J Balvin & Bad Bunny Feature Mr Eazi On “COMO UN BEBE”

Last year, Reggaeton superstar, J Balvin and Latin Trap ascendant, Bad Bunny featured on Cardi B’s chart topping behemoth, “I Like It”, effectively increasing their worldwide prominence. Since that collaboration, rumours of a joint album from both Urbano artists had been swirling around, now confirmed by the surprise release of their collaborative project, ‘OASIS’. Packed with dancefloor-ready bangers and potential summer anthems, the eight-track album spans an array of ‘exotic’ pop genres, including Afropop, via the Mr Eazi-assisted final track, “COMO UN BEBE”.

Premier Afropop duo, Legendury Beatz provide the boisterous production for “COMO UN BEBE”, mixing groovy, thumping drums, low growling bass guitars and atmospheric piano keys, over which all three artists perform pining lyrics pleading with an argumentative lover. While very little of the lyrics are sung in English, by way of Mr Eazi’s short verse delivered in pidgin English, a combination of the anthemic melodies and a rambunctious beat, is sticky enough to guarantee that the song will be heavy rotation across the world, in these months of summer.

You can listen to “COMO UN BEBE” below.

Featured Image Credits: Instagram/MrEazi

Court prospects as Fatoyinbo takes Leave

Earlier today, Biodun Fatoyinbo of COZA church announced that he will be taking a leave of absence from the pulpit of the church, citing the uproar of ongoing rape allegations as his reason for temporarily vacating his position. Although stepping down is not the same as answering for the allegations, it is indicative of the possibility for justice to prevail as noise around the situation continues.

As the YNaija interview featuring Busola Dakolo, celebrity photographer and wife of popular singer, Timi Dakolo, began to garner attention last week, the takes on social media were piling up in their variety—the good, the bad and the disgusting. In a staunchly conservative society where religious ideals form the core identity of a large percentage of Nigerians, Busola’s interview was destined to create a loud bang and bring in mixed reactions due to her allegations being levelled at a pastor—a well-known one at that. Where some saw bravery, others saw audacity; where some are approaching with empathy, others are approaching with haughtiness.

From the more sensible, sympathetic takes, to the truly vile comments aimed at shaming and blaming, it all formed an expected but nonetheless disappointing mirror of a shambolic society, in which there’s still no consensus anger at rape and the (alleged) perpetrators in 2019(!), and where victims have little to no agency over their stories and the ensuing trauma.

In the now-viral interview, Busola alleged that she had been raped—twice—as a teenager by Biodun Fatoyinbo, Senior Pastor and founding member of the Commonwealth of Zion Assembly, the church popularly known in Nigeria as COZA. Confessional, jarring, sobering and most of all heart-breaking, Busola meticulously detailed the events of her experiences, clearly reliving the trauma of those events, and also explaining the long-term emotional damages she has suffered ever since.

In one of the defining moments of the situation so far, protests were held right outside the gates of the Lagos and Abuja station churches of COZA, on Sunday, June 30th, in solidarity with Busola Dakolo, Ese Walters—another alleged victim who had levelled accusations against Mr. Fatoyinbo in 2013—and a slew of other unnamed alleged victims, to loudly demand for justice. Mainly convened and galvanized through social media, both venues boasted robust turnouts, in just over 24hours of announcement and with heavy police presence no less, becoming the latest in a line of recent, successful protests aimed at demonizing the toxic culture of (not) addressing sex-related offences.

Fewer things are as aggravating as the obnoxiousness with which rape, harassment and sexual assault is tackled in the Nigerian society. It is a negative phenomenon that has wholesome effects, from legal and constitutional provisions, to bare societal conversations. Perhaps, where it is most impactful is the culture of victim shaming that has become synonymous with these atrocious crimes, making it difficult for victims to search for justice, and in many cases find closure.

“Awareness is the biggest thing. Like a lot of people before today just assumed that it is not a big deal. That nothing will happen as Nigerians being Nigerians”, protester and social activist, Rasheedat Olarinoye told the NATIVE at the Lagos protest, explaining how the protests are a step in the right direction, in order to ensure that grave crimes like rapes will not be swept under the rug going forward. Considering how slowly the wheels of the Nigerian law turn, this protest, in addition to amplifying, serves as a means for concerned persons to carry out their social responsibility in demanding accountability from the alleged perpetrator, and swift justice from the law, with intervention from the state.

It is quite baffling in a country like Nigeria where wrongfully suspected individuals are put through hell, quite literally, and yet, a person accused of rape is afforded the caveat of “innocence until proven guilty”, and even worse, also afforded the luxury of settling out of court, sometimes with help from the family of the victim, citing an avoidance of public shame as the major motive. But what is even more daunting, is the difficulty in navigating the Nigerian justice system, especially when it comes to sex-related cases.

Per the Criminal Code—one of the two principal codes regulating crimes in Nigeria, with prominence in the southern part of the country—rape is an offence that carries life imprisonment as its punitive consequence, while attempted rape and indecent assault carry prescriptions of up to fourteen and two years respectively. As blunt as those punishments are on paper, the problem lies in being able to prove that these crimes actually occurred.

“As regards rape, there has to be proof of penetration”, a Benin-based lawyer explains to the NATIVE, adding that “there must also be corroborative evidence and medical evidence” for a conviction to occur. With these criteria set in stone, victims bear the onus to prove their allegations unequivocally. While there’s a necessity for thoroughness in prescribing justice, the difficulty of satisfying these requirements in a developing, if not retrograde Nigerian system, is grossly counterintuitive. “In Nigeria, rape victims are given the short end of the stick. They are usually treated as though it is their fault, like they consented to it”, Omolola Kayode, Lagos Zonal Director of Anti-rape NGO Black Diamond Support Group, told the NATIVE at the Lagos protest, further stating that “most people are even accused of not coming out immediately the incident occurs”.

