Even with recent label woes that we only just fully grasped this week, Bella Alubo has quietly been in the most prolific phase of her career yet. Last year, she dropped two EPs, ‘Late Night Vibrations’ with Ycee and ‘re-Bella’, and she’s already dropped collaborative singles with Fasina and Lady Donli this year. In celebration of her birthday in August, she dropped “Agbani”, a premium showcase of her vocal ability to whip simple melodies into psychedelic moodpieces.
She’s just re-released the single, with a guest appearance from everybody’s feature go-to guy, Zlatan, albeit to striking results. Although there’s nothing new about the bouncy beat TUC produces, the song’s club-driven purpose comes into full view, strengthened by Zlatan’s infectious ad-libs and a trademark, energetic verse that compliments the sensual candour of Bella’s repetitive lyrics. “Agbani (Remix)” is the lead single for Bella’s next project, which should arrive sooner rather than later.
Stream “Agbani (Remix)” via Apple Music here.
Featured Image Credits: Instagram/
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To mark international democracy day this month, YIAGA AFRICA released a hip-hop/rap song “Democracy” on September 15th, in partnership with the Ford Foundation and World Movement for Democracy (WMD), as part of an initiative to support sustainable democracies in Africa.
“Democracy” reflects the experiences and perspective of youths in an Africa where too often, greed, absolute power and corruption is the talk of the day. Through verses delivered by artistes—Moonaya from Senegal, Master Soumy from Mali, Awa Bling and Killa Ace from The Gambia, Cill from Nigeria, and Elom 20ce from Togo—the song is composed as a distinctive blend of French, Wolof, and English. “Democracy” comes off YIAGA AFRICA’s youth project titled, Music as a Messenger for Democracy. The Project’s lead, Ibrahim Faruk, explained via email to NATIVE that the song “awakens the conscience and serves as a reminder that we deserve democracy, freedom and rights—but also we must fight to gain and protect them.”
The song is produced by Waliyaane studio in Senegal, and aims to foster a rebirth; a reawakening in citizens, driven by a vibrant collaboration between African artistes and civil society actors such as YIAGA AFRICA, WMD and Ford Foundation, to counter anti-democracy narratives, advance next generation civic engagement, and build solidarity across West Africa.
Like an Instagram bad bitch, rappers never seem to pass up on any opportunity to flex their flashy lifestyles with their money spraying music videos and ever glistening jewellery. Dwayne$tunna and Straffitti are however subverting the hip-hop trope on new single, “Runnin’ Outta Love” off Dwayne$tunna’s recently released 7-track, ‘Temporary Forever’ tape.
Rather than brag about their swag or some other flashy attribute, they tout their tunnel vision to remain focused while dealing with the everyday hassles of being rappers; “Had to cut some niggas off/ Had to cut some bitches off/ Gotta focus”. The sombre trap beat evokes lamenting lyrics from the rappers who take the chance to describe the challenges they’ve had to deal with while hustling to be better.
Listen to Dwayne$tunna and Straffitti’s “Runnin’ Outta Love” below.
Featured Image Credits: Instagram/dwaynestunna
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One of the many attributes that make Hip-hop so compelling is its ability to put listeners in an exhilarating mood. If you’ve seen what 808s and sub-bass bursts can do to a set of speakers, it’s easy to image rappers hear hip-hop instrumentals and get motivated to make music to soundtrack fight sequence with enemies they imagine in their minds.
The throbbing mix of 808 drums and synth samples that sound like vocal chants Wes produces for “Running Man” is the perfect alley-oop for Begho and Enzo Pe$o’s cocky bars. The two spit confident bars that paint a snapshot of their flashy ambition with lyrics that listen like their mission statement; “Imma be me, understand”. It’s the type of song that can add that extra peep to your step and put you in the mood to rage.
Stream “Running Man” below.
Featured Image Credits: Instagram/beghofromthematrix
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YCee’s didn’t officially announce his split up with the Tinny Entertainment till earlier this year. But hints of a rocky relationship with the people behind his affairs first surfaced when he went on a Twitter rant at FreeMe Digital and Michael Ugwu in 2017. Back, then he called out what he deemed a parasitic relationship between artists and middlemen who take a chunk of the music profits despite doing the least. His outspoken attitude reveals fresh concerns for artist-label conflicts in the age of streaming—when the digital distribution of the music is not directly managed by the artist.
