In conversation with Fu’ad Lawal, who’s intent on digitising Nigerian history

Posted on by Chigoziri Ezeaku & Alex Omenye

On December 31st, 2016, a young bright creative pitched an idea to his boss about traveling round the 36 states of Nigeria. Today, he is envisioning a future where Nigerian newspapers can be digitized and history can be forever preserved. Fu’ad Lawal is the man behind these applaudable feats. The archivi.ng founder was once a young boy searching for jobs as a chemistry student. “I was barely finding anything and then I remembered my friends said I could write,” he tells The NATIVE as he recounts getting into journalism. After facing rejection from his first choice of employment, he got into Pulse NG and things skyrocketed from there on.

It was at Pulse that he took the decision to embark on the impressive journey round Nigeria across 80 days. “It was a thing where the business had never done it before so they had to learn,” Fu’ad recounts of the intense venture for him and his supporting team. Not too long after this journey, Fu’ad was on a new journey and this time, to travel round the whole of West Africa. At this time, he was the editor-in-chief at Zikoko and, alongside his travel team, opened Jollof Road, an online diary where supporters and spectators could keep track of his everyday movements and encounters, either through words by Fu’ad himself or a vlog – most times both. 

After working at Pulse, Zikoko and its parent company Big Cabal Media, Fu’ad found himself in the dilemma of ‘what next?’. “One of my problems is that I have many interests and so I didn’t know exactly what to do,” he says. Curiosity always brings out a new side of us and that was Fuad’s story as well. Despite all his many interests, tech was the one he “knew nothing about but had the most curiosity for.” This interest and curiosity for the tech industry landed him a spot at Eden Life, the food and home services company.

Around the same time, Fu’ad started his personal publication, Vistanium, a kaleidoscopic outlet for varying types of stories and pieces, including fiction, personal experiences, life updates and more. It’s via Vistanium that he’s announced and shared the scope of Archivi.ng, an archival publication that will give easy access to old Nigerian newspapers from past decades. A creative nomad who understands the impact of the past on the present, and how history influences culture, Archivi.ng is a critical undertaking with potentially sweeping value. “I don’t see the impact in a journalistic context. I see the impact of it in the context of everything and how it seeps across everything,” he tells The NATIVE.

With the steady progress of Archivi.ng, Fu’ad Lawal discusses his career path so far and his vision for cultural and historical preservation.

 

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NATIVE: How did you get into writing?

Fu’ad Lawal: To give you a sense, I was studying chemistry. And I remember one Saturday night where I checked all the job sites for chemistry jobs and I remember putting “Chem” so that I don’t miss out on chemists, chemists, or chemical anything. I was barely finding anything and then I was like, “Oh, my friends said I can write.” So I put in writer and all sorts of jobs came up. And I was like wow. People actually get paid for this?

Somehow I got a job interview at Anakle and I got rejected, but someone on the interview panel liked me so he followed me. His name is Chydee. One day he tagged me on a tweet and was like “I think you should apply for this. I think you’re going to be a good fit.” So I applied for the job, sent the email that was requested of me and next thing you know I was being interviewed at Pulse. Next thing you know I was resuming work the next Wednesday and that was it.

I joined because I was terrified of unemployment. There was also this period where I was like, you know what? Over the next four months I’m going to try and cast two nets. If it catches HSC and that entire safety net, I’ll go for it. If it catches writing, I’ll go for it. It also did help that I had a lot of friends who were designers. I had two friends who were designers who always needed copy support and that gave me reassurance that there’s something out there for me.

What was the progression from there?

Pulse first, then Party Jollof. I spent 8 months at Party Jollof and then went back to Pulse. I joined Big Cabal, from there I was not sure what I wanted to do next. One of my big problems is that I have many interests and so I didn’t know exactly where I was going to go. I had spoken to a radio station to come lead content at the radio station, I had spoken to a very, very massive studio to come lead content at this massive studio. I had even spoken to a major music label even though I don’t really like music that much. But you just reach a point in life where everyone believes in your sauce. So I had many interesting choices.

It sounds ridiculous but the one I knew nothing about but had the most curiosity for naturally was the tech company which was Eden. The joke I used to make then was that I was the highest paid intern. It’s a very interesting thing where every time we’re doing a new thing, we’re basically rising to a new level of incompetence. It’s really wild because the only way to become competent is to just embrace the incompetence with humility but not accept it. So you continue to chase how to get better. I don’t think I’ve had a job that wasn’t extremely intense. Pulse was intense but Eden was a new level of intensity that I had never seen or experienced before and naturally what tends to happen is if you don’t break, you grow a lot and that happened.

 

NATIVE: Between Pulse and Zikoko, you pioneered a couple of important projects. Why did you decide it was important to capture Nigeria and West Africa for digital documentation?

Fu’ad Lawal: I just wanted something for myself. It started as a selfish decision first. Now that I say this, I sound like a selfish person but I guess it doesn’t really hurt to be selfish. When I travelled around Nigeria, I did it with Pulse. Anakle’s team had travelled to Bauchi and they were like the coolest. That was like one of the popping places from a creative standpoint. I texted the WhatsApp group which has my brother and some of my friends and I said, “You guys start saving now, we’re going to Bauchi in December.” I wasn’t at Pulse then, and when I returned to Pulse, I knew that it was not going to happen because Pulse is very intense in December and so I just started nursing this weird obsession that I was going to travel around the entire country. I first posted it on my Instagram. When I was asked why you would want to travel, I validated it with my pitch to Osagie by saying travel for the stories but I really just wanted to enter the street and see everything.

It was a thing where the business had never done something like that before so they had to learn how to do something like that, how to sell it and how to approach the situation. it was just generally intense. I left in July even though I was supposed to leave in March. Things just take time you know. So, I came back in September and the week I came back I downloaded the map of West Africa and drew a line from Lagos to Dakar. Then drew a line back through the Sahel by Sokoto. The line was ridiculous because it cost us days of wandering around in the wilderness when we did travel around West Africa in 2019. So, I just drew a line first and the reason came second. The thing that’s interesting about this line is Jollof rice. The origin is Senegal. So how did it travel along this line down to Lagos, Nigeria. Why is it so popular even though it is from so far away? And so, I started to craft a myth around that.

I met a friend after I travelled around Nigeria. I was telling her how it’s so crazy how I wanted to do this thing and now I’ve done it. She was like “Dude you’ve been making noise about travelling Nigeria since 2015.” I was like, “I have? I have no memory of it.” We did West Africa. It’s funny because I don’t think that’s the most interesting thing that happened at Zikoko. The most interesting thing that happened at Zikoko was that it transformed how, in a sense, a new generation of publications wrote about Nigeria and Nigerians. You can literally see the trace of things Zikoko was doing then in almost everything. It was and still is an incredible team, but the 2019/2020 team was the dream team.

What informed the decision to start Archiving?

Like I said, it started as a selfish interest. I used to work in a newsroom and naturally you want to write about stuff but you just don’t have context. You can’t find anything before the internet became mainstream. What was Maiduguri like in 1995? You don’t know. So, if you want to write about it today, the only material you have is all the Boko Haram coverage and nothing else. So, it’s like, why is Nigerian history inaccessible? The actual original ground zero was, what would it look like to collect all the university projects ever written by students and store this academic body of knowledge. I remember talking about it casually on Twitter. Someone responded saying that it’s a needle in a haystack kind of thing because most projects are bad. I don’t entirely agree but I get it, perception is probably just as important as facts. And then I started thinking about another body of knowledge that we have a consensus on and it became newspapers. So, the new question became, “Oh, Nigerians we don’t keep anything, how are we going to find newspapers?”

When I was traveling around West Africa, Jollof Road, when we got to Sokoto we went to the National Archives and I saw old newspapers from 1983 and I was like, “You people keep old newspapers.” They told me that every national library keeps old newspapers, and that was interesting. The next thing for me became to conduct an experiment. I picked a pilot period of 1960 to 2010. The experiment was, if we go looking for one newspaper per day from that timeline, are we going to find it? It’s 18,647 days. And we found newspapers across the days that we were travelling for, it suddenly became possible. These papers exist. The next thing became, how can we make it accessible? Accessible meaning, figuring out how we’re going to digitise it. And I didn’t know anything about these things. So, I started reading up about digitization and scanning. It was obvious that regular scanners weren’t going to scan the newspapers because they’re large formats. So, I did more research on scanners and I was seeing ridiculous prices.

Second issue was we can’t scan without permission and no one would take us seriously because we’re not a legal entity. And that’s how the process started, registering and raising money for a scanner. When the wave of curiosity started to build, I saw the importance and then we started the work.

NATIVE: How do you envision Archiving contributing to modern Nigerian journalism?

Fu’ad Lawal: It cuts across many things. Journalists have the duty to build, but inevitably what they’re doing is to build the narrative of any nation. The collective narrative of a people and a place at a certain time. And so the problems I had as a journalist where I didn’t have that context suddenly surfaced. But when I think about the ways that it would actually deeply affect us, I think about it currently in five buckets. The first bucket is how we understand democracy and human rights generally, and the effects of having access to how we have engaged with this topic over let’s say over the past 100 years and how they’ve affected us. The second one is policy and governance. What kind of choices did they make fifty years ago that are affecting us today? How did we arrive at those choices?

A third thing is the economy and entrepreneurships. How do you understand the economy? Think about the prices of fuel and Indomie and using them to calculate inflation. There’s also culture and identity. This sounds philosophical. A thing is only as sentient as the awareness of itself and awareness is rooted in knowledge. So, if we don’t know anything about who we are, and we know next to nothing, how aware are we really of why we are here? So it feels like building the identity of the country. The last thing is AI, which is the buzzing thing right now. And so, the thing is how represented is Nigeria in these language models? Because we have nothing to offer. You go to Wikipedia about some historical Nigerian stuff and you’re met with only 15 lines and you can’t blame them because they have nothing to work with.

So, I don’t see the impact in just a journalistic context. I see the impact of it in the context of everything and how it seeps across everything. The vision for Archivi.ng is to become the most dependable resource. One inevitable consequence of this is that it is going to extend all over the continent. We’re going to have to gather some momentum to be able to go past the borders of Nigeria. Because it’s not only a Nigerian problem, it’s a continental problem. It’s fundamentally the purpose is to make Nigerian history accessible, what are the other places that find information that makes Nigerian history accessible? 

Is there a category of newspapers you guys are including? is there a criteria for the selection of newspapers?

For the first phase, our priority is just to find one newspaper a day right. Just one a day, and we’re doing one a day because it helps us show everyone what’s possible. This is what happens when you have just 18,647 newspapers. Now, we’re archiving everything eventually. Over the next three to five years we want to have archived one major newspaper from every region. So, the work is a lot.

Apart from copyright issues and resources, what are the other challenges you’re facing with the digitalization of these newspapers?

Storage, that’s a resource problem too to be honest. Storage is expensive, especially when you’re considering the volume of the files that we’re trying to digitise. Few days ago I uploaded four or five months of 1994 PM News to the cloud and it was like 250 GB. So we’re going to be guzzling a lot of storage, I think that’s going to be our biggest expense for a very long time. Then, it’s really just publishers and money. Those are our only two problems. On the talent side, we have serious talents. Our talent pool is divided into volunteers and our full timers. Our full-timers are mostly associates. Our biggest problem is cooperation from publishers and money, we need a shit ton of money.

How have you been navigating copyrights with these publishers?

So it’s literally going to pitch them, right? Currently we’ve closed only two publishers. We’ve closed PM News and a newspaper that was running until the early 90’s I think; The Republic. That’s the hard part for publishers: It’s convincing them that what we’re doing is for them too. Like, our pitch to them has been, we will help you digitise at zero cost to you, just give us permission to redistribute. By redistributing, I mean make it accessible to everyone. It’s been one of the toughest parts to be honest because there’s a suspicion that, “Who’s giving you people money for all these things?” They can’t fathom that we’ve raised over $10,000 from the general public.

NATIVE: You’ve also announced ‘Sun and Country’, a storytelling project centred on the civil war. What informed that?

Fu’ad Lawal: I think ‘Sun and Country’ is one of the few things that is truly rooted in a very moral mission, because that’s the most pivotal event in Nigerian history since independence.

Given the ever-evolving media landscape, how do you plan to adapt? People are tilting more to videos and audio formats like podcasts. So, how do you stay relevant?

Yeah, so, video is not a new format to me. Personally, I think of writing as a critical first draft of format development. Do you understand? And so even when I say ‘Sun and Country’, like we literally have a roadmap that starts at text and ends with a feature release, whether as a limited series or as a movie.I don’t think in one format, I think that’s one of the things that Big Cabal did for me. Big Cabal are very content agnostic. You have an idea and you ask yourself, ‘What’s the best format to interpret this idea?’ For me, staying relevant is actually just challenging yourself to make stuff that you’re not gonna be bored by. I try not to bore myself so that’s a good pace to start. I also try to not approach it in a way I’ve done in the past, and so that helps it to stay interesting and exciting for me. I also consume a lot of really, really good stuff. I consume everything. I watch Korty, I watch Shank, I watch Tayo Aina, I watch Fisayo Fosudo. I watch Mr Beast. So I watch everything, and I read so much.

How can social media help the work Archivi.ng is doing?

To be honest, it’s retweeting. I am a student of media and I understand the power of media, because the current media debate that Archivi.ng is having, is because of a media story right? So just spreading the word is going to help a lot. One of the things we really need to get better at is actually just talking about it. I have a serious problem with sharing when I’m not asked, I need to fix that. I just feel like I’m extremely lazy and irresponsible and I have zero follow through. So I’m like, will talking about it provide some satisfaction on having done it if you don’t follow through?

But you’re actually doing very great work. It takes a lot of energy to say you want to digitise thousands of newspapers from 1960. At some point you’re going to be like, ‘Oh, what is the essence of this?’ and many Nigerians have short attention spans, that’s why scandals in this country last only 24 hours.

Here’s the thing, when i think of the newspaper i don’t believe that the newspapers are for people to go and read. I don’t expect most of the people to go and read, that’s not what i expect. I expect knowledge workers to be the ones to take the stories to people.

Like academics?

Not just academics. For example, there is no definitive story of Festac ‘77 on the internet. Like that’s NATIVE territory. People don’t need to go to the archives to read the weeks long coverage, they just need to go to NATIVE and read NATIVE’s story about it, and go to Wikipedia and read a richer article about Festac ‘77. Do you get? They don’t need to go to the newspapers and look for the price of a bag of rice in 1989. They just need to go to the calculator Stears has built to calculate these things and track these things, see how the price of a bag of rice has gone from maybe 2 naira to 60,000 naira, and the source is Archivi.ng. I think of Archivi.ng as a public well with unlimited utility. For example, the world building of [the film] ‘76 was most likely done with like two weeks worth of newspapers. And that’s fourteen days; we’re trying to archive 18,627 days.

IN CONVERSATION WITH COODIE & CHIKE, THE DIRECTORS OF ‘JEEN YUHS: A KANYE TRILOGY’

NATIVE Selects: New Music From Victony, Kojo Cue, Obongjayar & More

Posted on by Emmanuel Esomnofu

It’s that time again. Every week, new music shows up, sweeping fans and music lovers off their feet while artists gauge reactions to know the effect of their creativity. At the NATIVE, we are committed to keeping our ears on the pulse of the music scene and bringing the best sounds to your doorstep. In our last edition, we brought you stellar new releases from Ami Faku, NSG, Victor AD and more. Today, we have songs that move from Afropop to Amapiano to R&B, with our select artists showcasing their unending talent and passion for creativity. Lock in!

VICTONY FT. BABYBOY AV – “JAGA JAGA”

In recent months, Victony has been leading towards the release of a new project, ‘Ebelebe Vol. 1’, and his sound has been taking a fresh, electrifying turn. On this new song, he connects with Babyboy AV, another artist whose artistry flows around similar ebbs as him. Evocative strings and a mid-tempo drum pattern enlivens the record, as both artists coolly unfurl tales about their life. In typical Victony style, it’s a moment of reflection which offers a sweet melodic tease. 

 

KOJO CUE FT. JOEY B – “FREE THROW”

Known for his incinerating, spirited bars, the Ghanaian rapper Kojo Cue has been leading towards a comeback. On this bouncy trap number, he unites with his countryman Joey B, and the both of them lace affirmative bars with heated precision. Like many things Joey B, the song manages to lean towards social commentary while maintaining a quirky outlook, and it’s a fun they both relish during the duration of the song. It’s one for the outdoors and triumphant moments. 

 

BAYANNI – “LOW WAIST”

A tropical base enlivens this new record from Bayanni. It’s a quintessential afropop song, teasing imagery from the circuitry of romantic relationships, and Bayanni’s language is particularly exciting. “Baby, see your waist/ Me, I no dey shake, shebi na wetin man dey face?” he sings in the hook, suggesting a level of impending danger he just can’t turn away from. A sweet tease of a song, its assured energy gives the listener enough to return to. 

 

OBONGJAYAR – “WHO LET HIM IN”

Since releasing his groundbreaking debut album ‘Some Nights I Dream of Doors’, the artist Obongjayar has followed up with a trickling stream of funky, light hearted songs. On “Who Let Him In,” he addresses his outsider position across industries, while establishing the reasons why he’s so heralded; his versatility, but also his grit, and the song reflects that sense. Although carried by an earthy percussive base, the utilisation is novel, and Obongjayar bares his several selves with assured mastery. 

