Ladipoe makes his welcome return with “Guy Man” featuring Bella Shmurda

Posted on by Nwanneamaka Igwe

Ladipoe is an inimitable force. On his 2021 EP, ‘Providence,’ the Mavin rapper delivered a slew of noteworthy performances with special appearances from big-hitter features from Amaarae, Fireboy DML and Rema. The EP also housed the standout track “Feeling,” a boisterous anthem featuring Next Rated artists, BNXN which soundtracked the post-coronavirus stay at home lockdowns, at a time the world needed aural healing the most.

The rapper has come to straddle an important intersection in Nigerian music. With a catchy husky tenor and exacting lyricism, Ladipoe has become the poster child for his unique position between mainstream success and Nigeria’s niche hip hop scene. In his last NATIVE Exclusive interview, the rapper candidly shared “When you feel like you represent something to people, you want to hit that target—and more so, because you represent that thing to yourself”, about the lofty expectations that have trailed him since he came on to the Nigerian rap scene. Whether he’s been able to shoulder the weight of these expectations is irrelevant, Ladipoe has amassed a respectable inventory of accolades under his belt.

 

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Now, Ladipoe is making a resounding comeback with an infectious new single ahead of his project, ‘Lifelines Of Life,’ which is slated for release later this year. Ahead of this, the rapper shares the Reward Beatz-produced single “Guy Man,” which features street pop savant, Bella Shmurda. The catchy new single places on the strengths of both artists, with Ladipoe’s quick punchlines and Bella Shmurda’s irresistible charisma, immediately drawing listeners in with hypnotic drum patterns and delectable keys.

The track’s groovy instrumental provides the perfect backdrop for Ladipoe’s bars which steadily fasten itself to the catchy production. “Last year, flight plans, world tour, white fans/meet guy man/dem dey feel guys out in Saipan,” he sings in the opening verse, painting a picture that visualises his current experiences as a globe throttling superstar. He continues speaking about his standing in the game today, with little insights into his state of mind with relatable lyrics like “I’ve never been the one to follow protocol.”

As the track’s tempo picks up, Bella Shmurda smoothly glides into the song’s hook offering a slight sonic shift. “Me I no dey tango, I dey do my thing for the angle,” he chants on the song’s hook, switching between Yoruba, English and Pidgin with ease. His gruff chants are a contrast to Ladipoe’s sonorous and sleek delivery, giving the release an element of the unexpected. Further on the record, Bella continues in a praise for the strides accomplished over the years only to be followed shortly by Ladipoe whose bars preach of self love and recognition of the wins received.

With “Guy Man,” Ladipoe and Bella Shmurda set the motion rolling on his new album and era, while continuing to cut their teeth as two of the most exciting young voices in Nigerian Pop today.

Watch the lyric video for “Guy Man” below.

Featured Image Credits/NATIVE

ICYMI: HOW DAVIDO GOT HIS VOICE BACK

The Grammy Adds New Award Category For African Music

Posted on by Emmanuel Esomnofu

For the first time ever, the Grammys award will have a category solely dedicated to African music. Announced today on the Recording Academy’s official website, the new category will come into effect at the 2024 Grammy awards in an effort to solidify considerations going on behind the scenes for decades. Considering the consistent upsurge of music created by Africans in the continent and across the diaspora, the new year has seen the breakout of more superstars and more hit songs, indeed taking the message of music from Africa to all the corners of the world.

Primed as a flexible award system which recognises the ebbs of the music industry, the Grammys over the years have adapted changes to their systems and created new categories to recognise the changing shape of culture. This has been positively received by observers, who eagerly criticise the awards when they shun cultural landmarks in favour of commercial choices, and it’s been noteworthy how the Grammys retain their legacy by making these small but often consequential changes.

In a statement, the Recording Academy CEO Harvey Mason Jr. shared “The Recording Academy is proud to announce these latest Category changes to our Awards process. These changes reflect our commitment to actively listen and respond to the feedback from our music community, accurately represent a diverse range of relevant musical genres, and stay aligned with the ever-evolving musical landscape.”

The ‘Best African Music Performance’ was further described as “A track and singles Category that recognises recordings that utilise unique local expressions from across the African continent. Highlighting regional melodic, harmonic, and rhythmic musical traditions, the category includes but is not limited to the Afrobeat, Afro-fusion, Afro-Pop, Afrobeats, Alte, Amapiano, Bongo Flava, Genge, Kizomba, Chimurenga, High Life, Fuji, Kwassa, Ndombolo, Mapouka, Ghanaian Drill, Afro-House, South African Hip-Hop, and Ethio Jazz genres.”

Other categories that are newly included are the Best Alternative Jazz Album and the Best Pop Dance Recording, a genre with roots in South Africa. “By introducing these three new categories,” says Mason Jr., “we are able to acknowledge and appreciate a broader array of artists…We are excited to honour and celebrate the creators and recordings in these categories, while also exposing a wider range of music to fans worldwide”.

Surely, a feat such as this will be received well by artists, labels, and the general music ecosystem on the continent, but a more pertinent conversation arises with the persistence of the tag “African music”. In the past, international awarding systems have not always taken our diverse genres into consideration, and there’s little doubt that this will change, even within this new category. With the cultural and commercial standing of Nigerian Pop, which is often called Afrobeats, it remains to be seen how the Grammys would balance that reputation with recognising other sounds from across Africa, but we’ll surely explore those concerns as they unfold.

Track-By-Track: Bloody Civilian Breaks Down Her Debut EP ‘Anger Management’

Posted on by Nwanneamaka Igwe

Bloody Civilian is inching towards the powerhouse she is capable of becoming. Since her debut in 2022, the rising star has been moulding her reality with powerful, soulful vocals and an unshakeable confidence. Her short but sparse discography is littered with diary-like ruminations of becoming, heartbreak, love, and sticking it to the man.

On her debut project, ‘Anger Management,’ she sets out to fill the contours of an ascendant star. The 6 track EP, which is recorded, produced and performed solo is a masterclass in knowing oneself and operating with a sure-fire assurance. The new project which arrived last Friday features her debut and pre-released single, “I Don’t Like You,” a fine showcase of Bloody Civilian as an artist creating solely on her own terms. Across eclectic productions, she shares her innermost feelings with relatable lyrics about intrusive relatives and honest reflections on relationships, that sound like a conversation with a friend.

In a recent interview with the NATIVE, the Nigerian singer shares “[When] making some of the songs, I was really upset. I was trying to tone it down initially but it wasn’t working. It did not align with my reality so I told myself the truth, and that was, I could only keep this act up for a while.” Through inquiring into her own mental psyche and that of others around her, Bloody Civilian arrives at a project that is both disarmingly authentic and instantly relatable.

Following the release of ‘Anger Management’ EP last weekend, we caught up with Bloody Civilian to break down the songs, one track at a time.

Her words which follow below have been lightly edited for clarity. 

“ESCAPISM”

The first lyric I wrote was the first line of the song. That typically happens for most of my songs; the opening line comes first. Sometimes, it’s the chorus and sometimes it’s both. The opening line comes first and I make it the chorus and open the song with the chorus. For this, I wrote “Should’ve smoked that shit since morning” because that resonated with me that day. I was trying to change a certain lifestyle that I had cultivated for a while, and I just felt frustrated that I couldn’t just give in. I had promised myself that I wouldn’t. I sang about how much I wanted to smoke but I didn’t end up smoking. It was a weird song. It’s just the feels of someone who just wants to smoke and is not going to.

“HOW TO KILL A MAN”

My first time coming to Lagos, I got catcalled. I didn’t really get it when I came. Moving on foot in Lagos is not the same as moving on foot in Abuja and I didn’t really get that. When it happened, I was so flustered and frustrated. I got catcalled and I got touched inappropriately. It was so weird. That song just came from how I was feeling in that period although I didn’t write it that same. It also came from all the other things that kept happening around the time so I wrote “How To Kill A Man” about that.

“FAMILY MEETING”

I grew up in a community that has so many aunties. Growing up in the North is a sport because you essentially have to live up to so many different standards and expectations from the older generation. We don’t like change. Being a female producer, artist or DJ in the North is along the lines of prostitution to them. You have to understand that this is what I had to grapple with. Going for shows late at night with warrant family members getting involved in the mix. I was caught up in the whirlwind of all that. I know that rebellion was my only means of survival. Every part of my life had to be fought for and grappled with. I struggled and tussled throughout my life and I had so many hurdles in the form of human beings. I’m glad I wrote this song because a lot of people are embarrassed to talk about these things. I’m glad I said it [because] being a creative means being the problem child at home.

