Our First Impressions of Crayon’s Debut Album ‘Trench to Triumph’

Posted on by The Native

In 2019, when his labelmate Rema made a strong opening in “Iron Man,” Crayon did the same with “So Fine,” a romantic Afropop tune that highlighted his knack for melodious adlibs and hooks. As a new Mavin Records signee, Crayon shouldered the weight of expectations well and, on his debut EP ‘Cray Cray,’ showed more of his qualities. That same year, he copped a Rookie of the Year nomination at the Headies.

With every music release that followed, Crayon continued to clear his path to stardom. His 2021 EP ‘Twelve A.M’ revealed the Nigerian singer to be growing in confidence and evolving his sound. Crayon’s star turn began to manifest on the 2022 Mavin Records collabo “Overloading (OVERDOSE),” with his chorus being the song’s most distinctive feature. A few months later, he scored his biggest hit to date with “Ijo (Laba Laba),” boasting production from Nigerian veteran Sarz and a pan-African remix featuring Camidoh, Costa Titch and Focalistic. He closed the year with more impressive turns on Mavins’ collaborative project ‘Chapter X.’

Early in the year, Crayon consolidated his efforts with his and Yaba Buluku Boyz’s “The One (Chop Life),” showcasing his hit-making abilities. With Crayon’s debut album ‘Trench to Triumph’ now here, his journey, as suggested by the project’s title, is a testament to his perseverance and talent. In our usual manner, the NATIVE team delves into ‘Trench to Triumph’ to offer our initial thoughts on ‘Chapter X,’ from favourite song to best feature to standout production.

 

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FAVOURITE SONG 

Alex: “The One (Chop Life)” featuring the Yaba Buluku Boyz is my favourite. The Buluku Boyz’s upbeat verses complemented Crayon’s tone in the Amapiano-fused track delivering the same energy the Mozambican trio is known for. Before now, “Ijo (Laba Laba)” was my favourite Crayon song, but “The One (Chop Life)” resonates with my mood right now. Chopping life!

Chigoziri: The Amapiano-laced “Ijo (Laba Laba),” although produced a year ago, still remains a big vibe and a favourite on the album. Just to stray away from familiarity, I’d say “Calvary Kid” is a personal favourite alongside “Ngozi.” There’s something about an artist singing about their wars and struggles that makes me appreciate their music more. Unlike most of the songs on this album, it has a melodic tune and a beautiful choir to pass across the message, taking you on a journey throughout the album. “Ngozi,”’ another Amapiano-laced song featuring the fashion killer, Ayra Starr, is a love song that kicks in from the start. I think it is really a bop. The pair have only sung together as part of a MAVINS project like “Overdose” and “Won Da Mo” but they work beautifully on “Ngozi.”

BEST FEATURE

Uzoma: I will go with both Victony on “Belle Full” and Yaba Buluku Boyz on “The One (Chop Life).” On the former, Victony’s playful verse complements the mood and tempo of the song. And with the ad-libs, he and Crayon shine. Yaba Buluku Boyz bring high energy to the latter track with their chants and production. It’s an instantly addictive song.

Israel: After listening to the project in its entirety, I can say that none of the features particularly stood out to me. The only song that left an impression was the Victony -assisted number “Belle Full.”

Daniel Akins: Magixx on “You vs You” stands out for me. Magixx shows his vocal range with beautiful melodies that compliments now trademark Crayon’s style.

STANDOUT PRODUCTION

Uzoma: I really like the production of “Superwoman.” The rolling drums at the beginning of the song increase in tempo as the song advances. When the chorus arrives, the drums are seamlessly paired with Amapiano log drums. The layers in Blaise Beats’ production are very impressive and Crayon’s performance on the song makes it worthwhile

Daniel Banjoko: The production of “Ijo (Laba laba)” continues to resonate deeply with me. I’ve played this song countless times, solely to immerse myself in its impeccable mix of Nigerian afrobeat percussion and the ever-popular Amapiano sound. Sarz is always the man for the job. It sounds like the beat was set up to be played in a perfect loop and I can see why, it flawlessly complements the message of the song which is to let loose, dance, and enjoy oneself. 

BIGGEST POTENTIAL HIT

Dennis: “Belle Full” came out about a week ago and it’s the perfect song for the Mavin machinery to beam into inescapable popularity. As a guest, Victony shines unreservedly, but not to the point where he hijacks the spotlight from Crayon, who adds some charisma to his usually giddy charm. KTIZO’s colourful beat also warrants some replay.

Uzoma: I still feel “The One (Chop Life)” hasn’t gotten the deserved attention. It’s a delightful bop destined to get people moving. “Belle Full” and “Superwoman” are two other tracks I suspect will do great numbers for Crayon. The hook on the latter is really catchy and Blaise Beats’ production packs a punch.

Moore: While it’s hard to single out only one song from a project filled with likely hits, I’d have to choose “Ngozi” as the one with the most potential. The presence of an automatic hitmaker in Ayra Starr already gives the track an advantage, as well as the incredibly catchy beat.

BIGGEST SKIP

Chigoziri:  I’d say “Superwoman” didn’t do it for me. I could only feel the Amapiano fusion and not the actual message of the song.

Daniel Banjoko: For me, “Wetin Go Be” didn’t quite hit the mark. It’s nothing against the song personally, but it felt a bit lacklustre, especially considering its position so close to the end of the project.

OVERALL FIRST IMPRESSIONS

Daniel Akins: ‘Trench to Triumph’  is a beautiful project that tells the story of an artist used to the hustle finally coming to his own. Crayon found his voice, and with this project that features a balance of introspection on a song like “Calvary Kid,” definite club bangers like “Modupe”  and love songs like “Superwoman,”  he lets us know he is here for the long ride. 

Nwanneamaka: “Ijo (Laba Laba)” was released over a year ago but still proves to be an earworm and I think that says a lot about Crayon’s impending impact on Nigerian music. I never paid particular attention to the artist but after listening to ‘Trench to Triumph,’ he is definitely on my radar. This was a solid and cohesive attempt at a debut album. He provides a heartwarming perspective of the generic ‘rags to riches’ story with more focus on his growth as an artist and the opportunities he was exposed to. The project, as a result, leans into mellow tunes characterised by low-tempo chords on tracks like “Adey” with upbeat renditions on “The One(Chop Life).” Optimistic to see how he expands the world of the album with visuals as well. 

Stream ‘Trench to Triumph’ below.

Featured image credits/NATIVE

Deep Cuts: How “Ariwo Ko,” off his debut album, shows the early confidence of Adekunle Gold

Posted on by Dennis Ade Peter

On the very first day of 2016, at about 10PM, Adekunle Gold sauntered unto the stage at the Landmark Events Centre in an Adire boubou (aka Agbada). Accompanied by an entourage of about a dozen men, the singer was beaming with an ear-to-ear smile. “Sade,” his breakout song had won the Headies award for Best Alternative Song. The acceptance speech was gracious, celebrating that he’d won for a song that was basically a cover and he partly dedicated his win to then fellow YBNL labelmate, Lil Kesh, who infamously lost the award for Next Rated.

What happened next is Nigerian pop lore: YBNL boss went on an expletive-filled tirade in promotion of Kesh, chucking both middle fingers during the nationally telecast award show. It’s probably a little inconsequential now, but revisiting footage of that kerfuffle you’ll see Adekunle Gold gingerly climbing down from the stage shortly after Olamide grabs the mic and everyone else exits via the side of the stage. In hindsight, that split second decision feels like a representation of how much AG differed from his first music family.

For a label founded by a street-bred rapper and, at the time, littered with artists of the same musical inclinations, AG’s clean cut look and folk-indebted sound zagged heavily from the general perception of YBNL. In a way, he was the outlier, a secondary character in the grand scheme of things. It could’ve gone wrong, he could’ve exited in unceremonious fashion, similar to the Headies’ moment of controversy—but, thankfully, it didn’t. That’s where his first album comes in, the rare debut full-length that banks on autonomy and succeeds because of it.

Seven years after its July 28 release, ‘Gold’ still holds up as a dazzling display of measured ambition and meticulous execution. A lot of it is coming of age stuff but, even then, there was a palpable conviction in how Adekunle Gold approached its creation. The colourful grooves of Yoruba Highlife and Juju music as sonic influences were obvious, while the loud vocal melodies of pop-rock inspired his writing and singing; they melded into an identifiable, easily loveable sound. For the most part, AG was the genial guy, the one that runs from a tempting mistress and attempts to use pure charm to escape the friend zone.

For some edge, ‘Gold’ had its moments of irreverence—and I’m using this word relative to the rest of the album. Emblematic of this is “Ariwo Ko,” a sly show of conceitedness and one of the more experimental spots on the project. Without naming names, Adekunle Gold throws direct shade at “noisy” artists, the kind of insult that perfectly captures the popular saying, “if the shoe fits.” “Empty barrel lo ma n p’ariwo,” he sings on the hook, a variation of an insult many young Nigerians have heard while in grade school, when teachers would refer to noisemakers.

Lauded for his uniqueness, AG doesn’t just thumb his nose at the empty barrels, he also uses the opportunity to applaud himself as a gold standard for quality. “Numbers don’t lie and I don’t shout,” he confidently declares at the top of the first verse. Within the same album, it’s aligned with “My Life,” where he pokes at the peering eyes of haters. Like many people who do well at concealing their contempt, the singer shows that he only needs the right amount of annoyance to use choice words. On the song’s second verse, he expresses his disgust at those who use money and political power as tools to step on the people who have less than them, adding a communal layer to his arrogance. “No be only you go make am/ je a gbo’ran ore, who you help oh?” he sings with a slight increase in his voice.

These days, ultra-confidence and modish pop choices are the elements associated with Adekunle Gold. His evolution is one of the most worthwhile narratives in Nigerian Pop, but songs like “Ariwo Ko,” where he embraces his own hubris, is proof that those traits were already part of the AG package. Even Pheelz’s accompanying production is forward-facing, featuring oriental strings and backing vocal harmonies that evoke Bollywood scores. It’s a forebear for stuff like Fireboy DML’s “ELI” and Rema’s affinity for Indian influences.

On the cusp of his fifth studio album, ‘Tequila Ever After’, revisiting AG’s earliest work reveals more to the even-tempered perception almost everyone had of the singer back then. That’s an effect of authentic artistry, giving listeners new things to appreciate about the past while growing forward.

Pre-save ‘Tequila Ever After’ here.

FROM FOLK TO POP: THE AWE-INSPIRING EVOLUTION OF ADEKUNLE GOLD

What To Expect From ODUMODUBLVCK’s Forthcoming Project ‘EZIOKWU’

Posted on by The Native

ODUMODUBLVCK’s climb to the top has been a combination of talent, consistency and grace. A few months after he released “Dog Eat Dog” as an independent act, he signed with NATIVE Records and confirmed the deal with “PICANTO” featuring Zlatan and Ecko Miles. For an artist whose career began in Abuja, far removed from the entertainment epicentre of Lagos, ODUMODUBLVCK’s deal with NATIVE Records, a Lagos- and UK-based music label with ties to Def Jam Recordings, was an act of faith in his talent and marketability.

It’s almost one year since his deal with NATIVE Records and ODUMODUBLVCK has continued to repay the faith shown in him. He began 2023 on a high note with “DECLAN RICE,” a Hip-Hop thumper that pays homage to English international Declan Rice, whose ferocious style of play on the football field ODUMODUBLVCK find similarities in his strides on the music scene. ODUMODUBLVCK has also leveraged his love for community, which has roots in Abuja’s Hip-Hop space, taking his fans along with him through unfiltered access to his mind on social media. With Declan Rice’s seal of approval, “DECLAN RICE” has entered a bigger scale after the English football club announced their signing of the player with the song.

While ODUMODUBLVCK inches his way toward a global audience, he hasn’t left his home turf unattended. This has come by way of collaborations with mainstream Nigerian artists. “DOG EAT DOG II” birthed a quirky yet functional union between ODUMODUBLVCK, Bella Shmurda and Cruel Santino, with the latter enhancing the song’s music video with Nollywood-centric adornments. On “FIREGUN,” Fireboy DML and ODUMODUBLVCK went full-on Afropop, finding a balance between gruff disposition and boyish charm. Across social media, co-signs from the Olamides to the Wizkids have positioned ODUMODUBLVCK as the latest entrant into stardom.

Right before his current, bustling phase, ODUMODUBLVCK has been teasing the title of his project. For him, ‘EZIOKWU,’ an Igbo word for the truth encompasses all that makes ODUMODUBLVCK tick: originality, flair and determination. With the release of the project in view, the NATIVE has insider info for listeners on what ‘EZIOKWU’ sounds like, who else might be on it aside from ODUMODUBLVCK and what the project will mean for the artist’s nascent legacy.

A NUMBER OF POP CULTURE REFERENCES

A dive into ODUMODUBLVCK’s discography reveals an offering of football references, as the man who once held the dream of being a footballer continuously alludes to his past love. This football references dot ‘EZIOKWU’; on one song, ODUMODUBLVCK raps, “I go dribble the bunda/Dis one no tiki-taka.” There are other references bordering on music, movies, politics and cars—from North Korean leader Kim Jong Un to the American film series Puss in Boots to the car brand Tesla.

MORE COLLABORATIONS WITH NEW FRIENDS

From the looks of it, there is a healthy dose of collaborations on ‘EZIOKWU.’ ODUMODUBLVCK, whose life and career have taken him through different locations—Abuja, Lagos, Accra and London—brings his access to these diverse cultures to bear on the project. Every song with a guest appearance complements the uniqueness of ODUMODUBLVCK and the featured acts: they all find a way to blend their perspectives to fit the themes and moods of the songs. So far, he’s already hinted at Amaarae who is set to appear on the new drop.

VERSATILITY

From his smooth hooks on “DOG EAT DOG” and “PICANTO” to the quick-fire bars on “DECLAN RICE,” ODUMODUBLVCK shows his range as an artist, exhibiting an ability to shapeshift with his flows and melodies. On ‘EZIOKWU,’ ODUMODUBLVCK assumes different personalities: the life of the party, lover boy, nonconformist and a survivor of unpleasant realities. Sonically, ODUMODUBLVCK also plays in the field of Hip-Hop, Afropop and Amapiano—sometimes combining all three into one. One quality that unites the diversity, though, is that ODUMODUBLVCK’s messaging is relatable, as it is opening into his ideologies and experiences as a young Nigerian man in an increasingly globalised world. 

A COMPLETE EXPERIENCE OF ODUMODUBLVCK

While ODUMODUBLVCK is no stranger to making projects, ‘EZIOKWU’ carries a different weight. As his first outing under a label and also a project that promises to increase his profile, this is ODUMODUBLVCK operating on a higher plane. Here is his chance to stake his claim as a well-rounded artist with the ability to appeal to both a niche crowd and the mainstream audience.