YCee’s latest outburst was provoked by the CEO and Founder of his former Tinny Entertainment label, Arokodare Tinny Timilehin’s celebratory post for the label’s 100 million streams (across all platforms). He shared a rejoinder on IG to disclose some shocking truth about those numbers, stating that “Not a single dime generated from those streams got into the pocket of any of the artists responsible for the content that generated those streams” and “The only thing the CEO is grateful for is the fact that he has yet again, seemingly gotten away with profiting off other people’s sweat”. YCEE doesn’t feel compensated for the 6 years he spent at the label having had to give up his discography which boasts of hit singles like “Jagaban” and “Juice” to the label.
He later spoke on a live video explaining that speaking up came with a choice; he’d rather not be the typical Nigerian artist in a bad blood row with former management, but younger artists need to avoid his mistakes. YCEE warns greenhorn up and comers to avoid falling for the same unfavourable label contract deal as he did. According to him the mechanisms of the record industry are exploitative and detrimental to creative people. He also expressed concerns for former labelmates Bella Alubo, Dapo Turburna and others still contractually obligated to Tinny Entertaintainment.
Nigerian label-artists disputes are one of the most recurring controversies in the music industry. Tekno, Kizz Daniel, Runtown, and Iyanya have dealt with similar label issues in their careers. The story goes they had fallen victim to unfair deals as hustling young artists, that left them without any rights to the music they recorded while at the label, the money their music earned or the identity they had developed in Kizz Daniel’s case. YCee expressed some concern at the effect Tinny’s threat to leak his music could have on his coming project rollout, but the rapper remains confident, ready to go to court and clearly still confident in his talent and the fan base he has built. He reassured fans he is still recording new music consistently and the passion that drove him to start his career has not been replaced by cynicism as he even jokingly quotes lyrics, “You fuck me then you fuck me over, sey na you sign me?”.
With streaming services allowing artists have more control over their careers, record labels and distribution companies no longer hold as much leverage over artists’ careers as they once did; Bella Alubo is still releasing music regardless of whatever situation she might be in with Tinny Entertainment. Having exposed Tinny Entertainment as a mere burden to the finances of music talents, YCee promised his project will still be released as scheduled.
Featured Image Credits: Instagram/iam_ycee
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Streaming is revolutionising the way we listen to music and the way it is distributed. Artists can now make money by distributing independently of a record label which in the past used to be the main reason for signing a record deal. Now streaming platforms form the core of music distribution in 2019. For context, last year the Verge detailed how streaming now accounts for 75% of the music industry revenue, in addition, artists also now have the advantage of being in control of their own art and numbers. On the consumer side, playlists and digital radio are replacing conventional music discovery channels, and the experience of music itself is bearing a new technology-driven face. This bears some semblance with the emergence of hologram tours, an innovative merger of virtual reality and augmented reality tech that is looking to transform how we experience music concerts.
Yesterday, the estate of Whitney Houston and BASE Hologram revealed ‘An evening with Whitney Houston: The Whitney Houston Hologram Tour’ which will be taking place in 2020. Although there were reactions that raised the conversation around the ethical notion of respecting the deceased artists, this attempt to re-imagine hologram Whitney was not the first. In 2016, after footage of the late star performing a duet with Christina Aguilera at the Voice was leaked online, it was declared that hologram Whitney Houston was not ready for her live debut. This hologram tour will not be the first of its kind as in the last decade, the estates of other late musicians Tupac, B.I.G and Billie Holiday and even Pop Smoke have produced hologram appearances for fans and concert-goers.
Beyond the mixed reactions, hologram performances may be a hint of what the music concert experience will be like going forward. The Netflix series, Black Mirror, which is known to show instances of tech going too far also addressed this experience, with the latest season showing Miley Cyrus as ‘Ashley O’ going on tour, with the use of a hologram, after she is hospitalised. The episode is allegorical as it highlights the price of fame, using artificial intelligence and robots to raise questions about human agency. In the last two years, Coachella has doubled down on improving their global live broadcast for the music festival, with developments in VR and AR, we may be looking at a future where technology will redefine what it means to ‘attend’ a music concert.
