NATIVE Selects: New Music From Juls, Pheelz, Kold AF & More

Posted on by Emmanuel Esomnofu

Every week, new music shows up, sweeping fans and music lovers off their feet while artists gauge reactions to know the effect of their creativity. At the NATIVE, we are committed to keeping our ears on the pulse of the music scene and bringing the best sounds to your doorstep. In our last edition, we brought you new releases from Johnny Drille, Moonga K. and more. Today, we have songs that move from Afropop to Amapiano to R&B, with our select artists showcasing their unending talent and passion for creativity. Lock in!

JULS – “PALMWINE RIDDIM”

For those who know, Juls is the progenitor of the contemporary palmwine sound. A decade after collaborating with Show Dem Camp on the iconic “Feel Alright,” the Ghanaian-born producer is building a rootsy world. “Palmwine Riddim” sets the tempo in that regard; a live-centric mellow groove whose progression imbibes a neo-Highlife flourish, while incorporating the bubble of everyday voices and conversation. It’s a masterclass in mood and measure, and has us very excited for his forthcoming ‘Palmwine Diaries, Vol. 1’. 

KOLD AF – “NOBODY 2 SOMEBODY”

One of the most distinct voices to emerge from Nigeria in recent times is newcomer Kold AF whose silky smooth vocals is every listener’s dream. Her spirited lyricism finds the perfect accompaniment through her vocals, a full, embodied quality. On “Nobody 2 Somebody,” she sings about the potential of her dreams, while centreing divine power as a spur behind them. Heartfelt and contemplative, it’s the kind of song you want to wake up listening to. With records like this one, there’s no doubt that Kold AF has a lot more to say. 

MAJOR LEAGUE DJZ, KOJEY RADICAL & MAGICSTICKS – “BAD FOR BUSINESS”

It’s a heavyweight affair on “Bad For Business” as the producers Major League DJz and Magicsticks collaborate. All three have been some of the most inventive hands creating from the percussive roots of Amapiano. On here, their distinct adaptations of the genre bares in magical form. Earthy, fun and quirky, the British-Ghanaian artist Kojey Radical excites over the production, unfurling afro-inspired rhythms and just sounds so good having a great time. 

KRIZBEATZ FT. RAYBEKAH & LADE – “TIME WASTER”

On this emotive masterclass, producer Krizbeatz features the duo of Raybekah and Lade, who sings about the lack of intentionality from a love interest. With distinct but similarly affecting vocals, their stories are delivered with a humorous bent even as the song’s message imbibes a lot of thoughtfulness. As always the brilliant hand of Krizbeatz is never far away, in this case supplying the effervescent production which the song benefits from. 

BALLORANKING FT. DYANI – “WE UP”

Primed to release a new album this week, Balloranking has shared a new promotional single titled “We Up.” The artist operates a distinct plain in the Street Hop canon, his stories presented through an optimistic gaze, while his vocal inflections have been consistently evocative. That skill set is present on the mellow “We Up,” a gracious recounting of the struggling days and how he wants to keep living the good life. A chilling feature verse from Dyani cements the record’s celestial appeal. 

PHEELZ FT. YOUNG JONN – “JELO”

Inspiration is the theme of the song as two of Nigeria’s most prominent producers-turn-musicians collaborate for the first time. There’s a lot connecting Young Jonn and Pheelz but it’s still a marvel how beautifully they both connect here, their distinct sensibilities melding into sonic warmth. A narrative style is used to depict the grass-to-grace theme, with specific places and memories brought up, while the vocalisations and ‘Piano-inflected production builds around. 

IDAHAMS – “GOD BLESS AFRICA”

On the mellow record, the Port-Harcourt raised artist and producer sings about the beauty of Black women. The mood is however more celebratory than contemplative as he sweetly paints images of associative loves. Teasing an affectionate performance from him, the production mirrors the lyrical direction, in the sense that it’s a fun and relaxed vibe. With its runtime going just over two minutes, it’s a breezy record that should have you hitting replay.

ATTIFAYA & KEMUEL – “FRESH BOY RIDDIM” 

As the title suggests, there’s a luxurious feeling permeating this record. Right from the glossy keys and laid-back drums to the deliveries, which range from the sing-songy hook of Kemuel to the rap zest of Attifaya, each part of the song is in purposeful alliance. “I too get style, I for dey sell style” is a line which does great at describing the flex that’s the artist’s mission, and crowd vocals brings the atmosphere together, establishing an outdoor party vibe. 

KOLABOY FT. TIMAYA – “KOLAPIANO (ISAKABA) [REMIX]” 

The Oja sound has been one of the distinct instruments soundtracking our musical year. Among its early adapters in the scene was Kolaboy, who blended its spiritual essence into charged drums to create the sound he described as Kolapiano. On this remix, he teams up with Timaya who contributes his golden voice to the song’s well-established mythos. Singing about the desire to live the good life, with lyrics delivered in the Igbo language and Pidgin-English, the pair deliver a masterful remix. The song’s video also relays the song’s intentions with a fine depiction of its ascendant culture and its dramatic proportions. 

ICYMI: FIVE TAKEAWAYS FROM THE 16TH HEADIES AWARDS

What’s Going On: Nigerian Labour Congress starts warning strike, Gabon’s new head of state & more

Posted on by Dennis Ade Peter

“What’s Going On” Tallies Notable News Headlines From Across The Continent — The Good, The Bad, And The Horrible — As A Way Of Ensuring That We All Become A More Sagacious African Generation. With This Column, We’re Hoping To Disseminate The Latest Happenings In Our Socio-Political Climate From Across The Continent, Whilst Starting A Conversation About What’s Important For Us To All Discuss. From Political Affairs To Socio-Economic Issues, ‘What’s Going On’ Will Discuss Just That. This Week’s Headlines Come From Gabon, Nigeria & South Sudan.

Brice Oligui sworn in as Gabon’s new head of state

Last week, Gabon became the eighth country in west and central Africa to be taken over by a military junta, following a coup that overthrew 14-year president, Ali Bongo Ondimba, successor to his father Omar Bongo, who ruled for 41 years. Led by Brice Oligui Nguema, a 48-year old army general and commander of the elite military unit known as the republican guard, the coup took place in the aftermath of elections that returned Ali Bongo as president, despite widespread allegations of gross irregularities and blatant rigging.

On Monday, September 4, Brice Oligui was sworn in as Gabon’s new head of state, as he took the oath in the presidential palace in the country’s capital Libreville. “This patriotic action will be a lesson learnt that will be taught in the books of our schools,” he said in the speech that followed his swearing-in, noting that the junta had taken power without any bloodshed. In addition to the announcement that a new government would be formed in a few days, he recommended a new penal code, a referendum for a new constitution, and a new electoral legislation.

Brice Oligui also promised a “free, transparent election” that would return power to the people, however there’s no set date. With the legislative reforms he’s proposing, though, analysts predicts that it could take months, or years possibly, for the next elections. While the United Nations roundly condemned the coup and the African Union suspended Gabon, many of its citizens are celebrating the junta’s seizing of power. However, there are some local cynics, like presidential opposition candidate Albert Ondo Ossa, who’s adamant that he won the cancelled elections and has called the coup a “palace revolution” meant to keep the Bongo family in power—Brice Oligui is Ali Bongo’s cousin.

Nigerian Labour Congress begins 2-day working strike

“I think they’re just conditioning us for when the price officially becomes N700 per litre or something ridiculous,” a concerned Nigerian citizen told The NATIVE earlier this year, during a petrol scarcity crisis that had been rocking the country for months. Immediately after his inauguration as president in late May, Bola Tinubu announced the removal of petrol subsidy and a change in the per litre pump price of petrol, almost tripling the official price upon his arrival into office.

The hike in price, with petrol going for N585 per litre in Lagos and up to N620 per litre in some states, has impacted the cost of living, doubling the cost of transportation and driving up the prices of household goods. In protest of the fuel price hike and its impact on the cost of living, the Nigerian Labour Congress (NLC) has embarked on a 2-day warning strike, starting on Tuesday, September 5. The largest trade union federation in the country, the NLC’s strike is expected to affect varying sectors of the economy, with several affiliate unions, including education, aviation and banking, joining in the strike.

“The removal of fuel subsidies is a direct attack on the poor and working people of Nigeria,” NLC president Joe Ajaero said in a statement. “It is an attempt to impoverish our people further and make life more difficult for them.” The federal government appealed to the NLC to call off the strike, however, the congress leaders boycotted a meeting convened by the minister of labour and employment, remaining adamant that the warning strike would go on as scheduled. While the entire country isn’t on standstill, it’s been reported that some electricity workers, bankers and civil servants have joined the strike action. The warning strike is expected to end on Wednesday, September 6.

South Sudan Basketball makes Olympic history

Of the four African countries participating in the 2023 FIBA World Cup, South Sudan has emerged as one of the best stories of the entire tournament. Representing the youngest nation in the world, the basketball team clinched a spot at next year’s Olympics in Paris, after beating perennial African basketball powerhouse Angola 101-78 on Saturday, clinching the lone FIBA Africa direct qualification spot.

Already a surprise qualifier to the world cup, this latest feat is incredibly remarkable for a country whose basketball program is very young. Led by point guard and reigning NBA G-League MVP Carlik Jones, the Bright Stars of South Sudan won the first two matches in the preliminary, including a blowout win against host country Philippine, before losing their next two matches. However, their win in the classification round against Angola ranks them as the top African team of the competition, immediately qualifying them for next year’s Olympics.

[Featured Image Credits: Guardian NG]

ICYMI: THE POPULARITY OF FANTASY PREMIER LEAGUE AMONG NIGERIAN FOOTBALL LOVERS

Five Takeaways From The 16th Headies Awards

Posted on by The Native

Yesterday, the 16th iteration of the Headies Awards took place in Atlanta, Georgia for the second consecutive year. The ceremony, in its typical fashion, gathered some of the best heads in the music business, for a renowned celebration of remarkable achievements and milestones of Nigeria’s burgeoning music industry.

Since its inception in the early 2000’s, the award founded by Ayo Animashaun, has played a pivotal role in spotlighting outstanding talents and innovation across the scene. Within its 16-year history, the Headies has awarded the best and brightest in the game, from Afropop frontrunners such as Wizkid, Tiwa Savage, Davido, Burna Boy, 2Face and more, and the new generation of stars including Rema, Victony, Ayra Starr, and more, who are pushing the boundaries of the genre on the global stage. While their recognitions and wins as artists and producers are important to the music ecosystem, the persistent lack of organisation and infrastructure of Nigeria’s premiere award show has hardly developed since its formation, despite its recent move to the States. 

This year, these structural issues were brought squarely to the fore in the recently concluded 16th Headies Award which was held at the Cobb Centre in Atlanta. On the star-studded night, efforts to push the envelope with the production and organisation of the award show were not successful, leading to production issues during the award announcements, sound problems on the stage and unannounced categories which were later published online and awarded backstage.

It’s an admirable step to ensure every facet of Nigerian pop music is properly represented but also a glaring recognition that our award system has a long way to go. After taking a look at the full list of nominees, below are our takeaways, including the good, the not-so-good and the befuddling snubs.

 

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WHEN WILL WOMEN GET THEIR FLOWERS?

The Headies hasn’t always been the most gender diverse awards show. In recent times, their lack of purposeful representation has been brought to the forefront, and this year’s event was no different. For an industry that is witnessing the influx of so many diverse and talented women voices, it’s a travesty that we are seldom seeing these women take centre stage at such events. 

Other than the female categories, which was won by Ayra Starr and WAJE, there were few other categories which had women nominees, talk more of winning them. This peels into the larger conversation that women haven’t always gotten their flowers, especially in Nigeria which, even with its massive number of male acts, does have women artists—from soulful savants like Lindsey Abudei, YINKA, and Bella Alubo, to the many rappers (as listed somewhere below)—who are doing great things with their sound. For an awards show to properly contextualise an industry, it must vehemently refuse the comforting temptation of a single story. Headies haven’t done that this year, and it’s a stab in the flesh of their intentions.

We should do better and recognise that women play a role in this music we so love; more than fillers, they should be celebrated, in the major categories, winning the major awards, and not as a favour, but because the music is that good. 

THE YOUNGER GENERATION IS DOING ALRIGHT

Nigerian pop music isn’t just at its most prosperous, it’s also littered with more bonafide stars than ever. Part of that is the boom in the emergence of ultra-talented, charismatic artists since the late 2010s, an influx of attention-holders as part of a younger vanguard. This year’s Headies is an explicit confirmation of the plain fact that the game is being elevated by a glut of artists that weren’t minted stars about a decade ago. 

Apart from Burna Boy (who’s clearly not a new cat), Wande Coal, Tiwa Savage, and Waje, all of this year’s awardees broke out fairly recently, an indicator that we’re living through an expansive time in Nigerian music and the future might be even more brighter than we can even imagine. Rema won Best Male Artist and African Artist of the Year, four years after he became the hot new kid on the block; Victony picked up to two Headie plaques, including one for Recording of the Year, a momentous aftermath two years after a life-threatening accident; Ayra Starr won Best Female Artist, a stunning achievement in year 3 of her career; while Asake deservedly coasted to the biggest wins of the night—Next Rated and Album of the Year.

