London-based artist, Yinka Ilori, is designing special edition prints for BRIT Awards 2019

Posted on by The Native

Yinka Ilori is reputed for telling contemporary stories with his traditional inspired designs and artworks. The Nigerian-British artist was recently commissioned to set up the temporary outdoor structure for Dulwich Picture Gallery during the London Festival of Architecture in June.

Often provocative and humorous, his works are inspired by Nigerian parables and the African fabrics that surrounded him while he grew up in Nigeria. But the London-based furniture artist has proven adept at expressing his traditional influences as designs that touch on various global themes that resonate with different audiences all over the world. He recently announced his collaboration with Universal Music to work on a commission for the BRIT Awards, expected to hold on the 20th of February. The music giant is partnering with the visual artist to make the award show more colourful.

https://www.instagram.com/p/Bt0Y_D5h3fX/

Perhaps in response to the recent criticisms music award shows have been coming under, labels are stepping forwards, as regards celebrating their own artists. “Love in a Line”, a special edition print created by Yinka Ilori, would be gifted to the Universal Music nominees like Drake, Ariana Grande and Sam Smith. He also designed the exclusive invitation for the award show’s after-party and it’s expected to also feature as an installation at the after-party, which will be attended by a VIP crowd of artists, models, actors and influencers. While expressing his excitement for the opportunity to display his work at the BRIT Awards, he described the art saying, ““Love in a line” is celebration of our multiculturalism and reminds us that being different is beautiful and okay, which is something I wanted to celebrate through the artwork.”

Featured Image Credits: Instagram/yinka_ilori

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ICYMI: Art Whoring in Lagos

Listen to AYAT and Efya’s romantic new single, “For You”

Posted on by The Native

One of the criminally understated issues you’d deal with in a relationship is picking out the perfect gift for your lover. Sometimes you times you think you know what they’d like but you’d probably always have doubts. For AYAT, the Hausa speaking Ghanaian rapper, he’s taking the direction many artists have proven worthwhile with his new single, “For You” dedicated to his lover.

Over a mid-tempo Afropop beat produced with a soothing mix of pacy tradition drums, 808s, synth harmonies and percussion by PlvgNSix, AYAT sings of his affectionate feelings and features an equally smothering verse from Efya. Their romantic confessionals and the lightweight ambiance the beat induces will serve as the perfect theme music for the Valentine dinner party.

You can stream AYAT and Efya’s “For You” below.

Featured Image Credits: Instagram/kiraniayat

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ICYMI: Listen to Efya celebrating women on her “Whoman woman” single

The Grammys is no longer the ‘biggest night in music’

Posted on by Dennis Ade Peter

Drake’s anti-Grammy acceptance speech, or Diplo making fun of his win may indicate a turn away from Grammys as a pre-established music grading body, but the gramophone is still the most coveted prize aspired to by many artists around the world. At his peak, 9ice remarkably sang “don’t doubt me, I go bring home Grammy”. Though his ambitions were admirable, a Nigerian artist who delivers a significant portion of his lyrics in his native language bagging the golden gramophone, was hard to visualise. But that was over a decade ago, before streaming and globalised online communities became the primary medium for exposure.

The nature of the Grammy awards as a genre-identifier and measuring scale makes it conservative as an institution. As a result, the Recording Academy is often caught behind innovative trends in music. In 2016, Drake’s “One Dance”, a collaboration with Wizkid and Kyla laid on a joyfully buoyant afro-Caribbean musical bed, became the biggest song of the year. The next year, Luis Fonsi and Daddy Yankee’s “Despacito”, became a global reggaeton hit that got bigger with a Justin Bieber remix. Youtube-crowned ‘Song of the Summer, “I Like It”, is a Cardi B Latin-Trap smash hit with J Balvin and Bad Bunny. Interestingly, all three songs have a total of zero Grammy wins between them, and it’s definitely not due to lack of quality.

The issue of due recognition isn’t unique to the Grammys, in fact, Western media has not figured out the best way to respectfully approach non-English music. Wizkid and Davido recently sold out live shows at the prestigious O2 Arena, Latin pop ascendant Ozuna sold out the 20,000 capacity Madison Square Garden last September, K-Pop juggernauts BTS packed 42,000 fans at Citi Field Arena last October, and even South African rapper Casper Nyovest continually filling up 5-figure capacity venues in his home country. All of these are significant achievements that deserve global spotlighting and should be regarded as markers of star power, regardless of what the charts say.

