Strut Records, in partnership with South African musician and anti-apartheid activist Julian Bahula, has today announced to reissue South African group Malombo Jazz Makers’ ‘Malompo Jazz’ (1966) and ‘Malombo Jazz Makers, Vol 2’ (1967) on vinyl for the first time since their original release. The deal is an attempt to bring international recognition to Malombo Jazz Makers, an influential collective in South Africa’s anti-apartheid movement during the ‘60s and ‘70s. The vinyls will be released in May 2023.
Malombo Jazz Makers was formed in Mamelodi township near Pretoria and consisted of Julian Bahula (malombo drums), Philip Tabane (guitar) and Abbey Cindi (flute, penny whistle). The group, managed by veteran photographer Peter Magubane (whose images decorated the pages of DRUM, widely known as the first black lifestyle magazine in Africa), first rose to fame in 1964 after winning the prestigious Castle Lager Jazz Festival. After Lucky Ranku replaced Tabane, the group revolutionised South African jazz music, merging the elements from their native roots with the characteristics common in the works of John Coltrane, Dizzy Gillespie and Miles Davis.
“We grew up listening to American jazz, but we wanted to mix it with what our forefathers were doing,” Julian Bahula says about the group’s decision to include homegrown instrumentation in their work. “Our ancestors used them to heal people who weren’t well, as did all the African doctors who would dance around the person as they were healing them. We thought this would be a lovely name for our band because we saw what we were doing as music that heals.”
Malombo Jazz Makers’ music soundtracked the resistance against apartheid and advocated liberation for black South Africans. They struck ties with activists Steve Biko and Saths Cooper and raised awareness around the lengthy imprisonment of Nelson Mandela, leading to several tense encounters with the South African police.
Speaking on the conditions of touring under the apartheid regime, Bahula remembers: “The struggle was heavy on us. We would get arrested often and the police tried to stop our shows several times. We had to tour in secret because we weren’t allowed to go from town to town as a result of the Natives Land Act. There were restrictions on where you could go and a curfew after 6pm – we weren’t supposed to be in certain areas.”
The barriers created by apartheid prevented Malombo Jazz Makers from reaching success outside of South Africa. Their history and legacy have largely survived due to oral histories and the anecdotes of figures who were on the ground to witness their story. With these stories and albums now being uncovered for the first time internationally, Malombo Jazz Makers are now in a place to be recognised as one of the most vital groups of the early anti-apartheid movement, paving the way for generations of artists who followed them to infuse an assured South African pride in their music and presentation.
The group’s legacy and tireless efforts in popularizing African music continued with the work that Julian Bahula undertook when he escaped South Africa in 1973 and settled in London. He met and struck up friendships with jazz icons Art Blakey and Wynton Marsalis during their London tour dates and continued his work as a musician and drummer with a new band he named Jabula. He would become a key figure in promoting many African artists to UK audiences for the first time at The 100 Club and The Forum in London during the ‘70s. Fela Kuti, Miriam Makeba, and Hugh Masekela were among the performers whose first British appearances were organised by Bahula and his company Tsafrika Promotions. Bahula would later organise the 1983 Festival Of African Sounds at Alexandra Palace on the eve of Nelson Mandela’s 65th birthday, drawing a crowd of 3000 in support of Mandela and other political prisoners.
Malombo Jazz Makers’ ‘Malompo Jazz’ and ‘Malombo Jazz Makers, Vol 2’have been recognised as unique landmarks of South African jazz through popular tracks like “Sibathathu,” “Jikeleza,” “Emakhaya,” “Hhlezipi” and “Abbey’s Mood.” Founded in London, Strut Records is one of the world’s leading labels for re-issues and compilations in Jazz, Funk, Soul and Dance music. They are famed for their work in bringing the catalogues of Patrice Rushen, Miriam Makeba, Tony Allen, Ebo Taylor and Sun Ra Arkestra to new audiences in addition to unearthing lost and obscure gems from artists and musicians across the African, Caribbean and Latin diasporas. The vinyls are slated for release on May 26, 2023.
Global streaming service, Spotify is adapting to the need of creators on its platform. This year, artists, songwriters, journalists, video and content creators, podcasters, and fans from all over the world joined Spotify for its second Stream On event which took place at its Los Angeles campus. As the NATIVE’s Managing Editor, I was privileged to be one of the few journalists from the continent in attendance, for the week-long festivities which unveiled Spotify’s plans for welcoming and providing for creators, podcasters and micro-influencers in its fold.
Stream On is a Spotify original event which pulls back the curtain on how Spotify is connecting creators with fans and empowering creators to live off of their art. Launched back in 2021 during the peak of the COVID-19 pandemic, Stream On was heralded as a key moment to show how Spotify is unlocking new possibilities for more types of creators than ever before, so that they can better connect with and build a global audience. This year’s affair was similarly touted as an essential event for a new generation of creators finding their community online, particularly those who could make use of the new tools and features being rolled out on the streaming and tech platform.
Kicking off with the welcome dinner and drinks at Holloway House in West Hollywood, Spotify welcomed creators, journalists, and editors of all ages to its week-long schedule of events. Each individual was assigned a Spotify buddy who was available and on-hand to assist and welcome them to LA. After a night of icebreakers, the following day was the main event–a 3-part series which included Stream On; a open note discussion on unlocking new possibilities for more creators than ever before, Play On; focused creator workshops and fireside chats with Spotify editors and execs, and Party On, a night of special performances and entertainment at the Roxy Theatre.
During Stream On, Spotify reinforced its mission to champion diversity and discovery, revealing a reimagined interface that leverages new visuals, and a completely new and interactive design — all to drive deeper and long-lasting connections between creator and listeners. “Stream On is about all the ways we are bringing Spotify to life and letting creators at all stages of their careers know that we are open for business. We are focused on building the best home for them – a place where they can establish a career, thrive and grow and where the world can be inspired by their creativity,” shared Spotify Founder & CEO Daniel Ek during the morning keynote presentation.
During the presentation, Spotify also rolled out a number of tools and features that will aid performance for creators and artists on its platform–including an all new interactive homepage design. Within Africa and Nigeria specifically, Spotify also launched Smart Shuffle, a tool to enhance an existing playlist with just the tap of a button, a Preview feature for playlists and podcast episodes which allows users to sample before they play or save and Autoplay for podcasts which allows continuity and seamlessness during the listening experience. For creators in Africa, these new tools will place them directly in front of their audience who can make well-informed decisions about opting for a particular content.
Artists were not left out of the mix. Spotify showcased a suite of Spotify for Artists tools that help artists find the fans who’ll love their music most and enhance their line of revenue to help artists grow: merchandise and live events. For example, the platform launched new Concert and Merch Discovery tools which will help make sure concert-goers never miss another show in their city and a Fans First program to ensure top listeners receive emails and notifications that give them special access to concert pre-sales and merch exclusives.
Alongside this, Spotify announced the end of Anchor–its podcasting platform which will be replaced by Spotify For Podcasters–a dedicated platform that brings the best of Spotify’s podcast creator tools into a one-stop shop to create, manage, grow and monetise podcast content. “Today, there are more than ten million creators on Spotify with over half a billion listeners across 184 countries and markets,” Spotify Founder & CEO Daniel Ek noted. “Think about the massive potential that represents for creators. No matter where you are on your own creative journey within music, podcasts or audiobooks. The potential to reach half a billion people. And that reach is about to become more powerful with what we’ve introduced.”
Following this session, it was time to visit the Spotify West Hollywood campus in the Arts District for a day of interactive creator sessions and panel discussions from artists, creators and Spotify staffers including Central Cee, Rickey Thompson, Denzel Dion, Sulinna Ong and more, who unveiled more around the world of Spotify, its playlists and music discovery, podcasting and more. The music team fireside chat was led by Spotify global editors including Jeremy Erlich, Spotify’s Head of Global Music Content; Bruno Carlot, Global Head of International; and Sulinna Ong, Global Head of Editorial.
“The role of the editor is, as I said, is to listen to all the music. So we’re the closest point to the music and thinking about, you know, the artist, where it’s coming from, and how it might connect with an audience on the platform,” shared Ong about the editorial arm. “In each market, there are specialists in the local cultural scene, that’s really important, because no one’s going to know what’s happening on the ground better than an editor in that market, and to really be a champion for local domestic repertoire.”
In addition to listening to the music, Jeremy Erlich also talks candidly Spotify’s on the pulse editorial team that has broken many artists on the platform. For example, Ghana’s Black Sherif gained considerable traction on the platform after first being spotted by the local team in Ghana and boosted on global editorial playlists. “From there, we went to Ghana with Kendrick Lamar, and we introduced him to Black Sherif. So we’re first facilitating hip hop and culture, those co-signs are really important,” shares Jeremy.
The week-long event closed out with Party On–a night of musical festivities and networking held at the Roxy Theatre. Inviting guests in with warm hues of purple, the night included an all-female showcase from Gwen Stefani, Rita Ora, and more. The excitement from guests and colleagues in attendance was palpable, with many people buzzing about the new features unlocked on Spotify. Spotify’s Stream On 2023 was a resounding success thanks to its mission to champion creators and artists who have been instrumental in keeping us entertained, seen and represented.
It’s that time again. Every week, new music shows up, sweeping fans and music lovers off their feet while artists gauge reactions to know the effect of their creativity. At the NATIVE, we are committed to keeping our ears on the pulse of the music scene and bringing the best sounds to your doorstep.
Last week, we brought you stellar releases from Stonebwoy, Kotrell Kamauu, and more. Today, we have songs that move from Afropop to Amapiano to R&B, with our select artists showcasing their unending talent and passion for creativity. Lock in!
DAVIDO – “UNAVAILABLE” FT. MUSA KEYS
Since the release of his album ‘Timeless,’ Davido’s “UNAVAILABLE” has been a fan favourite, flying through social media platforms and prompting Davido to take notice and persuade fans participation with #UnavailableChallenge. The music video, a product of Polar Film Production, recreates the fun of the track with colourful costumes and entertaining choreography. Davido and Musa Keys also give energetic performances, firing up “UNAVAILABLE” with more verve.
DARKOO – “DISTURBING U” FT. AYRA STARR
Darkoo has made beyond headway in her musical career since her sprouting single, “Gangster” with so much more to be noted in her diary of exploits. In her latest single, “Disturbing U,” she teams up with Mavin’s golden child Ayra Starr. Possessing a solid sonic quality with clearly worded content easy to grasp at first play, “Disturbing U” relates to the stance of every successful sought-after youngster thriving in the creative industry. The enthralling display of strings immediately gets you stuck on this song.
JOHNNY DRILLE – “BELIEVE ME”
Mavin Records’ act returns with a new single “Believe Me” after the warm reception that greeted his ‘Home’ EP and its lead single “How Are You (My Friend).” On the Don Jazzy-produced “Believe Me,” Drille sings to his heartthrob named Anwuli, seeking her acceptance and promising her the best of his actions. The production features tuned-down Amapiano elements and a Highlife feel that makes the song a jolly, mid-tempo number.
JOEBOY – “DUFFEL BAG”
Ahead of his sophomore album ’Body and Soul’ in May, Joeboy returns with a celebratory and effervescent new single titled “Duffel Bag.” The track’s instrumentation is a highlight, combining 808 bass lines, elegant string stabs, and fluid, soulful guitars to create a vibrant and energizing backdrop for Joeboy’s seamless vocal delivery. With its upbeat tempo and captivating lyrics, “Duffel Bag” depicts the essence of love, luxury, and lust. Joeboy sings about a woman who desires a man who will treat her with respect, provide for her, and take her to supper. “Plenty of money for my duffel bag / Let me know when you don’t want to see me, darling”
ASAKE – “2:30”
Asake’s new song “2:30” celebrates authenticity and individuality, with an upbeat tempo and vibrant energy that testifies to the Nigerian artist’s talent for blending various musical styles into something completely new. The song’s dreamy Afrobeats blend seamlessly with IDM-influenced percussion, resulting in a rich tapestry of textures that is both familiar and thrilling. The track’s lyrics emphasise the importance of accepting one’s real self.
“HELLO SADNESS” – HOOK, KARUN, STEPH KAPELA , SIM CITIZEN
Kenyan songbird Karun teams up with Steph Kapela, Hook and Sim Citizen for an electric single. Over EDM beats Steph Kapela raps about the inconsistency experienced in love as Karun croons, expressing the sadness experienced in relationships and when you have a lover.
MAU FROM NOWHERE – “REFUSE REFUGE”
uNder alum mau from nowhere, who is readying his album ‘The Universe is Holding You,’ releases a new track. “Refuse Refuge” is a bop that fuses Hip-Hop with Funk elements as mau from nowhere raps and sings about wanting peace of mind and doing away with unnecessary drama. “See I won’t give up on me,” he sings on what is the last single before the album.
LADY DU & REEKADO BANKS – “OYINI” FT. SIYAKHA KHITHA & T-MAN SA
South African DJ Lady Du unveils a new single from her upcoming album ‘Song Is Queen.’ On “Oyini,” she features Nigeria’s Reekado Banks and fellow South African acts Siyakha Khitha & T-MAN SA. The song bounces with a moody, infectious melody underpinned by Amapiano influences.
With a career spanning over decades, Angélique Kidjo has soundtracked diverse eras and events. Her sound, borne from the West African traditions of her childhood in Benin and her interactions with the influences from Europe and Latin America, has travelled the world and imprinted her name in the hearts and minds of music lovers, both old and young. With numerous local and international awards under her belt, the veteran musician hasn’t relented in her strive for excellence, constantly reaching for musical highs as well as contributing to the social and economic wellbeing of the African people through her advocacy and social works.
