A 1-Listen Review of T.I Blaze’s New Project, ‘Dangerous Wavy Baby’

Posted on by Emmanuel Esomnofu

T.I Blaze is one of the most unique artists operating in the Street Hop tradition. Over the years, he’s been able to bring listeners into his distinct world of sound, which merges influences from near and far to arrive at a singularly-suffused catalogue across afropop. This is the reason why, when T.I Blaze drops new music, we answer with eager listens, tapping into his interesting artistic vision. 

‘Dangerous Wavy Baby’ is the artist’s second project, following from last year’s debut album, ‘El Major’. As he’s done in the past, the title behind this new project suggests he’s entering into a new character phase, bringing the attendant details of that universe into notice. Just as he’s shown on hits like “Sometimes” and “Try”, T.I Blaze’s pen can be deceptively simple, yet remarkably evocative in how he captures moments that are typically hard to capture in words. The chilling lyric, “Why life come hard? And man no want to be bad,” is one example in a career full of them, and no doubt I’d have my ears peeled for what he’ll be saying on this one. 

To usher in the new project, we give ‘Dangerous Wavy Baby’ the one-listen treatment. You already know the rules. All reactions are in real time while the music plays. No pauses, rewinds, fast-forwards, or skips. 

“MOTIVATE”

Amapiano shakes starting out this one; I’m faintly tired of the sound, but let’s hear how T.I Blaze approaches it. He’s keeping the drums away; he wants you to hear what he’s saying. The flow is almost Seyi Vibez-esque, but there’s more melody and measure here. “As I enter town, dem shout e my name” is a lyric that works gloriously considering the song’s theme. Hearing “I dun sacrifice my life, sacrifice my time” is funny though, considering the recent Kanayo memes that’s been going around. I like the focused atmosphere here. Blaze comes in blazing, while being reflective about larger subjects. 

“DADDY YO” FT. LOJAY 

The sound here still retains the minimalist edge of the opener. I like when artists have an ear for cohesion. But then again, T.I Blaze has always been the soulful kind of street G. He’s shifted the tradition with this unique style, and it’s refreshing to see him unlocking sweet spots within it still. Lojay’s a cheat code for a feature; he’s as expressive as a rapper but able to serenade even with the lyrical gymnastics, which is exactly what he does here. The host has come back to wrap things up, neatly I must add. His songwriting seems to have matured since his last project, and I’m loving the chill vibe so far. I love that he teased amapiano but didn’t fully immerse himself in that familiar terrain. He’s doing his own thing here. 

“ON D LOW”

Niphkeys tag at the start of this one tells you it’s going to be a good song. The production is sounding very 2010s Nigerian Pop, from the rough edges to the scratchy way the synths are being used. It sounds a bit like House, a bit like amapiano, but the core would be recognisable to attentive ears. “We go ginger person for here” is a line that highlights the song’s energy, that in-you-face and you-can-do-nothing-about-it vibe. The drums are really unique, and this feature verse; it starts a bit like the rapper on Ajebo Hustlers but these lyrics have Mr Eazi all over them. It’s the words of a don. I like this song, and with the right production, it could really pick up on social media and all the regular channels. 

“POPORI” FT. BALLORANKING

Another high-tempo production. This one moves closer to the Street Hop core than any other song on here has. Balloranking is proving himself an auteur within that field, with the kind of energy he came into this with. T.I Blaze is singing now; he’s picked up the energy, with his signature melodic base making an impression. I know the scene this song is made for, I can see the people who’d likely groove to it, but it’s not my favourite song at the moment. Perhaps a revisit during groovy communal moments would set it in a new light. 

“WIRE”

I’m just learning now that this song dropped a while ago. These opening synths are majestic; love the violin and skittering drum flow—it sets an atmosphere that prepares you to be wowed. “Na once you go try am, na once I go disconnect,” he sings on the opening lyric, a revealing sentiment pulsating through this first verse. Its themes are flitting, from the perseverance of the character to a pensive relationship, but it’s all tied down by T.I Blaze’s vocals. He’s been dynamic across this project, going from sprawling rap-inflected cadences to groovy and now soulful, telling the story no one would tell for him. It’s a song that resides close in the creator’s heart. You can just tell he thought about this one for a long time and sat down to write it. 

“LOOKU LOOKU” FT. MAGIXX 

Smooth, relationship vibes here. The pacing on this project has been impeccable; how he starts with mellow beats and speeds things up, and is now slowing it again, running down to the end in cinematic style; slowly, but profoundly. I’m enjoying these “you” vocal runs; they have a bit of vintage Wande Coal in them. Magixx is on; he’s a very solid artist, and I hope he hits those commercial highs very soon. This verse is solid, fluid delivery but coasting on those striking vocals of his. Both artists actually have great chemistry; it’s not the kind of collaboration you’d usually expect, but their voices meld so well. Off this first listen, this is definitely one of my favourites from ‘Dangerous Wavy Baby’.

“CHOP AM”

A bit of pomp to close out the project; I’m loving the bluesy feel in these drums. Actually, the production across this project has been flawless. Each has fittingly captured the range of T.I Blaze, through the several flows he’s adapted on here. On this one he’s freewheeling, taking the beat as it comes. He starts with his signature sing-songy style, but as the drums come in, he’s entered into zesty mode, adapting a chant-like style that’s almost Islamic in cadence. It’s a fun song to listen to, and I can imagine the creative process being similarly fun. Really, there could have been no better song to end this project with. An imagery of the good life would always be a fixture in popular music, but T.I Blaze here constructs one of its more lived-in portraits. 

FINAL THOUGHTS 

It’s easy to overlook the incredible things T.I Blaze is doing with sound. Different from many of his contemporaries, he’s resident behind the scenes, not concerned with the buzz as much he’s about working on the sound and creating moments for his fans. However, his melodic approach to the Street Hop tradition hasn’t been anything if not novel and revelatory, earning him great critical attention and subsequent acclaim anytime he releases a new project. 

Over the years, the likes of ‘El Major’ and ‘The Fresh Prince of Lagos’ have burnished his reputation as a bonafide musician, easily upholding his individuality while making space for other artists to create with him. Thus the music has been like a colourful anthem rendered to afropop, with frequent splashes of existential concerns and immersion into his life and associated society. To his credit, ‘Dangerous Wavy Baby’ continues in that ethos, this time imbibing even more musicality than ever before.

The result is a concise, cohesive tape with bright edges and rewarding introspection. Each guest is purposefully placed, each song impeccably written to mirror the weight of the discussion. T.I Blaze reaches deeper into his artistry and emerges with a project that would easily be a contender for one of the year’s best EPs. As someone who’s deliberately receded from the spotlight all this while, it’s a beautifully profound way to make his return.

NATIVE EXCLUSIVE: T.I BLAZE IS BECOMING MAJOR

AV Club: ‘Fatal Seduction’, ‘Wura’ & what series remakes say about streamers in Africa

Posted on by Dennis Ade Peter

Last Friday, Netflix released the second batch of episodes for the first season of ‘Fatal Seduction’, the South African TV series that premiered earlier this year with seven episodes. The streaming platform gained popularity for delivering an entire season of shows for viewers to watch on-demand, either bingeing them or taking their time—the discretion depends on who’s watching. The strategy of breaking up a season by dropping episodes in batches isn’t new but it’s been used sparingly, mainly reserved for blockbuster shows like ‘You’ and ‘Stranger Things’.

‘Fatal Seduction’ isn’t a blockbuster—at least, not in the timeline-consuming, conversation-driving manner—which makes the two-volume release of its first season surprising. The strategy is even more puzzling when you consider that the show isn’t exactly an original series. It follows Nandi (Kgomotso Christoper), a university professor who gets into an extramarital affair with Jacob (Prince Grootboom), as she can’t keep a lid on her desires when the pair have a one-night stand after meeting at a short beach getaway. As the story unfolds, it turns out that their meeting wasn’t so serendipitous; there’s a death in the first episode, it turns out Jacob is taking the professor’s class, Nandi’s daughter falls for a catfish, and more stuff happens, leading to a cliff-hanger in the seventh episode, which is where the first volume ended back in June.

Depending on who you ask, the end of that seventh episode might not be much of a cliff-hanger, since the show is based on another Netflix original series, ‘Dark Desire’. While ‘Fatal Seduction’ is not an entirely Xeroxed show, the similarities are overwhelming enough to describe it as a remake. The premise is the same, the liberal show of libidinous sex scenes cuts across both shows, the pacing for ‘Fatal Seduction’ is slightly faster but the events unfold in the exact manner as its predecessor, which means there will be no surprises in the second volume if you’re already hip to ‘Dark Desire’.

On its own, ‘Fatal Seduction’ is an enjoyable watch, even though it’s some ways off gripping. The plot might be predictable but the show is aware enough to ensure the story feels worthwhile, leaning into the sleaze and steaminess of its sexually-charged moments for pure entertainment purpose. (Full disclosure: I watched ‘Desire’ after seeing the seventh episode ‘Seduction’, before its latest batch episodes.) Asides maybe Nandi, none of the characters standout to be liked or deeply disliked; for now, they’re just moving pieces in service of the story, and it also plays into how simply serviceable the overall acting is on the show.

A Mexican original, ‘Dark Desire’ was a big hit for Netflix in Mexico and across Latin America when it debuted in 2020. A lot of that attention no doubt came from its smutty content. At eighteen episodes in its first season, though, the show was a serious drag. ‘Fatal Seduction’ will not get that many episodes, which is a positive, but being based on a commercial hit is a telling sign of Netflix’s ambition to replicate the success of another show basically lifted from halfway across the world.

 

The critical reception to ‘Dark Desire’ was lukewarm when it premiered, and I doubt ‘Fatal Seduction’ will be highly acclaimed when its first season is completed—in fact, early conversations have centred the similarities with its forebear. As any construction engineer will tell you, it’s impossible to erect an edifice when the architectural plans the building will be based on is mediocre. That’s pretty much the case with ‘Fatal Seduction’. The new batch of episodes might end up vindicating Netflix’s gamble, but what are the ramifications if the show becomes a hit—or it doesn’t.

Since entering the African film market, Netflix has repeatedly stated its commitment to telling African stories while centring excellence. The streamer has mostly done that with a growing catalogue of commissioned, original films and TV shows, with South African originals comprising a significant portion of those releases. It’s apt, since SA has the best structured film industry on this side of the world. The variety has also been remarkable, from family dramas and folky sci-fi to mini-comedy series and spy thrillers, and much more. ‘Fatal Seduction’, a romantic and erotic thriller, expands the scope but it’s undercut by being a remake of a not-so-great show.

Imitation might be regarded as the best form of flattery, but a lack of inventiveness in art can be a net negative. That’s why, in music, artists add their own spin when they cover already released songs. While there are shows like ‘The Office’ and ‘Jane the Virgin’ that hit high critical marks and are based on pre-existing TV series, most remakes are stuck with the limitations of their forebears. To eclipse those issues, following the blueprint step-by-step isn’t an option.

Earlier in the year, Netflix released ‘Unseen’, another SA TV series based on ‘Fatma’, the Turkish original. In ‘Unseen’, Zenzi Mwale (Gail Mabalanle) desperately searches for her husband Max (Vuyo Dabula), after he goes missing on the day of his release from a long prison stint. While Max was locked up, their son was killed, and the anticipation of reuniting with her husband was the only thing that really kept Zenzi going. The main characters and central conflict in both shows are the same: Zenzi and the titular Fatma are both cleaning ladies on the same quest, reaching murderous extremes for answers if need be.

‘Unseen’ unfolds in the same manner as its forebear, but it takes a few liberties that helps its identity as a South African show. The scenes don’t fundamentally differ—in fact, you can hear dialogue being reprised from ‘Fatma’, as well as the same character matrix. The setting does aid some of the storytelling, especially the police procedural parts that ‘Fatma’ couldn’t get away with, since police investigation procedure is expected to be better in Turkey than it is in SA. The show uses societal factors like that to help Zenzi manoeuvre a bit better but it still wobbles in character depth and as it reaches its resolution.

As much as Mabalanle puts in an awe-inspiring shift, there’s some deficit in what we know about Zenzi—viewers will connect more to her struggles than the character’s person. In trying to be a little more inventive about the remake, there’s a priority in adjusting the nuances of the story and it affects fleshing out the characters. Even the penultimate to ending phase is as puzzling as it is affecting, still inheriting issues from the show it’s based on.

So far, Netflix has invested in two remakes for the African market, one more worthwhile than the other, and neither has really reached cultural ubiquity. Even looking outward, there’s no proof of concept—the streamer’s South Korean remake of its Spanish smash hit series, ‘Money Heist’, wasn’t greeted with the same fervour. Currently, film is partly dominated by remakes and reboots, but it’s yet to widely translate to TV shows. Originality is a factor, but so is execution; reprising an entire show is a difficult ambition to pull off.

As far as remakes in African TV, it doesn’t get more ambitious than the Showmax telenovela ‘Wura’, based on the long-running South African series ‘The River’—which has also been adapted in Kenya (as ‘Kina’) and Portugal. Starring Scarlet Gomez as the titular character, ‘Wura’ portrays the difficulty in balancing being a cold-blooded businesswoman, great wife and loving mother—at least that’s what I gleaned from watching seventeen episodes.

‘Wura’ is at 100 episodes now; ‘The River’ has six seasons so far, all at 120 episodes. According to reports and parts of my Twitter timeline, ‘Wura’ hasn’t deferred that much from ‘The River’. I can’t say if it’s a good or a bad thing, the same way I can neither confirm nor deny the many tweets and group chat texts I’ve seen about bad acting on the show. It would be a hell of a task to watch 720 episodes of the older show and cycle through another 100 (well, 73 for me) to figure out if ‘Wura’ nailed its impression, eclipsed its forebear, or is shackled to any critical issues. The goal is clearly to localise the story for a previously oblivious audience.

In adhering so closely to the source of its inspiration, there might already be a positive. Showrunner Roger Ofime recently discussed the show’s portrayal of a queer love story, a taboo topic in a deeply conservative Nigerian story that squeezes queer people beyond the margins. “We don’t face challenges telling stories of a boy and girl in love, so why now?” he answered when asked if there were any challenges with that part of the show. “We had two queer characters in The River and got to see more. So, expect the same.”

The common thread between ‘Fatal Seduction’, ‘Unseen’, and ‘Wura’ is that their level of excellence is mainly tethered to the excellence of what came before it. That would mean that the adaptation of a critical hit would turn out an acclaimed show. It’s not an entirely linear correlation but, in the African film mainstream where story construction is something of a general Achilles heel, there’s some merit to that line of thought. It’s uncertain which other remakes we’ll be seeing but, as with all on-screen art, it has to start with a great story.

ICYMI: HOW ‘CRIME & JUSTICE LAGOS’ BRILLIANTLY ADAPTS AN ESTABLISHED BLUEPRINT

For The Girls: Dope Caesar Is Ready To Own Her Moment

Posted on by Uzoma Ihejirika

Last month, a video clip of a female DJ blazing the crowd was shared across social media. In it, a DJ stood behind the wheels, surrounded and cheered on by a hype man and other music enthusiasts. The DJ, dressed in a white T-shirt and spotting dark sunglasses, was spinning Brick & Lace’s 2007 hit song “Love Is Wicked”; the Dancehall rhythms of  “Love Is Wicked” soon morphed into a steady singular note that lasted seconds before unfurling into Afropop thump of Victony and Tempoe’s world-conquering 2022 jam “Soweto.” That transition, when it hit, sent both the DJ and the crowd of party-goers into ecstasy. 

That DJ is Dope Caesar—real name Sarah Oboh. Her viral clip, which was first birthed in TikTok, got instant attention on that platform and Instagram and X (formerly known as Twitter). On TikTok, the clip boasts more than 12,000 comments and almost a million likes. On her Instagram, it drew more than 3,000 comments and almost 57,000 likes. It has also raised Dope Caesar’s profile, with more people seeking her services. “I’m very grateful for it,” she tells the NATIVE.

In this conversation, Dope Caesar speaks about her viral moment and also delves into her early days and what she’s been up to. She also shares her thoughts on the DJing space in the Nigerian music scene and how more women can carve a space for themselves. This is Dope Caesar at her most honest and realest.

 

View this post on Instagram

 

A post shared by Watch The Mix! (@dopecaesar)

NATIVE: Tell me about your background. What was growing up like for you?

