Kah-Lo and Riton’s “Ginger” is a story every raver is familiar with

Posted on by The Native

Kah-Lo and Riton’s new video is shot in Soweto. Johannesburg has unwittingly become Africa’s hub for electronic music and for the “Ginger” music video, Riton and Kah-lo pay homage to the genre’s most common music video style featuring colourful open-air backdrops and stylish dancers. Kah-lo’s grunge-infused style fits just right in with Riton’s technopop, blurring the line between punk rock and electronica.

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Kah-Lo sings about the woes of last-minute rave planning. Her lyrics suggest that like most ravers, she woke up ready to find a party; “I woke up one day and planned to get reckless”. She calls on her crew asking “who wants to faaji?” but no one is feeling it. Fortunately, what she lacks in a crew she makes up for in readiness to rave.

Watch the video for Kah-Lo and Riton’s “Ginger” here

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Kah-lo goes delightfully retro for fasta music video

NATIVE Exclusive: “Faraway” sensation, LA is ready to break out

Posted on by The Native

L.A hasn’t had time to stop and rest in weeks. Since the release of her break out single, “Faraway”, in April, she’s become an entertainment sensation, she’s been sifting through record deal offers, while amassing substantial airplay in  Nigeria, UK, Canada, South Africa from OAPs she admits she’s never met.

Shakespeare, Adele and Sam Smith don’t have a monopoly on capturing the convoluted nature of heartache and making ultra resonant art of the abyss of bereftness. Not too long ago, a fatal attraction cum heartbreak inspired the singer to record the song that is now the announcement to her arrival on the scene.

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“Faraway is a true life story actually” she began. “It was about a guy I liked, we liked each other and we both knew it but we just couldn’t be together for some reason, it was just too complicated,” LA’s last words give the metaphorical space she sings of with frustration on “Faraway” more context.  While the end of a relationship is usually glaring from a mile away, the actual heartbreak is a gradual falling apart that creeps in and crushes you all over again when you least expect. Narrating the story behind the composition, LA tells me she was in the studio with producer Syn X working on a different song, “I remembered that guy and I just started singing, ‘baby, you’re Faraway Faraway… baby, you’re Faraway Faraway’, and I was like, ‘Let’s do this instead'”.

LA had always known she was going to pursue a career in music, but the real catalyst was a CD of Britney Spears’ 2k Crazy Tour her dad gifted her at the age of 10. The CD was magic beans to the giant stalk that transported her to the beautiful world of lights and high octaves where little girls’ dreams come true. Britney Spears became LA’s first reference for pop stardom, “I used to rehearse the dance routines from the tour and watching her I knew I really wanted to do this, so all of that has brought me to this moment”.

Sadly, the same fatherly love that broke the limit to her imagination did not so much support the child star she wanted to become in return. In the years following LA discovering Britney Spears, her decision to use her voice for more than a hobby started causing problems with her parents. LA recalls missing out on a choir performance at a big concert where she was supposed to take the lead. “I had informed my parents already, but on the evening of the event, my Dad refused to let me go. He said I should go and read my books. It was very very very embarrassing and painful, They had to re-strategise and perform something else, I cried my eyes out.”

Though many years have passed, the specificity of L.A’s emotions (“embarrassing”, “painful”) is a vulnerable diva moment from an artist who is used to the spotlight. She often sang till late in the night as a child, to the dismay of her strict parents who had to apologise to the neighbours she was keeping up. LA unwittingly emerged as a local celebrity, performing high school graduation ceremonies at HopeBay College and becoming a star chorister in church, while sharpening her voice.

But before meeting producer Syn X at a Digital Music solutions event years later, her career stalled for a few years. On her father’s insistence for a medical degree from his daughter, LA briefly studied Nursing at the University Of Calabar. When she eventually dropped out, she first left school with no plans, eventually, she returned home to tell her parents plainly: “I want to do music”. These days, there is less pressure about that medical degree her father wanted on the wall, but when the occasional question comes up, LA can run off to the studio.

When L.A isn’t working on her music, she’s styling pieces she tells me in between us both fawning over our love for shoes. Her work ethic is pristine; even if it means not sleeping for weeks or scheduling an interview when she’s so ill she can barely eat, she’s determined to get the work done. In response to my question about “Faraway” going viral, LA tells me she is aware talent is but a drop of water in the Atlantic. “I believe two things,” she says, “You need hard work too for something to really be a success and second is if something is good enough, it’ll open doors for itself.”

Stream “Faraway” via Apple Music here.

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The NATIVE Exclusive: Adekunle Gold talks everything “About 30”

Listen to Nonso Amadi’s new single, “No Crime”

Posted on by The Native

Nonso Amadi is no stranger to unrequited love. He sings about love woes but is always quick to follow with the risks he’s willing to take to save the relationship. This is the case with his latest single “No Crime”.

https://www.instagram.com/p/Bkp4d2NBMec/?taken-by=nonsoamadi

The mellow melody Nonso Amadi produced reflects the numbing feelings he sings about on “No Crime”. He begins by acknowledging how often he finds his emotions spiraling in the rollercoaster but does not let that get in the way of his adamance. As always, he remains hopeful. He asks that his love interest take a chance and move away with him, certain that a new beginning is all their relationship needs. “Straight To Abuja, let’s leave for good tonight”

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Watch Burna Boy’s “Devil in California” music video

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Wizkid teams up with Afro B to remix smash-hit, “Drogba”

Posted on by The Native

A few years ago Wizkid features were known for taking a life of their own. His confident lyrics contrasts his thin voice in an identifiable way that subsumes the presence of other artists, bar producers—like SamKlef. Even in that category of Wizkid-collaborators, the Maleek Berrys and Sarzs’ of the world will tell you another story. In fact, one infamous troll rhetoric upon the release of Drake’s “One Dance” was that his voice had been deliberately lowered to save Drake the embarrassment of sharing a spotlight with the real Starboy. Imagine that. It’s been a minute, but we get some of that old Wizkid zest for features on his latest collaboration with AfroB “Drogba”.