That these wins are coming at a time when older superstars like Wizkid, Davido, Olamide, Kizz Daniel and more, are still prominent, at home and globally, feels a lot more wholesome than a straight override by the younger generation. It bodes well for the competitive spirit of awards like the Headies and, more importantly, the variety listeners will always be treated to.

NIGERIAN MUSIC, AMERICAN STANDARDS?

On “Danfo to the Headies,” a single off his most recent album, ‘West African Goat’, rap artist Paybac Iboro sang about entering commercial buses to the venue of the 2020 Headies. In typical Paybac fashion, it was a way to discuss his personal travails, but as a nominee of the award show, it was symbolic that he could attend the award show without needing the glossy ride many of his more commercially successful colleagues can afford. For its last two editions, no one can board a danfo to the Headies, a logistical impossibility due to the awards now taking place in the U.S.

First of all, hosting a Nigerian award show outside the country (and the continent even) isn’t great for the optics. Secondly, it’s a cultural travesty that undermines the importance of Nigerian music to its core audience. Thirdly, the move to America hasn’t exactly improved the production quality—which is worrisome because that was the main reason for the move initially. Now, in addition to many independent artists who wouldn’t be able to attend the show, if they were nominated, Nigerians and Africans have to stay up at early morning hours to catch the proceedings of the award show.

Also, after Anthony Anderson’s appearance of last year, it’s unexplainable that Terrence J, who doesn’t have any explicit ties to Nigerian music, was tapped to host this year’s event. It’s not that he did a bad job hosting, but it just plays into the Westernising of an award show that should be innately African.

PRODUCER OF THE YEAR CRITERIA? 

The relevance of producers in the music making process cannot be overstated. Many times, these artist-producer dynamics lay the foundation for seamless expression on both parts while offering a more or less consistent environment for artists to thrive and deliver back to back hits. Examples of these iconic duos across music history lay in abundance and a category like this at our most prominent award show should recognise that. However, a glance at the nominees and the eventual winner, Rexxie for “Abracadabra (Remix),” shows that the criteria is hinged on a producer’s work on a single as opposed to multiple singles or a body of work. 

Now, Rexxie is undoubtedly an extraordinary producer and his contributions to slinging the ropes of Street-Pop to mainstream audiences will always be priceless. Think London who was already nominated alongside Andre Vibez for “Calm Down.” Anyone familiar with Rema’s world domination at the moment is well away from the pairing’s faultless creative relationship beyond the hit single. Other than producing other hit singles across ‘Rave and Roses’ like “Charm,” London also scores writing credits on a number “Soundgasm” coupled with him being the most reliable ear for building Rema’s distinct sound. Magicstick who also appeared in that category missed out on the win, especially considering the fact that he spearheaded one of the biggest breakthrough acts of 2023, Asake. That being said, it is more beneficial in the long run to have the entrants for this category to celebrate long term impact beyond a 3-minute plus contribution. 

A RAP RENAISSANCE IS IN FULL-EFFECT

Every couple of months when Nigerian rap conversations swing into mainstream discourse, it often tilts towards the ideal that the genre is ailing. For those in the know, Nigerian rap has always been flush with talent and great output, it’s the audience that needed to catch-up. Well, the renaissance might fully be on the way. With his 2022 album, ‘Young Preacher’, Chocolate City rap artist Blaqbonez won the Headie for Best Rap Album. It’s the culmination of years of refinement to his skill-set, savvy self-marketing and a bullishness to prove that he is the “Best Rapper in Africa.”

For years, Payper Corleone has been forging his cred in the underground, his slick wordplay and mafioso-affiliated gait making him a distinct figure in Nigerian rap. His win in the Lyricist on the Roll category highlights the talent pool that lies just beyond the mainstream. NATIVE Records flagbearer ODUMODUBLVCK won two awards, including Rookie of the year, in the midst of a breakout run that has seen him score veritable hits with “Picanto,” “Declan Rice” and “Firegun.” The middle song, a cultural signifier of the synergy between Nigerian pop culture and global football, won Best Rap Song.

ODUMODUBLVCK has always been adamant that his burst into the mainstream is a gateway to more of his rap colleagues taking over Nigerian music. While that assertion mainly applies to his crew of friends and collaborators, it could be applied widely, especially when you consider that all three winners in the rap categories are wildly different artists, representing varying sects of the scene. And that’s not even including the many women – SGaWD, Aunty Rayzor, Ytboutthaction, Brazy, and more – who are easily some of the most inventive and exciting voices and faces around. The present and future of Nigerian rap is fertile.

[Featured Image Credits/The NATIVE]

Words by Dennis Ade Peter, Nwanneamaka Igwe & Emmanuel Esomnofu

ICYMI: REVIEW: OLAMIDE’S ‘UNRULY’

Our First Impressions of Ruger’s Debut Album ‘Ru The World’

Posted on by The Native

Ever since Ruger broke into the music space with “Bounce“, his career has been on roll and continues to skyrocket the charts. Signed to Jonzing World Records, Ruger has always delivered albums producing hit songs. From his debut EP, ‘Pandemic’ which had the major hit song “Bounce” to his second EP, ‘The Second Wave’ with “Dior” as the lead single. We can’t forget his comeback to the music scene in 2022 with “Asiwaju” and “Red Flags,” with “Asiwaju” proving to be the better song charting at number 1 on Apple Music for almost 2 months. With every release from Ruger, a clear road to stardom is paved.

Preceding his album was an extensive 15-city North American album tour with the first show in Boston. Before this, the artist also toured and performed in Copenhagen, Stockholm, Rome, Brescia, Oslo, Dublin, Ireland and Canada, Toronto, Vancouver, Winnipeg, Montreal, and Edmonton. 

The RU Nation has been anticipating the release of a new album ever since he announced this on his Instagram Page and With Ruger’s debut album now here, we’re about to witness the world and headspace of the one eye-patched artist. The 17-track features Stefflon Don, Projexx, Sauti Sol, Govanna, and Juggelerz and contains familiar tracks like “Asiwaju” and “Red Flags”. 

As per usual, the NATIVE team delves into ‘Ru The World’ to deliver our initial thoughts and impressions. Tap in! 

 

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FAVOURITE SONG

Uzoma: “Tour” stands out for me. The Drill-led production is so smooth and Ruger’s Dancehall-esque delivery is topnotch. Also, love the message of the song: seeing your efforts yield success and making those closest to you proud. It’s a brilliant choice for an opening track. 

Moore: Of the songs on the project I’d say “Kristy” is definitely my favourite. It’s a low-key, gentle love song with soothing vocals that makes it a perfect song to send to your crush.

Dimeji: “Tour” definitely. It’s a perfect introduction to the album. The harmonies on the chorus are amazing and the production brings the track together perfectly. 

BEST FEATURE

Chigoziri: “All My Days” stands out to me out of all the features on the track. Sauti Sol does justice to the song and brings the song to life. 

Sien: “All My Days” has to be it for me. From the bear selection to Sauti Sol gliding through the track. It’s a match made in heaven. 

Dennis: Sauti Sol and BenjiFlow on “All My Days.” The latter is the producer but he’s such an integral part of what is one of the album’s best and most distinct songs. Sauti Sol? Yeah, Bien killed it. He has a stamp on every record he touches and he makes Ruger the lovestruck guy sound even more enjoyable – believable even.

STANDOUT PRODUCTION

Nwanemaka: “Ashana” is a good shout for this. I wouldn’t necessarily say this is the best production because it’s super catchy and perfectly encapsulates Ruger’s soundscape. Legendary Beatz understood the assignment. 

Emmanuel: A winning feature of Ruger’s music has always been his production. On ‘Ru The World’ he extends that run by working with a host of talented producers who create a number of truly memorable beats. Of them all, I’m leaning towards the Kukbeatz-produced “Kristy,” which is a very layered show, from the Konto-evoking drum pattern to the guitar playing. It’s mellow while being energetic, inspiring some of Ruger’s most passionate imagery. “I Want Peace” is also a strong shout—-there’s a riveting warmth permeating its core. 

BIGGEST POTENTIAL HIT

Alex: It wasn’t hard to pick. “Asiwaju” is a potential hit. Upon its run-up before the album, it was already a hit. The beat, sound, lyrics and appeal to the supporters of President Tinubu will not be discounted. 

Dimeji: “Tour” again for me. The song has a really catchy essence and great replay value. I feel like it’ll go crazy on TikTok.

Chigoziri:  “Likely” featuring Govana sounds like a potential hit, especially with the catchy beats and Govana’s impressive delivery of his verse. 

BIGGEST SKIP

Nwanneamaka: Maybe I started getting tired as I reached the end of the album but “Red Flags” isn’t doing much for me. It’s also Ruger’s typical avoidant personality shining through because why would he say “You saw the red flags baby and you ignored the red flags and you’re here.” You can miss me with that. 

Uzoma: I guess Ruger must have wanted to try something different but “Nine” isn’t my cup of tea.  Doesn’t capture that pleasant SA vibe. There’s something about it that sounds so jarring.

Daniel A: Call it high expectations but “Addiction” ft. Stefflon Don wasn’t what I had hoped it would  be. It’s two strong characters choosing to go slow. Didn’t work.  

OVERALL FIRST IMPRESSIONS 

Dennis: Ruger is the latest Nigerian mainstream dancehall maestro. That much is evident on ‘Ru The World,’ an album steeped in lascivious and exuberant expressions. It’s a little too long for its near-house run-time but not to the point that makes it a wearying listen. After all, he plays with some sonic diversity, even if the thumping drum patterns of dancehall are central to its cohesive identity. It’s a remarkable debut LP from an artist who knows his best traits and optimises them.

Alex: Ruger has been on a continuous rise since he stormed the industry in 2021. His hit singles, “Asiwaju,” “Girlfriend,” “Bounce” and others are proof that he’s an artist to listen to. ‘Ru The World’ offers a hindsight into Ruger’s personality.  His perfect grasp of Afrobeats and modern sounds shines light on his incredible talent. The collaborations with Stefflon Don, Govanna, Sauti Sol and Juggler on the 17-track project provide a varied and engrossing musical trip for every listener. 

Emmanuel: For Ruger, ruling the world isn’t about geographical dominance as much as it is a telling of his romantic exploits. Almost every song on this album deals with the several affairs he’s supposedly had, painting their stories through the stark and sometimes reflective prism of a rising celebrity. That creates a progression the album benefits from, although its length could have been more concise, to encourage repeated listeners. It’s not a fatal flaw, however, as there’s an essential variance in the tempo of the songs. In all, Ruger manages a spellbinding body of work, cashing in on his cult figure as a teller of exciting sensual stories. 

Stream ‘Ru The World’ here.

[Featured Image Credits/The NATIVE]

NATIVE SELECTS: NEW MUSIC FROM JOHNNY DRILLE, BRAZY, PHYNO & MORE

Meet Wizard Chan, the latest Headies ‘Best Alternative Song’ Winner

Posted on by Uzoma Ihejirika

Yesterday, the winners of the 2023 Headies Awards were announced. Burna Boy, Rema, Ayra Starr, Victony and Black Sherif were among the winners from the 32-category list of nominees. This year’s Headies was the second time in a row that the mostly Nigerian-focused event was held outside Africa, at the Cobb Energy Performing Arts Centre in Georgia, Atlanta, USA. Among the reactions that have trailed the winners list, as well as the general handling of the event, there is one artist whose success at the Headies deserves an appraisal: Wizard Chan.

Wizard Chan—born Maxwell James Fuayefika—was one of the uNder alum of January 2023. Chan’s music deserved is laced with fusion-pop songs and palpable Reggae influences. His track “Earth Song” notched two nominations in this year’s Headies for Songwriter of the Year and Best Alternative Song categories. In both categories, Chan, who debuted in 2020 with “Halo Halo,” was pitted against the likes of Omah Lay, Simi, Tems, BNXN, Burna Boy, Cruel Santino, Obongjayar and Flavour, among others. He lost the Songwriter of the Year category to Simi but won the Best Alternative Song category, which was open to the public for voting.

Wizard Chan’s win is a testament to the loyal following he has amassed in a short while, but it is also a credit to the building blocks he has laid down in his career even before he got his breakthrough. Born and bred in Port Harcourt, Rivers State, Wizard Chan began exploring his musical talent as a teenager while in secondary school, acquainting himself with the rudiments of becoming a recording artist with stories to tell. After moving to Ghana for his tertiary studies and then Sokoto State for the mandatory one-year national service, he settled in Lagos to map out his plans for his career.

In Lagos, he started a record label and company with his best friend, using the knowledge he gained from his Marketing and Business degree. “I discovered that getting a deal from a recording label is a lot and sometimes it might break you down. For that reason alone, I decided I was going to do my own thing with my friend. We put every single thing we had into music even though we didn’t know what we were doing because we didn’t have direction at first but I guess the best way to learn is to fail,” he shared in a recent interview.

