Jay Z Enlists Tiwa Savage, Wizkid, Maleek berry & More for “Made in America” 2017

Words by Fisayo Okare

Over the last 6 years, Jay Z has continued to bring together music and culture through the annual Music festival he founded in 2012, “Made in America festival”. The event is identified as first and foremost a hip-hop festival but it also hosts live music from a slew of genres including EDM, rock, pop, R&B. Last year’s edition was headlined by Rihanna and Coldplay with DJ Khaled, Lil Wayne, Chance the Rapper and Lil Yatchy, amongst others as supporting acts.

For the 2017 edition of the annual Budweiser-powered “Made in America festival”, Jay Z has announced that he is headlining this year’s festival which is a big deal considering Jay-Z hasn’t given any public performances since his 2014 co-headlining “On the Run Tour” with Beyoncé. He is sharing the top bill with rapper J. cole and EDM sensation the Chainsmokers. This year’s festival also features the British Nigerian producer and artist Maleek Berry, Tiwa Savage and Wizkid, putting them in the perfect place to continue to market their brand of Afropop to a more diverse international mainstream audience as they revolutionise the African music industry.

“Made in America festival” will hold on the second and third of September in Philadelphia. Other artists expected to feature at the event on the Jay Z-curated line-up include Solange, Sampha, Migos, 21 Savage, Run the Jewels, Little Dragon, Pusha T, DMX, Lizzo, Kelela, Vic Mensa, Yung Lean, Kodie Shane, and more.

Check out the full Made In America line up below.

https://www.instagram.com/p/BTjoYYiBjbG/?taken-by=thenativemag

Afropunk Festival to come to Africa for the first time this year

Mich Straaw just raided his archives and blessed us with new Demos

For a singer who has only been in the industry for less than two years, Mich Straw has  seen unprecedented success culminating in him from being on the line up of artists that performed at Gidi Fest. The very same stage where he opened for the Festival’s main act, producer and member of super group, Major Lazer. Perhaps, in celebration of an event of that magnitude, Mich didn’t perform any of the songs we’ve come to know him for, not even “CTRL”which is a fave here at The Native. He debuted two new songs from his archives: “Fallen” and “I Wan Luv You”. Both in the genre he calls ‘Afro Blues’.

Both songs fit nicely into the universe Mich is creating. They expand on the complicated love story that revolves around him and his fictional love interest. In “CTRL”, both characters only past first acquaintances and sizing each other up. In “Fallen”, Mich Straw, unabashed with his affection, is openly declaring how deeply he has fallen for his love interest. “I Wan Luv You” will sound familiar because it references the instantly recognizable melody from the classic Bob Marley song “Is This Love” but set to a decidedly chillwave instrumental, full of synth sonic vistas and otherworldly flourishes.

If Mich Straaw’s demos are this interesting, we wonder what an actual EP will sound like. Greatness, obvs.

Listen to “I Wan Luv You” and “Fallen”. 


Tiwa Savage, Wizkid and Maleek Berry to perform at Jay Z’s ‘Made in America’ music festival

Hue and The Sound’s “Good Girl Go” is trap excellence and we’re here for it

Afrotrap is huge right now, like…huge! Especially among the new generation of artists grown off Tumblr and SoundCloud, unafraid to explore genres and create their own. But like everything that is hip, Afrotrap as a genre has quickly become saturated and it is near impossible to separate the genuine talent from the culture vultures trying to capitalize on the sound. Hue and The Sound (a rad as fuck name by the way) gained our attention by doing the opposite. He took afro-trap, stripped away the often-superficial ‘African’ elements that are usually thrown in, and dropped “Good Girl Go”, an honest to goodness trap song.

I’ll admit, that was the first thing that drew me to “Good Girl Go”, but I stayed for Hue and The Sound’s musicality. Darn! That man can write a catchy hook. Sparse piano arrangements add a bluesy soul to dreamy synth arrangements, all of it grounded by a relentless drum loop. The instrumental produced by Steine, is very much in the style of Danish beat maker and producer, Galamatias. But Hue more than owns the instrumental.

Using techniques like repetition, run-on verses and whispery backing vocals all amount to a subtle but very effective haunted vibe as the singer laments his relationship woes.

It is a heartbreak music you can dab to and we fuck with it.

Listen to “Good Girl Go” here.

