Kiss Daniel is done looking for love on “4Dayz”

Posted on by The Native

With everything wrong with the music industry on display when Kiss Daniel parted ways with former label and floated his Flyboy I.N.C  label, his new single, “4Dayz” is a shinning example of everything right with it. Afropop has always delivered the entertainment required to make tough times bearable and keep listeners focused on the positive. Kiss Daniel and “4Dayz” producer,  Runtinz collaborate to capture the most positive feeling known to man: love.

https://www.instagram.com/p/BerwgnWj3i3/?hl=en&taken-by=iamkissdaniel

Over the upbeat drums, rattling riffs, piano percussion, sweeping synths and guitar harmonies that usually define his compositions, Kiss Daniel confesses that he’s done searching for love. Promising “Girl, I Am Loving You For Days/ Igba Die Lo Ku”, it’s an invitation to drop everything else and run where lovers go to be alone. But given that the catchy beat will undoubtedly get a lot of airplay on radio and at clubs, it’s also an invitation to have another dance while the DJ spins a song for lovebirds.

Releasing “4Dayz” at this time of year might come off a bit too mushy, but with the live band cliches, (rattling samples, highlife piano percussion and guitar harmonies) we are willing to wager weddings will keep this song in rotation longer than this Valentine’s season.

You can listen to Kiss Daniel’s “4Dayz” below.

https://soundcloud.com/afro-songs/kiss-daniel-4dayz

Featured Image Credits: Instagram/iamkissdaniel

You are meeting Debola at a strange time in his life. He wandered into a dream and lost his way back. Tweet at him @debola_abimbolu

ICYMI: Listen to “No Do”, Kiss Daniel’s Flyboy I.N.C debut

DMW squad head to the arcade for “Mind” video

Posted on by The Native

The DMW squad may not have the unapologetic inauthentic sexy look boy bands of early 2000’s had or the fan fair that comes with that, but with their growing catalog of catchy pop tunes, they seem to be the most harmonious of all the musical outfits. Following the release of “Prayer” featuring Davido and Mayorkun, “Mind” is the latest release from the group. And this time, they are joined by Dremo and new signing, Peruzzi.

https://www.instagram.com/p/BelnI-LH2lU/?taken-by=dmw_hq

The group gets together for a pseudo-romantic number backed by production from Fresh VDM. Over the piano-led beat with crashing synths, electronic guitar riffs and upbeat drums, they sing of an attraction so intense, it’s confusing. Admitting that they “Don’t Even Mind Loving”, along with their overlapping vocals, DMW’s “Mind” revives a left-for-dead genre of pop music by collaborating for a sweetly innocent ballad. Director Q directs the video showing the harmony in the group as they enjoy a night out at an arcade playing games, having some drinks and relishing each other’s company.

You can watch the video for DMW’s “Mind” below.

Featured Image Credits: Instagram/dmw_hq

You are meeting Debola at a strange time in his life. He wandered into a dream and lost his way back. Tweet at him @debola_abimbolu

ICYMI: Watch the video for “Prayer” featuring Davido and Mayorkun

Street-hop smash, “Shepeteri” by Idowest and Slimcase gets a befitting video

Posted on by The Native

The unfiltered honesty in street music has always found its audience, but lately, they’ve gotten agonisingly good. So good that the audience is growing exponentially mainstream. The latest hit on the street threatening to cross into the mainstream is Idowest’s “Shepeteri” featuring Slimcase.

https://www.instagram.com/p/BenwAVQAlY3/?taken-by=officialidowest

Clubbing and talent work together to create “Shepeteri” as both artists describe the eye-glazing mundane dancefloor small-talk. Over the ambient house beat produced with tumbling drums, and synth percussion, they employ blunt lines that are meant to be charming, “Je Kin Fofofo/ Omode Yi Jojo(Let me hit, Girl please).” Basically, the sort of things you’ll probably find yourself uttering a few drinks deep in a darkened room, attempting to quickly end a conversation with hopes of getting lucky.

You can watch the video below.

Featured Image Credits: YouTube/DMW HQ

You are meeting Debola at a strange time in his life. He wandered into a dream and lost his way back. Tweet at him @debola_abimbolu

ICYMI: Watch Koker head to the street for “Okay” video

Listen to OSA’s new trap single “Hopes Up”

Posted on by The Native

OSA’s “Hopes Up” has all the characteristics of a party ready trap anthem; haunting piano harmonies, synth hi-hats, twitchy drum riffs, ad-libs and bass drops that capture the listeners’ attention throughout the track. It’s a predictable enough formula, but if it ain’t broken, don’t fix it. The song opens with a melodic synth-piano pattern that encompasses the song’s main tone and reappears by itself at intervals throughout the song. Osa sing-raps lines about navigating through life “Being Broke” but “Doing The Most” and “Hitting It Then (Going) Ghost”.

Listen to OSA’s “Hopes UP” here:

Featured Image Credit: Instagram/osanorth

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

ICYMI: Listen to Terry Apala’s cover of ed sheeran’s shape of you

Sheldon The Turn Up has a new dance bop, “Distin”

Posted on by The Native

DJ’s recognise, probably more than most that Afropop and pretty much any dance driven genre relies very little on lyrics. Some even go as far as choping and screwing the song, a groovy baseline will always get a people happy and dancing. Based on this fact, a lot of disk jockeys around the world have created party ready bops concentrating more on creating the perfect sound than telling a sort of moving story. Ghanian DJ, Sheldon The Turn Up is no different. His debut, “That Ting” featuring Kuami Eugene displayed his understanding of how to create a radio-ready jam and he recreates that on “Distin”, this time joined by Ms Vee and N.O.B.

“Distin” begins with synth-piano harmonies before drum-riffs are introduced a few seconds in. The beat sets the groovy tone for the song even before the singing starts. Playing his role as a disk jockey, DJ Sheldon recommends that we “Get Ready For The Turn Up”  before taking the first verse and the chorus singing “I drop the distin o, do you wanna party, Then You Better Listen.”

 

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

ICYMI: Listen to J Hus vibe out on “Did You See”

Biddysings may have beat us to escaping reality with”E.T”

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Biddysings’ first single of the year, “E.T”, is an ode to a lover. But it’s not the type of love mere mortals share, their focus is an extraterrestrial love; “on a spaceship we ‘gon find extraterrestrial love”. Their spaceship could be a metaphor for anything from drugs to the bed sheets, but what’s clear is the palpable desire heard in his soulful melodies and synth-based instrumentals.

Over the four minutes playtime for “E.T”, Biddysings sings of his outer-worldly affections. The mix of bass sounds, synth pianos percussion and ambient sounds that Jasper produces for the song heightens the sci-fi theme of “E.T”. And despite the Biddy’s 90’s-esque soul melodies, the upbeat harmonies and synth percussion almost sound futuristic.

Listen to “E.T” here;

https://soundcloud.com/biddysings/e_t

 

Mariam is not a cat person. Tweet at her @MA_Y_M

ICYMI: Listen to 2Face’s new dance number, “Amplifier”

BrisB’s “Stop Smashing The Same Broads, Bro” is pushing the boundaries of problematic

Posted on by The Native

For the umpteenth time you guys, a woman’s self respect is not tied to her vagina. Wanting the same political, social, and economic opportunities as men and looking to not be denied opportunities or discriminated against for the absence one extra appendage does not come with a chastity belt all feminists must be made to wear. But if BrisB had his way, women who have had more than one sex partner have no business demanding the equality feminists seek.

It’s not so much that he’s shaming the idea of feminism, it’s that somewhere in his misogynistic hip-hop universe, he assumes that women that don’t fit into his idea of ‘purity’ trivialize the feminist movement. His latest release, a freestyle titled, “Stop Smashing The Same Broads, Bro” attempts to debunk Hip-hop’s ‘crew love’ myth but he may have gotten too carried away.

