A 1-Listen Review of Mohbad’s New Album ‘Blessed’

Posted on by Emmanuel Esomnofu

Stars are abound in the Afropop galaxy, but Mohbad shines a different light. Since entering the scene, he’s united a fusion of eclectic elements in his work, impressing his talent on audiences within Nigeria and beyond. Last year’s contractual difficulties with Marlian Records led him to break away from the label, but Mohbad continues to renew his appeal by honing in on his sonic strengths. Through brilliantly rendered songs like “Feel Better” and “Ask About Me”, he’s kept himself in popular discourse, cornering the angles for a project drop that solidifies his new path.

 

View this post on Instagram

 

A post shared by MOHBAD 💡🕯 (@iammohbad)

‘Blessed’ comes with that motivation. Released earlier today, it has eight tracks and features Bella Shmurda and Zlatan. These interesting pairings nod in the direction of Mohbad’s fuji-informed street hop origins but also his tendency to really rap, which contributes to the distinct colours in his music. He’s surely had a fine run-up to this EP, so it would be enthralling to witness his approach to this sophomore body of work. Let’s get it on. 

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

“BEAST & PEACE”

Army band-type drums starting out this one. Very atmospheric, it’s like a dove hovering above a streak of dark clouds. Mohbad is really spitting; I love this reserved flow. Every word is hitting, the cadence is quite Reminisce-esque. “You don’t have to hurt me before you win” is such an heartbreaking line. I’m feeling this; personal openers are the norm but few approach it with fresh perspective. This mention of Bella—their friendship is so wholesome. A rarity in the music industry, I tell you. Solid opener; perhaps the best I’ve heard all year. It’s surely up there. 

“SABI”

Grooves are put front and back of this one. This production is alive and mellow; I love the tone of the drums. Mohbad’s singing never fails to be evocative: he studied the greats, you can tell. It’s songs like this that make me wish I could hear the Yoruba language. Mohbad knows how to take it to church; I wonder how much religion influenced him growing up. The violinist here has been stellar as well; these first two songs just sink you into a reflective, poignant, but ultimately grateful mood. There’s something about the musical quality that sounds like the aftermath of struggles and tribulations. 

“ACCOUNT BALANCE” FT. ZLATAN 

This is the most street hop song on the tape so far. I wonder who’s the producer behind that ‘meduwa’ tag; he’s become the owner of this bounce. It’s a very bouncy, catchy song. Coming from the energy of the first two songs, perhaps a mid-tempo could have settled the vibe a bit better. I like this song as a stand-alone, and would probably break a few chairs in the club to it, but it was an abrupt choice for the pacing. You’d like it though; some close friends say I tend to overthink. 

“OMO MI”

Mohbad’s ear for beats is underrated. He’s hardly picked a bad beat throughout his career, and his understanding of their nuances also reflects in how he utilises his vocals. He’s skating over this one, it’s what I mean to say. When he gets into that smooth-sounding delivery, where his vocals barely rise over a whisper, the richness in his vocals comes alive. This song is such a good song; it does everything, from motivating the listener to making her feel sexy. I admire coherence, but I also enjoy the ability to be different things at once without losing one’s essence. Everything is everything. 

“BLESSING”

“Many people say me I dun too fumble,” sings Mohbad some lines into this one. His awareness of self is beneficial to the music. His vocabulary is quite expansive if you peep it; he’s able to relay very conflicting emotions easily. Everytime he performs he puts the merit of his celebrity under perspective, especially with the gory past of the label conflict. He’s willing to grow in public and that carefreeness reflects most especially on this song. Banking on the grace of God, he makes the case for his continued development, through the essential act of creating music like he’s always done.

“LA PIO PIO”

Niphkeys tag—I know this is about to shut down clubs. The intent to party is not hidden; the mysterious feel of these drums are synonymous to the Lagos nightlife where anything is said to happen. I’m currently in the most serene place possible so it’s just my legs swinging; I feel a bit estranged from the vibe. But I know this will bang on club speakers; the chorus is also structured in a way that would inspire dance moves and chants. Don’t be surprised if this becomes the breakaway hit from the project. 

“ASK ABOUT ME”

Amapiano makes the cut, finally. Lol. Jokes apart, it’s quite the sonic feat that Mohbad made it seven songs into this project before having the familiar log drums. Even their adaptation here is novel; it’s moving with a breezy splendour, while the soft synths and trumpets alongside it makes the production more dynamic. Having one of the best vocal deliveries in the game, Mohbad makes light work of the beat. When he sings “ask about me,” he’s really about that talk. It’s remarkable how consistently evocative Mohbad has been over the years. These female backups, golden. Great song, man. 

“PARIWO” FT. BELLA SHMURDA 

When I heard the snippet of this song, I really liked the direction. Now Bella’s starting out; man, this guy’s vocals have a vulnerability that borders on spiritualism. He’s open to the emotions of living. He’s left the beat now, though, and Mohbad is riding it with a more fun streak. “I just let you know” is such a simple lyric but Bella makes it sound like a passionate theory from a 19th Century philosopher. He’s the unique quality in this record, but his host deserves credit for also working towards his strength. Short song, but you’d surely return. Boasting dance and demons in almost equal measure ranks a fine spot in the achievements of contemporary Nigerian Pop.

FINAL THOUGHTS

The sophomore slump is one of the most believed myths in music history. An artist turns into their personal life—the pains and triumphs–to create their debut, and when the second comes along, the material is exhausted or weakened. We’ve seen artists fail to replicate the spark in their early work, but for some others, the mundane is potent for vibrant sounds to emerge. Mohbad belongs in the latter category. 

Where his first project, the pandemic era-released ‘Light’, bore his signature traits, the affiliations with his former label and his relative newness to celebrity life somewhat blurred his vision. Societal accounts made for reflective bops, but here he’s created a transcendental body of work. A project which endures, and moves endlessly with the inner tensions of the creative. ‘Blessed’ is a narrative masterpiece, uniting the past, present and future through an assortment of stripped, spiritual sonics. 

