Vanessa Mdee is excitingly talented at articulating exactly what she wants with gutsy exploitation of her sexual prowess. The Tanzania pop star just released a new single, “That’s For Me”, celebrating her lover while gleefully detailing a sexual escapade that the accompanying music video leans into with raunchy assertiveness, showing Vanessa embracing her sex appeal with sensual costumes and dance routines.
Featuring some of the best House music artists from South Africa, DJ Tira, Distruction Boyz and Prince Bulo, “That’s For Me” is built using one of the many principles club music shares with sex; the build and release. It begins gingerly with just a few light synth pulses and drumbeats that allows Vanessa Mdee’s seductive words resonate with listeners. But as the beat climbs, you sense a payoff isn’t far off as Vanessa Mdee’s voice begins to ache and the beat explodes into one of those glittering, starry-eyed climaxes that pop music fans live for.
You can watch the music video for “That’s For Me” below.
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After spending years sitting cozy in the masterful chairs behind the production of megastars like Dagrin, Wizkid and Niniola, Sarz is finally releasing his debut project. The 6-track EP is boldly titled ‘SINYM (Sarz is Not Your Mate)’ and you’d be hard-pressed to find anyone with enough credentials to question the boastful title. He released the project’s lead single, “Hello Africa Riddim”, last year with a guest verse from Dr Alban. The 5 new tracks released with the EP continue in the ‘Riddim’ theme it already initiated with track titled with the word ‘Riddim’ in it.
Though SINYM (Sarz is Not Your Mate)’ features mostly instrumentals and barely any vocals, Sarz’s broad range of sonic influences guarantees there’s never any dull moment through the project’s 23-minute listening time.
You can stream Sarz’s ‘SINYM (Sarz is Not Your Mate)’ below.
Featured Image Credits: Instagram/only1sarz
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As conversations concerning gender roles continue to divide those on the side of common sense from the sexists among us, Tekno just released a new single, “Woman”, making known his respect for women’s rights. While the lightweight beat Mix Monsta produces with mid-tempo drums is groovy enough to distract from the cautionary tale that seeks to wake the masses from social prejudiced, it’s intention to ensure listeners dance along to the woman celebrating song is pure.
Tekno’s lyrics “A Woman Can be Your Lover/ A Woman Can Be Your Teacher/ A Woman Can be the President” are precise and mindful, unpacking a thoughtful worldview that still needs to be taught and imbibed into the Nigerian society. Singing “You Want Your Baby For Kitchen/ I Want My Baby To Get A Lot of Money” over the cozy beat, Tekno is calling out society’s subjugated role for women in a friendly tone. And frankly, if this doesn’t help sexist people unlearn their prejudice, I don’t know what will.
You can stream Tekno’s “Woman” below.
Featured Image Credits: Instagram/teknoofficial
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After releasing his DJ Altims assisted remix of Khalid’s “Location” and debuting “Alarm” under his Black Excellence Records label in 2018, Timmy Knight already established himself as an Afropop talent with a liking for blending EDM and R&B influences. His latest single, “Afrofire”, sees him embrace R&B’s sultry sentiments for an easy going Afropop number that celebrates his love interest.
Timmy Knight’s languid vocals pushes the mid-tempo beat produced with mid-tempo drums and atmospheric synth harmonies toward blue-eyed soul, singing “Oh Darling You Got Me Right/ So You Stole My Heart Girl”. Boybreed contributes a verse, adding an assertive attribute to “Afrofire”‘s charm with lyrics that state plainly his raunchy intentions; “I Want Love/ I Want You In My Bed”. And while Timmy Knight’s lyrics are more dreamy, his delivery also carries a seductive conviction.
You can stream “Afrofire” below.
