In an increasingly singles-driven market, artists aren’t really pressed to put out projects speedily. Case in point, Issue 3 cover star Teni, who’s just announced the imminent arrival if her debut EP, titled ‘Billionaire’. This move comes on the back of a hugely successful breakout year in 2018, in which she stacked hits after hits, and a follow-up year that has been a bit less heralded so far, but is stillremarkable.
In addition to revealing the EP title and a dapper picture of herself as the cover art, she also provided an October 11th release date for the project, with its title track scheduled for release as its lead single on October 4th. The tracklist for ‘Billionaire’ hasn’t been made public yet, but we’ll be sure to update you immediately we know more.
Hip-hop has always been one of the more competitive genres with beef being a part of the genre’s culture. Though rap beef in Nigeria rarely ever escalates to violent extremes, the rivalries still exist, heard in subtle jabs, name drops on records and even social media subs. Prettyboy D-O and Blaqbonez seemed geared for battle after D-O called out Blaqbonez on Twitter, accusing him of mimicking his flow on new single, “Shut Up”.
Tell a man shut up ?
If you want to sound like PRETTYBOY, make you feature PRETTYBOY @BlaqBonez 🎯
Though the tweet comes across as aggressive, it’s completely in line with the brand Prettyboy D-O has been building as an artist who shoots first and asks questions later. Singing “And if you wanna pull up, better make you shoot us/ and if you’re going to shoot us, better make you kill us” on “Pull Up”, featuring Santi, he’s exactly the type to challenge Blaqbonez so provocatively on the timeline. It’s the same aggression heard in his mix of patois and street-inclined raps that gives his voice such a distinct slur that lets his music stand out and makes “Shut Up” listen like a loosie that didn’t make the cut for D-O’s impressive ‘Everything Pretty’ project debut.
Sounding like D-O with his attempt at creating a Jamaican ruffian persona for his Boombastic alter-ego offered D-O the perfect chance to flex his famous biceps. But it’s hard not to consider the purely promotional implications of such a move. Hip-hop enthusiasts have spent the last couple of weeks debating the necessity of rap beef for sparking the interest of mainstream audiences that are perhaps more entertained by the drama than the actual music. The rap scene has seemed a warzone with diss tracks dropping nearly on a weekly bases following Blaqbonez’s boldfaced claim to being the best rapper in Africa. Naturally, this makes Blaqbonez an easy target for others who consider themselves more deserving of the title he coined as the tentative title of his coming project, ‘BRIA (Best Rapper in Africa)’.
The publicity the tweet has generated will certainly reflect nicely on the engagement for Prettyboy D-O’s anticipated “Dem Go Hear Wehh” music video and even Blaqbonez has only gotten more renowned with every artist that takes him up on his challenge. Not to mention, the phrasing of Prettyboy D-O’s tweet, “If you want to sound like PRETTYBOY, make you feature PRETTYBOY”, reads more like an ad to spotlight the two’s previous “Nike” collaboration, off Blaqbonez’s ‘Bad Boy Blaq Re-up’ project, than a diss meant to cause any major conflict. And there’s also something to be said about Blaqbonez’s vehement role-playing as Mr Boombastic when he was interviewed about the tweet on the “F&S Uncensored” podcast and wouldn’t break out of his alter-ego character, making a joke of the whole uproar.
Regardless, the effect this tweet has on the trajectory of both artists can’t be measured just yet. So until we have more, we’d have to file this under the same ‘developing story’ pile stories like last year’s rumoured romance between Wizkid and Tiwa Savage sit, gathering dust.
Featured Image Credits: Instagram/prettyboydo
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“Baby, why’s it been so long? You ain’t hit my phone no more….”
DAP The Contract opens up his first solo release of the year with a question that could be levelled at him by his own fans. Since his pulsating November offering, Everybody Falls In The Summer, he’s touched based at home, performing at our NATIVELAND Festival; gone on a North American tour; and moved from New York to Amsterdam.
