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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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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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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Nwaozo Obiajulu immortalized himself as one of the fondest rappers to come out of Nigeria when he released “Osondi Owendi”, featuring Flavour, under his MC Loph alias in 2009. The rapper’s career came to an abrupt end when he lost his life in a fatal car crash on the 14th of September, 2011, but the music he made remains evergreen.
Listening to “Osondi Owendi” today is a small journey into the past at a steady pace that appreciates the patience of artists who recognize music gets better with time. The song charms you with its utter simplicity, sampling Chief Stephen Osita Osadebe’s 1984 highlife record of the same title. At the song’s core is the relaxed guitar melody of the original highlife instrumentals, around which Flavour performs a captivating rendition of the Igbo classic while MC Loph adds plainspoken rap bars like “Make we dey flex/ If you dey vex, you be enemy of progress” imbibing an effortless ease to the celebratory song.
In a way, “Osondi Owendi” was our introduction to the pairing of artists harnessing their indigenous influences for distinct aesthetics; while Flavour’s retained the traditional melodies, MC Loph went the hip-hop route, rapping in a fluid mix of Igbo and English. Their lyrics and earworm melodies worked magic on dancefloors, but thanks to the cinematic music video that accompanied the song, we also see how it was an ode to the seemingly outdated highlife sound while wholly resonating in the hip-hop sound of their present moment.
It’s hardly a surprise his death was mourned so profoundly by the music industry with several artists offering their condolence and even recording tribute songs. 8 years have passed since MC Loph passed on but we continue to cherish his memory through the timeless music he gave us.
Stream “Osondi Owendi” by MC Loph and Flavour below.
Featured Image Credits: YouTube/Bongorep
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Social media is calling for an end to the indifference of the Nigerian police, towards the shocking news of murdered women in Port Harcourt. Over the past month, there have been reports that over ten young women were being murdered across Port Harcourt. The distinct style in which the bodies are found—asphyxiation with a white cloth bounded around their necks and legs—has raised suspicions that this is not a series of random murders. The growing assumption is that the incidents have been the work of a calculated killer, escaping police detection due to the lack of surveillance cameras in these hotels.
Over the weekend, female residents of Port Harcourt took to the streets and to the police headquarters in Port Harcourt to engage in peaceful protests for their deceased sisters. In response however, the state Commissioner of Police, Chuks Enwonwu narrowed the context around the murders to sex work saying “In as much as societal values degenerate, you need to go back to educate your fellow women and advise them against prostitution because they are the targets and victims of such crimes”. His comment reinforces a dangerous narrative that has left sex workers vulnerable to abuse and assault, sending the internet into an uproar and spurring the hashtag #ProtectPHGirls.
The Nigerian Police often comes under fire for general negligence and not following due process but this reality feels particularly jarring because there are consequences of a society presumably placing social values over injustice. Recommending impetuous social solutions about sex workers who are already underrepresented in Nigeria could potentially incite further violence against them. The result of this kind of ignorance could lead to a new range of anxieties from the possibility of inspiring copycat killers to unmetered crime against women in general. The assumption that only prostitutes go to hotels already tells a lot about how expansive this threat could become.
As at the time of this report almost bizarrely, there is still no official comment from Rivers state Governor, Ezenwo Wike on the murders. Optimism is difficult in these circumstances and some of the natural expectations is that beyond the authorities, women rights non-governmental organisations (NGOs) and agencies concerned can take charge. Please #ProtectPHGirls.
If you’ve ever wondered what a Black Coffe and Usher collaboration would sound like, you no longer need to. The South African DJ-producer and R&B veteran have teamed up to deliver a new song to soundtrack dancefloor romance, “LaLaLa”, while also establishing how timeless party songs can be.
The EDM baseline Black Coffee produces for “LaLaLa” transport listeners to the early 2010s when Usher exclaimed, “DJ Got Us Fallin’ in Love”. With the beat already evoking a sweeping nostalgia, Usher adds his sultry vocals, singing “You give me reason to light up the place/ You keep me going, keep me rolling, go without the breaks/ Bring back your love again”. The pining lyrics reveal a romantic sentiment at the core of the dancefloor-ready beat but it also seems a throwback to a time when you heard an Usher song and instantly imaged the possible dance moves he’d perform to the beat should the music video get released.
Stream Black Coffee and Usher’s “LaLaLa” below.
Featured Image Credits: Instagram/realblackcoffee
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Last Friday, British-Ghanaian rapper/visual artist Kojey Radical released his major label debut, ‘Cashmere Tears’, after months of build-up. Clocking in at half an hour, the project is a brisk and potent portrait of the rapper’s self-reclamation, using low moments as substantial references for his growth. In addition to his splendid, lived-in lyricism, the album is ushered along by plump G-Funk rhythms and jazz-indented flourishes.