Featured Image Credits: Instagram/iamtimmyknight
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After the 2018 D-O had with the release of his album ‘Everything Pretty’ to chart-topping success, his 2019 may be his most promising year yet. To kick off the year in a less than obvious high spirits, the singer has released the video for “Terminate”, one of the crowd favourites he performed at NATIVELAND less than three weeks ago. The new video features D-O and Sugarbana interspersed between bright coastal daytime scenes and hazy sub-basement cuts where the fog is thick and everything is pretty. See D-O and Sugarbana in “Terminate” below
The years since “Repete” turned up on our playlists as the lush sound of Afro-beat inspired romance, have made Blackmagic even more of a phenomenon than he’s been since the release of his self-titled debut. His versatility across the board as a rapper, singer and songwriter is even less contestible when the bounce on “Bad Intentions”, his new romance-themed single. Produced by Xela, with adlibs and the rapper’s signature for frenetic bars delivered with witty references, Blackmagic delivers a preppy pop song that will thrive on the dancefloors. The accompanying video directed by AJE Filmworks also mixes in this Afropop element with dancers in brightly coloured outfits and cuts of people having a good time by the coast.
See Blackmagic in “Bad Intentions” below:
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The new year is already unfolding into a colourful mishmash of emotions. Oddly, in spite of looming elections, there are signs of the rise of a rather optimistic youthful generation. Barry Jay, for example, has not fully crossed over into the mainstream but inadvertently also had “Aiye”, one of the most important songs that dropped on the streets of Lagos last year.
This year, the singer continues his stream of releases with glaring positive outlooks following ode to the easy life, “Aiye” and the aspirational “Don Pablo”. In line with those similarly self-reflective earlier singles, “Tomorrow” is built by Barry Jhay’s sleekly auto-tuned vocals. On this track, he sings of hope and letting go of worries because fortunes could change with the rise and setting of the sun.
Stream Barry Jhay’s new single via Apple Music here:
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Since debuting in 2016, NATIVELAND has always brought the cultural melting pot slogan of Lagos to life with a diverse range of performing acts at the music festival. 2018 was no exception. Asides creating one-of-a-kind musical moments, NATIVELAND also takes on bigger significance for all parties involved. For NATIVE, it’s a celebration of the brand’s growth from a small indie magazine to an influential multimedia brand while the featured artists rip the reward for building their enthusiastic fan-base through tours and hit-records. With all the brands working hard to look good in the festive spotlight, fans were guaranteed a good night. Here are some of our favourite moments from NATIVELAND’18.
Two Stages, One Epic Music Festival:
Two stages were set up for NATIVELAND’ 18 to ensure fans got the full music festival experience. Before the Muri Okunola venue got packed with nearly 5,000 fans, the Pepsi-sponsored stage featured artists like SV and Mars and Barzini who performed on the new stage with a more intimate crowd and live band on stage. But as the night went on, the crowd soon grew too big for the small stage and artists who have grown in popularity were able to put their vocal training and energy to good use on the main stage.
Able God Drop:
NATIVELAND DJs provided the backing tracks for performing acts and rode the groove, making sure there was no dull moment between each set. But asides keeping up the party ambiance through the night, his unlikely mixing of jams from around the world helped showcase the diversity of the NATIVELAND crowd when he cued Chinko Ekun’s “Able God” and the crowd went ecstatic. It was a rare opportunity to see the many variations of Zanku legwork done simultaneously by the largest music festival crowd of 2018
Mo Bamba Rage:
While the DJ’s music selection deserves the credit for the hyped crowd at NATIVELAND’18, the ragers in the crowd were the unsung heroes. Their enthusiastic performance rivalled anyone on the stage that night and they made sure they had their moment in the spotlight when the crucial rite of passage rage anthem, Shek Wes’ “Mo Bamba” played. See the video of an energetic crowd raging to the 2018 smash hit here:
It’s another NATIVELAND and another ravishing Skepta performance. Part of the highlight of 2018 is Skepta’s growth, releasing hit songs and features that cemented his rightful place in the hearts of music lovers in Nigeria. He made sure the NATIVELAND crowd who first brought him back home in 2016 were on his 2018 wishlist yet again as he thrilled fans to “Pure Water” and Wizkid assisted “Bad Energy”. Though he got the love and cheers expected of an international act of his calibre the crowd seemed ready to be raptured when he brought Wizkid on the NATIVELAND stage for a surprise performance of their joint hit.