Here are the essentials from Nonso Amadi and Odunsi’s EP, ‘War’

Bella And Ycee Are Surprisingly Good Singers On “Radio”

Bella Alubo released her first EP, Bella The EP, last year, but didn’t get the credit or publicity she deserved for successfully fusing hip-hop and pop. Realizing the potential of a rapper who can dabble in sung-rap, especially in this era where genre fusion is encouraged, Tinny Entertainment quickly signed her and have released her debut single, “Radio” featuring the label’s biggest artist, Ycee.

https://www.instagram.com/p/BTn9_WblH8o/?taken-by=bellaalubo

Both artists have shown the ability to drop traditional rap bars and hit melodious notes on previous singles. However, in “Radio” they settle for the latter on the Afropop beat produced by Syn X. Their synergy is tested by the mid-tempo synth piano baseline that’s as catchy as every radio hit song since Mr Eazi’s “Skin Tight”. Lately, the media seems to make concessions for rappers who choose to sing their own choruses instead of outsourcing to RnB artists to make their songs more radio friendly. Since Drake found mainstream success by mixing pop with hip-hop, the fear of critics calling singing rappers soft became baseless.

Tinny Entertainment are either trying to make the most of their new signee by encouraging her to try out the more commercial Afropop genre, or are letting Bella choose what genre to explore despite the fact that she was signed as a rapper. What is obvious though, is that Tinny Entertainment have scored a definite radio hit with Bella’s “Radio”. Her singing voice is heavily autotuned, but it takes nothing away from her melodies and lyrics.

You can be sure that “Radio” will make it’s way onto radio stations’ playlists, riding on the attention Ycee has been enjoying recently. Plus, Bella is surprisingly brilliant at singing too. Her next project just got elevated to the list of projects to look out for.

Listen to Bella’s “Radio” featuring Ycee below.

https://soundcloud.com/bellaalubo/radio-ft-ycee-prod-syn-x

Featured Image Credits: Instagram/bellaalubo

 

Everything you need to know about Ycee’s First Wave EP

Juls Releases “Early” ahead of ‘Leap Of Faith’ EP

British born Ghanaian producer, Juls, announced the release date for his debut EP, Leap Of Faith, with a sneak peak into the track list on his Instagram page last week. So while we still haven’t quite decided who has the better jollof, we know Juls draws on his Ghanaian hip-life influences and Nigeria’s whine friendly Afropop.

https://www.instagram.com/p/BTl7b9Ggg2p/?taken-by=julsbaby_

While we wait for the official release of Leap Of Faith, Juls has teased the project with pre-released singles and videos from the track list. The latest release came in earlier today featuring indie and commercial divides of the Nigerian soundscape. Though the digital sales are blurring the lines of indie and commercial artists in Nigeria, the similarity between Maleek Berry and Nonso Amadi’s sound is heard on “Early”.

Nonso Amadi takes center stage on “Early” , starting the song and featuring on the chorus. Maleek Berry sounds more familiar due to his distinctly thin voice, but doesn’t take attention away from Nonso’s melodious sound. Juls produces a mid-tempo beat with a piano baseline and a tropical chant overlay at the start and ending of “Early”. This might not be a typical dance floor number, but the beat is infectious enough to imagine “Early” playing for the slow whine type of night.

Maleek Berry’s songs are regular features on dance floors but Juls is gifting Nonso Amadi a more comfortable spot on DJ turntables within and outside Nigeria.

Listen to “Early” below.

https://soundcloud.com/orealeb/juls-early-ft-maleek-berry-nonso-amadi

Featured Image Credits: Instagram/nonsoamadi

See the full track list for Juls’ Leap Of Faith EP

Michael Jackson’s Biopic to premiere on his Memorial Day – 25th June

“The greatest education in the world is watching the masters at work – Michael Jackson”

Words by Fisayo Okare

That quote from Michael Jackson holds so much truth, especially when it comes to his own life and work. Jackson is a favorite subject for film makers and biographers and his life has been scrutinized and documented on all kinds of mediums: audio, print and video, 8 years after his tragic death. Lifetime is throwing its hat into the ring with a biographical film titled “Michael Jackson: Searching for Neverland”, set for a 25th of June 2017 release date, same day the world beheld the king of pop’s demise.

The film is based on the last few years of Michael Jackson’s life as told through the eyes of his bodyguards, Bill Whitfield and Javon Beard. “Michael Jackson: Searching for Neverland” finds its backbone on Whitfield and Beard’s 2014 book titled “Remember the Time: Protecting Michael Jackson in His Final Days”. The bodyguards write in a conversational form recalling the craziness of watching over MJ and his family, even if it meant carrying around two Oscar statuettes in a briefcase in case Michael had to pay a bill because he was so broke.

As Michael’s debts increased to an estimated $500 million, their wages stopped and Whitfield writes that he found himself paying for petrol out of his own pocket as they drove Jackson around. Nevertheless, both of them didn’t mind going through a hard time for their boss; “We stayed with him out of loyalty”, says Whitfield. As Michael moved from one rented apartment to another, they were times in hotels and “credit cards were being maxed out and management were about to ask us to leave. This was Michael Jackson and I was thinking ‘How is this happening?’” they write in the book.