‘Cashmere Tears’ mainly features vocals by Kojey, with Ghanaian singer Amaarae picking up the project’s lone credited guest vocals, adding her fairydust magic to standout track, “Sugar”. “I just want to take a ride on you, I just wanna slide on you”, she delicately sings over the swooning strings, wobbling bass guitar riff and explosive bass synths, setting the song’s sensual premise. While Kojey starts both of his verses seemingly intoxicated by a sexual encounter with his muse, reeling off a litany of descriptive raps, he pivots into contemplating just how temporary the act is as a coping mechanism. In this way, “Sugar” fits in as a confrontational part of the album’s overarching theme of growth, using sex as a metaphor for transience.
Listen to Kojey Radical & Amaarae on “Sugar” here.
Featured Image Credits: Instagram/
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British-Ghanaian artists, Eugy, features Wavy the Creator his latest single, “Hold Me Down”, and he maximizes the potential for their collaboration through the accompanying music video. While they perform their romantic sets over the highlife inspired beat Emile Laurent produces to a lightweight groove, Meji Alabi directs a colourful and flowery display, showing the artists and some models dressed in different fashionable threads.
Rick Ross – “Gold Roses” Feat. Drake
The history books have documented that every time Drake and Rick Ross get together in the studio, they make classic records. Their latest attempt, “Gold Roses” has all the markings of their sophisticated blend of brags and introspection and the recently released music video portrays all the glitter of their flamboyant lifestyles through the sparkling props of gold baths, chandeliers, grand pianos, beautiful models and huge pillars. Though Drake doesn’t cameo in the video and has his verse cut out from the song’s video, his chorus sets the brooding mood for the dark and pensive clip.
Jaywon – “Aje Remix” Feat. Barry Jhay, Lyta
Jaywon, Barry Jhay and Lyta teamed up for the spiritually motivated “Aje Remix” earlier this year. The fuji-pop trio have returned to give the song a deserving music video directed by Inioluwa Adesola, showing them performing their heartfelt verses in a suburban neighbourhood that highlights the folky direction of the song as they pray for blessings to have a better life.
Swae Lee – “Sextacy”
Rae Sremmurd’s ‘SremmLife 4’ is expected to drop soon but that elusive Swae Lee debut as a solo artist seems closer than ever. The singer released two singles, “Sextacy” and Tekno produced “Won’t Be Late”, featuring Drake earlier this year, stating that he’s already working on his solo album. He just shared the music video for “Sextacy” directed by Chuck Grant and Mike WiLL, detailing his intoxicating relationship with his model co-star Cenit Nadir as they drive on the highway in a vintage Corvette Stingray and sit poolside at their Malibu pad surrounded by flamingos. The video closes with a beach where Swae Lee pops a bottle of champagne and lights a joint under the night stars.
Afro B – “Go Dance” Feat. Busy Signal
As Afropop continues to grow a stronger brand to rival other international genres, London based Ivorian singer, Afro B keeps his foot on the gas as he continues to build his discography in the dancehall rhythm the sound supports. His “Joanna (Drogba)” song still goes in the club but his latest song expands his sonic palette to accommodate Caribbean audiences through the hypersensual lyrics and feature from Jamaican dancehall artist, Busy Signal. 300k directs the music video at a beach party set where women in sex body suits dance to the lightweight groove of the beat Team Salut produces.
“Jojo Rabbit” Trailer
Taika Waititi’s satire about World War 2, “Jojo Rabbit”, already won the people’s choice award at this year’s Toronto film festival and many expect it to also get Oscar nods. The film won’t be out in theatres till October but the trailer shows it’s based on a young boy in the German arm’s coming of age story after discovering his mother is hiding a Jewish girl in their house. With stars like Scarlett Johansson and Roman Griffin Davis and the director, Taika Waititi’s recent success with films like “Thor: Ragnarok”, it’s sure to be entertaining as we watch the comical sequences and dialogues when the young boy turns his idol, Adolf Hitler into an imaginary friend.
Featured Image Credits: YouTube/ FoxSearchlight
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Skales and Tanzanian singer Harmonize have worked enough times in the last few months to be tagged as close collaborators. Including last year’s “Fire Waist”, both singers have been on the same song three times, with their latest collaboration “Oyoyo” being the fourth time in the last eighteen months. In a classic case of not fixing what already works, the new single is split between their adulation for a muse’s physique and their intention to serve dancefloors all the way from Lagos to Dar Es Salam. In addition to flaunting their continued chemistry, the accompanying music video is a collage of dancers performing energetic moves, as a means of showing just how proficient the song should prove proficient in club settings.
