Listen to Jaye IV’s “Hustle” for some inspiration

Posted on by The Native

Hip-hop has a gritty and showy property that makes it the ideal genre for hustler anthems. Every rapper from 2 Pac to 2 Chainz has made music to inspire the hustlers to keep grinding, but Jaye IV’s new single, “Hustle”, expands on the popular narrative to include themes of trust and mental health.

Over a bass-heavy beat trap beat Beatsbyhits produces with layers of synth harmonies and scatting hi-hats, Jaye IV performs his inspiring set, dishing out a list of fortune-cookie esque advice to listeners; “What you sow is what you rip/Better be careful what you sip/ Take it easy, do not hurry/ Time don’t wait for nobody/ If you’re feeling fucked up, better talk to somebody”. Though “Hustle” is inspired by the harsh realities of life, Jaye IV’s inspiring performance makes a rapturous bop out of it.

You can stream “Hustle” below.


Featured Image Credits: Instagram/busydoing
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ICYMI: See the music video for King Perryy’s “Work’n’Grind”

Watch the music the video for King Perryy and Teni’s “Murder”

Posted on by The Native

Earlier this year, King Perryy and Teni teamed up for a Reggae dancehall fueled romantic Afropop number, “Murder”.  Over a catchy uptempo beat mix and mastered by STG, King Perry and Teni address their love interests, using a wide arsenal of audience-charming tactics, including references to decade-old nursery rhymes, groan-worthy puns, and sexual jokes delivered in their soothing vocals.

The recently released music video for “Murder” expands on the song’s charm through the fitting costumes and choreographed dance routines. TG Omori directs the video on a location in Lagos, highlighting the song’s groovy dancehall properties with the dancers who complement the song’s ability to ensure a pleasant time on dancefloors even for the least gifted dancers.

Watch the music video for King Perryy and Teni’s “Murder” below.

Featured Image Credits: YouTube/King Perryy
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ICYMI: See the music video for King Perryy’s “Work’N’Grind”

PatricKxxLee’s “37” is an emo anthem

Posted on by The Native

PatricKxxLee has never been too shy to embrace rock music’s influences for his emo rap songs, but for his latest single, “37”, he leverages the language and tropes of rock without any rapping. The song is built around a few somber piano notes and PatricKxxLee’s yearnings, singing of his earnest reflections; “You’ve got to die to realize we’re just one and the same”.

Warm synths swell and recede in the background, creating a menacing backdrop till suddenly, a rumbling bassline drops and drums click into place to create a universe in where euphoria and melancholy collide. His lyrics invite listeners into his grim world, describing some of his life’s struggles. And though there are some hopeful lyrics, it’s hard to see if there’s any quitting for PatricKxxLee’s nosedive into darkness.

Listen to PatricKxxLee’s “37” below.

https://soundcloud.com/patrickxxlee/37xx

Featured Image Credits: Instagram/PatricKxxLee
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ICYMI: Listen to “How Many Times Have You Been Here? <333

DJ Spinall is set to be the first Nigerian DJ at the Glastonbury Festival

Posted on by The Native

It’s interesting to note that Nigerian DJs who have curated Afropop over the last few years have not been left out of the genre’s recent globetrotting. After releasing his sophomore project, ‘Iyanu’, with features from A-list Afropop acts like Wizkid, Davido, Burna Boy, Tekno, WurlD and more, DJ Spinall has earned his place right next to international colleges like Diplo at the Glastonbury Festival in England this June.

DJ Spinall was announced to be the first Nigerian with a DJ set at the international festival which has been confirmed for June 26-30th 2019 at the Worthy Farm in England. Others on the festival’s bill include Stormzy, Billie Ellish, Jorja Smith, Tame Impala, Janet Jackson, Lizzo, Janelle Monae, Hozier, Stefflon Don, Little Simz, Fatoumata Diawara and more. However, before he gets his Glastonbury Festival moment, the DJ has also been billed to perform his set at the “The Ends” festival along with Wizkid from the 31st of May to the 2nd of June 2019.

From all indications, all the gears seem to be in motion for a very Afropop summer around the world.

Featured Image Credits: Instagram/djspinall
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ICYMI: Essentials from DJ Spinall’s ‘Iyanu’ album

Listen to “Humanoid” by AKtheKING and Lokii840

Posted on by The Native

With the development of AI tech among other fascinating modern inventions, pop culture has seemed haunted with paranoia about technology. Futurism has become a horror genre in films, art, and music. AKtheKING wields this fear expertly on his new single, “Humanoid”. The rapper already earned the respect of his city when he released “White Noise” with the music video shot in the streets of Ibadan, but on his new single, he steps out of his comfort zone of hard-hitting street stories and opts for a flashier style, more easily paired with the accessible trap beats and ad-libs.

Though his energetic flow on “Humanoid” is frenetic like he’s in a rush, he stays on beat with the bounce of the rattling hi-hats and lush synths. His puns and hater-dismantling bars are made even more endearing by his penchant for reflecting on his own growth as an artist. However, featured artist, Lokii840 makes the perfect complement with his brags ensuring that the flex song doesn’t get too introspective.

Listen to AKtheKING and Lokii840’s “Humanoid” below.

