Songs for the Blues: How to curate the perfect playlist for when you’re feeling weary

Posted on by The Native

Words by Fisayo Okare and Ehimenem Agweh

You are allowed to get anxious. I get anxious. We get anxious. You are probably anxious this minute. I could say ‘Don’t worry, you’ll be fine.’ But that won’t help much, would it?

Anxiety is a feeling of fear or panic. Music helps to soothe it. Two things are central to this, getting better: feeling and forgetting. Essentially, music helps as a distraction and it is effective with people who can easily become absorbed in a cognitive activity like listening and immersion in the lyricism and tempo of the instruments.

Create an empty playlist folder

This is the very beginning of your playlist. Think of it as the conception. Give it a name you identify with either in your moments of great stress or in calmer times. Either way, it should be a name that reminds you to step back and remember to chill out. By creating your folder, you create a transferable file you can spread across devices, or perhaps even upload to a cloud service like iCloud or Google Drive.

Add songs you like to the playlist

In the end, it all comes down to how much or how well you enjoy the material in the folder. Put in songs that you like. Songs which get you moving and bopping your head to the rhythm or remind you of better times. These songs should have staying power and be useful in whatever situation you find yourself in.

Add songs with relatable lyrics

Some music therapists may recommend that it would be preferable to go with a tracklisting with very little emphasis on human vocals, what you can do instead however is to choose songs with relatable meaning. Music is said to be the greatest medium of human empathy, this is why we often feel better if we listen to sad songs when we’re sad. The mutuality of experience allows us a hold glimmer of hope that we are going to be alright.

Throw in songs with soothing instrumentals

Tempos are very important when choosing songs for an anti-anxiety playlist. Soothing music with a mellow tempo and few words can help slow your breathing and heart rate to match the music. Instrumentals provide calm and a sense of peace to the mind which in time induces a meditative state. Look for piano solos, flutes and violins as possible additions to the playlist.

Work your way up from slow tracks to significantly faster paced songs

For your playlist, curation is more important than number, so do yourself a favour by toggling off your shuffle button. This is important so you can match your emotions with the gradual switch from mellower somber tempos to faster-paced candy pop tempos. The first few songs should create the atmosphere and settle you in. Vary the rhythms until they get to the up-tempo regions. Keep the fast paced songs light and not to heavy on the bass. The goal is to calm your mind not to rile it.

Finish up on a chilled note

Your last few tracks should be able to ease you into your work. Keep them light, simple and free from sudden jumps in pitch and rhythm. When your heart beat mellows with the same pace of the music, then you know you are good, so the melody you choose should be in tune with this intention.

Go and live your life

Your playlist is your friend. Now that you have your anxiety reducing songs in your basket, go on and live your life knowing that you have your playlist with you for when it all gets glum again. Update it as often as possible and remember, life isn’t going anywhere without you.

Featured Image: Anxiety by Giuseppe Cristiano

The Bumplist: Songs from wizkid, kendrick lamar, playboi carti and others you should to get to listening now

6 Videos You Need To See Before This Week Ends

Posted on by The Native

Kendrick Lamar – DNA

Kendrick warned that his new album, DAMN. would bring the heat but he failed to mention his video would carry as much punch as his verses. Kendrick brings Don Cheadle on board for the video of “DNA” and the actor delivers an Oscar worthy performance mouthing lyrics during a mock interrogation with Kendrick.

Idris King – Squad

Idris King and friends serve major #squadgoals in his new music video for “Squad”. Who better to storm the stage with, for a song about community and camaraderie, than his home girls and homeboys. King’s new video does justice to the chill vibe of “Squad” with each shot showing the goofiness and light atmopshere that comes with having a good time with buddies.

Nicki Minaj – No Frauds Feat. Drake & Lil Wayne

Nicki’s “No Fraud” comes in to shut down criticisms of her public hanging by Remy Ma, in the weeks past with diss track, “ShETHER”. Nicki’s response took longer than fans expected but perhaps the rapper, thought the best way to win was to ensure her clapback packed all the right punches. To make sure of this, label mates Drake and Lil Wayne are dragged into Nicki’s response, “No Fraud” with hopes of replicating the success of “Only”. “No Fraud” was shot in London showing Nicki’s iconic curves, the iconic London bridge and enough jewelry to make the a princess jealous.

French Montana – Unforgettable ft Swae Lee

Riding on the wave of Afrobeat’s acclaim, French Montana features Swae Lee for “Unforgettable” wth a video shot in Kampala, Uganda. The scenes are largely disconnected from the song’s actual narrative. It also features shots of the artists in the ghetto with a cast of street kids dancing and smiling like they were happy to be on a video that already boasts of over 8 million views on YouTube.

Paramore – Hard Times

Alt-Rock band, Paramore is coming back with a second album after a brief haitus that preceded 2013’s self-titled come back album. “Hard Time” is the lead single off the album, and while it is a superb song, it also confirms earlier fan speculation that the band is taking a turn from its emo roots towards a lighter pop direction. The release of “Hard Time”‘s candy-coloured video, further emphasizes the bands shift to a more playful narrative.

Wande Coal – Iskaba

If you missed It, Wande Coal dropped the music video for last 2016 single “Iskaba”, featuring DJ Tunez. Director Sesan shares works in a Vintage tint seemingly inspired by Mark Ronson and Bruno Mars’ “Uptown Funk” , complete with vintage clothing and round top hats. The draw of this pretty picture is somewhere in the colour scheme and Wande Coal’s energetic moves.

Featured Image: YouTube/WandeCoalVevo

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NATIVE Mix 003: featuring SMOKING INDOORS

Posted on by The Native

SMOKING INDOORS returns with a genre-defying mix, shuttling between Tekno and Mr Eazi to CBiz and Santi. There is also a premiere of an unreleased track by R&B singer Tau Benah, (fka Tobenna).

Have a listen, and peep the tracklist below.