DOPE CAESAR: I grew up in a music house, literally. My dad used to be a musician, sound engineer and record producer to an extent. So, I grew up actually watching him rehearse with his friends. He had friends that could play different instruments – drums, bass and keyboard. It was mostly like reggae-dancehall music they really did. My mom also likes music. You know mothers na. 

How did you discover your passion for DJing?

When I was a secondary school, I work the laptop for socials. I was in [boarding school]. It was really in 2017 when I finished uni that I stumbled across a very small entry-level controller in my dad’s room. So, I was like, “Okay, let me see how this stuff actually works.” Then, I started to just explore it. It just felt right just mixing music and I always felt I could put a twist to someone else’s stuff –  just my own flavour. I wasn’t a producer then but with DJing, it just felt like I could still be creative with it. That’s how I noticed that I had some level of passion for it.

You have mentioned the music your parents listened to while you were a child. What kind of music did you listen to on your own to find your path?

Yeah, I listened to a lot of pop music growing up. I was a very big Disney person. So I used to listen to the Jonas Brothers, Selena Gomez and those kinds of people and then some underground stuff. I like alternative music. So those were the things I really accustomed my mind to. It was when I started DJing, I started to listen to normal club genres – Hip-Hop, Afrobeats and the like. But as a consumer of music, I used to listen to not-so-popping genres. Those were my go-to at that time.

What prompted you to make a professional career as a DJ?

Okay, there were a lot of “I’m not doing this stuff, I’m doing it. I’m not doing this stuff, I’m doing it” from 2017. I think last year was when it [the decision] actually [became] a kind of force on me because I was trying to go back to school – go and do masters and all of that stuff. Then a club actually hit me up and they’re like they want a resident DJ. But strangely, my papers never came so I just started doing it [the job] and from that job, I just started getting more jobs. I was like, “You know what, I’ll just focus on this full time, really focus on it as a career.” But I’ve been doing it [DJing] before then. I’ve been having small gigs but I didn’t see myself professionally as a DJ. It was just [a matter of] I’m passionate about this stuff and I need to do it. It wasn’t until May last year that [everything] changed.

Did you get any resistance from your parents concerning that decision?

No, they have always been supportive when it comes to DJing because my dad used to even be a DJ when he was younger. If you say you want to do music, he will support you. He’s that kind of person. If you say another thing, e fit just dey look you. But if you say you want to do music, he’d be like, “Yeah, yeah.”

 

View this post on Instagram

 

A post shared by Watch The Mix! (@dopecaesar)

What’s the story behind your stage name?

It used to just be Caesar before. I’ve never had DJ Caesar in my name before. It was just a thing of “I like Julius Caesar.” So I just took the name because I like his character and how he was just that guy. In early 2021, someone was like, “Caesar is actually a boring name so you need to put something in front of Caesar,” and when she suggested that I didn’t have anything. Then I was listening to a DJ play – his name is DJ Craze and he’s a turntablist. So, he had this interview that was playing; I think it was Kanye’s interview where he said, “Dopeness is what I like the most,” and I was like, “Wow, you could just put Dope in front of Caesar,” and it just sounded right. And even before I started to tell people my name is Dope Caesar, when I play, people are like, “Damn, that’s dope.” 

You have performed on reputable platforms. What would you say was your big break as a DJ?

I just think that [first] club believing in me was it because it’s not like I had prior experience [before working with] them. They hit me up. I didn’t go around looking for them. It actually put me on my toes. I had to always learn on the job until I became the DJ I am today.  That experience opened me up to other platforms like Obi’s House and so many stuff. I think Obi’s friends saw me play at the club and told Obi about it like, “You need to get this person.” It really took my confidence and my learning—because I like to learn—to a very high level because I just had to be on my toes and I needed to get better and understand how things were. 

Walk me through a usual Dope Caesar set. How do you prepare your mind for an event and keep yourself locked to the end?

This would be a little bit difficult to explain but I like to study what’s going on when I’m somewhere—it depends on my mood, I’m a very mood-driven person. I need to see how people are—are they being receptive to the whole thing going on around them? Are they distracted? What do I need to do? What kind of songs do they listen to here? [Also], the age bracket actually guides you on the kind of music you have to still play and all of that. So it’s just a thing connecting with the atmosphere on an emotional level. Then if I do that, I’ll be able to give my best.

Have you ever had any situation where you don’t feel the vibe of the crowd and they are not moving the way you want them to, how do you navigate that?

If the crowd isn’t moving the way I want them to move, I would just do my job. I try as much as possible not to pressure myself  like, “Oh, the crowd is not vibing to what I’m doing, that means I need to do this [or] I need to change this.” If I feel like I need to change stuff, I will change it but I have the rules set for changing it. I don’t have to play like someone else just because the crowd isn’t vibing. I’d just feel like it’s the wrong crowd for me. It could be the right crowd for someone else. I would just have that [in my head] so that I’ll be fine. If it doesn’t go well, no problem, we’ll go to the next gig and do better.

What will you say has been the most challenging aspect of being a DJ for you?

The most challenging part of being a DJ is actually being creative. That’s the most challenging part of being a DJ and being creative in the sense that it’s not about getting ideas, it’s about executing ideas. So, it’s how they [the ideas] are going to actually work and be musical because I’m being musical. I’m about doing it properly. It’s not about just that crowd that listens to you right now. 

It’s just a thing of “How do you keep it musical?” There are just so many constraints to look at so that you can keep it musical. As much as you’re keeping it musical, you have to make sure it doesn’t fly over people that aren’t musical—you can do stuff and they don’t get it and they’re just looking at you. It can be very difficult. There are so many routines that I have that I probably may never really do because I haven’t found the crowd for it because it will just fly over their heads. So there’s no need to do it. At least for now.

 

One of your performances (where you mixed Brick & Lace’s “Love Is Wicked” and Victony & Tempoe’s “Soweto”) went viral on social media. How did that make you feel?

I was actually very overwhelmed. I was in disbelief. I posted that video on Saturday around 12. Before then, I posted two videos on my TikTok. I’d just opened TikTok on Thursday night and I posted a video with Poco Lee (Asake’s “Terminator” and Chris Brown’s “Under the Influence” mashup). And my friend texted me like, “Guy, you have like 100 followers.” I’m like, “Where did these guys come from because I just opened his account now and I just left it?” And when I was checking, I saw like 300 followers so I called my guy Sammy like, “Sammy, e dey burst for TikTok.” Sammy was like, “Mad mad mad.”

I think we were on thousand-and-something followers at the time I posted the “Soweto” and “Love is Wicked” [mashup]. Then it started going up. Sammy was like, “Guy, I think we’re going to do like 2,500 followers today.” I was like, “Nah, it’s not possible. I think 2000 is a fair reach.” That day, we did like 10,000 followers. I was just like, “Where are these guys coming from?” Then my friends started sending me [messages that] blogs were posting it. I was just very, very confused [at first] but at the same time,  I’m very, very grateful for it.

I’m very grateful to everybody that watched it, dropped a comment, liked, shared and talked about it. Even if it didn’t go viral, I’ve always known that particular transition is good, and even if it did not go viral, it’s not gonna change anything. So I don’t want to say it made me feel a type of way. I just feel grateful that that happened. 

How do you think the DJing space, like other aspects of the music industry, can become more receptive to women?

I think the best way, for me, is to have a proper standard for everybody so that people that are creative wouldn’t be scared of doing this job. There are people that are actually creative but they’ve always heard that “Your style is not for Nigeria; the way you play, it’s not what we need here. People just want to vibe,” and it actually puts them off. So, instead of telling them that you can’t do it, just let everybody find their footing and express themselves the way they want to.

DJing is quite a profitable business to an extent. Why I even do this is because DJ Switch actually inspired me to not change my style because she’s a creative DJ too. It made me believe I could do them too. This is a Nigerian like me, this is a woman like me and she’s doing it on an international level. If other female DJs see me do this stuff and they see that [I’m] making moves, they will start to believe in themselves and do it. 

You have mentioned DJ Switch as an inspiration. Who are your other inspirations?

Yeah, I have one billion DJs that steadily inspire me. My biggest influence is actually a DJ from Barbados. His name is DJ Puffy. In Nigeria, I have many DJs –  off the top of my head, I can’t even remember so many DJs. Puffy is my greatest inspiration. [There’s still] Skratch Bastid, Moody Mike from France. I have DJ Amy from France. Cocoa Chanelle from the US. There are so many of them that inspire me. I’m always learning even [from] the younger guys. I listen to as many DJs as I can, so even DJs that don’t play the kind of music I play, there’s something to always learn from them. So, I’m always opening myself to DJs, regardless of even where they are in the game – professional, entry-level, intermediate; whatever you are, I would just open my ears to you and try to learn something and see what I can pick from you.

You mentioned earlier about wanting to go into production. Is that happening soon?

Yeah, even sooner than anybody expects.

Does that mean there’s a project in the works?

Yes, there’s a project in the works. But I’ll move in silence about further details.

How have you been able to leverage social media to expand your brand?

We’re still navigating our way through social media but we are seeing the power in it. That very cheap but very effective and efficient advertisement. My team and I are making moves. That’s all I’ll say for now. 

What’s the plan for Dope Caesar as a brand going forward?

[I see myself] on amazing festival stages, trust me. Inspiring the next generation of DJs that will take the African music journey to a different level. So it’s going to be those festivals [and more].

Featured image credits/NATIVE

Yusuff Aina is bringing his multidimensional world to life through ‘Eniyan: Escape Room’

Posted on by Nwanneamaka Igwe

The Lagos-born multidisciplinary artist, Yusuff Aina is a world shaper and masterful storyteller. Through his colourful and thorough interrogation into his own psyche, he’s crafting a visual world that visualises his feelings of escape. To portray this, he utilises his self-invented character, Eniyan, which he describes as “human beings, persons, everybody, nobody, man and woman at the same time.”

Eniyan has been featured as a fictional character in most of Aina’s recent work including The Escape Room, a multidimensional exhibition which explores varying mental states of mind with themes such as solitude, anxiety, bliss and more. Aina admits that Eniyan is a visual manifestation of his unique form of artistic expression known as Ainaism. “Ainaism means life. I incorporate it with my art form which is Eniyan. It’s the body that tells the story and journey of life in Ainaism,” he shares with the NATIVE. 

Everything crafted within Aina’s world is not without reason or place. Right from the early stages of his career, Aina has paid close attention to his linear motion techniques for crafting his vision. It was this curiosity for tracing where it all started that led Yusuff Aina to take a closer look at his culture and history which enabled him to reinterpret this for contemporary audiences. “Eniyan is the medium to explore the journey of human beings and Ainaism represents that unseen pattern and form of navigation in life. All works I create through Eniyan possess a uniqueness in form, compositions, symbols, language, connection to being and spirituality,” he shares.

 

View this post on Instagram

 

A post shared by AINAISM (@yusuffaina)

Aina’s building is a result of his experimentation with different tools and mediums over the years. He tells the NATIVE that he believes that human beings are connected to the earth and can utilise resources around them to craft beautiful concepts. “You’ll find that in my works; a lot of sand, stones and cracks. My paintings symbolise the expression or mental state of us as beings,” he shares.

Aina reflects these themes through the lens of mental health and “state of mind” in colour-coordinated rooms categorised—Red Room, Blue Room, Yellow Room, White Room, Green Room and Black Room. “There’s one that shows sadness and depression. The same work shows me needing a hand because I felt helpless. There’s a work showing how I started taking charge and form of my situation. There’s another work showing where I am right now, where I’ve found bliss,” he shares candidly. 

His latest exhibition ‘Eniyan: Escape Room’ is a return to his current state of mind. He shares that the exhibition is an attempt to form a connection with the world around him. As a child from a large extended family, he never really had a close-knit family unit which left him longing for connection and interrelatedness. “The Escape Room focuses on different states of mind that influence our choices. I’ve been longing for connection with myself and the people around me,” he shares candidly.

 

View this post on Instagram

 

A post shared by AINAISM (@yusuffaina)

In a NATIVE exclusive interview, Yusuff Aina dives into his two-year long curatorial process for the exhibition, while looking back at his journey into the art world as well as expectations for the future.

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

NATIVE: Talk me through your journey leading up to this moment. What pushed you to start creating professionally?

I’m from Abeokuta but based in Lagos. I have been creating art since I was four—primary one. I wanted to be a dancer and a goalkeeper but art was the thing that gave me the most promise. Art has been a passion and a journey. It has been my backbone. Whenever I’m having difficulties with human beings, art has never left me and that made me really want to study art more. As I was creating my patterns and motions, I decided to call my kind of art Ainaism—from my name Aina. In my second year of College, I designed the character I’m currently working with. I scribbled something out of boredom. A year later, it became a recurring joy in my pieces and compositions.  

Compared to when you first started in 2016, I’m sure you have experienced some growth. How would you say these past years are different for you looking back? 

Crazy growth. In the last 7 or 8 years, I’ve gone through different transformations and phases and I’ve expressed my kind of art in many ways; through charcoal, drawings, paintings, designs, graphics, and animation. I’ve transformed from creating in different ways to where I am right now. The journey has been tough, battling low self-esteem, depression, moodiness, solitude, [and] rejection from different angles of life. I’m glad I experienced those things even though they weren’t fine. I guess it’s just meant to be for me to be where I am right now. I appreciate it, especially the grace of God. My faith in him is really powerful, and I don’t second guess him.

Who are some of your early art inspirations?

My older brother was an inspiration to me as a child. We used to draw together but he stopped doing that after a while. I always wanted to do better than him.  In the professional area, I was inspired by David Akinola, a very good multidisciplinary artist. The way he combines lines and composition and his portrayal of figure drawings is fascinating. I have been inspired by KAWS, Pharrell Williams, Daniel Arsham and a few others. Ken Nwadiogbu was also my mentor. He helped me understand how to position [my] work in the art scene. Also, I’m my own inspiration. I’m inspired by where I want to be, what I want with my life, my calling and my kind of work.  

 

View this post on Instagram

 

A post shared by AINAISM (@yusuffaina)

You coined the term Ainaism. What is this? 

Ainaism is derived from the name Aina and it’s a child born with the umbilical cord around the neck during childbirth. It was a life-threatening situation that my mom and I went through. When I discovered my mom was an Aina, I started digging deep to learn more about this name and how it’s linked to my art. I started creating my lines and patterns without knowing what they were. I later realised that my lines symbolised the umbilical cord which is the connection between life and birth. So Ainaism means life. It means birth and the lines in my work are called linear motion. I incorporate it with my art form which is Eniyan. It’s the body that tells the story and journey of life in Anaism. 

Eniyan is the medium to explore the journey of human beings and Ainaism represents that unseen pattern and form of navigation in life. All works I create through Eniyan possess a uniqueness in form, compositions, symbols, language, connection to being and spirituality. Eniyan stands as the body to represent human beings in this journey of life that I’m trying to express through my work. There’s a language to it as well that I am building and over the next few years, I hope to have been able to compose a lot of like symbols. 

Why do you feel like these chosen mediums are the best ways to best translate your ideas and thoughts?

I am very connected to the earth and I believe that we are all from the earth. You’ll find that in my works; a lot of sand, stones and cracks. It is a metaphor for where we are now as human beings. As we were created from dust, over time, we shall return. Our choices and behaviours are affecting our form and that’s why the cracks are in my work. Sculptures represent a stillness to express motion and movement once of human beings. From a still sculpture, you can see different types of motion. My paintings symbolise the expression or mental state of us as beings. The colours also represent emotions or stories which I’m trying to make people feel through my work. I want people to be able to look inwards and discover themselves. Everything is linked to the genesis of human beings. 

Would you say that these creative processes for each medium differ in any way? 

They have different approaches because of their nature. For paintings, I either work with a brush, paint, my hands, sand, palette knife and so on. Sculpting is different. I keep in line with the general approach to creating forms and the basic elements, principles and forms of design. So there are different approaches.

A lot of the works scale very large. Is this a design preference and what inspired you to make your works in such larger-than-life sizes?

Most of my paintings range from four to eight feet but my murals are the largest. I don’t always think a small canvas is enough to explore what’s in my head. It also gives people the full experience [of] the piece on that scale. I even want people to see my work from afar and get drawn closer. The world is big enough for us to express and I’m down to explore all those areas.

What have these moments been like for you? How have you been feeling leading up to the opening day of the exhibition?

It’s been intense. I’ve been working on this particular show for two years now. This current project, Escape Room, started with paintings in January 2022. I’ve been exhibiting in showrooms across the world. I’m learning about myself. I learned through my art, conversations, passion, mindset and visuals. COVID-19 also triggered me to be able to reflect on myself. All these years, I’ve been building ideas and concepts. 