The authors narrate a number of stories about Jackson, including his need to ride in his own SUVs for security reasons. They also write about Jackson’s abandonment of his ranch, Neverland. The stories are told at first-hand what many do not know amidst the fame and other scandals that are more popularized. The two show the reader how one of the most popular singers in history tried to live a decent life and provide his kids: Prince, Blanket and Paris (who loved being around their dad so much) a life of privilege, while balancing normalcy. Whitfield and Beard have also been bodyguards to Shaquille O’Neal and Alicia Keys.

There is an extent to which the book covers as the two were only with Jackson for a short while. But the film will follow Whitfield and Beard’s story, to be executive produced by Lifetime Network. In the biopic, Navi, considered the world’s most prominent Michael Jackson impersonator, who Jackson himself recognized and often used as a decoy, plays Jackson in the movie (see above in the featured Image). Meanwhile, Chad L. Coleman plays Bill Whitefield and the Nigerian-American actor, Sam Adegoke is Javon Beard.

Check out the teaser-trailer for Lifetime’s “Michael Jackson: Searching for Neverland” here.

Featured Image Credit: Lifetime

The Story Of The First African Samurai Is About To Be Made Into A Film

Uber Vs Okada Vs Danfo: Where Productivity meets Convenience, meets Comfort

Story by Fisayo Okare

I was going for a meeting from the right end of Lagos far towards Onigbongbo, I paired chunky sole loafers with my attire, cleaned and polished – but I would keep it separately in my toté bag alongside my pen perfume, and a tiny make-up purse in my hand bag, then wear slip-ons and set out on my journey.

Five hours of waiting for a fallen truck ahead of the road to be moved by road safety ground men had me restless as I arrived Obalende. The small bus I followed from Ajah was a ramshackle of steel box, with gliding parts on a wheel; even worse, a drowsy woman and sweaty man through the entire ride had flanked me on both sides. My entire day had sucked. I had lumbered through it with a certain undercurrent of despair.

The initial plan had been mapped differently though. I school on the far end of Ajah, and stereotypes aside, going anywhere on the mainland comes with the same insurmountable task of trawling through Lagos’ literal urban jungle of smoke fumes, loud horns and the occasional random arm grab that will most probably prelude getting relieved of your wallet.

So I’d wisely decided to use a BRT. I stood for nearly one long hour, watching more people join the queue in-wait at board point even though, there was actual bus in sight. I checked my watch to see how behind I was on schedule, considering an Uber as I contemplated alternatives. Sadly, my bank account balance disagreed. That random adulting decision of circumstance eventually paid off when I found myself in the cheap (dis)comfort of a yellow bus, instead of what would have been a long-term voluntary hunger strike if I had chosen a five hour air-conditioned ride.

In the weeks since that day, I’ve been thinking a lot about how I would have taken an Okada, aka “motorcycle taxi”, the Grandmaster of Lagos public fast transit. Make that 10 and I would have gotten to the meeting just in time, thanks to their ability to maneuver routes and paths no other motor vehicle can use. But ever since I got slightly hit by a car on a narrow road in Agege, I have had an aversion towards crossing wide roads. Riding the Lekki-Epe freeway on a two-wheeled vehicle would be somewhat of a daredevil stunt for my Abuja-bred sensibilities.

Lagos is a projected cultural and commercial mega-city of the future but the city’s transportation woes makes it impossible for anyone to leave home without carefully planning every step of the way. While BRT busses make up for comfort what they lack in organization, the large number of people who depend on its route network, makes it largely inaccessible to anyone working on a clock. Yellow Danfo buses are a logical alternative, but the strife of the journey is not only implied in the physical outlook of the often outdated buses, it also reflects in the generally underwhelming or potentially dangerous experience. But in a country where only a few have enough to eat, even fewer can afford to hop cabs or request an Uber off a luxurious smartphone with Internet access. Okada rides are the banished crown prince mode of transportation in Lagos still valued by many who dare to brave underlying safety and legal concerns for speed and efficiency.

Agreed, the need to affirm social status is an underlying factor that determines how people arrive in style (or do whatever the opposite of arriving-in-style means), but it is most important for anyone trying to survive in Lagos to know the best hacks that work for them.


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


You may want to read: Six Struggles You Face as a Sneakerhead in Lagos

“Know” by Swan Sounds is a great start to your summer interlude

In the last five years what we consider ‘pop’ music has changed dramatically. The change has in part been spearheaded by Toronto’s multi-cultural music scene and its biggest exports, Drake Aubrey, The Weeknd and Party Next Door. They’ve introduced a more decadent, unhurried vibe to the genre and helped berth in the mainstream Caribbean inspired melodies that were formerly only present in reggae music and its sub-genres. That distinct brand of island-holiday inspired music, aflush with steel drums in place of traditional percussion and a slower beat, has spread around the world and shows up in singer/producer, Swan Sounds’ new single “Know”.

