Here’s probably why D’banj tracklisted Oliver Twist on ‘King Don Come’

As the name literally suggests a long becoming, D’Banj has finally dropped King Don Come, his fourth studio album after a series of pushed back release dates. This 12 track album comes four years since D’Kings Men—a compilation album and the product of his stint with Kanye West’s GOOD Music—and nearly eight years since D’banj’s last solo project The Entertainer.

A lot has presumably happened between The Entertainer and now. D’banj spent the first three years of that solo project hiatus with Don Jazzy, until both producer and artist decided to split up permanently in 2012. Though the Kokomaster has remained afloat with a string of mid to moderately successful singles, it came as a surprise when “Oliver Twist”, the last track he worked on alongside Don Jazzy was track-listed on his new album nearly five years after the single dropped.

A probable explanation is presented when D’banj’s business-inclined side is considered.

In the February of 2016, the RIAA (Recording Industry Association of America) began accounting digital streams for album sales. With this revised RIAA model, 1.5 million streams equal 1000 digital album sales. The kick here—as it applies to D’banj’s “Oliver Twist” —is that single streams are also counted towards the total sales for the project. Meaning total album sales numbers for D’banj’s King Don Come will also be inclusive of streams amassed by “Oliver Twist”, a song that charted in different markets all over the world.

Recent album certifications by the RIAA over the past few months (Drake, Kendrick Lamar etc) have reflected this. It is not unlikely that D’banj included “Oliver Twist” in his album track-listing to give King Don Come an initial sales boost, statistically speaking.

Stream D’banj’s King Don Come via Apple Music below


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Essentials: ‘King Don Come’ is a testament to D’banj’s dynamic and entertaining career

Watch Krizbeatz “Boss Whine” featuring Skales

“Boss Whine” carries in it the same energy that most Nigerian ‘Jollof’ pop songs have, even those within Krizbeatz small music catalog, from those on “Pana” to “Erima”. With his bare signature drums as a base, the song is mostly a chant from what you mostly hear artists sing, girls who make their “temper rise”. They sell trite expressions round the clock, but what makes this track unique is how Krizbeatz builds his drums layering it with the penetrating sound of the flute. The flow of this wind instrument mimics the suppleness inherent in classic Indian songs. Once Skales verses dissipates, the flute is left alone atop a very distant drum.

We are in need of a tantalising escape from the boring everyday routine of songs artists and producers make us listen too; same themes, same setting, same ambience, but Krizbeatz’ and Skales’ collective enthusiasm on the track is enough to save the track on a playlist.

Have a listen to Krizbeatz’ “Boss Whine” below, and just when the flute plays, don’t forget to whine like an Indian would.

Feature Image Credit: Youtube/Krizbeatzvevo “Boss Whine” 


Fisayo is a journalist who thinks writing is hard and reading too. But her journey somewhere reveals, words are like pawns on chessboard when writing. She wants to see, create and share with the world, experience & communicate these experiences. Tweet at her @fisvyo


In Case You Don’t Know: Krizbeatz produced some of Afropop’s hottest

D’banj just dropped the video for “El Chapo” featuring Wande Cole and Gucci Mane but that’s not even the best part

D’banj is no stranger to international features anymore than Afropop is to cross-genre collaborations. It’s not unusual to hear elements of Caribbean and hip-hop sounds in today’s Afropop releases but D’banj has just taken Afropop’s relationship with the global music industry to a new level. While he isn’t the first Nigerian to get an international recording deal, he can beat his chest proudly knowing others like Wizkid, Davido, Tekno and co merely had distribution deals with their labels, while he had a full 360 deal.

https://www.instagram.com/p/BYNcSckFiU4/?hl=en&taken-by=iambangalee

His Cruel Summer days may be behind him but the Ejanla clearly still has some influence in America. His latest album, the 12-track King Don Come has just one international feature but it’s not unlike him to sacrifice quantity for quality. Gucci Mane’s cult like following has gotten even more rabid since his return from jail time earlier last year. Asides his delightfully laid-back style of rap, his triumphant dark past makes him the perfect collaborator. And what better song to feature on than the one titled after legendary Mexican drug lord, Joaquín “El Chapo” Guzman.

The mid-tempo trap beats produced by Maleek Berry is perfect ambience for the glamorous drug-dealer themed video, which Eif Rivera directs. D’banj and Wande Coal deliver verses with Migos inspired melodies and ad-libs that stay true to the trap vibe and lifestyle “El Chapo” promotes —plus gold rings and violent NBA metaphors to match. Gucci Mane does what he does best (brag about his booming rock slinging enterprise) to give D’banj’s lavish and thug narrative more credibility.

Watch D’banj’s video for “El Chapo” featuring Wande Cole and Gucci Mane below.

Featured Image Credits: YouTube/DbanjVEVO


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: Revisit D’banj’s “Oliver Twist”, a viral campaign that put Afropop on British Soil

Bobrisky is the Nigerian Millennial we deserve

Nigerians have an unhealthy obsession with the West. A persistent carryover from our near century of colonial oppression and the economic and socio-political interference, we have been unable to shake the belief that even the most rudimentary appearance of western influence somehow elevates us from the average Nigerian. We see this everywhere; the graduate who goes for a Master’s degree from a foreign university for that extra advantage over their Nigerian peers, the On Air Personality who adopts a Frankensteinian accent that has no merit save for sounding foreign, or the people who bleach their skin to simulate a proximity to whiteness, or the IJGB (I just got back) who returns to Nigeria and holds on to that title years after their return.

This obsession deepened with the advent of the internet and the indirect access it granted to a generation of Nigerians who were born in our country’s relative poverty. That generation of Millennials needed proximity to Western influence in ways that we could only fathom a decade before. They need this proximity because the internet reconnected them with millions of young Nigerian millennials who had either emigrated to first world countries as children, or were born there. Those Nigerian born westerners were unaccepted by their white peers and sought community by seeking out Nigerians their age who were still in Nigeria. They formed traditions like travelling back to the country for major holidays, created a sort of half-life where they left their lives to live as rich ‘tourists’ for a few weeks in Nigeria. For the Nigerians here, that racial distinction white peers offered was gone.