As he has successfully balanced back-to-back Ivy League education experiences, DAP has found himself moving around more than ever. While some could use this as an excuse for minimal output, the producer-artist from Lagos has used this as a fuel for experimentation, which birthed the Contract Thursdays series. In between full length projects, DAP has used the series as an outlet for trying to new sounds, telling raw stories, and sharing key moments of his growth as an artist and as a man with his fans.
“PRISMCOLORS”, the first release from Contract Thursdays III (which will be premiered exclusively on The NATIVE) is rooted in DAP’s teenage years as a budding producer in London. Hard hitting drums and soulful breaks provide the bed for the two potent verses directed at an ex-lover who is struggling to come to terms with DAP’s growth.
DAP is currently preparing for the European leg of his Everybody Falls Tour, with the first date in London at Show Dem Camp’s Palmwine Festival.
Ghanaian neo-soul princess, Amaarae has a handful of singles and her debut EP, ‘Passionfruit Summers’ under her belt. Adding to the mix, she has been teasing a new single, “LIKE IT” for over a week on her social media. The singer/songwriter took to her Instagram to share a series of photos which featured both male and female models, clad in seductive fits. Among the teasers released by the singer are video clips of what appears to be an exclusive brothel where seductive dancers offer lap dances to the men who frequent this house. We can only guess these will be the visuals for her latest sex-positive single.
Rvdicalthekid is credited with producing the hypnotic dream-pop synths infused with drum riffs that supports Amaarae’s silky vocals on “LIKE IT”. Amaraae performs a dreamy, romantic set with underlying sexual tones. ‘Plenty paper, so baby throw it back like its no chaser‘ she sings, alluding to the series of photo clips on her social media of the delectable dancers. Amaarae, known for the fairy dust magic she brings to songs, continues in the same feat as she questions the object of her attraction singing, “Do you like it like I like it”, as her vocals fade out to create a hazy laidback and suggestive tone.
It’s so hard to pick a favourite D’Banj song because of the sheer number of hit songs the Koko Master has churned out over the course of his successful music career. “Gbono Feli Feli” has however persisted as a fan favourite with several artists channelling the energy the song inspires to score hit songs of their own. M.I’s remix, “I’m Hot (Gbona Feli)”, asides establishing his rap prowess, helped the Jos boy cross over to more mainstream acclaim.
Kida Kudz might no longer need the sentimental aid M.I did back in 2009, but he samples D’Banj’s “Gbono Feli Feli” hit for new “Past Tense (Freestyle)” single as if to show his appreciation of the Afropop classic. Embody the charisma required to carry the bouncy beat Don Jazzy produced, Kida Kudz performs a confident set in his signature ‘Jiggy’ flow, rapping about his climb to acclaim.
It was not long ago that Laila Cadne’s atelier social media debacle graced our timelines. Every so often clashes like this happen in the creative industry where credit is not given to those who serve as our inspiration.
Despite this, Laila Cadne continues to amass a great deal of clientele who she adorns in her unique editorial makeup. Speaking to the NATIVE, Laila reveals that her love for makeup began in 2014 following her teams success at Fayrouz L’original Competition. She was originally more interested in visual arts, however, living with a mother who was a distributor of Mary Kay products helped her nurture her talent for editorial makeup.
https://www.instagram.com/p/B1qSYR9lRcs/
Among the faces she has beautifully made up over the years include singer Gigi Atlantis, who she worked with for a promotional shoot, adorning the singer with pink graphic liner, purple highlighter and gems. The collaboration was seamless, as Laila was able to bring Gigi’s mood board to life and it followed the same editorial direction Laila was used to. Her use of gemstones is far from being Euphoria-inspired, she makes known over the phone, she has always played with gemstones in her profession as an editorial makeup artist, way before it hit mainstream media in the hit tv show, Euphoria.
