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.
There’s something about exploring synthesizer that feels so otherworldly, it inspires songs like “AnotheR Planet”, DaRe, Tim LyRe and IDRis King’s new single. “AnotheR Planet” has all the trappings of quintessential indie-pop; Keen lyrics, sprightly drums, and a wistful chorus about a psychedelic date that never happens. For the beat, DaRe produces a slow building synth led beat full of sloshing and dripping movement that give off an ethereal ambiance. But the grubby basslines and hard drum loops ground the song in reality. Tim LyRe packs lyrics musing about the trips he’d catch with their love interest, but Idris King delivers bars with a broad grin etched across his face. His reference of Rick and Morty further emphasize the song’s dreamy outlook.
Listen to “AnotheR Planet” below.
Featured Image Credits: Instagram/darekasali
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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
For better or for worse, pop music continues to lean hard into Caribbean harmonies, basically asking to soundtrack pool parties and sunny beach days. And since there’s never a shortage of sunlit bashes in Africa, naturally, Afropop is ever ready with simmering dancehall numbers for DJ-turntables. Having worked on the production of tracks from Mr Eazi, Yxng Bane and others, Team Salut are among pioneers of the burgeoning Afropop scene in the UK . Their latest single, “Drive N Motion” however only features vocals from the members of the group, Mr Wood, GKP and Side Chain Manny, who perform the sultry dancehall single. “Drive N Motion” premiered on Fader, where the group gave the inspiration behind the song, “The record was inspired by the desire for good weather and good vibes. When it gets cold, we often have to create our own inspiration; ‘Drive N Motion’ is a product of that. The song is about enjoying good vibes with a person you really click with, and sharing your world with that person. This is a feel good song that can make people dance, laugh, smile and create happy memories together.”
You can stream Team Salut’s “Drive N Motion” below.
Featured Image Credits: YouTube/Team Salut
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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
The video STANZ Visuals directs for Koker and Falz recently released single, “Daddy” sets both artists in dark dimly lit rooms with models and material possessions that convey their lyrics. It begins with Koker in a neon-lit greenhouse-themed room where he lays in bed and performs his lines with a model by his side. Falz also performs in a similarly themed rooms, posing with models who dance and groove to the Rhyme Bamz produced beat.
Watch the video for Koker’s “Daddy” featuring Falz here:
Featured Image Credit: Youtube/Kokerboi
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“Tomiwa is figuring it out…” Tweet at her @fauxbella
Afropop compositions have become as complex as their underlining inspirations and Larry Gaaga’s first release under Universal Music underlies the diversity of the genre’s musical ideas.
Starring a blistering cast of Burna Boy, 2baba and D’banj, “Baba Nla Nonsense” samples a refrain from Fela’s 1986 album title-track, “Teacher Don’t Teach Me Nonsense”, while fusing Burna’s Afro-Carribean tack with 2face’s unique style. The icing on the cake is D’banj’s harmonica in the background.
“Baba Nla Nonsense” is a glimpse at the internalised rage, loneliness and paranoia of celebrity-hood behind the curtains where the cameras and flashing lights don’t go. Burna Boy offers a shoddy gaze at drama. “Gangsta no dey wear handcuff”, so Burna is so paranoid about scandals that he’d rather not have his name mentioned in certain circles, as he puts it: “make you tell them say you no see me” .
2Baba’s verse is a bit more ominous, according to the Afropop legend, there are “crazy people everywhere” and he doesn’t like stress. Perhaps in a subtle reference to the arrest rumours of arrest that trailed his failed attempt to host a protest earlier this year, one line that stands out the most as 2baba promises to bring positivity against all odds, is: “I go dey do my Gaga Shuffle, dey avoid arrest”.
“Baba Nla Nonsense” casts a unique angle to the popular saying that ‘celebrities are people too’. It’s election season in Nigeria and it’s almost odd to hear Afropopstars like Burna Boy and 2Baba, who have a handful of tracks built around political commentary sing proudly about avoiding the public eye in a country lacking strong voices who can speak against injustice. But when the Kokomaster’s bluesy solo performance sets in at the tail of the track, you’re reminded the rare minimalist contribution comes from a man the social media labelled a bad parent following the loss of his child.
Stream “Baba Nla Nonsense” via Apple Music here:
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Toye is the Team lead at Native Nigeria. Tweet at him@ToyeSokunbi
Omawumi teams up with DJ Spinall and Slimcase for her street influenced new single, “Malowa”. As heard on her previously released single featuring Kiss Daniel, “Me Ke”, Omawumi demands respect from her haters, reminding them of her brilliance and diversity. Here, however, Omawumi employs house instrumentals DJ Spinall produces, and vocals from Slimcase, both of which create a more party-ready ambiance around “Malowa“.