Mohbad delivers like someone who’s got something to prove, while for large parts ignoring the obvious elephant in the room. What this does is embolden his perspective, pushed to delve into himself and unearth ideas that had previously only appeared on surface level. As a pop project, these eight tracks also colour the mainstream with an ingenious energy, turning the light back to the scene as the musician bares his ever-evolving perspective. 

Stream ‘Blessed’ below.

Featured image credits/NATIVE

ICYMI: Exploring “Ojapiano” & the evolution of Nigeria’s most spiritual flute

From Folk to Pop: The awe-inspiring evolution of Adekunle Gold

Posted on by Emmanuel Esomnofu

Of Adekunle Gold’s evolution, much has been said and written. Although people informed in the workings of Pop music and everyday listeners, to a lesser extent, expect musicians to freshly execute their ideas, few are able to progressively do so. Since the release of his eponymous debut album ‘Gold,’ six years ago, every aspect in the artistry of Adekunle Gold has blossomed, into a flamboyant and calculated presentation. 

Coming off the back of well-received singles, the luscious R&B collaboration with Lucky Daye on “Sinner” and the Davido-assisted Amapiano-laced blockbuster “High,” ‘Catch Me If You Can’ was released on February 4th. Among the slew of exciting music being put out right now, Adekunle Gold’s listenership is cemented, owed to several artistic reasons but mostly for his songwriting which has been nothing short of stellar in recent years. Asides the obvious changes in style, AG’s pen has been the biggest indicator of his sonic development.

His earliest songs basked in innocence as he hadn’t gotten the experiences he would become familiar with as he moved upwards in the world. On “Sade,” a Folk-Pop ballad which covered One Direction’s “Story of My Life“, Adekunle Gold fills the record with dreamy-eyed perspective as he pleads a woman’s hand in marriage. Coasting on indie Rock-inspired strings and the melancholic violin, Gold’s svelte voice swelled and relapsed, and in its Yoruba parts demonstrated the artist’s strengths: taking indigenous traditions into Western styles and vice versa.

Born into the Kosoko royal family of Lagos, he grew up listening to the expansive guitar grooves of Juju maestros, particularly Chief Commander Ebenezer Obey and King Sunny Ade who is listed as a writer on the titular record of ‘Catch Me If You Can.’ These influences permeate the musician’s debut album, detailing stories in the manner of folklore and embellishing them with vivid drumbeating and praise chants.

Adekunle Gold might have been inspired by age-long traditions but he sang about the simple details of life, such as falling in love, being a fool in love, encouraging hard-work as the underlying factor for success, or simply just appreciating nature. This everyday perspective has been explored on varying levels by the likes of 2Face Idibia, Asa, Black Magic and Sound Sultan, and like most of those precursors, Adekunle Gold was an outlier for what was otherwise popular. In the mid 2010s the Wizkid-Davido dichotomy was approaching its peak, and from either camp, boisterous, electronic-generated bangers were pouring forth. Artists like Tekno, Yemi Alade and Mr. Eazi were making some of the most impressionable records in Nigerian music, connecting decades of musical history as they explored Pop and Highlife for modern audiences. A newly-ascendant Kizz Daniel turned bubbly beats from DJ Coublon into romantic bops which won him the Headies Album of the Year over other nominated projects, which included AG’s ‘Gold.’ 

The album was still among the phenomenal debuts of its day. It debuted on #7 on the Billboard World Music Chart, which is telling of Adekunle Gold’s supposed “lane” considering the connotations of otherness associated with the category. Back home, he was praised for his singularity and loved by a wider demography than most of his contemporaries. And although his style was indie-influenced, his affiliation with YBNL and Olamide burnished his street credibility. For a while, this spot seemed comfortable for him. There was no foreseeable reason to switch it up, which is exactly what he did two years later.

Adekunle Gold stretched his vision considerably on ‘About 30,‘ his sophomore offering. Looking back, its cover art was indeed telling: where he was donned in khaki-colored agbada on ‘Gold’ and looking straight at the camera, ‘About 30′ is inverted as it features him sitting on a horse facing sideways—suggesting movement and possibly growth. “I’m not a sucker for genres,” he said to The NATIVE after its release four years ago. “I’m growing, exposing myself to new music, new instruments and new sounds.”

The album featured a wider cast of artists, blending Seun Kuti’s saxophone into the didactic “Mr. Foolish” and creating a seismic hybrid of eastern and western Highlife with the masterful Flavour on “Yo Yo”. Across diasporic lines, he formed a creative partnership with the British-Nigerian singer and songwriter Dyo, who delivers stunningly on “Down With You”. However, the biggest indicator of Adekunle Gold’s evolution came on “Damn Delilah,” the album’s fifth track. It is a song about the wrongs perpetuated by one party in a relationship he previously believed to be reciprocal.

His angst bore into the opening line—“To hell with you Delilah, you made me weak and left”—and for the rest of the song, Adekunle Gold depicts the chaos of a mind betrayed, with lyrics like “I use to think you took my breath away/I lied, I was choking on your bullshit”. This was the introduction of dangerous desire to his catalogue. The inspiration is revealed later on the album, where he poetically considers the trappings of “Fame,” embracing the familiar route of entertainers who’ve been thrust onto the spotlight. How then does one remain a people’s person without sacrificing the soul of their artistry? This might be implicit suggestion of Adekunle Gold when he sings, “everyone says don’t change but how will I grow?”

Adekunle Gold, by then, was likely recording the songs which made ‘Afro Pop Vol. 1’, released two years later in the midst of a global pandemic. 2020 taught the world to embrace art (especially music) as a personal endeavour, one that lives with the musician long after the media machinery has returned to other concerns. As disclosed in interviews, Adekunle Gold recorded most of ‘Afro Pop Vol. 1′ in his closet which affects a quality of closeness not found in the manifold expressions of ‘About 30′. The simmering sensibility rocks right at the start, on the collaboration with Trinidadian singer Nailah Blackman, whose glossy vocals produced the unforgettable chorus of “AG Baby,” where she repeatedly sings, “gimme that, gimme that bop/AG Baby, baby don’t stop.” It doesn’t just share electronic music flourishes with the last song of ‘About 30′ (“Call On Me”), the thematic subjects were linked. On it, Adekunle Gold had sang “call on me if you need somebody” and here he was the next album beginning with a name-calling song. Such subtlety marked the start of Adekunle Gold’s progression from a lovelorn lover to a legitimate hitmaker whose desires are bound to be met, and his image and fashion played a dominant role in that.

