Returning for one of the most highly anticipated celebrations of music and culture in West Africa, it only made sense to mark this five year milestone with our recurring collaborator, Power Horse. The premium energy drink has in many ways over the past decade reiterated its ethos of feeling big ambitions, showing support for culture events NATIVELAND, Groove on the Grass and Street Souk, Africa’s biggest streetwear convention.
After four years since the last appearance, our flagship festival, NATIVELAND, has now returned bigger and better than ever with headline sponsor, Power Horse. Since the NATIVE Network’s establishment and the festival’s birth in 2016, our priority has always been supporting the budding talents emanating from Africa, by providing a platform to showcase their creativity on their own terms. This keys in perfectly to Power Horse’s decade long creative vision of showcasing thousands of regional artist debuts, coupled with holistic music experiences with the fast growing main and subculture.
We’ve spent over half of the last decade identifying, analysing and championing the best of tomorrow, today while revitalising live entertainment experiences in Nigeria. It is now time to make our long awaited return with NATIVELAND V, a show-stopping experience on December 22, 2023. Hosted at SOL Beach, Victoria Island, this year promises high energy performances blended by Africa’s rich culture in form of our headliners: Uncle Waffles, ODUMODUBLVCK, Ayra Starr and Lancey Foux, alongside a fusion of cultures through food, style, activations and more.
As we draw closer to one of the most highly anticipated celebrations of music and culture in West Africa, it was almost a no-brainer that Smirnoff, a leading distilled spirit brand, joined us for the celebration. The esteemed platform has shown support for our budding creative scene over the past couple years, by partnering with platforms like Big Brother Naija.
After four years since the last appearance, our flagship festival, NATIVELAND, has now returned bigger and better than ever for the fifth edition with headline sponsor, Smirnoff. Since the NATIVE Network’s establishment and the festival’s birth in 2016, our priority has always been supporting the budding talents emanating from Africa, by providing a platform to showcase their creativity on their own terms. This keys in perfectly to Smirnoff’s long standing support of niche and mainstream creative communities across the world.
We’ve spent over half of the last decade identifying, analysing and championing the best of tomorrow, today while revitalising live entertainment experiences in Nigeria. It is now time to make our long awaited return with NATIVELAND V, a show-stopping experience on December 22, 2023. Hosted at SOL Beach, Victoria Island, this year promises high energy performances blended by Africa’s rich culture in form of our headliners: Uncle Waffles, ODUMODUBLVCK, Ayra Starr and Lancey Foux, alongside a fusion of cultures through food, style, activations and more.
To mark the highly anticipated return of our flagship festival, NATIVELAND, we are partnering with Spotify Frequency as one of the official sponsors of 2023.
Spotify is one of the major streaming platforms available in the world, and they have spent the past few years reaching further into the African continent by spotlighting the most exciting emerging and breakthrough artists, to create music that transcends borders, backgrounds and music genres.
For NATIVELAND 2023, Spotify Frequency will be taking over our new festival ground at SOL Beach in Victoria Island, Lagos. From documenting Uncle Waffles’ journey from South Africa to NATIVELAND, Spotify Frequency through its partnership with the NATIVE, will provide entertainment and refreshments for festival goers and music lovers from around the continent.
Since the birth of our annual festival in 2016, the NATIVE has made it a mission to support, identify and champion the rising talent from arond Africa tomorrow: today. This is in tandem with Coke Studio’s ethos of spotlighting rising talent and ensuring that these emerging acts have a platform to showcase their abilities, on their own terms.
Join us on December 22, 2023 for NATIVELAND V, an unmissable experience for music lovers with a stacked lineup featuring 2023’s breakout rapper ODUMODUBLVCK; Amapiano sensation Uncle Waffles; UK trap cult hero Lancey Foux; and Afropop’s brightest star, Ayra Starr.
Find the latest updates on NATIVELAND 2023 here and buy tickets here.
To mark the highly anticipated return of our flagship festival, NATIVELAND, we are partnering with Coke Studio as our official headline sponsor of 2023.
Coke Studio is a global music platform that brings together the most exciting emerging and breakthrough artists from around the world, to create music that transcends borders, backgrounds and music genres.
As one of the biggest music performance platforms in the world, it is no surprise that for our return, we’re partnering with Coke Studio who has spent the past few years providing a platform for talented African acts such as Nasty C, Runtown, Young Stunna, and more.
For NATIVELAND 2023, Coke Studio will be taking over our new festival ground at SOL Beach in Victoria Island, Lagos. From … to … which will be available on site, Coke Studio will provide entertainment and refreshments for festival goers and music lovers from around the continent.
Since the birth of our annual festival in 2016, the NATIVE has made it a mission to support, identify and champion the rising talent from arond Africa tomorrow: today. This is in tandem with Coke Studio’s ethos of spotlighting rising talent and ensuring that these emerging acts have a platform to showcase their abilities, on their own terms.
Join us on December 22, 2023 for NATIVELAND V, an unmissable experience for music lovers with a stacked lineup featuring 2023’s breakout rapper ODUMODUBLVCK; Amapiano sensation Uncle Waffles; UK trap cult hero Lancey Foux; and Afropop’s brightest star, Ayra Starr.
The rumours are true – NATIVELAND is back. After a four year break, our annual music festival is returning this December for an unmissable fifth edition.
Returning on December 22, 2023, six years after our first concert in 2016, our marquee fifth installment will be hosted at an all-new location right here in Lagos, Nigeria at SOL Beach. With a stacked line-up, brand activations and collaborations with amazing brand partners and collaborations such as our headline sponsor Coke Studio and support from a host of other sponsors including Spotify, Frequency, Hennessy, Power Horse and Smirnoff.
For over half a decade, the NATIVE has remained committed to spotlighting the best mainstream and underground talents at home and abroad. Since our 2016 debut, NATIVELAND has brought a renewed perspective to live entertainment, delivering top of the class performances to an energy-filled crowd. Our culture festival assembled local and international acts including Skepta, Burna Boy, J Hus in 2016; Davido, Tekno, Not3s in 2017; Burna Boy, Wizkid, Skepta in 2018; Dave, Tems, Cruel Santino in 2019; and Rema, Amaarae, CKay at an intimate free-access show in 2021 for our core community of fans.
As Afropop continues to make its triumphant crossover on a global scale, it’s the best time ever before to make our highly-anticipated return, with a renewed mission to champion the best talent of tomorrow: today. After eleven months well spent watching, championing and highlighting the best of African talent, we’re looking to give back to our community who has been on this journey along with us.
Without giving too much away, we can’t wait to open the doors of NATIVELAND V to you this December. Our all-star lineup will feature headliners such as 2023’s breakout rapper ODUMODUBLVCK; Amapiano sensation Uncle Waffles; UK trap cult hero Lancey Foux; and Afropop’s brightest star, Ayra Starr. The line-up will also feature a talented spate of artists from around the continent including Cruel Santino, Shallipopi, JELEEL!, DNDSection, DETO BLACK, BOJ, Odunsi The Engine, Bloody Civilian, Lifesize Teddy, Brazy, Rigo Kamp, Len, DEELA, Kold Af, SGaWD, Odeal and special guests.
In the 70-year long history of the National Basketball Association (NBA), the sport has grown beyond an on-the-court product and transcended across a range of industries spanning art, music, fashion, and more. Basketball is no longer a sport to be enjoyed solely on the court among nine players, but now a huge phenomenon that intersects with popular culture today. This wholesale exchange between sports and culture is due in large part to the several strategic partnerships and collaborations that have been forged across the years by the NBA and its players.
In Africa, the NBA is making similar strides and reaching into the creative ecosystem. Since its entry into the Nigerian market in 2022, the NBA has made clear and concerted efforts to strengthen its presence in Africa,Its most notable milestone before this is the establishment of the Basketball Africa League (BAL) in 2021, its first league outside North America. Also, to honour the NBA’s 75th anniversary season, the first floating basketball court in Africa was created off the Lekki-Ikoyi Bridge along with the NBA Crossover event, which consisted of a celebrity game.
This collaborative spirit lays at the centre of the NBA’s mission in Africa, which has been forged so far through team work and community building. Last year, the NBA hosted the first edition of its NBA Meets Art installation, a stunning photography exhibition connecting various key players in the art and sport world. This year, for its second installation, NBA Africa brought together key industry players and leaders to enjoy a curated celebration of the game of basketball through the lens of Nigerian artist, Dennis Osadebe.
The latest installation titled ‘Passing/Building/Victory,’ is the brainchild of Osadebe and explores the key role of teamwork and how similar collaboration can help develop communities, aligning with the NBA’s own mission to inspire and connect people everywhere through basketball. The installation consists of five figurines representing basketball players wearing the artist’s distinctive mask, a recurring symbol in his visual work that speaks to Nigeria’s heritage.
“When we had our initial conversation with Dennis, we said we want work that represents what the NBA stands for: teamwork. You can’t win a championship on your own. We also wanted something that promotes Nigerian excellence. Everything we said, he interpreted in a way that shows a really strong and powerful message,” shares Gbemisola Abudu, the NBA Africa Vice-President and the Country Head of NBA Nigeria. The unique figurines which were launched at the Art X Lagos week last month in Lagos, draw on inspiration from Osadebe’s childhood.
“What was most important to me was to creatively embody what basketball offers, which is teamwork and how that relates to community development,” Osadebe admits. As such, the installation touches on universal themes of the enjoyment of play in our formative years. The figurines are set in dynamic motion, symbolically passing the ball through their unified, outstretched arms to enscapusulate the shared spirit of camaraderie and victory.
NBA Meets Art beautifully merged the worlds of basketball and art, showcasing the power of cross-industry collaboration and the NBA’s mission to reach and extend themselves far beyond the game.
Our conversation, which follows below, has been lightly edited for clarity.
NATIVE: For Gbemisola, why is it important for the NBA to make great strides within the creative industries?
Gbemisola: In Africa, NBA’s objective is to be the number one lifestyle brands in Africa and it’s in how we find ways to make the brand culturally relevant in Nigeria. When we opened our first office in February 2022, I spent the first several months really looking at the market through the lens of the NBA, trying to determine the best way to connect with existing fans. In the past several years, Nigeria has been the purveyor of culture in Africa. Being a marketer by training, it meant taking a step back and figuring out how to create something that tells an effective story. That’s where the idea of NBA Meets Culture came from.
We started out with NBA Meets Art in November 2022, where we had the Deputy Commissioner of the NBA present. The first edition featured a dinner and a photographic exhibition. For the second edition, we kept thinking, “how do you take this to the next level?” The idea was to have five pillars of culture: art, fashion, film, music, and tech; and embed our brand and the cultural relevance of our brand to those five pillars.
NATIVE: What informed the theme of “Passing/Building/Victory” and how did you land on a Nigerian artist for this edition?
Gbemisola: The theme was the genius of Dennis. For the second edition of NBA Meets Art, we wanted to take it a step further by actually working with an artist. We commissioned the artist and they decided how they would interpret the vision of NBA Nigeria. In multiple conversations, Dennis’s name kept coming up. I was at his first exhibition at the Red Door gallery, so when his name kept coming up, I remembered him. When we had our initial conversation with him, we said we want work that represents what the NBA stands for: teamwork. You can’t win a championship on your own. We also wanted something that promotes Nigerian excellence. Everything we said, he interpreted in a way that shows a really strong and powerful message.
Dennis: Thank you so much for that intro. What was most important to me was to creatively embody what basketball offers, which is teamwork and how that relates to community development. I was trying to find that connection and put it in the work that I created. Traditional sports figurines are a staple for me. I wanted to create something around that space. When we started the conversation, I didn’t want to create a figurine that would dunk or make a point. I wanted to reinterpret what a figurine could do. We started thinking in that direction.