Kidjo was born and raised in Benin in 1960 to a Yoruba mother and a Fon father. Her parents and older sibling were music lovers and, as a child, Kidjo absorbed the music they listened to: Miriam Makeba, Hugh Masekela, Aretha Franklin, Manu Dibango, Wilson Pickett, Fela Kuti, Otis Redding, Sam Cooke, the Rolling Stones, the Beatles and Stevie Wonder, among others. She began her music career at six after rendering an impromptu performance at her mother’s theatre troupe. In 1981, at the age of 21, she released her first album ‘Pretty’ with the assistance of Cameroonian Makossa legend Ekambi Brillant. The album made Kidjo a star in her home country and neighbouring countries.
A few years later, Kidjo was forced to flee Benin due to the difficult political climate orchestrated by Mathieu Kérékou, the country’s leader at that time. She settled in Paris, France where she began attending Centre d’informations musicales (CIM), a school of jazz and contemporary music. It was in Paris that Kidjo immersed herself in the proponents of what is known as world music, fusing her African influences with foreign genres and sounds. In 1991, after signing with Island Records, she released her major label debut album ‘Logozo.’The project enjoyed both critical and commercial success and cemented Kidjo’s style of singing in different African languages—Fon, Yoruba, Goun, Mina—and in French as well as her made-up language.
She followed up ‘Logozo’ with ‘Ayé’ (1994). The album spawned the hit track “Agolo,” whose music video celebrated African religions (featuring a Zangbeto masquerade and the serpent deity Ayida-Weddo) and earned Kidjo her first Grammy nomination. Her 1996 album ‘Fifa’was the first time Kidjo added English to her repertoire of languages she sang in. The album, for which she enlisted the help of percussionists in villages across Benin, was deemed as Kidjo’s crossover attempt as it blended her signature African-inspired rhythms with Funk, Hip-Hop and Pop, with “Wombo Lombo” being the lead single. She continued her musical foray into newer grounds with ‘Oremi’(1998),‘Black Ivory Soul’(2002) and‘Oyaya!’(2004). The three projects were Kidjo’s way of starting a conversation with the African tradition and its roots in the United States, Brazil, and the Caribbean.
On ‘Oremi,’ Angelique Kidjo collaborated with American musicians Branford Marsalis, Kelly Price and Cassandra Wilson, and performed a reinterpretation of Jimi Hendrix’s “Voodoo Child.”On ‘Black Ivory Soul,’ she added her spin to Brazilian sounds, alongside acts like Rubens De La Corte, Vinicius Cantuária, Carlinhos Brown and Gilberto Gil.‘Oyaya!’saw her give her take on Caribbean sounds such as Salsa, Bolero, Meringue, Calypso and Ska, with Alberto Salas and Henri Salvador. She kept up the fusion of musical cultures on‘Djin Djin’(2007), featuring a reinterpretationof French composer Maurice Ravel’s 1928 orchestral piece“Boléro”and other acts such as Amadou & Mariam, Alicia Keys, Ziggy Marley, Carlos Santana, among others.‘Djin Djin’gave Kidjo her first Grammy win for Best Contemporary World Music Album in 2008. Her 2010 album‘Õÿö’was dedicated to the music of her childhood, including traditional music, Miriam Makeba’s songs, Yoruba interpretations of Otis Redding’s “I’ve Got Dreams to Remember” and Carlos Santana’s “Samba Pa Ti,” and homages to Aretha Franklin’s “Baby I Love You” and James Brown’s “Cold Sweat.”
In her 2014 autobiography Spirit Rising: My Life, My Music, which Kirkus Reviewstermed as “warm, lively and compassionate,” Angélique Kidjo shines a light on her childhood, early beginnings as an artist and her rise to becoming a Grammy-Award–winning artist, and her work as a UNICEF ambassador (since 2002) and founder of Batonga Foundation, which champions education and empowerment of adolescent girls in Africa. That same year, she released ‘EVE,’ named after her mother and dedicated to her experiences as an African woman; the project scooped the Grammy plaque for Best Contemporary World Music Album. A year later, she collaborated with the Luxembourg Philharmonic Orchestra on ‘Sings,’which restructured 11 songs across her discography into orchestral pieces. It also won Kidjo her third Grammy award.
Three years after ‘Sings,’ Angélique Kidjo received an epiphany. She was humming American Rock band Talking Heads’ “Once in a Lifetime”—a song she first heard three months after she arrived in Paris—when a friend told her the name of the group responsible for the song.Kidjo had conversed with David Byrne (Talking Heads’ lead vocalist) but she hadn’t known it was his voice on the song. Kidjo listened to Talking Heads’ 1980 album ‘Remain in Light’ (from where “Once in a Lifetime” was housed) for the first time and decided she would cover the project. In 2018, she released her album titled after Talking Heads’ ‘Remain in Light,’ planting the rhythms of the band onto African drums and percussions. In a 2022 interview, Kidjo and Byrne shared their thoughts on music in Africa and the diaspora, African traditional practices and the political situation in Africa, especially Nigeria.
As the years have passed, Angélique Kidjos’s influence has grown, both on the African continent and in international spaces. She has graced stages around the world, from Cape Town to Dakar to New York to London to Paris to Sydney to Oslo. Her discography has also inspired younger generations of artists who have sampled and interpolated her music, including Burna Boy and Yemi Alade. In 2010, BBC’s Focus On Africa Magazineincluded her among its list of 50 African Icons; in 2011, The Guardianadded her as one of the top 100 women in art, film, music and fashion and Forbes put her in the list of 40 most powerful celebrities in Africa; and in2021, TIME named her in its list of 100 Most Influential People in the world. In 2015, she was awarded the prestigious Crystal Award by the World Economic Forum in Davos, Switzerland for her humanitarian work.
On the musical side, Angélique Kidjos’s talent and knack for experimentation never waned. In 2019, she released ‘Celia,’an Afrobeat-inspired album-length interpretation of songs across the discography of Cuban singer Celia Cruz, whose music Angelique Kidjo first heard as a teenager in 1974. ‘Celia’ won the Grammy Award for Best World Music Album, Kidjo’s fourth Grammy win. On 2021’s ‘Mother Nature,’ Kidjo tackled the issues of global warming and political corruption, while also making space for some of Africa’s reigning music stars in the likes of Burna Boy, Yemi Alade, Mr Eazi and Sampa the Great. “They have something to say about where Africa is and where it is going,” she said of the artists to The Guardian. “This was really a delight – it gives me energy and a good feeling.” She also worked with young African music producers in the mould of Kel-P, Vtek and Rexxie. A year before, when Kidjo received her Grammy plaque for ‘Celia,’ she dedicated her win to Burna Boy, saying, “Four years ago on this stage, I was telling you that the new generation of artists coming from Africa are going to take you by storm. And the time has come.”
Angelique Kidjo, recognising her legendary status, hasn’t shied away from collaborating with this new generation of African artists, making guest appearances on songs from Burna Boy, Yemi Alade, Somi, Omawumi and Sampa the Great. Her latest collaboration alongside The Cavemen on Davido’s “NA MONEY”drew praise and highlighted her ever-present star quality. Speaking to Forbes Africa about the current African superstars, she said, “What I learned from them is their professionalism – it’s mind-blowing. Every music that had been sent was spotless. I had waited for this day… And on top of being artists, these are entrepreneurs, they understand they have to be free. [In my time], I had to sign a contract for 10 years… These kids have the right to do whatever they want. They sat back and learned from my experience, and the experiences of Youssou N’Dour, and Salif Keita. And they don’t want to take that road. They want to be free in their own right and they are right to be free.”
Last year, Kidjo’s collaboration with French-Lebanese trumpeter Ibrahim Maalouf ‘Queen of Sheba’ delved into the life of the famed Ethiopian monarch and intersected the connections between Africa and the Middle East. It is the constant drive for reinvention that has kept Angélique Kidjo in the conversation as one of the respected names in world music. She has continued to defy the odds, serving as an inspiration for artists on the African continent on how to build a lasting career and legacy. Two weeks ago, Kidjo was awarded the 2023 Polar Music Prize, becoming the third African act to win the distinguished award after South Africa’s Mariam Makeba who won in 2002 and Senegal’s Youssou N’dour won in 2013.
“To be awarded the Polar Music Prize is humbling. I have no words to say how important this is for me. It comes with a sense of responsibility that is bestowed upon me as an artist to continue to do great work,” Kidjo said. “My passion for music has always been unwavering. Being on stage for me is like being in paradise – it’s my sanctuary. It’s my place to link and to connect with my fellow human beings. That is something that I’m grateful for every day.”
Davido scores one of the most historic debuts in TurnTable Charts’ singles chart history as he becomes the first artist to claim eight entries in the top ten as a lead artist – and the second overall (Asake also claimed eight entries with seven as a lead artist and one guest entry during the week of September 9 – 15, 2022. Davido extends his record for most top-ten entries to 25. Additionally, he claims the entire top four of a weekly singles chart for the second time – having achieved the same feat during the debut week of his last album,‘A Better Time.’
‘Timeless’ also becomes the first album to produce nine top ten entries – surpassing the previous high of 8 by Asake’s ‘Mr. Money With The Vibe’ and Davido’s ‘A Better Time.’ In addition to the eight top ten entries this week, “Champion Sound” also peaked in the top ten in 2021.
Davido’s “No Competition” is No. 1 with Asake has 4.54 million on-demand streams (No. 2 on streaming) and 68.3 million in radio reach (No. 4 on radio); “OVER DEM” is at No. 2 with 5.61 million on-demand streams (No. 1 on streaming) and 26.8 million in radio reach (No. 27 on radio); “UNAVAILABLE” with Musa Keys is at No. 3 with 3.94 million on-demand streams (No. 4 on streaming) and 58.2 million in radio reach (No. 8 on radio); “FEEL” is at No. 4 with 4.43 million streams (No. 3 on streaming) and 24.8 million in radio reach (No. 28 on radio); “KANTE” with Fave is at No. 7 with 3.14 million on-demand streams (No. 6 on streaming) and 28.4 million in airplay (No. 24 on radio); “AWAY” is at No. 8, : 3.35 million streams (No. 5 on streaming) and 12.7 million in airplay (No. 60 on radio); No. 9, “NA MONEY” with The Cavemen and Angélique Kidjo is at No. 9 with 2.65 million streams (No. 10 on streaming) and 30.3 million in airplay (No. 30 on radio); and “IN THE GARDEN” with Morravey is at No. 10 3.03 million streams (No. 7 on streaming) and 9.94 million in airplay (No. 83 on radio).
The two non-Davido songs in the top ten are Adekunle Gold’s “Party No Dey Stop” with Zinoleesky at No. 5 and BNXN’s “Gwagwalada” with Kizz Daniel and Seyi Vibez at No. 6. Other tracks from Davido’s ‘Timeless’ occupy different positions in the top 40.
All the tracks on @davido’s ‘Timeless’ are on this week’s Official Nigeria Top 100
“NO COMPETITION” at No. 1 is the highest charting single while “CHAMPION SOUND” at No. 38 is the lowest charting entry this week
How does an artist successfully cash-in on virality? Zlatan is certainly one artist whose career is a manifestation of playing the long game and staying true to oneself. Since his debut on the scene, the rapper has commanded attention with ease and his 2019 was more a stretch of viral moments forming into real currency. Although having a backlog before then, that year he was arguably the hottest rapper in the continent. That he’s here in 2023 boasting similar reverence isn’t something many saw Zlatan doing, and his tact and ever-evolving skill level deserves recognition.
The subject of rap and rappers is a recurring discussion in Nigerian music circles. Once the nucleus of our popular music, observers are keen to register lower levels of participation in the genre these days. Beyond faulting the apathetic communities around the music, conversations have often been centred around the attitude of rappers, a lack of deliberate moves often the mentioned undoing. Zlatan was carried on electric wings upon his entrance; a dancer, an assured spitter with street hop origins, he was heralded.
Hip-Hop might try to corner its unique spaces but traditionally, it’s always existed side-by-side with Pop. America’s glorious nineties had the entwined sounds of Rap and R&B working in its favour and the likes of P Diddy and Bad Boy Entertainment would best pair these elements, dominating the sonic zeitgeist of pre-2000s pop music. In these parts, it’s similarly important that Zlatan was embraced by Davido the year before 2019. We often give 001 his flowers but he’s consistently been a champion of the Rap music he loves, and on “Osanle” we definitely got a taste of Zlatan’s versatility.
Produced by Fresh VDM, the song had that buttery percussive sound Davido had on lock throughout 2018. With his freewheeling style Zlatan describes the hardships of time past, neatly wrapping up the first verse before his feature’s emotive hook. Rap-wise, it wasn’t the most spectacular of performances, but Zlatan’s energy was palpable. His tendency to deliver bars with sing-songy cadences that made one dance was also a demonstration of his distinct technique.
That record being his first stamp in popular conversations, Zlatan had the ears and eyes of an interested industry on him. It was too early to make any concrete predictions, thus he had the wiggle room to be creative. Any further doubts were dispelled by the end of the next year—2019—whose reign of ubiquity began with a song which foreshadowed that moment. “Able God” at that point was the soundtrack of urban culture; working to fulfil desires of living a peaceful cosmopolitan lifestyle, residents in places like Lagos always relate with a divine plea for help. Even outside the state and far beyond, the Chinko Ekun song was massively loved.
Without Zlatan’s contribution, both in sound and personal direction, the song might not have gained as much traction. The production was somewhat tailored to his cadences and his consistent adlibs was a colourful streak which made this particular cry for blessings less melancholic and more celebratory. By the time “Am I A Yahoo Boy” dropped, Zlatan’s figure was chiselled fine, although he’d come out of that a lesser-known artist than Naira Marley. Commentaries such as “Never forget Naira Marley’s 2019” underlie the fact that Zlatan also had a great year that year too.