It is too early to speculate however, ethical conversations like those surrounding Whitney Houston’s hologram tour may make the adoption of this new technology slow and unpredictable in the long term. Hard to say how well hologram concert tickets will sell if fans are spooked by the whole concept of a dead celebrity on stage. It is also possible we could see a merger of tech and humans, for example, a band will be performing behind hologram Whitney during her tour which adding a live element to the experience.
In response to the backlash, CEO of BASE technology, Marty Tudor, defended the holographic experience saying, ‘To me, this is about remembering Whitney’s body of work. There is a whole generation, including my son, who never had the chance to see Whitney perform, and it was important to me that they get that chance’. Others like R&B singer/songwriter Macy Gray have said we would just have to get used to this new concert experience as tech giants will utilise this to have concerts in different major cities at the same time.
Amidst the divisive reactions Blaqbonez inspired with his ‘Best Rapper In Africa’ brouhaha, a sure positive is that it served as a means for Nigerian rap enthusiasts to become acquainted with more obscure names. One of such names is Meji the Rapper, who became noticeable after his diss tracks aimed at Blaqbonez, “Blaq Out” and “100 Clowns”, gained some popularity. Hoping to leverage on his newfound notoriety, he’s just put out “Humble Son Cocky Bastard” as his newest single, a few days after performing it on Aktivated Sessions.
Brimming with fiery declarations, the single is a blistering attempt at a (re)-introduction, sans the initial controversy. “I know that you know I’m a prodigy/flow so crazy I need a lobotomy”, he gingerly quips on the second verse, a glimpse into the litany of clever bars that bounce between self-eulogizing and detailing his ambitions. Eerie piano loops and reverb-drenched 808 bass rumble underneath the raps, bolstering the magnetic persona Meji exudes.
Listen to “Humble Son Cocky Bastard” below.
Featured Image Credits: Instagram/
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Reminisce raps with an unquestionable conviction. While his previoussingles and features from this year have favoured his very capable pop-rap side, the rapper is taking no prisoners on his latest release, “OGB4IG”, reminding listeners of his longevity and assertively reiterating his iconic status over the menacing beat frequent collaborator Sarz produces. Between declaring himself the best rapper around, relaying his unshakeable street cred and a stunning bar referencing football pundit Graeme Souness, Reminisce delivers every lyric with a blunt force, amplifying the gritty quality of his voice, and ensuring that each bar is as gut-punching as previous ones.
Listen to “OGB4IG” here.
Featured Image Credits: Instagram/iamreminisce
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Whether or not you realize it, Ictooicy is one of the most exciting artists in Nigeria right now. Her catalogue merges all that is sacred about lo-fi, hip-hop and R&B, as she plays out her melancholia feelings through the honest introspection the genres’ encourage. Her latest single, “Dance With Me”, finds her teaming up with 808Vic to relish the pleasant moments spent in the company of a loved one and the idle time in between, when the attachment is waning; “We can take it slow, cause I don’t want to be alone”.
Riddiman produces the shimmering beat for “Dance With Me”, mixing slow and soggy synth samples that could have been lifted from the score of a Studio Ghibli anime. The airy instrumentals leave room for Ictooicy to switch fluidly from her melodic vocals on the song’s hook to deliver a rap verse, savouring the odyssey of romance even when the end is in sight. Though Ictooicy’s versatility is in full display, she leaves her characteristically meek impression intact with 808Vic taking the last rap verse after her engrossing hook.
Stream “Dance With Me” below.
Featured Image Credits: Instagram/icygram_
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A few seconds of SirBastien’s song is all it takes to get lulled into his universe. The producer/singer/songwriter uses soft percussions, rattling samples and a hypnotic dose of reverb to paint colourful scenes in his lo-fi universe that promises escape from everyday anxiety. For his debut project, ‘Mango’, he assembles a team of artists who have plumbed similar depths with their music as he features Jaya, Ilaye, DAP the Contract, AYLØ, Bio, Eri Ife, Lectrick, Keenah and Jinmi Abduls who bring their uniquely laidback variations of the slow-moving folk sound to his 9-track tape.