Dennis, before coming on board this project, how would you describe your relationship with basketball or sports in general?
Dennis: There’s no one particular intro into basketball, but two things I vividly remember were my love for sporting games from NBA2k to NBA Street, and I remember that my older brother was into basketball and he was someone I looked up to. There’ve been different ways the NBA has allowed me to engage in the sport outside of the sport itself like through fashion.
What were your initial thoughts on this collaboration?
Dennis: I had to keep in mind all of the NBA’s goals but also find that synergy between their vision and my work. It was important to find that thread to present an idea that is relevant to our community as a whole. That potential is something that really excited me. Outside of that it was all about the momentum and the NBA team aligning with the idea was enough to keep me going.
Gbemisola: I think it’s worth adding that during the selection process, it’s one thing when an artist’s name keeps coming up, but it’s another when the artist has a natural affinity for the game, which is one of the reasons why I believe Dennis was able to distil the vision in the way he did. He understands basketball and really understands the DNA of the brand.
NATIVE: From the ideation stage to the final exhibition, how well would you say your visions were executed?
Dennis: 100 percent executed. I would say the support, belief and patience allowed for the idea to grow within itself.
Gbemisola: This process with Dennis had obstacles and challenges but everything actually made the work more powerful in the end. I think the initial display, the idea of that process is reflected in it. Whereas in the initial conversation, that wasn’t part of the discussion but it gave it a more powerful story in the end. We didn’t anticipate all the challenges the process would bring our way but honestly it was great. By the time the installation went up at Art X, I would say it was a great piece. It really captured the essence of the NBA and the DNA of who we are. At the end of the day that’s what you want, work that creates a dialogue and an interaction between the artist and the audience.
Dennis: The final piece was a true testament of the title because we all had to work together to make it happen.
NATIVE: The installation features five masked figures holding basketballs in Dennis’ signature style. What does this represent?
Dennis: I’d say the mask is a symbol of identity and heritage which reflects the rich cultural history of Nigeria. It was, of course, important to have that symbolism as it creates a reminder of who we are and what we hold. To take it further, it was also important to celebrate Nigeria’s history and achievements in the NBA. We really wanted to show our participation in the sport. It was about who are the players in the sports and their contributions, from winning the highest titles to even being a team player who was on the bench. It was a true testament to celebrating each year with every number we picked. What was important was being creative about the number and working on a very abstract level where we celebrate our history and celebrate it creatively.
What do you each hope people took away from the exhibition?
Dennis: As an artist, it’s always hard to determine what people will take away. What’s most important is that they feel a sense of joy and a sense of responsibility to work together. Most importantly, I hope they create a dialogue between themselves. Once there’s a conversation, I think the work is complete. It can be an internal dialogue with yourself, your partner or your enemy. As long as it exists, the work is complete.
Gbemisola: In addition to that, I hope people understand that it takes teamwork to build anything, whether it’s a project or community, it’s about everybody coming together and applying what their strengths are. Also as a brand, it’s letting people understand our relevance in the art space. Here in Nigeria and in Africa, what I hope for is for people to understand how the NBA is committed to the growth of basketball.
Art X Lagos is a special platform that prioritises making art accessible to everyone. Considering NBA Africa champions community building, why was it important to have the exhibition and interactive session there?
Gbemisola: It’s one of the reasons why I’m a huge fan of Art X. For the longest time when people think about art, it’s almost like art is for the few. It’s not accessible to everyone. In a country like Nigeria, we don’t have a lot of museums like other people do. What Art X has done is that democratisation of art, making it accessible to the average person. The NBA is that as well. This is a game and this is a brand for everybody. Being able to showcase this installation in place accessible to everybody, we couldn’t have selected a better platform for the work to be showcased.
Other than community-building, there was an overarching theme of youth culture and involvement as a whole. Why was it important to keep young people in the picture for this edition?
Gbemisola: I think for everything we do in Nigeria, Africa and as a whole, a big part of our target audience is the youth. If you look at Nigeria, 60% of the population are young people. The New York Times published an article where it talks about how the world is becoming more African because the rest of the world is ageing and we’re not because we have a youthful demographic. For any business, it’s an important demographic but especially for us. If you look at our players, most of them fall into that category.
As we continue to build the brand here and increase the footprint of basketball in Nigeria, we’re looking at how to create a defined path from the moment a child picks up a basketball for the first time to the time to where they can play professionally. If you look at it that way, it’s the youth that we’re speaking to. Our strategy is built around that and to take it a step further, the way we define basketball in Nigeria is the tool that the youth use to maximise their potential.
NATIVE: Collaborative projects may come with some challenges regarding creative liberty or even difference in ideas. How were you able to overcome those and arrive at what we had at the exhibition?
Dennis: I always say that, for me, collaborative projects are like a residency because you go into the universe of a brand and you learn about structure. I felt free to execute. Having their input is always important to me because I find collaborations to not just be about the artist or the collaborators. It’s about the team and how we all put our hands together to ensure that the idea which is the most important thing is executed. Once there’s that structure, I just work within it and enjoy the process as much as I can.
Gbemisola: Collaborations work when both parties know their strengths. Both parties understand what they bring to the table and they give each other the freedom and liberty to do that. One thing I’d always say is whenever you’re working with an artist, whether it’s a musician or filmmaker, you don’t want to take away that creativity because you rob them of the ability to do their best work. To his point, for a brand like the NBA we had parameters we needed to work within but he understood those quite well. When you’re doing anything, you have curve balls that come your way. But being able to rise above that and present a great work, it’s a testament to what we created.
Where would you say you see the relationship between art and basketball and the pillars you mentioned in the future and how do you think our creatives can be more involved in that?
Gbemisola: We’ve not even scratched the surface. I think there are so many opportunities and so much potential. We’ve created a template for how we interact with the creative industry, particularly with art. I’m very curious and quite excited for the life of this particular installation because it’s beyond Art X. The goal is for us to do it with the other pillars we’ve identified. I’d say watch this space without giving away too much, but we intend to replicate what we’ve done with Dennis and the learning from that, I think that will further define how we work with the other pillars.
It’s that time again. Every week, new music shows up, sweeping fans and music lovers off their feet while artists gauge reactions to know the effect of their creativity. At the NATIVE, we are committed to keeping our ears on the pulse of the music scene and bringing the best sounds to your doorstep. In our last edition, we brought you stellar new releases from BOJ & Abjebutter22, Tim Lyre, PDSTRN and more. Today’s NATIVE Selects features singles from Tyla, DETO BLACK, GDZILLA and more. Lock in!
TYLA – “TRUTH OR DARE”
Tyla is currently one of the most ubiquitous stars from the African continent. Following the smash success of “Water”which gained cross-continental collaborations with Travis Scott and Marshmallow, the South African singer is now teasing the release of her debut self-titled album which is slated for release in the new year. Ahead of this, she’s shared a five-pack release with fans which includes “Butterflies,”“On And On” and the catchy lead single, “Truth or Dare.” The Sammy Soso-produced track provides the perfect the new pop-leaning backdrop for Tyla to play on familiar sensibilities. The result is a track that puts her in contention for one of the most exciting artists of today.
DETO BLACK – “JUST LIKE DETO”
Nigerian rapper DETO BLACK is not afraid to pack an onslaught of wordplay for the haters, aunties and the naysayers. On her first solo single of the year titled “Just Like DETO,” the slick-tongued rapper delivers an anthemic and uncompromising rap banger that is unapologetically confident in the best possible way. Produced by Cadenza, the catchy new track finds the rapper tackling fame and imitation with sharp, clear bars.
MASTERKRAFT – “FRUIT” FT. JOEBOY & MAJEEED
Masterkraft is an auteur when it comes to pairing the right set of artists for a collaboration. On his latest single “Fruit,” the Nigerian DJ and producer taps the sweet sounds of Joeboy and Majeeed for a delectable and catchy new number. Across a sweet array of melodies, Joeboy and Majeeed address their respective muses and seek out their love and attention. The groovy Amapiano-tinged number is a stunning piece of songwriting that also places its catchy production at the centrepiece.
GDZILLA – “HIGH TENSION”
Earlier this year, Jonzing Records unveiled its latest act GDZILLA whose reptilian aesthetics has derived more conversation than his short but sparse discography. Making good on this promise to deliver bangers, GDZILLA returns with new single “High Tension” which arrives with a Jyde Ajala-directed music video. On “High Tension,” GDZILLA wastes no time in showcasing his steller penmanship with bars laced in Yoruba, English and Pidgin. The groovy anthem reintroduces the singer to audiences as he sings about becoming a force to be reckoned with in due time.
PHEELZ – “JOY FT. OLAMIDE
Pheelz has spent the past few years merging his sharp production acumen with his love for performing and singing across charismatic beats. On “Joy,” he recruits Olamide for a bouncy new anthem which contains a melting pot of feel-good melodies. Here, Pheelz is basking in the limelight of his success, grateful for all the opportunities and challenges presented before him with lyrics such as “I just face my grind/and I stack up my money.” Olamide also updates the track with a catchy verse as the pair showcase incredible chemistry and clear-cut delivery.
BALLORANKING – “DON PERIGNON” FT. SHALLIPOPI
Three months ago, Balloranking shared his sophomore LP ‘Ghetto Gospel,’ a snapshot of his gritty upbringing on the streets and the strides he’s made to become a better man. This week, he shares a new EP titled ‘Ghetto Vibrations,’ a 6-tracker which finds the rapper doubling down on his comical antics and delivering memorable lyrics. On the Shallipopi-assisted “Don Perignon,” both artists deliver a self-determined showcase over Amapiano-tinged production. The dance-ready hit is tailor made for the detty December period.
ODEAL – “FINE BY MYSELF”
Odeal is one of the most authentic artists today. On his new LP ‘Thoughts I Never Said,’ the British-Nigerian singer confronts his own psyche and examines his wiring. The standout single “Fine By Myself,” finds him in a pensive and sombre mood, delivering airy and light vocals across light guitar strings and percussive instruments. “I can’t look you in the eyes no more/I’m fine by myself,” he chants over twinkling keys.
SKEPTA & RYDER – “ALL ALONE” FT DRE SIX
In the world of music and fashion, Skepta is a name to be reckoned with. Since the release of his 2021 EP ‘All In,’ the British MC has been quietly making moves in the scene, whether he’s partnering with Burberry or working with Slawn. On his latest release, the rapper taps British singer-songwriter Ryder for a 5-track EP titled ’48 Hours.’ On“For You,” the second track on the project, Skepta rides the wave of a skittish slow-tempo beat which provides the perfect backdrop for his pained raps. The daunting keys later transition into a more upbeat, house-leaning soundscape as he reflects on his life and themes of love.
NTATE TSHEGO – “UTHANDO LWAKHO” FT. FRENCH AUGUST
South African producer, Ntate Tshego teams up with French August for a soulful, mid-tempo rendition on “Uthando Lwakho.” The Deep House track adds to Ntate’s expansive catalogue of emotive displays, characterised by a gradual buildup and hypnotic high-tempo fusions. French August heightens the track several notches as his low-cadence mellifluous vocals transport you to another universe.
It’s finally November, the penultimate month of the music year in review–and what a time in history it currently is. All around the world, Afropop is being welcomed and celebrated with its frontrunners selling out 20,000 capacity stadiums and bagging revered nods at the 65th Grammy Awards, there’s no dearth of accolades or celebration to witness. Now, it’s easier and more common than ever for new stars to arise fully formed with contagious buzz and instant popularity.