She has also worked with model Aduke Shitta-Bey, the muse behind her internet famous editorial S’Oge, which was inspired by her desire to juxtapose vintage with the modern style. According to Laila, S’Oge is the millennial woman who is decorated with accessories and makeup that are from the 80s; made clear with her micro-thin brows and native attire.
Her fascination with combining vintage and modern styles also translates in her other editorials; her experience with Denola Grey was strikingly similar. She combined the gold flakes editorial look with his native attire for the model’s D.R.O.M.P. visuals. Working with male features did not prove difficult, as she was able to bring his vision to life with the use of a gold mask and flakes that fell away from the face to mimic the wind.
Laila Cadne is a prolific makeup artist, and always looking to expand her clientele and take on new projects. When I ask her about her future plans for her brand, she excitedly announces her plan to keep creating mind blowing editorial look that will help shine spotlight on makeup in Africa. ‘I reach out to people if their essence matches the ideas I’ll love to create’ she reveals, as she would rather curate makeup looks then later source for a muse which can bring her looks to life.
Nonso Amadi continues the rollout for his latest project, ‘Free’, with a new music video for the first track, “Never”. It’s the second video from the EP, following the release of the music video for Mr Eazi assisted “Go Outside” a few weeks ago, but Nonso Amadi seems more leisurely here with the video only being shared on his Twitter and Instagram pages.
The nearly 2-minute long video is directed by AJE Films who captures the mellow mood of the song with a scenic setting that places Nonso Amadi alone by the sea. The waves of the ocean, flying birds and some vegetation are his only audience while he pours out his heart over the melancholy beat Dawa Suya produces for the reflective number.
Olamide has maintained an enviable command of mainstream music attention both as a rapper and as a pop singer. It’s a feat he has managed thanks to his adapt street sensibilities, making songs the average Lagosian can relate with. His latest single, “Pawon” already had all the marking of another hit from the YBNL artist with its celebration of the festive Yoruba culture, but the music video he just released puts it beyond any reasonable doubt.
TG Omori directs the music video for “Pawon” in a Mad Max-esque setting where women are seen twerking to the catchy beat Cracker Mallo produces. While Olamide performs his encouraging lyrics, “All my sexy ladies, Pawon(Kill Them)”, the dancers entertain the men who are clearly ready to spend all their cash on the show. Conservative society might frown on erotic dancers, but Olamide appreciates the mesmerising power dancers wield, and seems to be inciting them to go forth and conquer the world.
Watch the music video for “Pawon” below.
Featured Image Credits: YouTube/OlamideVEVO
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Tau Benah opens his latest single “Young Woman”, singing “Hey young woman, young woman, you are the man”. The political statement his follow-up line—“I’ve been trying to get you to overstand”— subtly implies, makes his quirky wordplay more striking.
No surprise there though, as this is the same hybrid producer-rapper-singer who gave us last year’s Honey EP, a collection of lithe songs about guilty pleasures, rendered with colourful food-infused sex references.
“Young Woman” is another show of Tau Benah’s ability to entertain, using intimate subject matters reflected in grander narratives about the most important things in life. In the accompanying video, poignant greyscale images take viewers through the growth of a young woman into motherhood. Tau Benah himself said the single was inspired by current events in his life and a new-found awareness of the role women have played in it. “Young Woman” is a song to celebrate these women, and more so to speak of a personal value I cherish – the love for our Mothers”, Tau Benah says.
On the second verse, Tau Benah assures a young woman, the world is hers, rapping about devotion, promising to “Never disrespect the force, the final miracle, the light”. In these confident lines, Tau Benah’s new single could pass off as a sentimental ode to eternal youth and divine femininity. As a serendipitous commentary of recent events, “Young Woman” is commemorative of 16-year old climate change activist Greta Thunberg, making global headlines for demanding positive action towards earth’s survival. If there are still doubters of the strength and resilience of womanhood, perhaps Tau Benah will make a soulful reference point.
