Essentials: Konyikeh Spills Weighty Confessions On Debut EP ‘Litany’

Posted on by Nwanneamaka Igwe

Konyikeh began shaping her immersive palette over a decade ago, armed with the admirable curiosity of a child surrounded by varying influences of classical R&B. She nurtured her interests with several attempts at writing music informally, only to move steps further with formal education at Guildhall School of Music and Drama. She trained on classical instruments, as well as musical theory, all the while crafting velvety, deep pipes that make her songs ache on a deeper level. After a note-worthy performance alongside Dave at the 2022 Brit Awards, the 24-year-old vocalist set out to make a mark with the release of her debut, “Sorrow.”

The melancholic single intently showcases an expert level of intricately crafted artistry immediately after the brooding guitar strings land on the ear. Through the course of “Sorrow,” she offers contrasting perspectives of love, making sure to emphasise the joys the experience brought despite the relationship’s lowest lows. For the spaces she struggles to find the words, she punctuates her experiences with deep hums that spread warmth against a track stripped of romantic exuberance. 

 

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Konyikeh further expands the tenets of her sound on her latest arrival, a debut extended play dubbed ‘Litany.’  The 5-track offering is preceded by “Teenage Dreams,” an ode to younger versions of herself and a love interest whose desires were never quite on the same page. Her storytelling abilities shine through as she takes on the persona of the narrator, shifting between a first and third-person point of view to address the irregularities and innocence of the relationship. Over a mid-tempo drum-led production, Konyikeh croons with a low-range melody, oftentimes raising her tone to draw attention to her conflicting emotions as she reminisces on the past. 

So when the announcement of ‘Litany’ came along, the FAMM signee—under the management of UK R&B meets Pop maestro, Jorja Smith— expectations were considerably high. The R&B leaning project draws us into Konyikeh’s high-tension universe with the weighty renditions of the pre-released tracks, only to smoothly transition into “I Cry” with an even gloomier soundscape. If her intentions to evoke heavy emotions and beckon all ears to reach within in a desperate attempt at understanding wasn’t clear, it was undoubtedly crystalised by the daunting piano chords of “I Cry.” Her vocals resurface heavily as she lulls about the intense feelings of pain and regret after a hurtful exchange between lovers, “I cry every time he said, I die a bit inside she said” —narrating from the outside perspective as she often does. Her sonorous vocals are backed up by reverberating, heart-breaking hums that heighten the track’s gnawing feeling. 

While “I Cry” holds a clear conviction to distance oneself from a toxic lover based on forged realities that only bring pain, the EP’s penultimate track “Joy and Pride” unapologetically showcases a deep yearning for a former lover. Despite the pain she holds, “Joy and Pride” tells the story of one willing to ignore the toxic traits of a lover for their redeeming qualities. Konyikeh emphasises the extent she is willing to go just to reclaim that spot in the life of her muse. Her longing is increasingly apparent with her delicately punctuated and drawn-out syllables at the close of each line. The low-cadence chords drift in and out of the track, allowing her stirring vocals to dictate the pace and consequently the emotions of the track.

“Give me one last chance, Save me the last dance/Feeling’s cast aside and I steal your joy and pride,” she hums, accompanied by underpinnings of violin strings. She broadens the already psychedelic soundscape with a wordless chant paired with twinkling keys. On the flip side of the coin, she addresses an evolving parent-child relationship in the second verse, “You told me how to dare to dream and not fall to my knees/Seasons came and changed, I thought you would stay the same.” Between the romantic and familial relationships, Konyikeh skillfully exhibits the many facets to sought affection while banking on validation from a loved one. 

By the final track, “Girls Like Us,” Konyikeh has successfully commanded a presence with a slew of pensive tunes addressing the turmoils of love and life. “Girls Like Us” platforms the need to embrace the risks that come with love because the results will be worth it. Despite the fears, she convinces herself just how capable she is of love games while delicately holding one’s heart. She reiterates her feelings with a series of melodies—partially accepting and partially defeated—crooning on the hook, “Cause love don’t come easy to some, so when it comes to girls like us, I just take it and run.”

Konyikeh has been working on ‘Litany’ for over six years and the 5-tracker is evidently a labour of love. She bares her soul from start to finish, wearing all the excruciating pain on her sleeve and translating them to tactfully curated melodies that throw her listeners into a tender yet agonising turmoil. In seconds short of a 14-minute run-time, ‘Litany’ paints vivid images that linger even after the songs stop playing.

Listen to ‘Litany’ here.

Featured Image Credits/The NATIVE

Super Falcons, D’Tigress & The Continued Fervour Of Nigerian Women in Sports

Posted on by Uzoma Ihejirika

Nowadays, it is not uncommon to find news of Nigerian women making great leaps in their chosen fields across music, film, fashion, sports and more. The likes of Tems and Ayra Starr are breaking new ground in the music industry while Kemi Adetiba, Jade Osiberu and Oge Obasi are contributing to a revolution in filmmaking. On Monday, August 7, 2023, the Super Falcons—Nigeria women’s national football team—lost to the Lionesses of England in a penalty shootout. Victory would have ensured the Super Falcons’ passage into the quarter-final of the ongoing FIFA Women’s World Cup, co-hosted by Australia and New Zealand.

Two days before the Super Falcons exited the World Cup, on Saturday, August 5, 2023, another group of Nigerian athletes brought glory to both their names and the country. The Nigeria women’s national basketball team, otherwise known as the D’Tigress, beat Senegal 84-74 to clinch the 2023 AfroBaseket Women tournament held in Kigali, Rwanda. The team eased to the final of the competition, defeating DR Congo, Egypt, Mozambique and Rwanda to achieve their fourth consecutive win and sixth overall win in the competition. 

While the accomplishments of both teams are garnering the praise they deserve, the circumstances surrounding these wins are endemic to the “Nigerian situation,” code-speak for the tortuous economic, political and societal issues that prevent many Nigerians from realising their full potential in their chosen fields of work. From the sad state of the education system to the deplorable conditions of health care, Nigerians are not given a fair chance at survival. “On current trends, with Nigeria’s population growth continuing to outpace poverty reduction, the number of Nigerians living below the national poverty line will rise by 13 million between 2019 and 2025,” the World Bank noted. It also added that “the country continues to face massive development challenges, including the need to reduce the dependence on oil for exports and revenues, diversify its foreign exchange sources, close the infrastructure gap, build strong and effective institutions, as well as address governance issues and strengthen public financial management systems.”

In this unfavourable situation, Nigerian women have it worse. The country is intricately built on cultural and religious principles that deem women as inferior to men. In turn, many women who dare to resist the norm are faced with the tough task of proving themselves and earning the same respect accorded to their male counterparts. Even with the amazing women who have influenced Nigerian culture—say Funmilayo Ransome-Kuti or Flora Nwapa or Agbani Darego or Mo Abudu—women in today’s world still have to do beyond what is expected of them to enjoy any attention. This situation isn’t limited to Nigeria as women in other African countries can relate.

Days before the FIFA Women’s World Cup began, there were reports that the Super Falcons—the only African team to participate in all FIFA Women’s World Cup tournaments since 1991—could boycott their opening fixture against Canada in protest over unpaid bonuses. The team’s captain Onome Ebi debunked the news, though. A few days before that development, the Super Falcons head coach, Randy Waldrum, had revealed in a chat with On The Whistle Podcast that he was still owed seven months’ salary and that his players were also owed salaries and bonuses. “We still have players that haven’t been paid since two years ago when we played the summer series in the USA. It’s a travesty,” he said. 

The Super Falcons and the Nigeria Football Federation (NFF), Nigeria’s football governing body, have a history of conflicts due to unpaid salaries and bonuses, with the team recently staging a sit-in protest after the 2019 FIFA Women’s World Cup in France. They also did the same in 2016 and 2004 after winning the  Women’s Africa Cup of Nations (WAFCON) in Cameroon and South Africa respectively. Although the NFF are also culpable in owing the Super Eagles, the Super Falcons’ male counterparts, salaries and bonuses, the mistreatment of the women is more dire.  

“In Nigeria we don’t have access to much. Our training fields aren’t great. Where we sleep isn’t great. Sometimes we share beds,” Super Falcon’s player, Ifeoma Onumonu, told The Guardian. “It’s not good enough. In terms of recovery, we don’t have much of any of that. We don’t have access to a gym in camp in Nigeria. There’s a lot that needs to be done. Hopefully more people start to talk about it. Coming here it’s hard to adjust. We do what we can because we love playing for our country but hopefully they make it easier for us to do our best.”

After a goalless draw in the group stage with the Republic of Ireland ensured the Super Falcons’ qualification for the second round against England, Fatma Samoura, Secretary-General of FIFA, addressed the players in their locker room and informed them their situation has inspired the association to give the players the prize money directly, rather than through their country’s football association. After the Super Falcons’ exit from the competition, FIFPRO, the international body representing professional footballers, stated that it was assisting the players in their dispute with the NFF, saying that “the Super Falcons believe that it is now time for the Nigeria Football Federation to honour their commitments and pay the outstanding amounts.”

In a haughty stance, the NFF titled its retort: “FIFPRO’s statement is mere storm in a teacup.” Despite the all-round embarrassment that has beset the federation from its gross incompetence, penitence doesn’t seem to be an immediate concern. Not too many should be surprised, after all it’s another show of how negligent and brazenly corrupt sports administration is in Nigeria—a direct correlation to the country’s leadership system. It’s consistently disappointing, though, that athletes have to give their all and represent their country while the systems and people that should enable them ultimately serve as serious hurdles. It’s even more annoying in women’s sports, since the least amount of investment are allocated while, somehow, someway, many of these athletes and teams deliver excellent results.

The Nigeria women’s basketball team, D’Tigress, also had a rocky start to the AfroBasket Women competition. Last year, former head coach, Otis Hughley Jr., cited disrespect from the sports ministry over delays in salaries and bonuses. After his exit, Rena Wakama was appointed as his replacement in June 2023 on a two-year deal, less than a month before the AfroBasket Women tournament, which began on July 28. Wakama’s appointment drew criticism from some stakeholders who believed she had little experience to fill the successful shoes of Hughley who led the team to three consecutive AfroBasket Women titles. Wakama possesses vast experience in women’s basketball as she is currently the assistant coach at Manhattan College, after serving as the institution’s director of women’s basketball operations.

In an interview with the Nigerian publication Vanguard (where the first question posed to her was about her marital status), Wakama spoke about her passion for coaching basketball teams. “I know that I am more than ready; I know that I am the right one for the job. That’s pretty much what I am saying,” she said. “I know I can lead this team and I know I can make Nigeria proud. There are a lot of talents back home and I want to do this not just for the players but for the coaches too.” Wakama’s confidence in her abilities paid off, as the D’Tigress’ victory at the AfroBasket Women tournament made her the first female coach to win the AfroBasket Women.

These success stories are a reminder of the resilient and never-say-die mentality of Nigerians, who despite of the hardships, strive to eke out positivity with their endeavours. Yet, it is also a reminder of the stumbling blocks that limit and hinder the full growth of potential. Whether it is sports or film or music or comedy, Nigerian women continue to carve a niche for themselves with brilliance, hard work and selflessness. As the D’Tigress and the Super Falcons stir the affirmation of the world, it is hoped that the day will arrive when the requisite conditions for them—and all Nigerians—to succeed will be in place.

ICYMI: THE PERPETUAL NEGLIGENCE OF ADMINISTRATORS IN NIGERIAN SPORTS

Meet Lifesize Teddy, the latest signing to Mavin’s all-star roster

Posted on by Emmanuel Esomnofu

The ethos of Mavin Records has always been clear: spotlighting raw gems and turning them into titans of the Afropop universe. Through their several iterations, that mission has subtly turned and transformed, as the label powerhouse introduced artists like Johnny Drille, and Ladipoe into the fold. While the latter is a pop-welcoming rapper, the former started with folk and country music, channelling indie-pop influences from the likes of Owl City and Coldplay. 

Such forward-facing decisions have seen the label stay at the forefront of the African music business. Their experiments have been largely successful—there’s the global allure of Ayra Starr and Rema; Ladipoe’s expanding reach into the international rap scene; Crayon, Bayanni, Boy Spyce and Magixx are each distinct talents, operating within the Nigerian pop fold but possessing unique traits. Now, for the first time since September last year, Mavin Records is launching a new artist.

 

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Lifesize Teddy comes with a name ready for action. The Port Harcourt-native first interacted with the label through Ladipoe, coming across the rapper by chance on Instagram and later opening a show for him. Fast-forward two years later in 2020, she was introduced into the Mavin Records artist development academy, and for the next three years was put through the paces. Lifesize Teddy arrives thus to great expectation, but if there’s anything Mavin has done right, it’s announcing the artists at times when the scene is screaming for a new presence. 

Chosen as the lead single of the self-titled EP, “Hypnotic” bares her understanding of Nigerian societies and reflects its linguistic influences on her music. That’s no surprise, considering the artist is from the culturally-vibrant Port-Harcourt, the southern city that’s produced some of the most inimitable voices in our musical history. Here, a succulent mix of English and Pidgin-English is her weapon of choice, but she wields like a scalpel, peeling into the soft mass of acclaim. “Na me be the girl wey go rock this party,” she proclaims in the first line, setting her ambitions clear on the prize. Throughout the song her confidence soars, the inflection switching between the associated tones of Nigerian Pop, Dancehall, Hip-Hop and even alte-esque psychedelic crooning.

That seems like a lot, but Lifesize Teddy is accomplished in her fusion. The music also swells to incorporate these influences, packing incredible detail in its movement. You’d hear the oriental cadences of the middle east, but also the flutey vibe of Japan’s traditional sounds, while the drum base is ostensibly Hip-Hop, and when Teddy gets into her bag, the other elements are kept in the background, allowing the vocals to emerge beautifully. 

Self-awareness is the primary ethos of her debut EP released earlier today. This is no surprise given how introspective other Mavin acts have been on their debuts. However, there’s a crucial success in that each project has seemed an extension of the artist’s biography, and not merely a play into cultural tropes. Starting out hers with “Prophecy” is a confident and endearing move. The track ticks ecstatic boxes, right from the alert word choices to the vehicular movement of its cadences. Credit must be given to Teddy for how well she makes she subverts the Ladipoe influence, coming across as original while delivering verses that would give you the disgusted face of hearing a sick bar. 

She brags without seeming vain, an haughty progression like “From rapping about music and the love, to unwrapping several bundles in the club” followed with the heartfelt admission of “PH City stressing about the day I get signed”. This sudden switch in the extremes of emotion is a skill most top rappers possess, and Lifesize Teddy obviously has that. Over the smooth flow of the production, she unfurls the lyrics with cool steel, a reliable cartographer of her journey. “Butterflies” also has that honest quality, but it’s more colourful in tone, as love becomes the considered subject, with Lifesize Teddy promising to stay, the ephemeral nature of life inspiring her desire to live on her terms, to love those who love her. 

In this sense, ‘Lifesize Teddy’ is a delectable introduction. For an artist who has spent the past few years in development, the time invested in her craft is evident. With production credits from London and Andre Vibez among others, the project bares zero signs of immaturity, which will certainly leave listeners wondering if this is truly the artist’s first body of work, because it sounds so realised. “John Wick” maps out her dedication to the dance floor, its songwriting essentially paying homage to popular culture while spinning an enjoyable flow with her name. 

Saving the best for last, “Air” bears the poetic resonance of Lifesize Teddy. It’s a soulful song with a penchant for the contemporary, most revealed in the breezy allure of its drums. She empowers herself with the sheer force of history. “I gat many women underneath this skin, they all fighting to be seen,” she sings with a slowed rap cadence, as she belts raw emotions through opaque lyrical phrasing, leaving the listener to create their own images. 

The hues of Lifesize Teddy’s visual identity should be visible by now. Her sensitivity and angst gives her something of an encompassing charm, and with Brenda Fassie, Naeto C and Sasha P being among her influences, there’s no doubt a poignant storytelling will be infused into her music. With her debut EP already gaining traction online, it’s clear that the prominent label has another rising star on their hands, one with a Lifesize image.

Stream ‘Lifesize Teddy’ below.

A 1-Listen Review Of Olamide’s ‘Unruly’

Posted on by Dennis Ade Peter

Ten years ago, Olamide released his third studio album, ‘Baddest Guy Ever Liveth’. Widely regarded as his opus, that project was a real time signifier of the grizzled street boy from Bariga ascending from Yoruba rap acolyte to Nigerian music Dominus. Today, he’s a walking, breathing personification of greatness; a living lore whose greatness transcends the undisputed fact that he’s one of the greatest musicians Afropop has ever seen.

Stories of his philanthropic impact on the Nigerian music ecosystem are abundant and he’s the head of a record label with scorching hot talents. Naturally, thoughts of retirement have crossed his mind and Baddo—as he’s affectionately known—has aired them out. Rap and pop music in Nigeria, after all, is a game being taken over by the younger generation. ‘Unruly’, his tenth LP, has been teased as his last studio album. Olamide himself said as much well over a year ago, causing speculation on whether the most prolific artist of his generation would truly hang his boot or end up pulling a 180 in a ‘Fade to Black’ re-enactment.