 

GOOD NATION, LOJAY & JOE DWET FILE – “ROUTINE LOVER”

On this debut record by Good Nation, there’s an atmospheric candour which allows Lojay the space to shine. Usually, the Nigerian singer is able to find impeccable pockets in the most challenging of beats, but here the movement is attuned to his strengths. Along with a stirring French-sung verse from Joe Dwet, the sense of fatalism which trails the brooding percussions of the song is delivered on. 

 

RAYBEKAH – “MY WORK”

One of the most impressive vocalists operating today, Raybekah has been steadily inching towards her breakout moment. She’s put out a collection of stirring, socially-driven records, and “My Work” follows in that direction. The title references her persona’s loyalty for their lover, with sweet inflections meeting the mellow guitar-tinged production. It’s a hearty embrace of sentimental proportions, and Raybekah deserves all the credit for bringing the idea into life. 

 

DANDIZZY & FALZ – “SOTE” 

In recent times, rappers have been becoming more comfortable with blending the pristine stuff of bars over conventions from other movements, most often Nigerian pop. Being a native of the artistically-amorphous Port Harcourt city, DanDizzy does know how to create pop-friendly rap songs, whether through his choice of beats or his conversationalist language. On “Sote,” both are on display as he and his guest Falz unfurl hilarious but narrative-driven lyrics over the warm, palmwine music-evoking production. A really purposeful collaboration, this one. 

 

KING KRUFF FT. STONEBWOY & JAG.HUGLIN – “SHEDOENEED”

On this banging afro-dancehall record, the Jamaican artist connects with the Ghanaian veteran Stonebwoy and vocalist Jag.Huglin. A love interest is the focus of the song, as the artists croon lovingly about her desires and their willingness to provide them for her. The production is a feel-good capsule, with twangy guitars and the bouncy drum progression working to incredible effect. Stonebwoy has always been big on establishing artistic and cultural links with the Caribbean, and on the musical front, this is one of his most accomplished collaborations so far. 

 

NATIVE EXCLUSIVE: BALLORANKING IS ALL ABOUT PREACHING THE GHETTO GOSPEL

Track-By-Track: RayTheBoffin Breaks Down His New EP, ‘Freckles’

Posted on by Uzoma Ihejirika

RayTheBoffin’s music is primarily driven by personal experiences as well as those of close associates. For his recent EP ‘Freckles’, his time studying at a university in Ukraine, as well as the tumultuous event of the Russian invasion of Ukraine in 2022, contribute to the bedrock of the project. “I like to think of myself as somebody that listens well so my friends like to tell me stuff and all those things inspired the making of the songs,” he reveals to the NATIVE.

‘Freckles’ is RayTheBoffin’s second project under Outer South, with the first one being 2020’s ‘Run Boy, Run’.  His sound is a mixture of R&B and Hip-Hop, with elements sought from other genres. A native of Jos, Plateau State, RayTheBoffin is keen on collaborating with other artists and finding common creative grounds with them. He’s one-half of the duo Riverays (with Iver Rivers) and a member of the quarter Dancing in the Desert (with Iver Rivers, Jess ETA and 3kene).

On ‘Freckles’, RayTheBoffin features Iver Rivers, 3kene, Tim Lyre, Twelve XII, Yimeeka and BUSA. All the songs are produced, mixed and mastered by RayTheBoffin, who also layers his vocals alongside the guest appearances to develop a complete experience. In this track-by-track breakdown, RayTheBoffin speaks on each song on the six-track EP, offering insight into the song’s genesis and creation process. 

 

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“OKAY” FT. TWELVE XII & BUSA

Before I send out a song, I usually have a part, maybe just a hook and the beat or a verse and the beat. So, Adam [Tiran] actually connected me with BUSA, he’s from South Africa. And I was like, “Okay, what can we work on?” And at this period, I was working on my ‘Freckles’ and I sent him “Okay,” and he immediately liked that one and he wanted to jump on it and he gave me that verse. and then it was like a complete song With just the two of us.

But over time, I got to know Twelve XII personally and we were just in contact. I can’t remember the name but there was a song of his that I had, and I felt like he could have a unique perspective on this story. And I sent it to him and he was like, yeah, he would love to [be on the song] and that’s how I got him on the song. 

 

“ALIVE” FT. YIMEEKA

This was also a song that I had completed, and Lanre—shoutout to Lanre Shonubi—connected me and Yimeeka and you can see that she’s the only female in this [project]. I didn’t want to just be talking about relationships without having a female perspective. So I took one verse out and we sent [the song] to Yimeeka and she sent me back that beautiful verse that I really love. So, yeah that’s how we got “Alive.”

 

“NEW EMOTIONS”

“New Emotions” is one of my favourite [tracks]. It’s one of the most unique In the tape. I actually recorded this one back in Ukraine on my own. I think I’ve written different verses on it. With this one, it was very personal to me because I was going through some personal hurdles. That’s why there are no features in it. It was just me And my thoughts.

 

“LIFELINE” FT. 3KENE & TIM LYRE

It’s actually inspired by one of my friends. With this song, 3kene was with me in Ukraine just last year. So, I had this song recorded after the story my friend told me on a long-ass phone call. And I already had this beat from a long time ago, so I was playing different beats and it just resonated back in that moment. And I recorded it And the next day, 3kene came to my apartment and I played it to him. I was like, “What do you think about this?” And he immediately had something to say and I was like, “Yeah, take a hook.” And as he took the hook, we needed somebody on it, And to be honest, I always wanted to work with Tim But I didn’t know what to send to him.

3kene was one of the first people to tell me about Tim—this was years ago. There was a song that I produced for 3kene a long time ago and he sent it to Tim. and he was like, “Yo, Tim tells me that this is fire,” and that’s when I even got introduced to Tim’s music. Now I have access to Tim because of Outer South and 3kene was like, “Let’s get Tim on this,” and I was like, “Let me try and see if he fucks with it.” And I sent it to him—I DM-ed him on Instagram. He heard it and was like, “Yeah, I fuck with this man. I’d like to be on it.” I was like, “Damn, let’s get it,” and yeah, that was how we got Tim on it.

 

“BRAIN” FT. IVER RIVERS

Me and Iver have a million songs, bruh. And “Brain” was one of the songs that we had for a while. Like I told you, I wanted to do this ‘Purple Lens’ idea and he was part of it. And [the song] was still valid because ‘Freckles’ is just ‘Purple Lens’ growing into becoming ‘Freckles.’ So “Brain” was able to come from that.

 

“BAAADDIE”

“Baaaddie” is the last track to be in the EP and actually the latest one that I did among all the songs in the EP. I actually did it last year When I was alone in Ukraine in my apartment. I respect women a lot. I’d say that I don’t have a bad ex; I don’t have a situation where I fought with my ex – it was always just a mutual understanding because I do treat women right. I believe that I do and I have this idea that if I’m with somebody, I’d do everything to please you. That is really really how I am and I just expressed that in the song.

 

ICYMI: RAYTHEBOFFIN, LIFESIZE TEDDY & MORE BEST NEW ARTISTS (AUGUST 2023)

AV Club: Exploring The Humane, Cinematic Excellence of CJ Obasi’s ‘Mami Wata’

Posted on by Emmanuel Esomnofu

As a child growing up in the small, vibrant town of Owerri, CJ Obasi watched a lot of films. These films were mostly black and white, and their gripping narratives etched into his memory. In 2016, when the filmmaker got the vision to create a movie inspired by the West African water spirit, he knew he wanted it to take that colour tone. Story-wise, its moving parts hadn’t come together, not yet. But Obasi had read Stephen King and his 2014-released debut film ‘Ojuju’ was a spiritualist fable with echoes of the horror master George Romero. Surely he had the background to chisel a transcendental narrative from the poignant stories of the seas, and in his latest movie ‘Mami Wata’, he presents the results of his seven year search for cinematic precision. 

‘Mami Wata’ went to local cinemas for the first time this September. Expectedly, it was a major moment for hipster viewers, the sort me and my two writer friends perhaps belonged to. We had sauntered into the cinema in Asaba with palpable anticipation, finally about to watch this movie which was rocking the global film industry. Its historic showing as the first Nigerian feature at the Sundance film festival, where it won the Special Jury Award for Cinematography, along with the avowed praises of those who had seen the film, established a quite high bar. And for the most part ‘Mami Wata’ does reach those elevated metrics, making the strong argument that it belongs among the canon of modern Nigerian cinema. 

 

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The film follows the activities of a society led by the mami wata priestess, Mama Efe. Played by Rita Edochie, she must maintain the political and spiritual life of the Iyi community, whose lingual and anthropological make-up most closely resembles the Efik of southern Nigeria. She’s also the guardian of two of the film’s most impressive characters, the young women, Prisca and Zinwe, respectively played by Evelyne Ily Juhen and Uzoamaka Aniunoh. With the arrival of Emeka Amakaeze’s character of Jasper, ‘Mami Wata’ ultimately spirals into a political allegory with subtle touches of water spiritualism. 

When the praises of ‘Mami Wata’ are sung, the beauty of its picture often comes first. Lilis Soares, in her role as cinematographer, ensures every frame is purposefully curated. Because the colour white is utilised as an atmospheric counter to the more often-seen black, the coastal setting imbibes a feeling of coldness to the film. This choice enables a certain timelessness to the movie, as though it could have happened in any era. As such films demand, there’s a lot of responsibility placed on the body, which must become more than just a conduit of humanity and rather viewed through the prism of colour and comfortability. Obasi recognises this, especially with the cerebral choices he allows his co-creators to make. 

Reminding the viewer that artistry can be inherently political, the aesthetic refuses to succumb to simplicity. From the body art of the characters to their movement on-screen, especially as the tensions in thickens, the vision remains uncompromising. Light offers a poignant plot device, teasing emotions from the characters and seductively offering them to the viewer. Some scenes in the film directly references this feeling; the brief love arc between Prisca and Jasper, which peaks with a skimmed through but nevertheless heated sex scene. Even the costumes contribute to the movie’s breathtaking cinematography, with the grand outfits of Mama Efe particularly delightful. 

 

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In movies where setting acts as an important plot device, that vision should ideally align with other sensorial markers. That means sight, while being the highest in that hierarchy, has to be complemented by sound (there’s also touch, but taste and smell are senses which the limited form of cinema cannot evoke). ‘Mami Wata’ achieves the purpose of sound as a signifier of geographical nuances. Shot around the splendour of the villages and waters of Benin, the sound of crashing sea waves and the heavy tunes of the wind are recurrent devices, used to propel the abstract form of the movie’s messaging. 

The most understated contributor to the film’s sonic excellence comes from its language, however. Beyond the epic broodiness of the soundtrack, and the mystical allure of its water stirring, particular credit is owed to the dialogue and the metres of sound they’re delivered in. The former is unarguably owed to the mastery of the actors, their stepping up to the ingenuity of the script at hand. Per dialogue, Obasi’s script doesn’t allow for conversational fluff, even when taking the colourful dance of the Nigerian Pidgin. This is especially obvious in the early scenes, where the tension arises from the characters’ implicit desire not to express themselves to each other. In one scene, after Zinwe watches a youngster lose his life, she queries Mama Efe, whose unconvincing explanation becomes noted for its novelty; until then, nobody had offered the parameters for her powers. She was just another character moving to the film’s motivations. 

If the execution of ‘Mami Wata’ was assured, and its actors delectable in their performances, then why was I conflicted as we exited that Asaba cinema? My friends were convinced it was a masterpiece; Chimezie likened the camera to a character of its own, finding a parallel showcase in ‘City of God’. Chiedoziem thought it was an instant classic which would spur conversations many years after. Perhaps I was still tussling with the storyline, because I was uncharacteristically quiet, even though I had opinions of my own. It is a masterpiece, to be sure, but I can’t help but feel the writing could have benefited from more complications. Stories of this kind are inherently complex, in that the filmmaker has viewed sociopolitical concerns through a spiritual, and almost mystical, prism. It’s a presentation of opposing ideals and the resolution, therefore, should ideally tussle both ideals with equal intensity. 

Through a political lens, the script of ‘Mami Wata’ is almost flawless. The movie begins with the representation of the traditional belief system; the rituals, the offerings, the level of reverence that’s accorded to Mama Efe—these  are poignantly drawn into the movie, with an astute dedication that evokes the films of Tunde Kelani. Then comes the focal character of Jasper, whose quick ascendance into political power reveals the sly ways of contemporary lifestyle. Where there was faith in the unseen, now even the beholden doesn’t confer loyalty. The move to take power from Mama Efe reflects the friction between the old and new; from ‘Things Fall Apart’ to ‘Living in Bondage’, it’s a classic theme in Nigerian storytelling, but Obasi makes it poignant enough for modern filmmaking. The scene where Jasper acquires guns, and he and his cohorts shoot them into the air, is rendered just so the viewer knows the depth of disruption that has happened. 

When a confrontation occurs between both parties, Prisca makes sure to point out the undelivered promises of Jasper and his men. It’s a charged portrayal of one of the film’s most important messages; that politicians claim to have solutions for everything, but ultimately, they reveal themselves to be after their own interests. Closely related to that idea is that the modern idea of democracy might not always be the solution, especially in Africa where historic links of governance are interlinked with spiritual forces. Considering the poignance of its sociopolitical arc, I felt its reflection of spiritualism wasn’t done enough justice to. 

 

At the end of the movie, we do not know how influential the mami wata goddess has been, and there are few pointers. There’s that undoubtedly moving scene where a figure that seems to be the goddess appears on the water, casting an awesome light and smiling radiantly on those who behold her. At that point, there’s been a resolution to the conflict but its means aren’t clearly arrived at. The sighting of mami water thus suggests she’s played a role, and the actions of Prisca might suggest divine possession, but aside from these permutations the matter of faith isn’t given enough scenic detail to enable the viewer to solve its tensions within the context of the film. 

It was nine years ago when CJ Obasi said that he didn’t consider himself a Nollywood filmmaker. For him, the choice was more political than artistic; in the nineties a New Yorker journalist had ascribed the name to the Nigerian film industry, largely for its prolific nature, and it had stuck. A commercially-minded term which bolstered the scene’s economic prospects. His indie-centric work wasn’t nodding to those motivations and while it was a divisive choice, the richness in his creativity has earned his position in the scene. It’s one he shares with the directors Abba Makama and Michael Omonua, with whom he co-founded the Surreal16 collective, whose artistic vision is tied to the filmmakers’ love for the alternative genre and the mystical elements found across African cultural beliefs and practices. 

A believer in maintaining high standards, Obasi has always leaned into the artsy potential of filmmaking and through this has created a fine oeuvre for himself. His ‘Hello, Rain’ adaptation of the short story ‘Hello Moto’ by the acclaimed Nigerian-American author Nnedi Okorafor put him on the stage of the International Short Film Festival Oberhausen in Germany. Movies like ‘O Town’ and his work on S16’s ‘Juju Stories’ also contributed to Obasi’s renown down the years, as one of Nigeria’s most dedicated filmmakers. 

‘Mami Wata’ takes Obasi from the circuit of alternative filmmakers to an established presence in Nigerian film. His next movie will definitely be attended by a lot more attention, and the current run of this feature is the kind that forever elevates one’s career. His greatest achievement remains the film’s forward-facing artistic vision however; while Old Nollywood films have had scenes which reflected the mami water terrain, they were mostly presented as an exotic choice, and had little depth going for them. ‘Mami Wata’ is the first we’ve seen the internal circuitry of its practitioners reflected. Shimmering with cinematic brilliance, evocative in its Africanness, it’s a film that carries the unarguable stamp of greatness. 

 

ICYMI: ‘JAGUN JAGUN’ RAISES THE CEILING FOR YORUBA EPIC FILMS

TurnTable Top 100: Asake’s “Lonely At The Top” Becomes the Joint Longest No. 1 Song

Posted on by Uzoma Ihejirika

On this week’s TurnTable Top 100, Asake’s “Lonely At The Top” equals the long-standing record of Omah Lay’s “Godly” as the longest-running No. 1 song in singles chart history. It rules the Official Nigeria Top 100 for a record-tying eleventh week – the joint longest run at No. 1 since music tracking began in 2020. “Lonely At The Top” tallied 2.50 million on-demand streams (No. 3 on streaming) and 83.2 million in radio reach (No. 1 on radio for ten weeks). The song extends its record as the longest No. 1 song of 2023 in Nigeria. “Lonely At The Top” will be looking to outrightly hold the record by spending an unprecedented 12 weeks at No. 1. 

 

“Lonely At The Top” began its record-breaking run in the chart week of July 7 – 13 when it became Asake’s record-padding 11th No. 1 song in Nigeria. It has since topped the chart for another ten weeks seeing off the challenge of multiple songs. During the 11-week run, a record six songs peaked at No. 2 behind “Lonely At The Top.” Joining that pack is “Ask About Me” by Mohbad, which has just peaked at No. 2 after a full week of tracking, the singer’s music sealing his immortality in the weeks since his death and during its controversy-riddled aftermath. 

Mohbad’s “Ask About Me” rises from No. 22 to No. 2 on the TurnTable Top 100, becoming Mohbad’s highest charting single ever in Nigeria. It surpasses the No. 3 peak of “KPK (Ko Por Ke)” with Rexxie (2021). “Ask About Me” tallied 3.45 million on-demand streams (No. 2 on streaming) and 49.5 million in radio reach (No. 4 on radio). Also, MohBad’s “Beast & Peace” moves from No. 32 to No. 3 on the Top 100. It tallied 4.05 million on-demand streams (No. 1 on streaming) and 9 million in radio reach (No. 113 on radio, it is yet to chart on the weekly 100-title radio chart). 