There is no way the Grammy awards can remain relevant if albums that don’t fit into easily accessible pop formats are simply lumped into the world music category. Expansive genres like Latin pop, Afro-pop and K-Pop are currently delivering the most intoxicating blend of music, but they’re still considered second rate. This point of view makes it seem like these genres can’t play on the same level as the more established, contemporary popular genres, which is obviously false, because they already have near boundless reach.

The oft-criticised “World Music” category for example, merely opts for contemporary choices from the African music terrain as nominees and winners, and often sidestepping enterprising records in favour of safe picks as winners. At the just concluded Grammys, Soweto Gospel Choir won their third Grammy for Freedom, a somewhat guileless collection of reimagined covers, ahead of Fatoumata Diawara’s inquisitive Fenfo—the title literally translates into “something to say”—and the timely, politically-charged Black Times by Seun Kuti & Egypt 80s.

It might be tempting to believe the Recording Academy’s bias to these ‘marginalised’ genres, is purely imagined, but that would be playing dumb. Over the years, the Grammys have been accused of recruiting the biggest stars from various genres and cultures in a bid to boost ratings, without the appropriate recognition for the artists themselves. Fela’s Afrobeat gave him a global spotlight for nearly two consecutive decades, yet the first nomination for the genre was Femi Kuti’s No Place for My Dream in 2003—an obvious post-humous nod to the progenitor of the sound, who died 5 years earlier.

Even at Sunday night’s ceremony 7-member boy band, BTS, was clearly excited about being on the Grammys stage even if in a fringe capacity. They were up for just one award, a nomination for best recording, shared credit with Huskyfox, art designers for their 2018 chart-topping album Love Yourself: Tear, which the eventually didn’t win. It was sinister seeing the Grammys squeeze every drop of that 15-second appearance for ratings from group’s ravenous global following. The splashy trio of Camilla Cabello, J Balvin and Ricky Martin, with Young Thug assisting the former in a performance of their hit single “Havana”, opened the Grammys up with a boisterous set of songs that fit into Latin pop in the broad sense. Neither of these performers was deemed Grammy-worthy, with Camilla being the only nominated artist of the trio, with two nods and zero wins.

The Grammys being late to the party is nothing new. For years, they have fumbled their relationship with the most powerful and influential genre in music: Hip-Hop/Rap. However even with Hip-Hop culture, they have made some progress: in 2013, they introduced the televised (important) award for Best Urban Contemporary Album. This relatively new category, introduced at the 55th Grammy awards, is designed to cover what most Hip-Hop fans would regard as R&B. On Sunday, this award was won by the mercurial H.E.R, and previously has been won by Frank Ocean, The Weeknd, and Beyoncé. This is the sort of revision that needs to happen if The Grammys are going to join the party – however late – and give genres like Afro-Pop, K-Pop, and Latinx Music the appropriate respect. There needs to be a level playing ground for all artists to reach the pinnacle.

Awards are not the utopian system of validation, but they serve the purpose of identifying the best releases in music. Considering the worldwide prominence of the Grammys and their self-given mandate to recognize the best in music, it would be befitting if the scope of their lens were substantially widened in the nearest future. Contemporary pop music, as a global commodity is a rainbow puddle stretching across continents, every colour should matter on ‘music’s biggest night’.

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Here is a full list of winners from the 61st Grammy Awards

Watch the official music video for BGMFK’s new single, “OKA”

Posted on by The Native

The further we go into the year, the less time there’d be to get that summer body of our dreams for the beach parties. The best time to begin the work for it is right now and even francophone music band, Bantu Rhythms And Instruments Gang, Money F**kin’ Kills (BGMFK) seem to acknowledge that with the release of their new single, “OKA” with a dance-party themed music video.

The group had previously established their flair for slow paced songs on Mr Eazi assisted “Issa Vibe” last year but “OKA” is set to a racy EDM influenced jungle dance beat steeped in the swirling synths of techno dancehall. Though the lyrics will be lost on non-French-speaking audiences, the pulse-quickening rhythms make up for it with the general air of giddy euphoria they guarantee. Mahine Sef directs the music video for “OKA”, highlighting the song’s catchy aura of excitement through a dance themed music video where the group members perform for their adoring fans.

You can watch the music video for BGMFK’s “OKA” below.

Featured Image Credits: Instagram/bgmfk241

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ICYMI: Here are all the essentials from Mr Eazi’s ‘Lagos to London’ tape

Sir Dauda’s debut single, “Landlord” comes with a glamorous video to match

Posted on by The Native

Operating primarily as a featured artists for most of his career, Sir Dauda already has a recognizable voice even though the recently released “Landlord” is his debut single under Bahd Guys Records. The new single finds him contemplating success from his comfortable position as a land owner in Lagos. “Just Because I Pull Up On Okada Doesn’t Mean I Wouldn’t Take A Flight Back” he sings, letting his laid back vocals melt into a twinkling piano line as he talks up himself.