With 2024 already poised to herald a new era in the current Afropop vanguard, it’s important to identify and champion the stars of tomorrow: today. As such, this month’s list is a collection of unmissable acts who are making waves in their own corridors of the Internet, and forging impressive careers and formidable music catalogues. Whether you’re into stellar penmanship or appreciate an artist’s overall aesthetic, these selection of artists come formed and ready to gain the attention of loyal fans and share their music with the world. From South Africa’s Mila Smith is delivering a fusion of pop, rock and punk hits at only 19 years old to Ghana’s Anabel Rose taking alternative pop to new heights, these are the Best New Artists of November. enjoy!
Read more below and listen to our uNder playlist here.
Mila Smith
For listeners of Msaki, Tyla, Ayra Starr & more
Mila Smith is the vocalist and songwriter from South Africa who is taking the slow and steady approach to releasing music. Barely two years into her career, the singer has been building a steady fanbase with powerful and honest releases that sound like a late night phone call with your best girlfriends. Her amorous music veers between Pop, R&B, Rock, Punk, Afropop and more, as she elucidates tales about underserving lovers and finding self-confidence.
Pairing a wistful, familiar production acumen with her silky timeless vocals, her music is littered with efficient needle drops of aural healing. Her debut EP ‘You Need Therapy’is a concise snapshot of the dissolution of a relationship and the scars gained from giving your heart out to an undeserving lover. While her inspirations range anywhere from Madonna to Msaki, Black Coffee and more, Mila’s music never strays too far away from her singular vision. Tracks such as “Nice Guy” and “Toxic” reinforce her profound sense of emotional depth and clarity. “I spend a lot of time on lyrics. I define myself as a singer but also as a songwriter and so, I hope that my lyrics are something that people can relate to. A lot of what I write about are universal experiences and in that sense, I hope that that would contribute to the broader South African music scene,” she tells the NATIVE.
AZÜMI
For listeners of Titose, Olayinka Ehi, Mysie & more
The music that rising newcomer AZÜMI has released in the space of a year is impactful enough to earn her a spot on our Best New Artists list this month. Although her discography contains only three songs currently, all of AZÜMI’s work is anchored by her airy and light vocals which is the centrepiece of her craft. Her voice contains the strength of a traditional R&B singer, and elements of powerful Soul and laidback Pop which are constantly at play despite her freewheeling style of writing. An affecting writer in every sense of the word, her music is tailor-made for reflection and pensive late night thoughts.
On recent single “2120,” she delivers a captivating showcase as she addresses an ungrateful lover who clearly underestimates her power. With laidback delivery, she sings to her muse while unafraid to present all her emotions and rough edges, infusing a subtle but human touch that makes “2120” a magical and gratifying listen. The “new” part of Best New Artists is always somewhat subjective, but there’s no denying when an artist has enough of the essential elements to break out of the mold.
Sbahle
For listeners of Ami Faku, Nkosazana Daughter, Sha Sha
Since her debut in 2015, South African singer Sbahle has led a strong run with standout singles such as “Emlanjeni”which have catapulted her into further stardom. Her music pays stunning tribute to her culture and family background of KwaZulu-Natal where she hails from. When her breakout moment came along in 2020 with Ndisumo Mdletshe-produced single, “Emlanjeni,” Sbahle was more than ready to hit the limelight, armed with poignant and intimate stories at her disposal, alongside transcendental melodies and soundscapes that allowed her to connect with audiences despite the language barriers. With the attention gained from this release, Sbahle expanded the scope of her artistry with a captivating Hip-Hop tinged single, “Ipiki,” where her writing skills shone even brighter.
Despite a difficult start to her career, going into 2024, Sbahle is making some of her best and powerful music so far. Her latest single “Bhala Mabhalane” which featured fellow South African vocalist, Amahle is a heart-wrenching rendition that puts her musical abilities on full display. Each word carries a profound sense of emotional depth and reveals an artist subtly widening the scope of her discography.
Anabel Rose
For listeners of Amaarae, 99 Phaces, Cruel Santino
Anabel Rose is certainly a name to get familiar with. Hailing from Ghana’s alternative scene, Anabel Rose’s charming vocals has won the hearts of many listeners with genre-defying music that encapsulates everything this modern moment has to offer. Despite only having a sparse catalogue of music to her name, her unique abilities deserve to be celebrated for its bright spot on the West African sonic canvas.
Her debut single, “Love Me Or Die,” arrived mid-way through 2023 during the summer, and provided a lush soundscape rich with dreamy pop synths assisted by subtle punk-rock sensibilities. “Love me love me say that you want me/I’ll come clean if you say you complete me,” she sings over the song’s hook, declaring her commitment to a deserving lover. Her sophomore single, “Do Not Disturb”was released four months later in October to incredible reception, laced with propuslive and groovy rhythms, the track finds the singer speaking her mind. “I don’t want to do this life/I just wanna enjoy/If you hate me tell my mama,” she chants over futursitic production with laser-precision flow.
Despite these being Anabel’s only solo performances, her abilities continue to shine on collaborations such as DJ Yamz’ 2020 EP ‘kilonshe’and Aviti’s self-titled EP in 2023. As she continues to build herself into her own kind of star, it’s clear that Anabel Rose’s journey to the top is an exciting must-watch.
ZADA
For listeners of Elaine, Brazy, Bellah & more.
The pressure to operate out of your comfort zone might be a heavy decision for new artists in this age. The willingness to experiment with a range of genres and colour outside of the lines has proven successful for artists looking to find their feet. Born in Ethiopia and raised in Canada, rising singer ZADA knows the pressures of experimentation all too well but her music never suffers from any jagged edges.
The singer has concocted a sound that bridges a myriad of genres from Afropop to Folk, neo-soul, R&B and more, offering an undeniably raw and expressive musical landscape in her music. Her music is boundless and sounds atmospheric in delivery with recent single “Deep End” serving as a perfect introduction for any new listeners. On “Deep End,” she paints a portrait of her true self with reflective one-liners and a pensive hook that demands listeners to hold a mirror up to their own life experiences. With clever songwriting and a charismatic voice, GADA is earmarking herself as one of the most exciting acts of today.
Exploring any creative path, especially at such a young age comes with significant levels of doubt and the universal weight of personal expectations. In these times, forging a creative career is even more tasking given the vast amount of saturation in the industry and the overwhelming pool of talent looking to make their big break. Nonetheless, when it comes to music, new stars are being minted and a new vanguard of hitmakers are emerging from the African continent.
In the music industry today, success is measured by the billions of streams and number of accolades an artist can accomplish in their career span. Given this system of rewarding based on merit, it can be easy to side-step the collaborative process of music creation and remain insular in music delivery and performance. However, true creativity springs from the channeling a true and honest collaborative spirit and inviting others into your creative vision. This experience of working closely with other creatives is at the heart and soul of rising South African singer, Mila Smith’s music which sounds like aural healing for listeners in need.
In an exclusive interview with the NATIVE, Mila emphasises the sacred process of choosing collaborators so early on in her professional career and how one move could make or break your career. “It’s also just someone that holds the space for you to fail. Oftentimes, the best ideas will come out of failure and a shot in the dark. Sometimes you wouldn’t take that shot or make that leap if you’re afraid of judgment. I look out for people that hold that space and make room for that creativity to shine through,” she admits. With the release of her debut EP, ‘You Need Therapy,’ Mila’s maturity shines through not only in her choice of collaborators, but also in her ability to peel back the curtain on her personal experiences and journey thus far. Her sound, depicted largely through a soulful, pop-driven soundscape shines a spotlight on her storytelling abilities as she details her roaring emotions in the most honest and vulnerable way.
The arrival of the 6-track extended play was teased by her 2021 standout debut, “Liars and Fakes.” Largely inspired by American pop princess, Dua Lipa and one of Mila’s greatest inspirations, Madonna, the pop-driven track provides an upbeat atmosphere for Mila to call out all the two-faced people in her life. The single leads in with daunting piano keys, followed shortly after with groovy strings that allow Mila travel into the rock atmosphere and aptly unpack her emotions. “Special, just an adjective you used for me,” she croons, immediately establishing the mood of the track.
She is unafraid to express her true emotions as she shares just how exhausting the inconsistencies are for her. When the song’s hook rolls around, Mila clearly proclaims over the now high-tempo progressions, “I don’t like liars, I don’t like fakes.” She takes the second verse to warn, “don’t come back when I succeed,” evidently confident in her abilities. When the track draws to a close, it is clear that Mila isn’t one to shy away from somewhat replicating her idols, while adding her own unique spin.
In a short time, Mila has been able to connect to audiences both within South Africa and beyond, holding the promise of an artist on the cusp of further breakthrough. It was in this well-deserved limelight that she unveiled another layer of her artistry with a pop-punk track, “Nice Guy,” in late 2022. “Nice Guy,” also serves as an introduction to her latest EP ‘You Need Therapy,’ and finds Mila operating pre-naturally at ease with her budding talent. “The lyrics are very honest but they pack a punch. I felt like it was only with a more Rock or Punk sound that the message of the song would’ve been perfectly conveyed. Had I stuck to another genre, maybe the music would not have been as effective,” Mila shares of the track.
On “You Need Therapy(Ready),” Mila shirks stylistic expectations and delivers a powerful rendition which brings her soulful vocals to the fore. After a series of distasteful actions, Mila has finally decided to part ways with her love interest in what we can conclude is her most honest delivery yet. This self-empowering number sees Mila reassuring herself and listeners that it is alright to part ways with unfavourable situations despite how familiar they may seem. Despite the song’s emotion-laden lyrics, the narrative is told through the lens of an upbeat, piano and guitar-led production with pop sensibilities.
“Toxic,” like the other tracks on the EP, is hinged on the subject of romance and affection. Here, Mila sings “You’ve got two personalities and I don’t know which one you are with me/It’s toxic, it’s toxic,” addressing an undeserving lover. On this mid-tempo number, Mila grapples with disappointment from discovering the truth about a close companion. In a similar fashion to “Nice Guy,” she struggles to connect her expectations and reality as she explains, “Were you like this all along?, I had hoped that I was wrong.“ By the conclusion, it’s clear that Mila is just here to express her emotions whether or not that comes with a resolution.
The penultimate track, “Hide In Hell,” is a powerful anthem depicting all the self-assuredness and conviction that comes from forging one’s own path and not leaning on anyone else. Mila had to tap into strong emotions to relay this experience and told the NATIVE that “Initially, when I was writing this I had this fixation on distance. My other producer also had this imagery of a hotel which kind of links to distance, travel and separation.” The track takes on a darker, more mature tone as she outrightly asks her love interest to hide in hell because their situation is beyond redemption.
On the EP closer, “Can’t Cope,” Mila gets candid about her struggles from childhood, a familiar experience for most young African adults. She aptly expresses feelings of dread while singing with a powerful voice laced with a honeyed falsetto, vivid yet economical songwriting, and expansive production. Speaking about the track, Mila shared “this was written when I was preparing for a math test in 2018. I was 14 years old at the time and I was on the stairs, crying because I despise math. The first line was my real experience because my head was in my hands and I did hate it.”
With a collection of poignant and resonating tracks, alongside lyrical breakup anthems more pointed and razor-focused than the last, it’s safe to say that Mila Smith is a recognisable talent with a penchant for narrative and relatable emotions. Mila’s conviction is apparent through the course of the ‘You Need Therapy,’ priming her for eventual success in her near future.