While he dabbled in Folk infusions that earned him the ‘alternative’ tag among listeners and blogs of the day, Adekunle Gold also walked the walked and dressed the part. The simplicity of his records were matched by the unassuming nature of his trademark Adiré outfits and beaded jewelry. In place of the sassy braids he wears today, he used to be comb his hair into an afro. The seven months between the releases of “Call On Me” (in July 2018) and “Before You Wake Up” offered the earliest traces of his evolving image. On the former, Adekunle Gold reminisces about being about with a lover on the streets of California, losing her and then making up in the colourful ending scenes of Moye Oyelola’s visual. He stuck to the direction on “Before You Wake Up,” keeping the dyed outfits at bay, rocking patterned shirts or colourful one-piece coats, his designer sunglasses smashing. He references the process when he sings, “I fit change for you/ I fit bad for you; I fit change my style o.”

There’s no doubt the possibilities broadened for Adekunle Gold following his seamless evolution from his first pair of albums to ‘Afro Pop Vol. 1′. However, through it all, his personal life acted as a sort of diluting agent, balancing his growing prowess and showing that, at heart, he’s still the same old ‘Kunle. In early 2019 he married his longtime lover, the artist and music engineer Simi, in a private wedding ceremony in Lagos. Outspoken and funny, both Simi and Adekunle are known to tease and banter themselves on the Twitter timeline, prompting discussions into the haven their home could be. Still, that inner perspective was denied the fans by both musicians, whose first child came a year later. Simi would announce baby Deja on the video “Duduke,” an affectionate record which trended massively in the months after release. 

“Every day,” said AG in an interview, “I think about how I have a job to raise a beautiful queen and in this crazy world that we’re in, you know it’s hard work. I’m grateful to be a girl dad, it’s made me even more aware of how crazy it is to raise a child in this new age so I’m more in tune with everything I need to do to be a responsible dad and a great man at large.” 

This familial background doesn’t just inform Adekunle Gold’s sensitivity (as seen in his intimate letters to his fans and the tour bus experience of Afro Pop’s rollout) to strengthening relationships, it allowed him explore a wider spectrum of emotions across his third album. From the apologetic outlook of “Sabina” to the delicate angst of “Something Different,” the album echoes the complex palette evoked by the Nigerian artist Anthony Azekwoh on the cover of “AG Baby”. Regardless of where he turned, whether it was the overtly sensual nature of Caribbean Pop (“Pretty Girl”), the not-so-humble braggadocio in the style of rappers (“Okay”), the back-and-forth of lovers in an open relationship gone wrong (“Exclusive”), or damning excuses and admitting mortal shortcomings in the Tekno-featuring “Firewood” and closer “My Ex”—Adekunle Gold sounded right at home. His new act was mastered.

In the seventeen months since that album was released, a lot has happened for Nigerian music. After the pandemic inspired an unprecedented level of productivity among artists, the world slowly opened and discovered the vast brilliance of artists from these parts, blurring identity and genre in their creative outputs. The archive of great Nigerian pop moments was massively updated during this time—several albums became global classics, international concert arenas were sold-out in minutes, songs became mainstays after being popularized on social platforms like TikTok and Triller, international collaborations didn’t seem like the novelty they used to be. Musicians were especially intent in growing their images to evolving modern standards. As seen in the case of Tems and CKay, the journey from scenic acclaim to global superstar has been shortened by technological advancements, and nobody wants to miss out on that.                       

‘Catch Me If You Can’ portends Adekunle Gold’s bragging rights for being ahead of the curve. At thirteen songs, the album is in-tune with contemporary preference for brevity. Celebrating his birthday a week before the album’s release, the artist wrote about his joy on having “almost everything he ever wished for” and the album pours with a profound sense of gratitude while simultaneously spelling opulence in a fashion unlike anything Adekunle Gold has done before. His producers are as varied as Spax and TMXO, both responsible for some of the most iconic Rap songs out of the country; he also taps the protean Pheelz and Blaise Beatz, whose “uber” tag has become almost synonymous with an AG song; both Que Beats (“More Than Enough”) and Tay Iwar (“Sleep”) turn in exquisite production streaked respectively with electric and soulful guitar-playing.

Asides the production, the engineering on this album shines with deliberation in regards to movement and sequencing. Each song owns its space, but ultimately contributes to making the album an enjoyable body of work. And though the features are notably international, from the American R&B stars Lucky Daye, TY Dollar $ign and Fousheé; to United Kingdom’s Stefflon Don and the France-based Malian folk singer Fatoumata Diawara (Davido is the only Nigerian feature), Adekunle Gold’s core inspirations remain pan-African. A number of songs are sketched from Highlife-esque sonics, with bright guitars and elemental melodies; of them all, “Selah” is most remarkable, continuing the “Damn, Delilah” arc by taking shots at an old lover. But whereas “Damn, Delilah” saw him reeling from the loss, down and bad, “Selah” exudes more grace in letting one’s source of pain go–he’s not the loser here: “I’ve never loved you less/ Even though you bring me stress/ It makes no sense/ But leaving you na self defense.”

It’s been a consistent journey for AG Baby. He’s come a long way from recording his first song as a teenager, later forming a boy band with his friends. Heck, the dreamy-eyed country balladry of “Sade” feels like lifetimes ago, different from the style and substance of the Adekunle Gold we know today. He’s embarked on what is perhaps the most admirable transition from an indie-leaning act to a pop superstar, becoming the gold standard for what is possible in music and branding.

For someone whose first popular moments came from doing photoshopping himself alongside celebrities, it’s quite monumental witnessing the celebrity Adekunle Gold has become today. At this stage of his ever-sprawling career, a line of his would suffice: “It is what it is.”