The airy beat and Sir Dauda’s soft voice give the impression of a vulnerable and ruminative song, bypassing brash cliches in search of darker corners, but instead “Landlord” is an egotistic confessional. Mex Film directs a descriptive music video following Sir Dauda’s ambitious brags.

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

Featured Image Credits: YouTube/SirDaudaVEVO

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ICYMI: Watch Falz and Sir Dauda in their disco party themed music video for “Boogie”

Listen to “Gang” by Sneakbo featuring Kwesi Arthur and Darkovibes

Posted on by The Native

Afropop’s impact in the UK isn’t exclusive to Nigerian artists alone. Sneakbo just released his first single of the year, “Gang”, and it features Ghanaian artists, Darkovibes and Kwesi Arthur who infuse their Afropop melodies to the laid back and airy production. The song finds Sneakbo sweeping through the gang to get rid of fake friends. Though the UK rapper is playing it cool, he doesn’t seem too comfortable.

Rapping “These Niggas Know/ Burn Burn Fire, We Be Giving Free Smoke” over the laid back beat before he slyly second-guesses himself saying “Oh Lord Have Mercy/ Niggas Wanna Hurt Me”, his paranoia and trust issues serve as fuel to inspire him to put extra effort into everything he does; including but not exclusively stunting. Kwesi Arthur sings the catchy hook for “Gang” while Darkovibes takes the third and final verse in his native Twi dialect.

You can stream Sneakbo, Kwesi Arthur and Darkovibes’ “Gang” below.

Featured Image Credits: Instagram/sneakbo1

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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 this beautiful music video for Juls, Kwesi Arthur and Akan’s “Saa Ara”

See the enchanting music video for Eli Fola’s “Royalty”

Posted on by The Native

The diverse range of sonic influences in Eli Fola’s music has a very specific sound which he calls ‘Yoruba Tech Soul’. By fusing elements of traditional sounds, Jazz, House, Classical music and electronic music, his sound encompasses classical and contemporary compositions. However, on his latest single, “Royalty”, the sway of those intangibles of tones and textures that have become his signature as a producer are dwarfed by his black woman worship.

“Royalty” highlights Eli Fola’s careful attention to culture and historic details with the enchanting mix of traditional drums, horn harmonies and talking drum samples, blurring the lines between Black America and Africa. While guitar strums help the saxophone harmonies along into Jazz territories, rattling samples make the traditional drums more enthralling. But it’s the repeated “You Are Royalty” chant, the inspirational spoken word and the artsy music video Imani Dennison directs that makes “Royalty” so spellbinding. The video is a collage of black beauty, showing both men and women who are comfortable in their skin because clearly, that’s all it takes to be royalty.

You can watch the music video below.

Featured Image Credits: YouTube/EliFolaVEVO

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ICYMI: Listen to “Designer”, Niniola and Sarz’s latest collaboration

Kizz Daniel is a bad boy now

Posted on by The Native

One of the most endearing things about Kizz Daniel has always been deft lyrical ability. That he mostly utilises that skill for love songs about eternal affection means he is also one to look to for saccharine softness. From “Woju”, through “Laye” , and more recently, last year’s “4 Dayz”, the singer has purposefully created a world of love with his music, typical of any ‘fine boy’ R&B artist
worth his mettle. However his new video, “Madu”, switches things up a bit.

Starring actress, Beverly Osu, who plays his love interest in the video, Kizz Daniel avoids the sentimental lover boy trope and goes straight for the kill instead. “Call me Zaddy” he sings, a build up to lines about spoiling his lover with the finer things, and even more suggestively implying things he would like to do to her insides. The accompanying video also equally mirrors this steaminess, starting from a dinner date turned striptease and everything else in between.

“Madu” is another video off Kizz Daniel’s critically-acclaimed sophomore, No Bad Songz

See bad boy Kizz Daniel in “Madu”

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Toye is the Team lead at Native Nigeria. Tweet at him @ToyeSokunbi

Falz holds up a mirror against the Nigerian society on “Hypocrite”

Listen to “GoodLife”, SMO’s breezy collaborations with Davina Oriakhi

Posted on by The Native

SMO’s latest single, “GoodLife”, is a slow jam set to the lightweight swing of a Reggae beat Doc Side produces. The rocksteady guitar baseline from Thomas Grande is prepped up horns, percussion harmonies, laid back drum riffs and warmhearted performances from SMO and Davina Oriakhi who sing of their dreamy path to living the good life.