“Drogba” is already a big club hit in the UK, so Wizkid’s melodious second verse only takes things up a notch. Wizkid attests to the beauty of his muse, restating his place as the StarBoy and a lover of women, holding the longer notes as he finishes off with “Gyal dem sugar oh, lover eh-eh eh” .

Afro B is a British singer born to Ivorian parents. In this world cup season, “Drogba” also keeps the name of a legendary African footballer on air. Stream “Drogba” via Apple Music here.

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Best New Music: Runtown’s “Unleash” is motivation if you need a mid-year booster

Watch the Ebenezer Obey approved video for Simi’s ‘Aimoasiko’

Posted on by The Native

Music inspired by popular music from veterans brings a nostalgic element that often makes the song timeless. This is the case with Simi’s “Aimaskio” off her ‘Simisola’ album debut. “Aimaskio” is inspired by and shares a chorus with Commander Ebenezer Obey’s song with the same name released over 30 years ago. Like Ebenizer Obey’s “Aimaskio”, Simi’s track is a spiritually inclined song urges to wait patiently on God’s time.

“Aimaskio” captures the hope that often accompanies the phrase ‘Gods time is best’. Aje Films directs a video for which Simi plays the narrator supported by The Banjos. As she sings “you think God no dey your side, and you want to find another way to prosper”, the video shows a woman saddened by rumors she overhears as she walks by her neighbors, a little girl troubled in school and a man looking tirelessly for a job. Simi wonders why they worry and asks if they’ve forgotten God’s promises “Abi O ti gbagbe ileri t’Oluwa se”, as we see things turn around in various ways for our protagonists – the woman’s household remains loving despite what the outsiders say, and the man turns his efforts to appreciating his friends understanding that “Aimasiko lo n damu edaa [Not knowing our fated time is what troubles the soul]”

Simi also pays homage to Ebenezer Obey with brief cameo showing him giving her his blessings.

Watch the video for Simi’s “Aimasiko” here:

“Tomiwa is figuring it out…” Tweet at her @fauxxbella

Let Simi’s “Gone for Good” wean you off the heartbreak

President Macron urges integration of private and public sector to promote economic development

Posted on by The Native

On his visit to Nigeria, the French president Macron met with over 1000 African entrepreneurs in an interactive business forum hosted by the Tony Elumelu Foundation (TEF) in Lagos. The conference saw the president answer questions on foreign policy, personal failures and emerging business policies. He touched on rules of leadership “There are no rules”, and on ideas and strategies that will broaden economic development and progress in Africa.

In his speech at the New Afrika Shine the day before, he highlighted the importance of politics in light of the event, stressing that young people need to get involved in political circles, “It is important”, he said. At the TEF conference, though, he spoke more of the importance of the private sector in the continent’s progress. Though he emphasized that both private and public sectors need to be intertwined to see sustainable success, most importantly, the importance of the privately owned businesses in creating a foundation for the sort of growth he has envisioned for Africa.

President Macron also emphasized the importance of innovation in the growth of the continent. He acknowledges the urgent need for a security structure, but he assures that some of these problems can be solved with smart, innovative business structures. His advice is that we focus not only on financial markets but also on financing sports and entertainment sectors.

He discussed migration as a result of poor economic opportunities focused on the risks and consequences of poor work and education opportunities for people in the lower-middle income bracket. He said that people fleeing from war zones must be protected, and those are the ones who should be migrating. Those from other countries only do so because the opportunities seem bleak.

Smugglers, he said, often pry on the vulnerabilities of people in this bracket; with the promise that opportunities are endless in the European countries, they transport them. His proposed that government policies ensuring greater consequences for smugglers and that business owners need to focus as much of their efforts on making money as on ensuring those closest to their business spaces benefit from them. “We cant take opportunities in the countries without taking care of the people”. On the topic of fighting against smugglers, Tony Elumelu added that we need to use media as a tool by getting people who have fallen victims to share their stories — what Nigeria’s The 300 Project is currently doing.

Another push factor of Migration he noted is demography and overpopulation. He said that overpopulation is as a result of excessive childbearing. If it were the woman’s choice, he wouldn’t be opposed to it, but what we have found, he said, citing France as an example, is that when women are more educated the tendency to have too many children reduces. It is when women are forced into marriages solely for the purpose of childbearing, when young girls are forced into marriage and when they are stripped of their opportunity to create their own opportunities find their own financial independence that women find themselves with “7- 10 children”.With this point, he pointed out that If we solve the problem of girl’s education and financial oppression of women, we reduce population and the migration consequences of scarcity of funds will most likely become less intense.

“I am a strong believer in the African private sector because it is the best way for African businesses to transform the economies in the continent. The private sector has the capacity to drive inclusive economic growth across Africa” Macron said. After which he pledged 500 billion Naira on behalf of the French Development Agency to the Digital Africa Initiative, a Nigerian initiative focused on creating a platform for entrepreneurial knowledge and business information sharing to promote holistic economic growth on the continent.