You’d excuse Wizkid for thinking fans were thirsty and anointing them with water if you heard how loudly they screamed when he took the stage. It’s still unclear where the water sprinkling stunt originated from but it sure as hell gets the crowd excited and looks epic on camera. His energetic performance of “Bad Energy” elevated the night and gave new life to his “Bad Energy Stay Far Away” lyrics in light of the spiritual shows.
Santi’s “Rapid Fire” Rage:
The music video for Santi’s “Rapid Fire” featured a moment of rage with his friends in all white tank tops. Since it’s release, fans have had their private rage moments in the comfort of their rooms and occasionally behind the steering wheel in Lagos traffic. NATIVELAND provided a safe space for all friends and fans of the artists to communally rage to one of the best songs to come out of Nigeria last year. The performance and riveting crowd reaction establish Santi’s growth as an indie artist to more mainstream acclaim as everyone from the backstage, front-stage and even the VIP section got on their feet to chant along to the barely intelligible lyric.
D’Banj’s Surprise Appearance:
NATIVELAND’s tradition of unveiling a secret guest act took a surprising turn when former G.O.O.D music artist, importer/exporter, Koko Master and award winning artist, D’Banj climbed on the stage. Fans had expected the more predictable Burna Boy appearance but Burna Boy had taken ill after his own concert held some days before. Though Burna’s presence was missed, D’Banj’s elite level stagecraft quickly captivated the crowd as they sang along to gems from his stacked discography.
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Tochi’s new single, “South”, with its piano-driven production, creates a sombre ambience for his laid back personality. “Grab a Semi/ Shoot him at his Tummy/ South-South Nigga/ I’m a Winner” Tochi raps, giving the impression of a violent lifestyle that validates the trap beat he produces, the beat zig-zags nervously across shifts in mood and texture as if to depict the restlessness that comes with the diabolic lifestyle “South” celebrates, alternating glistening piano harmonies with 808 drums and droning synths.
Though Zamir’s verse doesn’t stick to Tochi’s graphical direction, he complements Tochi’s villainous intentions as he breaks down his plan to steal a love interest from her man. They share the belief that they are ‘the man’ and should be respected as such. But delivered in their laid back vocals, “South” is a charming and self-aware slice of trap music.
You can strean Tochi and Zamir’s “South” below.
Featured Image Credits: Instagram/tochibedford
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The fraud lifestyle has shaped the life of those on the street, giving music no choice but to engage in the ongoing conversation. Tracks like “Legbegbe” and “Able God” quickly became hits, riding on the crime wave to set the tense tone in the clubs. Lil Kesh’s new single, “Logo Benz”, tributes to the darker intentions of the hustler and he features Olamide who after playing a role, supporting the creative Nigerian dream for Yomi Blaze and Picazzo, shows his interest is also aligned with the criminal lifestyle on the street.
Over a mid-tempo piano led beat Rexxie produces with head bopping bass drums and some synth samples, Lil Kesh and Olamide reveal the extent they’d go to reach their dreams of living the flashy life of the wealthy. Singing “I Dey Pray to Jesu/ Ki Owo Wole Oh/ I Go Do Blood Money Oh”, their lyrics are a lot more ballsy than OluMaintain’s similarly geared “Yahooze”. It’s a bit reductive, but perhaps the message here is to celebrate the hustler who’s ready to do whatever it takes to get the mula.
You can stream Lil Kesh and Olamide’s “Logo Benz” below.
Featured Image Credits: Instagram/lilkeshofficial
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Working with different acts have helped Bankyondbeatz test quite a few variations of the same musical formula. His EDM pop sound laced with venom has worked as a break-up song on Tomi Thomas assisted “Rosey”, but the result is more pleasant on “Sailing Away”, featuring Jacob Browne, an indie act from the UK. At a glance, the title reads like a no-fucks-given celebration of being alone, but the song finds Jacob Browne complementing his love interest’s ability to make things feel better.