 

Crayon & Ayra Starr’s “Ngozi” dips from No. 2 to No. 4 while MohBad’s “Peace” moves from No. 28 to No. 5. “Peace” previously peaked at No. 21 on the Top 100 in 2022. Burna Boy’s “City Boys” falls from No. 3 to No. 6 while MohBad occupies No. 7 to No. 9 with three entries: “Pariwo” featuring Bella Shmurda at No. 7, “Sabi” at No. 8 and “Feel Good” at No. 9 (it peaked at No. 7 on the singles chart in 2021). Khaid’s “Anabella” drops to No. 10 after peaking at No. 2 on the chart.

Outside the top ten, MohBad has 11 entries on the chart in addition to his six entries in the top ten. With 17 entries on this week’s Top 100, this is the third most entries by any artist on the chart in a week (tied with Davido). Only Davido with 18 entries in 2020 during the debut week of ‘A Better Time’ and Burna Boy with 19 entries in 2022 during the debut week of ‘Love, Damini’ have more.

ICYMI: ASAKE, WIZKID & THE INFLUENCING POWER OF LISTENERS ON ARTISTS’ CREATIVITY

Everything we know about the #OccupyJulorbiHouse protests

Posted on by Nwanneamaka Igwe

Back in 2009, John Evans Atta Mills, assigned September 21st a statutory holiday in Ghana. The now late president designated the day to celebrate Kwame Nkrumah, one of the nations founding fathers. Amidst a series of long-standing economical and social challenges in the nation, the civil activist group Democracy Hub slated this year’s date for nationwide protests against high cost of living crisis, abuse of power and serial allegations of brazen corruption by government officials, as well as recurring issues regarding press freedom violations.

As hundreds of Ghanian’s took to the streets, others utilised their social media presence to spread the word of the protests and raise awareness against the countries callous governance with #OccupyJulorBiHouse. Ghanaian sports Journalist, Gary Al-Smith shares, “The hashtag is a play on Occupy and Jubilee House (Ghana’s seat of government). Julor Bi is a Ga (language of the people of Accra, Ghana’s capital) phrase meaning ‘Child of a Thief’, a loose reference to the ruling Executive, who the people believe have negligently driven the country into a mess.”

On Tuesday, September 19, Democracy Hub held a press conference to inform members of the public the necessary measures being adopted to ensure their safety and success of the demonstration. The protest schedule planned to hold for a three-day period at Jubilee House and the organisers all logistical arrangements had been made for any protesters who planned on camping outside the government office. The following day, the police made attempts to foil all plans made towards the peaceful protest with an issued statement claiming they received a court order to cancel the demonstration.

Signed by the Juliana Obeng, the press release read, “As we wait for the court to determine the matter, we wish to urge the public to take note and disregard any calls from any individuals or groups encouraging them to assemble for demonstration at the Jubilee House.” The statement concluded with a direct address to Democracy Hub, “We equally wish to urge the organisers to respect the due process in the interest of public order and public safety.”

 

Nonetheless, protesters gathered peacefully at the seat of government the next day in a bid to hold the government accountable for their actions, only to be met by aggressive police resistance. As participants voiced their grievances regarding several injustices and the hardships faced by Ghanaians on a daily basis, reports share that the police arrested 49 protesters to be held at the Accra Regional Command Barracks. The arrested parties include any onlookers dressed in black and red—colours associated with anti-government—whether or not they’re participating in the protest. Several journalists, including two from BBC were also detained and have since been discharged. 

A new police report titled ‘POLICE ARREST 49 SUSPECTS FOR UNLAWFUL ASSEMBLY AND VIOLATION OF PUBLIC ORDER ACT’ claimed the arrested protesters were guilty of “the flagrant disregard of a court process.” As a result, many participants took to social media to flag the arrest as an infringement of several constitutional human rights. To this, the Ghanaian police service explain that they’re not opposed to any peaceful demonstration however, “The exception, in this case, is the Police disagreement with the organisers on the venue, the Jubilee house, being a security zone.”

According to NPR, spokespersons of President Akufo-Addo claimed the country’s economic woes are a consequence of the COVID-19 pandemic and Russia’s invasion of Ukraine. They explain that the aforementioned has contributed to rising inflation in several countries around the world. However, the protests have been a long time coming since the government’s mismanagement of fund. Many protesters sight the 17th financial rescue from the International Monetary Fund after signing a $3 billion bailout loan back in may. Other share their dissatisfaction with unpopular and widely irrelevant expenses as the new, 5,000-capacity national cathedral, commissioned by the government with a cost of over $400 million.

RAISE AWARENESS

You can share this news post or any other related information about the protests on your social media accounts with the #OccupyJulorBiHouse. Also, share any resources that may be helpful to concerned parties.

[Featured Image Credits/The NATIVE]

NATIVE Selects: New music from Ami Faku, Rema, Lady Donli & more

Posted on by The Native

It’s that time again. Every week, new music shows up, sweeping fans and music lovers off their feet while artists gauge reactions to know the effect of their creativity. At the NATIVE, we are committed to keeping our ears on the pulse of the music scene and bringing the best sounds to your doorstep. In our last edition, we brought you stellar new releases from Diamond Platinumz, Khaid, Zlatan and more. Today, we have songs that move from Afropop to Amapiano to R&B, with our select artists showcasing their unending talent and passion for creativity. Lock in!

MR MSOLO & AMI FAKU – “NEEDED ME” 

Through the past couple of months, South African singer, Ami Faku has been expanding the scope of her artistry and SA’s mainstay genre, Afro-House, through a series of remarkable collaborations. She joined Ghanaian DJ, Juls, earlier this year for a heart-warming rendition of “Terrified” and Nasty C’s “This Time” off his recently released album, ‘I Love it Here.’ Now she enters her producer bag, joined Mr Msolo for an Amapiano remix of Rihanna’s “Needed Me.” The pair retain her first verse and pre-hook layered over a glassy drum-led production and brooding piano keys. After the hook rolls around, some dingy keys accompany Rihanna’s looped adlibs.

 

SPYRO – “ONLY FINE GIRL”

Headies award winner, Spyro, emerges with a new single, “Only Fine Girl.” The song starts with a catchy piano melody before syncing up with the African rhythm. He showcases his impressive focal prowess as he assures his lover that she is the only fine girl around, “You’re the only fine girl I know/ Only fine girl in my zone. Spyro’s voice perfectly delivers the lyrics with notable conviction and passion. 

 

NSG – “NELLA ROSE”

Ahead of their debut album ‘AREA BOYZ,’ East London group NSG unveils a new single in “NELLA ROSE.” Set on an Amapiano-inflected production, “NELLA ROSE” celebrates the group members’ experiences in chasing success. The Don Prod-directed music video features the group and members of their Hackney in jubilant moods and enjoying the pleasures of life.

 

VECTOR – “GBEDU”

“Gbedu” is Vector’s return to the music scene after a lengthy hiatus. The multi-award-winning rapper and singer/songwriter delivers a groovy song which features English, Yoruba, Nigerian Pidgin, House music and African rhythms which solidify his versatility as an artist and as one of Nigeria’s foremost Hip-hop artists. 

 

SEFA – “VIBRATION” FT MEIWAY 

Coming strong from “Maposa” and “Acid Fairy” Ghanaian singer and songwriter, Sefa, releases “Vibration” with the help of the talented Ivorian singer, Meiway. This collaboration witnesses a captivating bridge between two cultures and genres which brings the music to life. Both artists deliver raw and authentic energy in their verses, especially Meiway in his first verse. His verse sets you straight for the song. The Afropop rhythm and Amapiano feel create a must-dance atmosphere.

 

LADY DONLI – “THE BAD ONES”

Lady Donli is at work again with “The Bad Ones” coming off of her fresh new album ‘Pan African Rockstar.’ This 12-track album features songs like “Hello Lady” and “My Ability” and holds Impress features. Truly a Plan African Rockstar, she introduces us to “The Bad Ones” with a deep bass guitar and a truly exceptional voice as she carries and delivers the lyrics. “I’m a real ass motherfucker” An undeniable line. 

 

VICTOR AD – “MIDF (NA MONEY I DEY FIND)”

Following his last track release, “Normal” Victor bounces back with a Kullboy-produced single, “MIDF (Na Money I Dey Find)” The song title already gives us a clue of the message Victor plans to pass across. The hustle and grind never stops which he encapsulates in the second verse as he sings, “You see this hustle no get days off/ Once you don land you no fit take off” With a choir-like essence, he delivers a line that we all can relate to, “Na money I dey find oh.” 

 

KAIEN CRUZ – “I LAY” FT XENIA MANESSAH 

Anticipating the release of her debut album, South African singer, Kaien Cruz brings back their Afropop anthem, “I Lay,” giving us an alternative version with the talented Kenyan crooner Xenia Manessah. Xenia does justice on the track as she syncs perfectly with Kaien as well as carries her part of the song. 

 

FIED & REMA – “BUBALU”

Emerging as the Best Male Artist of the Year at the The Headies, Rema joins forces with Columbian superstar, Fied, on his new single “Bubalu.” It stands as one of the songs from his upcoming album “Mor, No Le Temus A La Oscundad ” Rema singing Spanish alongside Fied is both impressive and commendable as it rides on the African rhythm. Both artists sing about a special romance that feels just like paradise with Rema singing, “If e no be her then me no want am” in his verse. 

 

M.ANIFEST – “50 YEARS FREESTYLE”

Following his last release, “Reap,” Ghanaian rapper and entrepreneur, M.anifest releases his much-awaited track, “50 Years Freestyle” – a celebration of fifty years of the genre. He showcases his powerful lyrical abilities accompanied by a trumpet and drums which give off the vibe of a marching band alongside the rhythm flow of his sleek bars. The song speaks volumes about his success and contribution to the growth of Africa’s Hip-Hop scene as he proudly spits, “50 years in my guy none of this is random.” 

 

Words By Chigoziri Ezeaku

[Featured Image Credits/The NATIVE]

ICYMI: OUR FIRST IMPRESSIONS OF LADY DONLI’S ‘PAN AFRICAN ROCKSTAR’

Our first impressions of Lady Donli’s ‘Pan African Rockstar’

Posted on by The Native

There are more than a  handful of words to describe Lady Donli, but arguably the most apt is maverick. In about a decade since she started recording music, the Nigerian singer has matched to the beat of her own drum with a self-assured candour. After years cycling around Neo-Soul, R&B and glittery pop, she masterfully realigned her artistry with her 2019 debut album, ‘Enjoy Your Life’. Partly inspired by nostalgia, without being overly beholden to her influences, the project landed as a dazzling statement of unique, yet easily accessible, excellence.

In the years since, she’s cycled through another period of growing pains, partly triggered by the global pandemic. The EP, ‘W I L D’, emerged from all of that and its part-ruminative, part-invincible is testament to how Lady Donli coped and emerged from those times. For the last two years, she’s been clearing out space for her sophomore album, the newly-released ‘Pan African Rockstar’. In typical Donli manner, the title is  a statement on its own, which already creates a high bar of expectations. If the  lead singles, “Hello Lady” and “My Ability,” show anything, though, it’s that Donli is more self-assured than she’s ever been.

After our first listens, here are The NATIVE’s team of writers sharing their early thoughts on ‘Pan African Rockstar.’

Did you have any expectations of Lady Donli going into this album?

Uzoma: The only expectation I had going into this was good music—what direction Lady Donli would take, I did not know. “My Ability” got me hyped for the album because I liked the attitude she brought to the track and I sensed that the title ‘Pan African Rockstar’ replicated that energy. So yeah, I just expected to be treated to good music because Lady Donli is known for that.

Nwanneamaka: When I put ‘Pan African Rockstar’ on for the first spin, I was looking to see how well the synergy with her band, Lagos Panic, was reflected. In addition, I had hoped the album’s title would come into play on the track. So genre fusions from different parts all strung together by Rock elements. Finally, I was looking out for how this would contrast ‘Enjoy Your Life,’ especially considering how emphatic she is about thinking outside the box. After a first listen, I can say she ticked all those boxes effortlessly. There’s so much attention to detail with layering the vocals alongside the instrumentals. The pianist, drummer and most especially the guitarist are given so much room to shine. I also get several twinkles of Afropop, Highlife and Jazz so as far as genre fusion goes, this hits the mark. Finally, this sophomore effort starkly contrasts her debut. While she took on a lot of romance centred themes then, Donli is evidently focusing on herself here.

 

What song(s) stood out to you on first listen?

Emmanuel: Ah, a lot of the records did, especially because the sonics were so progressive. Sometimes you’d enter a new song and wouldn’t know, except you checked the track list. That said, the album is really a string of fantastic moments coming together to create something special. A standout record for me would be “Nothing2Something,” just because Lady Donli uses a lot of the sounds I know Obongjayar for. ‘PAR’ is like a less experimental extension of ‘Some Nights I Dream of Doors’, and I’d like to see more artists tinker with this punk-tinged sound. “The Bad Ones” is a pretty good record too; it’s a fine turning point towards the final movement of the album. 

Uzoma: “Your Fantasy” with Kah-Lo and “Nothing2Something” with Obongjayar. Kah-Lo entered the track with cockiness and I like the lyrics “You wan contest?/Oya, come test/Dis your wahala no know say I come first.” And I like how she and Lady Donli flowed on the track, complementing each other. On his part, Obongjayar didn’t disappoint on “Nothing2Something”—his voice is instantly arresting and the lyric “I’m not lucky, I’m working” resonated with me. I think both songs are true standouts.

 

What are your immediate thoughts on the musical choices?

Nwanneamaka: I can’t fault this. She does immense justice to the soundscapes she taps into all the while adding unique touches to make it her own. Not bombarding the album with so many features not only allows us to appreciate the ones that are there but leaves room for Lagos Panic to set the scene and for Lady Donli to talk her shit. A track list of 12 songs couldn’t be more perfect as well considering my ever dwindling attention span. She is able to cover so many themes in such little time and I appreciate her song titles and lyricism as well, very witty. It’s safe to say that Lady Donli has beat the sophomore slump. 

Dennis: At the risk of hyperbole, ‘Pan African Rockstar’ is the best produced Nigerian pop album I’ve heard this year. Change my mind, I dare you. Even the scope of Nigerian pop might be limiting, considering how truly pan-African its musical sources are, from Highlife and Soukous to Afrobeat and Konto. Most importantly, the sonic tapestry is greater than the sum of its parts; ‘Pan African Rockstar’ has a stunningly executed identity. None of it surprising, considering the quality of her great debut album, but it’s nothing short of awe-inspiring how she expands her purview—assisted by her band and several producers of course—without losing a step. There’s no doubt whose vision this is.

 

How well did the guest appearances enhance your first listen?

Uzoma: The guest appearances show intentionality on the part of Lady Donli. They all add different spices to the songs, making for a well-rounded project. As I mentioned earlier, Kah-Lo and Obongjayar do great work on their respective songs. So also Pierre Kwenders on “SAID,” with his combination of English and Lingala. Overall, the album has an eclectic taste of different genres and rhythms that Lady Donli handles very well.

Dennis: Four for four. Lady Donli doesn’t just share guest spots like they’re party packs, that much was instantly evident on ‘EYL’. The streak continues here, four perfect features. Kah-Lo is the baddest in the room, Obongjayar’s gritty soul is as warm as scotch hitting your belly, Pierre Kwenders sounds as vibrant as ever, and the Lagos Panic, at the risk of hyperbole again, could’ve been Africa ‘70 in another lifetime. Like I said, 4 over 4.

 

What’s the potential significance of ‘Pan African Rockstar’ to the ever-evolving artistry of Lady Donli?

Nwanneamaka: Throughout her career, Donli has emphatically expressed her rejection to be placed into a box. Every artist, at least the dedicated ones, are constantly striving to out-do themselves but Lady Donli’s effort is particularly admirable because you can tell she embraces experimentation even at the risk of failure. It’s natural for fans that fell in love with a particular facet of your artistry to have certain expectations. And when that facet is as commercially successful as ‘Enjoy Your Life,’ I can only imagine how difficult it is to stray away from that path. Having listened to ‘Pan African Rockstar,’ Amidst the ruckus in Nigeria’s music scene, a theme running strong through the 12-track course, it’s refreshing to see talents willing to stay true to themselves. 

Emmanuel: A band-generated sound has always been important to Lady Donli. On ‘Enjoy Your Life,’ it’s the amazing duo of The Cavemen. who provide its retro Highlife direction. It’s a miracle of evolution that ‘Pan African Rockstar’ embraces even more fullness in its direction, by adapting percussive patterns from other African countries while also expressing neo-punk sensibilities. In an era which celebrated more of pristine artistry, Lady Donli would be one of its champions. Sonically, visually, and philosophically, she’s made her music align, and this album signifies her expanding vision. Moving first from the familiar and now embracing a bit of the unknown, whatever she chooses to do next would benefit from the practicality of experience, and that’s a good place to be. Wait—that’s actually a great place to be.