Featured Image Credits: Instagram/itsaktheking
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ICYMI: See the music video for AKtheKING’s “White Noise”

LunaLovesYou shares new single, “Dear V, I’m Sorry”

Posted on by The Native

LunaLovesYou’s new single, “Dear V, I’m Sorry”, is a rueful tune that wears its gravity lightly. Her lyrics portray the post-traumatic stress of a soured relationship and her attempt to will herself out of her funk; “Dear V, I’m Sorry for being such a fool/ I should have known this wasn’t true and that I’m not the one for you”. However, the music itself with some production credit to Johnson IP never loses its cool as he mixes percussion chords, drum machine vamp and swirling strings for a captivatingly lightweight record.

Though the lyrics seem to suggest a resolution and willingness to move on, there’s a mounting desperation as her struggle to let go of her ex plays out anew in each verse. Her voice rises to a gorgeously fragile peak, only to dissipate into a wounded apology. When LunaLovesYou sings “I didn’t mean to waste your time so don’t hit my line to play games with my mind” in the song’s final line, it’s clear that she’s still powerless, imprisoned in this eerily placid nightmare of a love song.

Stream LunaLovesYou’s “Dear V, I’m Sorry” below.

Featured Image Credits: Twitter/lunaalovesyou
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ICYMI: Teni is the girl next door on our print magazine cover

On Santi’s Decade-Long Build Up To ‘Mandy & The Jungle’

Posted on by Dennis Ade Peter

It’s been Santino szn for a couple of months, now the singer is turning things up a notch. Last month, the multi-hyphenate creative finally announced ‘Mandy & The Jungle’ as the title of his long-awaited debut album. Over the weekend, Santi unveiled the cover art for the album, as well as a tracklist comprising sixteen songs.

Similar to the grunge-inspired trailer announcing the album, the newly released tracklist of collaborators and producers organically piques excitement without giving as much as a set release date away. It is a credit to Santi’s methodical approach to sating the high stakes for his debut: an expectedly career-defining project, as it’s a culmination of over seven years of artistic growth.

Formerly known as Ozzy B, Santi’s projects have served as markers of his evolution from rapper/occasional singer to patois-leaning iconoclast, a transformation clearly informed by a constant will to push the boundaries of his creativity. In a 2017 interview for the NATIVE birth issue magazine, Santi explained his ethos saying: “Birth is continuous and as long as you are willing to learn, you will always be able to have the ability to birth; and by birth I mean create”.

Santi has been around for the entire part of this decade, slowly but surely working his way into becoming a far more compelling artist with each project drop. An integral product of this vision-based inclination is in how intrigue plays an increasingly important role in describing Santi’s virtuosity, especially since his 2016 cult classic mixtape. Suzie’s Funeral was the first full-length release to first cast Santi as a multimedia auteur, prior to which he was more or less a precociously talented artist.  Without the overt play at getting a traditional mainstream hit, he’s taken the sparsely populated scenic route in growing into a far more diverse and rounded creative, constantly engaging older fans and reeling newer ones in at each turn.

All pre-release factors considered, Mandy & The Jungle is set to become the grandest layer of the Santi mosaic, and it is meticulously being teased as a blockbuster release. By situating his album release as an event, though, Santi’s approach is an anomaly for the era we are in.

Streaming has revolutionised how we consume music, but an understated negative effect is the unsubtle devaluation of albums as bodies of work with potentially high artistic and cultural significance. With a constant barrage of music demanding attention, listeners have lesser time to immerse themselves in albums or the new artist introducing the project.

It is even more apparent in the traditionally singles-based Nigerian music market, where the difficulty in maximizing revenue purely from album sales is the worst kept secret. Often times, a lot of Nigerian artists release serviceable albums as a means to seeping a hot single into the airwaves. This means these albums don’t amount to more than a sum of their parts, and clearly are marketing as such. On the other hand, selling an album as a special release requires some level of conviction on the artist’s side, that the release is meant to command more than the usual short attention span from listeners, and that involves priming it as such.

In Santi’s case, his reputation as an artist who delivers his best work as events makes his current campaign a necessary part of a potentially momentous debut album. Over the last year, it is arguable that Santi has been the artist Nigerians have reacted to the most, due to the mix of controversy and awe that have trailed the stunning gothic visuals for album singles, “Freaky”, “Rapid Fire” and “Sparky”. In his recent NATIVE cover story, Santi believes “everything will be much clearer when the album is out”, before going on to drop hints about the narrative arch for ‘Mandy & The Jungle’.

https://www.instagram.com/p/BxF7vQvgUTi/?utm_source=ig_web_copy_link

By playing up world-building, Santi is subverting the digital era’s nous for fast-moving pop and instant gratification, masterfully controlling the hype and ensuring that every piece of his album will be taken as integral. While the tracklist revealed potentially exciting guest features from Atlanta Rapper/Singer, DRAM and DC Rapper, Goldlink, these international collaborations remain framed in the upcoming album’s context, unlike the hypebeast-ing that accompanies most transatlantic collabs around these parts.

The long term effect of Santi’s slow, build up to this landmark point in his career is that it scans like a template for artists looking to build a worthwhile career and deliver great Nigerian albums. This especially applies to younger and more obscure Afropop artists who can take cue from Santi’s come up—an artist who basically grew from the ground up, and continually scaled up the creative vision to match the size of subsequent projects.

Listen to Ilaye’s dreamy new single, “Metaphors”

Posted on by The Native

It’s not hard to feel as if you’re drifting off into a dream when listening to Ilaye. Her latest single, “Metaphors”, for instance, is an ethereal slow burner that proves her to be a master at crafting fluttering songs that still retain some gravity. Though Tejiri produces a delicate mix of ambient dreamy pop harmonies and percussion for Ilaye’s laid back vocals and her lullaby-like scatting which underpins the song, there’s an undeniable, sense of rhythm that grounds all of the atmospherics at play and a notable tension heard in her lyrics; “Would you notice me? Would you take my hands?”.