“MAD APOLOGY”

“Mad Apology” was inspired by the phrase “mad o.” I have this sarcastic way that when I receive certain types of apologies from some people, I go “Mad, thanks. Appreciate.” It’s not sincere and they know it’s not sincere. You can smell it from afar. I just felt I should write about it because it’s happened one too many times. Funny enough, the song started up slow but I thought, “this song is too dull, I think we can speed it up.” I wanted to give it a more Pop and fun feel. I was attempting to make it a deep song but had second thoughts hence “Let this shit go. You’re not in your Lauryn Hill bag right now.” So, I just had to speed it up and make it a fun song. That’s how I put that one together.

“I DON’T LIKE YOU”

This was lowkey a diss track. People think it was about a guy but it wasn’t. I was a diss track for a babe that pissed me off big time. I was very angry about this one and the person had no clue. It was a fleeting thing that I made seem like a random song. It came from real emotions and I feel emotional songs really [go well] with 808. For me especially, having grown up on Kid Cudi. The beat does one thing and the lyrics another. The song was overall fun. It was even a funny experience writing the song. I thought it would be funny.

“COME FROM”

With “Come From,” I just wanted to follow the theme of how I was feeling on the songs. I would rather close with who I am than start with who I am. My mindset is like “who cares?” so that should be last. I’m a new artist so I’m not expecting much but at least talk about who I am and relieve the whole mystery behind Bloody Civilian. I wanted people to leave ‘Anger Management’ with a taste of who I am and where I’m from. “Come From” was very appropriate for that.

Featured Image Credits/Bloody Civilian

ICYMI: OUR FIRST IMPRESSIONS OF AMAARAE’S SOPHOMORE ALBUM, ‘FOUNTAIN BABY’

Our First Impressions Of Amaarae’s Sophomore Album ‘Fountain Baby’

Posted on by Nwanneamaka Igwe

The last time we saw Amaarae in album mode was November 2020 following the release of her debut project, ‘The Angel You Don’t Know’ (TAYDK). At a time where the world needed aural healing the most, the Ghanian singer’s otherworldly vocals and eccentric production provided comfort to a number of listeners. Three years later, she returns in a big and colourful way with the release of her omnivorous sophomore album, ‘Fountain Baby.’ 

‘Fountain Baby’ arrives with much pomp and glamour. Across 15 dazzling tracks, Amaa Serwah Genfi bares her soul all on her own, assisted only by a roster of highbrow producers and engineers, who provide the perfect backdrop for the singer to fire off her innermost desires. Promotional singles “Co-Star” and “Reckless and Sweet,” set the ball rolling with Amaarae’s expansive sonic approach with hints of her borderless sound with an innate disarming authenticity and vulnerability.

The unbridled confidence she displays through the new album is not new to her OG fans. Since ‘Passionfruit Summers,’ Amaarae’s wispy and honey-toned vocals have soundtracked many of our thrills and romantic sensualities. With evocative, poetic phrases and memorable melodies dripped in Japanese folk, R&B, dream pop, punk-rock and more, Amaarae paints a picture of an artist with little to prove and a lot to say. In typical fashion, we share our thoughts on the album, from best song to stand out production, biggest potential hit, biggest skip and more. Tap in.

FAVOURITE SONG 

Alla: Amongst the tracks on the album, “Big Steppa” stands out as my ultimate favourite for its enticing summer-indie essence. I find the song to be a masterful balance of Amaarae’s sweet-sounding vocals over the sturdy and catchy beat. The song deeply resonates with me for its enchanting mix of ethereal vocals and rhythmic undertone that transports you on a serene journey, as if cruising down a highway into the sunset. In its entirety, “Big Steppa” exudes an aura characterised by the warmth of summer and a delightful touch of sweetness—what’s not to love?

Moore: Choosing a favourite song from projects filled with bangers is always difficult, but if I had to pick one it would definitely be  “Angels in Tibet.” It flows seamlessly from the intro track “All My Love,” carrying on the Eastern influence that makes it so intriguing and spiritual. It’s also the perfect party song with a catchy beat and lyrics that will have friends chanting it in clubs throughout the summer. “Angels in Tibet” is definitely a great song to place at the beginning of the project, as it gives a clear idea of the dreamlike quality of Amaarae’s songs along with the energising quality that the rest of the songs have.

BEST PRODUCTION

Nwanneamaka: Digging through Amaarae’s catalogue, her production is usually eccentric but given the versatility of an artist like herself, they work. I appreciate the South-Asian and Arabic influences on tracks “Counterfeit” and “Reckless and Sweet.” That being said, my favourite production is “Sociopathic Dance Queen” for a number of reasons. The drums at the start are very reminiscent of Michael Jackson’s “Beat It” and when her vocals land, they’re very airy and exciting. I can’t place my finger on what exactly it reminds me of but the instrumentals sound very nostalgic as well.

Dennis: At one point during “Counterfeit,” I was ready for Slim Thug to jump out and start yelling “Wamp wamp, what it do!” There’s a couple of great choices for this question, but the rap head in me is going for the song just because of the sample. This is where I want to say thank you to Pharell and Chad Hugo for creating one of the most inimitable sounds in Hip-Hop, and if you didn’t understand the these references, get some education in your life and listen to ‘Hell Hath No Fury’. Beyond the sample, though, the percussive embellishments and the way Amaarae glides is some supreme shit! 

FAVOURITE VERSE 

Israel: My favourite verse is still from “Co-Star.” The production on the song is very catchy but i think what sold it for me were the lyrics. Being a leo with strong main character energy, I was waiting to hear what she said about us. Her lyricism on this track is also very comical. Particularly hilarious when she said ‘Them libra bitches horrible.’

Alex: It’s difficult to have a favourite verse in Amaarae’s body of work because all the tracks surely have a verse that hits deep. However, the verses in “Come Home To God” resonate with me on a much deeper level because it’s reminiscent of scriptures God encouraged his followers to turn to Him for rest. Going the way of the gospel and affirming that God is the ultimate place of rest, the verse is a message and a reminder for me to always seek refuge in God. 

BIGGEST SKIP

Sien: Absolutely no skips on this. Personally, I couldn’t wait for the album to begin so I’ll say the only track that glided through due to suspense is the intro, “All my Love.”

Daniel A: Fountain Baby back at it! Its beautifully put together with zero skips. The production and genre bending blows me away. The album seems split in two with her now expected rock spice added to the second part of the album and “SEX, VIOLENCE, SUICIDE” was the perfect interlude. 10/10 in my book.

BIGGEST POTENTIAL HIT: 

Emmanuel: A lot of records on here have unarguable hit potential but on first listen, there’s a couple I’m leaning towards. One of them is “Princess Going Digital”. With a packed eighties synth wave production, it’s a harkening towards a certain confidence. The beat drop is absolutely bonkers and Amaarae floats over the song assuredly. It’s that kind of song people feel sexy and goofy to; if popular media’s anything like me, they’d be all over those bounces. Another hit potential is “Big Steppa”, for almost similar reasons to “Princess”. Feel good affirmations with horn-licked P2J-esque afrofusion production never goes wrong with the African audience, at home or in the diaspora. 

Nwanneamaka: “Reckless and Sweet” is already making rounds across streaming platforms and a strong contender for biggest potential hit with good reason. The track’s twinkling production pairs perfectly with her smooth, melodious vocals and funky baselines. It’s message and accompanying visuals also perfectly align with Amaarae’s recurring themes of love and mystery through the lens of her spunky self expression, perfectly positioning it for commercial success. While “Disguise” is more mid-tempo, the reverberating bassline and hypnotic background vocals could make it another crowd favourite.  

OVERALL FIRST IMPRESSION 

Dennis: First impression from a few days back: I’m playing this right when it’s out. Second impression from this morning: GOOD GOD ALMIGHTY! I’m still going to need one or two more full listens to work out the specifics of my awe, but I know a masterpiece when I hear one. ‘Fountain Baby’ is a masterpiece.

Nwanneamaka: Coming from several months of Amaarae features scattered across album announcements like CKay, Boj, Tiwa Savage and countless others, I thought it was interesting that this album only had solo performances. While I would have loved one or two features, it doesn’t make the album rank any lower in my books. It’s HER time. After waiting several months, with the backing of the pre-released tracks, ‘Fountain Baby’ is exactly what I thought it would be. We still have the unapologetically sensual energy but with a renewed sense of confidence. The varying production styles across the tracks also played in her favour as it widened my perspective of her range. It’s familiar but risky at the same time. Undeniably an interesting route but as an OG Amaarae fan, I’d say it’s just the right amount of experimental. ‘Fountain Baby‘ for the win. 

