HBO unveiled the first full trailer for “True Detective” third season, which, as revealed by the trailer, is to be released in January next year. Like the first two seasons, season three of “True Detective” is directed by the show’s director, Nic Pizzicato. According to him, this season will follow the gruesome crime in the Ozarks and how the mystery of it deepens over decades that will play out in three separate time periods.
As seen on the trailer, this season will center around Mahershala Ali’s character, Wayne Hays, a police detective who time-jumps through three separate time periods to investigate the disappearances of two children who went missing in 1980. The trailer also shows glimpses of Carmen Ejogo, who plays an Arkansas schoolteacher connected to the case of the missing children, and Deborah Ayorinde playing Wayne Hays’ daughter.
Watch the first trailer for “True Detective” Season three here:
Featured Image Credit: Instagram/carmenejogo
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“Tomiwa is figuring it out…” Tweet at her @fauxbella
Tay Iwar has dropped the first piece off his upcoming album; a collection titled 1997. Comprising of 3 self-produced tracks, the set released exclusively on Soulection.
Teaming up with Santi and Preyé for an upbeat opening to his collection, Tay Iwar stresses the need for “Space” on one’s journey, singing “Space is all I need, to get away, away with all my dreams.”
The next track he teases us with is “Sugardaddy”, on which Odunsi [The Engine] brings in his Yoruba flare, as the duo narrate the story of a young mistress fed up of looking for love, willing to settle for financial displays of affection. Finally, the project ends in a passionate ballad – “Miracle Girl”, the standout from the trifecta – fittingly vocalised by Tay Iwar alone to express the depths of his emotions.
Tay Iwar’s debut album is expected to drop later on this year, and with this tantalising teaser it’s something we can’t wait to hear in full!
For his latest single, “Wura”, Adegboyega exchanges the high-life influences heard on his previous single, “Fele” which featured Mayorkun. “Wura” combines street-hop’s pacy house drums, Yoruba vocals and booming bass drum thumps. The instrumentals Kash Beatz produces with saxophone solos that interlude the Yoruba lines about wealth, gold and the good life. Brian E. Ebden directs a video that sets Adegboyega and his dancers on the rooftop of a high-end set of flats, where he showcases his carefree lifestyle through dance and a flamboyant outfit that sets him apart from commercial fashion. He is also seen on the set of a white background, where he plays his saxophone solos as the dancers perform.
For Olamide’s latest single, “Criteria”, Pheelz produces a mid-tempo high-life beat over which we hear Olamide’s raspy voice singing sweet confessions to a lover he almost lost. “What’s the criteria”, he sings to his lover, asking what its would take for her to accept his proposal, after which he spells out how he intends to express his love.
Olamide’s emotive lyrics also touch on how society and rash decisions prompted by misguided advice can diminish the value of a relationship. He expresses this through lyrics where, like a concerned counselor, he urges her to focus more on her values than chatter from external sources.
Listen to “Criteria” here:
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“Tomiwa is figuring it out…” Tweet at her @fauxbella
Afropop’s repetitive style may give the impression that it runs on a trend mill, but Zoro and Mr Real’s “Upandan” shows it’s not such a monoculture. Not only is it split by the unbridgeable divide between commercial R&B fueled pop and everything else, it’s split into a bazillion fractions and overlapping factions based on geography, demographics, history, stylistic quirks, tribal allegiance and petty grievances.
For “Upandan”, the Zoro’s melodic eastern fused vocals is placed next to Mr Real’s cocksure Yoruba ad-libs from the trendy street pop sound from Lagos. Over the house music beat T’Spize produces, they perform a song for DJ turntables, describing scenes you’d expect in the club, “Go Shawty Go/ Upandan/ Let The Booty Go”.
Juls may have built his reputation with Afropop releases like “Saa Ara”, promoting traditional African sound. But for his latest single, he embraces his hip-hop sensibilities. “Normal” features U.K. rapper, Kojey Radical who raps over Juls’ psychedelic trap beat with a decidedly Afropop bounce and traditional drum riffs. The menacing percussion baseline inspires aggressive bars from Kojey Radical who brags about his past scars, elevating his game and stunting on old friends; “Long Time Since Minimum Wages/ Long Time Since Man Seen Angels”. Juls also directs the video for “Normal”, using psychedelic filters reminiscent of a Busta Rhymes music video.