Penning the song on her romantic jitters, Ilaye’s “Metaphors” offers a unique take on anxiety themed lyrical obsession while maintaining a balance between passionate and haunting. Her insecure musing about being tongue-tied might not fit the conventional description for a love song, but anyone who has ever felt the sting of Cupid’s arrow will certainly find them relatable.

Stream Ilaye’s “Metaphors” below.

Featured Image Credits: Instagram/ilayemusic
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ICYMI: Listen to Ilaye’s “Binoculars”

From The Protest Grounds: Speaking to the women of the #AbujaRaidOnWomen march

Posted on by The Native

The more we understand sexual harassment in Nigeria, the more heavy lifting seems to be required for real change to happen. And if we don’t attempt to understand all the factors that come into play, we narrow our grasp on how adaptive the patriarchal system is, and how it is able to replicate itself within different societal structures.

Last week, 27th April, a joint police task force in Abuja arrested 70 women in Gwarinpa and Katampe Extension, detained and tried them in a “mobile court”, where they were sentenced to one-month imprisonment with an option of N3000 ($8) fine. Some of the women, who were forced to plead guilty and released after paying the fine, narrated their horrid experience, citing how police officers raped, assaulted and maltreated them. On Saturday, 4th May, protesters gathered in two of Nigeria’s megacities, Lagos and Abuja, to relay their frustrations, demanding that the arc of history be bent towards justice. Activist, Aisha Yesufu fearlessly led the frontline where protesters convened for the march to FCT Police Command Headquarters.

Prostitution is criminalised in Nigeria, but the same constitutional provisions also require that the accused must be found to be ‘persistently soliciting’. But the 70 women who were arrested were prosecuted extrajudicially. The uproar for the unlawful arrests has not only been because the accused policemen have not been charged, but also because this is not the first time such an atrocity has occurred. The police force have chosen to add to their agenda, club-goers, and any other female citizen they suspect in the society.

Nearly five years ago,  lawyer, advocate and CEO of Nigerian Women’s Trust Fund, Ayisha Osori, explained that many women had been abducted by the Abuja Environmental Protection Board (AEFB), who work with the Nigerian Police and Military “to make moving around Abuja dangerous for women”. Their main goal is to “supposedly make the city safe and clean”, but as Ayisha narrated, her young adult daughter who was out for the evening with friends, once called about 9:30PM, that she had been abducted by the agency.

Nigeria’s moralistic culture code is presumably poised to cleanse the society of subversives, and there are several institutions to jointly work together to rid the society of prostitutes. Alongside AEFB, there is also the Federal Society Against Prostitution and Child Labour in Nigeria (SAPCLAN), authorised to get prostitutes off Abuja streets and rehabilitate them. These authorities are tasked to jointly work with the police force to achieve their goals.

“I remember as far back as 2011 because this has also happened to me. I was in a situation where I literally came out of a club and was trying to get in a cab and they grabbed me as well,” one of the protesters, Coco Anetor-Sokei, told The NATIVE, amidst the marching protest. “If not because of my privilege, like the people I knew, or I could call that night, I don’t know how this situation would have ended for me.” In this manner, other participants of the protest conjured up memories of police harassment. “I think the behaviour of the police is emboldening the average Nigerian men on the road,” Teni Tayo, member of Abuja Literary Society, explains as Chioma Agwuegbo, founder of TechHer and key activist at the march, contends with an affirmative Yes! “Now they will not hesitate to call you Ashewo, disrespect you, or even try to pull you. Because they feel like it is state sanction. This is a bigger problem that will be difficult to even reverse. This is why it is very important for the government to come out and state categorically that this is not acceptable, that this is not allowed in our country, that women are respected.”

One recurring topic at the Old Parade Ground in Abuja is the odd fact that even law enforcement officers can be perpetrators. They are the civil force authorized to protect citizens but by their actions, they reinforce the drive of sexual predators. Many protesters held focus group discussions  in the spur of the moment too, where their discussion was centred on more harrowing accounts of harassment by a police force and the criminalization of prostitution in Nigeria.

“Something similar has happened to me before” narrated Sharon Anakame, a legal practitioner. “We actually went to a club, but we couldn’t get in. We were wearing sandals, the rule is to wear heels. So they just picked up everyone standing”. Her friend Maryam Ibrahim, who is also a legal practitioner adds, “They don’t tell you what your crime is, what you are violating. We were locked up overnight even”. Sharon and Maryam had to pay some money to get out. They were forced to plead guilty, and ended up paying N100,000 per head to be released; same format as the convicted 70 women.

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

Many times, movements go viral with elisions and omissions, and this has been the reality of the #AbujaPoliceRaidOnWomen. After the arrest of the 70 women, news headlines and social media accounts predominantly stated that all the women were arrested at Nightclubs in Abuja. Other reports have however surfaced since. Chioma Agwuegbo revealed on her official Twitter account that one of the 70 women—an NYSC corps member, visiting Abuja for Easter—was arrested while buying Indomie noodles on the roadside. The tweet included pictures that showed the youth corper was badly beaten.

Religious justifications for the #AbujaPoliceRaidonWomen has also tainted the reportage around the events. Claims like “the raid is an attempt to purify the land during Ramadan”, floated around the protest grounds. Provocative takes on the issue, like The Nation’s crassly-crafted headline brutally tagging all 70 women as ‘convicted prostitutes’ have also further conflated details. If the police force does not debunk misinformation with such intricacies, more flagrant psycho-social complications in how these issues are addressed are unavoidable.