This exhibition explores a lot of themes such as alienation, trust, and various ideas of belonging as well. Why do these themes stick out to you the most?

I’ve been longing for a connection with myself and the people around me. I did not come from a close-knit family and the relationships are very distant. I’ve been creating and living my life alone, and my solitude has really rubbed off on my interest as well. My work is there to show people they’re not alone and the significance of being there for one another.

The Eniyan stands as a medium to show people this. That also contributed to my interest in the psychological patterns of human beings. The Escape Room focuses on different states of mind that influence our choices. I’m using it to allow people to become aware of this and have these conversations, especially in a world where we pretend to be all fine. A lot is going on with us and it’s to encourage people to allow themselves to be vulnerable with one another. 

 

View this post on Instagram

 

A post shared by AINAISM (@yusuffaina)

Let’s talk a bit more about Eniyan and why you decided that that would be your design trademark. 

It was becoming a recurring pattern in my work and I was encouraged by Ken [Nwadiogbu], and some other friends of mine to look into it further. Indirectly, they were telling me to look within myself. I think Eniyan is a self-portrait for me, as much as it is a self-portrait of everybody in the world. Eniyan just feels right. It just feels like the real thing.

Talk to me about your selection process for the works you are showcasing in the exhibition. How did this come about?

There are 31 paintings and 5 sculptures. They [represent] different states of mind;  the Red Room, the Blue Room, the Yellow Room, the White Room, the Green Room and the Black Room.  I did not create the installation of the Black Room but I did paintings. The number of works in each room wasn’t intentional. I was just creating based on what felt right at that moment. Each wall has personal experiences in them. One is expressing how I’ve been entangled and overwhelmed with my life for the last eight to ten months and how I am trying to breathe. There’s one that shows sadness and depression. The same work shows me needing a hand because I felt helpless. There’s a work showing how I started taking charge and form of my situation. There’s another work showing where I am right now, where I’ve found bliss. 

What do you hope audiences take away when they have a look at all the works?

That Eniyan is not just me, it’s everybody. It’s intended to be as subjective as it can to allow people to find themselves in my pieces. Any piece in the world that you don’t relate with, there’s someone else in your life that you know relates to it. I intend for them to find themselves, find courage and understand that they can do anything. Be expressive and loud and know that vulnerability is not a sign of weakness. To challenge our thoughts, challenge the contribution, the passion and know that we are bigger than what we think we are. We can actually find peace wherever we are. There is nothing under the sun that doesn’t find a resting place.

What can we expect from you moving forward? You already spoke briefly about Ainaism and how you want it, in the long run, to be converted to its own language and symbol of representation.  What more can we expect from you?

There’s a lot I’ve been working on in the last eight years. Currently, as I’m exploring The Escape Room, there are different universes and dimensions in which The Escape Room can be expressed. I intend to release my Eniyan toys and sculptures in the next few months. I want to hold a second solo that’s more groundbreaking than this. I’m also picking up my fashion line. I have been creating fabric designs for the last 7 years. A lot of different things. One of my dream collaborations is with Pharrell Williams, especially Humanrace. I have a ton of designs and concepts for his skincare brand and if I can get that opportunity, it would be really sick.

 

View this post on Instagram

 

A post shared by AINAISM (@yusuffaina)

Featured Image Credits/Yusuff Aina

NATIVE Exclusive: Enter Into The Creative Universe of Nova

Posted on by Emmanuel Esomnofu

Sometimes a cold email isn’t the most unsolicited thing in the world. Sometimes, it’s a move towards discovering a potentially great artist, one whose brilliance requires more discussion. This was the feeling a few minutes into NATIVE Mag’s recent interview with Nova, a Toronto-based artist who’s been laying down footprints in the media and music scene for a while now. He’s a multifaceted creative, frequently switching in between modes to relay different aspects of his narrative, all of which began with music. 

“Have you seen that Drake meme that is going around that says ‘Combination’?” he says when I ask about his early music. “I started rapping when I started making music and then over time evolved. I started doing more melodies and started singing more. But the more I made music it was all about being able to find my sound. It was about bringing my skills today to be able to really express myself in a cohesive way.” 

 

View this post on Instagram

 

A post shared by Nova ✨ (@novagotthatheat)

Nova’s latest single does just that. A showcase of his wavy sound, “CTL” imbibes thorough narrative background, from the song down to its visuals. It is produced by Toye Aru, the Nigerian-born producer who Nova has been working with for a while. Translating as ‘Cross That Line,’ he explores “a relationship between a guy and a chic [and it’s also] an interesting play on how, once you fall in love, or engage with Nova there’s no going back.”

The song’s direction also influenced the visual ideation, which Nova considers an extension of his interest in animations and cartoons. A conversation between him and the director Damola Rufai spawned the creation of a vampire character, whose circumstantial fatality also played on the song’s title. The most novel element was however the utilising Artificial Intelligence, which Nova admits has been a big discussion worldwide, seeking to put limits on their adaptation. 

“We were just thinking,” he tells me, “the way people are using A.I right now, it’s not really infusing creativity into this new technology. And we were able to use generative A.I to create a universe that creates an audiovisual journey for the audience to get immersed into the experience of what [the song] means, to create a beautiful story that not only resonates but looks visually stunning as well”. By and large, Nova and Damola achieved their goal; I found the visual for “CTL” aesthetically empowering, its cartoonish movements and flamboyant hues melding into a distinct emotive vibrance. 

Stars have frequently spawned off the universe that is the diaspora. Across the Atlantic, home has been wedged into the art of black creators, especially young people who are willing to connect stringent lines of cultural history. Nova’s music does just that—he is a fan of R&B, as of Hip-Hop and Afropop, arriving at the intersection between all three, and some other more sounds. Early on, though, he was more Kendrick Lamar than Burna Boy. 

An early record like “Olumide Macaulay” bears the sound of 2010s Hip-Hop, influenced by the blog era in its self-immersed subject matter and flashy imagery. That stateside awareness was evident on “Higher,” accompanied by haunting production that seems cypher ready-made. However, as Nova himself acknowledged, the musicality was peripheral to the rapper aesthetic, and that began to change when he began to release projects. “Lust,” the opening record off the ‘S.T.A.Y (Still Think About You)’  series showcases that growth, a rich body of sound that strips the bars in favour of emotional heft. The Katasha J-featured “Precious Diamond” reveals his tightening grasp on afropop, the soft patter drums matched with sweetly delivered lyrics about love and expressing intimacy, whether through the sensitivity of pressed bodies or the carefree allure of bodies dancing, brought under the rhythm of feeling for another person.

Born Mobolaji Adeyemi, Nova The Great was born in England, but spent his formative years in Nigeria. That meant going from the nursery to secondary school system, living consciously through the bubbling cultural period of the 2000s and 2010s, basically touched by experience and knowing the songs he loved, listening to them for the first time where he did—these are images the artist remembers. “My uncle used to drive me to school and you’d hear him play the dopest music—like Wyclef, DMX, Lauryn Hill,” he says. “For me that was really inspiring and exposed me to different kinds of music. I think that motivated me to want to try and create.” 

During the flamboyant era of secondary school, Mario’s “Let Me Love You” was released; Nova remembers singing it everywhere he went. “From there I started playing around with my friends, we started making music,” he recalls. Professionally, music came into the picture around 2015, when his brother’s friend who loved his music linked him up with the Nigerian-born, Hunger Games actor Dayo Okeni, then a fresh university still auctioning for roles. For some years Okeni managed Nova and it was he who taught the musician how to be a good independent act. 

“He gave me a platform,” he says, “to understand it’s possible to do music independently and it’s possible to be creative and just accomplish your goals if you work towards them in a very strategic way.” In Nigeria, Nova also worked with Urban Vision, the architecture and design company owned by Tola Odunsi, otherwise known as Bobby Boulders. They welcomed esteemed clients like Wizkid, Mr Eazi, 2Face Idibia. “It was a good spot to really meet different artists across different levels and just learn from people,” he says. 

Mobolaji’s expertise also extends into fashion and communication, both being longtime interests. He’s worked with a few brands merging both sensibilities for their potential customers. In one unraveling response, he provides context into how he’d usually craft a chain of progressive stories. 

“For me the most important thing is finding different outlets to express myself, because I feel like that’s what creativity is about,” he says. “Even when I got into fashion, I was seeing African culture making waves globally, however when people talk about Africa they seem to talk about the continent like it’s a country. However, Africa is so diverse—between Egypt, Nigeria, South Africa, Angola—like, the diversity between people is so vast. I wanted to use fashion as a medium to express the diversity of Africa, so I started to put a more urban interpretation on traditional African outfits.”

One of his first experiments was turning a Dashiki into a Poncho, playing around with form and using the origin of the fabrics to create narratives around the outfits. This deliberation extends into his music. His ‘S.T.A.Y’ series capture postcard moments, issues vast and near brought under his remarkable pen, and his ever expanding ear for sound. While the first project was a solo effort, the next which was created during the pandemic embraced a multiplicity of voices through its collaborative process, holding up the perfect image of how Nova was feeling at the time. 

He’s primed to release the third project in the series, but before then, he’ll be putting out “Tatiana”, along with other singles until Project Time. To Nova, sharing music, or any art for that matter, feels a bit like “the end of a relationship,” he says with a laugh. “But it’s almost like a relationship with a child, because you nurture the song up until the point you release it, and then you’re just like, ‘I just have to let you go.’”

ICYMI: IN CONVERSATION WITH TOYE ARU, THE PRODUCER WITH AN AFFINITY FOR BIG SOUNDS

Best New Music: Liya ups the ante with “I’m Done” & “Powerful”

Posted on by Dennis Ade Peter

According to its Afrobeats-dedicated website, the total number of hours male artists have been streamed on Spotify is about four more times than that of female artists. It’s cold, hard numerical evidence of a hegemony that continues till date, even with the consistently increasing number of women making great music. Beyond the consumption pattern, the myriad of issues female artists have to face behind the scenes is sometimes obscured by music industry jargon like branding and funding, but other times it’s plain ol’ misogyny.

 

View this post on Instagram

 

A post shared by LIYA 🧨 (@yes_liya)

“You fuck with me, I don’t fuck with you/Eyin melo gan gan le fe ba mi sun?!” Liya barks on “Powerful,” a song off her recent 2-song drop. That latter remark (or question) in Yoruba translates as, “How many of you want to have sex with me?” Her disdain is raw and her tone is personal, more than hinting that the line is plucked from her lived experiences. Alongside “I’m Done,” these songs are Liya’s first release as an independent artist, after being signed to the previous iteration of Davido Music Worldwide. Liya isn’t the only artist formerly linked to the superstar-led imprint to not achieve widespread popularity, the reasons for that will remain speculative but she’s definitely had more than her fair share of unwanted sexual advances in that period.

Recently, a Nigerian singer with allegations of sexual assault and coercion—who should’ve been roundly cancelled years ago—admitted to demanding sex from a potential collaborator, who also happens to be one of the most popular (female) artists in Nigeria and across Africa. For a rising artist like Liya, one can only wonder about the number and types of uninvited propositions she’s gotten. With its pounding drums and eerie vocal samples, “Powerful” is resounding in that these gross inconveniences are merely references for her to be at her cockiest yet. It’s not exactly a transformation but it definitely shows us another layer to Liya’s abilities as a songwriter.

When her debut EP, ‘Alari’, dropped in 2021, the singer’s blend of Yoruba aphorisms and operatic vocals, as well as her grateful, optimistic perspective, seemed to bend the sounds around her into an ethereal realm. Over folk-indented arrangements, vibrant dance beats, and soulful gospel moments, Liya proved to be unique and intriguing, if not wholly captivating. For all her qualities, she wasn’t fully formed yet to be the kind of commercial barnburner that many would’ve expected from the “first lady” of her erstwhile label. Improvements were needed, but clearly not in the mould of the trend-chasing single, “Izz Going (Skalala).”

Both “I’m Done” and “Powerful” up the ante for Liya, leaning into a sense of self-believe that has always been there but has never been this brazen, and they translate into proper jams. “I’m very powerful, I know that you can tell it too,” she asserts on the second verse of the latter song. The former, though, is the budding commercial gambit, a romance-themed song that’s more euphonic, featuring crisp drums and radiant strings, but Liya is no less ultra-confident. “I no go follow you play mind games/Keys to my heart I don throway,” she declares, sounding extremely assured as she hoses out the flames to a toxic relationship.

With the certainty in every line, the cherubic gleam in her voice feels less like a showy gambit and more of an integral trait to the song. Now, there’s a little more effortlessness in how she uses her feathery touch. There are no over-the-top stunts on either songs, and she calibrates her cadence to fit every line but the top line melodies are consistent. That allows the relatability of the music to shine, while also emphasising Liya’s boundless potential as she figures out how to draw in more listeners by figuring out her own unique combination of charisma and charm. “I’m Done” and “Powerful” are proof that she’s some ways there already.

Liya seems to have a chip on her shoulder, perhaps to prove that all that she needed was some more time to refine her skill-set, a lot more confidence to be as self-reverential as she wants and, like many other female artists, a little more faith from the public. How these two songs and subsequent drops work within the larger scope of her career depends on several factors, some of which she can’t control. Right now, though, Liya is doing what she can control: Make music capable of elevating her into stardom.

BEST NEW MUSIC: NYA SOUNDTRACKS THE MOTIONS OF RADIANT JOY ON “GOOD DAYS”

Review: Crayon’s ‘Trench to Triumph’

On the cover for his debut album ‘Trench to Triumph’, there is a portrait of a group of children playing football, and a few others watching. The number 7 imprinted on the back of a jersey tagged “Crayon” says something of the musician’s first love–football. Now, however, he recedes from the attention, his figure in all-black as a wooden cross looms above. The building structure, the zinc sheets and the topography of the sand—it’s a setting well established in popular culture, the kind commentators would likely refer to as trenches.

Through his foray as a pop star, Crayon’s music hasn’t necessarily beenxz affiliated with this demography. He rather upturns their experiences through the dreamy eyes of someone climbing up the social ladder. Sounding much like the bright colours associated with his moniker, high-energy bops and skin-revelling dance makes up the artist’s defining traits. In that way, he’s been a patron saint of the vibe, more closer to the hopeful imagery of Zinoleesky than the stark visions of early Bella Shmurda.

Still, Crayon is his own man. That much was clear when he entered the scene with ‘Cray Cray’, the six-track EP which revealed his sunny melodies baked in everyday storytelling. It was 2019, a year symbolic in Nigerian Pop, if not for its continued incursion into global spaces then at least for its emerging youngsters. Among artists like Mavin Records label mate Rema, Fireboy DML and Amaarae, the fresh-faced Crayon seemed a less-orchestrated attempt at crafting a superstar, making records like “So Fine” and “Gock Am” ring out with the feet-stopping allure of something you’ve heard before, forcefully capturing your attention until you were soaked in its cherry quality.

The years since have brought good tidings for the artist born Charles Chibueze. From that initial fine stroke, his career has measured up to a collection of progressive colourful moments, the deep-hued expectations he carried petering out with balance, lighter and legitimate. From the narrative framing of its title, ‘Trench To Triumph’ carries the mark of Crayon’s journey. No longer can he be considered that wunderkind signed through Mavins’ extensive scouting system; he’s struck out on his own, growing though he is, but confident enough to throw creativity and intent behind a debut album, which is typically scrutinised by the public with the incisive gaze of a scientist.

Early into the album, Crayon unfurls his vision. “Call me calvary, cos I’ve fought so many wars,” he sings amidst the atmospheric quality of humming voices and dramatic sonic flourishes, army-type drums and brooding synths. “Calvary Kid” falls into the style of introspective album openers, with the message, and not much of Crayon’s voice, contributing to its allure. On “Trench Kid,” his individuality emerges more vividly, with urgent strings and heartbeat-evoking percussion forming the production. “I remember 2015 oh, I was depressed oh/ I was a broken crayon, I still dey colour,” he sings with obvious triumph, mapping the geographies behind his ascension. Meant to inspire, the feature of Oxlade is a fine choice, his falsetto melding soothingly into the dulcet evocation of Crayon.

