Yesterday, the winners of the 2023 Headies Awards were announced. Burna Boy, Rema, Ayra Starr, Victony and Black Sherif were among the winners from the 32-category list of nominees. This year’s Headies was the second time in a row that the mostly Nigerian-focused event was held outside Africa, at the Cobb Energy Performing Arts Centre in Georgia, Atlanta, USA. Among the reactions that have trailed the winners list, as well as the general handling of the event, there is one artist whose success at the Headies deserves an appraisal: Wizard Chan.
Wizard Chan—born Maxwell James Fuayefika—was one of the uNder alum of January 2023. Chan’s music deserved is laced with fusion-pop songs and palpable Reggae influences. His track “Earth Song” notched two nominations in this year’s Headies for Songwriter of the Year and Best Alternative Song categories. In both categories, Chan, who debuted in 2020 with “Halo Halo,” was pitted against the likes of Omah Lay, Simi, Tems, BNXN, Burna Boy, Cruel Santino, Obongjayar and Flavour, among others. He lost the Songwriter of the Year category to Simi but won the Best Alternative Song category, which was open to the public for voting.
Wizard Chan’s win is a testament to the loyal following he has amassed in a short while, but it is also a credit to the building blocks he has laid down in his career even before he got his breakthrough. Born and bred in Port Harcourt, Rivers State, Wizard Chan began exploring his musical talent as a teenager while in secondary school, acquainting himself with the rudiments of becoming a recording artist with stories to tell. After moving to Ghana for his tertiary studies and then Sokoto State for the mandatory one-year national service, he settled in Lagos to map out his plans for his career.
In Lagos, he started a record label and company with his best friend, using the knowledge he gained from his Marketing and Business degree. “I discovered that getting a deal from a recording label is a lot and sometimes it might break you down. For that reason alone, I decided I was going to do my own thing with my friend. We put every single thing we had into music even though we didn’t know what we were doing because we didn’t have direction at first but I guess the best way to learn is to fail,” he shared in a recent interview.
Chan’s music, for the most part, is inspired by his life experiences as well as his obeisance to spirituality. His Reggae influences are the distinguishing factor he infuses into whatever sound he employs, sifting through for apt observations on people and life’s situations. On 2020’s “Truth,” Wizard Chan touches on the political and economic ills stagnating the progress of Nigeria. “The government are sleeping on the people they are serving/Commissioners and senators are living their lives lavish/Leaving little or none for the poor little masses,” he sings. It’s on “Earth Song,” though, that Wizard Chan strikes gold. Over Drill-influenced production, Wizard Chan explores the transient nature of life and how people’s actions can impact generation after generation. He revealed that the song emanated while he was “going through life” and that that is when he makes his best music.
“‘Earth Song’ is really special because I wrote that in one of my darkest times, you can hear the pain. I’m happy but not surprised because people are going through a lot emotionally and mentally without speaking up,” he told the NATIVE. Chan replicated the tale of surviving tough times on “HighLife,” which, as the song title suggests, pairs modern adjustments to the Highlife genre. He does the same on “Beast of No Nation” with King Perryy and Tuzi and “Que Sera Sera” with Dino Zee.
However, it isn’t only the hard times that Wizard Chan contemplates in his music. He finds joy and pleasure in love, romance and affection. On “Halo Halo,” Wizard Chan serenades a love interest; on “Yolo,” he and Mavice express their intentions for a lover, and he and Thousand Voice stir the softest feelings on “Miss You.” His love for experimentation also comes up on the Amapiano-led “DRUMLINE” with 01FRNCH. Wizard Chan’s musical influences include Kendrick Lamar, J. Cole, Jay Z, Damien Marley, Santi Sol and Black Sherif and it tells on his fusion of sounds.
With an album tentatively titled ‘The Messenger’ in the works, Wizard Chan’s win at the Headies is an indication of the authenticity of his music and its connection to the listeners. Beyond the music, his visual branding—the dark cloaks, cowry beads and fashion stylings from his Ijaw culture—accentuates the prominence of his craft. It’s the beginning of great success ahead for the Headies winner.
Khaid’s year has progressively blossomed into a real moment of arrival. Although he’s been on the scene for a while, 2023 has seen the full spectrum of his musical abilities emerge under the light of the mainstream audience. The prime evidence of this growth has been Khaid’s trifecta of Afropop-influenced songs—with the latest being “Anabella”—which have become uber-popular hits, reaching sweet spots of melody and memory across Nigeria demographics, transcending gender, age or class status.
As Khaid continues to ascend through the ranks, he’s releasing honest and relatable songs which have gained ubiquity such as “Jolie” and“Carry Me Go,” which featured the Mavin Records wunderkid Boy Spyce. Coming off the strength of these records, and with a nomination in the Rookie of the Year category at the just-concluded Headies, the artist has been moving confidently. This audibly influences the succinct but purposeful release of ‘Emotions’, his new EP which features six songs, including two of the aforementioned singles. As he told The NATIVE some months before, “on this project you should expect to hear the Afrobeats Khaid”.
Unarguably one of the most promising youngsters orbiting the afropop scene, it’s a no-brainer that we should parse ‘Emotions’ through critical ears, which is what we do in this 1-listen review.
In usual 1-listen review fashion, all reactions are in real time while the music plays. No pauses, rewinds, fast-forwards or skips.
“JARA”
A mellow beat starting out this one. “I dun dey fight, I dun dey shoot gun,” is such a visual lyric. I’m tempted to say it’s Omah Lay-esque, but he’s not the first to squeeze nihilist themes into afro-inspired music. Khaid’s delivery is very heartfelt here; he’s painting an image that we’ve become familiar with over the years, which is the pensive thoughts of a celebrity. I like the direction; lyrically, it’s a bit ambiguous but that’s what this sub-genre (can we even call it that?) within afropop does; merging philosophical inquiry with touches of romantic tension.
“HOLD ME”
Vibrant drums from the start of this one. “She’s got a broken home and a broken smile”; that line comes off with a bit of contrasting feels, but I can hear the emotive scales Khaid is trying to reach here. The metaphors can be stronger; shining like sunlight in the sky is cool to the ears, but it doesn’t really sink the listener into a unique narrative. I like the artist’s vocal style here though; it’s audibly influenced by R&B, and that makes him want to flex on them. Ultimately, the flex comes off okay. Nothing too special, but you might catch a vibe under the perfect conditions.
“NO TIME”
This beat is sounding a little like “Carry Me Go.” There’s that colourful early 2000s Nigerian Pop energy captured in the drums, the zest of their edges. “Follow who know road, e dun cut my sandals” is the kinda line that demonstrates how our music mirrors the simple poetry of our everyday lives. Khaid is in inspired form here; so far, it’s perhaps my favourite from the project. I’m throwing my hat as well, that this would be the next promoted single from this EP.
“JOLIE”
What more can be said about this song? It’s undoubtedly one of the biggest songs of the year. In terms of sonic quality, it’s a brilliant evocation of love through the Nigerian prism, as every lyric and every beat counts stays close to home. There’s not a bone of complexity here; the writing as well as the production is straightforward, which renders an emotive stability to the record. With every song, the project’s choice of title is justified.
“PEOPLE (EVIL)”
Dancehall Khaid is present here. The first words are delivered in a style reminiscent of Rema’s “Divine”, but this sounds more up the Ruger alley. Cloak and dagger, holy father—there’s a cache of well-done references I’m hearing. It’s not the most evocative song, but Khaid obviously pushes his songwriting here. As part of the project, it’s a fine way to lead into the final song of the EP.
“ANABELLA”
“Baby wetin sup o…touch my weak spot o” that line alone makes this song a worthy listen. Following in the tradition of his afropop records, this is a bubbly and tender affair. Somehow it reminds me of those cheesy scenes we used to have in Old Nollywood; I wouldn’t be surprised if there’s a video montage of it somewhere, soundtracking such a scene by Paw-Paw or some other enterprising lover boy. Seeing as the mood also mirrors the sentiment of a closing moment, it’s the most appropriate choice for this important role.
FINAL THOUGHTS
‘Emotions’ fittingly captures Khaid’s ability to craft saccharine hits from everyday emotions. Combining bright, bubbly beats with purposeful touches of melancholic, heartfelt stories, the project bears a dichotomy that would shape up to be one of its narrative strengths. And perhaps the songwriting sometimes comes across as too cloying, and devoid of an original quality, but it’s evident that Khaid still has some developing to do—every artist does, actually. However, based on the enjoyability of these songs, it’s clear that Khaid and his label Neville Records has orchestrated a great run-in towards the end of the year for the talented artist.
In the early noughties, the music industry went digital. Spurred by the popularisation of mobile devices like phones and laptops, more artists and producers sprung around the country, contributing to its mosaic of sonic voices. The years since have been similarly productive, as self-reliant technologies have made it easier for people to pick up music. Kayode’s introduction to the art form was a mix of that and the traditional setting of the church, which influenced his love for instruments.
“My parents are Christians so they were always in church, and I was always in church,” he said to NATIVE Mag. “I was always drawn to instrumentals and I just grew a natural inclination for playing the piano and I started learning how to play the piano, mostly by myself. I had a teacher for a while but I just stopped going, then I basically developed the skill by myself. I learnt most of the stuff I knew on YouTube.”
Before then, Kayode’s parents were avid lovers of music. His childhood was spent listening to Lagbaja and King Sunny Ade from his father’s playlist, and later in life, he grew up into the blog era which developed into influence from the likes of Lil Wayne, Wizkid, Burna Boy and Drake. “They just inspired me to move in my own direction,” he affirms. When Kayode turned eighteen, based in Ikorodu, he recorded his first single and though he didn’t want to share it with anyone, the reception he got from a friend and his brother, who urged him to continue making music, stuck with him; he wanted to become a musician.
Linked to Kayode’s ascendant star is the Lagos-based artist’s use of Instagram as a means of self-promotion. More than ever, young artists are showcasing their talent to the world, using the global mirror of social media. On the budding star’s IG account, there are several videos of him freestyles and doing covers of other artists’ songs, infusing his unique spin to their popular variations.
Around the period of 2019 and the following year, he moved from his home residence in Ikorodu to the Akoka axis of Yaba, where he attended the University of Lagos. It was a vibrant creative hub and that zeal to release music was an influence on Kayode, who was charting his own climb beyond scenic recognition. That won him the ears of a still-growing fanbase, following his music beyond the trail of content videos, and they have been rewarded, quite regularly, with good sound.
In 2020, he released the mixtape ‘Playtime is Over,’a telling showcase of his zeal to grow using his art to plot his ascension. The records “On My Back” and “Look At You” utilised the floaty soundscape of cloud rap to pass important messages of living and love, while the Magicsticks-produced “Side Guy” nodded to audible Nigerian influences, from the colourful, quirky language to its bright percussions. Kayode has continued to release music, sharing ‘STILL FIGURING LIFE’ earlier this year, a collection of seven songs which explored the motions of young Nigerian existence.
“The project is basically as it is, still figuring life,” he says. “Like at a point in everybody’s life we’re into that realisation that we’re all still figuring life. This was just me at that point in my life where I’m still figuring out a lot of stuff. I like to make music about what I’m feeling and that was just how I was feeling at that certain point in my life and yeah, I made the music about it.”
Kayode’s amorphous creativity is revealed in songs like “All I Need” and “Chop This Life.” Whereas the former draws an evocative piano tune alongside the audible progressions of Drill, the latter belongs more in the Afropop territory, set on mellow drums. On “Blessings” the mercurial duo of Psycho YP and ODUMODUBLVCK-assisted feature, Kayode shares that everything came about seamless. He tells the NATIVE that he and Psycho (who delivered his verse in one take) sharing a mutual friend who set up the session.
Kayode’s sonic repertoire also includes his skills with mixing and mastering. “When I started writing music and I really needed to record music, studio sessions were very difficult to get,” he explains. These structural and financial hinderances delayed his plans for his dream. Eventually, Kayode was able to save up and purchase a laptop which he used to start recording his own original music. “The more I recorded, the more I understood what I was doing. Even at a point, I didn’t even know I was mixing and mastering; I just knew I was making my voice sound good,” he shares.
When asked about the audible influences in his work, Kayode is quick to cite his love for melodies. He wants to show the prospects of instrumentation, especially the piano, which is widely considered as the base of all music. Returning to his roots, Kayode traces where the sensibility comes from: “It just ties to my memory in church where—because most of the music we play in church were very melodious,” he says. “They spring out certain emotions in you and I feel like subconsciously, it has stuck with me where I listen to certain beats and I am just drawn to them.”
Like every goal-oriented artist, Kayode casts an ambitious gaze to the future. “Right now, I’m growing,” he says. “I’m not where I was last year; I’m certainly not where I was last two years. I’ve grown musically, the fan base is bigger, and yeah I’m hopeful for the future, I know there’s a lot more coming. I just want to keep putting out music for my fans. There’s endless opportunities coming and I’m just waiting and ready for everything that is about to come.”
It’s another Friday and time for a roundup of music projects from African acts to check out. Throughout the week, music has poured in from all over the continent and sometimes it can slip through the cracks, unheard. This column serves to bring those projects to your ears as you prepare for the end of work and look forward to the weekend. It’s a packed week for new releases. From Burna Boy to Kelvyn Boy, settle in for an experience as we travel the African continent for the latest music projects.