Zlatan didn’t have an-establishment movement in the mould of Marlians, but for sure he had the industry. “Killin’ Dem” would most demonstrate how effective he could be on wax, for most parts being the fulcrum behind the song, owned by the Nigerian superstar, Burna Boy . It would also help in constructing the ‘African Giant’ myth and epic Grammys Award run-up, while the man born Temidayo Oponiyi would go his own way, dipping toes in pop music more than any other person who rapped in the country.
The successful trio of “This Year”,“Bolanle” (with IVD) and “Yeye Boyfriend” were released at different points during the year, and with distinct ambitions. Where the first was a nostalgia-inducing song charting impending greatness, the later two appeared at the tail-end of the year, its festive vibe quickly establishing itself. Both seemed to follow the same narrative sequence: centering the titular Bolanle, it charted her dissatisfaction with a lover. “Who no like better thing?” asks Zlatan in a way that doesn’t deride women but validates their desires, a sensitivity not quite common among Afropop musicians. With shiny guitar-playing and Fuji-replete influences, both songs confirmed Zlatan as a hit-making machine.
The ‘Zanku’ album was the only blip on Zlatan’s 2019. The project was stuffed with too many sonic choices and an almost nonexistent narrative thread, it was more like a jumbled collection of songs. None of the feature choices were excitable, suggesting his unpreparedness going into that debut album. Perhaps the only longstanding regret would be that he’s now used the choice of that particular title, but it’s a shortcoming which Zlatan took in good stride.
In 2020, the artist remembered his roots. From then on the artist increasingly collaborated with rappers, bringing his signature energy to records such as the uber-popular “Cash App” and the Oladips-helmed “Mainland 2 Island,” which coalesced into an EP with the same title. He still coveted viral moments by tapping from reined-in totems of popular culture. “Egungun Be Careful”paid direct homage to his Fuji influences through the collaboration with the iconic Obesere, while “Lagos Anthem” flagrantly reiterated the city’s mythos, referencing its status as the commercial epicentre of the country. “Dem go talk say money no dey Lagos,” he proclaimed in the chorus, in a sarcastic way which subtly replied, “Na lie, there’s money in this place”.
Zlatan’s most memorable appearance between 2020 and the following year came tellingly on a rap song. “Kuronbe” featured the unique rapping skills of Prettyboy D-O (who Zlatan has previously collaborated with on “Police n Teef [Remix]”) and Ice Prince, marking a new direction for curation on Rap songs. By bringing the several sides of the genre together—D-O’s ragga and drill-inflected style, Ice’s legacy English-speaking flow, Zlatan’s indigenous zest—the Trap-indebted artist Straffiti gave a solid nod to the evolution of Hip-Hop in the country. Whereas D-O had the best verse (by my own estimation), it was Zlatan who unarguably owned the song, delivering its bouncy hook and after delivering adlibs in the background, returns to lay the closing verse.
In no small way that was one of Zlatan’s most defining moments. While rappers have been prone to fancy high concept records, here was this person who made the mundane become extraordinarily powerful. He wasn’t revolutionary in that “Local Rappers” style of his acclaimed predecessors Reminisce, Olamide and Phyno, but he set the still-blazing trail for indigenous rap—and rap in general—to be taken more seriously by popular audiences.
This first quarter of 2023, few songs have captured the period’s rap sensibilities better than “Omo Ologo”. Last week, the record became the first by a Nigerian rapper to reach No. 1 on the Official Hip-Hop/Rap Songs chart by Turntable. Edging out records such as ArrDee and Cat Burn’s “Home For My Heart” and Rema’s “Ginger You”, it is joined in the Top. 5 by Odumodublvck’s “Picanto,” a song he’s also featured in.
“Omo Ologo” has brooding vocals and drum arrangement which sounds parallel to the production on Eminem’s “Like Toy Soldiers” and Olamide’s “Ilefo Illuminati”. It’s a quintessential direction for rappers with stuff to get off their chest, but then again, Zlatan has always had good ears for beats. He’s rather sharper in his rapping, each lyric packed with the intentionality of a person who’s been working behind the scenes. Autobiographical in lyricism but flagrant through its visual representation, it’s also a nod to Zlatan’s approaching act as a fashion and beauty influencer.
Afropop doesn’t thrive solely on the music’s quality. That’s of course a strong factor, but the visual influence behind stardom has often been understated in these parts. From stylists to video directors, art directors, digital artists and costume designers, there’s a whole ecosystem behind the musicians who make sure they look the part. Rap’s appeal is very much aligned with looking the part, and that’s something all-rounders like Jay-Z and Kanye West understand. Zlatan belongs in this category, as we’ve seen in recent months.
All these skin care brands no get Zlatan money or they sleeping?
People are increasingly taking note of Zlatan’s glow up, how deliberate he’s been in taking care of himself. It’s not everyday that a Street Hop-emerging artist gets praise not for their songs but for their looks, and it’s an indication Zlatan knows the influential appeal of looking and operating at your best. A face is the first thing people see; it’s also the stand-in for gauging one’s energy or financial status in some rare cases, and just by looking good Zlatan has placed himself there.
There’s also the matter of his fashion. While he might not be the most avant-garde dresser, Zlatan has always held his own in his outfits. His early career was often attended by tight jeans and polo shirts, with his hair partly sprayed golden. Nothing too special, but he looked as though he’d rap the most exciting Yoruba-laced bars you ever heard. It was purposeful. During the “Bolanle” era he was usually seen in blazers, again referencing the ballroom-centric music he was then making. Nowadays, Zlatan is able to go either way—a dripped-out rapper or a conservative stylist, while his neatly-locked hair can be let down depending on his choices.
Directed by Visionnaire Pictures, the video casts beautiful scenes to incorporate these stylistic nuances. It’s no surprise that it’s arguably Zlatan’s best video yet. With nods going to legacy brands such as Louis Vuitton, Daily Paper and Richard Mille, he charts a successful trajectory in a way that is evocative more than boastful, a trait not many rappers share.
With the rap scenes across Nigeria opening up in refreshing ways, Zlatan is a figure worthy of emulation. Off the mic, he’s kept himself free from any serious controversy while implicitly upholding the ethos of Drink water and relax. As a rapper, his willingness to get on songs with rising talents have earned him respect which transcends the genre, one which has most poignantly been captured by Odumodublvck when he raps, “Zanku runs Ibile” on his newest track “Declan Rice,” the follow-up to the chart-topping success of “Picanto”. As an actor, he’s recently just starred as Kash on Jade Osiberu’s latest film ‘Gangs Of Lagos’ which premiered on Amazon Prime Video Naija this weekend.
That is where Zlatan is at this moment. Overlooking the wider plains of Rap music in Nigeria, it’s understandable why some might gloss over his contributions, seeing as he’s neither the most technically-skilled rapper or boasts acclaimed projects. His influence is however more pertinent: he’s a champion for excellence, for the relentless pursuit of self while meeting the far-reaching requirements that comes with being great. He’s done all this while looking flawless, and that’s a major flex.
In 2021, Netflix and UNESCO partnered to launch a short film competition on African folktales to discover new voices and to give emerging filmmakers in Sub-Saharan Africa visibility on a global scale. The six winners were trained and mentored by industry professionals and provided with a US$75,000 production budget to create short films alongside also receiving $25,000 each. The result of that competition is the six-part short film anthology ‘African Folktales, Reimagined.’
‘African Folktales, Reimagined’ is the brainchild of six African film directors, which include Korede Azeez from Nigeria, Loukman Ali from Uganda, Voline Ogutu from Kenya, Gcobisa Yako from South Africa, Walt Mzengi Corey from Tanzania and Mohamed Echkouna from Mauritania. In tandem with the theme of the competition, all six directors take an old tale unique to their country and spin them into modern yet inventive interpretations for new audiences. These short films also incorporate indigenous African languages for their dialogues, as well as English and French.
Loukman Ali’s “Katera of the Punishment Island” starts the anthology. The Ugandan director is no novice (his 2020 film The Girl in the Yellow Jumper is on Netflix and he directed the Jade Osiberu-produced 2022 film Brotherhood). Set in the early 1900s, the film is based on the old western Ugandan island of Akampene, a Rukiga word for “punishment,” where unmarried pregnant girls, whose conditions brought shame to their families, were abandoned to die. Katera (Kababiito Tracy) is one such girl. In her case, it isn’t her family who sent her to the island; it is Gregory (Michael Wawuyo), a general who is a sympathiser with the British colonialists.
After being rescued by Omar (Michael Wawuyo Jr.), Katera plots revenge against Gregory. Loukman Ali’s grip on “Katera of the Punishment Island” oozes confidence; he knows the kind of thriller he wants to make the film—drama-like yet action-packed—and does so flawlessly. He also maintains his working relationship with father-and-son actors Michael Wawuyo and Michael Wawuyo Jr, from The Girl in the Yellow Jumper, and the 2021 short films The Blind Date and Sixteen Rounds.
In the world of Nigerian director Korede Azeez’s “Halima’s Choice,” 99% of the world population has uploaded themselves into a virtual paradise called Napata. Deep in a Fulani village in this postmodern, AI-enabled space lives Halima (Habiba Ummi Mohammed), a young girl desperate to escape an arranged marriage. He meets and falls in love with Umar (Adam Garba) but their union is threatened by familial, societal and technological difficulties. Azeez, who has been honing her craft with other short films (like 2020’s Tip of the Edge), cites the Nigerian folktale “The Disobedient Daughter Who Married a Skull” as inspiration for her short film, which received production assistance from Kenneth Gyang’s Cinema Kpatakpata.
Kenyan director Voline Ogutu’s “Anyango and the Ogre” slightly toes the sci-fi path. Based on a children’s folktale, the film portrays Mama Otis (Sarah Hassan) who, with her three children, is stuck in an unhappy marriage rife with violence. In the film’s world, citizens are divided into two groups: Grey Zone and Blue Zone. The former is an abandoned territory full of single and unmarried women (sometimes with children) whose lives are shown to hold no meaning until they get into the Blue Zone. The latter is paradise-on-earth: colourful, serene and a place strictly for married couples and their families. Otis (Trevor Jones Kamau) is the driving force of “Anyango and the Ogre,” as he, unhappy with the attitude of his father (Lucarelli Onyango), seeks better fortunes for his mother and two siblings.
For Mauritanian director Mohamed Echkouna’s lead character (Zainabou Ahmed Mohamed) in “Enmity Djinn,” who is in her late seventies, her nemesis is always seeking her. From the sand-covered fields of the desert to a bustling Mauritanian city, a djinn—an ancient spirit—terrorises the grandmother, serving as a reminder of a haunting past. Echkouna’s film, just like his 2016 short film Trail of Hope,through the purview of culture and religion, casts a light on how both function in the lives of its characters. In Tanzanian director, Walt Mzengi Corey’s “Katope,” culture and community collide in the life of the eponymous character (Rahele Matete), a young girl, whose destiny, from birth, is tied to the fortunes of her village. South African director Gcobisa Yako’s “MaMlambo” borrows inspiration from South African mythology as the aforementioned river goddess, played by Simphiwe Dana, resurfaces in present-day South Africa to pursue her duty of watching over troubled bodies.
One underlying thread connecting all six short films is their feminist viewpoints on the topics of domestic violence, sexual violence, forced marriage and female empowerment. The films are written entirely by their directors (except for “Enmity Djinn,” which Mohamed co-wrote with Connor Syrios, and “Katope,” which Walt co-wrote with Rebecca Mzengi Corey) and feature female characters who fiercely defy the status quo and handle any situation they find themselves. Even in the Otis-led “Anyango and the Ogre,” it is his mother’s decision that ultimately changes their lives. These short films join a list of recent productions on the African continent that centre women as major and important characters, including King of Boys (2018), Rafiki (2018), Lionheart (2018), Binti (2019) and Lingui, The Sacred Bonds (2021).
While there are male characters who contribute to the development of the films’ plots, there is a deliberate act to shield the lead characters away from the male gaze. In the six films,the lead female characters face male figures in their lives who want to knock them into submission. For Katera in “Katera of the Punishment Island,” it is Gregory; for Halima in “Halima’s Choice,” it is her father, played by Sani Mu’azu; for Mama Otis in “Anyango and the Ogre,” it is her abusive husband; for the grandmother in “Enmity Djinn,” it is the djinn; for Katope in “Katope,” it is an elder in her village; and for Amandla (Zikhona Bali) in “MaMlambo,” it is an unnamed male voice that haunts her sleep. Still, the male characters are also important figures who rouse something in the female characters—like Omar in “Katera of the Punishment Island,” Umar in “Halima’s Choice” and Otis in “Anyango and the Ogre”—but they don’t steal the agency of the female characters, as the filmmakers ensure the bulk of the decision making lies at their feet.
It might be that, due to the theme of the competition that birthed the short films in the first place, there is also a conscious effort to portray diverse cultures of Africa, majorly through setting, costume and dialogue. Each film is richly textured with the elements of its location, whether it recalls the past or is set in the future. The filmmakers are also bold to venture into genres such as fantasy and science fiction, offering glimpses into the stylistic choices of Africa’s new generation of filmmakers.
On the technical side, the films are of high quality; the cinematography and sound, in particular, are not pedestrian, as they feature both experienced hands in Loukman Ali(“Katera of the Punishment Island”), Baba Agba (“Halima’s Choice”), Enos Olik (“Anyango and the Ogre”), Sheldon Chau (“Enmity Djinn”) and Konstantinos Koukoulitos (“Katope”).But as is bound to happen, some filmmakers in the anthology exhibit a level of mastery that is exemplar for all to follow suit. Yet, ‘African Folktales, Reimagined’ is a rewarding ride.