Since his dazzling breakthrough with revered Nigerian DJ-producer, Sarz, on their collaborative EP, ‘LV N ATTN,’ Lojay has rightfully earned the ears of many listeners by carving out his own space in Afropop complete with a charismatic personality, emotion-laden songwriting and back to back hits. The 5-track offering evidently primed him for greatness and has sustained the artist since then as he proves he’s worth more than his salt.
Earlier this year, the singer served up his sophomore effort, ‘GANGSTER ROMANTIC’which more than proves his solo capabilities as a performer. What makes ‘GANGSTER ROMANTIC’ an easy listen is the faultless sequencing that accentuates Lojay’s emotions throughout the project, from playboy to loverboy, and from self-assured to hesitant. Although his career is still nascent, Lojay has worked with some of the best hands in the music business and, with his ability to make great music, the signs portend good tidings for his future.
On the other side of the coin, Nigerian rap legend, Olamide continues to leave an indelible mark on Nigeria’s music history with a series of timeless hits and the mentorship of prized signees via his record label, YBNL. The release of his latest and according to him, last album, ‘Unruly,’crystallised Olamide’s status as the leading street-pop artist of our generation, eclipsing all leftover doubt.
And if it is truly the last we hear of Olamide in album mode, as he chooses to focus on expanding and reaping the benefits of the powerhouse that is YBNL, he is well within his rights. A few weeks ago, his star signee, Asake pushed the boundaries of his success a step further after snagging a Grammy nomination for “Amapiano” under the Best African Music Performance category. As Olamide joins Lojay for an intoxicating delivery on “Arizona,” it is evident that he is currently on flight mode, breezing through with potential hits like the superstar he is.
From the opening seconds of “Arizona,” it is clear that we’re in for a good time. The track opens with signature log drum-shakers combination that portends the song’s irresistible and dance-ready quality. With this solid sonic foundation, Lojay and his guest star, Baddo lay down poignant and intimate verses that find them in loverboy anguish. Lojay’s lush chords alongside Olamide’s sonorous bars come into the picture, making for an instant recipe for success.
The track leads in with a heart-thumping mid-tempo beat, credited to P.Prime, only to be accompanied shortly after by echoey chords fading in and out of the track. Lojay’s croons take over as he sings, “What’s your lucky number baby, give me update,” immediately alerting us that we have another love-themed track on our hands. He takes on the narrative approach to detail an interaction with his love interest, where he beckons her to commit and follow him to various parts of the world.
Olamide slips in immediately after, raining praises on her physical appearance while explaining how crazy she makes him feel, “Nobody got this type of ukwu, omo buruku/You make a nigga coocoo.” As opposed to clearly expressing in words in a similar way to Lojay, he takes the onomatopoeic approach, creating melodies by repeating similar sounding words. It wouldn’t be Olamide without a comedic and memorable one-liner. So when he wraps up his verse saying “Agege bread no dey get label” it reiterates his witty penmanship many listeners have grown to love. His razor sharp flow, matched with the track’s smooth progressions and ‘Piano log drums in the background allow for his verse to carry tension of its own, forging “Arizona” as one of the catchiest feel-good numbers in recent months.
With a pairing as promising as this, coupled with the synergy the pair were able to display, it is safe to conclude that Lojay has added another string to his ever-growing catalogue. His efforts are a clear indication of his desire for growth and global visibility, achieved by his consistency all bound together by his admirably raw approach to relaying his lived experiences.
A new vanguard of hitmakers have emerged, tactfully exploring the inner workings of the music spaces with a childlike wonder that allows creativity flow into reliable, hit-making recipes. These newcomers are navigating the industry, armed with the expertise of veteran who paved the way before them, while conjuring new formulas to success all on their own. The likes of Nigeria’s Rema,Ayra Starr and South Africa’s Tyla are near-perfect embodiment of what countless years of dedication and growth, alongside the unrelenting support garnered at home base can look like.
It’s from this same ilk and mindset that South Africa’s Mila Smith comes from; expertly blending her mellifluous vocals with radio-ready beats that stand out from her peers. “I also look up to Black Coffee in terms of the success he’s been able to accomplish and Tyla who’s closer in age to me and doing groundbreaking things in the Pop-leaning scene,” Mila speaks on her African influences and reference points.
Off the back of her debut single, “Liars and Fakes,” Mila earned the ears of loyal listeners from across the globe for her honest take and raw delivery over a pop-driven soundscape. The solo single showcased Mila’s penmanship which showcases her maturity as a performer, a feat that surprised many for such a young artist. In an exclusive interview with The NATIVE, Mila explained that the breakout debut single initially ventured within the Techno soundscape before taking a new Pop face with the aid of a slew of producers and South African R&B crooner, Mañana.
Her debut EP, ‘You Need Therapy,’ finds Mila pulling from a bountiful well of inspiration while making a point to provide an original perspective on her favourite songs. “This period had a lot of bumps and opportunity for growth as well as finding sound and expressing myself. You can see that all across ‘You need Therapy.’ One track, “Hide in Hell” has an R&B feel and “Nice Guy” has a more pop-punk feel. Then you jump to “Can’t Cope” which I’d describe as a ballad. It’s very emotive.” As such,‘You Need Therapy’ serves as an intimate conversation with friends, acting as a testament to Mila’s dedication to exploration and overall, penchant for making feel good music her audience can connect.
Following the release of her standout debut EP, we caught up with Mila Smith to discuss her creative process, moments leading up to the release and what her future could look like.
Our conversation, which follows below, has been lightly edited for clarity.
NATIVE: Thank you for joining me today. Talk to me about your background in music and who are some of your early influences?
Mila: I’ve always felt a passion for music and the first memory I have was when I got a microphone on my 3rd birthday. I spent the rest of the day singing Madonna songs and i’d say that’s when the spark was ignited. Following that, I’d write about my day and that was a creative outlet to me. It really took off in 2015 when I started a band with my schoolmates called Skyscrapers. I performed original music that I’d written and that’s when I thought music would become a career of mine. The band sadly disbanded in 2018 and I had a teen-life crisis. I was unsure of what to do until I was approached by Platoon, a label and artist agency and they signed me. The rest was history. Regarding influences from a young age, I’d say Madonna and Erykah Badu but as I’ve gotten older, I’d say Lana Del Ray, Adele, Taylor Swift and Beyoncé.
Would you say that those people and your tastes have reflected the music you create now?
Absolutely. “Reassemble Myself,” I’ve always described as an Adele Ballad because it is very emotional, raw and honest. She was certainly a reference when I was writing and producing that. I love Dua Lipa and “Liars and Fakes” is largely inspired by her pop sound.
Are there any Africans in the mix that you take a particular liking to? It need not be sound. Maybe their style or journey has informed yours in some way.
Of course. The first person that comes to mind, purely because of the lyricism is Msaki. I’ve also had the pleasure of meeting her and there’s people that have a presence about them and she’s certainly one of those. There’s an emerging artist called Lukhanyo and the Highrollers whose stage presence is amazing. I take a lot of inspiration from Lukhanyo and the Highrollers when it comes to performing. There’s an energy and chemistry between them that’s undeniable. I also look up to Black Coffee in terms of the success he’s been able to accomplish and Tyla who’s closer in age to me and doing groundbreaking things in the Pop-leaning scene.
You’re still quite young. What’s your experience navigating the music industry been like so far?
I think it’s been mostly positive for the most part. I have that support system in my immediate family, producers, writers and from Platoon as well. This period had a lot of bumps and opportunity for growth as well as finding sound and expressing myself. You can see that all across ‘You need Therapy.’ One track, “Hide in Hell” has an R&B feel and “Nice Guy” has a more pop-punk feel. Then you jump to “Can’t Cope” which I’d describe as a ballad. It’s very emotive. That’s just a testament to how I’ve been allowed to collaborate. I’ve been allowed to fail and not fear failure which has made the entire experience.
South Africa has vastly textured music references steep in incredibly rich history, how would you say being from this part of the world has influenced your style?
Music is in South Africans DNA. Everywhere sort of has a musicality to it even if it’s not playing music. It inspired me because we’re exposed to so much and there’s a wide range of sounds from Amapiano to Qqom or Pop and more alternative styles. Overall, it inspired me to create and play around with different sounds.
As much as South Africa’s greatest export at the moment is Amapiano, your sound is still largely pop and soul leaning. Why haven’t you dedicated to threading this part amidst the current mainstream sound?
I feel like it’s just the sound that speaks to me the most. A lot of influences are pop focused and it just happened to be the direction I chose. I feel most comfortable playing around with that for now but I’m still very young so who knows? I might do an Amapiano track and experiment with more sounds in the future. I don’t believe in being completely defined by one genre.
How do you see your music contributing to or standing out within the broader South African music landscape?
I hope that it contributes in the sense that it’s very honest. I spend a lot of time on lyrics. I define myself as a singer but also as a songwriter and so, I hope that my lyrics are something that people can relate to. A lot of what I write about are universal experiences and in that sense, I hope that that would contribute to the broader South African music scene. Also, because the music in ‘You Need Therapy’ is diverse, I hope that versatility is something that draws people to the music.
Let’s talk about your creative process. This could differ depending on the project but usually what comes first to you, the beat or the words?
Initially, what comes to me is a melody followed closely by a few lines of the song. After which I sit down by a piano and establish chords for the song. The lyrics would usually come after. That or I go into the studio with an idea of reference from a song I’d like to emulate in some way. It’s a collaborative process between all of us to then take that idea and make a song.
We’ve briefly touched on how you dabble between a couple of genres. How would you say these various soundscapes have enabled you to convey your message in the best way?
They help me simply because they’re the most fitting medium to do so. My song, “Nice Guy” for example is all about someone who poses as a nice guy and in reality they’re anything but. The lyrics are very honest but they pack a punch. I felt like it was only with a more Rock or Punk sound that the message of the song would’ve been perfectly conveyed. Had I stuck to another genre, maybe the music would not have been as effective. A lot of the message would have been lost. So that’s why I feel like the difference in sound and the versatility it brings is so important.
Your emotions really come through clear with your storytelling and ability to wear your heart on your sleeve. Why do you think it is important for you to come up so vulnerably in your music and how do you manage to stay grounded with the emotions?
I don’t think it’s something I try to do or something calculated. It’s very natural for me. My way of expressing myself and how I’m feeling is through the songs. I think a large part of how I stay grounded is expressing myself through song. It feels like my own personal diary and it’s a great emotional outlet.
Let’s talk about the moments leading up to your debut EP ‘You Need Therapy.’ What were those moments like for you?
I didn’t even fathom that it could be released. I was fully doubting that this body of work would ever see the light of day because it’s been such a long time coming. So the few moments leading up to it were just completely surreal. They were filled with such anticipation and I wanted it so badly to be shared with the world. Following the release, I feel so ecstatic. I am so hungry to write more and I’m already working more with producers so it’s clear that the project has encouraged me to look into more live performances. I want to continue to push myself genre wise as well so it’s just the beginning.
During the creation, what messages were a priority for you to communicate to your audience?
I would say it differs from song to song because a lot of the time, once the music is shared to the world, it’s no longer my message. It’s now the message they receive from it which can differ from person to person or song to song. The universal feeling is just that they’re not alone. Also just the feeling of being able to jam out and enjoy the music. I’d hope that they appreciate the body of work, like the lyrics and also the versatility in the tracks.
Collaborations can lead to unique creative experiences but are very sacred especially so early on in your career. What usually informs your choice of collaborators?
