NATIVE Exclusive: Muyiwa Awosika’s ‘Harmattan’ is a gripping tale about survival

Posted on by Uzoma Ihejirika

Written by Uzoma Ihejirika.

In Muyiwa Awosika’s latest short film ‘Harmattan,’ a group of young recruits are vying for a spot in the Nigerian army when they are stung by a scarcity of water. In the face of adversity, each character embarks on a journey that results in a confrontation with their fears and flaws. Warri (Riyo David) and David (Chibuikem Chris) are the lead characters whose paths intersect, morphing from allies to enemies—both victims of the strict, rigid and soulless atmosphere of the training camp. ‘Harmattan’ which premiered at the recently concluded African International Film Festival (AFRIFF) is a story steeped in Awosika’s interest in the dark side of people.

“I have noticed that in situations or environments where there is a scarcity for resources, a scarcity for opportunities or any sort of scarcity, it brings out the survival instinct within people, and that survival instinct can completely trample on the other person,” he shares with the NATIVE. “And I think especially being Nigerian, you see that a lot. In a situation where resources are scarce, you get a lot of desperation, and a lot of behaviours which arguably wouldn’t be there if it wasn’t for that scarcity and that’s completely top-down and bottom-up.”

 

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The idea for ‘Harmattan’ came to Awosika’s mind after his own personal experience at the mandatory one-year national youth service, required of all Nigerian university school leavers and graduates. Awosika had served in Adamawa State; there, he befriended a military drill sergeant who piqued his interest. The drill sergeant, too, took a liking to Awosika. They spent their time in conversation, with the drill sergeant recounting his life stories: he had only joined the army because they offered to fund his university education. Through his friendship with the drill sergeant, Awosika earned him access to other officers in the camp and soon began studying their methods and way of life.

Awosika reminisces fondly about this period in his life and shares that going into service in Adamawa and interacting closely with armed officers gave him a different perspective. After his service year in Adamawa, Awosika, who kept in touch with the drill sergeant, returned to Lagos but the stories of water droughts and food scarcity in military camps he heard and the activities he witnessed at the Adamawa camp spawned the idea for ‘Harmattan.’ “I was like, ‘What would happen if these groups of people ran out of water? How would that shift the dynamic in an environment where everything is supposed to be about brotherhood?”

Awosika’s entry into filmmaking began at a young age. As a child, his parents’ DVD film collections were his first portal into the world of films. He also held a love for photography, enjoying a fresh sense of his surroundings through the camera lens. He paid attention to the commentaries and interviews involving film directors and actors as they shared insight into their works. Also a writer, too, his favourite filmmakers are film directors who also write, such as Ousmane Sembène, Hirokazu Kore-eda, Billy Wilder and Abbas Kiarostami.

 

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“I just think there’s something about you not wanting anyone fucking up your work or your idea,” Awosika says about his love for writer-directors. “If I wrote it, I just feel like it’s just right for me to direct it because when I’m writing, I’m visualising everything. I know what all the lines mean to me and the story. I know the story better than anyone else.” In 2021, Awosika wrote and directed his debut short film ‘Nine and a Day,’ which won the Best Editing award at the Falcon International Film Festival in London.

Unlike ‘Nine and a Day,’ which was shot in the UK, ‘Harmattan’ was shot in a village just outside of Ibadan, Nigeria. The training camp is an integral character in ‘Harmattan,’ with its dry and dusty land and dilapidated buildings. Its basic formation is the ingredient for the fear and anger and helplessness that grip the characters. Awosika and his cast and crew spent four days on set, blending into the setting for a realistic portrait of the story’s world. As an independent filmmaker, Awosika revealed that a large part of the success of the film was down to his executive producers (Funmbi Ogunbawo, Wale Davies, Finbar Ussher, Amir El Mero and Sam Kalati) and producers (Ebunola Agboola and Amir El Mero), who believed in the work enough to put money into it.

The opening scenes of the 17-minute ‘Harmattan’ situate the power of the film in its visuals and the unspoken tension between the characters and their environment. Cinematographer KC Obiajulu captures the characters with minuscular detailing: the huffs and puffs as they draw water from a well, their laboured breathing with patched throats after a gruelling workout and the tense switch on their faces between obeisance and indignation as they listen to their drill sergeant (played by Ani Iyoho) bark orders. Warri and David, on whose shoulders the film’s story rests, do more heavy lifting with their facial expressions than their words.

“In the auditions, I was looking for a sense that they [Riyo David and Chibuikem Chris] weren’t acting, that it felt more like a naturalistic performance or naturalistic vibe,” Awosika says. He also admits that he was looking for a fresh and diverse cast that was capable of communicating emotions non-verbally through their gestures or eye contact. “If an actor was doing too much then I knew they wouldn’t be right for the part. If they had this sort of stillness but you could see all the emotion and all the thinking within their eyes then I knew there was something there.”

 

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Awosika’s ‘Nine and a Day’ was a semi-autobiographical tale similar about a boy connecting with his biological father. While ‘Harmattan’ has smatterings of personal experiences, Awosika was more concerned about the complexities of male relationships, and how sometimes violence and discipline can co-exist, and even be craved for. On the film’s set, Awosika communicates his vision through boundless passion, refusing to just remain behind the monitor to give directions but staying with the actors on the scene. This mode of operation is greatly helped by the massive effort put in during the pre-production phase, where Awosika and the actors delve into the characters’ backgrounds, story arcs and motivations.

“As a director, I think my job isn’t to micromanage everyone’s performance, and it even goes down to the crew,” he says. “If we’re collaborating, it’s because I trust your instincts. A lot of it is just making sure that we’re all still remembering the world that we’re in: Where did we come from? Where are we going? Why are we doing this? I’m a believer in asking as many questions as possible, but the beauty about questions is that you don’t have to answer them.”

Awosika’s favourite characters are the ones that elicit conversation and tug at the viewer’s judgment over what is good or bad. “I like characters that lie. Not that I’m a liar. But I think they’re interesting,” he says. Some of those characters include Johnny Boy (Robert De Niro) in Martin Scorsese’s ‘Mean Streets’ (1973), General Buck Turgidson (George C. Scott) in Stanley Kubrick’s ‘Dr. Strangelove’ (1964) and Ibrahim Dieng (Makhouredia Gueye) in Ousmane Sembene’s ‘The Money Order’ (1951), based on his novel of the same title. Those characters represent people who lead lives influenced by their surroundings, situations, or motivations, however conflicting they appear.

‘Harmattan’ will premiere in Switzerland at the Winterthur International Short Film Festival in November and has also premiered at the Africa International Film Festival (AFRIFF). There are also plans to adapt ‘Harmattan’ into a feature film, as Awosika believes there are “a lot of areas [in the story world] to explore.” He’s also writing a new feature film and is close to the pre-production stage for a new film slated for shooting in 2024.

“Everything about this film had to be super authentic,” says Awosika about Harmattan. “I didn’t want anything that just felt off or didn’t feel real so everyone you see on screen, [felt] like they should be part of that environment. Authenticity was at the heart of the story.”

Follow Muyiwa Awosika on X here.

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Spotify has announced an update to its royalty terms but its significance is far more than just money

Posted on by Dennis Ade Peter

In its inception, streaming was a reactive measure. At the turn of the century and as the ‘00s wore on, digital bootlegging became ultra-ubiquitous, as the internet became a mainstay and pirating sites provided unlimited access to any and every song with a digital presence. As long as it had been recorded and publicly shared or archived on the internet, the public had access to it. As played out in Netflix’s drama miniseries, ‘The Playlist’, the unbridled—albeit slightly buggy—access to bootlegging almost any and mostly all music inspired Daniel Ek to found Spotify, undeniably the leading platform in global music streaming.

With the advent of Spotify, and similar streaming sites and apps, the music industry had to conform to an online piracy problem that was eating into potential profits. Now, streaming has become the primary means of music listening: Any internet-supporting device and a few clicks, and you can listen to millions of recorded music. For the vast majority of the listening public, we’re living an absolute dream; for many artist, it’s relative.

One of the main tensions in the ‘The Playlist’ revolves around artist compensation. In the show, the fictional character Bobbi T takes Ek to task on Spotify’s royalty model, a side of the show that asks questions without giving viewers any clear cut answers even through a time jump into the near future. It’s understandable, because there really isn’t any satisfactory solutions—except scrapping streaming and forcing listeners to go back to buying music, which won’t happen. At the moment, Spotify, as with the several popular streaming platforms around, employs the pro rata system in paying artists, dividing the pool of incoming revenue according to the number of plays songs get. On the face of it, that’s quite uncomplicated.

At the end of every month, the streamer gathers income of subscribing listeners and ad-generated revenue, pulling out operational cuts like taxes and billings, and divides the net revenue amongst rights holders—labels, publishers, distributors—based on the proportion. Basically, a song gets a fraction or percentage of the monthly net revenue in relation to the total amount of streams from listeners in a month. So, if a song by artist Y racks up a million streams, that number is divided by the total streams in a month, and the resulting fraction is factored against the total money to be divided.

Simple math, right?

While this payment model means pay-outs differ on a month-to-month basis, calculations have cited about $0.003 to $0.005 per stream, on average. This means it would take somewhere around 200 plays for a song to earn five cents. Compare that to digitally buying music, where albums sell for around $9.99 and singles sell for around $1.79. So, a song has to be played by a listener about 8,000 times to equal the value of buying the song. I can place a healthy bet that almost everyone who streams music has yet to play a song up to 8,000 times.

Amidst the unending conversations on whether the payment method in streaming needs to be fixed, Spotify has made a momentous announcement: A new minimum threshold for streams before any track starts generating royalties. Starting from Q1 2024, a song will have to be streamed at least 1,000 times before it can start earning money for its creators. According to reports, this new change is one of three to be implemented in order to “combat three drains on the royalty pool.”

The other two: financially penalising distributors when fraudulent activities is noticed on uploaded tracks, and a new minimum length of playing time for non-music “noise” tracks to generate royalties. For the former, it’s a measure to further combat stream farming, while the latter is an attempt to crack down on those who upload ambient tracks in fragmented forms while taking advantage of the 30-second revenue trigger for songs. According to Spotify, all three changes are a way to redirect the drains in the royalty pool to “working artists.”

Of all three measures, the minimum streams threshold for songs is brow-raising, and not exactly for positive reasons. While the details aren’t altogether neatly ironed out, it’s been reported that the Spotify plans to exclude songs that don’t reach the 1,000-minimum annual threshold will have their potential revenue reallocated to more popular stuff. It might seem minuscule, considering that the songs that fall within this category make up about 0.5% of the music on Spotify and a few million dollars in the revenue pool, but it’s a sinister approach in taking from the meagre and giving it to those better off.

Undoubtedly, this impending measure is going to affect independent artists. There are millions and millions of artists and creators on Spotify. There are two opposing ways to look at it: That number is an effect of the low barrier of releasing music in the streaming era, but the oversaturation makes it hard for many artists to gain modest to wide listenership. Sure, there are a lot of artists with gaudy to respectable number of Spotify, spotting millions and thousands of monthly listeners. The numbers their songs rake in are reflective of that. At that, there are also those with few listeners and not that many streams. What this minimum threshold rule threatens to do is determine their art as worthless, simply for not being popular enough.

In an interview with Music Ally back in 2020, Daniel Ek basically told artists to work harder. “Some artists that used to do well in the past may not do well in this future landscape,” Ek said. “You can’t record music once every three to four years and think that’s going to be enough. The artists today that are making it realise that it’s about creating a continuous engagement with their fans. It is about putting the work in, about the storytelling around the album, and about keeping a continuous dialogue with your fans.”

The immediate reactions from many artists to those statements were far from kind, with many citing the paltry compensations they receive from Spotify. The interview and subsequent rejoinders frame the relationship between artists and streaming platforms—not just Spotify. Considering that the Swedish streamer is one of the least paying platforms for music, none of that exchange feels particularly unwarranted. Now, with this minimum threshold measure, Spotify isn’t just dictating the terms of payment, it’s pretty much telling artists that they have to meet a criteria that goes beyond making and dropping music.

From a more parochial standpoint, it could be even more biting. In Nigeria, Spotify’s premium tier is pegged at N900, which means the net revenue pool is significantly less for many nascent (and “unpopular”) artists, especially when you factor in that paid streaming is still a modestly growing phenomenon. Also, without official numbers, it is difficult to know how many listeners are subscribed to Spotify, and in comparison to the earlier entrance of Apple Music and the rapid ubiquity of Audiomack, its presence can’t exactly be qualified as dominant.

For a rising or not-so-popular Nigerian artist who has to promote across streaming platforms, there’s the real possibility that songs might not crack over a thousand plays on Spotify alone, which means losing out on revenue, even if it’s very tiny. I have a new indie rapper friend who dropped an EP a while back, and I remember that he made a joke that he could order a plate of food worth about N3,000 with his quarterly check from streaming. Now, that amount just got smaller, since only one song of his has crossed the thousand stream milestone.

The truth is, making money off streaming isn’t easy—especially when you’re not Drake, Taylor Swift, BTS, and them. For the underground acts and the most unpopular of the unpopular artists, these tiny payments are a form of validation, one that helps the artist keep creating while holding on to a dream. Even for those who might be creating recreationally, it’s still flat out unfair that their work won’t be deemed as having any worth, simply because they’re not playing the popularity game Spotify has inevitably thrust on them and set the rules for.

Many people have already called on Spotify—and other streamers—to adopt a better, ‘artist-centric’ model, which is artists directly earning out of the subscription of listeners who play their music. That will be more complicated than the current pro rata system, and even more aggressive, as seen in the impending partnership between Deezer and Universal Music Group. There’s no ideal fix as far streaming is concerned, but deciding against paying musicians and song creators based on arbitrary number feels unethical. Yes, whatever is popular will and should earn the most, but every stream has a value, and its value should be assigned to its creator.

WHERE WERE YOU: SPOTIFY WELCOMES CREATORS TO STREAM ON 2023

Kah-Lo, Brazy & the women inventively fusing rap and dance in Nigerian music

Posted on by Dennis Ade Peter

“You ask what it is I’m doing/Hip-Hop house, hip-hop jazz/with a little pizzazz,” the great Queen Latifah rapped on her cult classic slapper, “Come into My House.” Off her 1989 debut album, ‘All Hail the Queen’, the song’s make-up—giddy raps over the four-on-the-floor bassline of House Music—wasn’t exactly novel, but it’s undeniably a seminal entry in a then-nascent, hybrid musical style. As a member of the Native Tongues collective, Queen Latifah was in close proximity to the Jungle Brothers, whose 1988 hit song, “I’ll House You,” is widely heralded as a marquee point in the early symbiosis between rap and House music.

Also comprising the critically acclaimed, influential groups De La Soul and A Tribe Called Quest, the Native Tongues collective was best known for turning out personal and socially introspective raps, with an emphasis on spiritual black consciousness. Their musical choices were just as outré, mainly influenced by Jazz from a couple of decades before the ‘80s and ‘90s. They also opened up their music to inspirations from across styles pioneered by black artists before them, evidenced by the occasional but enduring foray into House.

Native Tongues affiliate Monie Love dropped “Grandpa’s Party” in 1990, another classic example of a rapper taking to House Music production. On the song, she pays homage to Afrika Bambaataa, the Hip-Hop pioneer who sampled German electronic group Kraftwerk’s “Trans-Europe Express” on his 1981 hit song, “Planet Rock,” which peaked at No. 3 on the Billboard Dance charts. Following the RIAA Gold-certified success of Afrika Bambaataa’s single, more than a handful of rap artists in the ‘80s tried their voice at house, electronic and varying forms of dance music. With Monie Love and Queen Latifah, alongside Salt-N-Pepa with their 1987 smash hit, “Push It,” women in Hip-Hop firmly entered this side of fusion in rap.

In 2014, Harlem-raised rapper Azealia Banks dropped ‘Broke with Expensive Taste’, her kickass debut album where her silver-tongued flow and sleek melodies elegantly strutted over a wide range of production choices, from the shimmery thump of House and UK Garage to the exotic swing of Caribbean pop, Merengue and more. Even though ‘Broke with Expensive Taste’ was often labelled ‘Hip House’, it felt like an antithesis to most of the music lumped within the same category. Compared to uber-popular songs from artists like Flo Rida and Pitbull, Azealia embraced a grittier, panoramic approach, rather than co-opt the now overly mainstream (read: white) tilt of EDM, Tropical House and other related genres.

House music originated as the term for the music that was played at underground parties in the ‘70s and ‘80s by inventive, pioneering DJs like Frankie Knuckles, Larry Levan and more. Before House, Disco dominated mainstream music in the mid to late ‘70s, but its roots in the ballroom culture of marginalised LGBTQ+ communities wasn’t embraced. Its decline was swift, driven partly by racist, homophobic and misogynistic pushback. House music rose from the ashes of Disco. While it has splintered into many subgenres and is a foundational part of many hugely popular dance music styles, its core as a black-originated, queer-championed genre remains central—even if widely overshadowed by how much it’s been co-opted.

Explicitly paying homage to the roots of disco and house is part of what gave the iconic singer Beyoncé’s 2022 album, ‘Renaissance’, its curatorial excellence. Without any hint of hyperbole, “Alien Superstar” and “Thique” are some of the most galvanising rap-dance fusion songs, this side of Queen Latifah’s classic song. Released shortly after Drake, unarguably the biggest rap artist of the last decade and counting, surprise-released his frictionless, house-indebted ‘Honestly, Nevermind’, Beyoncé’s epochal effort is further proof that women—black women—are constantly setting the bar for excellence in rap-dance crossovers.