Stream “Young Woman” via Apple Music below
Toye is Editor-at-Large at NATIVE Nigeria. Tweet at him@ToyeSokunbi
It’s always nice to see artists taking pride in their heritage, and going the extra mile to display it in full. On their latest single, “Yoruba Ni Mi”, rap-indented, Afropop collective Street Billionaires gleefully tap into their South-West Nigeria heritage, as though it wasn’t clear enough.
The Chocolate City-backed quartet— Gbafun, Candy Bleakz, Ijay and Lemon Adisa—have always performed their songs in their native Yoruba language, both solo and as a group. On “Yoruba Ni Mi”, they embrace ethnic quirks that they are prideful of, using them as markers for a boastful banger, touting their street credibility and affluence over DONL37’s percussive beat.
Picturing the song’s motives and groovy elements, Ifeoma C.S directs an accompanying video that features each SB member styled in colourful Adire (tie & dye) outfits, simulating the lyrics in the company of similarly-dressed dancers and drummers with talking drums. There are also shots of local food being prepared, local citizens and Danfo buses, displaying the inner city life that clearly inspired the song.
See Street Billionaires in “Yoruba Ni Mi” below.
Featured Image Credits: YouTube/Street Billionaires
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With album titles like ‘King Of Queens’ and ‘Mama Africa’, it isn’t difficult to glean that Afropop superstar Yemi Alade moves with conviction. The singer very recently released ‘Wonder Woman’, her fourth studio album in five years, and she’s currently circling attention back to it. A few short weeks after putting out a music video and a short film for “Home”, she’s now shared the video for the album’s second pre-released single, “Give Dem”.
Prancing over the club-ready production by Krizbeatz, Yemi Alade performs a playfully charged set aimed at getting listeners to dance, while also hyping her proven ability as a hit-maker. Clarence Peters directs the music video for “Give Dem”, and while it contains the recognisable traits of a Yemi Alade video—energetic dance moves—the singer’s diva persona is given a twist, via the striking styling and her carefree attitude all throughout
Watch Yemi Alade’s “Give Dem” below.
Featured Image Credits: YouTube/Yemi Alade
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The nationalist campaign for Brexit in the UK doesn’t seem to have affected the cordial relationship with Nigeria. Tobes44 and Atlanta based Nigerian singer, Zarion Uti, keep up the national alliance with their new collaboration, “Double Dutch”, where they show off their confident rap bars and charming command of Nigerian and UK quips.
Telz produces the mid-tempo beat for “Double Dutch”, blending the sinister base drums of grime with the catchy synth harmonies that make Afropop so melodious. While Tobes44 raps his cocky verse using a very distinctly London slur in his vocals, his lyrics reference a Nigerian dish, “fine girl with the yam, just let me pound you”. Zarion Uti’s hook might have the confident swagger of a rap verse, but his melodic performance in Afropop’s groovy flair is proof of the sounds genre-bending can accomplish.
Stream “Double Dutch” by Tobes44 and Zarion Uti below.
Featured Image Credits: Instagram/tobesff
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Last week when “Shut Up” was released, the antagonistic lyrics painted Blaqbonez’ alter-ego to be quite the ruffian. Fusing his rap with a Jamaican patois slur made him sound especially menacing with his bars, bragging and G checking his competition.
The 100 Crowns rapper has released the accompanying music video for “Shut Up”, imposing Mr Boombastic’s threatening persona with a graphic music video directed by TG Omori to highlight his intimidating presence.
The music video follows Blaqbonez with his goons clad in white dresses and carrying machine guns. Though they cut very terrorising poses as Blaqbonez’s bodyguards, Blaqbonez appears even more intimidating, lip-synching his cocky bars with a scroll on his face while two of his supposed opps dangle from the ceiling.
Watch the music video for “Shut Up” below.
Featured Image Credits: YouTube/Blaqbonez
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Missaei and L.A.X have teamed up for a catchy new single, “Bad Boy”, a song about the raunchy intentions of lovers on the dance floor. Produced by Clemzy the delightfully lightweight beat is set to a groovy rhythm with familiar drum riffs, synths and piano harmonies that take us back to early 2010’s Afropop.