It wasn’t enough to have an accent and vaguely mention places in Jand to pass as ‘hip’. A quick Google search could out you and destroy valuable social currency. The introduction of social media upped the stakes and turned passing as ‘western influenced’ from a social activity to a full-time, immersive second life. We became the ‘urban poor’, living a life we could not afford to fit in to a fantasy world we’d all built and collectively maintained. Some people have been much better at gaming the system than the rest of us, turning our obsession with public personas and a proximity to western influences and ideals into a lucrative career, marketing our attention to brands and corporations as influencers. And the very top of this tier of ‘influencers’, is the person we least expected; a gender non-conforming, trash talking, self professed misogynist.

For two years now, we’ve danced around the phenomenon that is Idris Olanrewaju (Bobrisky to you lessors). It isn’t hard to see why. Bobrisky represents everything that we public profess to abhor; loud and ghetto, visibly uneducated and culturally illiterate, unashamed of his sexuality and boastful about using sex instead of hardwork as a route to success; the very antithesis of the IJGB archetype that we worship.  So how did Olanrewaju go from relative unknown to internationally known celebrity with a devoted fan base. He did it with a backstory that rivals Kim Kardashian and a little help from Nigeria’s biggest gossip blogger Linda Ikeji.

In 2011, Olanrewaju was relatively unknown in Unilag, but even then he was already angling for fame. There are unsubstantiated rumours about him cross dressing on campus in that time and confirmed hazing from hostel mates. There is especially a news report from that period when Olanrewaju was arrested by law enforcement for trying to solicit a man while in drag. Not long after that incident, Olanrewaju embraced bleaching creams and Facebook and before long, his profile, where he was documenting his transition from darkskinned to light, began to draw attention. At this point, Linda Ikeji had just made her name as a gossip blogger and launched a thousand copycat blogs who scoured Facebook, Instagram and Twitter looking to break news on their platforms. It was one of these blogs, the Stella Dimokorkus Blog that first introduced Olanrewaju to the mainstream media by reproducing his controversial Facebook posts. This went on for a while, until Linda Ikeji finally took interest and put up a post about him on her blog.

In 2015, Linda Ikeji was at what many consider the peak of her career, she was averaging a 300,000 – 500,000 hits a day and had the uncontested ear of the Nigerian Diaspora, who were dying to connect with the ‘motherland’. When Ikeji began to regularly post updates of Olanrewaju, she hoped to leverage the sudden but intensely volatile interest President Goodluck Jonathan passing a bill criminalizing same-sex marriages the year before had brought. She had already tested this theory by posting carefully crafted posts about the private lives of several popular gay American celebrities, and the allure of challenging the righteous indignation of Nigerians towards another Nigerian was too much to resist. Her gamble paid off and her popularity sky rocketed. But incidentally, so did Olanrewaju.

His Facebook profile began to get thousands of hits and comments, mostly negative, so the boutique owner abandoned his Facebook profile and moved to Snapchat, which was just gaining popularity in Nigeria. Snapchat was perfect for Olanrewaju; its 24 hour disappearing stories provided a real-time opportunity for him to chronicle his fabulous life to an adoring audience without having to worry about likes and comments and without having to deal with self censoring. Armed with a fancy smart phone, Linda Ikeji providing endless publicity and the rare opportunity to reinvent himself, Olanrewaju fell headlong into the project of a lifetime; creating the Bobrisky persona.

It took a few months, but Bobrisky eventually went full throttle on this new project. Armed with a mysterious ‘bae’ who allegedly provided him the bulk of his spending budget and a ‘thriving’ side business selling bleaching creams, Bobrisky created a phantasmagoric universe where dark skinned girls were ugly and bleaching one’s skin to gain the attention of men was acceptable. He toed the line regarding gender at first, only wearing some makeup, but as he grew more famous, he began to dress in female assigned clothing and wear heavy makeup, turning his daily routine into a most watched event.

Peppering his snap stories with videos of million naira drops and expensive spa treatments, Bobrisky slowly built up a mythos around his bae, casting him as a very powerful politician with a legitimate heterosexual family, who skulked in dark corners stealing precious moments of happiness with him. Bobrisky staged elaborate fights, offered tearful diary style confessionals while recounting episodes where his ‘bae’ violently punished him for disobedience and disloyalty.  Bobrisky cast his bae as a generous but controlling lover forbidden by society from being his true self, himself as a long suffering kept ‘woman’ pursued by other paramours but ever faithful and their love, a doomed star crossed affair. It is the kind of melodramatic storytelling that New Nollywood only wishes they could conjure. And we lapped up all of it; the drama, the tears, the violence the unabashed ‘sexual perversion’. It was clear Bobrisky had become a phenomenon when Google Nigeria announced he was the most searched person of 2016.

But Bobrisky has not been without controversy. There have been rumours and call outs about him grossly exaggerating his wealth, often with unsubstantiated evidence. Then there are the public feuds, most famously  a running feud with Toyin Lawani of Tiannah Empire, a former close confidant who has also had her life heavily scrutinized for her own transition from dark skinned to light. He has also feuded with other peddlers of lightening creams including Grety who peddles the Grerivian skincare line and Dencia of Whitenicious over accusations that his skin lightening package is substandard. ‘Fans’ routinely steal pictures of him without the Snapchat filters he favours and accuse him of selling his customers a pipe dream. Bobrisky has played up these feuds and scandals, using the media furore created around them to peddle his products and affirm the privilege his skin gives him. He has become the country’s biggest proponent for skin lightening and often likens himself to celebrity author and OAP Toke Makinwa, who has also been accused of lightening her skin to make herself more commercially viable. Bobrisky routinely posts collages of himself before he started lightening his skin and himself now to emphasize just how much he has changed in four short years.