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With no statute of limitations, rape allegations and charges after long periods are valid, but with no means to “prove” their experiences beyond their story, victims have the smallest chances of justice. A common comment detractors have been using in their argument against Busola’s allegations is that she has just shared her story two decades after the alleged incidents occurred. While this take is obviously inane and spiteful, it is sadly the type of argument that can fly, apparently, in a Nigerian court of law.

Perhaps, a good piece of news is that there are reportedly thirty other alleged victims willing to partake in a civil suit. Also, you’d expect the state to get involved considering that rape is a criminal offence, but nothing has been said by the government so far. You’d expect that over thirty victims coming out will make a difference, but in a Nigerian society that continues to remain deaf to women and atrocities against them, it is still a stretch to expect justice.

From a logical standpoint, no one is hated enough to draw false rape accusations from thirty different individuals. But Biodun Fatoyinbo has been able to garner supporters in a society where “touch not my anointed” is held in the highest of regards. One of the more disorienting highlights of the Lagos protest was seeing young people walk into COZA, heads held up high, for church service. In Abuja, videos of a counter-protest in support of Biodun made the rounds on social media, with protesters apparently promised ten thousand Naira each for their efforts.

https://twitter.com/OlisaOsega/status/1145264192536174593

Credited as one of the protest conveners, actor and now ex-COZA member, Akah Nnani granted an interview to press present at the protest, reiterating his desire that Biodun vacate his position as the senior pastor of COZA and separate himself from the church, until facing the allegations levelled against him in court. While Nnani later posted a memo on his social media pages on Sunday evening, indefinitely excommunicating himself from COZA, his apparent need to separate the church from the senior pastor and founding member in light of the allegations seems a bit distorted. Although, fair to say that Akah Nnani’s attempt to separate Biodun and the office of COZA (senior pastors and board members) from the COZA church itself (which, as a church, is the body of Christ’s people), there’s a tacit dissonance in indicting Biodun without taking into cognizance the role his office played in the alleged acts, as well as the high wall of defence his church has continued to serve as.

“For me, Pastor Biodun is the General overseer of COZA, so this is not just about him, the church is involved, because he abused his office”, Ugochukwu Ikeagu, a member of the Stand to End Rape Initiative (STER), explained at the Lagos protest. “Stepping down does not solve anything, it is probably the first step, but the most important thing is that he faces justice for molesting women and teenagers”, he added, highlighting the importance of the protest as an example that needs to be set for future generations to be better off.

While Ugochukwu’s sentiments concerning future generations reflect a much broader perspective, an immediate one is the fact that more people need to get involved to accelerate the pace of change. A popular strategy a lot of people—men especially—adopt in discussions about rape and other sex-related offences, is to approximate the impact of a crime by mirroring how they would react if a close friend or relative happened to be a victim. Rather insidious and dangerous, this mode of thinking needs to be eliminated, because it shouldn’t take such a complex ideal to have basic levels of empathy, and general disdain towards rape and other heinous crimes against women. Participating in any way possible should be looked on as an essential moral duty, regardless of how distant we may seem from the crime, and how little of an impact it all may seem.

It is not difficult to find Nigerians who are apprehensive of the efficacy of protests to remain passive, but it goes without saying that resignation does not trigger social change. Sitting on the fence in situations concerning a crime as grave as rape is ironic, because there is really no fence. Being silent or advocating for “the truth”, especially in light of strong, if not unimpeachable evidence, is akin to being against the cause to eradicate our society of sex-related crimes. By taking a stand and becoming irreverently loud, we reduce the chances of being ignored, and increase the chances of making our society a safer and saner place for everyone.

Per the organizers, Lagos protests will resume next Sunday at the Commonwealth Of Zion Assembly (COZA) station church, 20, Mobolaji Bank Anthony Way, Ikeja, at 8AM.

Featured Image Credit: Instagram/@BukkyShonibare

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ICYMI: From the protest grounds in London: #AbujaRaidOnWomen, a photo story by Emily Nkanga

Bridging the gap between Afropop and the Caribbean sounds

Even before the arrival of MTV and the internet, music travelled far and wide to be soaked up by different cultures. The hybrid genres that manifested at the chaotic wake of colonial history when cultures collided to find extraordinary expression in music has left behind a winding trail that’ll make the head of even the most rounded music critic spin.

Take the Caribbean sounds for instance, reported to have been born as a result of Africa’s trans-Atlantic slave trade era when the culture found a way to live on through the people despite being in a strange land. By refashioning African spoken word commentary into calypso and fashioning new percussion from makeshift instruments, the people’s resilience and creativity gave us the Soca sound and steel drum sounds that are now popular in music from Nigeria.

The Caribbean sound and Afrobeats (Afropop) have been the subject of many debates because of their similar influences and history but seemingly distinct sound. But perhaps the resolution lies in the recent broadening of both genres to meet across the Atlantic and form a global sound to rival other international genres.

Though the culturally acclaimed annual carnival already helped boost the popularity of Caribbean sounds in the international music scene, Afropop took a little while to catch up. Artists like Juan Luis Guerra have been charting on Billboards since the 90s, plus Kevin Lyttle and Rupee’s “Turn Me On” and “Tempted To Touch” respectively were global hits in the 2000s. Afropop only just began to pick up following Wizkid’s #1 feature on Billboards through his guest verse on Drake’s “One Dance”.