RUGER – ‘RU THE WORLD’
Since his debut in 2021, Jonzing Records’ Ruger has steadily built a following with smash hits, culminating in deserved stardom for the young artist. His brand of Dancehall-influenced music has helped him carve a niche in the scene and placed him as one of the leading music stars in Nigeria. Ruger has released his 17-track debut album ‘RU The World’ and it’s a boisterous collage of styles and themes that are distinctively Ruger’s.
TEKNO – ‘THE MORE THE BETTER’
Tekno’s place in Nigerian music history is cemented, many thanks to his incredible run in 2015, 2016 and 2017. The singer has returned with renewed verve since recovering from a vocal ailment. On his latest album ‘The More The Better,’ Tekno addresses a variety of topics from love to overcoming tough times. The project is essentially a Tekno affair, with one guest appearance in the person of CKay. From the title track to “Peace of Mind” to “Can’t Chase,” ‘The More The Better’ is a fine outing for Tekno.
XENIA MANASSEH – ‘LOVE / HATE PT. 1’
Kenyan act Xenia Manasseh unveils her debut album ‘LOVE / HATE Pt. 1.’ It is a project that details her observations about love and the pleasures and pains it causes. ‘LOVE / HATE Pt. 1’ is built on an R&B core with Soul and Hip-Hop mixed into it. There are guest features from Tay Iwar, Karun, Shalom Dubas and Xenia’s grandpa Edgar Manasseh.
KHAID – ‘EMOTIONS’
“On this new project, you should expect the Afrobeats Khaid,” Khaid told the NATIVE in July. On his latest EP ‘Emotions,’ he keeps to his promise with six tracks that showcase his artistry in the Afrobeats lane. The EP contains previously released singles “Jolie” and “Anabella,” and is a collection of love songs revolving around various situations.
TOCHI BEDFORD – ‘HALF BLUE’
Tochi Bedford’s music is a fusion of diverse elements. The artist, producer and sound engineer kept that as an important factor in his artistry and on his latest project ‘Half Blue,’ he sticks to his ethos. With features from Cruel Santino, Mowalola and Odunsi (The Engine), ‘Half Blue’ delves into matters of romantic connections and personal will, creating a skilful addition to the Alté catalogue.
TYSON SYBATELI – ‘PRESENT’
South Africa’s Tyson Sybateli collaborates with fellow SA Hip-Hop podcast crew The Sobering Podcast on his latest mixtape ‘Present.’ The project is rap royalty with Tyson spitting bars over infectious, slick beats. He is also joined by acts such as Priddy Ugly, Thato Saul, Nanette, Ben September and Tron Pyre, among others. ‘Present’ makes for an enjoyable listening experience as we are reminded of Tyson’s exceptional rap skills.
KARUN & BLOCKA BEATS – ‘LIE TO ME, VOL. 1’
Last year, singer Karun and producer Blocka Beats released “Lie To Me (Tell Me a Fairy Tale,” a love song with dark undertones. The positive reception for the song has inspired Karun and Blocka Beats to invite other producers to add their spin to the track, shuffling it through different soundscapes. ‘Lie To Me, Vol. 1’ features remixes from Blackcurrant, Kenza, Kayrop and Mike Muema, among others.
AUNTY RAYZOR – ‘VIRAL WRECKAGE’
Aunty Rayzor—real name Bisola Olungbenga—is a fiery package of fast-paced raps and effective singing. With a growing repertoire of works across Africa, the artist is seeking to enshrine herself into the consciousness of music lovers. On her debut album ‘Viral Wreckage,’Aunty Rayzor bursts with energy from track to track, assisted by a host of collaborators. It’s a project sure to turn heads.
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 new releases from Guchi, Diamond Platnumz and more. Today, we have songs that move from Afropop to Amapiano to R&B, with our select artists showcasing their unending talent and passion for creativity. Lock in!
JOHNNY DRILLE – “SPENDING”
Johnny Drille ventures away from his usual mellow soundscape for an upbeat rendition on “Spending.” Over a groovy Amapiano beat, Drille sings about spending his money on the woman he loves as his show of affection. He croons that while love is important, the material aspects are equally as important. Mavin Records’ boss, Don Jazzy, also provides background vocals while reiterating Drille’s message of spoiling your love interest.
BRAZY & DBN GOGO – “ATTENDS (DBN GOGO REMIX)”
Attends Shekeleva! Brazy’s hit single, “Attends” takes on a refreshing perspective with the help of South African DJ-Producer, DBN Gogo. The initially fast-paced, high-tempo single spins into a slowed-down bass-heavy track with ominous piano chords. The Afro-House embellishments become evident mid-way through the track with the inclusion of brash log drums and barely audible shakers. As the track fades out, Brazy’s vocals seep in and out to allow the instrumentals to take over.
AZANA – “SIFANELENE”
Following her cheerful tune, “Shona Malanga,” Azana draws us one step closer to her upcoming album with a mellow love story on “Sifanelele.” The Mthunzi-assisted track leads in with daunting, low-tempo piano keys, followed shortly after by Azana’s honeyed vocals and twinkling guitar keys. Backed by melodious chants, her heartfelt rendition tells the story of two lovers expressing gratitude for navigating life’s tumultuous journey together.
PHYNO – “DO I”
Jaysynths snags production creds on Phyno’s latest Amapiano single, “Do I.” In his typical fashion, the Eastern Nigerian rapper comes armed with sleek bars recited in Igbo and English. He directly poses rhetorical questions on the track’s hook “Do I look like I give a fuck?” paired with a not-so-humble brag of his riches. He is addressing his naysayers, emphasising that he deserves everything in his possession.
KENZA & XXC LEGACY – “ALONE”
South African DJ-Producer, Kenza taps XXC Legacy for a slow tempo EDM tune, “Alone.” The beat contained the typically intoxicating synths of Deep House paired seamlessly with Legacy’s mellifluous vocals. She embraces vulnerability as she addresses feelings go loneliness after a soiled relationship. “I smoke the pain away, drink it all away/I wish that I could stay, in the clouds today,” she croons on the track’s pre-hook, heavy with feelings of regret.
MR EAZI – “ADVICE”
Mr Eazi is taking us to church on the intro of his recently released single, “Advice.” Produced by M.O.G Beatz, the high-tempo single leads in with a beautifully sung choir rendition, followed by a direct address from Mr Eazi. He immediately establishes the mood of the track as he reminds onlookers to keep their unsolicited advice. The bass-heavy drum pattern is paired with lush piano chords, backed up by smooth harmonies by the choir. “I no need advice/ talk wey dam talk I no pay attention, them no be my size,” he passionately croons on the tuneful hook.
UNA RAMS & MIKHALÉ JONES – “SOS”
Una Rams delivers a sultry new single dubbed “SOS,” the artist’s acronym for “Sex on Sunday.” He taps South African R&B star, Mikhalé Jones for a soulful rendition, exploring themes of passion and sexual connection with their love interests. The track holds captivating rhythms and captivating melodies created by sweet-sounding saxophone chords and a steady drum pattern.
ANYTHING WITH YUSEF – “FERRARI”
Botswana-born Afropop artist, Anything with Yusef, unveils another layer of his artistry on his captivating new single dubbed “Ferrari.” The track leads in with a velvety saxophone solo paired with a head-bopping beat and light shakers. He seamlessly rides the wave of the beat with charming harmonies and dulcet vocals as he addresses his love interest. He lovingly promises that he is capable of providing all her needs on the Jitotwe Tshombela-produced track.
MOONGA K. & NKOSILATHI – “BE MINE”
Dreamy Piano chords and twinkling keys open MOONGA K.’s recently released melancholic single, “be mine.”“Can I turn back, can I fix the damage of the past,” he croons on the opening line, evidently filled with feelings go dread. The lush guitar strings heighten the track’s ethereal atmosphere as he reminisces on a past relationship. Nkosilathi taps in mid-way through the track, posing rhetorical questions to her love interest as she expresses her fears of falling in love again.
Olaide has his head in his hands, he’s just learnt that Arsenal conceded a goal within a minute of kick-off, in the English Football club’s Premier League fixture against Fulham. A lifelong Liverpool fan, Olaide couldn’t care less if Arsenal failed to win, but he was mourning a conceded goal because the Arsenal goalkeeper Aaron Ramsdale and defender William Saliba were in his Fantasy Premier League (FPL) team. That goal all but assured that both players would have little impact on his score for the week’s round of fixtures.
“Shebi dem dey house?!” Olaitan loudly asks in Pidgin English, his question directed at no one and everyone in the vicinity at the same time. His logic was simple: Arsenal were playing a team that many would describe as a weaker opponent, on their home turf as well, an advantage that meant the possibilities of keeping a clean sheet was more than decent. “You know say Arsenal hate to dey keep clean sheet for house?” a guy popularly referred as SK retorted to Olaide’s question, recalling Arsenal’s nail-biting win against Bournemouth last season, after conceding two goals in the match’s early minutes.
SK, a Manchester United fan, also wasn’t invested in an Arsenal win, but he wanted the London club to complete a comeback if winger Bukayo Saka would be involved in the goals. “Saka dey my FPL team,” he said. Another guy, Tonye, this time an Arsenal fan, wanted midfielder Odegaard to be in on the action. When Arsenal won a penalty in the second half and Odegaard converted from the spot, no one screamed “GOAL BALL!” louder than Tonye. It was obvious he wasn’t just celebrating an equalising goal.
Fantasy Premier League is an online fantasy draft game, centred on the English Premier League (EPL), where fans, pundits and even football players create teams on a fixed budget. At the start of every season, every FPL manager is given a budget of 100 million pounds to draft players of varying prices, selecting 15 players across positions without exceeding the budget. Every round of match fixtures, players are scored based on tangible, real life contributions like goals, assists, clean sheets, added bonus points and more. The cumulated points represents a score for the week, and each week’s tally count towards the total at the end of the PL season.
During the season, FPL managers are afforded a free transfer for each new fixture week, allowing for some flexibility to transfer players in and out within budget. There also chips—bench boost, free hit, triple captain and wildcards—that help with transfers and score boosts, although they must be used sparingly. Prizes are also offered to different tiers of winners: The overall champion for this season’s FPL champion will win a 7-night break in the UK inclusive of two VIP hospitality at two PL matches next season, travel and accommodation inclusive. That’s just the headliner, in a package that includes a laptop, noise-cancelling headphones and more. There are prizes for 2nd to 20th positions, as well as in-season prizes for Manager of the Month and Manager of the Week.
Last season’s tally for the total number of Fanasy Premier League managers was reported to be well over 11 million. Given the increasing popularity of the fantasy game, this season’s should be higher. It’s far more than the 76,000-plus players who registered when the Premier League officially launched FPL, along with its website, in 2002. Before then, a 25-year old computer programmer, Andrew Wanstein introduced fantasy football to the UK, having been inspired by a fantasy baseball game he was introduced to by a family friend from the US. Debuting in the 1991-92 season, Wanstein’s Fantasy League attracted about 700 players.
Although Wanstein wasn’t involved in the creation of Fantasy Premier League, there’s no doubt he inspired the now global phenomenon. “The drive was just sort of enthusiasm for football,” he told ESPN late last year. Even with its glossy prizes, the same drive is what’s pushing FPL’s ubiquity amongst many football lovers across the world—Nigeria included. “It’s just another way to be a fan and engage the game,” Olaide says of being invested in FPL. “Before, all I really cared about was Liverpool and I would watch some matches between the bigger teams, but these days I keep tabs on almost every team so I can find players I can transfer in and out of my team.
Austin, a self-proclaimed FPL champion, is currently a part of three leagues, one of which he paid a 5,000 naira registration. Last year, he was one of 43 managers in the paid league, winning the 150,000 naira top prize for finishing at the top position. “Towards the end of the season, na FPL consume my mind because I don make mouth say I go win,” he says, stating that he’s a sore loser and would’ve probably gone through a bout of depression if he hadn’t ended up at the top spot after spending nearly half the season in that position. A Liverpool fan, Austin says he watched every match possible in May, even though the club he supports was “pretty much nonsense” last season.
This season, Austin isn’t that confident of winning the prize money for the league because there’s been an almost 100% increase in managers. “Now, we have about 80 people and the prize money has doubled but these guys are not playing this year,” he says. Last weekend, he got 64 points, and he’s somewhere in the middle of the pack so far, which means he’s playing catch-up. But that doesn’t mean he’s lost interest in this season’s Fantasy Premier League; the other two leagues he’s part of consists close friends and he doesn’t want to be at the receiving end of humorous, depreciating banter on a weekly basis.
The same motivation is what pushes Oyinkan. “I’m better at dishing banter than taking it,” she says. “So anytime I have a bad FPL week, I avoid social media. My friends know, so they even call me out on Twitter when I don’t respond to group texts. It’s even worse when Man Utd now decide to lose on the same weekend.” Banter is a Nigerian specialty, one that we use in easing and deflecting the debilitating social conditions of the country. On football twitter, it’s known that Nigerians let the jokes fly, from sardonic humour to off-the-cuff observations. Even the country’s national team isn’t spared.
