Part of the joy of Afropop is it’s emotive approach to dancehall music. Afropop stars have never been afraid to explore the heartfelt part that most dance genres would rather do without. Like most of the best Afropop songs, Olakira’s new singles “Flirty Signal” and “Hey Lover” venture into the romantic corners, drawing on the carefree joy of partying, loud music and basically any of the stuff you might have cross your mind if you’ve gone clubbing with your crush.
“First Signal” is set to a baseline that mimics the rhythm of a heartbeat as if to mirror Olakira’s heart beating for the subject of his affection on the Afropop number. Though he’s confident he can do whatever it takes to win her affection, the song is delivered as a plea for consent before taking the–often short–relationship on a dancefloor to the next level. “Hey Lover” is more sober. The sweeping atmospheric beat Simba Tag produces with synths, vocal samples and percussion sets the pace for Olakira’s frank approach to a love interest’s heart; “No Dey Ask Me JAMB Question/ Girl I Don Dey Love You Tey, Tey/ This Loving No Be Play Play”. The cherry chorus reanimates pleasant moments of relationships despite the strained mood perceived through Olakira’s somber vocals and moody harmonies.
Listen to “First Signal” and “Hey Lover” below.
Featured Image Credits: Instagram/iamolakira
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The biggest highlight about Rookie SBK’s self-assured new track, “Mayo” is Sinzu’s opening verse. “Live on the edge/ I be breaking the rules, the SMG boss raps like a casual shrug to anyone who may have questions about his recently completed prison sentence. Elsewhere on the track, Rookie SBK stays strong on the hook, verses from K-Slim and Bils rapidly transition into a hard closer from Dremo till the shimmering hook loops into a fade.
Stream “Mayo” by Rookie SBK, Sauce Kid, Kslim, Bils and Dremo below.
https://soundcloud.com/codename-dremo/mayo
Featured Image Credits: Instagram/rookie_sbk
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PatricKxxLee’s “So And So” is understandably aggressive as it responds to haters who disrespectfully compare him to other artists. The catchy rhythm of the solitary synth piano chords that build to a manic swirling mix of eclectic harmonies, however, makes the diss-record an endearingly low-key party anthem.
Through the video, we watch several shots of the 22-year-old walking around by himself in trippy frames. If the video game allusions in the lyrics for “So & So” fail as euphemisms to hide his violent intentions, the recently released video doesn’t even bother masking PatricKxxLee’s fury. The DIRXTOPE directed video opens with PatricKxxLee in a purple hued garden, but the mist and mean look on the rapper’s face confirms there won’t be any fun games.
Watch the video for PatricKxxLee’s “So&So” here.
https://www.youtube.com/watch?v=dUIEB9VPJ9E
Featured Image Credits: YouTube/Plug Society
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
R2Bees and Efya’s new single, “Could This Be Love” captures the gloomy sentiment of doomed romance. Their somber vocals are heightened by the looped percussion harmonies and mellow drum riffs as they question the intentions of their romantic partners. Though Paedae, one of the R2Bees duo, hints at the damaging effects of breakups on his mental health, there’s an unmistakable sense of hope for love heard through all three verse; “Please De’Here Cause You’re A Keeper”. The Babs directed video mirrors some of this ambivalence, as we watch slow-motion shots of Mugeez and Efya playing basketball on a bright and sunny day, while Paedae sits at home with a love interest.
You can watch the video for R2Bees and Efya’s “Could This Be Love” here.
Featured Image Credits: YouTube/R2Bees Music
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
Maleek Berry sheds his gloomy winter vibes on First Daze of Winter for a more familiar dance-theme on latest single, “Gimme Life”. “Gimme Life” follows the signature dancehall theme of simultaneously appreciating and borderline catcalling a woman you find attractive enough to take the time out for. She is beautiful and her body is lovely, so Maleek Berry would like her to shake it for him. Also, he enjoys looking at her booty and would like her to whine more. Because after all, its summer time, what else are you going to do with your booty?
The armed clashes between Fulani herdsmen and farmers in middle belt Nigeria that has been an ongoing problem for over a decade. We know the insurgency is a result of a ton of issues: Climate change that forced the nomads out of their original grazing locations like Sahel, the increase in the demand for livestock and the decentralization of security in the areas (locals have been armed with instruments to defend themselves). But though it is a recurring topic of discussion, the grand effects of these attacks on the rural dwellers have been less of a discussion subject. News outlets have mostly tried to manage the issue, calling it a “communal conflict” but according to Nigerian photographer, Nguveren Ahu, who recently travelled through Benue documenting the lives most affected by these conflicts, the people who have been most affected have stronger words for it.