The instrumental offers SMO the space to be meek even when he lays down cocky lines. At one point, he compares himself to Tony Stark of the Marvel cinematic universe, making his showoff charming. Davina Oriakhi’s verse is similarly pleasant as she blurs the lines between modest and assertive, singing “I Know Who I am, Don’t Need No Acknowledgment” before her coos and ad-libs set the song to a hip-swaying and hypnotic pace.

You can stream SMO and Davina Oriakhi’s “GoodLife” below.

Featured Image Credits: Instagram/davinaoriakhi

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ICYMI: Listen to SMO’s fun and politically charged single, “Motivation”

Sarz and Wurld team up for new single, “Ego (Nobody Wins)”

Posted on by The Native

Sarz and Wurld promised fans a joint project when they shared their collaborative single, “Trobul” back in June, 2018. While we wait for the word on the project’s official release date, the duo have released a new single, “Ego (Nobody Wins)”, continuing their running theme of melancholic electro pop songs.

The mid-tempo beat Sarz produces for “Ego (Nobody Wins)” manages to combine Afropop drum riffs with the sweeping synth harmonies of a Calvin Harris esque pop-trap percussion. Though the mix is designed to get heads bopping and waists twirling to the baseline, Wurld’s vocals are steeped in a sticky gloom, seemingly mirroring the chilling effect of his lover’s infidelity. And rather than go the typical route of an explosive drop, Sarz eases the song into a molten R&B beat that’s hypnotic and wonderfully apt paired against Wurld’s lyrics, “Now I Feel So Cold/ I Got To Get Even”.

You can stream Wurld and Sarz’s “Ego (Nobody Wins)” below.

Featured Image Credits: Instagram/thisiswurld

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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 Wurld and Sarz’s “Trobul” here

Listen to MAISON2500’s new single, “Beamer”

Posted on by The Native

Hip-hop culture has always shown a liking for the flashy and fashionable, so it’s not a surprise that it’s the genre with the most songs dedicated to cars. From stunting on haters with the lady riding shotgun to doing drive-bys, having a set of wheels is simply a necessity for the complete swagged-out rapper look and MAISON2500’s new single, “Beamer”, highlights the extra bounce a car can offer its rider.

The synth heavy beat produced for “Beamer” welcomes listeners into MAISON2500’s immersive world that echoes like a haunted robot disco. While he chants his rap bars, reliving the violent lifestyle of a hustler, the beat whirls on full of mechanical screeches and creaks that give the song an eerie and enchanting effect. “Beamer” is the perfect soundtrack for hitting the open road in your whip with enough confidence to get into a speed chase with the cops if necessary.

You can stream “Beamer” below.

https://soundcloud.com/maison2500/beamer

Featured Image Credits: Instagram/maisonvendetta

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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 Santi’s “Icy” featuring Izzy, Maison2500 and Odunsi

Victor AD and Erigga aren’t impressed with the Nigerian government on new single, “Why”

Posted on by The Native

After releasing “Wetin We Gain”, the official hustler’s anthem for the most part of last year, Victor AD got his break into the mainstream of Nigerian music. But the singer seems too preoccupied with the political future of the country to celebrate his growth. His debut single for the year, “Why”, finds him lamenting the present state of the country over the reggae inspired beat.

Though it’s not usual to hear politically charged Afropop songs during the election season, this year has had an unprecedented amount of artists using their platforms to air their political views. Just last week, we published a list of 7 election songs with progressive nonpartisan messages that encouraged Nigerians to make the right choices during the election. Unfortunately, Victor AD and Erigga’s “Why” wasn’t released in time to make the list but the political message remains poignant, coming just a few days to the 16th of February date of the general elections.

You can watch the music video Dindu directs for Victor AD and Erigga’s “Why” below.

Featured Image Credits: Instagram/victoradere

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ICYMI: Here are 7 other election season songs you should be bumping right now

BankyOnDBeatz, Tomi Thomas and L Marshall remind us of simpler times on “Hello”

Posted on by The Native

Despite being around for nearly a decade, first as a founding member of L.O.S then a solo artists and the go-to utility singer among oddballs in the mainstream, (Tay Iwar, SDC), Tomi Thomas has remained an under-the-radar prospect. But working in near obscurity has given him the freedom to create helplessly romantic songs that become hidden treasures for romantics. However, on BankyOnDBeatz’s first release of the year, “Hello”, him and L Marshall reminisce on the warm feeling of being in love to highlight the grief of falling out of love.