Seconds into “Stop Smashing The Same Broads, Bro”, it goes from champagne showers to golden showers when he starts to rap;

  ” Miss independent but you depending on me for commitment. Now she tweet that say she be feminist, she reminisce her hustle bumping on some reminisce, kind of be smoking and driving what her daddy bought her, not by blood relation, just by some relation”

Yes, BrisB, she can tweet about being feminist whilst smoking in the whip her ‘daddy’ got her. She can be feminist and be a “sugar baby”, if that’s what she wants. There is no spectrum of feminist worth centered on women using sexual capital for benefit or not.

Of course rap is frequently sexist (most pop songs are) but the rest of the song isn’t even good enough to blindside anyone from the ugly lines and cringe-worthy ideas.

Listen to BrisB’s new single here;

https://soundcloud.com/brisb_los/brisb-stop-smashing-the-same-broads-bro-freestyle-proddoozybeatz

 

Mariam is not a cat person. Tweet at her @MA_Y_M

Essentials: Bella Alubo and YCee get in their feels for ‘Late Night Vibrations’ EP

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Bella Alubo and YCEE aren’t the power couple we deserve—or the ones we want even—but after listening to their electric combination on “Radio”, we wondered about the potential for both rappers to embrace their pop sides, working different conventions of that neo-R&B style. No need to look too far though, as Bella and YCEE have reunited for a new project, Late Night Vibration, and this time, they flaunt their vulnerability through the romantic 6 track offering.

https://www.instagram.com/p/BeLaWIhlNI0/?hl=en&taken-by=bellaalubo

Opening track, “Wetin”, is a mellow number where Bella sings “I’ve Been Wondering If I Ever Cross Your Mind” while YCee’s sings “I’m Sorry I’ve Been Making You Wait”, both seemingly mirroring two sides of the love scale. YCEE however, takes a more involved role on “Empathy”, opening the track singing “Act Like You Know What A Man Going through”. He flexes his singing range interpolating Kanye’s 2008 classic, “Heartless”. Bella assists with a reverb asking “Why You Gotta Do Me Like That”. Her verse gives more perspective to their somber crooning as she calls out a ‘Nice Guy’ who doesn’t pay her as much attention as she deserves for all her work.

By “Tropical Fruit Juice”, the third track on the Late Night Vibration EP, both finally ease off more serious love conversations for a more laid-back feel highlighted by ambient synths and soft drums even before the lyrics say anything on the issue; “I’m So Faded/ Oh Lord I’m Faded”. Though things get more preppy on “All Night”, the laid-back theme continues as YCEE and Bella sing in subdued vocals.

We don’t get to hear either artist getting on their rap behaviors to spit punchlines through the EP, but on “Be There”, they bring out their lyrics books for some clever wordplay as they pledge their affections for their lovers hoping that “Bad As E Bad (They) Go Talk Things Out”. Their back and forth feels like a conversation with YCee apologizing for being unavailable and Bella promising to be understanding.

Late Night Vibrations succeeds most at being the perfect pre-Valentine blues for everyone who has been working on their relationship against all odds for a minute. You hear some of this resignment to the fate of things and letting sleeping dogs lie on the last track, “Tonight”, where both singers promise to enjoy the better moments while it lasts; “Nothing Last For Every, I Know/ But It Ain’t Gon Be Tonight”.

Naturally, the scepticism that trails label compilation projects has followed Tinny Entertainment since the label has hinted at a collaboration tape from the Tinny Mafia group. But given YCEE and Bella Alubo’s core theme dedication through Late Night Vibrations, it would be interesting to see how the stories and ideas unfold when more characters are put into play.

You can stream Late Night Vibration below.

Featured Image Credits: Instagram/bellaalubo

You are meeting Debola at a strange time in his life. He wandered into a dream and lost his way back. Tweet at him @debola_abimbolu

ICYMI: Slow wine to Burna Boy and J Hus’ “Sekkle Down”

Watch Larry Gaaga’s “Doe”, featuring Davido

Posted on by The Native

Larry Gaaga debuted with “Sho ja” featuring Wande Coal but only attained mainstream fame after he was said to have inspired Tu Face’s recent radio jam “Gaga Shuffle”. It’s still unclear in what capacity he contributes to making the song, but he already has another potential jam on his hands with Davido’s feature on his new single, “Doe”. Davido continues in his emotive topic about materialistic love heard on “FIA”, he sounds less emotional. Over the beat mostly dominated by his vocals and ad-libs from Larry Gaaga, Davido tells a tale of a woman who will only “Whine For The Doe”. 

Watch Larry Gaaga’s “Doe” featuring Davido here:

https://www.youtube.com/watch?time_continue=253&v=z-ngDUlekTE

Featured Image Credit: YouTube/LarryGaaga

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

ICYMI: Listen to Davido sprinkle Afropop glitz over LaSauce’s “Shine”

Listen to Terry Tha Rapman’s confessional new single, “Open Letter” featuring Lady Donli

Posted on by The Native

Terry Tha Rapman has started the new year with the release of is new 17 track and 4 bonus tracks mixtape ‘Life of Joe Spazm’. The tape features artists including Simi, AT, Lady Donli, Phero, Enigma, Payper, amongst others.

It’s no coincidence that the tape shares a name similar to his debut mixtape “Joe Spazm” which he released 9 years ago. ‘Life of Joe Spazm’ is a follow up to the nine-year-old tape, which is further emphasized on “Open Letter” (featuring Lady Donli), where he hints at the possibility of the return of the Terry his oldest fans would be familiar with 

“Open Letter” begins with Lady Donli singing “This Is An Open Letter To You”, letting us understand that the message of the song is open-ended in itself and may not necessarily require a response. 

This track borrows the two-act concept that brings Eminem’s “Stan” to mind. Terry appears to be reading a letter from a former admirer who is disappointed in his surrender to industry pressure. The fan accuses him of giving up his conscious rapping for mainstream hip-hop and more conventional music, he asks Terry what happened to the rap legend who sold out an arena in Singapore. 

On the last verse of “Open Letter”, Terry raps as himself responding to the admirer’s concerns. He reveals in his lyrics that this was a blogpost that doubled as an open letter to him. In his reply, he lets the fan know that he understands and agrees with his sentiment, and promises that his new mixtape (Life of Joe Spazm) will be the Terry old fans remember.

Stream “Open Letter” off TerryThaRapman’s Life Of Joe Spazm via Apple Music below

https://tools.applemusic.com/en-us/details/1340238890?country=us&media=all&term=terrytharapman&type=album

 

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

Essentials: Lady Donli debuts with ‘Letters To Her’, a story of the love that could have been

“One Corner” gets an official video and it’s just as ridiculous as you think

Posted on by The Native

The “One Corner” flu was airborne a few months ago. Everyone (and we mean everyone) was humping along to the music sang in an indigenous Ghanaian language filtered through a 90’s street-hop inspired beat complete with terrible auto-tune and pacy drums. The song was bad even before it became unavoidable, seemingly playing from all corners.

Just when we thought we could finally get it out of our system, the singer, Patapass has released an official video but fortunately, it’s as bad as you thought it’ll be. The video for “One Corner” is just a compilation of clips of people doing the “One Corner” dance you’ve probably already seen more times than you hope. There’s no narrative to follow, just people giving the beautiful art of twerking a bad name.

Even though the video does show off a nice view of the Atlantic ocean from Ghana, the video is mostly low-budget and Patapaas’ claim that no money was made off the viral song might explain why that is.

Watch Patapaa’s “One Corner” video below.

Mariam is not a cat person. Tweet at her @MA_Y_M

Essentials: Blue is the warmest colour of Maleek Berry’s “First Daze of Winter” EP 

Del’B’s Video, “Boogie down” shows all the best things about house parties

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Producer Del’B established himself as a recording artist last year with two singles, “Boss Like This” and “Boogie Down”. This year, he continues in that path with the release of a video for “Boogie down”. 

Directed by Adasa Cookey, the video emphasises the song’s feel-good, dance-inclined Afropop theme with a house party and models. Del’B performs “Boogie Down” at a cookout on a bright sunny day where barbecue grills and swimsuit wearing models are shown to convey the festive motif of the song. Though some people are seen just sitting around, other scenes show people playing video games, board games and dancing to the music Del’B produced himself. The party goes on till nightfall but the energy never subsides.

Watch “Boogie down” below.