Emmanuel: Amaarae’s experiments come off smoothly because she doesn’t make a big deal of them. She’s flexing over the most layered beats you’ll ever hear with assured ease, those vocals striking fierce and tender. There’s a lot to like about ‘Fountain Baby’: from the visceral beats to the specific edge in her songwriting, to the sheer wonder of the lush experiences she creates. Coming from a classic like ‘The Angel You Don’t Know’, the expectations were always going to be high but Amaarae deftly evades them, instead positioning the flag of her new country. This fountain will never dry, that’s for sure. 

Featured Image Credits/The NATIVE

NATIVE Selects: New Music from Reekado Banks, Simi, M.I & more

Posted on by Nwanneamaka Igwe

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.

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

REEKADO BANKS FT. ADEKUNLE GOLD & MALEEK BERRY – “FEEL DIFFERENT”

While Reekado Banks has had a fairly quiet couple of years, he’s made an admirable comeback with a slew of releases this year. Adding to the catalogue, he tapped Adekunle Gold and Maleek Berry for an upbeat, groovy track with subtle log drum embellishments. Reekado starts off the track emotionally sore from the consequences of love gone wrong as he adamantly steering clear of catching feelings. He holds the track’s intoxicating hook with supporting harmonious vocals from Adekunle Gold while Maleek closes the track out on high notes, reiterating the message of a new romantic feeling and its dangers. 

SIMI – “STRANGER” 

Simi tracks always come with a promise of spell-binding vocals and her most recent release is not different. Leading in with mellow piano keys, the sombre tone is instantly set on the love-themed track. The song’s message is clear as Simi delivers a heartfelt rendition on the vulnerability of love and its ability to make one do bizarre things. Midway through, she dabbles between Yoruba and English with background vocals expressing feelings of love and loss. 

L’RAIN – “NEW YEAR’S UNRESOLUTION”

L’rain makes a promising comeback on “New Year’s UnResolution” after a break since the release of her 2021 album, ‘Fatigue.’ At the start of the new number, we’re met with a futuristic instrumental reminiscent of sounds moving through time and space. Her dulcet vocals take over the track as she harmonises with the help of a slow paced drum pattern. Through the course of the track, her vocals are airy and almost trippy, transporting listeners into an other-worldly soundscape. 

BAABA MAAL – “FREAK OUT (BABA ALI’S REMIX)”

Following the release of his extended play earlier this year, the Senegalese heavyweight is back for the remix of one of the project’s lead singles, “Freak out.” This time, he taps into Baba Ali for an upbeat rendition rich with punk and disco elements. Mid way across the track, the eccentric production shines through as the vocals take back stage in a repetitive, mid-tempo pattern. 

Y’AKOTO – “WMYT (WHAT MADE YOU THINK)” 

Y’akoto embraces an engaging narrative style as she introduces her recent release paired with a bubbly instrumental. Fitting well within her discography, “WMYT” is a seamless blend of rhythmic, laidback vocals and Y’akoto’s sultry vocals.

M.I ABAGA – “PLAN B”

Veteran Nigerian hip-hop singer, M.I Abaga has started the year with a single “Plan B” which provokes the consciousness of the Nigerian listener. With its enthralling sounds and lyrics, M.I takes a deep introspection to the different issues affecting young Nigerians. He draws attention to the political, socio economic, and religious actions that play a role in our development. Against the backdrop of the administration in power, “Plan B” is a call to action on the various problems that need solution.

PSYCHO YP & AJEBO HUSTLERS – “NOT MY FAULT”

Introducing the track with sweet-sounding instruments, PsychoYP taps the talented duo Ajebo Hustlers for “Not My Fault” with its catchy beats and lyrics. Ajebo Hustlers and PsychoYP share sizzling verses, blending their styles and sounds perfectly which lays credence to their creativity. Produced by Thrill Max and Ramoni, “Not My Fault” uniquely captures and complements the vocals of PsychoYP and Ajebo Hustlers in this groovy track.

ULOKO – “NSOGBU”

New artist on the block, Uloko reflects on the travails of life “Nsogbu” and highlights the problems of life and preaches tenacity as a way of overcoming and taking control of your life. He captures the spirit and energy of artists who are charting new paths with their craft. “Nsogbu,” which is Uloko’s first single, is proof of his musical prowess. 

Featured Image Credits/The NATIVE

Review: Joeboy’s ‘Body & Soul’

2019 was undoubtedly an integral year in the expansion of Nigerian pop. New stars emerged in emphatic fashion, many of whom have become prominent in the vanguard of Nigerian music. Rema swung into mainstream popularity with three well-received EPs, Fireboy DML made heads turn with ‘Laughter, Tears & Goosebumps’, Tems’ anthemic track “Try Me” became a generational hit, and Joeboy imprinted his voice on ears across the country with the inescapable “Baby.”

If there was any pressure for Joeboy to repeat and surpass the success of his debut single, he didn’t show it. He followed with “Beginning,” the Mayorkun-assisted “Don’t Call Me Back,” and his debut EP, ‘Love & Light’, all before that year closed out. Four years later, Joeboy’s status has transcended from upstart to mainstay. Floating on the coattails of his limber vocals and an obvious gift for easily memorable melodies, Joeboy—with hit song after hit song—has ensured that his place in a market as competitive as the Nigerian music scene is unshakeable.

Released recently, the singer’s sophomore album ‘Body & Soul’ is an endeavour of artistic growth. Here, his music-making quality, as well as his ability to compile a top-to-bottom long play, have gone up a notch. The Joeboy on ‘Body & Soul’ is a much improved and better-realised version. “When this album becomes an instant success, I’ll willingly forgive all of you that doubted me or said I fell off,” Joeboy tweeted a day before the release of ‘Body & Soul.’ “Even the ones that tried to sabotage the whole project, I’ll forgive everybody.”

It is no surprise when artists make bold statements like this but in Joeboy’s case, the emotions behind his declaration are understandable. His 2021 debut album, ‘Somewhere Between Beauty & Magic’, had its highlights in standout tracks such as “Call,” “Lonely” and “Show Me,” but the project cumulatively felt serviceable – especially when placed in conversation with the many other great releases in that year. Entirely lovestruck in its thematic approach and with Joeboy as the only voice across its 14 songs, the album could have benefited from a broader perspective or a variety in execution.

An instant difference on his new LP is the presence of guest features. Far from the one-man show of his debut, ‘Body & Soul’ finds Joeboy creating opportunities for him and other artists to blend their uniqueness for a balanced result. Although the guest appearances are from predominantly Nigerian acts—with American rapper Ludacris being the outlier—the artists differ in their style and delivery, eliciting a consistent thread of freshness in the tracklist. It is an interesting development, especially since Joeboy’s biggest songs are his solo performances.

The opener “Normally,” which features BNXN and ODUMODUBLVCK, is both indicative of Joeboy’s new approach and the profitability of the features on the album. The trio ease in and out of the track with a smoothness that matches the song’s self-possessed attitude. “When we in the club it’s a champagne shower/Only see blessing, never see yawa /Can’t understand there’s a higher power/And we special yeah we nuh do normal no,” Joeboy sings. BNXN and ODUMODUBLVCK weave in their own narratives about walking confidently in their own path, the former sprinkling in relatable soul and the latter in his usual irreverent form.

 

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Joeboy’s blossoming as an artist is intrinsically tied to his rise as the lead act for the label Services Company, emPawa Africa. After his cover of Ed Sheeran’s “Shape of You” caught the attention of Mr Eazi, he was enlisted into Eazi’s talent-harnessing, becoming the imprint’s biggest success. These days, Joeboy moves like the kind of priority act that keeps the lights on in a label’s building, with his star power extending to elevating features on songs by emPawa Africa-affiliated acts, like Nandy’s “Number One” and Solana’s “Far Away.”