BankyOnDBeatz produces the guitar ballad, mixing piercing synths harmonies, shimmering riffs, 808 drums and claps that give “Hello” a tropical house ambiance designed to get people dancing at festivals. But singing “There was a Time When I Felt No Pain” on the hook, “Hello” isn’t merely a romantic piece as they draw the pain out from the beautiful frame of love.

You can listen to “Hello” below.

Featured Image Credits: Instagram/tomithomas_los

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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 BankyOnDBeatz and Jacob Browne’s “Sailing Away” here

Looks don’t count on Meyar’s mushy love song, “Ninety-Nine”

Posted on by The Native

“Even when we grow old, like ninety-nine, looking skinny like a toothpick”, Meyar sings on “Ninety-Nine”, his new song about love that ages like fine wine. It’s the season of love and “Ninety-Nine” is emblematic of the simplified Afropop-fusion sound Wizkid and Burna Boy championed all last year. It captures a core emotion in a few lines, leaving the ambience to do the rest of the work. In addition to a wine-friendly mellow production, a verse from DMW’s Dremo adds another layer of genre-blending to the track.

See Meyar and Dremo in “Ninety-Nine” below:

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Toye is the Team lead at Native Nigeria. Tweet at him @ToyeSokunbi

Falz holds up a mirror against the Nigerian society on “Hypocrite”

Essentials: ‘ExPRESSION’ by Djaji Prime

Posted on by The Native

In the shifting state of music consumption around the world, hip-hop in Nigeria has stayed consistent and predictable. While young emcees chased crowd pleasing punchlines, established rappers jumped on the Afropop bandwagon for clout. It seemed like we had found the winning formula with exceptional projects filled with self-aware introspection. But the formula was hindering the genre from evolving as experimental projects merely meant carefully curated conceptual explorations with barely any attention to form. Perhaps this is why Djaji Prime’s project debut, ‘ExPRESSION’, feels particularly bold, pushing hip-hop to new places with his open-eared production and a staggering range of influences.

“Flight Mode” off PayBac’s ‘Autopilot’ album familiarized hip-hop fans with Djaji’s sing-rap flow. But beyond being in-tune with the trendy trap and hip-hop zeitgeist, his melodic delivery, varying sonic textures and descriptive storytelling finds the perfect match in Charlie X’s piano-driven production on this project. Thanks to the producer’s groovy fusion of classic 90’s hip-hop inspired beats and some oriental harmonies, ‘ExPRESSION’ is intrinsically a feel-good project despite Djaji’s brooding demeanor through the 12-track mixtape.

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

Opening track, “NO COMPETITION” has a bouncy trap beat with hypeman ad-libs that conjure images of strippers dancing on a pole, but Djaji’s raspy auto-tune vocals pull listeners into a dark landscape filled with haters and demons feasting on his heart. Though the track highlight the budding talent’s confidence, he’s self-conscious and wears his cold heart on his sleeves, rapping “Kill it in the Booth/ Bury Beats with the Bars”. The beat for “POT” is more somber as Charlie X seems to romanticizes Djaji’s grim tales of being no-fly listed with angelic vocal samples. Though the track establishes Djaji’s international exposure, traveling around the atlas seemingly dealing drugs, his reference to D’Banj’s “African Michael Jackson” is a heartwarming appeal to Nigerian music lovers without being pretentious.

The brilliant chemistry Charlie X and Djaji share on ‘ExPRESSION’ is highlighted on “HOTTEST IN THE STREETS” where Djaji’s sing-rap flow is meet halfway by oriental influenced percussion, synths and 808s. The catchy fusion of harmonies hype up Djaji’s confidence as his melodies are more mesmerizing and his bars hit harder; “Man I Know I’m Chosen, That’s Why I Flow With Purpose”. The mixtape’s title-track however finds him rapping with so much vigor, he slips into his native Hausa dialect while featured artist, Ria Sean, delivers a soothing hook as if to pacify Djaji’s gritty description of his life as an artist living in Lagos. His description is helped along by other featured artists, Boogey on “MUMU” and ODC on “SCRAP” and PayBac on “LAST NIGHT, I SHOT MY HEART” and Mon Lee on “JABI LAKE VIBE”.

Though each featured artist brings their own unique sound and style, ‘ExPRESSION’ remains cohesive as they help add a glossy, stylish, and sophisticated elegance to Djaji’s candid depiction of his edgy lifestyle. PayBac assisted “LAST NIGHT, I SHOT MY HEART” sets up Djaji to channel his angst to rock territories, while his pent-up rage didn’t reach its climax till ODC’s aggressive hook on “SCRAP”, the 8th track on the project. The last track on the tape, “THE DAMNED” offers no resolution from the shadowy lifestyle of his paranoid mind as he chants “Fuck The Struggle” with his voice compressed through a sleepy singsong delivery. ‘ExPRESSION’ is a welcome jolt for hip-hop in Nigeria with Djaji’s attention to several expressions beyond just rhymes and storytelling. His cold and absorbing narrative is delivered in a melodious tone that fits right into play dance-club playlists.