‘Mango’ opens with an atmospheric slow-burner, “Care”, which finds SirBastien comparing his lover’s beauty to the serene view of nature, singing “Your eyes glimmer like the star/ The light casts shadows on your scars” over the lightweight mix of percussion, synths, guitar harmonies, rattling samples and drum riffs. The next track, “From Me”, introduces featured artists, Jaya and Keenah, effortlessly fusing the rap verse from Jaya with Keenah’s soft cooing to fit the comforting sound of the twinkling guitars and laidback drums he produces with Saucy for the song dealing with the uncertainty in relationships. “Take You There” however returns the project to its pleasant mood with the slightly more upbeat tempo and romantic direction from SirBastien, Lectrick, and Eri Ife’s lyrics.
DAP the Contract and Bio join SirBastien on “Coffee Machine” where their chemistry is heightened by the slow-building acoustic melodies that evoke a sense of nostalgia and melancholy, despite the romantic lyrics addressed at their love interests. Jinmi Abdul also contributes a verse on “X Marks the Spot”, where SirBastien dives deeper into folk melodies to depict his melancholy in a soothing glow singing, “Sinking into the ocean, this emptiness in my chest/ You said you’d be the treasure, I can’t find the X” over a lightweight highlife instrumental he produces with Damiore. AYLØ assisted “Scars” builds the acoustic sound to a progressively more electronic sound, infusing clap samples and synths to embellish AYLØ’s mellow auto-tuned vocals as he joins SirBastien to sing praises of their lovers.
Ilaye’s soft vocals on “As We Dance” give ‘Mango’ a much needed psychedelic ambience as she layers intricate melodies to match the weightless instrumental and lyrics; “As we dance, I fall deeper”. It’s hypnotizing, escapist, and tranquil, but coils and curls into something darker as if speaking to the anxiety that comes with falling. The next track, “Wait” doesn’t try to dispute that fear as we hear SirBastien screaming out to a lover but his vocals echo like he’s singing into a void; “I’ve been calling/I’ve been so alone”. ‘Mangos’ closes with “Jaguar”, where he sings an entrancing chant over a dizzying mix of synths, percussion, and guitar riffs. Though the atmospheric universe ‘Mango’ evokes doesn’t shy away from the darker reality, it retains a comforting mood with the lightweight sounds oozing bliss.
Stream SirBastien’s ‘Mango’ below.
Featured Image Credits: Instagram/sirbastienmusic
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London-based soul singer/songwriter, Hamzaa made her NATIVE debut with her 2018 single “Stranded Love” which made it to the NATIVE’s list for “Best Songs of the Year So Far”. Since then, the prolific artist has been making headway in the UK, enough to impact the Nigerian music scene. Now she has put out the music video for “Sunday Morning”, a standout single from her recently released ‘Phases’ sophomore EP.
The song is an easy-going track which reflects a similar mood to the relaxed nature of a lazy Saturday morning. Though she performed the song with a live band and a choir when it was featured on Vevo’s Discover segment, the music video, which Ray Fiasco directs, finds Hamzaa matching her serene lyrics with shots of her kicking it back; from cooking for friends to reading a book to hosting friends at what we assume to be her London home.
Chimamanda Ngozi Adichie’s bestselling 2013 novel, “Americanah”, has just been selected for a straight-to-series order for HBO Max. Anticipation for the cinema adaptation of the book has been building since Lupita Nyong’o bought the rights to the film in 2014, hinting that she’d play the lead role of Ifemelu while David Oyelowo plays her high school love interest, Obinze. However, it seems plans have now veered in a different direction.
“Americanah” is set to premiere as a 10-episode limited series on HBO’s streaming service, HBO Max, which launches next year. And with Danai Gurira writing the pilot as well as serving as a show-runner, our favourite “Black Panther” duo is back together. Nyong’o is retaining the role of Ifemelu but it has not been confirmed whether Oyelowo will still play the role of Obinze.
