NATIVE Exclusive: DLT’s legacy creating wholesome Black experiences

Posted on by Uzoma Ihejirika

Since its inception in 2016, UK-based events outfit Days Like This (DLT) has risen to the forefront with its countries-spanning brunches where thousands of people gather to enjoy good food, great music and wholesome entertainment. It has also become a safe place for the Black community across the UK and on the African continent. Last year, DLT co-founders—Michael “MK” Amusan, Anthony Iban, Ife Awosika and Bosun Apata—took the brand to a new spot outside of the UK, Accra and Lagos: Malta. The team replicated the well-known quality of their parties in the small island country, cushioned by appearances from music superstars including Wizkid, Kaytranada, BOJ, Rema, Shenseea, Omah Lay, Lojay and BNXN fka Buju.

Amusan considers the event a glowing success. “Just seeing that many people come together in Malta which, obviously, [not many people] tend to go there is what I was most proud of,” he says. “And just the fact that it was the first time we did it, and we had some issues, but overall, I’d say people had a great time.” Iban agreed with Amusan, saying, “We were just completely new to an event of that scale, and for us to even just pull it off was a really, really big deal for us.”

 

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Last week, DLT Malta returned this year and ran between Wednesday, May 31 to Sunday, June 4. It consisted of a lineup of musicians and DJs from the UK, Nigeria, Jamaica and the US. There were also performances by acts such as Asake, AMARIA BB, The Compozers, Dexta Daps, SiR, Teni, Tiana Major9, Dankie Sounds and Victony, among others. The four-day event was also hosted at Bora-Bora Ibiza Malta Resort and UNO Malta. According to Amusan and Iban, the lineup is a “journey through black music.” “We try to tick most boxes within black music,” Iban says. “The first day is very R&B-oriented. The second day is the UK’s version of Afrobeats. The third day is Dancehall music and the last day finishes off with everything Afrobeats. We really just want to make sure that we represent black people in every facet through our lineups as opposed to just having one kind of genre. We really want to show the breadth of what a DLT is.”

For Amusan, Malta was a prime spot to revisit after last year’s event. He’d first gone to the country in 2018 where he fell in love with its scenery. “When I first went there, I was like, ‘This would be a great place to have a DLT,’ and I guess at the time, I wasn’t thinking on this scale,” he says. “When we started thinking of the idea of doing Malta, I was like, ‘This will be perfect. It’s hot. The weather’s great,’ and one of the things that actually inspired the Malta concept was basically ‘Detty December,’ going back to Africa in December and just seeing that movement of people, and how we like to party till late, how we get the performances of the artists and I just thought Malta would be a great location to bring that concept.  So that’s kind of what brought it on. It’s quite a small island so things feel very close to each other; it’s relatively affordable for most people. It just kind of ticked a lot of boxes for us.”

Image Credit: DLT

Image Credit: DLT

Inspired by brunches hosted in the US, DLT has managed to retain the identity of its brand: a meeting point for the Black/African community across the world. They have achieved this by highlighting the talents and music from those communities central to the goal. The events in Accra, Ghana and Lagos, Nigeria have also served as a homecoming of some sort, uniting Black people in the diaspora to the cultures on the continent. It is in line with the founders’ mission to “make Africa DLT’s second continent.”

“We’re very proud of what we’ve been able to achieve and how we’ve been able to serve the community across the diaspora because it’s one of the things we intentionally set out to do,” says Amusan. “And with that pride comes expectation now and it’s just like we always strive to maintain that and keep everyone at the forefront of our mind.”

For an initiative that started as a fun ride between four friends, DLT’s far-reaching success is indicative of the strength that a community can breed. “We saw a gap in the market that we just wanted to fill to have fun with our friends and it’s now a situation where it’s now become the thing to have fun at,” Iban says. “It’s really cool how it has transformed [from] having fun to a whole business/a thing within the London culture. And I think because it started off as fun, we still have that in the forefront of our minds; we still try to make sure it’s fun for everyone else that experiences it.”

While serving its purpose as both a form of entertainment and connecting people, the DLT brand has also taught Amusan and Iban a lot about themselves. Before co-founding DLT, Iban had never considered himself capable of running a business or, at the least, a festival. “I’ve now come to a situation where the skills that I’ve learned from working within DLT have now opened me up to work for Warner/Chappell Music [as] an A&R and do a whole bunch of other stuff within the music industry,” he says. Amusan, too, cites DLT as a catalyst for his and Iban’s personal growth. “We’ve learned so much about ourselves, about our individual strengths, about even learning to trust other people,” says Amusan, “to let them lead and lean on their strengths and also knowing that you can’t do everything yourself. So it’s been a great experience for me personally and it’s kind of instilled a lot of confidence in my day job and in certain environments. I’m quite confident now because I’ve seen what I can achieve if I put my mind to something.”

Last year, in December, DLT brunches were held in Lagos and Accra. The Lagos show happened two days before Christmas at The Good Beach while the Accra show was a three-day occasion that happened at Polo Beach Club and Bloom Bar.  According to Iban, the shows in Accra and Lagos exemplified the growth of the DLT brand, rising from 500 audience members in 2019 to almost 1500. Working with the local outfits in Lagos and Accra was crucial to the success and deepened the African and diasporan bonds that Amusan and Iban constantly seek to nourish. “For me, it was kind of like, ‘Wow. We’ve really come a long way versus where we were,’ and I was quite proud of that,” Iban says.

For such a longstanding brand as DLT, its audience continues to evolve as the years pass: first-time participants grow older with broader experiences and newer audience members enter the circuit with fresh perspectives. Amusan and Iban acknowledge this phenomenon, stating that they try to match the expectations by keeping their ears to the ground for what is news while also not diluting the essence of the shows and what they stand for. 

“What helps us is that we’re still our audience,” Iban says. “We still go out. We still want to have a good time and we still want to make sure that when we do things, we want to make sure that it is actually still enjoyable. And we’re always open to criticism. We are not defensive, [and] we listen, we make sure that people are actually enjoying it as opposed to just thinking, ‘Hey, we’ve been doing this for so many years. We’re the best. And, therefore, you have to listen to what we’re saying.’ I think we’re still quite malleable in terms of trying to make sure that we still are servicing the audience.”

Featured image credits/DLT

Track-By-Track: Wande Coal Breaks Down His New Album, ‘Legend Or No Legend’

Posted on by Uzoma Ihejirika

The impact Wande Coal has made in the Nigerian music industry is undeniable. His vocal dexterity and skillfulness have influenced many Nigerian artists, who have tapped into his style to form the bedrock of their music. It is a gift that Wande Coal doesn’t take for granted. “It’s a very, very good thing,” he tells the NATIVE. Since laying a blueprint with his 2009 debut album ‘Mushin 2 Mo’ Hits,’ Wande Coal has churned out hit records synonymous with different eras in the Nigerian music scene and has solidified his place as a leader and master.

With 2015’s ‘Wanted,’ 2020’s ‘Realms,’ and a healthy catalogue of singles, Wande Coal has proved that while he’s an old head, he’s adept in the ways of the new. He has constantly pushed beyond the boundaries of sound, finding new depths to reach and new highs to reach. Nowhere does he clearly show his leanings than on his latest album ‘Legend Or No Legend,’ as he draws inspiration from love and his daily concerns as a human and a renowned artist. 

In this track-by-track breakdown, Wande Coal dives into the creative process for the album and tells full, jubilant stories about the making of the songs and the relationships between himself and his co-creators. This is a door into ‘Legend Or No Legend’ through Wande Coal’s eyes and words.

 

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“NOBODY HOLY”

“Nobody Holy” was produced by Dunnie. Dunnie is a female producer [and] an extraordinary producer. I met her at a studio. I was working at Aristokrat Studios at the time and she just came in; with me, when I hear the vibes it just comes. So we recorded it and then that was it. Ideas just come from my head and the beat felt right, to be honest. 

“COME MY WAY”

For “Come My Way,” I had a session with Kel-P and then Bruno used to be his boy that works for him. And then every time Kel-P goes to bed at night, I used to call Bruno and I think that’s how we got the song because he came in the night one time and around nine and he just played the beat for me and I was like, “Wow, this sounds like Amapiano,” and “Come My Way” was very intentional because at the time Amapiano was outside, you know. So I wanted to sound South African and Nigerian at the same time on the song and that’s why you heard me doing that “Helalo!” I was just chanting, trying to create a vibe, you feel me, and then it worked. That’s how “Come My Way” came about.

“3 SQUARE MEAL”

“3 Square Meal” is based on mindset. You know how you want to be able to afford things for your family, you want to grow old, be successful, that’s pretty much what I was trying to put in one, how we want to be successful and make it and be able to afford three square miles. “3 Square Meal” doesn’t mean I’m saying, “Oh, morning, afternoon and night.” I’m talking about big things, to be able to afford houses [and] luxury at your time, when you want it. That’s the idea behind “3 Square Meal” and it was produced by K-Dream. It was a session that I had in two weeks and we just bagged the album up and that’s how we created “3 Square Meal.”

“DUES”

With “Dues,” as I said, a lot of people don’t know that when I entered the industry [through Mo’Hits Records], I was like 21, 22. I left UNILAG and I had the opportunity to go to America with them in 2007 at that age. So as soon as I got to America, I was listening to different sounds like, “Wow, these guys are bad. I want to show these guys that a guy from Africa can do all these kinds of things.” That was my idea. So I always listen to Trap and all these different songs and I just wanted to create my own type of Trap. 

“Dues” was produced by Dunnie again. First of all, before I write music, I have to mumble the sounds that make it look like I’m not the guy that’s doing the song and then I’ll write [the words]. With “Dues,” it was a way of me saying, “I’m not giving up in the industry” because if you listen to the lyrics it says “I done told them that I wasn’t gonna give up/Had to do it so they wouldn’t know” so that was personal for me. All the things I was saying were the right things to say on the beat. You have to be aggressive with [that] type of beat, you know; sounds make you go into a different dimension and I’m happy that I did because it’s one of those songs that makes me feel like  I actually crossed my boundary. And then people would be like “Why did he say that? Why did he do that?” That’s what I wanted. It was intentional for me and I was like “Why sound this American and not put a little bit of Yoruba so that they know that this guy is actually an African?” I wanted to show that I’m very much African and I’m from Mushin Olosha, Lagos, Nigeria.

“E CHOKE”

“E Choke” was produced by the King of Beats – Kel-P. With “E Choke,” I think we travelled to Ghana with Kel-P and we had a session. We were all in the crib for like two weeks and then Kel-P just started playing different beats and then “E Choke” just came out. The beat sounded gangster, it sounded dark. It sounded like Pop from the UK so I was just like, “You know what? Let me try something on this,” and that’s how that came.

“LET THEM KNOW”

I mean with me and Kel-P, it’s fire and smoke. He’s my brother, he understands me, he understands the new sound. Over the years, I’ve messed with different sounds, if you check my track record. All my songs don’t necessarily sound the same, starting from “Ololufe.” One thing about me is that I always try not to do the same thing. Some people feel like the same system can work but I also feel like pushing myself can work, so that’s why I always jump on different sounds, sometimes I sound different and that’s the approach that has come from heaven.

So with Kel-P, it’s magic. With “Let Them Know,” I think he was in Eko Hotel [& Suites] and he called me, he said, “Yo, you know what, I just made this beat. Come and listen to it. And then I just drove there. The beat drives you, the beat is kind of reggaeton, it feels like a Sean Paul vibe going on on it and then I wanted to sound different too. It’s one of those different songs that I really love because the approach to the song is crazy.

“STREETS” FT. T-PAIN

With “Streets” with T-Pain, I think I got a call from EMPIRE. They created a session for two weeks and then they called me and it was like, “Oh, what’s up? How would you feel if you had T-Pain on a record?” I’m like, “What?” because when I started in the industry, T-Pain was the go-to guy for music. Back in the day, it was between the times of R-Kelly, Usher, Akon, T-Pain and then Chris Brown, but T-Pain was really, really relevant and he was one of my mentors in the industry to be honest because I used to listen to him a lot. I remember in Mo’Hits, it was T-Pain that I used to listen to, so it was a dream come true for me. 

So I told them [EMPIRE], “What song would you like to put a T-Pain on? I don’t have all these Yankee songs to put T-Pain on,” and they were like, “Don’t worry, we’ll put him on this new one and he jumped on it and I didn’t even know. I didn’t even know until Kel-P called me and said, “Yo, T-Pain did a video and he leaked it and played it online.” I was like, “He played it online?” And then Kel-P sent it to me and I was just like, “Wow, he killed the song with the melodies and everything,” and I was just like, “You know what? I don’t want to do anything crazy. T-Pain has already killed this song. Let me now show that I’m really, really African on my own song.” And that’s why you see me showing my Yoruba side. That’s how that song came.

“KPE PASO” FT. OLAMIDE

That’s fire. “Kpe Paso” happened at a time when I was with Wiz[kid] and then Olamide came to the session with Wiz and we were just vibing on different levels. And at the time, Olamide already called me for “Hate Me,” which was his record and it just felt right that I needed to do my own record with Olamide. With “Kpe Paso,” Kel-P was in Eko Hotel; all of us came for a session and Olamide came in, and then as soon as he [Kel-P] dropped that gem, I was just like, “You know what? Let’s do this record.” It took me time to write my verses because I was doing a lot of projects but as soon as I wrote the record, I knew in my head that that was the next single. As soon as I heard the beat and Olamide’s hook, I planned for it. I took my time with the record and that’s how we made it.

“EBELEBE” FT. WIZKID

I think I flew to Ghana and Wiz was already in Ghana at the time, and then he was recording the song. This song was already made; he [Wiz] had the chorus, the beat and everything. So I met him in the studio with P.Priime. And I was like, “You know what? I want this record,” and he said, “All right, you want this record? Let’s go,” and I started recording it right there with the energy and everything. It was recorded in Ghana and then we finished it up in Lagos. Everybody knows Wiz is my brother. Everybody knows he’s my blood, and when we’re on a record, it feels like magic. 

“GENESIS”

I love “Genesis,” too. “Genesis” was me and Kel-P in a session. The idea of “Genesis” was a way of just saying, “I could do all these things, showing my potential and also showing my Yoruba side.”