For a man who rattled off seven albums (and a joint project with Phyno) in seven years, retirement feels like a stretch. Maybe it happens and we only get singles, short EPs and guest features, or he never even drops music at all. It’s unfathomable at this moment but the slight chance that this might happen is a big reason to treat ‘Unruly’ as a marquee affair. Every Olamide album is an event, this tenth one has the stakes to be as extra-special as his opus from ten years ago. I’m all ears, as I’m sure you are too.

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

“Celebrate”

Man, I’m so excited. These chords and the violins are giving me endorphins, shout-out Magicsticks. This production reminds me of the music on Venom and Shishiliza’s ‘Love is Pain’, shout-out South Africa. E get why, LOL. I like this verse, triumphant Olamide but the energy is perfect as an easy tone-setter. That Oshimen line caught my ear, don’t know why. “O ti ka l’oju e bi carnival” is a line Olamide has definitely spat before. This is “Sho Boy” without the overt exuberance. Let’s go! My excitement is getting justified.

“Jinja”

Already some more colour on this one. I know ‘UY Scuti’ upped the pop dimension of Olamide artistry but it was missing an edge, and “Jinjah” already has that. “Anywhere wey I dey, I keep it 100” is a caption-worthy bar. The way his voice is booming even with the switching between cadences is the sign of an artist who hasn’t run out of ideas, there’s no ginger lost in his tone. This can’t be his last album, man. This is a hit song in the waiting. I knew another Nigerian rap artist would tap into the rap-amapiano fusion after M.I did “Soft Life Tony,” my mind didn’t think it would be Olamide and I apologise for that.

“Problem”

This is definitely a Magicsticks arrangement, sounds like an unofficial sequel to “Basquiat.” I just can’t tell if that’s a bad thing or not, yet. Okay, I’m with it. Very with it. It has the relatively romantic dreaminess of ‘UY Scuti’ but it’s Baddo in his element as a kingpin. I like this melodic flow a lot, it’s just another show of how Olamide has evolved his craft without losing the most recognisable trait. Ha, what an imagery for a closing line!

“Gaza”

The energy is up! This feels like “ZaZoo Zehh” with a little more gloss in its sheen. Yo, this is a very drill-esque flow. For those who don’t know, Portable has a feature on a drill song. It might be unrelated but it feels apt to mention. These drums are jamming, I like this groove. I could definitely hear Drake say “combination” on this beat. “Ara n kan gaza” is a line that I expect to hear when next I pass through Mushin or Bariga. This is a jam.

“Doom”

Okay, he’s rapping! Yeah, this is the Bronx Drill-type record he shared on social media. It sounds better than I remember, or maybe it’s the mix of my excitement and my headphones. Shout-out to Big Shaq and Kanye for these gun ad-libs. These bars are all about levity, this man is having a lot of fun. I might end up having reservations on repeat listens but right now, I’m Hov nodding his head to the beat.

“Trumpet” (w/ CKay)

Yeah, the poppy lead single. This song is a reminder of Olamide as a supreme collaborator, how he can follow the lead of his guest without being dusted on his own song. I’m not entirely surprised that this isn’t a smash hit but I can see people still groove to it at the parties. Don’t play that first verse anywhere near kids or hypersensitive elders, LOL. The second verse is slightly less vulgar but no less 18+. CKay’s hook is cool, too.

“Come Alive” (w/ BNXN)

BNXN on features is a cheat code, if you ask me. Think Ty Dolla $ign, which may be a bad thing because Ty gets the rep that his solo music isn’t good, which is false. At least, BNXN has beat the charges. To the matter at hand, this intro verse and hook is hitting! Reminds me of “Do Me Nice” and how he defined that song. Fuck! This cadence and flow from Olamide is absolutely bonkers! Oh damn! He’s gliding!!! This is a verse! This delivery is mint, Benjamin Franklin mint! “If your nigga too dey flop, give me a chance” is a Yoruba demon-ready line. This is the best song on ‘Unruly’.

“New Religion” (w/ Asake)

Ah yes, the second single. Asake will forever be famous, dawg! Forever! This is how you deliver a chorus on an Olamide song. Pure magic. Blackface is a legend to the Nigerian ghetto youth that grew up in the 2000s, deserves his flowers despite all the drama. I was mouthing this entire verse even though I’ve heard this song like twice. “I accept say I change” is a code to live by, within context and reason sha. Second best song on this album.

“Shibebe” (w/ Fireboy DML)

It’s interesting how Olamide is closing this song with the verses rather than bringing back the hook. Fireboy sounds really vibrant, more vibrant than most of his lovey-dovey voice. I’m a little put off by this mix, he’s the first feature that feels like he’s screaming a little in my ear. Olamide is a pop-rap maestro, all the flows on these last couple of songs are works of art. Nice verse, overall. That’s all? Okay, cool.

“Mukulu” (w/ Rema)

Rema on an Olamide album wasn’t on my bingo card for this album, but let’s go. I don’t know that this could’ve fit into ‘Rave & Roses’ but Rema’s essence as a singer is all over this. Log drum base is a pleasant surprise. I wanted to hear Olamide spin a great rap flow on this, the singing is cool sha. I can almost guarantee that Rema has sang “You’ve got me like whoa” more than once. Okay, I’m warming up to Baddo’s melodic approach, best part is how brisk the verses are. I’m predicting this ends up more as a deep cut than an outright hit song.

“Hardcore”

My ears are open! Oh shit! These drums! Where’s Reminisce? This is his bag. Man, Olamide is a master at his craft. The gruff vocal cadence and swaggy flow is a match made in rap heaven and he’s throwing in a patois-indented touch on the hook. “Dem wan take R&B go spoil my own galala” is an ear-catching bar. This is a banger, like he says.

“Supplier”

“Bariga is in the building, streets is in the building.” You know the vibes! Let’s go. “We don’t do no tiki taka,” haha. I wasn’t trying to rhyme, please. “We nor run from problem, problem run from we.” So many quotables. You can take the man out of Bariga, you can’t take the Bariga out of the man. Olamide has always known who his music primarily faces, even the more recent excursions in Nigerian pop don’t dampen that. It just means he has more dimension to his powers, but it hasn’t changed who he is at heart. This is a keeper.

“Life Goes On”

This album has been a breathless listen. More rap/R&B-amapiano fusion. This is confessional, touching stuff. The Tupac influence feels tangible, even beyond the song title. It’s not rending, though, it’s more rooted in conviction. “What another brother doing is none of my business” is a mind-set to live by. I like that he lets this beat breathe into a fade. Definitely a keeper, this one.

“No Worries”

I subconsciously expected to hear “clear road for Shallipopi” with this beat. Oh, okay. This gets positively rowdy, a representation of his own version of happiness. If there’s any artist that deserves to be loud about enjoying their life and having no worries, it’s Olamide. “Killing ‘Piano and mixing this shit with Lo-Fi” is an interesting description, except that Lo-Fi part isn’t entirely true. Regardless, every line glimmers with an infectious certainty. This man really went from “Anifowoshe” to this, such an inspiration! Keeper.

“Street Jam”

Nothing anyone can tell me, 15 songs at about 40 minutes is the perfect length for an album in 2023. Butter fans getting a shout-out, I stan a king that understands the importance of representation. These raps have a searing quality even though he’s just yarning. Ladipoe getting a shout-out on an Olamide song is heartening in ways I can’t even describe. Anyways, hello to the Nigerian Hip-Hop heads, LOL. This feels more like an addendum/bonus track. I like it, though.

Final Thoughts

Triumph suits Olamide really well. For most of his seminal 2010s run, he mined hunger and exuberance for greatness into rap songs that were urgent in text and pop songs that were ultra-groovy in sound. By 2020’s ‘999’, he was clearly settling into an elder statesman’s role, but what ‘Unruly’ does, better than any of his releases since then, is finding a way to work the rugged charisma from his earlier form into music that reflects how self-assured he is these days.

The music on ‘Unruly’ is as varied as his 2013 opus, and it reflects a new kind of ascension for the dynamic rap artist. There’s conceitedness in place of burning hunger, while swaggering joy takes over from youthful exuberance. His skill as a hit-maker is still intact, the same guy that makes people from Bariga to Awoyaya move and relate to his quips. Taking from the glossy pop overtones of his last two albums, he’s even more refined than he’s ever been, switching between Teflon rap flows and gruff, ear-catching singing.

The Olamide we hear on ‘Unruly’ is maestro that has nothing to prove and everything to deliver. It’s expected but it’s no less delightful. Some of it feels like a neat resolution; he came, he’s seen a lot, and he keeps on conquering. This isn’t the final act, I refuse to believe that. If it is, it damn sure is a hell of a way to go out.

ICYMI: WHAT HAPPENS IF OLAMIDE RETIRES FROM MAKING ALBUMS AFTER ‘UNRULY’?

Best New Music: Uncle Waffles Brilliantly Foreshadows Her Forthcoming EP With “Echoes”

Posted on by Emmanuel Esomnofu

Last year, in April, the South African polygoth Uncle Waffles released her debut EP, ‘Red Dragon’. The project had advanced her place as one of Amapiano’s strongest and visionary voices, underlined with a pomp that had been the signature of Waffles since breaking out with a slew of viral moments during the pandemic. In true consistent style, she followed up with the ‘ASYLUM’ project eleven months later, introducing more sensitivity into her sound while retaining the explosive elements that made her so heralded. 

Since then the DJ and producer has been oiling the wheels of a second full length album, and its most beautiful indication came last week, with the release of “Echoes,” a dreamy song that features some of South Africa’s finest voices. Considering that her forthcoming project is titled ‘(An Asylum of) Solace’, this record goes ahead to set the scene, a centerpiece of its vision. 

 

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The first thing audible on “Echoes” is its percussive pattern, a swooning soft patter that’s amplified by melancholic notes. Lusanda is the adhesive behind its disparate parts, her voice lulling with the watery essence of a dream. “Echoes, but you not tryna let this go,” she sings on the chorus, introducing the theme of imperfect love that runs through the song. She’s similarly involved even when Manana comes into the mix, the singer’s warm vocals melding with the lithe tone of hers. 

Relationships are an infamously trippy field, as different perspectives emerge into its core, shifting perceptions the other thought as previously solidified. Thus it’s been one of music’s enduring themes throughout the ages, still offering material to the attentive musician. 

Uncle Waffles is anything if not attentive. Her curatorial prowess again reveals itself in the selection of the artists here, as their voices and sensibilities which has been revealed throughout their individual careers bleeds into this song. When Lusanda asks, “Have you ever missed someone and you’ll never get them back?” the listener subconsciously sighs Yes, but then her follow-up line (“Imma take it and I’ll charge it to the game”) opens up another dimension of that inner conflict, as memory becomes something larger than itself, becoming rather a manifestation of the self and how that self progresses through the world from that point onwards. 

For those with a flair for language, poetic phrasing isn’t new to musicians, but it’s the dosage of abstraction that takes a song from good to great. “Echoes” is a great song because amidst the dreamy soundscape and lulling voices, there’s a place for the listener to fit in their distinct narrative, espousing, as James Baldwin puts it, “that the things that tormented me most were the very things that connected me with all the people who were alive, or who had ever been alive”. 

The imagery is rich, the tone luscious, and it’s credit to Tony Duardo for the openness of the production, that everything fits into place. Manana, who made NATIVE Mag’s 2022 list for Best R&B Projects of the Year, provides a similarly evocative verse, imbibing the second half of the song with his charming, vulnerable perspective. “Cause I’m still gonna be, like a broken CD/ Begging on my knees, won’t you please just see me?” he sings with a pensive clarity, relaying an emotion many have felt throughout the years. The more love slips away from one’s grasp, the more confused people tend to be, wondering if the other ever saw things from their point of view. 

Initially, the rise of Uncle Waffles was preceded with some scepticism, as it seemed she rode on the heels of virality through her disarmingly good looks and energetic stage presence as a DJ. Well, she’s swatted away such opinions ever since then, every project of hers inching towards a full formation of her prowess as a musician, and it’s important that Waffles is taking her sound past the mythos of amapiano. She’s striking out as a versatile artist, while retaining her South Africanness and the communal vision many of its genres spring from. 

 

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“Echoes” is one of the most beautiful songs we’ll hear this year, but it’s also very possible it would become one of the striking records of Uncle Waffles’ career. Everything works to glittering perfection, setting up her forthcoming project on Friday considerably well. African music is at a place where so much is happening at once, and it takes a focused artist to trace the roots of their sound, and with ‘An Asylum of Echoes’, that seems to be the mission of Uncle Waffles. This song just puts that noble vision in perspective, and beyond it’s far-reaching motivations, it’s an inspiration of sound that she’s still honed into the present, creating, essentially, a song that speaks to the now without compromising its timeless essence. 

Stream “Echoes” and pre-save ‘Solace’ below.

Featured image credits/Instagram

ICYMI: How Adekunle Gold met Tio Tequila

NATIVE Selects: New Music From Olamide, Sarkodie, Falz & More

Posted on by The Native

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 Anything With Mr Eazi, A-Reece, NSG 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!

OLAMIDE – “STREET JAM”

Nigerian act Olamide’s new album ‘Unruly’ is out. It comes two years after 2021’s ‘UY Scuti,’ and like the former, ‘Unruly’ shows an unrelenting Olamide who still performs at an optimal level. On “Street Jam,” he pays homage to the influences of the Nigerian way of living. He also adds braggadocio to his lyrics as he boasts about his longevity in the music industry.

FALZ – “NDI IKE” FT. FLAVOUR & ODUMODUBLVCK

Falz’s earlier singles this year have been socio-political commentaries on the poor policies in Nigeria. Today, with two new singles “Ndi Ike” and “Operation Sweep,” he settles for fun moments and braggadocio. On “Ndi Ike,” the Igbo culture is the main inspiration as he, Flavour and ODUMODUBLVCK celebrate their skill and dominance with chest-thumping lyrics and vibe. Flavour and ODUMODUBLVCK add their energy for a fitting tribute to the sounds inspired by Igboland.

SARKODIE – “FREAKY & NAUGHTY” & “CHECK MY ZINGO”

Ghanaian rapper, Sarkodie, has dropped two bangers for the summer. The last we heard of the talented rapper was his album ‘JAMZ’ which featured talents like BNXN, Lojay, Black Sherif and Joeboy. In this year alone, he has impressively dropped two singles.  Both singles feature a  catchy heavy bass which plays throughout the song and the use of heavy percussion instruments.  

ANONYMOUS MUSIC – “ELEJUBELE” FT TERRI  & GO CRAZY

Anonymous Music, a Nigerian record label and talent management company, has made songs featuring acts such as Bad Boy Timz, Barry Jhay and Victony, among others. For their latest track “Elejubele,” they feature Terri and Go Crazy. Terri is the frontman on the Afropop track, serenading a love interest and promising affection. From the verses to the chorus, Terri shows his talent for infectious melodies, anchored by his smooth vocals.

SHEYE BANKS – “FALL” FT. CLEMZY & L.A.X

The music space is availing many creators of opportunities to share their talents with audiences. Sheye Banks, a hype man and media personality, released his album ‘Statement of Account’ on Monday; the project featured acts such as CKay, M.I. Abaga, Magixx, Falz, Bella Alubo, etc. On “Fall,” L.A.X provides the vocals to complement Clemzy’s production; together, they make a melodic love tune that resonates.

8FIGUREZ – “NOT THE SAME” 

8figurez possesses guttural vocals that grab attention. Earlier in the year, the South African-based Nigerian artist and Malawian-South African act Gemini Major boasted about their dominance on the Drill-influenced “By Force.” On “Not The Same,” 8figurez returns the same energy he had on “By Force,” dropping braggadocious lines about his rise from the ghetto and protecting himself from the ill comments of detractors.

WOOZY IN THE WOODS – “DREAMING”  FT. KAYSTERY

On “Dreaming,” up-and-coming Nigerian acts Woozy in the Woods and Kaystery bring an airy feel to the Pop number, which also bears elements of Amapiano. “Temperature cold/Come sleep on my chest/Love you die, all my friends call tell,” Kaystery sings. Both acts make the track a really memorable affair as they complement each other’s contributions.

BRAZZI – “WHERE’S MY LOVE (TONIGHT)” 

The emerging Ghanaian artist, Brazzi, makes his stamp in the music scene with his debut single, “Where’s My Love (Tonight).” The artist seamlessly blends R&B with Afrobeats in this love song where he expresses his vulnerability and fears to his lover. The artist expertly delivers a blend of English, Twi and Pidgin English to create a beautiful mix of languages. 

ELSYN- “JUBA”

“Juba” is Elsyn’s debut single as a signee under Sound Wave Global. With his soulful vocals, Elsyn shares his feelings about a significant other and the mood she puts him in. With an Amapiano soundscape, Elsyn’s vocals are the focal point and he adds to the magic with tidy songwriting. “I want my listeners to feel the magic of love through my music and connect with the stories I tell,” Elsyn said about the track.