The news has not been met with the positive feedback the team might have wanted though as Nigerians have taken to social media to express their discontent with the series casting. The issue seems to be that people are not happy about the Kenyan actress, Nyong’o playing the role of a Nigerian female of Igbo descent. Many suggested that there are a number of homegrown talented names in Nigeria which would be more suited for the role, others voiced the fear that Nyong’o may be unable to accurately represent the Nigerian accent, while others considered Nyong’o to be Hollywood’s default pick when casting African roles. Despite these comments online, the 10-part series is still underway; albeit with no release date in sight.
Naomi Campbell knows better than anyone that if you get famous for one thing, you’re allowed to do other things you might not be especially good at. Thanks to the supermodel and the Fashion for Relief charity fashion show she started in 2005 after being inspired by the late Nelson Mandela, Afropop’s ‘baddest girl’, Tiwa Savage made her runway debut on Saturday.
Hosted every year, Fashion for Relief supports many humanitarian causes around the world such as the ebola outbreak in Africa. The event is always well attended by the supermodel’s star-studded guest list who have been known to grace the catwalk. This year’s show featured stunning pieces, with vibrant colours and an array of feathers, fringe and tulle.
Tiwa Savage strutted down the runway, looking beautiful as ever, in a black and white tubed asymmetric dress topped up with a black shawl. The singer/songwriter spoke to Vogue about her experience on the runway, ‘It’s definitely a different experience from singing. It was very quick, and it’s not as easy as it looks… I just found out.‘ We are excited to see her make more appearances in the fashion scene.
ART X Lagos has gained an invaluable reputation as a worthwhile collage of events, since its launch three years ago. Aimed at showcasing the best and most innovative contemporary art from the African continent and diaspora, the organizers of the yearly international art fair have curated three acclaimed editions, and have now publicly detailed plans for a fourth edition, scheduled to take place at the Federal Place, Victoria Island, from 1st to 3rd of November.
A quotidian, highly anticipated part of the weekend is the music concert, ART X Live!, and like previous editions, three artists—WurlD, Lady Donli and Buju—are slated to take the stage. This year the show aims at celebrating some of Lagos’ emerging mavericks, and the selection of these three artists is apt, considering each pulls from diverse influence to make distinct and striking music. WurlD and Lady Donli released critically acclaimed debut albums—‘Love Is Contagious’ and ‘Enjoy Your Life’ respectively—this year, while Buju is slowly moving from cult figure to mainstream prominence, especially with the release of his Zlatan-assisted single, “Spiritual”. All three artists have expressed their excitement at being a part of ART X Live! 2019, as well as optimistic ideas of what to expect from their performances.
WurlD: “Lots of art, music and a fusion of both things. A lot of range, a lot of dance. I might even be performing some songs for the first time.”
Lady Donli: “Expect the enjoyment ministry of course, because all I’m bringing is the good vibes. I’m excited to perform some songs from ‘Enjoy Your Life’ for the first time”
Buju: “Amazing music, an amazing time, amazing vibes. Looking forward to maybe sharing some unreleased stuff.”
https://www.instagram.com/p/B19cVPFFDg0/
Lanre Masha, who curated last year’s ART X Live!, continues his role, while popular beatsmith TMXO will offer music production services. ART X Live! 2019 will also feature visual art by Dafe Oboro and Joy Matashi. This melding of music and art will be sure to create a riveting experience for attendees.
Although ART X Live! is an invitation-based event, hopeful invitees and attendees in general are urged to follow ART X Lagos’ social media and also check on their website, for frequent updates and a chance to win invites. Tickets for ART X Lagos 2019 will be on sale from next Monday, September 23rd.
Featured Image Credits: Art X Lagos
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Dennis is not an interesting person. Tweet Your Favourite Playboi Carti Songs at him @dennisadepeter
Fireboy DML comes up often in conversations about Nigeria’s next music stars. Despite only emerging into the limelight a few months ago, he has proven remarkably adept at milking his relationship experiences for songs his fans can relate to. After capturing popular zeitgeist with breakout single, “Jealous”, and then piling on the storm with another sweetly romantic cut, “What if I Say”, the YBNL singer is switching things up a little on his latest offering, “King”, going a more assertive route as he declares his worth to his love interest over a mid-tempo Afropop beat Echotheguru produces.