More importantly, the headline hits haven’t stopped pouring out. There was “Sip (Alcohol)” from 2021, last year’s slow-burn hit “Contour,” while “Body & Soul” and “Duffel Bag” were released earlier this year to tangible fanfare. All four songs appear on‘Body & Soul’; while three of the four songs advocate settling for the sweet stuff of life, they do so from differing angles. “Sip (Alcohol)” and “Contour” carry a dark edge to them, with Joeboy singing on the former, “That’s why I sip my alcohol (E we)/I don’t wanna reason bad things no more (Oh no),” while on the latter, he mourns the duplicity of his lover. He is the loverboy on “Body & Soul,” pledging loyalty to a significant other and, on “Duffel Bag,” he is a lavish spender who won’t hesitate to cater to the financial needs of his lover.

Love is a constant theme in Joeboy’s discography, even seeping into his features as it did on DJ Neptune’s “Nobody,” which features Joeboy and Mr Eazi. He continues that thread on ‘Body & Soul.’ On “Check My Phone,” Joeboy addresses the dynamics of relationships in today’s world of social media and the internet. “Check my phone/Check my Snapchat o/Nothing I Dey hide o/You no go see wetin you Dey find o ye yi,” he sings, dissociating himself from his lover’s assumption of him being a cheat. It is a song that is bound to resonate with a lot of people who grapple with distrust and unfaithfulness in their relationships.

On the groovy, Amapiano-inflected  “Lose Ya,” Joeboy declares his affection and loyalty to his partner, singing, “I wanna be with you and you only/You can have my body, time and my money/As long as you dey loyal to me.” At heart, Joeboy is clearly still a crusader of love, but there’s more mischief in his arsenal. In moments like that, he still appears like he’s trying to sell a character development rather than actually embodying the narratives, but it’s fun to at least hear him try. Also, there are guests that make things go down a little smoother.

Oli Ekun, Nigerian online comedian and content creator, appears on “Interlude,” delivering a story about his familial and romantic mishaps with his signature, affluent-man drawl. The track is a turning point in ‘Body & Soul,’ as it presents Joeboy as his hedonistic best. He and CKay question the essence of romance without money in “Wetin Be Love,” as they try to convince their love interests to see them as routes to enjoyment. The Oxlade-featuring “Woman” thumping ride on the pleasures associated with the anatomy of their lovers. Ludacris combines with Joeboy on the breezy “Chicken, Spice & Curry,” urging their lovers to “Kill ‘em with your style and your class/Million dollar smile and a whole lotta ass.”

“This album definitely has more edge, it is less innocent than the first one,” Joeboy said in a recent interview. “The music on this particular album comes from a very sincere and honest place, so I could say this music comes from my body and my soul,” he added. The compactness and sonic quality of ‘Body & Soul’ is also courtesy of the efforts of the producers. Joeboy invites previous collaborators in E Kelly, Tempoe, BeatsByKO, Dera The Boy and Type A, continuing the synergy they have shared in other Joeboy’s projects.

A new addition to the list of producers Joeboy has worked with is Kemena, who also has songwriting credits on ‘Body & Soul.’ Kemena, who is also an artist, produces “Interlude” and “The Best For You,” wherein he also appears as a guest artist. On the latter, Joeboy and Kemena inhabit each other’s worlds as they express their care for their lovers. Elsewhere, Tempoe is tagged as a featured act on “Better,” like he was on Victony’s hit track “Soweto”; although it is Joeboy’s vocals that are predominantly heard on the song, Tempoe’s handprints are everywhere—with his production incorporating no small amounts of flourishes.

‘Somewhere Between Beauty & Magic’ may have left many with doubts about Joeboy’s ability to curate full-length, ‘Body & Soul’ does a much better job. It is an album that highlights Joeboy’s maturity and growth as an artist. Here, he sidesteps his weaknesses and hones in on his strengths; he sticks to his winning formula of catchy tunes but also throws the appeal of different perspectives that embellish the messaging of the project. Joeboy wasn’t entirely wrong to boast about ‘Body & Soul’ before its release: there’s no sophomore slump here, just a bar that’s been raised for future efforts.

BEST NEW MUSIC: JOEBOY MINTS ASPIRATIONAL SOUL ON “NORMALLY”, ALONGSIDE BNXN & ODUMODUBLVCK

New Music Friday: New Projects from Amaarae, Tay Iwar, Bloody Civilian & more

Posted on by Dennis Ade Peter

In a singles-dominated market, putting out projects feels like an act of faith. Faith in the attention span of the contemporary human mind, but also in the expansive vision of projects, the linkage of different parts to create an immersive experience. As such, projects are highly celebrated by The NATIVE and that’s what New Music Friday embodies. Being the prime date for new music releases across the Afropop soundscape, it’s only right we launch you into a befitting weekend, carried on the distinct, complex thrills of the albums and EPs that’s been put out. On this week’s New Music Friday, we have collated projects from around the continent, each boasting sounds that are bound to keep you sonically alert.

Amaarae – ‘Fountain Baby’

Nearly three years ago, Amaarae released her debut album, ‘The Angel You Don’t Know’, to instant critical acclaim and rousing commercial success. Depending on who you ask, it’s a classic. Regardless of who you ask, it ushered her into a realm of superstardom that celebrates the Ghanaian artist as a boundary-pushing auteur who also makes great pop music. Today sees the release of her long-awaited sophomore album, ‘Fountain Baby’, and going by first impressions, it’s one of the must-hear releases of this year.

Tay Iwar – ‘Summer Breeze’

Tay Iwar doesn’t miss. It’s a fact with credence that dates all the way back to his first mixtape, ‘Passport’, released when the Nigerian singer and producer was still a teenager. In the two years since releasing the pandemic-themed EP, ‘Love & Isolation’, he’s been quite busy as a collaborator, working with Nigerian pop heavyweights Wizkid, Tiwa Savage and Omah, British-Ghanaian producer Juls, American rap artist IDK, and more. Staying busy but with a focus on headline material, his new EP ‘Summer Breeze’ continues to show why Tay is one of the most exciting R&B artist anywhere in the world, continuing to dig poignantly into the nuances of human connection. Juls, Twelve XII, IDK, Knucks and Kojey Radical are the guests.

Seyi Vibez – ‘Vibe Till Thy Kingdom’

Seyi Vibez may have surprise-released his new project but the signs were there. Upon returning to social media about a month ago, the Lagos-raised singer has been in rabble-rousing form, stoking his rivalry with Asake and entering a new beef situation with Zinoleesky. He also released “Hat Trick” and “Amdallah” as singles, both which appear on ‘Vibe Till Thy Kingdom Come’, a 10-song project that features his usual profound, stream-of-consciousness quips in Yoruba. Nigerian singer Young Jonn, South African rap artist Focalistic, and American rapper Russ make guest appearances.

Baaba J – ‘Okay Baby, Let’s Do This’

Ghanaian singer Baaba J has been, slowly and steadily, reaching ears and turning heads for the last couple of years. Earlier this year, the uNder alum debuted with the soulful single, “Ole,” setting listeners up for the sonic possibilities she could unleash this year. Her new project, ‘Okay Baby, Let’s Do This’, continues down that line of emotive performances over lushly arranged production, with vivid folk influences giving the music its gorgeous sheen.

Bloody Civilian – ‘Anger Management’

Bloody Civilian is an artist to be excited about. The Nigerian singer and producer broke out (again) with last year’s delightfully punchy single, “How to Kill a Man,” following up this year with the Jersey Club-influenced “I Don’t Like You,” a sweltering banger with a combative stance. Her anticipated debut EP, ‘Anger Management’, is out and the entire project is just as intoxicating as the pre-released singles. Bloody Civilian is heady in her quest for self-determination, and it makes for one hell of an introductory body of work.

Nviiri the Storyteller – ‘Inside Out’

Premier Afropop band Sauti Sol might be going on an indefinite hiatus very soon but the seeds for lasting impact is already blooming. Sol Generation, the imprint founded by the group, has just heralded its second major release, following the March release of Bensoul’s ‘The Lion of Sudah’. Today sees the drop of Nviiri the Storyteller’s long-awaited debut LP, ‘Inside Out’, and the Sol Generation signee keeps on delivering like he’s done in the last few years since his introduction. An exuberant project, it shows the Kenyan singer as an artist capable of introspection and being the life of the party. It’s the worthwhile showcase.

Lordkez – ‘Testament’

Since debuting with the 2019 EP, ‘Revenge Season’, lordkez has been one of the most exciting auteurs in South Africa’s R&B scene. After four EPs, the NATIVE Fresh Meat alum finally released her debut album, ‘Testament’, a project heavily influenced by her spirituality. With a musical palette that balances contemporary R&B and Neo-Soul, the singer creates a deeply immersive experience where her ruminative approach is buoyed by resonant couplets and her gorgeous, siren voice. She’s joined by American-Sudanese rapper Bas, South African singers Shekhinah and Mars Baby, and more collaborators.