Words By Uzoma Ihejirika & Chigoziri Ezeaku 

Featured image credits/NATIVE

NATIVE Exclusive: Crayon Is At His Most Triumphant On His Debut Album

Posted on by Emmanuel Esomnofu

On the day of his NATIVE Exclusive interview, Crayon joins the call from the States. It’s his first time there, but the experience has been wholesome and memorable, performing music across cities as he tours with Rema and Victony. But there’s even more reason for the musician to be grateful: after making his debut in 2019—the time in-between filled with tests and triumph—he’s now released his debut album, which is fittingly titled ‘Trench to Triumph’.

“Everything is going the way God has planned it,” the man says some moments later, his voice unmistakably chill. “I feel amazing, and dropping the album while I’m on tour—it’s the most beautiful thing ever,” he shares. Alongside his label mate and longtime friend, Rema, the artist has coloured stages with his inimitable energy, the exact atmosphere that’s seen his career soar in the past couple of years. Now, with his debut album here, the progression achieves dramatic maturity, the point from which everything else changes. 

 

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Crayon began recording ‘Trench to Triumph’ in 2020, and he reckons that “the amount of songs recorded from that time till now can make like two or three albums. But I have to select thirteen songs to fit into the theme of the album.” Though the songs on the album come across as fun and expressively realised, the creation process was anything but idyllic. 

“It’s been a crazy journey,” Crayon says. “I’ve loved every part of it. Sometimes, I go into the studio and I’m not feeling myself. Sometimes, I go into the studio and I make the happiest song of my life like “Ijo Laba Laba.” Sometimes, I go to the studio where I just talk about some spiritual struggles that I’ve been through that most people would not survive.”

As the narrative moves from struggle to strength, so does Crayon’s voice changes, the chill tone replaced with an audible verve. Nigerian Pop is undeniably a slippery terrain, accentuated by the many artists trying to grasp footing on its fertile soil. Each song is released alongside thousands more, and the line between a good song and a well-received one thins out with several nuances. The well-received ‘Cray Cray’ came out in 2019 and the artist followed up his breakout year with a string of singles that included “Sometime” and “Do Me”, but most of them went relatively under the radar, and that can be a tough spot for any artist. 

“It’s beautiful to see because I feel like God is the greatest scriptwriter,” he tells me now. “My career went from ten to five, to zero, to seven, to ten. Like, my career has just been like up-down, and now my trajectory is just up, up, up. Everything has been amazing because if you look at it from where I came from, asides my career, where I came from; from Orile to Ojo, from Ojo to Mavin, now to America, doing global shows, it’s been beautiful.”

Expectedly, the album carries that tone of gratefulness. “Call me calvary kid, cos I’ve fought so many wars,” sings Crayon on its atmospheric opener “Calvary Kid”. Amid this wholesome gaze, the artist creates songs tendered to love’s pure flame. It’s that fullness of experience that has earned the album good critical reception, a no-skip project whose feeling amplifies with every listen. 

The intimate shape of ‘Trench to Triumph’ doesn’t only come from Crayon’s bright perspective, but how the album’s features are weaned into the songs’ direction. The collaborators reveal that the artist is aware of what takes a song from merely impressionable to really good. “Ngozi” remains one of the strongest duets of the year, with Ayra Starr matching Crayon’s vigour with melodic vibrance, her writing effortlessly encompassing. It becomes a flick of fate’s hand; Ayra wasn’t originally intended to be the guest, but “for some reason the person wasn’t really clicking,” he shares.

Ayra came through and created what Crayon considers “one of the sweetest verses [he’s] ever heard”. His emotive-voiced label mate Magixx features on “You vs You,” extending their long friendship into a cornerstone of the album’s intimacy. “He’s always been my brother,” says Crayon. “We used to eat amala together; we used to vibe a lot together”. If the collaborations for ‘Trench to Triumph’ seems to shine with progression, then wait till you know how deep the friendship between Victony and Crayon goes. 

Both artists grew up in Ojo Road, a small neighbourhood in the Ajeromi-Ifelodun local government area, part of the cluster of hoods that form where people know as Lagos mainland. “We could be passing each other everyday and we don’t know we’re superstars,” Crayon says about that time. “And he knows all my spots in the hood. I went to his house one day to see him and I was having a conversation with his mum, and I was just mentioning some areas and his mum was just laughing like, ‘that’s where we stay’. It’s crazy to me.” 

The hood as Crayon remembers it wasn’t a trivial landscape. Reaching deep into memory, he unfurls the images; people smoking just across from his house, the weed dealer’s bag slung over his shoulder, the threatening cloud hovering above a game of gambling, the drugs. “I cannot count how many times we’ve run away from the police,” he says. “If Police dey come like this, you just gats dey run first, because anybody wey dem see, they dey carry. Ojo is that crazy.”

He relays these experiences on “Trench Kid,” which is one of the most revealing songs on the album. “It was like I was reading a novel,” he says. “In Ojo, when you’re planning something, you have to keep it to yourself until you actualise it. Let’s say tomorrow I want to go and buy Air Force-1, and I’m announcing it, you will not buy that Air Force-1 oh. Not because they are wishing you bad, or your friends don’t want you to buy, but something will happen. It’s the energy around that doesn’t want anybody to grow. I know how many artists and footballers have been there for years; I’m literally the first person to blow out of that area”. 

As someone who grew up in Ajegunle, which isn’t very far from Ojo Road, I know this painting of Crayon’s. Especially his old acquaintances and friends, some of them who’ve become disillusioned with life, turning to hard substances to keep up with the pressure. How eager the mouth of that beast wanted to swallow anyone it found. Music was the reality for Crayon; he references the chorus of an early Wizkid hit (“Dem say I go be number one/ As a born champion, no lele”) to relay his perspective, how the decrepit lifestyle he saw around made him want to do better. “It’s because I was stubborn,” he says. “Stubborn to greatness; like, you have to be persistent. All die na die”.

It seems predestined that the artist got a solid grounding in music. Crayon listened to the likes of 2Face Idibia, Westlife, Hip-Hop and Igbo gospel songs, accessing them through his father who sold CDs in Victoria Island. He also got his early training in stagecraft through the man, who also worked as an MC. When the idea to record songs came, a teenage Crayon would trek the not-so-long distance to Festac Town, a middle class area of Lagos that’s founded, literally, on the purpose of promoting culture. There he found an artistic community, which, in someway, led to meeting Ozedikus and another musician friend Nos and set-off his journey to Baby Fresh, the producer whose Blowtime Entertainment accelerated his path onto Mavin Records.

In the Afropop sphere of today, having the right team can be as important, if not more important, than merely being talent. Being signed to one of Africa’s biggest labels has been a learning experience for Crayon, whose perspective is illuminating and precise. “It’s like you’re playing in an all-star team,” he says, listing off a roster of football A-listers. “Everybody has a role to play, and I’m happy to be part of the team because it’s beautiful and everybody is winning, and everybody gets equal love and attention. I say a big thank you to the entire team; everybody has been working tirelessly to make sure my album is a success. I’ve learnt so much; I’ve learnt ‘family first’. I’m a team player. You listen a lot if you want to be successful”. 

From the several lives he’s lived, Crayon definitely carries a lot of expectations. Not necessarily from anyone, but within himself, possessing that burning urge to continue being present in a story that began 23 years ago. For him, God is the driving force behind him, and earlier during our conversation he’d spoken about being a church boy as a kid, eagerly attending service, participating in evangelism, sharing fliers for programs, sweeping the church yard—it was all in the promise of belief. 

The cover of ‘Trench to Triumph’ situates a cross above the figure of Crayon, a poetic rendering of his faith. Itself a striking piece of art, it conveys the stark quality of the album. Though a sterling project which belongs in year-end conversations, the journey continues still for Crayon. “This is just my debut album so it’s just the beginning,” he affirms. “We’ll take it to the apex level. I’m that kind of guy that is never satisfied. I can be content, but I’m never satisfied. I want more every time”. 

Turntable Top 100: Burna Boy Debuts On Top 10 With “Big 7”

Posted on by Nwanneamaka Igwe

Off the back of the biggest tour of his career, Burna Boy announced his seventh studio album, ‘I Told Them.’ In anticipation for the release later this month, he tapped into the breezy American R&B and HipHop soundscape for “Big 7,” making this the artist’s 17th Top 10 entry in his half-decade run. The promotional single has now debuted at No.2 with 2.33 million on-demand streams and 60.3 million in radio reach.

For the rest of the chat, Asake’s “Lonely At The Top” stands strongly at No.1 after 7 weeks on the Top 10 and four consecutive weeks at No.1. Omah Lay’s “Reason” off ‘Boy Alone (Deluxe)’ follows Burna Boy’s “Big 7,” occupying the third spot on the chart. Khaid’s “Anabella” reaches a new peak at No. 4 after debuting at No 33 and peaking at No.7 last week while Adekunle Gold’s “Ogaranya” slides up 7 spots to No.5.

The rest of the Top 10 consists of Seyi Vibez’s “Man of the Year” at No. 6 and Asake’s “Basquiat” slips 3 spots to No.7. Similarly, King Promises’ “Terminator” slips from last week’s No.6 to No.8. Young Jonn’s “Sharpally” and Blaqbonez’s “Like Ice Spice” close out the Top 10  but occupying the 9th and 10th spot respectively.

Just outside the Top 10, BNXN and Qing Madi’s “Ole” slides up to No.15 while Kizz Daniel’s “My G” debut’s at No. 11.

Featured Image Credits/The NATIVE

ICYMI: AFTER THE BIGGEST TOUR OF HIS LIFE, BURNA BOY IS COMING RIGHT BACK

What’s Going On Special: Everything we know so far about the coup in Niger

Posted on by Uzoma Ihejirika

It has been more than one week since members of Niger’s presidential guard led and successfully seized power from the country’s leader Mohamed Bazoum in a coup. Since then, the seismic effects of their actions is still reverberating among its citizens, the Economic Community of West African States (ECOWAS), and the international community at large.

On July 26, 2023, the Abdourahmane Tchiani-led band of security operatives (later to be known as the National Council for the Safeguard of the Homeland) launched the coup, declaring the closure of borders and a nationwide curfew. Tchiani later declared himself as the new head of state as group’s spokesperson Colonel Amadou Abdramane announced that the constitution had been suspended. 

The actions of the officers immediately drew criticism from ECOWAS and the African Union (AU). The United States, France and the United Nations also condemned the coup, with France, Niger’s former colonial ruler, calling on regional bodies “to restore the integrity of Niger’s democratic institutions.” ECOWAS, led by Nigeria’s President Bola Tinubu, gave the officers a week to release and reinstate Bazoum and also imposed sanctions, including the suspension of all commercial and financial transactions between Niger and other ECOWAS member states.

The one-week ultimatum has since elapsed with Tchiani still heading the affairs of the country. The EU and France proceeded to cut off financial support to Niger and the AU issued a 15-day ultimatum to the military government in Niger to reinstall Bazoum as president. While ECOWAS scheduled an emergency meeting in Abuja on Friday, July 30 (they have planned a second meeting in Abuja for Thursday, August 10), European countries began evacuating their citizens and other foreign nationals from Niger. 

In an opinion piece published by The Washington Post, Bazoum defended the legitimacy of this government and called on “the U.S. government and the entire international community” to restore him to office. “In Africa’s troubled Sahel region, Niger stands as the last bastion of respect for human rights amid the authoritarian movements that have overtaken some of our neighbours.

While this coup attempt is a tragedy for Nigeriens, its success would have devastating consequences far beyond our borders,” he wrote. “With an open invitation from the coup plotters and their regional allies, the entire central Sahel region could fall to Russian influence via the Wagner Group, whose brutal terrorism has been on full display in Ukraine.” Although Victoria Nuland, the US’s acting deputy secretary of state, recently held “frank and difficult” talks with Moussa Salaou Barmou, one of the officers in the coup, and three of his colonels in Niger’s capital, Niamey, Bazoum remains in detention.

While there has been displeasure about the overthrow of Bazoum’s government, the coup plotters also have supporters. On Sunday, thousands of Nigeriens gathered at a stadium in Niamey in solidarity with the military government. According to news reports, the atmosphere at the gathering was festive, with General Mohamed Toumba, one of the military leaders, denouncing those “lurking in the shadows” who were “plotting subversion” against “the forward march of Niger.”

The July 26 coup is the latest in Niger’s history of coups, which happened in 1974, 1996, 1999 and 2010. There was a coup attempt in 2021 (shortly before the inauguration of president-elect Mohamed Bazoum), led by Captain Sani Saley Gourouza, but the perpetrators were arrested. Over the years, Niger has grappled with multiple security challenges. According to The Armed Conflict Location & Event Data Project (ACLED), the country faces attacks from IS Sahel and the al-Qaeda-affiliated JNIM in the west, its southeastern Diffa region contends the Islamic State West African Province (ISWAP) and Boko Haram insurgency, and the central Tahoua region wrestles with IS Sahel militancy and banditry.

While being one of the world’s poorest countries, Niger, according to the World Nuclear Association, accounts for 5% of the world’s uranium output but the revenue of the mineral—that countries such as France, Spain, and Japan use for energy—doesn’t reflect on the wellbeing of the citizens. Since assuming office in April 2021, Bazoum has mostly focused on limiting the spread of insurgency in Niger.

Geographically, Niger is bordered by Nigeria and Benin to the south, Burkina Faso and Mali to the west, Algeria and Libya to the north and Chad to the east. After talks between ECOWAS and the Niger junta stalled, Nigeria, as part of the sanctions, shut its borders to Niger and also cut out electricity supply to the country, which depends on Nigeria for 70% of its power. Niger’s military government, in turn, cut ties with Nigeria, standing firm in its decision to hold power. In Nigeria, President Bola Tinubu has received backlash over his decision to use military force to restore democracy Niger, observers noting that the president must not “rush into an avoidable conflict with a neighbour at the behest of global politicking.”

At the moment, the impasse in Niger remains. Russia has increased its military presence in Mali and Burkina Faso while also calling for an “urgent national dialogue” in Niger.  The state of a country and its citizens hangs in the balance, with the decisions from its military leaders and other leaders in African and European countries proving to be key determinants in how quickly the situation is resolved or not. While the rest of the world watches, the safety and protection of lives must remain paramount in the minds of every stakeholder.

Featured image credits/NATIVE

Review: Adekunle Gold’s ‘Tequila Ever After’

With Adekunle Gold, nothing is ever out of place in his sonic world. Each Adekunle Gold project is marked by intentionality, further burnishing his artistic mosaic. His 2016 debut album ‘Gold’ was a collage of traditional Nigerian music influences and the dreams of stardom he held as an up-and-coming act while 2018’s ‘About 30’ showed his maturity as an artist and gave glimpses of his appetite for bold experimentation. ‘Afropop Vol.1’ (2020) was a watershed moment for Adekunle Gold as he settled into a new sonic journey, exemplified by the moniker AG Baby. On 2022’s ‘Catch Me If You Can,’ AG Baby declared his supremacy and, on his latest album, ‘Tequila Ever After,’ Adekunle Gold—or Tio Tequila as he currently identifies—is establishing the mastery of his own lane, his style and his legacy.

 

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‘Tequila Ever After’ was born after Adekunle Gold, in Los Angeles, discovered his love for tequila, an alcoholic drink which hails from Mexico. “It made me feel good,” he said in his NATIVE Now! Cover story in July. “I wanted to describe the feeling of tequila. The way tequila made me feel that one time; I wanted people to feel the same way with the music. The songs that I made for this album are lighthearted and conversational; they’re conversations you have with friends when tequila kicks in.” In true fashion, the recently released album shepherds Adekunle Gold in a new creative direction, bonding him with new collaborators who bring more colour to his vibrant world and further cement his stardom. For any artist with almost a decade of experience, unearthing new creative sparks is a blessing and AG Baby doesn’t waste that moment.

A few weeks leading up to the album’s release, AG Baby was on a stellar promotional run, inviting audiences into his sonic world by sharing intimate clips of the album recording process. The intentionality of the Adekunle Gold brand isn’t only restricted to the music we hear but also to the music videos and the singer’s fashion choices. To promote ‘Tequila Ever After,’ Adekunle Gold curates “A Shot of Tequila Ever After,” a series that offers behind-the-scenes coverage of how the tracks on the album were made. The series captures raw moments of Adekunle Gold and his collaborators—featured acts and producers—conceptualising ideas and finalising them into songs. While it brings attention to the album, it also shows Adekunle Gold’s comfortability in his craft and his confidence in letting the audience into the unpolished processes of making music.

