goldkeyz
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Since emerging into the mainstream with his ‘Bad Boy Blaq’ tape, Blaqbonez has retained a strong grip on the attention of Nigerian music lovers with his quirky personality, inciting a rap beef with his Best-Rapper-In-Africa campaign, featuring on the Martell Cypher and his charismatic Mr Boombastic alter-ego on social media. He continues to engage his enthusiastic fanbase with a new single, “Shut Up”, his first song as his Mr Boombastic persona.
Opening with a radio announcer introduction in patois, Mr Boombastic is first introduced as an artist with a Jamaican slur but the antagonistic lyrics later reveal him to be a ruffian who isn’t to be messed with. It’s a persona that gives his cocky bars more heft as he brags about his wealth and talent over the catchy beat Tempoe produces. With the boastful direction, “Shut Up” could be the lead single for the anticipated ‘BRIA(Best Rapper in Africa)’ project expected to be released sometime soon.
Stream “Shut Up” by Blaqbonez’s Mr Boombastic persona below.
Featured Image Credits: Instagram/blaqbonez
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Borrowing the rich folky melodies of highlife, Falz’s new song, “Loving” delivers an eloquent, lovesick serenade that promises festivity and celebration. Though it’s not the first time Falz is putting his indigenous influences over his rapper sensibilities to make a commercially inclined song, the beat Yung Willis produces with live music simulating percussions, guitar riffs, gong samples and talking drum riffs takes him from club DJ playlists to wedding DJ sets.
His lyrics, “Omo mummy, liking the way that you move your body/ See, as I dey I wan meet your daddy/ Mo ti seytan, I ready to marry”, also emphasize the wedding direction and Twitch keeps up the narrative in the retro music themed music video he directs. The music video for “Loving” puts Falz’s comical character on full display as we watch Falz perform the role of a struggling musician trying to win the affection of a beautiful woman before we later see him bath in the glow of the spotlight at a show he performs at.
Watch the music for Falz’s “Loving” below.
Featured Image Credits: YouTube/FalzVEVO
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Even with recent label woes that we only just fully grasped this week, Bella Alubo has quietly been in the most prolific phase of her career yet. Last year, she dropped two EPs, ‘Late Night Vibrations’ with Ycee and ‘re-Bella’, and she’s already dropped collaborative singles with Fasina and Lady Donli this year. In celebration of her birthday in August, she dropped “Agbani”, a premium showcase of her vocal ability to whip simple melodies into psychedelic moodpieces.
She’s just re-released the single, with a guest appearance from everybody’s feature go-to guy, Zlatan, albeit to striking results. Although there’s nothing new about the bouncy beat TUC produces, the song’s club-driven purpose comes into full view, strengthened by Zlatan’s infectious ad-libs and a trademark, energetic verse that compliments the sensual candour of Bella’s repetitive lyrics. “Agbani (Remix)” is the lead single for Bella’s next project, which should arrive sooner rather than later.
Stream “Agbani (Remix)” via Apple Music here.
Featured Image Credits: Instagram/
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To mark international democracy day this month, YIAGA AFRICA released a hip-hop/rap song “Democracy” on September 15th, in partnership with the Ford Foundation and World Movement for Democracy (WMD), as part of an initiative to support sustainable democracies in Africa.
“Democracy” reflects the experiences and perspective of youths in an Africa where too often, greed, absolute power and corruption is the talk of the day. Through verses delivered by artistes—Moonaya from Senegal, Master Soumy from Mali, Awa Bling and Killa Ace from The Gambia, Cill from Nigeria, and Elom 20ce from Togo—the song is composed as a distinctive blend of French, Wolof, and English. “Democracy” comes off YIAGA AFRICA’s youth project titled, Music as a Messenger for Democracy. The Project’s lead, Ibrahim Faruk, explained via email to NATIVE that the song “awakens the conscience and serves as a reminder that we deserve democracy, freedom and rights—but also we must fight to gain and protect them.”
The song is produced by Waliyaane studio in Senegal, and aims to foster a rebirth; a reawakening in citizens, driven by a vibrant collaboration between African artistes and civil society actors such as YIAGA AFRICA, WMD and Ford Foundation, to counter anti-democracy narratives, advance next generation civic engagement, and build solidarity across West Africa.