ICYMI: JOSHUA BARAKA, UGOCCIE & MORE BEST NEW ARTISTS FROM MAY 2023

A 1-Listen Review of Tay Iwar’s ‘Summer Breeze’

Posted on by Emmanuel Esomnofu

Tay Iwar is the quintessential soul musician. In the past decade, he has gone from underground darling to working with the prominent names across pop music, lending his trademark sensitivity to their records, whether as a producer, featured guest, or songwriter. A majority of Tay’s new audiences would know him for contributions alongside the likes of Wizkid, IDK and Tiwa Savage, but Tay Iwar’s artistic vision of probing the human condition in majestic sonics has been his unique pull, beyond the glitz of pop music. 

Emerging from the Abuja scene, he’s carried this responsibility through the sensitive traditions within R&B, a sound that is pushed to its furthest possibilities by Tay. This avant-garde approach was audible even while he was a teenager, releasing the ‘Passport’ and ‘Renascentia’ tapes to critical acclaim. Ever since Tay has immersed his projects in transcendental sounds and themes. His last showing came on ‘Love & Isolation’, a delicate collection whose records had soothing clarity. Following up from ‘GOLD’ and his globe-trotting debut album ‘GEMINI’, it represented an essential weaning of some pop sensibilities he’d picked up in recent years.  

Tay’s vision often comes across as crystal clear. His recent singles “Healing” and “Undercover Lover” have returned him to his pristine elements, relaying that old sensitive soul he’s known for. With his new project ‘Summer Breeze’ released today, here’s a 1-listen review of the soul savant’s newest body of work.

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

“UNDERCOVER LOVER” FT. TWELVE XII

Cool, shade-like lyrics. “Undercover lover, cool me down,” has the sort of mystery Tay has perfected throughout his career. I’m loving these percussions; they’re unhurried and tropical. Who’s this? Twelve? He sounds like a certain Wizkid. That’s an interesting choice considering how much Tay has worked with Wiz in recent years. It’s so perfect that this is the first song I’m listening to today. Some rock-tinged bass here, guitars and melodic finishes. A solid opener. 

“SUMMER BREEZE” FT. JULS

I’m raising the motion that Tay and Juls rank among the best artist-producer duo right now. Those coastal-evoking percussions whose sister variant is so often called palmwine music. Liquid is a term that best describes Tay’s vocals; it’s hard keeping a grasp on what he’s saying but the delivery is everything. I surely like the emotion in this one. 

“HEALING”

This sounds like therapy even before a word is said. Skating over the drums with a master’s assurance, this is Tay in his bag. “Healing from your stress” is such a wholesome sentiment. If one thing’s sure, this song is sending soothing vibes through my body. The sound has a twist of vintage R&B, but with some colourful tinkering going on alongside that established base. Tay has been a champion of mental clarity, and this song just fits into his long personal tradition. Definitely a keeper. All the songs have been, anyways.

“JUICE” FT. KNUCKS

Lest you forget, this project is titled ‘Summer Breeze’. These drops have a The Matrix-esque sci-fi undertone. Knucks is knocking the beat out with precision. We don’t talk enough about the enunciation of UK artists, how every word is clear enough to hit on first listen. A definite bop. The mandem would enjoy this during that smoking sesh where everyone’s just returned from work. 

“BON APPETIT”

A French title, you know Tay does a madness with foreign language titles. It’s interesting how he goes often outside of his established sound and still retains his soul. This follows up the previous song successfully. Trap bounce in the flow meets the groovy, bass-heavy production. Who’s this? Can’t see any featured name on this Apple Music display. (Editor’s Note: It’s American rapper IDK) He does a great job with the verse, though. Tay has returned to wrap things up. Summer hasn’t sounded better in a long time; this is a potential all-timer. 

“DON’T LIE”

Folksy Tay is back. Some serene, melancholic guitars floating alongside his vocals. Listening to Tay, you just know he’s a musician. The instrumentation and composition is as important as the vocals, but there’s no clash for importance; you don’t feel he’s trying to creare a banging beat or hit on a catchy phrase that gets popular on TikTok. That said, his inflections are poignant in a truly transcendental way here. If Tay were a filmmaker, he’d create classic epics because his perspective has a consistent quality of accountability. This is one of those songs you don’t go through life without listening to. 

“BROKEN PROMISES”

“People like to say things that they don’t mean, just to get close to you,” what a lyric. Tay is skating over this one. He’s really unlocked pockets of flow over this project, from the soulful to rap-esque. This one has something of Nicki Minaj, which means it has something of Dancehall, and he’s gone back to hook duties. Who’s rapping this verse? The vocal texture is rich, the words are very well enunciated. I’m thinking Tiggs Da Author, but I’m not sure. (Editor’s Note: That’s Kojey Radical.) What a song, Tay Iwar. These beat drops are exquisite, man. 

“SOUL SEARCHING”

Cohesion is a natural trait of Tay. That at least is audible in how well these songs are flowing into each other. Last song on the tape, you just know Tay would do a madness. What’s this “searching, searching” refrain? Layers of vocals and this beat, I like the bouncy quality. Provides a very unexpected landing for the meditative premise of the song. Is this a beat switch? Some emotive Frank Ocean-reminiscent bridge, and Tay is back. “In my mind, I’m running from the danger/ I’m running from myself” is such a line. THESE NOTES. Tay is literally plunging my head in deep waters. The richness of this song is hard to describe in words. Literal perfection. 

FINAL THOUGHTS 

Putting projects together is a seamless task for Tay. His talent shines at the musical, thematic and visual level, making sure he always has something worthwhile for listeners. One of my favourite things to hear Tay do is to get into Hip-Hop waters, which he’s shown from way back by creating and collaborating alongside savants like M.I. Abaga and Boogey.

On ‘Summer Breeze’, he again returns to the genre, but with great ingenuity and tact. Each song feels like different compartments of a road trip to the beach, ending in a late-night reflection amongst friends that would surely get its participants teary-eyed. Even in the midst of the party, he seems to say, remember the essence of your person.

In a time when the state of R&B in Nigeria is constantly argued and put down, Tay Iwar is shining a light on the genre’s current ambitions. It can stand side by side with rap, and can even soundtrack the summer—it’s still R&B. Perhaps some imagine the genre through the classic cry-in-the-rain emotional scale, but things are changing, and ‘Summer Breeze’ is a fine example. An accomplished collection that matches up to the work of anyone anywhere, it arrives at the perfect time.

ICYMI: THE BEST 5 SONGS FROM TAY IWAR’S DEBUT ALBUM, “GEMINI”

The NATIVE Presents NATIVE NOW!: Davido, Back & Triumphant

Posted on by The Native

Absence, they say, makes the heart grow fonder. On the last day of March, Nigerian pop superstar Davido returned with his fourth studio album, ‘Timeless’, stepping out of a grief-induced hiatus. The 6-month period of relative silence and social media absence marked the first time the singer drifted away from public sight, having become an ever-present persona in Afropop from his momentous sophomore single, “Dami Duro.” His absence wasn’t just noticed, it was felt.

Returning to raucous reception and ongoing commercial success, ‘Timeless’ is arguably Davido’s finest full-length showing yet, honing his iconic powers as a hit-maker into an euphoric front-to-back listen. At the height of his new zenith, The NATIVE is proud to unveil Davido as the cover star of its renewed and improved digital cover series, ‘NATIVE NOW!’ This makes him the first artist to be featured as a cover star for this publication, following his 2018 headline moment on our Issue 002 print magazine.

‘Davido Vs. The World’, his first NATIVE cover story, chronicled and largely coincided with the triumph and travails of the now-iconic 2017 “Back to Basics” run, which spawned the smash hits “IF,” “Fall” and “FIA.” Five years later, Five years later, Davido has continued to grow as a deified superstar at home and an indisputable global star as Afropop surges to international acclaim, evidenced by the momentous success of ‘Timeless’. After a much-needed hiatus, the superstar talks to us about getting his voice back and finding his way back to music in the aftermath of a personal tragedy.

“Now that I go back to think of it, I was not even making these songs like, ‘Ah, o boy we need to drop oh. I need to be hot again oh. I need to make money oh.’ I was just like, ‘I’m just happy to make music again.’”