“JABO” FT. FIREBOY DML

To be honest, I love Fireboy because he inspires me; he’s young [and] talented. When I was having this session that I told you EMPIRE organised for two weeks, Fireboy was in the building that I was and he was doing his session with another producer and then I think he heard that I was in the building and he walked into [my] session and as soon as he walked into the session, K-Dream already had the beat going on and he played the beat, and instantly Fireboy just ignited. 

We did like four songs immediately. As soon as we finished “Jabo,” we did another one and he killed that one too. With Fireboy, he loves to finish his verses. I love that kid. He loves himself. He loves to just want to do it and that’s the energy I got from him. Shoutout to Fireboy.

“SHO MA GBA”

“Sho Ma Gba” is kind of retro. You know how the old Afrobeats was back in the day, like how you have fast songs [with] tempos of 120, 130, 125. It was just a way of reminding myself that “Ah, don’t forget your people that are on the mainland” because my mainland people like to dance. So I didn’t want to let go even though I was doing Trap, even though I was doing “E Choke,” and even though I was doing the contemporary type of music, I still wanted it to be local. I feel like local content is the new wave now so that’s why I did that.

“DON’T FEEL LOVE”

First of all, the beat has this Reggaeton wave but it was a way of me not actually making it so sad. I still wanted it to be like, you could listen to this music and still pump your head in a way, but it’s sad but not necessarily [too] sad, you feel me? You can vibe and it can push you to just move on from any bad experience.

 

TurnTable Top 100: Asake Makes Chart History With “Amapiano”

Posted on by Emmanuel Esomnofu

This week’s chart is undoubtedly led by Asake. Making chart history, the YBNL and Empire artist scored his tenth No. 1 song with the Olamide-featured “Amapiano.” The song tallied 4.95million on-demand streams (placing it No. 1 in streaming) and 63.3million in radio reach, the fifth placed song there.

This means Asake has amassed ten different No. 1 songs, becoming the first artist to do so on the Turntable Hot 100. Ahead of his sophomore album ‘Work of Art’, the artist has reached the summit of the chart four times this year, including his collaboration on Davido’s “NO COMPETITION.”

Rema’s “Charm” moves one place down to No. 2, after spending three non-consecutive weeks at the top of the chart. It’s the top placed song on radio though, with 78.3million in radio reach. Davido’s “FEEL” goes back to the No. 3 spot after being on No. 7. It’s the second ranked song on radio, with 71.1million reach and the song has 1.59million on-demand streams, the eight placed song on streaming.

BNXN’s “Pray” dips two places to No. 4 from its previous peak while “Shu-Peru” keeps Kizz Daniel at No. 5 for another week. Omah Lay’s “soso” drops from No. 3 to No. 6—recording its 21st week in the top ten, it remains the second longest charting top ten single in history. Its return to the top ten has been boosted by its remix with Ozuna, which continues to receive significant airplay in Nigeria. Asake’s “2:30” is down to No. 7 after spending four non-consecutive weeks at No. 1 on the Official Nigeria Top 100.

Rounding out this week’s top ten is Davido’s “UNAVAILABLE” with Musa Keys, which goes one spot from ninth to eight, while Young Jonn’s “Aquafina” goes the opposite direction, from eight to ninth. Off his ‘Body & Soul’ album, Joeboy’s “Normally” with BNXN and ODUMODUBLVCK enters the top ten for the first time.

Best New Music: BOJ’s “Foreigner” is a testament to his dazzling decade long career

Posted on by Nwanneamaka Igwe

2022 was undeniably an exceptional year for Afropop. The flag bearers of the domineering genre continued to witness inexplicable success, expanding the scope well beyond its borders with jaw dropping collaborations within and outside Africa. One of such artists credited with this huge feat was BOJ. With ‘Gbagada Express,’ he presented a staggering roster of twenty guest features including stars like Amaarae, Wizkid, Fireboy DML, Tiwa Savage, Davido and more.

The 16-tracker housed a series of feel-good anthems and party hits paired with warm melodies from Boj’s instantly recognisable vocals, charged to almost a decade in the game. As the year drew to a close, the sought-after collaborator and serial hitmaker ensured his listeners the new year would be even better.

Last Friday, BOJ lived up to that promise with the release of a generous, 9-track extended play dubbed ‘Gbagada Express Vol 2: Moving Mad.’ Prior to the sequel release, the Alté pioneer opened up the year with “2 Bad,” displaying his lover boy persona reminiscent of his iconic hit single with Ajebutter, “Tungba.” Beyond the lyrics which showcase Boj’s smitten yet witty penmanship, the instrumentals hold noticeable similarities in the heart-thumping drum patterns, this time paired with more upbeat and lush keys. “2 Bad” unapologetically speaks in awe of the artist’s love interest as he is mesmerised when he repetitively sings on the scintillating hook, “My girlfriend is too bad.” At the end of the intoxicating single, we’re further transported to Cloud 9 with Boj as he holds the momentum with Ayra Starr-assisted “Line of Fire.”

On a more vulnerable note, BOJ takes a mellow approach to confesses the lengths he will go to for his love interest, “I’m crying for you, I’m dying for you/Go anywhere for you, I’m wild for you,” closed off by the promise of a lifetime commitment. “Line of Fire,” undeniably a passionate celebration of love was very well within Boj’s realm of sounds, unlike the third and final pre-release assisted by Odumodublvck. For “No Option,” we’re reintroduced to BOJ’s rapper side as he enlists the Abuja-born rapper for a sleek delivery of breezy vocals and electric bars. More than a gleaming record with charming flute chords, the track effortlessly reiterated Boj’s versatilely and ability to make room for artists while holding his own on a beat.

Gathered together, the aforementioned tracks formed part of ‘Gbagada Express Vol 2: Moving Mad’ but a clear standout from the newly released project is “Foreigner.” The groovy opener led in with a sharp echo of local drums, an instantly infectious, head-bopping beat produced by BOJ’s trusted collaborators, Genio and Lemav. The song slowly builds up momentum and sets the mood for the project as we await Boj’s breezy vocals. When they eventually land, it is nothing short of perfect and heart warming as a result of the mellow piano chord embellishments that accompany them. The subtly clashing cymbal reawakens the listener from the otherwise calming introduction and cues Boj in for a soothing first verse.

As the hook kicks in, the mood picks up as BOJ ecstatically brags of his riches after claiming control over his life: “Foreigner with my dollar o, see as I’m counting comma o.” He goes on to subtly flex of how his talent and accomplishments over the years have successfully translated into monetary rewards. According to BOJ, this is crystal clear and evident in his physical appearance. In subsequent lines, he reaffirms that he continues to carve a lane for himself as he is only interested in achieving success on his own terms seeing as it has worked thus far. He follows up by generously offering to share his tips for success as he soulfully croons, “Ask me I’ll share the code, dey here dey make my dough/Jeje day make my dough.” Closing out the track, he swiftly reiterates the pre-hook in the same tuneful tone as the introduction.

Without a doubt, BOJ is a pioneer who has secured his acclaim triggered by his incredible music and unwavering personality as pillar of the culture and “Foreigner” is a testament to that. Looking back at his “Cruella” or “OMO Pastor” in the early 2010’s , Boj has served as an influential act at the forefront of the Alté movement in Nigerian pop. With a body of work as perfectly curated as ‘Gbagada Express Vol 2: Moving Mad,’ Boj is set up for an even bigger year than the last and we’re enthusiastically poised for what more genre-defying soundscapes he would lead us into.

Featured Image Credits/The NATIVE

uNder: Best New Artists (May 2023)

Posted on by The Native

The soundscape across Africa and its diaspora is at its most connected. Streaming and social media continue to be the main drivers for listeners to experience urban African music in all its expansive, world-beating glory. A heartening part of this renaissance is being able to discover budding African artists all over the continent and beyond, making exciting music, growing their fanbases and inching towards varying levels of stardom.

For this month’s uNder column, The NATIVE‘s editorial staff have curated another great list spotlighting six artists making great music and eye-catching moves. There’s Uganda’s latest, bonafide breakout star Joshua Baraka, Nigerian sound polymath Kemena, Ghanaian-British DJ, producer and experimentalist Hagan, and three more artists that deserve your ears and eyes. Read our breakdown of each artist below and listen to our uNder playlist here.

Joshua Baraka

Joshua Baraka sings about big feelings. “I am losing myself/I’m crying inside but you cannot hear me,” he sang on his 2020 debut single, “Tomorrow,” an indulgent snapshot of enveloping melancholia. It turns out that the remedy to his gloomy demeanour would be the warm embrace of a really good friend or a lover, as he plaintively hopes on the chorus. That expressiveness is an integral part of the Ugandan singer’s world-beating potential.

Born and raised in Kampala, Joshua Baraka took to music from a very young age, growing up in a house where his mom sang in the church choir and music homegrown icons like Radio & Weasel served as the daily soundtrack. Taking definitive steps to actualise the ambitions he’d been harbouring for years, he started writing and recording demo tracks during the Coronavirus-induced lockdown of 2020. Those beginnings served as the foundation for his 2021 debut EP, ‘Baby Steps’, with his gently raspy voice belting out passionate lines. “Everybody’s looking for something/But I am looking for a little happiness,” he intones on highlight “Be Me.”

In 2022, he cranked up the intensity with a handful of singles and feature collaborations, culminating in his second EP, ‘Watershed’. On that sophomore project, he remains as emotive as ever and he showcases a greater handle of his voice over flamboyant musical choices that range from Pop ballads to groovy R&B. Right now, Joshua Baraka is a bonafide breakout star. “NANA,” his upbeat, dancehall-influenced slapper from earlier this year, has earmarked as a revelation and has shot him to greater popularity in Uganda and across East Africa. The new remix features Nigerian singer Joeboy, Ghanaian pop star King Promise, and revered Kenyan singer Bien (of Sauti Sol), potentially placing his growth within a pan-African context. The immediate future looks incredibly bright.

Zee Nxumalo

Song covers have consistently proven to be a great medium for budding artists to showcase their raw talent, refining their abilities in the public’s full view without the immediate high stakes of creating their own music. Since her early teens Zee Nxumalo has been sharing song covers, hitting her first viral moment in 2018 with her cover of “AmaBlesser,” the DJ Maphorisa-assisted smash hit by Mlindo the Vocalist. She was only 15-years old at the time. Rather than immediately leverage that taste of notoriety into a music career, Nxumalo continued to share more covers and round out her artistry over the next three-plus years.

Early last year, she officially debuted with the romance-themed single, “Siyajola,” her siren voice gleaming over soulful, R&B-indented production. Now working with veteran producer Profound, under the auspices of the indie label Punchline Media, subsequent releases have shown a clear sense of identity to the singer’s music, revolving around being a young lady experiencing the mundanities of life while nurturing a strong drive to become a music star. On “eKhoneni,” the opener to her June 2022 debut EP, ‘KwaNxumalo’, she echoes her mum’s admonitions to work hard in service of her dreams, an ethos she’s explicitly embraced.

Raised in Alexandra, Johannesburg, Zee Nxumalo sings entirely in IsiZulu, making music that ranges from smooth folk-pop to buoyant Amapiano. In March, she released the deluxe edition of her debut EP, with four additional tracks and a remix of the Azana-assisted “Pholile.” In a full circle moment, the remix features a verse by Mlindo the Vocalist, and its accompanying set of visuals recently marked her music video treatment. There will be more videos and there are more achievements to covet for the eSwatini-born singer, but it’s undeniable that her recording career is off to an impressive start.

KEMENA

In 2020, an album crept up on the radar of Nigerian music lovers. Its creator had the unassuming name of Kemena, but the music—emotive, orchestral, and measured—was unmistakably the product of a genius. ‘Bond’ was Kemena’s push into popular plains, but in truth, the Lagos-born artist of Anambra descent had been etching out his place about two years prior.

‘Vertigo’ was the artist’s debut, a free album which demonstrated the superb qualities he would fully embody. Endearing him to an underground fan base, the career of Kemena continues to thrive on genuine fan love. Where recent songs like “Vowel Sounds” and “Rewind” incorporate pop flourishes, they’re still embracing of Kemena’s warm vocals and intimate songwriting which thrilled early listeners on cult classics such as the folksy “Ibadan” and “International”, whose laidback energy was burnished by an effervescent Highlife melody, harkening to Kemena’s undergraduate years in Enugu, which were also his formative years as a musician.

A producer, songwriter, and audio engineer, Kemena ticks many creative boxes. He shares a profile quite similar to Jon Bellion, soundtracking modern Afropop while keeping some distance from its distractions. In that sense a purist, Kemena has however opened up his process to more creatives in recent times. No better is this exemplified than ‘Body & Soul’, the sophomore album from Joeboy where he’s credited for all the aforementioned skills, and co-writing “Contour” which is an imminent classic pop song. With a new single (“Casablanca”) released and a full length project expected, the year promises to reach new heights in the awesome career of Kemena.

UGOCCIE

When TikTok began influencing the music level, few understood its potency on deep levels such as Ugoccie. A former On-Air Personality, she took to the form like a duck to water, offering prospective listeners an intimate perspective into her music. Possessing a voice colourful and lithe as herself, her first popular moment came when she aligned with the cultural moment of a prestigious Igbo woman’s burial. Obi Cubana, that woman’s son and popular businessman, funded an online challenge, and suddenly Ugoccie’s voice was heard everywhere one went.

Before then, Ugoccie had built her reputation with earworms such as “Do You Really Like Me” and “No Wahala”. Both songs flexed her rapping ability, but they also centred her willingness to pass across moral messages, especially using the Igbo language. Last year’s “Breakfast” featured her great contemporary Phyno, around the same time Ugoccie was captured playing her music for Don Jazzy. With obvious celebrity appeal, Ugoccie’s ascent has been one of determination and smartness, playing the business as eagerly as she creates. ‘A Piece Of Me’ solidified her 2022, boasting collaborations with musicians such as Niniola and King Perryy, while the closer “Man On Fire” was enriched by the brassy appeal of Highlife.

Ugoccie exudes a lot of confidence, in her craft and her presentation. A champion for femininity and individuality, there’s no doubting her identity. Rather than play to the trends of the streaming era, Ugoccie has doubled down on the performance aspect of music, creating songs with communal appeal. Her newest record “Ifenkili” boasts a sunny melody that’s reminiscent of wedding classics by Flavour, but Ugoccie is definitely her own woman. There’s so much she’s doing well, and it’s only right the stars are aligning in her favour.