However, the real crimes are hardly ever addressed directly by Nigerian authorities. Recall the massive attack on Yomi Shogunle’s—representative of the Public Complaint Rapid Response Unit—official tweet to address the raid, when he stated that prostitution “is a sin under the 2 main religions of FCT, and a lifeline of violent criminals,” as a justification for the 70 women who were wickedly beaten, raped and forced to plead guilty by his alleged colleagues.

The criminalisation of prostitution in Nigeria’s penal code is ill-defined, so the job of the task forces charged to keep these women off the streets has been distorted in horrifying ways. Their focus now is on utilising their sixth sense to abduct only females, who are in a club/at a place close to a club, for the way they are dressed at night. The woman is then accused of being a prostitute, beaten, raped, forced to plead guilty, sentenced, and fined. Illegally.

Movements are primarily used to maintain momentum and affirm identity, so tangible change still has to be created by other means because the system is primarily designed against women. But in protesting, action sparks more action; boldly occupying public spaces will set new forces into motion for justice to finally prevail. As Equals Africa, Stand To End Rape, and Market March continue to join forces, as they did in Lagos and Abuja last weekend.  More civil society organizations are taking the lead and converging to fight this battle together: there will be two protests on Friday, 10th May: One at the Nigerian High Commission in London, and another in Abuja at Eagle Square (Car Park Entrance) 9:00AM. As Chioma Agwuegbo explained to The NATIVE, “Left to me, I think we could go into everyone’s house and drag them out to come for the march. There is more [relevance] about people speaking up than there is about who is organizing [the protest]. We are going to keep advocating that the perpetrators of these crimes be brought out, be punished, be dismissed from the force, be tried. And that the women be compensated and be treated both emotionally and physically.”

Because good press or–no press at all–is all you need to hide a grand lie, police (sexual) harassment and assault keeps reoccurring. In a sense, the masses get convinced that it has been defeated or that a solution is developing. But we are hitting rock bottom as the elite cohort leave us to keep falling.

The work to solve this is akin to trying to get a thread into a needle’s eye in the faintest light. The eye is almost non-existent as you need light to see in the first place, and the eye obviously, is small. But once the thread goes through the needle’s eye, things can begin to get patched up. Until then, the thread will be twisted, consistently shoved into a minute hole, or the trials will be many and may fail.

Join the march and let your voice be heard to stop Abuja police raid on women.

Feature Image Credit: Vanessa A Endeley, Instagram/@vanessaaendeley_

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On the protest against Abuja Police Raid on Women, Fisayo Okare writes for NATIVE, from Abuja. Tweet at her @fisvyo

NATIVE ROOTS: WOMEN OF THE 60’S AND 70’S

LadiPoe heads to the street of Lagos for “Jaiye” music video

Posted on by The Native

When LadiPoe was unveiled as a Mavin Records artists in 2017, fans speculated whether it’d mean more music from their favorite ‘underground’ rapper while the more cautious ones were wary of the influence the new management would have on his sound. As it turns out, both assumptions were valid with LadiPoe finally releasing his debut album, ‘Talk About Poe’, and now going the pop route with his latest single, “Jaiye (Time of our Lives)”, produced by his label mate, Johnny Drille.

The Seun Opabisi and Kewa Oni directed music video for “Jaiye” is set on the Lagos Island, opening with the buzzing sound of the city in a bid to capture its vibrant spirit. While Poe rides around in a yellow bus and a car, clips showcasing dancers, artisans and athletes make for a charmingly endearing video.

You can watch the music video below.

Featured Image Credits: YouTube/MavinRecords

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ICYMI: Read all the essentials from LadiPoe’s album debut, ‘Talk About Poe’

See La Meme Gang and Kuami Eugene energetic music video for “This Year”

Posted on by The Native

Ghanaian hip-wave group, La Meme Gang shared their celebratory new single, “This Year”, last month and have quickly followed with the release of an accompanying music video. Kuami Eugene, Darkovibes, $pacely, and RJZ’s elated performance over the groovy beat produced by MOG Beatz are brought to life in the energetic Henry Akrong directed video.

The video sets Darkovibes, $pacely, RJZ and Kuami Eugene at a beach where they perform for the cameras and a crowd of supporters. Though the video seems to highlight the cordial and spirited atmosphere that follows the La Meme Gang wherever they go, it also shows some of the elements from their environments that inspire their sound. Images of surfers, birds, fishers, smiling children, local musicians among other things are clipped into the 3-minute video while Kuami Eugene leads the prayerful “This Year, E Go Be My Year” hook, reminding listeners of the reason their music is loved by everyone.

Watch the music video for La Meme Gang and Kuami Eugene “This Year” below.

Featured Image Credits: YouTube/La Meme Gang
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ICYMI: Watch the music video for La Meme Gang’s “Kemor Ame”

Listen to “Gentility” by Melvitto and Wande Coal

Posted on by The Native

Wande Coal and Melvitto have come together to create a song that is at once a love song, a warning shot and a gospel-inspired club banger; “Gentility”. Wande Coal’s Yoruba vocals have always fueled charming and playful Afropop songs for club DJ turntables, but here his charm is replaced by a temper gotten from being taken for a fool.