Watch the video for Juls’ “Normal” featuring Kojey Radical below.
Featured Image Credits: YouTube/JulsVEVO
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You are meeting Debola at a strange time in his life. He wandered into a dream and lost his way back. Tweet at him@debola_abimbolu
Of all of life’s most obvious uncertainties, loves thrives above all because we’re damned if we do or don’t; Darkovibes knows this best. Last year he dosed fans with “Tomorrow”, a sprawling Afropop smash about love against all odds—even if the love itself is not assured.
In the same stylistic manner, “Stay Woke” his latest single thrives on the line between loving for the sake of living and loving for the sake of loving. ‘This will fade as the day goes’, Darko sings, adding ‘I will pose here for you, all my life, cos I love how you work me’ in the next line. It’s a bittersweet imagery of undying love, in spite of Darko’s awareness of how things will end between them. But it’s no matter since he is decidedly ‘living every moment’ with casual hedonism—(this becomes even clearer on Stonebwoy’s verse)—indulging in sex and drugs till the day the relationship tips over.
Sonically, “Stay Woke” is a slow-whine bop, but its winning element is a fusion of Carribean melody with heavy bass-drops, jazz snares and electronic synths produced by Accra-based beatmaker, JumpOff. His greatest indention on “Stay Woke” is a mellow progression perfect for the underlying sensual theme that plays out in the accompanying video.
“Stay Woke” is a statement to the necessity of looking out for equal parts self-reward and beauty in every moment. Especially when it concerns matters of the heart where people are unpredictable and the rules are undefined, as in Darko’s relationship and perhaps life itself.
Listen to Darkobvibes “Stay Woke” here:
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Toye is the Team lead at Native Nigeria. Tweet at him@ToyeSokunbi
The roll-out for M.I’s new album, Yxng Dxnzl started in February 2016 when the rapper first announced the project alongside Illegal Music 3. But there was no word about the project again for many months and fans started to wonder if it was stuck in development hell.
Last year, M.I’s appearance on Pulse’ Loose Talk Giants gave a glimmer of hope to the album. According to M.I, he was forced back into the studio by criticisms of earlier versions of the project. Surprisingly, the next release from M.I was Rendezvous not the long-awaited Yxng Dxnzl. Yet again, fans were left with mouths watering for an album M himself had hyped enough to garner mythos that it would set a new tone for his legacy.
Earlier today, Yxng Dxnzl debuted on digital stores, bringing an end to a two-year-long ‘Yxng Dxnzl’ campaign. The much-anticipated project packs a handful of feature verses—from Tay Iwar, Odunsi, Lady Donli, Cina Soul, Lorraine Chia, Patrickxxlee and Niyola —despite running at about 40 minutes runtime, but M as usual, has a lot to say.
The Chocolate city top-dog runs through a range of familiar themes; love, hip-hop, self-affirmation, and self-destruction, centering the project with a stunning delivery on the brazenly-honest The Self Evaluation of Yxng Dxnzl. Yxng Dxnzl is M.I’s 8th studio album, though his latest project isn’t indicative of a linear career, his confidence, growth and maturity are told through the narratives that surface over the 10 tracks.
Stream Yxng Dxnzl here
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Fisayo is a journalist in search of words. Tweet at her @fisvyo
Earlier this week, reports surfaced online accusing Duncan Mighty of assaulting his wife, Vivien Nwakanwa, in their home in Port Harcourt over the weekend. With the support of photo evidence, the account owner who has only been identified as Vivien’s friend, affirmed that the singer left her with a swollen eye, and then “abandoned his family for Lagos”. Speaking exclusively to Onobello, the unnamed friend sent a picture, saying: “He beat her up yesterday as if she wasn’t a human being like himself and threatened to kill her. I am sending you this to show the world, let them know who he really is, what he really is behind the social media. Fake life…”
https://www.instagram.com/p/BmtR1AAhre4/?hl=en
In response, Duncan Mighty released a statement addressing the issue where he neither confirmed nor denied the allegation. Instead, he tiptoed around the accusations with what he identifies as his family values saying “My Wife and Kids can’t do without their daddy” while lashing the media outlet that broke the news.
https://www.instagram.com/p/BmvDXDygxzf/?hl=en
Oddly, while Duncan Mighty hasn’t fully convinced fans that he’s not culpable to the wife’s swollen eye, he has already garnered support from loyalists who agree the claims are nothing but hater-talk. In a country where domestic crimes are rarely ever reported, perhaps someone needs to be asking more questions. After all, there still no word in his statement about how his wife’s swollen eye came to be.