HAGAN

Since 2012, music producer and DJ Hagan—born Brendan Kwabena Gyimah Hagan Opoku-Ware—has been active in the music scene, adding his perspective to the bass-heavy UK Funky sound with 2013’s ‘Afrodub,’ 2014’s ‘Holding On’ and 2016’s ‘Lockdown.’ Raised in South London with Ghanaian roots, Hagan sought to connect influences from both African and diasporan cultures, starting with 2017’s ‘Roots’ and 2018’s ‘Yenkyi’; on those projects, Hagan retained traces of UK Funky and immersed them into varying soundscapes such as Gqom, Highlife and Afrobeats, culminating into powerfully heady, dance-stirring music.

On his 2022 debut album ‘Textures,’ Hagan finetunes his sonic iterations, working hand in hand with artists from South Africa, Ghana, Nigeria, Gambia, Brazil and the UK. Inspired by the camaraderie of Ghanaian fishermen, Hagan is the glue that unifies the experiences and diversity of him and his guests as they spin soundbites on topics of heritage (“Welcome to Ghana”), romance (“Heart” and “My Love”) and father-son affection (“Outro (Baffour’s Son”). ‘Textures’ is a new beginning for Hagan, whose relentless creativity and experimentation give him endless possibilities for the future.

YARDEN

For every emerging music act, finding the sweet spot between being yourself and catering to the demands of the mainstream audience can be challenging. The Abia State-born Yarden has been carefully carving his path, sprinkling his interpretations of Hip-Hop and Afrobeats with an emotional core that is solely his. Four years ago, Yarden began his sojourn in music, making cover songs and swaddling Trap-influenced bass and synths with his velvety vocals on the 2020 Swayzee-assisted “Wild”; he further pushed his Rap flows and cadences with 2021’s “Fl3x,” reiterating his love for the finer things in life.

Last year, Yarden added a new weapon to his arsenal, showcasing his competence for the Afropop scene with “Wetin,” a ditty based on romantic expectations. He started 2023 with “Busy Body,” an achingly sweet song about the pain of rejection and a constant need to prove his loyalty. Beyond the music, there is an intentionality with Yarden’s branding, with visuals and fashion choices borrowing from mainstream and alternative influences. Earlier in the year, Yarden teamed up with fellow Nigerian rising stars Kemuel and Jayman for the impressive Soul/Funk number “Onome,” drawing inspiration from acts such as Silk Sonic and Daft Punk. While he is yet to release a project, Yarden has proven with a few tracks that his talent is on the ascendancy and deserves every attention and respect it receives.

Written by Emmanuel Esomnofu, Dennis Ade Peter & Uzoma Ihejirika

ICYMI: MORRAVEY, BANTU SPACESHIPS & MORE BEST NEW ARTISTS FROM APRIL 2023

Adekunle Gold Flaunts His Showmanship on New 3-Single Release, ‘Tio Tequila’

Posted on by Uzoma Ihejirika

In the tapestry of contemporary Nigerian music, Adekunle Gold has distinguished himself with the most seamless of transitions that have yielded plenty of dividends. His pivot from graphic artist to music artist birthed the 2014 smash hit “Sade” (a cover of One Direction’s “Story of My Life”) and secured him a recording deal with the Olamide-led YBNL. With his debut album ‘Gold,’ he donned the apparel of an urban highlife musician and by his 2018 project ‘About 30,’ he had started incorporating more elements into his sonics—heralded by the electronic underpinnings of 2017’s “Call on Me.” 

Adekunle Gold’s eventual rebirth as an Afropop star was built off the back of his 2020 album ‘Afro Pop, Vol. 1,’ which saw a complete recalibration in his sonics as well as his fashion style. Where was once home to only Highlife grooves embraced other African and Western influences, and where was once a low fade haircut and a clean cheek became braids and beard. Sonically, Gold’s new phase—that he christened AG Baby—is the strongest he has ever been, entering mainstream spaces with a swagger while still retaining the core of his music: speaking to the hearts and minds of his listeners.

On his latest three-track offering ‘Tio Tequila’, Adekunle Gold furthers the lavishness and flamboyance of his current status. Led by the already released hit single “Party No Dey Stop,” which features Zinoleesky, Gold, who is currently at work on his fifth album, shares a peek into his headspace: he’s at peace, comfortable and still keen on hitting new levels of artistry. “Can’t believe this is my life/Everything come align,” he sings. 

All three tracks on ‘Tio Tequila’ are produced by Nigerian record producer and artist Kel-P, furthering a synergy that’s been on display since 2022’s “5 Star.” They’ve carried that relationship into the short project’s other two tracks, “Do You Mind” and “Omo Eko.” “Do you mind/Do you like it/On the bonnet of McLaren/Give me sign/No surprises/I fire shots, no warning,” Adekunle Gold sings on the uptempo tune “Do You Mind,” boasting about his sexual and financial prowess. “Omo Eko” also bounces with high energy as Gold prides himself as a true native of Lagos, one of Africa’s most populous cities. 

Adekunle Gold has cultivated a global appeal around his brand, headlining shows in the UK, the US and Canada, as well appearing on platforms such as NPR Music’s Tiny Desk Concerts. In March, Gold signed with Def Jam Recordings to expand the reach of his brand. “They break artists, and they have niche, unique artists like me, so I think it’s the right move for me,” he told Billboard. Over the years, Adekunle Gold has collaborated with some of the biggest acts in the world, including Davido, Ty Dolla $ign, Fatoumata Diawara and Lucky Daye, among others.

With ‘Tio Tequila,’ Adekunle Gold sets the foundation for his forthcoming album and reminds audiences of the ethos of his musicianship. Also, his collaboration with Kel-P highlights a working relationship that is built on great sounds, and whose influence will be further experienced in the coming album. 

Stream ‘Tio Tequila’ below.

ICYMI: THE AWE-INSPIRING EVOLUTION OF ADEKUNLE GOLD

Nonso Amadi’s Renewed Vision Comes Full Circle On ‘When It Blooms’

Posted on by Emmanuel Esomnofu

Talent can be a conflicting thing. The ability for greatness might sometimes be visible, but it takes more than awesome skill to actualise it. It is often the curse of the talented to suffer a heavy existence, something the writer Akwaeke Emezi once described as a levelling of one’s otherwise brilliance. This creates sensitivity of emotion which requires patient but purposeful harnessing. 

In the past two years, Nonso Amadi has been honing his powers. This coming Friday, the Nigerian musician will release his debut album, ‘When It Blooms’. Arriving on a cloud of successive singles, collaborations with Nigerian musicians, and audible changes in sonic direction, there’s a sort of quiet expectation trailing the imminent release. Amadi is already deep in his rollout: on social media handles, he has shared the official tracklist, some personal stories about the making of the album and the origin of superstar dreams. An expectable course, by all means. Where Nonso Amadi truly excels is in the music. 

 

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The internet has placed a new emphasis on collective memories. A fast-changing world means we aren’t able to foster close-knit communities as we once did, and where the local CD shop used to be the rendezvous for heated arguments based strictly on love, now it’s social media: Facebook, Twitter, TikTok. As such, there’s a growing cache of songs and memories conferred with high recognition. It’s therefore quite logical to consider “Tonight” as that kind of song. Beyond its sonic brilliance, it was a record which encapsulated the mood of its era. Many of us were young but almost old, pushing bravely into adulthood and its attendant pursuits and disasters. 

Nonso Amadi’s music and his actual person wasn’t immediately aligned. It wasn’t obvious to many that a Nigerian artist would be conceptually brilliant, using imagery and personification in their songwriting. Anyways, the doubts were summarily dispelled with “Long Live The Queen”, a record which honed more into his indie songwriter perspective. It was the kind of song Passenger would make if he grew up in Canada. Offering striking guitars and a weary sense of the world, Nonso Amadi had coveted a very specific fold within the Nigerian soundscape. 

In previous eras, several Nigerian artists have attempted to fold literary devices into their music. The likes of GT The Guitarman, Ese Peters and Bemyoda shared that flourish for the pure, evoking nature and longing with the exactness of a post-Dylan prodigy. For diverse reasons their impact was however limited to the margins of mainstream knowledge, that murky field often described as alternative music. With the times comes exposure, and when Nonso Amadi arrived on the scene he was knowledgeable enough to defy such expectations. Songs like “Emergency” and “Radio” had flourishes recognisable on the mainstream. 

Music can however sustain the body for so long. It’s useless to guess what might have been happening in Nonso Amadi’s life, but for a character like him, sudden change isn’t the most ideal situation. The period before the pandemic coincided with his drifting away from popular attention, almost at the same time a new vanguard of artists were making their entry on the scene. Among those artists were Fireboy DML and Omah Lay, whose lyrical approaches were immediately reminiscent—at least, to me—of Nonso Amadi. 

However, both musicians were better luminaries of the Nigerian experience. Fireboy drew readily from the template of Wande Coal, folding Yoruba sensibilities within flamboyant overtones in pop music. That awareness was everywhere on his acclaimed debut, featuring the kind of songwriting Nonso Amadi was more or less the progenitor of. In the case of Omah Lay, his Port Harcourt origin gave profound local inflections to his vignette-heavy writing, making him the industry’s favourite anti-hero whose melancholy was demonstrating of a much-larger trend permeating contemporary Nigeria.

Consequently, the withdrawal of Nonso Amadi from the scene wasn’t as missed, not as it would have been three years before. Perhaps around this time, Amadi got to thinking about the Nigerian credibility in his work. 2019’s ‘Free’ had signature airy synths and sombre notes in its sonic register, but the EP was subtly positioned as an entry into pop, with the collaborations with Simi and Mr. Eazi promoted as lead singles. Nevertheless, songs like “No Crime” and “What Makes You Sure?” were some of the most acclaimed of the bunch, showing that he needn’t covet Nigerian experiences as much as stay true to his heart. 

“The best way to capture your listeners is through the ups and downs,” said Nonso Amadi during an episode of The NATIVE’s Bruk It Down. Being a storyteller, he would know. Indeed the music of Nonso Amadi creates a safe bubble around his listeners, a place where their most outrageous desires and solemn fears can be discussed with an almost doctoral clarity, salving the wounds of realism with sufficient empathy. 

“Radio” describes that communal feeling. A breezy record produced by Juls, it follows the quintessential narrative of a superstar whose town and homeboys are letting him go into the world. “We out here rooting for ya, stay on the radio,” he sings with appreciative warmth, beaming his authorial light on where he’s come from. A similar intimacy permeates “Aika”, continuing the artist’s favoured metaphors which uses technological devices as a metre for observing distance and subsequent longing. Such records demonstrate the sensitive allure of Nonso Amadi which also enters into his sound engineering and production. 

During those years where he wasn’t actively putting out music, Nonso Amadi produced for other artists such as King Promise (“Slow Down”) and Mr. Eazi (“Legalize”). Reminiscent of his work on the Odunsi co-hosted cult classic ‘War’, the artist proved himself an invaluable asset as a collaborator. And with the understated mastery of an auteur, all his productions exquisitely find the middle ground between his personal tastes and the requirements of the artists. Even with his reclusive nature, that skill hasn’t gone underexplored, especially when he’s producing his own music. 

Nonso Amadi’s return has staked his claim to mainstream ubiquity. In stronger grasp of Black realities across Nigerian and in the diaspora, he’s now more attuned to the sounds that make up its social fabric and how purposefully to blend them into his favoured R&B style. “Foreigner” had percussion with debts to Caribbean ska, slowed with sensual strings which rendered a Juls-esque vibe to its appeal. “Ease Up” was steered on a pace which previous Nonso Amadi songs seldom went on; its Pidgin English-inflected verses were also revealing of his evolving ease with Nigerianisms. On “Lock Up”, the street sage Zinoleesky rubbed shoulders with Nonso Amadi, both writers flexing their distinct but similarly evocative writing styles. 

‘When It Blooms’ is set to crown the expansive first arc of Nonso Amadi’s career. Unlike the corporate certainty that has followed some of his contemporaries, Amadi lives the life of a true creative. They are seldom certain of what they want to do, but are strongly moved by what they don’t want to do. For an artist with the unwavering standard and rich catalogue of Nonso Amadi, it is enviable that he would seek to push deeper into the textures of his artistry. 

Already, the songs that have been released create good precedent. There’s no doubt this would sound different to anything the 27-year-old has ever created, but listeners would be hoping he doesn’t change too drastically. Music, after all, is a game of images and perception, and right now, the perception of Nonso Amadi remains of a thoughtful poet whose ink is supplied in blood and tears, the fleeting happiness and wanton suffering that is known as the human condition. 

Having listened to a great part of the album, I can boldly say that Nonso Amadi has created a lasting work. Listeners might not rush to immediately declare its greatness, but it’s the kind to demand subsequent listens. Consequently, its intricate, inner energy arises, lighting up moments with trademark vivacity. For the most parts of the album, Nonso Amadi directs the proceedings but the features also deliver purposefully, further deepening the album’s rouge tone. 

One thing’s for sure: this journey has arrived at a fitting destination. Talent can sometimes be a force too heavy to bear, but to his credit, Nonso Amadi has balanced his generational qualities with a refreshing humane perspective. Now returning to ascend his rightful place among the finest troubadours of Afropop, it’s an extension of one of the tenderest love letters ever written between artist and listener. 

Bruk It Down: The creation of “Foreigner” with Nonso Amadi

Best New Music: Joeboy Mints Aspirational Soul On “Normally”, Alongside BNXN & ODUMODUBLVCK

Posted on by Emmanuel Esomnofu

Pop stars come in different shapes and sizes. Some are amorphous with their influences, others are more direct in their approach. In Nigerian music, few are as direct as Joeboy. Where his contemporaries eagerly create outside the seams of local soundscapes, he is dedicated to the Nigerian experience. His music exists in the lively intersection between weary old soul and youthful exhilaration, embedding an adorable vibe onto the music of Joeboy.

When “Baby” was released, it became an instant classic. More than the cherry songwriting which eased soulfully into the bright overtones of the production, it was the atmosphere of the song itself which captivated many. That energy soundtracked the pre-December energy of the country, providing joy in a country that consistently longed for it. Since then becoming one of the most bankable superstars of his generation, Joeboy has consistently demonstrated his grasp on the sound of contemporary Nigerian pop, a simple alternative to all the complexity that is the music industry today.