Nguveren said in an interview with Konbini, that like many of us, she was desensitized to the issue for the longest time because it did not affect her directly, but she was compelled to use her voice to share their stories after a brutal attack on New Year’s where “Over 73 people were brutally murdered in their homes”. In her words, The level of violence that they inflicted upon the community was particularly horrific due to the fact that the Marauders did not simply stop at slaughter, they also defaced the bodies. Including slitting pregnant women open. The images that flooded social media were terrifying, the tales of the doctors who attended to the injured, the dead and dying were worse”. This single day of violence in Makurdi, Benue State in January left thousands of people homeless, according to various reports.
The day of mass violence led to the creation of“Like Ashes”, a photograph and video documentary focused on telling the stories of the people who fled their homes in Benue to various IDP camps established around the city.
Her project focuses on IDP camps mainly because she was unable to gain the access she needed because, as she found, the aftermath of that day still runs deep in the town. “No doctors would go on the record. I was barred from seeing or interviewing the victims that were still being treated at the hospital”, she said. She also found that “The people of Makurdi themselves did not want to speak out on it for fear of unseen repercussions”. For this reason, she decided to focus on the people trying to create new lives after fleeing the city and starting their lives in the IDP camps that have been established around the state.
In her research and talking to the people at the camps, she found that asides the traumas of their past, the survivors started creating new forms of livelihood that could be the beginning of a creation of their own local economy. She says the title, “Like Ashes”, is as a result of this hope beyond the ashes.
“Like Ashes” is to screen at ‘African Artists Foundation’, Victoria Island in August this year.
Anyone who’s heard WurlD’s “Show You Off” can attest to the song’s emotional impact. For “Trobul”, the first single from the singer’s joint project with Sarz, there’s a darker shade to his romantic emotions.
“Trobul” is a fitting lead for a project that partners an Afropop producer and a singer more adapted to electronic synths as it marries the ridiculous glee of being in love with the sacrifices that often follow it. The atmospheric synths Sarz produces expands and soaks up WurlD’s somber vocals as he explains the trouble he has to put up with for his lover. But the pacy drums draw attention to the pleasant message in his lyrics; “I’ll Be Here By Your Side Whenever/ You’re The Only One For Me”. It’s a subtle reminder that like wisdom and experience, love comes at a price.
Listen to WurlD and Sarz’s “Trobul” below.
https://soundcloud.com/user-293112293/trobul-1
Featured Image Credits: Instagram/thisiswurld
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
Major Lazer has done a lot of collaborations celebrating the cultural influences on music in various parts of the world. Their latest jam is a collaboration with UK-based Drum and Bass group, Rudimental titled “Let Me Live” featuringUK pop singer, Anne-Marie, and our very own Mr Eazi who was recently signed to Diplo’s record label, Mad Decent.
For “Let Me Live”, the group opt for a mid-tempo electro-reggae-dub beat that allows Mr Eazi and Anne-Marie convey their demand for privacy in a balmy but assertive manner. It begins with Anne-Marie’s formidable voice illustrating how the decision to live freely came to be, she sings that she realised your life is your own “you are the one, you rule your world No bad man own your destiny”. Mr Eazi echoes her words on the chorus when he sings about how he chooses to chill.
Listen to Major Lazers and Rudimental’s “Let Me Live” featuring Anne-Marie, Mr. Eazi
Featured Image Credit: Instagram/MajorLazer
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Virgil Abloh was appointed as the art director for Louis Vuitton’s Menswear collection earlier this year. Today, the Off-White founder and designer presented his debut collection for Louis Vuitton at the fashion week in Paris, and things got quite emotional between him and longtime friend, Kanye West, who was there with his family to show his support.
Before Abloh’s Louis Vuitton appointment, he was Kanye’s creative director. Their relationship seemed shaky after Kanye narrated how he heard of Abloh’s new job in an interview, saying it was hurtful to lose his friend and artistic director to the brand, this led to speculation that there had been a disagreement between the two. But the events that followed prove that their bond remains intact.