Dan Etete – SMOKING INDOORS
Arrival (featuring. Stan) – Tau Benah
Pull Up Wit A Stick – SahBabii
TunnelVision – Kodak Black
Pope – OSHI
Breakfast at Tiffany’s – Knucks
Untitled vs Nina Simone on Blackness (SMKGNDRS Bootleg)
Mama’s House (feat Genio) – thatboyGMK
I’m Juiced – Adam Vida
Gangsta Fear (feat. Odunsi) – OzzyB
Burning Oceans – THR33
Still Standing – Children of Zeus
411 – DanielOG
Jayler – Tau Benah
Legover – Mr Eazi
RaRa – Tekno
I Got The Streets – C-Biz
Follow Me – Neverland Clan

Revisit the Native Mix 002: featuring Dj wayne

If You Never Knew The C.E.O, Here Is Your Ultimate DaGrin Starter Pack

Posted on by The Native

Though DaGrin’s reign on the throne of Rap Royalty was cut short unfortunately by a car accident that took his life, he left behind quite an outrageous legacy. The Yoruba rapper has been credited with being the instigator of the new era in indigenous rap in Nigeria that inspired artists like Olamide, Phyno and Reminisce to name a few. The mystery surrounding DaGrin’s quick rise to success and sudden death, was so sensational, that various occult theories were circulated to that effect. To celebrate the rappers legacy we have compiled 5 essential things you need to do before you are certified a DaGrin fan.

You Need To Be Nigerian

DaGrin was as Nigerian as it gets with the Nigerian narrative resonating in his lyrics. He rapped in his native Yoruba before it was cool. While his hip-hop flow breaks any language barriers, his messages hit a relatable raw spot, touching on subjects relating to the gritty reality of the street life and the struggles of the Nigerian youth stacked against odds of political and economic instability.

You Need To See Greatness in What Nigerian Music Used to Be

We all hate it when Hip-hop heads deride the current soundscape because it sounds nothing like what was popular when their faves made it. But for DaGrin, his legacy stands as the most successful rapper of his time and prime. The timelessness of his music is reflected in post-mortem features on tracks in the manner TuPac and Biggie have maintained immortality. DaGrin fans know the impact his music had on Nigeria’s music listening culture that laid the foundation for artist like Olamide to build their successful careers on.

You Need To Love Hip-hop

Before DaGrin hit the music industry with his fire punchlines, hip-hop was not as celebrated in Nigeria as it is now. With the release of M.I’s moderately debut, Talk About It, in the previous year, DaGrin’s C.E.O sophomore album, forced more Nigerians to pay more attention to the rap scene. Da Grin was heavily influenced by 50 Cent’s gritty thug rap aesthetic though his biggest hit song, “Pon Pon Pon” listens more like Jay Z’s classic “Run This Town”. DaGrin was able to utilize the raw emotion and energy of hip-hop’s story telling to tell the Nigerian ghetto story.

You Need To Be Able To Open Drinks Covers With Your Teeth

DaGrin never failed to remind listeners how tough growing up in the streets is. This plus the fact that he wasn’t just posing as a street kid for publicity made him even more accepted by the street. He was one of the artist that made the ghetto kid narratives attractive and he did this with a string of witty metaphors that every Nigerian kid could relate with. “Pop Pon Pon” had one of the more famous of such lines “Omo Naija, Mo le fi eyin si Pepsi”. It’s not a literal essential characteristic to be a DaGrin fan, but the symbolism for his street rapper narrative is sharp and noteworthy.

You Need To Be About That Life

His biggest project CEO (Chief Executive Omo Ita), was all about that life. It must first be established that no one knows what it means to be ‘about that life’. But like many things Hip-Hop has taught us all to translate with common sense, DaGrin’s grit and borderline street hoodlum brand, largely tells us he was about that life. His verses are filled with lines saying he runs the streets with allusion to the typical Yahoo boy culture you have probably heard so much about.

Listen to our DaGrin Starter Pack playlist below.

 

Featured Image: Twitter/@DuroArts

Fuji And S M V L L Z’s “Drugs” Give Us A Take On Abuja’s Drug Culture

Posted on by The Native

Music has proven to be a unifying culture and Aku/Fuji’s “Drugs” lives up to that expectation. He has worked with S M V L L Z on previous tracks in the past and the Abuja based rapper joins Fuji for yet another Hausa heavy single with all the right sounds the trap music genre has to offer. Fuji’s penchant for psychedelia has always been articulated in previous singles like “Where You Been” that featured dreamy synths and lyricism drenched in somber mood swings.

https://www.instagram.com/p/BTFjJQilG87/?taken-by=ohmygodyuh

“Drugs” is produced by D.A who uses the same beat as Travis Scott’s “Drugs You Try” but with a different, more upbeat baseline. Fuji peaches his vocoded infused vocals on piano synths and sings about getting high off love and other drugs. His harmonies listen similar to Travis but he takes the last verse in Hausa language giving an eerier mantra chant feel. S M V L L Z takes the second verse and his Hausa rap lines and his trademark “wallet” chant.

Fuji has delivered a second single that arguably trumps the first, you can listen to Drugs below.

https://soundcloud.com/ohmygodyuh/drugsmagani-fuji-x-s-m-v-l-l-z-prod-da

Featured Image Credits: Instagram/ohmygodyuh

Yasir’s ‘Where You Been’ should be on your chillwave playlist

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There are many hallmarks of classic 90’s hip-hop. A preference for string arrangements, stripped down 808 beats, a spoken intro, usually unrelated to the message of the song yet poignant enough that it sticks in your head long after the song is done. And of course,  hype man ad-libs, scattered liberally through the instrumental, reiterating all the punchlines the rapper wants you to take notice of. Yasir’s “Where You Been” has all these quirks, so much so that it takes you more than a minute before you realize that this song was actually made in 2017.

Rapper Yasir, manages to create a song that is part self-love anthem and all vibes. Oriental inspired single string notes, moan mournfully through the entire song, lending subtle melancholy to the upbeat drums and Yasir’s almost braggy delivery, as he sings about potential and purpose, asking the listener to forget their pasts and circumstances and focus on possibilities. There is a lot being juggled in the air on “Where You Been” for a song so minimalist; ad-libs, an unexpected spoken word bridge that springs up on you, aggressive yet exultant but because of the era Yasir’s music references, all we feel is nostalgia instead of confusion.

After two EP’s at just 20, Yasir (otherwise known as Looneyy) has been quite prolific, but “Where You Been” might be him finally settling into a sound. And if this is it, we certainly do not mind.

Listen to “Where You Been” here.

Best New Music: To Name a few shows range with “Based”

Back to Basics: Davido is finally touring Nigeria with his new material

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At THE NATIVE, we’re pretty much all about artists connecting with their fanbases and getting their coins. We’ve also spoken at length about how for artists in Nigeria to really come into their own financially, they’re going to have to abandon traditional music practices imported from more developed nations and adapt new ones that reflect the mercurial nature of doing business in Nigeria.