Smooth as the swaggiest pimp, Swan Sounds woos, completely convinced that we want to ride with him, and it’s not hard to see why. With production credits on “Know” and a sound that marries accents from 90’s R&B (think a female vocalist ad-libbing, her voice strained through a vocoder), contemporary pop sounds and a catch as hell hook, Swan Sounds doesn’t need to do that much work. And he coasts the entire song, never doing too much but also showing us that he’s a capable song writer.

This is definitely the perfect song to begin the summer interlude, all we need now is a boo to woo.

Listen to “Know” here.

Best New Music: Burna Boy proves there is no genre he can’t own on “Rock your body”

LeriQ and Tomi Thomas bring star power to Garmspot’s new fashion editorial

While our ready to wear and premium brand fashion industries are booming, urban wear has been largely ignored. Perhaps it is because of all the fashion genres, Urban wear is the most competitive and the most saturated, with even established international fashion houses building urban wear diffusion lines to get into the action. But urban wear is in fact a reliable way for young people to document the youth culture peculiar to their countries and brands like “Waffles’N’Cream”, “Pop Caven” (formerly “Caven Etomi”) and “Allen and Fifth” have, in the past, become visual archives for the pop culture of the eras in which they began. And if the auguries are anything to go by, so will “Garmspot”.

The online youth store is helping bridge Urban wear brands with the youth demographics for which they create in and (importantly) outside Lagos. For now, they predominantly stock urban wear but they plan to expand the number of brands they stock and their transnational reach. They just put out a new collection and editorial to promote their collection, tapping LeriQ and Tomi Thomas, only two of Nigeria’s most stylish alternative musicians to front their new campaign. Anything that has LeriQ in it already has my attention. And perhaps you might even get to meet him at the store’s coming physical Pop Up Sale and Exhibition on the 6th of March from 11am to 6pm at 14B Adeola Hopewell, Victoria Island.

For now, enjoy.

 

Garmspot, LeriQ, Tomi Thomas,

 

PHOTO CREDITS
Models: Tomi Thomas, Leriq, Brooke, Donald, and Zenaani

Photographer: Blackprint

Videographer: Keneumeokafor – Red Town Digital

Styling & Creative Direction: Samantha Adebayo

Website: www.garmspot.com

 

ikire jones is the kind of designer we should all aspire to be

The Plot Twist To This Mr Eazi Video Is More Confusing Than You’ll Think

Mr Eazi is still aggressively marketing  his Accra to Lagos mix-tape with “Feelings” being the latest single off the project to get the music video treatment. While the EP wasn’t as acclaimed as his pre-released singles, Mr Eazi has managed to remain in the mainstream with the strategic spread of his video releases. “Feelings” was shot last year in South Africa by Uproot Media but Mr Eazi didn’t put out the video till the first of May.

https://www.instagram.com/p/BTkrUvblE0O/?taken-by=mreazi&hl=en

Following the narrative of the song, Uproot media directs a 3 minutes length film on Mr Eazi’s relationship woes. His romance with his babe goes south after he catches a glimpse of a man in her bed room while video calling her. Subsequent shots show her trying to explain away the unfortunate situation but an unconvinced Mr Eazi heads to her house seemingly ready to rant and perhaps break things off. But after the twist in the end, they make up and walk into the sunset to live happily ever after. Well unless Mr Eazi eventually notices the plot holes in the story.

We always wondered why previous videos from the EP were tagged “Vibez Video” but after watching the video for “Feelings”, it’s clear he isn’t a big fan of complicated plots. Although the video was barely over 3 minutes long, he ended up with a plot hole in his attempt at a proper story line. The two men who show up smiling aren’t realistic explanation for why a man was in his girl’s bed room. The end leaves you with more questions than the ending of “Collateral Beauty”.

Watch the video for “Feelings” below.

Featured Image Credits: YouTube/Mr Eazi

Here are five vibe-out essentials from Mr Eazi’s ‘accra to lagos’ mixtape

The Shuffle: How on God’s earth did Terry G get away with “Free Madness”?

The first thing you hear on Terry G’s “Free Madness” is not quite clear. It’s hard to tell if its a piano or a horn or a trumpet, but it plays loudly like white noise in the backtrack for 6 full seconds, even as drums and epic organ pianos set into the arrangement. This intro in which Terry G also announces ‘Testing Microphone Eh/ Terry G testing microphone’, soon devolves into a riotus drum roll with electric pianos bouncing along an energetic melody stream. It’s all too noisy to stand at first but Terry G’s complex instrumentation is only a side-step to his ebullient charisma, and this is where “Free Madness” hooks you.