A few days before fashion week, while Virgil prepped for his two exhibitions: his own brand, Off-White, and Louis Vuitton a few days after, he posted a picture of Kanye with the caption “the architect of it all”. The Louis Vuitton show was also filled with tributes to Kanye. First the band played instrumentals from Kanye’s ye album, then in the final minutes, when Virgil walked unto the carpet to take his final bow at the end of the show, he ran up to hug Kanye and the shared an emotional moment before Abloh continued on his stroll down the runway.
Skepta and Wizkid’s have always shared a fan of fan type of bromance, both artists equal parts team players and friends to each another. Last December, Wiz opened for Skepta at his intimate homecoming concert and joined the line-up for the BBK homecoming concert earlier this year; Skepta infamously convinced Drake to hop on Wizkid’s classic “Ojuelegba”, and a few weeks ago, dropped by Wizkid’s sold-out set at AfroRebulik.
On “Bad Energy”, their first official single together, Skepta raps “Wiz Got The House Full of Freaks”, following up with a line about spending a week there for an even more colourful imagery of the atmosphere of a Wiz-Skep link-up. Elsewhere on the track, Skepta comes on strong and self-assured with a calm presence adding a compelling edge to his bars. Wizkid’s slightly auto-tuned vocals on the hook adds a laid-back melodious filter to Skepta’s verses. It’s an assist that keeps Skepta’s grim reality amiable and “Bad Energy” lightweight.
Listen to Skepta and Wizkid on “Bad Energy” below.
Featured Image Credits: Instagram/wizkidayo
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When you hear the word ‘gangster’, the thoughts that come to mind usually revolve around violence and crime. Shatta Wale latest single, “Man Like Me”, however, expands that narrative by attempting a romantic number that incorporates all of the gutsy flex of a tough gangster.
“Man Like Me” finds the Ghanaian artist detailing his villainy accomplishments over an equally grim beat Damage Musiq produces with sweeping synths, rattling harmonies, drums and samples of gunshot. Though the chorus for “Man Like Me” assures of a romantic direction, Shatta Wale’s gritty vocals and cocksure lyrics are too chilly to be heartwarming. Rather than sing the praise of his love interest (if she can even be called that), he uses it as yet another confirmation of his brilliance. But his uncanny ability to switch between guttural assertions to nasal quips in seconds promises of a sweet spot that love can take root in.
Flash’s sleek voice singing “Get Get Up Yeah” still goes off in clubs across Nigeria. His elegant snapshot of summer romance hit the sweet spot that guaranteed its stay on radio charts and in DJ rotation for long enough to get a much-deserved video treatment deep in 2017. DJ Tunez and Flash revive the brilliance of their past collaboration with a new romance-fueled single destined for DJ turntable in the sun, “Too Much”.
Though Flash’s emotive vocals make “Too Much” instantly familiar in style and substance, the producer is different as Guiltybeatz gets credited for the preppy harmonies that listen like a cross between electronic music and tropical house. The party-themed genre of Afropop may be filled with pseudo-romantic lyrics, but Flash is among the best at it as he blends pidgin English, English and an indigenous Igbo dialect to confess his feelings for a love interest in the most casual way; “She Make A Black Man Speak Chinese”.
Listen to Flash and DJ Tunez’s “Too Much” here.
Featured Image Credits: Instagram/flashworldwide
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Its been 20 years since the release of Lauryn Hill’s iconic album, ‘The Miseducation of Lauryn Hill’. To celebrate two decades, Ms. Lauryn Hill is going on an anniversary tour where she will play the classic LP in full across Europe and North America. The show will feature an incredible lineup that includes Dave Chapelle, Nas, Santigold and M.I.A.
The four-month-long tour will also include appearances from Mr Eazi, who will be joining the legendary singer on her September 22 show in Phoenix, Arizona. Patoranking is also expected to open for her in a few places throughout the tour.
“Surrender” is the second video released off Adekunle Gold’s sophomore album ‘About 30’.“Fame” the first video, follows the theme of the album and the video mirrors that theme. For “Surrender”, however, Adekunle Gold and the video’s director Sam Kirk, opt for a more playful depiction of the song’s sentiment
Adekunle wakes up from a dream at the end of his video for “Surrender”, laughing to himself on the couch. The video begins in a space station run by Adekunle Gold and assistant slash love interest, playfully running a spacecraft while he sings promises of forever to her. You’d wonder how dancers would get into what you’d assume is a secure area but then you realise he’s dreaming and the human subconscious has been known to engender strangeness.