The biggest change they will need to make, is embracing touring. Sure Nigerian musicians and bands do dabble in live performances, but those gigs are often at the mercy of promoters, who in a bid to maximize their profit pack on half a dozen big names into a single one-day concert and hope for the best. None of the performing artists is able to actually tailor their set to suit their performance styles as the entire thing usually needs to done in a few hours and the performers are hustled on and off the stage. Even worse they don’t get to actually perform a set-list of new and old material and drum up anticipation. Perhaps the problem with this is that everyone wants to perform a ‘big venue’ event, because doing so sends the often false message that the artist has finally ‘blown’ and achieved mainstream success. Of what is use is the illusion of success if you’re not getting your coins.

#BackToBasicsTour 2017!! Taking over the country! First of its kind! Dates coming soon! @playcenterng @plug.ng

A post shared by Davido Adeleke (@davidoofficial) on

Well, it seems Davido is listening, because he has just announced an 8 city Nigerian tour. Of course he isn’t the first Nigerian musician to independently tour the country, there was 2013’s “2Face and Friends Tour” which stuck to 12 universities across the country. Everyone else who has toured the country thus far has done so under the sponsorship of a major brand, which means they’re often paid a lump sum before the tour begins.

If Davido does this right, it will begin a paradigm shift in how we approrach music in Nigeria. For one, if Davido sells tickets (which from the partners he already has, he will), he can accurately gauge how much revenue he makes from each venue, and how many fans showed up, Numbers that are invaluable for dealings with major brands. His tour could also become a proper launch pad for emerging artists in each of the cities he is going to, by inviting them to open the leg of the tour in their cities, he puts himself at the pulse of each’s city’s local music scene and scouts new talent.

But most importantly, this might be Davido’s opportunity to set the pace with the mainstream acts in the country. He is undoubtedly the one of the hottest acts on the continent at the moment (and has been since his debut), and a well-orchestrated national tour, complete with choreographed sets and legitimate merchandise would further set him apart from the rest.

Songs from Playboy Carti, Wizkid, Odunsi and more you should Bump right away

With “Scales” Dylan Williams joins the wave of Afrobeats inspired Brit-pop

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It was only a matter of time before Afrobeats found a foothold in Britain. With the millions of West African students studying in the UK’s universities, straddling both cultures and importing Afropop sensibilities into traditionally British genres likes Grime, has resulted in a hybrid music of sorts, a pseudo genre that is entirely British in content and lyrics and sonically African. Brit rapper Dylan Williams is riding the wave with his new single “Scales” premiered as Charlie Sloth’s Gas Track of the Week on BBC 1Xtra.

With a stripped down xylophonic melody replacing the now expected heavy percussions, and a catchy as hell hook, “Scales” is perfectly perched and Williams delivers some really interesting punchlines just for effect. With DRiP, his first EP dropped in December, well received in the UK and getting promising numbers on streaming sites, his new music will consolidate his African in Diaspora fanbase and who knows, maybe even help him push into Africa’s music spheres. He’s pushing scales with a new music video, based on the meta premise of Williams and female love interest being filmed behind the scenes of some sort of photoshoot. The Lo-fi aesthetics of the video works for the kind of image Dylan Williams is pushing in this era and Scales is definitely going on our playlists.

Watch “Scales” here.

Listen to two new freestyles from Wizkid, “Opoju” and “Ghetto Youth”

Livestock now acceptable means of economic trade in Zimbabwe

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Their lifetime president and his wife Robert and Grace Mugabe have entrenched themselves in Zimbabwe’s government, prosecuting any dissenters and consolidating power at the expense of the country’s economy. Their poor governance and bad trade policies has pushed the nation’s inflation rate to record breaking extremes for having the note with most zeros in any legal tender ever in history. The extent of the hyperinflation caused a loss of faith in the currency and forcing the government to step back to simpler times and depend on trade by barter, the oldest means of economic transaction in history.

At the rate their currency is getting devalued, it can only serves the purpose of being a collectors item and souvenir for tourists. Livestock are far more dependable now and with the trade by barter system, people don’t have to spend so long queuing at the bank to withdraw cash or carry a bag full of money to buy a mere loaf of bread. Free labour  and goats are now acceptable as legal tender for payment of school fees and house rents and while the Zimbabwean government’s solution is a bit radical, it should at the very least be praised for being more practical than creating new notes with more zeros.

It’s uncertain how long Zimbabwe intends to keep the historic means of trading going for but we hope a more lasting solution would be reached before Zimbabweans start literally eating all their money.

Featured Image Credits: mirror.co.uk

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Daramola Serenades With “Lagos City Wave”

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With new music, it takes a while before the rhythm becomes familiar enough to be worm its way into our subconscious. However, Daramola’s “Lagos City Wave” immediately feels hip and fresh because while it sounds original, it references older releases from the singer/songwriter’s catalog. Since sleeper hit single, “Lotto” and his more recent album, Last Time I Tried, he has created a buzz around his sound, building a steady growing followership who would not be disappointed with his newest release. His lyrics follow the classic lover dealing with bad relationships trope but stripped down vocals allow his passion elevate the lyrics and his ability to switch between a comfortable tenor to a countertenor range without losing any fervor. 

https://www.instagram.com/p/BTB975mBhMs/?taken-by=itsdaramola

For “Lagos City Waves” Daramola is attributing Lagos’ youthful and spirited atmosphere with Miami’s while also discussing how experiences from relationships in Nigeria have the same feel as those in Miami relationship. Spirit is universal, it seems.

Listen to Daramola’s “Lagos City Wave” below.

Featured Image Credits: Instagram/itsdaramola

Listen to the Native Mix: featuring Dj Wayne

The Shuffle: Throwback to Da Grin’s “Pon Pon Pon”, the hardest Yoruba rap song of all time

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By the end of this week, it would have been seven years since Da Grin’s untimely death in a devastating auto-crash that claimed his life. The details of the Yoruba rapper’s eccentric life has already been documented in print and film, but as far as a legacy goes, Da Grin’s sophomore album C.E.O is all we have left of his relatively short career and life.

Off the same opus is lead single, “Pon Pon Pon”, a typically hip-hop broggadcio track with heavy kicks, loud synths and a piano-based flare. Producer, Sossick provides back up vocals, while DaGrin runs into bar after bar about his innate confidence and well-versed rap skills. The result is what perhaps became Nigeria’s first viral hit with quips and references spawned off Da Grin’s cheeky lyrics on social media and every day conversations.

As far as Yoruba hip-hop goes, Da Grin’s time on earth was enough to crease a defining place in the game for a lifetime. On “Pon Pon Pon”, Da Grin makes a series of declarations. The first is that he is a true Nigerian by all measures. The second is that no rapper would come close in terms of lyrical abilities or charisma. The third is that he has made all the neccesary sacrifices and none of his contemporaries can or will ever match-up to the speed of his fast-paced rise.