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“Tomiwa is figuring it out…” Tweet at her @fauxbella
Mariam Kayode is nominated for her role in Imoh Umoren’sfilm “Children Of Mud”, which Umoren describes as a child right advocacy film that explores the causes and consequences of child homelessness. Umoren stars Mariam as Emem, a young girl who is forced to fend for herself and her brother after they’re thrown out on the street by their an aunt they’ve been sent to live with. She also appeared in Imoh Umoren’s sophomore feature film, “The Happyness Limited”. The Best Actress nominees also include Keira Hewatch (The Witness Box), Cinderella Sanyu (Bella), Omotola Jalade Ekeinde (Alter Ego) and Lilian Echelon (Black Rose).
Romance goes beyond a mere declaration of affection and you only need to listen to a couple Afropop songs to notice. Afropop love songs reflect the dating culture through outlandish and showy brags that almost undermine the love story at play. With DMW’s “AZA”, Davido, Duncan Mighty and Peruzzi flex over a mid-tempo guitar led beat Fresh VDM produces. While Duncan Mighty infuses lines in his local dialect, Davido and Peruzzi alternate between English and pidgin, using their wealth to entice love interests. Singing “What is It Wey You Want Wey Davido No Fit Do/ Dollar Alert, Credit Alert, Secure The Bag”, they clearly expect their money to do all the work when picking up women.
Stream DMW’s “AZA” featuring Davido, Duncan Mighty and Peruzzi below.
Featured Image Credits: Instagram/davidoofficial
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You are meeting Debola at a strange time in his life. He wandered into a dream and lost his way back. Tweet at him@debola_abimbolu
On his latest single, “Heal D World”, Patoranking urges listeners to choose peace and community over self-preservation and racism. He takes a page from Micheal Jackson’s book, urging growth as a global community and tolerance. Unlike Micheal however Patoranking also touches on corruption, superficiality and global insurgency — “Every corner is war and crisis/ Boko Haram Al-Qaeda and ISIS”.
In the accompanying video, we see Patoranking performing amid a multicultural peaceful protest. The protesters are holding anti-war banners and urging peace by the gates of a ruler, barred by police. It stars Patoranking and a child who he walks through the war-damaged city. The video also cameos BERA, who featured Patoranking on his single, “Fire To The Sun” earlier this year. Both perform “Heal D World”, with a choir singing along in the background.
Watch Patoranking’s “Heal D World” here:
Featured Image Credit: Youtube/patorankingfire
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“Tomiwa is figuring it out…” Tweet at her @fauxbella
As 2018 comes to a gradual but eventual close, more bangers are gradually slipping out of the vault from all the far corners of Afropop, against all odds. Take Runtown for example, the singer has spent most of the year battling legal problems with his former management, Eric Manny. Recently, he pivoted with his own imprint, SoundGod Music Group and debuted “Unleash” featuring Fekky, as the first single released under the imprint. The singer has now updated the roll-out with the release an accompanying video.
In the newly released video, Runtown is shown as relaxed as a Cuban drug lord, smoking cigars and having a beautiful woman run her hands through his hair. Unlike the energetically-themed track it accompanies, the visuals for “Unleash” are mellow but dark-toned, featuring shots of beautiful women and Runtown thugging it out with his braids on.
See RunTown in “Unleash”
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Fisayo is a journalist in search of words. Tweet at her @fisvyo
Daramola’s “Heartbreak Please” is about setting up cliches and pulling out the rug from beneath them. Despite his poignant auto-tune embellished vocals and the heavy tale of heartbreak he spins with it, upbeat electronic harmonies underpin the elated devotion of his lyrics; “I Can Take The Pain Away”. Over the EDM fueled skittering drums and chest-shaking basslines, he uses the trauma of failed past relationship as a tool for sweet talking a love interest. But with his charming voice and reassuring lyrics, “Loving You is Diamond and You’re So Hard To Find/ You Deserve All “, the counter-intuitive logic is rather convincing.
Listen to Daramola’s “Heartbreak Please” below.