ICYMI: AFROPOP REVOLVES AROUND NIGERIA, FOR BETTER OR WORSE

NATIVE Selects: New Music from Wizkid, Nasty C, Tekno & More

Posted on by The Native

Every week, new music shows up, sweeping fans and music lovers off their feet while artists gauge reactions to know the effect of their creativity. At the NATIVE, we are committed to keeping our ears on the pulse of the music scene and bringing the best sounds to your doorstep.

In our last edition, we brought you new releases from Burna Boy, Fireboy DML, Lady Donli 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!

WIZKID & DJ SPINALL – “LOJU”

Heavy log drums and light shakers have become commonplace in Afropop in recent times and I’m not mad at it. For the recently released “Loju,” DJ Spinall and Wizkid join forces with one of the most sought-after producers at the moment, Blaise Beats, for a magical rendition with Wizkid. The track is introduced with intoxicating instrumentals, accompanied by whimsical adlibs by Wizkid. He expertly rides the wave of the beat as he smoothly serenades his love interest, “Tonight I want you, only you// Na only you I wan dey run back to.”

Nwanneamaka Igwe

ODUMODUBLVCK – “FIREGUN” FT. FIREBOY DML 

Ever since making his entry on the scene, ODUMODUBLVCK has been intentional about his musicality. He sings as well as he raps, while his continuous homages to popular Nigerian culture have proved a winning formula. On “FIREGUN,” it’s the bounce of early to mid-2000s music he channels, stacking sensual innuendos into the mid-tempo groove. Fireboy DML turns in an evocative shift, his R&B roots more visible than he’s shown in recent times. The result is a song true to its creators, while its stylistic revelry reaches a colourful and groovy effect. 

Emmanuel Esomnofu

TEKNO – “PEACE OF MIND”

Nigerian singer-producer, Tekno, is in a self-reflective mood for his new single as he preaches about trusting the process and shutting off all exterior noise. He is assisted with lush guitar keys and a steady, rhythmic beat as he explains the benefits of patience in a journey like his. The song holds a strong message with a captivating hook that goes “Peace of mind is underrated, that’s why I’m patient because I know my time is now.”

Nwanneamaka

YEMI ALADE – “FAKE FRIENDS (IRÓ ÒRE)”

The concept of fake friends is quite popular in Nigerian circles. People aren’t what they seem, and everyone should selfishly guard their hearts and interests. On that note, Yemi Alade’s new song adapts the trope to deliver a typical groove. Fast-paced loops and a buttery drum base provide the landing for her assured singing, as she unfurls old tales about being slighted. It’s a trite theme, but she makes good of the vibrant production, her vocals effervescent and delivered in good measure. 

Emmanuel

NASTY C – “NO MORE”

With a recent appearance on the freestyle platform Fire in the Booth, South African artist Nasty C has been making plans for his forthcoming studio album. He offers a peek into what he has in store for his audiences with the latest single “No More.” The song is a grass-to-grace tale of Nasty C’s rise to stardom and his determination to be one of the best rappers of his generation. With “No More,” courts and heightens attention for his album.

Uzoma Ihejirika

CRAYON – “MODUPE”

It’s been a while since Crayon released new music, but for sure, the talent’s never been in doubt. In the presence of any naysayers, the Mavin Records artist’s new song culls in light ‘piano drums to reflect the oneness of his existence. Thankful and boastful in equal emotiveness, it’s a cherry-toned song which reiterates Crayon’s distinct approach to crafting bangers. As much as we can hear, he’s still got it.

Emmanuel

ZORO – “GOOD LIFE” FT. MAYORKUN

On “Good Life,” Zoro and Mayorkun toast to the easy pleasures of life. “Suffer no fit me/Hard life no fit me at all/Struggle no fit look good on me,” Mayorkun sings. Over Blaisebeatz’s mid-tempo production, Zoro raps about the challenges he has surpassed and how enjoyment is the current thing on his mind. Mayorkun’s hook further colours “Good Life” with a motivational tinge for a track that is the opening chapter to a forthcoming LP.

Uzoma

SHALLIPOPI, ZLATAN & FIREBOY DML – “ELON MUSK REMIX”

Like the track was not thrilling enough, Shallipopi taps Fireboy DML for the remix of remix for his hit song, “Elon Musk.” The track, as expected, still retains its catchy instrumentals paired with Shallipopi’s sonorous vocals and Zlatan’s boisterous rap. On this version, Fireboy DML takes over following the first rendition of the chorus backed up by warm, choir-like vocals. He sings of everything from getting high, being proud and interactions with his love interest in a few short seconds. Shortly after, Zlatan takes over to close out the track on high notes.

Nwanneamaka

BOYBREED & MAMBA SOUNDS – “ENTA”

Nigerian duo BoyBreed collaborate with talented artist and producer Mamba Sounds for the enchanting single “ENTA,” which infuses elements of Afropop and R&B. It is BoyBreed’s third track of the year following “Again” and “Priscillia” with Dj Dynamiite and Minz. On “ENTA,” they sing about their undying devotion to their love interests and the mushy feelings they elicit in them.

Uzoma

SUPA GAETA – “DON’T LEAVE ME ALONE”

For his first single of 2023, Ghanaian UK-based act Supa Gaeta pins for the affection of a woman. “Don’t Leave Me Alone” tells a story of yearning and passion as Supa Gaeta confronts his love interest to be honest about his feelings for her. In his own words, the song “explores the vulnerability and pain that can arise from unrequited love.” It features production from Yung D3mz with co-production by David Acekeyz & Supa Gaeta.

Uzoma

RAYTHEBOFFIN, 3KENE & TIM LYRE – “LIFELINE”

As he prepares for the release of his debut EP ‘Freckles,’ Abuja-based artist-producer Raytheboffin gives a taste of things to come with “Lifeline,” a groovy tune that borrows blends R&B, dancehall and electronic music. Alongside 3kene and Tim Lyre, Raytheboffin creates an experimental yet bubbly track that is meant for a slow night after a hard day’s toil. 