While the first declaration needs no further clarification, his short life span makes it difficult to tell where his abilities or aggrandised personal image would stand in today’s hip-hop. But perhaps this longing (you feel right now) for an alternate world where Da Grin is alive and making hard hip-hop in today’s sing-song rap music industry is proof he may have been right.

Stream Da Grin’s “Pon Pon Pon” via iTunes below

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David Oyelowo Steps aboard with Blumhouse to executive produce “Only You”

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Words Of Fisayo Okare

Riding the buzz of last year, David Oyelowo known for his lead role as Robert Katende in “Queen of Katwe” and – probably his highest-profile role to date – Martin Luther King Jnr. in the American biographical drama film “Selma” (2014), is set to take another lead role in the forthcoming movie “Only You”.

The British actor of Nigerian descent has garnered praise and recognition for his prowess and earned himself award nominations including a Golden Globe for his role in Ava DuVernay’s “Selma” and an Emmy and Golden Globe for HBO’s Nightingale. In “Only You”, Oyelowo will not only be acting but also co-executive producing on the movie alongside Jeanette Volturno, Couper Samuelson and Jay Martin.

Not much has been said about the movie’s release date and storyline except for two things: it is a ‘thriller’, which revolves around ‘time travel’. Oyelowo will be working on the project with Jason Blum of Blumhouse, the production company behind “The Visit”, “Insidious”, “The Gift” and Jordan Peele’s “Get out” amongst others.

Definitely, we’ll be expecting nothing less than perfection from Oyelowo on this new project.

Within last year and these few months of 2017, Oyelowo has starred in 3 major feature films: Maris Curran’s “Five Nights in Maine”, Mira Nair’s “Queen of Katwe”, and Amma Asante’s “A United Kingdom.”  In the months ahead we’ll watch him star in  “Only You” alongside “God Particle”, a third installment in the Cloverfield series to be directed by Nigerian-American based filmmaker and director, Julius Onah.

Featured Image Credits: Twitter/david_oyelowoo

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Listen to “Opoju” and “Ghetto Youth”, two new freestyles from Wizkid

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Wizkid continues his recent run of releases with two new freestyles featuring DJ Spinall and Sarz on “Opoju” and “Ghetto Youth”, respectively. Wizzy’s last album Ayo was released 3 years ago but the StarBoy has since dropped enough songs to fill another album.

https://www.instagram.com/p/BTABjz9Ar16/?taken-by=wizkidayo&hl=en

Over the past few months he has capitalised off the Drake Effect and delivered two well received-singles , supplied guest verses and hooks for a handful of features, and changed his look with a golden blonde hue to his black hair. The indications may be slight, but Wiz is no doubt preparing for the beginning of a new era in his artistry.

Listen to “Opoju” and “Ghetto Youth” below.

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Best New Music: To Name A Few shows range with “Based”

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Based, To Name A Few

The question everyone asks after an artist, band or supergroup puts out a debut single that challenges the status quo and cements their place as unconventional, is if they will fall to the ‘Sophomore Slump’.

I worried about this after the year long hiatus after To Name A Few’s haunting debut “Stay Over”. My worry intensified when the producer half of the duo Christopher Oti (known as Golddrummachine) put out an independent instrumental EP, advancing his own career as a solo artist not long after an impromptu cover of Frank Ocean’s “Pink + White”.

The band’s new single allayed all my fears. I’d sat down with Brumeh, who does most of the vocal’s for the group and went down the rabbit hole of the band’s musical history and their plans for the future. Turns out the band is under new management (Euphonic, the music arm of ‘New Age’ conglomerate Baroque Age) and have been restructuring their music releases to reflect this new status. While I was impressed, I still needed the music to corroborate everything I was told.

“Based” diverges completely from the emo-torch songs that have come to define To Name A Few, shedding the guitar-y synths and heavy reverb for a light, skippy percussive beat, layered over with subtle woodwind melodies and tinkling chimes. There is a definite Oriental bent to the music, but it is subtle enough to be an homage to Asiatic pop of the 90’s rather than outright appropriation. The entire vibe is ambient, not surprising considering that instead of the heartbreak and existential crises, “Based” has Brumeh musing on the worst/best high of his life. There’s no mystery female vocalist adding feathery accents but then again, the boys really don’t need any help  driving their point home.

If you ever had any doubts that To Name A Few had the range, well worry no more. They have found that sweet spot that melds their Nigerian millennial sensibilities with world class music and it’s damn well time someone did.

Listen to “Based” here.

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On the place of God in mainstream Nigerian music

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During press rounds for his newly released DAMN. album, Kendrick Lamar had infamously declared that his upcoming album would be focused on God. To support his claim, video for “HUMBLE”, the lead single off the album came peppered with lyrical and visual Biblical references. That God has a place in hip-hop is no oddity, black music has always been entrenched in some sort of spirituality. But usually, this is done with allusions to themes and concepts borrowed for increased artistic value.

In Nigeria faith and religion form a bulk of our everyday life. From random exclamations in daily conversations to fervent deliverance sessions, you can never separate a Nigerian man from his God. It shouldn’t be dismaying therefore, when Nigerian artists bring God along with them on their music. The conundrum however is in usually how biblical allusions or praises to the most high fall flat and fail to connect with any meaningful religious doctrine.

That “Nigerian music is not the place for content” is one of the biggest arguments touted to support the absurdity of pop music in the industry. A bright example is Wizkid’s In My Bed, where the singer thanks the living God he serves then proceeds on a series of random brags about his wealth and fame, before belting a chorus demanding that a nubile body report to his bed. If God himself heard this song, he’d probably be asking the same questions we have in mind and it is “Why am I here?”

“In my Bed” is only one of the many Nigerian songs where verses from holy books have been purposelessly quoted with loose ended references to God or a supreme being in the sky. But the often, the suggestive lyrics and raunchy videos that point to nowhere or connect to nothing have made it easy to conclude God is only a go-to when said artist is out of idea.

We need to do better
Nigerian music is not the first soundscape where spirituality has been married to sex and vanity. The hip-hop culture has rappers like DMX, Kendrick Lamar, Kanye West amongst others, most notable for talking about God in their often sexual and aggressive music. Jamaican Reggae is also heavily rooted in the Rastafarian belief and culture. For Nigerian artists the purpose may be unknown, but this place of God in artist’s discography is significant for illustrating the relationship between how an artist’s background affects his artistic process.