But light skin isn’t the only approximation of femininity that Bobrisky has adopted and monetized. Bobrisky publicly presents with feminine markers, heavy makeup, false nails and lashes, full wigs and hair extensions, feminized clothing. However he continues to aggressively identify as male, even choosing violence to assert his maleness. He has had several run-ins with law enforcement for his often violent and misogynistic reactions to people, especially women filming him in public without his consent. This falls in the same pocket with rants on his Snapchat profile, slut shaming the women he was feuding with, promoting misogynistic ideals of women being subservient to men in exchange for financial perks, promoting colourism as ‘good’ and advocating that dark skinned women be ostracized and denied opportunities because of their skin.

But none of these egregious missteps have really dimmed Bobrisky’s shine. If anything they’ve added to his mystique, especially with the Nigerian community in the diaspora who are more liberal towards Olanrewaju’s brand of celebrity. He spent the last two months touring the United States, getting paid to make appearances at public parties and clubs, a financial model many z-list celebrities in America use to gain extra cash, accompanied the usual rumours that his time abroad was also used as an opportunity to solicit for transactional sex with white patrons fascinated by Bobrisky’s celebrity. He crossed another milestone on his return, he was signed on to become the brand ambassador for Hair Nymph, a Nigerian haircare startup.

 

‘International Exposure’, a term coined by twitter user @MakiSpoke, has only made Bobrisky more desirable and given him the final push he needed to fully monetize his brand. He recently deleted his formerly free profile and opened a new ‘premium’ account. ‘Premium’ is a fancy term used in the adult escort industry for secret social media accounts where followers buy access to the owner’s private social media updates through a monthly ‘subscription’ or a one-time buy in. As at the time of writing this, Bobrisky already has 300 subscribers to his new ‘premium account’ and the assurance that that number will only grow.

Our millennial inclination to ridicule the outsider, to play the long con by luring the outsider into a false sense of security and biding our time until we get the big payout of a major, public humiliation has helped turn Bobrisky into the mega success he is today. It is a con that we have seen happen many times; with Toke Makinwa when her 11 year relationship turned marriage crashed, with Tonto Dike when her marriage crashed, with Dammy Krane when he was accused of fraud. We love the thrill of the public rise and fall, even more than we love the illusion of western sophistication. We push them to pursue wealth, to embrace narcissism, to extol pettiness. When all three come in a neatly wound package, even better for us. Of course Bobrisky’s humiliation is inevitable, the model he has built his brand on is unsustainable. Eventually someone will croak and the house of cards will come tumbling down. But for now, let us revel in the contradiction we have crafted.

It is our finest work yet.


Edwin eats his rice and cabbages. Tweet at him@edgothboy


Revisit our story on Obesere’s similarly controversial rise to fame

Ruby Gyang is royalty and “Kale Ni” offers you her craft

On Ruby Gyang’s 2016 EP, This is Loveshe explored love and heartbreak through Jazz funk fusion with soul. In the lead up to her Ep this year, Ruby Gyang is expanding her repertoire, going for something even more fun with her music. Now what she intends to do, judging from her new single, “Kale Ni” is filter her usual Soul and R&B through Tribal House and Afropop into a signature Blend.

https://www.instagram.com/p/BYInTcXFq24/?taken-by=rubygyang

“Kale Ni” her return to music after immersing herself in life’s worries and confronting all her fears, adds a traditional flair to her experimental tendencies. She uses conga drums reminiscent of the early 90s: thrumming around her at an upbeat tempo while she takes a more delayed approach when she sings.

Atop that, Ruby’s declarations in Hausa tie into the thematic linings to have fun and dance. This is an all fun Ruby Gyang, even tying her lyricism into her name: A precious stone who praises her self as royalty “Kale ni ruby, Saruniya ruby”, Look at me ruby, she says, she is royalty. The rhythm remains constant, never quite hushing –creating a waltz that never finishes, Ruby dancing in the centre of it.

Shot by U.A Images, the video for “Kale Ni” shows Ruby Gyang dressed monarchically in a social house as she compels her guests to dance and dig it, “Tashi Mu Taka”.

Take a moment to appreciate “Kale Ni”, a promising single in the lead up to an EP this year and finally, a debut album next year.

Featured Image Credit: Youtube/Chocolate City Music/Ruby Gyang/Kale Ni


Fisayo is a journalist who thinks writing is hard and reading too. But her journey somewhere reveals, words are like pawns on chessboard when writing. She wants to see, create and share with the world, experience & communicate these experiences. Tweet at her @fisvyo


 ICYMI, See Ruby Gyang make the grade On The fall and rise (And rise And Fall) of women who choose a career in music

It’s all about the vibe on Yinka Bernie’s new single, “Subconscious Flashes”

For those who have followed Yinka Bernie’s curious incursion into the Nigerian soundscape through singles like “Silhouette” and “Palmwine Chill”, the clamor for his debut project, 19 And Over won’t come as a surprise. Though the tape isn’t quite ready yet, Yinka Bernie has released a new single as a way to thank his fans for their continued patience. And with his distinctive droning sung rap sound  and all the comparisons to BlackMagic, coupled with the latter’s unexplained absence from the music scene and the rumours that he is about make a comeback, “Subconscious Flashes” is Bernie settling once and for all that he is no one’s understudy.

Bernie’s new joint beams through the cluster of contemporary Afropop releases, reminding us why his music matters.The burden of disappointing his fans seem to weigh on his mind while recording over the airy yet somber instrumentals with warm trumpet samples and haunting organs. He opens with a quick word to confirm that he’s indeed working on the tape and why it’s still not ready yet. And though the theme of being weighed down remains audible in his mellow melodies and lyrics, “Praying For The Light/ Cause My Life Kinda Dark/ No Text From The Females/ All My Guys Acting Funny”, he gives a positive hook assisted by noncredit vocals reminding everyone that at end of the day, “It’s All About The Vibe”.

“Subconscious Flashes” is the most personal and introspective we’ve heard Yinka Bernie as he addresses his mother’s expectation, his insecurities and his ambitions. Though we’ve grown to expect biographical narrative verses from the him, he sings a laid-back and vibe-out chorus that nonetheless reminds you that he’s quietly one of the most volatile artists in Nigeria.