Singing “Can You Drive Me Away from the Storm”, “Sailing Away” carries a hint of melancholy hidden behind the preppy beat Bankyondbeatz produces with a guitar baseline, sweeping synth harmonies and pace drum riffs. But where Jacob Browne could have languished in his sadness, he prefers to bask in his lover’s warmth.
You can stream Bankyondbeatz and Jacob Browne’s “Sailing Away” below.
Featured Image Credits: Instagram/bankyondbeatz
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Afropop songs ebb and flow in a manner that often makes it difficult to distinguish tracks, driven largely by rhythm, and an extensive knowledge of club conventions. Lyrically, they aren’t trying to offer much in the way of storytelling; instead, providing a groove to dance to while contemplating if it’s still cool to make love in a club. On Oxlade’s new single, “Shugar”, the singer makes a strong case for love at first sight, leaning on Spax’s production to set the lightweight ambience of being buzzed at a party.
The beat emphasizes Oxlade’s carefree and elated attitude through scintillating synths, guitar harmonies, bass set at a languid groove, and every now and then, a saxophone swing into the frame to perform a glowing solo. It’s the theme song for raunchy club fantasies and something to set the mood, all wrapped up in one.
You can stream Oxlade’s “Shugar” here.
Featured Image Credits: Instagram/oxladeofficial
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Everyone dreams of the days they no longer have to work so hard for money. Yet, songs celebrating the flashy lifestyle are often treated with contempt and damned to exist in the limbo where shallow songs go to die. DRB is making sure this isn’t the case with their new song, “Necessary”, released with a music video where they flash their team colours and feature Odunsi in the cut.
Though street-hop hits like “Legbegbe” and “Able God” have celebrated the criminal extent true hustlers are willing to go to get their hands on money, DRB is introducing hip-hop’s cinematic equivalent of that vibrant narratives. GMK’s bouncy trap beat sets the elated atmosphere for the hustler anthem, celebrating the many rewards of the fast life. Odunsi’s hook, “Owo Wa Necessary” is true enough but the rappers go the extra distance, emulating the scope of the fictionalized, dramatized versions seen in film and on television as they intertwine hip-hop’s obsessions of realism with the street’s embrace of the crime life. The music video DK directs highlights their kingpin fancy, using their Mafioso tics and tropes as an energizing force to make the video endearing.
You can watch the music video for DRB and Odunsi’s “Necessary” below.
Featured Image Credits: YouTube/BOJVEVO
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By the end of NATIVELAND ’18, a few things had become obvious: D’banj has still got it, the old saying that Nigerian music fans don’t know how to have fun is a gross misconception and NATIVELAND is still the biggest concert of the holidays. Of course other markers like Wizkid’s appearance, Skepta’s return and EO’s brief spot to perform UK smash-hit, “German” made the night, but nothing will match up to the strength and energy of fans and artists alike enjoying a great night. From Nigeria’s biggest music festival of 2018, here some of the pictures that captured the making of history.
Only a few artists exist with the same flair and non-effusive dynamism as RunTown. Coming off the release of “No Permission”, his foray into hip-hop featuring Nasty C, the singer (and rapper these days) is back to his more familiar Afropop territory with “Oh Oh Oh (Lucie)”. “Oh Oh Oh (Lucie)” is dancefloor number with a tinge of the candid romantic nuances that has always defined RunTown’s best releases.
Released under his newly launched ‘Sound God’ imprint, the Del B produced-instrumentals thrums along with nothing more than synths and African wooden drums indented with a guitar and a touch of acoustics. Runtown is as confident as ever, even as he longingly sings about knocking on Lucie’s door and hoping she answers her phone. Once again, Runtown plays the part of the seemingly tortured romantic who can and will make a good song about his feelings.
The video directed by Isaac Yowman is a colourful mix of traditionally dressed, energetic dancers and Runtown serenading viewers. When Runtown isn’t sitting pretty at the center of the flair around him, he’s bonding with Lucie, who’s a picturesque vision by the beach.