Like an Instagram bad bitch, rappers never seem to pass up on any opportunity to flex their flashy lifestyles with their money spraying music videos and ever glistening jewellery. Dwayne$tunna and Straffitti are however subverting the hip-hop trope on new single, “Runnin’ Outta Love” off Dwayne$tunna’s recently released 7-track, ‘Temporary Forever’ tape.
Rather than brag about their swag or some other flashy attribute, they tout their tunnel vision to remain focused while dealing with the everyday hassles of being rappers; “Had to cut some niggas off/ Had to cut some bitches off/ Gotta focus”. The sombre trap beat evokes lamenting lyrics from the rappers who take the chance to describe the challenges they’ve had to deal with while hustling to be better.
Listen to Dwayne$tunna and Straffitti’s “Runnin’ Outta Love” below.
Featured Image Credits: Instagram/dwaynestunna
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One of the many attributes that make Hip-hop so compelling is its ability to put listeners in an exhilarating mood. If you’ve seen what 808s and sub-bass bursts can do to a set of speakers, it’s easy to image rappers hear hip-hop instrumentals and get motivated to make music to soundtrack fight sequence with enemies they imagine in their minds.
The throbbing mix of 808 drums and synth samples that sound like vocal chants Wes produces for “Running Man” is the perfect alley-oop for Begho and Enzo Pe$o’s cocky bars. The two spit confident bars that paint a snapshot of their flashy ambition with lyrics that listen like their mission statement; “Imma be me, understand”. It’s the type of song that can add that extra peep to your step and put you in the mood to rage.
Stream “Running Man” below.
Featured Image Credits: Instagram/beghofromthematrix
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YCee’s didn’t officially announce his split up with the Tinny Entertainment till earlier this year. But hints of a rocky relationship with the people behind his affairs first surfaced when he went on a Twitter rant at FreeMe Digital and Michael Ugwu in 2017. Back, then he called out what he deemed a parasitic relationship between artists and middlemen who take a chunk of the music profits despite doing the least. His outspoken attitude reveals fresh concerns for artist-label conflicts in the age of streaming—when the digital distribution of the music is not directly managed by the artist.
YCee’s latest outburst was provoked by the CEO and Founder of his former Tinny Entertainment label, Arokodare Tinny Timilehin’s celebratory post for the label’s 100 million streams (across all platforms). He shared a rejoinder on IG to disclose some shocking truth about those numbers, stating that “Not a single dime generated from those streams got into the pocket of any of the artists responsible for the content that generated those streams” and “The only thing the CEO is grateful for is the fact that he has yet again, seemingly gotten away with profiting off other people’s sweat”. YCEE doesn’t feel compensated for the 6 years he spent at the label having had to give up his discography which boasts of hit singles like “Jagaban” and “Juice” to the label.
He later spoke on a live video explaining that speaking up came with a choice; he’d rather not be the typical Nigerian artist in a bad blood row with former management, but younger artists need to avoid his mistakes. YCEE warns greenhorn up and comers to avoid falling for the same unfavourable label contract deal as he did. According to him the mechanisms of the record industry are exploitative and detrimental to creative people. He also expressed concerns for former labelmates Bella Alubo, Dapo Turburna and others still contractually obligated to Tinny Entertaintainment.
Nigerian label-artists disputes are one of the most recurring controversies in the music industry. Tekno, Kizz Daniel, Runtown, and Iyanya have dealt with similar label issues in their careers. The story goes they had fallen victim to unfair deals as hustling young artists, that left them without any rights to the music they recorded while at the label, the money their music earned or the identity they had developed in Kizz Daniel’s case. YCee expressed some concern at the effect Tinny’s threat to leak his music could have on his coming project rollout, but the rapper remains confident, ready to go to court and clearly still confident in his talent and the fan base he has built. He reassured fans he is still recording new music consistently and the passion that drove him to start his career has not been replaced by cynicism as he even jokingly quotes lyrics, “You fuck me then you fuck me over, sey na you sign me?”.
With streaming services allowing artists have more control over their careers, record labels and distribution companies no longer hold as much leverage over artists’ careers as they once did; Bella Alubo is still releasing music regardless of whatever situation she might be in with Tinny Entertainment. Having exposed Tinny Entertainment as a mere burden to the finances of music talents, YCee promised his project will still be released as scheduled.