“Tomiwa is figuring it out…” Tweet at her @fauxxbella

President Macron of France stops by Fela’s New Afrika Shrine

President Macron of France stops by Fela’s New Afrika Shrine

Posted on by The Native

Last Night, President Macron of France visited Fela’s New Afrika Shrine, Ikeja for the launch of the Season of African Cultures 2020. Season of African Culture 2020 is a TRACE event in partnership with ArtX and EcoBank for a French celebration of African culture.

According to The Cable, President Macron specifically chose to visit the Fela Shrine because of the fond memories of the place he has always had from his time in Nigeria nearly 15 years ago. This is confirmed tweets that circulated the internet about President Macron’s past as an intern while working with the French embassy. In his own words, The New Afrika Shrine is “a cultural hub that is very important for me first on a personal level”.

According to Co-founder and Executive Chairman of TRACE, Olivier Laouchez, explained that “TRACE’s mission with Season of African Culture 2020 is to support African Afro-urban music and cultures and to bring them to the world”. This mission statement is reflected in the performances by Yemi Alade who is already a certified Afropopstar in France and Femi Kuti, who brought on this universally-reckoned Afrobeat style.

President Macron, flanked by Governor Ambode and Asa, took the opportunity to address youths ahead of Nigeria’s upcoming political climate in 2019. “I am very happy to be here. Let me remind you that this place — shrine is a music place as well as politics which is needed to change the society. So, I will say to the youths, politics is important, be involved,” he said.

He also paid homage to the Kuti empire and Fela’s legacy saying, “I have a huge debt to Femi, Fela, Seun and the Kuti family. The family provides, not just this place, but for its time, its commitment, and especially the different battles of Fela, a very strong message, a message that it is possible, even now to decide your own future. Never forget.”

Amen to that.

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Fela: The man who challenged death and sought to rule Nigeria

The Shuffle: That time Michelle Williams ripped off Sister Agatha Moses’ “When Jesus Say Yes”

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Back in 2014, Michelle Williams snagged a bit of spotlight for herself with gospel hit, “Say Yes” featuring former bandmates from the Destiny’s Child, Beyonce and Kelly. Michelle was seemingly distraught when the track initially dropped on the interwebs via a Twitter leak, but “Say Yes” went on to chart on the Billboard with a rave of positive reviews commending the catchiness of the composition.

But for Nigerians “Say Yes” and its variations is a popular praise and worship song commonly sang in churches across the country. However, the earliest recording of the words “When Jesus says yes” till date is off Sister Agatha Moses’ 2004 album, New World Praise, featuring a medley of other popular songs you have probably heard blaring off speakers on your average Sunday.

Back to Michelle Williams, in this interview with Cross Rhythm, later that year the singer tells the story behind her hit single, “Say Yes” with the tone-deafness of a culture vulture. According to the singer, “When Jesus says yes” is “an old Nigerian song”. Earlier in the interview, Michelle claimed the melody was inspired by a traditional African praise number. But not only was Agatha Moses’ version released in the early 2000s, the Soweto Gospel Choir did not cover “When Jesus Say Yes” until 2014, just before Michelle dropped her own “Say Yes”. Elsewhere in the interview, she explains Sister Agatha Moses lyrics was a local “dialect” with a Bob Marley reference saying “Bob Marley, didn’t he have a song saying ‘What God bless, no man can curse’? So it’s kind of the same thing.” Only it isn’t the same thing. Bob Marley himself had repurposed a quote from a famous bible verse, for “Who Jah Bless No Man Curse”, yet the lyric is rarely used out of context without reference to Reggae, Patois or Carribean music.

Gospel Music in Nigeria is directly influenced by the church culture that creates it so the origin of the melody itself is unknown. But for Michelle who built the entire rollout for her Journey to Freedom album on this lead single, there are no excuses for not crediting the right voices.

Stream the Original “When Jesus Say Yes” via YouTube here.

And here’s Michelle’s cover featuring Beyonce and Kelly Rowland.

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Toye is the Team lead at Native Nigeria. Tweet at him @ToyeSokunbi

Best New Music: Runtown’s “Unleash” is motivation if you need a mid-year booster

Essentials: Ice Prince reasserts his reputation on new EP, ‘C.O.L.D’

Posted on by The Native

Ice Prince’s ability to bounce between singing and rap or between rap and pop anchored his last project, ‘Jos To The World’. Despite its scorn and criticism, Ice Prince continues to show faith in his dexterity with his new project, ‘C.O.L.D‘ embracing more pop musical influences like funk, R&B, EDM and house.

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Conventional rap fans who have watched in disdain as he crossed over to the pop side will, however, be glad to know ‘C.O.L.D’ has more hip-hop than we have gotten from Ice Prince lately. Only this time, the queasiness of pre-fame Ice Prince is now the cocksure status heard on the EP’s opener, “Shut Down” featuring JethroFaded, a soaring mix of violin and accordion harmonies with more gravitas than a baroque painting. Though it’s a sentiment expressed through the 8-track project, “Shut Down” is the most gripping with samples from the iconic Dre and Eminem track, “Forgot About Dre”. The instrumental Remi Baggins produces is rich, rivaled only by JethroFaded’s sweet vocal that has the texture of chocolate melting in a pan.