Despite the “Bad Boy” title, both singers perform different choruses addressed at the opposite sex; “Bad boy (girl) you need the love” they sing. This gives the song a sensual call and listeners who enjoy music with personal significance on dance floors will appreciate.
Stream “Bad Boy” below.
Featured Image Credits: Instagram/Missaei
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Released in 2006, “E Be Like Say” is one of the first laid bricks in the cathedral of 2Baba’s mythology. Though his ‘Face 2 Face’ album debut already laid down the foundation for his socio-political agenda, it wasn’t till two years later when he released the followup project, ‘Grass 2 Grace’ that 2Baba’s name (then 2Face) was solidified as a legitimate pop star with a subversive message.
He has since continued to put out politically conscious songs, recently getting commissioned by INEC for the “Not For Sale” campaign song during the 2019 elections. But what makes “E Be Like Say” so distinct is how it transcends eras to become timeless political expression. Like any of his best songs, he places beautiful songwriting into mortal conflict with bitingly cynical lyrics that could be addressed at an unfaithful lover; “Looking back through all the years that you and I have spent together/ It seems like you’ve been playing me all along”. It’s a gimmick that worked to make the song more compelling and stirring for listeners who could relate with his feelings of being let down by a government he had put his trust in.
In the scheme of things today, 2Baba’s “E Be Like Say” is a brick through a window that doesn’t look any less brutal. These past few weeks have been rather rough on Nigerians with the Xenophobia attacks on Nigerians in South Africa, the government’s proposal for an increment in value-added tax which translates to a higher cost of living and news of a serial killer taking lives of women in Port Harcourt. Though the police have paraded a suspect, Mr Gracious David Wes, as the convicted murderer for the killings, it’s only natural to retain a healthy dose of scepticism with the reveal coming so quickly and without anything to indicate that due process of investigation was followed before he was convicted of the murders.
It’s just like the memorable lines from the song, “E be like say you want to tell me another story again oh/E be like say you want act another movie again oh/ E be like say you want to code another coding again oh”. 2Baba recognizes how hard it is to trust a government that never seems to fail to disappoint.
Stream 2Baba’s “E Be Like Say” below.
Featured Image Credits: Instagram/official2baba
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Like most, Love Island viewers, my summer nights were spent meticulously studying the Villa’s most handsome contestant, and if my carefully curated timeline of like-minded women on Twitter is anything to go by, I was not alone.
Not only attracted to his tantalising physique, I was mostly occupied with Ovie’s emotional intelligence, coupled with his care-free demeanour, with the added bonus of standing at 6 ft 7 inches!
As a closeted misandrist, men quite frankly abhor me, however, since the six-foot-seven professional basketball player first graced British TV screens on thesummer binge sensation, the game was drastically changed, and with it our expectations of other men.
I’m going to go ahead and give credit to Ovie’s parents for the all-round flawless human being they nurtured. A London native, Ovie Paul Soko was raised by Nigerian parents, mother, Foluso and father, Raymond, who both instilled the core cultural values from our nation in their young boy, which has helped shape the man he is today. Recounting the ideals his parents trained him with, Ovie kicks off with one of the most important mores to a Nigerian: respect
“Respect for people is one of the first things on that list, it has definitely helped me appreciate everyone around me”
Whether it’s watching him offer advice to every other Love Island contestant, or observing his effervescent interaction with demanding fans, Ovie’s respect for others, and humility when it comes to interpersonal relations, is unbridled. It’s this amiability that attracts Ovie to all those with whom he interacts, and his unique ability to make everyone around him feel cherished, that sets him apart as a human being.
Another inviting quality of Ovie’s, one that he in fact believes endeared fans to him the most, is his genuine character. Ovie is always himself, thanks to his professional training as an athlete where he mastered the requisite adaptability for him to comfortably express himself, regardless of the situations he finds himself in.