The filmmakers in ‘African Folktales, Reimagined’ have, rightfully, utilised the opportunity from Netflix and UNESCO to showcase their talent. With the attention of a global audience fixed on them, they are certain to benefit because the works that have contributed to the anthology are excellent. In the greater scheme of things, it is a win for African filmmakers and the continent as a whole.
For the first time in five years, Odunsi (The Engine) is headlining a show in Lagos state. The alternative icon has been away creating other stuff since the release of his celebrated debut album ‘rare’in 2018, and to mark his return to his home state, Odunsi is pulling up with some of his great friends.
‘The Delivery’ is having its inaugural edition, suggesting that there will be more to come. Much like anything Odunsi (The Engine) does, the premise is very exciting, as the musician will play a curator role by working with close collaborators and emerging artists. Built around unique experiences, the show will feature a mix of live and electronic music, while ambient mood setting should be expected from the DJs set to play.
Since making his entry into the Nigerian music scene in 2016 through the affectionate R&B-suffused ‘Time of Our Lives’, Odunsi has been deliberate about championing new perspectives for the African youth, whether as a musician, producer or through visuals. He’s also collaborated widely and with intent, establishing creative links across Nigeria and the continent at large. In 2018, he was the creative director and producer of the ART X LAGOS.
With ‘The Delivery’, he steps into a new and deserved arc as a curator for the Nigerian youth experience. The wealth of musicians he would be sharing space with reveals the scope of Odunsi’s vision. Among other musicians, event goers will be treated to exquisite sounds from Cruel Santino, Teni The Entertainer, Lady Donli, Tochi Bedford, SOLIS and Wavy The Creator.
‘The Delivery’ is happening this Friday. Get your tickets HERE.
Kwame Brathwaite, photographer and activist whose images redefined Black beauty in the 1960s and inspired generations of artists, died on April 1, aged 85. His son, Kwame Brathwaite, Jr., shared the news of his father’s death on social media, saying, “I am deeply saddened to share that my Baba, the patriarch of our family, our rock and my hero has transitioned.”
Brathwaite’s work has served as an anchor for new forms of representation, especially for Black women. In the late 1950s and throughout the 1960s, Kwame Brathwaite’s photography popularised the political slogan “Black Is Beautiful.” Recently, his work gained mainstream attention with museum retrospectives and monographs and, over the years, has appeared in publications and on album covers.
Born in 1938 to Barbadian immigrant parents, Brathwaite attended the School of Industrial Art (now the High School of Art and Design). In 1956, he and his older brother Elombe Brath, inspired by the writings of activist and black nationalist Marcus Garvey, co-founded the African Jazz Arts Society and Studios (AJASS) and Grandassa Models in 1962. AJASS was a collective of artists, playwrights, designers, and dancers, and Grandassa Models was a modelling agency for black women, founded to challenge white beauty standards.
Throughout the 1960s, Brathwaite, in his tiny darkroom in Harlem, perfected a processing technique that enriched the look of black skin in a photograph. The black-and-white images of his subjects highlighted Blackness in its glory. In 1962, AJASS organised the first of its “Naturally” fashion shows, which saw Black models, known as Grandassa Models, walk the runway with their natural hair. In 1965, Brathwaite met a Grandassa Model named Sikolo and in 1966, they wedded. By the 70s, Brathwaite had photographed a wide range of Black musicians including Duke Ellington, Thelonious Monk, Miles Davis, Nina Simone, Bob Marley and John Coltrane.
During the ’70s, Brathwaite travelled to Africa, visiting countries such as Egypt, Tanzania, Kenya, and more. He documented Jackson Five’s tour in Ghana and covered the 1974 “Rumble in the Jungle” boxing match between Muhammad Ali and George Foreman in Zaire (now the Democratic Republic of the Congo). In 2019, Rihanna spoke to Vogueabout the influence of Brathwaite’s work on her Fenty cosmetics label, saying, “When I was coming up with the concept for this release, we were just digging and digging and we came up with these images—they made me feel they were relevant to what we are doing right now.”
Kwame Brathwaite’s work has been featured in museums and galleries around the world, with the most recent being a Philip Martin Gallery exhibition in Los Angeles, US, titled “Pocket Universe,” which celebrated Brathwaite as well as other artists including Ericka Beckman, Brian Bress and Carl Cheng, among others. An exhibition of his works titled “Kwame Brathwaite: Things Well Worth Waiting For” is currently on view at the Art Institute of Chicago, where it will remain until July 24.
The National Basketball Association (NBA) in Africa has announced that it would be holding its first academy showcase on the continent. Starting today, Thursday, April 6 to Sunday, April 9, it will take place at the NBA Academy Africa in Saly, Senegal and will feature 71 high school-age prospects from 26 countries representing NBA Academy Africa, NBA Academy Latin America, SEED Academy and Mountain Stars Basketball Club.
Visiting the UNESCO World Heritage site Gorée Island, the prospects will participate in activities to promote cultural exchange and life skills development. That is, added to the advantage of the prospects competing with and against each other and showcasing their skills in front of NCAA coaches and NBA scouts, all of which makes the showcase an important event for the African basketball community.
“The first-ever NBA Academy Showcase Africa will provide impactful development opportunities and exposure to promising young prospects, while demonstrating Africa’s capacity to host best-in-class basketball development events here on the continent,” said NBA Africa Head of Basketball Operations Franck Traore. “We look forward to welcoming teams and stakeholders from around the world and helping the next generation of players showcase their potential in a competitive and fun environment.”
As part of the mentorship package, twelve NBA Academy Africa prospects participating in the showcase will also be a part of the 12 Basketball Africa League (BAL) teams for the league’s 2023 season as part of the “BAL Elevate” program. “The inaugural group of BAL Elevate players who joined our league from NBA Academy Africa last season not only showcased their talent and potential but also contributed greatly to the improved play in season two,” said BAL President Amadou Gallo Fall. “We have received terrific feedback from the teams and coaches who worked with the players, some of whom went on to sign with NBA G League Ignite or commit to NCAA Division I schools in the U.S. We look forward to watching this year’s class contribute to their respective teams and continue their development on a global stage.”
A year-round basketball development program, the NBA Academy aims to provide top high school-age athletes from outside the United States with holistic player development and open a pathway towards maximizing their potential. Since 2017, NBA Academies have been launched in Canberra, Australia; Greater Noida, India; San Luis Potosí, Mexico; and Saly, Senegal as a meeting place for top prospects from their respective countries and continents. The facility in Saly, Senegal, was opened in 2018 and features two indoor basketball courts, a multipurpose activity centre, a weight room, conference rooms, dormitories and educational facilities.
In a conversation with the NATIVE earlier this year, the NBA Africa vice president revealed that the organisation had plans to make basketball a more powerful force in the continent. Programs like BAL are a natural extension of that zeal, which as she said, is “one of the refreshing things about the BAL. It’s creating that opportunity so that you don’t necessarily have to leave the continent to become a successful basketball player and make a living. The BAL is enabling talents to stay on the continent and encouraging sports tourism in all the different countries, which ends up driving economic developments in the cities where we currently play.”
Founded in 2017, Bloom Bar is one of the popular nightlife hotspots in Ghana’s capital, Accra. The open-air space, which caters to both Ghanaians and foreigners, is renowned for its expert cocktails and African-inspired ambience. Last year, in December, Bloom Bar’s owners, Kofi Adjei Maafo and Keith Edem Aweke, celebrated the outfit’s fifth anniversary and launched its new brand BlueChip Hospitality.
“I love the whole idea of cooking up experiences to entertain people,” Maafo shares with the NATIVE. “I like to create spaces and concepts, whereas Edem has always had the interest of curating the drinks and services and the food that people enjoy when we create these concepts.” While in university, he and Aweke organised parties for their friends and would eventually make a big splash when they hosted their biggest party (a glow-in-the-dark party) at a lounge in Ghana. Noting their success, the duo decided to venture full-time into the hospitality business.
“I took programs and courses in pyrotechnics [and] I studied more about how to enhance experiences through the concepts and shows I had worked on in my line of work,” Maafo says. At that time, Aweke was in the United States, where he went to a culinary school and also did a mixology program. He would go on to work in the New York scene as a mixologist and became a head bartender at Havana Central, a rum-based bar located in downtown Manhattan. “We at one point just felt like Ghana needed a new level of experience,” Maafo adds, “and with him having a proper idea on how operations are run, we cooked the concept up, looked at the advantages of what we’re going to bring, studied a few things on the Ghanaian nightlife then and realized that we could bring something to enhance the nightlife. And then the journey started with what we see today.”
One of the things Maafo and Aweke observed before starting Bloom Bar was that most of the businesses in the hospitality scene—bars, restaurants and hotels—in Ghana were owned by foreigners. This meant that the scene didn’t inculcate African sensibilities into modern concepts and that there weren’t enough models for young Ghanaians who wanted to own businesses to follow. “When we came in, we were pioneers and [created] systems when systems were not there,” Aweke says. “We tried to create a space for ourselves. It was a space for young people, where young people could feel comfortable. It was the modern Ghanaian hospitality, that’s how I’d term it.”
Patrons at Bloom Bar. Image Credits: Instagram/bloombargh
It is the constant drive to excel and build efficient systems that have resulted in the birth of BlueChip Hospitality, a hospitality management company that oversees the affairs of Aweke and Maafo’s Bloom Bar, East End Bistro and Big Leagues Sports Bar, as well as offer business conceptualisation (development, startup and growth), construction (mortgage review, contracting, design), menu development and curation, staff recruitment, hiring and training, and operations management and setup.
“We came into a system where, if you want to even grow as a bar, you had a problem because you needed banks or a solid system in terms of government laws, taxes and a financial system to support a business growth,” says Maafo. “Now, the economy did not really regard tourism and hospitality as a sector to prioritise, and until they saw some level of seriousness or some systems in place, I don’t think anyone was going to regard our industry. So coming in there, we realised that a lot of people would do the business and would take it on as a hobby. They would do the business and take it on as something they are just doing, but not necessarily to grow and take the industry to the next level. So we asked ourselves the question, ‘How are we going to create a system for everyone who wants to come in to be able to help the industry grow?’—because we couldn’t do it alone. That was one and [secondly], how do we also create that reputation and recognition for what we are going to do?”
To increase the appeal of their businesses to investors, Aweke and Maafo worked on their branding, increased and trained their workforce—which rose from 8 to 122 people—and ensured that their books were in order. “When the banks and the big brands started to see the profile and started to see that we were really making some social impact, it started to change the narrative,” Maafo says. Their efforts were also bolstered by the resounding success of Ghana’s Year of Return campaign.
Patrons at Bloom Bar. Image Credits: Instagram/bloombargh
In 2018, Ghana’s Nana Akufo-Addo-led government, along with US-based Adinkra Group, launched theYear of Return, Ghana 2019 initiative to encourage African Americans and the African Diaspora to seek Ghana as a travel destination and also invest in the country and the African continent. The year 2019 was significant because it marked 400 years since enslaved Africans arrived in the United States. Since its launch, the campaign has attracted famous names to Ghana: Idris Elba, Naomi Campbell, Cardi B, Steve Harvey and Jidenna, among others.
“We were fortunate to have positioned ourselves and take advantage of that position by giving people that vibe [of quality Ghanaian culture and nightlife services] through whatever we offer,” Maafo says. “So we didn’t necessarily have to reach out to people to come into the space, but we did our marketing. We obviously gave a service offering and people came. People came because they had heard. They had seen. And it was also thanks to social media and people curating their reels and stories for people to see and just drive a lot of people into the space during moments where they came to enjoy Ghana.”
Bloom Bar has played host to top music/entertainment industry folks from Burna Boy, Wizkid, Davido, Jidenna, Chance the Rapper, Vic Mensa, Rema, Ayra Starr to Micheal Blackson. Last year, Maafo and Aweke curated Afrochella’s Official Afterparty, Everyday People x Ghana Edition, London’s DLT Brunch, a D’usse Day Party, Mr Eazi’s Detty Rave and King Promise’s Promiseland concert. In January, they had a hand in the Black Star Line Festival, which was hosted by Chance the Rapper and Vic Mensa.
Patrons at Bloom Bar. Image Credits: Instagram/bloombargh
For Aweke, the union of music and the hospitality business is a no-brainer. He says music is used to highlight the Ghanaian and African cultures and also create opportunities for the works of artists to reach new audiences. Maafo adds that beyond the music, every other aesthetics was taken into consideration. “When we first set out to do this whole hospitality journey, there were things that I always identified as experience determinants. And I did that by looking at how I could engage the senses of people when they come into a space – the five senses,” Maafo says. “So we considered what people see when they come into your space and even what they touch when they come there. The chair, how it feels, what you are sitting on. All of these things were considered.
Patrons at Bloom Bar. Image Credits: Instagram/bloombargh
“So when it came to music, we were very specific because we would curate the night in a way that we would put certain type[s] of songs on for the early crowd and we knew how to change it at certain hours to create a vibe. And it was all very deliberate and intentional to give the vibe that you have seen over the years in Bloom [Bar]. To us, the DJs are an integral core part of what we do. We spend time with them on their playlists. We are looking at how we can entertain the crowd, how we can engage them through music, when we want everybody to get out from their chair, how we want them to start playing that kind of songs that would get everybody off their chairs, get them screaming for about 30 minutes and making them calm down in 45 minutes. It’s very intentional. So we do consider music as a serious core part of what we do.”
Patrons at Bloom Bar. Image Credits: Instagram/bloombargh
Aweke states that one of the biggest challenges he and Maafo have faced in the day-to-day running of their businesses is finding the right people to add as staff members and also training them to be suitable for the high level of skill they desire. Another challenge is the erratic nature of the business climate in Ghana and Africa, as a whole. On his part, Maafo believes that the hospitality sector is saturated with businesses that provide the same service. He calls for businesses to come together and have a collective voice to earn negotiating power and raise the standards of the industry. He adds that it would be helpful if the government set up more hospitality-focused training schools as this would fill the industry with more qualified workers and enhance the level of professionalism.