The spirited hook from JethroFaded takes the song to uplifting heights as if to conjure ecclesiastic imagery for a church themed music video. Ice Prince takes advantage of the awe it inspires to deliver the single most egotistic line about artists/critics relationship; “Now They Asking Questions On The Timeline/ But We Only Responding on A Friday”. Though pre-released single, “Hit Me Up” featuring PatricKxxLee and Straffitti is also an Ice Prince showoff talking about his celebrity, it comes off endearingly as he shows a vulnerable side by admitting to being misunderstood.

Music is the real joy for Ice Prince, and C.O.L.D is best enjoyed as an exercise in the casual brilliance of a rapper as rhymer and pop enthusiast. The vocals are often just autotuned flow experiments, but at their best these verses exhibit the weightless exhilaration of a one comfortable with his place on rap’s metaphorical throne. “Space Funk” for instance finds Ice Prince rapping over the electronic funk groove of a Remy Baggins production with such reckless abandon that his lyrics reference Trey Songz’s “Say Ah” from 2009.

Women, money and partying may be the driving force for the EP with tracks like Kayswitch assisted “So High” and “Tour 254” highlighting the flex of being a celebrity. But it doesn’t keep the downside to success a secret either. On the closing track, “Las Gidi No. 1 Chic”, he admits his relationship problems with a love and his ego getting in the way of expressing his feelings. Though ‘C.O.L.D’ doesn’t fix Ice Prince’s biggest criticism as a rapper who sings a little too much, it does show improvement in mixing both styles as he seems to have settled into a confident Drake-esque pattern that works.

You can stream Ice Prince’s ‘C.O.L.D’ below.

Featured Image Credits: Instagram/iceprincezamani

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

ICYMI: Listen to Straffitti and JethroFaded on “Hotel Tokyo”

Mikel received news of his father’s kidnapping, hours before match against Argentina

Posted on by The Native

It’s been a week since Nigeria’s painful defeat to Argentina at the on-going World Cup competition in Russia. But recent reports have shown Mikel to be the bravest player on the pitch by far. Just hours before the match, the Midfielder was told his father, Pa Michael Obi had been kidnapped and would be killed if he told anyone about it.

Pa Michael Obi was abducted in south-east Nigeria along the Makurdi-Enugu expressway from Jos. And though police were finally able to secure his release, Mikel’s father had been tortured through the week-long ordeal with the bandits. In a statement released, the former Chelsea player was quoted saying “I was emotionally distraught and I had to make the decision about whether I was mentally ready to play. I was confused. I did not know what to do but, in the end, I knew that I could not let 180 million Nigerians down. I had to shut it out of my head and go and represent my country first. I could not even inform the coaches or NFF staff and only a very tight circle of my friends knew. I was told that they would shoot my dad instantly if I reported to the authorities or told anybody.”

Fortunately, after making the quick decision for his father’s safety while still looking out for the interest of his team and the 180 million Nigerian supporters back home, his father was released on Monday afternoon and is currently in an hospital receiving emergency treatment for the traumatic experience. Mikel’s father had been kidnapped once in 2011, but we sincerely hope the most recent abduction will be the last.

Featured Image Credits: Instagram/mikel_john_obi

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

ICYMI: Watch the video for Naira Marley’s “Issa Goal” featuring Olamide and Lil Kesh

Volkswagen opens first car assemble plant in Rwanda

Posted on by The Native

On the 27th of June, Europe’s biggest car maker, Volkswagen, opened their first car assembly plant in Africa. Though car ownership in Rwanda is low, the factory, which is the first car assembly plant in Rwanda, is expected to cater to the demand for ride-sharing services in Kigali. Volkswagen hopes to sell their vehicles and use them in Uber-like car-sharing services, but of course, there’s also the option to sell to neighbouring states in Africa.

VW “Polo” is the first model being made at the site and the company hopes to reach annual production of 5,000 cars in the first phase, by also building its Passat, Tiguan, Amarok and Tremont models. Though the factory will only be assembling the vehicles with their components being shipped in from South Africa, the $20 million investment will create up to 1,000 jobs.

The new factory is expected to assist in the economic transformation of Rwanda.

Featured Image Credits: Instagram/Volkswagen

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ICYMI: Secondhand cars are being used to smuggle electronic waste into Nigeria

Idowest’s Lagos state of mind makes it to Tim Westwood

Posted on by The Native

“I was born broke, though imma die rich/ Black Black hoe, pelu white bitch”, these raw lines from Idowest’s feature on Tim Westwood’s BBC “Crib Session”, would have been bleeped out on a record back home, but the same thing would have happened anywhere else in the world. Without using“it’s hip-hop”, to mask the culture’s misogyny and wanton disrespect for womenfolk, Idowest’s daunting entry, flanked by “Eruku Awon Mafia”, is perhaps more a reflection of a genre-at-large that has unapologetically refused to rid itself of its excesses. That’s really just how updated, far and wide the music is these days.

But if you still needed proof on the global nature of music, think back to the P Square and 2 Face era of Nigerian music, when we pulled elements from R&B, hip-hop, and house, and blend them with Nigerian rhythms and melodies. They used the ‘cool’ of their foreign influences as a sort of currency and for the most part, it worked. Nigerian music quickly spread across the continent and got international recognition with our artist’s regular feature in Tim Westwood’s studio in London.