Stream “Subconscious Flashes” below.

Featured Image Credits: Instagram/yinkabernie


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: Yinka Bernie dabbles into chillwave territories on “Palmwine Chills”

Noah Aire’s new single, “1:32 Today” is just one of coolest things you’ll hear today

That willful disregard for convention is among what makes this new generation of Nigerian artists so exciting. Not to say their recklessness is new by any stretch—Fela, D’banj and Terry G were pretty exceptional in their primes but the production on Noah Aire’s new single, “1:32 Today” is just zany and eccentric enough to thrust him into experimental territory. He fuses a Fela inspired chant with South Africa choir scatting melodies for delightful dance number ending with “I Dunno What The Fuck I Should Say”.

While today’s liberal society might find his honesty more odd than his vulgar lyrics, what makes it stick out is the traditional church inclined sounds of gongs and Noah Aire’s first words; “Thank God I See Today”. Aire skillfully skirts the line between the vulgar and the divine. The interweaving of analogue and digital sounds into an organic backing for his seemingly innocuous set of lyrics shows how deft production can make even the most ridiculous lyric book shine.

https://www.instagram.com/p/BYHQ_YXgzyK/?taken-by=noahxos

Though the mixing of vocals and beats aren’t quite there, one can only imagine how big the warmth of retro production with the polish of modern studios and Noah Aire’s icy lashing of contemporary angst could be—particularly if managed properly. It’s not that his voice or range is impressive or that the narrative of “1:32 Today” hasn’t been done, it’s the way he uses the studio to build multiple takes into the song’s structure, playing the samples as background vocals, scattering murmurs and echoes around the main vocal lines.

Listen to Noah Aire’s “1:32 Today” below.

Featured Image Credits: Instagram/noahxos


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: Abiodun has a sleeper hit on his hand with “Melanin”

Listen to Boogey pay his respect to Chester Bennington on a new “Numb” cover

Chester Bennington was easily one of the most important artists in the last twenty years. His work with the alternative metal band Linkin Park was soundtrack to the adolescence of millions of young millennials disillusioned with the 2000’s and the vast change that the access to the Internet brought. Bennington crystallized the disillusionment, grief, self doubt, numbness and rage that this interconnected generation felt and united them through the channel of music and his death by suicide devastated many of his fans who had looked up to him as an example to beat the system and overcome depression. If you didn’t know before, Bennington and Linkin Park was a gateway band for millions of young Nigerians looking to get into western music, especially rock and metal and it seems rapper Boogey was one of those Nigerians.

In response hundreds of tributes of all kinds have poured in from across the globe, all looking to immortalize Bennington in their own special way. But the channel most musicians have used is covering Linkin Park’s most iconic song, “Numb”. Nigerian rapper Boogey is adding his voice to the litany of eulogies with a rap freestyle on a stripped down piano cover of the iconic melody.

Give it a listen here.


Edwin eats his rice and cabbages. Tweet at him@edgothboy


Boogey taps Tay Iwar for “Liquor Nights”, an ode to alcohol

Watch all the teams that slugged it out at this year’s Hennessy Cypher

Every year the Hennessy Cypher showcases emerging rap and hip-hop artists—allowing them to boast their talents and media reach through their performance. The quality differs from year to year and from group to group and while this year’s cypher had a certain diversity, the skill and entertainment cards appear neglected with the short time given for so many rappers.

This year’s cypher lineup features three crews; The Alumni Frat Boiz crew consisting of Eclipse, Vemor, Blaq Bonez, Holyfield and Mr Markn, the Unstoppable Rebels crew of Yung6ix, Stage1ne, Payper, Wale Turner and Tegagat. Last but not least, Muna, Phlow, AT, Thelma and Waye’s Femme Fatale crew.

Eclipse begins the Cypher introducing the VS alumni class before Lord Vemor gets the rap session started. He switches from rapping to singing over the bouncy beat but his lyrics were pedestal at best. The bars doesn’t get raised any higher by Holyfield but Blaq Bones steps up with his pop culture references that steals the show before Mr Markn and Eclipse even get a chance to perform.

The Femme Fatale crew put on quite the show through their lyrics and—at the risk of coming off as a bit sexiest—their outfits. Phlow goes first and impresses with savage wordplay that shows her off as much as mock her doubters. Wavey’s rough vocals complemented by her emo attire make up for her lackluster verse. And while AT’s flow outshine her lyrics, Thelma’s humorious bars and Muna’s hungry narrative ensure that the Femme Fetale team delivers a worthy performance to rival the other crews.

The Unstoppable Rebels could easily be judged as the best with Wale Turner and Yung6ix’s popularity but their performance leaves a lot to be desired particularly from Yung6ix. Stage1ne goes first apparently choosing to freestyle with his repetitive flows and awful lyrics. He addresses “Old Rappers”(Yung6ix?) but his mellow lyrics are hardly threatening. Wale Turner’s indigenous blend of rap is instantly lovable especially when he references Speed Darlington and the crew members are hyped. Payper’s lines are really good too and deserves better team mates than Tegagat but perhaps the point was to mix things up. Yung6ix’s verse is last and if you were expecting him to “kill the beat” you’ll be disappointed.

Watch the Unstoppable Rebel cypher below.

Featured Image Credits: YouTube/Hennessy


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


Six Videos You Need In Your Life Right Now

Nasty C delivers a killer live rendition of Runtown’s “Mad Over You” and we’re shook

Runtown’s “Mad Over You” was a hit, defining a new level of fame for the Afropop artist. It was almost difficult to imagine his subsequent releases surpassing the success of “Mad Over You” that many thought his immediate release after it ultimately a second version of the earlier released track. But what is more defining about the track is its instrumentals produced by Del B with the systematic arrangement of percussive sounds particular to Ghanaian highlife music.