Uzoma

BR3NYA – “OUTSIDE”

Ghanaian-born, London-based singer and rapper Br3nya flaunts her pedigree on “Outside” as she fires shots at those who dare to compare themselves with her. Sampling Tic Tac’s Tony Tetuila-assisted “FeFe Ne Fe,” Br3nya, with sharp lyrics and efficient delivery, curates a summer anthem for the girls and their friends. The Melody Berkery-directed music video is an ode to Nollywood films Mean Girls and Girls Cot.

Uzoma

Featured Image Credits/NATIIVE

ODUMODUBLVCK taps Fireboy DML for new single, “FIREGUN”

Posted on by The Native

ODUMODUBLVCK’s impressive run of form continues following the release of last month’s “DOG EAT DOG II” with Cruel Santino and Bella Shmurda. Crowned by an ‘Old Nollywood’-inspired music video directed by Cruel Santino, “DOG EAT DOG II,” like previous releases, heats ODUMODUBLVCK’s ascendancy in the Nigerian music scene as he has garnered the support of fans and fellow music artists from Abuja to London.  For the Nigerian artist, the year keeps on dishing out wins in the lead up to the release of his forthcoming EP ‘Eziokwu.’

On his newest, bouncy single “FIREGUN,” ODUMODUBLVCK taps Nigerian artist Fireboy DML for a smooth collaboration that highlights the chemistry of both acts. In typical ODUMODUBLVCK fashion, he infuses the bubbly tune with well-delivered lyrics intended to serenade a love interest. Fireboy DML coats the song with vibrant melodies, serving as the ying to ODUMODUBLVCK’s yang. “FIREGUN” is both artists’ first time collaborating.

“This record is impactful to me in so many ways and that’s why it’s such a collaborative record with Fireboy and I,” ODUMODUBLVCK shares. “I started listening to Fireboy a long time ago. A proper seasoned artist with impeccable melodies. He had to be one of the artists that I wanted to bring along on my journey to the truth. EZIOKWU. That’s the name of my EP. ‘FIREGUN’ is my final reveal before the truth.”

ODUMODUBLVCK also shared that “FIREGUN” is a result of Fireboy DML’s benevolence and genuine appreciation for his art. They spent time making music, with a willingness to collaborate being a common denominator. In the studio session for “FIREGUN,” their chemistry is palpable. According to ODUMODUBLVCK, Fireboy DML was also incredibly influential in the nine-hour set for the “FIREGUN” music video, which was shot in London.

Directed by Nigeria-born and London-bred director Earthboi, who is responsible for visuals such as Rema’s “Dirty” and Ayra Starr’s “Sability,” the music video for “FIREGUN” is set in a gritty otherworldly world featuring beautiful vampires and other strange characters. It draws inspiration from the film franchises The Matrix and Blade Runner. In the dark-coloured setting of “FIREGUN,” ODUMODUBLVCK and Fireboy DML bring the fun and excitement of the track, flooding the scenes with a zest for life’s many pleasures. 

“Working on this video with OD and the rest of the NATIVE team was really refreshing,” says Earthboi, “there’s a real sense of collaboration and community in what was being made and you can see that through how committed everyone was to try new ideas and push boundaries. OD was vibes and inshallah the whole day we were shooting.”

In readiness for “FIREGUN,” ODUMODUBLVCK had shared “WotoWoto Seasoning,” a smooth tune with visuals from Trip. With the release of “FIREGUN” and its music video, ODUMODUBLVCK once again stakes his claim as an act not to bet against. With ‘Eziokwu’ on the horizon, he’s steadily unlocking new levels to his artistry and writing a new chapter for Nigerian Rap.

Watch the video for “Firegun” below.

Featured image credits/NATIVE

Why Ladipoe’s Fusion of Rap and Afropop Has Always Been Generational

Posted on by Emmanuel Esomnofu

Ladipoe is not your everyday rapper. Mainstream audiences began to grasp the generational quality of his talent when he appeared on “Feel Alright,” alongside the mercurial Show Dem Camp who were, back in 2013, still charting incursions into the centre of Nigeria’s alternative movement. The Juls-minted production was a potent soundscape for the rappers’ innuendo-laced bars to thrive, but there was a certain musicality to Ladipoe’s delivery. Afterwards, listeners were sure to keep him on their radar. 

It’s now almost a short change to rank Ladipoe purely amongst rappers. He’s proven an affinity for crafting songs which blur the lines between rap and pop music, but throughout his sonic travels, he’s retained the same qualities that made him so heralded almost a decade ago. Rap and rappers occupy a high level in the pantheon of popular Nigerian discussions; whenever casual listeners get the chance, they bemoan the supposed death of the genre, often listing acts and their songs which are considered to be classic material. 

 

View this post on Instagram

 

A post shared by Leader of The Revival (@ladipoe)

Never mind that such stories are usually carried on nostalgia, it’s declared as truth. Nuance is abandoned; catchy declarations are game. And so rap—whose Nigerian variant has long adapted the flavours of contemporary music—is suggested to have gone commercial. The much-maligned tag of being a ‘sell out’ is one that’s followed the local Hip-Hop scene, even though for a long time a so-called sell out has been exactly what the game needs. 

In the years before the 2010s, the dominant medium for expression amongst rappers was English. A few notable acts worked in the indigenous tradition, but those were few and far between. From eLDee to Eedris Abdulkareem, Sasha P, M.I Abaga and Naeto C, the language clearly influenced the zeitgeist. From the technical set-up of songs to the stateside-evoking fashion, the sensibility was unarguably suited to English-speaking rappers. 

Afterwards, the new decade brought new major changes. Phyno and Olamide spearheaded the indigenous movement, joining rappers like Reminisce and Erigga in detailing Nigerian stories in the intimate flagrance of local languages. That generation of rappers—arriving between 2010 and 2015—signified the genre’s loosening grasp on popular culture and mainstream music. While subcultures and artists emerged around the country since then, none has gotten the mainstream acceptance Ladipoe has gotten. Flying the English-speaking banner, he embodies the vibrant musicality that rap needs to compete at the highest level. 