Idowest’s hip-hop flow may have some 2Pac or Biggie influences, but between his Yoruba quips and the Lagos mind state he sees the world through, his street peppered bars will go right over the heads of the hip-hop legends. Though the instrumentals provided for his Westwood Crib Session had more than a few foreign elements, he knew better than to fall for the same mistake Wizkid did on the show in 2012, after Rick Ross’ “Ima Boss” instrumental was played and the Afropop singer launched into a well-rehearsed rap performance that fueled Wizkid’s ghost-writer rumour but had the girls in the studio sizing him up like an ice-cream cone in the summer.

These days, Tim Westwood’s booth is merely another platform for Nigerian artists to express their distinctly Nigerian stories that speak to issues affecting them. Absurdly enough, a street inclined artist’s dreams of featuring on the UK radio show would have been funny for all the wrong reasons back when the likes of D’Banj and the superstar team of Chocolate City were there. D’Banj’s gibberish freestyle during Mo’Hits go at the studio left a bad taste to the celebration of our biggest stars on an international platform. Though in truth, it was inspiring for kids watching an artist act a fool on Tim Westwood in the most relatable way. Idowest’s Tim Westwood Crib Season is made exponentially more Nigerian by the inclusion of Dami Bliss and Selimax who gibberish their way through their cuts of the video and remind the unrivalled impact D’Banj has oncoming generations of Nigerian.

But not everyone can be as comically charming as D’Banj. For Idowest, it’s his Yoruba quirks and hip-hop’s storytelling of an authentic Lagos street lifestyle that has won him plenty of fans at home. So much home support that Tim Westwood knew to feature the rapper to imbibe some culture on his global audience. It could be seen as a marker for how promising his career is given that seeming niche rappers like ShowDemCamp’s Ghost featured on Tim Westwood back in 2011 and is still very relevant till date. Idowest’s Tim Westwood’s feature asides highlighting that Nigerian music is doing so well that even niche genres are getting recognized is a testament to the fact that we no longer have to overly embed our sound with western influences to be internationally accepted.

Watch the Idowest freestyle session on Tim Westwood Crib below.

Featured Image Credits: YouTube/TimWestwoodTV

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

ICYMI: Watch the video for Street-hop smash, “Shepeteri”, by Idowest and Slimcase

Women take to Twitter to call out their sexual harassers

Posted on by The Native

The #MeToo movement began over 10 years ago to give women space to speak about sexual assault without the fear of unfair consequences. The movement became popular in October last year when Alyssa Milano posted a tweet urging women to speak out about their experiences with sexual assault using the “Me Too” to reply her tweets. By the end of that day, women from various parts of the world had created different forms of the movement in their own languages.

The movement had steadily grown into a global phenomenon since. Women from different corners of the world are using this hashtag to bring attention to harassment they have encountered in their daily lives. In Nigeria for instance, many women have taken to the internet to recount their ordeals with sexual harassment. In the past, the spaces were penetrated by people challenging the authenticity of these claims by asking questions victims should not be concerned with. But these voices have over and again been overpowered by the network of support created by the global community.

Funmi Iyanda’s tweet explains how shame has become the counter tool in a world often lackadaisical about justice against sexual offenders. Women are no longer content just recounting their experiences but are now willing to venture further by calling out those who have sexually assaulted and raped them.

https://twitter.com/Oluwasesi_/status/1013954027489554432

This tweet is only one of many. Too many women (and men) in their teens and early 20s recounted stories similar to this one in the past few hours. Though #MeToo’s success has created momentum and space for survivals of sexual assault to use the callout culture as a defence mechanism, like Funmi Iyanda’s tweet points out, there seems to be a generational halt. Her tweet reflects the findings of a survey conducted by Vox earlier this year, which found that older women are less likely to speak in their groups about sexual assault than those in their 20s. One of their findings was that women 35 and above are more likely to stay silent about sexual assault they have experienced than younger ones because, in their time, sexual assault was regarded as an occupational hazard, something to simply had to put up with.

But to go beyond the walls of the internet for sustainable change, we need to get older women involved. Despite the impact of women recounting their experiences online, the radical change that we need requires that communities involving both younger and older generations need to be formed outside social media.

Vox’s survey found that older women in the United States are more optimistic than younger women about the progress of the #MeToo movement. Perhaps because they have been within the system long enough to see the trend changes. Older Nigerian women like Funmi Iyanda have also expressed optimism, but beyond that, the movement requires the provision of practical solutions that will help bridge the gender divide gap that has fueled toxic masculinity.

Featured Image Credits: Instagram/standtoendrape

“Tomiwa is figuring it out…” Tweet at her @fauxbella

OAU sexual assault and why ending rape culture requires major Individual responsibility

Possible explanations for why Nigeria’s PVC was found on Alibaba

Posted on by The Native

Preparations for 2019’s presidential election in Nigeria is building a gradual intensity in the media. Parties and individuals have been running both discreet and glaring campaigns to win the support of Nigerians. Though all parties concerned seem to be encouraging voters to get their PVCs (Permanent Voters Cards), the lingering worry for the credibility of the electoral process is unquestionable. That fear was highlighted over the weekend when a man found out the PVC could be bought on a Chinese site and tweeted about it.

The thread that followed his tweet explained how the “Alibaba.com” site was offering to sell the cards and provided a link to prove it. While the link doesn’t work anymore, there are screenshots serving as evidence to his shocking discovery. Through the replies, however, a possible reasons for the irregularity is offered through another Nigerian who disclosed that the company behind the making of the PVCs is ACT Technologies who won the contract ahead of Zinox but outsourced the creation of the card to a Chinese company.