That much is true in Nigerian music. Take Kah-Lo, who scored a global hit with “Rinse & Repeat,” a collaboration with British producer Riton. The song reached No. 13 on the UK Singles Chart and snagged a Grammy nomination for Best Dance Recording in 2017. On ‘Foreign Ororo’, the 2018 joint project with Riton, Nigerian pop superstars Davido and Mr Eazi (twice) are the marquee features, pulling them into previously uncharted territory. (You could make a case that working with Kah-Lo partly influenced Eazi’s decision to make a dance album—as Chop Life Soundsystem with DJ Edu—where he mostly raps over Amapiano beats.) Swerving between rapping and singing, Kah-Lo’s bubbly energy is gilded by a very Nigerian identity in her cadence, delivering Pidgin-laced quips over Riton’s UK Funky and Techno-driven beats.

A few months back, she released her debut album, ‘Pain/Pleasure’, a 14-track tour through self-affirming experiences and a showcase of curatorial growth. Given the width to work with multiple producers, she toys around with Disco-Funk (“Unbothered”), Afrobeat (“Psycho”) and Amapiano (TMXO-produced “Runaway”), in addition to her affinity for uptempo house bangers. While ‘Pain/Pleasure’ features significantly more singing, Kah-Lo often dips into rapping not just as a variety gambit, but also when she’s making statements. On “Play,” the bridge is the only part that is rapped: “If you like and I like you/Why waste time, what you wanna do?…A bitch like me didn’t come to play.”  It’s fun and assertive, same qualifiers that extend to the money-obsessed “fund$” and the hubris-packed “GD Woman.”

From a quality standpoint, Kah-Lo has it all covered. Internationally, there’s a proof of concept commercially; locally, acceptance is relatively low and slow. “I went from people not knowing or considering that I was Nigerian or that I was making really great music, to being on the cover of three national newspapers,” she told The NATIVE shortly before the release of her album. Often, Nigerians are known for embracing other Nigerians achieving notable feats outside the country. Kah-Lo’s Grammy nod and the success of her work with Riton turned some heads, especially in music media and amongst curious listeners. For the casual listeners, it has yet to hit.

Part of that obviously comes down to the uniqueness of Kah-Lo’s music, in comparison to the dominant, mid-tempo styles ruling Nigerian pop at the moment. At that, conforming for a chance at immediate wider success isn’t on mind. “You know when Western artists try to make Afrobeats and it sounds just off. That’s what it sounds like when I try to make Afrobeats,” she says. It’s an incredibly candid admission. In it, you can also glean her understanding of the Nigerian mainstream’s aloofness to dance-fusion efforts. As she relays in the interview, authenticity matters most to her; insistently rapping and singing over varying types of dance production proves that.

While the acceptance for rap-dance fusions, especially from women, is still niche, there’s a proven potential for virality. About a year ago, Nigerian-raised, UK-based Brazy grew in popularity for her breakout song, “Attends,” a streaking banger defined by the rapper’s intoxicating exuberance. As with most things that go viral these days, the catalyst was TikTok. Already buzzing pre-release, with Brazy performing the song on a couple of stages as a preview for familiar fans and new listeners, it didn’t take long for fun, User-generated content to drive its hype.

Prior to “Attends,” Brazy was best as the introductory voice on Cruel Santino’s ‘Subaru Boys: FINAL HEAVEN’. Before that, she had a modest output of singles which, taken together, show her as a curious experimenter who’s unrelenting at flexing. The rudiments of her dance fixations trails back to “SELECTA,” a bubbly UK Funky cut. With “Attends,” her music is more complex, full-bodied and partly taps into Nigerian culture. Prior to the song’s creation, she told The NATIVE that she had been “listening to a lot of Brazilian Funk, French Buoyon Rap, Reggaeton, Dancehall, Trenches Music and so many more random selections.”

The ‘Trenches Music’ Brazy is referring to is the hyper-popular style of Electronic Music originated from the hoods in Lagos. Also referred to as ‘Cruise’, it is guttural and chaotic, thumping drums meets synth melodies meets loud snares meets street lingo and popular catchphrases culled from social media. Pioneered by DJ/producers like Ajimovoix Drums and Tobzy Imole Giwa, the style is distinct—you know it immediately you hear. Cruise is the du jour sound of street raves in hoods around Lagos and surrounding southwestern Nigerian states.

Cruise evolved from the ‘Shaku Shaku’ wave, kick-started circa 2017 with the viral popularity of song’s Slimcase’s “Legbegbe,” DJ Sidez’s “Oshozondi” and Idowest’s “Shepeteri.” Around the same time, the latest mainstream incursion of street-hop and street-pop began to take shape. As admitted by Slimcase to The NATIVE, his early efforts were inspired by Gqom, the South African dance music variant that grew in popularity over the mid-2010s. The floor-shaking bass thump and scuzzy melodies of Gqom was the foundation for those Shaku Shaku hits and, over time, the template was remodelled by top producers like Rexxie and Kel-P (“Killin’ Dem”) to give it a distinctly Nigerian feel and an accessible touch.

The raw, unpolished trademark of Cruise music holds the essence of Shaku Shaku before it went mainstream and its edges were filed out, but ratcheted up a few more degrees. Even though it may feel voyeuristic and extractive, its gritty appeal as a source of inspiration for a curious artist like Brazy, who purely enjoys the music without being entrenched in the culture, is understandable. On her new self-assured and sexy single, “OMG,” the influence of Cruise is apparent, as polished as the sheen is.

Brazy has christened her sound ‘Afro Future’ and/or ‘Afro Sexy’. It continues the controversial attempts of Nigerian artists to differentiate themselves by naming their style with a word and the prerequisite ‘Afro’ prefix. To be fair, Cruise Pop-rap doesn’t roll off the tongue nearly as good as Afro Sexy. If you really think about it, as wildly different as they are, there’s a shared musical basis between Brazy and an artist like Shalipopi, who recently named his style ‘Afro Pluto’. Obviously, Shali’s affinity for production streaked by Amapiano’s log drums is a distinct trait, but his melodic talk-rap style is a pop-rap take on dance music, albeit a style that’s overly pervasive in Nigerian pop at the moment.

Anyways, we’re talking about women doing unique things here.

A few weeks ago, rap artist SGaWD shared a tweet with an accompanying video, featuring an unreleased song, stating that she might have just founded a new genre. She called it ‘Alté Mara’, which “sounds like R&B, Pop, Mara, and Makossa.” For further description, Mara is “a Nigerian style of EDM.” Asides the fact that Mara is basically another word for Cruise music, the hybridisation does warrant excitement. The snippet slaps. To be a little cynical, the music still falls within the Cruise-inspired spectrum. Back to the excitement, though, SGaWD’s relationship with dance music as a rapper and singer is well-worn.

In August, she released “Dump All Your Worries on the Dancefloor,” a GMK-produced House thumper that immediately evokes a neon-bathed space. “Brace yourselves, I’m the hottest in the room,” she says right at the top, her impeccably smooth, fast-paced flow very Azealia Banks-like. More specifically, it’s reminiscent of “212.” A year before this fairly recent single, she collaborated with producer Ronehi for “Telfar,” effortlessly oozing charisma and sex appeal over a jumpy yet utterly cool beat.

Of consequence also is “Shayo Galore” with Wavy the Creator, a speaker rattler that celebrates alcohol-assisted good times. It seems like there will be more dance-rap fusion releases from SGaWD and while, like Kah-Lo, wide acceptance isn’t guaranteed, a string of songs or maybe projects might make ‘Alte Mara’ an actual thing.

For Aunty Rayzor, her worries aren’t a nominal definition of her sound; the Lagos-raised rapper just wants to bruise her way through beats. For the oblivious, Rayzor raised eyebrows after appearing on a viral freestyle session hosted by Slimcase. Paired with NATIVE uNder alum Daisy in an indigenous female rap tag team, every bar Rayzor spat landed like an explosive Molotov cocktail, creating an inferno of lyricism where the heat threatens to melt your face off through your screen. The best part is that she’s clearly having so much fun barring her heart out.

In September, Aunty Rayzor dropped her debut album, ‘Viral Wreckage’, definitely one of the hardest rap albums in African rap this year. Released through Hakuna Kulala, the Kampala-based record label best known for being affiliated with Nyege Nyege festival and dropping experimental, ultra-left field electronic projects, Rayzor’s jabbing raps are mainly supported by a buzzsaw framework of icy synth melodies and floor-creaking bass. The cast of producers are Hakuna Kulala mainstays, including Scotch Rolex and Debmaster—both primary producers for fellow Kulala rap label mate, MC Yallah.

Inventive Congolese folk-pop artist Titi Bakorta and Kenyan avant-garde pop singer KABEUSHE—both also label-affiliated—assist on the album’s softer moment, giving it some needed dynamism. ‘Viral Wreckage’ is an introduction to Aunty Rayzor, as curated by her label. It turns out to be a beneficial partnership. Considering how straight-down-the-line she is as lyricist, the unconventionality of the production heightens the thrill of listening to her rap with blazing authority. It’s far more positively dizzying than bludgeoning your ears. Think the late, great Dagrin’s iconic verse on Konga’s “Kabakaba,” turned into a singular style and ratcheted up a couple of degrees.

Asides the uber-raunchy Slimcase collab, “Doko,” there’s no song on ‘Viral Wreckage’ with a catchy groove, but it’s still an album with an unambiguously dance/electronic pulse. In fact, Aunty Rayzor adds a different dimension to the rap-dance fusion corner; you might not dance a lot but the music is visceral enough to soundtrack a rave. Also, Rayzor is an indicator that there are more places to creatively explore within a niche sound. In this moment, Rayzor and the multiple women mentioned in this piece are furthering the agenda of doing “Hip-Hop house, hip-hop jazz/with a little pizzazz.”

HIP-HOP SAVED MY LIFE: A LOVE LETTER TO THE GENRE AT 50

A 1-Listen Review Of Shallipopi’s ‘Presido La Pluto’

Posted on by Dennis Ade Peter

Clear road for Shallipopi. Those words have been inescapable in Nigerian music this year, the bat signal for one of the biggest breakout artists of the year in Afropop. Born and raised in Benin, capital of Edo State, the man born Crown Uzama has unloaded a handful of ubiquitous hit songs in just over six months, buoyed a unique style of street-hop where his conversational cadence, infectious, languid rap flow and unending slang are laid over rattling, log drum-based production.

It’s a massive feat for an artist to have a distinct musical identity within a short while of their entry into wider public consciousness, which is to say, you know a Shallipopi song immediately you hear it. Starting with “Elon Musk,” which went from brewing underground hit to club staple, Shalli’s patented style has earned him a reputation of crafting easily repetitive lines, most of them flecked with the irreverence of street dealings and youthful exuberance. The language is purely informed by Benin street culture and its heritage—“Obapluto,” off his ‘Planet Pluto’ EP, is the totem of the latter.

In the spirit of striking while the iron is hot, Shallipopi has now released his debut album, ‘Presido La Pluto’, a momentous undertaking that should capitalise on his flow state as one of the more disruptive and most discussed artist in Nigerian rap this year.

In usual 1-listen review fashion, all reactions are in real time while the music plays. No pauses, rewinds, fast-forwards or skips.

“Never Ever”

I don’t know if I’m excited or if I’m simply intrigued. “My life is like a moving train,” one moving at the speed of a bullet in the last couple of months. This went from vaguely reflective to easy flexing. I like the Rocky and Riri reference, because there’s a Rocky element to his craft, mainly from a narrative standpoint. I like this as an intro, not a big statement but the tone adds some dimension to the Shallipopi musical archives.

“Evil Receive”

Yeah, the log drums are here, gritted by reverbs. This sounds like something Vigro Deep would helm, or maybe Caltonic. The way Shallipopi flows alongside the beats he picks is always commendable, like it always sounds no one else could sound as effortless. I like that there’s a muscular base to these one-liners, but it still sounds as languid as ever. Whoever produced this beat has overdosed on the experimental, more electronic side of Amapiano. “Alhamdulilah, I be God special design” is a ready-made caption. This song feels longer than a typical Shallipopi song, but the momentum doesn’t disappear. These fuzzy synths, chef’s kiss.

“Cast” (feat. ODUMODUBLVCK)

This has some bounce. Bizzle for producer of the year, someone plug that up. (Pardon the music industry-related pun, for those that get it. LOL.) This song has the potential to blow the roof off clubs, every line so far feels like it should be yelled at high volume. Mr. Declan Rice on the scene. I don’t know about this verse, man. I liked the African mum bit but it doesn’t have the raging essence of a major Odumodu guest verse. Shallipopi is a nice guy, he won’t let your girl cheat on you with him without putting up some fight. A good man, that guy.

“More than Me”

Oriental strings, interesting choice. I like this, helps that Shalli enters with a melodic flow. “I’ve been coming,” that’s what she said. Sorry, I’ve been rewatching ‘Brooklyn 99’ recently, blame Nasty C’s “Release Me”—again you know if you know. This is kinda uplifting, the grass to glory thing is nice. I don’t know that it’s anything more than a deep cut, but everything turns to a hit with this man. Might skip this if it plays while I’m on shuffle, but it’s a decent album cut.

“Eazy”

I could already hear the bombast of this beat from the first few seconds. This fluttering flute is very Benin, very south-south. “This life no funny, I’ve got to make money.” We all feel you, Shallipopi. Bro, this guy could make the hardest children’s album if he wanted to, I can see the appeal to it. The flows he employs would have 5-year olds wilding out, LOL. Doesn’t mean it’s puerile, I’m just being imaginative. I really like this song, the background vocals are adding a nice texture to the affair. This is up there with “Evil Receive” as one of my early favourites.

“Things on Things”

The single I really liked. Might be my favourite Shallipopi song yet, every bar is a heater. “Lesson learnt is a lesson learnt/you nor fit insult my intelligence” is one of the greatest rap lines committed to wax in the year of Our Lord 2023. That guitar flourish under the chest-puffing of the second verse is absolutely crazy. I’m sorry, but this is the best song Shalli has made. It’s the controversial conversation that followed same-day single release, “Oscroh,” that overshadowed this masterpiece. I hope this album refocuses that.

“Wet on Me” (feat. Zerrydl)

Woah, this bass kicked my ears in. Zerry is not exactly a photocopy of Shalli, he might be even raunchier, and that makes me bet on him to be a star in the next few months. Nothing the Nigerian pop culture loves more than irreverent figures—for better or worse. Is Zerry from Benin? [Editor’s note: Zerrydl Shallipopi’s brother.] Something in the water, man. Is Butter sweet? I don’t know, man. This is a Zerrydl showcase with a quick verse from his label boss, and he doesn’t waste his time in the spotlight.

“Iyo”

Benin music, man. Grateful for that Edo Funk compilation album I stumbled upon on Bandcamp last two years or so. I’ve been to Benin twice, I need to go back soon. This is folk-rap, which is kinda what street-hop is. All this etymology is me saying that this is the song I’ve been most intrigued by on this album. I dare you to hear this song without pointing your two index fingers out and doing that popular auntie dance. That’s the perfect accompaniment to this jam. Will be back here.

“Oscroh (Pepperline)”

Ah yes, the single that got everyone talking. I can’t count how many times “the lifestyle cost, na you know” has popped into my head, and I’ve played the song a total of two times. Well, three now. The “Sandalili sandalili” melody is so hilarious. Yeah, I know it’s “standard living,” but I’m keeping my street cred. I say this man would have the 5-year olds going crazy if he made an album specifically for them! They might even be turning up to this already. Catchy tune.

“Over the Seas” (feat. Focalistic)

Fam, I wanted to hear “Ase trap tse ke pina tsa ko kasi” so bad. Both these niggas make music for the hood, but it’s not trap. See what I’m saying about a children’s album, can someone tell me I’m not pulling this out of thin air, FFS? This flow is ready-made for a nursery rhyme. I’d probably have learnt the 7X timetable faster if it came in this flow. “My new Mercedes, it don’t use a key.” Okay, Maradona! Talk yo’ shit. A Rahman Jago reference from a South African rapper? That man is a youth culture icon, cue in what I said about irreverent figures. “If Shalli drop, it’s a masterpiece.” I know like ten niggas that would scoff at that. I see the appeal of this, just don’t know that it’s not a skip in the long run.

“Jungle”

Back to the strings. Oh, sing-song trap, with a patois-indented cadence. Interesting. “Man, I wish that I could live forever” is something I only hear from artists. The music helps those sentiments, I guess. “In my family, I’m the only breadwinner” is REAL! I just remember a video I saw of Shallipopi rapping with a more traditional cadence, and this isn’t particularly a surprise. I recently told Wale that I had a feeling that Shallipopi might pull off a surprising musical switch, this is proof that he can if he wants. This is definitely a deep cut, but I hope it becomes something bigger. If not for anything, for those that won’t acknowledge Shallipopi as a rap artist.

“Jonze”

Penultimate song, feels like a worthwhile experience so far. Wow, I almost thought I heard “Kun Faya Kun,” LOL! Shout-out Dvpper, for those that get it. LOL. Nah, my ears are funny to me in this moment. Shallipopi tells great stories, granted they’re not linear, but I can see the happenings. I have mixed feelings about this song, I can’t lie. I can see it fascinating many people. It’s just not hitting for me fully. Will revisit, but it’s hehhh for me right now.

“So What?” (w/ Tekno)

Nah, this is a jam. I was low-key pissed that it didn’t make Tekno’s recent album, which is really good if you haven’t listened. The spirit of William Onyeabor is hovering over this song, particularly that groovy synth riff. It’s odd that this song didn’t get proper single treatment, it’s as club-ready as anything in either artists’ catalogue. This Shallipopi verse is the perfect showcase of the fact that he knows how to write for a banger. Masterkraft put his foot in this beat. I fuck with this, still.

Final Thoughts

In some cases, debut albums are straightforward, like when you have multiple hits and confidence is palpable. Recently, think Asake and ‘Mr Money with the Vibe’ or Fireboy DML and ‘LTG’ or, further back, Wande Coal and ‘Mushin 2 Mo’hits’. Shallipopi’s ‘Presido La Pluto’ doesn’t have the same instant, all-consuming factor of those albums, but it has similar markings. There’s no second-guessing himself, it’s mainly twelve attempts at making bangers, which is where Shalli has thrived so far. That he barely strays  from his template is commendable – too much change in such a short time isn’t always a good thing.

For what it’s worth, there’s some variety, even if only little, and it tells us that there’s way more to Shallipopi’s artistry than we know so far. Perhaps that’s another draw to this album, that we don’t know everything about the artist, and this  could be a journey that lasts longer than the initial moments of viral attention. From what’s in front of us, though, ‘Presido La Pluto’ furthers the bonafides of a seemingly effortless rap hit-maker, one that knows the power of quips becoming anthemic chants, especially when paired with those ‘Piano-indented arrangements that carry vivid Benin musical influences. The future will figure itself out; right now, Shallipopi’s regime is in full effect.

Stream ‘Presido La Pluto’ below.

ICYMI: READ OUR 1-LISTEN REVIEW OF ODUMODUBLVCK’S ‘EZIOKWU’

Presenting the second edition of BLACKLIST WEST AFRICA in collaboration with Guap Magazine

Posted on by The Native

Depending on what your perspective is, thousands of young creatives and entrepreneurs in West Africa are finding ways to thrive in spite or because of the socioeconomic conditions in the countries that constitute the region. Maybe the answer is somewhere in between: that double figure inflation rates, coups and autocratic governments, the hurdles of conservative values, and more have made it that the benchmark for excellence is elevated. Talent is abundant, tenacity is no short supply, and new visions are being explored and executed at high levels.

That’s why there’s no time like the present to celebrate and champion the new leaders of the creative economy who are going against the grain in their respective fields, and fostering inclusive spaces and communities where young Africans can truly be themselves. Following last year’s debut edition, we’ve partnered once again with our friends at Guap Magazine for the second edition of the BLACKLIST WEST AFRICA—a celebration of the emerging voices that are shaping the future and spirit of our continent.

 

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With the near-ubiquity of West African culture in the world today, these creatives and professionals on the BLACKLIST WEST AFRICA represent an emerging class of 30 under 30 leaders who are representative of our wider mission to identify and champion the best of African talent tomorrow: today. From the young and daring Ghanaian human rights activist, Nakeeyat Dramani Sam to Nigeria’s Blessing Ewona, who has fostered an inclusive culture of skateboarding in Nigeria, this list is by no means exhaustive one but a celebration and reminder of how far we’ve collectively come in various industries and an acknowledgment of where we can go in the future.

These exceptional BLACKLISTERS prove that there’s no such thing as being ‘too young’ or ‘too early’ to drive change and engage in the critical conversations of our era.

ADEMOLA FALOMO

Ademola Falomo studied International Business in the UAE and learned to apply its idiosyncrasies in the field of filmmaking, making him a standout in the industry. As a filmmaker, Ademola has worked with the biggest names in the African music scene in less than a decade of being active. However, he steals more spotlight for himself for being one of the pioneers in Nigeria’s Altè scene; having directed the most important films of renowned creators in the scene. Beyond music, Ademola has credits for documenting even more important African fashion and lifestyle stories including film projects with Puma, Nike, Martell, Jameson, to mention only a few. As founder and creative director, his film company, Family Inc., seeks to aid young, independent filmmakers alike out of West Africa to better nurse their art. One of the ways they do this is through their very frequent community-building meetings aimed at creating and upholding a hub that up and coming filmmakers can run to when in pursuit of clarity.

What is the biggest motivator for the work you do?

“I aim to continue building a community and a platform for fast rising indie filmmakers in Africa. So my biggest motivator is seeing the expansion and the inclusion of more women and men in film with Family.inc and the community we are building; because that growth and inclusion of young filmmakers inspired and nurturing their crafts to tell our stories really brings satisfaction to me.”

ANTHONY AZEKWOH

Anthony Azekwoh is a contemporary artist and author based in Lagos, Nigeria. His work primarily focuses on African folklore and mythology, using these themes and figures to tell stories of his country, transformation, and change. Following the success of his Lagos-London-New York tour, his most recent exhibition, “There is A Country” showing in both Lagos and Abuja, is an artistic response to the social, political, and economic chaos that pervades Nigeria using paintings and sculptures.

What is the biggest motivator for the work you do?

“I love it. This is what I’ve been doing for as long as I can remember: creating. The love of bringing something new to the world is what drives and pushes me to go forward. Love. Love is my motivator.”

AYOMIDE ORIOWO

Ayomide Oriowo is the co-founder of TurnTable Media and Analytics; a graduate of Obafemi Awolowo University, music executive, and a seasoned writer. His love for all things music and data led him to co-found TurnTable Charts in 2020. As the Co-Founder of the standard music charting system in Nigeria, Ayomide has contributed towards an ecosystem that aids the documentation of Nigerian art.

What is the biggest motivator for the work you do?

“A lasting legacy and cultural impact is my biggest motivator for the work I do.”

BLESSING EWONA

Blessing Ewona is a skateboarder, model and DJ. She founded Dencity, a skate collective where she teaches women and marginalised people to skate. She is looking to expand the community across Nigeria, building a community of female skateboarders, providing skate equipment, skate lessons and a safe space for women in skateboarding. She is also a DJ that goes by “WEAREALLCHEMICALS”, becoming a staple in the electronic/house music scene in Nigeria. Blessing’s seamless mixing and ability to read the crowd make her sets unforgettable. Her passion for house music shines through, creating a euphoric atmosphere wherever she performs.

What is the biggest motivator for the work you do?

“My biggest motivator for the work I do is the opportunity to learn and grow, I find fulfilment in knowing that what I do can create a positive impact on others“

BOLA “PSD” OLANIYAN

A fashion enthusiast with a wide array of creative roles. From Creative Director to the CEO of “bolapsd” brand, I’ve worn many hats. As a Graphic Designer, I’ve worked with industry giants like Nike, Streetsouk, Ashluxe, Mejimeji, and Teezee and so much more. My journey started in late 2021, and in 2023, I launched “bolapsd forever” a fashion line, hosting a successful pop-up tour in Lagos and Toronto, with another in Abuja this November. My fashion pieces have resonated with people, and sales have been outstanding for such a short time in the business. I’m also a Stylist and Fashion Curator, aiming to guide fashion enthusiasts toward the latest trends. Exciting developments are on the horizon as I continue this incredible journey in the fashion world!

What is the biggest motivator for the work you do?

“It’s a big deal for me to see my dreams becoming a reality, and it motivates me immensely. However, I know that there are still many more achievements to unlock. In barely three years, while I was still in uni all through those 3 years, I’ve come this far, and I believe the next steps will be even more remarkable. This is just the beginning of my journey.”

CALEB OKEREKE

Caleb Okereke is the Founder and Managing Editor at Minority Africa, a digital publication telling minority stories across Africa, supported by Google News Initiative and NED. He’s reported across Africa for CNN, DW, Aljazeera, Foreign Policy, The Guardian, and VICE News and has worked as an Editor with the New African Magazine. He was previously a Heidi news correspondent in East Africa based out of Kampala, Uganda. Caleb has spoken about inclusive and representative journalism at both Oxford and Stanford universities as well as the International Journalism Festival.

What is the biggest motivator for the work you do?

“The biggest motivator for my work has come from seeing how mainstream media organisations all across Africa, and especially in Nigeria where I am from have committed to news coverage that is designed to exclude marginalised groups. And it doesn’t just stop at design or exclusion but this kind of violent coverage is rewarded and correspondingly sustained – whether in virality or consensus. The dissemination of hate and division through media is not a random occurrence; it’s a deliberate act. Consequently, our response should not be arbitrary either. That intentionality drives me, if hate is not accidental, love cannot afford to be.”

DAVID NANA OKPOKU ANSAH

David Nana Opoku Ansah is an artist/image-maker and filmmaker who through analogue and digital mediums creates work to explore freedom, community, vulnerability and quintessential aspects of humanity to challenge the nexus of how images should look and feel through fashion, contemporary image-making and portraiture. His critically acclaimed ongoing project “Area Boys” captures the theme of freedom, vulnerability, truth and what it means for coming-of-age Ghanaian boys. This effortlessly connects David’s origins to his burgeoning identity as an artist. “All things are worth photographing” is a functional pillar of David’s ethos. ​​This project seamlessly bridges David’s roots with his evolving identity as an artist, encapsulating the essence of his artistic evolution.

David’s artistic influence knows no bounds. He is a grantee and the 2020 PhMuseum’s New Generation award winner. David was selected as one of the five African image-makers to reflect on their shared trajectories to James Barnor’s archive in April 2021 at Piccadilly Circus in London. In July 2021, he exhibited work at Le Carreau du Temple in Paris, France. David shot his first magazine cover featuring Kendrick Lamar. Additionally, his inclusion among the select 50 global creatives in the British Fashion Awards’ NEW CREATIVE CLASS of 2022 highlights his indelible mark on the fashion and art landscape. He has worked with Gucci, Off-White, Nike, Farfetch, Vogue International, Circa, Highsnobiety, Daily Paper, Maison Margiela, Reebok, Adidas, Dazed, Culture Art Society, Teen Vogue, New Era Europe, Byredo among others.

What is the biggest motivator for the work you do?

“Curiosity, questioning things and inquisitiveness drive a lot of what I do. I always want to challenge what images can look like and create what I mostly see in my head. There are always these feelings of how things could be more than what exists presently and to me taking the risk to know what these things will look like is everything to me. I want to create works outside the context of what the norms are.”

ISABEL OKORO

Isabel Okoro is a visual artist currently based in Toronto, ON. She is exploring the interactions between the motherland and the diaspora, and coined the term normatopia to describe a space which considers the tensions between a harsh reality and a utopia, and chooses to rest and thrive in the humanly achievable sweet spot that exists in the middle. At the cornerstone of her practice is visualising and developing an imagined world, Eternity, as a space to immortalise community members through stories of speculative fiction that embrace her concept of normatopia.

What is the biggest motivator for the work you do?

“The will to see ideas come to life – not just saying things, but showing them.”

KELVIN DOE

Kelvin Doe (aka DJ Focus) is an innovator and social entrepreneur from Freetown, Sierra Leone. Driven by a passion for tech, education and community development, he founded the Kelvin Doe Foundation (KDF) – a federally registered not-for-profit organization in Canada with a mission to provide creative spaces to nurture communities, ignite a culture of innovation, and inspire civic engagement. As the founder of the KDF, he engages with educators, the private sector, government leaders, and leading global visionaries to mobilize and provide resources and tools to advance the impact of experimental and hands-on learning programs – both in Canada and his home country of Sierra Leone.

His recent activity includes crowdfunding to set up a community makerspace. Kelvin has been awarded several national and international awards for his work, including a Presidential Gold Medal (2013) and the MTV EMA Generation Change Award (2019). He is also the youngest person to participate in the “Visiting Practitioner’s Program” at the Massachusetts Institute of Technology. In his two weeks at MIT, he presented his innovations to students in two D-Lab classes, engaged with MIT community members, and participated in hands-on research at the MIT Media Lab.

Kelvin has been invited as a guest speaker at various conferences worldwide, including Maker Faire ‘Meet the Young Makers Panel’, Google Israel Event ‘Moonshot Thinking’, Clinton Global Initiative, TedxTeen The “Crazy Ones” (New York, USA, March 2014), Eco Club Summit (Abu Dhabi, UAE, April 2014), World Intellectual Property Organization African Ministerial Conference “Intellectual Property for an Emerging Africa” (Dakar, Senegal, November 2015), TedxLusaka “Changing Africa’s Narrative” (Lusaka, Zambia, May 2016), Cimientos Foundation (Buenos Aires, Argentina, November 2017). Kelvin serves on the Honorary and Advisory Board of Emergency USA , an organization committed to providing free medical and surgical care to those affected by war and poverty. He currently resides in Toronto, Canada, where he continues to pursue his academic goals and participates in various media and technology-related projects, including his current project, Frugal Radio.

What is the biggest motivator for the work you do?

“There’s a vast reservoir of talent, not just in my home country, Sierra Leone, but across the African continent that remains untapped mainly because we haven’t found a way to cultivate, enhance and connect our talent to the right opportunities. Cases like mine are the exception, and they’re also proof of my larger point–that when provided with legitimate opportunities, Africans will tend to excel. But we have to find a way to systematize “luck” so that stories like mine are not the exception but the norm.”

MICHAEL “LONDON” HUNTER

Afrobeats is ushering in a new global Pop sound thanks in part to producers like Grammy-nominated producer and DJ LONDON. Hailing from Lagos, Nigeria, 24 year old LONDON’s musical ability is best demonstrated in records such as Rema’s “Calm Down” with Selena Gomez and also Rema’s recent song titled “Charm.” Not only was LONDON Rema’s main collaborator on his debut album, having co-produced 14 of out the 16 songs, he has also produced heavily for Ayra Starr having produced her hits “Bloody Samaritan” and “Sability.” He recently produced Stormzy and Raye’s “The Weekend,” a sultry RnB-Rap record that demonstrates his ability to create beyond Afrobeats. LONDON also produced Wizkid’s “Gyrate” from the Grammy-nominated ‘Made In Lagos’ album. LONDON’s uniqueness lies in his candid ear for unusual sounds and melodies for production, and his daring attitude to push the genre forward by way of experimentation and curiosity. Born and Raised in Kaduna, London has taken his sound to first Lagos and now to the world, playing a key role in representing the new-gen Nigeria, who are limitless. He is now working on his own debut project which will feature some of your favourite as well unexpected appearances.

What is the biggest motivator for the work you do?

“Honestly, success is my biggest motivation. I want my music to exist around the world and be in peoples lives everywhere“

NAKEEYAT DRAMANI SAM

I’m a youngest poet in Ghana and also climate change advocate who is currently the Youth Ambassador for an international organization, Climate Vulnerable Forum(CVF) which consists of 58 countries.

What is the biggest motivator for the work you do?

“The motivation behind my work just passion driven. I love humanity and I always want to serve humanity with what I do.”

OBADAN “WALTER BANKS” OHIOLE

Born in the vibrant city of Lagos, Nigeria Edo parentage, Walter Obadan is an inventive photographer who has built a noteworthy portfolio, catering to distinguished clients across Nigeria and the broader African creative landscapes. Additionally, he shares a dynamic collaboration with renowned Nigerian music video director, TG Omori. Walter views his career as a necessity, as shot by shot, he builds a story for the Nigerian Entertainment industry and beyond. Despite an unconventional educational trajectory, Walter credits his background in Architecture for bestowing him with a unique technical advantage.

Drawing from his familiarity with shapes, dimensions, angles, and graphics acquired during his incomplete architectural studies, Walter seamlessly integrates these elements into his photography, resulting in a thriving career coupled with a bankable charisma. This distinctive blend of skills has enabled Walter to embark on a continent-spanning journey, collaborating with some of the most prominent figures in the entertainment industry along the way. He is also credited with creative direction for numerous artistes at the inception stage including Afrobeats sensation, Asake. With an impressive clientele including other celebrated names like Burna Boy, Davido, Ckay, Ayra Starr, Kizz Daniel, Black Sherif, Walter aims to extend his artistic prowess to the grandest global stages and festivals, all while proudly flying the Nigerian flag.

What is the biggest motivator for the work you do?

“My biggest motivation is the ability to capture moments in a unique and artistic way, telling stories through my lens. Photography & filmmaking allows me to freeze time, evoke emotions, and share my perspective with the world. It’s the endless possibility of creating something beautiful and meaningful that drives me to keep exploring and improving my craft. Wacko to the world!!”

Best New Music: Brazy furthers her dance and rap fusions with the self-assured and sexy “OMG”

Posted on by Dennis Ade Peter

Not too many young artists have a firm grasp of their identities in their formative years, much less the possibilities of what they can do with their skill-set. It often takes months of practice and refinement for latent gifts to become tangible potential and budding stardom. Within that period of needed growth, precociousness plays an evident role in how quickly things get fully rounded. Nigerian-born, UK-based rap artist Brazy has been evolving in plain sight, and there’s an obvious perception of her abilities, in relation to the kind of music she can make.

 

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In two-plus years of releasing music, Brazy’s catalogue is littered with singles that cater to her curiosities. On official debut single “Siren,” she tag teams with frequent collaborator L0la, her airy cadence creeping alongside the eerie flute synth creaking under the weight of heavy bass. “Gingerbread,” one of her more distinct songs, features a melodic rap performance reminiscent of Sugarbella-era Rico Nasty, while “Selecta” couples freewheeling quips over UK Funky-influenced production. Throwing paint to see what sticks? Maybe. Lack of imagination? Never. Ear-holding execution regardless of what direction? Definitely!

Nearly a year after releasing “Attends,” the mildly viral hit song that’s helped make Brazy a budding cult star, she’s turned in a new single that furthers her electrifying fusion of dance and rap. At first glance, it’s easy to parse “OMG” as an attempt to replicate the success of its predecessor, possibly on a bigger scale. It’s not a terrible ambition to have. In the same breadth, it’s also easy to admit that the song isn’t hackneyed or a barefaced repetition of what worked before.

Breakout artists often face the pressure of repeating the same tricks in order to sustain their level of success or ascend further into ubiquity. If there’s pressure, it rolls off Brazy; she seems so Teflon. Part of that stems from how organic making music has always been to her. In an interview with The NATIVE earlier this year, she explained that becoming an artist was a spontaneous endeavour, and it’s highlighted in her carefree raps and equally blithe flows. Also, as a music listener with an expansive taste, her production choices are a reflection of her boundless, globalised vision.

 

“Attends” was inspired by Cruise music from the trenches of Lagos, Buoyon rap with its Kreyol roots and deep French affiliations, as well as Reggaeton and Dancehall. “OMG” leans into an existing template for Brazy, sounding as fun and assured as ever. Obviously, it’s catchy, too. Helmed by Parked Up, plinking piano notes glimmer alongside wall-rattling bass, with a psychedelic hue adding to the song’s ear candy appeal. Aptly relying on her insouciant swagger, Brazy’s rap-talking cadence gives every line a lilt that makes them immediately memorable. There’s zero friction as she switches between English and Yoruba, even if—or especially because—the repeated chants of “Farable” and “Kilonsele” are delivered with that very British intonation.

At the core of her music, alongside the exuberance, there’s a strong sense of self-belief from Brazy that she’s in control of her surroundings and any situation she’s in—especially where it concerns attraction. “Just because I’m looking hot/Doesn’t mean you should fear,” she raps with a sly grin on her face. It’s on the same instantly memorable level as “Cheat on me, I’ll cheat on you” from “Attends.” It’s also proof that Brazy has embraced fully buying into her own hubris.

Rather than her ego suffocating room, the levity with which she wields her confidence is refreshing, obviously with a sexy edge—all heat, no steam—and the music, to put it simply, slaps. Regardless of whatever she’s rapping over, Brazy’s sureness is her identity. She just happens to know how to make dancefloor heaters, too. “OMG” is further proof.

Watch the video for “OMG” here.

 

FOR THE GIRLS: BRAZY’S CAREFREE & VERSATILE ARTISTRY

NATIVE Selects: New Music From Brazy, Blaqbonez, Maya Amolo & More

Posted on by The Native

It’s that time again. Every week, new music shows up, sweeping fans and music lovers off their feet while artists gauge reactions to know the effect of their creativity. At the NATIVE, we are committed to keeping our ears on the pulse of the music scene and bringing the best sounds to your doorstep. In our last edition, we brought you stellar new releases from Shallipopi, BOJ & Abjebutter22, Tim Lyre and more. Today’s NATIVE Selects features singles from Blaqbonez, Maya Amolo, Bantwanas, Shatta Wale and more. Lock in!

BLAQBONEZ – “BAD TILL ETERNITY” FT. ZLATAN

Fresh off the 2023 Hennessy Cypher alongside LADIPOE and Vector, Blaqbonez and Zlatan link up for the former’s newest single “Bad Till Eternity.” Blaqbonez and Zlatan orchestrate an Afropop performance over a Hip-Hop bounce, singing about the rise to acclaim despite the challenges against them. “Bad Till Eternity” is another step towards Blaqbonez’s forthcoming studio album ‘Emeka Must Shine.’

BRAZY – “OMG”

Nigerian rapper and singer Brazy treads the same path of dance music as she did on 2022’s “Attends” with “OMG.” She bounces on the energetic beat with deft flows while exuding a magnetic appeal that makes the track fun and bubbly. Nothing is wasted throughout the song’s two-minute runtime as Brazy enjoys herself and also takes veiled shots at her haters.

SKIIBII, SEYI VIBEZ & TENI – “CBN” FT. REEKADO BANKS & MAYORKUN

The trio of Skiibii, Seyi Vibez and Teni unite for a fun, appreciative vibe on “CBN.” Over Highlife-influenced production, they sing, “Dem dey wonder how I spend,” boasting about their wealth. They invite Reekado Banks and Mayorkun to participate in the joy of the track, with both adding more colour to the song.

MAYA AMOLO – “WILDIN’”

Kenya’s Maya Amolo follows up her 2022 debut album with a deluxe version titled ‘Asali (Sweeter).’  This project contains new tracks including the previously released single “Cotton Candy.” One of the standouts from the deluxe project is “Wildin’” wherein Maya Amolo appeals to her lover’s feelings as she describes activities she wants to enjoy with them. Maya’s vocals serenade throughout the song, highlighting her talent and precise songwriting.

KIDA KUDZ – “BANGER” FT.  BOJ & PHEELZ

Kida Kudz unveils a two-song pack housing “Banger” and “National Anthem.” On the former, Kida Kudz and BOJ, over Pheelz’s production, play the roles of suave ‘bad guys,’ who get their wins effortlessly and are confident about their abilities. BOJ gives an enjoyable hook, Kida Kudz’s verses carry energy and Pheelz’s production shines with mastery.

DUNNIE – “JALO” 

Talented producer and musician Dunnie has always created music which is intricately woven into her heart’s desires. Hers is a natural love for positive, hearty narratives, and her new project ‘ANOMALY’ reiterates that artistic vision. On the lead single “Jalo,” she sings lovingly about the merits of affection, asking for the same goodness as she gives. Pairing mellow drums with bright, self-chorused vocals, an intimate, groovy feeling is realised, again proving Dunnie’s pristine song-making qualities. 

 

SHATTA WALE & TEKNO – “INCOMING”

Ghana and Nigeria’s music collaborations are ever present throughout history. Ghana’s Shatta Wale and Nigeria’s Tekno deepen that tradition with “Incoming,” a melodic rendition of their longevity in the music industry. “All I chase is my peace of mind/E get some things that I don’t subscribe/Bad from time for a long long time/From a long long time,” Shatta Wale sings. Tekno and Shatta Wale have a winner with “Incoming.”

SEYI SHAY – “DOING ME” FT. MIGZ & ARIEL

Seyi Shay has earned her stripes in the music industry. Yet, she seeks reinvention. On her latest project ‘Feels Like Home, Vol. 1,’ she tests her boundaries with sound with a fusion of Afrobeats and Afrohouse. On “Doing Me,” she establishes her manifesto about focusing on her path and making the best out of it. She takes to the song perfectly, the rolling drums and pianos guiding her.

BANTWANAS – “MUSA”

South African music collective Bantwanas release their second single of the year in the hypnotic “Musa.” The song is Bantwanas’ “ode to the masses” with help from Sino Msolo, who writes and performs the song. Banzi Mazimela’s Afrohouse production carries stirring vocals, invoking a spiritual yet happiness-filled vibe that will get listeners thinking and bobbing their heads.

JAYWILLZ – “PULL UP” 

Nigerian singer Jaywillz enters an introspective mood on his new single “Pull Up,” reminiscing on his journey and the accomplishments he has achieved. “First believe then embrace it/If you have a dream, then chase it/Every day is getting closer/This life, you need to be bold,” he sings. While the song calls for contemplation, it still demands that you dance away the worries and focus on the light.

KRIZBEATZ FT. 1DA BANTON & MBOSSO – “ABENA (ADM REMIX)” 

For a while now, Krizbeatz has been one of the most prominent producers across Africa. His distinct utilisation of percussion saw him heralded as a leading light of Afro Dance Music, which pairs zesty electronic sounds with an Afro base. On the deluxe version of his ‘King of the New Wave’ project, he creates this spellbinding reimagination of “Abena”. The tone of the voices is as evocative as ever, but it’s the party-evoking touches which bring a new dimension to the record, making it a new song all over again.

LAIK – “AHJE”

American-Sierra Leonean artist Laik is a  smooth operator “Ahje,” combining his Hip-Hop sensibilities with an Afrobeats bounce as he thanks the Almighty for his family – both those with familial bonds and those friends-turned-brothers. “I’m on a roll (Eh)/Ain’t nobody stopping me (No way)/Me and my G (Eh)/We be making money (All day),” he sings. Laik is one to watch.

Words By Uzoma Ihejirika & Emmanuel Esomnofu

Featured image credits/NATIVE

Interview: Not3s is connecting Nigeria and the UK with his music

Posted on by Uzoma Ihejirika

Written by Uzoma Ihejirika.

In 2017, at age 19, Not3s emerged on the UK music scene with “Naughty,” his collaboration with fellow UK act 23 Unofficial. “Naughty” placed Not3s in the bubbling genre of Afrowsing, a melodies-full affair of Afrobeats and Dancehall, with incorporations of Hip-Hop, R&B and Grime. That same year, he scored a viral hit with the smooth love number “Addison Lee.” Both “Naughty” and “Addison Lee” showed off Not3s’ infectious East London drawl and tipped him as an ascendant star. Six years later, with four projects under his belt and fatherhood being his biggest personal milestone, Not3s is a man with renewed insight into his music and his Nigerian roots.

 

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“I feel like I learnt how to deal with situations and people much easier and earlier as opposed to learning that much later,” Not3s, born Lukman Olanrewaju Odunaike, shares with the NATIVE about the impact of the years. “I also feel like dealing with people earlier also allowed me to take any of the losses and lessons at a younger age as opposed to taking it while I’m older. So, it kind of allowed me to get all of my mistakes out of the way. I feel like I’m always learning, I feel like I’m always growing and I feel like I’m better than myself every day.”

Not3s’ latest project ‘Son of the Soil’ is his first as an independent artist. His 2017 and 2018 mixtapes ‘Take Not3s’ and ‘Take Not3s II’ as well as his 2021 debut album ‘3 Th3 Album’ were released under the supervision of Sony Music Entertainment. After the agreement between Not3s and the label ended, they chose to part ways. On his part, Not3s felt the breakup was necessary as he was unsure if the label had the right tools to handle the potential of his career. “And on top of that, I didn’t feel like I was ready because I didn’t feel like I had the right team,” he says. Not3s’ newfound independence is an opportunity to rebuild his confidence and believe in his blueprint for his career.

The seven-track ‘Son of the Soil’ pays homage to Not3s’ heritage as a Nigerian and African, even though he was born and raised in London. The EP features Nigerian talents in ODUMODUBLVCK, Hamzaa and Mayorkun, with production efforts from P.Priime, Ucee, KC, ATG and Saszy Afroshii. The inspiration behind the project stemmed from Not3s’ visit to Lagos when he and music executive Bankulli stopped by where Afrobeat legend Fela Kuti was buried. While they were there, Bankulli (with whom Not3s made the 2021 single “Foreign”) kept referring to Not3s as a son of the soil. The term stirred a host of emotions within Not3s, birthing different meanings.

“Son of the soil refers to my son, me being a son, and the sun within the sky,” Not3s shares. Born in Hackney, London, Not3s expressed the glitz and glam of London as well as the unpleasantries of his environment. “Being able to be the son of the soil and come out of the mud and sprout and blossom in every way that I possibly have without being affected by everything that goes in my area on a day-to-day basis till now is a big thing for me,” he says. “It’s a very important milestone for myself and for everybody else involved. And then also, the sun allows whatever is in the ground, whatever the seed is in the ground to grow out of the soil. It’s A lot of meanings around that one ‘son of the soil’ term.”

The music on ‘Son of the Soil’ blends the trappings of both the Nigerian and UK music scenes. Not3s’ mellow vocals coat the songs, which boast elements from Afrobeats, R&B, Hip-Hop and Amapiano. “Offering” and “Start Me Up” is Not3s sweeping up a romantic appeal with his charm; “High Fashion” with ODUMODUBLVCK and “So Far Gone” with Mayorkun carry the celebratory energy of a man steeped in success; “Who Dey 4 U?,” “Take Me Away” with Hamzaa and “Unexplainable” are the products of years of obstacles, failures and wins. ‘Son of the Soil’ is also a full-circle moment for Not3s whose earliest memory of Nigeria was his mum threatening to ship him back to the African nation whenever he misbehaved.

“At first, the light that I had Nigeria in wasn’t the greatest of lights because that was being used as a threat,” says Not3s, “so it added the fear factor of what is my home country actually like?” It also didn’t help a young Not3s that he faced racist comments wherein people called him a FOB or told him that he smelled like an ass. Those comments disconcerted Not3s as he realised that although he was British, he didn’t fully belong there and that his home country was mocked as a place of archaic practices and dangerous people. Now, Not3s is fully aware of the beauty of Nigeria (despite the obvious political and societal issues), from the food to the people to the music, which is all that ‘Son of the Soil’ celebrates in resplendent glory.

Not3s shared his time between Nigeria and the UK to make ‘Son Of The Soil.’ The plans for the project sped up after he signed a distribution deal with MOVES Recordings. According to Not3s, ‘Son of the Soil’ is representative of the connection fostered by communities of artists in Nigeria, Africa and in the diaspora. The Afroswing genre, which experienced a boom in the mid-2010s was one of the ways different communities around the world interacted with one another, the UK as a meeting point. The exchange of cultures, via music, is a big deal for Not3s and it is this phenomenon that ‘Son Of The Soil’ embodies.

Although shouldering the weight of his career on his term is a dream for Not3s, he admits that it has its drawbacks. “Sometimes there’s the ying but in order for your life to feel like it is in some sort of motion there has to be yang,” he says. He has chosen not to dwell on the negative aspects of life and instead focus on pouring love and joy into the world. He funds an NGO that fixes boreholes in areas in dire need of clean water and he plans to release a documentary that addresses the #EndSARS protests and shooting at the Lekki Toll Gate. ‘Son Of The Soil,’ with its bright-eyed optimism and happy vibes, is another way Not3s heeds his calling.

“I hope that [people] think about the beauty within it, the fun within it and energy within it and also I hope they are always reminded that we blossom through the roughness of places wherever we come from or wherever our parents or ancestors might come from,” says Not3s. “[I also want people to know] they shouldn’t shy away from being vulnerable and aid others to know that they’re not the only ones going through such similar [tough situations].”

Stream ‘Son Of The Soil’ below.

Featured image credits/NATIVE

Four Nigerians tell us how the #EndSARS protests influenced their japa plans

Posted on by The Native

Three years ago, today, soldiers of the Nigerian army shot live bullets into a throng of unarmed civilians protesting against state-backed police brutality. In real time, many Nigerians saw how little valued their lives are, in relation to the unbending status quo that is the Nigerian system. Those shots pierced skins, took human lives and broke many hearts particularly that of young Nigerians. They also reinforced the notion that the Nigerian dream is to live far, far away in a country with better working systems.

Since the mid-2010s, the Japa phenomenon has been growing in popularity amongst young Nigerians, and the halting end to the End SARS protests in October 2020 definitely heightened those feelings of exodus. Anecdotally, most of us know at least one young person who’ve permanently relocated out of Nigeria in the last three, to the point where people have shared stories on social media of losing entire friendship groups. The End SARS protests have played a huge role in the decisions of many to leave the country and never look back.

Below, four people share the effects of the protests and the Lekki tollgate massacre on their eventual exit from Nigeria.

I already had plans to relocate for my masters in the UK, but was delaying for unknown reasons. It became imperative for me to leave after the #EndSARS massacre of October 20, 2020.  While I watched DJ Switch’s livestream, I saw people shot down for no reason, but for protesting to thrive, and not just exist. I imagined what if I was the one, or maybe my beloved brother, that night, I started my plans to leave Nigeria. It was difficult finally making the decision to leave Nigeria, because I have always believed that Nigeria would be better, but that night, something broke in me. The love, and the belief of a better Nigeria died in me. I checked out of Nigeria.

The days that went by didn’t help matters. The state, and the federal government denied the massacre ever happened, and it clocked on me that Nigeria doesn’t value my life. It was so sad to see. I shed tears while I was leaving, because the EndSARS movement was special to me in many ways. While I haven’t been harassed by the police, it was important to stand and speak up for young Nigerians who have been harassed, dehumanised, and killed by these monsters in uniform. The 2023 elections was another opportunity for us to rewrite the history of Nigeria for better, but the establishment thwarted that effort. I strongly believe that Nigeria would be better, but sadly, I’m better off in that belief faraway.

– Obiozo, 27

The decision to leave Nigeria wasn’t primarily mine, to be honest. Everything was in disarray during that period, like federal unis were on strike and I had gotten admission into Unilag at the time, but we couldn’t resume because schools were shut down. Plus covid, plus existing students had a pending session to finish, so my dad just came and said we should work towards me studying abroad and relocating permanently. I joined the 2020 protests with my sister, for a few days, and the way things ended definitely shook me. It just made me start hating Nigeria and just how your life is under this cloud of uncertainty. So, yeah, thanks to my dad for getting me and my sister out of Nigeria, and fuck those killers who are part of the government.

– Olaide, 22

I actually didn’t think about leaving Nigeria immediately after the protests and it’s not because of any patriotism reason. But honestly, the whole judicial panel thing and the government not taking any real steps forward was part of what pushed me to take leaving Nigeria seriously. I actually heard those gunshots, I lived in Victoria Island with my elder brother, so we heard them shooting. I never really wanted to leave Nigeria but the opportunity presented itself, and it was during that time that the panels happened. It’s just crazy that people can die in that manner and no one has still been held accountable.

– T*, 30

Honestly, after that president’s address, I just thought that I needed to get my family out of Nigeria. I’d wanted to leave for a while, but a few things were delaying me. As soon as I saw the address on TV and the japa jokes on Twitter, I was just so damn sure that my two children are not growing up in a country where they would be treated like second-class citizens. At least, if they are abroad, they might face some issues, but the system actually works on a basic level. Also, what will happen to them if one random police officer stops me and kills me just because he can? We left in August of the following year and it’s the best decision we’ve made. Plus my two siblings came along soon after, so there’s family around us, and that was the only thing we missed for a while.

– C*, 34

 

ICYMI: GO THROUGH THE TIMELINE & AFTERMATH OF THE #ENDSARS PROTESTS

#EndSARS & The Creative Works Inspired by the seminal protest

Posted on by Uzoma Ihejirika

October 20 will always have a special place in the hearts of young Nigerians and will serve as a reference point for future generations about the indomitable spirit of the Nigerian youth. On this day in 2020, a peaceful protest was held at the Lekki Toll Gate in Lagos in solidarity with the nationwide #EndSARS movement but that protest was brought to a halt when members of the Nigerian army opened fire (with live bullets) into the air and at the protesters, reportedly killing at least 12 and injuring many. 

The Nigerian government and army, at first, denied any involvement in the deaths and injuries but the evidence was too glaring to ignore. DJ Switch (who is now a fugitive) had livestreamed the shootings on Instagram. In 2021, the Lagos State Judicial Panel of Inquiry into Victims of Police Brutality and Other Related Matters confirmed that the army (and the police) indeed caused a massacre at the Lekki Toll Gate. There was also the ripple effect of the news that the Lagos State government had conducted a mass burial of 103 bodies killed during the duration of the  #EndSARS in the state.

The #EndSARS protests resulted in the disbandment of the Special Anti-Robbery Squad (SARS), a police offshoot that began in Lagos in 1992 and spread to other states in Nigeria in 2002. SARS’ initial mandate was to arrest, investigate and prosecute armed robbers, murderers, kidnappers and other violent criminals but from 2006, reports of unlawful arrests and killings began to brew. From then to now, there are numerous reports of bodies found in rivers and roadsides reportedly arrested and killed by SARS. The previous Inspector General of Police, Mohammed Adamu, set up a new police unit in the Special Weapons and Tactics (SWAT) team but didn’t allay the fears of Nigerians as police brutality continued and continues. 

In 2022, there was a stark reality about the unwavering spate of killings meted out by the Nigerian police. The victims ranged from a polytechnic student in Imo State to a journalist in Osun State to a youth leader in Calabar State to a university graduate in Taraba State to a man murdered during the burial of his boss’ mother in Edo State to a pregnant lawyer in Lagos State. This year, in a ruling adjudged as the first time a police officer will receive a death sentence, police officer Drambi Vandi was found guilty of one count of murder of Bolanle Raheem, the pregnant lawyer he killed on Christmas Day last year.

The #EndSARS movement birthed a moniker for the Nigerian youths: the Soro-Soke (Yoruba for “Speak up”) Generation. On the streets and across social media, the Nigerian youths ensured that their voices were heard in the country and around the world. Art, in every shape and form, is reflective of the society of its creators. During the period of the #EndSARS movement, musicians rendered their talents to the collective concerns of the Nigerian youths. There was Burna Boy’s “20 10 20,” Chike’s “20.10.20 (Wahala Dey),” Orezi’s “We Don Tire,” Dwin The Stoic’s “This Fight,” Dremo’s “Thieves in Uniform (End SARS)” and “OMG,” and Efe Oraka’s “Live Rounds in the Dark.”

Three years after the unfortunate event of October 20, 2020, at the Lekki Toll Gate, creators are still finding expressions for the emotions and memories of that day. Sọ̀rọ̀sóke: An #Endsars Anthology, edited by Jumoke Verissimo and James Yeku, paid homage to the new generation of Nigerian youths through poems from the likes of Gbenga Adeoba, Biodun Bello, Yejide Kilanko, Tayo Bello, Rasaq Malik, Uchechukwu Umezurike, Soji Cole and Kola Tubosun, among others. Othuke Umukoro, winner of the 2021 Brunel International African Poetry Prize, immortalised “the brothers & sisters we lost in the #EndSARS protests” in his poem “All The Places That Swell With Hurt” in Agbowo Magazine, writing, “Our voices are raised in defiance/against the executioners & pharaohs/that be, our song is lifted over/their bolts of lightning. Call this/whatever you like, our spirit/is not broken, we are doing/what must be done.”

In Wole Soyinkka’s 2021 novel Chronicles from the Land of the Happiest People on Earth, the #EndSARS movements featured in the book’s world, with Soyinka highlighting the importance of that movement rejigging the political and societal structures of Nigeria. “…there are so many things I could find to do here. But this has been an internal demand for a number of years,” he said in an interview. “The more this society decays, the greater the betrayal encountered. Look at what happened, EndSARS is another manifestation of this novel. You know, it is something coming to the fore and which has to be expunged. So take the novel, yes, just another feature of SARS.”

Last year media personality Chude Jideonwo released his documentary film Awaiting Trial delved into the deferious activities of SARS, most especially in Awkuzu, Anambra State, where  CSP James Nwafor had told a grieving mother, “I killed your son, and there is nothing you can do about it.” Awaiting Trial also featured activists and media personalities (Folarin Falana (a.k.a Falz), actor Adebowale Adedayo (a.k.a Mr Macaroni), activist Rinu Oduala and Nigerian legal practitioner Olumide Akpata) who played important parts on the local and international scene and helped coordinate funds and legal support. 

In Samuel Adeoye’s 2022 short film Adul, Abdul (Abdul Saliou), a 25-year-old Nigerian is desperate to remain in Germany and avoid a return to Nigeria wherein protests have broke out over the #EndSARS movement. “I wanted to detail the harsh realities for Nigerians both home and away, the agony of a single mother, the trials of surviving youth and the bully of a country,” Adeoye said about his film. The 2D animated 2021 short film The Days To Follow, directed by Jamila Dankaro, follows the lives of two sisters upended by an #EndSARS protest. The Sani Adeleke-directed 2021 short film SORO SOKE expressed solidarity with the #EndSARS movement, showing how Nigerian youths are bullied and intimidated by security officials. The 2021 short film Focus, directed by Tolulope Ajayi and helmed by public service organisation Paradigm Initiative (PIN), uses the #EndSARS protests as a backdrop to address issues in digital rights and inclusion ecosystems. 

The #EndSARS movement is bound to ignite the imaginations of more creators as time progresses. No creative artist works in isolation from their environment: its benefits and hardships will always enter their bodies of work. As we celebrate the third anniversary of the #EndSARS movement, we should always remember the sacrifices of the Nigerian youths and those who lost their lives. Such a historic event will never be forgotten and will continue to return to us through the imaginative minds of our creators.

Featured image credits/NATIVE

WHILE WE MOURNED, WE DANCED: ON #ENDSARS, AFROBEATS & GRIEF

ODUMODUBLVCK’s ‘EZIOKWU’ Is The No.1 Album In Nigeria

Posted on by The Native

This week, Abuja-based Drill artist ODUMODUBLVCK launches to the summit of the TurnTable Charts with his latest mixtape ‘EZIOKWU’ debuting at No.1 on the TurnTable Top 50 and standout single, “BLOOD ON THE DANCEFLOOR” featuring Bloody Civilian and Wale premiering its entry on the top ten at No.6 on the TurnTable Top 100.

Following its release on October 5, ‘EZIOKWU’ tallied 12.2 million on-demand streams during the week of October 6 — October 12, the equivalent of 8,130 album units. It becomes the first Hip-Hop/Rap album to debut at No. 1 on the official albums chart in the country and also the second Hip-Hop/Rap album to ever reach No. 1 on the Official Top 50 Albums Chart in Nigeria after Olamide’s ‘Unruly.’ “BLOOD ON THE DANCEFLOOR” also becomes ODUMODUBLVCK’s highest charting single on the TurnTable Top 100 tallying 1.82 million on-demand streams and 34 million in radio reach.

“BLOOD ON THE DANCEFLOOR” trumps the rapper’s previous highest top ten peak at No.8 for his record-breaking single, “Declan Rice” and “Ndi Ike.” This is also ODUMODUBLVCK’s fifth entry on the top ten of the TurnTable Top 100, attaining a new record of the most entries for a rapper on the charts; a position which was previously held by Olamide. ODUMODUBLVCK is making career best moves only a year after signing to NATIVE Records via its joint venture with Def Jam Recordings. Given that he’s been running circles on the pop culture circuit all year with one of the most distinctive voices in mainstream Nigerian music and his near-dominance on social media, it’s no surprise that he’s now reaping the fruits of his labour.

That ODUMODUBLVCK has risen from his local hood of Abuja and become an artist topping stateside and global wins is not lost on any music lover or critic. Alongside his entry on the TurnTable charts, ODUMODUBLVCK also recorded wins across the pond as ‘EZIOKWU’ also debuted at No.10 on the Spotify UK Weekly Charts for Albums only a few days after its release this month. ODUMODUBLVCK is an artist that is pre-naturally at ease with his talent and he’s nurtured a core following of believers who hang on to every line (and tweet), as well as a string of veritable hit songs which have only driven the hype train to a feverish peak.

With his Oporoko-infused melodies and his penchant for cultural narrative, and ability to thread high concepts and innovative imagery into relatable bars, ODUMODUBLVCK is on his way to stardom. This current win only serves to furnish the idea that he’s expanding his sound and blending the rhythmic aggression of drill with a cool vocal style while disrupting what audiences have come to expect from the genre–showing there’s no one template to success.

Stream ‘EZIOKWU’ and watch the video for “BLOOD ON THE DANCEFLOOR” below.

Featured image credits/NATIVE

ICYMI: ODUMODUBLVCK, Bloody Civilian & Wale make menancing sound thrilling in “BLOOD ON THE DANCEFLOOR.”

Trace TV’s Inaugural Award Celebrates Black Excellence In Africa & The Diaspora

Posted on by Uzoma Ihejirika

In August, global multimedia platform TRACE unveiled a 26-category nomination list for its inaugural Trace Awards & Festival, billed to take place between October 20 and October 22 at the BK Arena in Kigali, Rwanda. The list consists of artists from more than thirty countries in Africa, South America, the Caribbean, the Indian Ocean and Europe. The awards, which are intended to celebrate the diversity and brilliance of Afro-centric music, revolve around genres such as Afrobeat, Afrobeats, Dancehall, Hip-Hop, R&B, Rap, Amapiano, Gospel, Soukous, Mbalax, Zouk, Kizomba, Genge, Coupé Décalé, Bongo Flava, Rai, Kompa and Rumba. The Trace Awards & Festival is also in celebration of the company’s 20th anniversary. 

“The reason [for Trace Awards & Festival] is because there’s too much happening with our culture,” says Sam Onyemelukwe, CEO of TRACE Naija. “[The genres] Afrobeats, Amapiano [and] the artists are going crazy. The music is getting worldwide and yet there was no real, credible global African celebration of that. And we knew that we were the right brand to do that because we’re in a hundred and eighty countries, we are in every country on the continent and pretty much every country where Africans live around the world.”

Birthed in 2003, TRACE has instituted itself as an integral player in the celebration of Afrocentric cultures through music and entertainment. Its audience number reaches over 350 million people with about 100 TV, radio and digital channels across Africa, France, the UK, the USA/Canada, Brazil, the Caribbean and the Indian Ocean. Through its in-house development, production, financing, media, digital, distribution and branding capabilities, the company has partnered with both emerging and established talents to push the culture, connecting Black people from the African continent to the diaspora and vice versa.

Onyemelukwe opines that the longevity of the TRACE brand is rooted in its consistency in delivering high quality. “[We are] consistently ahead of what’s happening and consistently part of the cultural conversation around our evolving African music and culture, with Afrobeats at the forefront,” he says. “We’re lucky to have maintained a special place in the entertainment industry and I think it’s by consistently being right there at the nexus of music and culture right across Africa, across the diaspora with Afrobeats at the forefront.”

The categories on the nominations list are open to the general public for voting. Some of the categories include Best Male Artist, Best Newcomer, Best Gospel Artist, Best Producer, Best Music Video, Best Collaboration and Best Artist (in Anglophone Africa, Francophone, Lusophone, Rwanda, France & Belgium, UK, the Caribbean, Indian Ocean, Brazil and North Africa) and features the likes of Burna Boy, Davido, Wizkid, Fally Ipupa, DJ Maphorisa, Asake, Rema, Ayra Starr, Black Sherif, Popcaan, Diamond Platnumz, Kabza De Small,  Stormzy, Libianca, Juls, Tiwa Savage, Kel–P, Blxckie, Headie One, Pabi Cooper, Suspect 95, Shenseea, Central Cee and Headie One, among others.

There are also the relatively new categories of Best Dancer and Best DJ. In the boom of African music, dancers and DJs are usually relegated to the background but TRACE notes their contributions and importance to the music ecosystem. “It’s crucial that the entire music industry and everything that comes along with it is carried along,” says Onyemelukwe. “For years, those of us working, observing and being involved in the music and entertainment industry have tried to highlight the ecosystem around the entertainment industry because it’s not just the artist on stage, the artist on stage is just the face of the brand. [It’s important] that we recognise all of those that work around the industry that may not be on the stage singing the song.”

The three-day Trace Awards & Festival will comprise activities surrounding music, food and tourism. There will be an opening party on Friday (October 20), followed by business and political debates as well as a songwriting workshop organised in collaboration with EMPIRE and the Sunday Are-founded Smart Music Nation. There will also be a section for food and fashion vendors to exhibit their wares. The awards ceremony will take place on Saturday (October 21), with Davido, Rema and Tiwa Savage confirmed to perform. Then on Sunday (October 22), there will be a special Gospel concert, which will be headlined by the Soweto Gospel Choir. Attendees are also encouraged to take advantage of the travel packages by visiting zoos and safaris and tour the city of Kigali throughout the week of the event.

The choice of Kigali as a venue, Onyemelukwe reveals, is due to Rwanda’s enabling environment for business and tourism; he terms it a mutually beneficial relationship between TRACE and Rwanda. “The BK Arena is unbelievably beautiful, very well built and designed,” he says. “You can get around [Kigali] easily. No traffic. No police harassing you. Look, it’s visa on arrival at no fee for any African Commonwealth country in the African Union. When you get to the airport, you sail through in less than five minutes from getting off the plane to collecting your bags. [The Rwandan government has] made a perfect home for us to do an incredible award.” Some of the partners for the Trace Awards & Festival include Visit Rwanda, RwandAir and the Rwanda Broadcasting Agency (RBA).

The Trace Awards & Festival, following the company’s ethos of celebrating Black people in Africa and the diaspora, bears witness to the connectivity of music and its power to cut through the borders of culture, language and geography. Artists from the UK, Brazil, France (as well as the regions of Réunion, Martinique, Mayotte, Guadeloupe and French Guiana), Jamaica, Haiti cohabit with their peers from Nigeria, Ghana, Rwanda, South Africa, Ivory Coast, Morocco, Algeria, Cameroon, Gabon, Senegal, Kenya, DR Congo, Swaziland, Uganda, Tanzania, Cape Verde, Madagascar and Comoros.

“It’s important [that the categories touch on a wide range of countries] because I think everybody recognises in different ways the power of music overall but [also] the fact that the roots of African music—even before we can talk of Afrobeats—over decades and centuries is so powerful,” Onyemelukwe says. “Even Hip-Hop and R&B [that] we consider American is rooted in something that we bring to the world. So I think making that connection for us is crucial. [Also], we are aligning these awards with the Millennium Development Goals [as] we work closely with the African Union.”

The voting process for the Trace Awards & Festival is still open. Music lovers are encouraged to visit the dedicated page for the awards and cast their votes. Tickets are also available for purchase via HustleSasa. The Trace Awards & Festival is primed to be a regular occurrence as the company is keen to keep tabs on the latest happenings within the music and entertainment industries. Onyemelukwe, who served as the commercial lead and co-executive producer of the Trace Awards & Festival, hopes a win for any of the artists nominated is equivalent to the effect of a Grammy nod—as regards increases in an artist’s performance fees and their streaming revenues.

“I don’t want this award to just be a fun, nice event. I want this to truly have an impact on the industry,” he says. “I want this to make all of those business leaders and investors and global organisations, especially African organisations, to say ‘Wow.’ I want it to have a financial and immediate impact on the ecosystem and I want it to have a wider impact on continuing to further the incredible work our artists have done in improving the perception of Africa around the world.”

Featured image credits/NATIVE

NATIVE Selects: New Music From Shallipopi, Ajebutter22 & Tim Lyre

Posted on by The Native

It’s that time again. Every week, new music shows up, sweeping fans and music lovers off their feet while artists gauge reactions to know the effect of their creativity. At the NATIVE, we are committed to keeping our ears on the pulse of the music scene and bringing the best sounds to your doorstep. In our last edition, we brought you stellar new releases from  Dope Caesar, Jujuboy and more. Today’s NATIVE Selects features singles from Shallipopi, Rema, WurlD and more. Lock in!

SHALLIPOPI – “THINGS ON THINGS” & “OSCROH (PEPPERLINE)”

Shallipopi ups the ante with two singles, fresh off the release of the music video to “Obapluto.” On “Things on Things,” he fires warnings at his detractors on social media. He taps the nostalgia of a nursery rhyme on “Oscroh (Pepperline),” boasting about the new level he’s entered in his career. Both tracks are produced by Busy Pluto, who sets them on an Amapiano template.

LIL DURK – “ALL MY LIFE” FT. J. COLE & BURNA BOY

American act Lil Durk has released the remixes to his track “All My Life” with J. Cole. One of the remixes features Nigerian singer Burna Boy. With his verse,  Burna Boy maintains the ground-to-the-top storyline of the song, narrating his come-up and his current success. “Head fucked up as a young buck/Seven years couldn’t leave my continent/Came to America, sell out stadiums and turn up,” he raps.

BOJ & AJEBUTTER22 – “RORA” 

Ahead of their forthcoming tape ‘Make E No Cause Fight 3,’ BOJ and Ajebutter22 unveil the lead single “Rora.” Produced by Spax, “Rora” is a delightful Afropop tune with rich melodies borne from percussion, drums and saxophone. BOJ and Ajebutter22 glide over the track, pouring out their feelings to a love interest.

ICE SPICE & REMA – “PRETTY GIRL”

The American-Nigerian music collaborations continue with Ice Spice and Rema’s “Pretty Girl.” Both artists make the track a fun ride about romantic promises; they complement each other with a playfulness in their verses and hook. Ice Spice’s verses ooze confidence and Rema’s chorus colours the song with his distinct vocals.

DJ NEPTUNE & JOEBOY – “MUMU”

DJ Neptune and Joeboy have an effective partnership, as 2020’s “Nobody” with Mr Eazi and 2021’s “Abeg” with Omah Lay has proven. On “Mumu,” produced by Signal, Joeboy is the star of the show, opening up about his feelings for a love interest and how it doesn’t make him weak. Signal’s Afropop/Highlife production is also a winner.

MAYORKUN – “LOWKEY!”

Mayorkun follows up “For Daddy” with new single “Lowkey!” Both tracks are from his forthcoming EP ‘Love.. For Free.’ On “Lowkey!” Mayorkun addresses grievances suffered at the hands of people who have undermined him. “If you too sweet dem go lick you finish/If you want peace dem go break you pieces/The matter pass my hand/E scatter all my plans,” he sings.

WURLD – “SARAFINA”

Nigerian singer WurlD explores the romantic and sexual on latest single “Sarafina.” “See ya with ya bum bum/Na fun fun killa/Anytime she call, I Dey run go give her /Anything she want, I Dey rush deliver,” he sings.  “Sarafina” is part of his EP ‘Don’t Get Used to This,’ which is scheduled to be released in November.

TIM LYRE & MINZ – “TIGHTER”

Tim Lyre and Minz perform magic on “Tighter,” a fine tune of seduction and romance. Both artists shine on Dare Kasali’s production, flowing effortlessly on the Pop-adjacent track. They sing to a love interest, with the word ‘tighter’ serving as a representation of commitment and sexual tenacity. “Tighter” is from Tim Lyre’s forthcoming project ‘Masta.’

SKALES – “DON’T SAY MUCH”

For those in the know, Skales has been reinventing himself of late, releasing self-aware songs which reveal an artist who’s still peeling into the depth of his stories. On his latest track “Don’t Say Much,” a breezy production sets the tone for his heartfelt lyrics, as he probes the motions of his life, speaking to how it’s sometimes seemed his career went the other way. Beyond the exhilarating vibe and the poignant lyricism, it’s the weightless admission of Skales that makes this one of the better songs released this period. 

EMA ONIGAH – “SIDEMIRROR” 

In recent years, the soundscape of Afropop has been colourfully expanded by young artists who are impressing their distinct styles on its conventions. One such artist is the Lagos-based Ema Onigah, who’s been working with the likes of veteran producer Ozedikus and writing songs for Tekno, among other known artists. From Onigah’s debut EP ‘DUST OFF’ comes this record, which sets a prescient mood while unfurling several themes with Ema’s razor-sharp delivery. It bares his growth over the years while showcasing his handle on everyday topics such as love and the desire to steer one’s destiny with precaution and finesse.

Words By Uzoma Ihejirika & Emmanuel Esomnofu

Featured image credits/NATIVE

New Music Friday: New Projects From Kuami Eugene, TOBi, Medikal & More

Posted on by Dennis Ade Peter

Every other week, new projects are being released around Africa. It’s a prolific period for artists, spurred by the many potential gains of pulling off a good project. Beyond commercialist expansion, it’s an opportunity to introduce a new aspect to a performer’s artistry, or consolidate on established sonic preferences. It’s a big day for new releases in Ghana, with marquee releases from Kuami Eugene, DarkoVibes and Medikal. Read on for more details, as well more spotlighted projects we highly recommend this new music Friday.

Kuami Eugene – ‘LOVE AND CHAOS’

Kuami Eugene is one of the most bankable hit-makers in Afropop. A catalogue brimming with ultra-popular songs has made the Ghana native a beloved parochial superstar with a pan-African reach (see: his contribution to “Love Nwantiti”). After much anticipation, he’s dropped his third album, ‘LOVE AND CHAOS’, which continues his investigations into and expressions of romantic feelings, from love to lust. In curating his latest set-list of ready-made hits, he’s joined on the 13-track project by Nigerian singers Guchi and Magixx, British-Congolese rapper Backroad Gee, and more.

TOBi – ‘PANIC’

Canadian-Nigerian has been working his way into the vanguard of the stateside (and North American) alternative R&B movement, filling his music with resonant coming of age themes across his two major label projects, ‘STILL’ and ‘ELEMENTS Vol. 1’. On his new album, he continues to slip between soulful melodies and smooth raps, as he shares what it’s like as a young man finding his way through life. Introspective rap savants MAVI and Kenny Mason, as well as Funk-R&B fusion artist Topaz join him across the gently sweeping 12-track project.

DarkoVibes – ‘BUTiFLY’

Since pivoting to a solo star, after years as a member of La Meme Gang, Ghanaian singer/rapper DarkoVibes has committed to making music with a stunning amount of range, snagging a decent stack of hits in the process. ‘BUTiFLY’ is his third project in three-plus years, and it’s as indulgent as Darko has always been, playing around with Highlife-inspired pop, trap, EDM, and more. The guest list is just as packed, with appearances from Nigerian superstar Davido, Ghanaian rap icons M.anifest and Omar Sterling, and more.

SGVO – ‘VO’

Within the sprawling soundscape of South African dance music, SGVO occupies a niche, experimental corner, his alchemy of house and dub music into fuses into an entrancing whole. For his new project, the producer and DJ is expanding his purview without diluting the core of his sound, as he invites in more collaborators the he ever has. Across the 13 songs that comprise ‘VO’, he’s joined by superstar producer Kabza De Small, close collaborators Artwork Sounds, vocalists Babalwa M and Jessica LM, and more.

Medikal – ‘Planning & Plotting’

You can count the number of African rappers as prolific as Medikal on one hand—that’s if you can even find any. Coming in less than a year after 2022’s ‘SOCIETY’, the Ghanaian rap veteran has now released his seventh project in just over four years. Deviating from the more introspective lean of his last project, ‘Planning & Plotting’ is Medikal in his most recognisable element, elbowing through beats and sending out barbs at naysayers. Featuring Headie One, Sarkodie, Jay Bahd and more, he swings over booming trap and drill beats with trademark authority.

ICYMI: THE RISE OF TYLA’S GLOBAL HIT SONG, “WATER”

NATIVE Exclusive: How Editi Effiong’s beliefs and curiosity netted him a blockbuster

Posted on by Alex Omenye & Dennis Ade Peter

Editi Effiong would not object to you calling him a nerd. As an adolescent, rather than go play outside, he preferred to be locked up in a library, dedicatedly going through the contents of encyclopaedias. Growing up in a house filled with books, he craved knowledge with a rabid curiosity – knowledge that was abundant inside books. “On average I knew more than anyone else in my class,” he tells The NATIVE. “I knew so many things, I knew everything. I knew the past, I knew the future, I knew the present.”

With an ever-increasing bank of knowledge came an affinity for the arts. “When I read, I started writing,” he says. A self-proclaimed descriptive writer, Editi approached his stories from a vivid, visual angle. That meant making films was always on the cards, and he had some early practice from producing plays as a young boy in church and as a budding creative in University. Ditching his quest to get an Environmental science degree – “It was boring” – he found his way into tech, writing code for years, before switching to the marketing and sales side of things. For someone with a myriad of interests, it was only natural that he’d jump into diverse endeavours, but he would still eventually find his way back to his first love: storytelling.

Effiong founded Anakle, a digital agency that merged his passions for tech and marketing, working on creative advertising visuals for corporate companies and brands, amongst other things. In there is also Anakle Films, a production company that helped Editi wholesomely indulge in his lifelong passion for filmmaking. As part of his résumé as a writer and producer, there’s ‘Up North’, a coming of age story with a gorgeous rendering of Nigeria’s northern region as its backdrop. There’s the short film, ‘Fishbone’, a gripping portrait of karma that doesn’t always happen in Nigerian society.

In both films, Editi Effiong taps into the fabric of social issues from a humane perspective, which also informs his most ambitious filmmaking attempt till date. ‘The Black Book’, his debut directorial feature, follows a man who attempts to find justice for his son’s extrajudicial killings at the hands of a special police unit. In the process, he has to grapple with Nigeria’s deeply flawed system, dabbling into the political underground to make for an action thriller that motions towards Nigerian history.

Exciting, if a little unwieldy in scope, ‘The Black Book’ is a bonafide blockbuster, reaching global popularity in the few weeks since its late September premiere on Netflix. Executed by a star-studded cast headlined by the great Richard Mofe-Damijo, and a crew of over a hundred across seventy locations, it’s as big budget as it gets in Nollywood. “We didn’t set out trying to make the most expensive film,” Editi Effiong says, explaining that the rumoured million dollar budget was mainly a byproduct of trying to make a really good film.

‘The Black Book’ is a reflection of Editi’s beliefs and curiosity. Over the years, he’s been very outspoken about social issues, providing information during the EndSARS panel proceedings and generally being a voice of reason on social media. His directorial debut combines his passion for social justice with his readiness to create at the highest level possible.

Our following conversation with Editi Effiong has been condensed and lightly edited for clarity.

 

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NATIVE: So, your early introduction to film and the arts, how did it start?

Editi Effiong: I watched films, that’s my introduction. My dad made sure we watched films, and it wasn’t so we would make films. I remember one of my dad’s favourite films, ‘Windmills Of The Gods’. That wasn’t the beginning actually. ‘Gone With The Wind’ is a classic. I watched [the film] when I was ten, eleven, twelve years ago. I watched it again when I was 15, watched it again when I was 20, and I watched it again recently. I watched it a few times.

My dad has a masters degree in linguistics, so I grew up in a house full of books. I grew up reading books, a lot of books, and then when I was ten I started writing. Towards my fifteenth birthday, I wrote a 200-300 page book. It was the best thing I’d ever created then. All my siblings read it, my dad refused to read it because my dad wanted me to be a pure scientist, he wanted me to be an engineer. Anything that was art, I grew up in a community where we had a public library, well stocked. I read whole encyclopaedias, I learned to play chess from an encyclopaedia without seeing a chess board. I would lock myself in the library and read.

That’s very nerdy.

Well, on average I knew more than anyone else in my class. About the world, about shit, I knew so many things, I knew everything. I knew the past, I knew the future, I knew the present. I was just voracious in the consumption of knowledge. And so when I read, I started writing. I was very descriptive with my writing so people could describe the things I wrote, the emotions in the things I wrote, the pictures I painted. I write in pictures. The reason was that my memory is photographic in many ways. So, I never wrote for people to be able to read, I wrote for people to be able to see so I was always going to make films.

And of course I grew up in church, I used to lead the church drama group, and I produced plays. I remember when we produced ‘The Crucifix’, we made realistic Roman and Jewish costumes, we made props, we had a proper cross made and when we nailed my best friend to that cross, blood flowed as we nailed him. How did we do it? By just making blood and putting it in small bags so that when you hit the nail the blood just goes, and the women fainted in the church. When Jesus was stabbed with the spear, we just put a tiny little bag of blood at the bottom of a cardboard and stuck it to the tip of the spear so it looks like the spear, so when you hit the guy, the cardboard collapses and the bag breaks. And so the blood flows from the staff. We were 10 years old.

So it has been a long time coming?

Yeah. When I went to university, I was in a dance club and I produced drama on stage. It was in school that I met so many creative people.  Where I was as a kid, it was just me and my siblings doing things, but in school everybody was creative, always just creating things. And so, I always wanted to make films but I didn’t know how. Fast forward, I work in tech, I was a programmer, product designer, and then I now created a marketing company, basically merged my tech and marketing passions in a digital agency, outside of making short videos for brands, shooting short films for brands, advertising and ads for brands you know. You build that experience, you write scripts, and the advertising scripts are pretty hard.

 

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NATIVE: So that prepared you for filmmaking.

Editi Effiong: Well, the funny thing I always say is that, the thing that prepared me the most for being a filmmaker and director is programming. Writing code because it’s the only thing that allowed me to think through. When I used to write code, you would have several folders with different codes, different support, constants, variables, and files that you can call as you needed them and the reality for me was you have to know where everything is, every line of code. It’s the same thing as directing, you have to carry the story whole in your hand. With every change you make on set, every adjustment to dialogue, it affects the rest of the story.

Were there skills that you took from advertising to filmmaking?

Organisational skills, raising money, being able to manage stakeholders across different channels. Being told that your work is shit and you go back to rework, like taking your ego out of the way. You’re gonna work for two weeks, go into a pitch and someone says it’s shit. And you go back and fix it, knowing that your client is right. Basically what I’m saying is that it helps you because artists—film artists—can be very emotional in the way they approach things and advertising helps you build a different approach.

Obviously, advertising is a form of storytelling but it’s different from film. What informed your decision to fully take that leap into filmmaking?

I think storytelling is very important. If we do not tell our stories, we lose ourselves. If we do not show who we are, tell who we are, then that part of us dies. Our children will not know, will not be able to see who we are, our children’s children will not know who we are. Stories are an important part of building our societies. Stories tell us what our societies should be like, the ideal. We build the ideal, a make-believe world then we can copy that ideal in the real world. Yeah, that’s why I went into film.

Talk me through your creative process.

So, most times, stories come to you whole. Like they come to you whole and you go through the process of taking that whole and detailing it. For instance, I wrote the initial draft for ‘Fishbone’ in thirty minutes. So, what you now do is, there’s the dialogue, strengthening it out, blah blah blah, but the initial idea just comes whole. With ‘The Black Book’, I had a lasting image I wanted to see. I had a clear idea of what the protagonist was supposed to do and then the beginning, the end. So I would put that down, write a synopsis, then build a story. I would take the character out of the story to find out, “who is this person?” and build the character. After you know your character, you go back and work out the actual actions in the story because I know how my character would react to this situation. That’s how you actually write the real story and then write a script. You finish the script, go into a script workshop with an editor who tells you that your story has potential but it’s nonsense. And then you’re like “okay, so what do you do?” So. yeah, that’s my process. I’ve only ever directed one feature so I only have reference to that one feature.

You worked behind the scenes on ‘Fishbone’, ‘Up North’ and ‘The Set Up’. What were the lessons that you took from these productions that aided you in making ‘The Black Book’?

Not Giving Up is the most important human trait. For success in any venture, not giving up is the most important. Not giving up.

You’ve said ‘The Black Book’ is the highest-budget Nollywood movie. Did you set out for that to happen?

We didn’t set out trying to make the most expensive films or one of the highest budgets or a million-dollar film. That’s not what we set out to do. What we wanted to do was tell a story that was strong, technically and everything.

What’s the rough breakdown of the film’s expenditures?

Well, that cast list does not come free, you know. Richard Mofe-Damijo, for example, worked on this project for thirteen months. You gotta pay him, you gotta pay his gym instructor, he had to lose weight and we had to hire a chef to prepare special meals for him for thirteen months, to make sure he would be the right size for the film. We had a specialist weapons trainer, a US marine that came in to train weapons and fight tactics. We also had equipment coming from the UK. We hired the most experienced Nigerian DOP, who lives in the UK, and came in with crew from across six, seven different countries. We had that very big cast, and the crew, about a hundred and fifty people sometimes. We shot in Lagos, in Kaduna and back in Lagos. We shot in Tarkwa Bay, where we had to use a barge to transport trucks and equipment too. We shot in Kaduna, we had to build a road, we had to build a set with the thing that was basically an airstrip. It was so big that the Airforce flying over saw it and sent an investigator to come and see what we were doing there. We had to build thirty eight sets. We had about over seventy locations. It was crazy.

Shooting across many locations and all these other stuff, how were you able to not lose the essence of the movie?

It comes back to my experience as a programmer. That experience really did help in keeping sight and being in touch with the story. You don’t just keep shooting, you’re reviewing your script everyday as you’re shooting.

NATIVE: ‘The Black Book’ explores injustice, older Nigerian clandestine dealings and other sociopolitically stuff, which seems right up your alley considering your outspokenness on EndSARS and other stuff happening in Nigeria.

Editi Effiong: Okay, here’s my philosophy in life, and I lifted this directly, almost word for word from an uncle. I don’t take the bus. I never use the bus, but I will fight to make sure that buses are on the roads for people who need them just in case one day I need to use the bus. Does that make sense?

Yeah.

Even if I don’t need them, people will need them. I drive a pretty nice car. When police stop me on the road, it’s “good evening, sir” and they let me go. We don’t have long conversations. But I’m gonna fight for people who don’t have that privilege, in case it’s my turn one day. I believe that we should fix the country because if we don’t, I’ll have to support all my cousins. Does that make sense? Right now, there’s no how you’ll stay, you’ll have a nice job and someone from the village or an old friend won’t call you asking for money, because everyone is going through it. 

That’s why you’ll fight for a better economy. So your cousins can take care of themselves, they don’t have to depend on you. And also you too, when you get into trouble, when you get into a hard place, you want to have cousins that you can reach out to, you know. And 2Face said it, if you’re the only Superman in the area you’re gonna suffer. You want to be the only Superman in the area, you’re going to suffer. There’s more suffering rather than freedom associated with being the only Superman in the area. With ENDSARS, the chances of me getting shot by police is not as high as the average guy on the street. I’ve driven at night and seen police blocking the road and parking young men to the side and they wave me by, but I have to stand with them because it’s wrong. In the film, you see how my beliefs play into the things that I explore. Do you see how the things I believe in play a role in my art?

In addition to social justice, what would you say is the most important theme in ‘The Black Book’?

Family. Family is the most important thing.

What sort of impact do you hope the film has on the audience?

I hope the audience enjoys the film and expects better in the future. 

What are some of your expectations for Nollywood’s evolution in the near future?

People are doing amazing work in Nollywood and I can’t wait to see what other producers are doing. We’ve seen really great films, and TV shows come through in the last couple of months and The Black Book is another title coming out of Nollywood.

What’s next for you?

And for me, what next, we are already in pre-production, for the next picture.

Interview conducted and transcribed by Alex Omenye.

AV CLUB: EXPLORING THE HUMANE, CINEMATIC EXCELLENCE OF CJ OBASI’S ‘MAMI WATA

LADIPOE Begins The Journey To His Album With “Shut It Down”

Posted on by Uzoma Ihejirika

LADIPOE is a battle-tested lyricist known for his suave flows and candid lines. With almost a decade of experience in the rap game, he’s still on an upward trajectory, polishing his skills and adding new tricks to his arsenal. On 2021’s “Rap Messiah,” he made clear his superiority, rapping, “Rap Messiah, saving Africa/Bearing all the crossfire/Still an all-timer/In the shooting calibre (wo).” On “Revival” off 2018’s ‘T.A.P (Talk About Poe),’ he fired shots at his detractors and termed himself as “the last of a dying breed.”

It’s album time for LADIPOE and he’s taking no prisoners. On “Shut It Down,” his newest single, he declares he’s here to shut down any noise or doubts about his abilities. “Album mode switch, DND to my friends/Stopped flexing still the movement is tense/I was alte rap then turned it to a trend/Don’t blame BIC what I do with the pen,” he raps. Produced by Nigerian DJ and record producer Sigag Lauren, “Shut It Down” is a fine example of Hip-Hop, with its Drill-influenced thumping bass and drums and hypnotic samples.

When LADIPOE isn’t preaching the gospel of Nigerian rap, he’s stunting on his haters and focusing on his grind, like he did on 2022’s “Big Energy” and “Guy Man” with Bella Shmurda, which was released in June. Other times, he’s laid back and reflecting on life’s ups and downs, like on 2021’s “Feeling” with BNXN and “Running” with Fireboy DML. Elsewhere, he places his attention on the opposite sex, digging for emotional connections on “Know You” with Simi and “Love Essential” with Amaarae.

On “Shut It Down,” LADIPOE readies listeners for his forthcoming album while also celebrating his victories. “Fucking shut it down down/Me and the man dem around now/Came a long way from the SoundCloud/See me controlling the sound now yeh,” he sings on the hook, showcasing his talent for melodies. Sigag Lauren’s production expertly blends Drill with Amapiano log drums, ultimately creating a catchy soundscape for LADIPOE to commandeer. This isn’t the first time LADIPOE and Sigag Lauren would work together; they had collaborated when Lauren had remixed LADIPOE’s “Jaiye” with Aluna.

As the self-proclaimed Leader of the Revival, LADIPOE is all about making lasting statements. With “Shut It Down,” he offers a whiff of what he has been cooking for his album—a project that he reveals has denied him sleep. While we wait for the album’s arrival, “Shut It Down” is a worthy inclusion to the artist’s catalogue.

Featured image credits/NATIVE

Best New Music: ODUMODUBLVCK, Bloody Civilian & Wale make menace sound thrilling with “Blood on the Dancefloor”

Posted on by Dennis Ade Peter

There’s a prevailing idea amongst many Nigerian rap fans that when a rap artist diversifies their approach—i.e. incorporates more melodic and groovy elements—it dilutes the credibility of their output. Some of it comes from a sense of preservation, considering the frequently loud conversations about the commercial value of rap, especially when you place rappers next to pop stars. It’s a nuanced discussion with moving parts and a lot of two-dimensional opinions, but from a purely musical standpoint, it’s glaring when rap artists organically scale up for dynamism, rather than trying to hack the system solely for commercial gains.

Amidst more than a handful examples, think Show Dem Camp and their ‘Palmwine Music’ series, Ladipoe’s eagerness to share lifelines over pop-leaning production, as well as the curious case of ODUMODUBLVCK and his patented Okporoko Music style. Last Friday, Odumodu released his anticipated major label debut mixtape, ‘EZIOKWU’, and it’s the latest representation of a Nigerian rap artist erasing the boundaries of what should be considered Nigerian rap.

As is the lore, Odumodu began garnering attention as a grimy, say-it-as-it-is lyricist, stomping over alternately explosive and sliding 808 bass. In recent years, especially coinciding with 2021’s ‘Time & Chance’, he started exploring melodic cadence of his baritone, leaning into his Igbo heritage for effortless authenticity. It’s not that ODUMODUBLVCK mellowed out his sound, it’s that he’s become more accessible to a wider audience without alienating the niche community that initially identified with and championed his music. At the centre of ‘EZIOKWU’ is “Blood on the Dancefloor,” arguably the most polished he’s sounded till date, but it’s also an adept exhibition of how he continues to marry grit and gloss.

To be simplistic and putting it in strictly hip-hop terms, Odumodu is a gangster rapper. The terms and imagery in his music often references illicit trades, fatal street deals and run-ins with the law, all of which have contributed into a portrait of invincibility. The seen-it-all emphasis of his raps make him an easy (yet somewhat complex) cult hero, but the true magnetic quality that has turned him into a star is in how his music doesn’t just sound accessible, it explicitly dares you to not rap and sing along.

“Blood on the Dancefloor” is another addition to those lung-filling, voice-raising ODUMODUBLVCK anthems. For example, I dare you to not mouth or scream “supposing I fall in with my kala like this and that” after you’ve heard it even once, and that’s not even the hook. You may or may not have a Kala, but the euphoria, especially in that stagger-step flow, is intoxicating. Odumodu’s invincibility becomes tangible. Every uttered line is explicit, it’s the music and delivery that subverts the danger—or better yet, makes it thrilling.

 

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Produced by JimohSoundz and Deepaholiq, the buoyant scape comprises a groovy percussion pattern with log drum rimshot accents—faintly reminiscent of Mohbad’s “Peace”—but it’s the looped, knotty guitar riff that gives “Blood on the Dancefloor” its Okporoko flavour. That’s the dancefloor part taken care of; for the blood, Odumodu doesn’t waste any time telling us that his bullets don’t go to waste, regardless of whoever’s turf it is. “Opportunity no be wetin I go look then pass,” he asserts on his verse, a line that can mean several things to several people, both within the context of the song or as a relatable lyric.

In another masterstroke, Bloody Civilian features on this song, an apt choice not just because of how well the moniker lines up, but also for her wondrous skill at expressing irreverence. Of course, the author of “How to Kill a Man” isn’t averse to sharing disdain for her opps. Rounding out the song’s trio, American- Nigerian rapper Wale offers a simple advice: “Bring a gun to the fight.” No one is going to classify Wale as gangster, but the paranoia of celebrity and rolling with niggas who pack heat informs his verse. ODUMODUBLVCK may not have had mainstream fame long enough to deal with that paranoia, but he will bring a gun to the fight.

Again, “Blood on the Dancefloor” makes menace sound thrilling. The best element, arguably, is the harmony between Odumodu and Bloody, an alliance that pairs gruff and flutter in perfect, carefree unity. It’s a definitive part of a song where gangster and catchy, rap and pop are in perfect, carefree unison.

BEST NEW MUSIC: ALPHA OJINI & ODUMODUBLVCK ARE RIOTOUS ON “VIGILANTE BOP”

The Rise Of Tyla’s Global Hit Single, “Water”

Posted on by Uzoma Ihejirika

South Africa’s Tyla Seethal has always craved to be a star. She grew up nursing the appeal of luxuriating in the spotlight, singing and dancing to her heart’s content. Buoyed by her determination and the support of her family, she participated in drama and choir activities at school, and in her last year at Edenglen High School, she became Head of Culture. In 2019, she released her debut single “Getting Late,” featuring South African record producer Kooldrink; the track electro-tinged Amapiano was the audiences’ official introduction to Tyla’s velvety vocals, and the music video, which came two years later, highlighted her energetic choreography. 

“Getting Late” caught the attention of listeners outside South Africa as record labels swopped in with deals for Tyla. She eventually chose Epic Records, owned by Sony Music Entertainment. In 2021, she, Kooldrink and DJ Lag linked up for “Overdue,” which, alongside “Getting Late,” was featured in season 2 of the Netflix-commissioned South African drama series Blood & Water. The following year, Tyla peeled back the layers of her artistry with “To Last,” wherein she stewed in the hurt of a failed relationship. Although the song boasted of the vibrant Amapiano log drums, the mood on the song is sober and filled with regrets – a total contrast to the bright, optimistic sentiments of “Getting Late” and “Overdue.”

Born and raised in Johannesburg, Tyla’s sound is primarily influenced by their South African culture: its music, its places and the people. “I’m very passionate about my country, our culture and music; I really believe in it,” she told i-D Magazine. Tyla combines the elements gleaned from artists in her country with those idols outside SA, the likes of Michael Jackson, Aaliyah, Brandy and Rihanna. Her sound is a melting pot of R&B, Soul, Afrobeats and Amapiano. In a show of growth within the SA music scene, “To Last” got a remix featuring heavyweight record producer DJ Maphorisa and talented star Young Stunna, and Tyla appeared alongside Young Stunna and Madumane on DJ Maphorisa, ShaunMusiQ and Ftears’ “Thata Ahh.”

Tyla began 2023 with “Been Thinking,” a confident exploration of seduction and femininity. “Thinkin’ out loud, watching you in that crowd/Like I’m gon’ take your clothes off/Thinkin’ right now, are you single right now?/If you’re not, you gon’ have to share ‘cause,” she sings. In the Meji Alabi-directed music video, Tyla is in her element, rocking her body in sync with the song’s uptempo Pop rhythms. She teamed up with Nigeria’s Ayra Starr on “Girl Next Door,” produced by Nigeria’s P.Priime, where she and Ayra coated the song with affection and mild warnings to a potential lover. Both agemates (21), Tyla and Ayra’s collaboration emphasised on the rising generation of female music superstars on the African continent.

Before Tyla became the star that she currently is, social media was her most trusted tool to place herself in the eyes of the world. She posted covers and original songs, which she shared with their favourite music stars around the globe. It’s only right that a social media platform would shepherd Tyla’s first appearance on the Billboard Hot 100. Released in July, Tyla “Water,” is similar in mood to “Been Thinking” for its dive into the depths of romance and sex. “Can you blow my mind?/Set off my whole body/If I give you my time/Can you snatch my soul from me?/I don’t wanna wait, come take it/Take me where I ain’t been before,” she sings. The song’s chorus is catchy and full of intense vivid imagery.

“Water” debuted at No. 67 on the Hot 100, with 6.4 million official streams (up 22%), 3.1 million radio airplay audience impressions (up 128%) and 1,000 downloads sold (up 9%) in the United States between September 29 and October 5.  The song is also a prominent feature on other charts including Hot R&B Songs (No. 6), Hot R&B/Hip-Hop Songs (No. 22), Mainstream R&B/Hip-Hop Airplay (No. 39), Billboard Global 200 (No. 38) and Billboard U.S. Afrobeats Songs (No. 2). On this side, the song also debuted as No.34 on the TurnTable Official Top 100 for Nigeria with “Water” becoming Tyla’s first top 40 entry in Nigeria — and the artist’s highest charting single in the country. 

Three months after its initial release, “Water” has garnered these accolades due to the virality it enjoyed on TikTok after the dance challenge was created by Litchi, a South African singer and dancer who is also Tyla’s choreographer. The hashtags #TylaWater and #TylaWaterChallengevideos have accumulated over 440 million views and are used in over 500,000 videos. The dance challenge to “Water” exists on the territory of Bacardi, a South African dance genre with ties to Amapiano. “Usually, this dance style is not paired with this type of music, but I felt it would fit so well,” she said in an interview. “We ended up trying this, and it looked so good that we started performing it with water.”

The use of water as imagery isn’t new in the music space. Less than a week ago, Nigerian singer Tems released “Me & U,” her first single in two years. Its music video, which she directed, places her at the shores of the sea in a baptism of some sort. On “Ocean,” from her 2022 album ‘V,’ Nigerian singer Aṣa likens a love interest to the ocean for the completeness they bring into her life. American singer SZA’s album cover for 2022’s ‘SOS’ shows her seated on the edge of a diving board and overlooking an expanse of deep blue waters—a metaphor for her search for meaning in life’s calm and chaos.

Tyla’s rapid rise is incredible as it is an example of the good fortunes that a lot of African acts, most especially women, have in today’s world, where audiences in any place in the world are connected through the internet and streaming platforms. With an EP in the works, Tyla is setting the foundation for a prosperous year and the building blocks of what will be an exceptional career.

Featured image credits/NATIVE

How Parents Play A Lifelong Role In The Mental Health Of Young Nigerians

Posted on by Emmanuel Esomnofu

A running joke among Nigerians is that mental health is a rich person’s complex. “Na who dun chop dey see therapist,” some people would say, a reference to the mounting hardship in the country. In the past few days, the issue of mental health has again emerged into popular discussion, but this time taking a dimension not many have explored, considering how close it hits to home, literally. This involves the role of parents in the psychological make-up and mental wellbeing of their children and offsprings. 

Earlier this week, on Monday, a young teenage girl on TikTok went viral for being met with berating after approaching her parents for a new iPhone model. The resultant TikTok video which soon made rounds on the timeline showed the parents’ reaction to her demands; of all the many ways they could have handled it, they chose the moral high ground. It’s not a very pleasant video to watch; personally, I found the choice of words outright unacceptable, while the undertones went even deeper than the primary conversation, suggesting that the young woman should go sell her body if an iPhone was so important for her. Put mildly, the video documented verbal abuse. But considered critically, it’s an extension of the trans-generational traumas that many young Nigerians are born into. Going by the reactions to the event, an overwhelming number of us have not outgrown the harmful perspective of seeing these situations as normal, and even as a means of character building. 

Nothing could be further from the truth. As a child who grew up, first in the upper middle class area of Kirikiri Town and then in the working middle class part of Ajegunle, I was opportune to witness variant methods of children’s upbringing. And as many have been wont to suggest, it’s not inherently an issue of class. While some parents were verbally and physically heavy towards their children, others who fell within the same income bracket were considerate of the children’s immaturity, a natural consequence of biology. These weren’t the most educated people you’ll meet; particularly in Ajegunle, a lot of the parents I knew didn’t complete secondary school, or perhaps did but didn’t get into university, but their handling of emotional issues was a beautiful thing to see.

At this juncture, the conversation must expand beyond that sole event, and rather becomes a generational discussion; which is, to investigate and challenge how deep the wounds of young people lie. For many young Africans, the burden of coming from homes where their sense of self-worth have been treated with no understanding of sensitivity is a heavy one to shake off. It’s a two-sided conversation, and there’s no attempt here to wholly throw parents under the bus.

As children brought up in Nigeria, perhaps the first emotion we learn is shame. Couched within the sensibilities of communal life, the opinion that it takes a village to raise a child, we’re taught to consider the gaze of others even more than we see ourselves. For an adult, shame is not inherently a bad thing to have, but when that has been inculcated into one’s belief system when they should be exploring their own freedom, it leads to an overcompensation in moral attitude in the future. Rather than speak up for themselves or live freely as they should, they’re more aware of what others would think or say. When one considers all the supposedly problematic things they did as a child, it becomes clear that those things weren’t as problematic as they thought, rather it was viewed with such a serious lens because one’s parents brought the critical weight of a community’s opinion into what was essentially an individual matter. 

Shame manifests most especially in romantic relationships and work spaces, where some clip their wings so they can safely stay behind the scenes. In the case of the latter, the imposter’s syndrome is a quite popular understanding, given how much professional life has come to mean in these times. Falling short of one’s desired love life is however an underexplored terrain, especially when the attempt is made to trace some behavioural shortcomings back to one’s familial upbringing. Across Kendrick Lamar’s ‘Mr. Morale & The Big Steppers’, the Compton-born rapper explores the depth of interpersonal relationships and how they influenced his character and actions growing up as a young man and even in the present, as a celebrity. Perhaps the most poignant of the songs were “Father’s Time” and “Mother I Sober,” which are twin pieces in the grandiose landscape that Lamar painted with the acute, humanising tip of his scorching poet’s pen. 

“You really need some therapy,” begins “Father’s Time,” over the clicking sound of a typewriter. “Real nigga need no therapy, fuck you talkin’ about?” And then in two poignant verses, Kendrick lays down the depth of his daddy issues, honing especially into his reaction to pain and how living through it was considered to be a weakness. When he raps, “that man knew a lot, but not enough to keep me past them streets,” he’s referencing the fact that all the discipline he got couldn’t stop him from venturing into the waiting arms of the life he knew around him, just as a lot of our parents tried to “protect” us from the life around us as kids, but some way we still found our way into that reality. Humans will always crave the elusive, after all. “My life is a plot, twisted from directions that I can’t see,”  he raps in completion of the couplet, this time recognising the external influences on his personality, a recognition that people can be twisted, not because they’re inherently that way, but because they haven’t identified the source of their character flaws. 

When I heard that song for the first time, I almost broke down in tears. I have some daddy issues of my own, perhaps not as far-reaching as Kendrick paints his, but it humanised that person who I’ve always seen as a flawless hero. Until then, seldom in my life have I considered that this man who was born about a decade before Nigeria became a country was living with the weight of expectations that gave him no language. Being the first child and only son of his family, he sacrificed personal desire for the greater good, and now he was bringing up a family of his own, without any acknowledgement of the sacrifice it took for him to get there. Over the years, I have learnt to understand the man more and more, although that understanding doesn’t necessarily stop me from exploring the distinct manifestations of his own trauma. In so doing, one tries to construct an emotional landscape, pushing out the negative aspects of that upbringing (verbal and physical abuse) while conditioning the mind to adopt its positive aspects, like the unencumbered approach to hardwork and upscaling one’s status in life. 

“Mother I Sober” is a more sprawling record which is more in-tune with the trauma of Kendrick’s mother. It begins from a place of acknowledgement, with the artist rapping, “I’m sensitive, I feel everything, I feel everybody”. Foreshadowing the doubtful perspective he embodies throughout the album, the song evolves from the consideration of sexual abuse and how Kendrick’s family thought a cousin of his assaulted him. It’s a manifestation of care, an opposing emotion to what the artist felt with his father, but even within that care is the protectiveness that many parents display when they behold (or think they do) a familiar confusion within the psyche of a child. “Did he touch you, Kendrick?” is the recurring question throughout the record and by the last pair of verses, he reveals, in reference to his mother’s questions, that “I never knew, she was violated in Chicago” and in the song’s last movement, he bursts, literally, into freedom:

So I set free myself from all the guilt that I thought I made

So I set free my mother all the hurt that she titled shame 

So I set free my cousin, chaotic for my mother’s pain…

In the Nigerian context, trauma and therapy hasn’t been considered with deserving depth. Across our popular culture, very few creations have summarily dealt with the topic with the research and introspection it deserves. It was big news in 2017 when the World Health Organization (WHO) revealed that Nigerians were the most depressed people in Africa and had the 15th highest rate of suicides in the world. Later in 2019, Al Jazeera ran a report which stated that one in four Nigerians were suffering from a mental illness. Naturally, given the consistently diminishing state of our economy and the tough lives many of us pass through, the problem is often chalked down to money, but it’s much deeper than that. 

Among the contributing factors behind Nigerians’ being depressed, familial issues rank very highly. This is because the threshold for mental health in Nigeria is so low that people don’t even share a basic awareness of how psychologically limiting their backgrounds has made them. It’s a known fact that when one is brought up within an overwhelming lack, whether of basic human resources or emotional needs, they grow up overcompensating for those things they never had. One of the ways that manifests is by trying to prove that those things they lacked was what made them the strong people that they are. And yet, “strong people” tend to be the most depressed people; they go out of their way to meet the needs of others while neglecting their most essential needs. Even the mere vocalisation of those needs are sometimes considered a disturbance to the other person.

The young girl with the iPhone, given the proven lessons of psychology, would probably grow up unable to trust her parents. She would go out of her way to make sure she doesn’t have to rely on them, as those words have taken root in her psyche, thereby creating a barrier that turns natural want on its head. As many people have been keen to say, learning to fend for oneself—especially in a country like Nigeria—is a good skill to have, but a young person’s value shouldn’t be viewed through such a limiting lens. Perhaps, we should give young people the same grace we give to parents, as you’d barely see people calling out their parents who weren’t able to give them the best of life. 

M.I Abaga’s ‘Yxng Dnzl’ is another piece of art which delves into the mental landscape. Purposely tilted towards M’s long-honed image as a rap savant, it is nevertheless one of the most vulnerable pieces the artist—who’s often made an art of the emotion—has created. With real-life sessions with his therapist folded into the intricate poetry of the songs, one of the most revealing things the therapist got M.I to say was how he felt “neglected and abandoned” after his younger brother Jesse was born, and the love which was unreservedly his was now being shared with someone else. “You used to carry me,” the rapper said to his mother, “Now you’re carrying Jesse”. It hit hard, that line, having seen parents being unable to love their older children with the same intensity once a new one comes along.

Knowing that this is a complex discussion, and definitely not a one-size-fits-all affair means that a lasting solution would be for young Nigerians to constantly investigate their relationship with their parents. Far from it, these people aren’t impossible, and didn’t deliberately set out to negatively influence our mental health, but sometimes they did. By virtue of giving birth to us and raising us from infancy, inculcating our core values such as the levels of expression we become familiar with, they are by far the most influential people in our lives. And while they didn’t have the necessary tools to deal with their own traumas, excusing it’s manifestation as normal does our future as parents a huge detriment. 

Parenting is not an easy task but when carried out well, it benefits both the child, the parent and society at large. Feeding a child, putting them through school, providing their shelter—these are essential provisions, but navigating modern life demands more than these. It demands the provision for a child’s emotional needs. Deprive them of this and they’ll go through their adult life feeling a crucial absence, and in their search for something to fill that up, the many vices we’re familiar with creep into their life. It’s a story we’ve seen over and over again, but it’s one whose telling can never be complete, not until we have emotionally mature parents.

Featured image credits/NATIVE

ICYMI: IN CONVERSATION WITH FU’AD LAWAL, WHO’S INTENT ON DIGITISING NIGERIAN HISTORY

What’s Going On: Landslides In Cameroon, Elections In Madagascar & More

Posted on by Uzoma Ihejirika

“What’s Going On” Tallies Notable News Headlines From Across The Continent — The Good, The Bad, And The Horrible — As A Way Of Ensuring That We All Become A More Sagacious African Generation. With This Column, We’re Hoping To Disseminate The Latest Happenings In Our Socio-Political Climate From Across The Continent, Whilst Starting A Conversation About What’s Important For Us To All Discuss. From Political Affairs To Socio-Economic Issues, ‘What’s Going On’ Will Discuss Just That. This Week’s Headlines Come From Across South Africa, DR Congo & more.

LANDSLIDES DESTROY LIVES & PROPERTIES IN YAOUNDÉ

More than 20 people were killed by landslides caused by heavy rainfall in Cameroon’s capital Yaoundé. Among the affected areas include Mbankolo, a neighbourhood 25 km from Yaoundé. Authorities say many people are still missing.

The rain began on the night of Sunday (October 8) to Monday (October 9), causing the Mefou River to burst its banks and submerge several neighbourhoods. According to BBC Africa,  Mbankolo was worst affected by the latest disaster, with some homes built on slopes collapsing and banana trees being uprooted. The flood has also stalled rescue efforts, forcing locals to pull bodies out of the debris with their bare hands. 

“Yesterday we pulled out 15 people who had died and this morning we have found eight. We are still looking,” the fire service’s second in command David Petatoa Poufong told reporters. Bodies of the victims have been laid out at a morgue while the injured were rushed to hospitals. The Yaounde General Hospital said it received 12 injured, including a 7-year-old girl.

In November 2022, at least 15 people died when a landslide engulfed members of a funeral party in Yaounde’s working-class district of Damas, on its eastern outskirts.

MADAGASCAR: PRESIDENTIAL CANDIDATE INJURED AFTER OPPOSITION RALLY TEARGASSED

Opposition parties in Madagascar were teargassed on Saturday in a rally ahead of elections on November 9, injuring former president Marc Ravalomanana on the leg. The parties held the march against the incumbent President Andry Rajoelina in Antananarivo, the capital of Madagascar.

“They choked us with tear gas,” one of the presidential candidates, Jean Brunelle, told AFP. “We were in the frontline… and they just fired just like that, without warning.” Hery Rajaonarimampianina, another former president and opposition leader, told AFP that the march was called under “the same philosophy (as on Monday), that of ensuring respect for the law and democracy in a peaceful manner.”

Madagascar’s history is marked by a struggle for political control. In 2009, Andry Rajoelina, who was the mayor of Antananarivo, took over from Ravalomanana after he resigned from the presidency, with military and high court backing. Opposition parties have termed Rajoelina’s position in power as an  “institutional coup,” and further accused him of being a naturalised French citizen, which in turn, invalidates his citizenship as a Madagascan.

NIGER CUT 2023 BUDGET FOLLOWING POST-COUP SANCTIONS

Niger’s military junta has cut its planned spending for 2023 by 40% because of international sanctions imposed after they took power in a July coup, the group announced in a  televised statement on Saturday.

“Niger has faced heavy sanctions imposed by international and regional organizations. These sanctions expose the country to a significant drop in both external and internal revenues,” the press release said. “This state of affairs makes it necessary to revise the 2023 budget forecasts.” This year’s budget, initially forecast at 3.29 trillion CFA francs ($5.3 billion), was slashed to 1.98 trillion, the statement said, without detailing where the cuts would fall.

Following the July coup, several organisations condemned the junta’s actions, calling for a reinstatement of the ousted Mohamed Bazoum. When the junta refused to restore Bazoum to power, the Economic Community of West African States (ECOWAS) imposed heavy economic and financial sanctions on the country, which is already one of the world’s poorest countries.

NIGERIA: KILLER COP SENTENCED TO DEATH

A high court in Lagos has sentenced a police officer to death for shooting and killing a lawyer. After nearly a year, Justice Ibironke Harrison found police officer Drambi Vandi guilty of one count of murder of Bolanle Raheem, who was pregnant at the time when she was shot dead Christmas Day last year. Vandi shot the lawyer after her vehicle in the town of Ajah in Lagos failed to stop at a checkpoint.

“You will be hanged by the neck till you are dead,” the judge told the police officer who had pleaded not guilty. This is the first time a police officer will receive such a sentence in Nigeria, with police officers constantly facing allegations of abuse and extrajudicial killings against the citizenry.

Vandi had asked the court to dismiss the suit and discharge him claiming that he had no case to answer but one of his colleagues who testified during the hearing confirmed hearing the gunshot. Vandi has a right to appeal the ruling.

Featured image credits/Leclerc Tsakem & AP

uNder: Best New Artists (September 2023)

Posted on by The Native

With the close of the year inching closer, the need to reflect on the months past becomes more pressing. So far, 2023 has brought on more genre-defying acts navigating their way to mainstream audiences, alongside other key players expanding the scope of their artistry with new releases that are breaking boundaries in international audiences. However, a big part of this glorious year in Afropop’s history is the refreshing perspective a number of newcomers have contributed to the sonic fabric. Acts like Bloody Civilian are redefining the status quo, snagging singer-producer credits across her debut project and Nkosazana Daughter is pushing the envelope of Amapiano with soulful embellishments characterised by her lush chords.

Our monthly instalment of uNder has detailed these unmissable breakout moments and as we enter the final quarter, the stakes for couldn’t be higher. Sifting through a number of exceptional releases, our newest edition showcases a series of fresh acts striving to stand out amidst the crowd. This September class spotlights some inimitable voices, visual storytelling showcased by skilled penmanship and other-wordly production of artists fuelled with the hunger and incessant need to make a lasting impression. Aguero Bank’s burning zeal shines a new perspective on Hip-Hop, telling stories of the streets voiced by bars in Igbo while South Africa’s 5-man group, The Joy, is blending modern acapella with traditional Zulu music, plus three more artists with distinct gems up their sleeves.

Read on below for more info, listen to our uNder playlist and find your favourite new artist(s).

Abigail Chams

Abigail Chams has been on the path to musical stardom since she was a precocious adolescent. Born into a musical family, her grandfather an orchestral conductor and her mother a church choir singer, she began honing the fundamentals of her musicianship, learning how to play multiple instruments—piano, violin, guitar and more—from as early as 5-years old. By her mid-teens, the Tanzanian artist was already turning heads, for her luminous voice and her willingness to be vocal about social issues, with UNICEF appointing her as a youth advocate on mental health and gender equality.

On her debut single, “Reimagine,” Abigail Chams brims with hope for some form of societal Utopia, over an arrangement that shifts from piano ballad to raucous folk-pop. Eager to evolve past expectations to become a conscientious voice, the last year-plus has seen the singer emerge into and embrace being a breakout pop star, buoyed by a recording deal with Sony Music Africa. “U&I,” her major label debut, made her direction instantly evident, a devotional love song that pairs faint Wizkid influences with trademark bongo flava slickness. Doubling down, the faster-paced bop with Tanzanian superstar Harmonize, “Closer,” followed, while “Tucheze” folds in Kizomba inspirations.

To close out September, Abigail Chams dropped her debut EP, ‘5’, and it immediately serves as a representation of her broad palette. Opener “Falling in Love” is smooth, R&B-inspired declaration, “Milele” is a mid-tempo standout, while the Marioo-assisted lead single, “Nani?,” is one of the most colourful ‘Piano-assisted slaps you’ll hear this year. ‘5’ affirms the easy appeal of Abigail Chams as a songwriter and performer, each earnest line and gorgeous melody driving her ascent into undeniable superstardom.

The Joy

Around 2018, in Hammarsdale, in the KwaZulu-Natal province of South Africa, five boys discovered they shared a peculiarity: the ability to sing and fuse their vocal textures into resonant harmonies. The boys—Ntokozo Magcaba, Melokuhle Mkhungo, Sanele Ngcobo, Phelelani Sithole and Sandile Sphelele Hlophe—had met in high school and were encouraged by their teachers and classmates to form the acapella group The Joy. The Joy had also been inspired by forebears in the likes of The Soil and Ladysmith Black Mambazo. As The Joy, the five boys filled social media with clips of their acapella singing, performing covers of their idols and also original materials.

The Joy caught the attention of British record producer and songwriter Two Inch Punch who took them under his wings and oversaw the group’s transition into recording artists. In 2021, The Joy officially debuted on the scene with “Isencane Lengane,” a rousing call about the complexities of married life steeped in traditional Zulu rites. They followed it up with their debut EP ‘Amabutho,’ unveiling their affecting music inspired by their experiences and hunger for success. The Joy has since gone global, appearing on international platforms such as The Jennifer Hudson Show and Later… with Jools Holland.

Despite the success The Joy has accrued in a short period, the desire to make music that resonates with millions of people hasn’t faltered. On their latest six-track EP ‘Hammarsdale,’ The Joy—with Two Inch Punch (whose Love You Up label they are signed to), Ed Thomas, Henri Davies and Moon Willis—craft a tender offering to their hometown and the emotions it elicits in them. From “Mountain” to “Mashaya Kancane” to “Heartbreaker,” they explore love, hate, separation, forgiveness and hope. The tracks also sit at the intersection of Soul and Pop, showcasing their growing craftsmanship. The Joy is one of Africa’s brightest exports and a signifier of the continent’s massive catalogue of music talents.

Kold AF

A palpable experience lies at the heart of Kold AF’s music. While she’s in her early twenties, and juggling music with Law, she’s consistently created songs which both capture and transcend this phase of her life. Listeners were introduced to her sometime last year, when she appeared on two songs from Aristokrat Records’ ‘Open House Vol. 1’. On those records an important sonic inspiration of Kold AF is revealed to be Dancehall, which supplies the sheen and grit of “Pisces,” where Kold is at her coldest, exploring the recent phenomena of young people using zodiac signs as basis for their personalities. Oscillating between that Caribbean-birthed sensibility and rap cadences, Kold AF emerges as a descendant of musicians like Jesse Jagz and Eva Alordiah, but her stories are entirely hers.

That much was obvious on ‘Kold Szn’, a two-pack which was released in December. Totalling just over five minutes, it nevertheless bore witness to the musician’s expanding abilities, especially her song-making. Where previous releases leaned on poignant lyricism, here the production was allowed space to soar as well, resulting in the sort of pop-tinged accomplishment that original musicians like Kold AF prizes. “Blues” sparkles with refinement; over stripped sonics, the musician bemoans the shortcomings of a past lover, but it’s her vocal delivery which drives the message home. She flows; she croons; she sashays—the dynamism is a winning tactic.

Even more novelty enters “Wasted,” the second song off that release. Understated synths is the production’s central feature, while subtle touches and a beat switch enables the singer’s trademark assortment of flows the space to shine. When the song finishes, the visceral edge of her style is present. Much like Ayra Starr and Bloody Civilian, Kold AF belongs to a generation of young women musicians who are turning everyday experiences on its narrative stead to create resonant epics.

Encapsulating the breadth of her artistic growth is the singer’s debut EP, ‘KOLLIDE’, which was released earlier this week. It’s a stellar showcase of her prowess and entirely produced by BGRZ, resulting in career-high moments on “Broken” and “Nobody 2 Somebody”. Kold’s sensitivity is her dominant trait, and like the other songs on the six-track tape, there’s no limit to how vulnerable and precise she can get. She deserves this moment.

Aguero Banks

Rap music has gone through several stages in Nigeria. It’s been the popular sound, then was the inspiration behind the country’s popular sound, and now, has its legitimacy so direly questioned. Still, anyone with ears on ground would notice that a Hip-Hop renaissance has been going on in southeast Nigeria, where impressive rappers are rising from inner hoods and cosmopolitan towns. One of those spearheading that charge towards mainstream acceptance is Aguero Banks, whose consistent output has seen him amass a loyal following and earned him the title of ‘The Hero’.

Aguero Banks has contributed to the rich catalog of Igbo rap, which started in the early 2000s when pioneers like Nigga Raw and MC Loph folded the language’s sweet poetry into the stylistic conventions of the genre. With eccentric, off-kilter styles, later came rappers such as Slowdogg, Bosalin, iLLBliss and Phyno, whose fusion with popular sounds saw ascend legendary heights. It’s no surprise that two years into his mainstream career, Aguero Banks has collaborated with Phyno, on the decimating, poignant number “Still Sober”. Like the rappers who blazed the trail before him, Banks’ eye is trained on the colourful existence of Igbo people living in different conditions around alaigbo—the effervescence of young people, the grit of working class parents, the historical significance of the geography and its contemporary manifestations, which lends places like Enugu, Onitsha, and Aba the humane qualities of a character in a novel.

‘God is Never Late’, the newest project from Aguero Banks, plays out with cinematic poise. Tapping from the drill soundscape as Banks tends to do, it’s twenty-one minutes of straight-out rapping prowess, with evocative stories told at every turn while the artist focuses on the long road ahead. The Ugoccie-featured “Pray For Me” and “Echi (onye agoziri agozi)” are some standouts from the project, the former seeing both artists excite over a chill, afropop-laced production; the latter’s melodic finesse is even more potent, as Aguero bends rap into singing while reiterating in the triumphant chorus, “abum onye agoziri agozi…onye mazi kwa echi? (I’m the blessed one; who knows tomorrow?)”. Masterfully expanding his focus from the tapes, ‘Pains and Sacrifice’ and ‘Dreams and Nightmares’ with Hugo P, it’s proof that Aguero Banks has a lot of stories to tell.

99 Phaces

Collaboration lies at the heart of the alternative side of urban West African music. There’s no alte with community, a fact that stretches all the way back to DRB in Nigeria and Ghana’s La Meme Gang. In Ghana specifically, groups and collectives, some of them informal, are an integral part of its scene, from the colourful haze of SuperJazzClub to Ground Up Chale’s focus on gritty rap talents. Late last year, 99 PHACES joined that lineage with their debut single, “Stand Firm,” a breezy and resonant declaration of optimism for what the future holds. It served as a poignant introduction to the 5-person group, and their ethos of making music that mirrored the everyday thoughts and realities of young people, Ghanaians especially.

99 PHACES comprises Freddie Gambini, CozyPols, Moffy, Insvne Auggy and Mel, the latter two serving as the in-house producers. In March, they dropped their debut project, ‘So We Made A Tape’, an extension of the relatability of their debut single and a charming showcase of the chemistry between all five members. Freddie, Cozy and Moffy appear invariably across the tape, and you can tell they’ve bonded based on lived experiences, which informs the basis of their music, with their commitment to the grind on “Brotherman” and sharing stories of love gone sour on “Sorry.”

Auggy – mostly- and Mel lace the vocal trio, and guest Baaba J, with omnivorous sonic choices, from the booming 808s of “Kiddie Time” to the twangy guitars of the reflective closer “Survive.” With its community-centred approach, 99 PHACES balances broadness and specificity in both music and themes, giving them the constant appeal of resonating with every pair of ear that listens.

Written by Emmanuel Esomnofu, Nwanneamaka Igwe, Uzoma Ihejirika & Dennis Ade Peter.

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