Featured Image Credit: YouTube/DelBVevo

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

ICYMI: Listen to Davido sprinkle Afropop glitz over LaSauce’s “Shine”

Di’ja and Tiwa savage own their thirst on “The Way You Are” video

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Aren’t sorority sisters the cutest things? Last year, the Mavin Queens, Tiwa Savage and Di’ja made a song together for the former’s Aphrodija EP. The video for their “The Way You Are” track is finally out and with it, they make a confident statement on sexual freedom for women.

We don’t often get women who can confidently flaunt their freedom to feel and express attraction around these parts. This has created a misconception that we don’t show sexual urges and that in turn has resulted in unwanted soliciting because somebody thinks we can’t admit attraction. The lyrics and now the video for “The Way You Are” shows that Di’ja and Tiwa have full autonomy of their attractions and aren’t too shy to act on it.

Paul Gambit directs the video for “The Way You Are” playing to the strengths and sexuality of both Di’ja and Tiwa. There are also shots of girls evidently flirting making for a refreshingly enjoyable watch.

Watch “The Way You Are” here;

Featured Image Credit: Instagram/mavinrecords

Mariam is not a cat person. Tweet at her @MA_Y_M

Tiwa Savage and the curse of the groupie effect

Dorcas Shola Fapson vs Taxify: Why we need to have uncomfortable conversations about gender politics

Posted on by The Native

Fairness can be achieved in one of two ways: Equity and Equality. Although both seem to have the same goal, they are different in practice. Equality requires us to blur the lines of our differences while equity requires that differences are acknowledged, and we provide everyone with the specific tools they need in order to reach overall fairness. Since even biology doesn’t promote equality, fairness will only be achieved if the privileged are willing to admit the elements that tip the scale. That’s why movements like the #MeToo are important, and why Dorcas Shola Fapson’s Taxify experience needs to be taken as an opportunity to discuss fairness in gender politics.

If you were on social media last week, you may have seen Dorcas Shola Fapson’s video recording of her alleged assault by Taxify driver, Henry Nnaemeka. But here’s a quick summary in case you missed it: Shuga actor, Fapson ordered a Taxify but didn’t have the best ride because she wanted to pay via her card while the drive insisted on cash payment. According to her, despite the disagreement on payment mode, she was subsequently prevented from getting out of his car and driven to a location unknown to her.

Nnaemeka’s story was slightly different though. In his statement, there was no destination on her ride, Fapson refused to alight from his vehicle and he had driven her to an unknown destination (close to his own home) because he was afraid of what she might do. What both parties don’t deny however is that Dorcas was grabbed by the waist and Henry Nnaemka, the Taxify driver was pepper sprayed in the eyes.

Social media’s response to Dorcas’ ordeal is a sharp reminder there are still people on the other side of the fence when it comes to equal rights. A considerable amount of people dismissed her story because they couldn’t figure why a ‘respectable’ woman will have pepper spray on her. But given how unsafe it could be for a woman (or anyone really) out that late, the pepper spray ensures her safety and shouldn’t discredit her virtue or story.

People also argued that ‘if she was in any danger’, she would not have been able to make a video’. These views are problematic for many reasons, but most especially because they discredit the problems with our current gender dynamics and how it has spurred women to learn to create our own safety in a male-dominated world. Even men ought to have these protective measures. Her sin, according to the internet, was to document what she genuinely felt was a dangerous situation so she could have evidence of the potential assault should she get an unfair judge trying to discredit her testament. And given the reactions towards her video, her fear seems justified.

Issues like this where the masses seem to be in the wrong hardly ever get attention from celebrities who have to be careful not to get ostracized. But when the socialites speak up on these things, it creates a possibility of some form of public attention and education. Simi may have had the right ideas when she decided to speak on the matter, but ultimately, her actions were a bit disappointing to say the least. The singer posted a tweet expressing her discontent with people who had criticized Dorcas, but after backlash from fans on twitter, she took down her post. In a sense, she would have been better off saying nothing at all on the matter as detractors will most likely miscontrue Simi’s tweet deletion as an admission her stand on gender politics is also problematic.  She ruined an opportunity to use her popularity as a means of creating a platform for discussion outside of the internet’s echo chambers.

It’s no excuse, but it’s worth acknowledging that Simi’s backlash and her response shows how easily echo chambers and the illusion of confidence they create within themselves often bully people out of their views—whether wrong or right. Of course, there are people within these bubbles that have different views, but fear of being ostracized keeps them from speaking up.

If the people who have taken sides against Sola Fapson were to acknowledge how power dynamics affect the interpretation of situations, they may find that acknowledging his faults and how her fear of the situation was justified doesn’t necessarily translate a biased judgement of the matter. After all, a similar situation with the same sex parties involved would most likely have a different outcome because the sense of the power dynamics would have been equal. And perhaps things wouldn’t have escalated as they did.

In our fight for fairness, a way to move forward would be to pause the unending conversations and have some more uncomfortable ones. It requires that we acknowledge our privilege, and since it is impossible to know all of our daily privileges, it requires that we listen to the people on the other side of the coin and understand how best we can all be decent people moving forward. 

 

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

About that problematic line from Kiss Daniels “Yeba”

NATIVELAND headliner, Yxng Bane releases new video, “Corner”

Posted on by The Native

Yxng Bane has dropped a new track with Maleek Berry but nothing new there. About a month ago, both artist were on our stage at NATIVELAND’17. His new video features cuts from how all of that went down. There are other shots documenting his trips around Nigeria going to clubs, and having a good time backed by security. We wish he left out that cringe scene where he was handing out watermelon to the kid in the street though, high chance the metaphor looked different from where he stood but where he’s standing is why it’s problematic in the first place.

Nonetheless, you can see the full video for “Corner” by yourself.

Featured Image Credits: YouTube

You are meeting Debola at a strange time in his life. He wandered into a dream and lost his way back. Tweet at him @debola_abimbolu

ICYMI: Slow wine to Burna Boy and J Hus’ “Sekkle Down”

Djinee doubles back with “Find You”

Posted on by The Native

After scoring an unapologetic hit with “Ego”, a powerful yet emotion laden single in 2004, Djinee faded into obscurity, returning only occasionally to reclaim his place with singles like “Lade” in 2008. His latest release, “Find You” is an oddly optimistic number to start the year with. As he revives his vocal cords for yet another romantic piece.

“Find You” is a five minute long confessional of unconditional and timeless love over piano chords, guitar strums and soft drum beats. The soft, melodic tune will resonate with everyone who needs reassurance of their lovers commitment to them.  In line with the romantic theme, the beats take a slow, seductive turn at the start before picking up pace to relay the sense of urgency the artist feels trying to get his message across.

“Find You” might be intended for a lover but Djinee is the one who’s found his sound again. Listen below.

Featured Image credit: Instagram/Djinee

Mariam is not a cat person. Tweet at her @MA_Y_M

Essentials: Blue is the warmest colour of Maleek Berry’s “First Daze of Winter” EP

Tay’s new song “Video Star” is 80s nostalgia

Posted on by The Native

When Tay Iwar announced that he would be opening for Asa at her Lagos concert, fans were pretty excited because it proved that Tay’s neo-soul sound was finally getting him recognition in the mainstream. The performance was eventually followed by the announcement of his deal with Universal Studios, hinting at the potentially big plans he has in store for the coming year. His first single for the year, “Video Star” is the first release under the label and it fans will be pleased to know that he stays true to his original sound.

https://www.instagram.com/p/BeiA-nThOy_/?hl=en&taken-by=tayiwar

“Video Star” features synthesizer melody, drum machine rhythms, and a percussion sound that reminds of 80s RnB. Tay’s vocals surf through the self-produced beat as he sings “You’re Moving Too Fast, Like A Video Star” about a woman he can’t keep up with.

Listen below.