Featured Image Credits: Instagram/itsdaramola
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You are meeting Debola at a strange time in his life. He wandered into a dream and lost his way back. Tweet at him@debola_abimbolu
Over the weekend, clips from the most recent episode of “On The Couch” with Laila and Falz who hosted presidential aspirant, Olasubomi Okeowo, surfaced on Twitter. On the episode, Laila, with support from Falz, asks the aspirant a number of questions about his policies and promises as an aspiring President.
In a popular cut from the interview that has since gone viral, Laila asks Olasubomi how he intends to level the gender equality field, considering that “For every ten boys in a classroom in Nigeria, there are only three girls”. Despite the pertinence of this conversation in girl’s rights issues, the aspirant disagreed with these statistics. In Olasubomi’s terms, what matters is the workforce; “If a woman is right for the job, I will hire the woman. If a man is better for the job, I will hire him” he says. On Nigeria’s drug epidemic, Mr Okeowo declared is a result of depression and “not having a purpose”.
Shortly after the 30-minute episode aired on the show’s Youtube channel, an overwhelming rush of comments under the platform’s comments section spurred backlash for Olasubomi on social media. This reaction, according to Laila Johnson-Salami, a broadcast journalist, is why “On The Couch” was created.
In a conversation with the NATIVE, Laila explained the goal of “On The Couch” is to bring a fresh perspective to policy-making, “things you can’t find online”. This perspective is for the benefit of “Young Nigerians”, who are often disenfranchised from Nigeria’s political realm. Laila explains that she and her co-host, Falz, are “passionate about Nigerian politics”, and have created this platform as a means of contributing to the growing pool of mediums documenting Nigeria’s upcoming 2019 General elections.
“So why do you think Nigerians are under pressure”
On Monday, the day after the episode aired, Olasubomi Okeowo, pulled out of the Presidential race and apologized to the show’s audience [the youths] for his distasteful statements. In a released statement, Mr Okeowo expressed remorse, explaining that his delivery did not match his intention. ” I will Honorably stand down to allow a more qualified candidate go for the post”. This sense of immediate action, according to Laila, is one of the core aims of the show. By bringing aspirants on and presenting questions backed by facts, the show intends to create awareness about the state of the Nigerian polity and how the aspirants engage with them.
So far, Laila and Falz have interviewed two aspirants, focusing exclusively on human management issues, as this is the core of all social issues. The idea, Laila said, was birthed by an event that reflects in the first two episodes: “Falz had asked me to visit an aspiring presidential candidate with him informally and as we got there, we decided to ask him questions in an interrogative manner to really ‘grill’ him. We spoke to him for about two hours, after which Falz said that we should make this a thing. So we started reaching out to several aspiring candidates and we got shooting”.
Beyond this season, the duo hope to extend the show beyond the election 2019 arena, as Laila rightfully put it “Nigeria’s Democracy turns 20 next year and it is absolutely imperative to incorporate the challenges and the way forward on the show, as we’re in dire need of action”, we need to stay engaged to create the urgency and accountability needed for real change.
The show will air every weekend on the show’s YouTube channel, On The Couch Naija.
Meanwhile, The Independent National Electoral Commission (INEC) has extended the deadline for the Voter Registration by till the end of August. You can still register to vote.
Check out the first episode of “On The Couch” here:
Featured Image Credit: Youtube/Onthecouchnaija
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“Tomiwa is figuring it out…” Tweet at her @fauxbella
The affectionately estranged narrative for Niniola’s “Maradona” was as responsible for making the song a hit, as the ear-wormy beat Sarz produced. And though DJ Snake’s remix, titled “Maradona Riddim”, didn’t attempt to change the song’s theme, the collaboration expanded the narrative to accommodate music’s ability to serve as a bridge between cultures. The recently released music video Daniel Kaufman directs also continues to this effect as we watch people at a beach, using their dance moves as a tool for socializing.
You can watch the video for Niniola and DJ Snake’s “Maradona Riddim” below.
Featured Image Credits: YouTube/DJ Snake
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You are meeting Debola at a strange time in his life. He wandered into a dream and lost his way back. Tweet at him@debola_abimbolu
Juls, Kwesi Arthur and Akan’s “Saa Ara” is a gorgeously sung tribute to Africa. If the buoyant and lightweight ambiance of the beat Juls produces for his new single, “Saa Ara”, convey summery sentiments, it’s one of freedom and celebration. Though the traditional drum baseline, layered vocals and Afrobeat influenced percussion and horns of the instrumental already conjured sun-soaked nostalgia, Kwesi Arthur and Akan’s indigenous performance reinforces the homely and African sound of “Saa Ara”.