Regardless, there has always been shared mutual respect between the sounds from Africa and the Caribbean with intricate sounds from both genres weave in and out of each other as we’ve seen on Patoranking’s Chart-topping album, ‘God Over Everything’, his more recent ‘Wilmer’, Wizkid’s ‘Sounds From The Other Side’ and every patois-speaking Nigerian act like Burna Boy, Prettyboy D-O and King Perryy who are currently enjoying the perks of Afrobeats’ acclaim in the international music community.

Earlier this month, Burna Boy won the BET awards for ‘Best International Act’, confirming that the Afropop genre still holds steady as a global phenomenon. However, the Caribbean music scene also seems to be enjoying a renaissance in 2019 with Koffee’s debut EP, Rapture, topping the Billboard Reggae charts and spreading to the American audience. What’s most intriguing however is her open-armed embrace of Afropop, interpolating Burna Boy’s “Ye” hit single during her stage shows and performing a cover for the song on her 1Xtra feature in London. She has since declared her admiration for Burna Boy and shown her enthusiasm to collaborate with the singer.

As heartwarming as the collaboration is guaranteed to be, Afrobeats and the Caribbean collaborations aren’t a novelty considering both genres have walked hand in hand for quite some time now. Thanks to the EDM heralded boom of dance music in the global music scene, Dancehall DJs became the new rockstars and Major Lazer’s Jillionaire was able to show the Afrobeats range of his musical influence to his international music audiences. This allowed for a meeting point for his Caribbean sound and Afrobeats to meld and rival other international genres.

Major Lazer made it a point to collaborate with African artists, recording a full-length ‘Afrobeats Mix’ tape with only African features last year. The project’s stand out track, Burna Boy assisted “All My Life” served as the hallmark of their attempt to lend their voice to the expansion of African music without appearing over-glamourised or morosely pretentious. Collaborations like these have helped African artists perform shows and tours around the world, spreading the Afropop gospel to ensure the new generation of African artists can comfortably perform on big stages around the world and be instantly familiar for their sonic influences.

Afropop’s world dominance is staring in the horizon and here is how it all began.

Featured Image Credits: Web
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You are meeting Debola at a strange time in his life. He wandered into a dream and lost his way back. Tweet at him @debola_abimbolu


ICYMI: Major Lazer and Burna Boy bring the vibe of a lifetime on “All My Life”

Premiere: Blaqbonez spars with Oxlade in Omori-directed “Mamiwota” visual

Whilst it may seem Blaqbonez’s ascent to the upper echelons of the Nigerian Hip-Hop mountain has come overnight, this has taken years of late nights and early mornings. From rap battles all over the country, to a string of underground mixtapes, Blaq has quietly been plotting on the throne for nearly a decade.

Subsequently boosted by Chocolate City’s big-budget #LAMBAugust campaign and the anticipation deserving of hip-hop royalty, his Bad Boy Blaq mixtape turned heads in certain hip-hop conversations. Then he released his follow-up Bad Boy Blaq – Re Up EP, asserting him firmly as a leading light in the latest Hip-Hop revolution. Like his label boss’ magnum opus, the EP highlights Blaqbonez’s versatility as a rapper with enough sauce to dabble into Afro-Pop and trap, without compromising his pen game.

Today, we exclusively premiere the music video for “Mamiwota”, the Afro-Pop flavoured track on the album featuring Oxlade, a fellow genre-bender in the new class of artists. TG Omori directs the colourful visual, showing Blaqbonez and Oxlade in their Sunday’s best, serenading their respective love interests. The flick ends with a twist, as Blaq & Oxlade throw hands, before the former takes the latter’s paramour.

Watch the video for the Oxlade assisted “Mamiwota” below.

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You are meeting Debola at a strange time in his life. He wandered into a dream and lost his way back. Tweet at him @debola_abimbolu


ICYMI: Check out Blaqbonez’s NATIVE Exclusive feature

See Ladipoe in video for Crayon-assisted single, “Based On Kpa”

Ladipoe’s pop revolution is afoot. Doubling down on the more melodic stylings of his “Jaiye” single, the rapper’s latest release, “Based On Kpa” is more explicit in its intention to fit into the same playlist as Afropop’s biggest party starters. Altims produces the ambient beat, comprising clanging percussions and a soft piano riff, while Ladipoe waxes poetic concerning his love interest in a melodic cadence, sing-rapping trademark, impressionable lines like “Love at first sight gets old, but you know it’s for life when the attraction grows”. Latest Mavin signee, Crayon joins Ladipoe, delivering the song’s hook detailing his more lusty intentions.

For its accompanying music video, Ademola Falomo directs a set of visuals that captures the song’s mood, with an interesting twist that personifies the phrase: fatal attraction. Detailing a sinister side of the celebrity-fan relationship, Ladipoe is seen building up relations with a female fan via social media, until things go sideways after she drugs him during one of their physical meetups, probably to take advantage of him. By the end of the video, Crayon looks to be her next target.

You can watch the video for “Based On Kpa” below.

Featured Image Credits: YouTube/MavinRecords
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ICYMI: Watch LadiPoe’s music video for “Jaiye”

Afropop On The Rise: The 2019 Report

When 2016’s “One Dance” landed Drake his very first Billboard Hot 100 chart-topper, optimistic Afropop fans hoped a butterfly effect would trigger an improved level of visibility and commercial viability for the genre in the American market. The global outlook was justified, but the aftermath of “One Dance” showed it was always going to take more than one singular event to establish Afropop as a mainstream sound.

Despite the vivid contemporary Afropop influences on “One Dance”, its smash success, similar to the genre’s previous assault into the American space, didn’t occur in an isolated bubble. For a prior year, Tropical House—a gentrified blend of Caribbean pop and EDM—had produced a slew of chart-topping hits like Justin Bieber’s “What Do You Mean” and OMI’s “Cheerleader”, paving the way for the infectious amalgamation of Afropop, Caribbean Pop and EDM that made the success of “One Dance” inevitable.