Featured Image Credits: Instagram/tayiwar

You are meeting Debola at a strange time in his life. He wandered into a dream and lost his way back. Tweet at him @debola_abimbolu

ICYMI: Slow wine to Burna Boy and J Hus’ “Sekkle Down”

It’s YCee’s birthday but his new video for “I Wish” is dark and broody

Posted on by The Native

When “I Wish” was released in November last year, YCee’s emo most resembled a solo cavalry charge with his hard hitting, rapid-fire bars aimed at the critics of his pop sensibilities. Coming at the tail of MI’s similarly charged “You Rappers Should Fix Up Your Lives”, YCee’s energetic performance coupled with specific lyrics like “A Flow Like This, I Swear Your Faves Never Heard/I Know Why They Mad/ Chics Digging Me”, the context for “I Wish” remains intact even when played on radio or on DJ sets.

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

Visionniare Pictures Film directs the video for “I Wish” in a minimalist set that captures YCee performing his lines with only the camera as witness. The filters, lighting and smoke effects give the images a psychedelic hue as YCee changes from a white top to an all black get up before he’s seen bare-chested. Though AT makes an appearance in the video, for the most part, YCee is shown by himself while a samurai practices some kicks as if to emphasis the underlying rap battle theme.

Watch the video below.

Featured Image Credits: YouTube/YCeeVEVO

You are meeting Debola at a strange time in his life. He wandered into a dream and lost his way back. Tweet at him @debola_abimbolu

ICYMI: YCee hits back at critics with “I Wish”

Here is an important but fake-deep story on Rihanna’s ‘Gwara-Grawa’ at the GRAMMYs

Posted on by The Native

There were a lot of great performances at the just concluded 60th annual Grammys. But one of the big highlights was Rihanna’s performance for “Wild Thoughts” with DJ Khaled and Bryson Tiller. Robyn stole the show with her stunning dance moves, one of which was the South African ‘Gwara Gwara’ dance step that has been making rounds on the internet since last year.

South Africans were ecstatic, the entire continent was united. Africa was being represented on the Grammys stage by none other than Rihanna, one of the biggest pop stars in the world. But sadly, the joy was short-lived. Someone at Vulture unwittingly tweeted that the ‘Gwara Gwara’ steps Fenty and her choreographers closed their set with was the ‘Stanky Leg’.

Perhaps the mistake would have been forgivable if both dance moves looked more alike, or if New York magazine hadn’t been able to tell the difference or if Vulture would even bother to apologize, fix the error or just delete the flipping tweet.

But so far, the tweet still remains, a testament of the under-representation of African culture in international media. Dancers and musicians have borrowed from various art forms for as long as we can remember. Rihanna hitting the ‘Gwara Gwara’ isn’t culture appropriation in itself, but the media refusing to acknowledge the inspiration and origin of the dance is a tough pill to swallow. Vulture turned what could have been an opportunity to merge cultures and represent Africa in a good light into yet another case of cultural appropriation.

The media’s failure to acknowledge the African dance is the general problem with cultural appropriation. Both dance steps focus on leg movement as most dance-steps do, but by clamping the South African dance ‘Gwara Gwara’, and GS Boyz’s 2008 classic, ‘Stanky Leg’ together as the same, they are suggesting that the African culture doesn’t deserve due credit. 

The mislabeling is problematic because it is similar to practices during colonialism where colonial powers obtained materials, people, and cultural practices as their own. While these colonial powers are still enjoying the benefits of the extracted materials and cultures, many colonized nations are still suffering from the effects of the colonialism. There’s nothing wrong with seeking inspiration from other cultures—Africans probably do it as much as anyone else—but it’s not too much to ask for due credit to be given to the originators. Nor is it too much to ask for proper representation from the international media. 

Regardless, Rihanna’s interpolation of the South African ‘Gwara Gwara’ dance step into her performance will not be forgotten in a hurry. Even in the mist of all the misrepresentation and culture appropriation conversations, she continues to prove it’s impossible for her to do any wrong. Watch her Grammy 2018 performance for “Wild Thoughts” below.

https://www.youtube.com/watch?v=ZxyKYqnhF4g

Featured Image Credits: Instagram/thefader

Bella Alubo and YCee release joint EP, Late Night Vibrations

Posted on by The Native

Fusing R&B-pop and hip-hop have grown increasingly normal these last few years. Despite the initial bias against it, a few artists have stood out from the bunch and earned the respect of purists from both genres. Last year, YCee’s hit record, “Juice” saw him switch from rap to pop but Bella Alubo already did an impressive job of that on her debut EP, Bella, The EP. Both artists have now teamed up for a joint EP after becoming label mates last year.

https://www.instagram.com/p/Behx028Frbk/?hl=en&taken-by=bellaalubo

Late Night Vibration is a 6 track offering building off the chemistry YCee and Bella shared on “Radio”.  There is a lot of romance heard across the project, just in time for the Valentine season.

You can stream YCee and Bella’s Late Night Vibrations below.

Featured Image Credits: Instagram/bellaalubo

You are meeting Debola at a strange time in his life. He wandered into a dream and lost his way back. Tweet at him @debola_abimbolu

ICYMI: Slow wine to Burna Boy and J Hus’ “Sekkle Down”

Grammys 2018: Full list of nominees and winners

Posted on by The Native

The Grammys held last night in New York. It’s the first time it’s holding outside of Los Angeles since 2003. And unsurprisingly, one of the biggest stories is Kendrick robbing Jay Z in his own hometown. You can see the full list of Grammy nominees below.

Record of the Year:
“Redbone” — Childish Gambino
“Despacito” — Luis Fonsi & Daddy Yankee featuring Justin Bieber
“The Story Of O.J.” — Jay-Z
“HUMBLE.” — Kendrick Lamar
WINNER: “24K Magic” — Bruno Mars

Album of the Year:
“Awaken, My Love!” — Childish Gambino
4:44 — Jay-Z
DAMN. — Kendrick Lamar
Melodrama — Lorde
WINNER: 24K Magic

Song of the Year:
“Despacito” — Ramón Ayala, Justin Bieber, Jason “Poo Bear” Boyd, Erika Ender, Luis Fonsi & Marty James Garton, songwriters (Luis Fonsi & Daddy Yankee Featuring Justin Bieber)
“4:44” — Shawn Carter & Dion Wilson, songwriters (Jay-Z)
“Issues” — Benny Blanco, Mikkel Storleer Eriksen, Tor Erik Hermansen, Julia Michaels & Justin Drew Tranter, songwriters (Julia Michaels)
“1-800-273-8255” — Alessia Caracciolo, Sir Robert Bryson Hall II, Arjun Ivatury & Khalid Robinson, songwriters (Logic Featuring Alessia Cara & Khalid)
WINNER: “That’s What I Like” — Christopher Brody Brown, James Fauntleroy, Philip Lawrence, Bruno Mars, Ray Charles McCullough II, Jeremy Reeves, Ray Romulus & Jonathan Yip, songwriters (Bruno Mars)

Best New Artist:
WINNER: Alessia Cara
Khalid
Lil Uzi Vert
Julia Michaels
SZA

Best Pop Solo Performance:
“Love So Soft” — Kelly Clarkson
“Praying” — Kesha
“Million Reasons” — Lady Gaga
“What About Us” — P!nk
WINNER: “Shape Of You” — Ed Sheeran

Best Pop Duo/Group Performance:
“Something Just Like This” — The Chainsmokers & Coldplay
“Despacito” — Luis Fonsi & Daddy Yankee Featuring Justin Bieber
“Thunder” — Imagine Dragons
WINNER: “Feel It Still” — Portugal. The Man
“Stay” — Zedd & Alessia Cara

Best Traditional Pop Vocal Album:
Nobody But Me (Deluxe Version) — Michael Bublé
Triplicate — Bob Dylan
In Full Swing — Seth MacFarlane
Wonderland — Sarah McLachlan
WINNER: Tony Bennett Celebrates 90 — (Various Artists) Dae Bennett, Producer

Best Pop Vocal Album:
Kaleidoscope EP — Coldplay
Lust for Life — Lana Del Rey
Evolve — Imagine Dragons
Rainbow — Kesha
Joanne — Lady Gaga
WINNER: ÷ (Divide) — Ed Sheeran

Best Dance Recording:
“Bambro Koyo Ganda” — Bonobo Featuring Innov Gnawa
“Cola” — Camelphat & Elderbrook
“Andromeda” — Gorillaz Featuring DRAM
WINNER: “Tonite” — LCD Soundsystem
“Line Of Sight” — Odesza Featuring WYNNE & Mansionair