It’s possible that the Chinese company used the cards as a sort of Ad for the service they can render without considering the consequence and its implication for the coming elections. As it stands, there’s no cause for alarm. But it’ll be interesting to see how INEC and other related agencies respond.

Featured Image Credits: Twitter/olufisiayomi

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

ICYMI: The Kenyan elections and millennial politics

Leena takes Afropop for a happy trap spin on new single, “Walangolo”

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Leena’s sultry vocals mixed with the trippy ambience of the beat Sess produces is a reminder for why cheerfulness is often treated as a commodity for pop records. Despite capturing the pathological instincts of your most intense relationship with uncanny accuracy, she relays her feelings for her love interest through a rose-coloured veil of infatuation.

https://www.instagram.com/p/BksacOcnWch/?hl=en&taken-by=leenasound

Sing rapping “You Don’t Wanna Speak To Me/ That’s Wahala/ Me I’m Popping, Taking Late Trips Undercover”, over the atmospheric synths, even her most forbidding lyrics sound caked in hope. Her cadence flutters like a singer’s cover of a rap song and, combined with the striking trap beat, she performs a trap soul number that shows the unwavering merry of intimate relationships. While the performance is convincingly endearing, Leena’s vocals pluck on emotional strings when they effortlessly mutate from breathy to hangover as if to hint at the song’s vulnerable chaos.

Listen to Leena’s “Walangolo” below.

Featured Image Credits: Instagram/leenasound

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

ICYMI: See Teni The Entertainer in “Askamaya” music video

Listen to “Mannerz”, Bils new single featuring Sinzu

Posted on by The Native

According to the press release for “Mannerz”, the new single from Bils is Sinzu’s “First official feature since he got out and recently partnered with Davido’s DMW 30BG”. The two had however previously featured on Rookie SBK’s recently released “Mayo” single with Kslim and Dremo.

https://www.instagram.com/p/BkkxfWdgUdE/?hl=en&taken-by=officialbils

“Mannerz” mixes Bils and Sinzu’s knowingly hollow sexual storytelling with a beat that whirls with synths and spacious drum arrangements. Their lyrics questioning a love interest’s moral compass isn’t the most progressive bit of music, but there’s probably something enlightening to say about fusing Hip-hop’s abrasive songwriting with dance music. However, to intellectualize “Mannerz” would be to miss the point a bit, because for all of Bils and Sinzu’s lyrical cleverness, it’s also just a song to groove to.

While we wait for the promised music video, you can listen to Bils and Sinzu’s “Mannerz” below.

https://soundcloud.com/purple_tunes/bils-ft-sinzu-mannerz

Featured Image Credits: Instagram/officialbils

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

ICYMI: Listen to Rookie SBK’s “Mayo” featuring Bils, Sinzu, Kslim and Dremo

See full list of nominees for 2018’s Africa Magic Viewers Choice Awards

Posted on by The Native

Ghanaian actress, Joselyn Dumas, and Nigerian comedian, Bovi, had the honor of announcing this year’s AMVCA nominees. They made the announcement across all African Magic channels over the weekend, listing Odunlade Adekola, Rita Dominic and others as nominees for the 6th edition of the award ceremony. You can see the full list of nominees for African Magic Viewers Choice Awards below.