Number of FPL managers per country, Full list at https://t.co/Z84d7O3Y7C 1- England🏴2,329,450 2- Egypt🇪🇬 650,582 3- Nigeria🇳🇬 338,250 4- Malaysia🇲🇾 287,200 5- USA🇺🇸 270,789 6- Ireland🇮🇪 255,986 7- Norway🇳🇴 199,283 8- Kenya🇰🇪 187,978 9- South Africa🇿🇦 187,132 10- India🇮🇳 182,463 pic.twitter.com/mmBsk9YN0x
Considering the ultra-popularity of football and the Premier League, along with the global recognition of our bantering abilities, it’s no surprise that Fantasy Premier League is popular amongst young Nigerians. Even those who don’t play have heard about it. According to a tweet from August 2022, Nigeria had 338,250 FPL managers, a number that would have undoubtedly increased as last season progressed, and should be more during this season.
For all its allure, some people still drop off eventually. “After like 10 weeks that I knew I was just arranging rubbish, I gave up last season,” Olaide says. “It requires dedication.” For some, their issue is ideological, especially since the points are fixed. “I don’t like the fact that a player can play really well and not end up with a goal or assist, then be given 3 points,” Austin says. As he explains, it collapses the nuances of the game into straightforward numbers, which can belittle the contributions of some players and overly glamourize others.
As SK points out, the rules are there as a framework for transparency, so players aren’t just awarded points due to the discretion of some people. “It’s just setting up your squad to optimize those fixed metrics,” Oyinkan says with a wry laugh. “Last last, we go again every weekend. The game is the game sha.”
For the eighth time in three years, a coup d’état has toppled a civilian administration in west and central Africa. On Wednesday, August 30, military officers in Gabon forcefully ousted Ali Bongo Ondimba as the country’s president, after 14 years in power. Occurring shortly after Bongo was declared as the winner of the recent general election, around a dozen military personnel appeared on national television to announce the end of the existing administration.
The military spokesperson stated that he was speaking on behalf of the Committee for the Transition and Restoration of Institutions (CTRI), and the committee “has decided to defend peace by putting an end to the regime in place.” He went on to add that the election results that declared Ali Bongo the returning president had been voided, placing him and his son, Noureddin Bongo Valentin, under arrest and home detention. Several of Bongo’s aides have also been arrested. According to the spokesperson, the arrested are facing charges from treason and embezzlement to corruption and drug trafficking.
Within hours of the coup announcement, AFP news agency aired a video of the Ali Bongo asking his “friends” to “make noise” and come to his aid, claiming that his family were away from him and scattered around. “I don’t know what is going on,” he said in the video. Instead of gravitating to Bongo’s trepidation, many citizens in Gabon poured out to the streets in jubilation of his ousting, a show of how deeply unpopular the president had become.
In 2009, Ali Bongo was elected into office following the passing of his father, Omar Bongo, who ruled Gabon for 40 years. During the older Bongo’s autocratic rule, Ali served in various capacities in his father’s administration, as the minister of foreign affairs, deputy in the national assembly, and minister of state. It was widely believed that Ali would eventually succeed his father, both his entry into power wasn’t without controversy. Due to allegations of fraud by the opposition, the constitutional court of Gabon ordered a recount of the 2009 election results, which still declared Ali Bongo the winner despite continued grumbling by many citizens.
Seen as a hugely important election, after Bongo had served two 7-year terms, independent candidate Albert Ondo Ossa was considered the main opposition candidate to the incumbent seeking a third term. Months before the election, several controversies put Gabon on edge, starting with a handful of proposed reforms from the parliament. Among the reform were the reversal of the adopted 2018 bill, which moved the single-round presidential election to a two-round ballot, and a reduction of presidential terms to 5 years. In April, these constitutional changes were adopted, along with the abolition of re-election limits, allowing Bongo and many politicians to essentially remain in administrative office for life.
Regardless, Albert Ondo’s candidacy reportedly picked up steam, gaining the support of a multi-party opposition coalition. On the day of the elections, it was reported that foreign media and international observers were prevented from entering Gabon, voting at many polls were delayed, which impacted the percentage of registered voters that actually voted, and ballot papers carried the names of candidates who had already dropped out of the race in support of Albert Ondo.
After voting took place on Saturday, the government restricted internet access and imposed a curfew, stating that there were measures against the spread of false news and potential violence. In the dead of night, at 3:30AM local time, the results of the election were announced, declaring Ali Bongo the winner with over 60% of the vote. Shortly after, mutinous soldiers, led by Brice Oligui Nguema, commander of the republican guard, took over the presidential palace, placing Ali Bongo under arrest before making their announcement later that day.
Gabon joins Niger, Burkina Faso, Mali, Chad, and several other African countries and former French colonies that have slid into military rule via coups. The celebration of the coup by Gabonese citizens is a reaction to decades of being lorded over by a family and select group of elites, with Omar Bongo keeping the country in a one-party system until 1991, and his son keeping the hegemony going even as oppositions have sprang up. Gabon, a mainly producing and export country, is currently beset by high levels of poverty, with a reported 40% unemployment rate for people between ages 18 and 40.
The Bongo family has been repeatedly accused of embezzling and hoarding public funds, with the Pandora Papers fingering Ali Bongo as one of the many African leaders with wealth in offshore tax havens. On social media, a viral tweet shows an alleged video of bags of hard currency in the presidential palace. Many Gabonese hope that the coup will portend the change of the country’s fortunes. The Committee for the Transition and Restoration of Institutions (CTRI) has announced Brice Oligui as the president of the transitional council, perhaps a sign that the new junta already has eyes towards a true democracy in the near future.
Evolution is a famous concept in music. Once every while, an artist grows beyond their established sound and aesthetic, and it becomes necessary to create another vision. Prior to this year, the singer Teni occupied a visible space across the scene; pulling from the colourful tapestry of the Nigerian experience, and infusing the sounds of her native Yoruba, she created effervescent portraits of young existence, as heard “Uyo Meyo” and “Case,” just to mention a few records.
Today, the artist releases “Lanke,” her first record since the May-released “No Days Off”. As the older song revealed, the musician was branching onto wider plains of sonic experimentation. Its Genio-helmed production had a skittering, freewheeling drum base that was ostensibly influenced by Nigeria’s alte music, especially those which have soundtracked a number of songs from Cruel Santino, who also directed its visuals.
Coming after 2021’s sprawling ‘WONDALAND’, it signified a marked change from the afropop Teni was doing, and unsurprisingly, was timed to go with her new brand direction, which was a more femme, gritty image, arrived at by dark rock-esque clothing and sunshades, bandanas and ripped trousers—-her second arc was in full flow.
“Lanke” continues in that style, another step towards the new sound Teni is charting. An Amapiano-tinged progression is provided by Blaise Beats, a cool but zesty vibe that would fit seamlessly with Asake’s ‘Work of Art’. On vivid display throughout that album were novel techniques for the South Africa to be utilised, and Blaise, who’s been one of the more consistent producers in recent years turns in a beautiful shift on the record. The drums are accompanied by string instruments and deftly follows the vocal inflections of Teni, making it a song in purposeful alliance with all its component parts.
To her credit, Teni isn’t estranged from her early technique, sprinkling the vibrant poetry of the Yoruba language on its chorus. Her vocals are as evocative as ever, as she speaks on her unique qualities with a rapper’s audacious allure. “On g, I got the juice and the energy, everybody wanna sodi to my melody,” she sings in the opening bars, and for the rest of the song’s runtime, she paints the image of living up her life, in the second verse, singing, “Teni Makanaki on a skibi jumpo lifestyle, bad bitches wanna ride/ Never alone, with my guys, I’m a liverpool on this side…”
Feel-good bops have been an essential niche in Teni’s catalogue and “Lanke” is a fine addition. Each second of the song bursts with flavour and finesse, showcasing the continued growth of the beloved singer. Perhaps a couple more singles would be released before an album comes out but right now, Teni has scored two great songs in two releases, and witnessing this growing affinity for experimentation has been a triumph of afropop’s year.
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 new releases from Guchi, Diamond Platnumz and more. Today, we have songs that move from Afropop to Amapiano to R&B, with our select artists showcasing their unending talent and passion for creativity. Lock in!
SHOW DEM CAMP FT. BELLAH – “WYW”
Off ‘Palmwine Music Vol. 3’ from Show Dem Camp comes this new music video. A favourite among listeners of that sprawling, feature-laden body of work, here the rap duo translate its theme of a toxic relationship into a stirring visual montage. The looks are exquisite and the scenes packed with deliberation as much as action, and Bellah pulls off a riveting performance as the femme fatale. Everything works to beautifully extend the run of this record.
TOLIBIAN – “Happy”
Abubakar Abdulmutolib Ottan, popularly known as Tolibian is a fast rising singer and songwriter from the North Central part of Nigeria (Ilorin, Kwara state). On his latest single “Happy,” the singer delivers a perfect fusion of Afrobeats and Apala, which can best be described as tuneful and classic. On the new track, Tolibian attempts to paint a mental picture of what living a true happy life feels like with lyrics such as “We battle and survive/Wetin God design no fit collapse.”
E.L – “SOBA”
One of the most consistent artists from Ghana, the music of E.L has always retained a funny, quirky outlook. “Soba” is his latest, colourfully rendering the azonto sound in a contemporary light. The result is a hit ready-made for online challenges, which should get the song’s hype buzzing afterwards. Considering the celebratory period we find ourselves in this year, there are surely great prospects for the record going forward.
MONSEEKA – “OVER THE RADAR”
Monseeka might be a newcomer, but she’s clearly accrued experiences that glow under the heat of her pen. Her intense sensibilities are captured on this record, which details her floating towards the perfect place. Emo themes are increasingly fancied by young musicians; that is because the mental landscape offers so much narrative material. Helmed by the masterful Bigfoot, this is a sterling addition to that tradition.
MUTHAKA & EMMA CHERULO – “TOUCHING ON MY BABY”
A consistent feature in the African music scene is the soulful excellence of Kenyan artists. The country has no shortage of artists adapting genres like R&B and Soul, matching their soulful core with the vibrant percussions within their popular music. “Touching On My Baby” benefits from that fusion, blending the impressionist voices of both musicians to tell a sweet-sounding tale of desire and protection. A vintage touch is present in the visuals, which references the eighties-evoking vibe of the record.
KING PERRYY & IDA BANTON – “DENGE”
The Port-Harcourt sons unite for this scorching banger. “Denge” harkens back to the sound of Baba Fryo and his iconic dance, actualised through a contemporary filter which manifests in the zesty edges of its mastering. At its core, however, is a simple Dancehall riddim and a vocal sample, while both artists float assuredly over the record. It’s expectedly light work for King Perryy who’s in familiar territory, but it is 1Da Banton’s verse, brief and boisterous, which brings the song home.
JAY-WAY – “ONLY ONE I THINK ABOUT”
A thrilling sense of adventure follows every second of this record. Crafted with intimate observation and fun-paced progressions, it blurs sonic lines between bedroom pop and rap music. The Dutch-Ghanaian act has also put out a five-track EP of the same title, incorporating zesty touches from nearby genres of alternative rock and dubstep, all of them working towards the project’s portraiture of a colourful, complex existence, which ostensibly belongs to the young.
MOHBAD – “BEAST & PEACE”
Earlier this year Mohbad released the ‘Blessed’ project, unarguably his most important one yet considering the events which preceded it. Off that project, few songs captured its stark imagery as vividly as its opener, “Beast & Peace”. The song, as its title suggests, presents both sides of the street reality while centering his own trajectory within those considerations. On the just-released visual he’s dressed as someone who’s just come off a fight, a telling allusion to the song’s message of personal strength amidst the trials of being persecuted and picked upon.
MAJOZI & MTHANDAZO – “MI AMOR”
On this jazzy track, the South African artists combine to pine about a lady’s love. Cheesy, affectionately-drawn images are drawn with lighthearted touch, while the easy production reminds you of a rainy day. It’s a beautiful song whose strength arises from its tenderness, which is evident from the guitar progressions down to the background vocals. Each element contributes to its dazzling whole, making this the perfect soundtrack to a loving moment.
Going to the movies is no longer the somewhat low-cost endeavour it used to be. The world over, the cinema experience has become more expensive, largely due to global inflation. In Nigeria specifically, the jump in prices has been more than noticeable, with a 100% hike in the last five years. Coupled with the increased penetration of streaming platforms, the cinema-going rate hasn’t boomed and the recent increase in revenue has mainly been spurred by the hike in prices, with a significant portion of viewers going to cinemas to see blockbuster Hollywood films.
Last year, the film industries in the US and the UK launched National Cinema Day, allowing cinemagoers to watch films at drastically reduced, uniform prices for a single day. In the US, more than 8 million people showed up at cinemas to watch films at the flat rate of $3. In the UK, over 1.5 million people watched films for €3—around three times the normal level. Last Saturday, more than 3,000 theatres joined in the second edition of National Cinema Day in the US, with more than 8.5 million moviegoers participating in the $4 flat rate for movie tickets. Next Saturday, September 2nd, more than 630 theatres in the UK will be showing films for €3.