He sets the mood for ‘Tequila Ever After’ with “Chasing Peace of Mind,” opening with the lines: “My therapist don try/No remedy for my mind/One smoke, I’m alright/Too many lows and no highs/Life is a joke, don’t cry/Who get joy? I wan buy/One shot, I’m alright/One smoke, I’m alright.” His previous album ended with “Catch Me If You Can,” where, with a weary tone, he dared his detractors to match his exploits if they could. “Got a couple blessings on the way/‘Cause all I do is work hard and pray (I work hard and pray)/They say I made it over night/But I hustled till I got it right,” he sings on that song. When he sings “I keep chasing peace of mind” on “Chasing Peace of Mind,” the lyrics serve as exhalation—words condensed with so many emotions and experiences; perhaps, it’s his way of stating that he would rather focus on his business than pay attention to the opinions that seek to stop from him prospering. “Chasing Peace of Mind” is also an indicator of AG Baby’s pan-African and global ambitions, which first shone through on ‘Catch Me If You Can.’ It merges Gold’s Nigerian identity with that of Ami Faku’s South Africa-dipped vocals and Habib Koité’s golden guitar strumming.

Before the release of ‘Tequila Ever After,’ Adekunle Gold had prepped for the album with the three-song pack ‘Tio Tequila.’ One of the songs, “Party No Dey Stop” with Zinoleesky, had served as the opening act for his deal with Def Jam Recordings. Previously, AG was under Platoon with the release of his last two albums and his newly inked deal with Def Jam signalled further sonic expansion. On “Party No Dey Stop,” Gold and street pop disciple Zinoleesky performed the track with panache, bringing the best of both their worlds in a celebration of jubilant moments. “Do You Mind?” is a pop track where Gold plays a lover man tending to the romantic and sexual needs of his partner. On “Omo Eko,” he pays homage to the vibrancy of Lagos as regards its people and music. Those three songs—which also appear on ‘Tequila Ever After’—are snapshots of the themes captured on the album in the way they revolve around his Yoruba identity, love and self-belief.

Since his days as an artist under Olamide’s YBNL Nation, Adekunle Gold’s projects give careful thought to their guest appearances to maximise their contributions. “No Forget” with Simi on ‘Gold’ was a love duet that represented both artists’ understanding of emotions and vocals. The likes of Flavour, Seun Kuti, Dyo, Jacob Banks and the Lagos Community Gospel Choir on ‘About 30’ showed Adekunle Gold’s willingness to try new sounds and fusions. On ‘Afropop Vol. 1,’ Tekno, Nailah Blackman, Yinka and Patoranking were propellers in AG Baby’s reach for pop stardom, and on ‘Catch Me If You Can,’ Davido, Lucky Daye, Fatoumata Diawara, Stefflon Don, Ty Dolla $ign and Fousheé were the star cast of the Adekunle Gold show. Despite welcoming so many into his world, AG is also well-versed in keeping the spotlight squarely on himself as he shirks stylistic expectations and widens the scope of his arsenal.

On ‘Tequila Ever After,’ Adekunle Gold invites his guest artists to infuse emotion and lyrical depth into each new track. None of the visitors strays out of line; instead, they run with the baton passed to them with precision and skill. ODUMODUBLVCK’s confrontational tone is a fitting addition to “Wrong Person,” where Adekunle Gold flings disinterest at the gossip of his detractors. Coco Jones matches Gold’s earnestness for a romantic connection on “Make It Easy.” Singer and wife, Simi, like Adekunle Gold, is neck-deep in love on “Look What You Made Me Do.” Khalid and Gold both rue the mistakes made in a past relationship and on “Falling Up,” Pharrell Williams (alongside Nile Rodgers) reecho Gold’s sentiments that failure is one of the steps to success. The execution of these features tells of the considerable deliberation behind the scenes to select the right songs and the right artists for those songs.

 

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Save for “Party Never Stop,” “Ogaranya” and “Omo Eko,” other songs on ‘Tequila Ever After’ do not take the pattern of dance-ready anthems like “High” (with Davido) from ‘Catch Me If You Can.’ But this observation is no indictment on the album; here, Adekunle Gold is more concerned with the feelings behind a song than to cater to the demographics setting the dance clubs alight. “Not My Problem” shares subject matter with “Damn Delilah” from ‘About 30’ as Adekunle Gold refuses to be undermined in love, choosing peace of mind over the pain of convincing a disinterested party. “Wọn sọ pe mo kere/But dem dey copy my way,” he sings on “Kere,” revelling in his wins, and on “To My Own,” he finds pleasure in his longevity and in moving at his own pace.

A majority of the lyrics on the album are motivational. At the time Adekunle Gold came with “Sade” and “Orente,” the Nigerian music scene was firmly in the grip of anthemic songs. Gold’s labelmate Lil Kesh was destroying dance floors with “Shoki,” “Gbese” and “Efejoku.” Their boss Olamide was doing the same with “BOBO.” Farther afield, Kizz Daniel’s “Woju” and “Laye,” Tekno’s “Duro” and “Wash” and Harrysong’s “Reggae Blues” were impacting the soundscape on astronomical levels. Adekunle Gold slowed down the tempo of his songs, opting for deep lyricism over Highlife-influenced production. Still, he was able to command the attention of listeners who sought his relatable, nostalgic music. He again showed his inventiveness with ‘About 30,’ taking audiences by surprise with his experimentation of pairing the fundamentals of ‘Gold’ with electronic influences.

“It was until I dropped ‘About 30’ that I started to get criticised. So, for the first time, I just learnt to take the good from criticism and not dwell on it,” he revealed in his NATIVE interview. “Wọn sọ pe mo kere/But dem dey copy my way,” he sings on “Kere,” Steadily, Adekunle Gold has positioned himself as a mainstay in the conversation about Nigerian pop music. The success of his ‘Afropop Vol. 1’ and ‘Catch Me If You Can’ has cleared any doubts about his methods and iterations. In some way, Adekunle Gold remains an outlier: he has morphed into new forms without losing the essence of his sound—down-to-earth observations on groovy melodies—that have served him well since “Sade.” On ‘Tequila Ever After,’ he finds pleasure in his longevity and in moving at his own pace.

In addition to Adekunle Gold’s charismatic presence, the album’s producers are also the winning formula in the entire equation. Michael Bakare and Blaise Beats are the only producers from ‘Catch Me If You Can’ that reappear on ‘Tequila Ever After.’ While there is palpable influence from Western producers like Pharrell Williams, Michaël Brun, The Elements and Fridayy populate the project, African producers such as Blaise Beats, Kel-P, Mannywellz, Michael Bakare and Tony Duardo ensure that the album retains its African flavour and doesn’t stray too far from home.

Kel-P, in particular, is instrumental in this regard, producing more than six songs and establishing a fine chemistry with Adekunle Gold as he did on Burna Boy’s ‘African Giant’ (2019). His productions on ‘Tequila Ever After’ are some of the closest to an instantly recognisable Nigerian feel. They serve as a tether to Gold’s roots to the homefront, ensuring he doesn’t stray too far from the local audience. But when Adekunle Gold is called to negotiate new terrains, though, he jumps on the opportunity with glee. Pharrell Williams’ four-count loop is the curtain-raiser to a production that adds steady beat thumps with high-octane chants. Labrinth and Michael Bakare elicit a dreamy feel on “To My Own,” as Adekunle Gold sings the brilliantly-written lines: “Long as my heart drumming (Drumming)/And my red blood running (Running)/There’s no cloud over me (‘ver me)/Could stop this light of mine shining (Shining).”

‘Tequila Ever After’ is Adekunle Gold’s finest moment yet. With the help of tequila, he has caught lightning in a bottle and, using it as inspiration, dug into his well of experiences for varied perspectives on life as a man and superstar. “There’s so much more, there’s so much more that I have to offer,” Gold told the NATIVE. “I’m not done; I’m definitely not done, there’s so much more coming.” There’s no doubting Adekunle Gold—or AG Baby or Tio Tequila. Whichever moniker he assumes next, there’s only one constant: quality music that is both fresh and bold in experimentation and relatable content.

Stream ‘Tequila Ever After’ below.

Featured image credits/

New Music Friday: Projects from Bob Marley, T.I BLAZE, Oshunda & More

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. Settle in for an experience as we travel the African continent for the latest music projects.

BOB MARLEY & THE WAILERS – ‘AFRICA UNITE’

In celebration of the life and music of the Reggae legend Bob Marley, some of Africa’s biggest stars were called to add their unique touch to Marley’s classics. The result is ‘Africa Unite,’ which features Tiwa Savage, Oxlade, Rema, Teni, Sarkodie, Ayra Starr and Ami Faku, among others. The posthumous project is a reminder of Marley’s legacy as well as the hard work African artists have invested in their craft to get the continent the recognition it enjoys.

T.I BLAZE – ‘DANGEROUS WAVY BABY’

‘Dangerous Wavy Baby’ is T.I BLAZE’s third project, following 2022’s ‘The Fresh Prince of Lagos’ and ‘El Major.’ Sonically and thematically, ‘Dangerous Wavy Baby’ is similar to those projects as T.I BLAZE stylises topics of self-determination and enjoying the good life on Afro-fusion. The seven-track project features Lojay, Mr Eazi, Balloranking and Magixx.

DREMO – ‘NO PRESSURE’

Erstwhile DMW signee Dremo delivers ‘NO PRESSURE,’ a new project with the backing of American music label EMPIRE. The rapper and singer touches on love, societal prejudices, and finding and believing in oneself. On “Doyin,” he pleads with a lover, and on “PESIN,” he, Jerry Shaffer and DJ Yk Mule stir an Amapiano party. In all, ‘NO PRESSURE’ is a tidy body of work.

ELOW-T – ‘LAGOS LABS’

Lagos is a fertile ground for ideas to sprout into excellent creations, whether in film, literature or music. With Amapiano-influenced soundscape, music producer and artist Elow-T seeks the artistic parts of Lagos for ‘Lagos Labs,’ a five-track EP featuring Falz, Seun Kuti, Vector and Rukmani, among others. “Come along as we take you through the city of Lagos, we’ll show you the good, the bad, and everything in between,” he announces. “From the bustling markets to the chaotic traffic, from the vibrant nightlife to the struggles of everyday life, we’ll give you an inside look at what it’s really like to live in this incredible city.”

OSHUNDA – ‘MONSTER VILLA’

On the cover of Oshunda’s ‘Monster Villa’ is a secluded house sitting on an elevated spot with the project’s title scribbled in sharp red. The imagery contrasts the music it carries, though. ‘Monster Villa’ contains rich, groovy tunes where Oshunda digs into the psyche of a person as they love, trust or fail. A native of Ghana, Oshunda is one of the emerging names in the alternative music scene.

KATALEYA & KANDLE – ‘CALL IT LOVE’

Ugandan duo, Kataleya & Kandle have released their EP ‘Call It Love,’ where they mine music from depths of affection and romance. With production from Nessim Pan and mixing and mastering duties from Anel Tunes, the duo find the sweet spot for relatable songs, merging Swahili and English, and complementing each other’s contributions across the project. ‘Call It Love’ features Barnaba, B2c and Country Wizzy. 

MARADONA – ‘FOB’

Rising Nigerian artist Maradona unveils his skills on the project ‘FOB.’ The EP follows his 2021 EP ‘Rodman.’ Juggling rapping and singing, Maradona spins love-themed songs as well as tough talk on ‘FOB,’ merging genres with his energetic brand of Afrobeats.  He’s about his money on “Mac & Cheese,” devotes his attention to his lover on “No” and minds the business that pays him on “IDC.”

Featured image credits/NATIVE

NATIVE Selects: New Music From Uncle Waffles, Kel-P, Ami Faku & 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 Anything With Mr Eazi, A-Reece, NSG 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!

UNCLE WAFFLES – “ECHOES” 

South Africa’s township sounds, Amapiano, have taken over the sounds from this side and Uncle Waffles is one of the genre’s key players responsible for this inimitable growth. Off the back of her sophomore EP, ‘Asylum’ released earlier this year, Waffles draws us further into her world with “Echoes,” the first promotional single off her debut album, ‘An Asylum of Solace’. The kick of log drums and percussion instruments, commonplace in the genre, reannounce the talented DJ’s comeback after a  brief hiatus. On “Echoes,” we see the princess of Amapiano create a perfect synergy with R&B singers, Lusanda and Manana with an array of gleaming melodies that set apart from the bass heavy & shaker led sound she’s known for. 

KEL P – “WHAT HAVE YOU DONE?(AMAPIANO REMIX)”

The Nigerian A list producer, known famously for his producer tag, “It’s Kel P vibes!” has been a vital player in shaping Afrobeat as we know it today. In recent years, he began establishing himself in the music industry as a vocalist with songs like “One More Night” and “True Love.” Kel P has always made music that gets people on their feet and “What Have You Done?” is no exception with its upbeat tempo and soulful pipes. He inches even further with the Amapiano remix of “What Have You Done?”  providing a smooth blend of melodies and intoxicating beats. This only stands to prove his versatility and a mastery of his craft. 

BOB MARLEY & THE WAILERS – “REDEMPTION SONG” FT AMI FAKU 

No one can deny the legend that is Bob Marley and his evident input to Reggae music and music as a whole. On his recently released album dubbed ‘Africa Unite,’ he taps a slew of talents across the continent including Rema, Sarkodie, Tiwa Savage and more to deliver reimagined version of his classics. A standout out cut from the 10-tracker is Ami Faku-asssited “Redemption song,” a fan favourite till this day. Faku’s mellifluous vocals take on the second verse as she croons across the track’s mid-tempo caribbean-inspired instrumentals. She offers a refreshing take on the song of emancipation, armed with verses English and Xhosa. 

MASTERKRAFT & UGOCCIE – “TODAY ORINGO”

Ojapiano is slowly becoming a recurring theme is mainstream music from these parts since Kcee’s “Ojapiano” hit the airwaves. The intoxicating oja chords are layered seamlessly with the Afro-House sound on “Today Oringo,” the latest effort of Nigerian producer, Masterkraft. He taps fast rising musician, Ugoccie for a melodious rendition tucked in by lyrical embellishments from Igbo and English roots. The captivating number showcases the pair as  they fantasise about the success and money they see in their future. 

DEJ LOAF – “PLEASE DON’T GO” FT TENI & CHEEKYCHIZZY

American singer and songwriter, Dej loaf has delivered a powerful song with the Nigerian talents, Teni and Cheekychizzy. “Please Don’t Go” shines light on the massive talent of everyone on it and the unification power of music, with a melting pot of Afropop and R&B. Cheekychizzy’s production allows for a beautiful synergy of Dej Loaf and Teni’s captivating vocals,  as they pour out their hearts with stark vulnerability on the need to keep a relationship alive. 

L.A.X – “LOCKDOWN”

The Afropop singer LAX joins some of the genre’s greats in A COLORS STUDIO performance of his song for the summer, “Lockdown.” The performance which serves as his first release since his EP, ‘No Bad Vibes,’ kicks off with the signature drums and a melodic tune. The love song infused with a few Yoruba lyrics calls out to his lover, emphasising how she puts him on a lockdown because she is the best. “My baby better/ better than the rest ah.”

AZANA – “SHONA MALANGA” FT. AMANHLE 

Ahead of her sophomore LP, ‘IGAGU’, Azana peels back another layer of her artistry with help of Amahle for her recently released single, “Shona Malanga.” The gleaming Afro-House production showcases the pair engaging in. colourful celebration of love. Their lush vocals glide in and out of the upbeat record as they croon over the mid-cadence instrumentals armed with lyrics in Xhosa and IsiZulu.

ODEAL – “REPERCUSSIONS” 

Over the past couple of releases, Odeal has established himself as a masterful producer and singer-songwriter with tracks like “Coffee” and “Be Easy.” He reiterates his dextrous artistry on his recent release dubbed “Repercussions.” The smooth track initially leads in with gloomy, twinkling keys and only to be met by a captivating drum sequence and Odeal’s sonorous vocals. He expertly rides the wave of the beat as he sings of bearing the consequences of his ill-treatment of his love interest.

Words by Chigoziri Ezeaku and Nwanneamaka Igwe

Featured Image credits/The NATIVE

Azana grows more self-assured on new single, “Shona Malanaga”

Posted on by Nwanneamaka Igwe

Afro House, South Africa’s resident sound, has become a global spectacle. What was once considered an underground genre from the burbs of SA has now seeped into the global sphere, redefining the sounds from this part of the globe. As the genre receives its share in the limelight, its bolstered by a number of frontrunners who are flying the genres flag widely with captivating dancefloor ready cuts. Fresh Meat (now uNder) alum, Azana is one of such vocalists pushing the envelope of ever-evolving genre.

Recently, she lent her vocals on two standouts off the prolific EDM veteran, Prince Kaybee’s ‘Music Theory.’ She delivers an especially poignant and melancholic performance on “Inkumbulo,” assisted by dazzling strings and colourful drum pattern enhanced by brooding notes by Kaybee. Just as her 2020 debut on Sun-El Musician’s “Uhuru,” Azana continues to display a riveting presence across a range of house productions, garnering her the mainstream attention she has merited.

The singer-songwriter’s new single, “Shona Malanga” is a prelude to her sophomore album, ‘IGAGU,’ slated for release in October. The love song arrives in collaboration with newcomer to the scene, Amahle, for a soulful rendition which like most of Azana’s rich catalogue, is delivered in her native tongue, isiZulu.