No one exactly knows how Terry G’s “Free Madness” made it out of the studio. But as Terry G would later reveal at the peak of his success, “Free Madness” was a single-take freestyle he recorded after getting fairly intoxicated and stoned. “Free Madness” supposedly leaked into Alaba DJ mix CDs and eventually the internet a few weeks after the recording, becoming an instant hit and perhaps one of the biggest songs of 2008 in the process.

As “Free Madness” implies by title, there is neither story nor narrative. Yet he manages to cover every inch of the beat with vocals, even if he had to give up on human vocabulary resorting to gibberish at random intervals. The act is not slight when you remember the only artist who comes close to this level of confidence while neatly operating within the confines of mediocrity is probably D’banj. Terry G brought “Free Madness” along with a strong personality that has become an important part of his brand ever since. Like D’banj used the word ‘Koko’ sparingly as a larger part of his shtick, Terry G He popularised the word ‘Gingah’, a similarly vague often referenced word with many loose meanings.

Terry G’s “Free Madness” is completely devoid of any purpose or meaning, yet it’s been nine years since its release and it’s still unclear how this became his break out single. Perhaps in a near future, someone somewhere will write a term paper on how Terry G trolled Nigerian hypocrisy for content in music with a song with no actual content. Until then, I think it’s safe to assume the rumours about the strange but wonderful things drugs can do for you are true.

Listen to “Free Madness” via YouTube below

Get all four songs off Nonso Amadi and Odunsi’s ‘War’ EP

Essentials: Nonso Amadi And Odunsi’s ‘War’ Is The EP They Need At This Point In Their Career

After getting over the initial skepticism for a joint EP from two of Nigeria’s most celebrated indie artists, it eventually registered that maybe it’s too early in their career for rivalry. Nonso and Odunsi have made a name for themselves by building quite a reputable fan base to boast. Despite obvious attempts to steer clear of the Afropop populated mainstream, both artists have earned their spots on radio playlists and a focused collaboration of skill will definitely help increase their individual appeal in the long run. It’s too early to tell how big War will get, but the four-track EP is already racking up SoundCloud numbers and radio is starting to catch on too.

For a lot of new artists, label pressure and cost of promotion per single usually puts a strain on how often they can release music. However, Nonso Amadi and Odunsi are both directly plugged into a growing culturally aware generation, and surpassing the the challenge of appealing to adventurous taste palettes is their greatest achievement thus far. This also allows them the freedom to experiment with various sounds and sub-genres until a final form emerges in a not too distant future.

https://www.instagram.com/p/BTcEK4KB_49/?taken-by=nonsoamadi

The first track on War, “Ocean” immediately draws listeners into a tropical soundscape that carries on all through the entire EP. Higo and Harry produce a mid-tempo beat with synthesizer piano riffs and bass drums. Nonso and Odunsi sing on the same laid-back pitch to give the song a party by beach feel. This sets tone for all of what’s to come on War

The tempo of the EP gets a little high on “Don’t” thanks to a dancehall bounce and samples off “Turn Me On” by Kevin Lyttle and Paul Play’s 2006 hit, “Angel of My Life”. But a mellow underground backtrack renders the song calm, and even better when a jazz saxophone solo sets in towards the close of “Don’t”. The same chill is applied to album mid-point “Stay” . Even title track “War” is a neo-R&B love song with just enough feel of the tropics to ease into summer playlists in the coming weeks.

With War, Nonso and Odunsi deliver a somewhat nostalgic project that taps into a bit of everything to reach for something new. There may be no “Situationship”(s) or “Tonight”(s) on this EP, but considering the responsibility these two artists have to help Nigerian music reap the early benefits of a globalised digital world, War is perfect for what it’s intended to be.

Stream War via Apple Music here

Featured Image Credit: Instagram/nonsoamadi

Listen to Odunsi’s “Desire” featuring Tay Iway and Funbi

Adekunle Gold’s “Work” reinforces some important core virtues

Story by Fisayo Okare

On the morning of Workers’ Day, Adekunle Gold released his music video for “Work” a hustle mantra off his debut album Gold.

https://www.instagram.com/p/BTi1qaugrcA/

Adekunle Gold’s deeply trenched traditional values surfaces as he sings about virtues of hard work and the importance of staying true to yourself. “Work hard, respect yourself and don’t live a fake life [because] hustle can’t kill anybody”, he says, presumably talking to every Nigerian who lives a public façade to mask the actual reality of their private life. Because, who are you trying to impress really If you can’t live true to yourself?

This subtly gives us all the dose of the Nigerian reality, where people are more concerned with how they are perceived as opposed to who they really are. The result is a society of people augmenting their public personas to fit into the social class they desire. That Lagos big boy may not really own that Jeep; the girl rocking that Gucci bag may have no transport fare to get home; or at the barest minimum, a lot people own flashy smart phones they can’t consistently afford to subscribe for.

On one hand, it’s easy to throw shade at this category of people but the world survives on the principle of cause and effect, even for so-called fake-lifers.