Following suit, the Cinema Exhibitors Association of Nigeria (CEAN) has announced a heavily discounted, flat price for cinemagoers in celebration of National Cinema Day. Similar to the UK, it will take place on September 2nd, and cinemagoers will be able to watch films for N1,000 across 50 cinema locations in Nigeria. Participating cinemas include popular multi-venue chains like Filmhouse Cinemas, Genesis Cinemas, Silverbird Cinemas, and more. “We believe this will bring together audiences of all ages to enjoy a day at the movies and see any movie of their choice at a discounted ticket price of N1,000,” CEAN president Opeyemi Ajayi said in a statement. “We are doing this to say thank you to movie-goers and promote the cinema-going culture as well as to remind audiences about the magic of cinema.”
Nigerian cinemagoers likely to take advantage of the reduced prices will be spoilt for choices, as a handful of blockbuster are currently showing in cinemas. In addition to worldwide smashes ‘Barbie’ and ‘Oppenheimer’, there’s the new DC superhero film ‘Blue Beetle’, the ongoing local box office sensation, ‘Orisa’, the new Yoruba epic ‘Kesari’, Niyi Akinmolayan’s children’s film, ‘Mikolo’, the long-tenured fourth film in the epic action franchise, ‘Mission Impossible’, and more. Grab your popcorns!
The history of Nigerian music isn’t complete without an understanding of its component parts. Of those parts, Fuji is a towering cornerstone. The genre which evolved from the Islamic prayer rites, Ajisari and Were, is musically vibrant, draws from the deepest wells of Yoruba culture, and has greatly influenced modern Nigerian pop. A testament to its transcendent influence is its fan base it enjoys across Nigeria and in the diaspora, which is the next focus for Bobo Omotayo, who is the creator of ‘Fuji: A Opera.’
At the height of the pandemic in 2020, Omotayo “had a lot of time on his hands,” he shared with The NATIVE on a recent weekday. Being a culture custodian, he decided to tell some stories he’s had on his mind for a while. The origin and phenomena that is Fuji presented a good place to start. “There was basically nothing online,” he said of his time researching the culture of Fuji, especially when one goes beneath the surface of its contemporary endurance. A lot of its intricacies were lost to time, either through disinterest in its narrative or a dearth of its knowledgeable custodians. The former was the case.
To further accentuate his ideas, Bobo brought in his brother Papa Omotayo and his friend, Tosin Ashafa, who both acted as investors and creative partners. A lot of reaching out was done, knowing that bringing such a powerful narrative onto the landscape of today’s popular culture would need heavy lifting. From collaborating with the genre’s living greats, to seeking information from university professors and traditional rulers, down to the important establishing corporate alliances which propelled the message even further, Lagos state—and by natural extension the national cultural space—felt the impact of ‘Fuji: A Opera’, especially in the subsequent months and years.
Storytelling was the ethos of Bobo and his team. To bring both old and new lovers into Fuji’s sprawling existence, the information to be presented had to be bit-sized and entertaining. An exhibition at the Ikoyi-based Alliance Francaise (another one of their partners) resolved that need, but even more striking was the experiential scope of its design. Austere funnel-styled speakers softly played the music of each great, located on one part of the wall. Elaborate lace materials usually worn by Fuji practitioners adorned another wall, there were pictures, memorabilia, and written information on several facets of the culture, such as the biography of the Fuji pioneer Ayinde Barrister, the genre’s memorable artist clashes over the years, and the wisdom of its spoken word. It was a world unto itself.
This exhibition happened for a week, and included a panel discussion which featured K1 De Ultimate, who, for an hour, revealed how far the genre has taken him and several others, which is supplied by its overall culture, both sonic and visual. A grand concert capped off the event, as K1, Saheed Osupa, Malaika and several other Fuji stars performed. The platform also gave rising Fuji acts a chance to perform in front of luminaries.
For Bobo Omotayo, ‘Fuji: A Opera’ is an extension of interests he cultivated much earlier in life. He was a reader, who then began writing seriously around a decade ago, publishing his first book ‘London Life, Lagos Living’, which collected short poignant observations about life in the Nigerian city. In 2015 the book was made into a stage play by Make It Happen productions, and starred established figures such as Kate Henshaw, Funke Akindele, Lami Phillips and several others. ‘Honourable’, his second title, was published in 2017, a satire which revealed the intricacies of an actual political campaign the author took part in and interweaving them with fictional premise.
From these entries, Omotayo’s love for cultural endeavours spring forth, and the tinkering in-between mediums is what makes them exciting pieces for public consumption. His next exploit is taking ‘Fuji: A Opera’ to the world, and he’s already in the motions of doing so. Since the 18th of this month, the London exhibition has been taking place. “We’ve taken over four floors at the African Centre,” says Bobo, “where people can sort of start the journey of Fuji, how it started in the 1950s and how it’s evolved over the last seven decades to where it is now. On the fourth floor we’ve actually imagined what Fuji would look like in future, because for me, this is a genre that would transcend my time, and probably my children’s time, so for us, it’s really about, How do we keep this thing going?”
As ever, Bobo Omotayo built on the blocks of what he’d already achieved previously. The Lagos exhibition was a learning experience for the group. “The London one is far richer in terms of content,” he says, “because when we did the Lagos showcase, we had space constraints and knowledge constraints. So, for the last two years, myself, a couple of academics, a couple of African Studies scholars, a couple of culture custodians, and of course, the Fuji music artists themselves, we’ve been partnering to really articulate the history”.
The ‘Fuji: A Opera’ experience aims to break more ground, according to Bobo. A documentary is currently in the works and a touring experience is taking the showcase to different parts of the world. As its creator likes to say, it’s a multi-dimensional experience that will keep looking for ways to tell the complex, thrilling story of Fuji.
Adekunle Gold has been operating in scintillating form throughout this year. Before releasing his sprawling fifth LP, ‘Tequila Ever After,’ the singer had embarked on a run of hot singles and sold-out events, while a deal with Def Jam Recordings gave flight to his ascendant place in the global music discussion. Off this project, the track “Sisi Ganja” was produced by Fridayy, the American-Haitian artist who’s been a revelation on the international scene, and has appeared eagerly linked with his African roots, collaborating with Asake, and appearing on his recent O2 Arena event. On his new self-titled album, it is Adekunle Gold who lends his magical touch to the younger artist, both floating over afro-inspired sonics.
Over the past two years, Fridayy’s strong, evocative vocals have scored him collaborations with the likes of Lil Baby and Wiz Khalifa, while his crowning moment unarguably came on DJ Khaled’s smash record “God Did”. For the American rap scene, JAY-Z’s sprawling verse was perhaps the standout, a flex on the iconic bearings of the Brooklyn rapper, but for the majority of international listeners, it must have been the gospel-licked chorus of Fridayy which cemented the song’s transcendental feeling. Since then, the 23-year-old artist has remained at the forefront of a resurfacing consciousness in popular music, which is that of the gospel-influenced artist.
There is an effervescent beam of positive energy on the AG-featured “Done For Me”, permeating every second, every lyric, and every beat count. It is created from a profound place of inner strength, and there is no surprise the artist thinks highly of the record as well: it’s the second song off the singer and producer’s self-titled album, which is one of the propulsive sections of every body of work. The second song moves the project beyond the musician’s urges and towards the listener’s taste, and should ideally merge both motivations, which is what Adekunle Gold and Fridayy achieve with this record.
Adekunle Gold’s verse is a shimmering display of mastery, as he skids over the production with ease. It’s his vocals which highlights the Afro base of the song’s percussions. He advances the song’s message with his inimitable perspective, the high levels of storytelling that took him from an alternative-serving act to one of the continent’s biggest pop stars. His verve audibly comes from a real-place which, given the writing, would most likely be related with the sickle cell experience he related on “5 Star”. Here, he’s appreciative of being given that chance at life, because he “could have been dead and gone/ six feet, but you saved my soul”. Tender writing meets AG’s patois-laced inflections, which suggests he was in the celebratory mode of ‘Tequila Ever After’ when he delivered this verse.
The artist is one of the two Nigerian artists featured in ‘FRIDAYY’. On “You” the dramatic ease of Fireboy DML finds purposeful deployment, which sort of continues a thread of diaspora-born Black artists collaborating with their Nigerian and African counterparts. It’s a worthwhile moment in the history of popular music because advancing the commercial vision of trans-continental collaborations in times past, now it’s in service of honouring cultural ties and passing deep messages about our shared experiences of hurt, struggle, and triumph, which vaunts beyond the constraints of time and space.
Life’s greatest lesson is its fallible nature: things can go wrong, nothing is set in stone, make hay while the sun shines, and so on. There are many such quotes which highlight this aspect of our existence, which similarly influences both artist’s musings on the record. Starting out, the pensive landscape of the modern world is evoked by Fridayy when he sings, “Tell me why they envy me,” just before he prays the Lord to defend him from enemies. His earnest yearning is amplified by the polishes of vocoder-inflected background vocals, a technique he’s quite fond of. That gives his winding verse a palpable warmth, establishing a bright-shaded side to the narrative coin he presents from the start of the record, that nearby potential for disaster.
In the past, a host of musicians have carried their Christian values into song. Gospel has thrived largely within Africa, partly because it was a defining trait of cultural life in the aftermath of colonialism across the continent. But gospel’s success is owed also to its exhilarating sonic quality, which offers a beautiful alternative to the percussive semblance of afropop. Its relationship with popular music culture—the church being a sort of training arena for musically-inclined persons to learn instruments, sing, and develop a grasp on the art form—also supplies its continued relevance. It is from this tradition Fridayy emerges, although he also operates in the R&B and Soul field, using his striking vocal abilities to tell poignant stories.
Born to Haitian parents, Fridayy operates from a sonic tradition that has origins in West Africa. On this record he deepens his link with Haiti, delivering its first pre-chorus in Haitian Creole, a language which rose in the seventeenth century and has lasted through the times. Housed within the personal debut album ‘FRIDAYY’, “Done For Me” sets the done for its almost forty minutes of brilliance.
Falz is enjoying his moment. The Nigerian rapper earns the biggest launch this week with his new single, “Ndi Ike” featuring rappers Flavour and ODUMODUBLVCK rises to a new height at No.8 on the chart this week. “Ndi Ike,” is in good company on the charts, and earns Falz his first top ten record and the first top entry in Nigeria featuring many rappers. The single is also ODUMODUBLVCK’s fourth entry on the top ten and Flavour’s second entry.
Elsewhere on the charts, Asake maintains his dominance for another week. His latest standout track “Lonely At The Top” records another week at No.1, totalling seven weeks on the chart so far. The track garnered 96.2 million in radio reach and 3.95 million streams across on-demand platforms. “Lonely At The Top” becomes Asake’s longest-serving No.1 single equalling the seven-week dominance of Fireboy DML’s “Bandana” featuring Asake.
Following the release of his latest album ‘I Told Them,’ Burna Boy’s “BIG 7” returns to its peak at No.2 on the charts. It comes after the global release of the ‘I Told Them’ magazine, which was released in tandem with the album. It’s followed by Khaid’s “Annabella” which returns to No.3 after six weeks on the TurnTable Top 100 and Omah Lay’s “reason” which sits at No.4 this week. Olamide’s “Jinja” closes out the top 5 following three weeks on the chart.
Outside the top five, Shallipopi’s “Obapluto” returns to No.6 this week, rising from its last peak at No.10 last week. It is followed closely by Adekunle Gold’s “Ogranya,” which falls to No.7 following its rise to No.6 last week. At No.9 is King Promise’s “Terminator” which maintains its position from last week. Olamide’s “Gaza” rounds up the top ten this week rising from its peak at No.11 last week. Just outside the Top ten, Davido’s “Unavaliable” springs back to No.11 after slipping to No.22 last week, while Magixx’s “Maria” debuts on No.35.
Every other day, new talents break into the scene with a series of offerings, hoping to stand out to a crowd with an ever dwindling attention span. From a skilled pen game, inimitable vocals or transcendental production skills, these fresh acts display varying talents that aim at not just connecting with an audience, but redefining the status quo and slinging the ropes of African music far beyond its boundaries. More often than not this guarantees the presence of an infinite list of talents, providing staggering gems and re-telling our stories from a brighter, renewed perspective.
Sifting through these exceptional acts can prove overwhelming but our monthly instalments of uNder ensures that all grounds are covered and no artist worth noticing skips your radar. As summer comes to a glorious finish, and with the end of 2023 creeping in, our August class presents a promising group of artists from across the globe on the cusp of a bigger breakthrough. Newest Mavin Lifesize Teddy arrives armed with vulnerable confessions in melodious tunes and sleek bars; Fentse. is an introspective savant and precocious nu-soul singer; the already-popular ilham is a vision of second-generation immigrant excellence; and three more artists with distinctly striking traits and artistic narratives.
Earlier this month, Lifesize Teddy joined the Mavins records all star roster armed with admirable confidence and skilled penmanship, showcased through heart-warming melodies and assertive bars. The Port-Harcourt native joined the label in what seemed like a full circle moment, after delivering an invigorating performance opening for Ladipoe back in 2018, joining the label’s famed academy two years later. Released in tandem with her unveiling, as typical of new Mavin signees, Lifesize’s eponymous debut EP arrived with a refined touch to her evidently multi-dimensional palette.