Chan’s music, for the most part, is inspired by his life experiences as well as his obeisance to spirituality. His Reggae influences are the distinguishing factor he infuses into whatever sound he employs, sifting through for apt observations on people and life’s situations. On 2020’s “Truth,” Wizard Chan touches on the political and economic ills stagnating the progress of Nigeria. “The government are sleeping on the people they are serving/Commissioners and senators are living their lives lavish/Leaving little or none for the poor little masses,” he sings. It’s on “Earth Song,” though, that Wizard Chan strikes gold. Over Drill-influenced production, Wizard Chan explores the transient nature of life and how people’s actions can impact generation after generation. He revealed that the song emanated while he was “going through life” and that that is when he makes his best music.

“‘Earth Song’ is really special because I wrote that in one of my darkest times, you can hear the pain. I’m happy but not surprised because people are going through a lot emotionally and mentally without speaking up,” he told the NATIVE. Chan replicated the tale of surviving tough times on “HighLife,” which, as the song title suggests, pairs modern adjustments to the Highlife genre. He does the same on “Beast of No Nation” with King Perryy and Tuzi and “Que Sera Sera” with Dino Zee.

However, it isn’t only the hard times that Wizard Chan contemplates in his music. He finds joy and pleasure in love, romance and affection. On “Halo Halo,” Wizard Chan serenades a love interest; on “Yolo,” he and Mavice express their intentions for a lover, and he and Thousand Voice stir the softest feelings on “Miss You.”  His love for experimentation also comes up on the Amapiano-led “DRUMLINE” with 01FRNCH. Wizard Chan’s musical influences include Kendrick Lamar, J. Cole, Jay Z, Damien Marley, Santi Sol and Black Sherif and it tells on his fusion of sounds. 

With an album tentatively titled ‘The Messenger’ in the works, Wizard Chan’s win at the Headies is an indication of the authenticity of his music and its connection to the listeners. Beyond the music, his visual branding—the dark cloaks, cowry beads and fashion stylings from his Ijaw culture—accentuates the prominence of his craft. It’s the beginning of great success ahead for the Headies winner.

Featured image credit/NATIVE

A 1-Listen Review Of Khaid’s New EP, ‘Emotions’

Posted on by Emmanuel Esomnofu

Khaid’s year has progressively blossomed into a real moment of arrival. Although he’s been on the scene for a while, 2023 has seen the full spectrum of his musical abilities emerge under the light of the mainstream audience. The prime evidence of this growth has been Khaid’s trifecta of Afropop-influenced songs—with the latest being “Anabella”—which have become uber-popular hits, reaching sweet spots of melody and memory across Nigeria demographics, transcending gender, age or class status. 

 

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As Khaid continues to ascend through the ranks, he’s releasing honest and relatable songs which have gained ubiquity such as “Jolie” and “Carry Me Go,” which featured the Mavin Records wunderkid Boy Spyce. Coming off the strength of these records, and with a nomination in the Rookie of the Year category at the just-concluded Headies, the artist has been moving confidently. This audibly influences the succinct but purposeful release of ‘Emotions’, his new EP which features six songs, including two of the aforementioned singles. As he told The NATIVE some months before, “on this project you should expect to hear the Afrobeats Khaid”. 

Unarguably one of the most promising youngsters orbiting the afropop scene, it’s a no-brainer that we should parse ‘Emotions’ through critical ears, which is what we do in this 1-listen review. 

In usual 1-listen review fashion, all reactions are in real time while the music plays. No pauses, rewinds, fast-forwards or skips.

“JARA”

A mellow beat starting out this one. “I dun dey fight, I dun dey shoot gun,” is such a visual lyric. I’m tempted to say it’s Omah Lay-esque, but he’s not the first to squeeze nihilist themes into afro-inspired music. Khaid’s delivery is very heartfelt here; he’s painting an image that we’ve become familiar with over the years, which is the pensive thoughts of a celebrity. I like the direction; lyrically, it’s a bit ambiguous but that’s what this sub-genre (can we even call it that?) within afropop does; merging philosophical inquiry with touches of romantic tension. 

“HOLD ME”

Vibrant drums from the start of this one. “She’s got a broken home and a broken smile”; that line comes off with a bit of contrasting feels, but I can hear the emotive scales Khaid is trying to reach here. The metaphors can be stronger; shining like sunlight in the sky is cool to the ears, but it doesn’t really sink the listener into a unique narrative. I like the artist’s vocal style here though; it’s audibly influenced by R&B, and that makes him want to flex on them. Ultimately, the flex comes off okay. Nothing too special, but you might catch a vibe under the perfect conditions. 

“NO TIME”

This beat is sounding a little like “Carry Me Go.” There’s that colourful early 2000s Nigerian Pop energy captured in the drums, the zest of their edges. “Follow who know road, e dun cut my sandals” is the kinda line that demonstrates how our music mirrors the simple poetry of our everyday lives. Khaid is in inspired form here; so far, it’s perhaps my favourite from the project. I’m throwing my hat as well, that this would be the next promoted single from this EP. 

“JOLIE”

What more can be said about this song? It’s undoubtedly one of the biggest songs of the year. In terms of sonic quality, it’s a brilliant evocation of love through the Nigerian prism, as every lyric and every beat counts stays close to home. There’s not a bone of complexity here; the writing as well as the production is straightforward, which renders an emotive stability to the record. With every song, the project’s choice of title is justified. 

“PEOPLE (EVIL)”

Dancehall Khaid is present here. The first words are delivered in a style reminiscent of Rema’s “Divine”, but this sounds more up the Ruger alley. Cloak and dagger, holy father—there’s a cache of well-done references I’m hearing. It’s not the most evocative song, but Khaid obviously pushes his songwriting here. As part of the project, it’s a fine way to lead into the final song of the EP. 

“ANABELLA”

“Baby wetin sup o…touch my weak spot o” that line alone makes this song a worthy listen. Following in the tradition of his afropop records, this is a bubbly and tender affair. Somehow it reminds me of those cheesy scenes we used to have in Old Nollywood; I wouldn’t be surprised if there’s a video montage of it somewhere, soundtracking such a scene by Paw-Paw or some other enterprising lover boy. Seeing as the mood also mirrors the sentiment of a closing moment, it’s the most appropriate choice for this important role. 

FINAL THOUGHTS 

‘Emotions’ fittingly captures Khaid’s ability to craft saccharine hits from everyday emotions. Combining bright, bubbly beats with purposeful touches of melancholic, heartfelt stories, the project bears a dichotomy that would shape up to be one of its narrative strengths. And perhaps the songwriting sometimes comes across as too cloying, and devoid of an original quality, but it’s evident that Khaid still has some developing to do—every artist does, actually. However, based on the enjoyability of these songs, it’s clear that Khaid and his label Neville Records has orchestrated a great run-in towards the end of the year for the talented artist. 

Stream ‘Emotions’ EP.

Featured image credits/NATIVE

ICYMI: Kayode wants to tell emotive stories through music

Kayode Wants To Tell Emotive Stories Through Music

Posted on by Emmanuel Esomnofu

In the early noughties, the music industry went digital. Spurred by the popularisation of mobile devices like phones and laptops, more artists and producers sprung around the country, contributing to its mosaic of sonic voices. The years since have been similarly productive, as self-reliant technologies have made it easier for people to pick up music. Kayode’s introduction to the art form was a mix of that and the traditional setting of the church, which influenced his love for instruments. 

“My parents are Christians so they were always in church, and I was always in church,” he said to NATIVE Mag. “I was always drawn to instrumentals and I just grew a natural inclination for playing the piano and I started learning how to play the piano, mostly by myself. I had a teacher for a while but I just stopped going, then I basically developed the skill by myself. I learnt most of the stuff I knew on YouTube.”

 

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Before then, Kayode’s parents were avid lovers of music. His childhood was spent listening to Lagbaja and King Sunny Ade from his father’s playlist, and later in life, he grew up into the blog era which developed into influence from the likes of Lil Wayne, Wizkid, Burna Boy and Drake. “They just inspired me to move in my own direction,” he affirms. When Kayode turned eighteen, based in Ikorodu, he recorded his first single and though he didn’t want to share it with anyone, the reception he got from a friend and his brother, who urged him to continue making music, stuck with him; he wanted to become a musician. 

Linked to Kayode’s ascendant star is the Lagos-based artist’s use of Instagram as a means of self-promotion. More than ever, young artists are showcasing their talent to the world, using the global mirror of social media. On the budding star’s IG account, there are several videos of him freestyles and doing covers of other artists’ songs, infusing his unique spin to their popular variations. 

Around the period of 2019 and the following year, he moved from his home residence in Ikorodu to the Akoka axis of Yaba, where he attended the University of Lagos. It was a vibrant creative hub and that zeal to release music was an influence on Kayode, who was charting his own climb beyond scenic recognition. That won him the ears of a still-growing fanbase, following his music beyond the trail of content videos, and they have been rewarded, quite regularly, with good sound.  

In 2020, he released the mixtape ‘Playtime is Over,’ a telling showcase of his zeal to grow using his art to plot his ascension. The records “On My Back” and “Look At You” utilised the floaty soundscape of cloud rap to pass important messages of living and love, while the Magicsticks-produced “Side Guy” nodded to audible Nigerian influences, from the colourful, quirky language to its bright percussions. Kayode has continued to release music, sharing ‘STILL FIGURING LIFE’ earlier this year, a collection of seven songs which explored the motions of young Nigerian existence. 

“The project is basically as it is, still figuring life,” he says. “Like at a point in everybody’s life we’re into that realisation that we’re all still figuring life. This was just me at that point in my life where I’m still figuring out a lot of stuff. I like to make music about what I’m feeling and that was just how I was feeling at that certain point in my life and yeah, I made the music about it.” 

Kayode’s amorphous creativity is revealed in songs like “All I Need” and “Chop This Life.” Whereas the former draws an evocative piano tune alongside the audible progressions of Drill, the latter belongs more in the Afropop territory, set on mellow drums. On “Blessings” the mercurial duo of Psycho YP and ODUMODUBLVCK-assisted feature, Kayode shares that everything came about seamless. He tells the NATIVE that he and Psycho (who delivered his verse in one take) sharing a mutual friend who set up the session. 

Kayode’s sonic repertoire also includes his skills with mixing and mastering. “When I started writing music and I really needed to record music, studio sessions were very difficult to get,” he explains. These structural and financial hinderances delayed his plans for his dream. Eventually, Kayode was able to save up and purchase a laptop which he used to start recording his own original music. “The more I recorded, the more I understood what I was doing. Even at a point, I didn’t even know I was mixing and mastering; I just knew I was making my voice sound good,” he shares. 

When asked about the audible influences in his work, Kayode is quick to cite his love for melodies. He wants to show the prospects of instrumentation, especially the piano, which is widely considered as the base of all music. Returning to his roots, Kayode traces where the sensibility comes from: “It just ties to my memory in church where—because most of the music we play in church were very melodious,” he says. “They spring out certain emotions in you and I feel like subconsciously, it has stuck with me where I listen to certain beats and I am just drawn to them.”

Like every goal-oriented artist, Kayode casts an ambitious gaze to the future. “Right now, I’m growing,” he says. “I’m not where I was last year; I’m certainly not where I was last two years. I’ve grown musically, the fan base is bigger, and yeah I’m hopeful for the future, I know there’s a lot more coming. I just want to keep putting out music for my fans. There’s endless opportunities coming and I’m just waiting and ready for everything that is about to come.” 

New Music Friday: Projects from Ruger, Tochi Bedford & Xenia Manasseh

Posted on by Uzoma Ihejirika

It’s another Friday and time for a roundup of music projects from African acts to check out. Throughout the week, music has poured in from all over the continent and sometimes it can slip through the cracks, unheard. This column serves to bring those projects to your ears as you prepare for the end of work and look forward to the weekend. It’s a packed week for new releases. From Burna Boy to Kelvyn Boy, settle in for an experience as we travel the African continent for the latest music projects.

RUGER – ‘RU THE WORLD’

Since his debut in 2021, Jonzing Records’ Ruger has steadily built a following with smash hits, culminating in deserved stardom for the young artist. His brand of Dancehall-influenced music has helped him carve a niche in the scene and placed him as one of the leading music stars in Nigeria. Ruger has released his 17-track debut album ‘RU The World’ and it’s a boisterous collage of styles and themes that are distinctively Ruger’s.

TEKNO – ‘THE MORE THE BETTER’

Tekno’s place in Nigerian music history is cemented, many thanks to his incredible run in 2015, 2016 and 2017. The singer has returned with renewed verve since recovering from a vocal ailment. On his latest album ‘The More The Better,’ Tekno addresses a variety of topics from love to overcoming tough times. The project is essentially a Tekno affair, with one guest appearance in the person of CKay. From the title track to “Peace of Mind” to “Can’t Chase,” ‘The More The Better’ is a fine outing for Tekno.

XENIA MANASSEH – ‘LOVE / HATE PT. 1’

Kenyan act Xenia Manasseh unveils her debut album ‘LOVE / HATE Pt. 1.’ It is a project that details her observations about love and the pleasures and pains it causes. ‘LOVE / HATE Pt. 1’  is built on an R&B core with Soul and Hip-Hop mixed into it. There are guest features from Tay Iwar, Karun, Shalom Dubas and Xenia’s grandpa Edgar Manasseh. 