Meanwhile, somewhere in South Africa, there is Young talented rapper, the ‘Coolest Kid in Africa’, Nasty C, who probably watched Runtown’s hit become a pan-African phenomenon over the past year. In a Coke Studio session, the two artists are invited to sing over each other’s beats. And for Runtown’s “Mad Over You” Nasty C flows effortlessly, showing his versatility as a rapper, and ultimately delivering killer refix with a rap interlude. It’s a remix you could never have imagined. And we are here for it.

See Nasty C’s rework of Runtown’s “Mad Over You” below

https://youtu.be/eZCMeic2mOo

Featured Image Credit: Instagram/@nasty_csa


Fisayo is a journalist who thinks writing is hard and reading too. But her journey somewhere reveals, words are like pawns on chessboard when writing. She wants to see, create and share with the world, experience & communicate these experiences. Tweet at her @fisvyo


ICYMI: Nasty C leads the 23rd annual South African Music Awards with 6 nominations

Listen to Dammy Krane’s “Prayer” from Jail

For a musician with a tough, street-smart image, a prison sentence can actually boost popularity. But in Dammy Krane’s case it can only hurt his good image. TapJet’s fraud accusation saw the singer jailed earlier this year but since receiving bail, he has been quick to defend his innocence through his social media accounts and singles like “On Point” released after his arrest in June. The charges against him were eventually dropped by a Miami court following a lack of sufficient physical evidence and Dammy Krane can finally heave a sigh of relief.

But not one to let such a major controversy go without milking it for what it’s worth, the “Amin” singer has released a new single, “Prayer” barely a week after his court case. Spellz produces the mid-tempo Afrobeat number which gives Dammy Krane a chance to score a hit seemingly from behind bars. As he shows his gratitude to God, his family and fans’ support, he makes sure to remind haters “E Sure For Me”. But most of all, the freedom music allows even when behind bars reflects in his hopeful lyrics of “I Want To Lo’wo Lowo (have money to spend)/ I Want To Buy Bugatti Fun Mummy Mi Oh”.

Listen to Dammy Krane’s latest single, “Prayer” below.

https://soundcloud.com/afrosongs/dammy-krane-prayer-prod-spellz

Featured Image Credits: Twitter/Dammy_krane


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: Dammy krane is gearing up for a comeback EP and concert

Watch Yemi Alade’s Video for “Knack Am” off her Black Magic Album

Yemi Alade is a busy artist. The past 8 months for her has been about her music, from touring and releasing projects to music videos. It hasn’t been up to a week since Yemi Alade released new single “Knack Am” and announced her third studio Album, Black Magic. She keeps things moving steadily, teasing a video snippet on her Instagram a day ago in the lead up to the official video release today.

https://www.instagram.com/p/BYIhlPzBBm6/?taken-by=yemialade

“Knack Am” is everything we’ve come to expect of Yemi from song writing to melody, the music video isn’t lacking in all the basics of a quintessential Yemi Alade either –lush colours, rich aesthetics, theatrical expressions, dancing and more often than not, love drama. It’s unclear how Yemi Alade and director Clarence peters expect “Knack Am” to be taken by the public but for a song sung with pieces of suggestive remarks, it’s essentially incoherent to the rest of the song how a choreograph by kids ages 4 to 6 add to the song’s narrative. The idea however seems to be an attempt to balance the target audience across all ages.

“Knack Am” is produced by DJ Coublon, featuring Josh2funny, Mc GeneGene and Solo. See the Clarence Peters directed adjoining video below.

Featured Image Credit: Youtube/YemiAladevevo


Fisayo is a journalist who thinks writing is hard and reading too. But her journey somewhere reveals, words are like pawns on chessboard when writing. She wants to see, create and share with the world, experience & communicate these experiences. Tweet at her @fisvyo


 Yemi Alade is keeping it real as Mama Africa with Third Studio Album, “Black Magic”

The Shuffle: Remembering Olu Maintain’s “Yahooze” as an ode to Dammy Krane’s court case

9ice recently came under fire for “Living Things”, a track where the veteran purportedly names Nigeria’s biggest Yahoo Yahoo boys. But nearly a decade ago, Olu Maintain pulled off an even bawdier affiliation with the cyber-fraud culture, and he relatively got away with it.

Towards the tail end of 2007, former half of defunct alternate cover group, Maintain, Mr Olu Maintain released “Yahooze”, off a Maintain Reloaded album he released the following year. Though Mr. Olu has clarified through several interviews that “Yahooze” was not intended as a tribute to Yahoo-Yahoo, the lyrics glean a different truth. After an electronic siren layered on the opening moments of the Puffy Tee produced instrumentals, Olu Maintain leaps into giddy choral hook of the words ‘Yahoo’. He stretches this along chorus that eventually comes to rest with the conclusion that ‘Yahooze, na music’ . No one knew what it meant, but it was provocative.

Following the release of the single, allegations of cyber-fraud trailed Olu Maintain. This culminated several interviews where the singer had to spell out different vague meanings including a claim that he composed it as a celebration of the life of Monday to Friday worker-bees. Ironically, the accompanying video launched Nigerian music into an era of music video pageantry. Thanks to Olu Maintain’s DJ Tee directed video featuring Hummers, drop-top Benzes and bottles of champagne, stakes for boujee-ness were raised with every new Nigerian music video depicting high-end automobiles, designer clothing and expensive alcohol, a literal subversion of every salary earner’s prudent lifestyle.

While Olu Maintain continued to grant interviews to downplay the shady narrative his brand was been assigned with, “Yahooze” shot into the class of alternate national anthems. At the height of Olu Maintain’s controversy-tinted success, the singer played host to former United States Secretary of State, Colin Powell at a concert in London, teaching the former statesman the two-fingered dance move accompanying every song released at the time. Late President Yar’Adua also hosted Mr Olu at his Aso Rock villa alongside Nigeria’s World Cup winning Under-17 football team, where everyone in attendance merried to a song supposedly celebrating a deeply rooted social ill.