Featured Image Credits: Instagram/iam_ycee
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Streaming is revolutionising the way we listen to music and the way it is distributed. Artists can now make money by distributing independently of a record label which in the past used to be the main reason for signing a record deal. Now streaming platforms form the core of music distribution in 2019. For context, last year the Verge detailed how streaming now accounts for 75% of the music industry revenue, in addition, artists also now have the advantage of being in control of their own art and numbers. On the consumer side, playlists and digital radio are replacing conventional music discovery channels, and the experience of music itself is bearing a new technology-driven face. This bears some semblance with the emergence of hologram tours, an innovative merger of virtual reality and augmented reality tech that is looking to transform how we experience music concerts.
Yesterday, the estate of Whitney Houston and BASE Hologram revealed ‘An evening with Whitney Houston: The Whitney Houston Hologram Tour’ which will be taking place in 2020. Although there were reactions that raised the conversation around the ethical notion of respecting the deceased artists, this attempt to re-imagine hologram Whitney was not the first. In 2016, after footage of the late star performing a duet with Christina Aguilera at the Voice was leaked online, it was declared that hologram Whitney Houston was not ready for her live debut. This hologram tour will not be the first of its kind as in the last decade, the estates of other late musicians Tupac, B.I.G and Billie Holiday and even Pop Smoke have produced hologram appearances for fans and concert-goers.
Beyond the mixed reactions, hologram performances may be a hint of what the music concert experience will be like going forward. The Netflix series, Black Mirror, which is known to show instances of tech going too far also addressed this experience, with the latest season showing Miley Cyrus as ‘Ashley O’ going on tour, with the use of a hologram, after she is hospitalised. The episode is allegorical as it highlights the price of fame, using artificial intelligence and robots to raise questions about human agency. In the last two years, Coachella has doubled down on improving their global live broadcast for the music festival, with developments in VR and AR, we may be looking at a future where technology will redefine what it means to ‘attend’ a music concert.
It is too early to speculate however, ethical conversations like those surrounding Whitney Houston’s hologram tour may make the adoption of this new technology slow and unpredictable in the long term. Hard to say how well hologram concert tickets will sell if fans are spooked by the whole concept of a dead celebrity on stage. It is also possible we could see a merger of tech and humans, for example, a band will be performing behind hologram Whitney during her tour which adding a live element to the experience.
In response to the backlash, CEO of BASE technology, Marty Tudor, defended the holographic experience saying, ‘To me, this is about remembering Whitney’s body of work. There is a whole generation, including my son, who never had the chance to see Whitney perform, and it was important to me that they get that chance’. Others like R&B singer/songwriter Macy Gray have said we would just have to get used to this new concert experience as tech giants will utilise this to have concerts in different major cities at the same time.
Amidst the divisive reactions Blaqbonez inspired with his ‘Best Rapper In Africa’ brouhaha, a sure positive is that it served as a means for Nigerian rap enthusiasts to become acquainted with more obscure names. One of such names is Meji the Rapper, who became noticeable after his diss tracks aimed at Blaqbonez, “Blaq Out” and “100 Clowns”, gained some popularity. Hoping to leverage on his newfound notoriety, he’s just put out “Humble Son Cocky Bastard” as his newest single, a few days after performing it on Aktivated Sessions.
Brimming with fiery declarations, the single is a blistering attempt at a (re)-introduction, sans the initial controversy. “I know that you know I’m a prodigy/flow so crazy I need a lobotomy”, he gingerly quips on the second verse, a glimpse into the litany of clever bars that bounce between self-eulogizing and detailing his ambitions. Eerie piano loops and reverb-drenched 808 bass rumble underneath the raps, bolstering the magnetic persona Meji exudes.
Listen to “Humble Son Cocky Bastard” below.
Featured Image Credits: Instagram/
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Dennis is not an interesting person. Tweet Your Favourite Playboi Carti Songs at him @dennisadepeter
Reminisce raps with an unquestionable conviction. While his previoussingles and features from this year have favoured his very capable pop-rap side, the rapper is taking no prisoners on his latest release, “OGB4IG”, reminding listeners of his longevity and assertively reiterating his iconic status over the menacing beat frequent collaborator Sarz produces. Between declaring himself the best rapper around, relaying his unshakeable street cred and a stunning bar referencing football pundit Graeme Souness, Reminisce delivers every lyric with a blunt force, amplifying the gritty quality of his voice, and ensuring that each bar is as gut-punching as previous ones.
Listen to “OGB4IG” here.
Featured Image Credits: Instagram/iamreminisce
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Dennis is not an interesting person. Tweet Your Favourite Playboi Carti Songs at him @dennisadepeter