We predict that ODUMODUBLVCK, who is already on the cusp of consolidating his place in the music industry, will move into full-blown recognition immediately after ‘EZIOKWU’ drops. The music on the project is too good and too relatable not to make ODUMODUBLVCK a superstar—and that, in itself, is eziokwu.

Featured image credits/NATIVE

Review: Amaarae’s ‘Fountain Baby’

Amaarae has made a habit out of eclipsing expectations. The Ghanaian-American singer and rapper stunned with her 2020 debut album, ‘The Angel You Don’t Know,’ an expansive effort that gave listeners increased access to her singular artistic vision, where genre-defying, red-blooded grooves and turn-of-the-millennium southern rap merged with delirious boasts and sexually fluid declarations. She seamlessly shifted from the fairy R&B goddess persona attached to her earlier work, into the excellence of post-genre pop music, setting newer stakes without overwhelming older listeners or demanding too much from those previously unfamiliar.

Within the latest vanguard of Afropop superstars, Amaarae clearly had her own uniquely magnetic appeal, evident in the growth of her fanbase on the continent—Nigeria and Ghana especially—and her explosion into global popularity on the back of the viral success of “SAD GIRLZ LUV MONEY.” Along with the even more satiny remix, featuring Kali Uchis, Amaarae’s honeyed vocals were soundtracking billions of TikTok videos across the world. She’d stepped into budding superstardom with disarming authenticity and confidence. In the time since, there’s so much to account for in Amaarae’s sprawling career: Live shows to adoring fans in many, many countries, a recording deal with Interscope Records, that angelic all-white ‘fit at Jacquemus 22/23 Fall Winter show, a typically brilliant appearance on ‘Black Panther: Wakanda Forever Prologue’, and more accolades.

 

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The post-‘TAYDK’ glow is evident on her recent sophomore album, ‘Fountain Baby’, a project that’s just as—if not even more—enthralling as its predecessor. Effortlessly widening the scope of her musical ambitions, Amaarae spins catchy rhythms in a variety of ways; some songs bubble, others melt, some knock, and others are jagged explosions. She expands on familiar sounds, enriching them with otherworldly visions and toying with expectations, subverting them where she pleases and straight-up destroying them in other instances. It’s not the all-out reinvention of her debut LP, but the needle-shifting is significant and awe-inspiring, and we’re given a little more access in the Amaarae’s mind as she explores desire, relative to her stardom, and constantly glides with blinding ultra-confidence.

‘Fountain Baby’ arrived much in the same way as ‘The Angel You Don’t Know.’ Months before we witnessed that first album, Amaarae engaged her fans in a string of close-knit interactions during those socially-distanced days of 2020. During these intimate sessions, she previewed music, answered questions about her creative process, and unveiled the world around her album. It’s 2023 now and it’s the same approach, with a different iteration. Although it’s debated who runs the social account, a few months back, the Instagram profile photosofamaarae appeared on the Internet, giving audiences a first-hand look into Amaarae’s world through exclusive images of her outfits, tours around the world and moments with her inner circle. It was on Instagram also that the multitalented singer also first played a few tracks off her latest album, for anyone lucky enough to catch her at the time.

When “Reckless & Sweet” arrived in March, it continued the artist’s commitment to excellence, especially with an album on the horizon. Strutting over a glistening guitar riff and bouncy percussion, Amaarae considers a relationship where her interest is mainly enamoured by her proximity to wealth. There’s some jadedness (“Don’t touch me, I get nervous”) but she mostly seems to be enjoying the games. Although she never acknowledges it outright, Amaarae’s music reverberates with defiance in its carefree sensuality, which is positively striking at a crucial time of pain and harm for the LGBTQ+ community in Ghana. Against this backdrop, Amaarae approaches sex with an existential self-reflection that shows she’s constantly questioning her own biases and the motivations of those around her: “I needed a cleanse, anointing my mind, my spirit,” she coos.

Second single, “Co-Star,” continues with the same motif of exploring the games young people indulge in during that phase between attraction and (non-)commitment. It’s more playful but it’s approach is ingenious, linking admiring odes and mischievous barbs alike with stereotypes about astrological signs. It’s a fitting theme for Amaarae who has become the patron saint for saying the things younger millennials and Gen Zers might not want to say outright. “Tease me like a Taurus/Them Libra bitches horrible,” she pointedly sings on the second verse. By its instantly unforgettable hook, “Air, I need some air,” Amaarae’s powers as a pop star feels bigger than ever, the charisma in the silky, buoyant melody daring you to not sing along.

As established by its two singles and expanded on by the rest of the album, ‘Fountain Baby’ is Amaarae’s offering to the bad girls who (want to) love with all their heart. Of course it wouldn’t be Amaarae if lust, to the point of self-possession, doesn’t figure into the equation. “Fuck me slow and subtle, Don’t you wanna taste it,” she sings in that hair-raising near-whisper on “Angels In Tibet,” basking in sexual euphoria over Funk Carioca-inspired production. “Step into your power/come on home to God,” she chants with irresistible charisma on the same song, an invitation to surrender to her whims. The vision is one of bodies melting and melding into each other without reserve.

Falling in love unreservedly these days, in an era partly defined by situationships, ghosting and all sorts of complicatedness, is hard. Adding the complex layer of celebrity definitely comes with its own set of challenges. Instead of lamenting, Amaarae pirouettes through the mess by finding the balance between levity and directness. On “Princess Going Digital,” Amaarae openly expresses her desire to enter a committed relationship. Feelings have been caught, her voice dips into a low register at the song’s opening when she declares, “You know what? I’ve finally figured it out. Loving you is like fye.”  She’s not running from the fire, though; in fact, she wants to be consumed by flames: “Baby, hold me down/I got feelings for you now,” she confesses over the sublime, psychedelic synth-pop arrangement helmed by Tochi Bedford.

By the chants of “Take me out the streets,” it’s evident that there’s no happy ever after because “niggas be doing the most.” Amaarae is not desperate, she’s just exasperated by the madness—like me, like you. Similarly, “Big Steppa” adopts stark vulnerability, but the singer still makes being thirsty on main come off as the coolest thing ever. “You wanna desert me like I been auctioned off/See I had to, to be pressure, just to be option one,” she coos over blaring horns and folk-pop drums. On ‘Fountain Baby’, “Big Steppa”  occupies a unique position for its gleaming Afropop sensibilities, the Highlife influence proving that Amaarae can command even the most familiar sounds to fit into her distinct, sometimes garish sonic orbit, with her voice as the ever-defining presence.

There are several flattering ways—siren, fluttery, enchanting, spellbinding etc.— to describe the texture of Amaarae’s vocals, and none of them would be over the top. At this point, the singer’s voice has its reputation but, more importantly, it’s in how she toys around with it and emphasises it range even within the confines of a single song—talk more of a project. ‘Fountain Baby’ continues to offer intriguing variations, a necessity considering the myriad of musical choices she crams into the album. “Wasted Eyes” opens with a sampled Japanese Koto riff, a motif that recurs throughout the song. Amaarae tackles the oriental choice with a detached cool, surfing over the blown out bass and loud horns with a breathy vocal cadence, declaring that she’s “fresh to death” amidst her unwillingness to commit to a person who loves her “with no honour.”

‘Fountain Baby’ is an album driven by clarity. Amaarae doesn’t just know what she wants, she also knows what she doesn’t want. She wants a shawty that loves her “like she love the Lord,” as she sings on the grand, fourth wall breaking closer, “Come Home to God.” The preceding mini-suite of songs, starting from the psychedelic rock-indented latter part of “Sex, Violence, Suicide” up till penultimate song “Water to Wine,” is knowingly self-indulgent. “Maybe we could be the remedy/Then eventually we’ll be enemies,” she suggests to a potential one night stand over the rubbery bassline of “Sociopathic Dance Queen.”

In Amaarae’s hands, hedonism will always be purposeful and compelling. It’s in how she confidently evokes pleasure, sometimes with an impish smile, and often through a queer perspective. “Me and my bitch got matching titties/She got Fountain Baby tatted ’cause she fucking with me” are the first bars on the first verse of “Counterfeit,” the mid-album speaker rattler that samples Clipse’s “Wamp Wamp (What It Do).” Throughout the song, she’s so self-possessed that the production comes off as a fascinating, well-worn choice, rather than an experiment. It’s mastery that doesn’t break a sweat.

 

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‘Fountain Baby’ is a confident collection of tracks punctured by Amaarae’s sultry vocals all tied in a bow for listeners to unfurl at their pleasure. No matter where one picks up in the project’s runtime, you’re bound to find something for every listener as Amaarae never squeezes her artistry into forms that have already been defined. On “Disguise,” her hitmaking abilities shine through the most, with earworm production that all but beckons one to the dancefloor. While the deep—almost daunting—keys introduce the track, it’s Amaarae’s lyricism that shines through, as she chants confessionals such as “I like my coffee with some head in the morning- two shots.” The atmosphere created with the background vocals and instrumentals kick the likeability of the track up several notches. Listen close enough and it feels like a perfectly crafted mini orchestra in the best way possible. The attention to detail is pristine and a fine showcase of her meticulous craftsmanship. 

In the two and a half year gap since her debut album, Amaarae has shown unprecedented levels of growth with an almost peerless run that has earmarked her as one to watch on a global scale. It’s clear that she’s spent most of her time learning, as a true student of the game which continues to widen the scope of her ability and showcase her impeccable artistry. As an artist still fairly a stone throw away from her debut back in 2017, it’s clear that improving her skill is a great source of pride and satisfaction for her. Delivered just under 40 minutes, ‘Fountain Baby,’ is a manifestation of all Amaarae has learned and acquired over the years, showcasing a unique mixture of versatility, dexterity and style that merges her Ghanaian-American identity with her multi-cultured experiences.

Through ‘Fountain Baby,’ Amaarae is able to transport listeners across continents and dimensions through glittering production, skilled penmanship and her silky timeless vocals. ‘Fountain Baby’ solidifies her position, once again, as one of the most daring artists of the now–message well received, Amaa. 

Stream ‘Fountain Baby’ below.

Featured image credits/NATIVE

Explained: A First Timer’s Guide to Voting at the 2023 Headies

Posted on by Uzoma Ihejirika

The Headies, Nigeria’s and one of Africa’s most revered music awards, returns for another session. Six days ago, on July 12, the nominees’ list was released to the public. The lists housed many of Africa’s finest music talents as well as foreign internationals in categories such as Best Recording of the Year, Producer of the Year, Rookie of the Year, African Artist of the Year and International Artist of the Year. These names included Rema, Burna Boy, Ayra Starr, Omah Lay, Asake, Young Jonn, Tempoe, Black Sherif, Marwa Loud, Selena Gomez, Drake and Don Toliver, among others.

The nominees list, as expected, sparked conversations. The NATIVE wasn’t left out,  with the team sharing their thoughts on eye-catching topics that sprung from the list. While an official date and location for the Headies Awards haven’t been announced, the buzz on social media confirms that it’s a respected platform that constantly stirs conversations from music to fashion. While the award and its organisers have received their fair share of criticism, the executive producer has reiterated the growing profile of the award on a global scale.

Today, the Headies announced that the voting process has commenced, and the body has called all our music lovers to cast their votes for their favourite music, artists, record producers and video directors. For an award established back in 2006, seasons have changed with the audience size and taste evolving. To this end, we have outlined a step-by-step process for first-time voters seeking to ensure that their desired choices take home the plaques.

 

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HOW VOTING WORKS

The first step to take is to visit the Headies website (www.theheadies.com). There is a VOTE tab on the home page. Click on it. It then takes you to the designated page for voting. 

This year, there are 32 categories with 26 categories open to the voting public. The remaining categories, which will be judged by the Headies’ panel, are Best Recording of the Year, Songwriter of the Year, Best Vocal Performance (Female), Best Vocal Performance (Male), Best Rap Album and Lyricist on the Roll. 

 

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On the Headies’ voting portal, you are required to input some personal information: Email, Name, Phone Number and Location.

After that, you can make your selections of your preferred candidate in the list of the following categories: Rookie of the Year, Producer of the Year, Best R&B Single, Best Rap Single, Best ‘Alternative’ Song, Best Music Video, Best Collaboration, Best Street-Hop Artist, Next Rated, Afrobeats Single of the Year, Headies’ Viewers’ Choice, Best West African Artist of the Year, Best East African Artist of the Year, Best North African Artist of the Year, Best South African Artist of the Year, Best Central African Artists of the Year, Best R&B Album, Best Alternative Album, Album of the Year, Song of the Year, Best Female Artist, Best Male Artist, African Artist of the Year, Best Inspirational Single, Digital Artist of the Year and International Artist of the Year.

Once you are done inputting your details and picking your selections, hit the SUBMIT button. The votes are recorded. 

Visit https://theheadies.com/16th-online-voting/ to make your votes.

Featured image credits/NATIVE

ICYMI: Three takeaways from TurnTable charts mid-year charts

TurnTable Top 100: Asake’s “Lonely At The Top” Peaks At No. 1

Posted on by Uzoma Ihejirika

Asake’s “Lonely At The Top” sits at No. 1, tallying 6.04 million on-demand streams (No. 1 on streaming) and 48.3 million in radio reach (No. 5 on radio). It becomes the record-equalling fourth No. 1 single off ‘Work of Art’ – a joint record with Asake’s debut album for most No. 1 entries from one album in the singles chart history in Nigeria.

“Lonely At The Top” is also the eleventh No. 1 single by Asake – the most for any artist in history and five more than the next best artist (Davido with 6). Omah Lay’s “reason” drops to No. 2 after topping the chart for three consecutive weeks while Seyi Vibez’s “Man of the Year” rockets to a new peak of No. 3 on the chart. “Man of the Year” tallied 2.76 million on-demand streams (No. 3 on streaming) and 33.8 million in radio reach (No. 14 on radio). 

Asake’s “Basquiat” drops to No. 4 after peaking at No. 2 on the Official Nigeria Top 100. Former 1-week No. 1 “Ojapiano” by KCee slips to No. 5. Rema’s “Charm” retreats to No. 6; it topped the chart for three non-consecutive weeks while Davido’s “FEEL” dips from No. 6 to No. 7. Asake’s “Amapiano” with Olamide ranks at No. 8. 

Shallipopi’s “Ex Convict” debuts at No. 9 with 2.6 million on-demand streams during the week of July 6 – 13. It received no radio airplay as it is banned on terrestrial radio in the country. Asake’s “Sunshine” rounds up this week’s top ten.