See Adekunle Gold in “Surrender” here
Featured Image Credit: Youtube/Adekunle Gold
“Tomiwa is figuring it out…” Tweet at her @fauxxbella
The first official single from UK’s X Factor runner-up team, Four Of Diamonds is a dancehall-pop fusion that confirms the influence Yogi says Afro-pop currently has on the UK. The song, Titled “Name On It” is written partly by Burna Boy, Tre Jean-Marie and Dayo Olatunji (Dyo) and features additional vocals from Burna Boy himself.
Though “Name On It” wasn’t written by them, the girls of Four Of Diamonds— Yasmin, Sophia, Lauren and Caroline — said in an interview that the message, valuing yourself enough to be assertive in your demands from a potential lover, resonates with them.
On “Name On It”, Four Of Diamonds sing blithely about a man shying away from an official relationship [think Destiny’s Child’s “Say My Name”], while Burna Boy takes the role of the lover full of excuses [“My enemies go for the people I love/I try not to let ’em know”] and quintessential asshole lines like “So when you done playin’, you can come find me/ You’ll never find another, ‘nother like me”.
See Burna Boy and Four Of Diamonds in “Name On It” here:
Featured Image Post: Instagram/Fourofdiamonds
“Tomiwa is figuring it out…” Tweet at her @fauxxbella
The release of Yemi Alade’s third studio album, Black Magic effectively put an end to an eerily problematic “Mama Africa” era for the singer. The release of her new single, “How I Feel” may, however, point to a further healthy distancing from Afrocentrism her music has inadvertently become most known for. Despite a deliberate show of splendor unseen from Yemi Alade, “How I Feel”, doesn’t ring unlike any Yemi Alade dance number you have heard recently. However, the singer holds longer notes spliced with a vocoded instrumental bridge hinting Yemi’s return to using R&B as a baseline for her bubblegum Afropop style.
See Yemi Alade in “How I Feel” video.
“Tomiwa is figuring it out…” Tweet at her @fauxbella
The paradoxical marriage of her gloomy, waterlogged doom with a confident poise, finds the singer giving a picturesque depiction of a trouble romance struggling under the weight of self-esteem issues. Though Yinka Oshodi’s captivating and cocksure vocals takes lead—singing her verse and the chorus—it’s featured artist, Remy Baggins who’s verse reveals the crude truth to Yinka Oshodi’s boastful confessions.
Over the mid-tempo synth led beat Remy Baggin produces, Yinka Oshodi lays down the usually unaddressed worries of dating an attractive partner. While she’s clearly aware of her own charm, even going as far as admitting she “Got Options/ A Thousand And One”, Remy Baggins’ rap-fueled rejoinder provides an argument against making assumptions based on insecure emotions.
So much emphasis is placed on being yourself like it’s the solution to all of life’s problems. But experience will teach that being genuine will get you in just about as much trouble. Navigating the waters of honest self-expression takes careful consideration and AYLØ’s two new singles, “Still II” and Tay Iwar assisted “LITT!” offer varying ways to go about it.
The emotive vocals on “Still II” is addressed to a love interest who “Crazy As It Sounds, (AYLØ) Ain’t Never Leaving”. Through the song’s lyrics, his affection is made clear, but there’s an underlying sense of imminent doom as if he’s too self-aware to avoid the subject of his imperfection; “Hopefully, You’ll Still Be In Love With A Nigga Like Moi After Everything I’ve Done”.
In similar fashion, his more recent release, “LITT!” is honest, though more confidently so. Over the atmospheric synth led beat Le Mav produces, AYLØ delivers bars confirming that he’s just being himself even when he seems to be the doing the most; “I Just Live It How I Dream It”. It’s an ironically obvious way of bragging about being real like when Lil Wayne said “Never Apologize for What You Feel, It’s Like Being Sorry for Being Real”, only better.
The release of Olamide’s “Love No Go Die” last year came with a 007-themed artwork and music video, leaving many with hopes of an aesthetically cohesive project from the YBNL-boss. Those hopes were dashed with the release of Lagos Na Wa, a project that does see Olamide take on a rare storytelling form, but with disjointed narratives and unconnected arcs.