“It is one of our dreams to help change the narrative of the industry and help to actually improve the narrative [and] perception of the business. That’s the first thing,” Maafo says about the aspirations of BlueChip Hospitality. “We wanted to be as attractive as possible, not just to investors, but to the young and up-and-coming students in universities now that it’s an option. It’s an option to set up a restaurant, it is an option to apply for careers that our industry can offer, which is, you know, a lawyer in hospitality, an accountant in hospitality, procurement managers, procurement officers. These are all very interesting careers that are never talked about in the school curriculum [in Ghana]. These are some of the things that we wish to draw awareness to through BlueChip because we have educational programs that we would be running; so these are some of the things that we want to highlight and draw younger generations to and make that impact not just in Ghana but throughout the African region.”
Although BlueChip Hospitality is still in its nascent stage, the lofty aspirations Maafo and Aweke hold for the company are inexhaustible. They are aware that as the years pass, plans are bound to change and require improvement but they are not deterred. “We would love to impact as many businesses as possible with the expertise that we have,” Maafo says. “This year, we are hoping that we can get a number of clients who would want to work with us to help build their businesses, help set up their systems, help train their staff, help build their concepts and then help set a standard for the industry through BlueChip. So for this year, that is what we really would want to work on. Basically, just give back five to six years of experience to anyone that wants to come [into] the industry and help build their businesses, teach them the ways to hustle [and] ultimately be successful in the space.”
Any active social media user would’ve seen Uncle Waffles’ infamous set where she captured the hearts of the guests and audiences beyond with her enthralling dance moves and masterful set. Since its release, the viral video that propelled Uncle Waffles into Instagram fame has been viewed more than 6.5 million times. The clip encapsulated everything audiences want right now–the workings of a budding artist keen to explore whatever soundscapes she traversed next with a charismatic and commanding presence.
Born Lungelihle Zwane, the Eswatini DJ is expanding the notoriety and texture of South Africa’s Amapiano movement on the global map, one set at a time, as she sells out venues within Africa and beyond. As the expansive genre briskly sweeps across several corners of the world gathering a global following of music lovers, this superstar DJ and now artist is ensuring that she must never be left out of the conversation. Waffles joins a long line of skilled industry heavyweights such as Scorpion Kings (DJ Maphorisa and Kabza De Small), Major League DJz or Virgo Deep who are laying the groundwork for the genre world domination.
Just last year, when Uncle Waffles debuted her first single on Boiler Room x Ballentines True Music Studios, she exhibited beyond a doubt that her talent extended well beyond the deck.“Tanzania,” the lead promotional single of her debut EP, ‘Red Dragon’ is a fresh and tasteful proof of the time and commitment the young DJ invested in dissecting the intricacies of Amapiano and South Africa’s music landscape as a whole. Despite her short time on the scene, Uncle Waffles has had an undeniable role in taking the sounds well beyond the boundaries of Africa making her the NATIVE’sBest New Artist for 2022.
In a short amount of time, Waffles has grown to become a near-perfect embodiment of where the global sound of South Africa’s hood can go sonically and at the precipice of one of the most exciting times to be a new artist and DJ. Each new output from Uncle Waffles gives an element of the unexpected, with social media bring to sharp focus her infectious personality, killer dance moves and radically modern approach. Already shaping up to be an industry tsunami with minimal effort and maximum skill, Uncle Waffles has continued to keep the focus squarely on what matters: her love for music and taking on the global stage. For a genre predominantly production-led with chant-like adlibs and lyrics, Waffles is able to effortlessly translate meaning and feeling to her audiences live and over the screen.
This year, the DJ and artist is already billed to perform on some big-ticket stages such as Coachella this April, AfroNation Portugal over the summer and is also one the line-up for Lauryn Hill’s concert with Diddy, Ari Lennox, Lucky Daye and more. In the lead up to the biggest festival of the Easter, Waffles has been teasing the release of her sophomore EP‘ASYLUM’which was released last week Friday. Initially kicking off the project’s promo back in January with a viral dance video for “Yahyuppiyah,” the promotional single which features lead vocalist, Justin99, Tony Douardo, EeQue, Pcee & Chley and has been the soundtrack of many TikTok videos since its release. Advancing the culture is central to Waffles vision and she wastes no time using tracks such as “Yahyupppiyah” to show her good ear for music and provide a platform for other artists and producers to get their voices heard.
In sharp contrast to her debut EP,‘ASYLUM‘ is markedly darker in its tone and delivery. For one, the name ‘asylum’ denotes a shelter or confine from danger and ill health, a noticeable stepdown from ‘Red Dragon’ with its innovative fiery imagery and dazzling sequence. It’s clear in Waffles world, the light and dark co-exist and she’s determined to unveil new layers to her artistry with moody pensive beats that are buoyed by catchy features and emerging talent from South Africa and beyond.
The opening track “Sghhubuhandro” leads in with heavy—almost daunting—chords followed by chant-like sonorous ad-libs. Assisted by Shakes and Les, the tempo on this track gradually builds up, setting our expectations high for what to expect across the rest of the project, an almost melancholic and infectious rhythm that more than commands you bump your head or sway your hips. The intro sets the scene quite nicely for the promotional and second single on the project, “Yahyupppiyah” which picks up the pace a bit with urgent delivery and heavy shakers. The project is a fine playground of instrumentation and lithe vocals which plays melodies front and centre of everything.
Already high with the buzz of glittering ‘piano keys on the preceding track, Uncle Waffles’ delivery on “Morrocco,” joined by Milkiee and Scummie, leaves listeners wanting more. Over eerie production and mid-tempo percussive groove, Waffles sings “drip covered by the blood when I walk/Godly you can hear huh/I’m a blessed girl, whole life on sneeze” with a braggadocious tone, talking up her success and her achievements over the past year. She also passes on the baton to rising South African rapper, Scumie who raps circles around the DJ with a menacing flow that carries a profound sense of depth with each word.
The following track “SLS” takes another dip, opting for a grainier darker production and inviting Shakes and Les once more to join Uncle Waffles and Ghost for a thumping party-starter.Characterised by a blend of soft and bass chants, the sweet-sounding keys commonplace in soulful Amapiano variations takes centre stage on “SLS.” Dubbed after the popular kids’ game, the next track, “Angry Birds,” features chilling vocals from 3TWO1 across the smooth production by Waffles and serial collaborator Tony Duardo.
With subtle Jazz-like elements, “Babiee” follows through with its groovy vocal delivery by Jelly Babie as she delivers an ode to two of the most popular house genres in South Africa, Bacardi and Amapiano. Almost stunned by their sonic abilities, Jelly Babie repetitively chants her and Waffles’ names in a praise-like tone through the track’s four-minute run time. When the track’s outro, “Blue Tick” comes along, the moment is bitter-sweet. Joined by a packed cast of DJ Stresser, Given Kanu, Vuyo Ndevu and CT MusiQ, ‘ASYLUM’ closes out on high notes with a well-paced buildup on the mid-tempo, heart-thumping production.
With each passing day and new release, it’s clear that Uncle Waffles is hurdling closer to the Amapiano crown jewels and the powerhouse she is. Given the singles dominated market that has largely trailed Africa and its most prominent music stars, it’s always great to see a young artist bent on flooding the circuit with her extended plays–a fine taster course to the breadth of her artistry and curation abilities. With ‘ASYLUM,’ Waffles continues collecting real estate and reverence with her fans and new listeners, reminding us to just have fun with it while providing a launch pad for rising SA talent to step up to the mic. It’s on early days for Waffles and we’ve not seen the full extent of powers.
It’s that time again. Every week, new music shows up, sweeping fans and music lovers off their feet while artists gauge reactions to know the effect of their creativity. At the NATIVE, we are committed to keeping our ears on the pulse of the music scene and bringing the best sounds to your doorstep.
Last week, we brought you stellar releases from Davido, Bloody Civilian, SGaWD, and more. Today, we have songs that move from Afropop to Amapiano to R&B, with our select artists showcasing their unending talent and passion for creativity. Lock in!
STONEBWOY – “FAR AWAY”
One of the most intentional artists out of Africa, the music of Stonebwoy is fusion-centric in scope. Dancehall forms his core, but he’s able to work well outside its conventions, leading him to create great moments with every record. “Far Away” is a new single off Stonebwoy’s forthcoming album, ‘5th Dimension.’ With celebrated guests such as Davido, Stormzy and Angelique Kidjo, he sets the release favourably with this scintillating record. His vocals are flexible and the messaging of seeking peace is relatable; it’s an exciting run-up to what’s shaping up to be a major event in Afropop.
KOTRELL – “SMILE FOR ME”
With appearances in music concerts hosted by Chike and Ric Hassani, the name Kotrell is one to watch out for. As the aforementioned acts suggest, Kotrell works in the R&B and folk tradition, working up his way in a scene that’s remarkably full of singular talents. “Smile For Me” makes his own case; over stripped acoustics front-ended by dreamy guitar licks, his vocals serenade with mellow assurance. “Oh my baby, money no fit buy this kind of love,” he sings warmly, using the right measure of vocal reverberations to enhance the emotion in other parts of the record.
POPCAAN – “CELEBRATE” FT. BLACK SHERIF
Earlier this year, Jamaican dancehall superstar Popcaan released his fifth album, ‘Great Is He.’ While that album had great features such as Burna Boy and Drake, obviously Popcaan still has more pop in his can. On the album deluxe he stretches the narrative palette, on this standout record uniting with the soulful Black Sherif for a laidback appreciation offered to Jah. A subject matter that’s been poignantly translated by both artists through the prism of their harsh early circumstances, “Celebrate” is an alliance of like minds.
EXRAY & SCAR MKADINALI – “TOA NJEVE”
Gengetone has come a long way since its eruption in 2019. Its assimilation into other genres has seen the sporadic progress of the genre. In Exray’s latest single “Toa Njeve” he teams up with Hip Hop veteran Scar Mkadinali. Bringing the street culture of situationships and fast life the duo rap on a hi-hat 808 beat creating a perfect backdrop illustrating Nairobi’s love life as Exray sings, “Hakuna ndoa huku kuna mechi mafriendly.”
KAMAUU – “ANTIDOTE” FT. KOJEY RADICAL & SIIMBIE LAKEW
Born in the US to musically-inclined parents, KAMAUU was destined to rock the mic. More poignantly, his chosen genre of rap allows him the space to dissect and discuss his origins and as well the motions of the modern state, which are heady topics which haven’t quite intruded on the enjoyability of his music. “Antidote” bears this quality; featuring Kojey Radical who also props his Ghanaian descent and Siimbie, it’s a bouncy number which combines a proud perspective of Blackness and the ownership of our art.
SUPER SMASH BROZ – “DISTANCE” FT. RIA SEAN
As DJs, tastemakers, and facilitators, the Super Smash Broz has been making waves in the Boston music scene for years. Their latest single “Distance” showcases their production skills and ability to work with talented artist, Ria Sean. “Distance” showcases Ria Sean’s soulful vocals as she sings about missing her lover who is far away. Her delivery brings comfort to the listener, acknowledging the pain of being apart from someone you love. The Super Smash Broz production provides an exciting backdrop for Ria’s vocals, creating a song that is both fun and emotionally powerful. This upbeat Amapiano production will have listeners dancing while still resonating with the heartfelt message of a long-distance relationship.
In Nigeria’s ever-evolving Hip-Hop scene, PayBac Iboro is one of its most active players, constantly seeking to outdo himself, track after track and project after project. He had his breakthrough with his 2018 LP ‘The Biggest Tree’where he delved into personal details about his life and aligned those experiences with the general Nigerian lifestyle. That has become a trademark of Iboro: rapping about who he is and how being a Nigerian has contributed his personhood.
On his latest LP ‘West African Goat,’PayBac Iboro builds on the foundations laid by 2020’s ‘Cult!,’ injecting Nigerian references into his raps about politics, corruption and personal will. With a solid Hip-Hop base, ‘West African Goat’ borrows elements of Jazz and R&B and Pop. Iboro raised expectations for the project with the singles“The Story of Hushpuppi,”“Bury Me For Gold,”“Danfo To Headies”and “Sacrifice.”‘West African Goat’ also comes with a host of features, which includes Alpha Ojini, Ozone, Barzini, Viveeyan and Payper Corleone, among others.
“Look Me Less,” one of the standout songs of ‘West African Goat,’ is an enthralling peek into the psyche of many of Nigeria’s youth population. Featuring fellow Nigerian rapper Elveektor,PayBac Iboro takes on the role of a frustrated individual who is crushed by the system and out for blood. It is no news that Nigeria, even though it is one of the richest in the world in terms of natural resources, is still a country that grapples with poverty. According to the National Bureau of Statistics’ 2022 Multidimensional Poverty Index survey, 63% of persons living within Nigeria (133 million people) are multidimensionally poor. This is no thanks to years of poor government policies and institutional mismanagement. Across Nigeria’s music spheres, artists have lamented the situation, giving voice to the plight of the masses.
“Too many wahala for my head/Me I need cash/Quick fast/Need breakfast/I go take from my fellow man,” PayBac Iboro raps over Charlie X’s production, setting the stage for the drama that is to follow. It is a reality that is all too familiar: many of the Nigerian youth population, noticing the lopsided policies that have been in play for a long time, seek other avenues to better their lives. In some cases, they resort to crime, thereby targeting other innocent citizens. “I go wait for the junction/Catch anyone wey dey come from the junction/Collect his phone and his wallet/And with a gun he cannot run,” Iboro continues.