Contrary to common perception, the Ladipoe story didn’t begin with “Feeling”. It began with the cultivation of his artistic interests: two years ago he told Notion about the many artists he grew up hearing, from Al Green to Victor Uwaifo, Marvin Gaye and Lagbaja. “All of these things,” he said, “feed into my style of not sticking to a genre and using rap as my outlet, a way of communicating my art but not seeing that one sound [as the only way to go]”. 

His ear for rhythm was thus in training from childhood. When he began writing bars, it was natural he gravitated towards similar rappers. Little Brother’s Phonte, a rapper whose flow has been described as “lithe and jocular,” is the major descendant of Ladipoe’s easy-going inflections. Drake also emerges from this tradition, while technical savants Elzhi and Lupe Fiasco were some other rappers who influenced Ladipoe’s assured style. 

By the time Ladipoe arrived on the scene, he was already an accomplished stylist. As someone who frequently scoured the internet in search of deep cuts, I was aware of Ladipoe quite early on. Through the same blog channels that revealed acts like Boogey, PayBac iBoro, X.O Senavoe, Aina More, Khali Abdu and many others, a rapper called Poe arrived. 

“Slow It Down” was rinsed in retro qualities. It was an early indication of Ladipoe’s vision to unite rap flows over acceptable pop-directed beats, produced by the mercurial IKON who was also known for their affiliation with SDC. The accusations of going pop was therefore an argument that just couldn’t stick; this was as far back as 2014. On “Can’t Forget”, the rapper turned to the liquid guitar playing of Highlife. Produced by Moodini, it sampled a singer whose vocal inflections sound a whole lot like Rexx, the sage behind the classic chorus of Jesse Jagz’s “High Life”. 

This awareness of his country’s sonic history thus made Ladipoe a very special MC. I could tell from the start; however, no other verse solidified my love as much as “Victoria Island of Broken Dreams”. On the ‘Clone Wars 2’ cut, he went toe to toe with the SDC duo over a fiery Kid Konnect production. Embracing a prophetic, almost journalistic clarity, his verse sounds more like a revolutionary speech: 

And I’m just spitting, for a part of me that’s wishing

Elected to speak the truth, but the ballot box is missing

I’m sad how we do things, there’s trouble in the government 

They roll with tinted windows, wonder if they see the suffering 

Put your all for promises, I’m searching for acknowledgment 

I’m looking at my people, asking them where the knowledge went 

When ‘T.A.P (Talk About Poe)’ was released in the latter months of 2018, it felt like prophecy fulfilled. For many of us, Ladipoe was emblematic of rap’s soft quality, able to blend into the stories and sounds of cultures far away from its origin in America. He wasn’t following in the template of many English-speaking rappers who gloried in the Americanised presentation of their style; he was rather a descendant of SDC but also M.I Abaga, whose commercial achievements had solidified his place in the GOAT discussion. 

On “Double Homicide” he floated over a pensive loop, rapping his words with a destructive intent. “I don’t have to quantify, the rappers that I nullify, it’s easy being dope when the rest of them are borderline,” he raps, and then cheekily inserting, “Man, I really love it when they talk about Poe, but I know it’s all pride and I really have to swallow mine”. His feature Ghost continues by referencing Poe’s smoothness with it: “Man, there you go again Poe, always hogging all the shine/ This dude stays getting all the dimes…”

“Revival” had the controversy-courting bar “and rappers dying off from Afrobeat fever” but beyond its edgy perspective, Poe gave a good account of himself on that closer. As a collection, the project represented his alternative roots in as much lyricism and storytelling as the mainstream could accept; take for instance, the Sir Dauda-featured “Hello Goodbye” whose folksy production sounds cut from the music within an obscure bar in the southwest. Tems was evocative as usual on “Falling,” switching the direction towards a more pop lane. 

After that project, the rapper returned five months later to kick off a new arc. ‘Talk About Poe’ was the project he owed his day ones, but it wasn’t necessarily the vision Mavin Records had to ensure his ubiquity as an artist. “Jaiye (Time of Our Lives)” was the first step in that direction, featuring the acceptable figure of Johnny Drille who also produced its sunny rhythm. Even the colourful visuals were attuned to this motivation, and it was only right Ladipoe scored his then biggest hit three songs afterwards. 

“Know You” by now is known as the quintessential soundtrack of the pandemic, a balmy record carried by the world’s genuine desire for intimacy. However, the song’s success couldn’t have been possible without the duo of preceding records. “Based On Kpa” and “Lemme Know” were produced by Altims and Ozedikus respectively, both pop savants who tuned down the usual pomp for sensitivity, a trait which “Know You” would later perfect. Teni’s appearance on the remix of the latter record was a fine extension of the cheeky bar “your sugar mummy on my case like Teni” but it also signified Ladipoe’s oncoming immersion in the mainstream. 

In 2021, LADIPOE was feeling confident. He’d scored that hit with Simi and had become one of the genre’s most important artists. Colouring inside popular music with his rapping, he released “Rap Messiah” just a month before “Feeling”. This demonstrates his readiness to move between both lanes, flexing his signature flow with a savant’s ease. 

I once likened that flow to “a vehicle filled with tourists which slows down at designated spots so the passengers can pick details of the world outside and Ladipoe is like the grey haired driver with quips and an astounding knowledge of the city”. If this was true, then Ladipoe’s perspective has changed in the time since; he’s now the man in the passenger seat, observing the minutiae details of the life around him. He’s now the main character. 

That perspective came into total light on the ‘Providence’ EP. Released while the world was still on the “Feeling” wave, he was set on the clouds. Everything was coming together. The project reflected that appreciative aura, in lyricism and sonic vision. It featured the popular trio of Rema, Amaarae and Fireboy DML, each contributing their unique perspectives to the records. While the Mavin star reaffirmed their superstar lifestyle, the ‘Fountain Baby’ explored romantic tensions and the YBNL star contributed to the aspirational zest in “Running,” the project’s runaway hit song. 

Rap wise, Ladipoe’s own skills came to the fore on “LOTR II” and “Providence”. Both songs showcase the trademark effervescence of his delivery, filled with unique storytelling and the rapper’s undeniably A-level ear for a resonating quotable. On the former, he raps, “The secret to longevity is always rewrite the narrative/ repeat it in Swahili, in Igbo, or perfect Arabic, the truth translates in all languages”. 