The video Unlimited L.A directs for “Malowa” sets Omawumi, DJ Spinall, Slimcase and an entourage of dancers in colorful set designs, performing in vibrant outfits. The color stays as Omawumi moves into a room with glow-in-the-dark paints and neon lights, performing her cheeky lines with equally brazen facial expressions.
Watch Omawumi, Slimcase and DJ Spinall on “Malowa”
Featured Image Credits: YouTube/Omawumi
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“Tomiwa is figuring it out…” Tweet at her @fauxbella
Over the shoulder-shrug-paced earworm with Caribbean-influenced string and horn harmonies, Olamide flips stale subject matter of personal testimony into entertainment. Singing “Motigbana, Mo Ti Elevate (I’m On Fire, I’m Blown)” for the catchy hook, his sardonic sensibility serve him well as it elevates every lyric into a punchline. And just as his celebratory lyrics match the sturdy, feel-good rhythm of the dancehall beat Killertunes produces, the video Unlimited L.A directs highlights the song’s dancehall aesthetic. It starts with shots of Olamide and his gang preparing for a late night function with cameos from friends like Lyta. The video also shows a tailor working on costumes, women getting their hair done, and some dancers practicing moves that are later shown in choreographed sequence at the eventual carnival bash.
See the video for Olamide’s “Motigbana” below.
Featured Image Credits: YouTube/OlamideVEVO
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You are meeting Debola at a strange time in his life. He wandered into a dream and lost his way back. Tweet at him@debola_abimbolu
With the bad rep millennials get for overindulging in leisure, you’d think life should only revolve around work. Of course anyone who ever tried to impress higher ups by becoming a workaholic would tell you it eventually takes a mental and physical toll that could lead to depression. Shayo Davids’ new single, “Summer Rain”, finds that sweet spot where hard work and leisure meet. Over the Afropop instrumentals Yinka Bernie produces mixing pacy drums, synths and horns, Shayo Davids sings “Where I Come From We Like To Faji/ Everybody Working For The Money” to describe the balanced lifestyle of the average working class person in Lagos. Like the oxymoron title, “Summer Rain” combines contrasting sentiments to become an hybrid motivational club song with lyrics like “Man My Work Rate Getting So Crazy/ And My Stroke Game Getting So Nasty”.
You can stream Shayo Davids’ “Summer Rain” below.
Featured Image Credits: Instagram/shayodavids
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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
“Boomerang” and “Good Time”, the two new singles from Gunzz are a case study on how to survive, defying this era crippled with worry. It would have been easy enough for the American-based rapper to pen some bars about the difficulty of the modern condition as he did on “Sunday School”, off his ‘Once Upon a goD’ project. Instead he seems to have developed a tunnel vision for the lightweight theme of romance. On “Boomerang”, he’s aware of the potential danger for his emotional investment in his love interest, but he doesn’t let the anxiety get to him, singing, “You Gon’ be The Death of Me/ Bury Me Out in Tokyo”.
“Good Time” is also dedicated to a love interest and being unworried about life. Over the mellow synth-led beat he produces with rattling samples, percussion and electronic guitar harmonies, he sweet talks a love interest, promising a good time courtesy of the “Drugs and the Henny”.
You can stream “Boomerang” and “Good Time” below.
Featured Image Credits: Instagram/obagunzz
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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
The core of Higo’s new single, “Friday Night” lies in its title. From the catchy bounce of the drums samples to David Meli and Fasina’s melodic performances, the song feeds dance impulses into listeners subconscious. Higo Music produces the synth heavy instrumental with enough space to make the mash up of David Meli’s sleek vocals and Fasina’s rough voice listen like they were always meant to play next to each other. With lyrics written to convenience a love interest to come on a weekend adventure, “Friday Night” is both a song to prep for the weekend turn-up and a definite dancefloor rocker.
You can stream Higo’s “Friday Night” featuring David Meli and Fasina below.
Featured Image Credits: Instagram/higomusic
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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
Shortly after signing on as the first artist on Idris Elba’s record label, 7 Wallace, French-Cameroonian producer, James BKS, teams up with Manu Dibango, Allan Kingdom for “Kwele”, his first single under the label.