You can stream ‘ExPRESSION’ below.


Featured Image Credits: Instagram/djajiprime

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ICYMI: Listen to Charlie X, PayBac and ODC team up for “Gas”

Endia is back with another breezy wine-friendly bop

Posted on by The Native

To avoid suggesting Endia has been off-grid, his last single “That’s Me”, another wine-set track, was featured on The NATIVE. The release of his latest track, “Dem Daddy”, a braggadocious dancehall-tinged self-portrait more or less, confirms Endia is streamlining his style into a defined sound.

https://www.instagram.com/p/BqP4OvPHGXf/

“Dem Daddy” thrives on a synth-based baseline with a touch of acoustics and drops implore you to sway as the chords progress. The accompanying video brings his world to the fore, with a pool party vibe featuring beautiful models having a sunny day out. There has been no word of project or collection of tracks to expect from Endia, but there is no doubt he’s onto something.

Listen to “Dem Daddy” here

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Fisayo is a journalist in search of words. Tweet at her @fisvyo

Nigeria’s new national anthem, “YE”, is already making history

Here is a full list of winners from last night’s Grammys

Posted on by The Native

As the years have gone by, the reputation of the Grammys as the biggest night in music has received considerable scrutiny. Particularly the award ceremony’s long-standing problem with people of colour and hip-hop was one of the major talking points leading up to this year’s Grammys.

At the award ceremony, while giving an acceptance speech for his award for “God’s Plan” as Best Rap Song, Drake took the stage to voice some of these opinions, saying “The point is, you’ve already won if you have people who are singing your songs word for word, if you’re a hero in your hometown,” he continued. “Look, look, if there’s people who have regular jobs who are coming out in the rain, in the snow, spending their hard-earned money to buy tickets to come to your shows, you don’t need this [award] right here. I promise you, you already won.”

https://youtu.be/57AqIJLId-0

The rest of the night was notably controversy-free, save for Soweto Gospel robbing Seun Kuti, Fatoumata Diawara and others for Best World Music category. Elsewhere Kacey Musgraves, Golden Hour took home the ‘Album of the Year’ award, Lady Gaga and Bradley Cooper scored the Best Pop Duo/Group Performance’ and ‘Best Song Written For Visual Media’ award for their song “Shallow,” from Cooper’s directorial debut, A Star Is Born , while Childish Gambino bagged ‘Song of the Year’ and ‘Best Music video’.

See full list below:

Album Of The Year — Golden Hour, Kacey Musgraves

Record Of The Year — “This Is America,” Childish Gambino

Best New Artist — Dua Lipa

Best Rap Album — Invasion Of Privacy, Cardi B

Best R&B Album Winner — H.E.R., H.E.R.

Best Rap Song — “God’s Plan,” Drake

Best Country Album — Golden Hour, Kacey Musgraves

Song Of The Year — “This Is America,” Childish Gambino

Best Pop Duo/Group Performance — “Shallow,” Lady Gaga & Bradley Cooper

Producer Of The Year, Non-Classical — Pharrell Williams

Best Rap/Sung Performance — “This Is America,” Childish Gambino

Best Rap Performance — King’s Dead, Kendrick Lamar, Jay Rock, Future & James Blake / Bubblin, Anderson .Paak

Best Rock Album — From The Fires, Greta Van Fleet

Best Rock Song — “Masseduction” St. Vincent

Best Metal Performance — Electric Messiah, High On Fire

Best Rock Performance — When Bad Does Good, Chris Cornell

Best Urban Contemporary Album — Everything Is Love, The Carters

Best R&B Song — “Boo’d Up,” Ella Mai

Best Traditional R&B Performance — Bet Ain’t Worth The Hand, Leon Bridges / How Deep Is Your Love, Pj Morton Featuring Yebba

Best R&B Performance — Best Part H.E.R. Featuring Daniel Caesar

Best Latin Jazz Album — Back To The Sunset, Dafnis Prieto Big Band

Best Large Jazz Ensemble Album — American Dreamers: Voices Of Hope, Music Of Freedom, John Daversa Big Band Featuring Daca Artists