Initially, I didn’t really know anyone because people that inform my collaborative choices are members of Platoon, my record label who would suggest people and from there, I’ve met the most incredible collaborators who in turn recommend other people. It’s been great and I hope that continues because it’s kind of one big family. Regarding what I look for, I’d also say chemistry matters. There’s a certain energy that would just work and you almost always know when it’s going to sit right and when it’s not. You get the sense that you’re on the same wavelength. It’s also just someone that holds the space for you to fail. Oftentimes, the best ideas will come out of failure and a shot in the dark. Sometimes you wouldn’t take that shot or make that leap if you’re afraid of judgment. I look out for people that hold that space and make room for that creativity to shine through.
Are there any artists, producers, or songwriters you dream of collaborating with in the future?
I’d love to collaborate with Lukhanyo and the Highrollers if we’re talking about South Africa. It wouldn’t hurt to work with some of the greats like Beyonce, Taylor Swift or Olivia Rodrigo. That’d be the dream.
What can we expect from you in the future following the release of the EP? Accompanying visuals perhaps?
Definitely. There will be visuals for “Hide in Hell” coming soon. We can also expect more live performances and I’d also love to have my music in a movie of series as s score. That’d be a dream
Listen to ‘You Need Therapy’ here,
Featured Image Credits/Lunghelo Mlati (@theblvr_za)
Cruel Santino is constantly evolving. Since his debut, the singer has been peeling back new layers to his artistry with an even more diverse sonic palette built on genre-blending fusions, cinematic productions and accentuated with a rich array of melodies. As one of the frontrunners of the non-conformist alte subculture, the masterful genre bender has widened the potency of his arsenal while retaining the hallmarks of an experimental artist.
On his recent album ‘Subaru Boys: FINAL HEAVEN,’ Cruel Santino’s evolution was brought into full view: with omnivorous music that escapes labels and actively contests them.The 21-tracker reaffirmed Cruel Santino’s master shape shifting and his ability as a pop culture collagist, to blend and meld genres to his will while offering one of the most daring projects released in the past few years. Since then, Santi has consistently expanded the Subaru universe with followup releases including his 2-pack release, ‘Holiday Sniping’ and now ‘Cincinnati Pumpin!!’
For his latest 4-track effort, we’re in full Subaru territory. The EP opens with the Len-assisted “4ever,” produced by Monster Boys. Before Santi’s instantly recognisable vocals arrive, the pair lay the groundwork with a daunting atmosphere layered with dull chords and soft croons. When the groovy bass drops, cue in a melancholic Santi who addresses his love interest in charming words. Shortly after, Len takes over to reiterate the message of the love-themed track, riding the wave of the beat with mellow bars and heartwarming promises. The track doesn’t fail to remind us that we’re tuned in to Subaru radio before it draws to a close and smoothly transitions to an equally mellow atmosphere for “Cincinatti Pumpin!!.”
Arguably the most intriguing track on the EP, “Cincinatti Pumpin!!,” offers up the charismatic production of Tochi Bedford who continues to deliver trunk-rattling sonic homages and cascading flows. Here, the pair are a match in heaven as the track’s smooth, groovy soundscape of light drum patterns as Cruel Santino lightly sings of his experience serenading his love interest, “She was frontin’ as I tried to talk to her.” He emphasises his persistence despite her noncommittal attitude, laying a stellar verse before the track’s percussive elements switch tempo.
On “Panic Island,” Cruel Santino joins forces with Odunsi (The Engine), a kinetic pairing that has served up memorable tracks such as “alte cruise,”“Nostalgia” and more. For “Panic Island,” both artists are utterly relaxed as they wax poetic over an airy mid-tempo beat that vibrates with emotion and angst about a current lover.“I want to taste you before he gets in the way,” expressing the lengths he would go to for her attention. As willing as he is to go the extra mile, he questions “Are you worth this love?” but sharply concludes “I’m feeling good.” Odunsi steps in midway across the track similarly questioning his love interest in a series of silvery melodies as he croons, “When will I have you to myself?”
The EP closes off with the bouncy number, “FTR” which wraps up the project on high notes with a smashing upbeat delivery alongside street-pop artist, S-Smart. The pair glide over the track’s dance-leaning instrumentals as they proclaim their love for the trenches. “In the trenches, they love me,” Cruel Santino chants over the smattering bounce and drums, boldly showcasing an impressive versatility as he delves outside his typical beat. Closing under 10 minutes, ‘Cincinnati Pumpin!!,’ is a reminder that Cruel Santino is constantly carving out his own space
It’s another Friday and time for a roundup of music projects from African acts to check out. Throughout the week, music has poured in from all over the continent and sometimes unmissable projects can slip through the cracks, unheard. This column serves to bring those projects to your ears as you wind down to the weekend. We’ve compiled a typically spellbinding list today, a vast terrain in the African music soundscape covered. In addition to new projects from Odeal, Cruel Santino and Life Size Teddy, here are some more projects that deserve your ears.
ODEAL – ‘THOUGHTS I NEVER SAID’
British-Nigerian singer, Odeal has steadily expanded his catalogue with a slew of promising releases like Brazy-assisted “Be Easy,” and an unforgettable live rendition of “All That It Takes” for A COLORS SHOW, whetting appetites for what was to come. Leading this New Music Friday, Odeal’s ‘Thoughts I Never Said’ arrives with eight solo tracks and a stellar, heartwarming outro, “Gave You My All,” assisted by Emil. A series of lush guitar strings and heavy piano chords create the perfect soundscape for Odeal’s sonorous vocals as he tells stirring stories of love and loss.
MAYORKUN – ‘LOVE.. FOR FREE’
This year, Mayorkun has served up a slew of releases from “Balenciaga” to the Iyanya and Tekno-assisted “One Side(Remix),” to name a few. To close out the year, he delivers a hypnotic 5-tracker stacked with stories of heartbreak, finding new love and self-discovery. In what feels like an emotional rollercoaster, Mayorkun channels his inner lover boy in raw lyrics accompanied by melancholic melodies and soul-stirring chords to explain the complexities of love and life. On the project’s intro, he taps South African rapper, Blxckie, for a memorable rendition that sets the mood for the remainder of the project.
LIFESIZE TEDDY – ‘POISN’
The announcement of any artist signed to one of Africa’s biggest record labels, Mavin Records, would understandably come with significant levels of buzz. Beyond the exciting news, Lifesize Teddy proved with her eponymous debut a few months ago that she is well worth the attention with standout tracks like “Air.” Her recently released follow-up ‘POISN’ is not only proof of her dedication to expanding the scope of her craft, but also a fine showcase of her growth and versatility merely six months later. ‘POISN’ features three solo performances and two features assisted by fellow label signee, Magixx and Chocobantis. Lifesize Teddy effortlessly glides across the dark soundscape with honeyed melodies and hard hitting bars, making for an engaging 14 minutes listen.
QING MADI – ‘QING MADI’
At 17 years old, Qing Madi has earned the ears of many listeners across the country since her chart-topping BNXN-assisted single “Ole.” She rounds her efforts into a self-titled 7-track extended play, featuring crowd favourites such as “See Finish” and “Vision.” Across the project, stacked with potential hits, we see Qing Madi within a familiar atmosphere of R&B, accompanied by Pop-leaning soundscapes with hints of Afropop. While she tackles the unsettling feeling of dissatisfaction after attaining life long dreams on “Madi’s Medly,” she explores loneliness and loss from a friendship gone sour on “Chargie.” Once again, Qing Madi has proven to be an artist on the cusp of a bigger breakthrough.
CRUEL SANTINO – ‘CINCINNATI PUMPIN!!’
Since the introduction of Subaru World with his critically acclaimed 2022 album, ‘Subaru Boys: FINAL HEAVEN,’ Cruel Santino has been firmly dedicated to expanding the sonic universe of Subaru. A few weeks ago, he released a two-pack release dubbed ‘Holiday Sniping,’ featuring L0la and Slater. The arrival of ‘Cincinnati Pumpin!!,’ more than anything affirms Santi’s penchant for explorations and experimentation with the alternative soundscapes. The four track release features frequent collaborators, Odunsi (The Engine) on the groovy, drum-led “Panic Island)” alongside a melancholic story of love on “Cincinnati Pumpin!!,” produced by Tochi Bedford.
WURLD – ‘DON’T GET USED TO THIS’
2022 was the last time WurlD released an album, the 19-tracker titled ‘My WorlD with U.’ Now, he makes a resounding comeback with an 8-track extended play tagged ‘Dont Get Used To This.’ The new project comes packed with exciting love songs with a standout feature from Sarz. On “Location,” WurlD reaffirms his undeniable chemistry with the producer atop an upbeat dance-leaning rendition where he transparently states his longing for his love interest with sweet-sounding lines in English and Yoruba. In typical WurlD fashion, he stretches his artistry a step further and adds to his strong catalogue of charming love tunes.
LIKKLE BANGI – ‘LIKKLE BANGI’
Since her 2020 debut with “UDK,” Ugandan singer-songwriter, Likkle Bangi has garnered the attention of many listeners for her vast vocal range and authenticity, shone through her raw lyricism. Her official reintroduction to the world now arrives as an eponymous 4-track extended play where Bangi explores the highs and lows of life whilst threading a journey to self discovery. Her stark sincerity shines through twinkling keys and intoxicating drum patterns as she wholeheartedly bares her heart to anyone willing to understand.
Time flies when you’re having fun. It took Davido seven-plus years to release the full-length successor to ‘Omo Baba Olowo: The Genesis’, his debut album from 2012. For the most part, he was dominating the airwaves with huge single after huge single, becoming the quintessential Nigerian pop superstar and arguably the most reliable hit-maker of his generation. In simple terms, Davido was having fun—for the most part.
The path to global superstardom, via realigning back into authenticity, is now Afropop lore. An EP that he panned as “shit,” the comeback single that shot him back the summit, its follow-up that greatly helped the stateside incursion of Nigerian pop, and a run of hit songs that culminated in one of the most dominant years we’ve ever witnessed from a popstar. More successful singles poured in and, after a long—really long—build-up, came ‘A Good Time’, the sophomore album that was then-overdue and now clocks four post-release years.
In the moment of its release, ‘A Good Time’ both benefitted from and was hampered by its many, many months of accumulated anticipation. The inclusion of several singles that dated back a couple of years ensured its core was familiar, perhaps a little too familiar. Listening back now, ‘AGT’ has aged finely, testament to the vision Davido baked into the album, rooting his musical choices in home-grown sounds while facing the rest of the world. On the album’s seventeen songs, he’s self-aware, deeply grateful, effusively in love and ultra-confident.
Tucked in the album’s lower-middle part is “Green Light Riddim,” a dancehall-influenced slapper that leverages Davido’s charisma and veritable lover-boy charm into one of the singer’s finest romance-themed songs—which is saying a lot, considering the catalogue. Over the years, Davido had already established himself as a premier creator of showy love songs centred on dedication. Because of his larger-than-life persona, the gambits had to be grand, from the dramatic overtures of “Aye” to the ostentatious promises of “IF” and “Fall” to the overt sentimentality of “Assurance.” By contrast, “Green Light Riddim” is a far simpler fare, which is what makes it stand out.
The execution is exquisite, a balanced mix of reputation-based conceit and vulnerability. After opening the song by brushing off negative chatter and establishing self-pride, Davido settles into confessional mode. “You know I’ve been falling for you…And I know deep down I wanna be with you,” he declares on the second verse, without any theatrics. When his voice reaches for something extra, it’s in service of the song’s central plea: “All I need is your green light.”