Over the catchy mix of Afropop drum riffs and percussion harmonies produced by Melvitto, Wande Coal reminds listeners not to mistake his calm demeanour for stupidity as he narrates his frustration with lovers who underestimate him. Despite his somber reflections, the beat is bright and perky to match Wande Coal’s ever melodic performance. But with the rousing bridge at the song’s closing where backing vocals join in like a church choir to amp up Wande’s “Stupidity” chants, “Gentility” seems like a charming display of the singer’s dark sense of humour.

You can listen to “Gentility” below.

Featured Image Credits: Instagram/wandecoal
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ICYMI: See the music video for Wande Coal’s “So Mi So”

Listen To Barry Jhay’s Spiritual New Single, “Mo Le Jo”

Posted on by Dennis Ade Peter

Since breaking out with last year’s street smash hit, “Aiye”, Barry Jhay’s subsequent singles have solidified the Fuji-pop act as one of the most exciting Afropop prospects. His latest single, “Mo Le Jo” is another gratifying entry into his growing, impressive catalogue.

Over a mid-tempo production of 808 drum kicks, finger snaps and breezy piano keys, Barry delivers a slew of motivational lyrics amplified by his soulful singing, with lines like “things no dey come easy like dat, you gast to work hard to get that mulla” primed to resonate with a wide array of listeners. The hook for “Mo Le Jo” is a verbatim reproduction of Bouqui’s “Molejo”, with Barry contextualising the words to fit the song’s hood-inclined, spiritual tone, imbuing them with affecting melodies.

You can listen to “Mo Le Jo” below.

Juls Taps Tiggs Da Author & Santi For New Single, “Maayaa”

Posted on by Dennis Ade Peter

“Maayaa”, the first single of the year from British-Ghanaian producer, Juls, continues down the producer’s well-known nous for crafting Highlife-based, exquisite composition. Mixing sumptuous guitar riffs and bulbous, lightweight percussions, Juls creates a soundscape that is both ambient and groovy, complementing the romance-inclined expressions by Santi and British-Tanzanian artist, Tiggs Da Author.

“Give me love make me surrender/feel like I’ve been waiting forever”, Tiggs sings charmingly on the hook, letting the rustic texture of his voice relay his passionate performance. Santi contributes a hypnotic verse, expressing similar sentiments of admiration. “Maayaa” is the umpteenth example of Juls’ unprecedented ability at pairing artists over Neo-Highlife sonics while catering to the specificity of their sensibilities.

You can listen to Juls’ “Maayaa” below.

Watch the summer themed music video for ShowDemCamp and Flash’s “Tropicana”

Posted on by The Native

Nigeria’s number one hip-hop duo, ShowDemCamp released their 10-track sequel to Palm Wine Music Vol.1, last year and expanded the range of their guest list with a Flash feature on “Tropicana”. The laid back track is produced by Spax to the lightweight groove of a mid-tempo drum riff and some ambient synths that soak up the sensual vocals from the performing artists.

For the “Tropicana” music video, King Davies directs a colourful piece about the beauty of summer. The video is set at a beach and a pool where the artists perform their sultry verses for the appropriately dressed muses. Colour-coated Pineapples and origami flowers adorn the video which is bound to heighten anticipation for relaxing evening by the beach this summer.

You can watch the music video for ShowDemCamp’s “Tropicana” featuring Flash below.

Featured Image Credits: YouTube/VEVO
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ICYMI: Essentials for SDC’s ‘Palm Wine Music Vol.2’

Patoranking’s music video for “Lenge Lenge” is a tribute to the 70s

Posted on by The Native

Following the release of his “Confirm” collaboration with Davido earlier this year, Patoranking has released his new single, “Lenge Lenge” with an accompanying music video. The romantic number is produced by DJ Coublon who provides a laid-back beat with horn samples, percussion and traditional drum riffs fitting for Patoranking’s call and response melody.

The music video Luke Biggins directs for “Lenge Lenge” takes a cue from the song’s traditional inspired sound, surrounding Patoranking with beautiful muses dressed in 70’s costumes. The natural afros, traditional hairdo, face paintings and beads are all throwback looks but the painting of Fela hanging in the back give away the Afrobeat legend’s influence on the raunchy song destined for DJ sets at dance-clubs.

You can watch the music video for “Lenge Lenge” below.

Featured Image Credits: YouTube/Patoranking Fire
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ICYMI: Listen to “Confirm” by Patoranking and Davido

Essentials: Boogey and Paybac’s ‘Lost and Found – Alternate Ending’

Posted on by The Native

Hip-hop is currently experiencing a victory lap around the world, with all the genre’s permutations exploding to create Latin-trap and mumble rappers all over the world. The hip-hop purists in Nigeria have yet to come to term with the catchall hip-hop tag for all the melodic new raps and as a result, the best rap songs tend to sound like a throwback to an era when rap wasn’t defined by melodic ballads, but by gritty bars alone.

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Boogey and Paybac have released their anticipated ‘Lost and Found – Alternative Ending’ album, the sequel to ‘Faceoff’ which was released in 2016. The first track, “The Portal”, was premiered last month with a compelling video directed by Charlie X and Djaji Prime, giving some backstory to the ‘alternate reality’ where Boogey, Paybac, Charlie X, Sizzle Pro and Black Intelligence are the ‘greatest’. The second track, “Implode”, reminds listeners that the narrative continues and heightens Paybac and Boogey’s boastful bars about how far they’ve come in the rap game; “I’m a case study for great promises come awaken/ I stay making bread as my enemies die off the oven heat”.