A bite-size insight into her personality and craft, ‘Lifesize Teddy’ displays several phases and reference points of the artist with suave touches of Dancehall, Rap and Nigerian pop. She is armed with brazen confessions of love and life, delivered effortlessly in Pidgin and English thanks to her background from the culturally vibrant Port-Harcourt. The music feels and sounds like an intimate diary session, considering how seamlessly Lifesize Teddy is able to convey her heartfelt emotions in only 5 tracks. Her dexterity in song writing comes through clearly on“Prophecy” where she confidently brags of her growth thus far, paired with a heartfelt admission reminiscent of her early days.
On “Air,” the leading track of the project, she utilises the track’s breezy soundscape to bare her emotions to a love interest while maintaining confidence that she is still one of one. As she croons on the mid-tempo instrumentals, “I got many many women underneath this skin, they are fighting to be seen,” it is clear that Lifesize Teddy possesses many layers to unfold and her debut EP is just a showcase of the tricks in her voluminous bag.
IDDI SINGER
Iddi Singer’s affairs as an artist dates all the way back to 2010, but it’s fitting to claim that he’s only just hit his stride. The Mombasa-raised, Kenyan musician describes his style of music as “Swarnb,” an abridged portmanteau that references the cadence of his Swahili-informed songwriting and his reverence for R&B. Armed with a smooth tenor, and clearly influenced by the male R&B heartthrobs of the ‘90s and 2000s (think a cross between the soulful Joe and the more exuberant Mario), the sonic tag makes some sense, but it undersells the expansive nature of his musical interests.
His 2020 debut EP, named after his style of music, is a vivid collection of tunes that melds his blue-eyed perspective on romance with production that’s buttery and fluorescent. There’s guitar-led R&B tunes, as well as mid-tempo Afropop jams. The result is impressionistic, the work of an artist who could try on several styles without coming off as scatter-brained. For his next multi-project release, however, he honed in on a single style. 2022’s ‘Rootsman’ is rooted in reggae, his approach recalling the optimistic lyrical lean and modern yet organic instrumental flair of Chronixx. Between those two EPs, it was clear Iddi Singer was building up to something with higher stakes, working his way into being a better-rounded artist.
The evidence is on ‘Imba’, his February-released debut album, an album where range in service of the music, and not the other way around. Of course there’s R&B and Reggae, but the multicoloured palette also spans Bongo Flava, Kizomba, and more influences across Afropop. On the standout song “Seasons,” he collaborates with Grandmastatek for a luminous Deep House slapper, serving as the launching pad for the duo to extend their musical kinship. Earlier this month, they released ‘Afrodisco’, a propulsive 5-track EP that moved across varying styles of Dance music, with Iddi Singer dousing his writing with more edge than he’s typically shown, journeying from heartbreak to romantic bliss. It’s proof that he’s still unravelling the extent of his abilities; at that, he already deserves your attention.
RAYTHEBOFFIN
While new to the Nigerian music scene, RayTheBoffin—real name Joseph Chikak—boasts a healthy catalogue. The producer/singer has been constantly exploring the boundaries of sound, fusing genres into one another whilst inserting relatable stories onto those rhythms. A large portion of these works came before he signed with the London and Johannesburg-based record label Outer South as one-half of Riverays, with co-member Iver Rivers and member of the four-man group Dancing in the Desert (with Iver Rivers, Jess ETA and 3kene).
Whether as Riverays or Dancing in the Desert, RayTheBoffin has found a soft spot between R&B, Rap, Afrobeats, Soul and Rock. As a new signee of Outer South, RayTheBoffin’s latest offering is ‘Freckles,’ a pristine collage of sounds such as Hip-Hop, R&B, Pop and Dancehall, with dashes of electronic distortions. The project is an ode to love and the varying emotions it uproots from people. From the grooviness of “Lifeline”with 3kene and Tim Lyre to the Trap bounce of“Okay”with Twelve XII and BUSA to the Amapiano elements of “New Emotions,”RayTheBoffin exhibits his versatility. Labelmate Suté Iwar recently described RayTheBoffin as having “a big future” and it’s no mere co-sign: RayTheBoffin has shown he’s here to stay.
FENTSE.
Fentse.’s music accommodates so much soul and emotion. Since her debut with the 2020 tear-jerker “Don’t Care (Let Your Eyes Bleed),”the South African singer and producer devoted herself to making music to speak to people’s great times and dark moments. In 2021’s ‘Get It Together.,’ Fentse. dug into her life experiences for an R&B/Soul affair (with elements from other genres) with soft vocals that possess as much venom as it is a caring friend. Regardless of the sonics she settles for, Fentse.’s music reflects honesty.
Fentse. has describedher music as being “inspired mostly by her experiences,” and that “her taste in music is ever evolving and ever developing, ranging from melancholy and ambient to experimental and upbeat.” On ‘Therapy Is Cancelled,’ her latest body of work, Fentse. articulates the roles humans play in their lives and the lives of others: lover, truthseeker and chaser of happiness. She bristles at a lover’s toxicity on“Video Girl,”ponders about existentialism on“Caffeine”and thirsts for clarity on “White Doves.”Fentse.’s music is a flame in the storm, enduring the knocks yet burning bright and lighting a path.
KAYODE
The musical education of Kayode began a long time ago. Both his parents were Christians and he was around church a lot of the time, learning to play the piano. Till this day, that awareness for instrumentals feature in his music, which is a vibrant mix between orchestral-set bangers, zesty rap flows, and the colourful sweet talk of afropop. “I learnt most of the stuff I knew on YouTube,” Kayode told NATIVE.
A project like 2020’s ‘Playtime is Over’ demonstrated those influences, as Kayode united variant sounds while talking his shit in the most audible ways. As the title suggests, the six-track EP was a crystallisation of what spurred him towards music a few years earlier. While“On My Back” and“Look at You”showcased his rhyming abilities over cloud rap beats, “Sideguy” and “456” coasted on warm percussions, both masterfully produced by an ascendant Magicsticks, who he met after he began sharing his work on Instagram and getting acclaim for them. Kayode merges both his dominant sensibilities, especially on the latter record, where he turns in the evocative hook (“Oh baby, whine make you whine, I no be Casanova”) while feature Victony delivers beautifully, including a rapped verse.
Kayode continues to oil the wheels of his artistry. In May, he released ‘STILL FIGURING LIFE’, an EP that packs thoughtful observations into its concise 7-song set. “At a point in everybody’s life, we’re into that realisation we’re all still figuring life,” he says about the motivation behind the project. “I like to make music about what I’m feeling”. The drill-evoking opener “Fill Me Up” is matched with other excellent records like “All I Need” and “Blessings,” and beyond the quality of their gaze, it is Kayode’s skills with mixing and mastering which takes them into an otherworldly scope, bringing out the best of features ODUMODUBLVCK and Psycho YP, in the case of the latter record. With the crisp honesty of “To The Top”shared with the world some weeks ago, Kayode’s vision has remained unrelenting and positive. That mentality cannot be bought, just as the experiences that have burnished his music.
ILHAM
Sensitivity doesn’t fail the musician. Since emotions are directly considered within the metres of sound, accomplished artists—or those planning to become one—need to build up techniques on relaying their unique experiences and perspectives into sound. Born to Moroccan parents in the US, this has been an underlying focus in the music of ilham, whose bluesy records are influenced by listening to 2000s American R&B, but also the expansive, oriental tastes of her parents who, during her formative years, played a lot of Arab music inside the house.
ilham’s earliest music was released around 2019, shortly after graduating university, also preceded by an internship at Capitol Records. There’s a lived-in quality in records like “down” and “cycle of games”, as ilham fuses autobiographical detail with woozy Trap and Soul. “You pushed me down once, took ten steps forwards,” she sings in “down,” rebelling against the unchecked influence of an adversary, and later affirming “Let’s make mama proud” behind the words which make up the song’s hook. Growing up in the Hip-Hop-dominant area of Queensbridge, in New York, her rapper’s awareness for language have resulted in a number of projects over the years.
Her duo of projects ‘with time’and ‘ilham’were released three years apart from each other, the latter coming out in September last year. Bearing her artistic growth, it’s a demonstration of the skills that first drew ilham to French Montana who signed her, and now Def Jam, the global record label powerhouse. Whereas the earlier project was mellow and personal, with songs like “i tried” and “never even know” utilising a core sound of lo-fi to express those sensibilities, the self-titled EP was more encompassing in its gaze and broader in sound, introducing zesty touches to the established sensitivity of ilham. For her, as “show me” and the Vory-featured “hype” reveal, music doesn’t have to go far from its roots to transcend.
“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 Niger, Somalia & Zimbabwe
REACTIONS TRAIL RESULT OF ZIMBABWE’S PRESIDENTIAL ELECTION
Zimbabwe’s main opposition leader Nelson Chamisa has countered the re-election of President Emmerson Mnangagwa, alleging “blatant and gigantic fraud” in the electoral process that declared Mnangagwa’s victory on Saturday.
The Zimbabwe Electoral Commission (ZEC) announced Mnangagwa, 80, won a second term with 52.6 per cent of the ballots against 44 per cent for his main challenger, Nelson Chamisa, 45, of the Citizens Coalition for Change (CCC) party. The announcement, which came after voting had to be extended because of delays in the printing of ballot papers, was made two days earlier than expected.
Fellow Citizens; I know you are anxious. I will give an address soon. Never lose hope. Don’t give up. You did your very best. You sacrificed all. It’s not in vain. They stole your voice and vote but never your hope. It’s a blatant and gigantic fraud. Our God is faithful. There…
Mnangagwa, speaking from the presidential palace, dismissed the allegations. “I did not conduct these elections. I think those who feel the race was not run properly know where to go to complain,” he said at a news conference on Sunday. Although Mnangagwa insists the electoral process was free and fair, international observers have sided with Chamisa. The United States, through its Department Spokesperson Matthew Miller, have condemned “the intimidation and disruption of lawful election observers throughout the electoral period.”
Mnangagwa assumed office in November 2017 following the removal of Robert Mugabe whose 30-year was characterised by political tensions and economic turmoils.Mnangagwa is a member of the political party ZANU–PF and a longtime ally of Mugabe. His main opposition Nelson Chamisa is considered a man of “uncomplicated message, honest ambition and commitment to achieve meaningful change,” as he grew up in Kuwadzana, “a sprawling high-density township in Harare where the widespread effects of ZANU-PF’s socioeconomic failures – especially unemployment, hunger and poverty – are experienced particularly severely.”
UGANDA: 20-YEAR-OLD MAN FACE POSSIBLE DEATH UNDER ANTI-GAY LAW
Ugandan prosecutors have charged a 20-year-old man with “aggravated homosexuality,” an offence punishable by death under the country’s recently enacted anti-gay law. The law, which is one of the harshest as regards queer people, contains provisions that make “aggravated homosexuality” an offence punishable by death and includes penalties for consensual same-sex relations of up to life in prison.
The suspect “was charged in Soroti [in eastern Uganda] and he is on remand in prison. He will be appearing in court for mention of the case,” said Jacquelyn Okui, spokeswoman for Uganda’s directorate of public prosecutions. According to the charge sheet seen by AFP, the 20-year-old suspect was charged on August 18 and is accused of “unlawful sexual intercourse with… [a] male adult aged 41.”
In May, US President Joe Biden called for the immediate repeal of Uganda’s Anti-Homosexuality Act, which he tagged as “a tragic violation of universal human rights.”But the government has remained defiant with Uganda’s president Yoweri Museveni accusing the World Bank of using money to try to “coerce” the government to drop the controversial legislation. The legislation also has the support of the majority of the country’s citizenry who see the measures as a necessary pushback against perceived Western immorality.
GABON: OPPOSITION CANDIDATE DECLARE VICTORY AFTER SATURDAY’S ELECTION
Albert Ondo Ossa, President Ali Bongo Ondimba’s main rival in Saturday’s election in Gabon, whose official results are still awaited, has claimed to have won and called on the Head of State to “organise the transfer of power.” Ossa had already denounced “fraud” by the Bongo camp on Saturday, two hours before the polls closed, and asked to be “declared the winner.”
“We call on our compatriots who gravitate around this power that is more devoid of legitimacy than ever, particularly those around Mr Ali Bongo Ondimba” to bow humbly before the will of the Gabonese people,” declared Mike Jocktane, the director of campaign director of Ondo Ossa, during a press conference in Libreville.
The Gabonese Elections Center (CGE) has been in the spotlight after refusing to give any indications on the progress of the counting and on the date and time scheduled for the proclamation of the official results. Ondimba’s government also frayed nerves after it cut off the internet on Saturday evening and put a curfew in place, citing the risk of violence. It accused French media outlets RFI, France 24 and TV5 Monde of “a lack of objectivity and balance … in connection with the current general elections.”
SUDAN’S ARMY CHIEF GIVE SPEECH IN PORT SUDAN
As the battle between the Sudanese Army and the paramilitary group, Rapid Support Forces (RSF) rages, the ongoing conflict has plunged the country into anarchy with many citizens fleeing into neighbouring countries as refugees and others living in Sudan without water and electricity.
The head of Sudan’s military, General Abdel Fattah al-Burhan, announced on Monday that he fled the capital during a large military operation as the bloody conflict in the Northeast African country enters its fifth month. General Al-Burhan also confirmed that no agreement had been reached with RSF leader Mohammed Hamdan Dagalo to facilitate his departure from the capital.