You can stream “Saa Ara” below.
Featured Image Credits: Instagram/julsbaby_
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You are meeting Debola at a strange time in his life. He wandered into a dream and lost his way back. Tweet at him@debola_abimbolu
When the world around you sucks, one way to feel better is by finding solace in music’s spellbinding respite. AKINFELAY’s new single, “Everybody Knows”, provides escape with its free, videogame-like dreamscape, comprised of friends, birds in the sky and crude but child-like rhyme schemes; “I Don’t Really Like To Say Penis/ I’d Rather Just Say My Prick”. Paired with looped synths, nursery rhyme-esque melodies and the occasional ad-libs, “Everybody Knows” is presented as a playful freestyle with lyrics, aware but unflustered by hash realities. Rapping “I Don’t Really Wanna Get This/ I Don’t Really Like People”, AKINFELAY is real enough to know he’s not perfect, but he’d rather focus on things that he feels are worth it like “mother nature”.
You can listen to AKINFELAY’s “Everybody Knows” below.
https://soundcloud.com/akinfelay/everybody-knows
Featured Image Credits: Instagram/akinfelay
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You are meeting Debola at a strange time in his life. He wandered into a dream and lost his way back. Tweet at him@debola_abimbolu
There are lots of reason to be upset in 2018, the real task is finding the beam of hope to hold on to while going through the rough. CHx’s new single, “Gas” featuring PayBac and ODC is a triumphant single, musing about the relatable challenges of life. With the somber layers of synths and driving drum pattern CHx produces, PayBac and ODC’s lyrics sound world-weary, even when they’re trading flex lines about their rap skill. Though both rappers complain about their needs, they are very conscious of their superior rap skill, and make sure everyone else recognizes it. Saying “Life A Bitch, I Got Screwed/ I Need Cash, And I Know” for the catchy hook, “Gas” is a summer slap about grinding your teeth off on ecstasy. And while that in itself is great, given the challenges we’ve had to deal with this year, it should be an anthem for a number of jaw-clenching reasons.
Loving in spite of the inevitable end is the theme for Darkovibes latest single “Stay Woke” featuring Stonebwoy. The conversations that usually accompany the song’s title, “Stay Woke”, may lead you to believe that they sing of carefully navigating your way through whatever the situation is, staying aware, but this is not the case. Darkovibes and Stonebwoy invite the disaster that they foresee, reminding us that the end doesn’t really matter if the journey is fun. They serenade a lover who they are aware isn’t right for them, but attempt to avoid this reality with a combination of vices and a living in the moment. The mid-tempo synth piano instrumentals Jumpoff produces for “Stay Woke” is volatile enough to accommodate the dreaminess of romance, the discomfort of the inevitable end and nostalgia.
Listen to “Stay Woke” featuring Stonebwoy here:
Featured Image Credits: Instagram/Darkovibes
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“Tomiwa is figuring it out…” Tweet at her @fauxbella
Fresh L has seen it all. And now, on the eve of his latest EP, we ask whether this will be his first summer – or his last.
Words: Adewojumi Aderemi
Photography: Deeds Art
“This is about to be your biggest piece” Ladi Lanre – more commonly known as Fresh L – tells me, confident that anything to touch his self-proclaimed Project of The Year will be gold.
The project in question is See U Next Summer, wittily abbreviated to SUNS. Inspired by a text to a former flame, Fresh L states the EP is all about “pretty girls”. Chances are that if you check the comments of your favourite Instagram crush, Fresh L is in there, saying nothing other than “S.U.N.S”. Such has been the aggressive guerrilla marketing tactics deployed by Lanre to promote his forthcoming EP – out at midnight – that his fans have taken to using S.U.N.S as their social media captions to fit their summer thirst-traps.
“I just like being around girls”
In business, his friendships, in clubs, his conversations, Fresh L is consumed by women and – here, at least –they seem to be consumed by him. We are at a shoot for a vintage sunglasses brand, and Fresh is the only male model (the only male present), working alongside two sisters. His chemistry with both is undeniable, to the extent that jealousy is roused as he moves from one on-screen romance to the next. He revels in this, and has come to embrace this as his only “vice”. Confidently stating he’s not like a typical guy; before reeling off a list of stereotypical young black male interests that he is categorically not interested in, sports, alcohol, and weed; Fresh L is embracing this side of his character, and it is the one most prominent on See U Next Summer.