Featured image credits/Instagram/Asake

NATIVE Selects: New Music from Anything With Yusef, BOJ, Spyro & more

Posted on by The Native

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. In our last edition, we brought you new releases from DEELA,  Adekunle Gold, The Cavemen 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!

ANYTHING WITH YUSEF – “STUCK IN MY MIND” & “FEEL SOMETHING” 

Off a two pack release dubbed, ‘Chaos Theory,’ “STUCK IN MY MIND” offers an upbeat groovy record with Anything with Yusef’s melodious vocals addressing the hold his love interest has over him. He seamlessly rides the wave of the beat with baritone background vocals that complement his lush melodies. His bares his heart on the track as he repetitively croons on the tuneful pre-hook “You still stay stuck in my mind.” Similarly, on “FEEL SOMETHING,” he holds a warm vulnerable tone over more low-tempo instrumentals characterised my rhythmic drums. Veezo View assists the track with a captivating verse where he raps over the trap-leaning beat.

BOJ – “CAN’T BE STOPPED” 

The first iteration of ‘Gbagada Express’ presented a staggering roster of guest features over Boj’s unreplicable soundscape. He followed up with ‘Gbagada Express Vol 2: Moving Mad’ with an equally impressive tracklist, showcasing the Alté pioneer’s skilled penmanship over 9 love-themed songs. He recently combined the two for a deluxe version with a new track, “Can’t be stopped” serving as the project’s intro. He taps into the wave of Afro-House inspired tunes currently dominating the sounds from these parts. The Adey-produced track features prominent log drum embellishments accompanied by subtle whistling sounds. His sonorous vocals croon across the track’s length about focusing on his grind, “I just dey pray that I don’t lose my way, I just dey pray that I don’t go astray.” 

JHUS – “MASCULINE” FT. BURNA BOY 

When you see these two on a track, it already promises to be a good time. Going as far back as “Sekkle Down” off Burna Boy’s ‘Outside’ or “Play Play” off Jhus’ ‘Big Conspiracy,’ the pair have proven to be a match made in sonic heaven. So when the Gambian-British rapper prepares for a resounding comeback after a three year hiatus, it only makes sense that his long time collaborator. “Masculine,” which sits at the top half of Jhus’s ‘Beautiful And Brutal Yard,’ leads in with lush low-tempo chords produced by Lexi Lennox and TSB. The daunting instrumental at the introduction creates the perfect atmosphere for Jhus’ smooth bars. Burna takes over shortly, picking up the pace with a seamless flow between rapping and singing. 

OXLADE, DAVE – “INTOXYCATED” 

Oxlade and Dave join forces on this brooding low-tempo track “Intoxycated.” Led in smooth piano chords, the melodic drum pattern takes over accompanied by Oxlade’s harmonious vocals. He addresses his love interest driven by heavy feelings of sadness and longing. He imagines what their life together could look like as he croons, “I for take you overseas, me and you for be like 5 & 6.”  He critiques her non-committal attitude towards him after realising she was only with him for financial gains. Dave takes over mid way through, equally stressed by feelings of regret attributed to unreciprocated feelings of love. 

SOUND SULTAN – “MONEY RACE” FT. SPYRO

It’s been two years since Sound Sultan passed. The man is a legend of Nigerian music and his influence on the culture is never in doubt. In this latest posthumous release featuring Spyro, Sound Sultan delivers a catchy and relatable tune. “No dey bring me trouble/I dey face my hustle,” Spyro sings, complementing Sound Sultan’s call for listeners to face their journeys and strive to succeed. “Money Race” exalts dignity in labour.

SIGAG LAUREN & RIC HASSANI – “COACHELLA”

Sigag Lauren is a pioneer of electronic dance music in Nigeria, remixing tunes from Johnny Drille to Chinko Ekun. On ‘Wish You Were Here(E),’ his collaborative EP with Ric Hassani, Lauren, also a DJ, producer and singer, creates a soundscape of electronic rhythms with an African identity. Ric Hassani is the vocal star on “Coachella” as he tells a love story about the happy memories forged between lovers. It is a bubbly music that tugs at the heartstring.

EESKAY & MOJO AF – “DOMINATION”

Eeskay and MOJO AF continue to strengthen their synergy. The last time that the pair collaborated on “No Excuses,” they showcased incredible wordplay and flows, resulting in a solid rap song. Here, on “Domination,” they change gear, putting their rap styles into a dance tune. Over Baniclava’s Amapiano-influenced track, they rap about their dominating certain areas of their lives and being on top of their worlds. They also keep things light and fun, making “Domination” fit for the dance floor.

JHUS – “MILITERIAN” FT NAIRA MARLEY 

As the sounds from these parts continue to cross over, we are seeinf more outstanding collaborations between acts we know and love; the UK rap and Afropop scene being a crowd favourite. This has recently expanded to include Street Pop key players like Naira Marley for captivating renditions like that of “Milietrian.” The Stuart Hawkes & P2J-produced track holds an Afropop-leaning soundscape, laced with a rhythmic drum pattern and lush saxophone chords. The pair glide effortlessly back and forth with sex and love-themed bars. 

Featured image credits/The NATIVE

Words by Nwanneamaka Igwe & Uzoma Ihejirika. 

ICYMI: 13 GREAT PROJECTS YOU MAY HAVE MISSED MIDWAY THROUGH 2023

Best New Music: DEELA Taps Flo Milli For A Befitting Remix to “Take It Up”

Posted on by Nwanneamaka Igwe

These days, artists are finding success quick and fast through virality on social media. Gone are the days where industry gatekeepers determine who’s worth listening to, now the audience is taking some of that power with platforms such as TikTok and more, becoming instrumental in catapulting artists into greater success.

One perfect example is Nigerian-born, UK-based rapper, DEELA who’s been bubbling on our radar for quite some time. Since her appearance in Fresh Meat (now known as uNder) back in August 2021, the rising star has been fine-tuning her catchy bars which are armed with a youthful outlook on life and an unfiltered sense of confidence. The budding rapper has continued to carve a space for herself in the current zeitgeist of powerful female emcees unabashedly putting themselves on and inverting the male gaze to their benefit.

Two years later, so much has changed in DEELA’s world and we’re all the better for it. She’s been building up an impressive catalogue of feel-good flexes where she chops it up to the men and naysayers that deserve a mouthful. Her sophomore EP ‘DONE DEEL,’ is perhaps the most comprehensive introduction to DEELA’s talents, one that feels like each track is a burst of her personality. DEELA once shared that ‘DONE DEEL’ took significant inspiration from Flo Milli’s ‘Ho, Why Is You Here?’ “I guess that also speaks for itself. Flo Milli and I should be on a song soon,” she told the NATIVE at the time.

 

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On “Take It Up,” DEELA opens the track with brazenly honest bars as she adopts the tone of someone fed up with all the BS from a former love interest. “Take it up with another hoe who cares you fucked up because I’m heavy on grind/If I weren’t so turnt up right now might spaz but you even ain’t worth my time,” she commands on the track’s intro. Switching from her laidback and collected delivery in the verses to a higher pitch in the hook and pre-chorus, it feels almost like DEELA is symbolising the freedom she feels through her melodies.

In today’s world of modern-day dating and relationships, it’s very difficult to find partners that are willing to speak the same love language, leading to an endless string of heartbreaks and situationships. It’s common to see women compromising on what they want and settling for less but DEELA is reinforcing that there’s power in shutting things off quickly and focusing inwards on stacking your paper and learning your craft.

DEELA adopts a laser precision flow as she digs into this frustrating experience and finds relief through her pen. In a similar tune as female emcees before her, DEELA reaffirms her self worth. She reminds herself that she’s still that girl despite the treatment she once endured with catchy bars like “Price ain’t cheap, so stack up your coin like you need a new home.”

It’s not hard to see why American rapper, Flo Milli took an instant liking to the no-holds barred track. Flo Milli found DEELA’s track through her For You page on TikTok where she instantly reached out to the Nigerian rapper and commended her sharp, clear raps. As fate would have it, the pair soon linked up on the remix to the track which further expands the song’s reach to a wider audience.

Flo Milli’s catalogue is littered with tracks that mirror the energy dishes on DEELA’s “Take It Up.” Think tracks such as 2019’s “In The Party” and 2020’s “Like That B*tch” where she fires off menacing bars around her competitors and her naysayers. It’s this same charisma that Flo Milli brings to DEELA’s world, matching the rapper’s don’t-care attitude and trading bars about sticking men to the curb. She smoothly complements DEELA’s deeper vocals with a light and airy verse “He fishing for love I ain’t taking the bait/I thought a broke boy said I won’t be shit, look at the tables I still got rich.”

Flo Milli’s success has been one of the most captivating to witness over the past few years. For any fans of the young American rapper who broke out just before the pandemic year, her dizzying flows and a sex-positive fearlessness has deservedly resulted in a legion of fans. At this crucial moment in her career, it’s endearing to watch her take an interest in the Nigerian rapper and boost her song to greater heights.

It’s only forward for DEELA at this stage, given that it is one of the most exciting times to be an emerging artist. Although she has kept his releases precious but powerful, she is gracefully confirming herself as an artist in a constant state of evolution, hungry for more bars and ready to top her best effort. We’re definitely ready for whatever she serves up next.

Listen to “Take It Up(Remix)” below.

Featured Image Credits/The NATIVE

Three Takeaways from TurnTable’s Mid-Year Charts

Posted on by Uzoma Ihejirika

Before July 2020, when TurnTable Charts was launched, there were no recognisable homegrown music charts that documented the popularity of songs and artists in Nigeria. In the US, there is Billboard, publishers of Billboard Hot 100 and Billboard 200, among others; and in the UK, there is the Official Charts Company’s Official UK Top 40 and Official Albums Chart Top 100, etc. It is the gap in the Nigerian music scene that Nigerian entertainment company TurnTable (co-founded by Ayomide Oriowo and Similoluwa Adegoke) sought to fill with TurnTable Charts.

“There’s a lot of misinformation within Nigerian music; there are many things that people do not have credible data to verify. Also, there’s no standard music market worldwide that doesn’t have music charts,” shared Ayomide Oriowo, its Editor-in-Chief. Since its inception, TurnTable Charts, in partnership with several music platforms and organisations, has compiled data from airplay on radio and satellite TV as well as audio and video streams, most especially with its Official Nigeria Top 100.

In 2021, TurnTable Charts and the NATIVE premiered the inaugural edition of the official Songs of the Summer charts, which were divided into the Songs of the Summer Nigeria chart and Global Afrobeats Songs of the Summer chart. The charts featured the hottest songs of the season within the country and the international community. TurnTable Charts and WeTalkSound, a Nigerian music collective, also established the Recording Certification of Nigeria (RCN), a music certification body in the same mould as the Recording Industry Association of America (RIAA) in the US, the British Phonographic Industry (BPI) in the UK and the Recording Industry of South Africa (RISA) in South Africa.

This week, TurnTable Charts unveils its mid-year lists of Top 20 albums and Top 20 songs that have dominated the charts in Nigerian music. The lists contain songs and albums from December 9, 2022 to June 9, 2023. Here are three takeaways from the mid-year lists.

 

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YOUNG STARS LEAD THE PACK

With the global reach of Nigerian music, many newer Nigerian artists are wasting no time enjoying the benefits of the road paved by predecessors. Although Wizkid, Davido and Burna Boy are still regarded as The Big Three of the Nigerian music industry, artists such as Rema, Ayra Starr, Omah Lay, Fireboy DML, Joeboy, Victony and Ruger are charging to the forefront and attaining new heights, with their music crossing into wider markets. 

On the Top 20 Songs list, Omah Lay’s “soso” sits at No. 1 with 87.4m on-demand streams across all platforms. His debut album ‘Boy Alone’ is at No 4 on the Top 20 Albums list with 93.8m on-demand streams. Ruger’s “Asiwaju” follows at No. 2 on the songs list with 78.1m on-demand streams and his ‘The Second Wave (Deluxe)’ is at No. 18 with 22m on-demand streams. Other acts such as Rema, Ayra Starr, Zinoleesky and Seyi Vibez also feature on both the songs and albums lists.

THE VETERANS MAKE AN IMPACT

While the younger Nigerian artists enjoy their time in the sun, the veterans aren’t left out. Davido’s comeback album ‘Timeless’ is at No. 1 on the Top 20 Albums list with 185.6m on-demand streams and his singles “UNAVAILABLE” with Musa Keys and “FEEL” sit at No. 13 with 40.4m streams and No. 17 with 37.1m streams respectively on the Top 20 Songs list. Wizkid’s ‘More Love, Less Ego’ is at No. 7 on the albums list with 51.4m on-demand streams and he  is also at No. 14 on the songs list via Rexxie’s “Abracadabra (Remix).”

Burna Boy’s ‘Love, Damini’ and ‘Twice As Tall’ are at No. 5 with 71.7m on-demand streams and No. 20 with 4.7m on-demand streams on the albums list. Tiwa Savage also shows her star power via Spyro’s “Who Is Your Guy? (Remix)” with 56.3m streams on No. 4 and “Stamina” with Ayra Starr and Young Jonn with 35m streams on No. 18 on the songs list.

LOW FEMALE REPRESENTATION REMAINS

On both the Top 20 Albums and Top 20 Songs lists, Ayra Starr and Tiwa Savage are the only featured women. On the songs list, Ayra Starr is at No. 10 with 43.9m streams via the Mavins collaboration “Won Da Mo,” No. 15 with “Sability” 38.6m streams and No. 18 via Tiwa Savage’s “Stamina.” Starr’s ‘19 & Dangerous (Deluxe)’ is at No. 17 with 25m on-demand streams on the albums list.  On the other hand, while Tiwa Savage has two entries on the songs list, she doesn’t appear on the album list.

Although both lists are primarily indicative of the consumption levels of the public, it also calls into question the low representation of women in the music industry from artists to record producers. While artists such as Tems continue to prove that women are also major stakeholders in the Nigerian music industry, there needs to be more acceptance of the works of women, as it is with those of their male counterparts. 

Find the complete Top 20 Song and Top 20 Albums lists below.

