Aramide’s new song, “Magic” shows her appreciation to a lover who swept her off her feet. Aramide sings, across vibrant guitars with an impassioned voice to support the premise of her lyrics,“When i’m feeling black and blue, I can always count on you”, expressing appreciation for her lover’s constant love in her good and bad times. “Are you feeling this magic?” she asks on the chorus, but more as a rhetorical to make a statement than as an actual question. She eventually admits her assurance that their love is the real deal; “Na We Be This Magic”.
Listen to Aramide’s “Magic” below.
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Love has the tendency to morph us into one of those sad romantics often depicted in moves along the plotlines about bad relationships. Often the lovers forget that compassion isn’t a relationship between a healer and the wounded but between equals. Savior complex becomes an obsession with being involved in the healing process of people who are supposed to care for one another and Teni expresses this on her latest single, “Wait”.
As Teni sings about her dedication to helping a lover work through his baggage for as long as it may take, it’s impossible to ignore her idea of being her lover’s crutch. Though more often than not, the need to keep trying to “fix” whatever’s necessary to keep the one you love around and making lifetime promise is bad for both partners in the relationship. Teni’s “Wait” has all the markings of a love song intended for the season, but it’s noteworthy for her desire to play a superhero that spandex allergies aren’t pretty.
Stream Teni’s “Wait” here;
Featured Image Credits: Instagram/tenientertainer
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In line with the tradition that started with George H. Bush in 1993, artists are commissioned for the Smithsonian National Portrait Gallery to create a portrait of the president and the first lady after their tenure. Though Trump might not be the most accommodating US president, some of the grace from Obama’s tenure has spilled into his administration with Kehinde Wiley being the first ever black artist to execute an official presidential portrait for the National Portrait Gallery.
The Yale University-trained painter is famous for depicting his subjects posed in regal with pops of colors and bright patterns for background. He was also credited for his work on Jay Z’s “Picasso Baby” video. Perhaps his reputation is responsible for making the unveiling one of the most anticipated in history, but Obama hasn’t been in public eye for a while and we’ve all missed his heartwarming rhetoric. He revealed at the unveiling that “I tried to negotiate less gray hair and Kehinde’s artistic integrity would not allow (him) to do what I asked. I tried to negotiate smaller ears. Struck out on that as well.”
You can watch the video for the unveiling below.
Featured Image Credits: Instagram/CNN
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Say what you will about valentines day being a horrible capitalist hallmark and what not, but the holiday isn’t going away. Stores are breaking out valentines shelves so red it’s like walking into a Bloods’ closet and music releases are towing the romance lane as well. And whether you’re with the shenanigans or not, you can’t escape the culture for another few weeks at least.
Wande already tried to rap-sing on D’banj’s “El Chapo” last year, and he’s giving it another go on Leriq’s trap-inspired. As your texts are suddenly getting replied faster, and warm butterflies fill your stomach, add Wande Coal and Leriq’s “Will You Be Mine”, to complement the overall mood for the season.
The most thought provoking black movies and black art from around the world in the past year are currently being exhibited at the Pan African Film and Art Festival. Since its early years, the festival has served as a cradle to the best of black art and cinema, giving them a platform for thorough appreciation, free from the marginalization often experienced at other art festivals. With the goal to keep promoting cultural understanding among people of African descent, the festival, now in its 26th year since it began awarding black films.
This year’s festival has a line up of about a hundred and eighty films from over forty countries telling diverse African and diaspora stories. Including a film based on Chimamanda Adichie’s short story “On Monday of Last Week” and Oscar nominated “Watu Note”, We’ve curated the trailers for some of our most anticipated films to share with you.
Toyin Ibrahim Adekeye :”BIGGER THAN AFRICA”
When the slave boats docked in the Americas, Cuba and the Caribbean, hundreds of cultures and religions came with the Africans but only one survived the plantations. The feature documentary looks into the Yoruba culture as the most pronounced African Culture of the Diasporas.
Kelley kali: LALO’S HOUSE
Inspired by true events, LALO’S HOUSE follows the relentless courage of Manouchka, a 14-year-old Haitian girl, and her 5-year-old sister, Phara, who are abducted and thrown into an underground prostitution network that is posing as a Catholic orphanage.