“I’m the situationship king!” He defiantly declares, almost as if it’s an actual royal title that was bestowed onto him.
And as such, his EP constitutes an alternative guide to the typical hyper-masculine rule book on how men should manoeuvre situationships.
“Maybe I [can] teach some niggas how to be themselves. It’s okay to say you don’t have a side chick, you have one spice ting” He says very seriously, despite the fact he’s quoting one of his own lyrics. “And it’s okay to, y’know, make a certain girl feel special”.
It’s a far cry from the “rappers’ rapper” image he became known for during the DRB era in the early 2010s. Freestyles upon freestyles, mixtapes upon mixtapes, beefs upon beefs – with everyone from Dj Caise to fellow rapper Yung 6ix,to most famously Wizkid (who he has now made up with). But Fresh sees this as a natural progression – from a rapper to an artist.
But it doesn’t stop him from reminiscing over the heady times of his teenage years in the music industry. “We used to just put out so much music. We could record anywhere and just *clicking* drop drop drop drop.” There’s a clear feeling of unfinished business as he looks towards the group’s 10 year anniversary this December. “We would have exploded [if we all moved back in 2016]..but we can still come back and conquer.”
Fresh then begins to recount one of his most famous beefs – with the group’s former management company, LSG. In the throes of the breakup, his then-manager TK (of Bearded Genius, who Fresh now has a close working relationship with) delivered a parting barb to the rapper on his way out: he dared him to blow up. Fresh doesn’t think too much of this particular barb, off-handedly stating that “That’s the only thing he could say. I’m handsome, I rap well.”
He seems to switch back to braggadocios rapper mode when discussing his DRB days – performing at the O2, touring the UK – but it comes across as just bragging points. SUNS feels deeper than that.
“I cried when I was recording ‘Ride For Me’. When I did the very first draft, I was just crying.” He admits to me about the EP’s second track. It’s a rare moment of legitimate vulnerability, something that he is determined to do more of, opening up his heart as the music leads him.
“Ride For Me”, version number 10 (or thereabouts), is one of the lucky 5 to have made it to ‘SUNS’. For each song, Fresh exhausts about 6 different versions with the same beats, different flows, altered lyrics, and varying personalities. Fresh L has been preparing for Next Summer for over a year now, starting with an 11 track EP, moving down to 7, before finally settling on these 16 minutes – trusting his shower and car states of mind to decide upon the most transcendent arrangement of the final five.
He has been very meticulous through his SUNS-era, he is no longer rushing to prove he is a sick rapper; that stage has passed. Now, he is taking his time, bathing in the beats and expressing himself fully in the way that best marries all the pieces in front of him.
“This is not trial and error. This is me doing exactly what I’m trying to do… and the thing is that whether or not people actually accept the sound, I feel like I will always produce this type of music.”
The sound is melodic, mid-tempo R&B, and it is here to stay. Considering his features – Davido and WavyTheCreator – one might be led to believe that he’s just trying to fit in with what’s hot right now. But the difference in Fresh L goes beyond the type of music he makes. Fresh L has evolved as an artist, not only in his sound but also in his attitude to making music.
“I just cared about my verse and my bars [during the DRB days].”
He recounts, admitting the comfort that the cushion of his fellow DRB members afforded him. The hooks were handled by Boj, the beats were emailed in or sourced from DatPiff, they rarely mastered their music.Fresh L DRB got away with the bare minimum, and he was comfortable with that. Now, since overcoming the most pivotal part of his progression from a DRB member to a solo songwriter, Fresh rests proud of his growth into a more proactive artist. He gleefully tells me he co-produced two songs on the EP.
SUNS-era Fresh L has been “super hands on” in all the aspects of music making, from the first keys of the melody to editing and mixing. Of course, he always seeks a professional touch, but not before he completes every track to the best of his abilities.
This is what he narrates as he talks me through the extended-play, and what I observe as I sit in the studio watching him re-record a verse that he described as “perfect” on the first take.
He is following his heart, the heart that drew him into singing, the heart that inspired and narrated SUNS. This Fresh L is uncontrived, his music is organic, it’s spiritual, he goes where it takes him. He tries a different flow, a different pitch, a different tone. When it’s wrong, he starts again, no stress, no haste, no urgency – just a compelling desire to outdo his best. This painstaking process of re-perfection is a stark contrast to the hurried releases he describes as DRB’s approach.