Crayon’s opening movement tears the bandage from the scars of his formation. If every trench kid is a physiology of false starts and finally finding redemption, it’s a philosophy Crayon allies with. However, it’s not one he expressively relays throughout his debut. The triumph is the focus. It takes the other side of the thirteen track affair for that perspective to again emerge, on “Modupe.” Even then, tales of “barneys wey I reckless” are rendered with one eye on the future, with crowd vocals employed in amplification of its effervescence. There’s little to fault Crayon by; those who’ve lived in the trenches, the real trenches, do not glory over its gore, rather they are appreciative of the fact they made it out, able to tell its stories and give thanks as Crayon does here.

If anything, Crayon’s songwriting reaches palpable highs throughout the album. As B-side cuts like “Bamiloke” and “In Sync” off the ‘Twelve A.M’ project have revealed, the Ojo Town-raised artist has always possessed a flair for the dramatic, which is revealed in deceptively simple phrasing, but always framed with the ingenious mischief of an insider. “What shall it profit a man, wey God bless with money/ You dey stingy for your life oh,” he sang on the former, the first line of the quoted lyric indelibly blended into a popular Bible passage, but delving at the last second, trickling onto the sphere of everyday Nigerian living. “She talk say I dey give am,” he sings on the latter, the sensual intent folded into the words themselves, so that he says a lot without saying too much.

Such phrasing comes alive again on “Wetin Go Be,” the penultimate song in the album. It’s an inspired dash of culminating experiences, obviously with his present figure as a superstar at the visible side of the narrative coin. Crayon sings about the imminent quality of life’s events, but he shares nothing of the rapper’s tendency to reside within that perspective. He’s rather like the everyday youngster one comes across on the street, bleary eyed but optimistic, with the hope of a better hand than life has dealt them so far. “As my face show, make my shoe shine oh,” he sings in the first verse, obviously seeped in the sphere of prayer while his tone retains its trademark honeyed quality.

 

View this post on Instagram

 

A post shared by CRAYON (@crayonthis)

Crayon flips the narrative coin on album closer “Good Day,” an ostensibly positive song which encapsulates the triumphant ethos of the tape. With the melodious grooves of Highlife guitars and warm drums building around him, he charts the grass-to-grace tale Nigerian culture has come to love through mediums like film and music. “Everyday is a good day, when money dey” he sings with the philosophical clarity of Aristotle, and the famous dramatic sequence (beginning, middle, end) often accorded to the Greek maverick is present here.

If the trench is the beginning, and triumph is the end, what then makes up the expansive landscape of the middle? For Crayon, it is love. Beneath the energetic showing on obviously pop-tilted songs like “Ijo (Laba Laba)” and “The One (Chop Life),” there’s a more sensitive Crayon, a version of him where the world and all its material heft strips away. On ‘Trench to Triumph’ one hears some of the best love-themed records in Nigerian Pop this year.

The effervescent Ayra Starr features on “Ngozi,” turning in one of her strongest guest verses in a career glittering with them. From Lojay (“Runaway”) to Iyanya (“Call”) and Magixx (“Love Don’t Cost A Dime [Re Up]”), the ‘19 & Dangerous’ star has consistently showcased her awareness for duets, her luscious vocals embracing the fullness of experience, meeting her male co-stars halfway. Again proving herself amongst afropop’s elite songwriters, her verse reaches several highs, from the image of running to her lover in a panamera to the “wetin you put for this your jollof”, the switch in language matched by a switch in tempo. On “Ngozi” Crayon is the perfect host, sounding very direct while retaining the breezy candour a record like this requires. “Craving your nsala oh”, meanwhile, continues in the exciting ways Afropop artists are learning to describe sex, making the similarly head-spinning pleasure of food a worthy, nearby metaphor.

On “Belle Full,” it is Victony who sets the ball rolling with his divinely-pitched vocals. Released as a pre-album single, its Old Nollywood-inspired cover had spurred widespread conversation on social media, with users eagerly tracing the visual impact of that industry on contemporary creators. To the producer KTIZO’s credit, the song does sound like a jolt from the past, with electric touches to the synths matching the upbeat and simple direction of its drums. Vocals are left and right of this one, Victony and Crayon’s distinct range unified in saccharine compromise, as they chorus together, “Na only your love wey go belle full me.”

Magixx completes the album’s trio of distinct feature vocalists. Another heartwarming love song, “You vs You” has undertones of amapiano log drums, but to the song’s own benefit, they’re never allowed into the production’s dominant space. Rather it’s the swooning elements which evoke light tension—this is the soundscape that spurs one of Crayon’s best vocal showing on the album, while Magixx continues to burnish his mythos as one of afropop’s most underrated vocals with a short but evocative verse, his almost husky tone brilliantly complementing the relatively svelte frame of Crayon’s.

The album’s love arc moves deep into it, most poignantly on the duo of “Superwoman” and “Adey.” Significant they truly are, because they’re the last moments of cherished intimacy, before Crayon turns back to the trenches to paint the gripping image of his early years. Log drums emerge vividly on the former, a tender offering to the woman of his heart’s beating. With violin stretches and sparse horns, there’s a bubbly musicality thriving within the record’s seams. “Adey” is a reserved song—R&B seems to be an offshoot influence in its demeanour, even though Crayon, ever the Afropop student, inflects his delivery with subtle touches of the genre’s conventions such as the repetitive “I dey, I dey dey” in the chorus and the culturally-aware songwriting.

As the listener gleans throughout ‘Trench to Triumph’, there’s a consistent brilliance to the production. Each beat is realised, suffused with detailed finishes, and setting a buffet of sounds before Crayon and his guests. When beats establish their own movements and ethos, it’s easy for the artist to flow within those ebbs or bounce against them, depending on the vision they have. For the most part, Crayon rides alongside the beats, but with palpable confidence in his own individuality.

This is important because there is no shortage of great producers in the creative room. Mavin-affiliated figures like Andre Vibez and Ozedikus score credits on the album, while Crayon’s mentor Baby Fresh also layers chops for the golden-voiced protege. DJ Tarico of the Yaba Buluku Boyz produce the song they feature on, the uber-popular Blaise Beats chips in his output, while BMH (most known for his work with CKay), Biggie Jazzy and Caleb Music also contribute to the album’s cohesive core. The titans Sarz and Don Jazzy have three songs between them, and the former’s genius extends into the earthy brilliance of “Ngozi”. Jazzy’s signature drum work is everywhere on “L’Eko” and if you listen closely, you’d also hear his reverberating bassy tone.

Quite remarkably, Crayon pulls all these distinct creators together and makes the album work. Although exposed to the temptations of modern afropop and the urge to try out anything and everything, the artist relays an unprecedented maturity in the handling of his material. ‘Trench to Triumph’ is a neat album, but not insufferably so. The sugary quality of pop music, and which has indeed been present throughout Crayon’s catalogue, is present, but the moments of stark humanity and vulnerability also are.

Like the album cover lets on, beauty doesn’t have to be instinctive. It can sometimes be put together, like organising a couple of kids on the street to play football, but the magic is in the photograph that’s created. In this case, the magic is in the expressive joy retained within the sound.

ICYMI: A 1-LISTEN REVIEW OF CHEQUE’S NEW EP, ‘CHEQUEMATE’

uNder: Best New Artists (July 2023)

Posted on by The Native

Music thrives on freshness. In Afropop, there’s no shortage of pop superstars and cutting edge, niche-serving artists, but listeners always have their eyes opened and ears peeled for the Next Best Thing(s). It’s exciting proof that our music and the scene surrounding it is growing forward, broadening to allow artists who’ve been working on their craft in secret, the chance to make their own impact and add to the variety of the music being made by Africans.

This month’s edition of uNder features artists who are at various phases in their careers, but the common denominator is that there’s sufficient proof of their talent. South African singer Nkosazana Daughter has made hits as a collaborator for producers but her recent debut album feels like she’s just getting started; Ghana’s Olivetheboy might be a viral star but he’s logged a significant amount of his 10,000 hours; Nigerian singer Taves is a rookie to most but his catalogue means it’s us that’s playing catch-up. There are four more artists we’ve spotlighted, and we believe each one is worthy of attention because they’ve already shown why.

Read on for our breakdown for all seven artists and listen to the playlist here.

Nkosazana Daughter

For anyone paying close attention to the booming Dance and House music scene in South Africa, Nkosazana Daughter’s dulcet vocals don’t venture far away from several mainstream hits and niche deep cuts. While she can be accurately grouped under the high-pitch vocal range, what makes Nkosazana’s performances standout within the bass and log drum heavy soundscapes is how lightly they land on the ear. Deep London’s “Piano Ngijabulise” perfectly encapsulates this, as well as her her journey developing the sounds of the genre and unique storytelling skills. 

“Ukuqala Kwa ukuhlanganipha, Uku mesaba uJehovah/Ay abezwa labantwana, badlala ipiano,” she sings, which loosely translates to “The beginning of wisdom is fearing God/These kids don’t listen, they play piano.” She floats into the hook singing, “Piano ngijabulise, Piano ngikhulekise” —“Piano make me happy, Piano pray for me.” To Nkosazana, ‘Piano is more than a genre. It’s a religion and her expansive catalogue of only 2 years is evidence of that. Undoubtedly, Nkosazana Daughter’s touch across several standout features cements her as a highly sought after collaborator but the recently released LP, ‘Uthingo Le Nkosazana,’ sums her remarkable contribution to Private School Amapiano and Deep House-led excursions.

Nkosazana’s feathery execution slides over varying upbeat and gloomy productions that create her soulful, heartwarming renditions across 13 tracks. She effortlessly holds her own across the conspicuous beats so much so that her fleeting vocals leave an impact beyond their presence. With innumerable cosigns and as one of the most sought after collaborators in urban SA music, Nkosazana isn’t just a mainstay—she’s charting her part into becoming a beacon of excellence. 

TAVES

Last year, Taves made a cover of BNXN’s “For Days” and it caught the attention of the singer who immediately took Taves under his wings. Taves’ cover retained the easygoing flow of  BNXN’s original but it also showed clean rhymes and deft songwriting. Fairly recently, Taves released “Eleyele,” his first single of 2023, under BNXN’s indie imprint, T.YE, and it also featured songwriting and vocal contributions from BNXN. While it might seem Taves appeared out of nowhere, proof of his consistency are littered across the internet.

Tavves, born Toluwanimi Aluko, began his career at the age of nine as a songwriter before he proceeded to record music on his phone, which he shared with friends while in secondary school. At 16, Taves took recording and releasing music seriously, putting out records inspired by the music he listened to: R&B and Hip-Hop. Projects like 2019’s ‘The Nest: First Day Out’, 2020’s ‘17’, and 2021’s ‘18’ documented Taves’ personal and artistic growth as he laced his sound, a fusion of R&B and Hip-Hop, with stories of love, heartbreak and other struggles.

In 2022’s “Karma” and “Long Time 2.0” with Ned K, Taves experimented with Afropop, replacing the rap bass with Amapiano log drums. His latest single, “Eleyele,” clearly situates him in the Afropop territory but it also does in the aforementioned location, an area in Ibadan, Oyo State, which was influential to Taves’ formative years. On the song, Taves pins for a lover who has left him for the megacity of Lagos and its fineries; he pleads for her return yet he is aware that there is no return to their blissful past. The level of skill Taves exhibits on “Eleyele” marks him as a promising act with huge potential for a mindblowing future.

Olivetheboy

Ghanaian music never has a shortage of viral breakout stars. Since the turn of the decade, Gyakie, Camidoh, Black Sherif, the entire drill scene, and more new stars have been introduced to the local audience and beyond. This year’s biggest breakout story yet is Olivetheboy, the 20-year old singer from Konongo. As with many success stories in music these days, the catalyst was TikTok. A month after the April release of his sophomore EP, ‘Avana’, the third song “GoodSin” shot into popularity amongst Ghanaian TikTok users after a video by the popular dancer and influencer, Endurance Grand, went viral. It’s arguably the biggest song in Ghanaian pop right now.

Even with the fortune of a career-elevating hit song at such a young age, Olivetheboy is far  from an overnight sensation. In 2020, he appeared on Kwadwo Sheldon’s YouTube page, after the popular media personality discovered Olive on Instagram, where he would share song covers. In that video, he sang and played the piano, the boyish twang of his tenor voice carrying an impassioned charm. Afropop and Highlife were his chosen genres, he said then, without a release to his name at the time. Shortly after, he signed to Loop Music and released his debut EP, ‘Tanga-Reen’, a collection of songs that carried an optimistic perspective to romantic feelings, and underlined by giddy melodies.

On ‘Avana’, he’s far more in control. The melodies are still vibrant but there’s a little more guile to backup the innate charm of his voice. Where the obvious influence of Afropop superstars like KiDi and Wizkid were overwhelmingly obvious on his debut, there are now mainly references on the path to being a more distinct songwriter. “GoodSin” has put the spotlight on Olivetheboy, he definitely has all the tools to ensure that his budding stardom grows into conversations of greatness.

BIMS

Bims is a musician with many sides. This has been evident since making his entry into the Nigerian scene just before the turn of the 2020s, exciting with hyperrealist bops. “For You” was an early showcase of his range, possessing colourful production even as Bims told the story of an incomplete love. It’s the kind of song Bad Boy Timz would create, but the angst in Bims’ tone exacts its own poignance, while fitting readily within the kind of records to top playlists or rock at parties.

At the core of afropop resides a percussive and thematic urgency, and Bims emerges from that style, harkening to the formative 2000s era. “Enough” further impressed those sensibilities, but Bims stepped into his own on the 2021 tape, ‘Beyond Your Eyes’. Here he merged pomp with renewed sensitivity, the production maturing to capture his expanded focus. The sultry appeal of “In Love” sounds like nothing he’s done before; “Bad Girls” reconstructs amapiano deliveries in quintessential Nigerian melody; pulling the heart’s strings are “Too Deep” and “Return to the Streets,” which, fittingly, are the last songs on the EP.

Ever since Bims has continued to release music, last year putting out “Love Palava (Nack Am)” and “Odd Son”. The latter’s a reflective number whose drums however coaxes dynamism from Bims. “So many things wey man dun face,” he sings amidst the clashing percussion and brazen horns. With a double release coming about a week ago, the stars, surely, would soon align for Bims. “Ife” reaffirms his hit-making quality, the stuff of Asake and Young Jonn, while “Fire” is the trademark Bims record, groove tinged with melancholy, underlining the mission he puts forward on his Spotify biography, to “find expression telling [love] and heartbreak stories”. 

Anything with Yusef

Anything With Yusef made an official resounding debut into the scene with a cover of Smoke of LAC’s “Rolling Deep,” offering a unique take on the old school Chicago rap record. However, after taking in the vast pool of sounds emanating from these parts, the Botswana-born singer ventured into Afropop armed with inventiveness and undeniable love for genre-mashing cuts. He shared in a recent interview with the NATIVE that the major selling point for him was the genre’s ability to create melodies that transcend language barriers.

“When I deliver my music, I always try to go for the emotions before I put the lyrics. That’s why it made so much sense for me to do Afrobeat because I don’t know what most of these guys are saying, but I do feel the emotion in some of the songs.” Anything With Yusef is largely driven by emotion and he ensures to reflect that stark vulnerability in disarming honest confessions about self-acceptance across his discography. His debut extended play, ‘I’LL TELL YOU AT MIDNIGHT’ expertly showcases a slew of love-themed tracks  stacked with raw depictions and breezy productions that are sure to leave listeners in a reflective mood.

Yusef’s emotions translate even clearer on his recently released 2-pack project dubbed ‘Chaos Theory’. The dull melodies of “STUCK IN MY MIND” glide smoothly over an upbeat soundscape as he addresses his muse.  “FEEL SOMETHING” on the other hand ruminates over brazen authenticity and self-love on a gloomy production characterised by subtle Trap embellishments. Across a sparse catalogue, Anything With Yusef swiftly displays emotional maturity through his message and confident delivery, taking us along his journey of self discovery.

xInsomniac

Experimentation lies at the heart of xlnsomniac’s artistry. The man born Israel Ajayi is a multifaceted creative, combining visual and audio talents with almost peerless mastery. In terms of sound, xlnsomniac started releasing music a few years ago, establishing his bedroom pop sound with flagrant touches of electronic music and other relative influences. His penchant for curating worldbuilding experiences can be associated with his long-honed skills as a visual storyteller, as oftentimes his music can soundtrack the thrills of a motion picture.