See Skales & Harmonize in “Oyoyo” video here.
Featured Image Credits: YouTube/Skales
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From 2Face and V.I.P linking up back in ’06, to Ghanaian-originated dance crazes like the Azonto finding a second home in Nigeria earlier this decade, there’s a rich lineage of cultural exchanges and continued collaborations between both west African countries, so much so that it’s now commonplace. For his third single of this year, “Ololo”, Ghanaian Dancehall mainstay Stonebwoy traverses the same familiar bridge, recruiting Afropop’s Girl next door Teni for a spirited bop steeped in the genre’s romantic tropes.
Produced by iPaapi, who throws together a stomping blend of highlife guitar licks, summery piano chords and a rollicking percussion pattern, “Ololo” finds both artists expressing their lightweight sentiments in jovially assertive terms. The music video Prince Dovlo directs also does its part in capturing the spirit of song, including shots of Teni painting a portrait of a love interest (kinda), and Stonebwoy performing his lyrics in the company of models, under strobe lights.
Watch the video for “Ololo” here.
Featured Image Credits: YouTube/Stonebwoy
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International collaborations featuring Afropop acts have become frequent sightings, a noteworthy highlight being Beyonce’s executive produced ‘Lion King: The Gift’; which shone a light on Africa’s thriving music scene. Adding to that growing list is Nigerian singer Seyi Shay, picking up a guest feature from American R&B star Teyana Taylor, on the remix of her single “Gimme Love”, which had a Runtown feature on its initial version. Speaking exclusively to the NATIVE, Seyi revealed that the collaboration came together courtesy of her international team. “They believed it was about time we bridged the gap between female musicians in Africa and the United States so I of course, decided to champion it. I also love Teyana’s music, so it was quite seamless”, she says via mail.
“Gimme Love (Remix)” was released last week Friday, with no changes to the mid-tempo production by Afropop super-producer Sarz. However, there’s an accompanying music video shot in Teyana Taylor’s hometown, Harlem, and directed by Walu, under Meji Alabi’s production company, JM Films. The set of visuals show both artists intimately bonding with each other and their respective partners, depicting their highly sensual lyrics: ‘Baby don’t speak, let your hands do the talking’. In the last chorus of the song, Teyana and Seyi Shay deliver a duet where both artist’s distinct voices blend together seamlessly; exquisitely marrying both afropop and R&B.
Before becoming a housemate at this year’s Big Brother show, Avala prepared a generation of 90s babies for the festival lifestyle by inciting the House music-fueled mood for party rave-ups on her Juls produced 2015 hit song, “Crazy House”. She is however more concerned with her romantic feelings on her latest single, “Mo Fe Be”, where she admits to being blindly in love and doesn’t care what others have to say about it.
CKay produces the groovy beat for “Mo Fe Be”, setting a tropical dancefloor scene for Avala’s confessionals, “if na juju you dey use oh/ I don’t mind”. With her carefree lyrics mirroring the lightweight vibe of the beat, she gets away with edgy lyrics in the name of depicting the blind trust required in love. Fortunately for 90s babies, we’ve had enough experience of our own to know better than to take relationship advice from a song written for dancefloor audiences.
You can stream Avala’s “Mo Fe Be” below.
Featured Image Credits: Instagram/lookingforavala
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Regardless of individual perceptions of street-bred artists and the lifestyle they portray in their music, an irrefutable trait is the potency with which they document their stories. With a pseudonym clearly derivative of New York rapper Bobby Shmurda, you’ll win no prizes for guessing what Bella Shmurda represents in his music. The singer released his debut single, “Vision2020”, back in December, on which he describes the gritty circumstances around his ongoing hustle, while also cleverly indicting the Nigerian government’s continued neglect of underprivileged youth.
Picking up a monumental co-sign, he’s just secured a fiery verse by street-hop heavyweight Olamide. “A ma gba’we mo’ju, a ma j’eba t’abaji (We fast overnight then eat Eba when we wake)”, Olamide emphatically recalls over ID Cabasa’s nudging production, strengthening the song’s riveting quality. In its accompanying TG Omori-directed video, both artists energetically meme their lyrics, in the company of an enthusiastic posse, embellishing its intention as a street anthem for fellow hustlers.
See Bella Shmurda & Olamide “Vision2020” here.
Featured Image Credits: YouTube/BellaShmurdaVEVO
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The ghetto dream is very well documented thanks to the number of artists who have achieved success from their humble beginnings. Idowest secured his spot among the fortunate number when he became an overnight sensation off the impact of his street-hop hit, “Shepeteri”, which saw him get co-signed by Davido and go as far as featuring on Tim Westwood’s BBC “Crib Session”.