Roberta Durrant: KROTOA
A biopic on a Khoi woman considered the mother of black people in South Africa by some, Krotoa is a drama inspired by historical fact about a feisty, bright, young 11-year-old girl who is removed from her close-knit Khoi tribe and brought into the first fort established by the Dutch East India Company in 1652. There she grows into a visionary young woman who assimilates the Dutch language and culture so well that she rises to become an influential interpreter for the first Governor of the Cape Colony. As such Krotoa ends up being rejected by her own Khoi people and eventually destroyed by the Dutch when she tries to find the middle way between the two cultures.
Akosua Adoma Owusu: ON MONDAY OF LAST WEEK
Adapted from Chimamanda Adichies’ short story, “On Monday of last week”, this film tells the story of Kamara, a Nigerian woman, working as a nanny caring for the five-year-old son of an interracial couple. Tracy is an African American artist working on a commission in her studio – a space she rarely leaves. When Tracy finally emerges from her studio one afternoon, Kamara’s growing curiosity is piqued. Their brief encounter inspires Kamara to become Tracy’s muse.
Courtney Miller: REPAIRations!
REPAIRations! is a story about the power of optimism against forces that are seemingly more powerful than yourself. Following the story of a man named Isaac who lives during the end of slavery, end of segregation and President Obama’s inauguration, we see how Isaac navigates through an ever-changing America through song and dance.
Stefon Bristol: SEE YOU YESTERDAY
https://vimeo.com/206628005
“See you yesterday” is a short sci-fi film about two African American teenagers determined to outwit fate and role-play as God building make-shift time machines to save ones brother from being wrongfully killed by a police officer.
Licínio Azevedo :THE TRAIN OF SALT AND SUGAR
During the Mozambican civil war in the 1980s, a train under military guard, led by a mystic Sangoma military Commander, must transport its passengers and goods 500 miles through apartheid South African-backed guerrilla-held territory. As rivalries form between the soldiers and friendships between the passengers, violence looms both on board and from the rapacious rebels. This film is Mozambique’s submission for consideration in the Foreign Language Film category for the 90th Academy Awards.
Katja Benrath: WATU WOTE – ALL OF US
For almost a decade Kenya has been targeted by terrorist attacks of the Al-Shabaab. Much like the religious crisis that springs up in Nigeria, an atmosphere of anxiety and mistrust grew between Muslims and Christians. “Watu Wote All of Us” is based on real life events from 2015’s Mandera bus attack by Kenyan military group, Al-Shabaab. Asides the Pan African Film Awards, it has also received awards at the Student Academy Award and nominations for the Oscar’s Academy Award for Best Live Action Short Film category.
It’s always a shocker when people conclude that songs bragging about wealth are shallow. Whether you admit it or not, we are all out trying to get our hands on enough money to at least live a life of comfort. Asides love, money is probably the most universal subject in music. And it’s just the right fit for Yung6ix’s stately reality, remaining in hip-hop conversations seemingly by sheer will of his wealth and influence.
Featuring MI and Praiz on his new single, “Grammy Money”, Yung6ix flexes his connections in the music industry. While Yung6ix and MI rap over the trap beat describing their affluence, Praiz anchors the hook making the song more endearing with the reminder that money is better spent with lovers and the trusty squad; “Balling Everyday With My Woes”.
Listen to Yung6ix, MI and Praiz on “Grammy Money” here.
It’s that time of year when artists try to exploit their charm to tap some of the love in the air, without it feeling forced, corny, or repetitive. Davido’s latest single, “Flora My Flawa” is yet another romantic score from the singer who is returning to highlife for the first time since signing an international distribution deal with SONY. Davido casually shows off poetic songwriting, when he sings “If Nothing Lasts Forever, Me And You Go Be Nothing Forever”. The accompanying video represents this motif as Davido performs on TV for the ‘Flora’,while giving a glimpse at their future lives together, 30 years from now.
See Davido in “Flora My Flawa” below
Featured Image Credits: YouTube/DavidoVEVO
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Following up on its successful Hong Kong debut in April last year, Sónar Festival just released the lineup for this year’s festival set to hold on the 17th of March. The lineup covers a wide range of artists from different genres like hip-hop, grime, house and other experimental genres. South African act, PatricKxxLee features on the set list of artists chosen from around the world.
French electronic legend, Laurent Garnier as well as US tech-house sensation, The Black Madonna and Japanese rockers, Mouse On The Keys are the top-billed artists for the prestigious international festival. PatricKxxLee will be making his first international debut on stage and representing South Africa on one of the 6 stages set for the event holding at Science Park, Hong Kong.
