Sex is a recurring message in a lot of pop music. Even when it’s not overtly represented, there is almost always a subliminal message about sex. This constant reference to sex and sexual activities in pop culture inevitably circles back to the issue of consent and rape culture. We have had some misguided efforts at highlighting the issue of consent recently, but Ladipoe and Tiwa Savage’s “Are You Down” seems a step in the right direction.
On “Are You Down”, LadiPoe’s lyrics bring an interesting spin to the message of asking for consent in a social situation. His lyrics, “Are you down?/ You need to show me are you down?” during a playful dialogue with the lady he is in conversation with carefully demonstrates how consent works. She asks if she can take his shirt off and even though he refuses, there’s no bitterness between them.
Tiwa Savage’s feature gives the single some extra context with lyrics showing how two people can have a consensual sexual relationship with mutual respect. Her collaboration with Poe on “Are You Down” shows how good duets tend to be at representing relationship themes.
The video directed by Tshisz Nelson is a colourful interpretation of the song’s lyrics. Poe meets a woman and he does not get weird with her. The video does not exactly tell a story, but it does not contradict the song’s message, which is important when communicating a message such as this one.
Watch video for “Are you down” here:
Featured Image Credit: Youtube/MavinRecords
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The apartheid era in South Africa was horrible in almost every way imaginable, but Hugh Masekela’s music and role as an activist served as silver-lining in the difficult times. Regrettably, the Jazz legend has passed away in Johannesburg after a 10-year battle with cancer. A press statement read that he died surrounded by friends and family “After a protracted and courageous battle with prostate cancer”.
Hugh Masekela was tutored by Trevor Huddleston and after the activist got him his first trumpet, he went on to make music that served as a tool used for protesting as it reflected the people’s grievances at South Africa’s anti-apartheid. He started developing the Afro-Jazz sound he is recognized for shortly after seeing “Young Man With a Horn”, a 50’s movie where Kirk Douglas played the trumpet. And by 1977, his “Soweto Blues” single became associated with the anti-apartheid movement. After Nelson Mandela was arrested, Hugh released “Bring Home Nelson Mandela” protesting the unlawful treatment of the equal rights leader.
The sad news of his death has spurred a torrent of tributes to his activism and his music. Fans from across the globe have filled social platforms with heartfelt condolences to his family. In the words of South African President Jacob Zuma, “His contribution to the liberation struggle will never be forgotten”.
Check out Hugh Masekela’s 2010 FIFA performance here:
Featured Image Credit: The Sun/Allan Titmuss
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Chalk it up to the scramble for diversity or the need for equal representation, but being dark-skinned has never been more pop than it is now. To counter the recourse that the black was somehow unattractive, women of colour have inadvertently become a trendy muse for photographers, filmmakers and artists alike. Though African artists seem to be late on the gimmick (given that, Sauti Sol’s “Melanin” only dropped at the end of last year), Korede Bello’s new single, “Melanin Poppin” is only the latest in a long line of such tributes to the black, African woman.
Mavin Records resident producer Altims, produces the mid-tempo beat for “Melanin Poppin” with upbeat drums anchored by sweeping synths. Korede Bello’s melanin worship allows him to reference a popular line heard on Kendrick’s “Blacker the Berry”. There is a switch up towards the close of the track, a smooth funk outro that incorporates Harlem World’s “I Really Like It” featuring Kelly Price and Mace, while also tapping classic Michael Jackson sparkle and dance moves.
You can watch the Korede Bello’s video for “Melanin Poppin” below.
Featured Image Credits: YouTube/Korede Bello
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Donald Trump recently referred to a number of African countries and other nations as ‘Shit hole countries’. Naturally, people had divided opinions. But opinions being what they are, don’t really need to be given much attention especially coming from a known bigot.