Best Dance/Electronic Album:
Migration — Bonobo
WINNER: 3-D The Catalogue — Kraftwerk
Mura Masa — Mura Masa
A Moment Apart — Odesza
What Now — Sylvan Esso

Best Contemporary Instrumental Album:
What If — The Jerry Douglas Band
Spirit — Alex Han
Mount Royal — Julian Lage & Chris Eldridge
WINNER: Prototype — Jeff Lorber Fusion
Bad Hombre — Antonio Sanchez

Best Rock Performance:
WINNER: “You Want It Darker” — Leonard Cohen
“The Promise” — Chris Cornell
“Run” — Foo Fighters
“No Good” — Kaleo
“Go To War” — Nothing More

Best Metal Performance:
“Invisible Enemy” — August Burns Red
“Black Hoodie” — Body Count
“Forever” — Code Orange
WINNER: “Sultan’s Curse” — Mastodon
“Clockworks” — Meshuggah

Best Rock Song:
“Atlas, Rise!” — James Hetfield & Lars Ulrich, songwriters (Metallica)
“Blood In The Cut” — JT Daly & Kristine Flaherty, songwriters (K.Flay)
“Go To War” — Ben Anderson, Jonny Hawkins, Will Hoffman, Daniel Oliver, David Pramik & Mark Vollelunga, songwriters (Nothing More)
WINNER: “Run” — Foo Fighters, songwriters (Foo Fighters)
“The Stage” — Zachary Baker, Brian Haner, Matthew Sanders, Jonathan Seward & Brooks Wackerman, songwriters (Avenged Sevenfold)

Best Rock Album:
Emperor Of Sand — Mastodon
Hardwired…To Self-Destruct — Metallica
The Stories We Tell Ourselves — Nothing More
Villains — Queens Of the Stone Age
WINNER: A Deeper Understanding — The War On Drugs

Best Alternative Music Album:
Everything Now — Arcade Fire
Humanz — Gorillaz
American Dream — LCD Soundsystem
Pure Comedy — Father John Misty
WINNER: Sleep Well Beast — The National

Best R&B Performance:
“Get You” — Daniel Caesar Featuring Kali Uchis
“Distraction” — Kehlani
“High” — Ledisi
WINNER: “That’s What I Like” — Bruno Mars
“The Weekend” — SZA

Best Traditional R&B Performance:
“Laugh And Move On” — The Baylor Project
WINNER: “Redbone” — Childish Gambino
“What I’m Feelin'” — Anthony Hamilton Featuring The Hamiltones|
“All The Way” — Ledisi
“Still” — Mali Music

Best R&B Song:
“First Began” — PJ Morton, songwriter (PJ Morton)
“Location” — Alfredo Gonzalez, Olatunji Ige, Samuel David Jiminez, Christopher McClenney, Khalid Robinson & Joshua Scruggs, songwriters (Khalid)
“Redbone” — Donald Glover & Ludwig Goransson, songwriters (Childish Gambino)
“Supermodel” — Tyran Donaldson, Terrence Henderson, Greg Landfair Jr., Solana Rowe & Pharrell Williams, songwriters (SZA)
WINNER: “That’s What I Like” — Christopher Brody Brown, James Fauntleroy, Philip Lawrence, Bruno Mars, Ray Charles McCullough II, Jeremy Reeves, Ray Romulus & Jonathan Yip, songwriters (Bruno Mars)

Best Urban Contemporary Album:
Free 6LACK — 6LACK
“Awaken, My Love!” — Childish Gambino
American Teen — Khalid
Ctrl — SZA
WINNER: Starboy — The Weeknd

Best R&B Album:
Freudian — Daniel Caesar
Let Love Rule — Ledisi
WINNER: 24K Magic — Bruno Mars
Gumbo — PJ Morton
Feel the Real –Musiq Soulchild

Best Rap Performance:
“Bounce Back” — Big Sean
“Bodak Yellow” — Cardi B
“4:44” — Jay-Z
WINNER: “HUMBLE.” — Kendrick Lamar
“Bad And Boujee” — Migos Featuring Lil Uzi Vert

Best Rap/Sung Performance:
“PRBLMS” — 6LACK
“Crew” — Goldlink Featuring Brent Faiyaz & Shy Glizzy
“Family Feud” — Jay-Z Featuring Beyoncé
“LOYALTY.” — Kendrick Lamar Featuring Rihanna
“Love Galore” — SZA Featuring Travis Scott

Best Rap Song:
“Bodak Yellow” — Dieuson Octave, Klenord Raphael, Shaftizm, Jordan Thorpe, Washpoppin & J White, songwriters (Cardi B)
“Chase Me” — Judah Bauer, Brian Burton, Hector Delgado, Jaime Meline, Antwan Patton, Michael Render, Russell Simins & Jon Spencer,
songwriters (Danger Mouse Featuring Run The Jewels & Big Boi)
WINNER: “HUMBLE.” — Duckworth, Asheton Hogan & M. Williams II, songwriters (Kendrick Lamar)
“Sassy” — Gabouer & M. Evans, songwriters (Rapsody)
“The Story Of O.J.” — Shawn Carter & Dion Wilson, songwriters (Jay-Z)

Best Rap Album:
4:44 — Jay-Z
WINNER: DAMN. — Kendrick Lamar
Culture — Migos
Laila’s Wisdom — Rapsody
Flower Boy — Tyler, The Creator

Best Country Solo Performance:
“Body Like A Back Road” — Sam Hunt
“Losing You: –Alison Krauss
“Tin Man” — Miranda Lambert
“I Could Use A Love Song” — Maren Morris
WINNER: “Either Way” — Chris Stapleton

Best Country Duo/Group Performance:
“It Ain’t My Fault” — Brothers Osborne
“My Old Man” — Zac Brown Band
“You Look Good” — Lady Antebellum
WINNER: “Better Man” — Little Big Town
“Drinkin’ Problem” — Midland

Best Country Song:
“Better Man” — Taylor Swift, songwriter (Little Big Town)
“Body Like A Back Road” — Zach Crowell, Sam Hunt, Shane McAnally & Josh Osborne, songwriters (Sam Hunt)
WINNER: “Broken Halos” — Mike Henderson & Chris Stapleton, songwriters (Chris Stapleton)
“Drinkin’ Problem” — Jess Carson, Cameron Duddy, Shane McAnally, Josh Osborne & Mark Wystrach, songwriters (Midland)
“Tin Man” — Jack Ingram, Miranda Lambert & Jon Randall, songwriters (Miranda Lambert)

Best Country Album:
Cosmic Hallelujah — Kenny Chesney
Heart Break — Lady Antebellum
The Breaker — Little Big Town
Life Changes — Thomas Rhett
WINNER: From a Room: Volume 1 — Chris Stapleton

Best New Age Album:
Reflection — Brian Eno
SongVersation: Medicine — India.Arie
WINNER: Dancing On Water — Peter Kater 
Sacred Journey Of Ku-Kai, Volume 5 — Kitaro
Spiral Revelation — Steve Roach

Best Improvised Jazz Solo:
“Can’t Remember Why” — Sara Caswell, soloist
“Dance Of Shiva” — Billy Childs, soloist
“Whisper Not” — Fred Hersch, soloist
WINNER: “Miles Beyond” — John McLaughlin, soloist
“Ilimba” — Chris Potter, soloist

Best Jazz Vocal Album:
The Journey — The Baylor Project
A Social Call — Jazzmeia Horn
Bad Ass and Blind — Raul Midón
Porter Plays Porter — Randy Porter Trio With Nancy King
WINNER: Dreams and Daggers — Cécile McLorin Salvant

Best Jazz Instrumental Album:
Uptown, Downtown — Bill Charlap Trio
WINNER: Rebirth — Billy Childs
Project Freedom –Joey DeFrancesco & The People
Open Book — Fred Hersch
The Dreamer Is the Dream — Chris Potter