Over the weekend, Joeboy released his sophomore album. ‘Body & Soul’ was preceded by a string of impressive releases, excluding the title record which was released last before the album. “Contour” became a late-year banger in 2022, with Joeboy impressing his signature vocals over Tempoe’s guitar-streaked production. This year’s “Duffel Bag” continued the artist’s focus on the breezier elements of  romantic union; taking the well-trodden route of promising niceties to one’s love interest, it extended the sweet sonic run-up to ‘Body & Soul’.

The album collects pulsating pop sounds polished with sensual choices. Cohesive and minimalist, its energy banks on the almost peerless ability of Joeboy to catch a tune. This skill is demonstrated early in the album, on the first record, “Normally”. Featuring the duo of BNXN and ODUMODUBLVCK, it’s a victory song which looks squarely in the face of old demons while celebrating the gargantuan wins that comes with building up one’s profile.

Produced by Beatsbyko and Illerixo, a vital energy permeates the record. Almost muted percussion is paired with dreamlike loops, creating a spacey beat which allows the musicians to thrive. Between the natural ease of Joeboy and BNXN’s inspirational wordbending and Odumodu’s trademark street wisdom, there’s a lot to like about this record. It’s a gathering of originals, after all. Taking short verses across the song’s runtime, Joeboy proves the perfect host to start things off. He sings about divine backup which is most poignantly captured in the line, “Only see blessing, never see yawa/ Can’t understand there’s a higher power”, while BNXN takes after the song’s middle section.

 

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BNXN does great in this holding role, purposefully connecting the distinct styles of Joeboy and Odumodu. He plays a similar role in the Kizz Daniel and Seyi Vibez-featured “Gwagwalada”, which is unarguably one of the most penetrating records of the year. His melodious range also enriches the song’s aspirational hue, especially the cue-in of the Yoruba language which has, more or less, become the quintessential linguistic medium for street narratives. That done, ODUMODUBLVCK arrives to polish the song with his riveting rapping style, laying down affirmative quips with the readiness of one who has been getting returning gains on the superstar lifestyle.

His verse strips down his signature energy but maintains the internal technicalities, such as the vivid language and personal-wrought inflections. Oscillating between self-motivational bars and veiled sexual allusions, he delivers a bar such as “Physically, I be like person wey drink Agbo” side by side with “Their kele dey hustle for my bone” without losing narrative balance, indeed proving his accomplished grasp on his style. Finishing off with melodies and bigging up his collaborators (“Joeboy settle for your glory, Buju roll it up”), the record’s communal zest is masterfully interwoven with its primary direction of aspiration.

On ‘Somewhere Between Beauty and Magic’, the solo route was favoured by Joeboy. He went alone, without features, for better or worse imprinting his style across that debut album. This time around, the creative room is decidedly larger, inclusive of the fresh voices in Nigerian pop while touching base with select sounds from around the world. “Normally” is emblematic of that vision, although it plays closer to home more than away. With an excellent choice of features, it’s a song which captures where Joeboy is right now: at peace, and existing beautifully within the safety of love and community. 

ICYMI: NIGERIAN MUSIC TO THE WORLD – THROUGH HOLLYWOOD

Asake vs Seyi Vibez: 4 key points on their brewing rivalry

Posted on by The Native

Following a brief, grief-induced hiatus, Seyi Vibez is set to return with a new single, which has already proven to be controversial. In a recent snippet of the soon-to-be-released song, the singer is heard taking not-so-subtle swipes at rival apparent Asake. “Mr Ability, organise yourself,” he sings, referencing “Organise” and “2:30,” two smash hits from Asake. It’s the latest development in a situation that’s been partly stoked by the public over the last six-plus months since Seyi Vibez vaulted into wider ubiquity with “Chance (Na Ham)” and copycat accusations immediately followed.

Beyond the surface chatter of two of street-pop’s biggest stars supposedly going at each other, there are more questions that need to be examined contextually—especially if the temperature of the tiff dials up a notch in the coming months. Below, three writers of The NATIVE’s editorial staff take a look at four major talking points.

Is the Asake and Seyi Vibez comparison apt or lazy?

There are good reasons why the comparisons between Asake and Seyi Vibez exist. For one, sonically, especially in recent times, both artists are cousins cut from the same cloth. The mainstay in their sound is South Africa’s Amapiano, which they embellish with indigenous rhythms. Also, concerning fashion choices, Asake and Seyi Vibez share similarities. However, what negatively impacts the situation is the constant lack of nuance in the conversation, which doesn’t take each artist’s uniqueness into account. While some music observers have noted the history that runs through the music of both artists, some sections of fans from both sides seem to fan the flames of conflict with mostly a bid to undermine the art of either artist. This is exacerbated by both artists who have chosen to keep mute publicly and exchange shots on wax. Perhaps, both artists see the benefit of the situation in having their names continually discussed in public but the absence of nuance robs audiences of dollops of needed insight.

Uzoma Ihejirika

Are there any peculiarities separating the artistry of both artists?

There are definitely peculiarities in the artistic skill-sets of Asake and Seyi Vibez and, even though they might not be very obvious to many, the details are apparent in the music. Asake has always been upfront about the influence of Fuji music, as well as Juju music to a lesser extent, on his sound and general approach to music. From the definitive single, “Peace Be Unto You (PBUY),” to ‘Mr Money With The Vibe’ deep cut “Sunmomi,” the Fuji inspirations are clear. 

For Seyi Vibez, his music leans more on influence from Apala music, an obvious evidence being his interpolation of Alhaji Fatai Olowonyo’s “Elewure Wole” on “G.O.A.T,” the intro track on January’s ‘Memory Card’ EP. Fuji and Apala are two distinct genres, which means the way they inform the music of both artists is peculiar, and it shows in their diverging points. Asake’s music clearly deals in pop appeal, taking the innately colourful nature of Fuji and synthesising it for a younger, more global audience. Seyi Vibez clearly takes pride in being gritty and specific in his super-lyrical approach, a descendant attribute of Apala music.

While they both infuse log drums and sometimes employ rap-adjacent cadences, there’s enough stylistic differences that shows there are some layers of separation even though both artists are luminaries of street-pop at this moment.

Dennis Ade Peter

Is there any chance for this beef to escalate beyond the music?

Beef is an avowed culture in many music genres, especially those started by Black people. The case of Seyi Vibez and Asake is particularly interesting because their origin genres were heavy on beef, attempting to upend their musical rivals through lyrical wits and ingenuity. The heady beef between The Notorious B.I.G and 2Pac during the nineties showed the world how conflict could influence the sensibility of a music industry, more so when said conflict is approached artistically. Among industry stakeholders and fan bases, that should be the credo to stand by.

Violence or actual recourse to physical challenges hasn’t been a fixture in Nigerian music for a while. Except for those with unquestionable criminal character, there’s little basis for why “beef” between these musicians should be discouraged. We should rather engage the positive aspects of this Seyi Vibez call-out, even though the nature of response would rest ultimately with Asake, YBNL and their stakeholders, to a much lesser extent. Being street-influenced artists, from a purist perspective one would expect a sustained run to this. Should Asake opt against a direct reprisal, at least the situation would have informed his awareness going into that next record, and that’s exactly what he needs after his unprecedented and largely unchallenged run as the artist of last year.

Emmanuel Esomnofu

What’s the broader significance of this supposed rivalry to the fabric of Nigerian music?

There are several talking points here, the most obvious of which is immediate cultural impact. Beef sells and rivalries are very profitable when the primary parties are clearly talented. Part of the reason Wizkid and Davido emerged as huge Afropop superstars is the rivalry between both artists, fanned by the flames of Stan culture. It’s not quite the like-for-like comparison but the similarities are already brewing, and the artists are playing into it.

The other talking point is versatility, considering that we’ve already established the artistic differences between Asake and Seyi Vibez. On a wider scale, it just shows the range of street-pop from Nigeria’s southwest no matter how much mainstream conversations want to flatten the scene into a singular sonic ideology. Finally, it could be a throwback to the iconic rivalries in Yoruba music, think Ayinla Omowura vs Fatai Olowonyo or Salawa Abeni vs Kubura Alaragbo or Wasiu Alabi Pasuma vs Saheed Osupa. To many, this detail might seem esoteric but Asake and Seyi Vibez are carriers of Yoruba music and cultural heritage, and it would be flat-out wrong to ignore the history behind them even as Nigeria’s music mainstream is tuned into this brewing situation.

Dennis Ade Peter

ICYMI: FOR ITS NEXT LAP, NIGERIA’S STREET POP IS PUSHING INTO EXPERIMENTAL FIELDS

Five Takeaways From The 2023 AMVCAs

Posted on by The Native

On Saturday night, the 9th edition of the African Magic Viewers Choice Awards (AMVCA) were held in Lagos, Nigeria. A dazzling showcase of the film industry, it brought several professionals for a night which was important for all the obvious reasons. Since hosting its inaugural event in 2013 the show presented by the African broadcasting company MultiChoice has become one of the most sought-after recognitions across the world of film, becoming a cultural phenomenon over its past eight editions.

The latest event was preceded by a spurt in Nigerian and African filmmaking, as evidenced in the emergence of several new voices, making an incursion into a most promising market. Cutting across entry from major streaming platforms such as Amazon and Showmax, indie filmmakers pushing the frontiers of storytelling, or the local Asaba films which play out endlessly on TVs across the country, the excitement prior to Saturday night set up the event to deliver transcendental moments.

Here’s our reactions to the prestigious award night, what happened and what else we think should have happened. 

IS IT A CELEBRATION OF FILM OR ARE WE HERE FOR THE PARADE? 

If there’s any indication of how far off the critical mark the AMVCAs are, it’s in the general parade-like atmosphere of the whole event. Sure, glamour plays a huge role in major award shows but there’s always a general consensus that it’s the art that matters the most. At the biggest film awards in Nigeria, the art doesn’t matter as much as the glamour, evident in how most of the chatter is about who’s wearing what and not necessarily about if the winners are a strong representation of the best filmmaking during the year in review. Much like the last few editions, this year’s AMVCA was a multi-day event that featured several sub-events that focused on the glitz, and its finale pretty much carried on with the same spirit. So, are the awards really for film as art, or film as a conduit for celebrities to inundate us with eccentric fashion choices? There’s a balance, but it’s just not happening at the AMVCAs right now.

Dennis Ade Peter

ASABAWOOD NOT BEING RECOGNISED  

During the period we now refer to as Old Nollywood, the template for storytelling was striking. Rural settings, overdramatic acting and cliche but flamboyant storylines made all the difference in our childhood, but things have changed. Out with the old, in with the new: Lekki bridge, suave bankers, affluence and money talk. These are the disparities between the films which win the AMVCAs and those that are actually shown on Africa Magic—it is African Magic Viewers’ Choice Awards after all.

However, it speaks to an implicit elitism how this is the upheld structure. Obviously, the quality of narration is better amongst the new filmmakers, but since the awards are by voters’ choice, how are people watching these Netflix films? It certainly doesn’t happen on Africa Magic, which means that the hardwork Asabawood puts into entertaining a large number of Nigerians across class lines are looked over, all in favour of the more posh alternative. It was further polarising to see an actress like Patience Ozokwor awarded a Lifetime award, while the structures that took her to the zenith of Nigerian film were nowhere to be found. A balance should be struck, and the earlier, the better.

Emmanuel Esomnofu

‘CRIME AND JUSTICE LAGOS’ AS A HUGE WIN FOR SHOWMAX 

Showmax is going about its mission to amplify Nigerian (and African) stories with a remarkable verve. Of the ten nominations in the Best Television Series at this year’s AMVCA, five of the nominated shows are Showmax originals. The police and legal procedural drama, ‘Crime & Justice Lagos’, eventually won the category on Saturday night, perhaps the most deserving win of the entire awards. Starring Folu Storms and Jammal Ibrahim as the lead detectives of a special unit, the 6-episode series is a consistently engaging show that takes inspiration from a Nigerian society where crime is prominent but justice is often elusive.

Apart from the also-nominated ‘Single Kiasi’, none of Showmax’s original drama series—including co-nominated shows ‘Flawsome’ and ‘Diiche’, as well as the Scarlet Gomez-led ‘Wura’—have been renewed for a second season, despite all coming out to generally favourable critical reception. Perhaps it’s a numbers thing, as Showmax is still looking for an ubiquitous hit to move it ahead in the race for popularity amongst the several streamers jostling for attention in Nigeria. Regardless, this win and the other nominations at the AMVCA, which also included the reality show ‘The Real Housewives of Lagos’, should be an encouraging achievement for the Multichoice-owned streamer.

Dennis

SHOULD THE VOTING SYSTEM BE UPDATED?       

A major flaw from this year’s awards night is its current fan-led voting system. For years, the AMVCA has placed power in the hands of the audience at home, but this has not always represented our film industry and the best-in-class productions it creates. A resonant conversation in the aftermath of Saturday’s awards was that a lot of deserving actors and actresses were snubbed for their more popular counterparts.

The snub of Kunle Remi, even on the nominees list, was one such glaring omission. Considering ‘Anikulapo’ was nominated in all the major categories, and eventually won Best Overall Film, it’s a technical confusion how its lead actor manages to walk out without any awards. Critical and popular opinion holds up the strength of his character across that striking epic, not much like Osas Ighodaro, another controversial choice. Winning Best Actress in a Drama, the Nigerian’s success at the AMVCAs continues. Not many were convinced by her acting in ‘Man of God’, a movie whose scripting flaws weren’t particularly redeemed by the actors, save for Dorcas Shola Fapson. 

Tami Makinde

DESERVED WIN FOR NORA AWOLOWO

An essential mission of The NATIVE is spotlighting young, driven creatives from around Africa who are telling peculiar stories about the (their) world. Nora Awolowo fits every standard of that characterisation, and has been excellent for a while. ‘Life At The Bay’ was an introductory work to her oeuvre, a collaboration with the journalist Kiki Mordi which highlighted the issues of civil rights being perpetuated against native settlers at the Lagos-based Tarkwa Bay. Captured through the reflective lens of Nora, the people and stories came alive, and thereafter the arrival of an important new voice in Nigerian filmmaking was confirmed.