ICYMI: How Lady Donli’s Collaborators Are Enjoying Their Lives

New Music Friday: New Projects From Lady Donli, Kemena, Makhadzi & More

Posted on by Emmanuel Esomnofu

It’s another Friday and time for a roundup of music projects from African acts to check out. Throughout the week, music has poured in from all over the continent and sometimes unmissable projects can slip through the cracks, unheard. This column serves to bring those projects to your ears as you wind down to the weekend. We’ve compiled a typically spellbinding list today, a vast terrain in the African music soundscape covered. In addition to new projects from D-Truce and MaWhoo, here are some more projects that deserve your ears.

LADY DONLI – ‘PAN AFRICAN ROCKSTAR’

In terms of artistry, few musicians are as deliberate as Lady Donli. Debuting as a rapper and then going on to contribute some of the most rootsy, Highlife-influenced sonics to the alte repertoire, Ms Donli’s ear for sound has been impressive. Her sophomore album ‘Pan African Rockstar’ arrives to much anticipation, as it follows up on her cult classic, ‘Enjoy Your Life’. As the title suggests, ‘PAR’ is a freewheeling album, incorporating influences that range from punk to soukous, jazz, and even the electrifying guitar-playing of Highlife. A distinct project with encompassing features like Obongjayar and the Congolese icon Pierre Kwenders, it’s a reaffirming showcase from a true Pan African rockstar.

 

MAKHADZI – ‘MBOFHOLOWO’

At the age of twelve, Makhadzi was already familiar with the frenetic pace of entertainment. She worked as a dancer, but as time went on, the Limpopo-bred artist leaned more towards her music and by the mid 2010s was set for a prolific career. She’s just released her twelfth studio album, which comes after her departure from Open Mic Production. Floating her own record label Makhadzi Entertainment, ‘Mbofholowo’ reinforces her place among the global appeal of South African pop music. As her projects tend to be, the new project is a sprawling body of work, totalling ninety-six minutes, and featuring a roll-call of diverse voices which include Kabza De Small, Lioness Ratang and MaWhoo.

 

D-TRUCE – ‘SMOKE BREAK VOL. 2’ 

Forget the occasional tantrums about the death of the genre—Nigerian Hip-Hop is in a good place. Quality wise, there’s seldom been a period where rappers haven’t cut singular narratives from the fabric of their life, and D-Truce has always been one such rapper. A project artist who takes the time to immerse rich detail into his music, he’s followed up on the indie scope of the ‘Smoke Break’ series. This Vol. 2 incorporates even more voices in his consideration of the contemporary Nigerian existence, as the likes of frequent collaborator Bigfootinyourface, Jess ETA, Deena Ade and LOTI feature. It’s a colourful project with a purposeful gaze.

 

IDRIS ACKAMOOR & THE PYRAMIDS – ‘AFRO FUTURISTIC DREAMS’ 

Inspired by the afrofuturism movement of writers like Octavia Butler and Samuel R. Delaney, ‘Afro Futuristic Dreams’ invokes the black experience into the infinite possibilities of sound. Idris Ackamoor & The Pyramids band have long created from the seams of purposeful genre-bending, with the core element of spiritual jazz turning to meet favourable conventions in other sounds. This new album marks the collective’s first album since 2000’s ‘Shaman!’ and coincides with the fiftieth anniversary of their debut album, the seminal ‘Lalibela’. Entirely produced alongside drummer and record producer Malcolm Catto, ‘AFD’ promises to be a groundbreaking moment for Black music this year.

 

MAWHOO – ‘THE CHOSEN’

Over the years, MaWhoo has become one of the most recognisable performers in the South African music scene. Her distinct vocals and acute sense of self has given her an edge in a highly competitive space, while she hasn’t failed to continue to burnish her reputation through the release of projects. Titled ‘The Chosen,’ her latest album calls upon a vast list of musicians, both established and rising, who colour the album with a communal, positive energy. These include DJ Maphorisa, Master KG, Kabza De Small, and Makhadzi, among others.

 

KEMENA – ‘GUITARS & MALARIA’ 

A distinct presence in the Nigerian pop scene, Kemena has had a good year. He’s been featured on a record by Joeboy, and co-wrote one of his most enduring records, all the while creating solo material to follow up on his transcendental 2020-released project, ‘Bond’. That’s the primary motivation behind ‘Guitars & Malaria’, the artist’s new six track EP. Suffused in the intimate, playful songwriting he’s mastered, the project continues to reveal the artistic preferences of Kemena, as one which stays close to home while honing into universal themes such as love, loss, and the search for happiness in the midst of so much trouble.

DEELA – ‘IS THIS ON..?’

It’s admirable to watch how much Nigerian rapper, DEELA, has grown in such little time. Since her debut album, ‘DONE DEEL’ hit streaming platforms in 2021, DEELA has consistently reaffirmed her penchant for feel-good music through a series of sleek bars and her loveable personality. She recently released a remix to breakup anthem, “Take it Up” with the assistance of American rapper, Flo Milli. That served as the lead promotional release for her 7-track extended play, ‘Is This On..?,’ a self-affirming release that sees DEELA more braggadocios then ever.

 

ICYMI: READ OUR REVIEW OF BURNA BOY’S ‘I TOLD THEM…’

NATIVE Exclusive: Balloranking Is All About Preaching the Ghetto Gospel

Posted on by Emmanuel Esomnofu

Growing up in the Lagos mainland, Balloranking was always familiar with stories. His family lived within the bubbling intersection between Ajegunle and Surulere, and the realities were heavy but instructive, and went into his professional music. Balloranking listened to the likes of Fela Kuti and Burna Boy, “but that was before I found my own voice,” the artist who just released his debut album ‘Ghetto Gospel’, told The NATIVE one recent weekday. “I started with the street freestyles”. 

One can surmise that in the period it took the man born Balogun Olamilekan from being a music lover to being an artist himself, he went deeper into the wells of his own inspiration. That means being a youngster raised in the streets, seeing the things he’s seen, and trying to make sense of it. He wasn’t the only artist with those motivations, especially those who lived in Lagos hoods which echoed similar realities. The likes of Bella Shmurda and T.I Blaze were some of the street poets whose vision aligned with Balloranking’s, and like many artists of the present generation, he turned to social media as a promotional tool. 

 

There he garnered the appreciation of an excited fan base. This was just before the pandemic and through it all, Balloranking released singles which revealed his energised, wizened grasp on Street Pop. A spate of singles in 2020 which included the aspirational gems “Never Die Poor” and “Never Stop Trying” first came out. Then came “Time No Dey,” a poignant collaboration with Seyi Vibez. If the soundscape of Street Hop was intrinsically hinged on close-by narratives, then Balloranking was focused on the least-told of those stories, especially how religious beliefs play a formative role in the shaping of one’s trajectory. 

“I’ve always wanted to create good music,” he tells me now. “Although there are a lot of different genres here, I just want to like, have my own sound, which I already do. I’m very grateful; any song I drop, my people already know this is my sound, my voice”.

But there were challenges at the start. Prior to when his career started to take off, his parents doubted the feasibility of creating music full time. Like many Nigerian artists have revealed over the years, the familial insistence on a white-collar job was a considerable weight on their dreamy flights, but through persistence the likes of Balloranking were able to stick their neck out for what they love. He relates this story now with a triumphant smile on his face, as his white designer clothes glistens on my laptop monitor. 

The telling moment for Balloranking came two years ago, when the breakout song “Based on Believe” preceded the release of his debut project, ‘Zero Panic’. An audacious body of work, its assurance was evident from its first song “Supernova”. Over the mellow production, he sings, “Might not be popping yet, but I know that I’m a rockstar/ Believe in my confidence, I know Lord is my shepherd”. It’s a life-affirming statement which, more or less, is the ethos of Balloranking’s music. “Dayemo” and “Gangster,” which features the late Dablixx Oshaa, further showcase the enjoyable minimalism of Balloranking’s sound; with poignant, almost muted percussions, the music allows his striking vocals to come through unencumbered, relaying distinct stories from far-off memories and recent experiences. 

 

As the years went on, so did Balloranking’s sound evolve. His deal with Dvpper Music was increasingly proving effective, as it opened Balloranking to wider audience streams, and through the music those markets became home. You’d hear the glossy lining behind “Feeling You”, an affectionate love record where the artist stretches his vocals into fresh sonic plains. With the feature of Bad Boy Timz, the NATIVE uNder alum stood by his ambitions to soundtrack the contemporary experience. No where would have been more evident than on ‘Trench Kid’, the sophomore project which arrived in May 2022. 

It’s a direct precursor to ‘Ghetto Gospel’, particularly in terms of its lyrical vision. A successful attempt to turn localised events into details of myth creation, its titular record picks akara over samosa and speaks about rocking okrika when “raba no dey to buy original”. It’s a stark reminder of where Balloranking is coming from; on the remix of “Elevate,” that grass-to-grace narrative is again reiterated, this time with one of the most introspective offerings from Bella Shmurda. But it’s Balloranking who takes the song past the finish line, his awareness for the unassuming metaphor yet palpable. He combines the duo of Majeeed and S1mba on the sweet breeze of “Fine Girl,” while the seven track EP ends with the Lyta-featured “Omo Ogbon”, a reiteration of the musicians’ wisdom as gleaned from the streets. 

“As a musician, I want to talk about life experiences,” he says about the overriding ethos in his songs. “I want to talk about others that I know about, my friends or my family. I really want to talk deeply about reality; I just don’t believe in going to the studio and saying all sorts of things that’s not meaningful. I calm down, I write my lyrics, and make it perfect. I don’t believe in telling false stories.”

That dedication to relaying intrinsically valuable stories poured into the making of ‘Ghetto Gospel’. Coming from a religious family, although both Balloranking’s parents were Muslims, his dad would often listen to Christian messages and loved to buy its scriptural CDs. “It gave me more view and perspectives about singing the reality I am singing,” says Balloranking, “It says more about me. There are a lot of albums, and people name their albums the way they want, but I feel I should be in this religious way because my music is not all about lifestyle and enjoying. And I really want to put people on the right path; I don’t wanna lead people astray”. 

The album was put together this year, but on there, you’ll find songs that were created as far back as 2021, thus establishing the idea of a sprawling, sonically progressive body of work. “It’s just like bringing the old vibe and the new vibe together,” he affirms. On the sombre, sparse “XXL,” he features Oshaa, who was a beacon of street-influenced Trap until his unfortunate passing in November last year. Bella Shmurda features on “Healer,” a similarly evocative record whose late-night appeal is evident from the tone of its drums, and the reserved vocalism of both artists. Interpolating his flow on “New Born Fela”, the feature is one of the many which strategically improves their associative songs. 

Yet while the album undoubtedly pleasures in the revelry of new and better stories, Balloranking isn’t divorced from the realities of many coming from where he’s from. “Bode Thomas” is one of the most profound album openers you’ll hear this year. Its soundscape resides in the atmospheric church zone, spurring the therapeutic gaze Balloranking adopts throughout its two-minutes runtime. Carrying the heft of an autobiographical performance, it begins with the poetic admission: “In my head, I’ve been trying to put things together…” 

 

‘Ghetto Gospel’ witnesses the range of Balloranking, especially the structural strength of his songs. Its sprawling vision already places great expectations on the artist, but he’s mastered his presentation, some seven years after he began exploring his sound. Other standouts on the project include the amapiano-flirting “Aye,” the Dancehall-coloured “Dinah,” and the breezy “Backwoods,” but seriously, there’s gems littered over the soil of this fifteen track album. Like he reiterates throughout our conversation, Balloranking’s grasp on narrative conventions purposefully informs his music, making this one of the most assured debut albums to have emerged from the Street Hop tradition. 

He’s instantly reflective when I pose the question about the merits of this album, and his music, being a stretch of collective moments reaching for the sun. “Whenever you listen to Balloranking, I just want you to have belief in yourself,” he says now, touching his chest. “Whatever you have in mind, just keep doing it”. By way of final comments, Balloranking imagines a blooming effervescence in his musical journey. “More is still coming,” he affirms. “As long as I’m still growing, exploring more, I think you can’t get enough of Balloranking.”

 

ICYMI: CHECK OUT BALLORANKING ON THE AUGUST 2022 EDITION OF NATIVE’S UNDER

Nigerian Artists & Music Labels: A Love-Hate Relationship

Posted on by Uzoma Ihejirika

Although art is its primary commodity, the music industry is intrinsically a business. It is a marketplace where both the producers and the distributors of the art hope to make an income from the interest of the consumers—whether they are paying attention through the TV or the radio, through their smartphones, or in a physical space in a gathering of like-minded people. The situation is no different in any place around the world, much in Nigeria.

Nigerian music, as it is today, is no small fry. The artists have become renowned superstars across the world, recognised for their sounds—collectively termed Afrobeats—of joy, pain,  excitement and frustration. From the earlier times of Fela Kuti to King Sunny Adé to Oliver De Coque to William Onyeabor to Onyeka Onwenu to Ras Kimono to Trybesmen to 2Baba to D’banj to present times of Wizkid, Davido, Burna Boy, Flavour, Tiwa Savage, Rema, Fireboy DML, Tems, Ayra Starr and Omah Lay, Nigerian music has taken on different complexions but what is constant is that the music has crossed the country’s borders into other parts of the world.

In this conveyor belt of art-consumer, artists and music labels are two peas in a pod. The Times of India notes that “labels have a major role in terms of funding; they assist budding and young artists, and singers by facilitating funds at the time of creation, distribution, and marketing of the releases. This gives a strong hold to artists and those who want to go ahead in their music careers.” In the Nigerian music scene, whether the labels are based in Nigeria or outside the country, they are a fundamental part of the careers of many artists. Think King Sunny Adé and Island Records, or Afrodisia and The Lijadu Sisters and Christy Essien-Igbokwe, or Kennis Music and The Remedies and 2Baba, or Chocolate City and M.I Abaga and Ice Prince, or YBNL and Fireboy DML and Asake, or Mavin Records and Rema and Ayra Starr.

In 2004, the three-man group of 2Baba, Faze and Blackface (Plantashun Boiz) disbanded with 2Baba choosing the solo route. In an interview, he spoke about why he joined Kennis Music, the Nigerian music label led by Kehinde “Kenny” Ogungbe and  Dayo “D1” Adeneye. “There were a couple of labels then, but I went with Kennis Music. Because Kennis Music was the biggest in terms of everything,” he said. “So I went with Kennis music and I spoke with Mr Kenny Ogungbe, we came to an agreement and you know, the album came out and it was a huge success…” 2Baba’s two albums under Kennis Music—2004’s ‘Face 2 Face’ and 2006’s ‘Grace 2 Grace’—transformed him into a sensation, and he lent credit to the label, saying, “…Kennis Music had done the work of promoting the music properly, like taking it across the whole corners of Nigeria and Ghana and South Africa.”

M.I Abaga’s 13-year stay in Chocolate City Music is also an example of the impact that a record label has on the career of an artist. From his studio albums to his mixtapes and collaborative projects, Chocolate City Music had been the home of M.I, guiding his entrance into the music scene with 2008’s ‘Talk About It,’  firing up Nigerian Hip-Hop with his ‘Illegal Music’ series and signposting his evolution as an entertainer. So woven was M.I into Chocolate City Music that he, Ice Prince and Jesse Jagz were fondly known as Choc Boiz. M.I also served as the label’s CEO between 2015 and 2019, overseeing a joint partnership deal with Warner Music Group. After leaving Chocolate City Music in 2020, M.I still respects his time at the label, saying, “We are family for life.”

While Nigerian artists and record labels have mostly mutually beneficial relationships, there is a part of the conversation that spills anguish and courtroom drama. In 1974, King Sunny Adé was sued by Chief Bolarinwa Abioro, owner of African Songs Limited and Take Your Choice Records Stores Limited. Adé had signed a five-year contract with Abioro and trouble began when the former demanded improved royalties for his music, which the latter firmly turned down. Adé went on to release new music under his outfit Sigma Disc Records and it annoyed Abioro who considered it a breach of contract. In 1975, a court ruled in Adé’s favour, stating that his contract with Abioro expired and ordered Abioro to return Adé’s master tapes but that didn’t happen. In 1997, one year after Abioro’s death, Adé sued both companies for his master tapes in a federal high court in Lagos; it wasn’t until 2015 that he won the case—with 500 million naira as damages. 

The cases have tripled since then—from Kiss Daniel (now Kizz Daniel) and G-Worldwide Entertainment to Runtown and Eric Manny Entertainment to Cynthia Morgan (now Madrina) and Northside Music to Iyanya and Made Men Music Group. These situations, in most cases, wrought life out of the artists, damaging their enthusiasm to make music; for the labels, it gave them a bad reputation, ultimately tainting their credibility. In a three-part special investigation for the NATIVE, Nigerian journalist Joey Akan reported the situations that sullied the relationships between Made Men Music Group’s CEO Ubi Franklin and the label’s artists, including Iyanya and Emma Nyra. The report offered the perspectives of Iyanya and Ubi Franklin, on a case of contractual violations.  See ehn, instead make I work with Ubi again ehn, I’d go and start farming. That one na suicide wey you just go carry,” Iyanya had said. In 2021, Iyanya and Ubi Franklin reconciled, trashing their differences, with Iyanya releasing his latest projects under Made Men Music Group.

The matter of artist-label feuds is not a Nigerian phenomenon. In South Africa, there’s the Kgosi Mahumapelo-owned Ambitiouz Entertainment whose disputes with several acts are public knowledge. The exits of Amanda Black, A-Reece, Fifi Cooper, B3nchMarQ, Emtee and Priddy Ugly from the label sparked controversy in the SA music scene over disagreements over finance and other contractual obligations. In June, Ambitiouz Entertainment was barred from taking down Blaq Diamond’s YouTube channel and music from all other digital streaming platforms over copyright/ownership disputes. In 2018, rapper Gigi Lamayne left Ambitiouz Entertainment, and in an interview, she cited financial disparities as one of the reasons she left. 