KHAID – ‘EMOTIONS’

“On this new project, you should expect the Afrobeats Khaid,” Khaid told the NATIVE in July. On his latest EP ‘Emotions,’ he keeps to his promise with six tracks that showcase his artistry in the Afrobeats lane. The EP contains previously released singles “Jolie” and “Anabella,” and is a collection of love songs revolving around various situations.

TOCHI BEDFORD – ‘HALF BLUE’

Tochi Bedford’s music is a fusion of diverse elements. The artist, producer and sound engineer kept that as an important factor in his artistry and on his latest project ‘Half Blue,’ he sticks to his ethos. With features from Cruel Santino, Mowalola and Odunsi (The Engine), ‘Half Blue’ delves into matters of romantic connections and personal will, creating a skilful addition to the Alté catalogue.

TYSON SYBATELI – ‘PRESENT’

South Africa’s Tyson Sybateli collaborates with fellow SA Hip-Hop podcast crew The Sobering Podcast on his latest mixtape ‘Present.’ The project is rap royalty with Tyson spitting bars over infectious, slick beats. He is also joined by acts such as Priddy Ugly, Thato Saul, Nanette, Ben September and Tron Pyre, among others. ‘Present’ makes for an enjoyable listening experience as we are reminded of Tyson’s exceptional rap skills.

KARUN & BLOCKA BEATS – ‘LIE TO ME, VOL. 1’

Last year, singer Karun and producer Blocka Beats released “Lie To Me (Tell Me a Fairy Tale,” a love song with dark undertones. The positive reception for the song has inspired  Karun and Blocka Beats to invite other producers to add their spin to the track, shuffling it through different soundscapes. ‘Lie To Me, Vol. 1’ features remixes from Blackcurrant, Kenza, Kayrop and Mike Muema, among others.

AUNTY RAYZOR – ‘VIRAL WRECKAGE’

Aunty Rayzor—real name Bisola Olungbenga—is a fiery package of fast-paced raps and effective singing. With a growing repertoire of works across Africa, the artist is seeking to enshrine herself into the consciousness of music lovers. On her debut album ‘Viral Wreckage,’ Aunty Rayzor bursts with energy from track to track, assisted by a host of collaborators. It’s a project sure to turn heads.

Featured image credits/NATIVE

NATIVE Selects: New Music From Johnny Drille, Brazy, Phyno & More

Posted on by Nwanneamaka Igwe

Every week, new music shows up, sweeping fans and music lovers off their feet while artists gauge reactions to know the effect of their creativity. At the NATIVE, we are committed to keeping our ears on the pulse of the music scene and bringing the best sounds to your doorstep. In our last edition, we brought you new releases from Guchi, Diamond Platnumz and more. Today, we have songs that move from Afropop to Amapiano to R&B, with our select artists showcasing their unending talent and passion for creativity. Lock in!

JOHNNY DRILLE – “SPENDING” 

Johnny Drille ventures away from his usual mellow soundscape for an upbeat rendition on “Spending.” Over a groovy Amapiano beat, Drille sings about spending his money on the woman he loves as his show of affection. He croons that while love is important, the material aspects are equally as important. Mavin Records’ boss, Don Jazzy, also provides background vocals while reiterating Drille’s message of spoiling your love interest.

BRAZY & DBN GOGO – “ATTENDS (DBN GOGO REMIX)”

Attends Shekeleva! Brazy’s hit single, “Attends” takes on a refreshing perspective with the help of South African DJ-Producer, DBN Gogo. The initially fast-paced, high-tempo single spins into a slowed-down bass-heavy track with ominous piano chords. The Afro-House embellishments become evident mid-way through the track with the inclusion of brash log drums and barely audible shakers. As the track fades out, Brazy’s vocals seep in and out to allow the instrumentals to take over.

AZANA – “SIFANELENE” 

Following her cheerful tune, “Shona Malanga,” Azana draws us one step closer to her upcoming album with a mellow love story on “Sifanelele.” The Mthunzi-assisted track leads in with daunting, low-tempo piano keys, followed shortly after by Azana’s honeyed vocals and twinkling guitar keys. Backed by melodious chants, her heartfelt rendition tells the story of two lovers expressing gratitude for navigating life’s tumultuous journey together.

PHYNO – “DO I” 

Jaysynths snags production creds on Phyno’s latest Amapiano single, “Do I.” In his typical fashion, the Eastern Nigerian rapper comes armed with sleek bars recited in Igbo and English. He directly poses rhetorical questions on the track’s hook “Do I look like I give a fuck?” paired with a not-so-humble brag of his riches. He is addressing his naysayers, emphasising that he deserves everything in his possession.

KENZA & XXC LEGACY – “ALONE” 

South African DJ-Producer, Kenza taps XXC Legacy for a slow tempo EDM tune, “Alone.” The beat contained the typically intoxicating synths of Deep House paired seamlessly with Legacy’s mellifluous vocals. She embraces vulnerability as she addresses feelings go loneliness after a soiled relationship. “I smoke the pain away, drink it all away/I wish that I could stay, in the clouds today,” she croons on the track’s pre-hook, heavy with feelings of regret.

MR EAZI – “ADVICE” 

Mr Eazi is taking us to church on the intro of his recently released single, “Advice.” Produced by M.O.G Beatz, the high-tempo single leads in with a beautifully sung choir rendition, followed by a direct address from Mr Eazi. He immediately establishes the mood of the track as he reminds onlookers to keep their unsolicited advice. The bass-heavy drum pattern is paired with lush piano chords, backed up by smooth harmonies by the choir. “I no need advice/ talk wey dam talk I no pay attention, them no be my size,” he passionately croons on the tuneful hook.

UNA RAMS & MIKHALÉ JONES – “SOS”

Una Rams delivers a sultry new single dubbed “SOS,” the artist’s acronym for “Sex on Sunday.” He taps South African R&B star, Mikhalé Jones for a soulful rendition, exploring themes of passion and sexual connection with their love interests. The track holds captivating rhythms and captivating melodies created by sweet-sounding saxophone chords and a steady drum pattern.

ANYTHING WITH YUSEF – “FERRARI”

Botswana-born Afropop artist, Anything with Yusef, unveils another layer of his artistry on his captivating new single dubbed “Ferrari.” The track leads in with a velvety saxophone solo paired with a head-bopping beat and light shakers. He seamlessly rides the wave of the beat with charming harmonies and dulcet vocals as he addresses his love interest. He lovingly promises that he is capable of providing all her needs on the Jitotwe Tshombela-produced track.

MOONGA K. & NKOSILATHI – “BE MINE” 

Dreamy Piano chords and twinkling keys open MOONGA K.’s recently released melancholic single, “be mine.” “Can I turn back, can I fix the damage of the past,” he croons on the opening line, evidently filled with feelings go dread. The lush guitar strings heighten the track’s ethereal atmosphere as he reminisces on a past relationship. Nkosilathi taps in mid-way through the track, posing rhetorical questions to her love interest as she expresses her fears of falling in love again.

Words By Nwanneamaka Igwe.

Featured Image Credits/The NATIVE

“The game is the game”: The ultra-popularity of Fantasy Premier League among Nigerian football lovers

Posted on by Dennis Ade Peter

Olaide has his head in his hands, he’s just learnt that Arsenal conceded a goal within a minute of kick-off, in the English Football club’s Premier League fixture against Fulham. A lifelong Liverpool fan, Olaide couldn’t care less if Arsenal failed to win, but he was mourning a conceded goal because the Arsenal goalkeeper Aaron Ramsdale and defender William Saliba were in his Fantasy Premier League (FPL) team. That goal all but assured that both players would have little impact on his score for the week’s round of fixtures.

“Shebi dem dey house?!” Olaitan loudly asks in Pidgin English, his question directed at no one and everyone in the vicinity at the same time. His logic was simple: Arsenal were playing a team that many would describe as a weaker opponent, on their home turf as well, an advantage that meant the possibilities of keeping a clean sheet was more than decent. “You know say Arsenal hate to dey keep clean sheet for house?” a guy popularly referred as SK retorted to Olaide’s question, recalling Arsenal’s nail-biting win against Bournemouth last season, after conceding two goals in the match’s early minutes.

SK, a Manchester United fan, also wasn’t invested in an Arsenal win, but he wanted the London club to complete a comeback if winger Bukayo Saka would be involved in the goals. “Saka dey my FPL team,” he said. Another guy, Tonye, this time an Arsenal fan, wanted midfielder Odegaard to be in on the action. When Arsenal won a penalty in the second half and Odegaard converted from the spot, no one screamed “GOAL BALL!” louder than Tonye. It was obvious he wasn’t just celebrating an equalising goal.

Fantasy Premier League is an online fantasy draft game, centred on the English Premier League (EPL), where fans, pundits and even football players create teams on a fixed budget. At the start of every season, every FPL manager is given a budget of 100 million pounds to draft players of varying prices, selecting 15 players across positions without exceeding the budget. Every round of match fixtures, players are scored based on tangible, real life contributions like goals, assists, clean sheets, added bonus points and more. The cumulated points represents a score for the week, and each week’s tally count towards the total at the end of the PL season.

During the season, FPL managers are afforded a free transfer for each new fixture week, allowing for some flexibility to transfer players in and out within budget. There also chips—bench boost, free hit, triple captain and wildcards—that help with transfers and score boosts, although they must be used sparingly. Prizes are also offered to different tiers of winners: The overall champion for this season’s FPL champion will win a 7-night break in the UK inclusive of two VIP hospitality at two PL matches next season, travel and accommodation inclusive. That’s just the headliner, in a package that includes a laptop, noise-cancelling headphones and more. There are prizes for 2nd to 20th positions, as well as in-season prizes for Manager of the Month and Manager of the Week.

Last season’s tally for the total number of Fanasy Premier League managers was reported to be well over 11 million. Given the increasing popularity of the fantasy game, this season’s should be higher. It’s far more than the 76,000-plus players who registered when the Premier League officially launched FPL, along with its website, in 2002. Before then, a 25-year old computer programmer, Andrew Wanstein introduced fantasy football to the UK, having been inspired by a fantasy baseball game he was introduced to by a family friend from the US. Debuting in the 1991-92 season, Wanstein’s Fantasy League attracted about 700 players.

Although Wanstein wasn’t involved in the creation of Fantasy Premier League, there’s no doubt he inspired the now global phenomenon. “The drive was just sort of enthusiasm for football,” he told ESPN late last year. Even with its glossy prizes, the same drive is what’s pushing FPL’s ubiquity amongst many football lovers across the world—Nigeria included. “It’s just another way to be a fan and engage the game,” Olaide says of being invested in FPL. “Before, all I really cared about was Liverpool and I would watch some matches between the bigger teams, but these days I keep tabs on almost every team so I can find players I can transfer in and out of my team.

Austin, a self-proclaimed FPL champion, is currently a part of three leagues, one of which he paid a 5,000 naira registration. Last year, he was one of 43 managers in the paid league, winning the 150,000 naira top prize for finishing at the top position. “Towards the end of the season, na FPL consume my mind because I don make mouth say I go win,” he says, stating that he’s a sore loser and would’ve probably gone through a bout of depression if he hadn’t ended up at the top spot after spending nearly half the season in that position. A Liverpool fan, Austin says he watched every match possible in May, even though the club he supports was “pretty much nonsense” last season.

This season, Austin isn’t that confident of winning the prize money for the league because there’s been an almost 100% increase in managers. “Now, we have about 80 people and the prize money has doubled but these guys are not playing this year,” he says. Last weekend, he got 64 points, and he’s somewhere in the middle of the pack so far, which means he’s playing catch-up. But that doesn’t mean he’s lost interest in this season’s Fantasy Premier League; the other two leagues he’s part of consists close friends and he doesn’t want to be at the receiving end of humorous, depreciating banter on a weekly basis.

The same motivation is what pushes Oyinkan. “I’m better at dishing banter than taking it,” she says. “So anytime I have a bad FPL week, I avoid social media. My friends know, so they even call me out on Twitter when I don’t respond to group texts. It’s even worse when Man Utd now decide to lose on the same weekend.” Banter is a Nigerian specialty, one that we use in easing and deflecting the debilitating social conditions of the country. On football twitter, it’s known that Nigerians let the jokes fly, from sardonic humour to off-the-cuff observations. Even the country’s national team isn’t spared.

Considering the ultra-popularity of football and the Premier League, along with the global recognition of our bantering abilities, it’s no surprise that Fantasy Premier League is popular amongst young Nigerians. Even those who don’t play have heard about it. According to a tweet from August 2022, Nigeria had 338,250 FPL managers, a number that would have undoubtedly increased as last season progressed, and should be more during this season.

For all its allure, some people still drop off eventually. “After like 10 weeks that I knew I was just arranging rubbish, I gave up last season,” Olaide says. “It requires dedication.” For some, their issue is ideological, especially since the points are fixed. “I don’t like the fact that a player can play really well and not end up with a goal or assist, then be given 3 points,” Austin says. As he explains, it collapses the nuances of the game into straightforward numbers, which can belittle the contributions of some players and overly glamourize others.