However, some have found ways to skew the conversation from Donald Trump’s ignorance and celebrate our collective diasporan excellence. Publicist and media expert Koshie Mills who recently announced the trailer for her new web show, “The Diaspora Dialogues” belongs in that category. She revealed through a Facebook post that the idea to make the show came to her after conversations with friends made it clear that platforms for discussing the similarities between Africa and it’s diaspora are important in order to bridge the culture gap.
As is seen from the trailer, “The Diaspora Dialogues” will feature Estelle, Monique Coleman, Chris Attoh, and other influential Africans. With Opera-esque intimate conversations, the goal is to discuss their history, living in foreign countries and how they’ve stayed connected to their roots.
Watch the trailer below:
Featured Image Credit:Youtube/The Diaspora Dialogues
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While the rock band ride the tropical wave on tracks like “Hold Me Tight or Don’t”, Burna Boy assisted “Sunshine Riptide” has the adrenaline pumping sound that makes for a classic Fall Out Boy track. But that is hardly surprising given Burna Boy’s emo for championing Afro-fusion. Fall Out Boy is only the latest in a long and probably growing list of international features with UK artists like J Hus and Lily Allen already in the bag.
“Sunshine Riptide” is an empowering song with a verse from Burna set into an energetic pop-rock framework. Singing “Feels like I’m bulletproof, bulletproof baby”, his low reverbed verse tying into the chorus about dancing within the sunshine riptide is just the type of scene you’ll expect to find the Afrofusion singer.
The phrase ‘Sunshine Riptide’ first surfaced in the video description for “Young And Menace”, another single off their latest album, M A N I A. It is described as the “gentle pull of a tide that rolls over and over again and by the sheer nature of its essence it becomes an indestructible will- ripping out sand- eroding what was before it- without a care”.
Stream Fall Out Boy on NATIVE’s The Bumplist below.
Featured Image Credits: Instagram/falloutboy
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Though the press were in attendance, the listening party for Burna Boy’s forthcoming album, Outside was largely an intimate affair. Through the night, Burna and host Douglas Jekan hung out with friends and family who were invited to the private first listening party at the WéRé House in Lekki, Lagos.
Photos of cover arts from Burna Boy’s music releases were displayed as well as his face on NATIVE’s first print issue, Burna Reborn. Food and drinks were made available for everyone, including Burna Boy’s favourite meal, Port Harcourt’s Bole and fish, served out of a makeshift grill in the trunk of a Peugeot 504.
Beat FM’s Douglas Jekan played host for the night, leading Burna Boy through a series of questions to give an inside perspective on the album’s creation. Burna Boy was in a cheerful mood, he gave inside scoops on the project; “Where I’m From” as his favourite and most personal track, the infamous trip to Port Harcourt that led to “City Vibration” and his experience working with Drake and his producer, 40′ Shebib on “More Life”, the album’s opening track.
Some of the personalities in attendance include, Burna Boy’s Grandfather, Benson Idonije, his mother, his sister, Davido, Phyno, Skales, Idia Aisien, Nonso Bassey, Odunsi The Engine, Idyl, Leriq, DJ Lambo, Chopstix and DJ Spinall. Pictures were taken after the listening party as everyone seemed in high spirit after listening to the project—a testament of the album’s appeal.
The album is set to be released on all digital music platforms on the 26th of January under Atlantic Records. While we anticipate its release, scroll a bit lower to see some of the shots from the listening party.
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Most are familiar with the social media debates about PDA because these conversations just won’t go away. Yasir’s “One two” accurately captures thejuvenile romance culture in the social sharing age. “One Two” begins with a slow, melancholic piano harmony that would lead you to believe it’s a song about the end of love, or some sort of self-reflective ode. But drum riffs surge in to overlap the pianos and make it upbeat enough to be a dance number.
Over the instrumentals produced by DoOzyBeatz, Yasir professes love for his lady, “You’re My Crush Everyday On Snapchat. /You’re Mine No Be One Two“. He is sure how he feels about her and has no problem with her telling whomever she wants about them. “Scream out if you want to, tell your friends if you want to”, indicating confidence about making their relationship public on social media.