Singing “Bad boy wey you no fit use play game/I be king, ma fi mi sere” with the confidence of a boastful rapper, “King” listens like Fireboy DML is finally embracing his superstar status and the music video TG Omori directs depicts his acclaim through the flamboyant direction of the nearly 2-minute long clip. We see shots of Fireboy and his muse in a rose petal embellished Rolls Royce before he hits the gym to box then finally sings at a fashion show where models walk on a runway with simulated rain.
Watch the music video for Fireboy DML’s “King” below.
Featured Image Credits: YouTube/Fireboy DML
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You are meeting Debola at a strange time in his life. He wandered into a dream and lost his way back. Tweet at him@debola_abimbolu
Street-bred Afropop acts might be prone to ephemerality, but they continue to portray an upbeat attitude regardless. Case in point, “Popo”, a new single by Zinoleesky where the nascent singer celebrates his rise from the virtual underground, and confidently foreshadows his imminent break into mainstream territory. “Mans got a long way to go, and I go reach plenty place, shey you know?”, he enthusiastically sings in the song’s opening seconds. Between the reflective lyrics, his overall optimistic disposition and Shocker beats’ fast paced production, “Popo” is an absolute romp dipped in youthful exuberance.
Listen to “Popo” via Apple Music below.
Featured Image Credits: Instagram/zinoleesky
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Not too many songs in recent memory can incite the same visceral reaction as Santi’s “Rapid Fire”, especially when performed live. In the year since its release, countless clips of Santi performing the song have gone viral, showing the singer eliciting rapturous responses each and every time without fail. He recently brought that undying novelty to live music platform, Boiler Room, via their ongoing ‘Energy’ series which has already featured a diverse array of artists like BenjiFlow, Kojey Radical and Goldlink.
Following the essence of the ‘Energy’ series, where artists perform their signature track, Santi’s set starts off with an abridged version of “Murvlana”, the Tay Iwar-assisted deep cut off his stellar ‘Mandy & The Jungle’ debut album, before lunging into a raucous rendition of “Rapid Fire”. Assisted by a crowd of friends and close colleagues like Odunsi (The Engine), Genio Bambino and Zamir, the aura of the entire video is excitedly charge, as everyone loudly sings, riotously dances and generally rages.
Romance has always been dancehall’s calling card, but on Dani Draco’s latest release, “Trouble”, he bridges the gap between the blinding lust and trust issues to delivering a hypnotising love song for dancefloors fascinations. The lightweight beat he produces guides his melodic rendition as he finds the sultry middle ground between the rough-hewn aesthetic of Jamaican dancehall and the smooth sound of R&B.
Singing “The place too rowdy, I no go fit to dey another party/ Meet you in the lobby/All night got the bitches in the club looking sorry”, over the mix of the melancholy piano loop and guitar harmonies draped over a catchy drum riff, Dani Draco sets the dancefloor scene with his vivid imagery. But it’s the modulation of his voice, pushing it until it squeaks like sneakers on a basketball court that makes “Trouble” so captivating as Dani Draco shows off his variety of flows while approaching the beat from all sides.
Stream Dani Draco’s “Trouble” below.
Featured Image Credits: Instagram/dani.draco
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You are meeting Debola at a strange time in his life. He wandered into a dream and lost his way back. Tweet at him@debola_abimbolu
Mobelieve’s refreshing take on Yoruba Folk has gotten the singer some well-deserved looks, including an EmPawa-floated music video, and performance spots at this year’s Gidifest and the recently concluded Chale Wote festival in Ghana. Continuing with the pulse of consistency and uniqueness that foregrounds his work, his newest single “Omo Ase” flips the M.O behind the saturated lane of lust-driven Afropop songs, into something humorously profound but equally visceral.
Like any song built on a salacious premise, Mobelieve is quite straightforward, but the delightful twist comes with the innate colour his writing exudes. Delivered in a loose mix of English and his native Yourba language, he enhances the vividness of his intentions with quaint colloquials and clever, undisguised metaphor. “Omo ase lo fi s’eyin t’oba r’omoge (It’s the coward that moves back when he sees a beautiful girl)”, he mischievously sings over the EDM-inflected Yoruba folk instrumentation by go-to producer Olumba-lo-shey-beat, asserting his boldness while playfully teasing his muse.