President Al Burhan’s escape from General Command is a significant win for the Sudan Armed Forces (SAF). He is expected to visit Cairo and Jeddah, and likely other foreign capitals too, and this will benefit SAF politically and diplomatically at the expense of the Rapid Support… pic.twitter.com/Pby5KqMpu9
“I confirm that my exit from the General Command took place without any help, and I did not leave with a deal or by arranging any agreement,” he said. “This was a military action carried out by the armed forces, and anyone who says that there is an agreement or that there is a party that helped or that there is a deal is delusional. We do not agree with the traitors or those outside the Sudanese people (traitors referring to Rapid Support Forces and those outside Sudan meaning Americans).”
The violence in the northeast African country is estimated to have killed at least 5,000 people, according to the Armed Conflict Location and Event Data Project (ACLED), a disaggregated data collection, analysis, and crisis mapping project.
There’s no denying that disc jockeys are an indispensable part of the music industry. Serving as conduits of sound, they act as middlemen between the artists and the audience; introducing new artists to the mainstream and providing a source of entertainment. In the ever-evolving world of Afropop, DJs have continued to shape the music industry in some cases, even creating their original music. Names such as DJ Jimmy Jatt, DJ Spinall, Dope Caesar and Smallz are constantly in circulation, for their awe-inspiring sets that usher many to the dancefloor.
For Smallz the DJ, in particular, music has been a crucial aspect of finding himself and his sound. From an early age, Moshood Ayinde David, popularly known as Smallz fell in love with the music he heard playing over the radio; “I used to listen to Riddim FM a lot and there used to be DJs like DJ Mility, DJ Snow the Damager. So every Saturday, I’d make sure not to miss their sets. I was like, “Oh my God, I want to be like this,” he tells the NATIVE.
Soon enough, he began learning the ins and outs of the craft from his brother, who also worked as a DJ while growing up. At first, he faced opposition from his family who wished that he follow a traditional career path. “My parents wanted me to go to school and stay focused. Also, it’s just my brother and I so my parents didn’t want both of us to become DJs,” he shares. It wasn’t long before he started getting bookings for shows and performances, the most notable of which was DJing at Homecoming Concert and soon enough, opening the show for Davido during his ‘Timeless’ show in Tafewa Balewa Square, Lagos.
Outside of performing for other artists, Smallz the DJ is also producing and working on his own original music. Like many other DJs before him, he is a keen learner of music and improving his skills is a great source of pride. In 2018, he released his debut mixtape ‘Small Chops’ which featured 37 tracks and gave listeners a taste of what he had to offer. Smallz the DJ is no stranger to making music as the rising DJ once made an appearance on Ycee and Milli’s “Yoruba Demon” back in 2015. “Imagine going to DJ a set and you see people vibing to your own music,” he gleefully says over our call. “It’s something I believe every DJ should do.”
Now, Smallz the DJ is soundtracking the life of young Nigerians through relatable DJ sets and hosting intimate events that draw loyal supporters and fans. Recently, the rising DJ hosted his first event of the year ‘Sundown With Smallz,’ a 24-hour DJ set hosted in his home city, Lagos which added yet another string to his prolific bow. Following the event, we caught up with Smallz the DJ to talk about finding his feet as a DJ in Lagos, garnering a loyal following and audience as well as his plans for the future.
Our conversation, which follows below, has been lightly edited for clarity.
NATIVE: Can you talk about how you first got involved in the world of DJing?
SMALLZ THE DJ: My elder brother was a DJ. I always followed and assisted him at events, and that’s when I actually fell in love with it. So, my brother actually inspired me.
Did you find support from your peers and family when you started?
It was not really a smooth journey. Obviously, my parents wanted me to go to school and stay focused. It’s also just my brother and I, so my parents didn’t want both of us to become DJs. My mom was always telling me to look for another career. “You can’t be a DJ and all that,” but along the line, she let it go because she had no choice but to let me do my thing. So at first, it wasn’t smooth but eventually, everything aligned.
Who were your early inspirations and influences?
I was being inspired by DJs back then. I used to listen to Riddim FM a lot and there used to be DJs like DJ Mility and DJ Snow the Damager. So, every Saturday I’d make sure not to miss their sets. I was like, “Oh my God, I want to be like this.”
How did you go about getting your name out there as a DJ?
So first of all, when I started, I didn’t have a DJ name. I’d always just go to gigs and tell them my real name, David. When I got into my SS1, my close friends started calling me Smallz because I was literally the smallest in our crew. One of them then suggested the name to me as my DJ name. After secondary school and moving on to uni, I decided to keep the name Smallz to pay respect to the friend who gave me the name as he’s late now.
You’re approaching a 10-year milestone in your career after years of exceptional work. What has been the most challenging aspect of following your dreams?
Being a DJ in Nigeria, it’s really hard to get your name out there because they’re thousands of DJs in the industry. The market here is about doing things in a different way. Gigs can be hard to get because everyone has their favourite DJ. So you’d have to prove to your client that you’re a good DJ and you can deliver the job. I wouldn’t say it was a smooth journey for me because there are always challenges. Whenever I’m going for a gig, I always make sure that, whatever the situation might be, I give my best. I always try to put on a positive outlook.
What’s an important lesson you can share with upcoming disc jockeys?
You have to stay focused on whatever you’re doing. If this is your goal, you just have to stay focused. Don’t let anyone tell you what to do, what genres to play, what events to attend or not attend. Stay focused and do what your mind throws at you. Just do you, honestly.
How do you typically prepare for a new gig? What’s your performance ritual or habits?
When I started, before any gigs, I always went to my studio and practised or researched new songs or made a playlist for an event I wanted to do but that wasn’t really helping me. I’ve realised that planning a set isn’t my thing because I might get to an event and the set I planned may not be what [the crowd] want. I try to share my set time. I know that I’m going to play for like an hour and 30 minutes, so I try to divide it. I’ll do like 30 minutes of Afrobeats, 30 minutes of Hip-Hop, 30 minutes of EDM or something and it works for me. I rather just go there and do my thing and DJ live. I try to read the crowd and understand what they want to listen to and when they’re not receptive.
When it comes to mixing, what are your first thoughts when approaching a hostile crowd at an event?
When I go for a gig and meet the crowd, I try to test the crowd with whatever track I’m starting with and try to gauge their reaction to it. If I see a good number of the crowd have a positive vibe, I’ll keep up with the track. If they don’t, I make sure the next track I’m dropping has to be something relatable to the crowd. I make sure that at least the first five songs I’m playing are something the crowd can really relate to.
So you use relatability to seamlessly engage with the crowd and get them moving.
Yeah exactly. As a DJ, you always have to read your crowd. You have to read your crowd and engage them with tracks that they can relate to in that event or in that context or space.
How do you balance staying true to your style while also playing to local trends and crowd favourites?
Like I said before, I always share my sets, so I always make sure that I’m playing something for everyone. Even though I might play a song that everyone knows, there are always different people in the crowd so being versatile helps. My last set; the last Davido concert in Nigeria, the crowd was massive, so what I planned to play would have been a shitty set. The crowd was mixed so I had to play something relatable to everyone and the reviews were really good after my set. So balancing your set and craft is important. Always try to leave a mark that people will talk about and be like “Do you remember when Smallz dropped that beat?”
You’re popularly known for being able to fuse genres in your sets. Are there any genres you want to explore more of?
There are some gigs I get where I’m not supposed to play Afrobeats because maybe it’s a private event but I’m more focused on playing Afrobeats. If I was to explore other genres, it would probably be House Music or Hip-Hop. EDM is something I love but I don’t really play often even when I go out for events.
Since the rise of Amapiano and the infusion of log drums and faster BPMs in music, has this affected how you deliver music to audiences?
Before Amapiano even came to Nigeria proper, it had been around for a long time. It didn’t start last year. Before the whole Amapiano thing, I always play this South African vibe. I play Amapiano but I don’t make it just that. I make sure I mix it with Afrobeats.
DJs are very important to music culture and we’ve seen many DJs like Spinall and more release their own original music. How do you feel about making your own music?
Actually, I’m working on something. Probably, by the end of the year. I’m going to release my project. It’s not really a must to do, but it’s something I think every DJ should work on once in a while. Imagine going to DJ your set and you’re playing your own music. You see people vibing to your own music, that’s really crazy, so that’s something I believe every DJ should do. Even if it’s not something original, it can be a remix to a song, but just have your own craft or project that you push.
Collaborations have been a key part of your journey. It’s there any artist you’ve dreamed of working with? Why?
I’ve always wanted to drop something with Davido. I don’t know when that will happen, but I would love to have something with him. There are a lot of new guys that I’m trying to work with. I won’t lie, the new guys right now are really going hard. There are a lot of them that I’m trying to work with right now.
Now, you’re putting on your own parties with “Sundown with Smallz” coming in the next few days. Is there anything we should look forward to?
I’ve always wanted to do this since, but I think I wasn’t in the right headspace. I was busy with other things. Obviously, COVID came, but I want people to expect more because “Sundown” is actually going to be big. I’m not just thinking of doing it in Nigeria only. I’m sure, by God’s grace, next year, I’m going to have one in London and in US. It’s going to be something global. I’m trying to build a proper community.
What should we expect from you in the near future?
Apart from music, I want to start something on my YouTube. I won’t say now, but I’m going to be active on my YouTube. I’m going to be dropping more mixes. It has been awhile since I dropped mixes because I’ve been busy with other things. Now, I want to be dropping mixes like every month, if possible every week. I don’t want to starve my fans anymore.
Burna Boy is sitting on top of the world–figuratively and in real-time. Since his 2022 album ‘Love, Damini,’ so much has changed for the Grammy-award winning artist who has spent the last eleven months making good on everything he’s set out to achieve. There are no glass ceilings when it comes to Damini Ogulu and his latest album ‘I Told Them’is further proof of his near-peerless and prolific run.
The 15-tracker cements his position as a global star with a bevvy of influences which he draws from the various corners of the globe he’s frequented, including unmissable samples from Western R&B and Hip-Hop including Jeremih’s “Birthday Sex” and Brandy’s “He Wasn’t Man Enough.” This all comes full circle on ‘I Told Them,’ with rich textures that are seamlessly integrated with a collage of contemporary sonics that expand on the self-dubbed Afro-Fusion genre.
Arriving today, in tandem with the release of his latest album ‘I Told Them’ is an accompanying print magazine of the same name, which expands on the music in the album and brings it into sharp focus. The recently released magazine which is on sale globally and at the Shreeji News and Magazines head store in London, is released in collaboration with this very publication as we host Burna Boy for an exclusive launch and signing.
The special edition magazine contains exclusive conversations with collaborators on the project, particularly American rapper and leader of the Wu-Tang Clan RZA, behind the scenes images of Burna during the album’s creation process across different studios around the world and never seen before lyric breakdowns of the album’s standout tracks. The new magazine also spotlights some of unique African creatives in their respective fields including mixed media artist, Dennis Osadebe, self-taught photographer, Stephen Tayo and homegrown brands, WAF and THIS IS US.
In true Burna Boy fashion, the print magazine is yet another avenue for fans and audiences to understand his meticulous approach to his craft. Typically, in music, artists are prone to rely heavily on music videos, social media and the visual aspect to build upon the world around their projects. Burna Boy sets a new standard by delivering a timeless print publication that fans and loyal audiences can purchase, own, resell, share and collect for years to come.
Copies of the magazine will be available for sale throughout the day, and the Monday programme includes a Meet & Greet with Burna Boy, where fans can grab a signed copy of “I Told Them”.
The music business is a notoriously tricky industry. A lot of artistic minds have been unable to crack it, while musicians have sometimes struggled to make the best business decisions, leading to blow-back on the artists and an associative label, if there’s one. It then becomes twice as hard when a music executive happens to be a recording artist, one who’s still in the active years of their creativity.
However, a number of people have been able to crack the ice and extend the creativity of their careers onto other artists. In the contemporary African music scene, Olamide is the biggest example that comes to mind, using his YBNL label to break the likes of Adekunle Gold, Lil Kesh, Asake and Fireboy DML over the years. With each passing year and another breakout artist on his hands, the ‘Unruly’ artist has revealed himself as worthy of reverence, although he’s not the only figure in this conversation
To properly highlight the brilliant figures who are music executives while being artists themselves, the editorial team at NATIVE Mag compiled this encompassing list. Spanning the breadth of the continent, from Nigeria to Tanzania and South Africa, we’ve put forward an esteemed cast of these hybrid personalities, celebrating them but also recognising the joyful moments they’ve given to listeners through the largesse of their heart and the brilliance of their minds.
DJ Maphorisa
In the South African music scene, DJ Maphorisa is an important and respected figure. He embodies diverse roles—singer, record producer, DJ and songwriter—as a music maker working across genres but with a solid influence in house music and Amapiano. His catalogue of hit tracks features impressive acts in both the South African and African music spaces, including Black Coffee, Kwesta, Uhuru, Major Lazer, Mafikizolo, Wizkid and Runtown, among others. After leaving Kalawa Jazmee Records, the label co-founded by Oskido, another influential name in South African music, DJ Maphorisa floated his label, first named Blaqboy Music and now known as New Money Gang Records.