Listen to “One Two” here
Featured Image Credits: Instagram/Looneyyasir
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UK music festival, Wireless has announced their lineup for this year’s summer festival as well as the venue and date. The weekend-long festival is expected to take place in Finsbury Park from the 6th of July to the 8th of July. Ahead of the slated date, J Cole, DJ Khaled and friends, and Stormzy have been announced as the headlining acts for the festival.
NATIVELAND16 headliner, J Hus as well as NATIVELAND17headliner, Not3s are also featured on the lineup alongside British rap veterans Wiley, Giggs, Wretch 32 and other international acts like 6lack, Cardi B, French Montana, Migos, Lil Uzi Vert and more.
You can see the full list of Wireless Music Festival headliners below.
The emotional quality of pop ballads makes it one of the most prominent genres for music that tugs at heartstrings. Ballads are structurally designed to hijack our feelings to melodramatic acts that evoke the highs and lows of relationships. Yinka’s “For You” attempts to explore a similarly related conceptualisation.
Over the 3-minute long single produced with heavy bass shifts, string instrumentals and discontinuous horns by The Sherriff, she asserts her commitment to her partner’s wishes and desires. Cidane features to give a masculine perspective on the matter concerning the heart.
“For You” is simple and clear, but that’s not to say there’s no curveball in there. By using a boy-girl dialogue with Cidane it almost listens like an 80’s love song that somehow found its way into today’s socio-conscious climate with lyrics relating the general conversation about how scum men are.
Yinka’s debut EP is expected to be released later this year. For You is her first single since she was unveiled as the first female signee under Synthe Records.
“So mi call up Lily fi harmonise this” Burna raps on “Heaven’s Gate”, as if his new collaboration with British singer, Lily Allen, has always been a hidden trump card all along. When a picture of Burna Boy and Lily Allen first surfaced online last year, many swept the odd but peculiar potentiality for a collaboration under the same carpet of the ‘Africa-to-the-world’ chatter going on around the time. “Heaven’s Gate”—the song birthed from what was presumably a photo from one of many studio sessions—brings a whole opposite vibe though.
Produced by Fred Gibson, who has worked with Ellie Goulding and Brian Eno in recent times, “Heaven’s Gate” is Burna’s truest audiovisual piece till date. You’d think a song titled with a combination of words like “heaven” and “gate” will only come offering blessings, halos or some other ethereal, pseudo-religious shit. But instead, Burna’s edgy aggressiveness on “Heaven’s Gate” takes no prisoners from start to finish.
He rips into the beat after a Bollywood-inspired melody opens the set, singing: “anyway, I thought you was a G, but you any snake”. It sounds like a realisation and an assertion of territory at the same time; the kind of necessary pettiness required to start a Cold War after all necessary doubts have been given. As if to invert this human element, the accompanying video for the single shows an omnipresent Burna Boy in multiple living spaces and public salons, ubiquitous but seemingly unnoticed.
“Heaven’s Gate” does live up to its name though, thanks to a piece of paradise sung by Lily Allen. Lily Allen’s Bollywood bite would have been cringe-y to hear—given her history with cultural appropriation after that “Hard Out Here” video clusterfuck in 2014—but her soft entry brings a sweet sharp contrast to Burna’s unwavering rage. Lily Allen’s sultry voice as she questions her love interest’s loyalty imperceptibly compliments Burna’s threat for violence to“violate and let the Semi spray”.
Last night, at the listening party for his upcoming album, Outside (expected later this week), Burna Boy described his relationship with Lily Allen as familial of sorts, citing the singer as his ‘sister’. This is why the biggest win for “Heaven’s Gate” goes beyond two talented people working together to create something truly phenomenal. Fans will be more invested in enjoying “Heaven’s Gate” as a truly organic collaboration that doesn’t look forced or feel like a gerrymandering result of desperate strategic positioning.