As SK points out, the rules are there as a framework for transparency, so players aren’t just awarded points due to the discretion of some people. “It’s just setting up your squad to optimize those fixed metrics,” Oyinkan says with a wry laugh. “Last last, we go again every weekend. The game is the game sha.”

ICYMI: HOW THE IPHONE BECAME INCREASINGLY SOUGHT AFTER BY YOUNG NIGERIANS

Everything we know so far about the coup in Gabon

Posted on by Dennis Ade Peter

For the eighth time in three years, a coup d’état has toppled a civilian administration in west and central Africa. On Wednesday, August 30, military officers in Gabon forcefully ousted Ali Bongo Ondimba as the country’s president, after 14 years in power. Occurring shortly after Bongo was declared as the winner of the recent general election, around a dozen military personnel appeared on national television to announce the end of the existing administration.

The military spokesperson stated that he was speaking on behalf of the Committee for the Transition and Restoration of Institutions (CTRI), and the committee “has decided to defend peace by putting an end to the regime in place.” He went on to add that the election results that declared Ali Bongo the returning president had been voided, placing him and his son, Noureddin Bongo Valentin, under arrest and home detention. Several of Bongo’s aides have also been arrested. According to the spokesperson, the arrested are facing charges from treason and embezzlement to corruption and drug trafficking.

Within hours of the coup announcement, AFP news agency aired a video of the Ali Bongo asking his “friends” to “make noise” and come to his aid, claiming that his family were away from him and scattered around. “I don’t know what is going on,” he said in the video. Instead of gravitating to Bongo’s trepidation, many citizens in Gabon poured out to the streets in jubilation of his ousting, a show of how deeply unpopular the president had become.

In 2009, Ali Bongo was elected into office following the passing of his father, Omar Bongo, who ruled Gabon for 40 years. During the older Bongo’s autocratic rule, Ali served in various capacities in his father’s administration, as the minister of foreign affairs, deputy in the national assembly, and minister of state. It was widely believed that Ali would eventually succeed his father, both his entry into power wasn’t without controversy. Due to allegations of fraud by the opposition, the constitutional court of Gabon ordered a recount of the 2009 election results, which still declared Ali Bongo the winner despite continued grumbling by many citizens.

Seen as a hugely important election, after Bongo had served two 7-year terms, independent candidate Albert Ondo Ossa was considered the main opposition candidate to the incumbent seeking a third term. Months before the election, several controversies put Gabon on edge, starting with a handful of proposed reforms from the parliament. Among the reform were the reversal of the adopted 2018 bill, which moved the single-round presidential election to a two-round ballot, and a reduction of presidential terms to 5 years. In April, these constitutional changes were adopted, along with the abolition of re-election limits, allowing Bongo and many politicians to essentially remain in administrative office for life.

Regardless, Albert Ondo’s candidacy reportedly picked up steam, gaining the support of a multi-party opposition coalition. On the day of the elections, it was reported that foreign media and international observers were prevented from entering Gabon, voting at many polls were delayed, which impacted the percentage of registered voters that actually voted, and ballot papers carried the names of candidates who had already dropped out of the race in support of Albert Ondo.

After voting took place on Saturday, the government restricted internet access and imposed a curfew, stating that there were measures against the spread of false news and potential violence. In the dead of night, at 3:30AM local time, the results of the election were announced, declaring Ali Bongo the winner with over 60% of the vote. Shortly after, mutinous soldiers, led by Brice Oligui Nguema, commander of the republican guard, took over the presidential palace, placing Ali Bongo under arrest before making their announcement later that day.

Gabon joins Niger, Burkina Faso, Mali, Chad, and several other African countries and former French colonies that have slid into military rule via coups. The celebration of the coup by Gabonese citizens is a reaction to decades of being lorded over by a family and select group of elites, with Omar Bongo keeping the country in a one-party system until 1991, and his son keeping the hegemony going even as oppositions have sprang up. Gabon, a mainly producing and export country, is currently beset by high levels of poverty, with a reported 40% unemployment rate for people between ages 18 and 40.

The Bongo family has been repeatedly accused of embezzling and hoarding public funds, with the Pandora Papers fingering Ali Bongo as one of the many African leaders with wealth in offshore tax havens. On social media, a viral tweet shows an alleged video of bags of hard currency in the presidential palace. Many Gabonese hope that the coup will portend the change of the country’s fortunes. The Committee for the Transition and Restoration of Institutions (CTRI) has announced Brice Oligui as the president of the transitional council, perhaps a sign that the new junta already has eyes towards a true democracy in the near future.

[Featured Image Credit: Al Jazeera]

ICYMI: EVERYTHING WE KNOW SO FAR ABOUT THE CONFLICT IN SUDAN

Teni Shares Her Second Single Of The Year, “Lanke”

Posted on by Emmanuel Esomnofu

Evolution is a famous concept in music. Once every while, an artist grows beyond their established sound and aesthetic, and it becomes necessary to create another vision. Prior to this year, the singer Teni occupied a visible space across the scene; pulling from the colourful tapestry of the Nigerian experience, and infusing the sounds of her native Yoruba, she created effervescent portraits of young existence, as heard “Uyo Meyo” and “Case,” just to mention a few records. 

 

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Today, the artist releases “Lanke,” her first record since the May-released “No Days Off”. As the older song revealed, the musician was branching onto wider plains of sonic experimentation. Its Genio-helmed production had a skittering, freewheeling drum base that was ostensibly influenced by Nigeria’s alte music, especially those which have soundtracked a number of songs from Cruel Santino, who also directed its visuals.

Coming after 2021’s sprawling ‘WONDALAND’, it signified a marked change from the afropop Teni was doing, and unsurprisingly, was timed to go with her new brand direction, which was a more femme, gritty image, arrived at by dark rock-esque clothing and sunshades, bandanas and ripped trousers—-her second arc was in full flow. 

“Lanke” continues in that style, another step towards the new sound Teni is charting. An Amapiano-tinged progression is provided by Blaise Beats, a cool but zesty vibe that would fit seamlessly with Asake’s ‘Work of Art’. On vivid display throughout that album were novel techniques for the South Africa to be utilised, and Blaise, who’s been one of the more consistent producers in recent years turns in a beautiful shift on the record. The drums are accompanied by string instruments and deftly follows the vocal inflections of Teni, making it a song in purposeful alliance with all its component parts. 

To her credit, Teni isn’t estranged from her early technique, sprinkling the vibrant poetry of the Yoruba language on its chorus. Her vocals are as evocative as ever, as she speaks on her unique qualities with a rapper’s audacious allure. “On g, I got the juice and the energy, everybody wanna sodi to my melody,” she sings in the opening bars, and for the rest of the song’s runtime, she paints the image of living up her life, in the second verse, singing, “Teni Makanaki on a skibi jumpo lifestyle, bad bitches wanna ride/ Never alone, with my guys, I’m a liverpool on this side…”  

Feel-good bops have been an essential niche in Teni’s catalogue and “Lanke” is a fine addition. Each second of the song bursts with flavour and finesse, showcasing the continued growth of the beloved singer. Perhaps a couple more singles would be released before an album comes out but right now, Teni has scored two great songs in two releases, and witnessing this growing affinity for experimentation has been a triumph of afropop’s year. 

NATIVE Selects: New Music From Show Dem Camp, E.L, Muthaka & More

Posted on by Emmanuel Esomnofu

Every week, new music shows up, sweeping fans and music lovers off their feet while artists gauge reactions to know the effect of their creativity. At the NATIVE, we are committed to keeping our ears on the pulse of the music scene and bringing the best sounds to your doorstep. In our last edition, we brought you new releases from Guchi, Diamond Platnumz and more. Today, we have songs that move from Afropop to Amapiano to R&B, with our select artists showcasing their unending talent and passion for creativity. Lock in!

SHOW DEM CAMP FT. BELLAH – “WYW”

Off ‘Palmwine Music Vol. 3’ from Show Dem Camp comes this new music video. A favourite among listeners of that sprawling, feature-laden body of work, here the rap duo translate its theme of a toxic relationship into a stirring visual montage. The looks are exquisite and the scenes packed with deliberation as much as action, and Bellah pulls off a riveting performance as the femme fatale. Everything works to beautifully extend the run of this record. 

TOLIBIAN – “Happy”

Abubakar Abdulmutolib Ottan, popularly known as Tolibian is a fast rising singer and songwriter from the North Central part of Nigeria (Ilorin, Kwara state). On his latest single “Happy,” the singer delivers a perfect fusion of Afrobeats and Apala, which can best be described as tuneful and classic. On the new track, Tolibian attempts to paint a mental picture of what living a true happy life feels like with lyrics such as “We battle and survive/Wetin God design no fit collapse.”

E.L – “SOBA”

One of the most consistent artists from Ghana, the music of E.L has always retained a funny, quirky outlook. “Soba” is his latest, colourfully rendering the azonto sound in a contemporary light. The result is a hit ready-made for online challenges, which should get the song’s hype buzzing afterwards. Considering the celebratory period we find ourselves in this year, there are surely great prospects for the record going forward. 

MONSEEKA – “OVER THE RADAR”

Monseeka might be a newcomer, but she’s clearly accrued experiences that glow under the heat of her pen. Her intense sensibilities are captured on this record, which details her floating towards the perfect place. Emo themes are increasingly fancied by young musicians; that is because the mental landscape offers so much narrative material. Helmed by the masterful Bigfoot, this is a sterling addition to that tradition. 

MUTHAKA & EMMA CHERULO – “TOUCHING ON MY BABY”

A consistent feature in the African music scene is the soulful excellence of Kenyan artists. The country has no shortage of artists adapting genres like R&B and Soul, matching their soulful core with the vibrant percussions within their popular music. “Touching On My Baby” benefits from that fusion, blending the impressionist voices of both musicians to tell a sweet-sounding tale of desire and protection. A vintage touch is present in the visuals, which references the eighties-evoking vibe of the record. 

KING PERRYY & IDA BANTON – “DENGE”

The Port-Harcourt sons unite for this scorching banger. “Denge” harkens back to the sound of Baba Fryo and his iconic dance, actualised through a contemporary filter which manifests in the zesty edges of its mastering. At its core, however, is a simple Dancehall riddim and a vocal sample, while both artists float assuredly over the record. It’s expectedly light work for King Perryy who’s in familiar territory, but it is 1Da Banton’s verse, brief and boisterous, which brings the song home. 

JAY-WAY – “ONLY ONE I THINK ABOUT”

A thrilling sense of adventure follows every second of this record. Crafted with intimate observation and fun-paced progressions, it blurs sonic lines between bedroom pop and rap music. The Dutch-Ghanaian act has also put out a five-track EP of the same title, incorporating zesty touches from nearby genres of alternative rock and dubstep, all of them working towards the project’s portraiture of a colourful, complex existence, which ostensibly belongs to the young. 

MOHBAD – “BEAST & PEACE”

Earlier this year Mohbad released the ‘Blessed’ project, unarguably his most important one yet considering the events which preceded it. Off that project, few songs captured its stark imagery as vividly as its opener, “Beast & Peace”. The song, as its title suggests, presents both sides of the street reality while centering his own trajectory within those considerations. On the just-released visual he’s dressed as someone who’s just come off a fight, a telling allusion to the song’s message of personal strength amidst the trials of being persecuted and picked upon. 

MAJOZI & MTHANDAZO – “MI AMOR”

On this jazzy track, the South African artists combine to pine about a lady’s love. Cheesy, affectionately-drawn images are drawn with lighthearted touch, while the easy production reminds you of a rainy day. It’s a beautiful song whose strength arises from its tenderness, which is evident from the guitar progressions down to the background vocals. Each element contributes to its dazzling whole, making this the perfect soundtrack to a loving moment. 

[Featured Image Credits/The NATIVE]

Nigerian moviegoers to enjoy discounted prices on National Cinema Day

Posted on by Dennis Ade Peter

Going to the movies is no longer the somewhat low-cost endeavour it used to be. The world over, the cinema experience has become more expensive, largely due to global inflation. In Nigeria specifically, the jump in prices has been more than noticeable, with a 100% hike in the last five years. Coupled with the increased penetration of streaming platforms, the cinema-going rate hasn’t boomed and the recent increase in revenue has mainly been spurred by the hike in prices, with a significant portion of viewers going to cinemas to see blockbuster Hollywood films.

Last year, the film industries in the US and the UK launched National Cinema Day, allowing cinemagoers to watch films at drastically reduced, uniform prices for a single day. In the US, more than 8 million people showed up at cinemas to watch films at the flat rate of $3. In the UK, over 1.5 million people watched films for €3—around three times the normal level. Last Saturday, more than 3,000 theatres joined in the second edition of National Cinema Day in the US, with more than 8.5 million moviegoers participating in the $4 flat rate for movie tickets. Next Saturday, September 2nd, more than 630 theatres in the UK will be showing films for €3.

 

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Following suit, the Cinema Exhibitors Association of Nigeria (CEAN) has announced a heavily discounted, flat price for cinemagoers in celebration of National Cinema Day. Similar to the UK, it will take place on September 2nd, and cinemagoers will be able to watch films for N1,000 across 50 cinema locations in Nigeria. Participating cinemas include popular multi-venue chains like Filmhouse Cinemas, Genesis Cinemas, Silverbird Cinemas, and more. “We believe this will bring together audiences of all ages to enjoy a day at the movies and see any movie of their choice at a discounted ticket price of N1,000,” CEAN president Opeyemi Ajayi said in a statement. “We are doing this to say thank you to movie-goers and promote the cinema-going culture as well as to remind audiences about the magic of cinema.”