TOP 20 SONGS

1. “soso” by Omah Lay – 87.4m

2. “Asiwaju” by Ruger– 78.1m

3. “Gwagwalada” by BNXN, Kizz Daniel & Seyi Vibez – 65.1m

4. “Who Is Your Guy? (Remix)” by Spyro & Tiwa Savage– 56.3m

5. “Soweto (Remix)” by Victony, Tempoe & Rema ft. Don Toliver – 56m

6. “Party No Dey Stop” by Adekunle Gold & Zinoleesky – 50.3m

7. “RTID (Rich Till I Die)” by Kizz Daniel – 50.1m

8. “Xtra Cool” by Young Jonn– 46.5m

9. “Personal” by Zinoleesky – 46.1m

10. “Won Da Mo” by Mavins, Boy Spyce & Rema ft. Crayon, Bayanii, Magixx, LADIPOE & Ayra Starr – 43.9m

11. “2:30” by Asake– 42.7m

12. “Holiday” by Rema – 41.6m

13. “UNAVAILABLE” by Davido ft. Musa Keys – 40.4m

14. “Abracadabra (Remix)” by Rexxie, Naira Marley & Skiibii ft. Wizkid– 39.6m

15. “Sability” by Ayra Starr– 38.6m

16. “Cough (Odo)” by EMPIRE & Kizz Daniel– 37.8m

17. “FEEL” by Davido– 37.1m

18. “Stamina” by Tiwa Savage, Ayra Starr & Young Jonn– 35m

19. “Yoga” by Asake – 34.2m

20. “Body & Soul” by Joeboy – 33.6m

TOP 20 ALBUMS

1. ‘Timeless’ by Davido – 185.6m on-demand streams

2.‘Billion Dollar Baby 2.0’ by Seyi Vibez – 131.1m on-demand streams

3. ‘Mr. Money With The Vibe’ by Asake – 116m on-demand streams

4. ‘Boy Alone’ by Omah Lay – 93.8m on-demand streams

5. ‘Love, Damini’ by Burna Boy – 71.7m on-demand streams

6. ‘Grit & Lust’ by Zinoleesky – 70.2m on-demand streams

7. ‘More Love, Less Ego’ by Wizkid – 51.4m on-demand streams

8. ‘The Villain I Never Was’ by Black Sherif – 49.1m on-demand streams

9. ‘EMPIRE Presents: Where We Come From, Vol. 01’ by Various Artists – 39.8m on-demand streams

10. ‘Love Is Not Enough, Vol. 2’ – EP by Young Jonn – 39m on-demand streams

11. ‘Hypertension’ by Bella Shmurda – 37.4m on-demand streams

12. ‘Rave & Roses’ by Rema – 36.8m on-demand streams

13. ‘Chapter X’ by Mavins – 35.9m on-demand streams

14. ‘Memory Card’ by Seyi Vibez – 31.8m on-demand streams

15. ‘Playboy’ by Fireboy DML – 31.5m on-demand streams

16. ‘Outlaw’ by Victony – 30.7m on-demand streams

17. ‘19 & Dangerous (Deluxe)’ by Ayra Starr – 25m on-demand streams

18.‘The Second Wave (Deluxe)’ by Ruger – 22m on-demand streams

19. ‘Big Time’ by Rexxie – 15.5m on-demand streams

20. ‘Twice As Tall’ by Burna Boy – 14.7m on-demand streams

You can read a full breakdown of the mid-year charts here.

Featured image credits/NATIVE

NATIVE Exclusive: Chinye Mugo Is Telling Meaningful Stories Through Fashion

Posted on by Nwanneamaka Igwe

These days, social media brings audiences up, close and personal with their favourite brands and online personalities. Consuming this deluge of information can be exhausting for any twenty-something African who is finding a balance between consumption and creativity. For Nigerian designer, Chinyemugo Obiekwugo-Charles, this is a familiar struggle that she recognises while owning and maintaining a ready-to-wear brand in Lagos. 

“I just want people like me that don’t really fit into any one circle to know that it’s ok not to fit in. That’s what makes you special. That’s what makes you perfect. Being imperfect is perfection in its own way,” she shares in an interview with the NATIVE. This desire to seek comfort within ones self is firmly at the centre of her namesake brand, Chinye Mugo which is known for its neutral colour palette, distinctive layers and recycled hand-woven knits. 

While it has been in the vault for many months, Chinye Mugo only launched its debut collection this July and already, it’s making waves. The collection split in two parts titled Controlled Chaos and Growing Circumspection – an honest reflection of intentional imperfection with references to the Nigerian Civil War. For Obiekwugo-Charles, utilising clothes to tell a wider story and make someone feel accepted or welcome is as important as the clothing itself. “I do portray an air of imperfection intentionally,” she shares candidly.

 

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Following the brand’s recent successful debut and entry into the fashion scene, we caught up with the brains behind Chinye Mugo to discuss all there is to know about the must-have label.

Our conversation, which follows below, has been lightly edited for clarity. 

NATIVE: Thanks for joining me today. Could you talk me through the inception of Chinye Mugo?  What pushed you to establish a brand in your name?

Chinyemugo: My brand is Chinye Mugo and it’s taken from my name, Chinyemugo. I thought it would be cool to separate the two. I’ve wanted to create this brand since I was young and I feel like this has been coming for at least ten years now. I’ve been designing since I was 10. I initially wanted to start in 2025 but last year, I decided that there was no point in putting it off for so long. I’m never going to be 100 percent perfect at the start, so I might as well get started. I only hoped I’d be able to push myself to grow as time progresses. 

How does your Nigerian heritage influence your designs or processes?

The fact that I’m already designing from the subject position of a Nigerian is going to naturally affect the outcome. However, I don’t naturally pull so much inspiration from Nigerian culture. It’s always going to have subtle Nigerian influences but I don’t think that’s the main thing. This collection, however, was inspired by the Nigerian Civil War but not in terms of culture or anything like that. 

Talk to me about your background in fashion and how long had the brand been in the works? 

I designed a quarter of the collection last year; two or three outfits. I designed six this year. I currently attend Parsons School of Design in New York. Before that, I went to Cambridge School of Visual and Performing Arts where I studied the UAL extended programme for two years. I have been doing art. 

If you had to describe the brand’s ethos, what would you say? 

My brand ethos is let live. Just let live and be yourself mainly because it’s ok not to be perfect. As cliche as it sounds, it’s genuinely the truth. In my designs, I do portray an air of imperfection intentionally. I feel like garments lose their personality and individuality when people expect it to look perfect. I like garments that have a bit of wear to them. You can see that time has affected a change in it. Maybe it’s distressed or the seams are ripping. I like things like that. I feel like we live in an age where we are almost being pressured to take upon different identities aside from our own. Being imperfect is perfection in its own way. 

 

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Who are some designers or creatives you look up to in the African fashion industry or beyond?

I try as much as possible to admire people’s work and not necessarily take inspiration from them. The people I admire in the industry, I’ll say Thebe Magugo, Supriya Lele. I’ll also say some of the greats like Karl Largafield for Chanel and Christian Dior. I’m also a big fan of Craig Green and Kim Jones. I really loved Virgil Abloh. He is a genius. 

Longevity in creating as opposed to being trend is something a number of conscious consumers pay attention to. How do you draw the line between these two whilst creating products that appeal to your audience now? 

I feel like there’s a collection for everything. As for now, I am more interested in creating pieces that have a story. I’m not focused on the monetary part of it even though the money is important. When I design, I do so from a concept and however, I’m feeling at the time. I’m a very emotional person and I cannot really process my emotions without putting it down on a piece of paper. I don’t really design from a consumer’s point of view mainly because  as designers, we tell consumers what they want. It’s just about reading and knowing your customer well but I don’t design from the perspective of the consumer. 

How would you describe your inspiration for the looks in your collection? 

The title of this collection is “Controlled Chaos” and it’s a theory of design where I propose that control and chaos cannot be mutually exclusive when it comes to design. The two should not be mutually exclusive but they should become one functioning machine. So, I factor in a little bit of chaos and a little bit of control to create controlled chaos. I referenced control in this collection with the Catholic church. That’s religion so there’s a lot of control there, naturally so. I also referenced control in terms of government officials which I studied in the Biafran war. I did a lot of hand knitting from existing sweaters I owned or found and that’s also a sustainable aspect to this collection. 

I do think for my brand, I am striving to include a lot more sustainable aspects in how I design. I also referenced chaos in terms of brutalism. When you look at brutalist architecture, you might see a daunting shape appear out of nowhere and it’s just made out of cement. It’s very obstructive. I use that as inspiration. I create these layering techniques in my skirts that are very obstructive because it’s not constructed in the way that it looks. It’s constructed in a new, innovative way. It’s really just about taking subtle references and ideas behind these movements as inspiration.

Why did you adopt more neutral colours or patterns in this collection? 

Yes. I’m not really a fan of vibrant colours. I like darker green, moss, creams, browns and denim mainly because I feel these colours exude a rustic aesthetic that’s almost antique-like. I’m trying to portray the feeling of wear and tear even with the colours I choose. 

 

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What would you say has been your biggest challenge establishing Chinye Mugo the brand? 

I would say designing my logo myself. I designed that logo probably about twenty times. I also changed the name many times. At one point, it was Mugo Mugo or Mugo. I think establishing my brand’s identity was really difficult for me but I decided to allow the brand to form an identity on its own. Consciously or not, I’m already curating a specific aesthetic for the brand without knowing. There’s no need to put too much pressure on how the brand looks. 

Carving your way through an industry as a newcomer must come with its own challenges. How do you navigate them?

I’m definitely learning on the go. Thankfully, I’m surrounded by a lot of people that are very happy to help and lend me advice. It’s been very exciting to step into that world and understand what goes on. I’m usually also in my own head a lot and I stay by myself. I tend to create my own space and exist in it. I’m finding that now, I have to put myself out there more. I have to allow people to take part in my creations and that’s something I never really anticipated. I’m looking forward to learning and discovering more in that regard. 

We spoke earlier about sustainability and using more ethical methods to production. Are there any changes or methods you see yourself adopting in the future to adjust to this? 

I’m very focused on my prints at the moment. I create prints with bleach and I’m trying to solidify that. One of the jackets is completely lined with this bleach pattern on the inside. I’m looking into more sustainable ways to create prints. Even beyond prints, I don’t see my brand as an extreme fast fashion one.

What are some of your goals for the brand moving forward? Any next steps you could share? 

I will be having a fashion show so that’s something to look forward to. I feel like it’s going to be really groundbreaking. I’m also looking at dropping a ready to wear collection very soon. 

Who is the quintessential Chinye Mugo customer?

They’re definitely brave. They do not give a fuck about what anyone has to say. They just do their own thing. They’re going to wear what they want and say what they want because at the end of the day, it’s a free world. The world can’t be free on only some people’s terms. They’re individualistic. 

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Essentials: PsychoYP Shows His Versatility On ‘Osapa London’

Posted on by Uzoma Ihejirika

The crowning glory of PsychoYP’s well-sewn rap skills and entrepreneurial abilities is his elite consistency. Since starting his career as a teenager, the Nigerian artist has continued to find new avenues to create and reinvent his craftsmanship. Last year’s ‘YPSZN3’ was a continuation of his intention to prove to himself and listeners that his talent has no limits or ceilings. “Wherever I take it [Hip Hop] to, that’s what is going to be,” he’d told the NATIVE. “It’s not like some selfish P but I’m carrying niggas and putting niggas on and doing what niggas are supposed to be doing but they are not doing.” 

 

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He’s here again to prove his dominance with a new EP ‘Osapa London.’ Born and raised in Abuja, Nigeria’s capital, PsychoYP is an important feature in the city’s push to reinstate Hip-Hop as the nation’s darling. Throughout his career, PsychoYP has always repped Abuja and its influence on his sound. His EP’s title references an affluent neighbourhood located in Lekki, Lagos; it is the first time the rapper alludes to another city in the country. 

The Lagos connection comes alive on “DO WHAT I LIKE” featuring Khaid and Prettyboy D-O, artists whose careers are tied to the cosmopolitan city. Khaid ‘s hook is the glue that holds PsychoYP and Prettyboy D-O’s verses as they all brag about the complexities that a celebrity lifestyle affords them.  On “Bad B,” with its early-2000s R&B rhythms, Teni, another act who owes her stardom to Lagos, and PsychoYP go on a diasporic ride with UK’s Wax Bentayga. The trio express their feelings concerning love, women and the pursuit of their goals.

While PsychoYP’s EP is inspired by Lagos, he doesn’t hesitate to save spots for his Abuja brethren. PsychoYP and ODUMODUBLVCK, who has been the revelation of the year, recently made the 2023 Headies nominations list for the former’s “Bando Diaries.” They reconnect on the Amapiano-infused  “SETTLE US!,” painting instances of being pressed by people to give them money or people owing them money. “ “Oya YP/You go do free?/Dem no wan pay/Demma mental/They no show love,” ODUMODUBLVCK raps. On “AnyGadDamnTime,” PsychoYP and Laime go the Afrobeat route to declare their disinterest in the feelings and words of detractors. 

In the Abuja Hip-Hop scene, togetherness is an essential element of the community. PsychoYP has been one of the leading figures with his Apex Village collective/record label. Apex Village has curated the emergence of artists like Azanti and PsychoYP’s works have brought music producers such as Ramoni and Trill Xoe more recognition. “Apex Village is a collective of some of the most talented people I know. They’ve all made a lot of things so easy for me and I can only do the same for them,” PsychoYP told OkayAfrica. “It’s one thing to just be in a group of talented people and it’s another thing to be in a group of talented people where everyone can feed off everyone’s energy and give it back 100% in everything we do.” On ‘Osapa London,’ this collective energy is evident. 

On “Not My Fault,” Ajebo Hustlers and PsychoYP deliver a heartfelt yet playful examination of lost love. While they acknowledge their feelings for their lovers, they instead choose to only hold on to the fleeting sexual moments, as it’s less troubling. Elsewhere, on “STAND ATTENTION,” PsychoYP and King Perryy contemplate the struggles of pushing to achieve a better life. “Too many boys stuck on the road since far/I might light Jane when I smoke the cigar/Too many young boys smoking Igbo/And at the same time we gon still go far,” PsychoYP raps. On his part, King Perryy implores listeners to “No go dull yourself o.”

Although PsychoYP spins a lot of braggadocio into his music, there are moments on ‘Osapa London’ that pry open his vulnerabilities. “And I no fit to open my mouth and talk/I just can’t explain/Why they wanna carry me for chest and mind/Every night and day,” he raps on “This Country,” subtly admitting to the pressures he faces in his life. Still, he proclaims his infallibility: “I still dey stand fit.” On “Most Times” with the veteran rapper Ice Prince, PsychoYP opens up about feeling loneliness, rapping, “Omo most times o/I no fit to lie you/People dey beside you/But I dey on my own.” Ice Prince, like PsychoYP, tells of his worries but offers himself some comfort when he raps, “Me I only trust in the Almighty.”

PsychoYP’s ‘Osapa London’ infuses elements of Afropop and R&B into Hip-Hop for a mix that fits the rapper’s skills. The works of the producers—from Jordan Knows to Ramoni to Princeton—again prove PsychoYP’s fine ears for sounds. ‘Osapa London’ is PsychoYP’s evidence of his versatility to work with diverse melodies and the consistency to improve on his discography.