“Shona Malanga” opens with an upbeat rattle of jazzy drums that are initially distant but grow clearer as track rolls on. Through the course of the catchy track, the pair’s glowing melodies complement the bass heavy instrumentals and twinkling keys glazing over the track. As Azana’s breathtaking vocals slowly drift away, a range of choir chants take her place, heightening the track’s celebratory mood.

Speaking about the new track, Azana shares “Shonamalanga is an Afropop love song, sounding upbeat and highly commercial to radio and television, this song speaks of how proud I am of my lover.” With only two months away from her latest album, “Shona Malanga,” is a reminder of Azana’s irresistible charisma and her hit-making abilities. The album promises to pack more of her charm into a collection of dreamy cuts that embody her star power. ‘IGAGU’ which means a confident, driven individual foreshadows what audiences can expect from the new drop from one of the most exciting artists of the now.

Listen to “Shona Malanga” here.

Featured Image Credits/The NATIVE

A 1-Listen Review of T.I Blaze’s New Project, ‘Dangerous Wavy Baby’

Posted on by Emmanuel Esomnofu

T.I Blaze is one of the most unique artists operating in the Street Hop tradition. Over the years, he’s been able to bring listeners into his distinct world of sound, which merges influences from near and far to arrive at a singularly-suffused catalogue across afropop. This is the reason why, when T.I Blaze drops new music, we answer with eager listens, tapping into his interesting artistic vision. 

‘Dangerous Wavy Baby’ is the artist’s second project, following from last year’s debut album, ‘El Major’. As he’s done in the past, the title behind this new project suggests he’s entering into a new character phase, bringing the attendant details of that universe into notice. Just as he’s shown on hits like “Sometimes” and “Try”, T.I Blaze’s pen can be deceptively simple, yet remarkably evocative in how he captures moments that are typically hard to capture in words. The chilling lyric, “Why life come hard? And man no want to be bad,” is one example in a career full of them, and no doubt I’d have my ears peeled for what he’ll be saying on this one. 

To usher in the new project, we give ‘Dangerous Wavy Baby’ the one-listen treatment. You already know the rules. All reactions are in real time while the music plays. No pauses, rewinds, fast-forwards, or skips. 

“MOTIVATE”

Amapiano shakes starting out this one; I’m faintly tired of the sound, but let’s hear how T.I Blaze approaches it. He’s keeping the drums away; he wants you to hear what he’s saying. The flow is almost Seyi Vibez-esque, but there’s more melody and measure here. “As I enter town, dem shout e my name” is a lyric that works gloriously considering the song’s theme. Hearing “I dun sacrifice my life, sacrifice my time” is funny though, considering the recent Kanayo memes that’s been going around. I like the focused atmosphere here. Blaze comes in blazing, while being reflective about larger subjects. 

“DADDY YO” FT. LOJAY 

The sound here still retains the minimalist edge of the opener. I like when artists have an ear for cohesion. But then again, T.I Blaze has always been the soulful kind of street G. He’s shifted the tradition with this unique style, and it’s refreshing to see him unlocking sweet spots within it still. Lojay’s a cheat code for a feature; he’s as expressive as a rapper but able to serenade even with the lyrical gymnastics, which is exactly what he does here. The host has come back to wrap things up, neatly I must add. His songwriting seems to have matured since his last project, and I’m loving the chill vibe so far. I love that he teased amapiano but didn’t fully immerse himself in that familiar terrain. He’s doing his own thing here. 

“ON D LOW”

Niphkeys tag at the start of this one tells you it’s going to be a good song. The production is sounding very 2010s Nigerian Pop, from the rough edges to the scratchy way the synths are being used. It sounds a bit like House, a bit like amapiano, but the core would be recognisable to attentive ears. “We go ginger person for here” is a line that highlights the song’s energy, that in-you-face and you-can-do-nothing-about-it vibe. The drums are really unique, and this feature verse; it starts a bit like the rapper on Ajebo Hustlers but these lyrics have Mr Eazi all over them. It’s the words of a don. I like this song, and with the right production, it could really pick up on social media and all the regular channels. 

“POPORI” FT. BALLORANKING

Another high-tempo production. This one moves closer to the Street Hop core than any other song on here has. Balloranking is proving himself an auteur within that field, with the kind of energy he came into this with. T.I Blaze is singing now; he’s picked up the energy, with his signature melodic base making an impression. I know the scene this song is made for, I can see the people who’d likely groove to it, but it’s not my favourite song at the moment. Perhaps a revisit during groovy communal moments would set it in a new light. 

“WIRE”

I’m just learning now that this song dropped a while ago. These opening synths are majestic; love the violin and skittering drum flow—it sets an atmosphere that prepares you to be wowed. “Na once you go try am, na once I go disconnect,” he sings on the opening lyric, a revealing sentiment pulsating through this first verse. Its themes are flitting, from the perseverance of the character to a pensive relationship, but it’s all tied down by T.I Blaze’s vocals. He’s been dynamic across this project, going from sprawling rap-inflected cadences to groovy and now soulful, telling the story no one would tell for him. It’s a song that resides close in the creator’s heart. You can just tell he thought about this one for a long time and sat down to write it. 

“LOOKU LOOKU” FT. MAGIXX 

Smooth, relationship vibes here. The pacing on this project has been impeccable; how he starts with mellow beats and speeds things up, and is now slowing it again, running down to the end in cinematic style; slowly, but profoundly. I’m enjoying these “you” vocal runs; they have a bit of vintage Wande Coal in them. Magixx is on; he’s a very solid artist, and I hope he hits those commercial highs very soon. This verse is solid, fluid delivery but coasting on those striking vocals of his. Both artists actually have great chemistry; it’s not the kind of collaboration you’d usually expect, but their voices meld so well. Off this first listen, this is definitely one of my favourites from ‘Dangerous Wavy Baby’.

“CHOP AM”

A bit of pomp to close out the project; I’m loving the bluesy feel in these drums. Actually, the production across this project has been flawless. Each has fittingly captured the range of T.I Blaze, through the several flows he’s adapted on here. On this one he’s freewheeling, taking the beat as it comes. He starts with his signature sing-songy style, but as the drums come in, he’s entered into zesty mode, adapting a chant-like style that’s almost Islamic in cadence. It’s a fun song to listen to, and I can imagine the creative process being similarly fun. Really, there could have been no better song to end this project with. An imagery of the good life would always be a fixture in popular music, but T.I Blaze here constructs one of its more lived-in portraits. 

FINAL THOUGHTS 

It’s easy to overlook the incredible things T.I Blaze is doing with sound. Different from many of his contemporaries, he’s resident behind the scenes, not concerned with the buzz as much he’s about working on the sound and creating moments for his fans. However, his melodic approach to the Street Hop tradition hasn’t been anything if not novel and revelatory, earning him great critical attention and subsequent acclaim anytime he releases a new project. 

Over the years, the likes of ‘El Major’ and ‘The Fresh Prince of Lagos’ have burnished his reputation as a bonafide musician, easily upholding his individuality while making space for other artists to create with him. Thus the music has been like a colourful anthem rendered to afropop, with frequent splashes of existential concerns and immersion into his life and associated society. To his credit, ‘Dangerous Wavy Baby’ continues in that ethos, this time imbibing even more musicality than ever before.

The result is a concise, cohesive tape with bright edges and rewarding introspection. Each guest is purposefully placed, each song impeccably written to mirror the weight of the discussion. T.I Blaze reaches deeper into his artistry and emerges with a project that would easily be a contender for one of the year’s best EPs. As someone who’s deliberately receded from the spotlight all this while, it’s a beautifully profound way to make his return.

NATIVE EXCLUSIVE: T.I BLAZE IS BECOMING MAJOR

AV Club: ‘Fatal Seduction’, ‘Wura’ & what series remakes say about streamers in Africa

Posted on by Dennis Ade Peter

Last Friday, Netflix released the second batch of episodes for the first season of ‘Fatal Seduction’, the South African TV series that premiered earlier this year with seven episodes. The streaming platform gained popularity for delivering an entire season of shows for viewers to watch on-demand, either bingeing them or taking their time—the discretion depends on who’s watching. The strategy of breaking up a season by dropping episodes in batches isn’t new but it’s been used sparingly, mainly reserved for blockbuster shows like ‘You’ and ‘Stranger Things’.

‘Fatal Seduction’ isn’t a blockbuster—at least, not in the timeline-consuming, conversation-driving manner—which makes the two-volume release of its first season surprising. The strategy is even more puzzling when you consider that the show isn’t exactly an original series. It follows Nandi (Kgomotso Christoper), a university professor who gets into an extramarital affair with Jacob (Prince Grootboom), as she can’t keep a lid on her desires when the pair have a one-night stand after meeting at a short beach getaway. As the story unfolds, it turns out that their meeting wasn’t so serendipitous; there’s a death in the first episode, it turns out Jacob is taking the professor’s class, Nandi’s daughter falls for a catfish, and more stuff happens, leading to a cliff-hanger in the seventh episode, which is where the first volume ended back in June.

Depending on who you ask, the end of that seventh episode might not be much of a cliff-hanger, since the show is based on another Netflix original series, ‘Dark Desire’. While ‘Fatal Seduction’ is not an entirely Xeroxed show, the similarities are overwhelming enough to describe it as a remake. The premise is the same, the liberal show of libidinous sex scenes cuts across both shows, the pacing for ‘Fatal Seduction’ is slightly faster but the events unfold in the exact manner as its predecessor, which means there will be no surprises in the second volume if you’re already hip to ‘Dark Desire’.

On its own, ‘Fatal Seduction’ is an enjoyable watch, even though it’s some ways off gripping. The plot might be predictable but the show is aware enough to ensure the story feels worthwhile, leaning into the sleaze and steaminess of its sexually-charged moments for pure entertainment purpose. (Full disclosure: I watched ‘Desire’ after seeing the seventh episode ‘Seduction’, before its latest batch episodes.) Asides maybe Nandi, none of the characters standout to be liked or deeply disliked; for now, they’re just moving pieces in service of the story, and it also plays into how simply serviceable the overall acting is on the show.

A Mexican original, ‘Dark Desire’ was a big hit for Netflix in Mexico and across Latin America when it debuted in 2020. A lot of that attention no doubt came from its smutty content. At eighteen episodes in its first season, though, the show was a serious drag. ‘Fatal Seduction’ will not get that many episodes, which is a positive, but being based on a commercial hit is a telling sign of Netflix’s ambition to replicate the success of another show basically lifted from halfway across the world.

 

The critical reception to ‘Dark Desire’ was lukewarm when it premiered, and I doubt ‘Fatal Seduction’ will be highly acclaimed when its first season is completed—in fact, early conversations have centred the similarities with its forebear. As any construction engineer will tell you, it’s impossible to erect an edifice when the architectural plans the building will be based on is mediocre. That’s pretty much the case with ‘Fatal Seduction’. The new batch of episodes might end up vindicating Netflix’s gamble, but what are the ramifications if the show becomes a hit—or it doesn’t.

Since entering the African film market, Netflix has repeatedly stated its commitment to telling African stories while centring excellence. The streamer has mostly done that with a growing catalogue of commissioned, original films and TV shows, with South African originals comprising a significant portion of those releases. It’s apt, since SA has the best structured film industry on this side of the world. The variety has also been remarkable, from family dramas and folky sci-fi to mini-comedy series and spy thrillers, and much more. ‘Fatal Seduction’, a romantic and erotic thriller, expands the scope but it’s undercut by being a remake of a not-so-great show.

Imitation might be regarded as the best form of flattery, but a lack of inventiveness in art can be a net negative. That’s why, in music, artists add their own spin when they cover already released songs. While there are shows like ‘The Office’ and ‘Jane the Virgin’ that hit high critical marks and are based on pre-existing TV series, most remakes are stuck with the limitations of their forebears. To eclipse those issues, following the blueprint step-by-step isn’t an option.

Earlier in the year, Netflix released ‘Unseen’, another SA TV series based on ‘Fatma’, the Turkish original. In ‘Unseen’, Zenzi Mwale (Gail Mabalanle) desperately searches for her husband Max (Vuyo Dabula), after he goes missing on the day of his release from a long prison stint. While Max was locked up, their son was killed, and the anticipation of reuniting with her husband was the only thing that really kept Zenzi going. The main characters and central conflict in both shows are the same: Zenzi and the titular Fatma are both cleaning ladies on the same quest, reaching murderous extremes for answers if need be.

‘Unseen’ unfolds in the same manner as its forebear, but it takes a few liberties that helps its identity as a South African show. The scenes don’t fundamentally differ—in fact, you can hear dialogue being reprised from ‘Fatma’, as well as the same character matrix. The setting does aid some of the storytelling, especially the police procedural parts that ‘Fatma’ couldn’t get away with, since police investigation procedure is expected to be better in Turkey than it is in SA. The show uses societal factors like that to help Zenzi manoeuvre a bit better but it still wobbles in character depth and as it reaches its resolution.

As much as Mabalanle puts in an awe-inspiring shift, there’s some deficit in what we know about Zenzi—viewers will connect more to her struggles than the character’s person. In trying to be a little more inventive about the remake, there’s a priority in adjusting the nuances of the story and it affects fleshing out the characters. Even the penultimate to ending phase is as puzzling as it is affecting, still inheriting issues from the show it’s based on.

So far, Netflix has invested in two remakes for the African market, one more worthwhile than the other, and neither has really reached cultural ubiquity. Even looking outward, there’s no proof of concept—the streamer’s South Korean remake of its Spanish smash hit series, ‘Money Heist’, wasn’t greeted with the same fervour. Currently, film is partly dominated by remakes and reboots, but it’s yet to widely translate to TV shows. Originality is a factor, but so is execution; reprising an entire show is a difficult ambition to pull off.

As far as remakes in African TV, it doesn’t get more ambitious than the Showmax telenovela ‘Wura’, based on the long-running South African series ‘The River’—which has also been adapted in Kenya (as ‘Kina’) and Portugal. Starring Scarlet Gomez as the titular character, ‘Wura’ portrays the difficulty in balancing being a cold-blooded businesswoman, great wife and loving mother—at least that’s what I gleaned from watching seventeen episodes.

‘Wura’ is at 100 episodes now; ‘The River’ has six seasons so far, all at 120 episodes. According to reports and parts of my Twitter timeline, ‘Wura’ hasn’t deferred that much from ‘The River’. I can’t say if it’s a good or a bad thing, the same way I can neither confirm nor deny the many tweets and group chat texts I’ve seen about bad acting on the show. It would be a hell of a task to watch 720 episodes of the older show and cycle through another 100 (well, 73 for me) to figure out if ‘Wura’ nailed its impression, eclipsed its forebear, or is shackled to any critical issues. The goal is clearly to localise the story for a previously oblivious audience.

In adhering so closely to the source of its inspiration, there might already be a positive. Showrunner Roger Ofime recently discussed the show’s portrayal of a queer love story, a taboo topic in a deeply conservative Nigerian story that squeezes queer people beyond the margins. “We don’t face challenges telling stories of a boy and girl in love, so why now?” he answered when asked if there were any challenges with that part of the show. “We had two queer characters in The River and got to see more. So, expect the same.”

The common thread between ‘Fatal Seduction’, ‘Unseen’, and ‘Wura’ is that their level of excellence is mainly tethered to the excellence of what came before it. That would mean that the adaptation of a critical hit would turn out an acclaimed show. It’s not an entirely linear correlation but, in the African film mainstream where story construction is something of a general Achilles heel, there’s some merit to that line of thought. It’s uncertain which other remakes we’ll be seeing but, as with all on-screen art, it has to start with a great story.

ICYMI: HOW ‘CRIME & JUSTICE LAGOS’ BRILLIANTLY ADAPTS AN ESTABLISHED BLUEPRINT

For The Girls: Dope Caesar Is Ready To Own Her Moment

Posted on by Uzoma Ihejirika

Last month, a video clip of a female DJ blazing the crowd was shared across social media. In it, a DJ stood behind the wheels, surrounded and cheered on by a hype man and other music enthusiasts. The DJ, dressed in a white T-shirt and spotting dark sunglasses, was spinning Brick & Lace’s 2007 hit song “Love Is Wicked”; the Dancehall rhythms of  “Love Is Wicked” soon morphed into a steady singular note that lasted seconds before unfurling into Afropop thump of Victony and Tempoe’s world-conquering 2022 jam “Soweto.” That transition, when it hit, sent both the DJ and the crowd of party-goers into ecstasy. 

That DJ is Dope Caesar—real name Sarah Oboh. Her viral clip, which was first birthed in TikTok, got instant attention on that platform and Instagram and X (formerly known as Twitter). On TikTok, the clip boasts more than 12,000 comments and almost a million likes. On her Instagram, it drew more than 3,000 comments and almost 57,000 likes. It has also raised Dope Caesar’s profile, with more people seeking her services. “I’m very grateful for it,” she tells the NATIVE.