We also speak to his manager Asa Asika, new signees to his record label, DMW, and several other key collaborators on ‘Timeless’, and the result is a reverential, wholesome portrait of one of the most beloved superstars to emerge from this side of this world.

Full Credits

Words by Dennis Ade-Peter & Tami Makinde

Photographer: Isabel Okoro
Creative Director: Scary Town
Stylist: MOMO
Editor-In-Chief: Seni Saraki
Head of Content Strategy: Damilola Animashaun
Managing Editor: Tami Makinde
Head Of Digital: Shina Ladipo
Production Assistants: Daniel Akins, Nwanneamaka Igwe, Israel Ajayi, Sien Essien
Producer: Dafe Oboro
Production Company: Dafe Films
Production Manager: Ebunola Agboola
Production Assistant: Adedayo Biyaosi
Runner: Vernal Donatus
Runner: Smart Song
BTS Videographer: Omowunmi Ogundipe
BTS Sound Engineer: Femi Adeleke
Lighting Technician: Ayinde Olamilekan
Lighting Assistants: Kolapo Omimi, TONY
Styling Assistant: Alfred Abiodun
Art Director: Ayeblue Gbenga
Art Assistants: Bashiru Opeyemi, Biola Adeola
Makeup Artist: Onome Ezekiel
Makeup Assistant: Ifeoluwa Aduloju
First Aider: Azeezat Olatunji
Graphic Designer: Jude Amponsah
Equipment & Location Support: Nexthought Rental

Read the full story here.

ICYMI: DAVIDO VS. THE WORLD

Amaarae is primed for another show of artistic brilliance with ‘Fountain Baby’

Posted on by Emmanuel Esomnofu

Amaarae couldn’t have been anything but a star. Not every great artist shows promise from early years, but hers was written in the skies. Almost like a promise, she’s consistently moved towards the fullness of her potential, making proud that brave girl who first wrote a song when she was thirteen. This Friday, the anticipated sophomore album of Amaarae, ‘Fountain Baby’, will be released, introducing a new phase in the career of an artist who’s become an essential presence in the present generation, Africa or the world. 

 

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In Amaarae’s journey, the sensibilities of geography is important. Born to cosmopolitan parents who moved between the United States and Ghana, she was exposed to a kaleidoscope of sounds early on. The soundscape of Afrobeats might be heavily influenced by the diaspora but few artists have embodied the totality of the diverse experiences between the distinct spaces between Africa and the world. Not like Amaarae, they haven’t. Her position in the scene thus shines with this singularity. 

From the 2017 project ‘Passionfruit Summers’, it was evident that an accomplished talent had started off their journey. With six songs totalling under twenty minutes, it was a wholesome representation of Amaarae’s artistic interests. You could place the folksy elements side by side with pop music, the skittering flows of southern American rap alongside emotive croonings reminiscent of an R&B classic on a rainy night. Whether it was Afro-inspired drums on “Sundays” or a muted Trap bounce on “Hawaii”, her autotune-licked vocals were consistently brilliant in their evocative quality. 

“Passionfruit Summers” had a jazzy tenderness that would fit perfectly in a black-and-white movie, while “Catching a Wav” adapted soft shakes from what sounds reminiscent of a Ghanaian percussion, demonstrating how closely Amaarae moves to home, even with her itinerary lifestyle. “Fluid” had a lyric that can be likened to Amaarae’s sound: “I’m feeling soft, fluid”. Simple, but it’s the delivery that brings the lush vision to life, a particular set-up into the music, career and personality she would come to embody over the years. 

Beyond the music, there’s an immediate appeal in the message of Amaarae. Her entry coincided with a period where African music was pushing onto global terrain, but it was also a period of established sounds. 2017 is credited as the year afro pop (read: West African pop music) slowed down, as the likes of Maleek Berry and Mr Eazi embodied a stirring sensuality. That however spawned masculine representation; on the other side, few were creating empowering songs dedicated to women, and then Amaarae stepped up. 

In contemporary society, the importance of online media has become paramount. Where ignorance used to thrive in the dark, the awareness of millions all over the world, speaking and sharing issues in the public has made more people knowledgeable about certain things. Especially matters with institutional depth, whose secrets are eagerly pried open by people who’ve experienced similar things or have dedicated themselves to learning about them. Amaarae belongs in the second category, a subtle enforcer of all philosophies feminine and fiery, whose lucidity of thought was captured in her music.

Listeners quickly learnt that in the songs of Amaarae, the woman is god. She is the centre of the universe, and everything pulls towards her. That strength of opinion was carried with an effervescent, almost dizzying swag, so that when online communities began championing her, she was well attuned to the nature and language of those spaces. Even till this present day, Twitter—whose opinionated streaks are the bane of many esteemed musicians—is like a playing field for Amaarae: she shares pictures, tinkers with ideas, and feels sexy. 

When the alternative community began prospering within Africa, it was only right, Amaarae was heralded as one of its biggest stars. Her knack for New Media saw her leverage on interviews and appearances to strike an image so distinct, it was immediately hers. Musically, she was a ravaging force, embodying the amorphous sensibilities of the movement’s great purveyors. Little reason why she features on many unanimously great albums from alte artists, including Cruel Santino, Lady Donli, and Odunsi (The Engine). 

Because the alte culture was crystallised in Nigeria, and Amaarae was collaborating and performing with the country’s artists more than she did any other place, she was considered Nigerian. This courted a playful but revealing conversation during one of those cross-country banter. Amaarae wasn’t solely Ghanaian; she was an experience, one that would resonate anywhere with anyone, given that person has embraced the same ideals of freedom, creativity and expression—basically, being cool. 

If her stunning verse on “Rapid Fire” forced previously casual listeners to pay closer attention to her, the performances that followed after solidified her status amongst continental icons. A global takeover was imminent.

‘The Angel You Don’t Know’ is so mesmerisingly good, it’s hard to believe it’s a debut album. The form was perfect for Amaarae’s powers to expand, fitting in many artistic and personal choices. Over a carousel of brightly coloured, eccentric beats she brought the world together. In almost direct opposition to the dominant depressive themes of the SoundCloud era she grew up in, Amaarae became a fountain of joy. Because her music makes you feel like your best self, you move in level with those standards. “SAD GIRLZ LUV MONEY” and its Kali Uchis-featured remix embodies this sort of intimate love for oneself. 

During the drab, unsure months of the pandemic, myself and other young men found ourselves meeting at a field, talking about recent events or doing some other stuff. It was against government law but honestly we didn’t mind much. Someone usually came with a speaker, and someone usually connected, blasting the sounds of the era. That way we didn’t miss the entry of Omah Lay as he admitted his nihilistic tendencies on “Bad Influence”, nor did we miss the zesty falsettos of Oxlade. We definitely didn’t miss the shimmering brilliance of Amaarae. 

Flouting popular expectations, I would play the most avant-garde music I knew, convinced somehow that newness would spark newness. And so one day “FANCY” came on, and from being unsure in the opening seconds, everyone was suddenly bobbing their heads. “Who sing that song?” a guy peculiarly known for his reserved nature asked. I tell him Amaarae and he nods. 

The success of ‘TAYDK’ wasn’t surprising. Yet credit must be given to Amaarae who followed up an excellent album with promotional grit and creative incursions into other pockets of culture. A young woman herself, she nurtures wholesome and rewarding friendships with other women, some who just happen to be very accomplished creatives. That network is nourished by everyone’s love for music, and so Amaarae moves with the ease of water, achieving astounding levels in her art, from the edgy fashion to the concept visuals. 

Not long after ‘TAYDK’, the seeds for ‘Fountain Baby’ were being sown. Amaarae’s rollout banked on the power of the subconscious, using the two words in social media captions and pictures. The phrase had a certain legitimacy before it came into being. And this means the words are taken from a deeper place, somewhere so unshakably true it wouldn’t lose currency even in the combative sphere of social media. 

In true style, Amaarae has led the moment up till this album well. “Reckless & Sweet” was a sweet tease of a record, pointing the artist in a direction that still utilised her strengths, but at a higher level than before. The boppy “Co-Star” was given the lead single treatment: intriguing visuals, a star-filled cast which included Deto Black, The Clermont Twins and Moyosore Briggs, and an even bigger creative room. Although featured in ‘Fountain Baby’, those songs do not capture its larger intent. It’s a crucial choice of secrecy, like how the movie trailer shouldn’t reveal the highest points of the storyline. 