The rapper cemented his place as an established rapper with his criminally slept on EP, ‘Mafia Culture Vol. 1’, opening with “Ye Mama”. He just put out the music video for the song on which he narrates his less-privileged past; “Daddy mi sope awon olowo uni/ Uncle mi sope awon o raye story/ Mo wa di omo titi bi eni to fa poli(My dad said no money for college/ My uncle said no time for stories/ So I became a street kid like a drug addict)” The Lucas Ried directed music video opens with shots of Idowest smoking till an old woman starts to question him and eventually chases him out of the house. The video for “Ye Mama” celebrates Idowest’s growth to acclaim as he leaves the house in a red Chevrolet then hits the streets to perform the rest of the triumphant lyrics in front of his adoring fans.
Watch the music video for “Ye Mama” below.
Featured Image Credits: YouTube/Davido Adeleke
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Johnny Drille sings of love in the most idyllic sense possible. Instead of coming off as totally naive, though, his penchant for declarative writing, fervent melodies and live instrumentation create an optimistic yet lived-in aura for his music. On his new single, “Count on You”, the Mavin singer dials up the mushiness to an 11, professing undying love with lyrics that land between a marriage proposal speech and a wedding vow. “Baby, this is day one of forever”, he passionately sings on the mostly piano ballad.
Visualizing the song’s emphasis on eternal commitment, the accompanying music video for “Count on You” is built around scenes centred on Teddy A and Bam Bam, both ex-BBNaija contestants who recently tied the knot. The Timmy Davies-directed video follows an endearing sequence of romantic events, climaxing on the stunning proposal and wedding scenes. There are also frames of Johnny Drille performing his set both solo and for the couple, while suited up and playing the piano.
Watch the video for “Count on You” here.
Featured Image Credits: YouTube/MavinRecords
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At the beginning of this month, La Même Gang’s $pacely announced the impending arrival of his debut album, titled ‘Fine$$e or Be Fine$$ed’. The singer/rapper has now shared October 11th as the project’s release date, and has also unveiled its star-studded tracklist. Including the two pre-released singles from earlier this year, “Yenkodi” featuring BuMan and Odartei and “Yawa” with Kofi Mole, the project will comprise ten songs. With only one solo song, $pacely pulls in a diverse list of guest features from Ghana and Nigeria, including Pappy Kojo, Joey B, Cina Soul, Odunsi (The Engine), prettyboydo and Teezee.
Building up the anticipation for ‘Fine$$e or Be Fine$$ed’, he’s also shared a third single off the album, “Show Me”, in collaboration with Nigerian singer BOJ. On the new romantic single, both singers express their competence as lovers while requesting the same level of reciprocation from their partners. “Sweety mama follow me, show me love”, $pacely tenderly pleads on the hook, hovering over jazzy horn harmonies and gently propulsive drums.
You can listen to “Show Me” and pre-add ‘Fine$$e or Be Fine$$ed’ below.
Featured Image Credits: Instagram/spacely1z
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Before Wizkid became a household name in international publications, the Starboy already played a pivotal role in shifting the sound of the mainstream towards the smooth sound of Jazz fueled Afrobeat melodies that still dominates terrestrial radio. Chalk it up to Fela’s monumental influence, but Wizkid has had enough era-defining anthems of his own and for his latest single, “Ghetto Love”, he subverts Afrobeat tropes on his other compositions as he fuses dancehall melodies with the horns and chant samples Killertunes produces.
Though his romantic themed lyrics are predictably lightweight and dance-friendly, the music video for “Ghetto Love” expands the narrative to give a reminiscing approach that sees him reflecting on his journey to being a superstar. A presumed younger version of Wizkid is shown travelling around with his headphones on before we see him performing along to the lyrics in a makeshift studio. Wizkid is also seen performing in a more advanced studio, then with a lit-up background that seems to tribute his “Azonto” music video before the video closes showing shots of Wizkid as he climbs the stage to perform for his adoring fans in Jamaica.
Watch the music video for “Ghetto Love” below.
Featured Image Credits: YouTube/Starboy TV
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Different artists have employed several gimmicks to portray the hostilities of their reality in the music they make. On Vader’s latest single, “Ghosted”, he imagines a chaotic universe where he’s the hero and the villain, rapping over a synth-heavy beat that pulsates with a haunting aura that fits his dry vocals.
“And now these niggas tryna play me/ It’s all games till I come out spraying/ And now these girls tryna save me/ I just get me a blunt and tell the baby I’m ghosted”, he raps, delivering vivid imagery in each line with graceful control. Though the beat further embellishes the chaos in the world he imagines, it’s his confidence and composure that works the magic to make Vader’s “Ghosted” so compelling.
Listen below.
Featured Image Credits: Instagram/thelastsithlord
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