Till date, Olu Maintain retains his initial defence of “Yahooze” as a non-threatening walk-in-the-park Afropop club song. His ability to manoeuvre his way around the post-release media storm around the track however is reminiscent of Dammy Krane’s recent legal troubles after an alleged run-in with the law in the U.S. Earlier in the year, the “Amin” singer became the centre of a credit-card fraud scandal with private American airline, TapJets. Despite a series of cited proof to indict the singer, Dammy Krane is currently a free-man awaiting all charges to be dropped in the coming months — a plot twist that came as a surprise to everyone who was certain of Krane’s guilt. Though there is a mandatory 180-day period for Dammy Krane’s prosecutors to consider bringing new charges against the singer before all charges are dropped, at the moment, it’s safe to say Krane may just have pulled a Yahooze.

Listen to Olu Maintain’s “Yahooze” below.

Featured Image Credit: Youtube/OluMaintainVevo


Toye is the Team lead at Native Nigeria. Tweet at him @toyethebot


THE SHUFFLE: REVISIT “THAT’S WOT’S UP” THE SONG THAT PREDICTED THE ETERNAL REIGN OF WANDE COAL

Here is why the NBC doesn’t want you to listen to Olamide, Davido and 9ice’s biggest 2017 hits

Clean versions of songs are still proof of how free-to-air censorship is still implemented. Earlier this week, NBC (National Broadcasting Commission) released a list of banned songs including “Wo” and “Wavy Level” by Olamide, “Fall” and “If” by Davido and 9ice’s “Living Thing” . According to the NBC, music must retain certain level of decency and these crowd favourites didn’t quite make the cut.

Olamide’s recent hit songs, “Wo” and “Wavy Level” despite his image for showing a wholesome side to the street lifestyle got flagged for the use of Tobacco in his videos. The act advertised by the agency as encouraging second hand smoking and illegal use of drugs violates the Tobacco Control Act 2015. But we all know that while Olamide’s intentions were innocent enough on the his singles, he has done worse—at least as far as vulgar lyrics is concerned—with little or no consequence.

Davido’s “If” and “Fall” have also been doing very well in the airwaves since their release in February and May respectively but the NBC just finally deciphered his cryptic lyrics. He hides provocative words like “I Go Chook You/ Chuku Chuku” in child like melodies though it’s seemingly meant for adult consumption with the violent and raunchy double entendre. Of course with “Banana Fall On You” on “Fall”, you’re stuck somewhere between wondering what took the NBC so long and why even bother at this point.

9ice’s “Living Things” was being heralded as an admirable comeback at least till Falz’s outburst against artists glamorizing the internet-fraud lifestyle. Though Falz never mentioned any names and 9ice isn’t the only artist with a song praising the culture, the nerve to name drop celebrated quick-money earners books him a spot on the NBC’s latest list of banned songs from the radio.

Of course the ban does very little to affect the artist and or their songs since we no longer rely so much on radio for deciding what’s hot and we live in an era where music taste is left to the listener. In fact, if at all there’s going to be any effect, the ban means we can expect an increase on their streaming figures given our internet savvy generation.

Featured Image Credits: Instagram/davidoofficial


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


In case you and the NBC missed it, Q-Dot’s “Apala New Skool” dissects the Yahoo yahoo culture

7th Obi’s new single, “Tropicana” is quintessentially trip-hop

Nigerian-born Northampton rapper, 7th Obi has released his first single since debuting with Warm Rooms EP in 2016. Tapping NUXSENSE producer, Sivv the new single samples Mac DeMarco’s “Chamber Of Reflection” which in turn was heavily influenced by 70’s Japanese musician, Shigeo Sekito “ザ・ワードⅡ / セキトウ・シゲオ”. The resulting “Tropicana” is a more complex jazzy improvisations and shimmering layers of sound that allows 7th Obi attain hipster level nonchalant vengeance music.

https://www.instagram.com/p/BX2wo38H9D8/?taken-by=7thsam

Haunting and sombrely mellow synth harmonies gives “Tropicana” a trip-hop sound as 7th Obi raps with a laid-back flow though his lyrics are paradoxically borderline violent. He depicts his struggle to reach his goals and find himself in the Hobbesian universe he creates with words. As his talent gets him the recognition he desires, he admits the influence of his role models with reference to them through a casual shout out to Tyler the Creator’s “Yonkers” and J Cole’s “Freedom Or Jail, The Clips Inserted/ My Life’s Inverted” line from “Let Nas Down”.

His non-nonchalant vocals emphasizes the songs trippy narrative as the raps about “Not Giving A Fuck” and being “So Louse”. But the draw back of crafting a no-context-needed timeless single is that listeners are left waiting for the punchline. Stream 7th Obi’s “Tropicana” below.

Featured Image Credits: Instagram/7thsam


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: The video for Straff’s “Cherry Game Girl” is a trippy hipster story

Tiwa Savage and Burna Boy take home DJ Big N’s “Anything (For You)”

Technically this means they’ll find other ways to steadily navigate their way through the industry, whether it’s by shrugging off part of their reputation behind the Dj-ing booth to become artists or hype-men under their own work or becoming hosts of their own show.  DJ Big N’s –Mavins in-house disc jockey– latest, “Anything (For You)” is another archetypal show of this. Albeit, DJ Big N actually began his career as an artist. On “Anything (For You)” he appears twice as a build up to the song and an end to it as well.

https://www.instagram.com/p/BWH_0N3HIfn/?taken-by=djbign

In a moment of listening, the production on “Anything (For You)” feels non-existent, Tiwa Savage and Burna Boy’s delivery however, ensures that even when production is not overtly done right, it’s tempting to project some level of ignorance to Baby fresh’s presence (perhaps absence). We are still in the age of Tekno’s neo-highlife wave and it’s hard not imagine why a song like this came to be. At the dusk of what seems to be an over-saturation of Ghanaian hip-life into West African Afropop, producers are striving for ingenuity by leaning away from Afro-Caribbean drums while sustaining the same tempo. Produced by Baby Fresh, “Anything (For You)” is layered with enough electronic sounds to flail the eventual result into the obscure.

Tiwa Savage sings the first verse and chorus, owning it all before passing the baton briefly to Burna Boy.