Wizkid’s RCA-floated ‘Sounds From The Other Side’ came the following year, packed with sauntered melodies and Afro-Caribbean musical aesthetics. But with the average reception for ‘SFTOS’, it was clear that Afropop’s had to shed its novel status for more overt cross-over ambitions. The first half of this year has already given an indication of who the major proponents of the sound are, and which direction they are headed.

The Nigerian music year in 2019 officially kicked off with Coachella festival announcing that Burna Boy and Mr Eazi would perform on this year’s edition, on the main stage. While the news confirmed the growing Afropop acceptance stateside, two big acts billed for the highly coveted stage is noteworthy considering last year’s debacle, which many feared would blacklist the genre in festival circuits.

Although Burna Boy’s demand for recognition by the festival became the subject of many op-eds, it ultimately created an avenue for unabashed marketing and stateside promotion, further boosted with the early-April release of ‘Steel & Copper’, the collaborative tape with Los Angeles-based, Grammy-nominated production duo, DJDS. In support of the tape and his ongoing African Giant tour (which has seen him perform to a sold-out crowd at New York city’s House of Blues), Burna took off on a mini-press tour of the US, stopping by Apple Music’s Beats One for an interview with Ebro Darden, as well as an interesting conversation and freestyle on highly regarded hip-hop radio show, Sway In The Morning. It all culminated in his Coachella performance, where he enthusiastically performed at a relatively early spot, to a crowd of potential Afropop converts over two weekends.

Similarly, Mr Eazi took the Coachella main stage in delivering a golden Afropop moment, making the most of his later-timed evening set. The singer, whose mainstream entrance was influential in sonically reshaping Afropop, has spent his years in the spotlight curating his career as something of a pan-African act. His elaborate performance at Coachella was used as a means to evangelize festivalgoers on contemporary African music. It is noteworthy that this is the first time two contemporary African artists would have dedicated solo spots at Coachella, in addition to the cameo appearance of South African House artist, Moonchild Sanelly on Major Lazer’s set during the first weekend.

The very next weekend, Moonchild Sanelly was in Lagos, performing an eye-catching set at this year’s edition of Gidifest, sharing the stage with top-flight Afropop acts like Teni, Niniola and Patoranking. During the same Easter weekend, the sophomore edition of the ‘Homecoming’ festival took place in Lagos, capped out with its closing concert featuring UK rappers, Skepta and Octavian, as well as Afropop acts like, Simi and Runtown. The most notable highlight of the Homecoming concert was Nigerian music ascendant, Rema performing numbers off his eponymous EP for the very first time to rapturous acceptance. In the final moments of April, Kizz Daniel held his very first headlining show in the UK. Performing to a reported crowd of 2,350 people, the singer became the latest in the list of Afropop acts, including Burna Boy and Wande Coal, who’ve performed the prestigious arena in the last months.

Joining the list of superstars on the global performance/festival circuit, Davido performed at the Summer Jam festival in New York, earlier this month. Prior to that, the Afropop flagbearer had been enjoying some level of success on the Billboard charts. After becoming one of the most Shazamed songs in the US earlier in 2019, the singer’s hit single from 2017, “Fall”, was picked up began to gain more traction on US radio, eventually topping out at the thirteenth spot on the Billboard Radio Airplay charts. “Fall” is a product of Davido’s Back to Basics era, and the track’s run on the airplay charts is a positive indicator for made in Nigeria Afropop.

2019 is also witnessing a new dimension to partnerships between homegrown labels and foreign investment with Warner Music, (one of the big three) taking on Chocolate City Music, in a promising venture that looks prime to boost the cross-Atlantic Afropop push. Also, early last month, Tiwa Savage joined the list of Afropop acts with international deals, inking a recording contract with Universal Music Group that is set to capitalize on her crossover potentials. Back home, Ms Savage’s former home, Mavin Records, received a massive injection of funds from Kupanda Holdings, investors of Uber and Spotify.

The stealthier Alté generation have also reached a new milestones. Earlier in the year, Abuja-based singer, Tay Iwar premiered the video for his “Space” single on prominent streaming service, Tidal, before releasing his debut album, ‘Gemini’, on the Soulection imprint, the Los Angeles, California-based community platform integral to the prominent careers of artists like Goldlink, Masego and Xavier Omar. In Lagos,  multi-disciplinary creative, Santi also finally released his long-awaited debut album, Mandy & The Jungle’, with features from DRAM and Goldlink on “Demon Hearts” and “Maria”. Shortly after the release ‘MATJ’, LVRN co-founder, Tunde Balogun announced Santi as the latest artist to join his Atlanta-based label and artist management outfit.

Even with new assurances for Afropop, continued collaborations with more established US acts remain essential to pushing the genre’s forward-leaning intentions. In the first half of 2019, Davido shared the spotlight with Cassonava’s on “2AM”, and with Russ on  “All I Want”; Maleek Berry delivered the hook on Goldlink’s raucous “Zulu Screams”, both artists later perform the track on The Tonight Show with Jimmy Fallon; and Wizkid appears on “No Lie”, the eleventh track on Goldlink’s new ‘Diaspora’ album.

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Afropop is still sustaining momentum. Earlier this week, Burna Boy picked up the award for Best International Act at the BET Awards, continuing Afropop’s winning streak in the category. Few hours later, organizers of the Day N Vegas festival announced their line-up, revealing that Santi would be performing on the festival’s third day. With the culmination of marquee events in the first half of the year, major proponents of the genre like Wizkid, Davido and Tiwa Savage are expected to deliver long-awaited songs and projects as the year-end peak concert season kicks off with Afro Nation music festival set to take place in Portugal at the beginning of August. There all indications Afropop will be more positives to look back on at the end of 2019.