Best Actor in a comedy

Kalu Ikeagwu- Dr Meekam

IK Ogbonna – Excess Luggage

Blossom Chukwujekwu – The Big Fat Lie

Odunlade Adekola – A Million Baby

OC Ukeje – Potato Potahto

Jimmy Olukoya – Guyn Man

Best Actress in a comedy and TV series

Rita Dominic – Big Fat Lie

Adesua Etomi – 10 days in Sun city

Queen Nwokoye – Excess Luggage

Bimbo Ademoye – Backup Wife

Dakore Akande – Isoken

Nyce Wanueri – Auntie Boss

Best Cinematography Movies/TV series

Tatu – Akpe Ododoru

Idemuza – Dickson Godwin

T-Junction – Lester Millado

The Torture – Rwamusigazi Kyakunzire

Okafor’s Law – Yinka Edward

Alter Ego – Bishop Blunt/Adeoye Adeniyi

Best Picture Editor

Idemuza – Aloaye Omoake

18 Hours – Mark Maina

Alter Ego – Moses Inwang/Tunde Bakare

Hakkune – Asurf Oluseyi

Hidden – Jibril Mailafia

Best Sound Editor

Tatu – Kolade Morakinyo

Idahaso Trails – Stanlee Ohikhuare

Alter Ego – Zezom Gnawni

Ojukokoro – Dayo Thompson

Hakkunde – James Coon Falcon

Best Soundtrack Movies/TV Series

M0 – Tom Koroluk

Banana Island Ghost – Enyi Omeruah and Funbi Ogunbanwo

Bella – Andrew Ahuura

Tatu – Evelle

Idahosa Trails – Oriri Osayamore

18 Hours – Jacktone Okore

Best Supporting Actor

Saidi Balogun – Banana Island Ghost

Tomiwa Edun – Banana Island Ghost

Falz – New Money

Kunle Idowu – Idahosa Trails

Gabriel Afolayan – Okafor’s Law

Wale Ojo – Betrayal

Best Supporting Actress

Toyin Aimakhu – Tatu

Dorcas Shola Fapson – Banana Island Ghost

Funlola Afofiyebi-Riami  – Tatu

Ebele Okaro – Blackrose

Lydia Forson – Isoken

Emem Inwang – Alter Ego

Best Actress in a Drama/TV Series

Agaba Joan – The Torture

Keira Hewatch – The Witness Box

Miriam Kayode – Children of Mud

Cinderella Sanyu – Bella

Omotola Jalade Ekeinde – Alter Ego

Lilian Echelon – Black Rose

Best Actor in a Drama Series

Wale Ojo – Alter Ego

Kalu Ikeagwu – Benevolence

Rushabiro Raymond – The Torture

Adjetey Anang  – Keteke

Adjetey Anang – Sidechic Gang

Chris Attoh – Esohe

Best Movie West Africa

Potato Potahto – Shirley Frimpong-Manso

Alter Ego – Moses Inwang – Esther Eyibo

Isoken – Jade Osiberu

Tatu – Don Omope, Yolanda Okereke, Segun Arinze, Tolu Awobiyi

Children of Mud – Imoh Umoren

Lotanna – Ifan Micheal

Best Movie East Africa

18 Hours – Phoebe Ruguru

Devil’s Chest – Hassan Mageye

The Forbidden – Kizito Samuel Saviour

Rain – Mathew & Eleanor Nabwiso

Bella – Math Bish

Best Movie Southern Africa

Descent – Awal Abdulfatai

The Road to Sunrise – Shemu Joyah

Salute! – Phillipe Talavera

Jomako Black Democracy – Abraham Kabwe

Nyasaland – Joyce Mhango Chavula

Best Director

Moses Inwang – Alter Ego

Aloaye Omoake – Idemuza

Asurf Oluseyi – Hakkunde

Don Omope – Tatu

Jade Osiberu – Isoken

Mulindwa Richard – The Torture

Shirley Frimpong-Manso – Potato Potahto

Best Overall Movie

Potato Potahto – Shirley Frimpong-Manso

Alter Ego – Moses Inwang

18 Hours – Phoebe Ruguru

Devil’s Chest – Hassan Mageye

Descent – Awal Abdulfatai

The Road to Sunrise – Shemu Joyah

Best TV series

Gina and Friends – Paul Igwe

Professor Johnbull – Tchidi Chikere

Papa Ajasco Reloaded – Wale Adenuga

This Is It – Dolapo Adeleke

Relatives – Tunde Adegbola

Best Art Director

Isoken – Jade Osiberu

Tatu – Don Omope, Yolanda Okereke, Segun Arinze, Tolu Awobiyi

Children of Mud – Imoh Umoren

Lotanna – Ifan Micheal

Idahaso Trails – Stanlee Ohikhuare

Hidden – Jibril Mailafia

Best Documentary

The Flesh Business – Dennis Wanjohi

Nightfall in Lagos – James Amuta

God’s Wives – Bolanle Olukanni

Omidan, Styles Defunct by Ayaworanho3d – Aderemi Davies

Calabar Carnival: What the People Think – Oghenefego Ofili

Best Lighting Designer Movie/TV Series

Tatu – Akpe Ododoru, Tunde Akinniyi

Kada River – Godwin Gata

Hidden – Agbo Kelly

Lotanna – McBaror

Children of Mud – Sunday Olalekan

Best Short Film/Online Video

The Housewife – Jay Franklin Jituboh

Tolu – Nadine Ibrahim

Penance – Micheal Ama Psalmist’ Akinrogunde

Lodgers – Ken Ogunlola

Tanwa, The Child We Wanted – Adenike Adebayo

Best Indigenous Language Movie or TV Series – Hausa

Mansoor – Ali Nuhu

Umar Sanda – Kamal S Alkali

Dadin Kowa Sabon Salo – Arewa24

Uwar Bari – Hamisu Lamido Iyantama

Rashinsani – Tiana Johnson

Best Indigenous Language Movies or TV Series – Igbo

Bound – Lilian Afegbai

Ofuobi – Victor Oyke

Uwa Na Eme Nyughari – Tiana Johnson

Oge Nkem – Tiana Oboyi Johnson

Ego Malaysia – Iyooh James Chidozie

Best Indigenous Language Movies or TV Series – Yoruba

Alakiti – Abiodun Jimoh, Jumoke Odetola

Adaba – Adebayo Salami

Etiko Onigedu – Femi Adebayo

Egun Iran Kinni – Oyindamola Awotidebe

Ogun Sengese – Ibironke Ojo

Best Costume Designer Movie or TV Series

Tatu – Yolanda Okereke

Isoken – Jade Osiberu

Potato Potahto – Christie Brown

Hakkunde – Joan Gbefwi

The Bridge – Ngozi Obasi and James Bessinone

Best Make Up Artist Movie/TV Series

Tatu – Thelma Ozy Smith, Hakeem Effect Onilogbo

Ojukokoro – Sandra Oyiana

What Lies Within – Cynthia Ububa

Disguise – Hakeem Effect

Lotanna – Nnenna Emekalam

Best Writer Movie/TV Series

Idemuza – Alaoye Omoake

Soul Tie – Kehinde Joseph

Idahosa Trails – Stanlee Ohikhuare

18 Hours – Njue Kevin

The Torture – Mulindwa Richard

Alter Ego – Patrick Nnamani/Koye O/Moses Inwang

Hakkunde – Tomi Adesina

Featured Image Credits: Instagram/rennypearlventures

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

ICYMI: Omotola Jalade, Femi Odugbemi were invited as members of Oscars’ voting academy

Best New Music: Runtown’s “Unleash” is motivation if you need a mid-year booster

Posted on by The Native

Synths harmonising, “They try to put a hex on me/ they bring out the best out me/ now I’m gonna flex on you” warp you into “Unleash”. In the light of recent events in Runtown’s life—getting in another court case with Eric Manny Entertainment, and kicking off his own label—Runtown is re-upping with a shrug for the rest of the year. You can almost picture the smirk on his face when he goes, “We getting money call police”.