Best Large Jazz Ensemble Album:
MONK’estra Vol. 2 — John Beasley
Jigsaw — Alan Ferber Big Band
WINNER: Bringin’ It — Christian McBride Big Band
Homecoming — Vince Mendoza & WDR Big Band Cologne
Whispers on the Wind — Chuck Owen And The Jazz Surge

Best Latin Jazz Album:
Hybrido – From Rio To Wayne Shorter — Antonio Adolfo
Oddara — Jane Bunnett & Maqueque
Outra Coisa – The Music Of Moacir Santos — Anat Cohen & Marcello Gonçalves
Típico — Miguel Zenón
WINNER: Jazz Tango — Pablo Ziegler Trio

Best Gospel Performance/Song:
“Too Hard Not To” — Tina Campbell
“You Deserve It” — JJ Hairston & Youthful Praise Featuring Bishop Cortez Vaughn
“Better Days” — Le’Andria
“My Life” — The Walls Group
WINNER: “Never Have To Be Alone” — CeCe Winans

Best Contemporary Christian Music Performance/Song:
“Oh My Soul” — Casting Crowns
“Clean” — Natalie Grant
WINNER: “What A Beautiful Name” — Hillsong Worship
“Even If” — MercyMe
“Hills And Valleys” — Tauren Wells

Best Gospel Album:
Crossover: Live From Music City — Travis Greene
Bigger Than Me — Le’Andria
Close — Marvin Sapp
Sunday Song — Anita Wilson
WINNER: Let Them Fall in Love — CeCe Winans

Best Contemporary Christian Music Album:
Rise — Danny Gokey
Echoes (Deluxe Edition) — Matt Maher
Lifer — MercyMe
Hills and Valleys — Tauren Wells
WINNER: Chain Breaker — Zach Williams

Best Roots Gospel Album:
The Best Of the Collingsworth Family – Volume 1 — The Collingsworth Family
Give Me Jesus — Larry Cordle
Resurrection — Joseph Habedank
WINNER: Sing It Now: Songs of Faith & Hope — Reba McEntire
Hope for All Nations — Karen Peck & New River

Best Latin Pop Album:
Lo Único Constante — Alex Cuba
Mis Planes Son Amarte — Juanes
Amar Y Vivir En Vivo Desde La Ciudad De México, 2017 — La Santa Cecilia
Musas (Un Homenaje Al Folclore Latinoamericano En Manos De Los Macorinos) — Natalia Lafourcade
WINNER: El Dorado — Shakira

Best Latin Rock, Urban or Alternative Album:
Ayo — Bomba Estéreo
Pa’ Fuera — C4 Trío & Desorden Público
Salvavidas De Hielo — Jorge Drexler
El Paradise — Los Amigos Invisibles
WINNER: Residente — Residente

Best Regional Mexican Music Album (Including Tejano):
Ni Diablo Ni Santo — Julión Álvarez Y Su Norteño Banda
Ayer Y Hoy — Banda El Recodo De Cruz Lizárraga
Momentos — Alex Campos
WINNER: Arriero Somos Versiones Acústicas — Aida Cuevas
Zapateando En El Norte — Humberto Novoa, producer (Various Artists)

Best Tropical Latin Album:
Albita — Albita
Art of the Arrangement — Doug Beavers
WINNER: Salsa Big Band — Rubén Blades Con Roberto Delgado & Orquesta
Gente Valiente — Silvestre Dangond
Indestructible — Diego El Cigala

Best American Roots Performance:
WINNER: Killer Diller Blues — Alabama Shakes
Let My Mother Live — Blind Boys Of Alabama
Arkansas Farmboy — Glen Campbell
Steer Your Way — Leonard Cohen
I Never Cared For You — Alison Krauss

Best American Roots Song:
“Cumberland Gap” — David Rawlings
“I Wish You Well” — The Mavericks
WINNER: “If We Were Vampires” — Jason Isbell And The 400 Unit
“It Ain’t Over Yet” — Rodney Crowell Featuring Rosanne Cash & John Paul White
“My Only True Friend” –Gregg Allman

Best Americana Album:
Southern Blood — Gregg Allman
Shine On Rainy Day — Brent Cobb
Beast Epic — Iron & Wine
WINNER: The Nashville Sound — Jason Isbell And The 400 Unit
Brand New Day — The Mavericks

Best Bluegrass Album:
Fiddler’s Dream — Michael Cleveland
WINNER (TIE) : Laws Of Gravity — The Infamous Stringdusters
Original — Bobby Osborne
Universal Favorite — Noam Pikelny
WINNER (TIE): All The Rage – In Concert Volume One [Live] — Rhonda Vincent And The Rage

Best Traditional Blues Album:
Migration Blues — Eric Bibb
Elvin Bishop’s Big Fun Trio — Elvin Bishop’s Big Fun Trio
Roll And Tumble — R.L. Boyce
Sonny & Brownie’s Last Train — Guy Davis & Fabrizio Poggi
WINNER: Blue & Lonesome — The Rolling Stones

Best Contemporary Blues Album:
Robert Cray & Hi Rhythm — Robert Cray & Hi Rhythm
Recorded Live In Lafayette — Sonny Landreth
WINNER: TajMo — Taj Mahal & Keb’ Mo’
Got Soul — Robert Randolph & The Family Band
Live From The Fox Oakland — Tedeschi Trucks Band

Best Folk Album:
Mental Illness — Aimee Mann
Semper Femina — Laura Marling
The Queen Of Hearts — Offa Rex
You Don’t Own Me Anymore — The Secret Sisters
The Laughing Apple — Yusuf / Cat Stevens

Best Regional Roots Music Album:
Top Of the Mountain — Dwayne Dopsie And The Zydeco Hellraisers
Ho’okena 3.0 — Ho’okena
WINNER: Kalenda — Lost Bayou Ramblers
Miyo Kekisepa, Make A Stand [Live] — Northern Cree
Pua Kiele — Josh Tatofi

Best Reggae Album:
Chronology — Chronixx
Lost In Paradise — Common Kings
Wash House Ting — J Boog
WINNER: Stony Hill — Damian “Jr. Gong” Marley
Avrakedabra — Morgan Heritage

Best World Music Album:
Memoria De Los Sentidos — Vicente Amigo
Para Mi — Buika
Rosa Dos Ventos — Anat Cohen & Trio Brasileiro
WINNER: Shaka Zulu Revisited: 30th Anniversary Celebration — Ladysmith Black Mambazo
Elwan — Tinariwen

Best Children’s Album:
Brighter Side — Gustafer Yellowgold
WINNER: Feel What U Feel — Lisa Loeb
Lemonade — Justin Roberts
Rise Shine #Woke — Alphabet Rockers
Songs Of Peace & Love For Kids & Parents Around The World — Ladysmith Black Mambazo

Best Spoken Word Album (Includes Poetry, Audio Books & Storytelling):
Astrophysics For People In A Hurry — Neil Degrasse Tyson
Born To Run — Bruce Springsteen
Confessions Of A Serial Songwriter — Shelly Peiken
Our Revolution: A Future to Believe In (Bernie Sanders) — Bernie Sanders And Mark Ruffalo
WINNER: The Princess Diarist — Carrie Fisher

Best Comedy Album:
WINNER: The Age Of Spin & Deep In The Heart Of Texas — Dave Chappelle
Cinco — Jim Gaffigan
Jerry Before Seinfeld — Jerry Seinfeld
A Speck Of Dust — Sarah Silverman
What Now? — Kevin Hart

Best Musical Theater Album:
Come From Away — Ian Eisendrath, August Eriksmoen, David Hein, David Lai & Irene Sankoff, producers; David Hein & Irene Sankoff, composers/lyricists (Original Broadway Cast Recording)
WINNER: Dear Evan Hansen — Ben Platt, principal soloist; Alex Lacamoire, Stacey Mindich, Benj Pasek & Justin Paul, producers; Benj Pasek & Justin Paul, composers/lyricists (Original Broadway Cast Recording) 
Hello, Dolly! — Bette Midler, principal soloist; Steven Epstein, producer (Jerry Herman, composer & lyricist) (New Broadway Cast Recording)