Usually, there’s an overwhelming conviction that Davido’s wooing tactics always work to his desired results. “Green Light Riddim” doesn’t upend that M.O, but there’s an innate nod to the fact that wholesome relationships thrive on a two-way commitment. Enthusiasm from the addressed party bodes well for the future. Within the context of ‘A Good Time’, the Shaydee co-written song shows that Davido can thrive even when pomp is not required of him, and that’s part of what makes the late 2019 project a great starting point to the trio of Time-based albums he’s dropped in the last four years. Each LP has had songs that are glue moments, i.e. not proper hits but worthwhile listen on full re-listens. The overall enjoyability of these songs have elevated the perception of Davido as a mainly singles artists. Yes, he’s still a monster hit-maker, but his albums are worth their runtime—and it started with ‘AGT’.
“Green Light Riddim” is one of the several deep cuts—including “Get to You” and “Company”—that shows how the overall cohesiveness of ‘AGT’ doesn’t blur the individual stakes and quality of its lesser heralded songs. It also shows the level Davido has been operating on, where glue cuts turn into effortless highlights.
There’s no barrier to entry in Nigerian street-pop. That much is evident in the myriad of superstars and prominent artists that find their way into widespread acceptance, across hood acclaim, regional popularity and nationwide ubiquity. The common denominator, which also doubles as the most important requirement, is authenticity. Tolibian understands these things. An Ilorin-raised riser who first garnered attention through viral skits and song covers, his path into music wasn’t premeditated, rather a function of spontaneity.
Around the time TrenchTok became a full-force catalyst and driver for cultural moments and conversations, Tolibian emerged as one of the more wholesome creators. His comedy was hyper-specific in its use of language and experience, but he also had the uncanny ability to ensure punchlines hit the right pocket of generally, incredibly funny. It extended to the song covers, like his nasally croon on a cover of “Peru (Refix),” a profound and hilarious moment that helped further the ubiquity of the slang, ‘Sapa’. Tolibian clearly had song-making chops, but it often takes more than unpolished talent to become a proper artist.
On his new debut EP, ‘Alien’, the comedian-turned-singer hasn’t reached all-round form, but his growth is evident. It features five songs performed with a wide grin, perhaps still basking in the surprise of slowly but surely finding his footing in the current context of street-pop. “I found myself doing music, it’s not something I learned,”he told The NATIVE just before the EP’s release. Tolibian leans into that neophyte charm without getting overrun by naivety. He sticks to easy subject matters and loose melodic stylings, a little less ambitious than some of his older singles—but it makes sense for his very first project.
When “Abaya Palava” dropped in 2021, it felt idiosyncratic. A song centred on a traditional Muslim attire, with intricate, tongue-twisting rhymes to fit Tolibian’s storytelling candour, there was clearly no play for wide appeal but it found an enthusiastic audience amongst hundreds of thousands who could relate. Or generally understood the ramifications of the scenario he richly developed. It was further confirmation his abilities as a writer of reality-inspired narrative, set by the preceding single, “Abortion,” sung from the perspective of a lady coerced into sexual relations, with tough decisions to make in the aftermath.
By “Beware of Dog,” the Rexxie-produced single, it was clear Tolibian was gearing to make more accessible music in hopes of securing increased visibility. Further proof was in the melodic drill of the self-congratulatory “Journey” and the party-starting aim of “Hello.” For his new EP, Tolibian sets himself up as a purveyor of optimism within street-pop. ‘Alien’ is all sunny melodies, featuring a vibrant disposition from the singer as he enjoys his early success while keeping an eye on a potentially brighter future.
“If we dey alive, we go dey alright,” he sings on the opener “Alive,” that Ilorin-Islamic flavour in his voice elevating an otherwise ordinary declaration. The centre of the song comes a few lines later: “Nobody fit stop my success.” His conviction is sealed and the rest of the EP follows thus, almost as if willing listeners to join him on the same wavelength. Tolibian represents a prevailing mentality amongst younger adults from far less affluent parts of Southwest Nigeria that all it takes is one opportunity for undeniable success. The prevailing ethos that destiny finds it way manifest, especially when aided by hard (and smart) work. So, why be sad when you can make merry in advance for when things get better.
On lead single, “Happy,” Tolibian sings, “We caught ‘em by surprise/wetin God design no longer fit collapse.” In contrast to the rest of the EP, the song is a far more baroque moment, featuring an Amapiano-influenced heater for a beat. The rest of the EP, while leaning into colourful elements are more pared down, but still fitting for shuffling feet. Interestingly, Tolibian leans into Highlife via the Duktor Sett-produced tracks, “Day By Day” and “Party Ego.” It’s not a new synergy, going all the way back to ‘70s icons Victor Olaiya and Fatai Rolling Dollar. Taken together, though, ‘Alien’ is a show of how Tolibian can ground varying musical style with his rustic voice and chippy personality.
If an alté hall of fame is to be instituted, Ajebutter22 and BOJ are first ballot candidates for enshrinement. Butter declares as much on “Floating,” a song off his early year album, ‘Soundtrack to the Good Life’. BOJ doesn’t even need to say anything, he’s the guy widely credited for helping to crystallise the spirit of a renaissance movement into a now-seminal word. As well as championing being alternative to the norm, Butter and BOJ are defined by how they also interact with the mainstream—on their own terms, though.
It makes sense that they’re intertwined from the beginning. Well, not exactly the very beginning—Ajebutter22 had been making music for a couple of years prior, as was BOJ, as a member of DRB. When their paths crossed, it was the start of something career-elevating and culturally impactful. The 2013 hit song, “Omo Pastor,” signalled the arrival of two intriguing voices, one a fuzzy melody slinger and the other with a disarming baritone and malleable rap flow. In short order, their imprint began to grow; BOJ, a deadeye master of hooks, while Ajebutter22 became a respected cult figure for his alternative but ultra-accessible approach to making rap songs and albums.
A decade after their breakout collaboration and half-a-decade after acceding to fans’ request for a joint album, Butter and BOJ have returned with ‘Make E No Cause Fight 3’. The new EP, as with its previous two predecessors, is built on a shared zest for life between two kindred spirits. The perfect representation of Yin and Yang operating for culminative harmony. While motivations have shifted with each EP, there’s never any point where it feels like both artists are not on the same page, and it’s the same on this new 5-song set. This time, they are both driven by a relaxed sense of conviction, which makes sense considering the space each artist is in now.
When the debut edition of the series dropped in 2018, both BOJ and Ajebutter22 were a year removed from respective solo albums. No guest features were traded from the long-time collaborators, and it inspired the title of the joint project. At the time, Butter’s ‘What Happens in Lagos’ was a phenomenal feat in reality rap, but BOJ’s ‘Magic’ was clouded by an overt mainstream tilt and messy handling by his erstwhile label. ‘Make E No Cause Fight’ felt freeing, two bros basking in the confidence of being a formidable duo—all pressure side-stepped.
Five years and a whimsical second edition—with Falz—later, ‘MENCF3’ keeps things interesting even with the pair’s comfort zone. It’s evident right from the change in style of the album cover. Gone are the Manga-inspired representation of both artists duelling, now they’re seated Indian style surrounded by lush greenery. The music similarly leans into the serene, gently gurgling bass guitar riffs, highlife-inspired guitar chords, softly gleaming and groovy drum patterns that swing lightly rather than bounce. It’s chill but very far from lethargic
“42” opens the set on celebratory terms, with the guys basking in their growth from being broke, young lads in London to men chilling in villas and mansions. Instead of champagne, “We dey pop 42,” and it generally sounds like the soundtrack to toast to. Lead single “Sweet Life” is musically fuller, thanks to Spax’s typically plush production chops, as well as light-hearted verses from the Show Dem Camp duo of Tec and Ghost. Additionally, it contains one of the very best hooks BOJ has ever committed to wax, proof that there’s endless wonder in the familiar distinctness of his voice and abilities.
For the majority of this joint EP series, BOJ has functioned as the anchor, keeping songs centred with his knack for catchy melodies. He makes things pop. For the sizzle, that’s Ajebutter22, a wildcard who raps his every line in a mix of playful and poignant. With the very romance-driven direction of ‘MENCF3’, his quip-laden style represents the mischievous and boastful rizz generally associated with Nigerian men—Yoruba men to be specific. “Many fish in the sea but I’m eja nla,” he says on the silky neo-funk jam, “Rora,” while promising to pass the powerbank even if his phone on 1% on the closer, “DITR.”
‘Make E No Cause Fight 3’ is easy on the ears because Ajebutter22 and BOJ are noticeably light on their feet. It doesn’t have the playful urgency of its first instalment or the overt humour in its second, but there’s a cosiness that feels like the logical next step in this series. Hall of famers don’t really have much to prove, after all.
It’s that time again. Every week, new music shows up, sweeping fans and music lovers off their feet while artists gauge reactions to know the effect of their creativity. At the NATIVE, we are committed to keeping our ears on the pulse of the music scene and bringing the best sounds to your doorstep. In our last edition, we brought you stellar new releases from Blaqbonez, Maya Amolo, Bantwanas, Shatta Wale and more. Today’s NATIVE Selects features singles from BOJ & Abjebutter22, Tim Lyre, PDSTRN and more. Lock in!
BOJ & AJEBUTTER22 – “DITR”
Boj and Ajebutter22’s chemistry has never been up for debate. Since the pair first collaborated back in 2013 with the scene-stealing “Omo Pastor,” the duo has gone on to deliver a slew of stacked releases including two iterations of the ‘Make E No Cause Fight’ EP. To round up the year, the dynamic duo link up once again since their last offering in 2019 with the third installment to the ‘Make E No Cause Fight’ series. DITR,” the project’s final track is an instant standout for many reasons. An acronym for ‘diamond in the rough,’ we see the pair take on what they’re best at; serenading women. Ajebutter22 leads the Spax-produced track with an admirably smooth flow over the drum-led mid-tempo instrumentals. In their typical anecdotal fashion, “DITR” is coloured with various scenarios the crooners promise to show up for their love interest.
TIM LYRE – “ WHY EVILS” FT TAY IWAR
Tim Lyre is on a roll. After serving up his debut album ‘Worry <‘ last year, the singer returns with an impressive 8-track project dubbed ‘MASTA’ before the year runs out. The project is packed with features from South African Amapiano crooner, Khanyisa, Minz and, the project’s intro “Why Evils,” is an instant favourite. Tim opens the track in a pensive state as a daunting piano chord invites audiences to listen closer to his words. He dabbles between singing and rapping as he questions life’s evils while narrating an interaction with his love interest where he beckons on her for patience. Tay Iwar’s mellifluous vocals perfectly contrast Tim’s as he croons of needing a break from life’s daily struggles
DUMOMI THE JIG – “MARIA” FT. NINIOLA & BLACK CULTURE
The Queen of Afro House is back. Niniola joins Black Culture and Dumomi the Jig for a new single titled “Maria.” The track, introduced in by lush, twinkling chords takes a groovy spin with the dance-led beat and hypnotic bars by Dumomi the Jig. The Nigerian-born rapper expertly rides the wave of the beat with rhyming puns as shamelessly rains praises on his love interest, “Trying to meditate but cannot concentrate, be like I don nearly Crace for your sexy waist.” He swiftly transitions into a melodious hook as he desperately croons for a chance with his love interest. Shortly after, Niniola takes over for a soft and sultry rendition.
SUMMER PEARL – “GREEN EYES”
UK based Neo-Soul artist, Summer Pearl, unveils another layer of her artistry with her 13-track LP, ‘outmysystem,’ a melting pot of smooth Jazz, Hip-hop, Soul and Reggae. On “green eyes,” the project’s second track, Summer’s buttery vocals croon over lulled piano chords and a light drum rendition, shortly followed by a shifted Hip-Hop flow. She explores a series of theme surrounding love as she sings praises to herself, “I’m like a broken record, I get scratched in all the best places/And as you continue to play me, my green eyes replace it.”