Last year, the 24-year-old took her work to new heights after working with the premier footballing body in the world, FIFA. Creating a documentary about Nigeria’s first time at the World Cup, it was an intense package which built on emotional touchpoints as much as statistical data and research. If anything, Nora’s star power was reiterated as another documentary from her, ‘Baby Blues’ was nominated in the same category. With ‘Nigeria-The Debut’ eventually winning at this year’s AMVCA, Nora’s first major award turns out to be a big one, and going forward it would be a thrill to witness the other forms of filmmaking she gets into.

Emmanuel

 

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ICYMI: THE RISE & RISE OF WOMEN FILMMAKERS IN NOLLYWOOD

Interview: Dare Olaitan Talks About Ile Owo & Nigerian Filmmaking

Posted on by Uzoma Ihejirika

Last week, Nigerian filmmaker Dare Olaitan’s fourth feature-length film ‘Ile Owo’ premiered globally on Netflix. Initially released in June 2022, the film is a horror/psychological thriller flick that follows a young Nigerian woman and the capitalist system that sucks her into a messy situation. ‘Ile Owo’ stars Immaculata Oko-Kasum, Bisola Aiyeola, Efa Iwara and Sophie Alakija, among others.

Olaitan’s career as a filmmaker kickstarted in 2016 with the crime-heist comedy ‘Ojukokoro’ and placed him as one to watch. He followed up the success of ‘Ojukokoro’ with 2018’s ‘Knockout Blessing’, which showcased his range and versatility as a filmmaker. Olaitan’s relationship with fellow Nigerian filmmaker Kayode Kasum would blossom over the years, starting from their 2021 film ‘Dwindle’. In this conversation with the NATIVE, Olaitan speaks about his career, Kasum and his latest film ‘Ile Owo.’

NATIVE: Your journey with filmmaking started while you were completing your undergraduate degree in Economics. What films shaped your childhood?

OLAITAN: To be honest, I started watching films pretty late. I didn’t start watching films until I got to university. [But] I watched the popular stuff. 

Dwindle was the first film you co-directed (with Kayode Kasum). What would you say is most interesting about making a film with another director rather than directing alone?

Honestly, I and Kayode produced the film, so it was more of a production decision than a directing decision. We were trying to divide the risk and also to see if we would be able to work together in future. So it was more of a producer thing.

In terms of directing, though, how did you two manage to share the work?

Me and Kayode are very good friends. When you’re working with your friend, I guess it’s very good. First of all, coming from just respect, I respected his processes and he respected my processes. And if we didn’t understand anything, we tried to have [other] people’s decisions about the processes and just be able to come to a solution that works for both of us.

You also co-produced Kayode Kasum’s film Obara M. What would you say is your favourite thing about working with Kayode?

My favourite thing about working with Kayode is his work ethic. We come from backgrounds in which we like to work. And so it’s good to work with somebody that has the same values as you. So yeah, I appreciate that very much.

Your latest movie Ile Owo is a psychological thriller about societal distinctions and the effects of capitalism. Describe the creative process for the film.

Honestly, the creative process for the film was pretty much interesting in the fact that, like you asked earlier, me and Kayode started with Dwindle to see if we could create something together under tight conditions and see if we could make it work. We did it and it was a financial success. So we said since it had worked, we were going to make two daring films that [are different from regular genres]. So I said I’d make a horror film and Kayode said he’d make a musical and that’s how we went forward.

Where did the inspiration for Ile Owo come from?

So Kayode said he had a musical he wanted to make for years so we said alright, we are going to make that. And I said I wanted to make a horror movie and I had a [story] that was ready but I didn’t feel confident because I hadn’t worked on something for a while. So we said in that case, it’d be nice to still make a horror film but we waited for the right time. [I asked that] if I’m making a horror film, what will the story be about so Kayode said he would like to see me make a romantic film. I was like, “Wow. Imagine a romantic horror film,” and that was the nugget idea that then became what we have.

What was most challenging yet rewarding for you in making Ile Owo?

Honestly, I made this film during a trying personal time. I think we made this film right at the end of coronavirus and my father was pretty sick at the time with corona. He was in the hospital and I didn’t have that chance to push myself to the max. So I had to write it [Ile Owo] and at the same time produce it while I was juggling taking care of my family. So I tried to do something I knew that I could afford to make.

 

 

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Ile Owo, like your previous films, draws inspiration from situations relatable to Nigerian people. What is most important to you as a filmmaker: to entertain or to educate?

I feel like all films are different and all films are made for different reasons, depending on the filmmaker and the story they’re trying to tell. For me, because of the way I see the world, I can’t help but not impact my own perspective of the world. 

What is the best way as a director to communicate your vision to your cast and crew?

I do write my scripts [and I’m rooted in the story] so I know exactly what I’m trying to do. So I know how to guide people towards that vision and sometimes people can assist because film is a collaborative effort. So I have the vision and let people know this is what I’m trying to do. And maybe they can be like, “Oh, add to this.” But I come with a very defined idea of the film.

What is the most important ingredient to becoming a great filmmaker?

I don’t know about the most important ingredient because I believe that it [filmmaking] is different for everybody but I do believe that you need to read a lot. That’s all because you need to take in a lot of information to accurately reflect the world. Just read broadly about life.

Ile Owo is out on Netflix. With the rising number of Nigerian productions being hosted by global streaming platforms, what does this portend for the future of the Nigerian film industry?

I believe we can already see the influence of the [streaming platforms] on the Nigerian film industry, in line with making varying genres and taking more experiments. What was going to be a purely cinema endeavour would have been more difficult to make a horror film but because of the exceptions of streaming platforms, it makes it possible to take more daring decisions. 

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TurnTable Top 100: Rema’s “Charm” Returns to No. 1

Posted on by Uzoma Ihejirika

Rema’s “Charm” returns to the summit of the Official Nigeria Top 100 for a second week at No. 1, tallying 76.5 million in radio airplay reach (No. 1 on radio) and 2.21 million streams (No. 3 on streaming). It is Rema’s longest No. 1 song in Nigeria – surpassing the one week of “Won Da Mo” at the top.

Kizz Daniel’s “Shu-Peru” debuts at No. 2 on this week’s Official Nigeria Top 100 (making a larger-than-projected launch on the chart). “Shu-Peru” tallied 2.13 million on-demand streams (No. 4 on streaming) and 61.6 million in radio reach (No. 8 on radio). It is Kizz Daniel’s third top ten entry on the singles chart in Nigeria – joining 4-week No. 1 “GWAGWALADA” and No. 2-peaking “RTID (Rich Till I Die.” “Shu-Peru” is also the biggest debut on the New Music Friday of May 12, 2023 (the song’s performance was boosted by the premiere of its official video on the same day).

Asake’s “2:30” falls to No.3 on this week’s chart after spending four non-consecutive weeks at the top. BNXN fka Buju’s “PRAY” rockets to No.4 on the Top 100. The song drew 2.31 million on-demand streams (No. 1 on streaming) and 50.2 million in radio reach (No. 12 on radio) during the tracking week of May 12 – 18 [it is important to note that the song was released on May 11, which meant that its first day numbers counted towards the tracking week of May 5 – 11].

Davido’s “FEEL” slides to No. 5 from its No. 3 peak on the Top 100. For a second straight week, it holds the distinction of being the biggest song of the ‘Timeless’ album in Nigeria. Davido’s “UNAVAILABLE” with Musa Keys rebounds to No.6 after peaking at No. 2 on the chart while Zinoleesky’s “Many Things” dips to No.7. Rounding out this week’s top ten; Adekunle Gold’s “Party No Dey Stop” with Zinoleesky drops 4-8; Victony’s “Soweto (Remix)” with Omah Lay & Tempoe retreats 5-9 while Young Jonn’s “Aquafina” is down to No. 10.

Outside of this week’s top ten,  Lil Durk’s “All My Life” with J. Cole debuts at No. 16. It is the biggest debut for any non-African Hip-Hop in singles/aggregated chart history in Nigeria. The song tallied 2.29 million on-demand streams in its first week – good enough for a No. 2 debut on the streaming chart. Interestingly, the song doesn’t appear on this week’s radio chart and did not make the Top 500 Songs on the radio during the tracking week.

Other new debuts include Bella Shmurda & Tiwa Savage’s “NSV” at No. 23, Teni’s “No Days Off” at No. 25 and Ruger’s “Jonzing Boy” at No. 28.

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NATIVE Selects: New Music From Amaarae, Gigi Atlantis, Omah Lay & more

Posted on by Damilola Animashaun

It’s that time again. Every week, new music shows up, sweeping fans and music lovers off their feet while artists gauge reactions to know the effect of their creativity. At the NATIVE, we are committed to keeping our ears on the pulse of the music scene and bringing the best sounds to your doorstep.

Last week, we brought you stellar new releases from Amaarae, Oxlade, Tiwa Savage and more. Today, we have songs that move from Afropop to Amapiano to R&B, with our select artists showcasing their unending talent and passion for creativity. Lock in!

KAYTRANADA & AMINE – “SOSSAUP” FT AMAARAE 

Last month, Kaytranada and Amine debuted their Pharrel Williams-backed “4EVA” for their joint Hip-Hop project assisted by catchy dance-floor hits. ‘Kaytranime’ features 11 groovy tracks with witty, sex themed penmanship performed by the likes of Big Sean and Snoop Dogg. However, a clear standout -fitting perfectly into the project’s theme with her sultry, dulcet vocals- is Amaarae. “Sossaup” leads in Amine’s confident wordplay, accompanied by sombre strings and a catchy drum pattern. Taking up the second verse, Amaarae delivers a melodious rendition and airy ad-libs, further elevating the track. 

OMAH LAY – “SOSO” FT. OZUNA 

Since Omah Lay’s ‘Boy Alone’ hit the airwaves last year, standout track, “soso” has seen exponential growth. Though the Tiny Desk performance received varying audience reactions, the track is an undeniable banger. Omah Lay takes the track a step further with a cross-continental remix with Puerto Rican singer, Ozuna. Still retaining its melodious hook, Ozuna comes in shortly after the first introduction and on the backend of the track for a groovy rendition in Spanish. 

 

GIGI ATLANTIS – “GTK”

Last we heard of the eclectic singer, she was delivering a stellar performance with DETO BLACK and Amaarae on “body count” off Odunsi(The Engine)’s ‘EVERYTHING YOU HEARD IS TRUE.’ Gigi Atlantis makes a poignant comeback after three years on “GTK” with production contributions from Sholz and a soulful spoken word verse by Tau Benah. The uplifting track features a captivating hook about feelings of self-contentment and finding peace, closing out mental health awareness week on high notes. 

OXLADE & FLAVOUR – “OVAMI” 

Nigerian singer Oxlade had an incredible 2022 with the global success of “KU LO SA” after a COLORS performance. He featured Camila Cabello on the remix and dropped the Mayorkun-assisted “Bad Boy,” furthering his ascendency. On “OVAMI,” his first single of 2023, Oxlade taps Highlife veteran Flavour for a romance-themed ballad built from Magicsticks’ lush instrumentation. The track puts Oxlade in a new light as he showcases his versatility and  growing profile.

BOB MARLEY & THE WAILERS – “WAITING IN VAIN” FT TIWA SAVAGE 

After an undeniably successful first quarter, Tiwa Savage continues her hit streak with an outstanding verse with the Reggae icon, Bob Marley. The pair express the all too familiar feeling of longing for a past love interest despite the inadequacies of the relationship, joined by staccato rhythms played by mellow guitar and piano strings. 

RAYBEKAH – “GONE BACK”

Sometimes, falling in love comes with hurt. It is this sentiment that Nigerian singer Raybekah channels into “Gone Back.” She sings about disloyalty she has suffered at the hands of those she has trusted with her affection. “I’m a fool, yes I’ve gone back/To my ex, I’ve gone back,” she sings—a direct contradiction to her 2022 single “EX BOYFRIEND,” where she sang, “I’ll be a fool to go back to my ex boyfriend.” Entertainment wise, it is a good song that marks Raybekah as one to watch.

BRUM3H – “HOLD YOU DOWN”

Nigerian singer and record producer Brum3h follows up his March release “You Don’t Want Me” with a new song “Hold You Down.” Co-produced by Brum3h and Cybertiger, the song employs powerful drums and synth-wave-inspired melodies to create an immersive experience as Brum3h belts his heart about the complications rife in a romantic relationship.  

SOUNDZ & FAVE – “FEVER”

Duets will never go out style. For the new song, the duo of Soundz and Fave combine their qualities for a heartwarming number. “Fever” uses the familiar metaphor of not feeling well because of a woman, even though there’s a progressive intensity that keeps the listener engaged from start to finish. 

SHALLIPOPI & ZLATAN – “ELON MUSK (REMIX)”

For a while now, this song has been an internet sensation and the artist behind it, highly sought after. Zlatan joins the remix, introducing his trademark energy to the catchy song. The result is a tune renewed, facing the appealing possibility of extending its run at the zenith of online culture. 

FASINA – “RELOAD”

As the Summer approaches, more songs will try to crack a breezy ease into their peculiarities. The true bops however have an air of natural arrangement to their qualities, and “Reload” is one such song. Audibly in his element, Fasina’s Dancehall-inflected tone thrills over a shiny guitars and a laid-back drum pattern. 

 

 

Identify: Bongeziwe Mabandla Is Channeling The Beauty Of The Times

Posted on by Emmanuel Esomnofu

Bongeziwe Mabandla is walking. Behind him are lush green trees, the street quiet except for the sound of footsteps. It is some days after the release of ‘amaXesha’, the South African musician’s fourth studio album, and he’s momentarily resident in Maputo, the capital of Mozambique. This is the hometown of Tiago Paulo, the longtime producer of Bongeziwe who has produced his last two albums. They are rehearsing in anticipation of some shows the artist would be playing early next month in London.

“This is part of the shows that I’m actually rehearsing for,” revealed Bongeziwe in a recent conversation with NATIVE Mag. “We have, like, two sold out shows, and it’s just an exciting time”. The time is surely prime for Bongeziwe, whose album has been heralded following the release of ‘iimini’ in 2020. Some weeks ago, the musician premiered the soulful “sisahleleleni (i)” on COLORS, delivering an evocative performance while serving skin in a graceful yellow top. It was an extension of the run-up that set the ground for ‘amaXesha’, which is an album that reiterated Bongeziwe’s artistic focus on those shared intimacies of the human race. 

“The whole album came about how do you go back to a relationship that didn’t work?” he says. “How do you approach that? How do you try and fix things with somebody that were broken? It’s all about relearning how to trust each other, relearning about the person, trying not to make the same mistakes, finding love again with somebody where there’s a lot of hurt.” 