@FreshLDRB‘s handle is almost synonymous with provocation, especially whilst he was still living in the UK. His twitter was littered with distastefully ignorant tweets that need not ever be aired, but Fresh L refuses to conceal this aspect of his character to appease the masses.
Lanre says he comes from a generation that “cruise” each other. If you take it, you should be able to give it, essentially.
To him, it’s all just a bit of fun. His tweets about “casted pies”, his clapbacks at those who insist that ‘L’ is the most fitting way to end his moniker – no matter how much trouble it gets him into, no matter who he offends, it’s just entertainment to Fresh L, and you’re the fool for caring.
The topic of separating art from artist has never been quite as topical as it is now. From 6ix9ine, to the late XXXtentacion, to R.Kelly and Chris Brown, fans are now rightly being asked whether they can support an artist regardless of what they do outside the record booth and off the stage. Whilst Fresh L has no such charges as some of his contemporaries mentioned above, he admits he is not perfect and is still learning. Perhaps this is why he has been seen to defend the freedom of the listener – namely R.Kelly – because subliminally at least, he sees himself in their shoes. Some people may not like Fresh L the person, but he doesn’t want that to stop you from pressing play, as he grows into the man he wants to be.
Now, it seems he is a little more aware of the potential damage (ab)using his platform, in this way, could do. Now, he rallies to the defence of victims of sexual abuse, insults the accused, and even vows to relinquish his once relentless support of R.Kelly. It might have taken some time, and some personal relation to the matter, but Fresh L has grown. Ultimately, he is a good guy, with a good character. Those close to him view his personality in reality as a polar opposite to the one he portrays online – and spending time with him leading up to the release of SUNS, I see that. He exudes a positive energy that is difficult to knock.
According to Tola Odunsi, the CEO at Fresh L’s label, Urban Records, it is this personality that will boost Fresh L into the limelight.
“The music is his springboard – but the person, Fresh L himself, is what will be the engine for Fresh L’s success” Tola predicts candidly.
Tola signed Fresh as the first artist on the Urban Records ticket over 3 years ago – their fate together sealed from the moment Urban gave Fresh L the opportunity to rap with one of his favourite rappers, Wale. Although Fresh abhors contracts and describes labels as “a waste of time”, he recognised the utility of having a corporate body to supply the requisite resources – studios, producers, engineers and general connections.
One of those connections was the label placing one of L’s songs in an upcoming Nigerian movie. However, as there seems to always be with record labels,there was a slight caveat – due to its inclusion in the movie, the song could not appear on the EP. “Hold U”, the song in question, is arguably Fresh’s strongest and most radio-ready offering as a solo artist till date. Gliding comfortably between Yoruba and English, it’s a smooth R&B/Rap record that would fit right at home on a Bow Wow & Omarion joint album from 2005. As always, Fresh doesn’t linger on the disappointment – he quickly replaces it on the tracklist, and promotes the Davido-assisted “Firewood” to lead single status. And what a masterstroke that ended up being. Despite only being out for two weeks, it’s gradually garnering more airplay on the streets of Lagos.
As a self-proclaimed “Young OG”, Fresh L has been through two eras in the Nigerian Music Industry; he has been in the game for 7 years, he knows what matters and what’s just noise. DRB’s independent run meant they could avoid the dictatorship dynamic that wayward execs laud over younger artists. Their experience of the industry was unfiltered, they learned the game, its structure, its loopholes, and they did it all on their own. So, Fresh knows what it means to “blow”, he knows what it can cost, he knows of its seasonality. He isn’t interested in all that, Fresh is only interested in one thing: doing what he does best to the best of his abilities.
But of course, he wants SUNS to be successful. “People all over the world will be listening to SUNS” He tells me rather matter of factly. “In Tokyo, LA, worldwide! Babies will listen to SUNS. Parents, grandparents, brothers of the girls I’m singing about – everyone! Everyone will hear See U Next Summer.”
His conviction in this EP, in himself, is overwhelming – he not only believes that is his best, but the best. This is Fresh L’s moment, and he’s confident it won’t let him down.
“It’s only me that can make the sun come back.”
Next Summer is here, and it looks like it could be the first of many for a new-look Fresh L.
See U Next Summer is out now under Zero Label Records.