Featured Image Credits: Instagram/patrickxxlee
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The most fun thing about getting a treehouse, besides, the solitude must be shared solitude with a significant other. I imagine it’s like finding a great food place and being super stoked to introduce it to your best friend. On Kae Sun’s new single, “Treehouse”, his solitude turns sour with loneliness as he brings to life the story of two people with personal baggage trying but failing to get together.
The Ghanaian-born Canadian artist, Kae reminisces on the times he believes he’s failed this woman: “I Had A Chance To Make You Feel Better But I’ll Admit I Wasn’t Brave Enough I Had The Chance To Make You Feel Closer But I’ll Admit I Wasn’t There Enough”, and in the same breath admits to leading her on, like most realistic love stories, it’s not very pretty.
Stream Kae Sun’s “Treehouse” here;
Featured Image credit: Youtube/kaesun
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Coming on the heels of Mut4y’s “Manya” featuring Wizkid, Legendury Beatz’s “Love Can Do” is the group’s first official release of the year. Last year, their Afropop 101 mixtape featured Maleek Berry though “One Call Away” and now, he does the honour of coming on as the first feature from Legendury Beatz’ forthcoming project, Parlour Vibes EP.
If Afropop 101‘s expansive guest list gave a brief tour of the variations to Afropop’s dance-inclined aesthetic, Maleek Berry showcased the passionate and emotive sentiments through melodies that conveyed a strong sense of longing. “Love Can Do” starts with percussion hinged on synth harmonies before drums and rattling riffs are added to give the beats more bounce. After introducing himself with a gentlemanly courtesy, Maleek Berry welcomes listeners to “Parlour Vibe” .
Legendury Beatz has released a minimalist ‘audio video’ for “Love Can Do” and it shows a dancer moving to the song’s groovy baseline. Shot in one take with a stereo placed right in front of the camera while the dancer fades into the background.
You can watch the audio video for “Love Can Do” by Legendury Beatz and Maleek Berry below.
Featured Image Credits: Instagram/legendurybeatz
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Is Black Panther the world’s most anticipated film? Probably. Black people, all around the world have celebrated and anticipated the release of the film since it was first announced. The fanfare comes not only from the film’s celebration of a superior African nation that escaped colonization, it is also celebrated because unlike other films about Africa, Black Panther’s cast and crew is features representation from within and outside the continent.
Since its announcement, fans from Africa have been unable to contain their excitement, with memes suggesting they’ll wear traditional attires to the film’s premiere in their countries. At the peak of the excitement earlier this year, a memorable hoax about Funke Akindele’s role in the Black Panther series of the Marvel Universe made rounds across the web. But speculation aside, Black Panther’s official casting revealed starring and supporting roles from South Africans. John Kani and Atandwa Kani feature as younger and older versions of King T’Chaka while Connie Chiume plays the role of an elder in Wakanda. Ivorian actor Isaach de Bankolé will also appear as a River Tribe Elder.
Not only the cast list gleans African representation across the continent, Kendrick Lamar and his TDE team were announced earlier as curators and producers for the film’s soundtrack. Their work on “Black Panther: The Album Music From And Inspired By” does not disappoint as record dropped last night featuring South African collaborations from Yugen Blakrok, Sjava, Reason, Babes Wodumo and Saudi.
Stream “Black Panther: The Album Music From And Inspired By” via Apple Music below.
Featured Image Credit: Youtube/Epic Music Movie
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Falz has released the video for “Way”, a Afro-house track off last year’s 27. “Way” features Wande Coal complementing Falz’s comedic schtick with a chorus and a verse as they both analyze the difference between knowledge and intelligence.
The video starts off as a typical techno-house music video; light beams, flashing lights and silhouettes frames. But as the video proceeds, it takes a trippier turn into the realms of hypnosis. Though the light and photo editing are amateur and distracting, it doesn’t pose as a disaster, thanks to the depiction of possibilities amidst limited options through a hole in the wall. This metaphor for crowd-mentality is almost too literal considering only a few people notice the gaping hole wall and elsewhere in the video, little children are shown, caught up in virtual reality (Yes, he’s talking about social media).
Watch “Way” video here:
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Last year, following their individual projects, AYLØ and Ayüü joined forces to release a joint project, ØÜ, using their individual styles to produce 3 neo-soul tracks. The project is powered by low-tempo production support from JoceWavy, LarryD and 80sounds, and the duo compliment the instrumentals with emotive lyrics exploring love and the opposite of happiness. On “Careless”, the first track on the EP,they ease us into the crux of the EP with lyrical and vocal support from Tay Iwar.