Setting up a new label with uncertainties surrounding his old record deal means Runtown may indeed have the police in his rearview mirrors. You get a sense of a Runtown who is going further into obscurity and out of public eye while doing the needful: making music that puts a cheque in the bank at the end of the day. It’s glaring that the story he is telling is not the victory lap; He’s still “smoking on the low”, pitching his tent with a muse in hand instead of the “many girls” in the wild—“baby bami nowo” (baby, please spend my money with me”).

Moments like this make or break any career. In the words of Kendrick Lamar, when nothing is a given, perhaps all the black man wants is a wahala-free “nookie” to keep warm from this cold world. If you have had a rough first half of 2018, “Unleash” is motivation to remember the important things so you can re-energise for an epic second half. Stream Runtown’s “Unleash” via Apple Music below:

Toye is the Team lead at Native Nigeria. Tweet at him @ToyeSokunbi

Revisit Previous Best New Music: Return home with Fatoumata Diawara’s “Mama”

See the noir framed video for Nasty C’s “Jungle”

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The video Meji directs for “Jungle” has a tiger in it, but it is set in a metaphorical jungle; the streets of South Africa. The clip features Nasty C and some exotic dancers in a building that seems to be a cross between a trap house and a rundown psychiatric home. While Nasty C performs his aggressive rap bars, the erratic lighting, smoke, fight scenes and make-out scenes embody the chaotic and hostile atmosphere of the trap song Cody Rhones produces for “Jungle”, off Nasty C’s coming album.

The whole video is cast in noir frames that highlight the brutish sentiments Nasty C expresses about the streets on “Jungle”. Saying, “Ain’t No Rules In The Jungle”, it’s no surprise when he steps out into the streets in a bright yellow raincoat at night and walks around till he picks a fight with a faceless stranger for some reason.

Watch the video for Nasty C’s “Jungle” here.

Featured Image Credits: YouTube/NastyCVEVO

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

ICYMI: Nasty C is super self-aware on “Changed”

Listen to Runtown’s new single, “Unleash”, featuring Fekky

Posted on by The Native

Runtown’s “Unleash” is a perfect display of why he is at forefront of Afropop. Del B’s production—featuring the most relaxing synth harmonies layered over piano chords, guitars riffs and mid-tempo drums—is brilliant, but there’s something so charming about the way Runtown’s gruff vocals effortlessly floats over the beat.

For the lyrics, Runtown touches on his love life, the celebrity lifestyle and subjects we’ve come to expect from Afropop stars. But with the power in his voice when he sings “Too Many Women in My Life/ I Don’t Really Know What They Want From Me/ So Many Thing Wey My Eyes Don See, Walahi”, and the featured verse from Fekky, “Unleash” brings attention to the nuanced inconvenience of the celebrity life, while still showing the unmatched flex of it. And though Runtown has always been the champion of creating anthems about turning up through your pain, the introspective nature of “Unleash” makes it one of the finest and most expressive moments of his already prolific music career.

Listen to “Unleash” featuring Fekky here.

Featured Image Credits: Instagram/runtown

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

ICYMI: NATIVE did a deep-dive to figure what to expect from Runtown’s coming album

2Baba’s “Amaka” shows your rape prevention technique may be problematic

Posted on by The Native

Some songs can move you to dance. Some of it can make you think about the world in way that you hadn’t considered previously. But few can make you do both at the same time. 2Baba’s internalisation of his struggle with life and using it as fuel for his music makes him deliver songs that don’t only feel timely, but relatable. Though “Amaka”, his latest single, featuring Peruzzi, is a catchy Afropop number you can expect to hear in parties soon, it also serves as a relevant piece of music to bolster conversation around sex and consent among millennials.

Over the mid-tempo beat, 2Baba and Peruzzi lament being stood-up by their prospective lovers. Asides being relatable for anyone who has ever tried to hookup over the internet, their lyrics shows the flip side to the insensitive repose often thrown at rape victim cases; ‘if you don’t want sex, don’t go visit the guy’. Usually, this is used to justify the ill intent of the accused as someone who naturally deserves sex because the victim agreed to share a private space with them. This dumb take is often preached with a non-threatening pose that suggests women wouldn’t become the brunt of pro-rape sentiments if they stayed at home. On the flipside, many a time, the subject matter of “Amaka” is the kind of beer palour banter that happens when the same women don’t show up; in 2Baba’s case, he makes a whole-ass song about it.

However, you’ll be wrong to assume that 2Baba and Peruzzi are playing devil’s advocate or justify victim blaming. 2Baba is saved by the fact that he admits upfront that he’s straightforward so we assume the woman in question is aware of his intentions, hence her decision. Consent conversations are often nuanced and needs to be more openly discussed within context. Explicit intentions should’t be ignored if all concerned parties are not on the same page, clarity is important for a saner society. Amen somebody?

Watch the video for “Amaka” by 2Baba and Peruzzi here.

Featured Image Credits: YouTube/Official2Baba

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

ICYMI: 2Baba still knows his way around the dancefloor and “Gaga Shuffle” is proof