“I wanted it to feel like a worldly album that takes inspiration from everywhere,” said Amaarae in the album biography which was made available to The NATIVE. Subsequently, it was an exercise in adoration and curation. From channelling divas of 2000s American pop to sampling a Japanese folk song, right to retaining that glitzy rock edge most associated with alte and keeping in-tune with the rhythmic energies of Ghana, the album bares it all. 

And so, a new era begins. ‘Fountain Baby’ is a generous act of replenishing, as Amaarae pours into the same vessels that have brought her here. Continuing the sprawling discourse on gender and identity which began with ‘TAYDK’, the sonic liquidity ensures Amaarae continues to push her craft. And through that journey, listeners would have those striking vocals and cadences, telling the most empowering stories in revealing ways, so that by the time its post-release promotion starts, one thing would be clear: Amaarae is in a league of her own. 

ICYMI: A BEST NEW MUSIC SPECIAL ON A 3-SONG SEQUENCE FROM AMAARAE’S LAST ALBUM

What’s Going On: Internet Restrictions in Senegal, Suspended Strike in Nigeria & More

Posted on by Uzoma Ihejirika

“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.

SOCIAL MEDIA RESTRICTED AMIDST PROTESTS IN SENEGAL

Late last week, Senegal’s government ordered mobile network operators to sporadically shut down internet services and block social media platforms for hours at a time. The restriction is due to the protests that broke out following a court’s sentencing of opposition leader Ousmane Sonko to two years in jail. Two years ago, Sonko, of the Patriots of Senegal for Work, Ethics and Fraternity (PASTEF), was accused of raping a massage parlour attendant, with many Senegalese claiming that the accusation was politically-motivated to keep him from running for the presidential office in the future.

Protests broke out in 2021 when Sonko was arrested and charged to court, with 12 people reported dead during the demonstrations. On Thursday, the court acquitted Sonko of the rape charge but he was sentenced to two years in prison for “corrupting young people,” a nebulous judgement that would make him ineligible for the upcoming general elections in 2024. The protests that have since followed have turned violent, as state forces are meeting demonstrating civilians with armed measures. Over 15 people have been reported dead, while over 500 have been arrested for exercising their rights to protests.

With internet services still patchy, WhatsApp being shut down, and citizens taking to VPNs to access social media, there’s been little digital support in organising and mobilising during these protests. Currently, there’s no timeline for when these measures will be eased, with poor and non-existent internet service continuing as of Monday afternoon.

NIGERIA’S UNIONS SUSPEND STRIKE OVER FUEL SUBSIDY

Nigerian labour unions—Nigeria Labour Congress (NLC) and the Trade Union Congress (TUC)—have suspended the proposed nationwide strike scheduled for Wednesday after meeting with government officials at the Presidential Villa in Abuja.

Both unions had planned to protest against the removal of fuel subsidy by President Bola Tinubu in his inaugural address on 29 May. The president’s announcement, which didn’t have a specific date, caused petrol prices to jump over N500 per litre in different parts of the country. Last Wednesday, fuel marketers increased the price of petrol to at least $1 (£0.80) per litre – up by about 200%.

The price hike caused queues at petrol stations as people took their jerrycans and cars to jostle for fuel. All these years, Nigeria, an oil-rich state, has been unable to refine crude locally. President Tinubu stated that the government could no longer afford to subsidise fuel because of dwindling revenue.

DEMONSTRATORS PROTEST TAX HIKE IN KENYA

Kenyan Police on Tuesday fired tear gas at demonstrators in the capital Nairobi opposing the Finance Bill 2023, which seeks to implement increased taxes.  The protestors, numbering up to 100, marched to the parliament building, holding placards, flags, and whistles, and chanting slogans against the bill.

The proposed bill aims to implement tax changes aimed at expanding the tax base and generating revenue to meet the government’s ambitious budget of KES 3.6 trillion ($25.89 billion) for the year 2023/2024. It also fixes tax hikes on items such as fuel, food, beauty products, etc.

In an attempt to disperse the protesters, the police fired tear gas canisters into the crowd, and several people are reported to have been arrested. The general public has criticised the actions of the police and Amnesty Kenya has called for the release of the people arrested, stating that “#RightToProtest, express oneself, & participate in public discourse is SACRED under our Constitution and international law!”

10 DRC CONGOLESE REFUGEES KILLED IN KHARTOUM BOMBING

Ten refugees from the Democratic Republic of the Congo (DRC) have been reported dead as a result of a bomb attack in southern Khartoum on Sunday.

Since fighting started in Sudan on April 15, citizens and refugees from neighbouring countries have been forced to deal with the horrors of the situation In a statement read to the press by the Congolese Minister of Foreign Affairs, Christophe Lutundula, he said he had learned “with deep consternation” of the death of these ten nationals, “killed by bombardments carried out on Sunday at 1 pm on the campus of the International University of Africa in Khartoum.”

“I am shocked and saddened by reports that at least 10 refugees living in Sudan have died in an attack in Khartoum. UNHCR is trying to reach and provide support to survivors,” Filippo Grandi, United Nations High Commissioner for Refugees, said on Twitter. “All civilians are in danger in Sudan. Guns must be silenced if lives are to be saved and aid delivered.”

[Featured Image Credit: DayFR Euro]

ICYMI: EVERYTHING WE KNOW SO FAR ABOUT THE CONFLICT IN SUDAN

NATIVE Selects: New Music From Tiwa Savage, Bloody Civilian, CKay & More

Posted on by Emmanuel Esomnofu

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.

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

TIWA SAVAGE – “PICK UP”

Having got off the year to a great start with “Stamina”, Tiwa Savage is consolidating on its success. She calls up the magic fingers of Blaise Beatz, whose Amapiano production is polished with breezy flourishes. Tiwa’s writing accounts for a lover’s unrequited style, choosing to move forward with her own heart intact. It’s a powerful record with groovy finishes, indicating that this one would rock the dance floors sooner than later.

BLOODY CIVILIAN – “ESCAPISM”

Ahead of her scheduled debut EP, the talented Bloody Civilian has shared a new record. “Escapism” is much like the music she creates; with the contemporary touch of log drums, the sonic landscape is broadened through the infusion of ethereal elements in the background. There’s also the progression of EDM-esque synths and vocalisation, proving the auteur appeal of Bloody Civilian’s music. With the songwriting obscure and yet focused, it’s a beautiful record that sets up her imminent release.

BURNA BOY – “SITTIN’ ON TOP OF THE WORLD”

Years deep into performing around the world, Burna Boy has reasons to be celebratory. His new clinks glasses to that mood, right from the statement of its title. Slightly referencing “Last Last”, he samples Brandy in this early noughties R&B-reminiscent number. His vocals layered with precision and feeling, it’s a feel-good capsule ready made for summer. 

OLAMIDE FT. ASAKE – “NEW RELIGION”

It has been barely weeks since the YBNL duo featured on a song together, but they’re already consolidating on that creative run. This time it’s Olamide featuring Asake, both artists giving a quintessential account of their skills. With Asake’s word bending meeting an assured rap verse from Baddo, it’s a song with obvious cues from the corridors of power. As Olamide raps, “Only dead fish go with the flow”. 

KCEE – “OJAPIANO”

In the hands of Nigerian artists, amapiano has been constantly updated and paired with other sounds. However, KCee might just have curated the most innovative pairing yet. “Ojapiano” merges the spiritual grooves of the Igbo flute oja with amapiano log drums. The result is a vivid reconstruction of legacy genres, creating an effervescent mood that sounds ready made for TikTok dominance. 

ZINOLEESKY – “A1 (FEELING DISORDER)”

Zinoleesky has been in the news lately for non-musical reasons, from the tiff with Seyi Vibez to buying a new Ferrari. But as he’s been known to do, he’s very intent on associating his person with the music. “A1 (Feeling Disorder)” revives that motivation; with bouncy drums from frequent collaborator Timi Jay, it’s a sensual record which would light up a dancefloor as easily as it does the bedroom. An A1 song, literally. 

ODEAL & BRAZY – “BE EASY”

After months of teasing the snippet across social media platforms, the highly anticipated track is finally here. Odeal enlists Brazy for a breezy tune which samples the latter artist’s standout single, “Attends,” within a mellow, slowed down soundscape. Still retaining the track’s iconic hook, “Be Easy” showcases Odeal’s dulcet vocals, accompanied by rhythmic piano chords and repetitive clapping embellishments that give the track an undeniable edge.