Like the album precluding its release, “Kana” feels like another one of Olamide’s half-baked stories in many ways. Paired with vocals from Wizkid, Olamide sings about taking hints from a woman who wants to get with him by smartly understanding her cues. In the Sesan-directed accompanying video, that simple narrative becomes a heist and gamble house shootout, with equal amount dead bodies and bullets flying around. It’s hard to tell where “Kana” fits in Olamide’s aggrandized public image, it’s even harder to tell how the wanton display of guns and violence would sit with the NBC, but it doesn’t seem bizarre at all from the self-proclaimed voice of the streets.
See Olamide in “Kana”
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“In case we end up well, and we have a beautiful baby girl, she go fine like you”, Kizz Daniel sings on new track “For You” featuring Wizkid, like a man with no worry in the world but love. The FLYBOY Inc and StarBoy collaboration has been teased as a sign of greater things to come since Kiss Daniel’s row with former label G-Worldwide began.
Recently, G-Worldwide filed a copyright claim to “For You” and the name ‘Kizz Daniel’, a moniker he adopted with his feature on Omawunmi’s “Me Ke”. At the moment, the embattled singer is currently fighting to maintain status quo with his decision to part ways with his former management and the release “For You” with a top-flight co-sign like Wizkid, is no less an act of defiance. Lucikly “For You” is a breezy whine-friendly number that ignores all the drama for what matters the most: good music.
Stream Kizz Daniel’s “For You” here
Fisayo is a journalist in search of words. Tweet at her @fisvyo
In the fast-moving Nigerian music industry, success for musicians always seems sudden. In reality, it takes about six years of constant grind, on average, for artists to go from the underdog with a demo to selling out shows at Eko Hotels. These days, the internet has revolutionised the practice of making music. Artists can now create and distribute their music to a global audience from the comfort of their homes with fewer barriers than in the past. This shift has come with a sense of urgency. Artists now have to work on actively reinventing themselves to appeal to an audience with constantly evolving tastes.
Skales has always been one of the odd ones out. His career began just as the impact of the digital age started to become visible in the music industry. Unlike other artists who have just about the same milestone on their resume, at 27, he has been in the industry for about a decade. At the start, his career seemed to be on an unstoppable upward trend. Even without the favours of the YouTube craze that project many careers into international infamy, his talent and upbeat attitude had earned him a significant audience between his city of residence, Kaduna and Jos.
Born Raoul John Njeng-Njeng, Skales’ earliest in-road into the music industry goes all the way back. In 2007, Skales met Jude M.I Abaga a Jos-based emcee, making music with his brother, Jesse Abaga a student in the University of Jos. M.I. had been in the music industry for four years, creating a distinct niche for himself along with a few alternative artists aligned with his independent imprint, Loopy Records. Loopy Records opened doors to Skales first studio recording on Jeremiah Gyang’s soft-rock gospel track, “Kauna Allah (God’s Love)”, and then his first ever single, “Must Shine”, produced by Jesse Jagz.
By this time, Skales already had a strong presence in the University of Jos, elsewhere in the city, people on street were starting to recognise him. This motivated his entry into the Zain Tru Search—one of many talent singing competitions that started the reality-tv show wave that followed—in Abuja with the goal of earning a larger audience. He was a shoo-in for gold at the competition of course, but as he puts it, “Things were still slow in Abuja”. Getting signed by a dependable label took an act of God, getting bookings were near impossible. As he recalls, “Heading for a Grammy” was borne of that low point, to assure anyone who was still supporting of his intentions to become the greatest.
Going off the adrenaline of making such bold statements so early on, Skales resolved to move to the city as his next step. He thought “I’m a great now let’s see what would happen there”. The decision may have been impulsive but the location was not.
Lagos is Nigeria’s business and entertainment melting pot, but the city’s briskness requires that a person be equally as fast thinking, and Skales was. The first ballsy decision, he recalls, was crashing a concert stage with the help of a friend. As he remembers it, the crowd was into his abrupt entry: “The bouncer wanted to pull me off [the stage] but everyone was feeling me [rapping] so the bouncer just allowed”, he says laughing quietly. His persistence paid off, Osagie Osarenkhoe, a music entrepreneur was in the crowd that night too. Impressed by his performance, Osagie took a chance to book him at “A SoundCity Event” where he met Banky W.