“Careless” listens like an internal examination closer to self-questioning than self-awareness. The vocals are layered softly on piano harmonies throughout the song, presenting somber lyrics that depict Tay and Ayüü’s reactions to heartbreak. They begin collectively hoping they can save their relationship, but are soon filled with regret for sharing their feelings “Should Have Put My Feelings In A Coffin”. Tay and Ayüü’s verses both paint pictures of unrequited feelings and how a person’s perception dictates their reactions. But where Ayüü seems to recognize his own faults saying “Introspection Got Me Hoping You’d Be Okay”, Tay chooses less forgiving lyrics; “Imagine I Met You When I Was Older, Maybe I Would Have The Patience For You. Hope You Find A Way To Your Soul”. But the collaborators agree that they gave too much of themselves and shouldn’t be so careless with their feelings, in future.
Listen to “Careless” here
Featured Image Credit: Instagram/ayuu_safi
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At Burna Boy’s Outside listening party in the UK, with press and reps from Atlantic Records, conversations flitted around the man of the hour to somewhat imply Burna’s cover feature with NATIVE “made him the star he was meant to be”. The thought was both warm praise for our debut cover story and valid context for Burna’s Outside campaign.
To quote the same profound Burna Reborn, feature “Burna still carries the aura of a mythologised outsider operating in his own world”. He attests to this on “My Life”, the opening track for his debut album, L.I.F.E. “I feel like I’ve been Burna Boy since before I was born” he’d told us last year.
Whatever they said Burna Boy did, he did that shit. That idiot.
“My Life” is a defiant ownership of identity, but Benson Idonije’s vocal interlude at the end of the track is still cringe-worthy on replays today. In the grander Burna story, however, the ironic inclusion of his Grandfather’s literal co-sign on a coming-of-age song, makes sense as a seal of approval. After all, this was before his fall out with his Momager, before he publicly threatened bloggers, and even further before swirling rumours of alleged roadman days made him a low-risk target for Nigeria’s sensationalist media. With the turn of his career ever since, the words of his Grandfather, a revered music critic in his younger days—who also managed Fela—was a preemptive vote of confidence needed to underscore Burna Boy’s occasional flair for breaking rules.
It’s been nearly five years since, but nothing has changed about Burna. You hear this on opening track “More Life”, where he sings You know what it is when you’re with me’;in translation ‘you already know what you signed up for’.
During a recent sit-down with Interview Magazine, Burna Boy described Outside as “The first actual one”, referring to the project as his first truly curated album. Though Burna only means this in the context of his newfound dedication to make an album capable of garnering him a duly deserved wider appeal, it speaks volumes of the man, his craft and of the actualisation of Afropop.
Contextually Afropop has not been considered outside of the vagueness of “World Music” by local and international media, or its stakeholders. The obvious cause is in direct relation to how the continent’s colonial history positions Africa on the receiving end of culture transfer from more developed nations.
Nearly two years ago, the ‘Afrobeat vs Afrobeats’ argument became placard inscription in protests to save international media from overriding Fela’s legacy with the rise of ‘UK Afrobeats’, an upshot of popular African music played in London nightclubs—following D’banj’s instrumental leap into European markets at the turn of the decade.
The release of Wizkid’s Superstar in 2010, spurred a definitive but raucous era for experimental, virtually overproduced popular West African style music. Superstar blends Wizkid’s Ojuelegba flavour and vocal work with hip-hop grit, while the sound itself borders on electronics for the most part. Albeit unintentionally, the project glimpses how far Africa had come at the time musically; from Fuji-inspirations, on “Pakurumo” up till the earliest inspirations for African neo-R&B you hear on “Love My Baby”. This is important because, think about it like this: It’s been Afropop, R&B, Hip-Hop, Soul and Gospel Music amongst other genres to us for a minute, but until recently, music of African origins was veiled by the misguided connotation of being many variations of a generic African sound called ‘Afrobeat’. Even now, many proponents of UK Afrobeats, have clarified in multiple interviews that their sound has no relation to Fela’s Afrobeat. It’s not so much a rejection of the pressure that comes with taking on Fela’s socially-conscious legacy, as it also proves the far-reaching evolution of African music has long superseded narrow generalisations.
Today, Afropop is being historically and culturally solidified by the works of Wizkid, Davido and—despite his choice to be referred to as an Afro-fusionist—Burna Boy. Burna’s Afro-fusionist claim, is understandably a reflection of his honesty, as an artist who can create musical harmony by combining a range of elements without blurring his authenticity. Recently, however, sound fusion has been indemnified in Afropop by influences taken from Jazz, American hip-hop, European electronics, Afro-Latin and Carribean bass amongst other subtleties borrowed from popular music sub-genres.