“Heartshapedglass,” for instance, which is found in his 2021 debut project ‘Cerulean’ is a rollercoaster of a song. Bouncing with soft rock drums and the brooding vocals of xlnsomniac who narrates the heart-stopping feeling of being in love, it benefits from pristine arrangement and the celestial sonic elements. “Muse” and “Away” have such existential undertones, with romantic love placed at the center of its thematic concerns. “Your smile is like a wave, of joy that sweeps away,” he sings before the end of the first verse, before vocal samples depicting tension swoop in.

xlnsomniac’s shape-shifting tendencies has seen him work with talented acts in that familiar sphere between alternative music and alt-pop, from Tochi Bedford to T3agray and Icitooicy. Earlier this year, the music producer and artist continued to burnish his rep with the ‘House of X’ project. It measures just under thirteen minutes but the soundscape is deliriously sprawling, combining his familiar resume of sounds with eclectic rapping (“Runnin”) and pointed influences from Nigerian pop (“All I Had”), arriving at a body of work which opens up his future favourably.

ELIJAH KITAKA

Uganda’s Elijah Kitaka is on a new path but it is a path that doesn’t lose touch with the brilliance of his previous iterations. His 2019 project, ‘Son of Kaloli’, was a compendium of a man’s love for self and country. Dipping into a wide array of genres—Reggae, Dancehall, R&B, Hip-Hop and Rock—Kitaka united intimate and political themes with his great vocals. Utilising a combination of Swahili and English, the music on ‘Son of Kaloli’ called for both moments of dance and ruminations. 

Newly signed to the Kampala-based label Swangz Avenue, Elijah Kitaka reemerges as a rebranded artist. On his latest EP ‘Bedroom Essentials,’ Kitaka deals with passionate, sex-filled moments behind closed doors. In contrast to ‘Son of Kaloli,’ ‘Bedroom Essentials’ is looser in structure, opting for fun, groovy rhythms.  Yet, ‘Bedroom Essentials’ doesn’t dumb down the listeners; in its new Afropop zone, Kitaka’s brilliant voice is the common denominator. Both ‘Son of Kaloli’ and ‘Bedroom Essentials’ show the artist’s range and skill to make music that resonates beyond themes or genres. It’s just the beginning for Elijah Kitaka.

Written by Emmanuel Esomnofu, Nwanneamaka Igwe, Uzoma Ihejirika & Dennis Ade Peter.

ICYMI: RUKMANI, CHMBA & MORE BEST NEW ARTISTS FROM JUNE 2023

What’s Going On: NLC Protests Across Nigeria, Coup Aftermath in Niger & 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.

NLC BEGIN NATIONWIDE STRIKE

The Nigerian Labour Congress (NLC) began its nationwide mass protests today. The protests are scheduled to happen in the FCT, Lagos State, Imo State, Rivers State, Plateau State, Akwa Ibom State, Kano State, Kaduna State and Delta State. NLC decided to proceed with the strike after negotiations with the federal government hit an impasse.

The NLC, led by Comrade Joe Ajaero, have a five-point agenda that they want the government to address. These demands are the implementation of resolutions jointly signed by the NLC, the federal government and the Trade Union Congress (TUC), reversal of all anti-poor policies of the government, including the recent price hike of Premium Motor Spirit (PMS), school fees, and Value Added Tax (VAT), rehabilitation of local refineries in Port Harcourt, Warri, and Kaduna, payment of withheld eight-month salaries owed to university lecturers and workers and recognition and support for the Presidential Steering Committee and its sub-committees.

CSP Olumuyiwa Adejobi, the Force Public Relations Officer (FPRO) of the Nigeria Police Force (NPF), has called on the NLC to make the protests a peaceful affair. “We need to plan and coordinate our exercises for peace to reign in Nigeria. We preach peace. It’s well with our country,” he said.

ZERO CASUALTIES IN HELICOPTER CRASH IN IKEJA

On Tuesday, August 1, 2023, a helicopter crashed in the Oba Akran area of Ikeja, Lagos State. Agencies such as the Lagos State Fire and Rescue Service (LSFRS), National Emergency Management Agency (NEMA) and Nigerian Safety Investigation Bureau (NSIB) confirmed the aircraft was used for training and that its occupants sustained varying degrees of injuries.

“The helicopter crashed into a building but nobody died. The helicopter was used for training and it has four occupants on board,” said Amodu Shakiru, spokesperson for LSFRS. “They had an escort motorised team that was following them on the ground during the training routine exercise which is the standard protocol. The motorised team was the first to arrive at the scene. The occupants sustained varying degrees of injuries and are currently receiving medical attention. We will provide more details later.”

In August 2020, a similar incident occurred when a helicopter crashed in the Opebi area of Lagos. The helicopter crashed into a residential building on Salvation Road in the Opebi area and the three persons onboard the aircraft died. 

NIGER REOPEN BORDERS FOLLOWING COUP

Niger reopened land and air borders with five neighbouring countries after they were closed in a coup that overthrew elected president Mohamed Bazoum. The reopening of borders comes a few days before the end of the ultimatum given by the Economic Community of West African States (ECOWAS) to the coup plotters to restore constitutional order.

On July 26, 2023, officers from Niger’s defence and security forces created the coalition known as the National Council for the Safeguard of the Homeland and declared the overthrow of President Mohamed Bazoum. Following the group’s announcement and Abdourahmane Tchiani, head of Niger’s presidential guard, naming himself head of a transitional government, ECOWAS issued financial sanctions on the coup leaders and the country and demanded the reinstatement of Bazoum as president or risk facing consequences.

The European Union (EU), France and Germany have also denounced the coup and cut off economic aid to the country. Several foreign nationals in Niger have been evacuated from the country and there are plans for more evacuations.

SIERRA LEONE: POLICE ARREST SUSPECTS OF VIOLENT PROTESTS

Police in Sierra Leone police has confirmed the arrest of certain individuals, including senior military officers, who were planning violent attacks a year after the August 2022 riots that left more than 30 people dead.

“The security sector has been following intelligence regarding the activities of certain individuals, including senior military officers, working to undermine the peace and tranquillity of the state,” the police said in a statement. “In that regard, several arrests have been made and the suspects are assisting the police with the investigations.” It added that the suspects planned to use the peaceful protests planned for next week “as a pretext to unleash violent attacks on state institutions and peaceful citizens.”

The riots and violent protests of August 2022 were the result of the inflated cost of living and citizen’s disappointment with the government. Six police officers died in the protests and up to 4oo arrests were made in the aftermath of the incident. According to Amnesty International, there are testimonies of excessive use of force by security officials during the protest and they also condemned internet restrictions.

Featured image credits/NATIVE

ICYMI: How Adekunle Gold Met Tio Tequila

TurnTable Top 100: Khaid Joins Top 10 With New Single, “Anabella”

Posted on by Uzoma Ihejirika

Khaid is the hottest newcomer on the block. His recently released single, “Anabella” reaches a new peak at No.7 after debuting last week at No.33. The Signal-produced track, which serves as the lead promotional single off his forthcoming Afrobeats EP, unlocks another honeyed love-themed track sung with a heartwarming youthful perspective.

The Top 4 this week remains unchanged as Asake’s “Lonely At The Top” spends its third consecutive week at No.1. Omah Lay’s “reason,” off ‘Boy Alone: Deluxe’ maintains the second spot while “Man of the Year” by Seyi Vibez follows right behind in No.3. Asake’s second entry of the week, “Basquiat” off his sophomore album, ‘Work of Art,’ takes the fourth spot. Closing out the Top 5, Young Jonn’s “Sharpally” makes its Turntable Top 100 debut two weeks after its release.

King Promise’s “Terminator” slips up one spot to this week’s No.6 and Khaid’s “Anabella” skips 26 spots to No.7. Similarly, Blaqbonez’s “Like Ice Spice” has joined the Top 10 at No.8 after spending last week at No.13. Shallipopi’s “Obapluto” falls three spots to No.9 and Rema’s “Charm” closes out the Top 10 after spending 23 weeks on the chart peaking at No.1.

Just outside the Top 10, Adekunle Gold’s “Ogaranya” rises to No.12 after spending last week at No.20. Burna Boy and Bryon Messia’s “Talibans II” and Qing Madi and BNXN’s “Ole” debuts at No.18 and No.19 respectively.

Features Image Credits/The NATIVE

NATIVE EXCLUSIVE: KHAID IS RECHARGED FOR HIS NEXT PHASE 

Four Takeaways From Kizz Daniel’s New Album ‘Maverick’

Posted on by Uzoma Ihejirika

Last Friday, Kizz Daniel released his fifth studio album ‘Maverick.’ He prepped the release of the album with snippets that excited his music lovers following the successes he has recently accrued. “Buga (Lo Lo Lo)” with Tekno was one of the hits of 2022 as it enjoyed a long stay on music charts across Africa and soundtracked the lives of listeners. In a show of dominance, he backed up “Buga (Lo Lo Lo)” with “Cough,” another hit song that exemplified his talent and consistency.

Since his breakout in 2014, Kizz Daniel has stamped his name in the Nigerian music scene as a bankable talent, with his singles and albums birthing hit records. While he has had some personal and legal battles, the artist has ensured those unsteady moments do not sway him away from the upper echelons of the music industry.  With a deal with the US-based EMPIRE, Kizz Daniel’s aspirations are increasingly adopting a global face, with appearances on international platforms such as The Breakfast Club and Way Up with Angela Yee.

Kizz Daniel’s ‘Maverick’ comes after 2021’s ‘Barnabas’ and is another opportunity for his fans to connect with his music. After listening to the 20-track project, here are some takeaways.

 

View this post on Instagram

 

A post shared by VADO D’GREAT🎙 (@kizzdaniel)

KIZZ DANIEL IS A CERTIFIED HITMAKER

Kizz Daniel’s catalogue of hit tracks is astounding. Every year, he has managed to install his name in that conversation with songs like “Woju,” “Laye,” “Mama,” “Yeba,” “One Ticket,” “Fvck You” and “Lie.” His projects are also full of standout songs that never go out of style. On ‘Maverick,’ Kizz Daniel continues with that thread with previously released songs like “Flex,” “Buga (Lo Lo Lo),” “Cough,” “RTID (Rich Till I Die)” and “Shu-Peru.” 

From the newest batch of songs, tracks like “My G” and “Anchovy” have the potential to appeal to large audiences. Both tracks deal with Kizz Daniel ignoring the bad energy of detractors and speaking his mind unapologetically. With such a relatable topic, Kizz Daniel striking lines quotables such as “I get manager/So don’t worry about me, worry about your hairline/Underrated, but I’m still cashing out/E go shock you say I get money pass your fav.”

INTENTIONALITY TO THE COLLABORATIONS

Kizz Daniel enlists the assistance of a variety of artists on the album. These artists—Johnny Drille, Yemi Alade, Nomcebo Zikode, Tekno, Blaqbonez and Not3s, among others—bring different flavours and moods to the songs, making the album as sonically diverse as possible. Johnny Drille, who also has production credits, fills songs like “Red & Green” and “Feran Mi” with a soothing feel. Nomcebo Zikode does outstanding work on “Complicated,” and Yemi Alade and Young Jonn find comfort zones on “Side Chick.” From the featured artists to the production team, Kizz Daniel ensures that the music on ‘Maverick’ helps build a common theme of intentionality. 

THERE IS VULNERABILITY

In 2021, Kizz Daniel announced the birth of his triplets. Amid that good news, he also revealed that one of the babies died. On “Feran You Two,” which features Kizz Daniel’s kids Jalil and Jelani, the singer pours prayers and adulation on his children, unveiling the soft spot he reserves for them. “I dey pray for you guys/Them no go take your heart (Kuleko)/I go dey awake oh/When una dey sleep/I go watch from afar/Just in case you looking for me,” he sings.

In the music space, Nigerian artists aren’t known to be open on wax about details in their lives. For a megastar such as Kizz Daniel, “Feran You Two” shows the humanness behind the allure of stardom.

KIZZ DANIEL ENTERS HIS VETERAN PHASE 

In his early days as a signee to G-Worldwide Entertainment, Kizz Daniel sought the support of established stars like Davido and Tiwa Savage who hopped on the remix of “Woju” and helped the rise of the song with their star power.  Over the years, Kizz Daniel has grown more assured in his craft, seeking no reliance on co-signs. He has also allowed newer artists access to his space as his Instagram page is dotted with him supporting the music of acts such as Khaid or Seyi Vibez. 

On ‘Maverick,’ Kizz Daniel featured Pryme on “Show You Off.” Pryme is an artist signed to Daniel’s label FlyBoy INC. Before signing to FlyBoy INC, Pryme has been actively releasing music, with the single “Grateful” being his most recent release. Kizz Daniel has shouted out Pryme, intentionally placing him in the eye of the public as an artist to watch out for. The music on ‘Maverick’ and his support of Pryme indicates the birth of a new phase in Kizz Daniel’s career.

Featured image credits/NATIVE

NATIVE Selects: New Music From KiDi, 1Da Banton, Xenia Mannaseh & More

Posted on by Emmanuel Esomnofu

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 new releases from Anything With Mr Eazi, A-Reece, NSG 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!

KIDI & STONEBWOY – “LIKOR” 

Two of the freshest voices in the Ghanaian music scene join forces for an imitable delivery on their new Afrobeat song, “Likor.” Both artists sulk over their inability to find someone to love who will stay by them. Of the pair, Kidi has evidently lost hope, as he considers himself “unlucky again.” They turn to Likor—a play on liquor—to quench their sorrows and unsuccessful attempts to find love. “Likor/Likor in my cup my healer,” they both sing over the mellow production, their voices capturing the mood with true warmth. 

XENIA MANESSEH & KARUN – “ANTICIPATE”

“Anticipate” displays a unique blend of vocals between Neo Soul artist, Xenia and RnB artist, Karun, two very talented musicians. They come together to sing about a lost love that is longed for again. “Will you go back with me/ Back to when our love was free?” both sing in the chorus. The song feels like a mix of neo soul and R&B, which gives it a smooth, calming essence to listen to and stare into space. 

CHIKE – “EGO OYIBO”

A storyteller par excellence, each record from Chike shines with unique energy. “Ego Oyibo” continues in his plain of Highlife-influenced songs, as he croons sweetly about a love interest. The title is a term of endearment among Igbo people, and Chike reflects the sentiment beautifully, drawing parallels with the japa narrative as distance cannot prove a concern to the love story he shares with her, Ego Oyibo. With vibrant percussions and evocative strings and horn sections, it’s a tender performance from one of Africa’s finest musicians. 

SARKODIE- “FREAKY & NAUGHTY”

Veteran rapper Sarkodie isn’t one to keep his fans waiting for too long. The Ghanaian maverick has again flexed his flows, this time on a chill song that sounds crafted for a time out with friends. Ever the crisp rapper, he layers suggestive lyrics over the production, his signature blend of Twi and English working to highlight the song’s sensual allure. It’s a continuation of the artist’s long association with pop conventions, even though this one would still appeal to his early listeners. 

HARMONIZE FT. SPICE – “ MISS BANTU” 

Known for his sultry takes on Bongo Flava, the Tanzanian artist flows the chill path on his new song. “Miss Bantu”, like the title suggests, is an ode to the African woman as Harmonize blends a classic R&B feel into the record. He’s a sweet-tongued seductor, talking about all the things he’d do for his lover. Dancehall icon Spice delivers a fine feature verse, complementing the song’s mellow energy perfectly. 

1DA BANTON – FAMILY

Ever since releasing his ‘1Da Shall Never End’ project, the artist 1Da Banton has undergone a purposeful promotional run, oiling the wheels of that release. He now shares the visuals for “Family,” one of the standouts from that project. A mellow record which underscores Banton’s proficiency as a songwriter, the video follows the song’s ease, set across a montage of beautiful scenes and lush scenery, the celebrity figure of 1Da Banton a consistent presence. 

IFEX G – BLOM BLOM 

Ifex G  delivers an amapiano- infused banger with his latest release, “Blom Blom” The last we heard from the talented musician was his EP, ‘Obodo’ which has the famous “Ofo” remix featuring Phyno. The new song bares his Igbo roots, as he layers metaphoric lyrics over the heavily percussive soundscape. It’s a lighthearted record, intended quite obviously to elicit a call-and-response, but the quality of its social commentary would make it perfect for parties. 

FAVE & THA BOY MYLES – “ ONE SIDED”

Following the success of his song “Roma”, Tha Boy Myles is back again with his new release, “One sided” collaborating with the talented musician, Fave. The duo delivered an Afrobeat melancholic love song, with both singers telling each other to show love and not hide it while being clear on the love they want. The artists leave us mesmerized with their complementary vocals. Midway through the song, Fave delivers her signature drawl while reassuring her lover, and Tha Boy Myles brings it to a sync while displaying his different vocal ranges on the song. 