Nigerian cinemagoers likely to take advantage of the reduced prices will be spoilt for choices, as a handful of blockbuster are currently showing in cinemas. In addition to worldwide smashes ‘Barbie’ and ‘Oppenheimer’, there’s the new DC superhero film ‘Blue Beetle’, the ongoing local box office sensation, ‘Orisa’, the new Yoruba epic ‘Kesari’, Niyi Akinmolayan’s children’s film, ‘Mikolo’, the long-tenured fourth film in the epic action franchise, ‘Mission Impossible’, and more. Grab your popcorns!

AV CLUB: ‘JAGUN JAGUN’ RAISES THE CEILING FOR YORUBA EPIC FILMS

NATIVE Exclusive: Bobo Omotayo’s Multidimensional Vision of Fuji

Posted on by Emmanuel Esomnofu

The history of Nigerian music isn’t complete without an understanding of its component parts. Of those parts, Fuji is a towering cornerstone. The genre which evolved from the Islamic prayer rites, Ajisari and Were, is musically vibrant, draws from the deepest wells of Yoruba culture, and has greatly influenced modern Nigerian pop. A testament to its transcendent influence is its fan base it enjoys across Nigeria and in the diaspora, which is the next focus for Bobo Omotayo, who is the creator of ‘Fuji: A Opera.’ 

At the height of the pandemic in 2020, Omotayo “had a lot of time on his hands,” he shared with The NATIVE on a recent weekday. Being a culture custodian, he decided to tell some stories he’s had on his mind for a while. The origin and phenomena that is Fuji presented a good place to start. “There was basically nothing online,” he said of his time researching the culture of Fuji, especially when one goes beneath the surface of its contemporary endurance. A lot of its intricacies were lost to time, either through disinterest in its narrative or a dearth of its knowledgeable custodians. The former was the case. 

To further accentuate his ideas, Bobo brought in his brother Papa Omotayo and his friend, Tosin Ashafa, who both acted as investors and creative partners. A lot of reaching out was done, knowing that bringing such a powerful narrative onto the landscape of today’s popular culture would need heavy lifting. From collaborating with the genre’s living greats, to seeking information from university professors and traditional rulers, down to the important establishing corporate alliances which propelled the message even further, Lagos state—and by natural extension the national cultural space—felt the impact of ‘Fuji: A Opera’, especially in the subsequent months and years. 

 

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Storytelling was the ethos of Bobo and his team. To bring both old and new lovers into Fuji’s sprawling existence, the information to be presented had to be bit-sized and entertaining. An exhibition at the Ikoyi-based Alliance Francaise (another one of their partners) resolved that need, but even more striking was the experiential scope of its design. Austere funnel-styled speakers softly played the music of each great, located on one part of the wall. Elaborate lace materials usually worn by Fuji practitioners adorned another wall, there were pictures, memorabilia, and written information on several facets of the culture, such as the biography of the Fuji pioneer Ayinde Barrister, the genre’s memorable artist clashes over the years, and the wisdom of its spoken word. It was a world unto itself. 

This exhibition happened for a week, and included a panel discussion which featured K1 De Ultimate, who, for an hour, revealed how far the genre has taken him and several others, which is supplied by its overall culture, both sonic and visual. A grand concert capped off the event, as K1, Saheed Osupa, Malaika and several other Fuji stars performed. The platform also gave rising Fuji acts a chance to perform in front of luminaries. 

For Bobo Omotayo, ‘Fuji: A Opera’ is an extension of interests he cultivated much earlier in life. He was a reader, who then began writing seriously around a decade ago, publishing his first book ‘London Life, Lagos Living’, which collected short poignant observations about life in the Nigerian city. In 2015 the book was made into a stage play by Make It Happen productions, and starred established figures such as Kate Henshaw, Funke Akindele, Lami Phillips and several others. ‘Honourable’, his second title, was published in 2017, a satire which revealed the intricacies of an actual political campaign the author took part in and interweaving them with fictional premise. 

From these entries, Omotayo’s love for cultural endeavours spring forth, and the tinkering in-between mediums is what makes them exciting pieces for public consumption. His next exploit is taking ‘Fuji: A Opera’ to the world, and he’s already in the motions of doing so. Since the 18th of this month, the London exhibition has been taking place. “We’ve taken over four floors at the African Centre,” says Bobo, “where people can sort of start the journey of Fuji, how it started in the 1950s and how it’s evolved over the last seven decades to where it is now. On the fourth floor we’ve actually imagined what Fuji would look like in future, because for me, this is a genre that would transcend my time, and probably my children’s time, so for us, it’s really about, How do we keep this thing going?”

As ever, Bobo Omotayo built on the blocks of what he’d already achieved previously. The Lagos exhibition was a learning experience for the group. “The London one is far richer in terms of content,” he says, “because when we did the Lagos showcase, we had space constraints and knowledge constraints. So, for the last two years, myself, a couple of academics, a couple of African Studies scholars, a couple of culture custodians, and of course, the Fuji music artists themselves, we’ve been partnering to really articulate the history”. 

The ‘Fuji: A Opera’ experience aims to break more ground, according to Bobo. A documentary is currently in the works and a touring experience is taking the showcase to different parts of the world. As its creator likes to say, it’s a multi-dimensional experience that will keep looking for ways to tell the complex, thrilling story of Fuji.

ICYMI: SKINCARE BRAND, BLUE POPPY, IS CELEBRATING SISTERHOOD AND SELF-CARE FOR WOMEN

Best New Music: Adekunle Gold Shines Brilliantly On Fridayy’s “Done For Me”

Posted on by Emmanuel Esomnofu

Adekunle Gold has been operating in scintillating form throughout this year. Before releasing his sprawling fifth LP, ‘Tequila Ever After,’ the singer had embarked on a run of hot singles and sold-out events, while a deal with Def Jam Recordings gave flight to his ascendant place in the global music discussion. Off this project, the track “Sisi Ganja” was produced by Fridayy, the American-Haitian artist who’s been a revelation on the international scene, and has appeared eagerly linked with his African roots, collaborating with Asake, and appearing on his recent O2 Arena event. On his new self-titled album, it is Adekunle Gold who lends his magical touch to the younger artist, both floating over afro-inspired sonics. 

Over the past two years, Fridayy’s strong, evocative vocals have scored him collaborations with the likes of Lil Baby and Wiz Khalifa, while his crowning moment unarguably came on DJ Khaled’s smash record “God Did”. For the American rap scene, JAY-Z’s sprawling verse was perhaps the standout, a flex on the iconic bearings of the Brooklyn rapper, but for the majority of international listeners, it must have been  the gospel-licked chorus of Fridayy which cemented the song’s transcendental feeling.  Since then, the 23-year-old artist has remained at the forefront of a resurfacing consciousness in popular music, which is that of the gospel-influenced artist.

There is an effervescent beam of positive energy on the AG-featured “Done For Me”, permeating every second, every lyric, and every beat count. It is created from a profound place of inner strength, and there is no surprise the artist thinks highly of the record as well: it’s the second song off the singer and producer’s self-titled album, which is one of the propulsive sections of every body of work. The second song moves the project beyond the musician’s urges and towards the listener’s taste, and should ideally merge both motivations, which is what Adekunle Gold and Fridayy achieve with this record.

Adekunle Gold’s verse is a shimmering display of mastery, as he skids over the production with ease. It’s his vocals which highlights the Afro base of the song’s percussions. He advances the song’s message with his inimitable perspective, the high levels of storytelling that took him from an alternative-serving act to one of the continent’s biggest pop stars. His verve audibly comes from a real-place which, given the writing, would most likely be related with the sickle cell experience he related on “5 Star”. Here, he’s appreciative of being given that chance at life, because he “could have been dead and gone/ six feet, but you saved my soul”. Tender writing meets AG’s patois-laced inflections, which suggests he was in the celebratory mode of ‘Tequila Ever After’ when he delivered this verse.

 

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The artist is one of the two Nigerian artists featured in ‘FRIDAYY’. On “You” the dramatic ease of Fireboy DML finds purposeful deployment, which sort of continues a thread of diaspora-born Black artists collaborating with their Nigerian and African counterparts. It’s a worthwhile moment in the history of popular music because advancing the commercial vision of trans-continental collaborations in times past, now it’s in service of honouring cultural ties and passing deep messages about our shared experiences of hurt, struggle, and triumph, which vaunts beyond the constraints of time and space.  

Life’s greatest lesson is its fallible nature: things can go wrong, nothing is set in stone, make hay while the sun shines, and so on. There are many such quotes which highlight this aspect of our existence, which similarly influences both artist’s musings on the record. Starting out, the pensive landscape of the modern world is evoked by Fridayy when he sings, “Tell me why they envy me,” just before he prays the Lord to defend him from enemies. His earnest yearning is amplified by the polishes of vocoder-inflected background vocals, a technique he’s quite fond of. That gives his winding verse a palpable warmth, establishing a bright-shaded side to the narrative coin he presents from the start of the record, that nearby potential for disaster.

In the past, a host of musicians have carried their Christian values into song. Gospel has thrived largely within Africa, partly because it was a defining trait of cultural life in the aftermath of colonialism across the continent. But gospel’s success is owed also to its exhilarating sonic quality, which offers a beautiful alternative to the percussive semblance of afropop. Its relationship with popular music culture—the church being a sort of training arena for musically-inclined persons to learn instruments, sing, and develop a grasp on the art form—also supplies its continued relevance. It is from this tradition Fridayy emerges, although he also operates in the R&B and Soul field, using his striking vocal abilities to tell poignant stories.

Born to Haitian parents, Fridayy operates from a sonic tradition that has origins in West Africa. On this record he deepens his link with Haiti, delivering its first pre-chorus in Haitian Creole, a language which rose in the seventeenth century and has lasted through the times. Housed within the personal debut album ‘FRIDAYY’, “Done For Me” sets the done for its almost forty minutes of brilliance. 

ICYMI: HOW ADEKUNLE GOLD MET TIO TEQUILA

TurnTable Top 100: Falz earns his first top ten entry with “Ndi Ike”

Posted on by Nwanneamaka Igwe

Falz is enjoying his moment. The Nigerian rapper earns the biggest launch this week with his new single, “Ndi Ike” featuring rappers Flavour and ODUMODUBLVCK rises to a new height at No.8 on the chart this week. “Ndi Ike,” is in good company on the charts, and earns Falz his first top ten record and the first top entry in Nigeria featuring many rappers. The single is also ODUMODUBLVCK’s fourth entry on the top ten and Flavour’s second entry.

Elsewhere on the charts, Asake maintains his dominance for another week. His latest standout track “Lonely At The Top” records another week at No.1, totalling seven weeks on the chart so far. The track garnered 96.2 million in radio reach and 3.95 million streams across on-demand platforms. “Lonely At The Top” becomes Asake’s longest-serving No.1 single equalling the seven-week dominance of Fireboy DML’s “Bandana” featuring Asake.

Following the release of his latest album ‘I Told Them,’ Burna Boy’s “BIG 7” returns to its peak at No.2 on the charts. It comes after the global release of the ‘I Told Them’ magazine, which was released in tandem with the album. It’s followed by Khaid’s “Annabella” which returns to No.3 after six weeks on the TurnTable Top 100 and Omah Lay’s “reason” which sits at No.4 this week. Olamide’s “Jinja” closes out the top 5 following three weeks on the chart.

Outside the top five, Shallipopi’s “Obapluto” returns to No.6 this week, rising from its last peak at No.10 last week. It is followed closely by Adekunle Gold’s “Ogranya,” which falls to No.7 following its rise to No.6 last week. At No.9 is King Promise’s “Terminator” which maintains its position from last week. Olamide’s “Gaza” rounds up the top ten this week rising from its peak at No.11 last week. Just outside the Top ten, Davido’s “Unavaliable” springs back to No.11 after slipping to No.22 last week, while Magixx’s “Maria” debuts on No.35.

[Featured Image Credits/The NATIVE]

uNder: Best New Artists (August 2023)

Posted on by The Native

Every other day, new talents break into the scene with a series of offerings, hoping to stand out to a crowd with an ever dwindling attention span. From a skilled pen game, inimitable vocals or transcendental production skills, these fresh acts display varying talents that aim at not just connecting with an audience, but redefining the status quo and slinging the ropes of African music far beyond its boundaries.  More often than not this guarantees the presence of an infinite list of talents, providing staggering gems and re-telling our stories from a brighter, renewed perspective.

Sifting through these exceptional acts can prove overwhelming but our monthly instalments of uNder ensures that all grounds are covered and no artist worth noticing skips your radar. As summer comes to a glorious finish, and with the end of 2023 creeping in, our August class presents a promising group of artists from across the globe on the cusp of a bigger breakthrough. Newest Mavin Lifesize Teddy arrives armed with vulnerable confessions in melodious tunes and sleek bars; Fentse. is an introspective savant and precocious nu-soul singer; the already-popular ilham is a vision of second-generation immigrant excellence; and three more artists with distinctly striking traits and artistic narratives.