As a label owner, DJ Maphorisa has continuously nurtured South African music talents, offering a steady stream of opportunities for those artists and their fans to connect. The label has witnessed the entrance and exit of talents such as Tyler ICU, Sha Sha, Daliwonga, Lucasraps, Bontle Smith and MaWhoo, among others. The healthy presence of female artists on the label, in a notoriously male-dominated African music scene, lends credence to DJ Maphorisa’s drive to support talents. These artists have made an impact with their music, in turn furthering DJ Maphorisa’s legacy as a leading light in South African music.
Don Jazzy
You can’t delve into the rich history of Nigerian pop music without mentioning Don Jazzy. The mid-2000s were knockout years stacked with countless hits, many of which Don Jazzy lent his vocals and expansive knowledge of production. He had already attained icon status when he founded Mavin Records in 2012, birthing some of the biggest stars the scene has ever seen. Don Jazzy led the first class of stars, comprising Wande Coal, Tiwa Savage, D’Prince and Dr Sid. Years down the line his influence has only increased and the label powerhouse introduced an even wider range of artists.
Don Jazzy’s mastery of the mainstream music market, home and abroad only further established his maestro status as he struck out with endless pools of creative vision. That being said, he’s hacked the system but even that well-trained eye for talent in the past couldn’t have prepared us for the astronomical success his latest class of stars are currently experiencing. In one corner, LADIPOE is broadening the reach of Nigeria’s rap scene with memorable blends of Nigerian Pop and on the other side, Johnny Drille’s sonorous vocals are soundtracking some of the greatest R&B meets Folk records of our time. Beyond home base, Ayra Starr and Rema have achieved admirable feats as they trot the globe with only a few extended plays and two full-length albums between them.
With other notable mentions like Crayon, Magixx, Boy Spyce, Bayanni and the recently signed Lifesize Teddy, Don Jazzy continues to be incredibly influential, consistently shaping the image of an African powerhouse through expansion and peerless longevity.
Diamond Platnumz
WCB Wasafi is one of the biggest employers in the East African music space. Founded by Tanzanian superstar Diamond Platnumz, its roster doesn’t only include musicians but producers, artist managers, dancers and photographers. Having ascended an unparalleled level of relevance in the Tanzanian music scene prior to the 2010s and crossed over to continental ubiquity with the Davido-featuring “Number One,” the artist has been strengthening the pillars of his empire, parlaying his wealth and connections into cornerstones for other artists to spring forth, and to his credit few have left controversially.
Harmonize and Rayvanny are two big artists who’ve passed through the Wasafi label, their stylistic similarities to Diamond seldom hindering their chances of breaking out. Both artists were branded distinctly, and that has been a defining trait in the presentation of Zuchu, Mbosso, Lava Lava and Queen Darleen, all four being current signees to the label. The first two are household names, and the rest aren’t so far off. Through his own outlandish branding and impeccable sonic choices, Diamond Platnumz has always been a fine businessman but it’s something special to extend that grace to such a wide range of artists, while still being active himself.
Teezee
NATIVE Records hasn’t been around for more than a year and it’s already one of the most influential labels around. A large chunk of its success can be attributed to Teezee, its founder who is also one of the co-founders of Native Networks. Through its affiliation with Def Jam Recordings, the music executive has spearheaded the domination of Odumodublvck, who’s unarguably been one of the revelations of the year. Teezee is never far away from Odumodu, in shows or business meetings, guiding the hands of the maverick artist so each move is deliberate and fitting.
English Premier League side Arsenal FC using the rapper’s “DECLAN RICE” hit to announce the former West Ham captain is just one of the several instances where Teezee has struck gold with his moves, which should come as no surprise really, considering he’s also an artist. He’s not just any artist too—he’s a part of DRB Lasgidi, the supergroup which influenced the West African alternative movement with their music and branding, starting from the late 2000s. He’s coloured the visual presentation of ODUMODUBLVCK with eccentric touches, imbibing communal ethos onto his stagecraft and other aspects of his artistry. Considering that Teezee has scored a masterstroke with his first signing, there’s no telling how excellently the next era for NATIVE Records would come off.
DBN Gogo
DBN Gogo makes her own rules. It’s an observation that’s easy to discern from her career thus far, whether that’s DJing with a constant aura of freedom or irreverently dismissing conversations about being privileged or curating bangers that range from lilting to thumping. As part of her influence in improving female inclusion in South Africa’s male-dominated Dance scene, DBN Gogo heads her own record label—no mean feat in a space where women have to hijack their respect.
In partnership with UMG Africa, Gogo founded Zikode records as an avenue to upscale her already fledgling career and give a platform to less known talent she believes in. Just over a year since its launch, Zikode Records is blooming. “Bambelela,” her debut single under the label, was an immediate hit and her November 2022 debut album, ‘What’s Real’, is a cohesive body of work that strengthened her curatorial cred and also introduced Stixx, Nvcho, EltonK, DJ Stopper, and Unlimited Soul as the mix of vocalists and DJ/producers on Zikode Records.
In March, the crew dropped ‘ZIKODE PRSNTZ’, an 8-track compilation project that highlights the potential for Zikode Records to become a powerhouse label in Amapiano and South African Dance in general. It would definitely be interesting to see a couple of women join the roster in the near future, but for now DBN Gogo is clearly just following her rules and eclipsing boundaries.
Davido
With a decade-long run, Davido is undoubtedly one of the biggest exports of Afropop in our time. His timeless classics and instantly recognisable vocals have successfully spearheaded the domination of the domineering genre on a larger scale, earning him a slew of international co-signs and cross-continental bestsellers. This weighty influence however, only motivates the Afropop veteran to give back to the community that enabled his bottomless reach via his record label, Davido Music World (DMW).
Since his 2018 Headies Awards speech, where he delivered the symbolic words “We rise by lifting others,” surrounded by a slew of mentees, Davido has relentlessly expanded on this ethos. In the early years of DMW’s establishment in 2016, Davido sprung a slew of talented acts on the booming scene armed with solo and collaborative hits. Think DJ/Producer E-Cool, street rap luminary Idowest, versatile rapper/singer Dremo, or his biggest protege yet, Mayorkun, to name a few. After two genre-defying albums and chart-topping singles, Mayorkun has continued to deliver bangers, even after parting ways with the label.
The announcement of Davido’s fourth studio album arrived with the introduction of DMW 2.0, ushering in two effervescent talents ready to steal the spotlight under the tutelage of the popstar. From their performances on the highly anticipated album, ‘Timeless’, it became clearer that Logos Olori and Morravey held a promise of capitalising on the launchpad provided by their mentor. Given Davido’s evergreen touch and stronghold on the industry, the pair couldn’t have asked for a better mentor to position them for global triumph.
D’Prince
Depending on who you ask, D’Prince still had a lot to offer as an artist. When he receded from the ubiquity of the mainstream, the years weren’t that far away from hits like “Take Banana” and “Oga Titus,” revealing his yet-potent grasp on the language of popular culture, but alas D’Prince had other plans. He wasn’t going to be an average player in a good team when he could be the coach of a great one, and so he took the second option.
When Rema was signed onto Mavin Records, it was D’Prince who took his hand. Actually, the Benin-born youngster was signed onto Prince’s Jonzing World, which had a subsidiary-esque arrangement with Don Jazzy’s outfit, a relationship smoothened by familial ties between both execs. A freestyle had portended the initial link-up, and from there D’Prince, along with the Mavin academy, chiselled Rema into a bonafide superstar, possessing everything he needed to shine in the modern market. Ruger came not too long after, and his Dancehall influences overtly inspired his confidence and swag, but if a thread was strung through both artists, the brazen appeal of D’Prince emerges as an inspiration. Being an artist who knew how to juggle sensual tease and social commentary, he’s the best mentor both artists could ask for.
Naira Marley
When “Issa Goal” hit our airwaves in 2018, not only did it deliver one of the most memorable records of that year, it also marked the introduction of an unapologetically raw and imperious character into Street Pop. Naira Marley quickly summoned a vivacious cult following with raging fans ready to rally behind the superstar to the ends of the earth. For those that weren’t quite onboard the Marlian train, his hypnotic tracks and captivating, high-spirited personality did a great job at convincing audiences of his outstanding influence. With his hands woven deep into the fabric of Street Pop, he took a fresh talent under his wing with the aid of his 2019-established label, Marlian Music.
Zinoleesky appeared hot on the scene with an admirable hunger to win, and a sheer mastery and understanding of the market on the Afro-House number, “Kilofeshe.” He crooned a braggadocious manifestation turned reality as the bar, “I’m trending, I don’t know why,” bolstered him and the label to unimaginable heights. He went on to cement his reign with increasingly notable contributions to the textural and sonic soundscape of Street Pop, invigorated by the genre’s grand master. Barely half a decade since its inception, Naira continues to use his core establishment to dig deeper into the streets to fish out note-worthy acts like Vusic, Fabian Blu and CBlack to fling the ropes of the genre beyond its borders.
Mr Eazi
It’s irrefutable now: Mr Eazi helped significantly reupholster the sound of urban West African music. Banku Music, the signature style of buttery, highlife-indented jams, is undoubtedly the bridge to a significant portion of what is widely referred to as Afrobeats. These days, Eazi’s music might not induce the same level of mania that it did during his 2016/2017 run, he’s definitely grown into one of the most successful figures in African music, through the boutique Label Services imprint, emPawa Africa.
In 2019, the company provided 100 rising artists with funding for new music videos, announcing itself as a space to help talented artists grow. That same year, Joeboy emerged as a fully-formed hit-maker, becoming the emPawa’s biggest success story yet. The label is also home to Ghanaian dancehall singer J. Derobie, while supporting a countless number of releases from artists all across Africa. In a reflection of how Mr Eazi has moved throughout his entire career, emPawa is a pan-African endeavour operating on global standards. It’s far from an altruistic business but the company is clearly artist-inclined, taking cues from its founder who’s made a habit out of deciding his own fate without fear.
Olamide
Olamide’s entry into the music space in 2010 was facilitated by Coded Tunez, the record label owned by singer and beatmaker ID Cabasa. From the streets of Bariga, a promising Olamide carried his dreams of stardom with raps brewed from tough-life confidence and mastery. After finding his breakthrough, he founded his music label YBNL Nation, swiftly prioritising a personal touch for his budding career. More than a decade later, YBNL Nation, just like Coded Tunes that had 9ice, 2Shotz, Reminisce and Lord of Ajasa, among others, hasn’t only catered to Olamide’s career but has been instrumental in the discovery and development of numerous music talents.
Lil Kesh, Viktoh and Adekunle Gold, in addition to the music producers Pheelz and Young John, were the first set of artists on the roster of YBNL Nation. Both Lil Kesh and Adekunle Gold—different in style but similar in their originality for indigenous rhythms—became huge successes, winning hearts across Africa and the world. Pheelz and Young John were essential to the stories of both artists, as they honed their craft while still serving hits. The second set wasn’t as successful but Fireboy DML stood out. The artist was the label’s conduit to a changing music scene experiencing the ascendancy of new stars. Fireboy DML, under Olamide’s tutelage, made an instant impact with two well-received albums (the first is considered a classic).
YBNL Nation is in a new moment heralded by the genre-merging, Afro-centric world of Asake. The artist had a stunning rise in 2022 and within a year, he has become a force roaring through the charts around the globe. YBNL Nation’s partnership with EMPIRE (an American music and distribution label) has also allowed the label to reach new heights. Over time, it is clear Olamide’s proficiency as a curator of talent is undebatable.
Last year, Burna Boy released ‘Love, Damini’ — a culmination of his impressive successes over the past decade, capped off by several Grammy nods, wins and chart-topping hits. The album, packed with classics and mainstream hits, perfectly encapsulated his essence and tumultuous journey thus far. As he basks in unfathomable levels of global success, Burna’s unrelenting confidence cannot go unnoticed as he reshapes the quality and range of sounds emanating from these parts. It is with this immutable poise he carries the crown of African Giant with a seventh studio album, ‘I Told Them…’
He long teased the 15-tracker, drawing us steps closer with “Sittin’ On Top Of The World” and “Big 7” after the completion of what was the biggest tour of his career. The arrival of ‘I Told Them…,’ however, comes with a sour taste in audiences’ mouths following an interview-stacked press tour including a sit down with Zane Lowe for Apple Music. As the name suggests, the album is a poignant boast of Burna’s achievements thus far and how against all odds, he is quite literally sitting on top of the world.
The album’s collaborations ranging from Wu-Tang Clan to Seyi Vibez serve as a melting pot of Burna Boy’s endless pool of influence from world genres, particularly the deep cuts of Hip-Hop in the early 90s wrapped up by generic African instruments and embellishments. With the arrival of ‘I Told Them…,’ the NATIVE editorial team shared their initial thoughts on Burna’s braggadocious displays. Tap in!
Nwanneamaka: “On Form” is my favourite song so far owing to its standout production on this project. Those conversational elements at the start infuse a certain degree of Burna’s personality and I am not mad at Burna’s effortless flow. However, my accolades have to go to producer P2J for his groovy, drum-led production. It easily plays into the eclectic atmosphere Burna has been constructing within his self-dubbed genre Afrofusion.