Though the roll-out for Outside, technically began with “Rock Your Body”, in collaboration with Juls, Burna Boy’s first ergonomic single release from the project is “Streets of Africa”. The abstract themed “Street of Africa” art uses a palette of bright colours, and just enough attention to detail to dot Nigeria’s green white green flag in the title text. It’s the kind of subtle but precise African pride, you wish some of your favourites would show if they didn’t already fail at the bare minimum of mastering their sound.
On “PH City Vibration”, all of Burna Boy’s wanton influences from the city of his heart come together. Steel-pan drums form a Reggaeton-esque bass bridged with Jazz-inspired synths to alternate pace and flow. Burna Boy reimagines Port Harcourt through his eyes, recounting from the day he “was born inna the teaching hospital/ The 2nd of July of 1991”. The full Outside story becomes more vivid from here with Burna including interesting facts and introducing new characters.
“Know say Niger Delta boys no trust no minister/ That’s the reason why dem’a burst the cylinder” ; “Victory Baptist church next to cathedral/ Where Pastor Badu d’a the holy man / Him tell me say I wouldah be the chosen one”
Cuts like these where Burna sings of the not so glamorous details with perception he has resonated with over time, is Outside at its most picturesque. With an international record deal to ship, some artists in Burna’s position may have cut a track as deliberately Nigerian as “PH City Vibration”. Or go the Wizkid route instead; use loose songwriting, and settle for a corny but melodically efficient chorus. Here, Burna’s mettle pays off in the telling of his story as a man who considers himself the centre of the universe as much he considers everything that has made him a part of that universe.
Lily Allen’s presence on “Heaven’s Gate” has garnered the track a lot of attention in these parts. Burna has said in multiple interviews that his relationship with Lily Allen is familial, and truthfully their collaboration does feel organic on wax. Burna does most of the real work though, invoking memories of early hip-hop noughties nostalgia with aggressive patois-laced verses.
Mid-way through Outside is “Ye”, the most progressive song on the project. Burna gives spiritual commentary on the state of affairs, lending inspiration from Fela’s “Sorrow Tears and Blood”, and singing of his own perspective on life, going forward. ‘Ye’, is a generic Nigerian expression that could come from the mouth of a stretching elderly person, or hint at the sight of chaos. While the irony may have been implied, what is discernible about “Ye”, is the amorphous, ethereal quality of this particular sequence.
On “Ye”, Burna is a jaded narrator speaking from within a country where socio-economic conditions are cyclical and everyone is too afraid to do anything about it. Despite the occasional pressures to be a medium for the masses, Burna is not ashamed his choice to stay away from larger-society problems is bolstered by privilege; an impractical solution for people who may not have the luxury of choice between a ‘G.Wagon or the Bentley’. Unironically, Burna justifies the choice to be outside as a direct reflection of the reactions that have followed such endeavours in the past—because stereotypes skewer perspective (‘Dada cover my face, they calling me Lagabja’); or his means was misconstrued without the context for where he’s coming from (‘Plenty, Plenty suffer wey we face, just to make sure money dey’); and ultimately, because he cannot ‘Die for nothing’.
Outside is Burna Boy cascading the mastery of his sound with where he has come from and his own personal search for nirvana. You can hear this resolve loud and clear when he signs off the outro for “Ye”, languidly singing, ‘Oluwa Burna’, followed by more sombre adlibs of ‘Ye Ye Ye’ looping into the fade out.
Stream Outside below.
Featured Image Credits: Instagram/burnaboygram
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It’s always a little meta to discover a Nigerian artist that rejects the pull of contemporary pop trends. Understandably so, pop music is after all, this giant machine, sucking in impressionable amateurs looking for their big break, gestating them in its great electronic underbelly and churning out perfectly coiffed, autotuned clones, chasing the newest hit beat. To step out of that current is to risk becoming niche and only ever playing in the mid-level leagues. But the trade-off is being able to make music that is more than a catchy hook, to have a sound that pays homage to the musical canon and remains evergreen. Its a choice every artist eventually has to make and it seems Edez has chosen.