Self-awareness, self-confidence, self-assuredness, and all things to do with knowing and being unapologetically yourself, are some of the most difficult qualities to master. I, for one, have very little confidence in anything but my physical appearance, and when it comes to any other aspect of my life, I am riddled with self-doubt. For all those like me who aren’t confident in who they are, and/or don’t know quite how to confidently be that person all the time, Ovie Soko is here to tell you –leading by example of course–that being you is the best, and only way to be.
“My ultimate goal [with all this success] is to be a good example, to help out where I can and hopefully show people that being yourself can get you a long way.”
Since our very first introduction to him at Casa Amor on Love Island‘s day 26, Ovie has been setting a strong example for everyone watching, especially for his fellow men. Though he’s spent a good few years within the hyper-masculine borders of gender-segregated professional sport, and was raised with an appreciation and understanding of Nigerian customs (inadvertently opening him to persisting colonial cultures that breed rampant misogyny in various aspects of a Nigerian’s life), Ovie Soko doesn’t fall into the typical pits of toxic masculinity that both realms teach young black boys. Quite the contrary, Ovie seems to be living his life free of the constraints of societal expectations and outside of the box, so to speak.
On National Ovie Day, I was fortunate enough to get first pickings of my timeline’s dream husband, as I joined him, and the ASOS team to celebrate the inaugural event. Here unveiling his debut collection in collaboration with ASOS (now available to shop here), Ovie revealed his affinity for thinking outside the box, and his heart’s desire of living in a world that does not constrain who we are; a world without borders, and other rules of identity. Also packaged neatly in an ASOS delivery of the “A World Without Flags” sweatshirt, these ideologies are firmly rooted within Ovie himself, grounded in his strive for “Peace & Unity” and love amongst fellow human beings.
So, in addition to being impossibly handsome, infectiously cheery and extremely rational, Ovie also stays woke when it comes to global affairs, weaving his socio-political views into his creations, as opposed to plugging his ears when political matters are brought up, like some of our well-respected cultural icons have done in the past.
As I confessed earlier, I am well on my way to misandry. So, complimenting my initial shock that a man kept me ogling at my TV screen for however many weeks, came my sheer surprise that this same man embodies all the characteristics I would associate with an exemplary human being.
My expectations of men lay pretty low, but now, I have the knowledge that such a man as Ovie Soko exists – I promise you he really does, I have physically touched him – I have now raised the bar to the tune of 6’7, and I implore everyone reading this to also lift their standards of what they expect from people (man people in particular). If Ovie can be so effortless in his flawlessness, the least the rest of us (read men) can do, is be decent.
Preyé Itams has become our self-prescribed poster child for realising your worth and walking away from toxic love and relationships. Her 2018 single “Cookies” is a neo-soul R&B post-break up song which literally screams Fuck-You-I’m-the-Shit, and sets the tone for “SPACE”, a collaboration with Soulsection artist, Tay Iwar and Santi on needing space from your lover.
Now, her latest single “Love Fumes”, released last month, follows in the same trend; on which Preyé raps and sings about leaving a Cassanova. In the music video, directed by Atide Studios, Preyé is first seen arguing with her lover played by Deime Inn on seeing messages from another woman on his phone. However, this anger quickly diffuses as Preyé realises her worth, and unapologetically leaves her toxic lover who searches frantically for her in an amusement park.
With the release of his “Audio Money” single earlier this month, Rudeboy tilted away from the romantic inclination of his preceding sleeper hit, “Reason With Me”, offering socially relevant commentary this time around. Backed by the Igbo Folk-inspired production from Lord Sky, the singer mocks the increasing need for people to present picture perfect lives, while also highlighting the role social media continues to play in fostering the fake life ideal.
Depicting his derision, Rudeboy has now shared an accompanying music video that features him donning a firefighter outfit for symbolic purposes. The metaphor is quite clear, though, as the video follows the singer and his similarly dressed posse, going around to physically extinguish virtual pretenders, one at a time. With the use of elaborate props and an identifiable narrative arch, the video for “Audio Money” continues Rudeboy’s commitment to striking visuals.