TECK-ZILLA FT. JD ERA, PRESIDENT ZIK & ROQY TYRAID – “A WHOLE LOT” 

Super Hip-Hop producer Teck-Zilla is known for uniting diverse voices on his records. “A Whole Lot” is not different as he provides a colourful beat for the rappers to flow over, and to their credit everyone comes correct. An assortment of flows, the song bares the MCs at their braggadocious mood, each bar reverberating with real intent while the production subtly progresses underneath their vocals, reaching a pristine musicality it benefits from. 

SOULAAR – “BALANCE” 

One of the finer emerging voices from Nigeria, Soulaar has been on a steady ascension, both musically and career-wise. With his recent swathe of singles making impressions on his fan base and sections of the music industry, he releases his new single “Balance”. It possesses the percussive vibrance of contemporary afropop but the delivery is uniquely Soulaar, a svelte tone which drips with the sweetness of honey. As he sings about a woman he’s crazy about, the production builds around him, contributing to its warm atmosphere. 

Words by Chigoziri Ezeaku and Emmanuel Esomnofu 

Essentials: Gems Abound on The Sarz Academy’s ‘Memories That Last Forever 2’

Posted on by Emmanuel Esomnofu

Sarz is to Afrobeats what Stan Lee is to superhero movies. He’s not the only dominant figure, but far from his own individuality his greatness reflects on the entire trajectory of the movement, right from when he was a teenager producing beats in an era ruled by the likes of ID Cabasa and OJB Jezreel.

Over the years, the Benin-born superstar has become a monolithic figure in his own right, amassing genre-crossing hits and introducing transcendental creators like Lojay and Obongjayar, while he nurtures The Sarz Academy on the other. In recent years, The Sarz Academy has been the prime marker of his influence in afrobeats. A program started in 2015 to develop emerging producers, names like Tempoe, Dunnie and P Priime have come through its ranks to become veritable figures in the African pop music scene.

 

View this post on Instagram

 

A post shared by Sarz (@only1sarz)

The Sarz Academy has also lead investors to offer Sarz more wiggle room to impress his magic on other aspects of the industry. So far that has included songwriters and musicians, all of which culminates beautifully on the just-released ‘Memories That Last Forever 2’. Ominous, film-esque notes begin “Breathe,” the first song of the 15-track album. “I was left to fly at a very young age,” says our narrator, sounding somewhat like Travis in Scorcese’s ‘Taxi Driver’.

Produced by Blueszn, the beat purposefully folds itself into the zesty deliveries of the artist Perfext, whose inflection oscillates between singing and rapping. It’s a positive record, lifting the veil about what it means to be a rising artist. With choral singing on the backend, the opener stirs one’s senses into the mood to expect. “Resemble” is quite different, however. More drums and bounce, much to the credit of producer Bombocat and artist Fxrtune, who depicts the seductive motions of a lady. 

‘Memories That Live Forever’, for the most part, is a breezy listen. Ever the grandmaster, Sarz seems to advise the youngsters not to limit themselves sonically. As a result, the songs are bit-sized pieces of amorphous musicality; most frequently, they draw from stateside influences, sounding like something you’d hear on a southern American radio station on a cool afternoon. Charmaine LA reflects this influence in name, even though on “233” the lyric “the devil works hard, but my God works harder” has a Nigerian ring to it, the stuff of Pentecostal mothers and early morning prayers. 

Thematically, the songs are unified by the effervescent feeling of reaching a breakthrough in one’s life. Quite understandably, considering who Sarz is and the volume of his precedents. “Good To Me” is an early favourite from the project; pairing dense amapiano log drums and bright choir vocals, the producers Twitchpapiii and Bombocat emerge on a sound that established artists would be all over. With well-minted verses, it’s a record which truly holds up the collaborative ethos of the project. 

Gimba’s showing on “Only Man,” meanwhile, is one of the most realised visions of the pop star, blending Omah Lay-esque sexual metaphors into the vibrant percussive soundscape of Oddwave. He’s again present on “Steady”, on similar subject, but joined by the svelte embrace of Charmaine LA, who completes the duet in a most intriguing fashion. Production-wise, the duo of Oddwave and Twitchpapiii create one of my favourite beats on the project, lining its seams with fluttery progressions. 

Charmaine LA and Syntiat are some of the most audible voices in the project, turning femme energy on its head to create evocative verses every time they’re on. While the former does seem to be more rounded in her approach, the latter’s more realised as a singer. This comes across on “Rude”, where she gets one of the few solo songs on ‘MTLF 2’. Packing emotional honesty, the record starts with “I’m drunk and I’m texting my ex” and throughout the song, she unfurls lyrics with the unabashed energy of the truly drunk, but here she’s drunk in sound, at times sounding the most R&B you ever heard, the next adopting a spritzy Dancehall-inflected flow. 

 

It’s testament to the project’s quality that gems abound everywhere. Even with its relatively extensive runtime, the experience never wanes. Ten songs in and the listener still wants more and “Ready” offers just that. Taking a cue from Sarz’s own infusions of eighties-influenced psychedelic sound, it’s one of the best beats on the tape, with a chorus that sounds like a classic already. PJ Star introduces himself beautifully here, while Fxrtune does his thing as he’s done already throughout the project.

 “Sad Love” is the stuff of Drake and Bryson Tiller, with soft 808s from Chibooplaythebeat meeting the serenade of Syntiat and Millymay. It continues the missing-my-ex narrative from “Rude” but the male collaborator stretches its focus considerably. Milly’s vocal texture is especially exciting, Western-lined but with those subtle Nigerian flourishes that’s most evident in the “But I too like money money” part of the hook.

Fortunately, ‘MTLF2’ does what every good project of this scope should do; retain a cohesive core while exploring variant sounds. The Drill-saluting “DPWMH” perfectly encapsulates that, the soulful voices of Millimay and PJ Star establishing the rules of their heart. Its boppy quality could make for a TikTok hit—-I can hear it. “More” returns to the afropop core of the project, with Perfext interpolating a number of the genre’s recent smash hits; it’s a lead single kind of song, though all the songs on here possess their own inimitable quality.

There’s hardly a part out of shape here. Every song works to amplify the next, every producer works to bring out the best of the artists. It’s one of the better compilation tapes I’ve heard in recent times, from the soundscape of Afropop or anywhere else. Sarz aka Stan Lee has assembled the Avengers and these acts are muscularly gracious in how well they’ve executed their mission. There’s a lot of artists we’ll be keeping tabs on here, but there’s no doubt you’ll find even more in the process of discovering yours.

Stream ‘Memories That Last Forever 2’ below.

ICYMI: REVISITING REMINISCE’S SARZ-PRODUCED BANGER, “KAKO BI CHICKEN”

A 1-Listen Review of Cheque’s New EP, ‘Chequemate’

Posted on by Emmanuel Esomnofu

Cheque’s acclaim is solidified around these parts. When he signed to the Phyno-led Penthauze Music some years ago, many considered this alliance with one of Nigeria’s rap greats an opportunity to level up, which he’s done ever since then. Although you’ll find the opinion that his popularity isn’t on par with his talent quite common, the artist has continued to put himself out there, releasing songs that have enjoyed considerable success while flying his banner as one of the forward-facing rap acts of the time. 

His new project ‘Chequemate’ arrives at the perfect time then. Two years apart from his ‘Bravo’ debut album, it finds Cheque during an interesting time in the industry. Rap-influenced superstars Blaqbonez and Ladipoe have found the sweet spot between showcasing technical upmanship and owning the streets and dance floors, a peculiar range Cheque displayed on the uber-popular “Zoom.” The impeccable Trap flourishes in that song established him as one to watch out for, while other songs like 2021’s “History” and “Holy Gee” have been positively received, but the consensus is that Cheque’s moments haven’t translated into transcendental star quality. 

 

View this post on Instagram

 

A post shared by Superboy Cheque (@superboycheque)

Expectedly, ‘Chequemate’ attempts to execute that purpose. To parse Cheque’s expansive artistry through the prism of eight calculated songs, and with enough luck, emerge through them with the victorious feeling associated with the finalising move of chess play. We have put the songs through the 1-Listen review form. 

“SHINE”

Excited going into this; I’m such a big Cheque fan. I do hope he turns up. Bright strings in the opening sections. Loving this flow, it’s relaxed but audibly he has something to say. The production is really catching onto the storytelling mode; the stuffed pads are a nice touch, giving it an out-of-rap feeling. Cheque is really one of those rap artists who always does something with their sound so the pleasantness of this isn’t surprising. Wish the lyrics could be tighter, though. Too much familiar imagery. In all, it’s a striking opener, sets the tone beautifully. 

“HUSTLER” FT. FIREBOY DML

This duo has just two songs together but the chemistry on that first is so profound, they could easily create a joint project. We haven’t had too many of those so it would surely be a welcome addition to the modern pop canon. Let’s focus on this for now, though. Fireboy comes through with the opening verse; there’s a 2000s Nigerian Pop vibe here, perhaps from the drums and keys. Cheque’s vocal texture is really pleasing to listen to; that’s the word I keep returning to—pleasing. “Good life na the trophy” is a sentiment I can get behind, especially after wrestling the cold arms of sickness not long ago. This interpolation of the melodies on Burna Boy’s “Don Gorgon” works; but then again, it’s an old melody, quite established in popular music. Good tune; brief, but its aspirational message holds up well. 

“WAY TOO YOUNG” 

“I’m a black boy and I’m sweet like Pepsi” is that kind of bar you’re unsure how to feel about. Not much time to think; this song is progressing with real purpose. It’s a laid-back feeling here, I love the rhythm and the background vocals. Sounds like something from the nineties, the seduction in its movement. Not anything new, but it’s far from a bad song. 

“LPD”

The sound on here has been cohesive so far. As you can tell, I’m a sucker for projects that don’t stray too far from the core vision. Experimentation can thus be worked into the vocal textures and songwriting. Right now, I’m not getting those vibes however. The project started strong but this song hasn’t really moved me. Cheque has the voice and the right energy but I’m gauging that he needs more things to write about. The depictions of living celebrity gets tiring after a while. He gets full efforts for that hook, though. It sticks in the mind. 

“SUNFLAWA” FT. CRAYON

This sounds very afrobeats from the first listen; the title gives off the vibes, certainly. A bop this is; Crayon is flexing vocals. He’s really good when he wants to show off. Relaxed vibes they’re giving—Cheque too, drops the Trap flows for the accessible melody. There’s not much to say about this song except that it’s really good. Production comes alive too, the tropical edge to the drums and the minor details going on in the background. A well-worked collaboration. Surely, this needs a video. 

“GOD BLESS ME” 

Closing record, the intent is familiar. But Cheque subverts expectations; he’s really going hard, none of the melancholic act. The video game-esque loops in the beat also works well to carry these affirmations. It’s that kind of ‘I’m on my game’ song; the one where he reiterates his position in the industry. Not a long song—none of the songs have been—but I dig the direction. It closes out the project in a triumphant tone, harkening back to the message of its title: checkmate. 

FINAL THOUGHTS 

‘Chequemate’ bares the myriad gifts of Cheque in bright lights. In many ways, it’s a quintessential celebrity project, the main vision not being artistic experiment but positioning the brand of its creator. Doing that, it’s a fine project, with the collaborators bringing great energy on board.

Like he’s always done, Cheque blurs the lines between pop and rap through the inflections he adapts, even through the theme selection. While I had some reservations about the scope of the project’s songwriting, the consistent brilliance of the production makes it easy to sink into the vibe and relax.

‘Chequemate’ is a timely reminder of Cheque’s prowess, this time not as a Trap-leaning star but as a legitimate presence within Nigerian pop, eager to shine and capable of reaping the benefits that comes with playing across the green fields of that cross-continental movement.

Stream ‘Chequemate’ below.

ICYMI: SUPERBOY CHEQUE IS ON A WINNING STREAK

#EndSARS: What we know so far about the alleged mass burial in Lagos

Posted on by Nwanneamaka Igwe

It’s been three years since the EndSARS protests swept through the country, claiming the lives of young Nigerians who were sat peacefully protesting at the Lekki-VI Toll gate against the now-defunct police unit, Special Anti-Robbery Squad (SARS). The scars of that horrendous event still loom around young Nigerians who have become increasingly active in the country’s political and economic climate.

Earlier this month, reports began circulating of an alleged leaked government memo which signed off on the mass burial of 103 unidentified persons. According to official reports from international media, the country’s Health Ministry claimed that the fatalities were from violence in several parts of the state, but not from the notorious protest site at the Lekki toll gate, where soldiers allegedly shot protesters.

The letter, dated July 19th, 2023 was signed by Director General of the Lagos State Public Procurement Agency, Mr Onafowote Fatai Idowu however, the Lagos State government denies, further raising suspicion of the death toll from the protests.

Back in 2021, John Obafunwa, the Chief Pathologist at the Lagos State University Teaching Hospital (LASUTH) submitted an autopsy report, detailing the death of 99 persons from the #EndSARS protests. Obafunwa attested that of the 99 identified persons, only three were victims of the events at Lekki Toll Gate. The report was submitted to the Lagos Judicial Panel of Inquiry, from which the Panel head, Doris Okuwobi, ruled that the records presented be accepted as evidence before the courts hearing June 26, 2021.

Despite the contradictory evidence, the Lagos state government maintains its position on the identity of the victims. The Permanent Secretary Minister of Health, Dr. Olusegun Ogboye released a statement sharing, “Peddlers of the news are deliberately misinterpreting and sensationalising a letter from the Lagos State Government Public Procurement Agency entitled: ‘Letter of No Objection: Mass Burial for the 103, the Year 2020 #EndSARS victims, to misinform the public, stir public sentiment and cause public disaffection against the Lagos State Government.”

Ogboye goes on to reinforce that the bodies retrieved were victims of community clashes in areas such as Ogba, Isolo and Ajah areas of Lagos State, adding that a jail break occurred at Ikoyi Prison around the same time. Ogboye also adds that despite the announcements made by the office of the Chief Coroner, inviting relatives to undergo DNA tests for identification purposes, the bodies at the morgue remain unclaimed.

It goes without saying that the value of human life in Nigeria is at an all-time low. With only a few months away from the third year anniversary of the tragic and seismic event, it’s alarming that such an order can be called for a burial. Currently, international bodies such as Amnesty International, are urging the state government to disclose the identities of the victims and demand more thorough investigation into the new claims.

Featured Image Credits/The NATIVE

ICYMI: THE FIGHT AGAINST OPPRESSION DOES NOT EXCLUDE THE LGBTQ+ COMMUNITY

Our First Impressions of Adekunle Gold’s ‘Tequila Ever After’

Posted on by The Native

Adekunle Gold’s career trajectory has shown he is unafraid of transitions and pivots. After his folk-centric debut album ‘Gold,’ he began his experimentations with pop sounds, marrying the modest ideals of his debut project with a forward-facing craving on 2018’s ‘About 30’ that flowed from within him to the world. In 2020, Adekunle Gold became AG Baby—fashionista and connoisseur of rich Afropop melodies—turning heads with the fantastic ‘Afro Pop, Vol. 1.’

On ‘Catch Me If You Can,’ AG Baby furthered his brand of music, pulling heavyweight African and global collaborations. At the start of 2023, he partnered with Def Jam Recordings and introduced Tio Tequila, a new member to his lineup of avatars. Every step leading up to his fifth studio album ‘Tequila Ever After’ has been carefully curated to show the latest dimension to Adekunle Gold’s artistry. With the project now in the public arena, the artist invites listeners to dive into his lively, tequila-spirited world.

The NATIVE editorial team also steps into Adekunle Gold’s ‘Tequila Ever After’ to give our initial thoughts on aspects of the project. Dig in!

 

View this post on Instagram

 

A post shared by Tio Tequila (@adekunlegold)

FAVOURITE SONG

Uzoma: It’s “Chasing Peace of Mind.” Adekunle Gold’s lyrics about wanting to escape from the pressures of life are relatable. The production is heavenly with the rich instrumentals drawing me with your mellow energy. And Ami Faku and Habib Koité add colour to the song with their contributions. 

Daniel Banjoko: “Tio Baby” sounds like the perfect club banger with its awesome afro swing production and smooth lyrics. I was just drawn to it from the first listen, and I haven’t found a song I enjoyed more on the album.