PDSTRN – “OFFER” FT. VECTOR
This Vector-assisted live performance features a series of melodious guitar strings, accompanied by a groovy drum pattern and PDSTRN’s head-bopping rap cadence. “I fit give you offer wey you no fit decline, this feeling you no fit fight/E day my shoot the thing you dey find,” he croons on repeat at the start of the track. Vector swoops in for a brief rendition over a slow tempo production.
OXLADE – “KATIGORI/PIANO”
Master producer, P.Prime helms the production on “PIANO,” the latest single from Nigerian singer Oxlade’s recent two pack release. The house leaning soundscape houses Oxlade’s lush vocals which he uses to make promises and apologise to his love interest. Interestingly, but in typical Oxlade fashion, he accompanies his croons with comical chants and adlibs in the background. “KATIGORI,” on the other hand, takes a more self-reflective approach. Oxlade is ready to face the uncertainty of the future, armed with the confidence of an expert as sets himself apart from his peers in the industry.
DELASI – “PERCEPTION”
“Perception” leads this Ghanian artists self-affirming two pack release, ahead of his forthcoming extended play dubbed ‘The Audacity of Free Thought’ slated for release early next year. The groovy track is established by a rhythmic drum patterns and locally sung chants, shortly followed by silvery piano notes and Delasi’s soft croons. He expertly explores the electronic-funk soundscape as he passes on a message of encouragement in the hook, “You can do anything, just believe in your dreams.” He doubles down to express his feelings of joy and freedom once he successfully drowns out the naysers and their expectations.
KEAMO – “UNFOLD ME(AMAPIANO REMIX)”
Keamo’s originally RnB single, “Unfold Me” takes on a new Afro-House face with assistance of Zambian DJ-producer, DJ Lowa. The previously slow-tempo single has now morphed beautifully into upbeat, energetic single, padded with Keamo’s honeyed vocals. Through the course of the track, she addresses her muse, urging them to amicably part ways.
EGO ELLA MAY – “HIGHER SELF”
The penultimate track off ‘FIELDNOTES PT III,’ this contemporary jazz singer explores the concept of self-love, encouraging her listeners to engage with the practice to enable them tap into higher versions fo themselves. As the track closes out, she melodiously hums, “Falling with yourself is all that you’ll ever be, Falling with yourself is the only recipe.”
JULIET ARIEL – “HOLIDAY”
As the year draws to a close, Congolese singer, Juliet Ariel is reiterating the need for a holiday on this upbeat Signal-produced track. “Body no be firewood, don’t want to stress, wanna keep it cool,” she quips as she expresses her need to unwind after working through the year.
SELA VIE – “CHASING THE PAPER + MONEY”
Nigerian singer-songwriter, Sela is focused on her bag as we see in her recently released two pack single dubbed ‘Chasing the paper + Money.’ Through the course of the brief listen, we Sela tuneful R&B inclinations shine through on “Chasing the Paper” with groovy drum patterns. For “Money” on the other hand, she taps into a groovy reggaeton sound as she quips on staying focused on chasing the bag.
In 2018, Teni, a young entrant to the Nigerian music scene with her impressive catalogue of singles—“Fake Jersey,”“Fargin,”“Askamaya,”and one of her highest charting singles, “Case,” to name a few. The array of monster songs made her not just a reliable hit maker but a fresh entrant audiences more than willing to tap into. Consolidating her impressive entries with “Party Next Door,”“Sugar Mummy,”“Power Rangers”and the ‘Billionaire’ EP, Teni was set to conquer the horizon and when her debut album, ‘WONDALAND,’ arrived in 2021, Teni needed no introduction. In her debut album, Teni’s evolution was evident. She steadfastly pushed the boundaries of her artistry, exploring unfamiliar paths without compromising her sound.
Kicking off the arrival of her sophomore album ‘TEARS OF THE SUN’ earlier in the year with two singles, “No Days Off” and “Lanke,” Teni raised the anticipation of her fans as to what to expect in the album. In this 16-tracker, her sonic evolution is difficult to miss. With a lot of pop influence, Teni is on experimentation with other different sounds, displaying never-seen-before layers of her artistry which points to her present state of mind which is: unhinged vibes. Touching several issues like love, marriage, life, and legacy, Teni draws her listeners into her world in this latest project which speaks to her commitment to making music that appeals to her audience.
In typical First Impressions style, the NATIVE team shares thoughts on the album, from best song to stand-out production, biggest potential hit, biggest skip, and more. Tap in!
Israel: So far, my best song has to be “YBGFA” because it beautifully encapsulates the struggles Teni has had to overcome and endure throughout her career while making other Black African women like herself feel less alone in their pain and anguish.
Tami: I was really looking forward to pressing play on the Teni album because all the promotional singles have been really engaging and served to further expand on her ebullient personality. ‘Tears Of The Sun’ has not disappointed and there are a few early favourites already. So far, I’m really loving the strong opener with “YBGFA” which I’m compelled to say is one of the most daring album openers in Afropop this year. It’s clear that Teni is prenaturally at ease with her abilities and she’s showing off all she’s learned in the past three years.
Alex: It’s hard picking a single track because the album is on replay. “Yaya Toure” and “Popo” are my most played. Picking the best song out of the 16 songs on the project, I am picking “Popo” for some reasons—first, the storytelling although a familiar topic is quite interesting and succinctly rendered with a beautiful and sharp vocal. Not missing out on the sound, I feel the production team did a thing with the sound of the track. It’s catchy and ear-worming.
FAVOURITE PRODUCTION
Nwanneamaka: “No Days Off” still screams the loudest to me because that is what releasing a new album is about; exploring new things. If you asked me what Genio-esq beat sounded like, that’s what I’d play but this is very out of Teni’s range and she held her own quite well. I’m open to hear traverse this soundscape in the future.
Dennis: I mean, the obvious one is still “No Days Off.” It’s the wildest experimental swing Teni has pulled off yet, and it still doesn’t feel forced. The Jersey Club bounce and chirpy synths are just a show-off from Genio, it sounds as fresh as it did when it dropped months ago. Of the newer ones, I’ll go “Capricorn & Taurus,” which has a really sumptuous groove, but it’s those intermittent additions of tightly plucked guitar chords that gives it an elevating post-disco feel. Plus, Teni tried something interesting with her falsetto on the first verse. One of the more memorable moments on this album.
BIGGEST POTENTIAL HIT
Shina: Hmm it’s hard to pick one from the album but my best possible pick is “YGBFA”, a baile funk-influenced inspirational record that is very relatable. This song will immediately catch the attention of listeners as it’s the first song on the album. Listeners will have their hands stuck on the replay button for a while before proceeding to listen to the rest of the album. An honourable mention would be “Ino” with Made Kuti.
Daniel B: I believe “Malaika” will resonate deeply with audiences due to its unique blend of familiarity and Teni’s distinct style. Despite its significant radio playtime, its impact will be heightened, especially considering the current state of the country. Teni’s adept reworking of the popular gospel song, infusing it with her classic style, will make it effortlessly relatable to a wide audience.
BEST VERSE
Shina: Definitely the verse on “YGBFA”, the opening track of the album. Teni is very confident and sings about how she is unapologetically African. This is one of the best writings I’ve seen from Teni.
Sien: It has to be the opening verse from “YBGFA.” She lets go of the ‘Tyranny of Shoulds’ and is focused on doing what she wants and living her own life. Very relatable to a vast majority and I very much believe the song would become an anthem.
BIGGEST SKIP
Alex: “Holy Matrimony” is my biggest skip. The sound was good, however, Teni didn’t catch me on that track because I didn’t understand what she was trying to experiment with on the track. I may catch on to it later, but it doesn’t appeal to me.
Dennis: I will not be adding “Popo” to my serato. The song lacks any real drive for me and, as much as I get how the tempo relates to the topic of trust in a relationship, it just doesn’t leap off wax or particularly simmer. Teni’s best songs unfold in technicolour, this one feels more monochrome to me.
STANDOUT FEATURE
Nwanneamaka: I don’t have a slew of options to choose from which says a lot considering the project has 16 tracks. But this is really Teni’s moment so im glad to see her basking in all the glory with solo offerings. Of the three features we have, I’ll go for Made Kuti-assisted “Ino.” The song’s rhythmic elements accompanied by Teni’s high cadence hums are quite soothing to the ear. Made’s signature sax chords heighten the feeling of solace the track gives and I believe the album aims at. Like I mentioned, this is Teni’s moment so her vocals run across the track but Made’s presence is still clearly felt.
Israel: I have to go with “Mecredi” featuring Tayc an Artist I had not heard of prior to listening to this record. Their Vocals compliment each other so perfectly and it’s definitely a stand-out Song on this Stellar Album from Teni Apata. The duet-style number was woven into the Soundscape of the entire Album really well with the amazing Production on the major elements of the song.
OVERALL FIRST IMPRESSION
Daniel B: I really like the project. The production is solid, the featured artists are fantastic, it’s precisely what one would anticipate from an artist of Teni’s calibre. There’s an abundance of fantastic tracks in it, offering a genuinely enjoyable time for both her fans and anyone who appreciates great music.
Tami: Overall, I think Teni’s album is a mixture of disarming vulnerability and authenticity. Since her emergence on the Afropop scene, Teni has always considered herself an outlier, capable of saying the things we don’t want to say outright and shining a light on her own emotional psyche. ‘Tears Of The Sun,’ is no different as Teni once again packs in a punch of diary-like ruminations and party-starting anthems that showcase her impressive range. She’s expanding her own sound and welcoming more people into her world, the growth is inspiring.
The walls of Nigerian Pop music have expanded over the past decade well beyond what many could have imagined. Armed with a slew of artists poised to cement global stardom and a series of hits back to back, the industry has witnessed a remarkable evolution led by recurrent players who seem to meet the criteria year in, year out. As much as the works of main acts are backed up by several supporting players making major impact in various ways, these flag bearers of Nigerian Pop have been awarded the title of Big 3 with good reason.
They have not only threaded a path down mainstream success in the country, but have given a voice to artists alike across the continent, stretching their impact far beyond preconceived notions. It is now commonplace in today’s world for African artists, veteran and new, to snag features or collaborations across international projects or receive grammy nominations across several categories. And we have Davido, Burna Boy and Wizkid, as reached by a consensus of listeners and connoisseurs across the country, to thank for this.
In recent times however, the Big 3 have had to make room for new entrants bursting through the seams with a gradual yet resounding impact on the fabric of Afropop. As expected, various music heads, fans and stakeholders in the industry are so eagerly in search of the next big thing that we fall short in recognising an Afropop renaissance until it is in almost full effect. When the likes of Davido’s Tekno-produced “If” were garnering unfathomable levels of attention and formally reintroducing the international audience to the world of Afropop, Rema’s “Dumebi” was getting ready to take the country by storm.
Then, 18-year old Jonzing World signee debuted into the mainstream with what many would now consider a Rema classic, after a series of freestyle videos circulated the internet. A young man on a mission to venture away from the one-hit wonder route, Rema tuned out the voices of various naysayers with a 4-track eponymous extended play alongside befitting follow ups, ‘Rema Freestyle EP’ and ‘Bad Commando.’These hit-stacked offerings earned him the ears of many fans within and outside the country for his varying influences and refreshing takes on Afropop.