Stream “Heaven’s Gate” (feat. Lily Allen) by Burna Boy below.
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“I don’t want your love but I don’t want you with nobody else” Tim sings; outlining the summary of every unhealthy ‘situationship’ ever. “Right Now” captures the power dynamics of a number of these kind of relationships. There’s the partner who’s completely checked out but doesn’t want to see the other move on and continues to seek out gratification from the other. However selfish, the partner who’s still hung up on what was, remains “two thumbs away.”
The story of fatal attraction told over the calm beat Tim Lyre and July Drama produce is a seamless blend. The beat is built around spaced out piano chords, repeated bass sounds, and the occasional horns. “Right Now” is immensely catchy with the dancehall rhythms and instrumentation. The preppy tune of the beat, however, betrays the melancholy heard when they admit that what they want isn’t the best thing for them;“You know I know we both know we’re bad for each other”.
Interestingly, there’s no huge climax. The beat heard at the start sets a pace for the song and they just go with it until the end.
Listen to Tim Lyre and Joyce Olong’s “Right Now” below..
David Meli’s debut project, INDECISIVE is 6-track Afropop EP. His pre-released single, “The One” featuring Minz already showed his proficiency with pop music’s niceties; pseudo-romantic lyrics, a catchy beat and a guest verse from another sort after singer. But while his lyrics seemed watered down, his alluring vocals succinctly conveyed a sense of adolescent lust.
The INDECISIVE title of the EP seems reflective how being young can be messy. It’s a time to be passionate and set fire to things without significant consequence. All the 6 tracks on the tape express the triumvirate of being young; partying, summer and the innocent young love.
The opening track, “Wanna Know” produced by Marvin x S’Bling is a portrait of young romance. Over the mid-tempo beat with synths, vocal samples, horns and percussions, he professes a love based solely on canal desires with reckless abandon. Singing, “You Don’t Need No Stamp On It/ That’s Going To Take The Fun Right Of Everything” he admits his emotionless affections and gets away with it “Cause (He’s) Young And Got So Much To Explore”.
His pursuit of a perfect drama-free romance continues on the second track, “The One” featuring Minz. But on “Wayo” he gives some context to why he might be sceptical about putting his heart into relationships. Over another mid-tempo dance driven beat, he admits his vulnerability and intimacy worries; “I Know Sey The Men Plenty”. Even when it seems like he finds requited love, he still sings “So Make You Leave Me/ There’s Not A Thing With Me And You”.
On “Lowo”, David Meli turns to trap’s ambient synths for a showy number celebrating his achievements with youthful exuberance. He taps PsychoYP’s Drake-esque rap bars and mellow trap beats he declares “Everyday Is Holiday”. The last INDECISIVE track, “Bend Over” finds David Meli praising his love interest. With raunchy lyrics that feel right at home, the singer invites listeners into a misty club where exotic dancers entertain.
Listen to David Meli’s INDECISIVE below.
Featured Image Credits: Instagram/daviid_meli
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We don’t often get songs like Olu’s “Baby” in Africa, or anywhere in the world for that matter; A love song so layered and abstract, the interpretation is entirely open-ended. But that’s what we get when musicians get a bit too extra on the art part of being artists, trying to create something otherworldly.
“Baby” begins with a percussion-heavy baseline that builds into a single guitar strum heard at intervals throughout the song. Olu seems to be reaching out to someone out of her reach and perhaps too occupied to hear her. Worried about the person and overwrought by the lack of response as she asks “Where are you going?”
The mysterious feel tends towards a godlike reference for “Baby”; She wants to know where Baby is going, if Baby is coming back and if Baby’s stay on earth is pleasant. The lyrics and apprehensiveness heard at the start could be a reflection of the heaviness in her heart for fear of losing Baby, but the end of the song communicates a sense of calm. Perhaps she breaks free from this person or they return to her. Either way, the gist is she is content.