Watch The Video For 2Baba and Waje’s “Frenemies”

The popular saying goes, keep your friends close and your enemies closer. 2Baba and Waje are clearly not subscribing to that philosophy, considering how much their new collaborative effort, “Frenemies”, listens like a prayer session straight out of a particular fire invoking church. Over Richy Beats’ Reggae production, anchored by a spry guitar riff and church organs, both artists eschew fake, backstabbing friends, wishing them away with their vitriolic lyrics.

While the sporadic, lyric-appropriate events and use of Nollywood-esque filters are apt, the complementary music video for “Frenemies” is mostly trained on 2Baba and Waje as they perform their lyrics, as though to highlight the gravity of the song’s intentions.

You can watch the video for “Frenemies” below.


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ICYMI: Watch 2Baba and D’banj’s music video for “Baecation”

South African singer, Lady Zamar, shares her sophomore album, ‘Monarch’

Following the release of her 2017 debut album, ‘King Zamar’, South African singer and songwriter, Lady Zamar returns with the release of her sophomore studio album, ‘Monarch’. Pre-released singles, “This is Love” and “Our Process” already hinted at her upbeat blend of South African house and contemporary pop music but with the 18 new tracks on the 20-track project, she expands the range of her influences by incorporating rap and hip-hop sounds through production from Noble Beats, Easy Freak, DJ Choice, RockSolid, Evida, and a few others.

Thematically, however, ‘Monarch’ finds Lady Zamar exploring heartfelt themes that seem inspired by her personal experiences. She delves into stories of love and desire, assisted by her guest list of features, South African act, Tellaman and American rapper, Rapsody who help shape the project’s compelling take on the complex and multifaceted nature of being a person and a woman. ‘Monarch’ is a truly ambitious project that hopes to highlight Lady Zamar’s growth in life, love and her music.

You can stream Lady Zamar’s ‘Monarch’ below.

Featured Image Credits: Instagram/lady_zamar
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You are meeting Debola at a strange time in his life. He wandered into a dream and lost his way back. Tweet at him @debola_abimbolu


ICYMI: Tillaman’s 20-track sophomore tape, ‘God Decides’ gets Apple Music spotlight

See the music video for Young John, Kizz Daniel and Tiwa Savage’s “Ello Baby”

Although his production work on Mayorkun and Kizz Daniel’s “True” is integral in the song’s growing popularity on radio and dance clubs, Young John seems to be on the quest to rule the airwaves and DJ playlists, emphasized with the release of his new single, “Ello Baby”. While pop hits these days often hover around mid-tempo stylings, Young John’s continued success with his pacey style of production has continued to turn out hits, and the combination of Makossa-inspired drums and an intricately plucked Bass guitar riff that characterize “Ello Baby” listens like another potential winner.

To increase the song’s appeal, the producer pairs two of premier Afropop acts, Kizz Daniel and Tiwa Savage for the first time on wax, both of whom deliver romance inclined lyrics inspired by the song’s title. While their sentiments are lightweight, Tiwa and Kizz sound comfortable on the punchy beat, imbuing “Ello Baby” with vigour via their snappy melodies. For its newly released Sesan-directed music video, the trio are captured together performing the song, highlighting their visible chemistry. Shots from solo settings are scattered in as well, with both vocal artists showcasing their dance moves, in tandem with the song’s ebullience.

You can watch the video for “Ello Baby” below.

Featured Image Credits: Youtube/YoungJohnVEVO
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ICYMI: Listen to Young John produced “True” single by Mayorkun and Kizz Daniel

SKIN I’M IN

Creative Direction: Mowalola Ogunlesi

Photography: Rhea Dillon

Words: Odunsi

Hair: Virginie P Moreira + Issac Poleon

Make Up: Jessica Taylor

dark eyes, dark roots, dark past.

my dark, dark skin is the reason,

YOU & i,

have been on our toes and,

everybody knows.

it is different when you have to,

learn to love.

when you hear otherwise but,

have to perceive.

when you see otherwise but,

have to believe.

but i think i’m finally here,

finally in my skin.

there’s nowhere i’d rather be

Bucks’ forward, Giannis Antetokounmpo, wins the 2019 NBA MVP Award

Despite losing out to the eventual NBA champions, Kawhi Lenord and his Toronto Raptors squad, at the playoffs, Giannis Antetokounmpo can still hold his head high as a winner, bagging the 2019 NBA MVP Awards. The Most Valuable Player Award is an annual NBA award given to the best performing player of the regular season and with his 27.7 points scoring average, 12.5 rebounding average, 5.9 assists average and 1.5 block average that led Milwaukee Bucks to make NBA history of 60-22 team record, he certainly deserves to be the NBA 2018/19 season MVP. The award puts an end to James Harden’s reign as the league’s MVP.

Giannis’ MVP award may be the headline of the NBA award show, but others were also honoured like Mike Budenholzer, his Milwaukee Bucks coach who won his second Coach of the Year trophy after initially winning it with Atlanta in 2015. Dallas Mavericks’ Luka Doncic was named Rookie of the Year while Mike Conley of the Memphis Grizzlies won the Twyman-Stokes Teammate of the Year Award and NBA Sportsmanship Award. The Washington Wizards’ Bradley Beal was awarded the NBA Cares NBA Community Assist Award, Marcus Smart of the Boston Celtics received the Hustle Award and former MVP Derrick Rose took home the House of Highlights Moment of the Year Award with his impressive 50-point game during the season.