STANDOUT PRODUCTION

Nwanneamaka: This is kind of a no-brainer, I have to give this to “Falling Up.” The introduction, as you’d expect, opens with Pharell’s iconic four-count beat drop. AG’s velvet vocals are layered so smoothly over the melodious drum pattern, accompanied by the lush choir chants in the background. It’s essentially a praise song and Pharrel does a good job communicating that with the outro. I can’t fault it. 

Alex: ‘Tequila Ever After’  is proof of Adekunle Gold, now AG Baby’s stunning talent. The tracks in the album are almost perfect.  The track that stood out more prominently as regards production has to be “Kere,” although I can’t get over “Falling Up” featuring Pharrell Williams, but I have to go with Kere. We could hear the folk sound that Adekunle Gold was known for before his evolution. It’s heartwarming hearing a rich folk sound with AG’s smooth vocals adding flavour to the beats. 

BIGGEST POTENTIAL HIT

Emmanuel: There are a lot of possible hits on here but I’m leaning right now towards “Wrong Person”. It’s a song ready-made for the dancefloor, perhaps the highest tempo throughout the album. The songwriting is familiarly incendiary, the sort of middle finger lovers of pop culture have been known to like over time. Odumodu’s verse also makes for a fine pairing, and it’s a really catchy song. In the ideal world, “Chasing Peace of Mind” would also be a hit song. Let’s keep our fingers crossed on that. 

BEST FEATURE

Moore:  “Falling Up” is a song filled with such pure joy that it’s impossible to not appreciate it. The standout features from Pharrell Williams and Nile Rodgers give the song a unique sense of spirit and blend together with distinct instrumentals to give listeners a wonderful listening experience that’s perfect for the middle of summer.

Uzoma: I think the chemistry on“Falling Up” was really good. Pharrell brought his distinct style to the track and Adekunle Gold made sure his originality shone.

BIGGEST SKIP

Daniel Akins: This ‘Tequila Ever After’ came with a no skips tag. Case closed.

Alex: ‘Tequila Ever After’  is one of those projects that doesn’t have a skip. On the first listen, I didn’t see myself skipping any track on a later listen. All the tracks were perfectly produced. All the sounds are distinct and different, I can’t take any track out. AG Baby ate and left no crumbs. 

Daniel Banjoko: I can’t say I found any of the songs remotely skip worthy. The whole project was perfectly crafted and in my opinion one of his best bodies of work.

OVERALL IMPRESSIONS

Chigoziri:   Adekunle Gold has really outdone himself with this album. It’s clear that he enjoyed himself on this album and so did I. The collaborations are really impressive and had me bopping my head with almost every song. ‘Tequila Ever After’ is truly a masterpiece from the first song to the last and we’re here AG baby. 

Dennis: ‘Tio Tequila’ is a flex. It’s the most joyous album he’s made yet, the first he’s made without anything to prove. The stakes are completely his, the range is remarkable, and the music is generally intoxicating – like the drink it’s named after. Perfection is not the goal; making music that represents the feeling of invincibility is, and that’s what Adekunle Gold delivers. Salud!

Israel: ‘Tequila Ever After’ is a representation of AG’s Journey so far, a journey filled with joy and triumph. Each song efficiently erupts a different feeling from you the more you listen and gives you a peek into Tio Tequila’s State of Mind. This album is the definition of Infectious, Euphoric & Suave.

Stream ‘Tequila Ever After’ below.

Featured image credits/NATIVE

ICYMI: How Adekunle Gold Met Tip Tequila

NATIVE Selects: New Music From Tyla, Nasty C, BNXN & More

Posted on by Nwanneamaka Igwe

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 new releases from Anything With Mr Eazi, A-Reece, NSG 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!

BURNA BOY – “BIG 7”

Coming off the biggest tour of his career, Burna Boy has announced his 7th studio album, ‘I TOLD THEM’ with the release of “Big 7.” This comes shortly after he tapped 21 Savage to reaffirm his icon status on “Sittin’ On Top Of The World.” The recently released single serves as a recollection of successes over the years while attributing credit to some of the greats that accompanied him on his journey. On the  groovy Hip-Hop leaning record, Burna tells a heartwarming story of his come-up and how long he had waited for the moment he enjoys now. 

TYLA – “WATER”

South African singer Tyla has been positioned in the popstar image in recent times and she’s playing the act well. On her new song “Water” she cashes in on her sensual allure, writing from the perspective of a young lover demanding to see the actions of her beloved. “Can you blow my mind?” she asks in the pre-hook, her vocals audibly influenced by the R&B tradition. With the vivid percussion and ‘piano log drums, it’s a song that achieves sensitivity without sacrificing pomp, making it the perfect song to carry her mythos into the advancing stages of the year. 

PRINCE KAYBEE, ROBIN M & TIM SCHOU – “HIGHER”

Off the back of an 11-track LP titled ‘Music Theory,’ Prince Kaybee reaffirms himself as the leading DJ-Producer transforming EDM and Afro-House sounds beyond the familiar log drums and shakers soundscape. He joins Robin M and Tim Schou for a well-paced, climatic record, distinguished by a low-tempo heart thumping drum pattern and dulcet vocals. The track’s cadence shifts across the track, allowing a steady climb of through the brief listen. 

RUGER – “KRISTY”

In recent months, Ruger has been on the news for his on-stage antics but don’t be deceived, the man’s still a brilliant musician. After considerable time off, he returns with “Kristy”, a sultry song about the beauty of a woman. Its soundscape is decidedly chill, with Highlife-esque guitars forming the post-hook section. Ruger’s ability to sing shines through, as he hones down the bad boy zest for sensual imagery, with one particularly catchy line about wanting to buy his love interest visa. A great comeback for the leader of the Ru Nation, especially with his forthcoming album inching closer as the year progresses. 

FASINA – “BARBIE” FT. TIM LYRE

Over the years, Fasina has continued to rep alternative sounds through the shimmering brilliance of his catalogue. On his new song, he culls in the amorphous creativity of Tim Lyre, and both artists float over laid-back and atmospheric production. At its root, it’s a song about a woman but it’s also an ode to feeling fly, as the artists reflect through their delivery on the record. 

JAE5 & BNXN –  “LOVE MADE ME DO IT”

The chemistry between producer Jae5 and the Nigerian maverick BNXN doesn’t seem to be ending anytime soon. On their newest track, Jae5 creates a tropical soundscape for the artist formerly known as BUJU to coast over, as he sings about the effervescent feelings that comes with being in love. Flexing his trademark pen, it’s a mellow affair reserved for the most intimate of loves, with his saccharine vocals finding great accompaniment with the drawn-out guitars and drums, contributing to its warm atmosphere. 

BABYBOY AV – “JEJE”

After his brilliant “Quick Question” released a month ago, AV has debuted a new song. “Jeje” comes first as a COLORS performance, a mellow record that accounts for his lifestyle and the ease with which he moves through life. As an artist who’s been steadily flaming the embers of his craft, it’s a timely reminder that Babyboy AV has been here for a while and with the experience of a thousand battles behind him, the future shines with so much promise. 

NASTY C – “CRAZY CRAZY”

Nasty C is an R&B star on his latest single “Crazy Crazy,” where he serenades his lover with appreciation for the moments they have shared together. With a new album in the works, “Crazy Crazy” puts Nasty C in a new light as he makes a lighthearted tune for the romantics and couples. Every release proves the South African star always has many surprises up his sleeve. 

YAADMAN FKA YUNG L – “VAWULENCE”

One of the most consistent Dancehall-inspired acts around, the artist formerly known as Yung L has released his new song. “Vawulence” harkens to the ‘Yaadman Kingsize’ album, struck on steady percussions and carried more purposefully by the intent in Yaadman’s vocals. “I come in peace, but I carry small vawulence” is one of the better adoptions of the social media birthed term, but this song transcends that rush of the ephemeral, rather offering visions of the artist’s current state of mind. 

JULS, HAILE & TIGGS DA AUTHOR – “MY LADY”

This mid-tempo track is a melting pot of diverse sonic elements—Afropop, Jazz and Caribbean soul— a very familiar soundscape for the Ghanaian DJ-Producer. Tiggs Da Author introduces the track as he beckons on his love interest to come correct or don’t come at all. Midway through the track, Haile’s mellifluous vocals take over assisted by a steady drum pattern and saxophone embellishments. 

STRAFITTI – “BALL DEEP” FT. KIDA KUDZ

On “Ball Deep,” Straffitti and Kida Kudz combine for a breezy rendition of Afrobeats and UK Hip-Hop. Both artists pay homage to their Nigerian heritage while expressing their desires to rake in more money  “Every other day money I dey chase/Came out from the block, they cannot relate,” Kida Kudz raps. Produced by the trio of Straffitti, GCL3F and Illkeyz, “Ball Deep” has smooth vibes in excess.

Featured image credits/The NATIVE

Words by Emmanuel Esomnofu, Nwanneamaka Igwe, Uzoma Ihejirika & Chigoziri Ezeaku.

ICYMI: THE NATIVE PRESENTS: NATIVE NOW! WITH ADEKUNLE GOLD

NATIVE Exclusive: Khaid is Recharged For His Next Phase

Posted on by Uzoma Ihejirika

At any given time, the Nigerian music industry steadily churns out new acts. These talents appear on the scene with hopes of garnering the attention of audiences and firing up their careers. For many, the move from newcomer to known star can take years. For others, it happens in a flash. It is the latter group that Khaid belongs to when, at 17, his debut single “WITH YOU” became a hit song. Released at the start of 2022, “WITH YOU” introduced Khaid’s rap-influenced flows and Afrobeats-tinged melodies. 

“[Before the release of the song], I was bothered about how people were going to see me, how people were going to take my sound out, how people were going to react when I dropped it,” Khaid says. “I was just pressured because at that time I wasn’t really into Afrobeats. That’s why when you listen to “WITH YOU,” you kind of hear a little bit of trap stuff. By God’s grace, “WITH YOU” went well and I’m grateful to God that it actually did.”

After indulging in the risk that was “WITH YOU,” Khaid sought his comfort zone for his next release. On the Trap tune “SKI,” Khaid’s confidence shined as he hopped from verse to chorus to verse to chorus with dexterity. A month later, he released his debut EP ‘DIVERSITY’  where continued his Afrobeats experimentations as well as flaunted his rap skills. For Khaid, the project was an eye-opener that taught him to be fearless and go wherever his creativIty led him.

The sixth child in a family of ten, Khaid—born Sulaimon Shekoni Solomon—grew up in Shibiri in the Ojo area of Lagos State. In their home, Khaid’s parents were music lovers (his father loved Fela Kuti and his mother preferred Michael Jackson). At 13, Khaid realised his passion for music, having listened fervently to trap songs. It wasn’t until he clocked 15 that he began to pay attention to the music scene in Nigeria and discovered artists that he liked: Wizkid, Davido, Burna Boy, Kizz Daniel, Tekno, Rema and Crayon. 

At that time, Khaid began to notice that many up-and-coming artists were posting cover versions of songs across social media as a way to promote their talents. He decided to join in and began uploading his music freestyles onto his Instagram page. One day, Sydney Talker, Nigerian comedian, media personality and CEO of Neville Records, saw one of Khaid’s freestyles and messaged him to say that he liked it. Khaid, who at the time didn’t ever envisage that someone of huge importance would take a liking to his work, was amazed. “I spoke to him about the struggles I had and I was telling him, ‘Can we just link up and make a video and stuff?’ and he was like ‘Yeah.’ And when I finally got to his house, he was like, ‘Yo, you are signed.’”

When Khaid informed his parents that he wanted to focus on music and not pursue a university degree, they, at first, weren’t enthused. But they soon saw his vision and gave him their blessing. After the release of ‘DIVERSITY,’ Khaid teamed up with Zlatan and Rexxie for “Amala,” a dance-ready number brimming with street lingo and lamba. It was the first collaboration in Khaid’s nascent career. In the visualiser for “Amala,” the YouTube title page provides this information: “Shot on iPhone by Sydney Talker.” The video is a DIY-style collage of Khaid, Rexxie and Zlatan dancing to the song with Sydney Talker and his host of internet comedians and their friends. For Khaid, Sydney Talker’s unwavering support has been instrumental to his growth.

“He’s just this one multi-talented guy,” Khaid says about Sydney Talker. “[He] knows how to do almost everything so, that’s kind of a plus to me because most things we’d just be like ‘Oh, Let’s just do it ourselves.’” Since “SKI,” Sydney Talker has been in charge of visuals for Khaid’s songs. “We wanted to get a video director and he was like Oh, he directs his skits and everything so why won’t he be able to direct a [music] video? And we tried it and it actually came out fantastic. So everybody’s grateful.”

While Khaid might have harboured doubts when he released “WITH YOU,” he sounds completely assured on “Jolie,” which is his first single of 2023. “Jolie” treads the same path of romance as “WITH YOU” but it is Nigerian in its sonic texture with Khaid wielding Pidgin English and no American influences. He followed that up with “Carry Me Go” where he and Mavin Records’ Boy Spyce made delicious Afropop melodies.

“I don’t think we [Khaid and Boy Spyce] were really serious when we made that song, we were just playing around, trying to see the vibes that work,” says Khaid. “While playing around, we came up with “Carry Me Go” and it was so crazy because everybody in the studio was feeling the song. When I got home, I played it for the team. I had my single already that I was supposed to release, but hearing the song, my label was like, “We have to release this ASAP.” 

The confidence from “Jolie” and “Carry Me Go” is an integral part of Khaid’s forthcoming EP. “On this new project, you should expect the Afrobeats Khaid,” he says. He began work on the EP last year and he’s excited for his fans to hear all he’s been making. He also reveals that producers Signal and Finito are on the project. This month, Khaid released the Signal-produced “Anabella,” another love-eyed rendition of boyhood affection. He also reveals that after his Afrobeats EP drops, he has a Trap music project coming next. 

Like Khaid, other Nigerian artists got their opportunity to fame through social media. They include Rema, Crayon, BNXN, Ayra Starr, Boy Spyce, Zinoleesky and Ruger. These artists took advantage of the internet’s wide-ranging reach to cross borders and connect cultures. Khaid agrees that more up-and-coming artists should toe the same path. “I think the world has made it easier by social media,” he says. “Just post as much content as you can post because anybody can see you from anywhere. As for me, I didn’t know Sydney Talker would see me one day, I just knew I was posting my stuff.”

A few weeks ago, Khaid’s efforts were commended when he was nominated in the Rookie of the Year category for this year’s Headies award alongside ODUMODUBLVCK, Bloody Civilian, Guchi, Bayanni and Eltee Skhillz. The Headies’ Rookie of the Year category, since it was launched in 2012, has housed names such as Burna Boy, Teni, Reekado Banks, Oxlade and BNXN. “I felt great. I wasn’t expecting it,” Khaid says about his nomination. “I was just saying, ‘If they notice me, I’ll be happy.  If they don’t, I will still be happy regardless.’ So I’m just grateful to God for making me noticed.”

In the period he has been with Sydney Talker’s Neville Records, Khaid says the qualities he has learnt from his boss are patience and a firm belief in God. It is these positive qualities that have shaped his aspirations for his career and towards his fans. He acknowledges that the core of his fanbase is people as young as him and that he’s aware the dynamics of that relationship will continue to evolve.

“First of all, [I’ll] be transparent with them. I’m still trying to work on that part,” he says. “I’m trying to be as transparent as I can to them and give them things to talk about. Make them see [me], make them feel [me].”

Featured image credits/NATIVE

New Music Friday: Projects from Adekunle Gold, Kizz Daniel, Hamzaa & More

Posted on by Uzoma Ihejirika

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 it can slip through the cracks, unheard. This column serves to bring those projects to your ears as you prepare for the end of work and look forward to the weekend. Settle in for an experience as we travel the African continent for the latest music projects.

ADEKUNLE GOLD – ‘TEQUILA EVER AFTER’

NATIVE Now! cover star Adekunle Gold puts his current state of mind into his fifth studio album ‘Tequila Ever After,’ with music that radiates happiness and peace of mind. There are features from African and global stars such as Simi, Ami Faku, Pharrell Williams, Coco Jones and Khalid. In Adekunle Gold’s words, the album is meant to “describe the feeling of tequila. The way tequila made me feel that one time; I wanted people to feel the same way with the music. The songs that I made for this album are lighthearted and conversational; they’re conversations you have with friends when tequila kicks in.”