Stream ‘Osapa London’  below.

 

NATIVE Selects: New Music From DEELA, Adekunle Gold, The Cavemen

Posted on by Emmanuel Esomnofu

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. In our last edition, we brought you new releases from Prince Kaybee, DJ Maphorisa, Spyro 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!

ADEKUNLE GOLD – “OGARANYA”

Geared to release his new project ‘Tequila Ever After’, the mercurial Adekunle Gold has shared a single. It’s a record as gracious as it is recognising his legacy, arriving that delicate mix through the evocative pen of AG. With warm, rootsy percussions building around his vocals, it’s a reminder of the distinct quality Adekunle Gold provides afropop, indeed setting up the forthcoming album in a scintillating way. 

DEELA & FLO MILLI – “TAKE IT UP(REMIX)” 

The rap girlies are back and thriving! Deela’s “Take It Up” was already an anthem for a number of reasons. Other than the heart thumping drum pattern created to have your head bopping at the drop of the first note, Deela’s lyrics are so brazenly real. Deela is fed up and she’s not not sparing any feelings as she effortlessly rides the wave of the beat, “Take it up with another hoe who cares you fucked up.” What started as a TikTok comment section interaction has turned into a glorious co-sign from Flo Milli. Deela still takes the first half of the song up until the intoxicating hook, after which Flo Milli taps in. Her light vocals bordering on the higher register beautifully contrast Deela’s. Similarly fuelled with passion, Flo Milli expresses her uncaring nature towards an old flame. 

KHAID — “ANABELLA”

One of the most consistent youngsters in the past few years, Khaid’s sound has imprinted itself on the consciousness of many afropop listeners. From “Jolie” to “Carry Me Go”, his utilisation of everyday narratives to spin poignant stories on love hasn’t gone unnoticed. On his new song, he doubles down on the technique, culling Highlife-esque guitars to serenade a love interest. It’s ultimately a groovy record with obvious nods to the 2010s Nigerian Pop sound, highlighting Khaid’s intentionality as an artist. 

THE CAVEMEN. — “OPEN YOUR MIND/SAVIOUR”

Since entering the scene just before the 2020s, The Cavemen have utilised the iconic genre of Highlife to dizzyingly excellent results, releasing two acclaimed albums. With their sound having caught on the biggest artists and audiences around the world, they’ve released their first singles of the year. “Open Your Mind” is the quintessential gyration melody, using the genre’s typical woodwork to call people to dance. On the other hand, “Saviour” is quite the spiritual record, adapting the sparse movements reminiscent of Ghanaian Highlife to preach their individuality. “I no fit be your saviour,” they sing with exhilarating emotion, embedding a classic vibe onto the record. 

PATORANKING FT. POPCAAN – “TONIGHT”

When two dancehall icons connect, nothing short of greatness should be expected. “Tonight” draws a successful sonic line through the local flavours of Nigeria’s dancehall riddim to that of Jamaica, by way of Popcaan. Soundtracking a good time is the obvious intent, and both artists are masterful in their execution, their voices melding with the ease of water. Cue in the peculiar beat drop and the whistles in the background, and the song’s boppy quality is undeniable. 

EUGY – “CHOSEN”

Ghanaian artist Eugy is known for his colourful takes on R&B, but on his new single “Chosen” he adopts an audibly different gaze. More rap than blues, every lyric assumes the heated poignance of a prophet, as Eugy unfurls the manifestations of the life he’s chosen. Almost every line is quotable material and the hook effortlessly complements the forward-facing subject matter, making this one of those soulful records you put on the speakers just after waking up. 

JINMI ABDULS – “SARAFINA”

Once crowned the Prince of Highlife, the Lagos-bred Jinmi Abduls has taken his artistry onto broader sonic plains. Among the genres he’s increasingly delved into is R&B, its plush narratives finding a natural ally in Jinmi’s affectionate pen. “Sarafina” benefits from these, a mid-tempo record which moves with the truism of a man falling in love. “Oh Sarafina, I dun lose my focus,” he sings in the heartfelt chorus, as the building instrumental creates, truly, an epic feeling of desolation and longing. 

GABZY – “HEAR ME OUT”

One of the most exciting R&B artists in Nigeria, the music of Gabzy has long been an intriguing package. Best known for his work with producer Melvitto, the artist has worked broader in the industry, bringing his sound more novelty and freshness in recent times. “Hear Me Out” is a string-based record with soulful finishes, drawing on the popular theme of convincing one’s love interest of their genuine desires. Gabzy’s vocals embody this feeling, giving the song an intimate core it benefits from. 

ITUA – “FAVOURITE SOUL”

The Dutch-Nigerian artist ITUA has a wide artistic range. Becoming a drummer by the age of nine, he’s explored genres from R&B to Soul and afropop in recent years, utilising his distinct life experiences to draw deep meanings from everyday situations. “Favourite Soul” is a stripped, spiritual song, lit up from within by the subtle touches of ITUA’s drumming and evocative notes. Even his vocals are in sync with the song’s melancholy, in all creating a truly epic feeling through its runtime. 

MUTHAKA & BENSOUL – “SECRET LOVER”

Over the years, Kenya has become one of the prime destinations for discovering great R&B artists. “Secret Lover” joins the unique talents of Muthaka and Bensoul, a warm duet whose replay value is evident with every listen. Starting off the record is Muthaka, whose lithe vocals embrace a sensitive direction, while Bensoul’s svelte tone excites in the background before his verse. It’s a fine song with sufficient measure. 

RUNDA – “BEAUTIFUL LIES” 

Love contributes to some of the most conflicting emotions. In its happier times, it forms a wholesome haze and when things go sour, life comes crashing, pleasure becoming pain. “Beautiful Lies” captures the bittersweet spectrum of those moments, a truly remarkable song by Runda. With its accomplished soundscape and the artist’s vocals meeting beautifully, it’s a record that would soundtrack very important moments for its listeners.  

NU BABY – “TAMPICO” 

The Canada-based artist Nu Baby has contributed distinctly to the sound of afropop, from his diasporic base linking hands with the movement’s sonic peculiarities. “Tampico” extends that vision; drawing an immersive soundscape by pairing a tropical guitar movement with the usual drums. Moving with the sexy serenade of a dancer, the song mirrors the highs of love which Nu Baby sings about, making it work on different levels. 

Featured Image Credits/The NATIVE

Adekunle Gold Brings ‘Tequila Ever After’ Closer With New Single “Ogaranya”

Posted on by Uzoma Ihejirika

The “Tio Tequila” season is here. In anticipation of his fifth studio album ‘Tequila Ever After,’ Adekunle Gold has teased its arrival with well-received releases that have sought to capture his state of mind as well as the essence of the project. He began 2023 with “Party No Dey Stop,” combining nicely with Zinoleesky for a tune about the fun and enjoyment of their lifestyles. “Party No Dey Stop” was followed by the three-song pack ‘Tio Tequila,’ where Gold showcased his artistry on new tracks “Do You Mind?” and “Omo Eko.”

 

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Adekunle Gold has shared that the inspiration for  ‘Tequila Ever After’ came from an incident when, after he had taken a shot of tequila a long day, he felt energised to try new ideas and expand on his catalogue. Gold’s transition into a pop star has been noted for its seamlessness in how he incorporated Western influences into his earlier Folk sound and still maintained the quality of his art. 

“I am exactly who I think I am. It has taken me time to get here but now that I am here, there’s no looking back,” Gold said about his forthcoming project. “I have unlocked a different level and potential. I am finally celebrating my growth, my wins. I’m living life to the fullest and enjoying my success. I invite you to join me on the wildest ride of my life.

With two weeks to the release of ‘Tequila Ever After,’ the project’s lead single “Ogaranya” is out. The song’s title is an Igbo word for a wealthy person and it’s this extravagance that Adekunle God infuses into “Ogaranya.” “I’m no a new level, bobo/I put it all on God/So when you see me smile, my brother/You for just show me love/Viviendo la vida loca/Nobody take my joy/Better make way when you see ogaranya,” Adekunle Gold sings. “Ogaranya” is a jubilant tune about Gold’s transformation and achievement. 

The song also comes with a colourful music video that mirrors the celebratory nature of the song. In the video, Adekunle Gold is the star of the moment as he poses with branded tequila bottles and bundles of cash. In one particular frame, Gold sits beside some TV screens showing African music legends such as Fela Kuti and Angélique Kidjo. It’s a subtle admonition that Gold is forging his way to legendary status. 

While Adekunle Gold readies ‘Tequila Ever After,’ he has also announced tours scheduled in areas of North America and the UK. The artist recently revealed that American singer Khalid is one of the guest artists on his album, with promises of more goodies to come. Adekunle Gold’s journey is one of perseverance and excellence. With ‘Tequila Ever After,’ a new phase beckons. 

 

Identify: Chmba Reigns, For Music & Malawi

Posted on by Uzoma Ihejirika

Malawi has blessed Chmba and she, in turn, has reciprocated. In 1994, the year she was born, the country shifted into a multi-party political system, casting off the agonies of a 30-year dictatorship. This change in political structure yielded benefits: a new respect for civil rights, press freedom, and an open door for music from other countries in Africa and around the world to enter. The seismic change impacted a young Chmba when she listened to the likes of Awilo Longomba, Brenda Fassie, Angélique Kidjo, Michael Jackson and Madonna.

“[My childhood] was very colourful musically and that really influenced the sound that I create today and how I think about sound,” Chmba, a DJ and music producer, says. “With all of those influences, it’s hard for me to stick to one particular sonic pattern. In terms of my music, you’ll see elements of Afrobeats, Afro-tech[no] and Afro-house from South Africa, indie vibes [and] pop vibes.”

 

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A collection of electronic sounds fused with indigenous elements, Chmba’s music, although coloured with universal perspectives, is rooted in her African heritage. In 2020, she released her debut with the EP ‘Mtima Rising,’ which was dedicated to the memory of her late mother. Three years later, Chmba’s newest EP ‘Okongola Caucus,’ while retaining its rudiments, moves on from grief to embrace a celebration of love and life.

Aside from the music she listened to and watched as a child, Chmba’s path as a musician was inadvertently paved by the relationship her family members had with music. Born into a large family, she remembers an aunt’s excitement when Brenda Fassie’s “Weekend Special” started playing while they were on public transport. “Seeing how energetic and happy she was to hear this song play from the bus and sing along, it awoke something within me to contribute to that culture or the joy that people find when they hear a song,” Chmba says. Her father and her uncle were breakdancers and loved music. Her father also owned a boombox, which he used to play mixtapes. At the age of seven, Chmba began trying her hands at making music.

“[My father’s] mix was always so random. You could go from Lucky Dube to Abba on the same cassette,” she says. “Growing up, I just wanted to chop up [songs] and see what mixes I could make myself. And so I would borrow, more like steal some of the cassettes and play them myself, mess around, make my own mix and so my love just started.”

Chmba soon began making mixtapes for her friends, an act that continued into her college years as she performed at parties and other events. After she got a DJ Controller, her career as a disc jockey fully took off. “I love DJing and mixing for people,” she says. “When I’m DJing, I love to mashup songs sometimes, like I’ll take the beat of this song and then bring in the vocals of another song and then let them transition into each other. I love what I can create during the DJ set, and so, it was that kind of creation that made me go, ‘Wait, what if I could also make my own music that’s a certain type of way?’

“DJing started first but it definitely inspired and sort of gave me the base to start producing.”

As she matured, Chmba observed the strides of the DJs and artists leaving a mark on the music scene: Black Coffee, DJ Cleo, Wizkid, P-Square, Boddhi Satva, Just a Band, Muzi and Kaytranada. “They were very influential to me in terms of finding my own sound. They’ve really influenced the way I create now: to be free and not worry about [being] boxed in.”

As a teenager, Chmba’s choices of career path didn’t always go down well with her parents. Although they loved music, they didn’t consider it a respectable career. After graduating from the university with a degree in economics, Chmba worked a job that drained her physically and emotionally. In those moments, her recourse was music. She listened to DJ mixes and watched YouTube tutorials by music producers and DJs. That passion has sustained her to this moment. Similarly, her parents disagreed with another choice she made when she was 17. After witnessing a close friend get forced into early marriage and abandon her education, Chmba decided to found Tiwale, an NGO dedicated to creating educational and economic opportunities for young women and persons in marginalised communities. 

Under the four pillars of education, skills training, job creation and community, the youth-led Tiwale (which means “Let us shine or glow” in Chichewa, based in Mtsiliza in Malawi’s capital Lilongwe, supports communities with loans, workshops (on fashion design, sewing and tie-dye), education facilities and classes on music technology and education. Tiwale has worked with over 512 women and girls, reached over 40,000 young people and partnered with numerous other NGOs across Lilongwe and Malawi. With Tiwale’s assistance, many of their students have improved their living conditions with learned skills such as sewing and music production.

Chmba & the Tiwale team. Image Credit: Chmba

Chmba admits that although she and her team lacked enough experience in founding and managing an NGO—the oldest member was 19 and the youngest was 12—they were fuelled by a desire to make a difference in the lives of those in their community. After battling teething issues such as operating without the approval of the community chief and without being registered by the government, Tiwale grew steadily, seeing an estimated figure of ten people transform into 150. “I think the gift of youth is ignorance,” Chmba says, “and with that ignorance, you end up starting something not knowing how big it will become because sometimes when you know how big it could be, or what could actually happen, then you’re intimidated from actually doing that thing and so it was a blessing in disguise.”

“It was really being young that allowed the project to start immediately. That rage [and] the anger that we were all feeling,” Chmba adds. “And with time, we’ve done all of those other steps to be formalized. But what’s been the gift is that we’ve kept it a youth-led project and being youth-led, we’ve continued to innovate quickly with what’s happening.” Earlier this year, Cyclone Freddy hit Malawi, resulting in deaths and the displacement of many lives. Before that, there was an outbreak of cholera that negatively affected the country. There was also the matter of the Covid-19 pandemic. Through it all, Tiwale has remained focused on its goals to provide a better life for the members of its community. 

As a music producer and DJ, Chmba’s wealth of experience living in different countries has massively influenced the kind of music she makes. She cites DJ MoMa’s Afrobeats parties in New York, Afrobeats-themed music festivals around the globe and Rema’s recent tour of India as signs of music’s power to transcend boundaries and languages. That has inspired Chmba to be unapologetic with her Malawi-grounded sound sparkling with Chichewa lyrics. “When the beat is right, even if someone doesn’t know the language, they would vibe,” she says.