The singer’s new single “Omo Oba” sounds like a union between the gravelly ministrations of Bez Idakula and whimsical stylings of Asa’s sophomore album Beautiful Imperfections. There is a clear reference to the doo-wop era of the American 60’s, sparse drums, finger snaps as percussion, scat sung adlibs and a horn section at the ready to add drama to clipping verses. Just when you think there couldn’t be anymore homages to the era, Edez throws in honest to goodness barbershop quartet harmonies. Now all of this would have been overkill on any other song, but Mema who produces “Omo Oba” does a fantastic job of walking everything through the tightrope and successfully crossing over from sample to fully realised song.
Edez manages to bring everything back home with some pretty interesting songwriting that incorporates Yoruba and pidgin. He is an easy story teller and by the end of the song you’ll find yourself snapping your fingers along to the beat. Sure “Omo Oba” is pretty niche, but for once, that isn’t really a bad thing.
Paper Anthems are a huge part of the pop music canon, especially in Nigeria where the need to ‘blow’ seems to supersede all other preoccupations. Our popstars fantasize about it, and almost every popular artist who makes it to the mainstream seems to release an ode of some kind to their struggle and the triumph of finally getting their paper. While it has predominantly been a genre trope that only male artists really get to indulge, the tide might be finally changing. Especially now that alt-soul singer Maka is taking it out for a spin on her new single “I Just Got A Cheque”.
2017 was an important year for Maka, especially for her profile as a performing artist. She stepped out of the booth and onto the stage, sharing the stage with some of the biggest names in the alternative music scene (she was one the headlining acts at Bez’s end of year concert) while asserting herself as more than just a niche artist. She even caught our attention with her Christmas ditty “Before Christmas”, that subverted the tropes of the classic christmas song. Her new single “I Just Got A Cheque” sees Maka truly test the boundaries of her sound, incorporating a more contemporary electronic sound. While the song’s composition plays to Maka’s vocal strengths and her preference for unconventional song structure, the lyrics are more aspirational. She sings about the artist’s struggle and the validation that comes from hard earned success, without any of the aggressive braggacadio that seems to follow the trope.
It also helps that she manages to drag reclusive rapper, Munachi Abii out of her self imposed hiatus to her first feature of 2018. Muna evokes the slacker rap sound of Naija’s mid 2000’s rap scene and that little vocal skit at the end of the song is everything. “I Just Got A Cheque” is guaranteed to get a bump into chillwave playlists everywhere. Don’t sleep on it.
Watch the new video for “I Just Got A Cheque” here.
Because street songs that crossover into the mainstream come out of nowhere, often with no narrative attached, the song may go viral while the artist remains relatively unknown. In the worst scenarios, the artist may return to the shadows following massive success, only to be remembered as a one-hit wonder.
Artists like Olamide have proven there can be exceptions with back to back hits that forced everyone to pay attention till he carved a niche for himself. Mr Real’s “Legbegbe” has captured everyone’s curiosity at the moment, but for the most part, the man behind the music still remains a mystery to many listeners. NATIVE ambushed the singer at a video shoot for “Legbegbe” to talk his beginnings and the grind so far.
Born and raised in Abule Egba, Lagos, Uchenna Okafor (Mr Real) tells us of how he was in a band named a Plantashun Boiz cover band back in secondary school. Though he was quick to name Tuface as one of his earliest musical influence, his viral hit, “Legbegbe” featuring Idowest and Obadice is inspired by South African house music group, Uhuru. Ever since Mafikizolo’s crossover hit, “Khona”, the influence of South African House music in Nigerian street music has been reflected In Nigerian street-hop; from Junior Boy’s “Irapada”, Small Doctor’s “Penalty”, to Olamide’s “Wo”. Mr Real’s “Legbegbe” is only one of the latest adaptation of this culture. “Legbegbe” is premium street-hop held together with fog-like synth percussion and drums looped off a Uhuru sample, streamlined by his street-smart impulses.
The concept seems simple enough, “iPhone 1, Legbegbe/ iPhone 2, Legbegbe/ iPhone 3, Legbegbe/ iPhone 4, Legbegbe/ iPhone 5, Legbegbe/ iPhone 6, Legbgbe, iPhone 7, Legbegbe/ O Man Lo O/ iPhone 8, Legbegbe”. Despite the beat’s South African origins but the lyrics are the most relatable to people who understand Yoruba street lingo. Unsurprisingly, like any viral street hit, borne of mythos, and suggestively vague expressions, we hoped Mr Real would provide further clarity on how he came about the song.
NATIVE: Why Mr Real and how does it connect to your music.