Through the 13-track album, both rappers reminisce about the difficulties they’ve experienced as rappers who have constantly been reminded of the need to water down their bars in order to appeal to the mainstream. “What They Said” highlights this sentiment more than any other track but it resonates in almost every bar. Though they admirably stick with their conventional hip-hop passions, Charlie X, Sizzle PRO and Black Intelligence provide a diverse palette of instrumentals to work with and they team up with singers like Maka, Danladi, Mon Lee, Aramide, Jazzz and Monki Bznzz, allowing them honour traditions without sounding stale.

Danladi’s feature on “Uwaka” brings an indigenous style to their cocksure brags while their breeze confidence is highlighted by Mon Lee’s hook on “Hard II Kill”. Aramide gets a melancholy verse in on “Hold Me Down”, grounding their forlorn confessions in her soaring vocals while Jazzz provides the pleasantly dreamy hook for “Private Jet Conversations”. Lyn is the only other rapper featured on the project and she brings a female perspective for the breakup themed song, “Memories”.

‘Lost and Found – Alternative Ending’ is the album underground indie rap fans have been waiting for since 2016 when Boogey and Paybac first partnered up and became Nigerian hip-hop’s future prospect. Now they are veterans of the game, exhibit a level of effortless cool that only comes from having been around the block and being more aware of their abilities.

Stream ‘Lost and Found – Alternative Ending’ below.

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

ICYMI: Listen to “Gas” by Paybac, ODC and Charlie X

Watch Teni head to the street for her “Sugar Mummy” music video

Posted on by The Native

Teni the Entertainer lives up to her name with her newly released music video for “Sugar Mummy”, a single she premiered last month. The DK directed music video keeps in line with the street-inclined direction for the song with the scenes set in the streets of Lagos.

While Teni waxes melodic about her street credibility over the Afro-house fueled instrumentals Rexxie and Jaysynths Beatz team up to produce for “Sugar Mummy”, the video shows her beating up a guy before she’s seen participating in an Eba food-eating competition which she loses.

You can stream Teni the Entertainer’s music video for “Sugar Mummy” below.

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

ICYMI: Teni is the girl next door on our print magazine cover

See the music video for “Lavida” by D’Prince and Rema

Posted on by The Native

Rema has only been in the public eye for a couple of weeks, but he’s already defying expectations. The Benin city raised rapper first attracted attention with his cover of D’Prince’s “Gucci Gang”, released as a freestyle on Instagram. He has since gone on to join the veteran singer’s label and release his chart-topping, self-titled 4-track EP, ‘Rema’, under Mavin Records. Though he admits his tutorship under D’Prince is responsible for some songs on his debut project in our NATIVE feature story, “Lavida” is the first official collaboration between two.

Mavin producer, Altims supplies chilling instrumentals for both artists to let loose their prideful bars, blending boogaloo-inspired Latin trap, Afropop and tender R&B melodies like they were always meant to be clustered as one. With their flashy lyrics also highlighting their vulnerable sides, “She tell me, Remy wire money/ Anything Girl, I go buy am for you”, “Lavida” cements Rema’s growth from a child star to a bonafide pop star, without losing any of the infectious personality that made him a cultural beacon in the first place.

The graphic music video for “Lavida” sets D’Prince and Rema in fiercely threatening scenes to portray them as mafia goons, but Rema’s lively and charismatic performance, raging at the top of a moving car is what steals the show.

You can watch the music video below.

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

ICYMI: Read Rema’s the Native feature story

Somadina: The nomadic teenager spreading her wings one bop at a time

Words: Adewojumi Aderemi

Photography: Omofolarin Omolayole

It’s a breezy Sunday evening in Lagos, and the entire audience at African Arts Foundation is enchanted. We are gathered at the request of Femme: a by women, for women concert series, aimed to shine a spotlight on the unbelievable female talent in the country. As the four artists picked for this edition slalomed through their sets, I spot a familiar face in the audience. Somadina Onuoha – fresh off touring with Odunsi The Engine on his UK tour – is front and centre, cheering on her friends and fellow artists.

Somadina has been a feminist advocate for longer than she can recall. Working in a space where women are often pitted as competitors, Somadina uses every opportunity she can to deconstruct the idea that her fellow female musicians are her rivals. In fact, this 19-year old newcomer has professionally enveloped herself with female creativity, surrounding herself with a band of girls almost as dedicated to their relentless support of each other as they are to dominating their respective fields.

For Somadina, this field is music — singing and songwriting — which she has thus far channelled into two commendable singles: “IHY” and “Lay Low”. Both distinctly pop records, “IHY” in particular is a telling glimpse into he artist and writer that she is. It’s one of those songs that you swear you’ve heard before – but you haven’t. An ear-worm that could have been constructed right in the middle of those major label writing camps in California. A song that would sound right at home on the top 40 charts. One of those brilliant pop songs that you can bop along to if you’re not paying attention, or sing at the top of your lungs if you’re having one of those days. The music isn’t coming from a ray of light, but rather a tunnel of torment.

“I don’t want to say I’m good friends with pain, but I’ve been through a lot of things in my life that I really hope other people don’t have to go through,” Somadina tells me, oddly expressionless considering the dark admission she just evoked. I failed to react outwardly, but in her next few words Somadina would explain to me her placid demure:

“And music has helped me in a lot of ways… I think my music speaks to everyone and anyone who can relate to pain, [but] it also speaks to me – that’s the most important thing.”

So, as much as Somadina makes music for pretty much everybody, she would never wish for you to relate – it is simply unfortunate that we do. Somadina’s music is a medium by which she may channel her emotions, permitting her some form of control over how she feels; when I suggest the adjective “therapeutic” she incessantly repeats that I’ve hit the nail on the head. Somadina’s songs are for Somadina’s mind, and yes it is unfortunate that we can relate, it is also a gift to have her candid words — deliberately watered down by KD’s upbeat production — to comfort us through our grievous times.