Best Compilation Soundtrack For Visual Media:
Baby Driver — (Various Artists)
Guardians Of the Galaxy Vol. 2: Awesome Mix Vol. 2 — (Various Artists)
Hidden Figures: The Album — (Various Artists)
WINNER: La La Land — (Various Artists)
Moana: The Songs — (Various Artists)

Best Score Soundtrack For Visual Media:
Arrival — Jóhann Jóhannsson, composer
Dunkirk — Hans Zimmer, composer
Game Of Thrones: Season 7 — Ramin Djawadi, composer
Hidden Figures — Benjamin Wallfisch, Pharrell Williams & Hans Zimmer, composers
WINNER: La La Land — Justin Hurwitz, composer

Best Song Written For Visual Media:
“City Of Stars” — Justin Hurwitz, Benj Pasek & Justin Paul, songwriters (Ryan Gosling & Emma Stone)
WINNER: “How Far I’ll Go” — Lin-Manuel Miranda, songwriter (Auli’i Cravalho)
“I Don’t Wanna Live Forever (‘Fifty Shades Darker’)” — Jack Antonoff, Sam Dew & Taylor Swift, songwriters (Zayn & Taylor Swift)
“Never Give Up” — Sia Furler & Greg Kurstin, songwriters (Sia)
“Stand Up For Something” — Common & Diane Warren, songwriters (Andra Day Featuring Common)

Best Instrumental Composition:
“Alkaline” — Pascal Le Boeuf, composer (Le Boeuf Brothers & JACK Quartet)
“Choros #3” — Vince Mendoza, composer (Vince Mendoza & WDR Big Band Cologne)
“Home Free (For Peter Joe)” — Nate Smith, composer (Nate Smith)
WINNER: “Three Revolutions” — Arturo O’Farrill, composer (Arturo O’Farrill & Chucho Valdés)
“Warped Cowboy” — Chuck Owen, composer (Chuck Owen And The Jazz Surge)

Best Arrangement, Instrumental or A Cappella:
“All Hat, No Saddle” — Chuck Owen, arranger (Chuck Owen And The Jazz Surge)
WINNER: “Escapades For Alto Saxophone And Orchestra From Catch Me If You Can” — John Williams, arranger (John Williams)
“Home Free (For Peter Joe)” — Nate Smith, arranger (Nate Smith)
“Ugly Beauty/Pannonica” — John Beasley, arranger (John Beasley)
“White Christmas” — Chris Walden, arranger (Herb Alpert)

Best Arrangement, Instruments and Vocals:
“Another Day Of Sun” — Justin Hurwitz, arranger (La La Land Cast)
“Every Time We Say Goodbye” — Jorge Calandrelli, arranger (Clint Holmes Featuring Jane Monheit)
“I Like Myself” — Joel McNeely, arranger (Seth MacFarlane)
“I Loves You Porgy/There’s A Boat That’s Leavin’ Soon For New York” — Shelly Berg, Gregg Field, Gordon Goodwin & Clint Holmes, arrangers (Clint Holmes Featuring Dee Dee Bridgewater And The Count Basie Orchestra)
WINNER: “Putin” — Randy Newman, arranger (Randy Newman)

Best Recording Package:
WINNER (TIE): El Orisha De La Rosa — Claudio Roncoli & Cactus Taller, art directors (Magín Díaz) 
Mura Masa — Alex Crossan & Matt De Jong, art directors (Mura Masa)
WINNER (TIE) Pure Comedy (Deluxe Edition) — Sasha Barr, Ed Steed & Josh Tillman, art directors (Father John Misty)
Sleep Well Beast — Elyanna Blaser-Gould, Luke Hayman & Andrea Trabucco-Campos, art directors (The National)
Solid State — Gail Marowitz, art director (Jonathan Coulton)

Best Boxed Or Special Limited Edition Package:
Bobo Yeye: Belle Epoque In Upper Volta — Tim Breen, art director (Various Artists)
Lovely Creatures: The Best Of Nick Cave And The Bad Seeds (1984 – 2014) — Tom Hingston, art director (Nick Cave And The Bad Seeds)
May 1977: Get Shown The Light — Masaki Koike, art director (Grateful Dead)
WINNER: The Voyager Golden Record: 40th Anniversary Edition — Lawrence Azerrad, Timothy Daly & David Pescovitz, art directors (Various Artists) 
Warfaring Strangers: Acid Nightmares — Tim Breen, Benjamin Marra & Ken Shipley, art directors (Various Artists)

Best Album Notes:
Arthur Q. Smith: The Trouble With The Truth — Wayne Bledsoe & Bradley Reeves, album notes writers (Various Artists)
Big Bend Killing: The Appalachian Ballad Tradition — Ted Olson, album notes writer (Various Artists)
The Complete Piano Works Of Scott Joplin — Bryan S. Wright, album notes writer (Richard Dowling)
Edouard-Léon Scott De Martinville, Inventor Of Sound Recording: A Bicentennial Tribute— David Giovannoni, album notes writer (Various Artists)
 WINNER: Live At The Whisky A Go Go: The Complete Recordings — Lynell George, album notes writer (Otis Redding)
Washington Phillips And His Manzarene Dreams — Michael Corcoran, album notes writer (Washington Phillips)

Best Historical Album:
Bobo Yeye: Belle Epoque In Upper Volta — Jon Kirby, Florent Mazzoleni, Rob Sevier & Ken Shipley, compilation producers; Jeff Lipton & Maria Rice, mastering engineers (Various Artists)
The Goldberg Variations – The Complete Unreleased Recording Sessions June 1955 — Robert Russ, compilation producer; Matthias Erb, Martin Kistner & Andreas K. Meyer, mastering engineers (Glenn Gould)
WINNER: Leonard Bernstein – The Composer — Robert Russ, compilation producer; Martin Kistner & Andreas K. Meyer, mastering engineers (Leonard Bernstein)
Sweet As Broken Dates: Lost Somali Tapes From The Horn Of Africa — Nicolas Sheikholeslami & Vik Sohonie, compilation producers; Michael Graves, mastering engineer (Various Artists)
Washington Phillips And His Manzarene Dreams — Michael Corcoran, April G. Ledbetter & Steven Lance Ledbetter, compilation producers; Michael Graves, mastering engineer (Washington Phillips)

Best Engineered Album, Non-Classical:
Every Where Is Some Where — Brent Arrowood, Miles Comaskey, JT Daly, Tommy English, Kristine Flaherty, Adam Hawkins, Chad Howat & Tony Maserati, engineers; Joe LaPorta, mastering engineer (K.Flay)
Is This The Life We Really Want? — Nigel Godrich, Sam Petts-Davies & Darrell Thorp, engineers; Bob Ludwig, mastering engineer (Roger Waters)
Natural Conclusion — Ryan Freeland, engineer; Joao Carvalho, mastering engineer (Rose Cousins)
No Shape — Shawn Everett & Joseph Lorge, engineers; Patricia Sullivan, mastering engineer (Perfume Genius)
WINNER: 24K Magic — Serban Ghenea, John Hanes & Charles Moniz, engineers; Tom Coyne, mastering engineer (Bruno Mars)

Producer Of the Year, Non-Classical:
Calvin Harris
WINNER: Greg Kurstin
Blake Mills
No I.D.
The Stereotypes

Best Remixed Recording:
“Can’t Let You Go (Louie Vega Roots Mix)” — Louie Vega, remixer (Loleatta Holloway)
“Funk O’ De Funk (SMLE Remix)” — SMLE, remixers (Bobby Rush)
“Undercover (Adventure Club Remix)” — Leighton James & Christian Srigley, remixers (Kehlani)
“A Violent Noise (Four Tet Remix)” — Four Tet, remixer (The xx)
WINNER: “You Move (Latroit Remix)” — Dennis White, remixer (Depeche Mode)