Maybe the godlike person she feels she’s losing is herself, and she finds her identity on the almost river-like flow on the last few seconds of the song. We may never find out, but we can enjoy the song below.
Featured Image Credits: Instagram/olu.watosin
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Every now and then, Young Thug drops something to remind everyone he’s a generational talent. On an ode to Martin Luther King on MLK Day, he does just this. Shuffling between bars like “I was dead broke hustling on the steps/now I rock water like I’m Michael Phelps” and “I pray to God I die in my sleep/I pray my deaf brother don’t run into the police” is what makes Young Thug, Young Thug. Playful, but introspective. Opulent, but inspirational. A national treasure.
Ada (feat. Davido) – DJ Ecool
Dropped at the top of the year, this took a couple of weeks to grow on us, but now it’s in heavy rotation. Davido is 1/1 already.
Sunshine Riptude (feat. Burna Boy) – Fall Out Boy
Picture yourself as Burna Boy, an afro-fusionist and revolutionary given a chance to guest star on his favourite band’s album. How else do you leave a mark in history than with an unsuspectingly empowering verse set into an energetic pop-rock framework? “Feels like I’m bulletproof, bulletproof baby”, Burna Boy sings on his low reverbed verse tieing into the chorus about dancing within the Sunshine Riptide. The phrase ‘Sunshine Riptide’ first surfaced in the video description for “Young And Menace”, another single off their latest album, M A N I A. It is described as the “gentle pull of a tide that rolls over and over again and by the sheer nature of its essence it becomes an indestructible will- ripping out sand- eroding what was before it- without a care”. “Sunshine Riptide” is the ninth track on Fall Out Boy’s newly released album, M A N I A.
Faithful – Francis & The Lights
A deep cut from the phenomenal Francis Starlite album.
Heaven’s Gate (feat. Lilly Allen) – Burna Boy
Burna Boy has promised this collaboration as part of the rollout leading up to his upcoming project, Outside for a minute. While there have been thematically fragmented releases like “De Ja Vu” and Gba from the series, tracks like “Streets Of Africa” and “Sekkle Down” have followed the same colourful art and subject matter. Lilly Allen’s supporting cast role on this “Heaven’s Gate” is subtle, but literally genius contrast to what is easily Burna Boy’s hardest track till date.
Spirit (feat. Wale) – Kwesta
When the stars align for any authentically African artist like it has for Kwesta, the African dream unfolds to be an ‘Ojuelegba to the world’ story. Even featuring Nigerian-American Wale, on “Spirit”, his uplifting single from last year, doesn’t deter his authenticity and dedication to his roots. At a time when the outward push for African music has tended artists towards more global sounds and concepts, the rapper has doubled down on solidifying his electronica-tinged lo-fi hip-hop delivered in his native Kwaito tongue.
Baby – Olu
On “Baby” Olu’s brand of soul relies on dents of rock, ironically set on mellow-ish drums and ambience synths. Her most effective instrument, however, is her voice, a divine-like presence arched by her internal musings. She describes this process as an artistic process of finding you from I.
King Of Sorrow – Sade
“I Am Crying Everyone’s Tears/ I Have Already Paid For All My Future Sins”, Sade sings on “King of Sorrow”, the second single off the group’s millennium album, Lover’s Rock. In this vintage interview, lead singer, Sade Adu aptly describes the track as a moment: “Where you feel like everything is on your shoulders”. The legendary singer turns 59 this year, what better way to revisit her influence than this emblematic cut of her group’s most indemnifying soulful quality.
Issa Banger (feat. Mr Real and Slimcase) – D’Banj
“Issa Banger” is Bangalee’s first official release of the year. And unsurprisingly—though rather peculiar—the track features “Legbegbe” wave of the moment, Mr Real, and another emerging collaborator Slimcase. Mr Real and Slimcase are right at home on the EDM-leaning instrumentation. “Issa Banger” is composed loosely and precariously like much of D’Banj’s punchiest releases since 2016. Only a few artists have a diverse enough mindset to dip into the trenches of obscure street music and still manage to come out untainted, and D’banj is one of such artists; if “it’s not a lie”, then Issa banger.