Grief. This is the emotion which Somadina hopes to explicate in her first body of work, titled Five Stages, a contemplative reflection on the five stages of grief. Somadina has always been certain she would explore these five concepts on a body of work, but it wasn’t until she shared a flat with a grieving room mate in her first year at university, who had just lost her father, that she decided now would be the time to begin. Reminded of her erratic post-break-up behaviour, Somadina came to the realisation that mourning the loss of someone, no matter the scale, always leads its victims through the five stages of grief. It is with this amplified understanding of loss and hurt that Somadina finally embarks on her long-imagined dream of vocally illustrating the different phases we’ve all endured in mourning.

So far, Five Stages is two songs deep and holds a tenuous release date, “by the end of this year,” she says but, with a Sociology degree to balance alongside her fast-rising career in music, setting rigid schedules seems almost futile.

Succeeding in music whilst excelling academically is an incredibly difficult feat, but Somadina is determined to master it – she has been, even since before she arrived at the  distinctly uni-town of Coventry. When selecting institutions for higher education, Somadina carefully considered which locations would afford her quick trips to-and-from London, landing in Warwick, a mere hour and a half from the vibrant capital city.

Somadina Onuoha is equally as prepared for the leap in intellectual exertion that she has been warned will ensue during her second and third years of university. She tells me she has returned to Lagos for a working holiday, recording as much music as she can now, so that she has releases ready for the future, thereby easing the workload she has to juggle during her final two years of higher education.

“[In] my second year and my third year I’m going to obviously focus more on school itself, because, as much as I want to do music, I still want to get a degree – that’s something I’ve always wanted for myself.”

“Music obviously is not the [sole] priority at this point.” A statement that surprises me due to the brutal honesty, but is very much in line with the self-assuredness she carriers herself with. As my inquiry into Nigerian music (that sits outside the mainstream) has deepened, so have the roots Somadina’s cherubic voice have planted – her name has become almost inescapable. Boasting such initial attention, even when the music is second in seniority, one can only imagine the popularity Somadina will face once she leaves university and fully commits to her creative craft. But for now, Somadina is willingly walks the path of the conventional, as has been the case throughout her life.

Born in Port Harcourt, Somadina was raised in the Netherlands for the first 9 years of her life. Between her Russian piano teacher and her music-loving father, who would inundate his children with gospel music throughout their childhood weekends, Somadina returned to Nigeria with a musical inclination far beyond the typical commercial intrigue. At thirteen, she became a fully fledged performer, captivating the audience at her mum’s 40th birthday, doing the same two years later at Lagos’ Muson Centre, to a crowd so receptive that Somadina, then and there, decided to embrace her destiny as a professional vocalist.

Four years later, she has amassed an impressive catalogue of live performances, most notably opening for Davido, in her birth-city – an accomplishment that seems particularly proud of.  For an artist with such a sparse discography, Somadina has attained remarkable triumphs, that have understandably ridded her of any doubt in her mind or her heart that “the music is going to work out”.

Both in England and in Nigeria, Somadina has plans to conquer the charts – and she is certain she will fulfil those dreams. She’s got the voice, sincerity in her lyrics, an authentic sound and allure in how she presents herself. But upon the conclusion of our first meet, as Somadina amicably hugs me goodbye and thanks me profusely for *doing my job*, I’m left in awe at a young lady with her feet firmly planted on the ground. Despite her increasing popularity and the attention that brings, she is still on her mission. She is still driving down her path, at her own pace. And she’s still only 19.

Somadina’s tribe of cheerleaders has grown one woman stronger.

Meet Rema, The Kid From Benin With The World At His Feet

Words: Debola Abimbolu

Photography + Styling: Stephen Tayo

Special Thanks: XII Glover

I could see Divine Ikubor – now strictly known as Rema – riding shotgun through the clear glass window frames of the Hyundai he pulled up in. I only arrived at the venue of our meeting a few minutes earlier so either I was finally getting a hang of the fashionable celebrity timing or I was about to interview the most down to earth teenage celebrity ever.

One of the two guys who accompanied him stepped out so I went over to introduce myself.

“Oh, you’re the one interviewing the king of the charts.”

He wasn’t lying. Rema’s self-titled debut EP, his first outing since signing to Mavin Records, has been a streaming behemoth. Less than a week since its release, “Dumebi” the standout cut was number one song on Apple Music, with all 4 tracks on the EP featuring on the streaming platform’s top 10 chart in Nigeria.

Rema stepped out of the car and we quickly got acquainted, before he was whisked away by a hairstylist who seemed eager to get her hands on his jewellery adorned dreads. Like me, she had heard his project but was more fascinated by his Instagram account, which offers more of an insight into his true personality.

“When people see me, they think I grew up abroad but I actually grew up in Benin. You know there’s no Shoprite in Benin,” he tells me rather bluntly, as Ewa, his hairstylist for the day, gets to work. Rema is alluding to his style, which is distinctly not what one would associate with Benin, or a traditional young Nigerian at all. With his just above chin-length dreads embellished with dangling crucifixes, his iced out double chokers, his impressive ring collection; Mavin’s new golden-child is more Zone 3, Atlanta than Ugbowo, Benin. His natural cadence and musical leanings are more Young Thug than Korede Bello. And in that, Mavin may have unearthed a gem.

Rema has been making music in Benin since he was 11, starting out as a rapper in a church group but eventually changing his sound to fit the popular sound in his community. “They told me if I want to make it to Lagos, I have to sound commercial. I tried to vibe to it but I wasn’t really good at it.” Eventually, his fondness for subverting the conventional and drive to be distinct led him to look to social media where his hip-hop leanings were more appreciated, sharing free verses and partaking in music challenges to grow his audience online. Cue D’Prince’s “Gucci Gang” challenge, and the 1-minute freestyle that got Rema the attention of his new label boss.

“I remember being bored on that Thursday. I’m just happy my eyes were open to the opportunity because I actually wanted to scroll past it. I had never freestyle’d over any Nigerian beat before then.”

D’Prince liked Rema’s entry enough to ask him to come over to Lagos and has since helped the young talent hone his Afro-Pop sound – something that he himself had to do when linking up with Mo’Hits way back when.

Rema admits he’s finding his feet in the Pop world, but credits some of that success working with producers who are willing to step outside of the box . “Ozedikuz told me that he’s tired of the artists [he usually works with] because they just want him to makes beat like Wizkid or Davido or like Kizz Daniel. He played me some rare beats that aren’t regular. Like ‘Iron Man’, it’s not a regular beat. I didn’t even understand it but I did what I had to do,” he says, describing how they combined Bollywood score inspired harmonies with a hybrid of street rap and pop music.

But Rema’s catchy new sound wasn’t achieved overnight. “We rehearsed for months. Day by day, I got better. Then I when I stopped taking it so seriously, it just started coming naturally.” The result of months of practice can be heard on “Dumebi”, a chart-topper he tells me he didn’t expect to do as well as it has done. “I didn’t even pick the song for the EP. I wanted to release one song but D’Prince told me Don Jazzy said I had to release two after we already dropped ‘Iron Man’ a couple of days before.”

The way he tells it, the beat for Dumebi had been refused by three big artists he spared the embarrassment of naming. When he heard it, he freestyled to it on the spot, hoping to return to add finishing touches later. But to his surprise, D’Prince liked the raw vibe of the song. “He said I didn’t need to put actual words. He said I could leave it and I agreed since I wanted to sound different anyway. A lot of things don’t make sense on the song but it’s number one on iTunes. It’s crazy.”

Rema laments about how it’s been over a decade since anyone broke out form Benin City. He lists his early success as not just a win for him, but one for his hometown. This isn’t just a win for Rema the artist – it is one for the 10 year old Divine Ikubor, who had just lost his big brother, barely two years removed from losing his dad. That day, he vowed to make something of himself. Originally drawn to the intergalactic sound of Daft Punk, Rema was driven to seek out music that aligned with his new psyche. As much as he appreciated the popular music being blasted from the radio at home, he was more aligned to the rock music and American cartoons. “It just always made me feel like I’m not supposed to be under my mum’s roof. I’m not supposed to be eating my mother’s food right now. I’m supposed to be somewhere doing great things. I just woke up and felt like I was the chosen one.”

Rema may only be 18, but he clearly knows what he wants. Perhaps this is why his current situation at Mavin is working so well for him. He understands why onlookers may have reservations about signing to major labels, he admits as much: “I am actually scared of deals, but then I heard some of the plans they had for me, and it aligned with my vision.” One notable point that can’t be ignored is the disparity between Rema’s intoxicating freestyles delivered on his social media pages – the ones which grabbed the attention of the whole industry – and the Afro-Pop dominated which dominates his debut EP. But Rema believes in timing, and refuses to box himself in: regardless of which version of him anyone prefers.

“They [Mavin Records] accept my sound for what it is; crazy as it sounds. The trap and the rock and everything. Most people would try to change your sound but they believe in mine. I’m not scared of dropping any type of song cause I’m very confident. Everytime I get in the studio, I create something crazy. I’m ready, I’m talented, I record as much as I want, I release as much as I want.”

When I push him a bit harder on conforming to the popular sounds of the day instead of being true to himself, he takes a moment to think before letting me in.

“We’re planning a build-up. The less complicated ones first. The Iron Mans, the Cornys. We’re just grooming Nigerian ears so when it’s time to bring out the real deal, they’ll help us push it to the world.”

As he broke down the marketing plan for the EP and beyond, Rema seemed well in the loop of the day to day running of his music business. Even though his manager was around during our conversation, he mostly slunk in the background, making his presence felt only when Rema needed something.

Despite the recent multi-million dollar investment from Kupanda Holdings into Mavin, it does not appear that there are many outside influences when it comes to the creative side of the business. Rema deals most directly with D’Prince, and that seems to give him a level of tranquility, knowing his mentor will always look out for him, as he himself was once where Rema is now: a young, fresh-faced artist, trying to convince a whole nation to try something a little bit different.

Rema holds up his name-branded choker chain to the flashing light of the camera – it may or may not be a a VVS, but it sure looks like one. As Stephen Tayo, the photographer and stylist of the day, coaches him through the looks, a small gathering has developed. The staff from the neighbouring shops are all sneaking a peek at the boy who has the world at his feet. There’s this feeling you get when you meet a star before they fully soar. You want to savour the moment, because you know it may not come again. This time next year, Rema probably won’t be riding shotgun in a Hyundai. This time next year, I probably won’t be guessing if Rema’s chain is a VVS. This time next year, Rema’s masterplan will be in full motion.

Divine Ikubor has put Benin City on his back, and he’s ready to take them to the world. I wouldn’t bet against him.