25-year Cameroonian power forward, Pascal Siakam also made the continent proud after he won the award for the Most Improved Player. Siakam had 26 20-point games this season after scoring 20 points only once in his first two seasons. Siakam said his award could give hope to African children pursuing their dreams.

Featured Image Credits: Instagram/giannis_an34
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You are meeting Debola at a strange time in his life. He wandered into a dream and lost his way back. Tweet at him @debola_abimbolu


ICYMI: Africa is getting the first NBA affiliated league, “Basketball Africa League (BAL)”

Santi is set to represent the whole continent at the “Day N Vegas 2019”

Day N Vegas announced the dates for their 3-day festival and the expected set-list, headlined by J Cole, Travis Scott and Kendrick Lamar. Already, fans have questioned how legit the line up is on account of it being too good to be true. Names like 21 Savage, Lil Uzi Vert, Megan Thee Stallion, Miguel, Tyler, The Creator, Schoolboy Q, Jay Rock, Ab-Soul, Bas, Brockhampton, Kali Uchis, Goldlink, 6lack, Sheck Wes, Flatbush Zombies, Isaiah Rashad, JID, Saba, MadeinTYO, Denzel Curry, Lil Nas X, Migos, Lil Baby, Rich the Kid, Blueface, Rico Nasty, Polo G, Dababy, Ski mask, Smino, Sango, and more are listed on the lineup that guarantees a good show for anyone that attends the show which costs $10 for a 3-day ticket.

https://www.instagram.com/p/BzGOo7wDMEE/

If it wasn’t already clear that Day N Vegas aims to please all audiences, Afro-urban fusionist, Santi, is also included on the bill to perform on the closing day of the event scheduled from November 1 – 3 at the Las Vegas Festival Ground. Coming on the trail of his ambitious new album, ‘Mandy and the Jungle’, where his pointed world-view and MTV influences were striking, Santi seems to have achieved his cross-over goal with the festival’s potential to introduce his dreamlike Afro-fusion sound to new audiences.

Featured Image Credits: Instagram/cruelsantino
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You are meeting Debola at a strange time in his life. He wandered into a dream and lost his way back. Tweet at him @debola_abimbolu


ICYMI: Santi’s ‘Mandy and the Jungle’ album made NATIVE’s Best New Music Special

Barry Jhay shares romantic new single, “Melanin”

With previous songs usually loaded with spiritual overtures, Barry Jhay’s new romantic single, “Melanin” is a thematically novel ground for the singer. Regardless, the soulful, endearing quality of his voice remains a worthy highlight. Vstix produces the percussive mid-tempo beat for “Melanin”, while Barry Jhay performs his lightweight set, simultaneously admiring his love interest’s physical attributes and professing his affectionate feelings. Although the song’s intentions are pretty straightforward, it also scans as an ode to pan-African beauty.

You can listen to “Melanin” below.


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ICYMI: Listen to Barry Jhay’s “Mo Le Jo”

Listen to GCL3F’s “Faded”, featuring Psycho YP and Straffitti

A significant part of thriving in the streaming era as an indie artist, is the level of consistency involved, bordering on being prolific. Psycho YP and Straffitti have continued to solidify themselves as prime purveyors of Trap music in Nigeria, through their tireless work ethic and the rockstar overtures they portray in their music. On GLC3F’s “Faded”, both rappers extol their ethos of living on the fast lane, without a hint of the destructive streak attached to the lifestyle.

“I’m steady on my grind/and the money on my mind”, Straff raps in a leisurely, self-assured cadence over the bouncy trap beat GCL3F and Le Mav co-produce, mixing intermittent flute riffs, reverb-doused 808 bass and rapidly ticking hi-hats. Setting the mood in vivid terms, YP delivers the hook and a similarly conceited second verse.

You can stream “Faded” below.

Featured Image Credits: Instagram/
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ICYMI: Listen to “Kuronbe” by Straffitti, Prettyboy D-O, Zlatan and Ice Prince

Oxlade shares new single, “Legend”

Oxlade’s star-making appearance on Blaqbonez’s “Mamiwota”, and the ensuing success of his breakout hit song, “Shuga”, pegged him as one of the fastest rising Afropop acts. With the knowledge that he’s still a few ways from being an established act, his newly released “Legend” single serves as a mission statement of sorts, explicitly declaring his plans to become a widely heralded voice in the coming years.

While the pining texture he imbues his lyrics with, gives the song a genuine, heartfelt vibe, Oxlade also makes a couple of confident affirmations, singing “I no talk say na me be the best singer/but I will be great, so fuck what people say”. Punctuating the weightiness of his sentiments, the orchestral backdrop of marching tribal drums, sombre piano keys and dramatic strings feel especially apt.

You can listen to Oxlade’s “Legend” below.

Featured Image Credits: Instagram/
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ICYMI: Listen Oxlade’s “Shugar” break out single

Adekunle Gold shares new single, “Kelegbe Megbe” with an accompanying music video

Adekunle Gold’s attention to delivering captivating visuals for his music might be the result of his graphic design background, but it has certainly helped shaped his music career as an art appreciating artist. His latest release, “Kelegbbe Megbe”, comes with a fashionably aesthetic video that marks his proper, full-colour re-entry into the world at large after last year’s ‘About 30’ album and his romantic “Before You Wake Up” debut for 2019.