Best Jazz Instrumental Album — Emanon, The Wayne Shorter Quartet

Best Jazz Vocal Album — The Window, Cécile Mclorin Salvant

Best Improvised Jazz Solo — Don’t Fence Me In, John Daversa

Best Reggae Album — 44/876, Sting & Shaggy

Best Dance/Electronic Album — Woman Worldwide, Justice

Best Dance Recording — Electricity, Silk City & Dua Lipa Featuring Diplo & Mark Ronson

Best Contemporary Classical Composition — Kernis: Violin Concerto, James Ehnes, Ludovic Morlot & Seattle Symphony

Best Classical Compendium — Fuchs: Piano Concerto ‘Spiritualist’; Poems Of Life; Glacier; Rush, Joann Falletta

Best Classical Solo Vocal Album — Songs Of Orpheus – Monteverdi, Caccini, D’india & Landi, Karim Sulayman

Best Classical Instrumental Solo — Kernis: Violin Concerto, James Ehnes

Best Chamber Music/Small Ensemble Performance — Anderson, Laurie: Landfall, Laurie Anderson & Kronos Quartet

Best Choral Performance — Mcloskey: Zealot Canticles, Donald Nally

Best Opera Recording — Bates: The (R)Evolution Of Steve Jobs, Michael Christie, Garrett Sorenson, Wei Wu, Sasha Cooke, Edward Parks & Jessica E. Jones

Best Orchestral Performance — Shostakovich: Symphonies Nos. 4 & 11, Andris Nelsons

Producer Of The Year, Classical — Blanton Alspaugh

Best Engineered Album, Classical — Shostakovich: Symphonies Nos. 4 & 11, Andris Nelsons & Boston Symphony Orchestra

Best Pop Vocal Album — Sweetener, Ariana Grande

Best Traditional Pop Vocal Album — My Way, Willie Nelson

Best Pop Solo Performance — Joanne (Where Do You Think You’re Goin’?), Lady Gaga

Best Country Song — “Space Cowboy,” Kacey Musgraves

Best Country Duo/Group Performance — Tequila, Dan + Shay

Best Country Solo Performance — “Butterflies,” Kacey Musgraves

Best Music Film — Quincy, Quincy Jones

Best Music Video — “This Is America,” Childish Gambino

Best Regional Roots Music Album — No ‘Ane’I, Kalani Pe’a

Best Tropical Latin Album — Anniversary, Spanish Harlem Orchestra

Best Regional Mexican Music Album (Including Tejano) — ¡México Por Siempre!, Luis Miguel

Best Latin Rock, Urban Or Alternative Album — Aztlán, Zoé

Best Latin Pop Album — Sincera, Claudia Brant

Best Spoken Word Album (Includes Poetry, Audio Books & Storytelling) — Faith – A Journey For All, Jimmy Carter

Best Children’s Album — All The Sounds, Lucy Kalantari & The Jazz Cats

Best Folk Album — All Ashore, Punch Brothers

Best Contemporary Blues Album — Please Don’t Be Dead, Fantastic Negrito

Best Traditional Blues Album — The Blues Is Alive And Well, Buddy Guy

Best Bluegrass Album — The Travelin’ Mccourys, The Travelin’ Mccourys

Best Americana Album — By The Way, I Forgive You, Brandi Carlile

Best American Roots Song — The Joke, Brandi Carlile

Best American Roots Performance — The Joke, Brandi Carlile

Best New Age Album — Opium Moon, Opium Moon

Best Song Written For Visual Media — “Shallow,” Lady Gaga & Bradley Cooper

Best Score Soundtrack For Visual Media — Black Panther, Ludwig Göransson

Best Compilation Soundtrack For Visual Media — The Greatest Showman, Hugh Jackman (& Various Artists)

Best World Music Album — Freedom, Soweto Gospel Choir

Best Roots Gospel Album — Unexpected, Jason Crabb

Best Contemporary Christian Music Album — Look Up Child, Lauren Daigle

Best Gospel Album — Hiding Place, Tori Kelly

Best Contemporary Christian Music Performance/Song — “You Say,” Lauren Daigle

Best Gospel Performance/Song — “Never Alone,” Tori Kelly Featuring Kirk Franklin

Best Contemporary Instrumental Album — Steve Gadd Band, Steve Gadd Band

Best Immersive Audio Album — Eye In The Sky – 35th Anniversary Edition, The Alan Parsons Project

Best Remixed Recording — “Walking Away (Mura Masa Remix),” Haim

Best Engineered Album, Non-Classical — Colors, Beck

Best Historical Album — Voices Of Mississippi: Artists And Musicians Documented By William Ferris

Best Album Notes — Voices Of Mississippi: Artists And Musicians Documented By William Ferris