Elveektor, another promising rapper on the scene, is Iboro’s potential victim. Like Iboro, Elveektor has been on the grind, releasing song after song and curating projects. His 2020 project ‘Nsibidi 2’ proclaimed his Igbo roots as well as his determination to succeed. Although he raps mostly in Igbo, the verve he employs in his vocals is undeniable. On “Look Me Less,” Elveektor is accosted by PayBac Iboro and, after failing to find the humanity in Iboro’s character, he charges into aggression mode, rapping, “Oga 1K dey okay for dis Buhari time/ka m gba gi eziokwu/I na waste my time/Jiri nwayoo before m gosi gi onye m bu.” It is a reality of the present state of things: the Nigerian way of cooling down another person’s aggression is hitting them with your own aggression.
Charlie X (a.k.a. CHx or Charlie Xtreme) is a revered name in Nigeria’s underground Hip-Hip circuit. His resume includes the likes of PayBac Iboro, Boogey and LadiPoe, among others. The producer, singer, rapper and songwriter is known for his samples and hard-hitting beats. On “Look Me Less,” there are simmering melodies underneath the bass, which keeps the production far from stale and allows the Iboro and Elveektor to settle into pockets of flow. Charlie X has refused to be shoved into the “Hip-hop Producer” box and insists that he is, at the core, a music maker.
Elsewhere, Elveektor’s aggression doesn’t dissuade PayBac Iboro’s character. “Give me your money if you no want problem/Give me your phone if you no wan die today/Reason why I dey thieve na the government,” Iboro raps. Following Elveektor’s stubbornness to part with his belongings, he ends his verse with “I go just keep quiet make the gun talk,” reminiscent of the police killings that spurred the#EndSARS protests in October 2020, where thousands of Nigerians, championed by the youth population, challenged the injustices meted on them by the country’s security agencies.
Weeks ago, Nigeria’s presidential and gubernatorial elections was held, leaving citizens with mixed feelings about the cases of violence, rigging and tribalism. PayBac Iboro’s “Look Me Less” is a snapshot of the issues bedevilling the country; it shows that citizens are also as culpable as the government they blame for their woes as well as the trauma that many Nigerians carry around: quick to attack and quicker to return the aggression. With “Look Me Less” and ‘West African Goat,’PayBac Iboro makes no mistake highlighting the condition of being a Nigerian, in all its glory and pain.
Since his debut on the scene in 2017 with “Dami Duro,”Davido has edged out the competition with ease. From his debut album ‘Omo Baba Olowo’ with standout tracks such as “Back When,”“Ekuro,”“For You,” and more, he’s consistently spoken directly with his audience through his music and bypassed naysayers on his way to the top. His omnivorous album fast-tracked Davido’s name as a household name in Afropop history. While his return to a cohesive body of work didn’t come till almost seven years later, Davido never strayed from the limelight, keeping his legion of fans satisfied with groovy cuts and meme-able chrouses from 2017’s “FIA” and “Fall” to 2018’s “Assurance,” and more recent cuts such as Popcaan-assisted “Risky,”“FEM” and “Ke Star” featuring Focalistic.
His latest and fourth album ‘Timeless’ arrived last Friday after personal delays, but its record-breaking reception so far shows that its suffered very little from this. With the release of his new album, Davido brings to full picture the decade-long journey to the top of his game. A serial hitmaker in his own right, he wastes no time threading high concepts and innovative imagery buoyed by the album’s well-tuned production. While he establishes his signature identity and litters the project with delicious new slangs, he also welcomes a talented spate of artists into his world, both new and experienced–making way for their talent to shine while keeping him in the limelight as the skilled auteur.
There are nine features on ‘Timeless,’ a notable decrease from the stacked guest features on his 2020 album ‘A Better Time’ which welcomed artists such as Nicki Minaj, Lil Baby, Hit-Boy, Nas, Sauti Sol, CKay and more into his orbit. On ‘Timeless,’ no feature is out of place and Davido ensures that his guests flex their muscles and capabilities across the project’s 49 minute run time. Set up by outstanding performances by Davido and stellar production by Magicsticks, all collaborators on Davido’s highly anticipated fourth studio album, ‘Timeless,’ had big shoes to fill. From Skepta’s sleek bars, the dulcet vocals by new DMW signee, Morravey and more, here are The NATIVE’s best features on ‘Timeless,’ ranked.
Skepta has a soft spot for his African kindred and it’s visible in his numerous collaborations with Nigerian Pop stars. Whether it’s working with Wizkid on “Glow In The Dark,” Skepta has continuously tapped into his African roots bringing Africa to the world while simultaneously bringing the world to Africa. On Davido’s “U(JUJU),” the alluring saxophone paired up with the mid-tempo log drums accompany Skepta as he puts his best foot forward. The romantic number finds Skepta rapping about his adoration for his muse, “…while guys were switching sides you were there for me…” while tackling the challenges experienced in a relationship with a star. Closing off with lamba as he raps, “I never sleep sabi no dey worry me,” he puts a perfect cap on the single as Davido picks up the chorus.
Tela
8. “BOP” – DEXTA DAPS
Davido and Jamaican act Dexta Daps had previously collaborated on the 2021 single “Scripture,”a sensual, R&B-flavoured tune. They continue their connection on Davido’s “BOP,” an uptempo production with Dancehall influences. Like on “Scripture,” Davido and Dexta Daps are concerned with their affection for the female anatomy; with his verse and chorus, Davido sets the pace, while Dexta Daps, on his verse, utilises his patois delivery to add colour to the track’s hedonistic tendencies.
Uzoma
7. “NO COMPETITION” – ASAKE
Asake and Davido are a match made in heaven. After emerging as the undisputed champion of Afropop ‘22, his appearance on ‘Timeless’ seemed fated–a further crowning of his hit-making abilities. To the host’s credit, “NO COMPETITION” isn’t usurped by Mr Money. They’re both rather in synergy with the warm vibe the song exudes, their distinct styles making for a great record. Davido does absolutely fantastic on the opening and closing parts, paring down his vocals to mirror the theme of love. Asake’s verse however bursts in so unpredictably, taking on a rhyme scheme that elevates the mood as the production swells about him. In a way similar to Lil Durk on Drake’s “Laugh Now, Cry Later”, the feature thrills and then cedes way for the host.
Emmanuel
6. PICASSO- Logos Olori
On “PICASSO,” there are two winners: Davido and Logos Olori. Both label owner and latest signee exhibit a chemistry that portends great fruits for the future. Before signing to Davido’s label and making an appearance on ‘Timeless,’ Logos Olori was making music independently, playing with diverse sounds and genres and fashioning a way out of the Nigerian underground music scene. From 2020’s “Shine” to 2021’s “Iregullar” to last year’s “Lale,” the music act was building the foundation of the moment he enjoys currently.
On the R&B-tinged, cravings-full “PICASSO,” Logos Olori’s post-chorus is sweet and memorable, employing simile and metaphor as he sings “So baby draw me closer like Picasso” and “Make I sing and make you dance Awilo.” It’s his smooth vocals that give those lyrics their potency, and Davido, too, offers a fine showing with his impressive performance. While Logos Olori’s talent is undebatable, the major takeaway is that music lovers should expect—and will love—more tunes from both artists.
Uzoma
5. “KANTE” – FAVE
When Fave first caught onto Afropop audiences through a freestyle released during the pandemic, her voice was the decisive trait. It was fully embodied yet dynamic and could be playful and sensual if it needed to be. In the years since, those distinct vocals have been on wonderful display on her ‘Riddim 5’ EP and features with the likes of Olamide and Ajebo Hustlers, demonstrating a range that’s seen Fave mentioned in the same breath as the greats.
On “KANTE,” she gets unarguably her biggest feature yet and boy, does she own it! The beat nodding to Dancehall’s rhythmic pomp, Fave finds herself in familiar terrain. Enunciating the perspective of a lover enjoying intimate moments, she conducts the record, setting the perfect atmosphere for Davido. “Like Kante your skill is precious, you can’t change the whole direction,” she sings on the chorus, using the celebrated French footballer as a parallel for the iconic figure she shares space with on this ‘Timeless’ record.
Emmanuel
4. “CHAMPION SOUND” – FOCALISTIC
Released as a single and sitting within the soundscape of ‘Timeless,’ “Champion Sound” is a revered banger. Like the rest of the project, loaded with great vibes, joy and optimism -as expected from Davido- “Champion Sound” couldn’t have been a more perfect choice for the album’s closing track. Like the game of tag, the duo effortlessly glide in and out of the track, bragging in Pidgin English and SiPitori with verses bursting with catchy bars and distinct adlibs. Sitting within the spectrum of Amapiano’s buzzing synths, the dance track closes out the highly anticipated album on a cheerful note, capping off a welcome return for 001.
Nwanneamaka
3. “NA MONEY” – ANGÉLIQUE KIDJO & THE CAVEMEN
When the track list of Davido’s album was released, “NA MONEY” was one of the songs that instantly caught the attention of music lovers. Sibling duo Kingsley and Benjamin Okorie (of The Cavemen.) have introduced excitement into the African music catalogue with their style of experimental Highlife, recalling old sounds and modernising them for a younger audience. Angélique Kidjo is…well, Angélique Kidjo: Grammy winner and renowned performer of multiple genres around the world. What would be the result of combining a veteran, a pioneer of contemporary Nigerian music and two new talents? “NA MONEY” holds all the answers.
Produced by 1da Banton, who is also an artist, the track is a comfortable setting for The Cavemen.: Highlife. The surprise, though, is Davido. He easily finds a spot for himself on the song, matching the energy of the Okorie brothers without missing a step. It’s pure synergy, as all three flow in and out of one another’s verses, absorbing themselves into the percussions and delightful guitar riffs. Angélique Kidjo, as the master that she is, adds icing to the cake with an effortless, melody-rich delivery. In tandem with the theme of the song, Davido, The Cavemen. and Angélique Kidjo contribute to making “NA MONEY” a tastefully-made piece of music.
Uzoma
2. “IN THE GARDEN” – MORRAVEY
Morravey’s debut on ‘Timeless’ was nothing short of charismatic. While we all know Davido’s wide range palette in crafting love numbers, Morravey added a new feminine spice that came with authentic naivety that equalled the sincerity in her words. As she crooned over the bouncy afrobeat production “..never seen a man like you..” Morravey’s verse adds an extra layer of depth and dimension to the track. Showing off her sultry vocals and her daring nature as she hit the high notes while opening the track, “IN THE GARDEN,” was precise with one message clear: it’s Morravey’s time and we should all make way for the queen.
The glistening production from Rore only brought Davido’s vision of the project to life as he and Morravey exchanged verses of love that is pure. Sounding like an ancient love letter to your significant other, “IN THE GARDEN” is a sweet remorse of the beauty that love embodies.
Tela
1. “UNAVAILABLE” – MUSA KEYS
Considering standout tracks like “Kancane,” “Selema (Po Po)” and more under his belt, South African Afro-House frontliner Musa Keys and his eccentric artistry are visibly drenched in gently syncopated synths and rich harmonies. So when the ‘Timeless’ track list was revealed with a feature from Musa Keys, any fans of Nigerian Pop and Amapiano were bound to be excited. Having collaborated with the likes of Focalistic, Abidoza and Sho Madjozi, Davido and Musa Keys would expectedly be a perfect sonic match and the pair did not disappoint.
With Davido’s delivery on the catchy hook, “I’m unavailable, dem no dey see me” and Musa’s euphonious vocals paired with the glittering production by Magicsticks, “UNAVAILABLE” is deservedly already a crowd favourite a few days after the project’s release. Operating within the familiar soundscape layered with intoxicating drum patterns and rhythmic keys, Musa Keys is set up for a stellar delivery by Davido’s outstanding verses. Following the second rendition of the track’s captivating hook, Musa Keys’ mellifluous sound perfectly contrasts Davido’s rustic one, expertly riding the wave of beat. In a few short seconds, Musa Keys is able to elevate the already glimmering verse with an increased pace on the witty two-liner, “Cause I’m a big propeller, save the remorse/Girls go jealous, cause I dey Banana.”
Peaking last week at No. 1 a few short weeks after its release, Adekunle Gold “Party No Dey Stop” tallied 3.12 million across streaming platforms and 75.2 million in radio reach. The Zinoleesky-assisted single is Adekunle Gold’s with top ten entry and Zinoleesky’s tenth top 10 entry in Nigeria.
Sitting comfortably at No. 2 for the second week is BNXN aka BUJU’s “Gwagwalada” assisted by Seyi Vibez and Kizz Daniel, after spending four weeks at the summit. Following after at No.3 is “Stamina” by Tiwa Savage, Ayra Starr and Young Jonn. This acts as Tiwa Savage’s second highest charting single, Ayra Starr’s sixth entry into the top 5 and Young Jonn’s second highest charting single after “Xtra Cool.” Spyro and Tiwa Savage’s “Who Is Your Guy(Remix” dips to No.2 after peaking last week at No.2 while Don Toliver and Rema-assisted “Soweto (Remix)” occupies the No.5 spot.
Omah Lay’s “Soso” off ‘Boy Alone’ released mid-2022 occupied the No.6 spot after spending multiple weeks at its No.2 peak. On the other hadn’t, Rema’s “Holiday” dips from the 6th to the 7th spot. One week after its release, Odumodublvck’s “Declan Rice” debuts at No.8 making it the rapper’s first entry into the Turntable Top 10. It is also the first HipHop/Rap song to debut in the top ten after Black Sherif’s “Kwaku The Traveller.” Khaid’s “Carry Me Go” slips to the no.9 spot after spending last week at No.8 and Ayra Starr’s “Sability” drops to the tenth spot from No.7
“What’s Going On” Tallies Notable News Headlines From Across The Continent — The Good, The Bad, And The Horrible — As A Way Of Ensuring That We All Become A More Sagacious African Generation. With This Column, We’re Hoping To Disseminate The Latest Happenings In Our Socio-Political Climate From Across The Continent, Whilst Starting A Conversation About What’s Important For Us To All Discuss. From Political Affairs To Socio-Economic Issues, ‘What’s Going On’ Will Discuss Just That.