Read on below for more info, listen to our uNder playlist and find your favourite new artist(s).

LIFESIZE TEDDY

Earlier this month, Lifesize Teddy joined the Mavins records all star roster armed with admirable confidence and skilled penmanship, showcased through heart-warming melodies and assertive bars. The Port-Harcourt native joined the label in what seemed like a full circle moment, after delivering an invigorating performance opening for Ladipoe back in 2018, joining the label’s famed academy two years later. Released in tandem with her unveiling, as typical of new Mavin signees, Lifesize’s eponymous debut EP arrived with a refined touch to her evidently multi-dimensional palette.

A bite-size insight into her personality and craft, ‘Lifesize Teddy’ displays several phases and reference points of the artist with suave touches of Dancehall, Rap and Nigerian pop. She is armed with brazen confessions of love and life, delivered effortlessly in Pidgin and English thanks to her background from the culturally vibrant Port-Harcourt. The music feels and sounds like an intimate diary session, considering how seamlessly Lifesize Teddy is able to convey her heartfelt emotions in only 5 tracks. Her dexterity in song writing comes through clearly on “Prophecy” where she confidently brags of her growth thus far, paired with a heartfelt admission reminiscent of her early days.

On “Air,” the leading track of the project, she utilises the track’s breezy soundscape to bare her emotions to a love interest while maintaining confidence that she is still one of one. As she croons on the mid-tempo instrumentals, “I got many many women underneath this skin, they are fighting to be seen,” it is clear that Lifesize Teddy possesses many layers to unfold and her debut EP is just a showcase of the tricks in her voluminous bag.

IDDI SINGER

Iddi Singer’s affairs as an artist dates all the way back to 2010, but it’s fitting to claim that he’s only just hit his stride. The Mombasa-raised, Kenyan musician describes his style of music as “Swarnb,” an abridged portmanteau that references the cadence of his Swahili-informed songwriting and his reverence for R&B. Armed with a smooth tenor, and clearly influenced by the male R&B heartthrobs of the ‘90s and 2000s (think a cross between the soulful Joe and the more exuberant Mario), the sonic tag makes some sense, but it undersells the expansive nature of his musical interests.

His 2020 debut EP, named after his style of music, is a vivid collection of tunes that melds his blue-eyed perspective on romance with production that’s buttery and fluorescent. There’s guitar-led R&B tunes, as well as mid-tempo Afropop jams. The result is impressionistic, the work of an artist who could try on several styles without coming off as scatter-brained. For his next multi-project release, however, he honed in on a single style. 2022’s ‘Rootsman’ is rooted in reggae, his approach recalling the optimistic lyrical lean and modern yet organic instrumental flair of Chronixx. Between those two EPs, it was clear Iddi Singer was building up to something with higher stakes, working his way into being a better-rounded artist.

The evidence is on ‘Imba’, his February-released debut album, an album where range in service of the music, and not the other way around. Of course there’s R&B and Reggae, but the multicoloured palette also  spans Bongo Flava, Kizomba, and more influences across Afropop. On the standout song “Seasons,” he collaborates with Grandmastatek for a luminous Deep House slapper, serving as the launching pad for the duo to extend their musical kinship. Earlier this month, they released ‘Afrodisco’, a propulsive 5-track EP that moved across varying styles of Dance music, with Iddi Singer dousing his writing with more edge than he’s typically shown, journeying from heartbreak to romantic bliss. It’s proof that he’s still unravelling the extent of his abilities; at that, he already deserves your attention.

RAYTHEBOFFIN

While new to the Nigerian music scene, RayTheBoffin—real name Joseph Chikak—boasts a healthy catalogue. The producer/singer has been constantly exploring the boundaries of sound, fusing genres into one another whilst inserting relatable stories onto those rhythms. A large portion of these works came before he signed with the London and Johannesburg-based record label Outer South as one-half of Riverays, with co-member Iver Rivers and member of the four-man group Dancing in the Desert (with Iver Rivers, Jess ETA and 3kene).

Whether as Riverays or Dancing in the Desert, RayTheBoffin has found a soft spot between R&B, Rap, Afrobeats, Soul and Rock. As a new signee of Outer South, RayTheBoffin’s latest offering is ‘Freckles,’ a pristine collage of sounds such as Hip-Hop, R&B, Pop and Dancehall, with dashes of electronic distortions. The project is an ode to love and the varying emotions it uproots from people.  From the grooviness of “Lifeline” with 3kene and Tim Lyre to the Trap bounce of “Okay” with Twelve XII and BUSA to the Amapiano elements of “New Emotions,” RayTheBoffin exhibits his versatility. Labelmate Suté Iwar recently described RayTheBoffin as having “a big future” and it’s no mere co-sign: RayTheBoffin has shown he’s here to stay.

FENTSE.

Fentse.’s music accommodates so much soul and emotion. Since her debut with the 2020 tear-jerker “Don’t Care (Let Your Eyes Bleed),” the South African singer and producer devoted herself to making music to speak to people’s great times and dark moments. In 2021’s ‘Get It Together.,’  Fentse. dug into her life experiences for an R&B/Soul affair (with elements from other genres) with soft vocals that possess as much venom as it is a caring friend. Regardless of the sonics she settles for, Fentse.’s music reflects honesty.

Fentse. has described her music as being “inspired mostly by her experiences,” and that “her taste in music is ever evolving and ever developing, ranging from melancholy and ambient to experimental and upbeat.” On ‘Therapy Is Cancelled,’ her latest body of work, Fentse. articulates the roles humans play in their lives and the lives of others: lover, truthseeker and chaser of happiness. She bristles at a lover’s toxicity on “Video Girl,” ponders about existentialism on “Caffeine” and thirsts for clarity on “White Doves.” Fentse.’s music is a flame in the storm, enduring the knocks yet burning bright and lighting a path.

KAYODE

The musical education of Kayode began a long time ago. Both his parents were Christians and he was around church a lot of the time, learning to play the piano. Till this day, that awareness for instrumentals feature in his music, which is a vibrant mix between orchestral-set bangers, zesty rap flows, and the colourful sweet talk of afropop. “I learnt most of the stuff I knew on YouTube,” Kayode told NATIVE.

A project like 2020’s ‘Playtime is Over’ demonstrated those influences, as Kayode united variant sounds while talking his shit in the most audible ways. As the title suggests, the six-track EP was a crystallisation of what spurred him towards music a few years earlier. While “On My Back” and “Look at You” showcased his rhyming abilities over cloud rap beats, “Sideguy” and “456” coasted on warm percussions, both masterfully produced by an ascendant Magicsticks, who he met after he began sharing his work on Instagram and getting acclaim for them. Kayode merges both his dominant sensibilities, especially on the latter record, where he turns in the evocative hook (“Oh baby, whine make you whine, I no be Casanova”) while feature Victony delivers beautifully, including a rapped verse.

Kayode continues to oil the wheels of his artistry. In May, he released ‘STILL FIGURING LIFE’, an EP that packs thoughtful observations into its concise 7-song set. “At a point in everybody’s life, we’re into that realisation we’re all still figuring life,” he says about the motivation behind the project. “I like to make music about what I’m feeling”. The drill-evoking opener “Fill Me Up” is matched with other excellent records like “All I Need” and “Blessings,” and beyond the quality of their gaze, it is Kayode’s skills with mixing and mastering which takes them into an otherworldly scope, bringing out the best of features ODUMODUBLVCK and Psycho YP, in the case of the latter record. With the crisp honesty of “To The Top” shared with the world some weeks ago, Kayode’s vision has remained unrelenting and positive. That mentality cannot be bought, just as the experiences that have burnished his music.

ILHAM

Sensitivity doesn’t fail the musician. Since emotions are directly considered within the metres of sound, accomplished artists—or those planning to become one—need to build up techniques on relaying their unique experiences and perspectives into sound. Born to Moroccan parents in the US, this has been an underlying focus in the music of ilham, whose bluesy records are influenced by listening to 2000s American R&B, but also the expansive, oriental tastes of her parents who, during her formative years, played a lot of Arab music inside the house.

ilham’s earliest music was released around 2019, shortly after graduating university, also preceded by an internship at Capitol Records. There’s a lived-in quality in records like “down” and “cycle of games”, as ilham fuses autobiographical detail with woozy Trap and Soul. “You pushed me down once, took ten steps forwards,” she sings in “down,” rebelling against the unchecked influence of an adversary, and later affirming “Let’s make mama proud” behind the words which make up the song’s hook. Growing up in the Hip-Hop-dominant area of Queensbridge, in New York, her rapper’s awareness for language have resulted in a number of projects over the years.

Her duo of projects ‘with time’ and ‘ilham’ were released three years apart from each other, the latter coming out in September last year. Bearing her artistic growth, it’s a demonstration of the skills that first drew ilham to French Montana who signed her, and now Def Jam, the global record label powerhouse. Whereas the earlier project was mellow and personal, with songs like “i tried” and “never even know” utilising a core sound of lo-fi to express those sensibilities, the self-titled EP was more encompassing in its gaze and broader in sound, introducing zesty touches to the established sensitivity of ilham. For her, as “show me” and the Vory-featured “hype” reveal, music doesn’t have to go far from its roots to transcend.

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

ICYMI: NKOSAZANA DAUGHTER, xINSOMNIAC & MORE BEST NEW ARTISTS FROM JULY 2023

What’s Going On: Election Aftermath in Zimbabwe & Gabon, Anti-LGBT Law in Uganda & More

Posted on by Uzoma Ihejirika

“What’s Going On” Tallies Notable News Headlines From Across The Continent — The Good, The Bad, And The Horrible — As A Way Of Ensuring That We All Become A More Sagacious African Generation. With This Column, We’re Hoping To Disseminate The Latest Happenings In Our Socio-Political Climate From Across The Continent, Whilst Starting A Conversation About What’s Important For Us To All Discuss. From Political Affairs To Socio-Economic Issues, ‘What’s Going On’ Will Discuss Just That. This Week’s Headlines Come From Niger, Somalia & Zimbabwe

REACTIONS TRAIL RESULT OF ZIMBABWE’S PRESIDENTIAL ELECTION

Zimbabwe’s main opposition leader Nelson Chamisa has countered the re-election of President Emmerson Mnangagwa, alleging “blatant and gigantic fraud” in the electoral process that declared Mnangagwa’s victory on Saturday.

The Zimbabwe Electoral Commission (ZEC) announced Mnangagwa, 80, won a second term with 52.6 per cent of the ballots against 44 per cent for his main challenger, Nelson Chamisa, 45, of the Citizens Coalition for Change (CCC) party. The announcement, which came after voting had to be extended because of delays in the printing of ballot papers, was made two days earlier than expected.

Mnangagwa, speaking from the presidential palace, dismissed the allegations. “I did not conduct these elections. I think those who feel the race was not run properly know where to go to complain,” he said at a news conference on Sunday. Although Mnangagwa insists the electoral process was free and fair, international observers have sided with Chamisa. The United States, through its Department Spokesperson Matthew Miller, have condemned “the intimidation and disruption of lawful election observers throughout the electoral period.”

Mnangagwa assumed office in November 2017 following the removal of Robert Mugabe whose 30-year was characterised by political tensions and economic turmoils. Mnangagwa is a member of the political party ZANU–PF and a longtime ally of Mugabe. His main opposition Nelson Chamisa is considered a man of “uncomplicated message, honest ambition and commitment to achieve meaningful change,” as he grew up in Kuwadzana, “a sprawling high-density township in Harare where the widespread effects of ZANU-PF’s socioeconomic failures – especially unemployment, hunger and poverty – are experienced particularly severely.”

UGANDA: 20-YEAR-OLD MAN FACE POSSIBLE DEATH UNDER ANTI-GAY LAW

Ugandan prosecutors have charged a 20-year-old man with “aggravated homosexuality,” an offence punishable by death under the country’s recently enacted anti-gay law. The law, which is one of the harshest as regards queer people, contains provisions that make “aggravated homosexuality” an offence punishable by death and includes penalties for consensual same-sex relations of up to life in prison.

The suspect “was charged in Soroti [in eastern Uganda] and he is on remand in prison. He will be appearing in court for mention of the case,” said Jacquelyn Okui, spokeswoman for Uganda’s directorate of public prosecutions. According to the charge sheet seen by AFP, the 20-year-old suspect was charged on August 18 and is accused of “unlawful sexual intercourse with… [a] male adult aged 41.”

In May, US President Joe Biden called for the immediate repeal of Uganda’s Anti-Homosexuality Act, which he tagged as “a tragic violation of universal human rights.” But the government has remained defiant with Uganda’s president Yoweri Museveni accusing the World Bank of using money to try to “coerce” the government to drop the controversial legislation. The legislation also has the support of the majority of the country’s citizenry who see the measures as a necessary pushback against perceived Western immorality.