Mr Real: Well, my hair is real, it’s not attachment. My face is real, it’s not artificial. My skin is real, it’s not Bobby Risky (laughs). My music too is real, that’s why everything about me is real. It’s my voice and my story. I’m a street artist, born and brought up in Lagos. I’m an Igbo boy that speaks Yoruba. The music has always been inside me, ‘As they born me like this, na music they born’. ‘Cos, I remember my parents took me to learn some stuff and I couldn’t. I went to school and stuff but all I could do was just music. It has always been part of me so I decided to concentrate on doing music as a profession.
NATIVE: When did you start recording. Where was your first studio session?
Mr Real: My first recording ever was with Terry G, “Kakaraka” in 2006. Akin Alabi shot the video then. The song was released 12 years ago.
NATIVE: 12 years ago? That should have been a great head start.
Mr Real: Ehnn, but the song ‘e no blow na.
NATIVE: Tell us about “Legbegbe”. How did you come up with the song
Mr Real: It’s a funny story. ‘Na where I dey chop Semo and Egusi,’ That’s where I got the inspiration for the song. I was listening to a random song on my phone; I can’t even remember the name. The song just came to me. “Legbegbe” in English means side by side. And the other lines like “iPhone 1” was just cause I wanted Apple endorsement. That’s why I mentioned iPhone.
NATIVE: We heard a different story.
Mr Real: I no know the story wey you hear o. Na them talk that one.
NATIVE: How did you create the sound?
Mr Real: I looped the beat and added some other sounds. It’s from an Uhuru song that I don’t even remember anymore. The beat just came in my head. That’s not even my usual type of sound. I did R&B and reggae before this pop thing came.
NATIVE: Were you already doing shows before “Legbegbe”?
Mr Real: Yes, I was doing free shows before “Legbegbe” dropped when nobody was calling me to pay for shows.
NATIVE: How has managing been with the number of shows you have lined up these days.
Mr Real: I don’t have any major management team yet and lately, I’ve been doing shows back to back
NATIVE: Describe a typically stressful week.
Mr Real: Let me even tell you. Day ‘fore yesterday, I was in Benin. Flight to and fro. Yesterday, I was about to enter my house when Bangalee (D’Banj) called that he’s heading to the airport. I just picked up a few things and joined him on a flight to Kaduna. I just got back and I’m here shooting my video now. And I have another show tomorrow.
NATIVE: What show?
Mr Real: I don’t even know. I have to go and check.
NATIVE: Who’s scheduling everything? Why aren’t you getting management considering how busy it has been.
Mr Real: I have my small team of about 6 people including my PA and my manager. ‘I no want management wey go come dey chop my money.’
NATIVE: Do you know about the active music industry outside of the mainstream. Have you thought about collaborating with these new generations of artists like Odunsi, Nonso Amadi, Lady Donli and others?
Mr Real: I’ve thought about the value of collaborating with artists like that community. They are the ones on the internet, it will help me get more fans too. Do you have their numbers? If you want to link me up, I don’t mind.
NATIVE: What’s your ideal next plan from here with all the attention from the single.
Mr Real: After I release this video, I’m dropping a new single that will take over the streets like “Legbegbe” did.
NATIVE: Give us a quote for all the hustlers out there.
Mr Real: If you’re talented, you’ll be blind to yourself.
Stream “Legbegbe” via YouTube below
https://www.youtube.com/watch?v=l4XGDAmJDy0
Featured Image Credits: Instagram/mr_realgram
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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
Though shelf life may be an understatement, M.I’s acclaimed discography spanning three albums and his Illegal Music trilogy mixtape series has thrived culturally as blueprint material. Lately, the rapper has been embattled with the crux of a dying legacy, one that inspired his elemental, though misguided “You Rappers Should Fix Up Your Life” campaign. It is worth mentioning some of the reactions that followed the track, as op-eds and diss tracks on wax, called out M.I’s obliviousness of a bolstering underground music scene outside of the mainstream. In a typical, ‘give the people what they want’ move, last night, M debuted ‘Rendezvous: A Playlist By M.I Abaga, chock-full of collaborations with younger generation artists and their fixation with the subtleties.
M.I proved once again that he was ahead of mass media trends, by live streaming the first public listening of the album on YouTube, Periscope and Instagram. The 15-track offering has a whooping guest list of 20 artists from within the African continent, including more than a few artists from the new crop of alternative acts carving out their niche in the industry. Wande Coal, Falz, Terry Apala, Nonso Amadi, Tomi Thomas, Odunsi, Ajebutter22, Santi, Chocolate City’s CKay, JoulesDaKid, Dice Ailes, Moelogo, Ghost, Straffitti, Blaqbonez, Yung L, U.aX and Trigga Madtonic feature on Rendezvous while South African rappers, Cassper Nyovest and AKA feature on one track each from the project. Up and coming wunderkinds, Higo, CKay, GMK, and Odunsi the Engine also share production credits on the project.