As the only rapper of a young record label also shipping careers like Wizkid and Banky W, E.M.E seemed to offer its artists the minimum of a platform to actualise their dreams. Yet with a headstart like an M.I co-sign and youth on his side, Skales’s time under the label’s management turned out to be an unassuming plot twist.
Fans are usually the most betrayed when rappers become singers so naturally, I asked Skales about his change of sound to see how he reflects in his grand career plan. In his words, the change of sound was no change at all. He was just waiting for the right opportunity to show his diversity and E.M.E presented it. “I’ve always been a singer”, he added with an expressive sigh that betrayed how long he had been waiting to get that off the chest. Skales’ insisted that he only started off as a rapper as a product of his immediate audience. “Every street kid in Kaduna was making rap music at the time, it was impossible to get away from it”. But he’s always seen himself as “an entertainer” and intended to create “all forms of music”—a similar line of thinking often echoed by D’banj.
But in spite of his return to a music-making comfort zone, the slow growth he was anxious about at the start of his career had caught up to him in the form of a legally binding contract with E.M.E. The quaintness and obscurity of his EME days, however, gave him first-hand chance to study the game and build his industry negotiation skills. Lesson learned through uncredited work he did while under the label he hesitantly revealed.
“I was known as the guy making waves in 100 level”
At the end of his contract with EME 2014, Skales formed his own independent record label OHK, with the intention to use what he had learnt to launch other young artists’ careers. He followed up the announcement with the release of the sleeper hit, “Shake Body”, the uptempo Afropop instrumentals and his repetitive lyrics indicating his full transition into mainstream pop.
“Shake Body” charted across Africa, landed Skales’ imprint a deal with Baseline Music, his debut album Man Of The Year, was on the way and his career seemed to be taking off. In 2016 however, reports of legal disputes over misappropriated funds between Skales, his manager and Baseline Music became the tabloid headline. According to the news, the label had Skales and Osagie arrested for not turning over the contractual percentage of his earnings to them. This may seem fair, but as the ordeal continued to peel itself, the ridiculous terms of the agreement surfaced on social media, highlighting some reasons artists are continuously reluctant to abide by contracts after catching a big break.
While the internet is doing a great job of providing tools to help young artists make their own decisions on the business front, some people have taken a more direct method of warning them. Industreet, a show produced by filmmaker and actress, Funke Akindele, is a deep-dive loosely based on the Nigerian music industry and how often careers are ended by music big men, offering shady deals. Last year Skales sophomore, Never Say Never Guy was released under Baseline Music, making his on-going arrangement with the label, a model argument against executive run labels and also why artists need to invest in lawyers.
Skales is quick to optimistically deflect such gory details by telling me about opportunities and doors he did not think would have been possible through rap. Music purists like to dismiss claims that rap is not a conventionally mainstream sound by saying good-hip-hop will always find clout. In that light, It would appear the Skales that was heading for a grammy many years ago has convinced himself to get there by any means today.
During our conversation at his current management’s office, he recalls the time when he was the emerging golden boy, “I was known as the guy making waves in 100 level”, leaning towards the table like he was spilling gossip. Somewhere between unfavourable deals and a decision to reinvest in himself and the change in the industry structure, his headstart was curtailed. 10 years working through the uncertainty and instability of the music industry is not easy, but Skales seems to have managed to keep his head above the water. “Someone like Olamide would say ‘Skales should have killed himself by now”, he says wearily as if to say he knows that the pressure on longevity since the internet age means that the stakes are higher now.
Skales rebuttal, says a lot more about his personality than his music. For his near-future plans, the singer tells me he is looking to invite artists from various ends of the continent to create with him for his forthcoming album, Mr Love,. According to Skales, other features from around the world will make the project, but only artists he has genuinely felt connected to.
A few weeks ago, Skales walked out on an interview with a TheNETng rep who had asked an unsavoury question. After meeting and speaking to him, his decision to leave the meeting did not surprise me. Not only because his description of himself paints him as someone who would “A positive guy who keeps his ears closed and eyes on the price”, his manner also embodies the spirit of a man who knows what fights to pick. Much like a man who has carved his own path, he has formed his own road to glory and isn’t letting these things get to him “People don’t understand why I do what I do, but that’s not really my concern”. The goal is to be a global musician and from where he’s standing, his journey so far has brought him to this moment.
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“Tomiwa is figuring it out…” Tweet at her @fauxbella