Conclusively it is important to note that religion is often used by many artists as a leveller as they struggle with the many effects of the fast-paced celebrity life. This keeps them from getting too hung up on their own successes. Whether they are thanking God for letting them win an award or for granting them the limelight, spirituality is more of a personal process than it is artistic. However, this should only charge artists to dig deeper for insight on how to incorporate God into their music beyond mere fillers for flat choruses and hooks. Afterall, If you must talk about your beliefs in your music, might as well drive home a message with it like a preacher.

Featured Image Credit: Twitter/@RoyalArts

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What does the ‘Streets’ really mean to its firebrands in the face of Injustice?

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After hearing what happened to inhabitants of Otodo-Gbame, a slummy fishing settlement outside Lekki last week, I began to wonder what happened to artists who have claimed to be speaking for the gritty streets.

A few decades ago, Fela would have been the contact point for addressing issues like this. No one will also forget the incursion of African China, Stereo Man and Ortishfemi amongst others in the violence rife Tinubu-era of the early noughties. These were artists who lived through the turmoil and poverty of the ghetto-life and thus became authentic voices for a lasting struggle. The purpose of their cause is still ever so evident in injustices like the demolition of Otodo-Gbame.

But as it would appear, the new generation neither has amplifiers for the common man’s struggle nor revolutionaries who are ready to damn the consequences and rage against the system.

Over the past year, Otodo Gbame has become the latest target in Lagos’s state’s forced urbanisation campaign to turn waterfront communities into real estate gold. The Lagos state government initially denied any involvement in the destruction of properties in the waterfront community. But authorities from the state reportedly returned to demolish the few homes that survived the first wave of attack earlier in the year. This comes after a court order, demanding Governor Ambode call off the plan to evacuate settlers from the ancestral community.

Lagos has quite a notorious history of slum demolitions. About 200,000 people were displaced from Lagos Island in the 50’s as part of a “beautification” scheme. Some might even remember the state-sponsored eviction in Maroko, one of Lagos’ most visible and iconic slums. They were visited with untold hardship and agony so that their land could be cleared for the erection of expensive new mansions and luxury apartments from the rubble of their homes. Similarly, the residents of Otodo Gbame are being violated of their basic rights.

This wide scale injustice should be a convenient time for artists who are so quick to make claims about their street credibility to prove they really care about Lagos and Lagosians. The continuing silence of Nigeria’s celebrity class however, has only shown how disconnected they are from the common man’s problems. In a fair world YBNL boss, Olamide who has been a beneficent of the state government’s support and perhaps has the ears of the state government, would be a championing voice on the Otodo Gbame tragedy. Yet, the days are counting, the hashtags are leaving social media and the headlines are slowly fading from the front-pages without not so much as a social media comment being made.

Agreed, we’re not supposed to place artists on a righteous pedestal, but basic human decency demands more from the same people who have profited off the sensibilities of ‘streets’ like Otodo Gbame. It’s time we start demanding better from our faves, especially when they are no where to be found when push comes shove.

On the place of God in Nigerian mainstream music

We took Tay Iwar’s ‘Renascentia’ and turned it into fanfiction

Posted on by The Native

Words by Ehimenem Agweh

The doors to the bathhouse were closed but not to the woman in the heavy robe. The guards at the heavy marble doors strained and opened them wide to let her pass. The woman glided through as she whispered her thanks to them.

The night air followed the woman into the long passage. On the wall hung lit lamps suspended from ornate brackets. Each of them winked as she walked past. Perhaps they knew of her mission, perhaps they didn’t. Her destination was at the end of the passage, guarded by others just like the ones outside. Steadily and without breaking stride, she made her way there.

When she was a few paces away from the doors, they opened up to let her in. She went in and the doors shut with a finality, which sent a shudder through her. Anticipation and fear were her fellows in this late hour as she took in the sanctum where they came to hide.

Moonlight from an uncovered skylight lit the length and breadth of the pool. The corners of the room were in shadow but that did little to hide the sparkling and twinkling of the walls as light bounced from the pool to the walls. There were no lit lamps here. Only her, the moon and them.

They were silent but she knew he was watching her. She had heard of his looks, sharp and eagle eyed. But this didn’t feel like it was one of those. This was a caress on her skin. Something soft yet hard. It was a heated gaze. She could tell where it was coming from but she chose instead to look at the rippling water in the pool.

Take your shoes off, Atusa.

Her first instinct was to rebel against this disembodied voice in the darkness but she thought it unwise. She obeyed. Slowly, she slipped off her soft slippers and pushed them to the side.

Atusa. Her name rolled off his tongue like the water. No doubt, he had spent the day taking in the feel of it, the name of his bride. It had only been a week since she found herself in his presence and still she was as new to him as the dawn each morning.

Can you be free, Atusa? Can you?

Her heart was a drum in her chest. Her lips were sealed. Answers came to her tongue but none could come forth. They were patient with her because he understood her hesitation. The queen was a stranger to his ways.

Answer me, Atusa. Can you be free?

‘I believe I can be, my lord.’

Show me, Atusa. Show me that you can be free.

The order had been given and disobedience was not an option. Yet, she stalled. Hesitation had set it.

Why don’t you trust me? I won’t leave you alone, Atusa. Trust me.

The water was calling her name as he wove his words around her. Calm closed in and she obeyed.

She disrobed. Slowly, each clasp came off to reveal smooth pampered skin beneath. Another caressing gaze and she blushed under the cold bleached moon. Her next steps took her to the edge of the pool where she met stairs carved into the side. Her descent began.

Maybe I’m asking for too much, Atusa. Am I asking for too much?

‘Ask whatever it is you want of me, my lord.’

She could feel the cold water pressing against her legs as she made her way to the center of the pool.

Take all the time that you need, Atusa. Take all the time that you need. Show me that you can be free.

She was chest deep now. Her hair was partially submerged in the swirling water. She could tell that she was floating.

Close your eyes, let it take you. Don’t run from it.

In her mind, long forgotten connections came to the surface. They were him and together, they were us; she and him. The dark had embraced her fully.

Do you know who I am, Atusa?

From somewhere within, she answered. No, she did not know. Her lord should forgive her ignorance and grant her this knowledge. She was beginning to fall but in a pleasant way. The water was a sinking bed. She had her doubts but to silence them, she struggled.

Calm, Atusa. I am Calm. I am crystal blue persuasion. I feed on your desolation. I am paradise.

Her mind swallowed his words greedily. She could feel it working in her as her muscles relaxed to embrace her coming death. She had willingly let herself drown in him.