Watch the video here:
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Fans first got a taste of Teni’s “Uyo Meyo” when she freestyled the track’s chorus in a viral video she posted on her Twitter account back in July. Like much of the contextual spontaneity that often inspires Teni’s viral videos, the recent completion of her University education put her in the celebratory spirits. But while it took Teni nearly four months to release a full track to commemorate that Twitter video, the result of that serendipitous moment is just as moving.
I DID IT!!! I GRADUATED. I had to sing in my Ondo dialect. Because When I'm happy for other people, I too shall celebrate. I DID IT. pic.twitter.com/kYePSw4rz6
“Uyo Meyo” is a prayerful number sung in Teni’s local Ondo dialect. According to Teni, she released the track to celebrate her birthday. Though Teni recounts some of her struggles and pain through the single, the positivity is unmistakable, especially as Teni implores listeners to work hard to reach their goals. The track’s core message is set on the belief that celebration with people who have joy will lead to a celebration of your own.
Stream “Uyo Meyo” below
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WavyTheCreator has been getting better with twisting and morphing her voice into something quite unlike anything, but perhaps, nobody understands this process better than Wavy anyway. The description for new track reads: “sultry sounds from the nigerian alien”, a testament to how much her music has changed in real-time since the release of “H.I.G.H”, the soulful EDM single that brought WavyTheCreator into our consciousness.
https://www.instagram.com/p/BrnUX-ugv8Z/
Her latest single is a follow-up to “Grand Theft Auto”, another ambient-made single featuring Akuchi. “Interlude 3” the new release, thrives on ambient synths and features a verse from King Zamir, whose smooth delivery adds a necessary gruff edge to Wavy’s sensual lyrics.
You can stream “Interlude 3” via SoundCloud below:
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The bad-bitch persona Bella Alubo oozes on “Alhaji Money” her 2016 single felt like a mission statement. It was her love for Hip-hop that set her on the music career path so it’s not surprising that she still retains some of its brash swagger on her pop songs. Though Afropop songs have a leaning towards dance music, it’s not every day we come across female artists who can pull off cocksure brags as Bella does.
Following up last year’s singles, she released ‘Late Night Vibration’ a joint project with YCee at the start of 2018. ‘Re-Bella’ is Bella’s debut project and the cover art shows a merge between Bella and her younger self; depicting what seems to be the story of her dreams and the process of its actualization.
For certain dreams, self-awareness to recognize friends from foe is essential and Bella quickly draws the battle lines and calls out her haters on the first two tracks, “Ask Bolaji” and “Aiya”. She lays a self-assured claim to fame on “Ask Bolaji” featuring BOJ who’s just as self-adulating. But on “Aiya”, she’s more specific, offering more detailed reasons for her disregard for false niceties from lovers. “Aiya” is a tale as old as time, a lesson in knowing and demanding your worth. The gag is, the track is produced with preppy instrumentation that tones down the bleeding intensity of her message.
She explores the Southern African house genres collaborating with Sho Madjozi for a Gqom inspired single, “Honey“. Some of Bella Alubo’s innate mystique is incorporated on Remy Baggins produced “Animals“, where Bella sings “Try’na be Your Vice, Your Poison/Make you Drink the Sweetest Portion” to a lover. In the 24 minute span of the EP, Bella takes a litmus to different sounds. With her internal conflicts worn on her sleeves, there’s an obvious song for everyone on ‘Re Bella’, inspite of the short run-time.
The last two songs on the ‘Re Bella‘ are a tribute to beauty with Efya assisted “Chale Wote” celebrating the charm of the popular Ghanaian street art festival. On “Tropical Paradise“, she lets her hair down and basks in the lightweight ambience of the beach song. Most of the tracks on ‘Re Bella’ peak at the laid-back buzz of a late-night drive with friends, allowing Bella direct the groove cruise into a good night.
You can stream ‘Re Bella’ below.
Featured Image Credits: Instagram/BellaAlubo
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No matter how hard we try to stay in tune with the culture, there’s bound to be gems that remain obscure, especially from the days before technology improved and gifted us the all-seeing eyes of the internet. Fortunately, it’s never too late to start cataloguing memorable records and the DRB trio of Teezee, BOJ and Fresh L have taken the initiative, releasing their ‘DRB 10’ album with all your favourite hits from the group and some never before heard songs. The newly released compilation project asides offering a great nostalgia trip, proves the group to be the forward-thinking acts they presented themselves as when they were formed a decade ago.