KIZZ DANIEL – ‘MAVERICK’

While Kizz Daniel’s career hasn’t been without its downs, it is an amazing journey of dope albums and hit records. With the emergence of new stars, Kizz Daniel has remained relevant with his consistency, which has, in recent times, been backed by the successful tracks “Buga (Lo Lo Lo)” and “Cough.” The artist is easing into veteran status and on his newest album ‘Maverick,’ he finds success with blending relatable topics into banging records. There are guest appearances from Johnny Drille, Tekno, Blaqbonez, Yemi Alade, etc. but it’s undoubtedly a Kizz Daniel show.

CHEQUE – ‘CHEQUEMATE’

Cheque is one of the new-generation Nigerian artists who unapologetically indulge in diverse sounds from Hip-Hop and Afrobeats with a deeply Nigerian nuance. Whether he is rapping or singing Afropop-style adlibs, Cheque has ensured he is never out of the minds of music lovers. On ‘Chequemate,’ he continues his fusion of rap and Afropop sounds, securing the assistance of Fireboy DML and Crayon on the project.

BELLA SHMURDA – ‘DND’

Bella Shmurda’s ‘DND,’ an acronym for Do Not Disturb, is his latest collection of songs that reflect his experiences and thoughts on life. The songs are mostly joyous and showcase a Bella Shmurda confident in his abilities. With his recent passage into fatherhood, ‘DND’ is his gift to his fans who have been on the journey with him since he broke out his Olamide-assisted remix of “Vision 2020.” “You can be inside and enjoy too, not until you go outside,” Shmurda told the NATIVE. “I want people to achieve a good state of mind; I want people to achieve joy.”

HAMZAA & 1SRAEL- ‘RUSH’

Two years after 2021’s ‘Full Circle,’ UK-based singer Hamzaa returns with ‘Rush,’ a collaborative project with producer 1SRAEL. The artist, who has Kenyan-Zambian heritage, has employed her music to tell honest stories about situations in everyday life. It is no different on ‘Rush’ as she condenses her feelings—both happy and sad—into affecting R&B/Soul tunes.

TMXO – ‘TMX002: X & THE MACHINE’

The landscape of Nigerian music is never adverse to artists who deviate from the norm. Nigerian music producer TMXO is one of those artists as he releases his second project ‘X & The Machine,’ a compilation of dance music that wears different genres from Afropop to Amapiano with embellishments of electronic music. It’s a fun project aimed to get the body moving in joy. 

Featured image credits/NATIVE

Introducing Anything with Yusef, the multidisciplinary artist finding his feet

Posted on by Nwanneamaka Igwe

In today’s musical climate, we’re witnessing in real time the traversing of sounds from the African continent to the world. In the past few years, Afropop has attained new heights and soundtracked major moments around the world, showing the propensity for how far and wide the sound and scene can travel in short time. These record wins are enough to aspire any new talent keen to stand out from the crowd in a market saturated with acts looking to gain their share of the audiences attention.

Botswana-born singer and songwriter, Anything With Yusef’s wellspring of inventiveness and ingenious in his music undeniably flows from his eager observation of the diverse musical landscape. Following his graduation in 2019, Anything With Yusef started off making covers before releasing his own original music such as “Khalifa” and eventually, venturing into Afropop with releases such as “BABYGONE.” “I thought that maybe if I had a cover out people would start recognising me and good enough, people did. People saw my potential and it made me keep going,” he tells the NATIVE.

Anything With Yusef’s growing discography is replete with raw depictions of various forms of romantic love. A clear standout is “By Your Side” off his 2022 debut LP, ‘I’LL TELL YOU AT MIDNIGHT.’ While the project is stacked with themes of self love and love shared with a romantic partner, “By Your Side” openly addresses familial relationships in an upbeat, mid tempo record. Assisted by Jordan MoOzy, he beckons his sister, who acted as a mother figure to him, to trust God and his process as he pursues a career in music. “When I was young and making music, I was hardly around because I was so obsessed with making music but the song just tells her, ‘don’t worry when all this is done, I’ll be by your side. I’m doing this for all of us,” he sings. 

This year, Anything With Yusef is wasting no time to make his talents known and clear. Earlier this month, the singer released two-pack single ‘CHAOS THEORY’ which showcased a stark vulnerability in disarming honest confessionals about self-acceptance. While “STUCK IN MY MIND” features a slew of baritone melodies over an upbeat soundscape, “FEEL SOMETHING” is an attempt for Yusef and his listeners to embraces authenticity even if it’s accompanied by loneliness. Both tracks are snapshots of Anything With Yusef’s current state of mind: living, learning and becoming all at once. 

“When I deliver my music, I always try and go for the emotions before I put the lyrics. That’s why it made so much so much sense for me to do Afrobeats. Sometimes, I don’t know what most of these guys are saying but I feel the emotion,” he tells the NATIVE. “I want to take them high and bring them down. Just put them in a roller coaster,” he adds. His constant search for understanding himself and his own psyche makes him an earnest student of the game and one devoted to unfurling human emotions and understanding them to reach catharsis. 

View this post on Instagram

 

A post shared by YUSÉF (@anythingwithyusef)

In his first exclusive interview with The NATIVE, Anything with Yusef opens up about being rules by love, his deep inspiration pool and his plans for creating meaningful connections with his craft.

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

NATIVE: What inspired your moniker ‘Anything With Yusef’?

Anything with Yusef: I chose this name because I really felt that I could do so many genres. There was no genre that I could fail at. I was very confident in that aspect so that’s where the name Anything with Yusef came along. 

Can you tell me about where you’re from and your background in music? 

I’m a musician from Botswana. I used to make alternative music because of the music I was exposed to as a child. I was around a lot of indie pop and Coldplay. Last year, I figured out that I should make Afrobeats but I was very intimidated by it. Everyone was doing such a great job with it. I made my first Afrobeats song called “BABYGONE” That was a good indication that I should keep going and I just feel very comfortable doing it.  

What role do you say your music is playing against the backdrop of Botswana’s sounds on a global scale? 

It’s very hard to say [my music is] from Botswana. When people hear it, they don’t know what to say. I think they become more interested because they’ve never heard anything like it. I have to thank Botswana for being a source of inspiration. I’m inspired by a lot of musicians from here like Wonder Season. These are guys who are listened to growing up. I just get inspiration from people. I have friends who from Zambia, Malawi and more. I infuse those, still having the essence of Botswana. That’s how it always worked. 

Your musical journey, as far as we know, traces back to 2019 with your first cover of Smoke of LAC’s “Rolling Deep.” What pushed you to kick off a career at this point in your life?

Like I said, I was interested in rap and trap at the beginning of my career. I thought that maybe if I had a cover out people would start recognising me and good enough, people did. People saw my potential and it made me keep going. I did a few more covers that didn’t do well, and then, I just decided to make my own music. I think I was also just scared of making my own music. I didn’t think people would like it but I was working with someone at the time who really helped boost my confidence. I put out a song called “Khalifa.” It did well on SoundCloud and that gave me the confidence to keep going. From then, I thought maybe I could turn this into a bigger thing. Now I’m here.

Who would you say are some of your musical inspirations? 

The musicians that inspire me are very eclectic. That’s why I’m multi-genre. I really love Frank Ocean’s songwriting. I know some people may not hear it in my music but he really does inspire me. I love just being able to not always tell the truth in music. Sometimes songs have to be fictional. I like musicians like Pink Floyd. I have elements of Pink Floyd in my music and Drake too. Lastly, AKA, rest in peace. He’s a South African AKA talent that I really looked up to. 

 

View this post on Instagram

 

A post shared by YUSÉF (@anythingwithyusef)

What has your experience been like since releasing “Super Hero”? 

I really think now that I understand who I am as a musician. When I was making “Superhero”, I was all over the place. I was doing a lot of sounds. I had to be very honest with myself and  focus on pushing a specific sound. This time, Afrobeat stood out to me. It felt like a calling. I knew I’d infuse Afrobeats with a few elements. I think you thrive better when you identify with one sound first and spread out your aspects later. That’s how I think and it’s really working for me. 

What’s your creative process like and does it differ from record to record? 

Usually, I like to take walks. I don’t like to listen to music when I’m making music because I get distracted and absorb the music that I’m listening to. That was something I realised in 2019, it’s better to make music when you’re not listening to music. Usually, I’d watch a movie. Most of my music is inspired by film because I’m a cinephile. Movies inspire me. Sometimes I have conversations, I think the best ideas come more from conversations. I really advise musicians to have a lot of insightful conversations. Great things can come out of it. 

What’s the most important thing about the music you create and what messages do you want your audience to receive? 

To feel something. I really want my audience to feel something because I think that’s when they expand on the idea of what my message is. I wanted to exchange the idea that you don’t have to force yourself in any crowd to feel wanted. But still don’t want to feel out of place. “FEEL SOMETHING” is just about accepting yourself and being real with however you feel. Life is too short to not do that. I think when you’re honest, you have a very beautiful life and you will only attract like minds. I want people to just enjoy the life they have and be themselves to the fullest.  That’s really my narrative at the moment. 

Talk to me about your recent two pack release, ‘Chaos Theory.’ What inspired this?

Interestingly enough, I recorded “STUCK IN MY MIND” alone. I thought the two pack thing wouldn’t be possible but my team was like, “You can definitely do it if you want to.” I thought the only one that would thrive from the 2-pack was “STUCK IN MY MIND” but surprisingly, “FEEL SOMETHING” did well. “FEEL SOMETHING” was a sound people knew me for, and I wanted to take it to the next level. It’s doing what I wanted it to do. It’s making people think and reflect. And that’s what I always want my music to do. I had to get into that mindset this song wasn’t just for me, but others too. I want to take them high and bring them down. Just put them in a roller coaster. That’s another way I’d probably describe my music. My music is like a roller coaster. So many highs and so many lows.

What inspired the title, ‘Chaos Theory?’

I got it from an old movie. I don’t remember the name at the moment but it was by Martin Scorsese or Stanley Kubrick. I think it’s from ‘Clockwork Orange.’ I heard that phrase in the movie.  Someone was said “It’s a chaos theory” and sounded nice. That makes some sense because the 2-pack sounded chaotic. It’s two different genres and there’s so much rage in the music. I’m also saying a lot of things that are very emotionally and mentally impactful. The clash just made it feel so chaotic. 

 

View this post on Instagram

 

A post shared by YUSÉF (@anythingwithyusef)

Your vocals on ‘Chaos Theory’ hold this stark vulnerability. Even going back to “Pretend” and “Shanghai” and other tracks on your debut EP. Why’s it important for you to bare yourself in this way? 

When I make music, I go for feeling before anything. I got this from Quentin Tarantino. He said something that stuck with me. When he makes films, he tries to knock out the emotion before anything. That’s what I do with my music. When I deliver my music, I always try and go for the emotions before I put the lyrics. That’s why it made so much so much sense for me to do Afrobeats. Sometimes, I don’t know what most of these guys are saying but I feel the emotion. 

Are there any topics you want to explore with your music in future?

Definitely. I have gone through a very intense life. I’ve had a very traumatic childhood and I find myself making those songs and stopping because I feel like it’s not time yet. I want to show people who I really am. I’m showing them who I am now and how I overcame. I want to talk more about my experiences growing up as a child and being raised by my sister. I’ve seen a lot of people who had very similar issues and it felt good knowing I wasn’t alone. I do have so much to talk about in that world. My music is going to be very personal moving forward. 

What informs your choice of collaborators like producers or featuring artists for the release?

I want to feel that I can trust you. The guys I work with, I don’t even look at them as friends anymore. They are truly my brothers. When you make music, it’s not very good if it’s forced. Veezo View is an artist who’s been thriving in Botswana for so long. I’ve always wanted to work with him but it was never the right time. When I made the song, it was almost instant. I just knew. It has to be a very strong feeling in your heart. Not even in your gut. It has to feel very real, that way, you don’t get disappointed. My producers are Flex the ninja and Mo Beat. Mo Beat has produced for Coco Jones. He’s also like a brother. We can talk about some random things and, like I said, random conversations can inspire the weirdest things. We can be in public and stop having fun because we just got an idea and we have to go apply it before it’s gone. I truly believe that God gives everyone the same idea and whoever catches it first is the one who flies. Everyone loses it. It’s just how it is. So whenever we have an idea, it has to be acted upon immediately, otherwise it’s gonna go to someone else. There’s always that understanding. It’s very rational. Even with any disagreement, it’s very wise and rational. No one gets hurt. It just feels like it’s meant to be. 

Do you have any dream collaborators?

I really want to work with Asake. Asake is the best Afropop musician right now. I’m aware of Afrobeats and Amapiano but I’ve never heard it the way he does it. It just feels very fresh. I think that’s what talent looks like. I always try to go for a fresh feel. He’s number one for me. Another could be Frank Ocean. He is so reclusive, he doesn’t go out much. That would be a shock type of feature but Asake is definitely the one I could possibly get working. 

What can we expect from you in the future? 

We can expect a project in September, God willing. It’s called ‘Shadow’s Die Twice.’ It’s going to be an Afrobeats-inspired project. It will consist of nine songs. It’s about being reborn as a new character, spiritually and mentally because I did go through a mental transition. Deciding that I should leave everything that I was doing to just focus on music because I was all over the place. I was drawing, I was helping people with projects and I just decided to cut everything and focus on myself. It felt like I was shedding skin and just being reborn and so I think the title made a lot of sense. Also, I just felt like I wasn’t being seen and so that’s where the shadow comes in. He’s reborn and they’re definitely going to see him now. A lot of people are starting to pay attention and it’s a good feeling because that means I went with my faith and it did not let me down.  

Listen to ‘Chaos Theory’ here.

Featured image credits/The NATIVE

ICYMI: ESSENTIALS: PSYCHO YP SHOWS HIS VERSATILTY ON ‘OSAPA LONDON’

The NATIVE Presents: NATIVE Now! With Adekunle Gold

Posted on by The Native

Adekunle Gold is a master shape-shifter and an enigmatic personality in Afropop. Over the years, he’s offered consistently excellent frames of his celebrity montage. Having amassed a golden standard of hit songs and albums that are transcendental to the scope of Afropop, the artist’s star has exploded brilliantly at home and particularly abroad, where new audiences are catching onto his thrill. 

Earlier this year, the 36-year-old singer introduced Tio Tequila, his latest personality inspired by his time spent working on the new album. As AG Baby was before now, it was a character embracing aspects of who he was, and portrayed with the flamboyance befitting of his pop star credentials. If the May-released three-pack ‘Tio Tequila’ wasn’t revelatory enough, the forthcoming ‘Tequila Ever After’ would erect a mountain of belief in AG’s prowess as a creator of iconic moments. 

On ‘Tequila Ever After’, his fifth album, he invites a large but deliberate ensemble of features which includes his partner Simi, the American musicians Pharell Williams and Coco Jones, the legendary Malian griot Habib Koite and Nigeria’s brazen poet ODUMODUBLVCK. Speaking about the album, he shares: 

“It made me realise that I can outdo myself. I set out to write fifty songs and I wrote over sixty. And that was the first time I ever did something remotely close to that. My previous albums, I would just write a couple songs and I would settle for that. On this album, I was a lot of things; I had my rapper moment, I had a reggae star moment, I had my pop star moment, I brought my Highlife back. It’s different versions of me and I’m proud of myself for being able to pull that off.”

Following our premier cover with Davido, on the second edition of NATIVE NOW! we speak to Adekunle Gold about creating his fifth album and the high levels of artistry that greatness demands. Adekunle Gold captures his whole story: from his early performances and ascendance through the Nigerian music industry, the taste of  being on the receiving end of criticism and becoming a father.

The singer also talks about his awe-inspiring sonic evolution, and his sartorial growth as his superstar rose. In conversation, the practices through which he nourishes his private life are made clear, particularly those fleeting moments when he’s in his enclosed space and becomes, once again, Adekunle. 

Full Credits

Words by Emmanuel Esomnofu

Photographer: Elliot Hensford

Creative Director: Elliot Hensford

Stylist: Kennedy Clarke

Creative & Styling Assistant: Zena Giwa-Osagie

Editor-In-Chief: Seni Saraki 

Head of Content Strategy: Damilola Animashaun

Managing Editor: Tami Makinde 

Head Of Digital: Shina Ladipo 

Lighting: Kenneth Liew 

Art Director: Skye Halsey 

Photography Assistant: Finlay Gleeson 

Assistant Stylist: Lara McGrath and Qasim Oshokhara

BTS Video: Johnny Cooke 

Grooming: Ellie Durbridge 

Barber: Darren Greenway

Graphic Designer: Israel Ajayi & Elliot Hensford

Handprints: David Cheney

Read the full story here. 

Featured image credits/ElliotHensford