Don’t try to fight it, Atusa. Possibilities are always in the distance. You’ve got to reach out for it. Trust me, Atusa.

She did and it was her judgement.

I am in you, Atusa. I am you. I am in you. I am you.

It was a slow chant, which cradled her as the water carried her to the place where life ceases to have meaning. Her body stilled. It was over.

In the morning, I’ll be gone. Sleep well, Atusa.

They walked out of the room, leaving the woman in the water.

In the morning, as the sun climbed to its peak, she arose from the water.

Cleansed.

Purged.

Reborn.

 

Saving the New Age from the sins of its predecessors

16 unique songs that have defined modern Nigerian weddings

Posted on by The Native

This story afeatures contributions from Ehimenim Agweh, Fisayo Okare and Debola Abimbolu

Last year, a Google map of collected geo-tagged searches over a 12 month period revealed “wedding” as the most searched keyword in Nigeria. We won’t bother to reaffirm the importance of marriage and the symbolism of weddings in Nigerian society, but one thing will be clear today and forever more: no matter the scale, Nigerian weddings always go hard. Over the years wedding formats have changed to incorporate modern trends in nuptial culture, but from the ceremonial procession to the first dance, the significance of music at the celebration of love will never be understated. On this list, we bring to you a definitive ranking of a mix of classics and modern Afropop hits that have shaped Nigerian weddings of the new millennium. Here’s a curated list of Nigerian songs that have definitely featured in at least one wedding ceremony you have been at.

16. Mo Money, Mo Problems – Notorious B.I.G

It makes sense that Notorious B.I.G’s “Mo Money, Mo Problems” ended up on wedding playlists across the country. Released in July 1997, it is old enough for our parents to have heard it on the dancefloor, but also new enough to resonate with 90s babies. Whilst on odd mainstay at an event commemorating the union between two people before God, it is probably the most honest track you’ll hear about adulthood. So in that sense, it makes sense.

15. Pop Champagne – Dr Sid

In reality there aren’t many reasons to have a Dr Sid song at your wedding. But then again, there won’t be another song that perfectly captures the penchant of the average Nigerian party-goer for champagne popping regardless of the celebration. So here is a song for those of us that came for the free booze. Cheers brethren.

14. “My Darling” – Tiwa Savage

A song which reaffirms the affection of two lovers from chase, meeting, marriage, parenthood to challenges, “My Darling” tells a love narrative of a couple through the eyes of the female partner, who is now an older, wiser woman giving her own daughter away in marriage. She reminisces on her past as her daughter prepares for her own wedding ceremony.

13. “Angel of My Life” – Paul Play

https://www.youtube.com/watch?v=4DSorRSscU0

Paul Play’s massive 2006 hit, is prolific in conveying deeply felt sentiments. The kind of words you would expect to hear from a guy who propositioning himself. for an attempt to make a paramour fall for him. Better still, the kind of words a groom would want to say to his gorgeous bride on their wedding day, while they receive stares and applause from an audience of family, friends and well wishers.

12. Today Today – eLDee

Looking for a classic wedding song with all the tropes and types? Look no further than eLDee’s Today Today. The song is chock-full of every single wedding cliché you can think of. Even though it mostly resonates with traditional ideas of marriage, it was the song to put singles on the edge with the prospects of how good a loving married life can be.

11. On Top Your Matter – Wizkid

For curating wedding playlists, the essential thing to keep in mind is the public acceptance the song gets. Of course it would go without saying that for a wedding, the song should cover themes of eternal love, prayer and respect for parents and Wizkid’s “On Top Your Matter” checks all the appropriate boxes.

10. Yori Yori – Bracket

Sometimes the songs that make it to turn table at weddings parties are just commercially acclaimed songs that discuss the subject of love however loosely. “Yori Yori” is not one of those songs. The up-tempo song features the trademark vocals of the Bracket and it quickly grew to become the official wedding song in Nigeria at the time. It’s longevity is today, is tested in live band covers and procession music between order of programs.

9. Baby Girl – Nel Oliver

https://www.youtube.com/watch?v=zqzBFXa2js0

Baby Girl did not only become the unspoken official song for Father-Daughter dances, the very narrative of the song was scripted along the line of a father realising his daughter would be happy with another man. Nel is a Beninese singer but he harmonises Yoruba, English, French and Gun to reflect the very concept of putting aside differences as a father to accept the choice of his daughter’s spouse. Given the touchy sentiments regarding inter-tribal marriages, this classic song still reiterates the need for unity regardless of wherever he/she might come from. Afterall, love trumps hate.

8. Laye – Kiss Daniel

They say weddings are the best places to meet single people. Perhaps there’s some truth in that because it’s easily to imagine the numerous friends and acquaintances dressed to the nines and looking to mingle. Kiss Daniel’s Laaye plays very nicely into this, starting off as an honest declaration revealing he didn’t come alone. He also states his interest would be the one he’d be going back home with. Perhaps, this song also be interpreted along the lines of someone meeting the ideal one after filling up his time with other people, it won’t be a reach to say it also fits the meet-ups that happen at the reception hall. Plus, the drum-heavy production on this Afrobeat single makes for a really good procession song for the newly weds.

7. Obi Mo – Obiwon

Obi Mu O in Igbo, literally means “My Heart” which should give a sharp insight about the nature of this song. Scripted as a vow to his lover, he promises to love her as long as he lives. He sings of her virtues, calling her a good woman, the only one he wants to settle down with. Coming from a young man who has “seen it all” like his character depicted, this proclamation is pretty heavy. Needless to say, this song is a wedding favourite as it captures the essence of marriage as a lifelong commitment from one person to another.

6. Fall in Love – D’banj

There is a silent word on the street that you’ll only hate a corny song until D’banj makes one. Perhaps this is why “Fall In Love”, a single that is soaked deeply in all of its own cliche(s) has remained relevant as a testament to true love. But besides being a go-to song for newly wed’s cake feeding segments at the wedding reception it also makes for great covers by Yoruba live bands in the Western part of the country.

5. Eji Owuro- Shola Allyson Obaniyi

It’s unclear if Shola Allyson’s “Eji Owuro”, a song about love ‘like a morning dew’ speaks of a pure love without blemish or love from the almighty being in the sky, but the inherent poesy lies somewhere in between. Initially released as part of a soundtrack to a Nollywood movie of the same name, Shola Allyson’s “Eji Owuro has survived through the years as the perfect cross of gospel and romance themes. Allyson’s somber melody and choice of words has made the classic a favourite of live bands and DJ for weddings in and out of religious settings.