In recent times, Ladipoe has been sharpening the plots in his narrative. To his credit, he’s set the wheels in motion since coming into the scene, only now he’s more matured in his choices. A record like “Big Energy” thus shines with that intentionality, its bigness of vision reflected not only in the title but also in the song. 

The years have been kinder to rappers. Even as Afropop valiantly moves into the uncontested position of being a global phenomenon, rappers have been creating music that sticks, from Psycho YP to ODUMODUBLVCK. Artists like Mohbad and Amaarae, even while not expressively identifying as rappers, have eagerly translated its cadences into pop-licked bangers, making Ladipoe something of an early sojourner in that path. 

In an exclusive interview with NATIVE Mag, he related the motivation that informs his culture-pulling sound. “When you feel like you represent something to people, you want to hit that target,” he said. “And more so, because you represent that thing to yourself”. For those who’ve noticed, there’s a chest-thumping bragaddocio that’s accompanied his recent releases, now comfortable in the fact he’s hit that mark. What is left is solidifying their successes. 

These past few months, he’s rolled out similar aesthetics to the Revival Sunday, where short, succinct clips of freestyles where attended with DIY-esque videos. He’s also rolled back the years, adapting some verses from previously-released songs; these choices, in essence, aim to reconstruct his narrative, painting them in a new gloss while he maps out the terrain of his oncoming movement. 

A peek through the prism has come with “Guy Man”, his latest record. It features Bella Shmurda, another artist whose Hip-Hop roots are enmeshed in the peculiarities of Nigerian Pop traditions. On a meta level, it’s a self-aware song, on the level of understanding oneself while referencing Ladipoe’s pop credentials. Sandwiched between Bella’s emotive hook, he raps tellingly on the second verse, “You’ve entered one chance, this one na club jam” and later on, elucidating on that point: “I got a tip, no dey trip off the success/ Cos Afrobeat hit no mean say Hip-Hop’s dead”. 

It’s a long way from the Afrobeat bar on “Revival,” but every artist should ideally grow. Ladipoe has been evolving for a long time, first by establishing the core tenets of his craft before getting onto the scene, and later by shifting some parts to accommodate the concerns of being Nigerian. In the imminent expectation of a new project, the flowers are well watered for Ladipoe’s indulgence. He’s been leading the revival and now he’s here, a champion of rap’s eternal presence within the sprawling soundscape that is known as Afropop. 

TurnTable Top 100: Omah Lay’s “reason” Debuts at No. 1

Posted on by Uzoma Ihejirika

Omah Lay’s “reason,” from ‘Boy Alone (Deluxe)’, tallied 4.36 million on-demand streams (No. 1 on streaming) and 35.8 million in radio reach (No. 16 on radio). It is Omah Lay’s fourth song to reach No. 1 on the singles chart in Nigeria—joining “Godly” (record 11 weeks at No. 1), “Forever (Remix)” with Gyakie (4 weeks at No. 1) and “Understand” (3 weeks at No. 1). 

In addition to “Understand,” “reason” is the second song off ‘Boy Alone (Deluxe)’ to reach No. 1 on the singles chart in Nigeria—“soso” peaked at No. 2 on the Official Nigeria Top 100. Two songs by Asake follow at No. 2 and No. 3 respectively. “Amapiano” with Olamide rebounds to No. 2 after topping the chart for two weeks while “Basquiat” debuts at No. 3 on the Top 100. “Amapiano” tallied 3.74 million on-demand streams (No. 3 on streaming) and 55 million in radio reach (No. 4 on radio) while “Basquiat” launched with 3.84 million streams in Nigeria (No. 2 on streaming) and 29.5 million in radio reach (No. 25 on radio).

KCee’s culturally profound “Ojapiano” falls to No. 4 after topping the chart last week—it leads the radio chart for a second week with 81.9 million in radio reach. It also tallied 2.03 million on-demand streams (No. 16 on streaming). Asake’s “Sunshine” debuts at No. 5 with 3.62 million on-demand streams (No. 4 on streaming) and 18 million in radio reach (No. 47 on radio). Seyi Vibez’s “Hat-Trick” drops from No. 2 to No. 6 on the chart while “2:30,” which stayed four weeks at No. 1 returns to the top ten at No. 7.

Rema’s “Charm” is at No. 8, dropping from No. 5 after topping the chart for three weeks; Zinoleesky’s “A1 (Feeling Disorder)” drops from No. 4 to No. 9 while Asake’s “Olorun” debuts at No. 10. Outside the top ten, the rest of the tracks in Asake’s ‘Work of Art’ appear in the top 40 of this week’s Official Nigeria Top 100. Also, all of the new tracks on Omah Lay’s deluxe appear in the top 50 of the chart.

ICYMI: READ OUR REVIEW OF SEYI VIBEZ’S ‘VIBE TILL THY KINGDOM COME’

Best New Music: Lady Donli Celebrates Her Brilliance on “My Ability”

Posted on by Uzoma Ihejirika

In the canon of Nigeria’s Alté music scene, Lady Donli is a respected figure. Since marking her official debut in the 2010s, including the SoundCloud-era epochs ‘Wallflower’ and ‘Letters to Her’, she has stuck to the fundamentals of her craft: mixing diverse sonics with her multicultural experiences to create an authentic, assured sound. In 2019, Lady Donli turned heads with her debut album, ‘Enjoy Your Life’, a refreshing showcase of genre-blending and scaled ambitions, combining colourful, nostalgic yet forward-facing grooves with a poised attitude towards living out her dreams, both big and frivolous.

As she gears toward the release of her sophomore LP ‘Pan-African Rockstar’, Lady Donli unveils the thumping “My Ability.” In 2021, she released the six-track EP ‘W I L D,’ which saw her exhibit both moody vulnerabilities and sassy confidence. She began 2022 with “Thunderstorm in Surulere” and also performed it on A Colors Show, then following with the singles “Soft Life” and “Hello Lady.” Those songs follow different trails of emotions that beam light on Lady Donli’s desires, concerns and aspirations.