“Kelegbe Medgbe” is a return to his folky introspection, offering words of wisdom to listeners over a lightweight beat Sess produces to the ambient swing of synths, horns, percussion, traditional drum riffs and rattling samples. The video Clarence Peters directs highlights Adekunle Gold’s return, older and bolder, surrounded by beautiful African women, print fabric designs and lip-synching his lyrics confidently, “Mi o ran anybody mo (I don’t care what anyone thinks anymore)”. Though nothing has been said about a coming project, the video painstakingly introduces viewers to Adekunle Gold’s world of glitter, fabric prints, beautiful women and high fashion. It’s a place of passion and imagination, and it’s exactly the kind of Adekunle Gold we were hoping would return.

Watch the music video for “Kelegbe Medgbe” below.

Featured Image Credits: YouTube/Adekunle Gold
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You are meeting Debola at a strange time in his life. He wandered into a dream and lost his way back. Tweet at him @debola_abimbolu


ICYMI: Watch the music video for Adekunle Gold’s “Ire”

Reminisce collaborates with Niniola on new single, “Jensimi”

It’s been three years since premier Indigenous rap act, Reminisce put out his most recent studio album, ‘EL Hadj’, making it the longest time between his projects. He’s remained visible, though, via last year’s socially conscious, smash hit “Ponmile” dominating airplay, and his major role on Kemi Adetiba’s acclaimed ‘King of Boys’ screen feature. The rapper looks like he’s back in album mode, with his new single, “Jensimi” coming out as his second release of the year already.

Switching up from the street-smart ethos of the preceding, Sarz-produced “Oja”, Reminisce showcases his pop sensibilities on “Jensimi”, an Afro-house inspired bop with assistance from the subgenre’s best and biggest purveyor around, Niniola. Over Tempoe’s groovy blend of bouncy Afropop drums and interlocking guitar riffs, both artists play out an iteration of a conversation preceding sexual relations. While Reminisce’s cadence is laidback, he imbues his lyrics admiring his interest’s physique with a palpable level of mischief. Though Niniola’s hook oozes of nonchalance, singing “gba jensimi (take let me rest)”, her lascivious performance listens like she’s been mutually interested all along.

You can listen to “Jensimi” below.

Featured Image Credits: Instagram/iamreminisce
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ICYMI: Watch Reminisce’s music video for “Oja”

Listen to Juls’ Agent Sasco-assisted single, “Slow Down”

Following a rather quiet first few months of the year, British-Ghanaian producer, Juls has kicked things up a notch recently. Last month, he dropped “Maayaa” featuring vocals from Tiggs Da Author and Santi, and released its superb music video a few weeks ago. A couple of days removed from picking up production credits on Goldlink’s ‘Diaspora’ album, the producer has just put out a new single, “Slow Down”, with guest vocals from Agent Sasco (aka Assasin), the Jamaican dancehall artist who is popular for his work with Kanye West and Kendrick Lamar.

Putting together an equally sultry and composite canvas, mixing palmwine guitar riffs, trumpet harmonies and sparsely clanging, groovy percussions, “Slow Down” highlights the hallmarks of Juls’ undeniable abilities as a producer and musical auteur. Personifying the feeling of being enchanted by a lady’s physical attributes, particularly her waist, Assasin’s performs an impassioned set, admiring the seductive whine of his muses’ waist, singing “I like the way you throw it down” at the song’s backend. As much as “Slow Down” is a song to catch rocks to, it has also (unknowingly) functioned as a soundtrack to the viral “my waist is cutie” tagline that has accompanied pictures from ladies around social media in recent weeks.

You can listen to “Slow Down” below.

Featured Image Credits: Instagram/JulsOnIt_
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ICYMI: Listen to “Maayaa” by Juls, Tiggs Da Author and Santi

Jaywon Taps Barry Jhay And Lyta For “Aje (Remix)”

Last year, Jaywon dropped his “Aje” single, a prayerful confessional that found the singer asking God for the better things of life. While that single is marred by a seeming use of suicide as an aesthetic to give his already relatable lyrics some extra weight, the addition of younger, similar minded Fuji-pop artists, Barry Jhay and Lyta on the recently released remix, refocuses the song’s primary intentions.

Retaining the song’s subtle and steady beat, comprising gentle vibrato piano harmonies, softly plodding drums and choral vocal backups, Jaywon’s hook, on which he sombrely sings “Iya o ki se omi obe, bless me before it’s too late”, retains its pleading charm. Delivering their own versions of the hook, as well as sole verses, both guest features add an extra lived-in layer. Barry Jhay’s aphorism-packed lyrics sung in Yoruba, brings a rustic soulfulness, while Lyta’s recount of his rise and his fear of falling back into obscurity is affecting, particularly with the recent circumstances surrounding his exit from YBNL.

You can stream “Aje (Remix)” below.

Featured Image Credits: Instagram/JaywonJuwonlo
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ICYMI: Listen to Barry Jhay’s spiritual single, “Mo Le Jo”

Burna Boy wins ‘Best International Act’ at BET Awards 2019

Afrofusion artist, Burna Boy has won the award for ‘Best International Act’ at the just concluded 2019 edition of the BET Awards. Taking home the prize ahead of fellow Afropop luminary, Mr Eazi, and international stars like Dave, Giggs and Aya Nakamura, Burna’s win confirms two (trite) things: Afropop is holding steady as a global phenomenon and Burna is continuing his reign as the genre’s MVP.

Last year was the first time ‘Best International Act’ was combined into one category to encompass artists from Africa and Europe, with Burna succeeding last year’s winner and fellow Afropop giant, Davido. Unlocking another milestone this year, Burna’s new prize follows his Coachella performance from earlier in the, as well as his ongoing African Giant tour.

Although Burna was in attendance, apparently slipping out of the venue few minutes prior to the announcement, Burna’s mom and manager, Bose Ogulu accepted the award on the singer’s behalf, delivering a terse but rousing acceptance speech, encouraging Pan-Africanism, an idea Burna himself is passionate about.

You can watch the acceptance speech in the video below, and read the full list of winners (boldly highlighted) at the 2019 BET Awards below.

Best international act

AKA (South Africa)

Aya Nakamura (France)

Burna Boy (Nigeria) *WINNER

Dave (U.K.)

Dosseh (France)

Giggs (U.K.)

Mr Eazi (Nigeria)

Video of the year

21 Savage featuring J. Cole, “A Lot”

Cardi B, “Money”

Cardi B and Bruno Mars, “Please Me”

Childish Gambino, “This Is America” *WINNER

Drake, “Nice for What”

The Carters, “Apeshit”

Best female R&B/pop artist

Beyoncé *WINNER

Ella Mai

H.E.R. Solange

SZA

Teyana Taylor.

Best male R&B/pop artist

Anderson .Paak

Bruno Mars *WINNER

Childish Gambino

Chris Brown

John Legend

Khalid

Best female hip-hop artist

Cardi B *WINNER

Kash Doll

Lizzo

Megan Thee Stallion

Nicki Minaj

Remy Ma

Best male hip-hop artist

21 Savage

Drake

J. Cole

Meek Mill

Nipsey Hussle *WINNER

Travis Scott

Best new artist

Blueface

City Girls

Juice WRLD

Lil Baby *WINNER

Queen Naija

Best group

Chloe x Halle

City Girls

Lil Baby and Gunna

Migos *WINNER

The Carters

Best collaboration

21 Savage featuring J. Cole, “A Lot”

Cardi B and Bruno Mars, “Please Me”

Cardi B featuring J Balvin and Bad Bunny, “I Like It”

H.E.R. featuring Bryson Tiller, “Could’ve Been”

Travis Scott featuring Drake, “Sicko Mode” *WINNER

Tyga featuring Offset, “Taste”

Album of the year

Cardi B, “Invasion of Privacy” *WINNER

Ella Mai, “Ella Mai”

Meek Mill, “Championships”

The Carters, “Everything Is Love”

Travis Scott, “Astroworld”

Viewers’ choice award

Cardi B featuring J Balvin and Bad Bunny, “I Like It”

Childish Gambino, “This Is America”

Drake, “In My Feelings”

Ella Mai, “Trip” *WINNER

J. Cole, “Middle Child”

Travis Scott featuring Drake, “Sicko Mode”

Dr. Bobby Jones best gospel/inspirational award

Erica Campbell featuring Warryn Campbell, “All of My Life”

Fred Hammond, “Tell Me Where It Hurts”

Kirk Franklin, “Love Theory”

Snoop Dogg featuring Rance Allen, “Blessing Me Again” *WINNER

Tori Kelly featuring Kirk Franklin, “Never Alone”

Best actress

Issa Rae

Regina Hall

Regina King *WINNER

Taraji P. Henson

Tiffany Haddish

Viola Davis

Best actor

Anthony Anderson

Chadwick Boseman

Denzel Washington

Mahershala Ali

Michael B. Jordan *WINNER

Omari Hardwick

Best movie

“BlacKkKlansman” *WINNER

“Creed 2″

“If Beale Street Could Talk”

“Spider-Man: Into the Spider-Verse”

“The Hate U Give”

Young stars award

Caleb McLaughlin

Lyric Ross

Marsai Martin *WINNER

Michael Rainey Jr.

Miles Brown

Sportswoman of the year

Allyson Felix

Candace Parker

Naomi Osaka

Serena Williams *WINNER

Simone Biles

Sportsman of the year

Kevin Durant

LeBron James

Odell Beckham Jr.

Stephen Curry *WINNER

Tiger Woods

BET HER award

Alicia Keys, “Raise a Man”

Ciara, “Level Up”

H.E.R., “Hard Place” *WINNER

Janelle Monae, “PYNK”

Queen Naija, “Mama’s Hand”

Teyana Taylor, “Rose in Harlem”

Video director of the year

Benny Boom

Colin Tilley

Dave Meyers

Hype Williams

Karena Evans *WINNER

Best new international act

Headie One (U.K.)

Jok’Air (France)

Nesly (France)

Octavian (U.K.)

Sho Madjozi (South Africa) *WINNER

Teni (Nigeria)

Featured Image Credits: Instagram/BurnaBoyGram
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ICYMI: Watch Burna Boy’s music video for “Anybody”

Ceeza Milli and Zlatan capture the Afropop zietgiest on new single, “Flenjo”

The pop music scene in Nigeria runs on parties and artists whose music draws from sleek house beats, hip-hop sensibilities and atmospheric R&B. There’s never a shortage of dance music attempting to capture the festive mood at parties and become an instant hit. However, Ceeza Milli and Zlatan’s new single, “Flenjo”, stands out for its clever interpolation, plucking from Nigeria’s richly entertaining pop culture pool.

Opening with the ‘Apostle will hear of this’ cut from a viral meme, the humorous undertone of the party anthem becomes apparent before Zlatan’s lighthearted bars aimed at a love interest he tries to charm with his catchy ad-libs (“Je Ko Mo”), flow and cocksure brags. Ceeza Milli, however, keeps things sweet and simple, singing the lightweight hook for “Flenjo” over the mid-tempo beat Phantom produces, mixing percussion, drum riffs, synths and a Jazz horn sample to add a little Afrobeat flavour to the party.

You can stream Ceeza Milli and Zlatan’s “Flenjo” below.

Featured Image Credits: Instagram/ceezamilli
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You are meeting Debola at a strange time in his life. He wandered into a dream and lost his way back. Tweet at him @debola_abimbolu


ICYMI: Listen to Ceeza Milli’s “Yapa”