“So, 50% went to the label and 50% went to me. And I only found out that it wasn’t even 50 afterwards when I was talking to promoters,” she said. “It was like, ‘Oh, you got paid [this much]?’ ‘How much did you get paid?’ [and I’m like,] ‘I got [that much].’ That means they kind of chopped the rest. So, it wasn’t really even a 50. But, you know, those are questions you can’t even really ask now when you’re in the record label and you’re stuck.”

In the US alone, countless stories abound of artists and their music labels being at loggerheads over the contracts, sometimes going to court or settling for out-of-court settlements. There’s the story of Prince who, due to his contractual dispute with Warner Bros. Records, wrote ‘SLAVE’ on the side of his face during performances and changed his name to a symbol and often went by The Artist Formerly Known as Prince. There’s Dr. Dre whose legal battle against Death Row Records for the rights to his 1992 debut album ‘The Chronic’ ended in 2015 when the court ruled in his favour. Most recently, Taylor Swift, after failing to secure the rights to her music from Scooter Braun’s Big Machine Records, has vowed to re-record all her old songs dating back to her 2006 self-titled debut album.

In recent weeks, the death of MohBad has engulfed the media in Nigeria, with tributes pouring in and calls being made to unravel the circumstances of his death. MohBad signed to the Naira Marley-owned Marlian Music in 2019 alongside Zinoleesky, C Blvck and Fabian Blu. MohBad’s time with the label birthed the well-received tracks “KPK (Ko Por Ke)” with Rexxie, “Feel Good,” “Peace” and the 2020 EP ‘Light.’  In October 2022, MohBad took to social media to call out the victimisation he suffered at the hands of his label boss Naira Marley and his associates. MohBad went on to sever ties with Marlian Music and float his outfit Imolenization. After the passing of MohBad on September 12,  stories have emerged—with video evidence—of MohBad being physically assaulted and bullied by entities associated with Naira Marley. The Lagos State Police Command has also set up a 13-man committee to investigate the circumstances surrounding the death of MohBad.

MohBad’s situation is an extreme case that highlights the tensions that arise between artists and their labels. Many Nigerian artists have countered unpleasant situations of this kind by launching their labels as independent artists or signing distribution deals with other outfits. EMPIRE, an American distribution corporation and record label, has been pivotal in assisting artists like BNXN, Wande Coal and Kizz Daniel with the wherewithal to play major roles in steering their careers in their preferred directions. Beyond artists, EMPIRE also ensured that other professionals in the industry get proper representation, with Titilope Adesanya, Director Of Operations EMPIRE Africa, saying, “We’re in a place where people understand the importance of producers and instrumentalists for the studio session. You have producers being listed—not only for split sheets or somebody’s computer, but they’re also been listed on the DSPs [digital service providers]. There is a similar thing happening with photographers.”

Nigerian Hip-Hop duo Show Dem Camp is also another example of independent artists who have curated their music themselves and built an organic following, resulting in their annual Palmwine Festival. “We started the Palmwine Festival. I think that has been the quickest thing to help us get our brand global,” Tec, one-half of the duo explained.  The festival takes the duo to Lagos, Abuja, Accra, London and New York, where they connect directly with their fans as well as boost their financial earnings. “We were able to activate our followers and have them pay money and support what we were doing. They bought into the music and us as artists. Your core following holds you to the standards you have set. I always say it is more important to have fans than followers,” Tec added.

A marriage of artists and record labels, in whatever form, will remain a constant. Artists will always seek the outfits that can empower them with the right opportunities to create and amplify their music, and labels will always be on the lookout for musical talents to spotlight and invest in with the hope that the support yields financial dividends. What must change is for the parties involved to ensure that they play their roles adequately for the marriage to not turn sour. In the Nigerian music scene, as in every other music industry in the world, artists and music labels owe it to themselves not to ruin a good thing.

[Featured image credits/NATIVE]

FOR THE GIRLS: XENIA MANASSEH IS A POLISHED CREATOR ON ‘LOVE / HATE PT. 1’

The Shuffle: Celebrating Wizkid’s ‘Ayo’ through 5 Essential Songs

Posted on by Nwanneamaka Igwe

Back in 2011, Wizkid made a confident declaration with the release of his debut album, ‘Superstar.’ He was armed only with the backing of artist-mentor, Banky W., distinctive vocals and a dream but he introduced himself as a superstar when not many knew his name. It didn’t matter that he didn’t have much in terms of exposure or resources, Wizkid’s conviction rang loudly across what many now consider the best debut in the history of Nigerian pop. Three years later, Wizkid was already basking in the glory of his unrelenting efforts with the unfathomable success of the debut, etching a staggering imprint on the soil of African music. His sophomore effort, ‘Ayo’ was a celebration of not just his admirable career strides in such little time, but a toast to the name Ayodeji Balogun. 

‘Ayo,’ which translates to joy, features 19 feel-good songs with Wizkid soaking in the light shone by his hard work and accolades of the preceding three years. He was experiencing an unquenchable high and decided to take listeners along to celebrate this win with him. While Wizkid thanked his supportive mother for her continued prayers on “Mummy Mi,” he showed his admiration for his roots for driving him to new heights on “Ojuelegba.” As much as he is humbled by his background, he doesn’t hesitate to gloat on “Show You the Money,” a cheeky reminder of the financial gains his success has brought. To celebrate nine years since its glorious release, here are five classic songs from ‘Ayo’ that you need to circle back on your current rotation. 

“OJUELEGBA” 

The beauty of a song like “Ojuelegba” is that it’s one of those iconic singles that cut across several generations. Pull this up at any social event you’re attending and everyone from your great-grandmother to the overly excited ten-year-old is sure to have a good time. For many Nigerians home and abroad, the Legendury Beatz-produced track has been dubbed Nigeria’s national anthem and with good reason. Over the lightly clashing cymbals and lush chords, Wizkid tells a story of hustle most Nigerians are familiar with in one way or the other. “Ni Ojuelegba, they know my story,” he croons on the first line, taking us back to his early music days at Mo’Dogg studio. He explains that while he may be on the cusp of a bigger breakthrough—and boy was he right—his journey didn’t start as flashy as his life may appear now. As much as he is telling his story, he takes the next couple of lines to explain that his drive did not sprout out of nowhere, crediting the shared determination to make it common with the people of Ojuelegba. 

Wizkid reiterates his penchant for feel-good tunes as the mood of the track picks up by the chorus, “I am feeling good tonight, this thing got me thanking God for life.”  In many ways, he perfectly encapsulates the skill Nigerians have to put a smile on their face while grinding for their daily bread. He is overwhelmed with joy and radiating positive energy as he quips “I can’t explain, I can’t explain,” leaving a lot unsaid but trusting that his listeners, or at least those who have witnessed his come-up, will understand and thank God on his behalf. Lyrically, the song doesn’t offer much with regards to length as he only repeats the first verse and hook for the second half of the track but it really doesn’t need to. While he seamlessly drifts between Yoruba and English, the message is crystal clear —Wizkid is happy. 

“JAIYE JAIYE” [FT. FEMI KUTI]

Of all the hits on this 19-tracker, “Jaiye Jaiye” captures the radiant themes of the album the most and with good reason, it is also the introduction. For an album dubbed ‘Ayo,’ “Jaiye Jaiye” —which loosely translates to enjoyment and generally having a good time— couldn’t be a more perfect way to set the mood. Wizkid starts by listing what we can assume to him are the good things in life—money, designer items, cars and women. He exudes optimal levels of excitement as he expresses almost to his own surprise “You cannot believe what I am seeing with my eyes/Say my people it is a beautiful story(na na na).” Other than the pleasures derived from the aforementioned joys themselves, Wizkid’s happiness comes from making comparisons to his life when he started. He is basking in the limelight, catching flights and quite literally nothing can bring him down from the high he is feeling. 

To anyone who may try to stand in the way of his earned success, he warns, “I’m balling I’m balling I’m balling for two, Let nobody do me bad or intrude.” The props of this hit can’t be complete without the recognition of Sarz’s masterful production. “Wizzy bad musician, Sarz bad producer,” Wizkid croons mid-way across the track, giving Sarz his well-deserved flowers. He is able to celebrate Wizkid’s smooth vocals over Femi Kuti’s boisterous saxophone chords and heart-thumping bass to convey the joyous story being told. As the track draws to a close, Wiz delivers an admirable tribute by sampling the legendary Fela Kuti’s “Lady” as he croons the eminent lyrics “If you call am woman African woman no go gree/She go say, she go say I be lady o.” All this is strung together by Femi Kuti’s exhilarating saxophone solo as the track closes out. What a marvellous way to introduce a celebratory album. 

“CARO” [FT. L.A.X]

It’s a blessing and a curse to have a song with a maestro like Wizkid. A blessing because you’d have one of the best party songs of our decade and a curse because if you’re anything like L.A.X, topping an effort as outstanding as that would prove extremely difficult. Whether or not L.A.X’s magnum opus arguably dates back to 2014, it doesn’t take away from his peerless delivery on the gem that is “Caro.” This may not be the blueprint but in many ways “Caro” is a solid example of serenading taken to new heights. Over a groovy production, by Legendury Beatz once again, Wizkid shamelessly rains praises on what his ideal woman looks like, “Caro make my head dey turn, Caro dey make me wan dey lose am.”

Now, it is unclear whether or not this woman is already in Wizkid’s life or he is simply stating the qualities he looks for in a woman as he croons, “Eh, I’m looking for Caro, show me Caro/Sisi Caro, where are you Caro?” Like we hadn’t already heard Caro’s name enough, L.A.X comes in to reiterate  the stronghold she has on himself and Wiz. His gritty, sonorous vocals sweetly contrast Wizkid’s plush ones as he sings, “Caro fine plenty plenty, Caro sweet, no get enemy.” Whoever Caro is, shout out to you for inspiring this timeless tune. 

“ON TOP YOUR MATTER” 

A major factor contributing to the likeability of this track, other than Wizkid’s glassy vocals, is Del-B’s pristine production. “On Top Your Matter” perfectly sustains the jovial mood of the album established by preceding tracks like “Kind Love” and “Show You The Money” to name a few. Once the heavy basslines drop at the track’s introduction, your mind instantaneously travels to an Owambe for the similar melodious pattern associated with a talking drum. It is later accompanied by echoey chords and Wizkid’s sweet-sounding adlibs. “I fit die on top your matter, baby girl God bless your mother,” he leads in, evidently hooked on the love interest. He celebrates her beauty with witty comparisons to mystical creatures as he lulls, “You too fine pass mami water,” all the while thanking her parents for their daughter. Wiz goes on to celebrate his muse, making promises of a lifetime commitment after searching many years for her. Touched by her qualities, he bravely admits to being in love and the extreme measures he would take to ensure she reciprocates his feelings. 

“IN MY BED” 

Wizkid has never been one to shy away from sexual themes. On “In My Bed,” Wizkid manages to wrap up his desire for his muse as he quickly commits to loving her for her body while celebrating God’s goodness in his life, all under four minutes. South African four-man music group, Uhuru, consisting of DJ Maphorisa, Xeli, Mapiano and DJ Clap snagged credits on the intoxicating drum-led production of the track. The groovy, upbeat instrumentals lay the perfect foundation for Wizkid’s serenading to begin, “Oh girl you whine your waist, I promise to be your defender/Girl, I go love you January to December, Tell dem hater back to sender.”  The bass drops, replaced by an air of seriousness to queue in Wizkid’s brazen request. 

After name-dropping several key players in Nigeria’s political scene, he takes on a different theme, praising God for his guidance through a tumultuous journey, “Oh blessing follow me everywhere I go, I’m serving a living God.” In an admirably humble moment, he expresses his surprise at the support as he croons “And everywhere I go people show me love, just tell me the reason gan.” He questions his haters in the same breath, wondering why they try to speak down on him despite his evident talents. This message is accompanied by brooding keys and an intermittent bass in the background. Seconds later, the mood picks up as Wizkid’s decision to ignore his naysayers and focus on his grind becomes evident. 

[Featured Image Credits/The NATIVE] 

ICYMI: REVIEW: WIZKID’S SUPERSTAR

The Aftermath Of Mohbad’s Sudden Death

Posted on by Emmanuel Esomnofu

This is a developing story about the aftermath of Mohbad’s death.

On September 12, 2023, the tragic news of Mohbad, real name Ilerioluwa Oladimeji Aloba’s passing broke. The 27-year-old artist had come into the limelight by creating some of the most transcendent records this decade, inspired by his unending search for peace. In the last week, his colleagues in the entertainment industry have continued to pay their respects; from monetary donations to his family to tribute songs and calls for justice for his alleged killing.

Following the news of his death, many of his nearest and dearest have alluded to his untimely death being tied to threats he reportedly received from his record label (Marlian Records) while he was alive. At different points in the last year, Mohbad had revealed through a series of X (formerly Twitter) posts, video recordings and Instagram Live Streams that he was embroiled in a bitter fight with his former label.

 

February, 2022 – NDLEA Arrest

In February 2022, the Marlian Records residence in Lagos was reportedly raided by the Nigeria Drug and Law Enforcement Agency (NDLEA) which led to Marlian signees; Mohbad, Zinoleesky, and other associates being arrested. Following the arrest, Mohbad took to an Instagram Live stream, claiming that his life was in danger. He lamented, “Everybody in the whole world, please help me, if I die, na Marian Music, Naira Marley kill me. Please help me, I don’t want to die”. 

In the last week, some more footage from that day has been released, which shows Mohbad in what looked like a hospital, crying about his recent experience in NDLEA custody. He claimed to have been harassed and given a substance to drink. “They gave me something liquid to drink,” he said in the video. “It was inside a plastic water bottle. They said I was using drugs. I was the only one who drank it, they didn’t give the others to drink. I won’t lie. Then they told me to go home and told the others to wait”. Following his death, NDLEA through spokesperson, Femi Babafemi, has debunked any claims that Mohbad was arrested and poisoned in their custody.

October 2022 – Mohbad vs Marlian Records

A few months later in October 2022, the musician revealed through a thread on X the details of his conflict with Marlian Records. “As an artist from the street, I thought the Marlian Family would be a good place for me. However, recent events and certain truths have come to light which threaten my peace, health and career.”, he said, before going into detail about the cause of the day’s fracas. “I noticed Tunde was quite agitated as we started the discussion. In the middle of the conversation, Tunde became violent and attacked me. The guys I was with were also attacked, humiliated and stripped naked by Sid, Shuddy and Seyi and some of the other boys. We were barely able to escape. 3 of us had to be checked into the hospital to get medical care for the injuries sustained during the assault.”

In the series of posts, Mohbad claimed that he asked for his manager to be changed, and as a result was beaten up with the people he went with. He also shared footage of the injuries he sustained in the alleged attack.

June 2023: Mohbad files petition against Sam Larry  

In the aftermath of Mohbad’s death, a video was released of him and Zlatan shooting the video for “Account Balance,” off his last project, ‘Blessed’. The video showed a number of threatening figures storming the set of the video shoot with weapons in hand, threatening that Mohbad would not be able to leave the premises. The video identifies Sam Larry, a known associate of Naira Marley, who appeared to attack Mohbad, before Zlatan stepped in and protected the now-deceased.

A picture of Mohbad’s petition to the Nigerian Police Force also surfaced, which alleged that “they have been asked to deal with me for reasons best known to them which till date they are threatening to kill me if seen”. Accounts from Paulo, Bella Shmurda, Iyabo Ojo and others corroborate Mohbad’s claims that he was being hunted and attacked, stating that he had confided in them or someone close to them about it before he died. 

 

September 2023: Mohbad is pronounced dead

Last Tuesday, Mohbad’s sudden death was announced. Over the weekend, a video of the artist’s mother surfaced online, where she spoke about some of the challenges her son had been facing before he died. She reaffirmed the allegation that Mohbad was given something to drink at the NDLEA office and that since then he struggled with fear, anxiety, hypertension, insomnia and more. In between her pleas for justice, she spoke about the artist’s fear of attending public events, because people being allegedly sent from the label were after him. She debunked claims made by the label in several live streams that her son didn’t suffer from any mental illness as they stated but was being set up to look that way. 

The immediate aftermath of his death cast a pensive atmosphere across social media, as his quick burial, which was live-streamed, raised questions about such a hurried interment without an autopsy. Some people noted that he wasn’t Muslim and, therefore, didn’t need to be buried immediately as Islamic custom requires. In addition, others found fault with his family burying him in an undersized coffin, further highlighting suspicions of foul play. 

Sustained vitriol has been the response of the general public, and most especially, industry insiders who knew Mohbad and his struggles with Marlian Records. Most notably, Bella Shmurda made a number of affecting tweets calling for justice for his friend. “Until those who oppress him face justice and sentenced, nothing like last respect,” he wrote, rejecting the notion that the deceased had peacefully been laid to rest. 

These revelations have brought about a call for justice, which has resulted in a spate of processions across the country and even in the UK. Throughout Nigeria, from Kogi and Abeokuta to Asaba and Akure, hordes of young people have taken to the streets to demand Justice For Mohbad, showing solidarity with the fallen artist. In Lagos State, many more are planning to join the peaceful walk and tribute concert scheduled for Thursday evening (September 21).