“Kwele” is inspired by James BKS’ different lives; his Cameroonian roots, his experience as a hip-hop producer in the United States and the time in Paris under is own label, Grown Kid. All of these experiences come together to produce a genre-fusing sound where lyrics from the song’s lead vocalist, Allan Kingdom are layered by an array of distinct percussion sounds and house instrumentals. These sounds are further amplified by ambient saxophone sounds contributed by Cameroonian Jazz artist, Manu Dibango (who is also James’ father).
The culture-rich sounds and lyrics about heritage on “Kwele” are inspired by an indigenous group with the same name rooted in Gabon, Republic of Congo and Cameroon. The ethic group is renowned for their ceremonial masks, which is reflected in the music video David Mbousso directs for “Kwele”. Shot on location in Gabon, the video begins with the discovery of Kwele masks by two kids from different backgrounds embark on a journey of self discovery as the song’s the vocalists sing of heritage and the value of self discovery.
Watch the video for James BKS’ “Kwele” here:
Featured Image Credits: YouTube/James BKS
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“Tomiwa is figuring it out…” Tweet at her @fauxbella
For her return to the US Open, Serena Williams will be styled by Virgil Abloh in collaboration with Nike. Vogue reported that the 23-time Grand Slam champion will be wearing a collection titled “Queen” throughout the competition in Queens, New York later this month.
For what Virgil describes as an attempt to blur the lines between sports and fashion, he designs a black and white ballerina-like outfit; consisting of a one-arm, skin-tight top and a free tulle from the waist down, a bomber jacket and sneakers Virgil’s high-end street wear label, Off White, designs for Ms. Williams.
According to Virgil’s interview with Vogue, his inspiration came from watching her play. “I was thinking about outfits for Serena. I was thinking about her playing the game and her aesthetic while she is”. The outfit, he said, was also motivated by her special relationship with dancing and how she “expresses herself in terms of clothing in any event”. While the outfit will only be seen active on Serena Williams at the US Open from the 27th of August until the 9th of September, limited editions of versions of most of the kit—the dress, jacket, and two of the three sneakers—will be available at select Nike locations at the end of this month.
Mayorkun’s latest singles “Fantasy” and “Posh” both explore the benefits of material possessions and the lavishness it affords. On “Fantasy”, he entices a woman with his elaborate lifestyle, promising her the finer things in life, while “Posh” takes a more introspective stance, thanking God for the ability to afford it all.
The video Clarence Peters directs for “Posh” depicts the sentiments heard on both singles. It opens with Mayorkun leaning nonchalantly against his car door, a stack of money in his hand while the Kiddominant produced “Fantasy” plays in the background. The video progresses into a show of sumptuous living as Mayorkun and his entourage drive along a highway, leaving a trail of dollar bills in their wake. Since lyrics from “Fantasy” reference Olu Maintain’s “Yahooze”, “Awon kan wa aye wa se ise, emi wa aye wa je aye”, it’s understandable that the video for “Posh” also attempts some social commentary on the problems with the Nigerian Police force. The video mocks the shows armed men dressed in black, tailing the Mayorkun’s entourage to get some of the money spilling over.
Watch the video for Mayorkun’s “Posh” here.
Featured Image Credits: YouTube/DavidoVEVO
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“Tomiwa is figuring it out…” Tweet at her @fauxbella
For Simi’s latest single, “I Dun Care”, she is aware of the universal perception on love and sharing feelings. Though she knows that feelings are meant to be revealed in bits and pieces, so that the other party works for it a little, she’s done following the standard model. On “I Dun Care”, the singer highlights these opinions and how social constructs make them seem, singing “They say I’m crazy”. Over the mid-tempo beat produced by Oscar, her lyricspoint out that only one opinion matters to her, and that as long as her feelings are reciprocated, she’s willing to be as free as her feelings would let her. On the accompanying Clarence Peters directed video for “I Dun Care”, Simi moves from white backgrounds to swampland, performing her lyrics in scenes, complemented by dance performers.
Watch Simi’s “I Dun Care” here:
Featured Image Credits: Youtube/X3M Music
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“Tomiwa is figuring it out…” Tweet at her @fauxbella
For Famous Bobson’s new single, “Boti”, he blends sultry R&B influenced Afropop with Caribbean dancehall melodies. Assisted by Santi, Minz and Damayo, he dedicates the single to a love interest who he refers to as “Dirty Diana” then “Boti”. Over the shimmering mid-tempo beat Damayo produces with vocal samples from Nelly and Kelly “Dilemma”, all three artists sing their lover’s praises with a casual fondness that makes their embellishing lyrics believable.
Listen to Famous Bobson, Santi, Minz and Damayo’s “Boti” below.
Featured Image Credits: Instagram/famousbobson
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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