Listen to DJ Big N’s “Anything (For You)”, below

Featured Image Credit: Instagram/@djbign


Fisayo is a journalist who thinks writing is hard and reading too. But her journey somewhere reveals, words are like pawns on chessboard when writing. She wants to see, create and share with the world, experience & communicate these experiences. Tweet at her @fisvyo


Native’s Birth Issue Cover Story: Burna Reborn

Adomaa muses on love gone wrong on “Gone”

It has been approximately two days since Adomaa delivered her deliciously soothing new single’“Gone” to us and the village of people living between my ears have found the perfect soundtrack to all their feels. With neo-soul and jazz being her forte, Adomma’s birthday gift to us, produced by newcomer Boye and mastered by Nova, is grounded in soulful piano chords with an underlying touch of Afrobeats.

The song starts out with a kick drum solo closely followed by the subtle introduction of piano chords setting the mood for the sultry vocals Adomaa serves.  For fear of missing a single beat, I’m suddenly sitting still, holding back the breath I’ve just drawn in because within seconds Adomaa is going to start singing and I don’t want to miss a single key change.

“Gone” recounts the story of a jilted lover, one whose epiphanies reflect a harrowing façade of a relationship grounded in lies. Detailing the progression of what she describes as the best of the worst she’s ever known, Adomaa in her signature falsetto, takes us on a journey of heartbreak and what it takes to come to terms with fuck niggatry.

There’s a certain groove to the entire arrangement that makes it quite befitting for an episode of HBO’s Insecure. Just when you think you can predict the progression of the song, Boye throws you for a loop. The simultaneous introduction of the maracas and the conga halfway through the first verse, subtly transforms the song into a brilliant mix of neo-soul and Afrobeats, with neither overpowering the other, extraordinary if you ask me.

Lyrically, it is reminiscent of ‘Love Galore’, as both songs tell a tale of a lover who puts a woman through the absolute darkest parts of the devil’s fiery butt crack, under the pretense of love. Adomaa’s you know you didn’t love me you should have left me alone bears the same message as SZA’s why you bother me when you know you don’t want me, making me wonder what the men of the world have been up to, nothing shy of being trash I presume.

Sonically, this song gives me hints of Pro J and Robin Thicke’s 2007 hit song, ‘Lost Without You’. With its own blend of the rattle sounds and piano chords falling right in line behind Thicke’s soulful falsetto, these two songs are definitely distant cousins to each other.

While Kidblack delivered a verse befitting of the subject matter, this song, just like DJ Khaled’s ‘Shining’ and Calvin Harris’ ‘Feels’, did not need a rap verse. The song is enough to carry its own weight and my sincere opinion is that it takes away from the complete vibe being delivered unto us.

I am thoroughly pleased by this song because it is a fusion of two interesting sounds and is yet another record pushing the boundaries of Ghanaian music as we know it.

Come through Adomaa!

Listen to “Gone” here.

ICYMI: Adomaa’s “BRA” is uncomplicated beauty, structured like a simple love song

Best New Music: #StreetTakover2017 gets off to a late-start with Olamide’s “Wo”

It may be debatable by numbers, but 2017 has been quite the odd year for Nigerian music. Top flight acts like Davido, Wizkid and Yemi Alade amongst others have continued a steady upward climb. Middleweight artists like Tekno, Runtown, Niniola and YCEE amongst others, seem to be strengthening foothold. And the internet is parading a slew of self-publishing millennial up-and comers as the future of Nigerian music.

On the flip side of this is near total radio silence from the streets. Olamide’s disbandment of his original YBNL crew (Lil Kesh, Chinko Ekun, Adekunle Gold, Viktoh) circa their album drops and contract expirations respectively, left a vacuum of an ultimate tag team to drop hits for the streets. Artists like Oritshefemi, CDQ, Reminisce have mostly remained on air with features, videos and concerts. This leaves only a handful like Dotman, Junior Boy and Davolee, with the exception of Small Doctor, who is having quite the exceptional year with smash hit, “Penalty”.

The murmurs have been low-key, but eyes have been on Olamide — the self-titled voice of the streets — to turn things around. Besides promoting his The Glory album with videos, and dropping three singles, “Wavy Level”, “Love No Go Die” and “Summer Body” to mixed reactions, Olamide has mostly remained under radar, charts wise. It may have taken a minute for “Wo” to come, but it’s the last days of summer, we’re reliving the magic of a gritty Olamide, who is sworn to the streets.

“Wo” comes as both a refreshing outtake from the mid-tempo neo-highlife sound Tekno and Davido have popularised, and as a re-invigoration of the same Young John stroke that dominated all of 2015 into last year. Olamide’s assuming brag ‘Won lo n’ miss wa ni ‘gboro’ (I heard they’ve been missing us in the streets), gives all the context you need for why a song like “Wo” is needed.

Like much of Olamide’s biggest club-inspired songs, there’s not a lot of purpose to “Wo”. Olamide’s cheeky titular refrain ‘wo’, sounds like a taunt, as if to mock those who are not quite familiar with life from the hood for all they are missing. The affect however, is in Olamide’s musty and swagger, a calibrated blend of all the authenticity that fame or wealth will never take out of who he is at heart.

Somewhere on the internet as you read this, there’s a headline saying Olamide’s new smash hit is now a public health hazard. There are two truths to this: the first is a criticism by the ministry of health for Olamide’s smoking in the accompanying video for “Wo”, the second truth is a certain fact that once again we have another Olamide song that will be played till ears bleed.

Ladies and gentlemen, welcome to the street takeover 2017 edition.

Stream Olamide’s “Wo” via Apple Music below


Toye is the Team lead at Native Nigeria. Tweet at him @ToyeSokunbi


Essentials: Of “Sounds From The Other Side” and the place of Wizkid in African music

The Native Mix 011: Featuring SMOKING INDOORS

On this mix, Smoking Indoors brings a plush mix of vibe-out tracks undercut from the underground, to meet numbers from the mainstream sharing the same ethos: Chill and rage. From Patrickxxlee’s neo-goth trap, “Broken Boy Break Toys” to Wizkid’s Afro-carribean chill-wave, “Naughty Ride”, the tempos stay leveled. Everything else is sustained on sub-woofer cuts from Ria Boss, Lady Donli and Aaliyah

Have a listen and check out our playlist below.