Exploring tensions borne from a romantic affair has been a recurring totem in Bongeziwe’s writing. ‘amaXesha’ pondered those tensions in a direct style as he’s seldom done, weaning bigger lessons from his distinct experiences and those he’s observed in the world around him. Bongeziwe admits that the reason why he thought the album was important because of the relationships he observed around him. “You find somebody who’s divorced, maybe, going back to his significant other, and giving the marriage a second chance. And I just thought about how that process would be – because you’re going against a lot of people who are surprised, who don’t understand it. And people are like, ‘How can you go back’?”

Mabandla considers ‘amaXesha’ a Side-B of the pandemic era album, honing into its themes of positivity and finding new perspectives within the narrative it espoused. ‘iimini’ means ‘Days’ and ‘amaXesha’ translates to ‘The Times’, revealing the progressive scope of Bongeziwe’s ideations. “Both of these concepts are about sometimes, we are living, and we unaware and we just going through our days,” he explains, “not knowing that one day, when we look back our lives we’ll know, ‘Oh, those experiences that I was having, those were the times of our lives’. You know, life happens through time”. 

A lot of the writing happened during lockdown, in South Africa, where the artist was resident. “It brought a lot of challenges to the recording,” he says about the album’s creation process during that period. “I’d obviously start off at home and record my vocals and the guitar, and then send it to [Tiago] and we would talk over the phone, and then he would work on stuff, like put drums and bass and send it back to me. After a while, we were in the same space here in Mozambique to record together.” 

Tiago, the often mentioned producer who steers Bongeziwe’s sound, was a member of the 340ml band. His former bandmate Paulo Chibanga had produced the artist’s debut ‘Umlilo’, and one album afterwards, Tiago sought out Bongeziwe. Their first project was the award-winning ‘iimini’, where conceptual sonic flourishes were paired with evocative singing. ‘amaXesha’ parlays that understanding into riveting pieces with electro edges, offering a soundscape that continues Bongeziwe’s movement beyond the Folk tradition, yet retaining a characteristic soulfulness. “When I met Tiago, it felt like a really great match and it happened instantly,” said Bongeziwe. 

He doesn’t consider ‘amaXesha’ as “straightforward” as the preceding album, although the careful listener might find sonic parallels. For one, it echoes his philosophy about what an album should do. “An album is about capturing a certain period,” he said. If the atmosphere surrounding ‘iimini’ was the growing career of Bongeziwe, the close relationship he was approaching with Tiago, ‘amaXesha’ is more personal and melancholic. To capture those emotions, the sound moves on similar motivations. Affirming its direction, Bongeziwe says: “It evolves on the experimental side”. 

In the period before the 2010s, Bongeziwe Mabandla was unknown. At least, not in the music circles he’s dominating today. Prior to releasing music, Bongeziwe considered a career in theatre. He had grown up in the Eastern Cape, an area rich in Black and musical traditions, but Bongeziwe had plans to stake fresh territory. The world was changing, and belonging within English culture seemed the definitive medium for belonging anywhere of importance. In high school, he went by Bonge. 

The move to Johannesburg would change Bongeziwe’s life forever. There he was supposed to become an actor, but found that “the training wasn’t as intense as I thought it would be,” as he said in an interview with Music In Africa. He was rather immersed into the world of art and music, where pro-Black ideologies had the philosophical edge on young people such as himself. That was when he decided to create art under his full name, and also to sing in his native Xhosa. “It was very black conscious music,” he says about the Jo Burg music scene. “Growing dreadlocks, claiming their culture and their language back. I wanted to be part of that because I knew it was very powerful; it was also very important. So I was super influenced by that”. 

Having attended English schools all his life, this re-education was important in the new phase of Bongeziwe. He credits artists such as Simphiwe Dana and Thandiswa Mazwai for sparking the necessary flame of cultural reclamation, while seeing himself as working in the tradition of artists who’d casually release an album entirely written in Xhosa. “It was a statement,” he said. 

Prior to signing a record deal, Bongeziwe worked with the aforementioned Chibanga of 340ml. They had created ‘Umlilo’, capturing the multifaceted sound of the artist. He had, after all, listened to artists such as Tracy Chapman, Asa and Lauryn Hill, whose solo work and as part of The Fugees  taught Bongeziwe to translate his music with more intentionality. “[Chibanga] had taken the record to different labels in South Africa and there were times when I would almost sign to one, and then it wouldn’t fall through,” he says, “And then I had heard about SONY Music, and there were interested, and I think I heard in June, and only got to sign the contract in March the following year. So it took a long time”. 

Behind the scenes, Bongeziwe mastered his craft. ‘Mangaliso’ was released five years later, in 2017, and was a calculated risk at broadening the perimeters of his sound. Emerging from the griot tradition did not mean he couldn’t build on their peculiarities; although estranging some section of his fanbase, the album proved a critical success as it was awarded the South African Music Award (SAMA) for Best Alternative Album. ‘iimini’ won in the same category three years afterwards, which would mean all eyes would be on Bongeziwe when the prestigious award comes by this year.

The more important acclaim for Bongeziwe is bound to be genuine musical connection, however. And that, he has lots and lots of. Early this year, when I really got into his music, I had searched for a live performance to watch. Finding one of “isiphelo (#untitled)”, he had recorded the video during the pandemic, a time when actual human connection was necessary but scarce. Mirroring the powerful emotions on display, the majority of comments on that YouTube page affirmed the transcendental pull of Bongeziwe’s music, whether in memory of a departed one or as a touchstone of a life-changing moment. Even something as commonplace as a breakup, which the song is actually about, becomes illuminated under Mabandla’s careful, soul-wrenching singing. 

Perhaps this quality can be attributed to Bongeziwe’s connection with theatre, establishing close emotional honesty in his songs. This can be traced also back to the music he listened to at the start, how resonant those messages of love and life were. He had distinct taste from the start; not being necessarily drawn to popular stuff. “I liked that about myself,” he said, “That I was not listening to what everybody was listening to. I found my kind of music, and that was a major thing for me. It made me individual”.

In the South African music scene which is right now studded with talent, Bongeziwe sticks out like gracefully. During the course of our conversation, I brought up Lloyiso, an R&B singer who this magazine recently covered. Mabandla affirms he’s met the musician not long ago; and while a collaboration might be possible in the future, right now he’s promoting the stunning collection that is ‘amaXesha’. Each time offering fresh perspectives to listeners, Bongeziwe’s approach to writing embraces a practical dedication that renders it rich narrative quality, making him, truly, a most competent purveyor of the times. 

“You know, I try and find topics that move me,” he says, now pulling on a strand of his hair. “I try to write about things that are important to me, that changed me and are important to how I live my life. If something really upsets me, I’ll go write a song about it. If something really makes me happy, I’ll go write a song about it”. 

IDENTIFY: YINKA WANTS THE WORLD TO LOVE AGAIN

A 1-Listen Review Of Wande Coal’s ‘Legend or No Legend’

Posted on by Emmanuel Esomnofu

Ever so often, someone somewhere listens to a song that reminds them how much of a genius Wande Coal is. The message is taken to just about everywhere, worded in a phrase that’s been gracefully supplied by the artist himself: “Nobody be like Wande”. Other times, the skill and sojourn of Wande Coal is placed under rightful scrutiny, with detractors unconvinced he’s successfully parlayed his talents into a rock-solid superstar profile. 

One thing is clear however: over the past half decade, as more amorphous sounds open themselves within Nigerian Pop, the distinct evocative qualities of Wande has proven a core influence. Those dazzling vocal runs, the usage of ethereal-sounding gibberish, the Michael Jackson-influenced swagger—those are present still, even permeating underground indie terrain. It’s one of the most enviable legacies in all of Afropop, but it’s understandable why Wande Coal would want to extend that sonic respect into making genius in his own portfolio, and that’s the narrative coming into his latest ‘Legend Or No Legend’. 

 

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Being his first full-length work in eight years, ‘Legend Or No Legend’ undoubtedly arrives to a lot of expectations. It doesn’t take the mountain off Wande’s chest considering he’s offered different iterations of his sound across that sprawling expanse of time, and choosing which to include here (and the more essential vision of their pairing) would have been tasking. The recent conversations about his actual standing in the Hall of Fame would have been no more comforting, except more people have stood on his side. Let’s hear what he does with this elevated podium. 

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

“NOBODY HOLY”

A Dunnie ‘Legend Oh’ tag to start off an album concerned with legends is a nice touch. The bounce in these drums is very visceral, I enjoy the colours they evoke. Quite Fela-esque but something indie about the production; heh, Wande is approaching this well. That ‘nobody holy’ idea is a bit overused in Nigerian music, but at least he’s riveting. Muscular flexing of his vocals; nothing too showy. On a topic-level, this opener doesn’t do much for me however. Memorable performances across board, though. What’s that closing drum sequence? Gives the song the kind of epic show-starting feeling you’d get from the opener of Little Simz’s ‘SIMBI’. Let’s see (hear) if the album follows the sonic trail. 

“COME MY WAY”

I liked this when it dropped, it’s quite original. Perhaps by not being on many amapiano records, Wande has maintained a freshness for that sound. The feel-good element here cannot be missed. I remember it was released close to December, and just sort of captured the victorious energy of that period. It’s prime-era reminiscent of how many directions he’s coming at this from; colouring a song with different-sounding vocalisations is a favourite trick, after all. When the drums strip away and he embarks on THAT melodic solo, this song comes alive. I like its early placement on the album; it makes you excited for what comes next. 

“3 SQUARE MEAL”

Some trap-esque guitars starting off this one, and Wande doing his best southern American impression. The tone here is sombre; quite disjointed from the previous record. I hear what he’s trying to do, but it’s not working well enough. The production sounds empty while the vocals could have done with more dynamism. Somehow, the laid-back R&B approach on a beat like this doesn’t give sufficient vibes. An easy skip imo. 

“DUES”

These keys are giving “Spaceship Jocelyn” Rema and Victony. He starts with that emo rap-influenced crooning, but rather than demons, it’s the movement of a woman he’s battling with. What’s this rap zest? Wande Coal has launched into full MC mode, these bars are really magnetic, even if I’ll need a revisit to properly gauge what he’s saying. The cadence has no flaws, though. Wande has always been like that singing guy you knew could rap but never had the patience to sit and write rhymes. This is the song “3 Square Meals” wished it were; the cross-cultural pairing works so effortlessly here. 

“E CHOKE”

Another mellow number. Don’t know if it’s just me but the transitions on here have been underwhelming. Perhaps, I’d appreciate “E Choke” better on subsequent listens but this current one isn’t working. Can’t seem to wrap my head around what he really wants to say, the songwriting isn’t the most coherent. And it doesn’t help that the production has a lot of space for writing. Meanwhile, the lyrics sound freestyled. You can guess already: I don’t like this song very much. 

“LET THEM KNOW”

This production sounds a bit familiar. Yes, that first song; I think they have similar tones. But the production is more bouncy, something Wizkid would float over with two eyes closed. It’s meant to be a feel good song, but the energy is a little overstretched to be effortless. Then the beat could have lost some of its verve, and also, at the risk of sounding too high art-demanding, this would have benefited from an abstract approach to the writing. A little less directness, a lot more focus. Wande’s a good freestyler but an album shouldn’t have such obviously unstructured songs. 

“STREETS” (FT. T-PAIN)

When the snippet of this collaboration went online, it wasn’t exactly what a lot of people thought a song with T-Pain and Wande Coal would sound like. Myself included, to be honest. For many years, these two artists have been considered as musical twins, operating in similar folds by moving seamlessly between R&B and pop, boasting smash hits which were yet close in context. Love songs were something they also did well, whereas this “Streets” seems to come up from nowhere. The T-Pain verse was purposeful but not evocative, Wande’s contribution tried to be evocative but lacked its prerequisite of specificity. This is one of those few songs where popular expectation would have been been the ideal execution. 

“KPE PASO” (FT. OLAMIDE)

In my opinion, this is one of the best pop songs released this year. Everything’s on check, from the haunting bass of the production to the vocal deliveries. Definitely one of Olamide’s most affecting features in recent times. “That booty look like a place they told me not to go,” is such a captivating lyric. Wande’s first verse has such great measure, too. The crowd vocals are in good taste, amplifying the (sensual) tension the song embodies. Both voices are well-synced; I think Wande Coal is one of the most seamless pairings for Olamide’s vocals. The aforementioned MJ swag is everywhere in this second verse; Wande is to be moonwalking on afropop galaxy. 

“EBELEBE” (FT. WIZKID)

We’re here now. The bromance between these acts is one of the most wholesome things in all of African music and this is a chance to capture that energy in song. That’s after all, the topmost unifying factor whenever they’re in a room together. Drums are mellow, spiritual, sparse. Wande’s adlibs works great in such opening sections; here, it particularly reveals its influence in the style of Kizz Daniel. Wiz has come in; the pace is great for him and he’s coasting over it, quite well too. His presence is heavy. Wande’s switched in; that street fighter bar came in sweet. I like what the production is doing; very subtle tweaks and progressions happening in the background. I will definitely be revisiting this one. 

“GENESIS”

This song just started off with an energy of its own. An arrangement of the synths brings out the flows, zesty by the way. “And I been setting a legacy, don’t care about positive or negative” is one of the most revealing lyrics all album long; it’s the first to directly reference its title. These Indian-inflected melodies bring the Rema argument to light, and while I think they’re both distinct and accomplished vocalists, it’s fair to consider WC an early blazer in that path. I remember when he used to drop those Mandarin-sounding gibberish, and would make them very important sections of the songs. He does that here, although they call up much attention to what they’re doing, and that contradicts the subtle ambitions of performance. 

“JABO” (FT. FIREBOY DML)

Another of the more anticipated collaborations on the album. Fireboy has always been about the Wande Coal influence in his craft and this being the second time they’re officially collaborating, a semblance should have been struck by now. This is Fireboy singing what is obviously the hook; it’s uncanny how much of Wande Coal seeps into his vocals. He rides on the space to deliver the first verse, does a neat job of that too. I’m just picking that the drums on this album have had a cohesive base, but it’s the pace and structure where they fall short. Wande Coal’s impact on this song is not quite moving, these runs don’t move as they’re meant to. He could have gone verse for verse with Fire, but he chose the vocal route. That comes more naturally to him, obviously. 