No offence to Adekunle Gold, but we can’t judge people who live pretend lives exclusively without admitting some of our own biases. First impressions are everything and at least one of us has had to show up at a job interview a little sharper than we look on a normal day because we know that’s what we would expect if the tables were turned. Or perhaps that time you had to be at an elitist event so you hopped a bus to the nearest bus stop before uber-ing a few blocks the rest of the way. It’s tough to admit, I know, but the human mind is wired to Judge without basis. Hence, to avoid passing off the wrong impression appearances must be kept up to the roof.

Life is interesting. To say that “hard work pays off” means that when you work really hard, you get to reap great benefits from your effort. But how do we measure hard work? In the music video for “Work” directed by Moe Musa, the B-rolls show people on the street who struggle under the heat of the sun for long hours, hawking food, butchering meat, fishing and sweating their asses off to earn an income. The glamour of working hard is ironically downplayed here when you realize that the amount of literal physical labour doesn’t necessarily translate the same effect to physical wealth. After all, there is no doubt that the brick layer sweating under the sun is a harder worker than the banker clicking buttons away in an air conditioned room, where they stand apart however, is in who gets the bigger pay cheque at the end of the day.

This is not to say that there is no virtue in hard work but philosophical discussions like this require not only context but also an open-minded awareness of our individual privileges. Hard work pays but opportunity is just as important even if you have to fake it till you get it.

Check out the video for Adekunle Gold’s “Work” below.


Featured Image Credit: Instagram/adekunlegold

Sarkodie’s “Gboza”, Speaks Praise After Hustle

You won’t believe what Dencia’s been up to!

Is there any Nigerian (using that word very loosely in this particular context) pop star who has harnessed controversy as successfully as singer and entrepreneur, Dencia? Getting invited to the Grammys, becoming a global ambassador for skin whitening and drawing the ire of feminists around the world, constantly talking her way in and out of feuds, Dencia has all the trappings of the classic diva. And as it turns out with her new single “Ella Eh”, she also has the very rare ability to craft a hit song that literally sounds like nothing else out there right now.

Dencia first gained the attention of the music industry as a recording artist and it seems in 2017, she is returning to her music roots with renewed intensity. Her new single “Ellah Eh” is a pastiche made of the multivariate heritage that the singer has to draw from in her music. The song is sung predominantly in English and French, and what we suspect is either Ewondo or Fang (two of the more prominent indigenous Cameroonian languages) and the music to which she sings has strains of Congolese Soukous, Nigerian Afrobeats, a string riff that could only have come from a Goje and that distinct French West African sound from Mali, Senegal and Cote D’Ivoire that has come to be known as World Music. With production that is only a few hand flourishes away from magic, these diverse influences come together to create an infectious ear worm.

This is the most vocally adventurous we’ve seen Dencia go as well, she layers on harmonies, creates an altered chorus to create a wall of sound for the song’s sonic peaks and works some pretty neat melodies. I can scarcely believe I’m waxing this lyrical about a Dencia song but Good God, give the girl her due.

Stream “Ella Eh” via Apple Music here.

Featured Image Credit: Instagram/iamdencia

Tiwa Savage and the curse of the groupie effect

Best New Music: With “Rock Your Body” Burna Boy proves there’s no genre he can’t own

The first thing you recognize on Burna Boy’s new joint is that crisp sparseness that has become emblematic of British influenced Afrobeats, a crispness that comes from studious production instead of pure, unbridled inspiration. Nigerian Afrobeats is often frenetic, always slightly off-kilter, enough to intrigue you but not enough to completely throw you off. This is why it comes as no surprise that the song is produced by British producer of the moment Juls, who is also collaborating with Burna on a project of his own later in the year. Perhaps this British connection also explains why Burna Boy is breaking character and giving us “Rock Your Body”, one of his chillest songs in years.

https://www.instagram.com/p/BTbk3-Xja29/?taken-by=burnaboygram&hl=en

In the last year and half, the singer’s music has been fueled by personal and professional controversies, his comeback single “Pree Me” signaling his reconciliation with long time collaborator LeriQ, and the follow up single “Hallelujah” chronicling the spats and disagreements he’s had in his career, and how somehow his music continues to resonate in spite of, or maybe because of them. Removing himself from our ‘toxic’ industry and collaborating with a producer completely removed from our local politics, might be the reason he’s feeling playful again. Because “Rock Your Body” is peak chill Burna Boy, rife with flirtatious lyrics and quips about bum-bum.

Think “Like To Party” but drenched in Jamaican Patois and a heavy dose of Burna’s relentless charisma. Saxophone solos pop up on the song’s chorus and verses. And traditional Nigerian instruments like the Shekere and the Pot drum provide that subtle afrobeats vibe that the song was otherwise lacking.