Best Boxed Or Special Limited Edition Package — Squeeze Box: The Complete Works Of “Weird Al” Yankovic, Weird Al Yankovic

Best Recording Package — Masseduction, St. Vincent

Best Arrangement, Instruments And Vocals — “Spiderman Theme,” Randy Waldman Featuring Take 6 & Chris Potter

Best Arrangement, Instrumental Or A Cappella — “Stars And Stripes Forever,” John Daversa Big Band Featuring Daca Artists

Best Instrumental Composition — Blut Und Boden (Blood And Soil), Terence Blanchard

Best Alternative Music Album — “Colors,” Beck

Best Musical Theater Album — The Band’s Visit, Original Broadway Cast

Best Comedy Album — Equanimity & The Bird Revelation, Dave Chappelle

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Why The Grammys is no longer the ‘biggest night in music’ <

The music video for “Baecation” is an invitation to D’Banj and 2Baba’s temple

Posted on by The Native

The recent video for “Baecation” is what you get when you mix the 2Baba’s romantic sentiments with D’Banj’s sensual intentions. The pair have spent most of their careers making love songs and seem prepared to keep doing so even after getting hitched.

Over the mid-tempo beat Shizzi produces, mixing traditional drums, horns, vocal samples, percussion and D’banj’s signature Harmonica harmonies, 2Baba and D’Banj promise their lovers a good time they’d never forget. The music video Sesan directs is set in a futuristic universe where 2Baba and D’Banj provide virtual vacation services that whisks the two unassuming patronizers to party on an island. Their “Baecation” eventually comes to an abrupt end when the generating plant that powers the VR equipment overloads.

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

Featured Image Credits: D’BanjVEVO

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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: D’Banj and Tiwa Savage make a stunning pair on “Shake It”

Listen to “Designer”, the romantic new single from Niniola and Sarz

Posted on by The Native

The potency of Niniola and Sarz’s partnership was certified on “Maradona”, one of the most defining Afropop songs of our era. The two have kept building their artists-producer relationship since, releasing subsequent hit songs like “Bana” and now their latest collaboration, “Designer”.

“Designer” finds Niniola in her more romantic elements as she confesses her unconditional love for a significant other over the pacy beat Sarz produces. The catchy synth baseline slinks into earworming horn samples as if in celebration of Niniola’s bright and cheerful emotions towards her lover. Singing, “Boy I Like The Way You Do Me” for the chorus, she pulls off yet another unassuming love song with suggestive lyrics for adult audience.

You can stream “Designer” below.

Featured Image Credits: Instagram/officialniniola

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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 Niniola’s steamy music video for “Bana” here

Watch the Michael Jackson inspired music video for Olamide’s “Woske”

Posted on by The Native

You’re welcome to contest Olamide’s claim to being the voice of the street, but his dominance on radio and DJ playlists is undeniable. On his latest single, “Woske”, he reminds listeners that he’s the life of the party over a decidedly EDM beat Killertunes produces.

Though Olamide’s lyrics are charming, aimed at a love interest, he can’t shake off his cocky attitude. As a result, “Woske” teases out the space between ice-cold shrug-off and desperate longing as he disrespects haters and charms lovers in the same breath. The music video Unlimited LA directs sets him in a club where he stunts on all the dudes at the VIP section by showing off wads of cash and performing a Zanku infused impression of Michael Jackson.

You can watch the music video for Olamide’s “Woske” below.

Featured Image Credits: YouTube/OlamideVEVO

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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 this interesting music video for Olamide’s “Poverty Die”

Odunsi features UK singer, RAYE, for new single, “Tipsy”

Posted on by The Native

After exploring the synth-heavy nostalgia on his critically acclaimed ‘rare.’ album debut, Odunsi quickly morphed into a rapper to fit into the trap universe of DRB’s “Necessary”, released shortly after. But on his first single for the year, “Tipsy”, he aims for that sweet spot between avant-garde and accessible and finds it.

“Tipsy”, combines rattling samples to add a groovy Afropop swing to 808 drums. The contemplative minimalist mix is a comfortable bridge between DJ sets at Nigerian nightclubs and UK nightclubs. Setting the misty ambience allows him to focus on getting his sultry message across to all the new audiences he has garnered since selling out shows in Lagos and UK. And though he has proven quite adept at solo romantic confessionals, he features, RAYE, who gives “Tipsy” a duet attribute towards the close of the track.

You can stream Odunsi and RAYE’s “Tipsy” below.

Featured Image Credits: Instagram/odunsitheengine

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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: Here are all the Essentials from Odunsi’s ‘rare.’ album debut