Listen to Mo’Believe’s “Omo Ase” here.
Featured Image Credits: Instagram/mobelieve_
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Dennis is not an interesting person. Tweet Your Favourite Playboi Carti Songs at him @dennisadepeter
With his infectiously positive attitude and genuine free spirit, Ovie Soko captivated Love Island viewers all over the world this summer. Since he left the villa, it’s been uphill for him, and given how quickly he stole everyone’s heart, that should come as no shock.
Like all former Islanders, Ovie became a hot commodity for brands looking to attach themselves to the newly famous and highly influential Love Island finalists. We can all agree that Ovie was the hottest on the market, so, it’s only right for him to emerge with the most illustrious decoration in the history of Love Island: National Ovie Day!
Whilst we certainly never needed an excuse to celebrate Ovie, today is a particularly important occasion as it marks the country’s first ever Nation Ovie Day, which the British-Nigerian influencer quite literally celebrated in style. For the inaugural celebration of National Ovie Day, the new authority on bucket hats launched his artistic conceptual collaboration with fashion behemoth, ASOS.
Undeniably the most stylish gent to grace the Love Island Villa, it was a no brainer that Ovie was involved in the fashion festivities that come with the beginning of the fashion calendar. With fellow finalists Molly Mae and Amber recently announcing new collaborations with fashion brands, Ovie’s introduction as a designer in his own right was imminent, not to mention perfectly timed amidst the buzz of Fashion Week.
As a true Nigerian, Ovie is incredibly family-oriented. If it weren’t clear from how effortlessly he fathered Raymond Junior, his artificial love child with India during Love Island‘s infamous “Baby Episode”, Ovie’s new collaboration affirms that the Soko man is a family man before anything else. Paying homage to his father, Raymond (Senior), a stimulating artist known as PappiRay, whose studio served as one of Ovie’s playgrounds growing up, the Ovie x ASOS collaboration incorporates fractions from PappiRay’s most inspiring works.
Joined by the ASOS DESIGN team, Ovie’s collection began with him raiding his father’s studio, and culminates with him presenting his own interpretations of his father’s artworks, through the seven thought-provoking pieces that make up his debut collection.
Including bucket hats, sweatshirts and a few t-shirt designs, Ovie’s fashion debut sees him salute his origins – his dual nationality overtly influences the #message he conveys through the Western streetstyle pieces adorned with African inspired art.
Ovie’s ASOS collaboration will be going live in exactly a week, September 23rd, so to assuage impatient fans, the online retail powerhouse are giving fans a little insight into the budding tastemaker’s eye for fashion and his post-summer style, launching Ovie’s own Style Edit (shop here) — which includes ASOS items specifically curated by Ovie.
Creating his very own Ovie logo, again inspired by one of PappiRay’s paintings, we’ve got a strong feeling, and are fervently praying, that Ovie’s fashion exploits do not stop here!
It became clear for everyone to see that Naira Marley had the streets in a chokehold when he got arrested earlier this year, and the normally apathetic Nigerian fans went out in protest. He was eventually released and has since put out hit songs like “Soapy”, highlighting his knack for making rebellious anthems. His latest single, “Pxta” is a perfect distillation why his music is so appealing to his fans as he embodies the rebellious character traits conservative Nigerian society tries so hard to blacklist.
Over the airy mix of synth harmonies, percussion and a catchy drum riff Rexxie produces, Naira Marley preaches his oddball gospel on the obsession with ass (“Idi”) and several other life lessons picked up from the street his music nods to. Performing in his now trademark mix of English and Yoruba, “Pxta” is a posse cut of the unruly lifestyle of the Marlian community, and the music video Naya Effectz Visuals directs captures the good times the rapper and his crew are enjoying.
Watch the music video for Naira Marley’s “Pxta” below.
Featured Image Credits” YouTube/ Naira Marley
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You are meeting Debola at a strange time in his life. He wandered into a dream and lost his way back. Tweet at him@debola_abimbolu