GABON: OPPOSITION CANDIDATE DECLARE VICTORY AFTER SATURDAY’S ELECTION 

Albert Ondo Ossa, President Ali Bongo Ondimba’s main rival in Saturday’s election in Gabon, whose official results are still awaited, has claimed to have won and called on the Head of State to “organise the transfer of power.” Ossa had already denounced “fraud” by the Bongo camp on Saturday, two hours before the polls closed, and asked to be “declared the winner.”

“We call on our compatriots who gravitate around this power that is more devoid of legitimacy than ever, particularly those around Mr Ali Bongo Ondimba” to bow humbly before the will of the Gabonese people,” declared Mike Jocktane, the director of campaign director of Ondo Ossa, during a press conference in Libreville.

The Gabonese Elections Center (CGE) has been in the spotlight after refusing to give any indications on the progress of the counting and on the date and time scheduled for the proclamation of the official results. Ondimba’s government also frayed nerves after it cut off the internet on Saturday evening and put a curfew in place, citing the risk of violence. It accused French media outlets RFI, France 24 and TV5 Monde of “a lack of objectivity and balance … in connection with the current general elections.”

SUDAN’S ARMY CHIEF GIVE SPEECH IN PORT SUDAN

As the battle between the Sudanese Army and the paramilitary group, Rapid Support Forces (RSF) rages, the ongoing conflict has plunged the country into anarchy with many citizens fleeing into neighbouring countries as refugees and others living in Sudan without water and electricity. 

The head of Sudan’s military, General Abdel Fattah al-Burhan, announced on Monday that he fled the capital during a large military operation as the bloody conflict in the Northeast African country enters its fifth month. General Al-Burhan also confirmed that no agreement had been reached with RSF leader Mohammed Hamdan Dagalo to facilitate his departure from the capital.

“I confirm that my exit from the General Command took place without any help, and I did not leave with a deal or by arranging any agreement,” he said. “This was a military action carried out by the armed forces, and anyone who says that there is an agreement or that there is a party that helped or that there is a deal is delusional. We do not agree with the traitors or those outside the Sudanese people (traitors referring to Rapid Support Forces and those outside Sudan meaning Americans).” 

The violence in the northeast African country is estimated to have killed at least 5,000 people, according to the Armed Conflict Location and Event Data Project (ACLED), a disaggregated data collection, analysis, and crisis mapping project.

Featured image credits/ABC News

NATIVE Exclusive: Smallz The DJ Is Ready For The Next Phase

Posted on by Chigoziri Ezeaku

There’s no denying that disc jockeys are an indispensable part of the music industry. Serving as conduits of sound, they act as middlemen between the artists and the audience; introducing new artists to the mainstream and providing a source of entertainment. In the ever-evolving world of Afropop, DJs have continued to shape the music industry in some cases, even creating their original music. Names such as DJ Jimmy Jatt, DJ Spinall, Dope Caesar and Smallz are constantly in circulation, for their awe-inspiring sets that usher many to the dancefloor. 

For Smallz the DJ, in particular, music has been a crucial aspect of finding himself and his sound. From an early age, Moshood Ayinde David, popularly known as Smallz fell in love with the music he heard playing over the radio; “I used to listen to Riddim FM a lot and there used to be DJs like DJ Mility, DJ Snow the Damager. So every Saturday, I’d make sure not to miss their sets. I was like, “Oh my God, I want to be like this,” he tells the NATIVE.

Soon enough, he began learning the ins and outs of the craft from his brother, who also worked as a DJ while growing up. At first, he faced opposition from his family who wished that he follow a traditional career path. “My parents wanted me to go to school and stay focused. Also, it’s just my brother and I so my parents didn’t want both of us to become DJs,” he shares. It wasn’t long before he started getting bookings for shows and performances, the most notable of which was DJing at Homecoming Concert and soon enough, opening the show for Davido during his ‘Timeless’ show in Tafewa Balewa Square, Lagos. 

 

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Outside of performing for other artists, Smallz the DJ is also producing and working on his own original music. Like many other DJs before him, he is a keen learner of music and improving his skills is a great source of pride. In 2018, he released his debut mixtape ‘Small Chops’ which featured 37 tracks and gave listeners a taste of what he had to offer.  Smallz the DJ is no stranger to making music as the rising DJ once made an appearance on Ycee and Milli’s “Yoruba Demon” back in 2015. “Imagine going to DJ a set and you see people vibing to your own music,” he gleefully says over our call. “It’s something I believe every DJ should do.” 

Now, Smallz the DJ is soundtracking the life of young Nigerians through relatable DJ sets and hosting intimate events that draw loyal supporters and fans. Recently, the rising DJ hosted his first event of the year ‘Sundown With Smallz,’ a 24-hour DJ set hosted in his home city, Lagos which added yet another string to his prolific bow. Following the event, we caught up with Smallz the DJ to talk about finding his feet as a DJ in Lagos, garnering a loyal following and audience as well as his plans for the future.

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

 

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NATIVE: Can you talk about how you first got involved in the world of DJing? 

SMALLZ THE DJ: My elder brother was a DJ. I always followed and assisted him at events, and that’s when I actually fell in love with it. So, my brother actually inspired me. 

Did you find support from your peers and family when you started?

It was not really a smooth journey. Obviously, my parents wanted me to go to school and stay focused. It’s also just my brother and I, so my parents didn’t want both of us to become DJs. My mom was always telling me to look for another career. “You can’t be a DJ and all that,” but along the line, she let it go because she had no choice but to let me do my thing. So at first, it wasn’t smooth but eventually, everything aligned. 

Who were your early inspirations and influences?

I was being inspired by DJs back then. I used to listen to Riddim FM a lot and there used to be DJs like DJ Mility and DJ Snow the Damager. So, every Saturday I’d make sure not to miss their sets. I was like, “Oh my God, I want to be like this.” 

How did you go about getting your name out there as a DJ?

So first of all, when I started, I didn’t have a DJ name. I’d always just go to gigs and tell them my real name, David. When I got into my SS1, my close friends started calling me Smallz because I was literally the smallest in our crew. One of them then suggested the name to me as my DJ name. After secondary school and moving on to uni, I decided to keep the name Smallz to pay respect to the friend who gave me the name as he’s late now.

You’re approaching a 10-year milestone in your career after years of exceptional work. What has been the most challenging aspect of following your dreams?

Being a DJ in Nigeria, it’s really hard to get your name out there because they’re thousands of DJs in the industry. The market here is about doing things in a different way. Gigs can be hard to get because everyone has their favourite DJ. So you’d have to prove to your client that you’re a good DJ and you can deliver the job. I wouldn’t say it was a smooth journey for me because there are always challenges.  Whenever I’m going for a gig, I always make sure that, whatever the situation might be, I give my best. I always try to put on a positive outlook. 

What’s an important lesson you can share with upcoming disc jockeys?

You have to stay focused on whatever you’re doing. If this is your goal, you just have to stay focused. Don’t let anyone tell you what to do, what genres to play, what events to attend or not attend. Stay focused and do what your mind throws at you. Just do you, honestly.

How do you typically prepare for a new gig? What’s your performance ritual or habits?

When I started, before any gigs, I always went to my studio and practised or researched new songs or made a playlist for an event I wanted to do but that wasn’t really helping me. I’ve realised that planning a set isn’t my thing because I might get to an event and the set I planned may not be what [the crowd] want. I try to share my set time. I know that I’m going to play for like an hour and 30 minutes, so I try to divide it.  I’ll do like 30 minutes of Afrobeats, 30 minutes of Hip-Hop, 30 minutes of EDM or something and it works for me. I rather just go there and do my thing and DJ live. I try to read the crowd and understand what they want to listen to and when they’re not receptive. 

 

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When it comes to mixing, what are your first thoughts when approaching a hostile crowd at an event?

When I go for a gig and meet the crowd, I try to test the crowd with whatever track I’m starting with and try to gauge their reaction to it. If I see a good number of the crowd have a positive vibe, I’ll keep up with the track. If they don’t, I make sure the next track I’m dropping has to be something relatable to the crowd. I make sure that at least the first five songs I’m playing are something the crowd can really relate to.

So you use relatability to seamlessly engage with the crowd and get them moving. 

Yeah exactly. As a DJ, you always have to read your crowd. You have to read your crowd and engage them with tracks that they can relate to in that event or in that context or space. 

How do you balance staying true to your style while also playing to local trends and crowd favourites?

Like I said before, I always share my sets, so I always make sure that I’m playing something for everyone. Even though I might play a song that everyone knows, there are always different people in the crowd so being versatile helps. My last set; the last Davido concert in Nigeria, the crowd was massive, so what I planned to play would have been a shitty set. The crowd was mixed so I had to play something relatable to everyone and the reviews were really good after my set. So balancing your set and craft is important. Always try to leave a mark that people will talk about and be like “Do you remember when Smallz dropped that beat?” 

You’re popularly known for being able to fuse genres in your sets. Are there any genres you want to explore more of? 

There are some gigs I get where I’m not supposed to play Afrobeats because maybe it’s a private event but I’m more focused on playing Afrobeats. If I was to explore other genres, it would probably be House Music or Hip-Hop. EDM is something I love but I don’t really play often even when I go out for events.

Since the rise of Amapiano and the infusion of log drums and faster BPMs in music, has this affected how you deliver music to audiences?

Before Amapiano even came to Nigeria proper, it had been around for a long time. It didn’t start last year. Before the whole Amapiano thing, I always play this South African vibe. I play Amapiano but I don’t make it just that. I make sure I mix it with Afrobeats. 

DJs are very important to music culture and we’ve seen many DJs like Spinall and more release their own original music. How do you feel about making your own music?

Actually, I’m working on something. Probably, by the end of the year. I’m going to release my project. It’s not really a must to do, but it’s something I think every DJ should work on once in a while. Imagine going to DJ your set and you’re playing your own music. You see people vibing to your own music, that’s really crazy, so that’s something I believe every DJ should do. Even if it’s not something original, it can be a remix to a song, but just have your own craft or project that you push.

 

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Collaborations have been a key part of your journey. It’s there any artist you’ve dreamed of working with? Why?

I’ve always wanted to drop something with Davido. I don’t know when that will happen, but I would love to have something with him. There are a lot of new guys that I’m trying to work with. I won’t lie, the new guys right now are really going hard. There are a lot of them that I’m trying to work with right now.

Now, you’re putting on your own parties with “Sundown with Smallz” coming in the next few days. Is there anything we should look forward to? 

I’ve always wanted to do this since, but I think I wasn’t in the right headspace. I was busy with other things. Obviously, COVID came, but I want people to expect more because “Sundown” is actually going to be big. I’m not just thinking of doing it in Nigeria only. I’m sure, by God’s grace, next year, I’m going to have one in London and in US. It’s going to be something global. I’m trying to build a proper community.

What should we expect from you in the near future? 

Apart from music, I want to start something on my YouTube. I won’t say now, but I’m going to be active on my YouTube. I’m going to be dropping more mixes. It has been awhile since I dropped mixes because I’ve been busy with other things. Now, I want to be dropping mixes like every month, if possible every week. I don’t want to starve my fans anymore. 

Featured image credits/NATIVE

Burna Boy Debuts ‘I Told Them’ Magazine Alongside Album Release

Posted on by Nwanneamaka Igwe

Burna Boy is sitting on top of the world–figuratively and in real-time. Since his 2022 album ‘Love, Damini,’ so much has changed for the Grammy-award winning artist who has spent the last eleven months making good on everything he’s set out to achieve. There are no glass ceilings when it comes to Damini Ogulu and his latest album ‘I Told Them’ is further proof of his near-peerless and prolific run.

The 15-tracker cements his position as a global star with a bevvy of influences which he draws from the various corners of the globe he’s frequented, including unmissable samples from Western R&B and Hip-Hop including Jeremih’s “Birthday Sex” and Brandy’s “He Wasn’t Man Enough.” This all comes full circle on ‘I Told Them,’ with rich textures that are seamlessly integrated with a collage of contemporary sonics that expand on the self-dubbed Afro-Fusion genre.

 

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Arriving today, in tandem with the release of his latest album ‘I Told Them’ is an accompanying print magazine of the same name, which expands on the music in the album and brings it into sharp focus. The recently released magazine which is on sale globally and at the Shreeji News and Magazines head store in London, is released in collaboration with this very publication as we host Burna Boy for an exclusive launch and signing.

The special edition magazine contains exclusive conversations with collaborators on the project, particularly American rapper and leader of the Wu-Tang Clan RZA, behind the scenes images of Burna during the album’s creation process across different studios around the world and never seen before lyric breakdowns of the album’s standout tracks. The new magazine also spotlights some of unique African creatives in their respective fields including mixed media artist, Dennis Osadebe, self-taught photographer, Stephen Tayo and homegrown brands, WAF and THIS IS US.

In true Burna Boy fashion, the print magazine is yet another avenue for fans and audiences to understand his meticulous approach to his craft. Typically, in music, artists are prone to rely heavily on music videos, social media and the visual aspect to build upon the world around their projects. Burna Boy sets a new standard by delivering a timeless print publication that fans and loyal audiences can purchase, own, resell, share and collect for years to come.

Copies of the magazine will be available for sale throughout the day, and the Monday programme includes a Meet & Greet with Burna Boy, where fans can grab a signed copy of “I Told Them”.

[Featured Image Credits/The NATIVE]