The DRB has been credited as one of the core pioneers of the DIY music scene in Nigeria that has gradually slipped into mainstream consciousness over the last few months. The 10-track album serves as the defining document of the group’s sonic experiment from the late 2000s and a palette to measure what sounds that have remains relevant, unflappably cool or outdated.
Opening with “Amebo”, ‘DRB 10’ isn’t an attempt to rewrite the history of the group with the song’s noisy and pacy rhythm being instantly recognizable for the Afropop sound of the 2000s and the ‘Amebo’ buzzword from that era in Nigerian pop culture. The next track, “Bring Out The Rose” highlights DRB’s penchant for fusing EDM harmonies with their hip-hop influences for club driven songs. It’s a sound heard on other tracks like Shank assisted “Selecta” and has remained popular through the years with Wizkid’s “Daddy Yo” having similar sonic direction.
On the group’s “3Kingz”, 808 drum machines and synth lines established their weird take on pop music, while their brags about fusing rap and melody, indicate that they did it before it was cool. Though it’s not quite the mumble rap or even trap beat that we hear today, their triumphant performance is just as infectious. Bez assisted “Cut Corners” continues the group’s seamless merger of sonic influences and the result is a breezy and refined jam that evokes memories of awkward romantic encounters that now serve as the bases for some of our social anxiety.
“Mrs Officer” is one of the standout tracks from ‘DRB 10’, a sort of diamond-in-the-rough discovery. Over the menacing beat, built on an unabating bassline and ear-popping synths, the trio hint at their BDSM kink while trying to win the affection of an officer of the law with their brags. They save their endearing hit song, “Toyin” for last though, highlighting the captivating power of the group’s bromance as they sing of their romantic escaped while emphasizing the warm rasp at the back of their throats. The album is a true collector’s item, blurring the lines between nostalgic escapism and dance floor appeal. With their ‘DRB 10’ reissue, soon enough, we could be talking about how DRB made classic project reissues a staple for the holiday season.
You can stream ‘DRB 10’ here.
Featured Image Credits: Instagram/teezee_drb
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Lady Donli channels her neo-soul sound for heartfelt confessionals, stuffing his verses with sticky romantic tales while checking lovers. Her latest single, “Classic”, is a reminder of how quick emotions can change when lovers fight. And with Kida Kudz contributing a verse swearing his undying lover, he adds some edge to her cutting words to past lovers; “I Think I’m Better Off Alone”.
In spite of all the bad blood, “Classic” is a swooning ballad, with a decidedly acoustic ambiance thanks to Toye Aru’s production and the bass and electric guitar harmonies contributed by Kingsley Okorie and Segun Adegbamigbe respectively. Perhaps influenced by Lady Donli’s recent focus on tours and concerts, “Classic” has a live music swing about it as her vocals rise to a tender falsetto and incorporates some Hausa words.
You can stream Lady Donli’s “Classic” featuring Kida Kudz below.
Featured Image Credits: Instagram/ladydonli
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Afropop and EDM are complicated cousins. Both genres are dedicated to their dance club audiences, but lines are drawn over technicalities like how much vocals influence the melody and the impact of the base-drop. Sarz’s latest release, an EDM remix to Dr Alban’s “Hello Africa”, exists in the swirling intersection. “Hello Africa” was the title track from the Swedish Nigerian’s ‘Hello Afrika’ album debut released back in 1990. But Sarz has revived the track with oriental inspired vocal harmonies washed in the gloss of auto-tune to serve as part of the EDM beat he produced along with TMXO. “Hello Africa Riddim” also has vocal contributions from Flash who adds a romantic and youthful spin to the nostalgia inducing song that tributes Africa and the dance clubs.
You can stream Sarz’s “Hello Africa Riddim” below.
Featured Image Credits: Instagram/only1sarz
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