It might not be what we’ve come to expect of Burna, but it is definitely a welcome throw back for the fans from the early days and a good primer for people just getting into the singer’s catalogue.

Listen to “Rock Your Body”  via Apple Music here.

Featured Image: Instagram/@BurnaBoygram

Hear “Hallelujah”, Burna Boy’s first single of the year

Charles III is too woke to be living in dreams on “What is Life?”

Isn’t it refreshing when you stumble on an honest to goodness rap song? You know the kind of rap song where all you hear are clearly enunciated 16 bars after 16 bars dropped? The kind of rap song that doesn’t have any corny punchlines or sung-rap segues? The kind of rap song that isn’t trying to be anything else; not a cross-over hit, not a genre chameleon, just itself? Well then you should listen to conscious rapper’s Charles III’s new single “What is Life?” 

The stripped down aesthetic of classic rappers is what Charles III decides to adopt for the new single. A simple midi drum loop, a vocal sample, echoed and repeated through the song like a sombre adlib, and synth guitar notes, sustained to create a wall of sound effects, on which the rapper can muse. And Charles III muses, forgoing the atypical themes from Nigerian rap for a more personal introspective outpouring that wrestles with the place of a rapper in a world where materialism, and unreal pressure forces young creatives to transmute into ugly caricatures of themselves. He is unashamed to speak of his religion, to share his doubts and aspirations, referencing the high street brands that he still rocks, even when everyone else is hopping on the Gucci train, as a metaphor for his life.

You come away from ‘What is Life’, sombre, inspired to look at your own priorities, and in an industry that seems obsessed with escapism, it couldn’t come sooner.

Listen to “What is Life?” here.

 

Get all four songs from the ‘War’ EP by Nonso Amadi and Odunsi

Di’Ja is married, and ready to shed her good girl image

Di’Ja appeared set to steal all fandoms when she released “Awww” back in 2014. However, she failed to follow up with another acclaimed single, only delivering forgettable verses on Mavin’s releases. Whatever the reason for that, “Wan Chop”, is her ticket back into everyone’s playlists. I guess we have to credit Don Jazz for showing faith in the singer who has now proven she still has some pop greatness in her.

Di’Ja delivers the ultimate girl power anthem with “Wan Chop”. Sure, the times when women were nervous about showing sexuality in music videos are fast disappearing but Di’Ja makes all previous attempts look petty. That includes Tiwa Savages “Kele Kele Love” and other songs heralding equal rights for women. Men typically can get away with flagrantly sexual lyrics, while women are forced to tread more carefully around the subject. This hasn’t stopped Di’Ja from making a sexually provocative song with clever lyrics that make it suitable even for kids. Madonna would be so proud.

Don Jazzy produces a mid-tempo beat with high-life piano riffs and drums for “Wan Chop”. Di’Ja sings with reckless abandon on the forbidden subject of cunnilingus, drenching the entire song in double entendres about eating. Olamide almost single handedly ruined Wale’s album with his edgy hook on “Fine Girl”. “Fine girl to ni idi nla. Oon se mi kin la” is far less attractive than eating out, going down, breakfast in bed, whispering to Venus. Di’Ja expresses her sexuality in the most colorful fashion, subverting gender expectations along the way.

“I can’t wait to have your delicacy”, “He said he likes the way I pop it and the thing I put on top it so he thinks I’m the last bus stop” and “It’s my duty to feed my baby, Oya baby come chop” sound like the most innocent things to say. But the emphasis cannot be explained away, and while she flirts with corniness, it never actually gets there. Clarence Peters directs the video for “Wan Chop” featuring candy bars, cakes, ice cream, chocolate coated doughnuts and much more.

Watch the video for “Wan Chop” below.

Featured Image Credits: YouTube/MavinRecords

check out Niniola’s sensual video for “Maradona”

Davina Oriakhi hits yet another homerun with “F.S.L.S”

Davina Oriakhi has come a long, long way since she recorded her first song, honing her craft, perfecting her sound and imbibing the expansive experiences needed to effect transformative songwriting. It seems that Oriakhi is finally ready to make her name in the Nigerian music industry with a new era of music and an EP that showcases her best song writing yet, dropping “Silence Father Have Mercy” earlier in April to great critical feedback. She isn’t letting us get too comfortable though, because she’s already put out a follow up single “F.S.L.S”. 

Seek truth my dear, I say it one time for you to hear

This is the rousing call that Oriakhi starts her new single with, a real inspirational bop, echoing many of the Black female greats like India Arie and Jill Scott, foregoing songs with more lucrative subject matters, and choosing instead, to explore ideas of self worth. Oriakhi gives some of her best vocal work on this song too, her notes sure, crisply taking charge of the song’s single percussion and guitar solo that seems to exist as a non-verbal, complementary bassist. Oriakhi even references Beyonce’s Lemonade taking a phrase from Warsan Shire’s poetry, and pronouncing the phrase in such a way that it stays a hidden gem that only true fans of the album and genre will immediately recognize. Them and journalists.