Spottie – Hypnotic Brass Ensemble
Low Polygon Count – Shamana
You’re so Beautiful – Reddish Blu
You Owe Me (Sango Bootleg) – Nas
Team Talk – Daniel OG
Broken Boys Break Toys feat Saint Klaus – PatrickxxLee
Bank Account – 21 Savage
WTRP feat StanleyGTK & Tau Benah (Unreleased) – Imran
Reasons feat Davido & Zinzi (Unreleased)- Tau Benah
I Hate You Bitch – Z-Ro
Momma Loves Me (Urban Noize Remix) – Jay-Z
Cockroach – SMOKING INDOORS
WHOULUV – Ria Boss
Kashe Ni – Lady Donli
A Girl Like You- Aaliyah
Sweet Life – Creative Elevation
Fusion – Aylo
OTB – GMK
Give Up – DKVPZ
Naughty Ride – Wizkid
Bad Gyal – Lotto Boyz
Fall – Davido
Dont W8 4 Nobodi – SMOKING INDOORS
IDK Interlude- DAP The Contract

Listen to the Native Mix 010: featuring DJ Wayne

Ric Hassani releases track list to Album, “African Gentleman” and new single “Sweet Mother”

There are murmurs that African RnB is dead, but at some point last year, someone would have suggested you listen to Ric Hassani, a 28-year-old from Eastern Nigeria whose voice and facial expression carry empathy. “Gentleman”, his most successful single has its thematic linings told on love as Ric compels a lover to leave a man not worthy to be hers. He had continuously teased a minute of the video through a sponsored post on Instagram, with a somber cut of melody and classic-man vintage aesthetic. Before year end,  enthusiastic coverage of Ric Hassani included his performance of “Gentleman” at Lagos Fashion Design Week, snowballing into another performance of the song at his Ted Talk this year. His debut album, African Gentleman, folds “Gentleman”, and other pre-released singles like “Only You” and “Marry You” into a world that is engrossed in love and romantic longing.

But there’s more than that: Ric hassani’s debut serves a little more than just three songs. He has released the track list to a standard and deluxe edition along side new single, “Sweet Mother” and the album’s cover art. See below.

https://www.instagram.com/p/BYDVVefhk4S/?taken-by=richassani

https://www.instagram.com/p/BYDV2H9hPz8/?taken-by=richassani

https://www.instagram.com/p/BX7xeyLBMMW/?taken-by=richassani

His new song “Sweet Mother” is alive with the love from his girl and his mother. “Sweet Mother” hears Ric Hasani deliver eager declarations everyone makes when they’re in love. With phrases like “my sugar pumpkin, you’re so sweet” and “my choice milo, you know you mean the world to me”, Ric chants in an alto voice over drum thrums and a string instrument that’s both Afropop and highlife. The musical arrangements and his shuffling between singing and spoken word towards the end of the song, may just bring nostalgia of Prince Nico Mbarga’s “Sweet Mother”.

Have a listen at “Sweet Mother” featuring Mumba Yachi and pre-order the full album below.

Featured Image Credit: Instagram/@richassani


Fisayo is a journalist who thinks writing is hard and reading too. But her journey somewhere reveals, words are like pawns on chessboard when writing. She wants to see, create and share with the world, experience & communicate these experiences. Tweet at her @fisvyo


Watch Ric Hassani’s “Only You” here

AV Club: Daniel Obasi’s new fashion film is a facile narrative about gender in Nigeria

Film maker and stylist Daniel Obasi has become one of the biggest dissident voices to emerge in Nigeria’s fashion and alternative art scenes in the last half decade, his work distinguished by its attention to otherness, its exploration of femininity as a way to navigate the world and its heavy leanings on afrofuturism and afro-dystopia. But Obasi didn’t really come into his own until he turned briefly away from the camera and the clothes rack and took on film making. His debut film, the dubiously named ‘Embers of Bloom’ was an unexpected triumph, buoyed by excellent casting (models Daberechi Kalu-Ukoha and Ifeoma Nwobu bring an electric chemistry to the shots that are intimate while remaining innocent), song selection (Mary Akpa’s “Collide” provides excellent mood music) and of course, Obasi’s styling genius. ‘Embers of Bloom’ spoke to an unvarnished otherness that Obasi tries to recapture in “Illegal” his new short film.

With a spoken word piece narrated by Josiah Osagie and original music by Snargzy, Obasi extends a photo editorial commissioned for fashion retail site Oxosi.com into a five minute fashion film edited by Robert Matuluko. The film follows Daberechi Ukoha-Kalu and Tobiloba subomi who are both garbed in Nigerian designers and stuck in some primitive settlement dress as they though they live outside of contemporary times. On the surface the film references all the right things, afrofuturism, androgyny, Nigerian designers like Raya Jewellery, IAMISIGO, Orange Culture, Rayo and Tsemaye Binitie; but that’s all it does, reference these things. “Illegal” never goes beyond referencing, there are so many places the film could have gone with its iconography, so many stories it could have told but the film never gets around to any of it.

Perhaps, if the film had been more stringently edited and the near three minutes of repetitive imagery cut out, the film could have told a much more succinct story. The length of the film, the repetition of scenes at the expense of the clothes kept “illegal” from becoming a promise fulfilled. The fashion film has evolved beyond the generic trope of models lounging and and looking forlornly at the camera, and compared to the rest of Obasi’s oeuvre, “Illegal” simply don’t pass muster.

Make up – Awoyemi kemi
Hair – Happiness Okon
Creative Assistant – Lauretta Orji

Designers –
Orangeculture
Iamisigo
Tsemaye Binite
Raya jewellries
Rayo


Edwin eats his rice and cabbages. Tweet at him@edgothboy


Revisit our story on Obesere’s similarly controversial rise to fame