See Rudeboy in video for “Audio Money” below.
Featured Image Credits: YouTube/RudeboyVEVO
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There are few better things in hip-hop than two emerging stars from radically different scenes bringing their unique flows together. On “Pads”, Dubai based rapper, Seki SuperVillain (formerly Izzy) and Young Gaby combine their trap flow with Prettyboy D-O’s menacing street rap style. 1TakeNnandos laces the trio with a dark instrumental that has the pensive energy of a cathedral procession with bouncy trap drums layered over haunting synths.
Seki SuperVillain’s laid back vocals shine with his tough-talking lyrics fueled by the effortless flow. Prettyboy D-O verse, however, stands out with his distinct blend of patois, Afropop and rap serving as a testament to the hustler ambition he sings of in his verse. Young Gaby’s closing verse is shorter than the others but his fast-paced flow gives him room to drop just as many bars to defend his right to be on the boastful track. With each artist’s unique delivery highlighted, “Pads” is an indicator that international collaborations don’t have to come at the cost of sacrificing style. The song features as the second track on the Seki SuperVillain’s newly released self-titled ‘Seki SuperVillain’ project which also features other international act like Danish rapper, Noah Carter.
Stream “Pads” by Seki SuperVillain, Young Gaby and Prettyboy D-O below.
Featured Image Credits: Instagram/seki_supervillain
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In full flow, DMW resident rapper Dremo is an impressionable artist. While he may not capture that form consistently, it can be undeniably striking, like his scene-stealing verse on UK-based, Nigerian artist Linosz’s new single, “Kakiri”. “I make money count, no be the type wey dey your bank account”, he cracks in the opening seconds, setting the stage for a song brimming with brag-fueled lines. Delivered in an infectious mix of assertion and jest, Dremo’s lyrics are coated in an unbothered cool, further embellishing the glossiness of his sticky hook. While he wisely cedes majority of the song to his guest, Linosz also chimes in with a verse filled with like-minded boasts. Adey produces the groovy beat for “Kakiri”, making it a worthy contender for DJ sets at both radios and clubs.
Stream “Kakiri” via Apple Music here.
Featured Image Credits: Instagram/linosz.apg
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With or without winning the grand prize, a significant number of the contestants of the popular reality TV show, Big Brother Nigeria, try to leverage their newfound ubiquity into careers in the entertainment space. 2017 edition winner Efe made it clear that he would return to pursuing a career as a musician—he’d released an EP in 2016 before entering the BBNaija house. Shortly after, that decision started to garner negative reactions from fans and critics alike, following a string of sub-par singles and an unremarkable EP, ‘Am Sorry Am Winning [sic]’.
Regardless, Efe has stuck to his guns in the face of unfavourable criticisms, and it looks like it might just be paying off. Earlier this year, he put out his giggle-inducing “Scammer” single, with a guest feature by ‘Best New Music’ alum Tulenkey, and late last week, his appearance on online performance platform, Aktivated Sessions, made the rounds on social media for his vividly improved abilities. As a marker of an ongoing renaissance, his newly released single, “Campaign”, serves as the best song Efe has put out yet.
The xylophone riff and bouncy, mid-tempo drum pattern WXLA produces, elicits a vibrant tone for “Campaign”, while serial hook killer BOJ, opens with a rendition of the catchy hook referencing Efe’s unyielding ambitions. Following the already laid out, colourful ethos, Efe delivers his rapped lines with an assured cadence, but amidst the streetwise quotables, he quickly bends the song back to accommodate contemplative quips, that ultimately hinge on overcoming self-destructive behaviours induced by responses to his music. “Na so I come dey booze just to clear my bruise/but i thank God for my life o, there’s so much to live for than to die for”, he merrily raps. Nigerian rap veteran Ice Prince completes the line-up, contributing a similar-minded second verse, grounding his come-up story with anecdotes about initial doubters.