The Nigerian Police Force has also stepped in, recently sharing an official statement by the Lagos Commissioner of Police, Idowu Owohunwa yesterday. The unit is said to have inaugurated a 13-person special investigation team to look into the death and an interim report is expected within two weeks. “We don’t want to isolate specific characters,” Owohunwa said. “All facts, including videos, including personalities that have been mentioned, including those not even mentioned but we do know from our investigative experience would be vital.”

To carry out his autopsy as the investigation demands, Mohbad’s body has been exhumed from its burial spot in Ikorodu. The Lagos State Police Command Public Relations Officer, Benjamin Hundeyin has also confirmed an arrest has been made, of the nurse who gave the deceased what was supposed to be an anti-tetanus injection after he was attacked in Lagos state.

On the 21st of September, a candlelight procession was held in Lagos and other states across Nigeria, including Enugu and Anambra states in the southeast. In Lagos, musicians Falz, Zlatan and Davido, gave the closing remark at the tribute concert. It was an emotional celebration of Mohbad, whose death has morphed into a global consideration, as the likes of American superstars Lil Durk and Meek Mill have shared posts about it. Mohbad also appeared on the prestigious Time’s Square billboard, with a touching message read alongside it: “Will be remembered forever. Legends are never forgotten. R.I.P.”

It was also reported that later that evening, the crowd which had gathered for the candlelight procession, started to march through the Lekki tollgate, a symbolic location during the End SARS protest. That was when the available policemen began to ask them to disperse, and in the eventual refusal, reportedly threw teargas into the crowd. In response, the Lagos Police spokesperson, Hundeyin released a statement on Friday, the 22nd of September, relaying the events that spurred the police’s decision to use teargas.

According to Hundeyin, “the Lagos State Police Command had an agreement with the organizers of the candle light procession that it was to end at 8pm latest and should terminate at Muri Okunola, Victoria Island,” he said. “It was clearly stated for avoidance of doubt that in the interest of all Lagosians and considering the heavy use of the Lekki-Epe Expressway, the Lekki Toll Gate would be a no-go area. It, however, became disconcerting that after the procession duly ended at Muri Okunola park as agreed, with the police providing optimal security all through, some persons started gathering at the Lekki Toll Gate with intent to manifest objectives extraneous to the #justiceforMohbad initiative. Vehicular movement on the ever-busy expressway had also been brought to a total standstill, leading to traffic build up. Having gone down this road before, having learnt from previous similar encounters, and having studied the pattern in the crowd, the red flags and early warning signs of total chaos and anarchy were discernible. Therefore, in fulfillment of our mandate to protect life and property, maintain law and order and prevent crimes, we adopted the least harmful method of crowd dispersal, following the failure of verbal persuasion – the use of teargas”.

 

ICYMI: IN MEMORY OF MOHBAD, THE STREET-POP ARTIST WHO ALWAYS SOUGHT THE LIGHT

Lady Donli is set to unveil another layer of her artistry with ‘Pan African Rockstar’

Posted on by Nwanneamaka Igwe

The release of an artist’s debut album is arguably one of the most defining moments of their career. While they may have a plethora of unofficial releases across platforms, up until their music hits major streaming platforms, the work gets only a limited number of ears directly affiliated with the artist or on an ‘if you know, you know’ basis. That’s where platforms like Soundcloud came in to serve as a launchpad for underground artists to prepare themselves and get accustomed to the convoluted world of mainstream access. Ahead of her debut album, ‘Enjoy Your Life’, Abuja-raised singer Lady Donli had kept the midnight oil burning as she carefully threaded a path to self-discovery from her 2014 mixtape, ‘Love & War’ to her immersive detailing of a heartbreak on 2017’s ‘Letters to her’.

When her 15-track LP finally arrived in 2019, it was more momentous for listeners who had been following the artist’s evolution over her first couple of releases. Newer listeners were not excluded, considering how distinct and rounded ‘Enjoy Your Life’ is within the Lady Donli canon. It’s just that, in flipping the script once again, older fans were fully prepared and Donli was ready, now more than ever, to bask in the limelight of her unrelenting efforts. 

 

Set the scene in 2016. Nigeria’s prominent alternative community is witnessing a shift and tracking a path down mainstream audiences with the help of young mavericks like Cruel Santino, Odunsi (The Engine) and of course, Lady Donli, to name a few. While the first coming of the alternative movement goes as far back as 2009, spearheaded by the likes of DRB Lasgidi, Ajebutter and Blackmagic, the subculture’s second coming—now termed ‘alté’—didn’t come into fruition until around 2016. The reason it was able to garner so much attention in such remarkable ways is largely due to the sheer hunger and drive its major proponents had.

While mainstream Nigerian pop was expanding in unfathomable ways, trickling into international markets and strengthening its grip on Afropop’s centre, the new wave alté pioneers began experimenting with new ways to produce and consume music. As they built immersive worlds within their craft, exploring various soundscapes and fusing genres, artists like Lady Donli nurtured a community of explorers alike to put them on to innovative paths Nigerian music can travel. So, by the time lead hustle single, “Cash,” arrived with delightful Highlife infusions by The Cavemen and twinkling keys from producer, GMK, alongside poverty rebuking hit, “Suffer Suffer,” we were unlocking a portal into what would be one of the best debut releases in Nigerian music, this side of Wizkid’s ‘Superstar’. 

In the true spirit of community, Lady Donli tapped some of the most stunning vocalists and expert producers still navigating a come-up in Nigeria’s hyper-competitive music scene. And to my preferred judgement, most of them were women. Let’s start with “Corner.” Dynamic sister duo, Ivana and Jessica Nwokike—more popularly known as VanJess—provided a refreshing R&B perspective to a Highlife-fusion track featuring dulcet shakers and background vocals from The Cavemen. Together, they presented a witty and direct address to their love interest, calling them out on their player ways, “Corner corner eh, you just dey use me dey play corner corner eh.”

Similarly, Donli enlisted flower crown-Tems, before she was Grammy award winning-Tems for a vibey, heart-warming rendition on “Good Time” as the pair crooned about only being interested in the jovial aspects of life. She also delivered an unrivalled combination of Ghanaian superstar, Amaarae, and SOMADINA for a sultry rendition on “FLAVA” and Solis for her ethereal touches on “Confident/Feeling Cool.”

 

Lady Donli was able to provide an enabling environment for her eclectic collaborators to blossom, all the while delivering star quality verses that reminded you who’s album you were listening to. Think “Never Ending” where Donli’s hypnotic vocals pull at your heartstrings as she confesses her extreme dedication and unquenchable thirst for her love interest. Or “Trouble,” where she relays the cold-heartedness of the streets and sheer longing for full-on commitment. She puts her skilled penmanship on full display and wears her heart on her sleeve the entirety of the project with the assistance of her painfully distinct chords. By the time the outro, “Bite the Dust” rolls around, you are met with bitter-sweet emotions.

Yes, this was one the most seamlessly curated projects of our time and a resounding debut for Donli but this is also the last time you’d hear the sonic masterpiece, ‘Enjoy Your Life,’ for the first time. “I’m just getting started, securing my assets/God give me the access, So I never get to bite the dust,” she croons once the track’s dreamy keys roll around. The heart-warming message implies that this is only the beginning for Lady Donli, as she beckons on God to open more doors into the future. It comes with intense disappointment that this peerless contribution to Nigeria’s vast music fabric has been pulled from digital streaming platforms for over a month now—hopefully to return soon.

With her debut album now behind her, Donli is evidently delighted to take the world by storm but the world’s greatest nightmare, COVID-19, puts all her efforts to a halt. And as the iconic tv show, ‘Avatar: The Last Airbender’ quotes, “when the world needed him [in this case, her] most, he [she] vanished.” Fans of ‘Enjoy Your Life’ searched high and low amidst the socially distanced lockdown for Lady Donli who we later discover in our 2020 column, Life in Quarantine, was stuck in Toronto, Canada.

While artists like Amaarae soundtracked our lockdown experiences, Lady Donli grappled with the rest of the world to understand what was starting to look like a new normal. Understandably overwhelmed by the overstimulating and heartbreaking news cycle, Lady Donli took a well-deserved social media and music break—with the exception of loosie single, “Wonda Wonda”— only to return in the later parts of 2020 with a two-pack release dubbed, ‘Rockstar Parole.’  For many hard core EYL fans, the smooth Afropop-textured release signified the end of a dearly beloved era. To this, Donli explained, “I said these songs are the last two from the EYL era. This is officially the end of an era because album two is on the way.” Speaking on what we now know as ‘Pan African Rockstar,’ Donli added, “I keep trying to explain, you can not box me. I created the box. Everytime I create a new project, it’s a new sonic. I take on a new identity. Everything [is] deliberate.”

 

After ‘Rockstar Parole,’ Lady Donli went MIA again, only to return half way into 2021 with the groovy 6-track EP, ‘W I L D’—acronym for Where Is Lady Donli?—and all seemed right with the world again. “Searching” leads the quiet, not-so-quiet comeback with part-brooding, part-excited journey down self-discovery alone and in the confines of a romantic relationship. “I just wanna know who I am, I hope that you can try and understand,” she ruminatively sang on the hook. On the EP, she tapped usual suspects of GMK and Yinka Bernie for producer duties, alongside guest appearances from Ragz Originale, Shae Universe and Sugarbana.

In typical Lady Donli fashion, ‘W I L D’ is captivating. She offers an electric freestyle on “Dragon Fruit Freestyle” and her vulnerable side on the intro, “WILD” as she confesses her struggles of loss and confusion while navigating the pandemic. However, “M.K.K” remains the EP’s standout for a number of reasons. We are reaffirmed of Donli’s fun and free self as she seduces her love interest, subtly shaming yet understanding why they’re obsessed with her. She evidently derives pleasure from dangling the carrot as she lulls, “You can be my ex if you play too much, when I put it on, tempted to touch.” As much as an EP doesn’t feel sufficient after a long hiatus, Donli ensures her fans that she is back for good with intimate live performances across the country. 

As the new year rolled around, Lady Donli proved to be a woman of her word, debuting an enthralling performance of “Thunderstorm in Surulere” for A COLORS SHOW. Her vibrant, jumpy energy effortlessly transcends the screen as Donli sashays and sings over production by UK-based artist and EYL-collaborator, Benjiflow. The pair provide a melting pot of R&B, Afro-Soul and subtle tinges of Folk. She languidly basks in the euphoria of a romantic interest and her longing to be next to them, “Rain is falling, in a way it has never felt before/It’s the thunder in my soul that’s pouring/‘Cause I think I found the one, I’m Soaring.” The performance, which has now raked in 240k views, Donli reaffirmed her penchant for feel-good tunes laced with hypnotic instrumentals and peerless storytelling.

She didn’t close out 2022 without a new single, “Hello Lady,” a refreshing entrance into Donli’s newly explored soundscape. The LMBSKN-produced single unearthed a cheery Donli over a breezy, bass-led instrumental with her same, unmissable sensual energy. She croons, “I know I’m on to something, so excited, so excited/My head is spinning out of my body,” on what we now know as the first promotional single for her sophomore album, coming 4 years after the glittering debut. 

 

As we’re well aware, it takes more than drive and talent to make it in the music scene. With a viewer attention span of mere seconds, navigating the space amidst dozens of new entrants proves difficult and Donli is not shy to express this. We catch a laidback Donli across platforms such as Twitter and TikTok, shamelessly requesting audience engagement and hustling for your attention. Her witty videos and one liners beckon on whoever would lend an ear to stream her singles as “My Ability,” the second promotional single for ‘Pan African Rockstar’. She is evidently leaning in a new direction as she enters an ultra-confident mode for an infectious rendition strengthened by lustrous guitar riffs and groovy percussions by JMS.

Given her history, it goes without saying that Donli has earned our ears and we’re in good, reliable hands as we anticipate her next album. The 12-tracker promises to deliver equal parts party anthems, self-reflection in usual Donli fashion and glassy love songs ultimately strung together by her childlike exploration for new sounds. Lady Donli’s time now and she is primed for another showcase of artistic brilliance, as always.

[Featured Image Credits/The NATIVE]

BEST NEW MUSIC: LADY DONLI CELEBRATES HER BRILLIANCE ON “MY ABILITY”

Turntable Top 100: Mohbad’s “Ask About Me” makes a re-entry at No.22

Posted on by Nwanneamaka Igwe

In the final days of June, Mohbad released a Fuji-leaning Street Pop extended play dubbed ‘Blessed’, a colourful sophomore release carried by his irrepressible spirit. Lead single and penultimate track, “Ask About Me,” proved to be a clear standout from the 8-track project, presenting a breezy cut of Amapiano-infused keys and ethereal background vocals. On this week’s TurnTable Top 100, the Nektunez-produced track made a re-entry into the Top 30, snagging up a spot at No.22 as fans reconnect with the talented star amidst his unfortunate and heart-breaking passing. RIP, Imole.

 

Asake’s hit single, “Lonely At The Top” stands strong at No.1 on this week’s TurnTable Top 100, extending its streak to ten consecutive weeks, now becoming the second-longest No.1 in chart history. It tallied 2.89 million streams and 90.9 million in radio impressions. The song has a chance to tie the 11-week run of Omah Lay’s “Godly,” and possibly set a new record in a few weeks. Ayra Starr-assisted “Ngozi” moves Crayon’s previous No.3 to the chart’s Top 2 this week while Burna Boy’s “City Boys” slips from the second spot into this week’s No.3. The rest of the Top 5 remains unchanged, with Khaid’s “Anabella” at No.4 and Omah Lay’s “reason” at No.5.

Outside the Top 5, Shallipopi’s “Obapluto” rises four spots to this week’s No.6, a new peak for the single, and Olamide’s “Jinja” slides up 4 spots from last week’s No.11. Similarly, Flavour and Odumodublvck-assisted single “Ndi Ike” slides five spots, a new peak for Falz after spending 5 weeks on the chart since its debut. Burna Boy’s “Giza” featuring Seyi Vibez and BNXN’s “Aduke” off his highly anticipated album, ‘Sincerely BNXN,’ closes out the top 10, occupying the 9th and 10th spot respectively.

For the rest of this week’s TurnTable Top 100, Burna Boy’s “Big 7” and Young John’s “Sharpally” linger on the 11th and 12th spot after spending a combined 15 weeks on the chart. Khaid’s “Jara” off his recently release EP, ‘Emotions’, also rises 22 spots to No.14 and Mohbad’s “Peace” re-enters at No.28 after spending 32 weeks in the Turntable Top 100 and peaking at No 21.

[Featured Image Credits/The NATIVE]

ICYMI: IN MEMORY OF MOHBAD, THE STREETPOP ARTIST WHO ALWAYS SOUGHT THE LIGHT

Here’s why Mowalola Ogunlesi’s Spring 2024 Collection left a sour trail

Posted on by Nwanneamaka Igwe

Fashion Week is undoubtedly one of the most highly anticipated events in the world social calendar. Artists and designers in the form of iconic brands and fresh newcomers gather around fashion capitals of the world including New York, Milan and Paris. On September 15, London Fashion Week commenced, allowing designers an opportunity to showcase their distinctive ideas and tell the more important stories through fabric and design.

The weekend, as expected, came stacked with a plethora of notable designers providing a refreshing perspective on how we consume in the present day and the likes of Skepta make a glowing contribution to the multi-faceted discourse. The British-Nigerian musician made his official entry into the fashion world with his new brand, MAINS, debuting a sportswear collection stacked with tennis-court-styled pieces, relaxed knitwear, pristine tracksuits and more. Designers like Mowalola Ogunlesi, debuting her Spring 2024 Ready-To-Wear collection, on the other hand, are not new to the game. 

Reminiscing on her 2023 Autumn/Winter collection, which successfully blurred the lines of imitation and appropriation of IP with a futuristic element punctuated by her signature design, Mowalola has always been a disruptor in the industry. Her Friday show at The Beams London gathered a crowd of roughly a thousand people as Mowalola sparked by her viewing of David Cronenberg’s 1996 film, Crash. “I was really excited by the fetishisation of pain through crashing,” Ogunlesi shares in conversation with Luke Leitch for Vogue. She presents her the idea of living dangerously and ambitiously, and proposes that we reflect that in the clothes we wear. Russian-American supermodel, Iryna Shayk, who opened the show adorned with a metallic silver floor-length dress and vivid bruises on her face is a clear play on the glamorisation of pain associated with this collection’s themes. 

Ogunlesi strays away, ever so slightly, from her signature small pieced leather looks and opts for a more modest approach, all the while retaining not-so-subtle brazen elements with scantily clad women on her t-shirts. Subsequent looks, like the first, feature oversized cuts and ludicrously capacious bags with the occasional low-rise mini skirt and her logo sprawled around the various pieces. Ultimately, her message speaks of embracing the pains we experience and wholeheartedly living with them. We later stumble into risky territory with the inclusion of sensitive words and insults, but with some conjoined pieces, Ogunlesi attempts to signify how all that pain can bring us together regardless of these differences. She utilises a darker, earth-toned colour palette of dingy brows and blood-like red to reiterate her collection’s message, an appropriate contrast to the silky, reflective textures she adopts. 