“SHO MA GBA”

The tension is palpable on this one. Definitely a late-album banger. I’m feeling the drums and Wande’s carefree singing. The Odogwu mention is heartwarming lol; he would have made a fine feature here. Beyond the energy, and the timely reminder of his greatness, there’s not much happening here. It’s almost a filler, but the pace repurposes the album’s direction, and that’s a good set-up for the last record. 

“DON’T FEEL LOVE” 

Last song on the album. Vocals right off the drop, there’s no hiding that the intent here is to sing. Kel-P has featured very prominently in this album, and I don’t know if that is good or bad. Anyways, the singingit  is quite moving even though it’s polarising what love Wande sings of. The initial sections had suggested a wider spectrum of the emotion being taken account of, but it’s revealing itself to be a romantically-inclined. Heh, I’m not feeling these adlibs; the album has too many of them, and without much distinction. This hook is lukewarm, doesn’t excite past the innate melody of Wande’s voice. Down to the end, the sound grasps on those highs the artist has mastered over the course of his career, but the effect is audible less poignant. 

FINAL THOUGHTS 

While it scarcely references its title, ‘Legend or No Legend’ would definitely be a polarising album. To be truthful, the breadth of Wande Coal’s influence in Nigerian pop would always make him a legend, while his cache of hits transcend mere cult hero status, but looking beyond those achievements this album doesn’t summarily capture his genius. Most of the records are approached from a place of comfort rather than pushing himself, and that manifests in the overt reliance on melodies to build song structure. 

More than a one-trick phony, Wande Coal demonstrated during his peak years that he can approach music from variant angles, but that versatility isn’t found here. What is rather obvious is the banking on a headline-worthy title to spur listenership, but sadly, there isn’t enough to keep them present or want subsequent listens. Most of all, Wande’s songwriting craves purposeful indulgence, the toil of being in rooms where his legacy means nothing and the creation of new lore becomes the domineering motivation. This would set this legend back on course, utilising better the pristine qualities of those gifts that once held us spellbound. 

Teni brings her sophomore album one step closer with new single, “No Days Off”

Posted on by Uzoma Ihejirika

In March, Teni shared a snippet of her latest single “No Days Off,” whetting fans and music lovers appetite in a wave of excitement. The track, with its uptempo bass and shuffling keys, sounded nothing like Teni’s previous works. The sonics of “No Day Off” as well as her fashion choices in the video for the snippet—baggy pants, sneakers and grills—are synonymous with the Alté music scene and are important pieces to Toni’s current mosaic.

Back in 2017, Teni made her mark in the Nigerian music industry with songwriting credits on Davido’s single “Like Dat.” Before her return to the country, she schooled in the US, where she polished her musicianship in music studios while relying on the benevolence of friends. After signing with Dr Dolor Entertainment in 2017, Teni went on a brilliant run of singles in the following year—“Lagos,” “Fake Jersey,” “Fargin,” “Wait,” “Pareke,” “Shakeam,” “Case,” “Askamaya,” “Christmas Is Here” and “Uyo Meyo”—and stamped her name on the consciousness of the music audiences. 

“Askamaya,” “Case” and “Uyo Meyo” were particularly influential in turning Teni from an upstart to a star that demanded mainstream attention. Those songs showcased Teni’s propensity to underpin a vast range of topics and concerns with her powerful vocals. Shortly after she entered the scene, awards followed, with  Teni scooping the Rookie of the Year plaque at the Headies Awards alongside other wins. In 2019, Teni didn’t lose any steam as she fed fans with “Party Next Door,” “Sugar Mummy,” “Power Rangers” and the ‘Billionaire’ EP.

Along with her music, Teni held appeal to her confidence as a plus-size woman in an industry and society that are ultimately judgemental of the lifestyle choices of women. With more music punctuating the years—her 2021 debut album ‘WONDALAND,’ for instance—Teni’s music has evolved, pushing beyond the boundaries by merging genres with her unique touch.

After sharing the snippet for the Genio Bambino-produced “No Days Off,” Teni heightened anticipation for the track with more promotional videos, showing off dance steps that match the energy of the track.  “I’ve been shooting hoops on the court with no days off/And you know I put my life on the line and it paid off,” Teni sings in praise of her perseverance and hard work. She also shouts out her day ones, people who have stood by her and injected confidence into every step of her journey. As much as the track is Teni’s celebration of her feats, it is also an opportunity for others to take pride in their exploits and the challenges they have surmounted.

With a sophomore album on the horizon, Teni uses “No Days Off” to recalibrate her artistry and lay a precursor for future sonic iterations. While she has scored massive success in the past, it is a fresh start for the singer as she reaches for new creative highs.

Featured image credits/Teni

ICYMI: Revisit our review of Teni’s debut album ‘WONDALAND’

TurnTable Top 100: Asake’s “2:30” Returns To No. 1 For A Fourth Week

Posted on by Uzoma Ihejirika

Asake’s “2:30” tallied 78.4 million in radio reach (No. 1 on radio) and 2.28 million in radio reach (No. 3 on streaming) as it rebounded back to the summit of the Official Nigeria Top 100 for a fourth week. The song extends its record as Asake’s longest No. 1 song as a lead artist. Rema’s “Charm” dips to No. 2 after becoming the artist’s first No. 1 as a lead artist when it debuted at the summit last week.

Davido’s “FEEL” rebounds to a new peak of No. 3 on the chart – it is the highest charting single off ‘Timeless’ on the Top 100 this week. This is the first time it has held that honour since the March 31 release of Davido’s fourth studio album. Adekunle Gold’s former 2-week No. 1 “Party No Dey Stop” with Zinoleesky rebounds 5-4. Victony’s “Soweto” with Tempoe featuring Don Toliver and Rema slips to No. 5. It peaked at No. 4 on the chart last week.

Zinoleesky’s “Many Things” is unmoved at No. 6 while Davido’s “UNAVAILABLE” with Musa Keys drops to No. 7. The song peaked at No. 2 on the chart. Rounding out this week’s top ten; BNXN fka Buju’s “GWAGWALADA” with Seyi Vibez and Kizz Daniel is down to No. 8 after leading the chart for four weeks. Young Jonn’s “Aquafina” holds at No. 9 for another week while Johnny Drille’s “Believe Me” enters the top ten for the first time.

Featured image credits/

NATIVE Selects: New Music from Tyla, Tay Iwar, Bella Shmurda and more

Posted on by Damilola Animashaun

It’s that time again. Every week, new music shows up, sweeping fans and music lovers off their feet while artists gauge reactions to know the effect of their creativity. At the NATIVE, we are committed to keeping our ears on the pulse of the music scene and bringing the best sounds to your doorstep.

Last week, we brought you stellar new releases from Fireboy DML, BNXN, CKay and more. Today, we have songs that move from Afropop to Amapiano to R&B, with our select artists showcasing their unending talent and passion for creativity. Lock in!

TYLA & AYRA STARR – “GIRL NEXT DOOR” 

Representing the new generation of outstanding African talents, Ayra Starr and Tyla join forces on the catchy mid-tempo track produced by P.Prime. The intoxicating, Amapiano-tinged beat opens the track, followed by the honeyed vocals and harmonies by the pair. Their sweet sounding melodies perfectly contrast the direct message to their love interest, warning them of the dangers of their nonchalant attitude. The pair reiterate that they’re the it girls singing, “Don’t mess this up, I’m not warning you//Got a lot of options wishing they were you” 

TAY IWAR & TWELVE XII – “UNDERCOVER LOVER” 

Ahead of his recently announced EP, ‘Summer Breeze’ -slated for release next month- Tay Iwar’s new track gears us nearer to the highly anticipated project. The slow tempo track features Tay’s harmonious vocals, expressing his dire need for his love interest. Accompanied with a sultry, almost whispering rendition, he openly calls out to her with showers of praise. 

 

BELLA SHMURDA & TIWA SAVAGE – “NSV” 

For his third release of the year, following the Nasty C-assisted remix of “Philo,” the Street-pop flag bearer taps Tiwa Savage on the new groovy single, “NSV.” The track immediately starts on a high note featuring a distorted chant by Bella Shmurda, subtle piano keys and the infamous log drums. Over a mid-tempo track, Tiwa’s lush vocals elevate the track as the pair swing back and forth proclaiming themselves as the life of the party. 

BNXN – “PRAY” 

Coming off a big hit earlier this year, “Gwagwalada,” BNXN is back with another stunning release, reaffirming his status as a serial hitmaker. The magicsticks-produced track is an appreciative one as BNXN recalls the struggles he has faced and the people who refused to support him in his early career days. He recalls significant career strides like playing O2 Brixton and his incessant need to remain prayerful as he continues this journey. 

KIZZ DANIEL – “SHU-PERU”  

“Shu-Peru,” through his catchy beats, relatable lyrics and infectious hook, perfectly showcase Kizz Daniel’s musical prowess and further stamps him as a key force in Afropop today. Produced by Reward beatz, the upbeat production creates an inviting atmosphere for Daniel’s memorable rendition. The tracks catchy, repetitive hook rings beyond the first listen, proving that the pair have a timeless piece on their hands. 

   

OBONGJAYAR – “JUST COOL”

Premiered as Clara Amfo’s Hottest Record, the Karma Kid-produced track marks Obongjayar’s first release since his perfectly curated debut album ‘Some Nights I Dream of Doors’ released last year. “Just Cool” arrives just in time for summer with its punchy, sun-drenched rhythms and instantly catchy vocals. The rhythmic track seamlessly blends elements of 70’s West African funk a la Fela Kuti & Kio Amachree with OB’s ice-cool vocal delivery that showcases an exciting new evolution for the experimental artist.  

MR EAZI & YUNG WILLIS – “HAPPY”

Fast-rising musician, Yung Willis has collaborated with Mr. Eazi for an upbeat number dubbed “Happy.” Yung Willis sings about his desire to live his best life in a mood while Mr. Eazi in his usual laid back, no-stress attitude emphasises the need to live a happy life. “Happy” is a seamless blend of Afropop and current sounds, creating a feel-good mood that will lift the spirits of any listener. 

TOMI TRYBE & TOYE – “NI NIGERIA” 

Tomi Trybe, a fast-rising star in collaboration with talented act, Toye has released, “Ni Nigeria.” Armed with moving lyrics in Yoruba and English, the duo celebrate the beautifully diverse cultures and traditions in the country, over a fusion of Afropop and Amapiano sounds. The Dante Beats-produced track embodies an effortless flow, housed by the celebratory aura and shared pride resonating through its course. The accompanying visuals reiterate the track’s message as we see on the flag-painted faces of the children. 

RUGER – “BUN BUN” 

After an impressive run in 2023, Ruger has returned to the airwaves with “Bun Bun,” a quick follow-up to his recently released “Jonzing boy.” In “Bun Bun,” Ruger makes a case for the seductive body of a woman and showers her with praise. The smooth vocals and awesome beat enables Ruger deliver a captivating track that will leave every listener moving their bodies.

DJ TUNEZ – “SHAKA ZULU” FT LADY DU, SMEEZ & D3AN 

From his highly anticipated project, ‘Triple Threat,’ Nigerian singer and songwriter, DJ Tunez, has released a single titled “Shaka Zulu,” an ode to the South African monarch, Shaka Zulu. The amapiano soundtrack brags of sizzling verses delivered  from Smeez, D3AN and Lady Du. The synergy of the acts on the song complement DJ Tunez’s distinct sound, vocals and production skills.

Featured Image Credits/The NATIVE

 

Best New Music: Trill Xoe Sets The Bar High With “Let Me In”

Posted on by Emmanuel Esomnofu

The Nigerian music scene is an interesting place right now. Existing side-by-side are variant genres and traditions, all drawing from diverse aspects of our shared cultures. Beyond pop musicians and its aspirations, a number of gifted creatives are reinventing the sound with overt influences cued-in from several genres around the world. During the mid-2010s, a high level of sonic bending led to the birth of the alte culture, pairing that kaleidoscopic musicality with exciting detours into fashion, film and visual art. 

In more ways than one, Trill Xoe belongs among this class of musicians. A producer and A&R at Native Records, he released his debut project ‘Blood, Sweat & Tears’ in 2018, featuring promising musicians whom he steered towards his vision. He’s also a pioneering member of the 44db producer collective, underlying his place in the culture both on a sonic level and as a member of the wider community. Over the years, he’s doubled down on those ambitions, emerging with a portfolio that ranks among the best of his generation. 

 

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Still charting solid off the co-produced “DECLAN RICE”, we caught up with Trill Xoe some months back to discuss his journey into music, as well as his future plans. He made it excitedly known that his much-awaited sophomore tape wouldn’t be awaited for much longer, sharing some plans he had for the tape which would be titled ‘Lucent’. 

Trill Xoe has begun the run-up to that project, and in breathtaking style, too. Being his first official release in over three years, “LET YOU IN” can be parsed both as an enjoyable new record but also as an reintroduction to his production and curatorial skills. The song features the promising Azanti and Mahgi, a musician Trill Xoe has been working with and developing for quite some time. Always in tune with the ebbs of what’s happening beneath the glistening board of mainstream afropop, Trill Xoe’s pairing works to give the record an unpredictability which the listener eases into on first listen. 

Shimmering with an ominous sequence, the brilliance of the production is audible early on. Swaggering drums are introduced, mellow but groovy, just about the same time Azanti enters the record. Thematically, it’s a very Afropop record; bemoaning the unavailability of his heart and affection, it tallies the emo perspective that’s been adopted by many new-age musicians. “I can’t let you in ah ah, it’d be bad for me and you,” sings Azanti with breezy longing, the melancholy of that sentiment matched with the vibrancy of the overlapping rhythm. 

On his part, Mahgi takes a different direction to Azanti’s, bringing a fuller sensation to the record through his interlude-esque verse. The beat also expands on itself to bring that emotion of longing to life, incorporating brazy trumpets, dropping percussions, and synth runs lending to an atmosphere with audible cinematic flourish. Existing closer to the progressive R&B tradition of Bryston Tiller and Drake, “LET YOU IN” thus sounds like two songs in one, paired with the overt Afropop influence audible in its first half.

Trill Xoe obviously has the direction of his next sonic phase on lock and “LET YOU IN” is a brilliant take-off in that direction. Where producers making projects were once considered novelty, fortunately the scene has changed in a positive direction, and producers like Trill Xoe are most equipped to push it onto the next phase. 