SIGAG LAUREN & RIC HASSANI – “MINDS ALREADY MADE UP” 

Ahead of a forthcoming project, musician Ric Hassani and EDM producer Sigag Lauren have released a new single. Hassani’s passionate vocals find solid footing in the fleeting synths of Sigag’s production. As he’s demonstrated from variant angles, Ric’s writing is influenced by romantic conflict, and here the mood of a character who’s decided to mood on enters the music. By all means a fine pairing, this sets up the project very well. 

GUCHI – “ALL OVER YOU” 

The underrated tag is one that’s been thrown around recklessly in recent times, but if there’s one artist who hasn’t gotten their deserved flowers, it’s Guchi. With several hit songs and affecting deep cuts under her belt, her acclaim somewhat falls short of her talent. Her latest two-track release which includes “All Over You” aims to resolve that. A breezy love account, it’s a vivacious record with dramatic flourishes. 

PHEELZ – “YOLO” 

Since breaking out as an artist, Pheelz has supplied a good number of bubbly records to Afropop. “YOLO” extends that vision: with signature crowd vocals, it’s a song which celebrates the primal instinct to live life. Of this mood, Pheelz creates an elaborate musicality around, not only thrilling on a writing level but visceral as well. 

JAE5 FT. LOJAY & LIBIANCA – “I WISH”

Increasingly collaborating with African artists in recent years, Jae5 features the emotive duo of Libianca and Lojay on this one. “I Wish” bares all the hallmarks of the heartbreak song, introduced by Lojay’s dulcet vocals and polished with a serenading verse from Libianca. With a stripped atmosphere, it’s a record crafted with cold nights and wine in mind. 

CKAY – “NWAYI” 

Never one to take his foot off the gas, CKay has been typically prolific this year. Following up on the Blaqbonez-featured “HALLELUJAH”, he’s now returned to the mid tempo terrain he flexed on his ‘Sad Romance’ album. Incorporating endearing Igbo phrases to the verse, he crafts a sweet record that embodies the head-spinning highs that comes with being in love. 

MOONLIGHT AFRIQA – “LOVE DIMENSION” 

One of the most promising young talents around, Moonlight Afriqa has released his debut single “Love Dimension”. A riveting single, it showcases Moonlight’s fine grasp on contemporary Afropop, in sound and language. His singing bares all the emotive qualities of the classic love song, though his is brilliantly situated in the context of Nigerian experiences. Primed to become a superstar, Cosign Music has someone solid in their books. 

RUKMANI – “SO FINE”

Having released her single not long ago, Rukmani has proven herself as an artist to watch out for. Her scintillating vocals carry her sharp sense of self, as heard on her new record. Featuring Duduboy, it’s a stripped account of infatuation and celebration, an ode to the attributes of a love interest. Her guest amplifies the narrative quality, presenting an alternate perspective on the topic. 

1DA BANTON – “OMOTOLA” 

Releasing the ‘1Da Shall Never End’ a short while ago, 1Da Banton has now premiered visuals for “OMOTOLA”. The song is a vivid reinterpretation of afrobeat, carried on the musician’s distinct vocals. Considering the myriad successes 1Da Banton has recorded over the year, this is a fine extension of his acclaim. 

BASIIL – “VIBRATION”

The soundscape of Afropop has seldom had a more vibrant scene. Partly due is the influx of rising artists whose sound colors outside of typical expectations; one of such musicians is Basiil. His new song “Vibration” flexes his vocals over a distinct production, while his writing aims at an impressive level of relatability, at some places quite reminiscent of Adekunle Gold. You should check this out. 

COZY KIYO FT. KONDÉ OKO – “I.J.G.B”

One of the more visible names creating bedroom pop, Cozy Kiyo has been expanding his artistry. That development is evident on “I.J.G.B,” his new single which features Kondé Oko. An atmospheric number, it’s a groove with smooth movements and narrative clarity. It situates dramatically a character in the fore, with both artists singing endearing her personality on the minds of listeners.

Off his ‘HI, I’M LULU’ comes this personal record. In conversation with the themes of psychological distress that’s rife in modern Afropop, it’s a striking account that’s delivered with sufficient evocation. The songwriting culls the nuances from Pidgin English, demonstrating the Abuja based singer’s grasp on the language of now. In all, it’s a noteworthy project. 

Watch the Cruel Santino-directed video for ODUMODUBLVCK’s “DOG EAT DOG II”

Posted on by Damilola Animashaun

After several teasers across social media, the video for ODUMODUBLVCK’s “DOG EAT DOG II” is finally here. Directed by Alté frontman Cruel Santino, who also features on the song alongside Bella Shmurda, the music video adds another feather to ODUMODUBLVCK’s rising popularity in Nigerian pop culture space. 

“DOG EAT DOG” was a 2022 release that played a major role in ODUMODUBLVCK’s current ascent. With its catchy melodies and bounce, the UCEE-produced track is ODUMODUBLVCK’s love letter to his craft and the attention he gives it and receives from it. An earlier music video captures the fun and swagger of the track, bringing more eyes to ODUMODUBLVCK’s fashion style and on-camera charisma.

Shortly after “DOG EAT DOG,” ODUMODUBLVCK signed to NATIVE Records and began the fine run of form he’s currently on with the well-received singles “PICANTO” and “DECLAN RICE.” The success of those songs has translated into wins on music charts and playlists, as well as the co-signs of fellow music stars in Nigeria and in the diaspora. He has also kept up the flame with impressive turns as a featured act on the tracks of other artists.

With the version two of “DOG EAT DOG,” ODUMODUBLVCK kills two birds with one track: Cruel Santino is a revered figure in the Alté music space and Bella Shmurda is a major name in the street pop scene; marrying both forces on the track is ODUMODUBLVCK’s way of consolidating his place by reaching new audiences. Tapping Cruel Santino to direct the visuals of the track allows the former to concoct a world that is a welcome creative challenge for ODUMODUBLVCK and Bella Shmurda.

The video for the “DOG EAT DOG” remix bear all the creative identities of a Cruel Santino flick: elements of Old Nollywood and a moodiness that feels immediately soothing. Through the images, the video combines the unburnished qualities of old Nigerian films and the fashion style of the 90s and early 2000s. ODUMODUBLVCK and Cruel Santino also play the roles of gun-toting men who do not mind entering risky situations for the benefit of their lovers.

All three artists give enjoyable performances in the video but Cruel Santino’s expert directing skills steal the show. With this video, ODUMODUBLVCK chose well to hand the reins to Cruel Santino, who adds another layer to ODUMODUBLVCK’s song and also highlights why his works as a music video director are one of the most interesting in contemporary Nigerian music.

Featured image credits/

NATIVE Exclusive: DLT’s legacy creating wholesome Black experiences

Posted on by Uzoma Ihejirika

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

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

 

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

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

Image Credit: DLT

Image Credit: DLT

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

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

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

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

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

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

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

Featured image credits/DLT

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

Posted on by Uzoma Ihejirika

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

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

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

 

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A post shared by Wande Coal (@wandecoal)

“NOBODY HOLY”

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

“COME MY WAY”

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

“3 SQUARE MEAL”

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

“DUES”

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

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

“E CHOKE”

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

“LET THEM KNOW”

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

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

“STREETS” FT. T-PAIN

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

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

“KPE PASO” FT. OLAMIDE

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

“EBELEBE” FT. WIZKID

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

“GENESIS”

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

“JABO” FT. FIREBOY DML

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

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

“SHO MA GBA”

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

“DON’T FEEL LOVE”

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

 

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

Posted on by Emmanuel Esomnofu

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

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

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

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

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

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

Posted on by Nwanneamaka Igwe

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

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

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

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

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

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

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

Featured Image Credits/The NATIVE

uNder: Best New Artists (May 2023)

Posted on by The Native

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

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

Joshua Baraka

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

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

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

Zee Nxumalo

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

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

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

KEMENA

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

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

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

UGOCCIE

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

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

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

HAGAN

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

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

YARDEN

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

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

Written by Emmanuel Esomnofu, Dennis Ade Peter & Uzoma Ihejirika

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

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

Posted on by Uzoma Ihejirika

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

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

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

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

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

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

Stream ‘Tio Tequila’ below.

ICYMI: THE AWE-INSPIRING EVOLUTION OF ADEKUNLE GOLD

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

Posted on by Emmanuel Esomnofu

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

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

 

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Posted on by Emmanuel Esomnofu

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

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

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

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

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

 

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

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

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

ICYMI: NIGERIAN MUSIC TO THE WORLD – THROUGH HOLLYWOOD