4. Iyawo mi – Timi Dakolo

“Iyawo Mi” plays like a love letter and with Cobhams production, the chances of being critically and commercially acclaimed was already a given at its conception. In weddings today, Dakolo’s traditional themes on the mid-tempo light jazz song has made it a reference for couples requesting for the number during their slow dancing sessions.

3. “Aye” – Davido

“Aye” takes a significantly different turn from Davido’s usual aggrandized personal image. The singer released “Aye” off an announced (but still unreleased) sophomore album to celebrate Valentine’s day in 2014. In the following months “Aye” became source for memes, Gifs and even pre-wedding photo shoots themed around real love not based on material wealth.

2. Oruka – Sunny Nneji

https://www.youtube.com/watch?v=GxGkcYbvZU8

“You’ve found the harmony to the song you sing.” Sunny Nneji croons on “Oruka”, the undisputed greatest revelation to modern wedding playlists. Coupled with some Toni Braxton-esque songwriting and a Latin-inspired guitar, Sunny Nneji’s Oruka fulfills all wedding day righteousness. From a chorus announcing the newly weds will never be separated ever again to an outro imploring both bride and groom to bade their parents good bye, “Oruka” listens like a number plucked from a Disney fairytale. But what has given Sunny Nneji’s 2003 single unrivaled relevance till date, is that unlike any other song on this list, the veteran uses a the third party but detailed narrative without immersing himself into the lives of the newly weds. Add a little psuedo-poetic songwriting to that mix and what you get is a timeless classic that may never outlive its place or relevance.

1. Olo mi – Tosin Martins

Tosin Martins for the most part is know for his “Olo Mi” single because his subsequent releases have struggled to reach the heights the love themed song attained. The classic carries the message of being in love with such a distinctly melodious tune that you’ll be hard pressed to find a wedding where the song isn’t played. Yoruba or otherwise.

Shaggy, J Hus, AJ Tracey and more to play Strawberries & Creem Festival in Cambridge

Posted on by The Native

Our good friends over at Strawberries & Creem just announced the lineup for their festival this summer with a literal launch. Taking the names of headliners Wiley, Shaggy and Mike Skinner and attaching them to a space-bound aircraft.

After booking Skepta in 2015, then Nelly and Kano in 2016 respectively, the festival that started as a party on a farm had set a pretty high bar to meet. But meet it they did, with grime legend Wiley, and reggae-pop icon Shaggy, joined by AJ Tracey and NATIVELAND alum J Hus.

Check out the full line-up below, and cop your tickets here.

 

 

Meet Five Nigerians Who Have Claimed To Be God

Posted on by The Native

Ever since man developed a belief in the supernatural, different people with varying levels of self-delusion have proclaimed themselves god in a manner that would make Donald Trump’s egomania seem mild. Popularly documented names include 60s cult leader, Charles Mason who committed a series of murders and attempted to instigate a full-blown race war. And 70s preacher turned religious leader, Jim Jones, whose Messiah complex led more than 900 men, women and children to their deaths in a mass suicide in 1978. Nigeria may not have witnessed publicised large scale suicides (or murders) of that scale but there’s no lack of eccentric characters with god complexes. So in honour of the season, we bring you this list of legendary Nigerians who have managed to damn our conservative sensibilities as a religious society, to sit in the place of the most high.

Jesu Oyingbo

Credits (abiyamo.com)

In the 50s, there was a young carpenter named Olufunmilayo Immanuel Odumosu who held religious classes. Soon his followers increased as his popularity grew. Before long, he declared himself the son of God and this lifetime, his second coming. Following the precepts of the biblical Jesus, he encouraged his followers to sell their property and follow him which they did. Many of his adherents left their families behind and joined the religious leader to build a spiritual enclave which they didn’t leave till his death. His death would mark the beginning of a prolonged chaotic battle for the estate he left behind. Court papers would later reveal the darnedest details about Jesu Oyingbo’s life and times from plaintiff testimonies and witness accounts. These involved testimonies such as sexual perversion and large-scale incest that allegedly took place in the commune. One of his sons, Ayo had told the court that most of the disciples, including himself, had chosen to adopt Immanuel as their surnames, adding that after Jesu Oyingbo’s demise, he inherited three of his wives. He also revealed that Jesu Oyingbo was married to over 30 women and members of the commune “slept with one another’s wives”. Jesu Oyingbo was the ultimate scam artist who ran his religion as a private business. At the peak of his fame, more than 500 followers lived on his compound and worked for him in his commune. He treated the income from the worshipers as his private wealth, erecting buildings along an entire strip of Immanuel Street, Maryland, Lagos and throwing Gatsby-style lavish parties for no reason.Although the self-styled religious leader proclaimed himself Jesu Oyingbo, he didn’t share the one trait that popularised Jesus Christ, he failed to resurrect the third day as he had prophesied.

Malaika Agba

https://youtu.be/AgXYTXe-8SM?t=2m30s

In the early 2000s, late investigative journalist Kola Olawuyi aired a special episode of Nkan Nbe where he interviewed a woman who claimed to be God. Malaika Agba (born Olayinka Oladipupo) was a religious leader of a church named New Jerusalem Church with around 1000 followers in Isolo, Lagos. She was reported to have made people address her as ‘Baba’ meaning ‘The Father’ because of her claims to be a man and a woman all wrapped into one. As God, she declared a doctrine of enjoyment as she claimed she came to this world from her celestial abode for fun. Not unlike most religious leaders, she took liberties engaging her members in sexual intercourse when she wanted. However, her religion wasn’t just fun-filled. Former members and residents in Isolo were wary not just because of her decidedly different doctrine but because of the questionable circumstances surrounding the deaths of her members. One of these questionable deaths was that of a 21-year-old woman named Bosede Olaniyi who died in Malaika’s home. Maliaka reportedly adopted Bosede when she was 12 years in 1997. She never left Malaika’s side till 2005 when she suddenly died and was swiftly buried following Malaika’s orders. When asked, Malaika Agba claimed she was at a service when she was informed about Bose’s death. Initially, Malaika Agba claimed Bose died after a brief of malaria, but evident loopholes in her story made her claim hard to follow. Bose’s death sparked outcry from the public, demanding authorities to exhume Bose’s corpse for study by forensic pathologists. Later discoveries would reveal lab work showed the accumulation of bacteria around her heart and an injection mark under her elbow. Malaika Agba later confessed she used to carry out ‘spiritual surgeries’ for her followers to ‘evacuate the dirt in their stomachs’ and before the ‘surgeries’, she injects her followers. What happened afterwards to Malaika Agba was quite shocking. She was arrested and detained at the Police Criminal Investigation Department (CID) Headquarters in Panti, Lagos State where she made all her confessions. The longest standing mystery around Malaika Agba remains the unestablished contents of her ‘miracle’ injection. The details are sketchy till date, but Malaika Agba was freed after temporary incarceration. These days, she still holds reigns on her congregation even though the weight of the scandal largely forced her into a low-profile godhood.

Olumba Olumba Obu

Olumba Olumba Obu (Snr) (Credits: BSC.com)

Olumba Obu began his ministry, The Brotherhood of the Cross and the Star in the 50’s. He believed himself to be the King of Kings and the Immortal Origin of the Universe and like most incarnation of the supreme being, the legend of his miraculous acts spread from Calabar to the rest of Nigeria. He was 38 when he began claiming to be the biblical Holy Spirit and this led to bad blood with Christian sects in the country. The Olumba Olumba belief seems harmless, save for the rumored 144000 “virgins” who pledged their celibacy to the service of their leader. As far as god complexes go, Olumba Olumba Obu was pretty tame and peaceful till the early 2000’s when it was time for the “Holy Spirit” to get passed down to the new incarnation of god in his offspring. Before his unceremonious death, Olumba Olumba crowned his son, Rowland Obu as the Christ and King of Kings but after him but Rowland failed to impress some leaders of the sect who preferred the way his sister, Helen Obu. The followers were split in their loyalty to the siblings and this led to the one of the most violent religion inspired fueds in Nigeria’s history. They took to the street to defend their contrasting belief on which Obu would make a worthy reincarnation for their father’s legacy and be a good leader for The Brotherhood of The Cross And The Star. They resorted to killing and maiming each other while the siblings merely watched the violence and did nothing to restore unity. Till date, the rivalry between the siblings remains as potent as ever and the sect is still divided among the two siblings. The only thing both halves of the sect still agree on at this point is that Olumba Olumba would soon wake up from his “sleep” and continue his work.

Jesus of Ikot-Ekpene

John Bassey, Jesus of Ikot-Ekpene (Credits: NaijaArchives.com)

One of the major reasons for splits among religious sects is the inflated ego of the leader or a few members. Incidentally, ego also plays central role in the god complex. For Jesus of Ikot-Ekepene, his legend began when he was 20 and the spirit of God descended on him having the same effect documented in the bible. John Akpan Bassey was born in Akwa Ibom state with no education but could supposedly speak in strange tongues identified as German, English and all the languages in the world. He was also believed to have the ability to heal all illnesses, cast out demons and even raise the dead back to life. His congregation, Apostolic Faith Church were also convinced by his works and having received instructions from God, he ordered the church members to build him a throne fit for a god. By the time the masterpiece was finished, Bassey was humbled and asked that the chair should remain hidden in a sanctuary. Apparently, God wasn’t too happy about that because eventually, all the chairs in the church were attacked and eaten by ants except for the shiny one hidden away. This helped increase the faith of the church members in the deity of Bassey. The fame of Jesus of Ikot-Ekpene grew so much that he proclaimed himself the leader of the “holy nation of Gentiles”. However his godhood did not go unchallenged and internal friction would later lead some members to break away from the church to pioneer the Spiritual Kingdom Church of Christ (SKCC). The split from his old church saw him fully embrace the Jesus of Ikot-Ekpene title which saw him gain wealth and respect enough to command those who saw him as god. In the end, his empire shaped out to be centred around sex, money and power. In death, the Jesus of Ikot-Ekpene lives on in Bassey’s son who many believe is an embodiment of his father’s spirit.

Sat Guru Maharaji

Guru Maharaji was named Mohammed Ayobami Ajirobatan by his Nigerian parents but he has since grown to call himself God and with beards match the mental imagery of a supreme being. Like most people with a God complex, Satguru Mahraji has managed to build quite a reasonable followership spanning within and outside the continent with his fame spreading through his healing works. SatGuru boasts of a 40 hectares spiritual village at Odo-Ona Kekere, Ibadan. The grounds are regarded as holy and shoes aren’t allowed on the compound because devotees regard the “holy land” as the highest spiritual centre on earth and the kingdom of heaven on earth. As expected, the real details of what really happens on Sat Guru Maharaji’s mountain cannot be ascertained. His followers, however, keep faith with the conviction that Sat Guru is the carrier of God’s light and the other religions are lies brought by the Western world to Africa. Similar to the way Jesus gave specific instructions to his followers when performing miracles, Guru is known for making specific requests and instructions before their healing can be received. Guru Maharaji doesn’t believe in his mortality because death is darkness and darkness can’t stand the light. Presumably the real test would be how long the Satguru can keep the darkness away for.

Featured Image: God the Fatherby Cima da Conegliano, c. 1515 / Wikipedia

Joyce Olong’s ‘Shekels’ is the best thing you will hear today

Posted on by The Native

On Olma Record’s Plug Good Music showcase EP, singer Joyce Olong made yet another fortuitous debut with “Baby’s Got The Blues”. While it wasn’t the most adventurous song on the EP, it made Olong’s point, it showed off her skills as a talented producer and singer songwriter and placed her front and centre as one of Olma Record’s big ticket artists. It seemed like an audacious brag but if Olong’s new single “Shekels” is anything to go by, she has damn well made good on her potential.

It is almost impossible to place “Shekels”  in a genre. Its opening trumpet runs remind you immediately of the best of Black Magic, but they last only for a second before the song dips into the smokiest of jazz intros deliberately dirtied with synths. Then Joyce Olong segues in, voice dripping with lower octave confidence. She guides you with suggestive lyrics and melodies hedged with subtle melisma. As the song progresses, it morphs, African drums bulking up the sparse instrumentation by the first chorus. Olong becomes more insistent, her whispery vocals gaining body and traction, demanding your attention, allusions of biblical imagery of archaic currency and Judean legal justice standing in for loss and betrayal. The final incarnation of “Shekels” comes after the second bridge, the jazz shed for a proper get-on-your-feet-and-dance tribal melodies, replete with call and response sequences. Joyce Olong is no less compelling at the end of the song as she is at the beginning, it is a though there is not one but three women in this one song, all equally competent.

As with Simi, it seems Nigeria’s female musicians are at their creative zeniths when they write, create and produce their own music themselves. Olong makes choices that she would have been dissuaded from if “Shekels” was produced by any one else, and those choices work excellently to make this song better than most of what is out there sonically. She is quite the revelation.

Listen to “Shekels” here.