What that might mean, as heard on this new record, is producers creating experiences that transcend the primal creative instinct to create songs. Already working in that intersection between creativity and criticism, Trill Xoe’s bag of tricks is ever deepening, and it wouldn’t be surprising that ‘Lucent’ turns out to be one of the noteworthy projects to drop this year. Already setting a high bar, this colourful, coordinated collaboration has begun that process in typical auteur style. Tell everyone: Trill Xoe is back. 

Review: Suté Iwar’s ‘Ultralight’

In contemporary urban music, the ‘90s represent the ideal portrayal of what romantic love should feel like. A lot of that comes from the R&B of that era and the perception it created in the minds of millions of young black people, that fire, desire and unending devotion were all it took to make relationships work. Sure, Mary J. Blige exorcised toxicity on “Real Love” and Erykah Badu read “Tyrone” for filth, but rose-tinted memories elevate the significance of songs like SWV’s “Rain” or the several videos where singers would perform dramatically under the rain.

On his 2021 project, ‘199X’, Suté Iwar clearly leans into the idea that the ‘90s is the pinnacle for lovestruck expressions. At the end of the deep cut “Mushy Girl,” a lady eulogises some of the hallmarks of the R&B in those years, including singers speaking mid-song while “the boy group is doing the adlibs” and how many women sang with a yearning verve. “I feel like the way that they sold love was just exceptional,” she says. For much of that 17-song tape, Suté invokes fire, desire and unending devotion, but there’s an obvious nod to the simple fact that times have changed.

Romance has gotten even more complex; no one is singing under the rain in an era where people are texting their way into infatuation, situationships and going ghost or being ghosted. “You know we gotta speak some time/’Cause I can’t read your mind,” he sings on the balmy “Pulp Fiction,” situating his yearnings in the present. At that, Suté sings about two people pressing into each other emotionally and physically, with conviction that romantic utopia is reachable even in these times.

On his most recent project, ‘ULTRALIGHT’, the Nigerian artist is yet to figure it all out. In fact, it’s gotten even more complex for him too. “Monogamy, that was the plan/that’s one way we measure a man,” he muses on the instant highlight “SHUGA PEACH.” It’s the perfect set-up to a sequence marked by raw introspection and bracing self-awareness, with the explicit acceptance of his own faults and flaws in making his relationships messy. That candidness is particularly refreshing in a time when male R&B and rap is marked by deluded solipsism, where artists are content playing the heel and toxicity isn’t just revealed—it’s almost always revelled in.

Suté’s revelations are his way of growing out of toxic patterns, for himself and the people he interfaces with on a level as deep as romance. That’s the core of ‘ULTRALIGHT’: Holding yourself up to the light as an act of purification. Like a revered rap artist once said, “You can’t heal what you never reveal.” The best part is that Suté doesn’t break form with who he is to get introspective, putting in a typically vibrant shift as he switches seamlessly between singing and rapping. Largely self-produced, the album is a buoyant suite of booming kicks and breezy percussions, sunny melodies and humming bass, and a dub reggae song.

In several ways, this album is the culmination of his growth as an artist and many experiences as a person into his latest opus. As much as it’s a great successor to his last project, you can hear spiritual call-backs to his older work here. Featuring a gleaming hook for RayTheBoffin, “THE PLEASURE PRINCIPLE” feels like a retrospective rendering of the sort of situation he sang about on “Time,” a track off 2020’s ‘Colors’. Where that older track fixated on infatuation, Suté is better positioned to see the ill effects of a relationship built on shared vices. As an added genius, he links it to the crash that can accompany reckless thrill seeking, recalling a time he had to be taken to the hospital for smoking too much.

 

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Romance is the central theme of the last two albums but it ultimately works as a framework of evaluation for Suté, one that even applies artistically. “I don’t feel like rapping again,” he half-croons on “Feeeed” from ‘199X’. “I just want to sing/but all these things I have to say/can’t say ‘em one way.” In the aftermath of his second project, 2015’s ‘Visions’, Suté placed an increased emphasis on his versatility, refusing to be boxed in by rap messiah expectations after his 2014 debut, ‘Jelí’, achieved cult classic status in the SoundCloud era. He sang more on subsequent projects and it’s intriguing the 2018 rap-centric EP ‘Leopards’ was nowhere to be found on the internet not long after its release.

In a post-‘Take Care’ world, the aversion to sticking to one mode of vocal delivery has increased; rappers singing and singers rapping is the norm. By making binary expertise the main point of his music, it felt like there weren’t enough moments of definitive lyricism in Suté’s music. As a rapper, intricate rhyme schemes are his vehicles for storytelling and perspective sharing. As a singer, he’s mostly evocative and there are less details, which means there’s a strong reliance on melodies to keep listeners fully engaged.

Suté does have an agile voice with a pleasant tone but it’s limited in range, so rapping has to play an important role within the context of a full-length project, even if singing takes a larger share of the run-time. ‘199X’ found that balance, featuring singalong highlights like “Fever” and tuneful rap slappers like “Funk Soldier,” but they all worked in service of the artist creating paeans to falling in love. On ‘ULTRALIGHT’, that balance again works in service of Suté figuring out how to be a better version of himself, in relation to his love life and the world around him.

“My lady never let me go/she’s my home when the world gets cold,” he sings over the mid-tempo, Caribbean pop-influenced beat on “SIGNS,” an image of romantic bliss that also nods to climate change. On the lead single, “JUDAH LION,” WurlD adds to the ride-or-die attitude with his trademark charm, while Efe Oraka acts as the reciprocating love interest over the lustrous reggae guitars of “ICE DUB.” Working with many outside voices isn’t something Suté indulges in on his projects, but ‘ULTRALIGHT’ features more than a handful of complimentary guests, from Shalom Dubas’ gorgeous 8-bar coda on the bright-eyed “BIG WORLD BABY” to brother Tay and Lex Amor calmly expelling their demons on “MEDITATE.”

On “EARTH ANGEL,” Ogranya’s hook is succinct and soulful, while Suté raps with a defiance on the first verse, chipping at those regards as inferior and snarling at “industry niggas.” On the second verse, he gets vulnerable and even changes cadence, revealing emotional issues with his father. It’s the second time on the album he discusses that relationship, hinting that his dad might have cheated on the confessional side of “SHUGA PEACH.”

In dealing with this inherited issues, he does offer grace to himself and his father, an indicator that he’s putting the work in to not transfer it to his partners and those around him. ‘ULTRALIGHT’ is about the process—“I know sometimes I hide my trauma,” he admits on closing track, “THE LIGHT.” It’s particularly endearing that Suté doesn’t turn himself into an avatar, since all he’s doing here is “sharing my journey so far.” Tacitly, he’s an advocate for personal effort on the path to being the kind of wholesome person deserving of that type of ‘90s R&B love. Sometimes, all we can do is our best.

NATIVE EXCLUSIVE: SUTÉ IWAR IS ON A JOURNEY OF EXPLORATION

A 1-Listen Review Of Jidenna’s ‘Me You & God’

Posted on by Dennis Ade Peter

The last time Jidenna released an album, he was serving as the guide along metaphorical yet increasingly tangible highway between urban America and Africa. ‘85 to Africa’ came out around the time when pop music from West Africa was receiving wider attention on sustained momentum. That was the year Burna Boy and Mr Eazi performed at Coachella, and Davido’s then 2-year old “Fall” was getting serious radio airplay and fringe song of the summer considerations.

Four years have passed, we’ve lived through a pandemic and Billboard’s dedicated Afrobeats chart is one of the many indicators of just how mainstream pop music from the continent has gotten in the U.S. For a new album, it would be easy to envision Jidenna capitalising on the upward trajectory of Afropop, but that doesn’t seem to be the route he’s taking. In the teaser trailer for the newly released ‘Me You & God’, he hints at an album inspired by a romantic situation insulated by the bubble of the Coronavirus pandemic.

Pre-released singles, “FRONT END” and the Bootsy Collins-assisted “SAFE” have hinted at a musical direction heavily indebted to Funk music, with contemporary rap and R&B cadences to accompany his portrayal of romance in the 2020s. I wasn’t fully won over when I heard those singles but I was intrigued, and intrigue is a good enough premise to go into ‘Me You & God’ with an open mind.

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

 

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“MiSS BEHAVE”

First track was just a bleep, hopefully it’s not my internet. [Editor’s note: It’s not the internet, it was a 2-second bleep.] This is a sunny groove, wouldn’t be out of place on a Free Nationals album. There are no theatrics in Jidenna’s voice to start but the charm is dripping. Oooh, this hook has some sexy to it. I share this man’s raunchy enthusiasm at the top of the second verse, LOL. The beat has switched into something a little more electric and somewhat a cappella-ish, that’s the best description I can think of right now.

“FRONT END” (feat. Gardens & Villa, Roman GianArthur & Sensei Bueno)

Interesting way to open things up, the sequencing is giving me endorphins. “I wanna tell you from the jump, you’re a motherfucking vibe” is such a 2020s R&B lyric, very stock. I really wasn’t digging the vocal manipulations on this song when I first heard it because I found the lyrics a little too vacuous, just felt like anyone could be singing these songs to anyone. The bass guitar riffs are to die for, though. Still not all in on this one, but I wouldn’t mind not skipping it if this album presents higher points and I feel like replaying.

“BLUSH”

Oh man, those grainy sounds caught me. The production on this album is something, and I like that Snoop Dogg reference because this is definitely some breezy California bounce. I like the details in this first verse, the devotion is tangible. “When I love a women, I ain’t afraid to commit” is real talk. I wasn’t buying that hook until those high-pitched runs hit. This song will probably make many listeners want to be whipped. Hehhh, that “I love you, no homo” line is cringe, dawg. Still an early highlight.

“RiPE”

Another nice touch with the sequencing. Funk Music is consistently tantalising, there’s almost no way to fuck it up, especially when you find the right bass guitar riff and a nice drum pattern. This is a spoken word interlude with Jidenna’s voice heavily pitched down. I don’t know that I feel great about it, but a couple of lines that you could use in rinsing a love interest have caught my ear.

“SAFE” (feat. Bootsy Collins)

Has Bootsy Collins ever graced a Thundercat album? I want that, stat. I digress. More vocal manipulations, but this one sounds better. “I think I might just go outside” was such a daring thing to think and actually do during the pandemic. I heard a line about reparations and I chuckled a bit, maybe because I would also lazy around with my favourite person if a shit ton of money landed in my lap. Is that Bootsy Collins singing or Jidenna doing an impression? I think I will listen to this a few more times just to figure it out. The drums on this are bonkers. Might be keeper.

 

“MAYBE SWANKAFORNiA”

Acoustic guitar being strummed, need to hear the drums. Ah, there they go. More California vibes, you can literally hear the beaches and palm trees on this song. This is the vision of two bodies constantly grazing under some pleasant heat, I just don’t know that I want this much vocal manipulations at play. This needs another listen, too.

“PULLOUT”

This definitely isn’t Jidenna’s voice. I’m interested in what this beat builds up, definitely has that spacey vibe already. Oh, I get it. This is the pensive moment that comes with a partner being late on their period and you’re wondering why you even decided to have sex anyways. I don’t think Jidenna and his collaborator aren’t regretting the sex, just weighing the consequence of their actions. I like this.

“SWEETBiTTERS”

Spanish guitars never go wrong where sexual attraction is concerned. Flashbacks are the absolute worst, LOL. “We end up fucking just to break up all the fuckery” reminds of those TV couples that do the pause thing during their argument just so they can have sex. I like the rapping in this verse, the perspective feels very lived-in. Thinking about it, this album feels like a logical follow-up to “The Other Half,” the final track from Jidenna’s last album, where he talks about the difficulty of men fully letting their guard down. This song is obviously more of a deep cut but it might be the best track on here, so far.

“SiTUATION”

Sounds like some psych-funk in here. This sounds like something lifted from Steve Lacy’s iPhone, and I mean that in a good way. All these vocal manipulations aren’t doing much for me because I don’t hear their functionality beyond being stylistic choice, which adds a nice wrinkle to Jidenna’s artistry but I need to be gripped and reeled in. At the risk of being wrong, I’m going to say this is St. Beauty and they’re killing it. This is the comedown from the high of a romantic situation, but the regret doesn’t feel earth-shattering. Needs a revisit.

“SUMMER HUNGER”

Maybe I’m making it up but I’m hearing some bluegrass in here, LOL. I heard the best love elevates a person into the best they can be. I AM DEAD, LOL! “Even rich niggas got to eat” as the basis for cunilingus is funny. I like the swing in these drums by the way. Actually, this is a bop. I mean, you won’t catch me yelling the lyrics outside but I’ll sneak into one of my playlists. “You scared the fuckboy out of me” is an ear-catching bar. Love can do great things to men, apparently.

“YOU SCARY”

Final track. This has been a really breezy listen and I’m digging the grand build to this beat. That electric guitar is a nice, if chintzy, touch. “I’ll be yours forever and a day” is the stuff fairytales are made of. Yo! I want this to be longer. This is a serene switch, not a terrible way to close things off.

Final Thoughts

Jidenna has returned with an album for the lovestruck—and those who believe in the effect of being lovestruck. Like I mentioned earlier, this album feels spiritually connected to the closing song on ‘85 to Africa’, a deeply introspective song where Jidenna digs into his toxic patterns as a romantic partner. “We dominate to overcompensate/our bravado dripping with overconfidence,” he rapped on that song, with an explicit understanding that these issues comes from failing to fully give into the other person and the situation.

‘Me You & God’ is a portrait of what happens when a previously guards falls into a romantic relationship without any reservations. For Jidenna, that means the joy is boundless, their corner of the world feels sunnier even under the dark cloud of a pandemic, and breezy Funk Music has to be soundtrack. Largely helmed with long-time collaborator Nana Kwabena, the musical arrangements mostly features thick slabs of delicious bass riffs and vintage drum packs.

The formula is pretty simple, romantic bliss meets summer-ready music, but Jidenna’s choice to experiment with technologically-enabled vocal tricks is quite the distraction. It also doesn’t help that several songs don’t have a solid lyrical base, which makes these voice modulations come off as crutches rather than enhancements. For what it’s worth, ‘Me You & God’ is a mostly smooth listen front-to-back listen. It might not blow you away but it will wash over you gently if you let it.

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