GHANA TO EASE UP ITS FAMILY VALUE BILL
For the past week, United States Vice President Kamala Harris has been on a three-nation visit to Africa. Touring Tanzania, Zambia, and finally closing off with Ghana, Kamala Harris insisted on the importance of investing in African ingenuity and creativity to enable its development. Meeting with Ghana’s president Nana Akufo-Addo, the two held a press conference last week on Monday where the Ghanaian president publicised the Anti-LGBTQ law framed under the guise of family values would be revised.
For the past few years, the marginalised community has been undergoing human injustice. Early on in 2021, the first LGBTQ support centre was shut down after religious leaders and government leaders blamed the West terming it as a way to recruit young Africans. Thus the introduction of the proposed Family Values Bill, which sought to introduce some of the harshest anti-LGBTQ laws on the African continent.
Three years later Nana Akufo-Addo reveals that the country is ready to put the private bill under revision following the recent visit of Kamala Harris. Discussing during a press conference about the eligibility of the bill, Nana Akufo-Addo said that the bill was not under his regime and it was under discussion with the parliament. Adding on to that, he also affirmed that the parliament will consider human rights when discussing the bill.
LAGOS TEACHERS CHARGED WITH MANSLAUGHTER
Staff at Chrisland High School have been charged with manslaughter after a pupil died. The 12-year-old girl identified as Whitney Adeniran died in February as a result of asphyxiation and electrocution during the school’s inter-house sports activities at Agege Stadium. However, the school management, in a statement released after her death, said she slumped in public view and not under any hidden circumstances.
In 2022, a video depicting improper acts among some students of the school, who went on a trip to Dubai went viral. The alleged scandal happened when Chrisland School was in Dubai in March 2022 to take part in the World School Games, a four-day annual competition with schools from all over the world. The development came less than four years after a teacher in the school, Adegboyega Adenekan, was convicted and sentenced to 60 years jail term for raping a two-year-old female pupil.
Since the death of Whitney, the school has been closed down to enable investigations to take place.
KENYA DEMONSTRATIONS HELD ON PAUSE
Kenyan opposition leader Raila Odinga decided Sunday to call off nationwide protests following an appeal from President William Ruto. “In view of the foregoing, we stand down our demonstrations for Monday, April 3, 2023,” Odinga said. “In accepting the call for dialogue, we ask that all arrests and prosecutions related to our demonstrations be stopped with immediate effect.” Odinga said that as the opposition, they agree that a balanced parliamentary process for dialogue co-chaired by both sides and backed by experts from outside should proceed.
He added that the committee should be composed with immediate effect with strict deadlines for resolving the crises facing the country. “Should there be no meaningful engagement or response from Ruto to our counter-offer, we will resort to resuming our demonstrations after one week,” Odinga warned. Ruto in a televised address to the nation on Sunday had asked the opposition to call off the protests, noting that recent political demonstrations have resulted in grave acts of lawlessness, widespread violence, looting and the invasion of private property, causing loss of lives, injuries, property damage and denting the nation’s image.
“In these circumstances, and in view of the recent events that led to loss of lives and destruction of property, I urge Hon. Raila Odinga to call off any further demonstrations,” he pleaded. He said the country’s economy had been hard hit, with all his measures to attract investors and create opportunities for the youth being derailed by acts of violence, chaos and anarchy.
President Ruto said he is willing to engage with Kenyans from all walks of life, including elected and appointed leaders from across the political divide and the religious fraternity, to make the country better and more prosperous based on the rule of law and the Constitution. The protests, aimed at forcing Ruto’s government to reduce the cost of living, have been ongoing for weeks and resulted in three deaths, including that of a police officer, and dozens of arrests.
Deputy President Rigathi Gachagua had also warned Odinga against holding continuous demonstrations, stating that Monday will be the last day before the government “asserts its authority.”
In the last ten years, it can be argued that women musicians have made more inroads in the music industry generally. On the global scene, Beyoncé has risen to become one of the most compelling auteurs of the 21st century while Adele’s cathartic music was as popular—if not more than—anything released over the past 15 years. In Nigeria, progress for women musicians has been forthcoming: Tiwa Savage moved from upstart to undeniable pop presence and global force in the space of 10 years, Yemi Alade transcended the quirky messaging of “Johnny” to become a pan-African superstar and, in recent times, younger stars like Tems and the Ghanaian-American singer and rapper, Amaarae, have shown that international success is not a pipe dream but a strong possibility given the right opportunities and connections.
Yet, despite all these successes, women remain critically under-represented behind the boards. One studyfound that less than 3% of producers operating in the United States of America are women. While Nigeria does not have credible stats for this sort of information, a simple eye test of the most popular Nigerian songs on a variety of streaming platforms shows a recurring pattern of them being produced by mostly—overwhelmingly so—men. Some women (including Simi and Dunnie) have found success producing for themselves and others but the numbers remain abysmally low, hinting at a more systemic issue for their exclusion.
London-based Nigerian producer Aderike Sodeinde, who produces and performs as Babyrix Burger, chalks up the glaring absence of women producers to the larger mistreatment of women by society. “I think we can all see that women are treated differently in the music industry and it really reflects how men treat women in general,” she explains. “So, it’s not really about the industry, it’s just how Nigeria is as a country. And it’s like an elephant in the room because people like to say, ‘Oh, keep going,’ and all of that. It’s almost like they are ignoring the difficulties women face and not doing anything to make it better. I think everyone needs to stop for a second and figure out how to deal with this elephant in the room. It’s just so annoying that people are acting like these issues don’t exist and if they do acknowledge it they don’t want to do anything about it.”
Babyrix Burger, who grew up in Nigeria before relocating to London at eight, has loved music for all of her life and dreamed of being a rapper, eventually resorting to making beats for herself to translate her ideas into reality. While her production has brought a spotlight on her, it has also placed her in proximity to situations that reflect why many women are discouraged from pursuing a career in production. “I didn’t realise that I would be an anomaly while making beats,” she offers. “I was just doing it for fun but I started getting noticed, and when you start getting noticed you realise that you’re not always being treated fairly.”
“It’s not something I braced myself for because I didn’t really think about it when I was making beats for fun. But as I started to interact with more people that weren’t just my friends, I realised that this is really messed up and not okay!”
Oladunni Lawal is an artist, songwriter, and record producer professionally known as Dunnie. An alumnus of The Sarz Academy, the Ibadan-born producer has created a niche for herself as one of the few Nigerian musicians who is as known for their production as they are for their musical output. In 2021, she followed the minimalist palette of her 2018 project, ‘Seven,’ with the party-starting vibes of her ‘Amazon The EP,’ headlined by the airy, Amapiano-influenced “Mosafejo.” While Dunnie has produced for acts such as Niniola, Becca, and Busiswa and represented brands such as Ciroc, Oppo, Maggi and Kotex Sanitary Pad over the last three years, her path into production was fraught with complexities. While completing her high school-leaving exams, she took a shine to production but was disheartened by unwanted propositions. “I’d go and meet people to teach me but something would happen,” she says, laughing at the sad memory. “It would either be that one person wanted to marry me or a wife would say I was trying to snatch her husband, it just didn’t work out.”
These experiences pushed her to largely learn production on her own, determined to make a success of herself with her music. “I talked to some of my producer friends and they gave me some software for production and I went on YouTube,” she offers. “This time around, I was determined to not have to meet anyone so they won’t proposition me. I watched a lot of tutorials on YouTube and that’s how I started producing. I gave myself a target of making 10 beats daily and I learned how to produce in one month. I knew that if I made 10 beats daily, one would make sense and before I knew it I got better at production. By 2018, I had a major record, ‘Pempe,’ with Sean Tizzle and that’s what my journey has been like.”
Dunnie mentions that one of the biggest challenges she faced when she started was the lack of visible female producers to serve as inspiration. “To be honest when I wanted to start production, there were no women in Nigeria to look up to,” she confesses. “The only person giving me consolation was Missy Elliott who was American and also Lauryn Hill who produced parts of the ‘[The] Miseducation of Lauryn Hill’ but locally, there was nobody in Abuja or Lagos to look up to. I was on my own for most of that phase.”
When Phebean Adedamola Oluwagbemi started Audio Girl Foundation with her partner, Bada Aramide, in 2018, the goal was to let young women interested in positions behind the boards in the Nigerian music industry know that others like them existed and provide some mentorship for these women. Describing the NGO’s objective, Phebean says: “The whole point of Audio Girl Foundation was to create a platform where young African girls can get support from us and network into the music industry, especially for those interested in the audio technology side of things, music production, live sound engineering, and also live productions. Stage management, production management, road management, and talent management, everything that has to do with the back-end of the music industry.”
In the five years since being established, Audio Girl Foundation has trained over 500 women and hosted six workshops, two boot camps, and a major accelerator program all from funds raised within their network and with little support from corporate partners. The Creative Accelerator Programme known as CAP ‘19 was organised with support from Femme Africa and was Audio Girl Foundation’s last major programme before the COVID-19 pandemic struck.
“The interesting thing for us is that we are not focused on people already in the industry, we want to train young girls in high schools and at the tertiary level because we believe that’s where we can actually shape minds,” Phebean explains. “It’s where we believe we can effect change the most. We want it to be that more than 1% of those working as engineers or producers are women.” Of the 500 women they have trained, there are already success stories. Some of their trainees have secured internships with frontline music label Mavin Records, while others have also interned with Audio Girl Foundation. One former trainee, Anwuli Roseline, is now a sound designer for films and works with EbonyLife. “We have a long way to go but these are some of the highlights of what we’ve done and seen our people move on to better things in their careers,” Phebean says.
Phebean, who works as a recording, mixing, and live sound engineer, is quick to dispel the myth that women are not interested in getting behind the boards, pointing out that Audio Girl Foundation has been getting responses to its call that are way beyond its present capacity. “For our last program, we had over 200 women register and we couldn’t take them all, we could only take about 100 people and we could only attend to 50 of them physically,” she says. “The others had to join virtually. It showed us that there were girls who were interested in learning to be engineers and producers. I think a fundamental problem is that women don’t see more people like them out there and people like to make it seem like it’s not a profession for women and it fuels that disparity. That has to change.”
When I ask Babyrix Burger about the role of male producers in helping to achieve a more representative industry, she says, “Not many people want to acknowledge it because the system benefits them the way it is right now.” The rising producer doesn’t necessarily think that the situation of women working exclusively alone is a panacea to the micro-aggressions of navigating the industry as a woman. “I really feel like that would just be boycotting and it would not help,” she says. “We just need accountability. I love when women come to me and feel safe with me because I’m a woman, that’s part of the reason why they say they come to me. I think having more female producers will probably be better but I don’t think we should boycott because that won’t solve the problem. It’d just still be there.”
Phebean believes that educating women would play a critical part in empowering the new generation of would-be producers, making them knowledgeable about the options and paths available to them. “We need women to know that certain opportunities are open to them and that’s where Audio Girl Foundation comes in,” she says. “We need to keep educating young girls and let them know that their dreams are valid and that we’re here to support them. Specifically, there’s not enough support for women in the industry. I know that men will say there’s not enough support for them but it’s even worse for women.”
For Dunnie, her success has opened her up to more opportunities but she is sceptical of chances that come to her based on her gender, instead hoping to be recognised for her artistic merits. “Initially for me, in the 2017 era, I could feel that people didn’t take me as seriously until they got into a studio with me,” she says. “They’d have the reaction that says, ‘She’s actually good.’ I feel like it has changed now, a lot of people don’t remember that I’m a woman now because the quality of my work leaves no doubt.”
Despite these inroads in the industry, these women don’t want to be handed roles simply based solely on their gender. “I mean if I’m given such opportunities I’d go for it but I don’t want people to come to me because I’m a woman. I want my work to stand out for me,” Dunnie says. “If you hear a great song, the gender of who created it doesn’t come into question. If it’s good, it is good and that’s what my major focus has been.”
It’s that time again. Every week, new music shows up, sweeping fans and music lovers off their feet while artists gauge reactions to know the effect of their creativity. At the NATIVE, we are committed to keeping our ears on the pulse of the music scene and bringing the best sounds to your doorstep.
Previously, we brought you fresh releases from Suté Iwar, Lil Kesh and more. Today, we have songs that move from Afropop to Amapiano to R&B, with our select artists showcasing their unending talent and passion for creativity. Lock in!
DAVIDO — “UNAVAILABLE” FT. MUSA KEYS
After much anticipation, Davido has released his 17-track album ‘Timeless.’ Out of the project, “UNAVAILABLE” is one of the early standouts. Davido lays his vocals over Magicsticks’ intoxicating Amapiano-tinged production, sharing his frustrations with the unrealistic expectations society has placed on him. He is majorly concerned with reminding listeners that he is just a human with flaws. South Africa’s Musa Keys adds his soothing voice to the track with nice flows and, amid Magicsticks’ signature crowd vocals, he and Davido ensure that “UNAVAILABLE” will be a fans’ favourite.
Uzoma
FALZ & VECTOR — “YAKUBU”
Among the current generation of African musicians, few match the social consciousness of Falz. In a career streaked with hit songs, the rapper has also been consistent in speaking to the Nigerian sociopolitical climate. The biggest conversation from this year has been the controversial elections and on “Yakubu,” he joins forces with Vector in what is a riposte against the INEC chairman and the country’s political elites in general. From the lyricism down to the allegory-heavy visuals, it’s a brave and haunting reminder of what Nigerians have experienced in just three months of 2023.