By the middle of the collection, Mowalola wilfully takes a provocative route with the inclusion of leather mini skirts  of countries’ flags including Japan, the United Kingdom, China and—stirring the most conversation—Saudi Arabia. It was particularly sensitive and in bad taste because the country has a steep history of social issues surrounding women’s censorship which showed up in the form of banning skirts in 2012. However, the major bone of contention lay within the message inscribed on the country’s flag with a Shahada which translates to, ‘There is no God but Allah, and Muhammad is the messenger of Allah’, in Arabic.

Considering the message held sacred verses, using the flag of a hyper-religious nation on a provocative miniskirt comes off as disrespectful. Initially defensive, Ogunlesi sarcastically retorted to the outrage but several users doubled down to explain why respecting people’s religion does not have to be considered artistic censorship. 

She later issued an apology. “I’ll ensure this design is removed from the collection. I deeply regret any hurt or offence my oversight may have caused. Thank you for holding me accountable, and I appreciate your understanding as I learn from this experience,” Mowalola concluded. As the show progressed, we were introduced to the brighter side of life that resulted from embracing the darkness that comes with life. The colour palette now reflects this with conspicuous yellows and metallic pastel oranges, adorned on models seemingly less bruised than the show’s openers.

Just as art intends to be open to scrutiny, the aim for many is to document an improvement or positive change. However, Mowalola might’ve skipped out on that memo with Look 44,  a short-sleeved conjoined piece with a message ‘4 Slim People’ displayed boldly across. Her reference point and defence to consumers’ critique was “Ur[Your] rage is valid but I will always be humorous. I flipped this Karl Lagerfield 4 slim people tank top. It is funny to me because I hv[have] never seen any plus size on a Chanel runway & I never see this outrage towards them.” 

Her sentiments are valid, the standards are different for brands like Chanel. More than being one of the biggest brands in fashion history, Chanel’s ownership rests predominantly with white people and this allows them some level of protection from scrutiny more often than not. However, the validity of that argument falls flat. Fashion from the early 2000s and prior faced heavy criticism regarding the inclusion of a variety of bodies and their incessant need to perpetuate harmful ideologies and body standards. If brands like Mirror Palais can make more informed decisions, then surely it shouldn’t be an issue for anyone else.

Rather than reiterating the fatphobic tendencies of earlier fashion eras, collections like Mowalola’s with a platform like London Fashion Week should channel evolution with time and growth in a way that reflects our realities and what we want our future to represent. 

Featured Image Credits/The NATIVE

ICYMI: STREETWEAR IS ON THE RISE IN AFRICA BUT INDUSTRY-WIDE SUPPORT IS SLOW TO HAPPEN

NATIVE Selects: New music from Khaid, Midas, Diamond Platinumz & more

Posted on by Chigoziri Ezeaku

It’s that time again. Every week, new music shows up, sweeping fans and music lovers off their feet while artists gauge reactions to know the effect of their creativity. At the NATIVE, we are committed to keeping our ears on the pulse of the music scene and bringing the best sounds to your doorstep. In our last edition, we brought you stellar new releases from SGaWD, Ayra Starr Darkoo and more. Today, we have songs that move from Afropop to Amapiano to R&B, with our select artists showcasing their unending talent and passion for creativity. Lock in!

KHAID – “FOREVER”

The untimely death of Nigerian star, Mohbad has thrown Nigeria into national mourning with different reactions and conversations surrounding his unfortunate passing. “Forever”  is an emotional, gut-wrenching tribute from Khaid to Mohbad as he flies high with the Angels. In the intro, we can hear Imole thanking and appreciating Khaid as well as expressing shock at the love he gets from his fans and listeners. Imole, translating to light, is the essence of this song as he sings in the chorus, “Forever/ let there be light/ Imole/ you hold the light” Khaid’s tribute is definitely the song to help ease through the grief.

AYOX – “WALKING DEAD” FT ZLATAN

“Walking Dead” serves as another tribute song to Mohbad’s untimely passing. It is Ayox’s first song off his coming debut EP which speaks volumes on life here and now. With the help of Zalatan both artists talk about how we do not need to wait for mydeath before we appreciate the people around us. In the first verse, Ayox sings, “Love me while I’m still here/cause Heaven is our residence.” Before going on to say that “every man is a walking dead”, which lies on the fact that death isn’t something that can be disregarded.

DIAMOND PLATINUMZ & WOUTER KELLERMAN – “POUNDS & DOLLARS”

With massive success on “Overdose“, Tanzanian talent, Diamond Platinumz is back in the music scene with a new single “Pounds and Dollars” In collaboration with the South African grammy award winning flutist, Wouter Kellerman, a masterpiece was produced. We’re drawn into the song by a mesmerizing flute as it goes on to sync perfectly with the African beat. Diamond sings to his lover and promises all things good as long as the love is reciprocated. “I go cheque and balance for you/ Pounds and dollars for you” he sings in the chorus, riding on the melody of Wouter’s impressive flute. 

LYTA – “MOVE”

Lyta has been on a roll this year, releasing songs like “Can’t Complain” “Nakamura” and many more under his 2023 belt. On “Move“,  the latest single joining the list, Lyta professes his love to a special person. Armed with his Yoruba tongue, he dives into confessions as he tries to explain his feelings. “This love is crazy,” he confesses in the second verse and hopes that it’s not some sort of taboo. It’s a feeling relatable to many which Lyta delivers well. 

BRAINEE – “WEAK”

Nigerian rapper, singer/songwriter, Brainee, has recently released his new single “Weak”. Coming after “Panic” and an ADM remix of the masterpiece with the talents of Echo the Guru and Ifeoma C.S, “Weak” revolves around love between Brainne and his lover. Despite this love, there seems to be friends around who cloud his lover’s mind. To this he says “Fuck what your friends say” and goes on to assure her on the chorus that her love makes him weak. He goes on to emphasize his disregard for third parties in their relationship, having no time for “he said, she said, he said”  and has better plans on making her feel loved. 

MIDAS THE JAGABAN & TAY C – “LOUIS VITTY”

Featuring Cameroonian talent, Tayc, Midas the Jagaban goes on to release a mellow and infectious single “Louis Vitty” which serves as part of thyer EP, ‘Midas Touch Vol 2: Return of the Mask,’ set for release on the 17th November. With the massive success on “More Vibes More Money” Midas delivers a more laid back, mellow and calmer track which is different from her unique and distinctive style. “Louis Vitty” witnesses an effortless blend of Afropop rhythms and R&B. 

MZ VEE – “DESTINY” 

Talented Ghanaian singer and songwriter, Mz Vee has dropped a confidence booster in the name “Destiny.“ From the first line “Can’t stop my destiny” riding on the African rhythm and catchy use of electronic guitars, Mz Vee empowers every listener. As clear as the title, the song speaks volumes on being in charge of one’s destiny and rising up to obstacles or challenges that may arise.

AGUERO BANKS – “STILL SOBER” FT PHYNO

Serving as a follow up to his hit single, “Sober” released in March, Aguero with the help of Phyno  reminds us that he’s indeed still sober in his recent album ‘God Is Never Late.’ Starting off strong with the choir-like essence, it delves straight into Phyno showcasing his skilled artistry in the Igbo language as he raps his verse. The two artists connect on that level and deliver a perfect synergy.

[Featured Image Credits/The NATIVE]

Curated & Written by Chigoziri Ezeaku 

TURNTABLE TOP 100: MOHBAD’S “ASK ABOUT ME” MAKES A RE-ENTRY AT NO.22

Best New Music: Nobuhle offers stirring prayers on “Imali”

Posted on by Dennis Ade Peter

Within the versatile grooves of South African dance music, what is sometimes understated is how much emotion is loaded into songs, especially beyond the parochial audience where lingual barrier plays a role in fully connecting. It often helps that what is lost in translation can be carried by evocative performances. Not too many singers operating in that terrain are as stirring as Nobuhle, with a voice that’s as radiant as early morning sunshine rays.

That distinct warmth has consistently defined every song she’s made as a headline artist and appeared on as a highly sought after guest, marking her out as a uniquely gifted singer in the few years she’s been around. As with many prominent vocalists in a scene heavily (and somewhat aptly) tilted to producer-DJs, it started with a co-sign. For Nobuhle, that was her affiliation with Dream House pioneer Sun El-Musician, whose ability to spot and spotlight yet-to-pop talent is widely evident—Simmy, Mthunzi, Azana and more El World affiliates are proof. Obviously, that co-sign mainly amplified a talent that was already there.

 

On “Never Never,” a gleaming highlight off Sun El’s sprawling, late 2020 album, ‘To the World & Beyond’, Nobuhle’s show-stopping appearance is a transportive masterpiece, her melodies wafting like summer breeze. From then, the singer’s list of collaborators includes a who’s who of SA dance music, from Tribal House luminaries Black Motion to the King of ‘Piano himself, Kabza the Small. Most striking is the variety of dance subgenres she’s lent her magic to, the ideal vocalist who’s fluid enough to fit into any mould and still retain the lustre of her essence. In fact, that’s the magnetic core of her two albums so far.

Less than a year after ‘Indlela’, Nobuhle is already stoking the flames for album 3, and her latest single shows that her musical ambitions are even wider than the range of sounds she’s already worked with. “Imali”—not to be confused with last year’s single of the same title—taps into the Boboledu House sound that exploded into global ubiquity through Master KG’s “Jerusalema.” KG co-produces Nobuhle’s single with frequent collaborator Casswell P, curating a House-fusion arrangement with speaker-rattling snares and gorgeous melodies, in what is arguably one of the most fitting arrangements for its headliner’s voice.

As a fusion subgenre itself, Boboledu House is a fusion of Tribal House drums and Gospel melodies, an incredibly malleable sound that allows for an infinite myriad of variations, as well as elemental infusions from other subgenres. While the knock of the drums have the unmistakeable Master KG touch, the boom is dialled down and the song takes on a deep house atmosphere, with log drums from the Yanos adding to its of-the-moment. For an artist with an omnivorous palette, Nobuhle turns in an effortlessly compelling performance.

If there’s a central, discernible ethos in Nobuhle’s music, it’s optimism. Not the type rooted in delusion, though. Hers is more based on spirituality, an innate belief that God and the other guiding forces of the universe tend to conspire for the good of those who believe things will work out. That’s why, even with little to no knowledge of her lyrics, there’s a balmy effect to her songs. It also helps that, in her vocal performances, she often opts for control over pyrotechnics, even though she can really belt if she wants to. Relatability over showmanship.

On “Imali,” Nobuhle seeks financial blessings for herself and her kin, amidst the cost of living crisis that’s rocking the entire world, with a prayerful approach that makes it easy for listeners to slot themselves in the same petition. The premise is simple and she furnishes each line with a heartfelt, resonant cadence. Once or twice, she belts—“Iyo iyo yo!”—to establish the pressing nature of her prayers but it doesn’t take long to revert to a cool, soulful register, almost as if she’s assured that her requests is reaching up into the heavens and will be answered when due. Philippians 4:19.

“Imali” is loaded with feeling, a song that can be multipurpose depending on the listeners. It could fit into an early morning set at home, possibly slide into a DJ set at KONKA, or maybe become a staple amongst gospel loving folk. Perhaps most important is that it strengthens Nobuhle’s standing as one of the best artists working in dance music right now.

Listen to “Imali” here.

 

ICYMI: WHY WE RATED NOBUHLE SO HIGHLY EVEN BEFORE HER DEBUT ALBUM

What’s Going On: Truck-Bus Collision in South Africa, Landslide in DR Congo & More

Posted on by Uzoma Ihejirika

“What’s Going On” Tallies Notable News Headlines From Across The Continent — The Good, The Bad, And The Horrible — As A Way Of Ensuring That We All Become A More Sagacious African Generation. With This Column, We’re Hoping To Disseminate The Latest Happenings In Our Socio-Political Climate From Across The Continent, Whilst Starting A Conversation About What’s Important For Us To All Discuss. From Political Affairs To Socio-Economic Issues, ‘What’s Going On’ Will Discuss Just That. This Week’s Headlines Come From Across South Africa, DR Congo & more.

17 PEOPLE CONFIRMED DEAD IN CONGO LANDSLIDE

At least 17 people were killed by a landslide caused by heavy rainfall in the northwestern Democratic Republic of Congo (DRC). The tragedy happened on Sunday along the Congo River in the town of Lisal, in northwestern Mongala province, according to Matthieu Mole, president of the civil society organization Forces Vives, with the victims said to have lived in houses built at the foot of a mountain.

“Torrential rain caused a lot of damage, including a landslide which engulfed several houses,” he said. “The results are still provisional because bodies are still under the rubble. ” Authorities have also warned that the toll could rise as rescuers continue their search through the rubble of collapsed houses. Cesar Limbaya Mbangisa, governor of Mongala province, said there was an urgent need for machines to help clear debris and try to save survivors. The governor also offered his condolences to the families of the victims and declared three days of mourning throughout the province.

The United Nations climate experts reported that poverty and poor infrastructure have contributed to certain communities becoming vulnerable to extreme weather such as heavy rains, which are becoming more frequent and intense in Africa due to climate change.

 

LIBYA PROTESTERS STORM DERNA AFTER HORRIFIC FLASH FLOOD

Hundreds of protesters took to the streets of Derna in Libya on Monday, accusing the authorities of neglect after a huge flash flood devastated the coastal city and swept thousands to their deaths. The protesters gathered outside the city’s grand Sahaba mosque and chanted slogans against the parliament in east Libya and its leader Aguilah Saleh.

In the evening of  Monday, the protesters set fire to the house of Abdulmenam al-Ghaithi, ex-mayor of Derna at the time of the flood. They also called out other officials, including the head of the eastern-based Libyan parliament, Aguila Saleh. “Aguila, we don’t want you. All Libyans are brothers,” protesters chanted. Prime Minister Usama Hamad has dismissed all the members of Derna’s municipal council and referred them for investigation.

Due to the September 10 disaster, when two dams burst after Storm Daniel hit eastern Libya and unleashed a torrent throughout Derna that killed nearly 3,300 people and left thousands more missing, thousands of Derna residents are homeless and badly need clean water, food and basic supplies amid a growing risk of cholera, diarrhoea, dehydration and malnutrition.

SOUTH AFRICA: TRUCK-BUS COLLISION CAUSE DEATH OF 20 PEOPLE

A head-on collision between a truck and a bus ferrying workers to a mine in northern South Africa’s Limpopo province has killed 20 people. “A bus transporting employees of the Venetia mine was involved in an accident on Sunday afternoon,” the Transport Department of Limpopo province (north) said in a statement. The accident “cost the lives of at least 20 mine employees.”

The construction company Murray & Roberts Cementation confirmed on Monday that 17 of the dead were its workers who were being transported to the Venetia mine in Musina close to the Zimbabwe border. Four workers were injured in Sunday’s accident. The company said it was offering support to the families of the dead. It is still unclear who the other three victims are.

The Venetia mine, located in the bush near the border with Botswana and Zimbabwe, has been operated for more than 30 years by the De Beers group. It represents 40% of South Africa’s annual diamond production and has more than 4,300 employees, many of whom come from neighbouring communities.

South Africa has one of the most developed road networks on the continent but is among the worst performers in terms of road safety. A study in 2015 found that road traffic crashes have continued to be the 9th leading cause of death for 15 years in the country (1997-2012), claiming an average of 3.5 per cent of overall deaths during those years.

ABEOKUTA YOUTHS PROTEST MOHBAD’S DEATH

Youths in the Panseke area of Abeokuta have entered the streets to demand justice for the death of Nigerian musician, Ilerioluwa Aloba, popularly known as Mohbad. Since news of Mohbad’s death was confirmed on September 12, artists and fans have shared tributes in honour of the man christened Imole – The Light.

The Abeoukuta protest is part of the wave of agitations that have followed Mohbad’s death, after a well-documented breakup with his former label Marlian Records and its boss, Naira Marley. With the hashtag #Justice4Mohbad across social media, sympathisers have called for an investigation into the death of Mohbad after reports of the late singer facing bullying and intimidation came to light.

On Monday, the Lagos State Commissioner of Police announced the commencement of a full investigation into the death of Mohbad. He revealed that a 13-man committee have been set up to “unravel the circumstances surrounding the death of the victim, identify witnesses, culprits if any and any person that will be helpful to the investigative process and deploy processes and other technological tools to aid the investigative course in line with the relevant provisions of Nigeria.” Areas of concentration for the committee are exhumation, autopsy/toxicology/histology, scene visit, hospital/medical report and records of suspects/witnesses’ statements.

ICYMI: IN MEMORY OF MOHBAD, THE STREET-POP ARTIST WHO ALWAYS SOUGHT THE LIGHT

NATIVE Exclusive: Kah-Lo is closing out an old chapter with ‘Pain/Pleasure’

Posted on by Nwanneamaka Igwe

With the exception of the anomaly that is Tems, not many Nigerian artists can brag of a Grammy nomination so early on in their career, let alone before the release of a debut album. But as we’ve seen, Kah-Lo is nothing like the rest. The Nigerian House-leaning artist and writer joined the British producer Riton on “Rinse & Repeat,” the intro track for their joint project, ‘Foreign Ororo’. The duo presented an indisputable force with the Electronic-Pop song that earned a nomination under the Best Dance Recording category at the 59th Grammy Awards.

“It was great but it was really overwhelming as well,” Kah-Lo reminisces. “I went from people not knowing or considering that I was Nigerian or that I was really making great music to being in the cover of three national newspapers. It was strange.” Despite achieving feats unfathomable for the artist at the time, she took time perfecting her craft and finding her voice amidst the rush of Nigerian pop going global.