Chmba’s music has taken her around the world and placed her on prestigious stages alongside Nile Rodgers and Angélique Kidjo. Her music has also, to her surprise, fetched her new audiences in Mexico and Colombia, as she reveals that in terms of sound patterns (e.g. drums) both countries share similarities with Africa. She further adds that one of her favourite bands is the Colombian group Bomba Estéreo. Chmba also acknowledges the growing profile of African DJs on the continent and across the world. “DJs have always carried culture, from radio DJs playing what’s popular, what’s popping [and] curating the kind of sound that folks should listen to,” she says. “And so I think that DJs are essential to the music ecosystem, and I wish there was more appreciation, but we’re starting to see it. We should give more DJs their flowers.”

While Afropop is the current African darling in music circuits, Chmba presses on the importance of African artists boldly breaking the mould, especially those in the electronic music space. She cites Chimamanda Ngozi Adichie’s The Danger of a Single Story as a guideline for African artists to tell a complete narrative about the music from Africa. “Afro-tech[no] and Afro-house were born in South Africa and so it’s also who we are,” she says. “There’s always that danger where people think [electronic music] is a Western thing, but it’s actually always been there, the way people drum at home, that’s the fast BPM. That’s Afro-house and Afro-tech[no] kind of drumming. I think maybe it hasn’t been produced as much but I think there’s a lot of opportunity for us to go beyond that single story of African sound.”

Chmba teaching Tiwale students. Image Credit: Chmba.

Juggling Tiwale and her music career hasn’t been easy for Chmba but it has also offered her insight into herself. As a teacher of music production, she derives great joy in seeing her students explore their passion and find financial independence. “I do see a lot of opportunities for African countries in terms of sound,” she reveals. “Artists are getting hired to play at different festivals. People like Tems are winning different awards and there’s a lot of money that can really come with being an artist. And so I want everyone to have access to that as much as possible. It shouldn’t be a privilege thing and so I really care about that quality of access of skills.”

When she’s not at work with her Tiwale team, Chmba is in the studio making music that excites her. She has tours planned to promote her music in Malawi, the US (East Coast), Amsterdam, Berlin, Geneva, Paris, Rome and London. “Folks should look out for me,” she says. “I’m just going to keep creating and pushing to give my fans and [all] who listen to my music the best that I can do.”

Stream ‘Okongola Caucus’ below and read more on Chmba here.

Featured image credits/NATIVE

Review: Asake’s ‘Work Of Art’

In music, confidence is a drug. You can tell when an artist is operating at a new plane of self-assuredness: There’s more pep in their cadence, they sing of opulent feats, the need to expand their artistic scope comes across as an innate endeavour, and a belief in their own hubris means the artist is working on their own time. In Nigerian music, there are many instances where artists use unbridled confidence after an acclaimed debut album as the driving force to supercharge their powers, like how Wizkid’s post-‘Superstar’ feature run and defining contributions to the EME compilation project was mythical, or in Adekunle Gold’s awe-inspiring evolution from folk singer to sleek popstar.

If there was a numeric apparatus to measure this sort of confident drive, Asake’s would probably break the scale. Last year, the Lagos-born singer bum-rushed the Nigerian music mainstream with a run for the ages, headlined by the releases of a semi-eponymous debut EP and a greatly acclaimed debut LP, both stuffed to the ears with smash hits. Nine months after the instant classic ‘Mr Money With the Vibe’, Asake has returned with the sophomore full-length, ‘Work of Art’, leveraging in on his superstar status by tactfully pushing the envelope on his artistry without disrupting the flow established by its predecessor. “Different pattern of my own style/so consistent, no resistance,” he sing-raps amidst ricocheting log drums on penultimate track, “Great Guy.”

The hallmarks of Asake’s back-to-back-to-back 2022 campaign have been dug into, even taking into account their influencing nature within Nigerian pop. There’s the importance of Amapiano and South African House to the singer’s preferred sonic canvas, the formative influence of Fuji music on his songwriting, the infectiousness of backing, choral vocals, and how snippets helped drive the hype train. Just as important as all these music elements is the palatable nature of his persona, a street-bred singer that didn’t come with the divisive quirks or antics of several recent forebears and colleagues within the same artistic lineage. Even when placed side-by-side with an easily lovable star like Zinoleesky, Asake comes across as more polished, floating above every crude perception that often limits easy, overt mainstream acceptance for street-pop artists.

The music matches the image. Without peddling irreverence, he mirrors what it means to come from the non-glossy side of Lagos, singing in Yoruba and English, interpolating slangs and quips that originated from these places. The melodies demand to be sung at lung-bursting levels, the beats are flamboyant and often dance-ready, and the vibes are wholesome. There’s an edge but not the type that will bruise easily offended ears. ‘Work of Art’ doesn’t upend that balance; in fact, it’s a testament to how effortlessly Asake collapses street and pop into a near-frictionless entity, without rendering his ambition in beige overtones.

Where his first album lived at the intersection of gratitude and thoughtful optimism, ‘WOA’ is far more triumphant and indulgent. “Walking poetry, I am greater/I’m a work of art, Basquiat,” he sings on the proto-title track, one of the many self-aggrandising sentiments that’s delivered with a blasé authority. As album-defining as it is, the parallel reference to Jean-Michel Basquiat only works on the surface. The half-Haitian, half-Puerto Rican painter and artist was more than a Neo-Impressionist pioneer, he was a magnetic figure who constantly railed against racism in his work and beyond, and he also dealt with drug abuse and allegedly committed assault on multiple occasions.

Asake, like several other musicians and millions of admirers, only look at Basquiat through rose-tinted frames, identifying with the rags-to-riches theme in many of his works and the eternal acclaim he continues to accrue, close to four decades after his untimely death. That continued impact and the outsize influence has made Basquiat the template for hundreds of artists, and not only does Asake see a parallel, he envisions that kind of eternal impact. That it’s surface is less of a flaw and more of a design, given how guarded the singer is about his person beyond the music.

‘WOA’ doesn’t tell us anything particularly new about the man Ololade Asake—perhaps that’s a positive in the era of oversharing. What it does, however, is bolster the singular nature of Asake’s skillset under the glow of being a minted superstar who has gotten too big to fail in a relatively short period. “Iwaju gan o easy/eyin o shey lo, omo iya mi sho ti ri n si/my boat never sinking/mo kanaku mo jiggy/they wanna know what I’m thinking,” he sings in one of the revelatory passages on “Awodi,” briefly pondering the difficulties of sustaining forward momentum but ultimately landing on the buoyant feeling of being accomplished.

In a sense, ‘WOA’ is a heat check, a Steph Curry logo shot in the middle of a scoring binge. It’s an act of showmanship where audacity is half the fun, there’s zero risk assessment when the reward is this tantalising. This sophomore doesn’t have the same instant stop-you-in-your-tracks factor as ‘MMWTV’, largely due to the effect of the turnaround, but it’s arguably the more rewarding listen with each front-to-back spin. As much as he’s reprising already familiar tricks, there’s an undeniable dynamism in the approach to every facet of the music, and the depth in Asake’s writing is striking.

A show of Asake’s dominance in the previous year was in how listeners defined his lyrics as mazes that need close attention to be fully appreciated and, ultimately, remembered. It’s easy to scoff at those opinions now, considering that the singer’s writing is even more packed. There are aphorisms, taken from folksy and urban Yoruba culture, littered across ‘WOA’; he’s gone from referencing ‘Gongo Aso’ to using the phrase within the confines a boastful one-liner. Even his well-known reverence for the divine deepens his “Chrislam” representation—“I get many pages like Songs of Solmon/l’ola Anobi Mohammed, koni wa’le lai lai till we reach Al Jannah,” he intones on “Basquiat.”

The writerly nature here works due to a deeper dalliance with rap music, optimising the cadence of “PBUY” for a large portion of the project. There’s also the Olamide factor, who’s the only featured artist, on the pre-released banger “Amapiano,” and is credited as co-writer on a few songs. In addition to references to all-time rap classic ‘Illmatic’ and the late, great 2Pac, ‘WOA’ features taut rhyme schemes and pedantic moments that add to the technical flash. Off “What’s Up My G,” “Full branding, no be fugazi/white range and black Maserati/we dey fire go, koni da fun anybody,” is showy as any line you’ll hear in a rap song this year. On “I Believe,” he uses the word Metaverse as a reference to the extinction of third verses in pop/rap songs, a framing that would be useless on its own but adds some flash to the lines next to it.

Again, Magicsticks is the main collaborator on ‘WOA’, repeating his role as primary producer and sound engineer. Helming 11 of the 14 tracks, his chemistry with Asake gets the same facelift even as the duo double down on their signature blend of maximalist Amapiano-pop. Except the Sakara-via-Sega arrangement of lead single and album closer, the peace-seeking “Yoga,” every other song from the pair features log drum-indented production, some more inventive than others but the music always colourful. As in the past, their inspirations are easily traceable in some cases, with “Mogbe” taking cues from the skeletal grooviness of “Bheba” and the egregiously-titled “Amapiano” whirrs in a similar tone as the Bacardi-‘Piano funk of “Ba Straata.”

Considering Nigerian pop’s predatory relationship with the South African-originated sound, it’s worth identifying the exciting ways Asake and Magic create their variations. “Awodi,” which references Prince Adekunle Juju classic “Awodi Nfo Ferere,” is a thumping folk-pop highlight, the log drums banged out in the same way you’d hear a drum set played in a church with Yoruba folks. “Sunshine” and the Blaise Beatz-produced “2:30” are stunning visions of Fuji-pop with the unique knock of log drums as the texture for their percussive choices.

To boot, the melodies and riffs are brightly coloured: “Remember” is a lush piece with gorgeous violin and strings, “Basquiat” and the P.Priime co-produced “Introduction” are both accented by squealing alto sax, and the stacked vocals on the hook of “I Believe” is underlined by droning synths. “Lonely at the Top,” produced by Blaise Beatz, is the most unique song of the set, reminiscent of the kind of songs you’d hear and sing along to at a Kegite gathering.

Asake clearly still has a multitude of musical influences to tap from, the same way there’s personal depth to mine into songs if he so chooses. The hallmark of the most interesting popstars, though, is in how they make every choice sound and feel worthwhile, setting their own stakes and meeting them on their own terms. Asake has undoubtedly figured that out, he’s masterfully dictating how listeners should interface with him and his music, knowing fully well that he’s got a template that will always get the people going. ‘Work of Art’ is proof that he’s in total control.

REVIEW: SEYI VIBEZ’S ‘VIBE TILL THY KINGDOM COME’

NATIVE Exclusive: Dope Saint Jude wants everyone to be “Alphas”

Posted on by Nwanneamaka Igwe

Catherine (Dope) Saint Jude never thought that her music would find a home in her native South Africa. Her 2018 debut single “Grrrl Like,” has racked up over 3 million streams on Spotify alone, disrupting Africa’s ascendant music scene with honest and open confessionals about existing with all her complexities. “I know that the work is important because we don’t see a lot of representation of queer Africans,” she tells the NATIVE at the end of June.

It’s the beginning of the long summer holidays and pride month, Dope Saint Jude has just released her latest single “Alphas.” Coupled with deep basslines, twinkling keys and a no-holds barred delivery, the new track encapsulates everything the singer has to offer at a time of great innovation for the African music market: a multidimensional artist with a solid vision for her craft and an affinity for empowering women and gender non-conforming audiences.

“We’re also lucky in South Africa regarding our queer laws and it’s not something we should gloss over. I understand how great it is, that I can say something with this. I don’t take it lightly.”

If any artist understands the sheer power of hardwork and dedication, it’s Dope Saint Jude. The June uNder alum first made her break as a drag king following a degree in Politics and Public Policy. During her time as a drag entertainer in Cape Town, Catherine fell in love with writing and producing her own original music after growing tired of lip syncs. Soon, she was making her own music which represented her experiences and held a mirror to her thoughts. “I just wanted people to feel empowered. I want people to feel like they’re the shit regardless of where they stand in the world,” she shares.

Tapping into all parts of her identity, Dope Saint Jude returns victorious and triumphant on her latest release “Alphas,” which finds her taking a deep dive into her queer roots. The central theme on the catchy new single is staying true to oneself and delivering a self-determined showcase. “Now I’m a feminist I see your inner beauty/But Ive also seen that ass and let me say that you a cutie,” she chants on the song’s first verse, inviting women, queer people and gender non-conforming individuals to release themselves and step into their alpha identity.

The video for “Alphas” is equally empowering and meaningful. Opening up with interview clips between Catherine and close friends and people in the LGBTQ+ community, the rapper questions what it means to be an alpha in today’s society. It’s clear that the singer takes pride in experimentation and she’s not afraid to present all her paradoxes on wax, allowing listeners to also interrogate their own biases and release their premonitions.

Following the release of “Alphas,” we caught up with Dope Saint Jude to discuss the track’s inspiration, her creative process and working with other queer artists to bring her vision to life.

Our conversation, which follows below, has been lightly edited for clarity. 

NATIVE: Hi Catherine, thanks for joining us on the call today. Can you talk a bit about your moniker, Dope Saint Jude? Where did that come from & what it means to you?

Dope Saint Jude: My name is actually Catherine Saint Jude. Saint Jude is the patron saint of loss and hopelessness. My mum named me Saint Jude because she really wanted a daughter after having 4 boys. Then I came along. She was just really praying to have a girl and that’s where that part comes in. Honestly, the Dope part because I thought it sounded cool at the time. I was very young and it just worked. I added two together and there you go, that’s my name. 

Looking at South Africa more closely, the country has one of the best music scenes in the world. It’s produced genres like Amapiano, Gqom, Bacardi house, to name a few sounds. What role do you see your music playing against the backdrop of SA’s global sound as a whole? 

I’d say I’m doing something in terms of developing the smaller artists in South Africa. South Africa’s music industry is still young. It hasn’t been in existence for the amount of years like the UK or France has. It’s still pretty young and only recently, the industry opened up beyond Africa following the Apartheid. The landscape of music has changed and what tends to happen in South Africa is that a lot of focus is placed on one genre at a time. There was the Gqom wave and now the Amapiano wave. There isn’t a lot of infrastructure to support smaller artists that are outside what the current wave might be. I am part of the group of artists that are trying to create space for artists that don’t fit into what is currently mainstream.  

You sing, produce, write your own music and also previously performed as a drag king, how did you decide what passion of yours to focus on?

It kind of happened naturally. I went to university and studied Politics and Public Policy and I wasn’t that into it. I was drawn more towards performing, and I had been exposed to the queer community in Cape Town. I started going to drag bars and performing as a drag king. I had fun with it but I started writing music as a result because I found it a bit boring only lip syncing songs by other people. From creating my own music, I realised that I really loved the process. From there, I taught myself music production and delved into what I’m doing at the moment. 

Let’s talk about your recent release “Alphas,” could you talk us through what that song means to you and how it came about?