In this conversation, Dope Caesar speaks about her viral moment and also delves into her early days and what she’s been up to. She also shares her thoughts on the DJing space in the Nigerian music scene and how more women can carve a space for themselves. This is Dope Caesar at her most honest and realest.

 

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NATIVE: Tell me about your background. What was growing up like for you?

DOPE CAESAR: I grew up in a music house, literally. My dad used to be a musician, sound engineer and record producer to an extent. So, I grew up actually watching him rehearse with his friends. He had friends that could play different instruments – drums, bass and keyboard. It was mostly like reggae-dancehall music they really did. My mom also likes music. You know mothers na. 

How did you discover your passion for DJing?

When I was a secondary school, I work the laptop for socials. I was in [boarding school]. It was really in 2017 when I finished uni that I stumbled across a very small entry-level controller in my dad’s room. So, I was like, “Okay, let me see how this stuff actually works.” Then, I started to just explore it. It just felt right just mixing music and I always felt I could put a twist to someone else’s stuff –  just my own flavour. I wasn’t a producer then but with DJing, it just felt like I could still be creative with it. That’s how I noticed that I had some level of passion for it.

You have mentioned the music your parents listened to while you were a child. What kind of music did you listen to on your own to find your path?

Yeah, I listened to a lot of pop music growing up. I was a very big Disney person. So I used to listen to the Jonas Brothers, Selena Gomez and those kinds of people and then some underground stuff. I like alternative music. So those were the things I really accustomed my mind to. It was when I started DJing, I started to listen to normal club genres – Hip-Hop, Afrobeats and the like. But as a consumer of music, I used to listen to not-so-popping genres. Those were my go-to at that time.

What prompted you to make a professional career as a DJ?

Okay, there were a lot of “I’m not doing this stuff, I’m doing it. I’m not doing this stuff, I’m doing it” from 2017. I think last year was when it [the decision] actually [became] a kind of force on me because I was trying to go back to school – go and do masters and all of that stuff. Then a club actually hit me up and they’re like they want a resident DJ. But strangely, my papers never came so I just started doing it [the job] and from that job, I just started getting more jobs. I was like, “You know what, I’ll just focus on this full time, really focus on it as a career.” But I’ve been doing it [DJing] before then. I’ve been having small gigs but I didn’t see myself professionally as a DJ. It was just [a matter of] I’m passionate about this stuff and I need to do it. It wasn’t until May last year that [everything] changed.

Did you get any resistance from your parents concerning that decision?

No, they have always been supportive when it comes to DJing because my dad used to even be a DJ when he was younger. If you say you want to do music, he will support you. He’s that kind of person. If you say another thing, e fit just dey look you. But if you say you want to do music, he’d be like, “Yeah, yeah.”

 

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What’s the story behind your stage name?

It used to just be Caesar before. I’ve never had DJ Caesar in my name before. It was just a thing of “I like Julius Caesar.” So I just took the name because I like his character and how he was just that guy. In early 2021, someone was like, “Caesar is actually a boring name so you need to put something in front of Caesar,” and when she suggested that I didn’t have anything. Then I was listening to a DJ play – his name is DJ Craze and he’s a turntablist. So, he had this interview that was playing; I think it was Kanye’s interview where he said, “Dopeness is what I like the most,” and I was like, “Wow, you could just put Dope in front of Caesar,” and it just sounded right. And even before I started to tell people my name is Dope Caesar, when I play, people are like, “Damn, that’s dope.” 

You have performed on reputable platforms. What would you say was your big break as a DJ?

I just think that [first] club believing in me was it because it’s not like I had prior experience [before working with] them. They hit me up. I didn’t go around looking for them. It actually put me on my toes. I had to always learn on the job until I became the DJ I am today.  That experience opened me up to other platforms like Obi’s House and so many stuff. I think Obi’s friends saw me play at the club and told Obi about it like, “You need to get this person.” It really took my confidence and my learning—because I like to learn—to a very high level because I just had to be on my toes and I needed to get better and understand how things were. 

Walk me through a usual Dope Caesar set. How do you prepare your mind for an event and keep yourself locked to the end?

This would be a little bit difficult to explain but I like to study what’s going on when I’m somewhere—it depends on my mood, I’m a very mood-driven person. I need to see how people are—are they being receptive to the whole thing going on around them? Are they distracted? What do I need to do? What kind of songs do they listen to here? [Also], the age bracket actually guides you on the kind of music you have to still play and all of that. So it’s just a thing connecting with the atmosphere on an emotional level. Then if I do that, I’ll be able to give my best.

Have you ever had any situation where you don’t feel the vibe of the crowd and they are not moving the way you want them to, how do you navigate that?

If the crowd isn’t moving the way I want them to move, I would just do my job. I try as much as possible not to pressure myself  like, “Oh, the crowd is not vibing to what I’m doing, that means I need to do this [or] I need to change this.” If I feel like I need to change stuff, I will change it but I have the rules set for changing it. I don’t have to play like someone else just because the crowd isn’t vibing. I’d just feel like it’s the wrong crowd for me. It could be the right crowd for someone else. I would just have that [in my head] so that I’ll be fine. If it doesn’t go well, no problem, we’ll go to the next gig and do better.

What will you say has been the most challenging aspect of being a DJ for you?

The most challenging part of being a DJ is actually being creative. That’s the most challenging part of being a DJ and being creative in the sense that it’s not about getting ideas, it’s about executing ideas. So, it’s how they [the ideas] are going to actually work and be musical because I’m being musical. I’m about doing it properly. It’s not about just that crowd that listens to you right now. 

It’s just a thing of “How do you keep it musical?” There are just so many constraints to look at so that you can keep it musical. As much as you’re keeping it musical, you have to make sure it doesn’t fly over people that aren’t musical—you can do stuff and they don’t get it and they’re just looking at you. It can be very difficult. There are so many routines that I have that I probably may never really do because I haven’t found the crowd for it because it will just fly over their heads. So there’s no need to do it. At least for now.

 

One of your performances (where you mixed Brick & Lace’s “Love Is Wicked” and Victony & Tempoe’s “Soweto”) went viral on social media. How did that make you feel?

I was actually very overwhelmed. I was in disbelief. I posted that video on Saturday around 12. Before then, I posted two videos on my TikTok. I’d just opened TikTok on Thursday night and I posted a video with Poco Lee (Asake’s “Terminator” and Chris Brown’s “Under the Influence” mashup). And my friend texted me like, “Guy, you have like 100 followers.” I’m like, “Where did these guys come from because I just opened his account now and I just left it?” And when I was checking, I saw like 300 followers so I called my guy Sammy like, “Sammy, e dey burst for TikTok.” Sammy was like, “Mad mad mad.”

I think we were on thousand-and-something followers at the time I posted the “Soweto” and “Love is Wicked” [mashup]. Then it started going up. Sammy was like, “Guy, I think we’re going to do like 2,500 followers today.” I was like, “Nah, it’s not possible. I think 2000 is a fair reach.” That day, we did like 10,000 followers. I was just like, “Where are these guys coming from?” Then my friends started sending me [messages that] blogs were posting it. I was just very, very confused [at first] but at the same time,  I’m very, very grateful for it.

I’m very grateful to everybody that watched it, dropped a comment, liked, shared and talked about it. Even if it didn’t go viral, I’ve always known that particular transition is good, and even if it did not go viral, it’s not gonna change anything. So I don’t want to say it made me feel a type of way. I just feel grateful that that happened. 

How do you think the DJing space, like other aspects of the music industry, can become more receptive to women?

I think the best way, for me, is to have a proper standard for everybody so that people that are creative wouldn’t be scared of doing this job. There are people that are actually creative but they’ve always heard that “Your style is not for Nigeria; the way you play, it’s not what we need here. People just want to vibe,” and it actually puts them off. So, instead of telling them that you can’t do it, just let everybody find their footing and express themselves the way they want to.

DJing is quite a profitable business to an extent. Why I even do this is because DJ Switch actually inspired me to not change my style because she’s a creative DJ too. It made me believe I could do them too. This is a Nigerian like me, this is a woman like me and she’s doing it on an international level. If other female DJs see me do this stuff and they see that [I’m] making moves, they will start to believe in themselves and do it. 

You have mentioned DJ Switch as an inspiration. Who are your other inspirations?

Yeah, I have one billion DJs that steadily inspire me. My biggest influence is actually a DJ from Barbados. His name is DJ Puffy. In Nigeria, I have many DJs –  off the top of my head, I can’t even remember so many DJs. Puffy is my greatest inspiration. [There’s still] Skratch Bastid, Moody Mike from France. I have DJ Amy from France. Cocoa Chanelle from the US. There are so many of them that inspire me. I’m always learning even [from] the younger guys. I listen to as many DJs as I can, so even DJs that don’t play the kind of music I play, there’s something to always learn from them. So, I’m always opening myself to DJs, regardless of even where they are in the game – professional, entry-level, intermediate; whatever you are, I would just open my ears to you and try to learn something and see what I can pick from you.

You mentioned earlier about wanting to go into production. Is that happening soon?

Yeah, even sooner than anybody expects.

Does that mean there’s a project in the works?

Yes, there’s a project in the works. But I’ll move in silence about further details.

How have you been able to leverage social media to expand your brand?

We’re still navigating our way through social media but we are seeing the power in it. That very cheap but very effective and efficient advertisement. My team and I are making moves. That’s all I’ll say for now. 

What’s the plan for Dope Caesar as a brand going forward?

[I see myself] on amazing festival stages, trust me. Inspiring the next generation of DJs that will take the African music journey to a different level. So it’s going to be those festivals [and more].

Featured image credits/NATIVE

Yusuff Aina is bringing his multidimensional world to life through ‘Eniyan: Escape Room’

Posted on by Nwanneamaka Igwe

The Lagos-born multidisciplinary artist, Yusuff Aina is a world shaper and masterful storyteller. Through his colourful and thorough interrogation into his own psyche, he’s crafting a visual world that visualises his feelings of escape. To portray this, he utilises his self-invented character, Eniyan, which he describes as “human beings, persons, everybody, nobody, man and woman at the same time.”

Eniyan has been featured as a fictional character in most of Aina’s recent work including The Escape Room, a multidimensional exhibition which explores varying mental states of mind with themes such as solitude, anxiety, bliss and more. Aina admits that Eniyan is a visual manifestation of his unique form of artistic expression known as Ainaism. “Ainaism means life. I incorporate it with my art form which is Eniyan. It’s the body that tells the story and journey of life in Ainaism,” he shares with the NATIVE. 

Everything crafted within Aina’s world is not without reason or place. Right from the early stages of his career, Aina has paid close attention to his linear motion techniques for crafting his vision. It was this curiosity for tracing where it all started that led Yusuff Aina to take a closer look at his culture and history which enabled him to reinterpret this for contemporary audiences. “Eniyan is the medium to explore the journey of human beings and Ainaism represents that unseen pattern and form of navigation in life. All works I create through Eniyan possess a uniqueness in form, compositions, symbols, language, connection to being and spirituality,” he shares.

 

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Aina’s building is a result of his experimentation with different tools and mediums over the years. He tells the NATIVE that he believes that human beings are connected to the earth and can utilise resources around them to craft beautiful concepts. “You’ll find that in my works; a lot of sand, stones and cracks. My paintings symbolise the expression or mental state of us as beings,” he shares.

Aina reflects these themes through the lens of mental health and “state of mind” in colour-coordinated rooms categorised—Red Room, Blue Room, Yellow Room, White Room, Green Room and Black Room. “There’s one that shows sadness and depression. The same work shows me needing a hand because I felt helpless. There’s a work showing how I started taking charge and form of my situation. There’s another work showing where I am right now, where I’ve found bliss,” he shares candidly. 

His latest exhibition ‘Eniyan: Escape Room’ is a return to his current state of mind. He shares that the exhibition is an attempt to form a connection with the world around him. As a child from a large extended family, he never really had a close-knit family unit which left him longing for connection and interrelatedness. “The Escape Room focuses on different states of mind that influence our choices. I’ve been longing for connection with myself and the people around me,” he shares candidly.

 

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In a NATIVE exclusive interview, Yusuff Aina dives into his two-year long curatorial process for the exhibition, while looking back at his journey into the art world as well as expectations for the future.

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

NATIVE: Talk me through your journey leading up to this moment. What pushed you to start creating professionally?

I’m from Abeokuta but based in Lagos. I have been creating art since I was four—primary one. I wanted to be a dancer and a goalkeeper but art was the thing that gave me the most promise. Art has been a passion and a journey. It has been my backbone. Whenever I’m having difficulties with human beings, art has never left me and that made me really want to study art more. As I was creating my patterns and motions, I decided to call my kind of art Ainaism—from my name Aina. In my second year of College, I designed the character I’m currently working with. I scribbled something out of boredom. A year later, it became a recurring joy in my pieces and compositions.  

Compared to when you first started in 2016, I’m sure you have experienced some growth. How would you say these past years are different for you looking back? 

Crazy growth. In the last 7 or 8 years, I’ve gone through different transformations and phases and I’ve expressed my kind of art in many ways; through charcoal, drawings, paintings, designs, graphics, and animation. I’ve transformed from creating in different ways to where I am right now. The journey has been tough, battling low self-esteem, depression, moodiness, solitude, [and] rejection from different angles of life. I’m glad I experienced those things even though they weren’t fine. I guess it’s just meant to be for me to be where I am right now. I appreciate it, especially the grace of God. My faith in him is really powerful, and I don’t second guess him.

Who are some of your early art inspirations?

My older brother was an inspiration to me as a child. We used to draw together but he stopped doing that after a while. I always wanted to do better than him.  In the professional area, I was inspired by David Akinola, a very good multidisciplinary artist. The way he combines lines and composition and his portrayal of figure drawings is fascinating. I have been inspired by KAWS, Pharrell Williams, Daniel Arsham and a few others. Ken Nwadiogbu was also my mentor. He helped me understand how to position [my] work in the art scene. Also, I’m my own inspiration. I’m inspired by where I want to be, what I want with my life, my calling and my kind of work.  

 

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You coined the term Ainaism. What is this? 

Ainaism is derived from the name Aina and it’s a child born with the umbilical cord around the neck during childbirth. It was a life-threatening situation that my mom and I went through. When I discovered my mom was an Aina, I started digging deep to learn more about this name and how it’s linked to my art. I started creating my lines and patterns without knowing what they were. I later realised that my lines symbolised the umbilical cord which is the connection between life and birth. So Ainaism means life. It means birth and the lines in my work are called linear motion. I incorporate it with my art form which is Eniyan. It’s the body that tells the story and journey of life in Anaism. 

Eniyan is the medium to explore the journey of human beings and Ainaism represents that unseen pattern and form of navigation in life. All works I create through Eniyan possess a uniqueness in form, compositions, symbols, language, connection to being and spirituality. Eniyan stands as the body to represent human beings in this journey of life that I’m trying to express through my work. There’s a language to it as well that I am building and over the next few years, I hope to have been able to compose a lot of like symbols. 

Why do you feel like these chosen mediums are the best ways to best translate your ideas and thoughts?

I am very connected to the earth and I believe that we are all from the earth. You’ll find that in my works; a lot of sand, stones and cracks. It is a metaphor for where we are now as human beings. As we were created from dust, over time, we shall return. Our choices and behaviours are affecting our form and that’s why the cracks are in my work. Sculptures represent a stillness to express motion and movement once of human beings. From a still sculpture, you can see different types of motion. My paintings symbolise the expression or mental state of us as beings. The colours also represent emotions or stories which I’m trying to make people feel through my work. I want people to be able to look inwards and discover themselves. Everything is linked to the genesis of human beings. 

Would you say that these creative processes for each medium differ in any way? 

They have different approaches because of their nature. For paintings, I either work with a brush, paint, my hands, sand, palette knife and so on. Sculpting is different. I keep in line with the general approach to creating forms and the basic elements, principles and forms of design. So there are different approaches.

A lot of the works scale very large. Is this a design preference and what inspired you to make your works in such larger-than-life sizes?

Most of my paintings range from four to eight feet but my murals are the largest. I don’t always think a small canvas is enough to explore what’s in my head. It also gives people the full experience [of] the piece on that scale. I even want people to see my work from afar and get drawn closer. The world is big enough for us to express and I’m down to explore all those areas.

What have these moments been like for you? How have you been feeling leading up to the opening day of the exhibition?

It’s been intense. I’ve been working on this particular show for two years now. This current project, Escape Room, started with paintings in January 2022. I’ve been exhibiting in showrooms across the world. I’m learning about myself. I learned through my art, conversations, passion, mindset and visuals. COVID-19 also triggered me to be able to reflect on myself. All these years, I’ve been building ideas and concepts. 

This exhibition explores a lot of themes such as alienation, trust, and various ideas of belonging as well. Why do these themes stick out to you the most?

I’ve been longing for a connection with myself and the people around me. I did not come from a close-knit family and the relationships are very distant. I’ve been creating and living my life alone, and my solitude has really rubbed off on my interest as well. My work is there to show people they’re not alone and the significance of being there for one another.