Emmanuel
BLOODY CIVILIAN — “I DON’T LIKE YOU”
Since her outstanding debut as Bloody Civilian on “Cold Freestyle” off NATIVE Sound System’s ‘NATIVEWORLD,’ this artist-producer has been one to watch. Shortly before her solo debut, she joined Rema to deliver a standout performance on “Wake Up” for the Black Panther Soundtrack. Still in her experimental phase, as she settles down in the industry, Bloody does not shy away from expressing exactly how she feels on tracks like “How to Kill A Man” and recently released “I Don’t Like You.” Over a groovy beat, Bloody leads into the track by directly reiterating the title, emphasising that she cannot be swayed. She closes out with subtle log drums, intensifying the track even more.
Nwanneamaka
PAYBAC IBORO — “OLOUN” FT. PAYPER CORLEONE
Off his just-released ‘West African Goat’ album comes this rippling collaboration with Payper Corleone. As gleaned through his recent songs, PayBac’s growing ease with Trap-tinged sounds makes for great bops. With his cache of Nigerian references delivered in a wavy flow, the ominous elements swirling beneath the drums make for very effective progressions. Payper’s signature chill flow also works to amplify the mood, while the hook sees PayBac continue to excel with sing-along bars.
Emmanuel
DEELA — “TAKE IT UP”
Audacious rapper and uNder alum Deela is back for her first release of the year, “Take It Up.” Since releasing the snippet on Tiktok with the catchy lines, “Take it up with another hoe who cares you fucked up,” Deela’s new single serves as a reminder that she is not one to mince her words. The melodious trap record, layered with subtle of Hip-Hop elements displays Deela’s effortless and commendable flow on the track, earmarked by her unapologetic attitude. Deela is clearly over it and she is unwilling to entertain any exes trying to spin the block and distract her from her bag.
Nwanneamaka
CHOP LIFE CREW, MOJO AF & EESKAY — “NO EXCUSES”
Chop Life Crew, an ever-evolving collective of Nigerian rappers, is one of the names keeping the lights on in Nigeria’s Rap scene.On “No Excuses,” MOJO AF and EESKAY dip into their bags of braggadocio to unleash one-liners and punchlines and warning shots at their contemporaries. “Got a couple screws loose/Can I use it to hold the game together?/So we can last forever/Maybe I’m way too advanced for my class/So I sit in the back while my dogs dey attack,” EESKAY raps over Shwoff and BANICLAVA’s Drill-inspired production.
Uzoma
TESH CARTER — “MONSTER”
Over the years, Tesh Carter has been in and out of mainstream prominence, but her talent has never been in doubt. Last year’s ‘Rebel EP’ demonstrated her seamless ability to parlay her rap origins into sonically vibrant music. Debuting this ‘23 with “Monster,” Tesh plays beautifully into the zeitgeist of contemporary Afropop. Her svelte vocals interchange exciting rhymes with a lustful edge to them, layered confidently over the upbeat Amapiano production. With the year’s second quarter just starting, this record—while being an eventful release on its own—gives her listeners so much to bank on.
Emmanuel
SGAWD — “INTERMISSION”
On “Intermission,” Nigerian rapper SGaWD has a lot of thoughts to get off her chest. Over an infectious production from 44DB Collective’s Trill Xoe andJohnWav, she calls out the bullshit of those seeking to drain her energy and pledges allegiance to her close associates. “Intermission” is SGaWD’s first release of the year, coming after“Telfar,”last year’s collaboration with Ronehi and her 2021 EP ‘Savage Bitch Juice.’
Uzoma
BRUM3H — “YOU DON’T WANT ME”
With bluesy production and measured vocals, Brum3h tells the quintessential heartbreak story on “You Don’t Want Me”. The subject matter is hardly new to musicians and to his credit, the rising artist makes his song stand out. Anyone who’s been in love would understand the crushing emotions that come with pouring yourself wholeheartedly into someone whose affection only trickles down—that tension is the sweet spot of Brum3h’s writing, which is enlivened through the passioned vocals he wraps around the production. It’s a song which sets grand ambitions for itself and delivers with understated confidence.
Emmanuel
YAZZAVELLI — “KPOLI POLICE” FT. DOPEMAN TWIZZY
On her catchy single “Kpoli Police,” Nigerian rapper Yazzavelli creates a stoner’s anthem, as she and fellow Nigerian artist Dopeman Twizzy infuse their dedication to the herb into the daily conditions of living in the country. In a mix of English and Pidgin English, Yazzavelli and Dopeman Twizzy trade playful bars over a Hip-Hop production, calling out greedy smokers and the good feelings the herb elicits in them.
Uzoma
SHALOM DUBAS — “RUN ME LOVE”
Since we last heard from her on “Gold,” the brilliant Shalom Dubas has been relatively quiet. That’s no problem because the America-based Nigerian rapper packs a lot of thought into every song, and her latest single is no different. Carried on soft strings and quietly knocking drums, she flits in her signature style between rapping and singing, imbibing a distinct even if nostalgic vibe onto “Run Me Love.” In it, she explores the weight of relationships and the disparity that sometimes arises between what some are willing to give and what they expect. With a wise perspective, Dubas blazes on sweet wheels for the rest of the year.
It’s Friday and the weekend beckons. What better time to unwind with the latest music projects from the African continent? More than ever, artists are utilising their creativity for the satisfaction of music fans around the world. These projects serve the purpose of preserving a moment (or moments) and distilling them into sonic pleasures. On this week’s New Music Friday, in addition to Davido’s feverishly anticipated‘Timeless’, we’ve curated new music emerging from South Africa’s multi-genre scene down to Tanzania, Senegal and of course, Nigeria, which provides an anticipated album from a respected rap savant.
UNCLE WAFFLES — ‘ASYLUM’
Since breaking out via a viral moment in 2021, Uncle Waffles has continued to thrill her burgeoning fan base. The South African polygoth has a distinctly energetic brand on showcase whether on social media or at shows where she plays, but it’s her music which keeps her hot on the lips. Her sophomore project ‘ASYLUM’ is now released, almost exactly a year after sharing ‘Red Dragon’. Extending her collaborative style, the seven-track tape features many voices impressing unique vocals over mostly ‘piano production from Uncle Waffles.
BAABA MAAL — ‘BEING’
Baaba Maal is African music royalty. Making his debut in the late eighties, the Senegalese musician has shifted the metres of sound with every release, vividly imprinting his griot-influenced music on diverse audiences. With his soaring vocals and inimitable storytelling, he was destined to sing for the world. ‘Being’ sees him stage a triumphant return to making projects, his first in seven years. Recorded in London, Brooklyn and Senegal, he’s joined by producer Johan Karlberg who charges his soulful hue with epic arrangements. A backlog of bass and percussion layered through, it’s a forward-facing execution of a tradition which goes back centuries, through which Baaba Maal again confirms his singular place in the pantheon of world music.
LLOYISO – ‘SEASONS’
Anyone who hears Lloyiso sing is bound to be astonished. The South African has a voice sweet and fluid as milk, a quality he’s consistently built on since entering into the scene before the turn of this decade. A master of melancholic imagery, he usually sets his music to stripped R&B acoustics, a choice which allows for unfettered emotion and vulnerability. After getting signed onto Universal Music Group affiliate Republic Records in 2021, Lloyiso has increasingly caught the ears of listeners, and ‘Seasons’ could have come at no better time. Just over twenty minutes in runtime, the scales of his writing is however unbound, while the music stretches past broody acoustics to incorporate ethereal variations.
MABANTU — ‘UNIVERSITY’
Tanzanian duo Mabantu have come good in the East African scene over the past few years. With their vocals complementing each other, their bright takes on the popular Bongo Flava sound has earned them regional hits such as “STAR” and the Harmonize-featured remix of “Utamu”. On their first project, the duo of Twarha and Muuh chart the rollercoaster of memories which is often the mark of youthful existence, using the university as a setting to access such moods. Adapting inflections from genres as diverse as rap and soukous, it’s a colourful project which solidifies Mabantu’s position in the scene.
PAYBAC IBORO – ‘WEST AFRICAN GOAT’
A great figure in Nigeria’s underground rap scene, Paybac iBoro has been moving towards mainstream recognition in recent years. With Headies nominations and features with the likes of Show Dem Camp’s Ghost, his technical prowess and ability to shine over any beat hasn’t gone unnoticed. Another incredible tool in iBoro’s arsenal is his conceptualisation of albums: from ‘The Biggest Tree’ to ‘CULT!’ and now ‘West African Goat’, there’s a charged theme running through each, yet connecting to his personal-streaked takes on communal existence. With colourful Nigeria-centric production and immersive stories, ‘WAG’ culls in features from Viveeyan, Barzini, Elveektor, Alpha Ojini, Ozone, Payper Corleone, Pizzo Da Lp and 3rty.
DAPIANO — ‘RE-PRODUCTION’
Producers making projects is no longer a new thing in Afropop, fortunately. Given the far-reaching sounds they’ve been known to imbibe, projects curated by producers are usually encompassing in their vision. Dapiano is one of those names who’ve been in the Nigerian music scene for a while, producing a number of hits, but haven’t really gotten their deserved credit. He steps towards that light with his new project which is titled ‘Re-Production’. A succinct collection of four songs, the sole features are rapper Vector and Shizzo, a sparse direction which allows the bubbly flavour of Dapiano’s production take centre stage.
RHYMA — ‘STAMINA’
Based in South Africa, the Nigerian musician Rhyma packs a lot of influences in his music. A conduit through the distinct musical traditions of both countries, he’s experimented with everything from Afropop to House and even New Age. On his almost hour-long album ‘Stamina’, there’s an intensity which lights up the records from underneath, while Rhyma’s bubbly vocals usually work to connect the wide-ranging sounds. A number of features also join the carousel, giving the album a festive sheen.
NAKHANE – ‘BASTARD JARGON’
Since last year, Nakhane has been teasing a new album through songs with features like Nile Rodgers, Moonchild Sanelly and Perfume Genius. Although starting their career with a folksy sound which was partly in tribute to the legendary Ali Farka Toure, Nakhane has largely embraced electronic music since their coming out as queer. They’ve been championed by icons like Elton John and Madonna; listening to their music, the acclaim really comes alive. ‘Bastard Jargon’ is the latest iteration in their ever-evolving artistry as Nakhane charts the meeting point of individual taste and familial history. Through evocative, epic records such as “Hear Me Moan” and “My Ma Was Good”, it’s a sure way to get your weekend started off with some explosive sexiness.
With a decade-long career and only three albums, the announcement of any body of work by Davido will always pique the interest of listeners. However, for some reasons, the announcement of his fourth studio album, ‘Timeless,’ was markedly different. Since the two years post-release of his cross-Atlantic album, ‘A Better Time,’ Davido delivered consistently stellar tracks that pushed the envelope around his sound. From CKay’s “WATAWI” with Focalistic to Pheelz’s “Electricity,” and Adekunle Gold’s chart-topper, “High,” each new release serves as a reminder that Davido doesn’t just have a phenomenal ear and taste for music, but he’s also a deservedly revered and reliable force in Afropop.
As we close out the first quarter of 2023, Afropop enthusiasts are granted front-row seats to a new wave of music with a fresher and bolder outlook. This entrance into a new era comes with the highly anticipated relaunch of Davido Music World (DMW) since the announcement of a fourth studio album, ‘Timeless,’from the label boss himself. Still reeling from the excitement of the release with features from Angelique Kidjo, Musa Keys, Asake and more, DMW 2.0 introduced two record label signees, Logos Olori and Morravey, who feature on the album.
With Davido’s opulent discography, the consistent hitmaker and sought-after collaborator has a good ear for the craft, considering the astronomical success of his previous signees, Mayorkun, Dremo and more. And in a world where talented women are repetitively sidelined and excluded from important rooms and conversations, Davido incessantly lives up to his motto, ‘We rise by lifting others’ with Daniella Ibinabo Daniel aka Morravey. The Rivers State-born signee will be the second woman, after Liya, to work under DMW.
For rising artists, relentlessly waiting for their moment of breakthrough where their sound reaches the right ears, the grind doesn’t stop. For those that have been at it for several months or years, that tender stage requires a significant amount of persistence and consistency but with the recent age of social media, the process has been somewhat simplified. Taking to TikTok to show anyone who would care to listen to what she is made of, 21-year-old Morravey posted a series of freestyles on the app. With the drive and hunger of any up-and-coming artist, she tagged several front players of the blooming genre that is Afropop and one viral video later, she successfully gained the attention of Davido. The budding star benefits from the buzz generated around the label boss’ album release and rightly so as her debut performance on “IN THE GARDEN” doesn’t disappoint.
Still warming up for the 17-track album, “IN THE GARDEN”—the third song of the project—is short and sweet. Leading in with heart-thumping log drums, you already know what to expect as you delve deeper into the promising track. Morravey’s vocals kick off the love-themed track instantly making it known that she is not shy to showcase how high those harmonious notes can go. Her sleek vocals hold confidence as she expertly rides the wave of the beat, never once displaying a hint of uncertainty despite this being her debut performance.
Prepping us for Davido’s smooth entrance into the track, Morravey lays her intentions bare and she is sure not to mince her words as she sings, “Far far in the garden, I wanna give you loving/Be the one to hold my hand, I want you to be my man.” However, the hook, which I anticipate will be stuck in my head for the next couple of days, elevates the track even further as her dulcet vocals pair perfectly with the intoxicating instrumentals.
With a brisk delivery in the middle of the track, Davido is in and out in no time, intentionally allowing Morravey to shine. By the end of “IN THE GARDEN,” the message is clear. If you weren’t paying attention before, do so now.