I was recording a bunch of singles when I was in London and “Alphas” was one of them. I was trying to make music that reflects my reality. Back then, I was spending a lot of time on TikTok and I saw a lot of alpha male rhetoric which I found funny and hilarious. I just thought it was bullshit. I’m a woman who is attracted to women and I actually like a baddie or a woman who is self-possessed and powerful because that’s what I value in myself too. I value owning my identity. So, I made a song saying ‘we can both be alphas’ in a way to subtly poke fun at the alpha male movement and comment at the time about nothing being wrong with a powerful woman. 

The track is a powerful anthem exploring themes of sexuality, power, relationships, feminism, becoming & more. How do these themes allow you to express yourself as an individual and as a musician?

It just helps me to make sense of my world. I think the point of art and music is to reflect the world around us. I was taking in all of this information and remixing it in my artistic way. I was providing my spin on it. I was just trying to make sense of my reality and make sense of my world. It helps me know here I stand as a person within society, but at the same time have fun with it. I am kind of past that point in my life where I get angry and fight with faceless people on the internet. I wanted to make a song that’s playful and funny but still saying its piece.  

How important is exploring your raw emotions when you are working on music?

It is pretty important for me to explore what I’m feeling, but also to reflect what’s happening around me. I do focus on what I’m thinking and feeling, but I also try to think of what else is happening outside my little bubble. “Alphas” is a mixture of what I’m feeling and what a lot of other people are thinking about.  

The visuals for “Alphas” is equally powerful with images of queer Africans celebrated on the screen. How much creative input did you have in the entire process?

I pretty much had full creative control of that. The process of shooting it was so fun. I put out a call for queer people to appear in the music video and we ended up having the best time. We became best friends and we’ve been hanging out a lot since then. We meet up at some other events and meet more new people. We’ve been able to build and grow the community even further which I deem really important. Art that is fresh and reflective of a community is the priority.  

What was the most memorable moment of collaborating with different queer cast members from different backgrounds?

They’re all just fantastic people and learning about them was interesting. I had been away in London for five years and being back, and collaborating with the new generation of queer artists in the art scene was amazing. It was cool to see what everyone was up to, so the highlight was just the good vibes. Amazing people to be around and work with. 

 

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“Alphas” arrived during Pride month last June, serving as the honest queer African presentation we deserve. How do you feel about such expectations from your audience? 

I was making the song and it kind of happened that the release was around pride month. I would’ve made and released it anyway, I was just lucky it was during pride month. I don’t feel pressure but I also know that the work is important because we don’t see a lot of representation of queer Africans. We’re also lucky in South Africa regarding our queer laws and it’s not something we should gloss over. I think it’s good that we recognise these. Of course, people are dealing with homophobia in some parts of South Africa but there’s definitely a lot of privilege to the work we put out. We don’t take it lightly and I understand how great it is that I can say something with this. I don’t take it lightly. 

How has your journey been for you, especially as a young queer woman in a notoriously male-dominated space?

I grew up with 4 brothers, so I think I’ve always had that fighter spirit. I’ve dealt with a lot of discrimination but I don’t focus on it because when you do, it can get you down. I have the tendency to look at the positives and go in the direction of people that want to be around and elevate me. People say that the Hip-Hop industry is male dominated but I’m not concerned. I am just forging a cute, little gay path with my friends and having a good time. People are either down with it or they’re but that’s not my problem. You may not be down with what I’m doing but I’m here to build community. 

“I am just forging a cute, little gay path with my friends and having a good time.”

With your new release “Alphas” would you say there was any message or feeling or thought you wanted audiences to take away? 

I just wanted people to feel empowered. I want people to feel like they’re the shit regardless of where they stand in the world. I know I often need to hear that. I need to listen to music that empowers me. I get those days where I listen to music to pump me up because I don’t feel like dealing with my emotions. I want to make people feel loved and deserving of all the good this world has to offer. 

Music has such a steep history but most times the Black pioneers are written out of the story. As an artist, how do you honour your SA heritage but still make room for your own originality and expression?

I try to be as authentic as possible but often, in a lot of my music I have many South African sounds. I use a lot of chanting sounds that reference South African culture. At the same time, we are living in a globalised society. I’m also making Hip-Hop music so I can’t deny the fact that I’m affected by everything I’ve consumed over the years which is like American/British music. I also try to keep my authentic self when I’m making music videos. Even the words, I often use South African colloquialisms. I try to mix it all together but I won’t say that  my music is purely South African because what even is that? We are all so influenced by each other from all over the place. 

Are there any topics you want to explore in your music in future?

Nothing that I can think of but when it comes up, I won’t be afraid to talk about it. I feel very comfortable talking about whatever’s on my mind. When something comes up, you’d hear it in the music. 

Listen to “Alphas” here.

Featured Image Credits/Dope Saint Jude & The NATIVE

ICYMI: UNDER BEST NEW ARTISTS (JUNE 2023)

Four Takeaways from the 2023 Headies Nominations

Posted on by The Native

Every year the Headies come to shake things up. Since its inception in the early 2000s, the award founded by Ayo Animashaun as the Hip Hop World Awards has maintained curatorial consistency while putting itself in the faces of Africans through its media channel, Hip TV. As a result, it’s been regarded as the premier award show around these parts.

Early this morning, the Headies confirmed its full nominations list for its 2023 awards show. Coming just after the middle of the year, the scene has witnessed several memorable artists and moments, crafting their myth or consolidation of established status. Thus the nominations arrive to quite the fanfare, contesting for relevance thick within a bubble of conversation.

We’re however about the music, and so here we react to some strong points from the nominations list. From the omissions to the glaring talking points and potentially scene-defining nods, we explore the most poignant conversations that could spring up from this nomination list.

 

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ASAKE’S IMPENDING SWEEP

It should be obvious that Asake’s Headies moment is on the horizon, but that may not quite be the case. In the past the award organisers have made questionable decisions, leading to divisive comments in the aftermath. But Asake’s greatness should be unarguable by now; he’s shifted the soundscape of afropop, taking the popular amapiano sound into the hyperrealist portraits of Fuji lingua. An album full of literary hits, an uncontestable era stamped in time.

Among the categories he’s nominated in are the prestigious Next Rated, Album of the Year, Best Street-Hop Artiste and Song of the Year. He has some solid contenders, such as ‘Boy Alone’ in the album category and “Calm Down” and “Last Last” in the latter, but he has sufficient credentials to attempt a clean swoop. If anything, Headies’ recognition of him in those key categories would signal their interest level in popular culture, especially as Asake was the undisputed man of the year, particularly in Nigeria. With crossed fingers and bated breath, the country awaits their decisions, with the hope that perhaps, musical excellence would triumph at this year’s awards.

Emmanuel Esomnofu

WHAT’S THIS R&B THING ABOUT?

Among other things, Nigerians love to discuss the state of R&B. To some, the genre’s smooth gaze has lost its relevance to the times; for others, contemporary incursions into the sound haven’t matched up to the standard of its golden era. Regardless of those conversations, a delve into the music reveals some timely gems, worthy bearers of all the romantic allure that comes with it.

For Headies, R&B has seldom been considered a major genre in its own right. There’s a surface-level understanding of its intricacies, especially as regards the subtle variations in the sounds being created by today’s Nigerian musicians. It really asks the question of what constitutes R&B, and some of the nominations on this year’s list don’t really answer that question. The Best R&B single category, for instance, has an obvious pop-directed song like Chike’s “Hard To Find”, while “Loyal” and “For My Hand” by Simi and Burna Boy don’t quite have the sonic peculiarities of the genre even with their emotive resonance.

No doubt, all three would best be situated in a Pop category, if they’re deemed quality enough. Similarly, the Best R&B album isn’t the best encapsulation of a genre whose practitioners have released stellar projects through last year. I find the nominees to be easily sourced, too predictable. There’s no doubt better research could have been done, to properly reflect quality and not just how much the project leans into the mainstream.

Emmanuel 

NEWNESS IS A RELATIVE CONCEPT

The Next Rated category has always been one of the most prestigious awards in the Headies canon. Awarded to the most impactful new artist under the year in review, it’s a category where its nominees are discussed, considering that the winner joins a rank of revered artists, many of which often go on to eclipse the success of their mainstream breakout year. Asake, Seyi Vibez, Young Jonn, Victony and Spyro are in contention for the award at the next Headies ceremony, a formidable list of nominees who made indelible marks on Nigerian pop in 2022—none more searing than Asake, though, the overwhelming favourite to pick up the award and the accompanying car.

With the Next Rated outcome seemingly predetermined, some of the discussion has moved over to the Rookie of the Year, a category dedicated to artists who have had a breakthrough year with no album in the year under review. Bayanni, Khaid, Guchi, Eltee Skilz, Bloody Civilian and Odumodublvck are this year’s nominees, an otherwise fine list based on the criteria, but there have been eyebrows raised due to Odumodu’s nod. The Abuja-raised rap artist is something of a young, if grizzled, veteran with more than half-a-dozen projects under his belt, which makes the rookie tag quite misleading. However, it is worth noting that recent songs like “Picanto,” “Declan Rice” and the recent top ten single “Firegun” have elevated his visibility beyond the cult following of his earlier work.

In truth, what these categories for “new” artists signify is that nominations are usually considered through artists’ relationship with the mainstream, not by their output and duration as professional recording and performance artists. Both Asake and Seyi Vibez had veritable street smash hits before last year, Victony was on NATIVE’s Fresh Meat radar back in 2020, while Bloody Civilian released music under an entirely different moniker two-plus years ago. It’s just another reminder that the Headies is for the mainstream.

Dennis Ade-Peter

MORE WINS FOR NIGERIAN PRODUCERS

In this year’s Producer of the Year category are Magicsticks for “Sungba (Remix),” Pheelz for “Electricity” Andre Vibez and London for  “Calm Down,” Tempoe for  “Soweto,” Kel-P for “Kpe Paso” and Rexxie for “Abracadabra.” In Afropop’s globe march, music producers have been instrumental in the expansion and reinvention of sound, picking influences from different genres and cultures and creating authenticity to the African space and its artists.

A standout feature of the contemporary music scene, especially in Nigeria, are that producers are assuming more active roles in the creative process. Whether as performing acts or sole owners of songs, they are no longer staying in the background and are choosing to push to the fore. One of the nominees in Headies the Next Rated category is Young Jonn, who began his career as a hit-making producer but is now making hits as an artist. In the Producer of the Year category, Rexxie and Pheelz are the owners of “Abracadabra” and “Electricity” respectively while Tempoe shares ownership credit with Victony on “Soweto.” This is indicative of the changing tides as more producers are seeing opportunities to establish themselves as creative contributors who deserve full recognition. As the Nigerian music industry continues to evolve, the wins of these producers will motivate up-and-coming producers to not sell themselves short and demand their respect as creatives.

Uzoma Ihejirika

 

How DJs Are Changing the Face of African Music

Posted on by Uzoma Ihejirika

About a week ago, Nigerian DJ/producer Spinall signed a deal with Epic Records. He marked the news with the release of the Wizkid-featuring track “Loju”; it was his first record as an independent act in a career that has lasted more than a decade, highlighted with his recent sixth studio album ‘Top Boy.’ Spinall’s discography, like every that of every other music act, is a compendium of the sounds and essence of different eras but what makes his interesting is the fact that he’s one of the disc jockeys on the African continent who have elevated their role by becoming key members in the music industry.

The importance of DJs has always been felt around the world. With their ability to mix and match different songs, genres and beats, DJs are the conduit between artists and music lovers. They are responsible for ensuring that the music permeates every aspect of the audience base, thereby satisfying the audience’s need for entertainment and the artist’s need for recognition. Beyond curating memorable experiences, DJs are also important knowledge banks as their ears are always tuned in on the music and artists that define eras and generations. 

“Being a DJ is beyond mixing and changing songs for people to dance. There are a lot of technicalities, and essential values to showcase your relevance as a DJ to an artist and to the public at large,” said Dj Exprezioni, who is also a music producer. “Although we are in a time when most artists do not value the relevance of a DJ because the internet has helped with music publications and popularity, so, they feel DJs are not what we need to promote our songs. However, there is a place for computers and there is a place for the culture, which is carried out by humans.” He further added that “DJs shine more light on their careers by bringing their fans closer to them. This is something the internet will not be able to do! There is a certain pull from reality than the online life we see.”

In the 80s and 90s, way before the popularisation of the internet and the arrival of streaming platforms, DJs around the African continent began to stake their claim on the music industry. Outside the continent, DJs had a tight grip on the music cultures of their region. In American Hip-Hop, for instance, the DJs were pioneering the music borne out of mixing identical records as well as using turntables to manipulate sound and create original music. The music they made catered to the parties and events of their neighbourhoods. The act of DJing, coupled with graffiti, breakdancing and rapping, was the foundation of Hip-Hop culture as we have come to know it today.

In 1970’s South Africa, the music industry benefited from the influx of international DJs whose experimentations with Hip-hop, trip-hop, techno and Psychedelic trance opened up a unique set of genres to the country’s local scene. As the years went by, the local DJs took centerstage to curate sounds that paired Western influences with African sensibilities. The country’s house music experienced an explosion with Kwaito and Gqom being the forebears of that period. Helmed by the likes of Vinny Da Vinci, Christos, DJ Superfly, Oskido, DJ Mbuso and Harael Salkow, House music became an integral part of the identity of the South African people.

In Nigeria, our history with disc hockeys mirrors South Africa’s, which came with traces of foreign influences, most especially Hip-Hop. From the late 80s, Hip-Hop took root in Nigeria and inspired a generation of rappers and singers who borrowed certain peculiarities of the American rap genre and imbibed into their Nigerian experiences. This period saw the emergence of DJs DJ Jimmy Jatt, DJ Tee, DJ Humility and DJ Waxxy. From the late 80s to the 2000s, this group of DJs would go on to change the face of DJing in the country.

DJ Jimmy Jatt’s ‘The Definition’ (2007) is regarded as the first official DJ-compiled LP in Nigeria. Leveraging on his extensive experience in the music industry, DJ Jimmy Jatt secured some of the biggest names in Nigerian music at the time. One of the album’s tracks “Stylee” (featuring Mode 9, Elajoe and 2Face Idibia (now 2Baba)) is an era-defining work that seamlessly merges American Hip-Hop and Nigerian insight. DJ Jimmy Jatt is also the brain behind Road Block Street Carnival and the TV show Jimmy’s Jump Off, both avenues for Nigerian music to directly reach its local audiences. 