The Eniyan stands as a medium to show people this. That also contributed to my interest in the psychological patterns of human beings. The Escape Room focuses on different states of mind that influence our choices. I’m using it to allow people to become aware of this and have these conversations, especially in a world where we pretend to be all fine. A lot is going on with us and it’s to encourage people to allow themselves to be vulnerable with one another. 

 

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Let’s talk a bit more about Eniyan and why you decided that that would be your design trademark. 

It was becoming a recurring pattern in my work and I was encouraged by Ken [Nwadiogbu], and some other friends of mine to look into it further. Indirectly, they were telling me to look within myself. I think Eniyan is a self-portrait for me, as much as it is a self-portrait of everybody in the world. Eniyan just feels right. It just feels like the real thing.

Talk to me about your selection process for the works you are showcasing in the exhibition. How did this come about?

There are 31 paintings and 5 sculptures. They [represent] different states of mind;  the Red Room, the Blue Room, the Yellow Room, the White Room, the Green Room and the Black Room.  I did not create the installation of the Black Room but I did paintings. The number of works in each room wasn’t intentional. I was just creating based on what felt right at that moment. Each wall has personal experiences in them. One is expressing how I’ve been entangled and overwhelmed with my life for the last eight to ten months and how I am trying to breathe. There’s one that shows sadness and depression. The same work shows me needing a hand because I felt helpless. There’s a work showing how I started taking charge and form of my situation. There’s another work showing where I am right now, where I’ve found bliss. 

What do you hope audiences take away when they have a look at all the works?

That Eniyan is not just me, it’s everybody. It’s intended to be as subjective as it can to allow people to find themselves in my pieces. Any piece in the world that you don’t relate with, there’s someone else in your life that you know relates to it. I intend for them to find themselves, find courage and understand that they can do anything. Be expressive and loud and know that vulnerability is not a sign of weakness. To challenge our thoughts, challenge the contribution, the passion and know that we are bigger than what we think we are. We can actually find peace wherever we are. There is nothing under the sun that doesn’t find a resting place.

What can we expect from you moving forward? You already spoke briefly about Ainaism and how you want it, in the long run, to be converted to its own language and symbol of representation.  What more can we expect from you?

There’s a lot I’ve been working on in the last eight years. Currently, as I’m exploring The Escape Room, there are different universes and dimensions in which The Escape Room can be expressed. I intend to release my Eniyan toys and sculptures in the next few months. I want to hold a second solo that’s more groundbreaking than this. I’m also picking up my fashion line. I have been creating fabric designs for the last 7 years. A lot of different things. One of my dream collaborations is with Pharrell Williams, especially Humanrace. I have a ton of designs and concepts for his skincare brand and if I can get that opportunity, it would be really sick.

 

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Featured Image Credits/Yusuff Aina

NATIVE Exclusive: Enter Into The Creative Universe of Nova

Posted on by Emmanuel Esomnofu

Sometimes a cold email isn’t the most unsolicited thing in the world. Sometimes, it’s a move towards discovering a potentially great artist, one whose brilliance requires more discussion. This was the feeling a few minutes into NATIVE Mag’s recent interview with Nova, a Toronto-based artist who’s been laying down footprints in the media and music scene for a while now. He’s a multifaceted creative, frequently switching in between modes to relay different aspects of his narrative, all of which began with music. 

“Have you seen that Drake meme that is going around that says ‘Combination’?” he says when I ask about his early music. “I started rapping when I started making music and then over time evolved. I started doing more melodies and started singing more. But the more I made music it was all about being able to find my sound. It was about bringing my skills today to be able to really express myself in a cohesive way.” 

 

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Nova’s latest single does just that. A showcase of his wavy sound, “CTL” imbibes thorough narrative background, from the song down to its visuals. It is produced by Toye Aru, the Nigerian-born producer who Nova has been working with for a while. Translating as ‘Cross That Line,’ he explores “a relationship between a guy and a chic [and it’s also] an interesting play on how, once you fall in love, or engage with Nova there’s no going back.”

The song’s direction also influenced the visual ideation, which Nova considers an extension of his interest in animations and cartoons. A conversation between him and the director Damola Rufai spawned the creation of a vampire character, whose circumstantial fatality also played on the song’s title. The most novel element was however the utilising Artificial Intelligence, which Nova admits has been a big discussion worldwide, seeking to put limits on their adaptation. 

“We were just thinking,” he tells me, “the way people are using A.I right now, it’s not really infusing creativity into this new technology. And we were able to use generative A.I to create a universe that creates an audiovisual journey for the audience to get immersed into the experience of what [the song] means, to create a beautiful story that not only resonates but looks visually stunning as well”. By and large, Nova and Damola achieved their goal; I found the visual for “CTL” aesthetically empowering, its cartoonish movements and flamboyant hues melding into a distinct emotive vibrance. 

Stars have frequently spawned off the universe that is the diaspora. Across the Atlantic, home has been wedged into the art of black creators, especially young people who are willing to connect stringent lines of cultural history. Nova’s music does just that—he is a fan of R&B, as of Hip-Hop and Afropop, arriving at the intersection between all three, and some other more sounds. Early on, though, he was more Kendrick Lamar than Burna Boy. 

An early record like “Olumide Macaulay” bears the sound of 2010s Hip-Hop, influenced by the blog era in its self-immersed subject matter and flashy imagery. That stateside awareness was evident on “Higher,” accompanied by haunting production that seems cypher ready-made. However, as Nova himself acknowledged, the musicality was peripheral to the rapper aesthetic, and that began to change when he began to release projects. “Lust,” the opening record off the ‘S.T.A.Y (Still Think About You)’  series showcases that growth, a rich body of sound that strips the bars in favour of emotional heft. The Katasha J-featured “Precious Diamond” reveals his tightening grasp on afropop, the soft patter drums matched with sweetly delivered lyrics about love and expressing intimacy, whether through the sensitivity of pressed bodies or the carefree allure of bodies dancing, brought under the rhythm of feeling for another person.

Born Mobolaji Adeyemi, Nova The Great was born in England, but spent his formative years in Nigeria. That meant going from the nursery to secondary school system, living consciously through the bubbling cultural period of the 2000s and 2010s, basically touched by experience and knowing the songs he loved, listening to them for the first time where he did—these are images the artist remembers. “My uncle used to drive me to school and you’d hear him play the dopest music—like Wyclef, DMX, Lauryn Hill,” he says. “For me that was really inspiring and exposed me to different kinds of music. I think that motivated me to want to try and create.” 

During the flamboyant era of secondary school, Mario’s “Let Me Love You” was released; Nova remembers singing it everywhere he went. “From there I started playing around with my friends, we started making music,” he recalls. Professionally, music came into the picture around 2015, when his brother’s friend who loved his music linked him up with the Nigerian-born, Hunger Games actor Dayo Okeni, then a fresh university still auctioning for roles. For some years Okeni managed Nova and it was he who taught the musician how to be a good independent act. 

“He gave me a platform,” he says, “to understand it’s possible to do music independently and it’s possible to be creative and just accomplish your goals if you work towards them in a very strategic way.” In Nigeria, Nova also worked with Urban Vision, the architecture and design company owned by Tola Odunsi, otherwise known as Bobby Boulders. They welcomed esteemed clients like Wizkid, Mr Eazi, 2Face Idibia. “It was a good spot to really meet different artists across different levels and just learn from people,” he says. 

Mobolaji’s expertise also extends into fashion and communication, both being longtime interests. He’s worked with a few brands merging both sensibilities for their potential customers. In one unraveling response, he provides context into how he’d usually craft a chain of progressive stories. 

“For me the most important thing is finding different outlets to express myself, because I feel like that’s what creativity is about,” he says. “Even when I got into fashion, I was seeing African culture making waves globally, however when people talk about Africa they seem to talk about the continent like it’s a country. However, Africa is so diverse—between Egypt, Nigeria, South Africa, Angola—like, the diversity between people is so vast. I wanted to use fashion as a medium to express the diversity of Africa, so I started to put a more urban interpretation on traditional African outfits.”

One of his first experiments was turning a Dashiki into a Poncho, playing around with form and using the origin of the fabrics to create narratives around the outfits. This deliberation extends into his music. His ‘S.T.A.Y’ series capture postcard moments, issues vast and near brought under his remarkable pen, and his ever expanding ear for sound. While the first project was a solo effort, the next which was created during the pandemic embraced a multiplicity of voices through its collaborative process, holding up the perfect image of how Nova was feeling at the time. 

He’s primed to release the third project in the series, but before then, he’ll be putting out “Tatiana”, along with other singles until Project Time. To Nova, sharing music, or any art for that matter, feels a bit like “the end of a relationship,” he says with a laugh. “But it’s almost like a relationship with a child, because you nurture the song up until the point you release it, and then you’re just like, ‘I just have to let you go.’”

ICYMI: IN CONVERSATION WITH TOYE ARU, THE PRODUCER WITH AN AFFINITY FOR BIG SOUNDS

Best New Music: Liya ups the ante with “I’m Done” & “Powerful”

Posted on by Dennis Ade Peter

According to its Afrobeats-dedicated website, the total number of hours male artists have been streamed on Spotify is about four more times than that of female artists. It’s cold, hard numerical evidence of a hegemony that continues till date, even with the consistently increasing number of women making great music. Beyond the consumption pattern, the myriad of issues female artists have to face behind the scenes is sometimes obscured by music industry jargon like branding and funding, but other times it’s plain ol’ misogyny.

 

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“You fuck with me, I don’t fuck with you/Eyin melo gan gan le fe ba mi sun?!” Liya barks on “Powerful,” a song off her recent 2-song drop. That latter remark (or question) in Yoruba translates as, “How many of you want to have sex with me?” Her disdain is raw and her tone is personal, more than hinting that the line is plucked from her lived experiences. Alongside “I’m Done,” these songs are Liya’s first release as an independent artist, after being signed to the previous iteration of Davido Music Worldwide. Liya isn’t the only artist formerly linked to the superstar-led imprint to not achieve widespread popularity, the reasons for that will remain speculative but she’s definitely had more than her fair share of unwanted sexual advances in that period.

Recently, a Nigerian singer with allegations of sexual assault and coercion—who should’ve been roundly cancelled years ago—admitted to demanding sex from a potential collaborator, who also happens to be one of the most popular (female) artists in Nigeria and across Africa. For a rising artist like Liya, one can only wonder about the number and types of uninvited propositions she’s gotten. With its pounding drums and eerie vocal samples, “Powerful” is resounding in that these gross inconveniences are merely references for her to be at her cockiest yet. It’s not exactly a transformation but it definitely shows us another layer to Liya’s abilities as a songwriter.

When her debut EP, ‘Alari’, dropped in 2021, the singer’s blend of Yoruba aphorisms and operatic vocals, as well as her grateful, optimistic perspective, seemed to bend the sounds around her into an ethereal realm. Over folk-indented arrangements, vibrant dance beats, and soulful gospel moments, Liya proved to be unique and intriguing, if not wholly captivating. For all her qualities, she wasn’t fully formed yet to be the kind of commercial barnburner that many would’ve expected from the “first lady” of her erstwhile label. Improvements were needed, but clearly not in the mould of the trend-chasing single, “Izz Going (Skalala).”

Both “I’m Done” and “Powerful” up the ante for Liya, leaning into a sense of self-believe that has always been there but has never been this brazen, and they translate into proper jams. “I’m very powerful, I know that you can tell it too,” she asserts on the second verse of the latter song. The former, though, is the budding commercial gambit, a romance-themed song that’s more euphonic, featuring crisp drums and radiant strings, but Liya is no less ultra-confident. “I no go follow you play mind games/Keys to my heart I don throway,” she declares, sounding extremely assured as she hoses out the flames to a toxic relationship.

With the certainty in every line, the cherubic gleam in her voice feels less like a showy gambit and more of an integral trait to the song. Now, there’s a little more effortlessness in how she uses her feathery touch. There are no over-the-top stunts on either songs, and she calibrates her cadence to fit every line but the top line melodies are consistent. That allows the relatability of the music to shine, while also emphasising Liya’s boundless potential as she figures out how to draw in more listeners by figuring out her own unique combination of charisma and charm. “I’m Done” and “Powerful” are proof that she’s some ways there already.

Liya seems to have a chip on her shoulder, perhaps to prove that all that she needed was some more time to refine her skill-set, a lot more confidence to be as self-reverential as she wants and, like many other female artists, a little more faith from the public. How these two songs and subsequent drops work within the larger scope of her career depends on several factors, some of which she can’t control. Right now, though, Liya is doing what she can control: Make music capable of elevating her into stardom.

BEST NEW MUSIC: NYA SOUNDTRACKS THE MOTIONS OF RADIANT JOY ON “GOOD DAYS”

Review: Crayon’s ‘Trench to Triumph’

On the cover for his debut album ‘Trench to Triumph’, there is a portrait of a group of children playing football, and a few others watching. The number 7 imprinted on the back of a jersey tagged “Crayon” says something of the musician’s first love–football. Now, however, he recedes from the attention, his figure in all-black as a wooden cross looms above. The building structure, the zinc sheets and the topography of the sand—it’s a setting well established in popular culture, the kind commentators would likely refer to as trenches.

Through his foray as a pop star, Crayon’s music hasn’t necessarily beenxz affiliated with this demography. He rather upturns their experiences through the dreamy eyes of someone climbing up the social ladder. Sounding much like the bright colours associated with his moniker, high-energy bops and skin-revelling dance makes up the artist’s defining traits. In that way, he’s been a patron saint of the vibe, more closer to the hopeful imagery of Zinoleesky than the stark visions of early Bella Shmurda.

Still, Crayon is his own man. That much was clear when he entered the scene with ‘Cray Cray’, the six-track EP which revealed his sunny melodies baked in everyday storytelling. It was 2019, a year symbolic in Nigerian Pop, if not for its continued incursion into global spaces then at least for its emerging youngsters. Among artists like Mavin Records label mate Rema, Fireboy DML and Amaarae, the fresh-faced Crayon seemed a less-orchestrated attempt at crafting a superstar, making records like “So Fine” and “Gock Am” ring out with the feet-stopping allure of something you’ve heard before, forcefully capturing your attention until you were soaked in its cherry quality.

The years since have brought good tidings for the artist born Charles Chibueze. From that initial fine stroke, his career has measured up to a collection of progressive colourful moments, the deep-hued expectations he carried petering out with balance, lighter and legitimate. From the narrative framing of its title, ‘Trench To Triumph’ carries the mark of Crayon’s journey. No longer can he be considered that wunderkind signed through Mavins’ extensive scouting system; he’s struck out on his own, growing though he is, but confident enough to throw creativity and intent behind a debut album, which is typically scrutinised by the public with the incisive gaze of a scientist.

Early into the album, Crayon unfurls his vision. “Call me calvary, cos I’ve fought so many wars,” he sings amidst the atmospheric quality of humming voices and dramatic sonic flourishes, army-type drums and brooding synths. “Calvary Kid” falls into the style of introspective album openers, with the message, and not much of Crayon’s voice, contributing to its allure. On “Trench Kid,” his individuality emerges more vividly, with urgent strings and heartbeat-evoking percussion forming the production. “I remember 2015 oh, I was depressed oh/ I was a broken crayon, I still dey colour,” he sings with obvious triumph, mapping the geographies behind his ascension. Meant to inspire, the feature of Oxlade is a fine choice, his falsetto melding soothingly into the dulcet evocation of Crayon.

Crayon’s opening movement tears the bandage from the scars of his formation. If every trench kid is a physiology of false starts and finally finding redemption, it’s a philosophy Crayon allies with. However, it’s not one he expressively relays throughout his debut. The triumph is the focus. It takes the other side of the thirteen track affair for that perspective to again emerge, on “Modupe.” Even then, tales of “barneys wey I reckless” are rendered with one eye on the future, with crowd vocals employed in amplification of its effervescence. There’s little to fault Crayon by; those who’ve lived in the trenches, the real trenches, do not glory over its gore, rather they are appreciative of the fact they made it out, able to tell its stories and give thanks as Crayon does here.

If anything, Crayon’s songwriting reaches palpable highs throughout the album. As B-side cuts like “Bamiloke” and “In Sync” off the ‘Twelve A.M’ project have revealed, the Ojo Town-raised artist has always possessed a flair for the dramatic, which is revealed in deceptively simple phrasing, but always framed with the ingenious mischief of an insider. “What shall it profit a man, wey God bless with money/ You dey stingy for your life oh,” he sang on the former, the first line of the quoted lyric indelibly blended into a popular Bible passage, but delving at the last second, trickling onto the sphere of everyday Nigerian living. “She talk say I dey give am,” he sings on the latter, the sensual intent folded into the words themselves, so that he says a lot without saying too much.