Daniel B: “Big 7″ undoubtedly stood out to me, thanks to its infectious hook and the exquisite instrumental sample derived from the Boechi-assisted track “Willemstad,” originally by the Dutch rap duo, Qlas & Blacka. Burna truly surpassed expectations with this song, and I think people will keep spinning the track for years to come.
Emmanuel: He might not like to hear it, but Burna Boy makes better love songs than combative ones. Even you might argue but then a song like “Tested, Approved & Trusted” comes up. Smooth vocals run assuredly over the mellow production, creating a warm feeling that mirrors the exhilaration of romance. Few songs this year have left such a strong impression, and when the time for individual promotion comes, I hope it’s on first-row consideration.
STANDOUT PRODUCTION
Daniel B: It’s definitely “Thanks” for me. I’m a huge fan of West African percussion and its utilisation in this song was truly exceptional. It beautifully complemented the repetitive melody of the piano and effectively conveyed the core message of the song. Through this track, he distinctly showcases his prowess as an innovator in crafting Afropop.
Chigoziri: “Giza” is a fave and serves as a stand-out production. The way the song opens up with a mysterious flute and syncs up with the iconic log drums is truly impressive. Not to mention Seyi embodying the song. Everything comes together to form a masterpiece.
Sien: It has to be “City Boy.” The song’s arrangement is marvellous. The thumping bass makes me want to stomp my feet every time it comes on.
BIGGEST POTENTIAL HIT
Uzoma: Seyi Vibez did irredeemable damage on “Giza.” It’s obvious that Burna Boy let him own the show and wisely so. Other than opening Seyi Vibez to a wider audience, “Giza” is a sure-fire banger. It’s destined to become a favourite on dance floors. The production. The flows. Everything is gold.
Daniel A: Amid the controversy leading up to the release of the album, there’s one thing that is sure. When it comes to music Burna Boy knows how to spin the hits. On ‘I Told Them…’ a couple of songs stand out with “Big 7” and“Giza” featuring Seyi Vibez already showing potential signs of becoming hits.
Alex: I believe “On Form” is going to be a hit. The track is groovy and the upbeat sound propels a listener to take to dancing and body gyrations. The message will resonate with Nigerians and the beat will make the song a go-to for fun.
BEST FEATURE
Moore: Of all the features I’d have to say the standout one to me is Dave’s feature in “Cheat On Me.” Though he only has one verse on this delightfully fun song, it gives the song the necessary flavour and dimension.
Alex: “Giza” featuring Seyi Vibez stands out in the album. I’m picking it over other features because I feel Burna and Seyi’s vocals really complement each other. In the back of the drum-indented track, Seyi Vibez and Burna Boy displayed uncommon synergy that translated to the well-produced “Giza.” The production takes the track a notch higher too. Clean!
Dennis: GZA, obviously. Maybe not obviously and I’m talking from a place of bias, because ‘Liquid Swords’ is one of the albums that truly helped me understand the magic of Wu-Tang after I repeatedly tried and failed to get into the group’s iconic album back then. Back to the matter at hand, the Genius’ spoken word outro on the titular intro track is packed with poignant boasts. Zero clichés, all figure 8 bars.
BIGGEST SKIP
Dimeji: For me, “Giza” is definitely the biggest skip. Undeniably, it is a fantastic song. Seyi Vibez and Burna achieve a chemistry on this track that gets better with each listen. However, I feel like the song doesn’t really match the overall vibe of the album and would have been much better as a standalone single. As it is, the song stands apart from the mellow, Pop-influenced sound I feel Burna Boy was trying to hone in on the project. It disrupts the direction and musical flow in the process.
Sien: Every song is a beautiful piece in the grand masterpiece but one piece that seems out of place is “Thanks.” I feel J.Cole would have done better on probably another track because the dynamics of the track left him simply floating.
Chigoziri: First of all, I’d have to say that every song on the album is impressive alongside interesting collaborations. The biggest skip would probably be “12 Jewels”featuring RZA. There isn’t exactly anything wrong with it, but it kind of kills the musical flow of the album.
OVERALL IMPRESSIONS
Uzoma:‘I Told Them…’ is one of Burna Boy’s most cohesive body of work. There is a clarity about what it seeks to do that runs throughout the album. Burna Boy has always been at his best when he feels there’s a point to prove. Despite the triumphs he has amassed, he still harbours feelings of underappreciation. That, and his homage to American pop culture, make up the essence of ‘I Told Them…’ The album also succeeds because it delicately balances Burna Boy’s homegrown appeal as well as his international sojourn.
Emmanuel: Needless to say, this has been one of the more anticipated albums of the year. And coming into its time, there were a lot of events and conversations that highlighted the potential of Burna’s ranking in the Great Pantheon of Afrobeats (the term he doesn’t like so much), leading him to create his most combative project in a while. The conviction is admirable, but sometimes the need to consistently proclaim greatness blurs his focus, thus creating some noticeable off-moments (“Thanks”). Regardless of this perceptive flaw, the sonic direction, especially its infusion of spoken word, gave me a lot to think about. And that will keep me returning.
Nwanneamaka: I went into this album with a lot of scepticism due to the tirade of interviews leading up to its release. The jury is still out on his decision to dunk on Afrobeats in his pre-album press run. That being said, from my perspective, there are two types of music listeners. Those who pay attention to the instrumentals and others who listen to the message. ‘I Told Them…’ holds gleaming production qualities that cut across varying sonic directions and producing something cohesive. Particularly his clean attempt to almost body Seyi Vibez on his own sound, each song is a nod to Burna’s versatility. If this is Afro-Fusion, then I guess I’m here for it.
It’s another Friday and time for a roundup of music projects from African acts to check out. Throughout the week, music has poured in from all over the continent and sometimes it can slip through the cracks, unheard. This column serves to bring those projects to your ears as you prepare for the end of work and look forward to the weekend. It’s a packed week for new releases. From Burna Boy to Kelvyn Boy, settle in for an experience as we travel the African continent for the latest music projects.
BURNA BOY – ‘I TOLD THEM’
After months of bated expectations, Burna Boy’s new album is here. As the title suggests, ‘I TOLD THEM’ is an assertive collection which links Burna Boy’s travails at home to the global vision he’s continually sharpened with his music. The features are colourful but purposeful, from the likes of legendary Wu Tang clan members RZA and GZA to the swashbuckling Seyi Vibez, and even rappers like J. Cole and Dave makes appearances.
TITI BAKORTA – ‘MOLENDE’
Bakorta’s take on Congolese pop and folk sounds is emboldened by his rich personal history, which includes performing with musicians who saved him from a boat accident. Since then he’s played in bands which regularly explored the continent while matching their intriguing rhythms with sounds from outer places, thus giving Titi Bakorta’s artistry a hard-wrought excellence. This is especially audible in the complex movements of ‘Molende’, an album whose many instruments does not diminish its cohesiveness as much as it portrays a multi-faceted aspect of Bakorta’s colourful world.
AYO JAY – ‘TOMMY’
For about a decade, Ayo Jay has come to occupy a unique position in afropop. He’s one of the genre’s artists stateside where he’s based, with records like “Your Number” and “Gimme Kiss” becoming ubiquitous hits. Since the ‘Lazy Genius’ project released five years ago, the talented dulcet-voiced artist hasn’t put out another project, until now. ‘Tommy’ extends Jay’s bright-hued style which is amplified by guest showings from American rapper Fabolous, US-based producer Wavos, and a rare verse from the Nigerian rap savant Mojeed.
KELVIN BOY – ‘FOR THE CULTURE’
Since making his debut in 2015, Kelvyn Boy’s colourful interpretation of Highlife and afropop has earned him a loyal following. He’s met that love with a palpable ease for creating music, which has given him three projects so far. On ‘For The Culture,’ the latest of those, his sonic vision expands to incorporate the sensibilities of features like Tekno, King Promise, Babyboy AV and Stefflon Don. The core element is however the earthy grace of Ghanaian Highlife, which contributes to the live-centric feel across its seven songs.
VEANA NEGASI – ‘NO APOLOGIES’
From firebrand Wendy Shay and songbird Gyakie, to veteran soul siren Ria Boss and folk-pop upstart Baaba J, women in Ghanaian music are broadening the scape of the scene in tangible ways. Veana Negasi is looking to be the latest inclusion in that growing list, having officially debuted last year with “Get Down.” After the February-release of her second single, “Hol’ Me,” she’s dropped her debut EP, ‘No Apologies’, a no-feature 6-track project that serves as a worthwhile introduction as a showy singer and near-full formed songwriter.
KOREDE BELLO – ‘BEAUTY & BLISS’
No one could forget the electric entry of Korede Bello. Sporting an afro and a guitar, and a mellow vocal tone, the artist would come to embody more than teenage freshness. His releases in recent years have been sparse, understandably due to his return to academic life, but he’s finally followed up on 2020’s stellar ‘Table For Two’ with a new project. ‘Beauty & Bliss’ is exactly that; a sterling collection of bluesy records which showcases Korede’s pristine qualities as a singer-songwriter. With the lone feature coming in Mr. Eazi, the eight track project is intimate and realised, portending a promising comeback for the artist.
When an artist and a producer find chemistry, they make music; if we are lucky, the music comes as a body of work. This is the case of Kaestyle and LeriQ who have put out the five-track ‘Asylum.’ In recent years, music producers have left the shadows to stand beside artists as bonafide creators deserving of attention and acclaim. Sarz has been one of the most dominant Nigerian producers with his collaborative projects;‘I LOVE GIRLS WITH TROBUL’ with WurlD, ‘LV N ATTN’ with Lojay and ‘Sweetness’ with Obongjayar have made a significant impact on the careers of Sarz and the artists featured, as well as on the landscape of the Nigerian music scene.
LeriQ, like Sarz, is a veteran. He got his big break in 2013 after he produced Burna Boy’s ‘L.I.F.E’ in its entirety. The project—coated with LeriQ’s signature producer tag “It’s LeriQ, call the paramedic”—was an Afro-fusion masterclass in how it imbibed multiple sounds from Dancehall to Fuji to Afrobeat to Reggae to Galala. Two years later, LeriQ released his debut album ‘The Lost Sounds,’ which featured Burna Boy, Phyno, Wizkid, 2Baba, Cassper Nyovest, Timaya and Tay Iwar, among others. LeriQ has continually released music, even showing his skills as a vocalist on 2018’s ‘Luv.Wav.’
Kaestyle, on the other hand, is a newcomer who possesses a huge dose of potential. After signing to KeyQaad (same home as Omah Lay and M3LON), Kaestyle debuted his EP ‘Kae’s Study,’ introducing his brand of Afropop, which has a solid base in R&B. The project featured Omah Lay and Victony and portrayed the Port Harcourt talent as a competent songwriter and vocalist. On the Semzi-produced “Soundtrack,” he further exercises that mastery for feel-good tunes.
On ‘Asylum,’ Kaestyle and LeriQ address familiar themes through exciting unique sound choices and deliveries. On the opener “The Bag,” Kaestyle makes his intentions clear: he puts in the work to get enough money to live his best life. “Ain’t nobody getting in my way o/I want it now,” he sings. LeriQ also reveals his manifesto with a delightful production of background vocals and rumbling bass. Sonically, “The Bag” is an easily identifiable feature of LeriQ’s production: a familiar soundscape with an element of surprise lurking.
“YOLO,” which recalls Teni’s “No Days Off,” continues Kaestyle’s hope for a better life. It’s a bouncy tune with a catchy hook that is meant to get the people on their feet and bobbing their heads. “Say my name gon’ live forever/But I’m trying to live for now/If this life is just a show/I’ll kill it and take a bow,” sings Kaestyle. LeriQ sprinkles “YOLO” with electronic elements with a shift in the latter parts of the song. It is a song with the potential to become a runaway hit record.
R&B is an important ingredient in Kaestyle’s music. It’s evident in his delivery regardless of what genre he’s working with. He and LeriQ slow things down on ‘Asylum’ with “21” as Kaestyle flexes his vocals. He praises the anatomy of a love interest and the feelings she elicits from him. “Oh my, do that dance that you do on TikTok/Ain’t no time for you to flip flop/21 but with a big butt/Girl, I need some,” he sings. He does the same on “eMotion” but with more sexual urgency, singing, “I’m gon’ make you moan/Eat it till you’re sore.” The song, in mood and theme, is reminiscent of Jeremih’s “Birthday Sex.”
While Kaestyle’s vocals make ‘Asylum’ a smooth and enjoyable listen, LeriQ’s production is fundamental to the project’s success. He and Kaestyle showcase an understanding of each other’s uniqueness; what binds them together is their versatility and ear for sound and the skill to weave sound with well-tailored lyrics. Kaestyle and LeriQ are at their highest powers on “Ugly Truth,” mining Afro-R&B goodness out of the song. Kaestyle wraps LeriQ’s mid-tempo production with dollops of irresistible melodies.
From DJ Coublon and Oxlade’s synergy on ‘Eclipse’ to the brilliant experimentations of Sarz’s collaborative projects, ‘Asylum’ is another depiction of the magic that can happen when two minds are in sync. Kaestyle and LeriQ have made their case as a dynamic duo. ‘Asylum’ is music at its glorious and finest state.