Two excellent songs back to back almost seems like a fluke, but we are all for it continuing. If the new music continues to grow in creative dexterity and diligence, then it will be life affirming and we appreciate that.

Listen to “F.S.L.S” here.

 

Get all four songs off Nonso Amadi and Odunsi’s ‘War’ EP here

Mo Gunz samples classic trippy 90’s black Britpop for “No Time”

There was a subgenre of  Black British Pop that dwelled on the grotesque and macabre. Inspired, in part, by British punk, goth and emo scenes that were defined by their obsession with gothic literature and aesthetics, but unable to join these sub-genres because of their overwhelming whiteness, these black artists found a way to splice their preoccupation with horror into more socially acceptable genres of pop and R&B, into which black artists were pigeonholed. Groups like Big Brovaz sampled classic and contemporary horror tropes as a way to infuse their music with a sense of wonder, especially ‘spooky’ or ‘ethereal’ samples in their music. It is these sounds that you first recognize when you hear Abuja based rapper Mo’ Gunz’s new single “No Time“.

A simple string of xylophone synth notes on a loop is the song’s primary melody. Added to a mist of foreboding hums, a four count 808 drum, guitar riffs and Nollywood-esque octave bent random synths, turns our primary loop into a anxiety inducing instrumental. Mo’ Gunz runs through a gamut of rap styles, switching with the song’s tempo and instrumental changes as he regales us with his single minded focus on the hustle. The punchlines are decent and he shows surprising dexterity with samples. References are also as vast as the samples on the song with Jesus and horror cult icon Jason getting name dropped.

It is a song you’ll definitely listen to more than once.

Listen to “No Time” here.

Listen to Nonso Amadi and Odunsi’s ‘War’ EP here

“Save Yourself” is Nu Fvnk’s surprisingly good attempt at minimalism

We’ll eventually get bored of even the most exciting things if we see them often enough. Once an art form goes mainstream, it loses its allure, and artists who’ve realized this renounce norms and experiment with different patterns to create unconventional art. Taking influence from several places, or subverting traditional notions has given us awesome art expressions in the past from Laolu’s art works to Fela’s Afrobeat and its pop variations. Creating something refreshingly different has inspired a NuNairobi movement in Kenya, and artists under the East African Wave collective are championing that with their music.

Nu Fvnk is a rapper who developed music producer skills when his limited resources forced him to start making his own beats. He has gotten quite adept at beat production, earning him a place as one of the major producers in the EA Wave. Nu Fvnk songs have a disco-y punk-funk undercarriage layered with his rap vocals. His new single, “Save Yourself” has a mid-tempo time signature filled with bass drums that aren’t typical of Nu Fvnk’s productions. Synth piano riffs play over this ad-lib sounding rap vocals urging us to save ourselves, but doesn’t say from what exactly.

On the downside, “Save Yourself” seems a little light on lyrics, as if experimenting with production and the excitement of juxtaposing his vocals with the beat took precedence over writing. That being said, though Nu Fvnk repeats the same 7 phrases over 3 minutes, it’s easy to conclude that the message of the song is inspirational. He earlier released “Go Green” a pro-earth single with a quicker tempo and more lyrics.

What “Save Yourself” lacks in words, it more than makes up for in rhythm and progression. The laid back minimalist beat is primed just right for good vibes at house parties where the music not only sets the tone, but provides the perfect backdrop for good conversation.

Enjoy “Save Yourself” below.

Featured Image Credit: Instagram/nufvnk

Freshl gears up for whistle blowers on “EFCC Money”

Get all four songs off Nonso Amadi and Odunsi’s ‘War’ EP here

Industry experts raised eyebrows when Nonso Amadi and Odunsi announced they would be releasing a joint project, but thanks to teeming fanbases of both singers, the initial skepticism around the choice of both artists to work together, fettered into feverish anticipation for what has now been released as a four track War EP.

https://www.instagram.com/p/BTegZijhQPr/?taken-by=nonsoamadi

Except for opening single, “Ocean”, produced by Higo and Harry, War is entirely produced by Nonso Amadi and Odunsi. War doesn’t seem to carry any multi-layered statements within, and admittedly, the pop music high-road is a slippery slope. Still, War is an attempt by two of Nigeria’s most progressive DIY artists to find a sweet spot between new-wave Afropop and post-Drake neo-R&B. First listen reviews are super iffy, but I am a few replays deep into the EP and you will probably never hear another set of tracks perfectly primed for late night radio like War‘s.

We’ll be telling you what we really think of this EP soon, but in the mean time, you can cop a first feel of War for yourself here

Read NativeMag’s exclusive interview with Nonso Amadi