Go Down – Yemi Alade
After an active run as Mama Africa that culminated Yemi Alade’s two-year-long Afrocentric embellishment, the singer is returning to her R&B/Pop roots. “Go Down” comes off her third studio album Black Magic, featuring a sultrier Yemi Alade putting her vocals to work.
The Bumplist is The NATIVE’s official weekly playlist – what we love this week, in no particular order
With the mythology surrounding pop music fandoms in Nigeria, it’s easy to fall into a “music for Nigerian audience” mindset, where you believe that the music made without foreign influences is somehow more sincere or more real. Though this is obviously bullshit given the music streaming culture around the world, artists like Olamide have cashed in on the indigenous currency despite releasing sometimes underwhelming projects. Burna Boy’s latest single, “Heaven’s Gate” shows yet again that he can manage just fine without the industry politicking as he features British singer, Lily Allen.
Burna Boy has promised this collaboration as part of the rollout leading up to his upcoming project, Outside for a minute. While there have been thematically fragmented releases like “De Ja Vu” and Gba from the series, tracks like “Streets Of Africa” and “Sekkle Down” have followed the same colourful art and subject matter. Lilly Allen’s supporting cast role on this “Heaven’s Gate” is subtle, but a literal compositional genius work of art when she contrasts to what is easily Burna Boy’s hardest nostalgia-influenced deliveries till date.
Burna Boy’s ability to blend his style and sound with others is exemplified in the video for “Heaven’s Gate”. Burna Boy is shown in a saloon, in a kitchen, in a home with kids and on a corridor performing the song along with Lily Allen. You can watch the fun video below.
Stream “Heaven’s Gate” via Apple Music below
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DJ Tiz’s latest single, “Plenty” featuring David Meli and Minz is just the song for all of us who want to loosen up and forget there are still a few days before the month ends and salaries come in.
If you’re ever in dire need for that pre-Sounds From The Other Side Wizkid but with fresh perspective, Minz and David Meli’s “Plenty” is all the serving you need. The song literally opens with an ad-lib similar to Wizkid’s.
“Plenty” is poster track for the Nigerian music’s dancehall swing during the early 2010’s. David Meli and Minz sing about a sudden stream of funds that allow them to pop as many bottles as they want, catch flights to Malaysia whenever (for unclear reasons), pull as many women, stunt on “haters”. The amalgamation of pulsating beats and a compulsive rhythm makes the song stick though.
The sensual blend of electronics, vocals and rhythm is immediately engaging and relentless. Meli and Minz’ discography will show that they make pretty clean Afropop songs perfect for mainstream consumption, however forgettable.
Released as a single, “Dante’s Awakening” placed PatricKxxLee in a Devil May Cry-esque universe where his recourse for rage feels right at home. Perhaps to avoid predictability, the Nape Phasha directed video steers clear of the obvious reference and opts instead to show PatricKxxLee all alone in a phantom zone of some sorts. He has made it clear severally that he’s a loner and the video reinforces that sentiment even further as he raps bathed in red lights then with black and white filters with nothing but digitally edited effects as company.
“Dante’s Awakening” is Patrickxxlee’s second official video release.
Watch the video for “Dante’s Awakening” below.
Featured Image Credits: YouTube/ARTIS Records
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
For an artist who debuted nearly 10 years ago, Wande Coal’s smooth hand body coordination is always mind-bending, nevermind his cute chubbiness. His music releases have also been just as spirited, scoring a sleeper hit with “Iskaba” and enjoying radio circulation well into last year—despite being released in 2016. Perhaps in an attempt to replicate last year’s success, the singer has released the video for “Tur-Key Nla”, a single released in time for last year’s Christmas celebrations.