To aid the project’s assimilation, the second album art for Rendezvous: A Playlist By M.I Abaga, includes a short mood-set description for every song, as the evening becomes night, and memorable moments stretch time till the break of dawn.
Steam MI’s Rendezvous below.
Featured Image Credits: Instagram/mi_abaga
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
Ben Enwonwu’s iconic painting of princess Adetutu Ademiluyi of Ife, known as “Tutu” has been discovered after being lost for decades. According to a BBC Africa report, the painting was found in a flat in North London on Tuesday.
The painter had met the princess three years after the civil war and asked to paint portraits of her. After creating three versions of the portrait and debuting them at Lagos in 1974, they were regarded as national symbols of reconciliation between the regions. Although Ben Enwonwu is regarded as the father of modern art in Nigeria, the Tutu paintings are recognized as his most acclaimed work. They were last displayed at his burial in 1994 before mysteriously vanishing from public eyes till it was recovered in London.
Though the two other versions are still missing, print versions have been in circulation since the 70s. Giles Peppiatt, the director of modern African art at London auction house, Bonhams estimates that he is invited to value a version every eight weeks, but they have always turned out to be printouts. In an interview with Reuters, he said this discovery is extraordinary because it’s the first authentic version of the painting he has seen, and it’s in high demand. “It was his greatest masterpiece and people have been asking ‘where is Tutu?’” he said. Nigerian novelist, Ben Okri described the rediscovery as the most significant in contemporary African art in over 50 years. Speaking to The Guardian, he declared that he believes this discovery has the potential to transform the modern art world.
This original Tutu will be auctioned on the 28th of this month at Bonhams in London, but will be screened live at Wheatbaker hotel in Ikoyi. Giles estimates the painting will sell for 300,000 GBP.
Featured Image Credits: Web/TheGuardian
“Tomiwa is figuring it out…” Tweet at her @fauxxbella
For Natimi’s new single, “Shadows and Silhouettes” she channels Gina, her sensual alter ego who want to be free to spread her wings, leave an imprint of herself on everyone in her path. By reflecting the struggles of repressed people, she tries to dissociate herself from the part of herself that craves self-expression.
The first lines from Natimi’s “Shadows and Silhouettes”—“I promised Mark I would close the curtains/ I promised I would close any possibility of my crave for attention to be noticed. I promised Mark but Gina refused”—jump at you because the message is easy to relate to. We all have multiple selves, sub-selves, personalities, alter personalities, ego states or identity states. The twist on “Shadows and Silhouettes”, a sombre self-reflective piece delivered over ambient electronic sounds is that by failing to conform to values, Naimi finds exaltation.
Pop music’s need to be relatable invariably makes it an apt medium for documenting history. By reflecting the realities of the society during the military era, The Funkees’ “Akula Owu Onyeara” has grown to become one of the classics of the 70s. The blend of psychedelic rock performed in Igbo was released just after the civil war.
The Funkees focused on weaving a groove to uplift listeners from the blues and troubles of the post war. Fusing traditional elements and psychedelic funk harmonies made the sound a variant of Rock n Roll, a fad created by local artists awkwardly aping foreign artists and bands like James Brown and The Beatles. On “Akula Owu Onyeara” first released in 1973, their ability to simulate the sense of confusion at the aftermath of the violence of the war despite being centrifugal to track’s muse, paints a vivid imagery of the time.
Taking from rock music’s provocative, intense, and unapologetic story crafting, The Funkees’ “Akula Owu Onyeara” describes the pervasive behaviours of lunatics in their Igbo dialect. Lead singer, Bill Ike calls out violent people for being crazy, “Onye Ara”. He goes on to mock their uncivilized actions (cold baths in cold seasons, refusing clothes and walking around naked), backed by smooth, psychedelic guitar licks, catchy percussion harmonies and relentless drums. Given the socio-political atmosphere of the time, it almost comes off as a guiding advice when he pleads with crazy people not to fight with broken bottles.
It’s nifty and delightful and thanks to excellent vocal work, packs a punch to boot.
Listen to “Akula Owu Onyeara” below.
Featured Image Credits: Instagram/polyester.specter