 

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Kah-Lo ensures to stay true to her House and Electronic roots, ignoring several pressures to box her into anything that feels even slightly inauthentic. Seeing as she uses music as a vessel for her expression, Kah-Lo arrives armed with varying messages to herself and her audience and doing this without the pleasantly screeching and euphonies melodies of House just doesn’t seem right. In conversation with Kah-Lo, her tone and message radiate the music-chose-me energy and she is only here to pass on these stories.

“A lot of us musicians are crazy to be doing this full time. But a lot of us are here because we have something to get out,” she explains. She part jokingly, part seriously adds: “You know when Western artists try to make Afrobeat and it sounds just off. That’s what it sounds like when I try to make Afrobeat.” This incessant to do only what feels right and true to her person is the primary driver for Kah-Lo, only releasing a debut album six years after snagging a global hit song. 

Kah-Lo’s time is now and she couldn’t be more ready. Her debut dubbed ‘Pain/Pleasure’ presents a 14-track representation of her journey over the years, armed with bitter lessons and necessary experiences needed to navigate the next phase of her life and career. She ruminates on her loss and pain translated to anger and many other emotions. While these are inherently negative, she embraces them with open arms and sits in the feeling of discomfort with a renewed sense of maturity. A slew of masterful producers join her as she peels back refreshing layers of her artistry, effortlessly shifting between heartwarming renditions and club-ready bangers to relay her experiences with pleasurably painful life.

Ahead of her highly anticipated album, we caught up with Kah-Lo to discuss moments leading up to the drop, the messages she aimed at communicating with her audience, overcoming the challenges that come with being Kah-lo and much more.

Our conversation, which follows below, has been lightly edited for clarity. 

NATIVE: Walk me through your background. Did you have any early introductions to music?

Kah-Lo: My family wasn’t musical but they enjoyed music so I grew up enjoying music. My elder sister also loved 90’s music, Spice Girls and Tupac specifically. My dad loved 80’s R&B like Shalamar and all. There was also my uncle who just loved everything. I got introduced through all  three of them mostly and  I eventually grew up to find my own taste.

How would you say the music you consumed in your childhood shaped your relationship with creating the music you do now?

It definitely did. Combining those genres or should I say eras. It felt like the possibilities were endless with what I could create and I think that’s reflected in my music today because I don’t really put myself in a box of genres. It’s all about the feeling that I try to express and it can be anything from Electronic to R&B or Dance. 

Have these early influences changed regarding the music you listen to now?

Definitely. I consume music every day so everything I listen to inspires me. Every sound, every single auditory experience I get inspires my sound.

At what point did you realise you wanted to pursue music professionally?

I’d say 13 but it was actually when I was eight. I started taking it seriously and taking steps towards it at 13. 

What did those steps look like at that point in your life?

You know, just connecting with musicians looking for producers, trying to get recorded music down, trying to put it all online, trying to find an audience and so on. 

The grammy nomination on “Rinse and Repeat” must have been a phenomenal point in your career. What were your takeaways from that moment?

It was great but it was really overwhelming as well. I went from people not knowing or considering that I was Nigerian or that I was really making great music to being in the cover of three national newspapers. It was strange.

 

NATIVE: How has your process of making music changed over the years?

Kah-Lo: I mean, now I have access to producers and other amazing resources. There’s a lot more flexibility but still not that  much flexibility, you know? Now music pays my rent. So, like the kids say, you have to make music like the rent is due. 

Is there anything about your processes, the way you write and record instrumentals for example,  that has changed? What exactly does your process entail in general?

Not really because I started as a writer. I really liked writing poems and so it’s still mostly the same. Sometimes, once in a while, I can try to have the freedom or give myself permission to freestyle on the mic but that doesn’t come so naturally to me. It’s more of the words that come naturally to me and then I put them to melodies. I hear a beat, resonate with it melodically, then I write the words to it.

Your music holds a feel-good touch in general but what do you audiences take away when they listen? 

I want them to feel joy and feel empowered because even my music empowers me. I created Kah-Lo to do things Farida was afraid to do. It’s kind of like I need her to help me and so I hope she and the music help other people.

What informed your artist moniker Kah-Lo? 

There’s a Mexican artist called Frida Kahlo and my real name is Farida. My sister always called me Frida Kahlo when I was younger and I never really had any nicknames I liked growing up. I adopted Kah-Lo and put a hyphen in it so I don’t get sued.

With the eyes of the world on you, I’d imagine you’re exposed to a world of  music creatives. What now informs your choice of collaborators in your creative process? 

Good vibes. I hate negative energy. I know that’s generic but the slightest negative energy I detect, I can’t work with you.

You recently released “Runaway.” Can you share with us the inspiration behind the track’s themes and what do you want audiences to take away from the song?

People always ask me why I don’t make Afrobeats and I feel like it’s  a genre I can’t do justice to mainly because it doesn’t come naturally to me, as weird as that sounds. So “Runaway” was a track that I made with TMX when I was in Lagos last summer. Everybody said I needed to work with TMX because he understands perfectly the niche that I’m in. We were essentially able to collide our worlds and create “Runaway.” I would say Ampiano is an evolution of African music because at this point it belongs to Africa. We’re able to merge Dance and Amapiano which was what I was feeling at the moment and I never want to do anything that is not authentic to me. So “Runaway” just felt authentic enough. 

You predominantly dabble into Afro-House amongst other genres. Why did you feel that was the best medium to tell your stories?

I wouldn’t even call it Afro anything really. I feel like I just make Pop and House but my Africaness or Nigerianess led to the inclusion of the Afro label. Which is why I appreciated the category I was nominated for the Grammys. It was just Dance and not World Music because it seems  once you put the non-western connotation in something, all of a sudden it becomes othered. I’ve always wanted to make music that could transcend my cultural background and where I was from [Lagos]. Taking it back to the inspiration from my family, musically, they weren’t just strictly listening to Fela and Sunny Ade for example.  As much as I appreciate that music still, listening to a plethora of genres enabled me to end up the way I did musically and my ability to express myself was nurtured by those moments. I can probably count on one hand, the amount of tracks that I intentionally intended to include that Afro element in there.

Are there any genres that you’re curious to explore in the future?

No. Not that I’m aware of yet. 

 

NATIVE: What’s the hardest part about being Kah-Lo and how do you rise above these challenges and stay true to yourself in an industry as packed as this?

Kah-Lo: That’s a good question. Essentially,  I had a great job before I started making music professionally as Kah-Lo. It was a wonderful job, great benefits, everything was perfect. I was exceedingly good too. I have a university degree so I could probably get a job if I wanted to now. While I had this wonderful job, I was not able to express myself in this way so I had to get it out. At the time, not many people were really doing that. I didn’t have any representation of the things I was trying to do. Like I said, when an African artist makes Pop, they put it as Afropop and then you have to try to fit yourself in that box because that’s the only way you can pay your rent.

When I make my music in that space, you know, I can easily just say hit up Adekunle Gold. Actually, I’m lying. I probably can’t because I’m a great songwriter but it does not translate to Afrobeats in the way that feels authentic. You know when Western artists try to make Afrobeat and it sounds just off. That’s what it sounds like when I try to make Afrobeat. I probably could be more known if I had a wonderful songwriter like Teni, or any other person in that space but it just sounds off. If I were to build my career off music that sounds off and doesn’t sound authentic to me, then why did I leave my job in the first place? I’d end up in a situation that I hate. So I could have just stayed in a job that I hated. A lot of us musicians are crazy to be doing this full time. But a lot of us are here because we have something to get out.

You’ve achieved a number of outstanding feats in your career thus far and your debut album is just coming out now. Why did you feel like this was the right moment to share with audiences? 

I’ve been working through a lot; career, ups and downs and more. The album title in itself being called ‘Pain/Pleasure,’ I went through a lot with the people I came up with and even going through all of that as a Nigerian artist to end up being here. A lot has happened to make this the perfect time. Honestly, if it was any other time, I probably wouldn’t be as ready. Mentally, emotionally, spiritually, physically, this is the right time in all aspects. I’m with Epic Records Now. I put out my EP two years ago and then the natural progression after that was an album, which I’ve been working on for a few years now. After like about 80 plus songs, we are  able to get this and it’s well encapsulating my entire journey into a 14 track message. 

What should we expect and what do you want listeners to take away?

The album is called ‘Pain/Pleasure.’ The first half deals more with the pain I was dealing with through that time. When COVID-19  happened, we were all dealing with collective pain. So there was a lot of anger that I had to get out.  A lot of people I trusted when I started out my career basically tried to destroy me. I had to get weathered and I had to find a way to creatively get it out. The bulk of the newer songs are more into the pain section of the album. Then the last half is more themes of pleasure. That’s when a lot of the blissful ignorance was occurring and those were really good songs. Just because I was hurting doesn’t mean the song shouldn’t have a life. There’s a couple of new songs on there as well, but it’s a journey.  I started to realise through the process that pain and anger, all these things we consider negative emotions, don’t have to be bad because sometimes they’re necessary. To get to the good you have to experience pain and know what pleasure truly feels like.

What sort of doors do you hope this opens for you? 

I haven’t really thought about that yet because this is closing a very long chapter for me. I really have no expectations because I’m literally just in the process of closing a very heavy security door. Happy to be here. 

Listen to ‘Pain and Pleasure’ here.

[Featured Image Credits/The NATIVE] 

Our First Impressions of Nasty C’s ‘I Love It Here’

Posted on by The Native

With over a decade of experience in the game, Nasty C still stands as one of South Africa’s most visible rap stars. After introducing his music with mixtapes and an extended play circa 2012-2015, the artist got his breakthrough with 2016’s “Hell Naw,” winning hearts across Africa with his immaculate emceeing skills and ear for great production. With ‘Bad Hair’ (2016) and ‘Strings and Blings’ (2018), Nasty C was championing the wave of African rap, imprinting his brand of both vulnerable-plus-braggadocious music.

In 2020, Nasty C inched towards international fame after signing a deal with  Def Jam Records. That year, he released ‘Zulu Man With Some Power,’ with appearances from the likes of T.I, Ari Lennox and Lil Keed. His freestyles on international platforms—Fire in the Booth, BBC Radio 1Xtra and On The Radar Radio—have also complemented his efforts and raised his profile as a wordsmith. Last year, he announced his partnership with Carry1st to launch the video game Call of Duty across South Africa. On his IVYSON GAMING page on YouTube, he connects directly with fans who share his love for music and gaming.

Earlier this year, Nasty C and fellow South African artist Cassper Nyovest announced their African Throne Tour, which runs from August 18 to October 28, starting in Arusha, Tanzania and ending in Johannesburg, South Africa. Nasty C also revealed his new status as a father. It’s all these changes and achievements that feed into Nasty C’s fourth studio album ‘I Love It Here’. The project features appearances from Ami Faku, Benny the Butcher, Manana, Tellaman, Anica, Maglera Doe Boy and 25K.

The NATIVE editorial team dives into the album, and in true fashion, we give our honest thoughts on the Nasty C’s latest body of work, from best song to stand out production, biggest potential hit, biggest skip and more.

 

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BEST SONG

Nwanneamaka: I may be cheating by choosing “This Time” as my favourite song and favourite verse but for the sake of doing justice to my palette, this is the only right answer. One of my all time favourites from Nasty C is his Rowlene-assisted “SMA” and I think this reminds me a lot of that. Ami Faku brings out a softer, more emotional side to Nasty C which keys perfectly into the project’s themes, still allowing his gleaming braggadocio shine through. Other than an effortless vocal pairing, the production by Lekka Beats knocks the track up several notches with its trumpet shouts, steady bass pattern and light shakers. Simple formula but works really well. 

Dimeji: “Prosper In Peace” easily takes the top spot for me. I love the melodies, I’m a big fan of calmer, sing-song  rap and Nasty C definitely delivered that. The message also stood out to me, he’s just trying to grow and people won’t let him do that. Bonus points for the feature from Benny The Butcher, his verse definitely tied the track together.

 

FAVOURITE PRODUCTION

Chigoziri:  “Prosper in Peace” by Nasty C featuring Benny the Butcher is an exceptional collaboration. The production is top-notch, with captivating beats and impressive lyrical delivery from both artists. It’s a track that seamlessly blends their talents and leaves a lasting impact. 

Emmanuel: Rap was the focus on this album and you can hear it clearly. It’s the least Nasty C has flirted with pop sonics on a project and the result is a drum-heavy, boom pap sonic atmosphere. As a rap head, I respect the choice very much and I had a lot of favourites. “Release Me” and “Broken Marriages” are quintessential spaz-out beats, spurring ridiculous faces as Nasty flows through them. “Sunset Walks” with Tellaman also sounds like the title; laidback but possessing its own unique energy, which we can really say for a lot of the production here. Nasty has always had a great ear for beats. 

Alex: I think the tracks of this project were properly and meticulously produced. It’s quite hard to choose a favorite, however, I think the production of “Crazy Crazy” was crafted beautifully. The piano sounds, the drums, and the vocals were in perfect harmony. “Crazy Crazy” has this soothing effect that I didn’t seem to experience in other tracks.

 

BIGGEST POTENTIAL HIT

Moore: “Broken Marriages” definitely has potential to be a huge hit. On the surface, the song already has an infectious rhythm that makes listeners play it on repeat. Taking time to listen to the lyrics then adds another layer to the track, as it alludes to the pain that comes from growing up in a broken home, something many can relate to.

Dennis: “This Time.” Easiest answer TBH. The vibes are very “SMA”  as Nwanneamaka mentioned above, which went on to become a huge hit. It’s not that he’s repeating the same trick, it’s that Nasty C knows how to make emotive slaps with featured singers. (Also, those pair of Manana features are bonkers.)

 

BEST VERSE

Nwanneamaka: HUGE Ami Faku fan so it was only right that my favourite verse “This Time.” The synergy between the pair is almost magical as their tones differ yet manage to complement each other perfectly. Ami Faku  smoothly glides between English and an SA language I can’t quite place but still resonates with the track’s themes beautifully. Her verse is very soothing and reassuring as she softly croons, “I still need you, I won’t let you down. I won’t miss this time.” And you know what? I believe her. 

Dimeji: In light of a lot recent developments, the first verse of “Fuck That” really spoke to me. Nasty C raps about giving him his flowers while he is still here, and I see it as an oath to all the people we’ve lost recently, especially in the industry because so much has been happening.

 

BIGGEST SKIP

Moore: While I wouldn’t be in a hurry to skip any track on this project, I’d have to say “She’s Gone & The End” is the one I’d likely skip past. Its slow beginning goes on for a bit too long, and even after the song begins to pick up in energy it’s never quite as engaging as most of the other songs on this project.

Dennis: I have an agenda against “Crazy Crazy” because I didn’t like it when I first heard it as a single. It sounds better within the flow of this album but it just gnaws at me that what I think should ideally be a deep cut was chosen as a single. That said, I can’t pick a skip within the flow of the project. That’s more than I can say for his last album, which I thought was really, really good.

 

STANDOUT FEATURE

Uzoma: I’d have to settle for both Ami Faku and Maglera Doe Boy. Over the drum-heavy “This Time,” Ami Faku’s vocals provide a different vibe; her singing is smooth and relaxing, complementing Nasty C’s raps. On “Kill The Noise,” Maglera Doe Boy does vocal twists and turns with the verse, alternating between singing and rapping. His verse is the fitting outro for the song—as the message he passes across washes over you.

Chigoziri: The relaxing essence of “Kill the Noise” is truly a beautiful masterpiece to sink into. Anico’s soothing voice and Maglera Doe Boy’s ability to perfectly switch from singing to rapping while delivering his message sits just right on the track. They all complement each other so effortlessly as they showcase their undeniable talent. While listening to it, it really feels like you’re killing the noise around and taking in the message of the lyrics.

 

OVERALL FIRST IMPRESSION

Alex: Nasty C has been consistent in his crafts, delivering excellent records that resonate with his audience in an intimate realm. ‘I Love It Here’ is proof of his unwavering talent that’s unextinguishable. His bag of talent never runs dry. With this project, Nasty C attests to many things: he cares for the listening experience of his fans, he cares about diversity of sounds which he shows by his choice of features, and he cares about his status as a continental rapper, and hitmaker which he consolidates with this project. ‘I Love It Here’ is Nasty C’s best works yet, and he is not resting anytime soon. 

Dennis: I don’t think many people are going to call ‘I Love It Here’ Nasty C’s opus – that honour still belongs to ‘Strings & Blings’. What this album is, is a show of evolution from an artist who’s grown up in public but has kept some details private. Those moments of vulnerability make the boastful ones a lot more than specialty fare, because by now it’s impossible to know that Nasty C is great at project invincibility. The veneer hasn’t worn out, it’s just been polished to show a different glint when the sun’s out.

Daniel B: I believe ‘I Love It Here’ represents some of Nasty C’s finest work to date. It’s a meticulously crafted masterpiece, and the entire listening journey was thoroughly enjoyable. What struck me most was Nasty C’s strategic use of featured artists, as opposed to the common trend of scattering them haphazardly throughout the album. In particular, the collaboration with Benny the Butcher stood out as my personal favourite, a seamless fusion of two distinct rap styles. I’m confident that this project will receive a warm reception, solidifying Nasty C’s status as a formidable presence not only in African music but also on the global stage.

Listen to ‘I Love It Here’ here.

ICYMI: OUR FIRST IMPRESSIONS OF BURNA BOY’S ‘I TOLD THEM…’