Best Surround Sound Album:
WINNER: Early Americans — Jim Anderson, surround mix engineer; Darcy Proper, surround mastering engineer; Jim Anderson & Jane Ira Bloom, surround producers (Jane Ira Bloom)
Kleiberg: Mass For Modern Man — Morten Lindberg, surround mix engineer; Morten Lindberg, surround mastering engineer; Morten Lindberg, surround producer (Eivind Gullberg Jensen & Trondheim Symphony Orchestra And Choir)
So Is My Love — Morten Lindberg, surround mix engineer; Morten Lindberg, surround mastering engineer; Morten Lindberg, surround producer (Nina T. Karlsen & Ensemble 96)
3-D The Catalogue — Fritz Hilpert, surround mix engineer; Tom Ammermann, surround mastering engineer; Fritz Hilpert, surround producer (Kraftwerk)
Tyberg: Masses — Jesse Brayman, surround mix engineer; Jesse Brayman, surround mastering engineer; Blanton Alspaugh, surround producer (Brian A. Schmidt, Christopher Jacobson & South Dakota Chorale)

Best Engineered Album, Classical:
Danielpour: Songs Of Solitude & War Songs — Gary Call, engineer (Thomas Hampson, Giancarlo Guerrero & Nashville Symphony)
Kleiberg: Mass For Modern Man — Morten Lindberg, engineer (Eivind Gullberg Jensen, Trondheim Vokalensemble & Trondheim Symphony Orchestra)
Schoenberg, Adam: American Symphony; Finding Rothko; Picture Studies — Keith O. Johnson & Sean Royce Martin, engineers (Michael Stern & Kansas City Symphony)
WINNER: Shostakovich: Symphony No. 5; Barber: Adagio — Mark Donahue, engineer (Manfred Honeck & Pittsburgh Symphony Orchestra)
Tyberg: Masses — John Newton, engineer; Jesse Brayman, mastering engineer (Brian A. Schmidt, Christopher Jacobson & South Dakota Chorale)

Producer Of the Year, Classical:
Blanton Alspaugh
Manfred Eicher
WINNER: David Frost
Morten Lindberg
Judith Sherman

Best Orchestral Performance:
Concertos For Orchestra — Louis Langrée, conductor (Cincinnati Symphony Orchestra)
Copland: Symphony No. 3; Three Latin American Sketches — Leonard Slatkin, conductor (Detroit Symphony Orchestra)
Debussy: Images; Jeux & La Plus Que Lente — Michael Tilson Thomas, conductor (San Francisco Symphony)
Mahler: Symphony No. 5 — Osmo Vänskä, conductor (Minnesota Orchestra)
WINNER: Shostakovich: Symphony No. 5; Barber: Adagio — Manfred Honeck, conductor (Pittsburgh Symphony Orchestra)

Best Opera Recording:
Berg: Lulu — Lothar Koenigs, conductor; Daniel Brenna, Marlis Petersen & Johan Reuter; Jay David Saks, producer (The Metropolitan Opera Orchestra)
WINNER: Berg: Wozzeck — Hans Graf, conductor; Anne Schwanewilms & Roman Trekel; Hans Graf, producer (Houston Symphony; Chorus Of Students And Alumni, Shepherd School Of Music, Rice University & Houston Grand Opera Children’s Chorus)
Bizet: Les Pêcheurs De Perles — Gianandrea Noseda, conductor; Diana Damrau, Mariusz Kwiecień, Matthew Polenzani & Nicolas Testé; Jay David Saks, producer (The Metropolitan Opera Orchestra; The Metropolitan Opera Chorus)
Handel: Ottone — George Petrou, conductor; Max Emanuel Cencic & Lauren Snouffer; Jacob Händel, producer (Il Pomo D’Oro)
Rimsky-Korsakov: The Golden Cockerel — Valery Gergiev, conductor; Vladimir Feliauer, Aida Garifullina & Kira Loginova; Ilya Petrov, producer (Mariinsky Orchestra; Mariinsky Chorus)

Best Choral Performance:
WINNER: Bryars: The Fifth Century — Donald Nally, conductor (PRISM Quartet; The Crossing)
Handel: Messiah — Andrew Davis, conductor; Noel Edison, chorus master (Elizabeth DeShong, John Relyea, Andrew Staples & Erin Wall; Toronto Symphony Orchestra; Toronto Mendelssohn Choir)
Mansurian: Requiem — Alexander Liebreich, conductor; Florian Helgath, chorus master (Anja Petersen & Andrew Redmond; Münchener Kammerorchester; RIAS Kammerchor)
Music Of the Spheres — Nigel Short, conductor (Tenebrae)
Tyberg: Masses — Brian A. Schmidt, conductor (Christopher Jacobson; South Dakota Chorale)

Best Chamber Music/Small Ensemble Performance:
Buxtehude: Trio Sonatas, Op. 1 — Arcangelo
Death & The Maiden — Patricia Kopatchinskaja & The Saint Paul Chamber Orchestra
Divine Theatre – Sacred Motets By Giaches De Wert — Stile Antico
Franck, Kurtág, Previn & Schumann — Joyce Yang & Augustin Hadelich
Martha Argerich & Friends – Live From Lugano 2016 — Martha Argerich & Various Artists

Best Classical Instrumental Solo:
Bach: The French Suites — Murray Perahia
Haydn: Cello Concertos — Steven Isserlis; Florian Donderer, conductor (The Deutsch Kammerphilharmonie Bremen)
Levina: The Piano Concertos — Maria Lettberg; Ariane Matiakh, conductor (Rundfunk-Sinfonieorchester Berlin)
Shostakovich: Violin Concertos Nos. 1 & 2 — Frank Peter Zimmermann; Alan Gilbert, conductor (NDR Elbphilharmonie Orchester)
WINNER: Transcendental — Daniil Trifonov 

Best Classical Solo Vocal Album:
Bach & Telemann: Sacred Cantatas — Philippe Jaroussky; Petra Müllejans, conductor (Ann-Kathrin Brüggemann & Juan de la Rubia; Freiburger Barockorchester)
WINNER: Crazy Girl Crazy – Music By Gershwin, Berg & Berio — Barbara Hannigan (Orchestra Ludwig)
Gods & Monsters — Nicholas Phan; Myra Huang, accompanist
In War & Peace – Harmony Through Music — Joyce DiDonato; Maxim Emelyanychev, conductor (Il Pomo D’Oro)
Sviridov: Russia Cast Adrift — Dmitri Hvorostovsky; Constantine Orbelian, conductor (St. Petersburg State Symphony Orchestra & Style Of Five Ensemble)

Best Classical Compendium:
Barbara — Alexandre Tharaud; Cécile Lenoir, producer
WINNER: Higdon: All Things Majestic, Viola Concerto & Oboe Concerto — Giancarlo Guerrero, conductor; Tim Handley, producer 
Kurtág: Complete Works For Ensemble & Choir — Reinbert de Leeuw, conductor; Guido Tichelman, producer
Les Routes De L’Esclavage — Jordi Savall, conductor; Benjamin Bleton, producer
Mademoiselle: Première Audience – Unknown Music Of Nadia Boulanger — Lucy Mauro; Lucy Mauro, producer

Best Contemporary Classical Composition:
Danielpour: Songs Of Solitude — Richard Danielpour, composer (Thomas Hampson, Giancarlo Guerrero & Nashville Symphony)
WINNER: Higdon: Viola Concerto — Jennifer Higdon, composer (Roberto Díaz, Giancarlo Guerrero & Nashville Symphony) 
Mansurian: Requiem — Tigran Mansurian, composer (Alexander Liebreich, Florian Helgath, RIAS Kammerchor & Münchener Kammerorchester)
Schoenberg, Adam: Picture Studies — Adam Schoenberg, composer (Michael Stern & Kansas City Symphony)
Zhou Tian: Concerto For Orchestra — Zhou Tian, composer (Louis Langrée & Cincinnati Symphony Orchestra)

Best Music Video:
“Up All Night” — Beck
“Makeba” — Jain
“The Story Of O.J.” — Jay-Z
WINNER: “Humble.” — Kendrick Lamar
“1-800-273-8255” — Logic Featuring Alessia Cara & Khalid

Best Music Film:
One More Time With Feeling — Nick Cave & The Bad Seeds
Long Strange Trip — (The Grateful Dead)
WINNER: The Defiant Ones — (Various Artists) 
Soundbreaking — (Various Artists)
Two Trains Runnin’ — (Various Artists)

Featured Image Credits: Instagram/recordingacademy

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