The video for “Tur-Key Nla” is shot in a set that makes it look like it was recorded while another shoot was going on. Which is just as well since it provides some context to the plot of the video and why there are so many models around. Following the single’s raunchy pseudo-romantic narrative, Wande Coal chases a love interest around and tries several tricks—sweet talking, dancing and spraying money—to win her affection.
In line with the song’s lyrics, all of Wande Coal’s cooing doesn’t seem to faze his love interest. Even when he slips into a sleek shaku-shaku groove, she keeps walking around the colourful set till Wande Coals pulls out some money and sprays it around for effect.
Watch the video for “Tur-Key Nla” below.
Featured Image Credits: YouTube/WandecoalVEVO
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
The last few months has seen a lot of rap move towards heavier and introspective themes. Major players such as Olamide and Reminisce have taken on topics of drug abuse and marital promiscuity with “Science Student” and “Pon Mi Le” respectively, while dominant trap music scene in South Africa reflects a pseudo-violent and troubled lifestyle of the youth in those parts. But Kidakuz’s latest release, “Last Last” featuring Dremo gives a slight realignment towards fun rap.
Over the laid-back piano-led beat, KidaKudz channels the lightweight buzz of “Sipping on That Henny”. Flipping rap’s brash tone on its head, he brags in the least outlandish tone saying “Yeah I Love My Life, Mi O Le Complain” before threatening his love interest with enough affection to make her overdose.
Dremo takes the last verse on “Last Last”, and though his lyrics are more offensive, his delivery is joyful as he switches between singing and animated rap. He raps about suffering and smiling; a popular sentiment in Nigeria’s often problematic society. But he gives context for the smiling promising “Last Last Everybody Go Dey Alright”.
The chemistry between KidaKudz and Dremo, and their positive message over the dance-inclined mid-tempo beat is primed to turn bad days around and give good days that extra spice.
You can listen to “Last Last” below.
Featured Image Credits: Instagram/kidakudzgram
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Great music requires the songwriter to match lyrics with the perfect groove to deliver the song’s intended message. On Dunnie’s previously released track “Give It To Me” she pairs her dotting lyrics with a classic highlife beat that vivifies the track. On her new song, “Wahala” she gives a detailed description of Lagos’ struggle lifestyle.
Over the guitar-led beat with upbeat drums and distinct bell chime, she paints a picture of a scene on a bus. Singing “Condo Give Me My Change I No Won Forget, Condo Come Dey Shout For My Head”, the imagery is both vivid and relatable for anyone that has ever been on a bus around these parts.On the second verse, she moves on to yet another “Wahala” when she haggles with a pepper seller trying to sell her 100 Naira pepper for 1000.
She describes the stress the average Nigerian will relate to, but with soothing vocals that betray the firmness in her resolve not to be taken for granted.
You can listen to Dunnie’s “Wahala” below.
Featured Image Credits: Instagram/officialdunnie
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“Perfect lover” is the what we imagine every Ser Jorah wants to sing to their Daenerys. It tells the story of a guy letting out his frustrations about unrequited affections towards a paramour with other interests. The friend zone is as dreaded as it is famous and “Perfect Lover” is Ditweni turn in the long list of googly-eyed clueless boys.
He alternates between rapping and singing much like Drake does, and while the flow is somewhat patchy, it makes for an enjoyable listen. Rather than try to wow with clever wordplay and all the brags that usually comes with rap bars, Ditweni focuses on the song’s theme of heartache and gets his message across adequately. Plus the production of the song makes up for his lack of pseudo-conceptual lyric book.
Over the upbeat drums, somber piano chords and vocal samples Ditweni produces for “Perfect Lover”, he complains about the unfair treatments he has endured with descriptive yet, conversational lyrics that almost come off as comedic; “Actually, I Dey Notice These Things You Put On Instagram/ Every Time I Read The Caption, It’s Always About A Man”. But rather than give up on his love interest, he “Remind(s Her They) Were Meant To Be Together”.