 

 

View this post on Instagram

 

A post shared by Lady Donli (@ladydonli)

On “My Ability,” Lady Donli sneers at her detractors who dare contest her creativity and skill. “You question my ability/I’m a young woman with agility/Ayh/The best that you’ll ever see/But you question my ability (for why),” she sings. Although there’s a playfulness to the way she manoeuvres the lyrics, it doesn’t hide the seriousness behind the words. She weaves her way through the track with oomph, attacking JMS’staccato-like production with deft flows.

After Lady Donli teased the release of “My Ability,” certain sections of her audience expressed their indifference to the song, whilst also alluding that the track was testament to a what is perceived as a decline of Alté music. Unmoved by the murmurings, Lady Donli responded, saying, “My music has not evolved to anything that it wasn’t already. I love rock, I love bashment, pop, jungle, R&B and amo do everything !” In a way, “My Ability” is Lady Donli’s ready-made response to listeners who say her music doesn’t resonate with them: she doesn’t need anyone’s validation to be herself.

Immediately “My Ability” begins, the production’s blend of percussions and drums rouses one’s body to move. Long-time collaborator JMS continues his great chemistry with Lady Donli, curating the buoyant mood with a thick, groovy percussive pattern, lustrous guitar riffs and rumbling bass guitar, a musical alchemy that Lady Donli handles with sizzling swagger, and her usually siren voice is retooled to carry a punchy infectiousness. In the Buhari Yesufu-directed music video, Lady Donli and her crew of women embody the fun and swagger of the song, with smooth dance moves and suave demeanours. 

“You think say/Me I no go wound you/If you come around me/With bad energy,” she sings, telling everyone that there’s a sharper part of her that doesn’t stomach disrespect. Afterwards, she adds that she just “Want to live my life/With love and dignity.” For Lady Donli, the freedom and choice to explore her creativity to the fullest extent is her ultimate goal. “My Ability” is a reminder to herself and the audience that nobody deserves less than being the best and should hold on to that belief—regardless of whatever the world thinks.

NATIVE EXCLUSIVE: THE INGENIOUS CREATIVITY OF TAY IWAR

NATIVE Exclusive: Bloody Civilian Is Stepping Into The Spotlight

Posted on by Nwanneamaka Igwe

Before the release of her debut EP ‘Anger Management,’ Bloody Civilian was an ascendant star with only a handful of hits to her name. Powerful anthems such as “How To Kill A Man” and “I Don’t Like You” released just months apart, were open and honest confessionals from an artist developing in real time. Both written and produced by the Abuja-based singer, both tracks introduced audiences to her diary-like ruminations which sounded like a friend on the other end of the phone line.

It’s clear that Bloody Civilian arrived at her current sound with experiences that have shaped her musically, and personally, without fear of holding back truths about open about her past struggles with mental health, and Bad Aunties. “At first, I was trying to tone it down. I didn’t want it to be on the nose but I couldn’t do it any other way because these were the things I was really feeling,” she shared in a recent track-by-track interview.

Her artistry is put on full display on her 6-track debut EP, ‘Anger Management’ with a disarming authenticity and vulnerability that could shock new listeners. She tackles a series of emotions many can relate to; from the dread of withdrawal from a bad habit to the frustrations derived from interactions with nosy relatives. ‘Anger Management’ provides more insight into Bloody Civilian’s life and journey as she comes into her own armed with the skills and confidence of a veteran paired with the curiosity of a newcomer.

 

View this post on Instagram

 

A post shared by BLOODY CIVILIAN (@bloody__civ)

In her first-ever exclusive interview with the NATIVE, the rising artist opens up about her creation process, the autonomy that comes with producing her own music and the years-long journey to where she is today: an artist unafraid to mince her words.

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

NATIVE: Let’s start by talking about your name. Why did you choose Bloody Civilian?

Bloody Civilian: It basically stemmed from where I’m from. There’s a lot of military violence and the term bloody civilian gets used on the victims. I’m from a place where my people keep going through stuff like this. So, I chose the name as a way to take it back. 

Where are you from?

Taraba and Kaduna State.

Talk to me about your background in music. Who are some of your early influences?

My early influences are Asa, Nneka, Kid Cudi, Kanye, Tame Impala. These are the people I grew up listening to them, especially in high school. Their sound influenced my music. For song lyrics and song writing, these are some of the people I look up to. Kendrick is also in there. I love Kendrick. 

Early in your career, you achieved some outstanding feats like collaborating with Rema for the Black Panther soundtrack, how was that experience like?

It was a fun experience although I actually never met Rema. It was especially great working on production and seeing how someone with way more experience does what they do. It was just a nice learning experience. 

You double as a writer, producer and singer, and that’s an interesting thing a lot of artists in our time are not doing at the moment. How is it like being involved in the entire creative process of your music?

Production is something I didn’t make a conscious choice about. When I started producing, I didn’t know what I was doing was production. I just thought I was playing with my laptop. It was mostly playing around with the software that my cousin had installed on my laptop. Someone discovered it and told me that it was production. By then, I started to take it slightly more seriously. I started to pay more attention to it. Production was never an active chore or choice. It was a fun escape I did in my spare time.  [Also], I always loved writing songs from a very young age. I write songs and sing them to my parents. Again, it never felt like a chore. It wasn’t compulsory. It just always came from inspiration. If I got inspired, I’d write. If I got inspired, I’d produce as well. 

What advantage does producing your own music afford you?

I feel like because I have been able to express myself not only lyrically, and vocally, I’m also really able to control the story. Every time I make a song, it sounds cliche, but I always try to get the sonics to match what it is I am singing about. I don’t like when I create music and it feels like the instrumental is telling a story while the vocals are telling another. There’s a particular chord progression I’d use to say a particular sentence. I’m very specific about it. I always want everything to be perfect. So, I wonder how I’m going to cope now that I’m going deeper into the industry because it’s a process that may not translate when working with larger groups. I’m excited to learn how to work with people. 

You mentioned artists and producers that you look to for inspiration. What about their works stands out to you?

I think generally, the type of music I’ve unintentionally grown attracted to is all around the same style. They are created in similar conditions. