Listen to Aussie Maze’s romantic new single, “Femme Fantasia”

As Afropop becomes more and more mainstream, it’s noble to see Nigerian artists who still stick with their sonic passions rather than hop on the trendy wave. Aussie Maze’s Soundcloud shows he’s 2 projects deep in his dream-pop and electronic pop explorations and he continues with a new single, “Femme Fantasia”, a tribute song to a love interest, heightened by his unhindered vulnerability.

“Femme Fantasia” is set to a delicate, singsongy acoustic fingerpicking harmony produced by international producer, Aquinas. Atop the soothing electronic-pop instrumentals, Aussie Maze addresses a love interest, pleading not to lose them in the most vulnerable way possible. “I can’t do without you/ I’m losing focus/ And as you can see/ There’s not much to me” he coos in the chorus with a slight vibrato flaring up at the corners of his voice like he might cry.

Listen to Aussie Maze’s “Femme Fantasia” below

Featured Image Credits: Instagram/aussiemaze
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ICYMI: Listen to Ictooicy’s “Balanced”

Listen to “Guava Juice”, the latest single from Ictooicy

After releasing “Balanced” last month, Ictooicy follows with a new single, “Guava Juice”, continuing to her penchant for fusing emotional raps and smooth R&B vocals. The new single finds her singing over a lo-fi piano-led instrumental that sets a laid-back mood for her sultry musings on the healing power of genuine love; “Sometimes I feel like dying but you, you make me feel a certain hunger for your love and I love it so”.

The production on “Guava Juice” is tender, almost aqueous, with rippling keys and steady, pattering percussion. but it’s decidedly low-key, redirecting all focus to Ictooicy’s narration as her lighthearted and drunken vocals fluidly ride the beat to celebrate love.

Listen to Ictooicy’s “Guava Juice” below.

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ICYMI: Listen to Ictooicy’s “Balanced”

Listen to SV’s new single, “Dear Janet”

“Dear Janet” is SV’s first release since his ‘I Love You SV’ album debut in 2018. His penchant for flashy brags shows no sign of rust on the new single, delivering his pop-culture referencing bars mixed with bars that allude to his last several months since the album dropped; “I was on tour/a whole lot of show/a whole lot of girls/they too immature/a whole lot of freaks/ a whole lot of buzz/a whole lot of kisses/a whole lot of hugs”.

The piano-heavy beat SilaTheAlchemist produced for “Dear Janet” makes a perfect fit for SV’s laid back flow which carries the track with cocky bars; “I’m very far from romantic/ Please don’t compare me to rappers/ I’m from a whole different planet”. Though his swag and personality selling lyrics might come off as typical flex bars from any other rapper, SV’s calm flow makes his materialism feel sincere.

Listen to SV’s “Dear Janet” below.


Featured Image Credits: Instagram/thankyousv
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ICYMI: See the music video for Lord Isaac’s “Milli”

Lady Donli and Tomi Thomas’ The Forbidden band share debut single, “Work”

Lady Donli and Tomi Thomas have always fancied themselves as artists with more attention to the performance of music than most. Their music releases carry elements of this preference through live band inspired records that makes them seem spiritually tied to the same Afrobeat root. The duo recently formed a band called The Forbidden and have shared their debut single, “Work”, set to soundtrack the life of every hustler and is the exact type of reflective and groovy single that has made them the standard for the Lagos indie music scene.

The Afrobeat inspired beat for “Work” is produced by Doz and Tomi Thomas, setting a lightweight mood that convincingly contrasts the promise of a carefree night out with coolly detached lyrics about the hustler’s lifestyle. “Everyday We Dey Work Work Work Work”, Tomi Thomas sings with Lady Donli singing backup, reflecting that though the catchy beat and melody places them on the dancefloor, they are at the edge of the dancefloor rather than at the centre of it.

Lady Donli and Tomi Thomas’ The Forbidden alter egos, Jin Tachi and Bushidō Takumi have introduced themselves with “Work” which is being promoted as the first single from the band’s coming album. We’d be looking forward to more releases from the promising new band.

Listen to “Work” by The Forbidden below.

Featured Image Credits: Instagram/ladydonli
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ICYMI: See the music video for Lady Donli’s “Cash”

See the music video for Ice Prince and Mr Eazi’s “In A Fix”

Ice Prince might not be the megastar he once was in the Nigerian music scene but the weight of his celebrity stacked contact list has kept his career afloat. The Aboki singer has been able to secure features with some of the hottest artists on the continent, featuring on songs with artists like Zlatan, Straffitti, PatricKxxLee, Falz, Phyno and others. For his latest single, however, he teams up with Afropop star, Mr Eazi who sets the lightweight mood for Ice Prince’s romantic raps on “In A Fix”.

Jaysynths produces the laid back mid-tempo beat for “In A Fix”, inspiring sultry sentiments from both artists. While Mr Eazi kicks off the romantic song, complimenting his love interest’s beauty on his catchy bridge, Ice Prince raps about the things he’d do to show his love. Moe Musa directs the song’s music video where Ice Prince and his love interest crash the family cookout together.

Watch the music video for Ice Prince and Mr Eazi’s “In a Fix” below.

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

Olamide shares new single, “Oil and Gas”

Pheelz and Olamide have made a brilliant pair on songs like “Poverty Die” and “Lagos Boys” among other memorable hits from the YBNL camp. The two have come together for a new single, “Oil and Gas”, with lightweight social commentary destined for dancefloors.

Over a catchy beat Pheelz produces with traditional inspired drum riffs and percussion, Olamide performs a tribute to the affluent people in Lagos. However, he takes the chance to reemphasize his claim as the voice of the streets as his lyrics establish that he’s still a local artist; “Awa La Ni Lagos/ Eyin Le Ni Ileyin (Eyin Le Ni Lekki)*We Own Lagos/ You Own Lekki*”. “Oil and Gas” is a reminder of how self-aware and conscious Olamide can be even at his most playful and goofball songs.

You can stream Olamide’s “Oil and Gas” below.

Featured Image Credits: Instagram/baddosneh

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ICYMI: Watch the music video for Olamide’s “Woske”

DJ Tunez features Oxlade for new single, “Causing Trouble”

After teaming up with Wizkid and Reekado Banks for his “Turn Up” single with some vocal contribution from the new Mavin star, Rema, DJ Tunez is returning with a new single for dancefloor fascination. The new single, “Causing Trouble” features vocals from Oxlade, one of the exciting new acts that emerged in the music scene last year. The singer impresses yet again, closing the gap between the rituals of church and the freefall of the dancefloor as he performs a romantic set over the lightweight beat produced by Spax.

Oxlade’s vocals soar across several octaves, giving life to the illusion that he is a choir unto himself. Underneath that worshipful tone, he serves charming lyrics to convince a love interest of his affectionate feelings. Singing “Baby girl don’t you leave me hanging/ The things you do dey burst my brain/ It be your body give me migraine”, his passionate crooning is matched by the desperation in his lyrics. But the lightweight melodies keep things casual and suitable for dancefloors.

You can stream “Causing Trouble” below.

Featured Image Credits: Instagram/oxladeofficial
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ICYMI: Listen to “Turn Up” by DJ Tunez, Wizkid and Reekado Banks

Listen to Kiienka, Veen and Dr Barz’s “PSA”

Rappers have got more musical over the last few years, manipulating their voice with auto-tunes and incorporating more melodious cadence for their cocky bars. Kiienka’s new single, “PSA” featuring Veen and Dr Barz finds the rappers mixing up rapping with crooning and half-confessions with boasts and corny jokes over a bouncy loop of percussion harmonies and bass drums.

“PSA” isn’t quite a trap song or a ballad, but something surprising in between. The first verse begins with a Rastafari-inspired flow while the second verse is more conventional singing like something you’d expect from The Weeknd. But with the catchy chorus between the verses making it all blend together and dovetail, “PSA” is a reflective and cocky bop that can make a car ride feel like a party.

Listen below.

Featured Image Credits: Instagram/kiienka
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ICYMI: Listen to “Revenge” by Traplanta and Izzy

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

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”

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

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

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

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”

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’

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”

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

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

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

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

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


ICYMI: Watch the music video for La Meme Gang’s “Kemor Ame”

Listen to “Gentility” by Melvitto and Wande Coal

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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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: See the music video for Wande Coal’s “So Mi So”

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

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.