At the beginning of the 2010s, DJs were no longer background features; they became major, respected fixtures across the music industry. In Nigeria, the likes of DJ Spinall, DJ Exclusive, DJ Neptune and DJ Kaywise were establishing themselves as mainstays. In South Africa, a fresh crop of DJs—Black Coffee, DJ Cleo, Muzi, DJ Maphorisa and DJ Euphonik—were pushing the envelope with their musical output. Around this time, it was normal for DJs (some of whom were producers) to feature music artists in their songs (and vice versa) and establish themselves as independent and functional music makers. 

With the advent of streaming platforms, DJs have also enjoyed greater visibility on the music charts. From DJ Maphorisa’s “Soweto Baby” with Wizkid and DJ Buckz to Spinall’s “Ohema” with Mr Eazi to DJ Neptune’s “Nobody” with Mr Eazi and Joeboy to Master KG’s “Jerusalema” with  Nomcebo Zikode and Burna Boy to DJ Kaywise’s “High Way” with Phyno to Spinall’s “PALAZZO” with Asake to Uncle Waffles’ “Yahyuppiyah” with Tony Duardo, Justin99, Pcee, EeQue and Chley, DJs are no longer small fries and taking their place in the big leagues.

While TikTok has, in recent years, rivalled DJs with its features of chopping and mixing sounds, DJs still maintain that their influence will never wane. “DJs are still very much essential and critical to the sound ecosystem,” Malawian DJ and producer Chmba tells the NATIVE. For her, there is nothing that beats the experience of a human being soundtracking the lives of other humans in a shared, jubilant space.

Featured image credits/NATIVE

NATIVE Selects: New music from Prince Kaybee, Spyro, Joshua Baraka & More

Posted on by The Native

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. In our last edition, we brought you new releases from Blaqbonez, SGaWD, Shallipopi 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!

PRINCE KAYBEE – “CATHEDRAL”

Prince Kaybee is the gift that keeps on giving. A few short weeks ago, he shared an 11 track project dubbed ‘Music Theory’, laced with ethereal house and electronic elements paired alongside hypnotic African percussion embellishments. Now, he returns with “Cathedral” with a high-tempo production free of vocal accompaniments. The pace of the track gradually builds up with the inclusion of a lush drum pattern and mellow keys. All the while, a deep chant drifts in and out of the track as the piano’s low cadence contrasts its EDM details. 

JOSHUA BARAKA – “NANA (REMIX)” FT. KING PROMISE, BIEN & JOEBOY

Joshua Baraka is Uganda’s bonafide breakout star of the moment. The singer has been releasing music for over two years and he scored his biggest song yet with “Nana” earlier this year. He followed it up with a pan-African remix featuring Ghanaian superstar King Promise, Kenyan icon Bien and ubiquitous Nigerian singer Joeboy, the trio of guests adding their own flavour of charisma to the sleek, dancehall-indented slapper. The remix now has a colourful video to go with the song, which should further its reach as Joshua Baraka seeks to become a continental phenomenon.

SPYRO – “FOR YOU” FT DIAMOND PLATNUMZ, TENI & IYANYA

Spyro has enjoyed tremendous success with “Who’s Your Guy?” and its remix with Tiwa Savage. For his latest single “For You,” Spyro takes the route of a pan-African collaboration as he recruits Nigerians Teni and Iyanaya and Tanzanian superstar Diamond Platnumz. “For You” is a love song where all artists take turns delivering affectionate lyrics to their lovers and the endless romance they aspire to. With its uptempo production with Amapiano elements and crowd vocals, “For You” might be Spyro’s next hit track.

OKIEMUTE – “NO DRAMA”

Since releasing her debut single “African Woman” in 2018, Okiemute has been steadily refining her craft and sound. The Nigerian singer, who won the music reality TV show Project Fame West Africa in 2016, also put out her ‘A Star’ EP in 2019. On her newest single “No Drama,” Okiemute informs her lover she wants no part of chaos. She makes this clear with a detailed evocation of the sex-filled and pleasurable life she imagines for both of them. With her sultry vocals, “No Drama” is a total pleasurable experience.

SAVAGE – “MAJO” FT. BLXCKIE & DJ MAPHORISA 

Savage’s newly released album, ‘That Uzere Boy’ taps an impressive list of talents across Africa including Victony, WurlD, PsychoYP and more. A standout from the stacked 13-track release would have to be Blxckie and Maphorisa assisted, “Majo.” The Afro-House infused number interestingly leads in barely audible whispers and the infamous log drums. As he addresses his muse, Savage brags of being the life of the party. He openly admits his admiration for her as he croons on the tracks pre-hook “Girl I swear, I’m obsessed with your waist/Girl I wan taste your body.”  A smooth arrangement of mellow keys close out his verse and queue Blxckie’s paired perfectly with Maphorisa’s effortless production. 

LOTI- “CLOSURE”

Nigerian R&B singer Loti digs into the rollercoaster of romantic intimacy with a lived-in approach, employing a first person approach that gives his songs a relatable feel. On “Closure,” he ruminates on the aftermath of a crumbled relationship, reminiscing on his initial hopes and the multiple ways his partner stretched and eventually broke his heart. Over a soft groove, his sorrow is overt, every melody coloured by the tangible dourness in his voice.

ALPHA OJINI – “APAPA”

Alpha Ojini is one of Nigerian music’s hardworking acts out there. The rapper, songwriter, producer and sound engineer has had his hands on tunes from both established and up-and-coming acts. Off his three-track ‘The Efeleme Pack’, “Apapa” is a standout song. Over a Drill beat, Alpha Ojini recounts his experiences as a young Nigerian who faces the threat of poverty. He vows to stack the money, rapping, “I’m trying to be a rich nigga with no manners.” “Apapa” is a tune for those hustling to escape the jaws of poverty.

WANGECHI & BURUKLYN BOYZ – “MBIZO”

On the Drill-influenced “Mzigo,” Wangechi and Buruklyn Boyz converge to toss around braggadocious lines about their indispensability. The Kenyan rappers, who are part of the country’s blooming rap scene, grab the beat by the scruff of its neck and each act flows verse after verse with a clear hunger and swagger. “Mzigo” is instantly catchy as the artists look out for payday and demand street cred.

Featured image credits/The NATIVE

Words by Dennis Ade-Peter, Nwanneamaka Igwe, Uzoma Ihejirika & Emmanuel Esomnofu. 

ICYMI: 13 GREAT PROJECTS YOU MAY HAVE MISSED MIDWAY THROUGH 2023

A 1-Listen Review of Shallipopi’s ‘Planet Pluto’

Posted on by Emmanuel Esomnofu

If listeners once regarded Shallipopi with a sneer, they are now paying attention. The Benin-born artist has capitalised on a string of viral moments, showcasing musical talent even while being in the news for alleged fraud. “Elon Musk,” the song which introduced him to the mainstream, has a mischief-toned groove with references to the quite popular world of digital trade, Bitcoin especially. That alignment with generational subjects endeared him greatly with young Nigerians, but the movement ever since has shone a light on more than Shallipopi, rather taking account of the world that has particularly shaped him.

Among the most resonant lyrics of “Elon Musk” were, “Pluto ways no dey show for map,” suggesting an unpredictability that has been the mark of Shallipopi throughout the year. Immediately after his release from EFCC custody, he took a familiar route by releasing “Ex-Conflict,” a song which was victorious and revealing. In the days since, the culture had seemingly moved towards him; he was the talk of social media, went number one on Apple Music, and then got a co-sign from Wizkid.

In the latter hours of yesterday, the artist released his debut project, ‘Planet Pluto’. Quickly extending his buzz into a body of work, Shallipopi reveals himself a deliberate creative, with a team whose fingers are on the pulse of his moment. A six-track EP, the only features are Fireboy DML and Zlatan, suggesting that for the most parts the artist coasts the solo path, closely matching the music with his distinct experiences. Here’s our 1-listen review of the project.

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

“OBAPLUTO”

Signature log drums to start out this one. What’s this rendition? Sounds very Benin and ancient. It gives these opening seconds the kind of mystique I’m quite fond of. He’s not following up in the reflective direction; Shallipopi’s style is audibly indebted to the hypeman culture. He does make his mark, but it’s the sample that forms the most evocative part of this song. “Mr Shalli Shalli, small body, big engine,” is a loved statement by musicians, for sure. The closing seconds puts this record in perspective; this is the world of Pluto and he’s the Oba—the King. A striking opener, definitely. Introduces the energy you’ll be getting from the jump.

“EX-CONVICT”

Yahoopiano is such a funny name for Shallipopi’s music, but the sentiment is audible. The man makes music for the dancefloors; for places where morality blurs into hedonism and everything you’ve always been aware of becomes the visceral present. I’m not very deep into the BTC culture so some of these references are flying over my head. He’s musical here, though, adapting a flow that’s quite Zlatan-esque in its brazen inflections. A direct connection in Shalli’s music can be drawn from the nightclub “shut-down” culture of the post-2020 Nigerian societies. It’s a major shift in the culture, and whether one agrees with its practices or not, fighting against culture is almost always a losing fight.

“SPEEDOMETER”

Third track and I’ve settled quite well into the project. I like when artists recognise their strengths and hone into them as truthfully as possible. The thinkpieces will come, but at the base, you get the feeling that Shallipopi just wants to create music. I’m loving this record; this chorus has so much personality. He literally sounds like a guy next door. “Who fall go rise again on a speedometer” is a useful bit of encouragement. I agree, although the consistently depreciating state of Nigeria offers a strong counter. This closing flute is quite poignant; I wonder if it’s from Benin. It does sound like it’s being played live.

“MELANIN TOUCH”

What’s love got to do? We turn to Shallipopi, in this attempt to ally by one of afropop’s most enduring themes. Right from the first beat drop, I’d known this one was for the ladies; the title also reveals that intent. These drums are mellow, sounding like something CKay would produce. Serene notes linger in the background, as Shallipopi paints a story of lust in the most brazen imagery. He’s not the metaphoric writer in the ilk of Omah Lay; his technique is more direct, quite like he’s been on his breakout songs. But he uses his vocals well here; you can tell it was a challenging song to make, but he pulls off the vibe like someone who’s fully formed the idea in his head.

“AHEAD AHEAD”

With the exception of the previous song, each song on here has had a log drum base. I’m hearing brooding synths and percussions from a bottle. Already, this is one of the most novel beat on the project. The pace also reminds you that Nigerian-adapted ‘Piano has subtle variations. I’m not too feeling his delivery in these early parts; the riveting quality of the subject matter seems to have slackened. I spoke too soon, it seems. This second verse has an infectious amount of braggadocio. He’s legitimising his presence in the industry. “I put Evian for song, e dey make all of una dey mental”—awareness can never go wrong for an artist. Anthemic record here; the streets would love this one.

“ELON MUSK (REMIX)” [FT. ZLATAN & FIREBOY DML]

The breakout song. The Elon Musk song. The Evian song. The BTC song. There’s a lot of things that can be said about “Elon Musk”, it’s the kind of song whose cultural relevance might eventually supersede its quality, but I’m sure Shallipopi won’t mind. As the last song in the project, it’s quite the full-circle moment; to conclude one’s swoop with the move that began it all. These feature verses aren’t doing too much for me, but then again I’ve seldom been big on remixes. In recent times only a few of those have positively advanced the original record’s vision. Overall though, as an EP closer, this is a good call.

FINAL THOUGHTS 

Once every while, a musician comes to shake things up. The perception of his personality is varied, but the emotion of his craft undeniable. Once there was Naira Marley, now we have Shallipopi. Releasing a project so close to his breakout could easily have been the wrong decision, but the artist seems to know his market. He doesn’t delve from the expected, rather coats his project with a pomp that’s naturally extensive of his off-music personality.

‘Planet Pluto’ benefits from that spontaneity of thought, a collection of energetic records which shines a light on some of the most culturally-penetrating activities of today’s Nigeria. From the government desks to bank offices and music studios, everyone’s on some digital platform or the other, seeking to maximise gains in ways that’s sometimes questionable but always dramatic. The music industry shares those same qualities, and placing himself at the forefront of this thematic unity, Shallipopi has orchestrated a solid opening move for his career.

Stream ‘Planet Pluto’ below.

Featured image credits/NATIVE

ICYMI: EXPLORING “OJAPIANO” & THE EVOLUTION OF NIGERIA’S MOST SPIRITUAL FLUTE

Best New Music: Maya Amolo Explores The Tenderness Of Love on “Cotton Candy”

Posted on by Uzoma Ihejirika

In her 2020 debut EP ‘Leave Me At the Pregame,’ Maya Amolo introduced her style of sultry, contemplative R&B/Soul chock-full with lyrics that dug up relatable emotions from the dark corners. From the pained awareness of “Puddles” to the realisation of a lies-filled love on “Jokes,” the Kenyan act showed herself as an artist willing to draw inspiration from her experiences. On her 2022 debut album ‘Asali,’ the dark emotions gave way to brighter aspirations.

She retains those happy moments on her newest single “Cotton Candy,” as well as the producers that greatly impacted ‘Asali.’ SirBastien, one of the producers on ‘Asali,’ replicates his role as the other, Lukorito, takes on mixing and mastering duties. On “Cotton Candy,” Maya Amolo is the lover who wants to soak up all the stress of her beloved and leave them free of whatever pain disturbs them.

“Don’t know what’s behind those eyes/The way they watching me/It’s the way/It’s the way you move I know you’ll give me anything/And everything,” Amolo sings on “Cotton Candy.” On “Drama Kwa Base” from ‘Asali,’ she contemplates her choices and her dissatisfaction with her lover. On that song, Lukorito, who also provides a verse, provides a fuller perspective as he accuses Amolo of certain wrongdoing. Here, on “Cotton Candy,” there are no conversations as Amolo is fully committed to tending to her lover’s faults and inadequacies. 

 

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The production on “Cotton Candy” feels familiar yet carries experimentation. Amolo has been open about the influence of SirBastien on her career, citing that “…he sent me all these beats that were just so full of joy. So just by the strength of his music I was kind of forced to be in a happier space. I couldn’t write sad lyrics to the music that he was sending me.” In her NATIVE Exclusive, Amolo delved deeper into her process as a creative.

“Cotton Candy” is undeniably R&B but SirBastien goes for a Dancehall-esque bounce buoyed by log drums that keep the track alive. Amolo’s vocals glide over the production as its solid base assists with the heavy lifting. There are also small splashes of percussion to make things as interesting as possible. With “Cotton Candy,” Amolo and SirBastien’s synergy, which began from his ‘Mango Island’ project, shows no signs of rust or weakness.

Throughout “Cotton Candy,” the optimism in Mayo Amolo’s voice never wanes. That delicate touch in her music is one of her winning powers. There’s an understanding that emotions are a universal commodity, and it is this commodity that Amolo trades with as she paints, for the listener, a picture of the care and tenderness of a person in love.