It still seems surreal that the Benin-born crooner has just recently taken on one of the largest world stages, London’s 02 Arena in a remarkable sold out show. While bracing himself to deliver a once in a lifetime performance to 20,000 ravers, Rema takes a moment to recognise one the greats who brought him out on the same stage two years ago. For any fortunate attendees or online streamers like the rest of the world, we witnessed an almost eye-watering moment when an enthusiastic Rema joined Burna Boy on stage to sing to a zestful crowd, already chanting the lyrics of his biggest song at the time, “Dumebi.”
Only two years have passed and Rema now takes the stage solo to deliver memorable performances stacked with back to back hits from his robust discography, reiterating the famed phrase at the start of all his tracks, “another banger.” Prior to this, Rema had not only released a glorious debut album armed with unrivalled hits of far reaching impact and replay value, he had also performed several sold out shows and taken on stadium tours across the world including India. All the while, snagging the record as the longest standing African song topping the Billboard Hot 100 charts, after the multi-platinum Selena Gomez-assisted “Calm Down (Remix)” dominated our soundwaves for 35 consecutive weeks since peaking at No.3. So when the 23 year old star accurately anoints himself the Prince of Afrobeats and the Jay-Z of our generation on “HOV,” who are we to say otherwise?
Before I get on stage, I want to say a big thank you to @burnaboy for bringing me on stage 2 years ago. Today it’s my turn to conquer that same stage and I wish you were here to share this moment with me. Regardless, I’m grateful for the motivation.
In a sense, predicting which prodigies or as Davido cheekily described, “new cat,” will live up to the expectations set before them has become a focal touchpoint on its own. It seems like every other day that one music head or X user with minimal knowledge in music or its steep history, comes out to crown the recipient of any noteworthy achievement “The next [insert veteran here].” Oftentimes, it is based on tried and true similarities in creative approach and other times, it is simply because both acts are from the region, create within the same genre or downright breathe the same air. As much as the earlier is the preferred basis for comparisons, such conversations still prove to be a double edged sword where some listeners fail to draw a line between inspiration and flat out imitation. Fortunately, the likes of Rema have wholeheartedly embraced inspiration from their forerunners, all the while exploring innovative ways to build on the groundwork laid before them.
Alongside Rema but somehow on the other end of the spectrum, Tems is steadily building a cult following within the soulful soundscape with her enchanting vocals and inimitable star qualities. While her instantly recognisable vocals strike a chord within listeners from across the globe, her charm and impact beyond what the larger audience can perceive has earned her the acclaim she receives today. Since her formal introduction with “Mr Rebel,” Tems’ ethos remains staying true to herself. Back in 2018, the youth-led underground scene built a fan base off morphing together sounds that strayed away from the mainstream airwaves at the time. Given the pressure that comes with giving into what’s hot at the moment, Tems seemingly cracked the code and prioritised longevity above all else, using her time to sharpen her vocal as well as writing and production skills.
As we eagerly anticipate her debut album, following the hit of faith-led crowd favourite, “Me & U,”Tems remains one of the most sought after collaborators of our time. Her vocals on Wizkid’s monster single “Essence” earned her the global ears she had long been preparing for, and as quickly as the records were broken and she graced various world stages, it was clear that Tems is more than ready to bask in the limelight of her tenacious efforts. Having recognised her superpower—her voice—Tems’ persistent journey down the path of truth led her to writing for Rihanna after over half a decade away from the music industry and becoming a Grammy award winner for a sample lent to Future off her debut EP, ‘For Broken Ears,’to name a few.
Perhaps the biggest draw of this newer big three is in how distinct and musically disparate they are from each other. The older big three were unique, too, each differing in their imagination and how they used their skills in making music, but you can see the intersections without squinting too hard. Think Rema and Tems operate on different poles? It almost feels like Asake is an antithesis. He’s a pop savant whose strongest affiliation is with the deeper suburban parts of Lagos, a man who primarily sings—or sing-raps if you will—in Yoruba, sometimes stacking aphorisms breathlessly, to the point speakers of the language might be dizzied.
Asake’s time started at the dawn of 2022. Before that, he was a cult superstar in Uni, then an up-and-coming artist who scored a street hit but couldn’t convert that attention into any real momentum. Now signed to the label founded by the greatest indigenous rap artist in Nigerian music, Ololade Asake has vaulted into the uppermost echelon of Nigerian pop. The recipe: Stupendous hit-making prowess. If you conduct a 10v10 battle of the hits for artists who broke out in the last five years, very few of them are leaving without being utterly embarrassed. Asake hasn’t just caught up with the new vanguard of Nigerian pop stars; he’s leading the pack by more than a few paces.
No motion is being wasted on this prolific streak, evidenced by two albums and an EP in 18 months. Both albums are classics-in-the-waiting, tightly-crafted endeavours packed to the ears with hits. And it’s not just at home: Within nine months, he went from the O2 Brixton to the O2 Arena. Within weeks, he was at the Barclays Centre. Just the other day he became a first-time Grammy nominee, and his label boss is with him for the ride. That he’s operating at the speed of a blur doesn’t make it seem like any of this is unsustainable. It would be foolish to doubt that there are dozens more hits to follow and more than a couple more great albums, setting the runway for one of the greatest careers Afropop has ever seen.
That’s the beauty of it all. These stellar acts all at varying points in their career with ranging years of experience are using their voice to tell the stories that really matter all in their own ways. One song, feature, collaboration, production or writing cred at a time, these newcomers—and I use this term loosely—are expanding the scope of sounds emanating from these parts while representing Afropop’s embryonic yet promising future. And that isn’t to say the OG’s are still leading the game and stacking over the building blocks they once cemented, but the new class of Afropop geniuses have shown they are willing and able to take over if they decide to hang their boots.
For the Nigerian pop singer Teni, authenticity and exuberance are the core tenets of who she’s shown herself to be. In the just over half-a-decade she’s been around, it’s never felt like there’s a persona being sold—what you see is what you get. Between songs and her regular dispatches on social media, Teni has drawn listeners and fans into her triple XL life through sunny melodies, random in-studio moments, a blasé sense of style, jokes—lots of jokes—and glimpses of vulnerability. The Girl Next Door continues to flourish as one of the warmest, realest pop stars around.
Two-plus years after her well-received debut album, ‘WONDALAND’, Teni is set to drop her awaited sophomore album. Announced recently, ‘TEARS OF THE SUN’ is scheduled for release this Friday, November 17, a momentous point in a journey that started off six months back. In May, she released the LP’s lead single, “No Days Off,” a bouncy slapper produced by Genio Bambino. A member of the Monster Boys, the collective primarily known for helming the forward-facing music of alté luminary Cruel Santino, Genio lends a distinct sauce that’s novel for Teni, but you wouldn’t know it from how her sonorous voice bends into a melodic, double-time rap flow.
In her exuberance, Teni has never shied away from trying new things, always looking to work with the brightest sonic hues she can find. It’s a testament to her charisma that she never gets drowned out by her choices—even on the very few occasions when things get garish. ‘WONDALAND’ benefitted from that all-out maximalist lean, turning out standouts like the Davido-assisted chart-topper“FOR YOU,” the breezy folk-pop jam “MOSLADO,” and the suggestively raunchy, fast-paced “INJURE ME.” While she took a break after her debut album dropped, partly due to health-related reasons—a life-threatening throat infection—she clearly hasn’t lost her verve for creating from a place of joy, conviction and intermittent introspection.
Off ‘TEARS OF THE SUN’, Teni has shared two more singles, which culminate in an indication to deliver an album with thematic range and musical versatility. The Blaise Beats-produced “Lanke” is a feel-good cut laced with the winking lyricism that defines her romance-themed songs, while the more recent “Malaika” is spiritually-informed, complete with a video that nods to white garment churches and their affinity for sporadic praying events near and in large bodies of water.
In an Instagram post dialling up expectations for the album, Teni wrote: “When you finally get to hear this album, I want you to listen from your heart, embrace it with your soul and I want you to know, I gave it my all, spoke my truth, straight from my heart, against all odds.” No one can ever accuse Teni of dialling it in, even when she’s freewheeling, so it makes that she hopes to receive keen attention from listeners. Similar to her debut LP, ‘TEARS OF THE SUN’ is mostly a solo affair, with the just two guest appearances from Nigerian rap star ODUMODUBLVCK and French-Cameroonian singer TayC. It will feature 16 songs in total and, hopefully, another singular, resonant statement of authenticity and conviction.
Unlike many young artists who dream of scoring multiple hit songs and sold-out shows, Tolibian didn’t start making music with lofty ambition. “I found myself doing music, it’s not something I learned,” the Ilorin-raised singer told The NATIVE fairly recently via a Zoom call. “I did not have any broad knowledge about it. So I see myself like an alien, I see myself like a stranger in the midst of people doing music.” In that sense, it’s fitting that his new debut EP is titled ‘Alien’, an introduction to Tolibian’s exuberant and hyper-realistic take on street-pop.
Stemming from a string of viral song covers, especially one of Buju’s “Peru (Refix),” itself a cover of the Fireboy DML smash hit, Tolibian became an online sensation, the meme-worthy nature of his nasally croons endearing him to listeners looking for a balance of comic relief and tangible craft. In the few years since, he’s been building his catalogue as a growing artist, especially showing his chops as a storyteller on his biggest song yet, “Abaya Palava” and its attendant remix with singer Raybekah.
With ‘Alien’, Tolibian presents his initial vision for making relatable music, packing his lyrics with everyday emotions, especially the desire to live a full and fulfilling life, while the mix adds a cruddy charm to the colourful musical direction. “The EP title ‘Alien’ is all about me embracing my uniqueness,” he candidly offers. “The uniqueness is the ability to do music even after the fact that I did not learn it or have any proper understanding about it and breaking free from societal norms and celebrating my individuality. So I’m trying to let my music transport listeners to a world where they can truly be themselves.”
Below, Tolibian walks us through the four succinct songs that make up the eleven minutes of ‘Alien’. The conversation has been lightly edited for clarity.
“ALIVE”
I’m going to start by saying being a musician on the journey to be known is a roller coaster of emotions. It is a mix of excitement, hard work and perseverance. You face a lot of challenges and setbacks on the journey to be great and on the journey to be known but also incredible moments of joy and fulfilment when you connect with your audience through your music. So one just has to stay true to yourself and keep creating. I never give up. So I called “Alive” a real anthem for those going through the hustle, for every hustler because it is all about acknowledging the struggles you’ve been through but also having that hope and belief that as long as we are alive, better days are ahead.
“DAY BY DAY”
The lyrics for “Day By Day” are already so powerful and inspiring if you listen to it. That’s the new single I just dropped today. The song speaks to the struggles faced in life and the importance of staying strong and having faith. It is all about taking life one at a time, day by day staying true to yourself and not letting anyone bring you down. The lyrics also highlight the love and support from my mother’s prayer, which I call a beautiful testament to the strength of family. So let this music be a reminder to keep pushing forward and embracing the journey and never giving up. That’s what “Day By Day” is all about.
“PARTY EGO”
“Party Ego” is all about not settling for less and embracing the YOLO mentality, I [say] in my lyrics and I quote, “I’m glowing like the city light/And I’m looking good on my own/So no pressure, just doing my thing/And I’m cutting ties with negativity.” That’s just what the song is all about.
“HAPPY”
“Happy” is a breakthrough song. Anybody listening to “Happy” should just feel that breakthrough and manifest greatness and all that kind of stuff.
“DEJA VU”
The lyrics in “Deja Vu” speak to the power of self-belief, resilience and staying true to One’s self. There’s a line in the song I said, “Multiple is a times two.” So that line is more like a mantra for doubling my effort and achieving greatness. So my words are to remind us to brush off negativity and keep pushing forward. Most especially, trust your craft and never give up, keep pushing forward.