Such phrasing comes alive again on “Wetin Go Be,” the penultimate song in the album. It’s an inspired dash of culminating experiences, obviously with his present figure as a superstar at the visible side of the narrative coin. Crayon sings about the imminent quality of life’s events, but he shares nothing of the rapper’s tendency to reside within that perspective. He’s rather like the everyday youngster one comes across on the street, bleary eyed but optimistic, with the hope of a better hand than life has dealt them so far. “As my face show, make my shoe shine oh,” he sings in the first verse, obviously seeped in the sphere of prayer while his tone retains its trademark honeyed quality.

 

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Crayon flips the narrative coin on album closer “Good Day,” an ostensibly positive song which encapsulates the triumphant ethos of the tape. With the melodious grooves of Highlife guitars and warm drums building around him, he charts the grass-to-grace tale Nigerian culture has come to love through mediums like film and music. “Everyday is a good day, when money dey” he sings with the philosophical clarity of Aristotle, and the famous dramatic sequence (beginning, middle, end) often accorded to the Greek maverick is present here.

If the trench is the beginning, and triumph is the end, what then makes up the expansive landscape of the middle? For Crayon, it is love. Beneath the energetic showing on obviously pop-tilted songs like “Ijo (Laba Laba)” and “The One (Chop Life),” there’s a more sensitive Crayon, a version of him where the world and all its material heft strips away. On ‘Trench to Triumph’ one hears some of the best love-themed records in Nigerian Pop this year.

The effervescent Ayra Starr features on “Ngozi,” turning in one of her strongest guest verses in a career glittering with them. From Lojay (“Runaway”) to Iyanya (“Call”) and Magixx (“Love Don’t Cost A Dime [Re Up]”), the ‘19 & Dangerous’ star has consistently showcased her awareness for duets, her luscious vocals embracing the fullness of experience, meeting her male co-stars halfway. Again proving herself amongst afropop’s elite songwriters, her verse reaches several highs, from the image of running to her lover in a panamera to the “wetin you put for this your jollof”, the switch in language matched by a switch in tempo. On “Ngozi” Crayon is the perfect host, sounding very direct while retaining the breezy candour a record like this requires. “Craving your nsala oh”, meanwhile, continues in the exciting ways Afropop artists are learning to describe sex, making the similarly head-spinning pleasure of food a worthy, nearby metaphor.

On “Belle Full,” it is Victony who sets the ball rolling with his divinely-pitched vocals. Released as a pre-album single, its Old Nollywood-inspired cover had spurred widespread conversation on social media, with users eagerly tracing the visual impact of that industry on contemporary creators. To the producer KTIZO’s credit, the song does sound like a jolt from the past, with electric touches to the synths matching the upbeat and simple direction of its drums. Vocals are left and right of this one, Victony and Crayon’s distinct range unified in saccharine compromise, as they chorus together, “Na only your love wey go belle full me.”

Magixx completes the album’s trio of distinct feature vocalists. Another heartwarming love song, “You vs You” has undertones of amapiano log drums, but to the song’s own benefit, they’re never allowed into the production’s dominant space. Rather it’s the swooning elements which evoke light tension—this is the soundscape that spurs one of Crayon’s best vocal showing on the album, while Magixx continues to burnish his mythos as one of afropop’s most underrated vocals with a short but evocative verse, his almost husky tone brilliantly complementing the relatively svelte frame of Crayon’s.

The album’s love arc moves deep into it, most poignantly on the duo of “Superwoman” and “Adey.” Significant they truly are, because they’re the last moments of cherished intimacy, before Crayon turns back to the trenches to paint the gripping image of his early years. Log drums emerge vividly on the former, a tender offering to the woman of his heart’s beating. With violin stretches and sparse horns, there’s a bubbly musicality thriving within the record’s seams. “Adey” is a reserved song—R&B seems to be an offshoot influence in its demeanour, even though Crayon, ever the Afropop student, inflects his delivery with subtle touches of the genre’s conventions such as the repetitive “I dey, I dey dey” in the chorus and the culturally-aware songwriting.

As the listener gleans throughout ‘Trench to Triumph’, there’s a consistent brilliance to the production. Each beat is realised, suffused with detailed finishes, and setting a buffet of sounds before Crayon and his guests. When beats establish their own movements and ethos, it’s easy for the artist to flow within those ebbs or bounce against them, depending on the vision they have. For the most part, Crayon rides alongside the beats, but with palpable confidence in his own individuality.

This is important because there is no shortage of great producers in the creative room. Mavin-affiliated figures like Andre Vibez and Ozedikus score credits on the album, while Crayon’s mentor Baby Fresh also layers chops for the golden-voiced protege. DJ Tarico of the Yaba Buluku Boyz produce the song they feature on, the uber-popular Blaise Beats chips in his output, while BMH (most known for his work with CKay), Biggie Jazzy and Caleb Music also contribute to the album’s cohesive core. The titans Sarz and Don Jazzy have three songs between them, and the former’s genius extends into the earthy brilliance of “Ngozi”. Jazzy’s signature drum work is everywhere on “L’Eko” and if you listen closely, you’d also hear his reverberating bassy tone.

Quite remarkably, Crayon pulls all these distinct creators together and makes the album work. Although exposed to the temptations of modern afropop and the urge to try out anything and everything, the artist relays an unprecedented maturity in the handling of his material. ‘Trench to Triumph’ is a neat album, but not insufferably so. The sugary quality of pop music, and which has indeed been present throughout Crayon’s catalogue, is present, but the moments of stark humanity and vulnerability also are.

Like the album cover lets on, beauty doesn’t have to be instinctive. It can sometimes be put together, like organising a couple of kids on the street to play football, but the magic is in the photograph that’s created. In this case, the magic is in the expressive joy retained within the sound.

ICYMI: A 1-LISTEN REVIEW OF CHEQUE’S NEW EP, ‘CHEQUEMATE’

uNder: Best New Artists (July 2023)

Posted on by The Native

Music thrives on freshness. In Afropop, there’s no shortage of pop superstars and cutting edge, niche-serving artists, but listeners always have their eyes opened and ears peeled for the Next Best Thing(s). It’s exciting proof that our music and the scene surrounding it is growing forward, broadening to allow artists who’ve been working on their craft in secret, the chance to make their own impact and add to the variety of the music being made by Africans.

This month’s edition of uNder features artists who are at various phases in their careers, but the common denominator is that there’s sufficient proof of their talent. South African singer Nkosazana Daughter has made hits as a collaborator for producers but her recent debut album feels like she’s just getting started; Ghana’s Olivetheboy might be a viral star but he’s logged a significant amount of his 10,000 hours; Nigerian singer Taves is a rookie to most but his catalogue means it’s us that’s playing catch-up. There are four more artists we’ve spotlighted, and we believe each one is worthy of attention because they’ve already shown why.

Read on for our breakdown for all seven artists and listen to the playlist here.

Nkosazana Daughter

For anyone paying close attention to the booming Dance and House music scene in South Africa, Nkosazana Daughter’s dulcet vocals don’t venture far away from several mainstream hits and niche deep cuts. While she can be accurately grouped under the high-pitch vocal range, what makes Nkosazana’s performances standout within the bass and log drum heavy soundscapes is how lightly they land on the ear. Deep London’s “Piano Ngijabulise” perfectly encapsulates this, as well as her her journey developing the sounds of the genre and unique storytelling skills. 

“Ukuqala Kwa ukuhlanganipha, Uku mesaba uJehovah/Ay abezwa labantwana, badlala ipiano,” she sings, which loosely translates to “The beginning of wisdom is fearing God/These kids don’t listen, they play piano.” She floats into the hook singing, “Piano ngijabulise, Piano ngikhulekise” —“Piano make me happy, Piano pray for me.” To Nkosazana, ‘Piano is more than a genre. It’s a religion and her expansive catalogue of only 2 years is evidence of that. Undoubtedly, Nkosazana Daughter’s touch across several standout features cements her as a highly sought after collaborator but the recently released LP, ‘Uthingo Le Nkosazana,’ sums her remarkable contribution to Private School Amapiano and Deep House-led excursions.

Nkosazana’s feathery execution slides over varying upbeat and gloomy productions that create her soulful, heartwarming renditions across 13 tracks. She effortlessly holds her own across the conspicuous beats so much so that her fleeting vocals leave an impact beyond their presence. With innumerable cosigns and as one of the most sought after collaborators in urban SA music, Nkosazana isn’t just a mainstay—she’s charting her part into becoming a beacon of excellence. 

TAVES

Last year, Taves made a cover of BNXN’s “For Days” and it caught the attention of the singer who immediately took Taves under his wings. Taves’ cover retained the easygoing flow of  BNXN’s original but it also showed clean rhymes and deft songwriting. Fairly recently, Taves released “Eleyele,” his first single of 2023, under BNXN’s indie imprint, T.YE, and it also featured songwriting and vocal contributions from BNXN. While it might seem Taves appeared out of nowhere, proof of his consistency are littered across the internet.

Tavves, born Toluwanimi Aluko, began his career at the age of nine as a songwriter before he proceeded to record music on his phone, which he shared with friends while in secondary school. At 16, Taves took recording and releasing music seriously, putting out records inspired by the music he listened to: R&B and Hip-Hop. Projects like 2019’s ‘The Nest: First Day Out’, 2020’s ‘17’, and 2021’s ‘18’ documented Taves’ personal and artistic growth as he laced his sound, a fusion of R&B and Hip-Hop, with stories of love, heartbreak and other struggles.

In 2022’s “Karma” and “Long Time 2.0” with Ned K, Taves experimented with Afropop, replacing the rap bass with Amapiano log drums. His latest single, “Eleyele,” clearly situates him in the Afropop territory but it also does in the aforementioned location, an area in Ibadan, Oyo State, which was influential to Taves’ formative years. On the song, Taves pins for a lover who has left him for the megacity of Lagos and its fineries; he pleads for her return yet he is aware that there is no return to their blissful past. The level of skill Taves exhibits on “Eleyele” marks him as a promising act with huge potential for a mindblowing future.

Olivetheboy

Ghanaian music never has a shortage of viral breakout stars. Since the turn of the decade, Gyakie, Camidoh, Black Sherif, the entire drill scene, and more new stars have been introduced to the local audience and beyond. This year’s biggest breakout story yet is Olivetheboy, the 20-year old singer from Konongo. As with many success stories in music these days, the catalyst was TikTok. A month after the April release of his sophomore EP, ‘Avana’, the third song “GoodSin” shot into popularity amongst Ghanaian TikTok users after a video by the popular dancer and influencer, Endurance Grand, went viral. It’s arguably the biggest song in Ghanaian pop right now.

Even with the fortune of a career-elevating hit song at such a young age, Olivetheboy is far  from an overnight sensation. In 2020, he appeared on Kwadwo Sheldon’s YouTube page, after the popular media personality discovered Olive on Instagram, where he would share song covers. In that video, he sang and played the piano, the boyish twang of his tenor voice carrying an impassioned charm. Afropop and Highlife were his chosen genres, he said then, without a release to his name at the time. Shortly after, he signed to Loop Music and released his debut EP, ‘Tanga-Reen’, a collection of songs that carried an optimistic perspective to romantic feelings, and underlined by giddy melodies.

On ‘Avana’, he’s far more in control. The melodies are still vibrant but there’s a little more guile to backup the innate charm of his voice. Where the obvious influence of Afropop superstars like KiDi and Wizkid were overwhelmingly obvious on his debut, there are now mainly references on the path to being a more distinct songwriter. “GoodSin” has put the spotlight on Olivetheboy, he definitely has all the tools to ensure that his budding stardom grows into conversations of greatness.

BIMS

Bims is a musician with many sides. This has been evident since making his entry into the Nigerian scene just before the turn of the 2020s, exciting with hyperrealist bops. “For You” was an early showcase of his range, possessing colourful production even as Bims told the story of an incomplete love. It’s the kind of song Bad Boy Timz would create, but the angst in Bims’ tone exacts its own poignance, while fitting readily within the kind of records to top playlists or rock at parties.

At the core of afropop resides a percussive and thematic urgency, and Bims emerges from that style, harkening to the formative 2000s era. “Enough” further impressed those sensibilities, but Bims stepped into his own on the 2021 tape, ‘Beyond Your Eyes’. Here he merged pomp with renewed sensitivity, the production maturing to capture his expanded focus. The sultry appeal of “In Love” sounds like nothing he’s done before; “Bad Girls” reconstructs amapiano deliveries in quintessential Nigerian melody; pulling the heart’s strings are “Too Deep” and “Return to the Streets,” which, fittingly, are the last songs on the EP.

Ever since Bims has continued to release music, last year putting out “Love Palava (Nack Am)” and “Odd Son”. The latter’s a reflective number whose drums however coaxes dynamism from Bims. “So many things wey man dun face,” he sings amidst the clashing percussion and brazen horns. With a double release coming about a week ago, the stars, surely, would soon align for Bims. “Ife” reaffirms his hit-making quality, the stuff of Asake and Young Jonn, while “Fire” is the trademark Bims record, groove tinged with melancholy, underlining the mission he puts forward on his Spotify biography, to “find expression telling [love] and heartbreak stories”. 

Anything with Yusef

Anything With Yusef made an official resounding debut into the scene with a cover of Smoke of LAC’s “Rolling Deep,” offering a unique take on the old school Chicago rap record. However, after taking in the vast pool of sounds emanating from these parts, the Botswana-born singer ventured into Afropop armed with inventiveness and undeniable love for genre-mashing cuts. He shared in a recent interview with the NATIVE that the major selling point for him was the genre’s ability to create melodies that transcend language barriers.

“When I deliver my music, I always try to go for the emotions before I put the lyrics. That’s why it made so much sense for me to do Afrobeat because I don’t know what most of these guys are saying, but I do feel the emotion in some of the songs.” Anything With Yusef is largely driven by emotion and he ensures to reflect that stark vulnerability in disarming honest confessions about self-acceptance across his discography. His debut extended play, ‘I’LL TELL YOU AT MIDNIGHT’ expertly showcases a slew of love-themed tracks  stacked with raw depictions and breezy productions that are sure to leave listeners in a reflective mood.

Yusef’s emotions translate even clearer on his recently released 2-pack project dubbed ‘Chaos Theory’. The dull melodies of “STUCK IN MY MIND” glide smoothly over an upbeat soundscape as he addresses his muse.  “FEEL SOMETHING” on the other hand ruminates over brazen authenticity and self-love on a gloomy production characterised by subtle Trap embellishments. Across a sparse catalogue, Anything With Yusef swiftly displays emotional maturity through his message and confident delivery, taking us along his journey of self discovery.

xInsomniac

Experimentation lies at the heart of xlnsomniac’s artistry. The man born Israel Ajayi is a multifaceted creative, combining visual and audio talents with almost peerless mastery. In terms of sound, xlnsomniac started releasing music a few years ago, establishing his bedroom pop sound with flagrant touches of electronic music and other relative influences. His penchant for curating worldbuilding experiences can be associated with his long-honed skills as a visual storyteller, as oftentimes his music can soundtrack the thrills of a motion picture.

“Heartshapedglass,” for instance, which is found in his 2021 debut project ‘Cerulean’ is a rollercoaster of a song. Bouncing with soft rock drums and the brooding vocals of xlnsomniac who narrates the heart-stopping feeling of being in love, it benefits from pristine arrangement and the celestial sonic elements. “Muse” and “Away” have such existential undertones, with romantic love placed at the center of its thematic concerns. “Your smile is like a wave, of joy that sweeps away,” he sings before the end of the first verse, before vocal samples depicting tension swoop in.

xlnsomniac’s shape-shifting tendencies has seen him work with talented acts in that familiar sphere between alternative music and alt-pop, from Tochi Bedford to T3agray and Icitooicy. Earlier this year, the music producer and artist continued to burnish his rep with the ‘House of X’ project. It measures just under thirteen minutes but the soundscape is deliriously sprawling, combining his familiar resume of sounds with eclectic rapping (“Runnin”) and pointed influences from Nigerian pop (“All I Had”), arriving at a body of work which opens up his future favourably.

ELIJAH KITAKA

Uganda’s Elijah Kitaka is on a new path but it is a path that doesn’t lose touch with the brilliance of his previous iterations. His 2019 project, ‘Son of Kaloli’, was a compendium of a man’s love for self and country. Dipping into a wide array of genres—Reggae, Dancehall, R&B, Hip-Hop and Rock—Kitaka united intimate and political themes with his great vocals. Utilising a combination of Swahili and English, the music on ‘Son of Kaloli’ called for both moments of dance and ruminations. 

Newly signed to the Kampala-based label Swangz Avenue, Elijah Kitaka reemerges as a rebranded artist. On his latest EP ‘Bedroom Essentials,’ Kitaka deals with passionate, sex-filled moments behind closed doors. In contrast to ‘Son of Kaloli,’ ‘Bedroom Essentials’ is looser in structure, opting for fun, groovy rhythms.  Yet, ‘Bedroom Essentials’ doesn’t dumb down the listeners; in its new Afropop zone, Kitaka’s brilliant voice is the common denominator. Both ‘Son of Kaloli’ and ‘Bedroom Essentials’ show the artist’s range and skill to make music that resonates beyond themes or genres. It’s just the beginning for Elijah Kitaka.

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

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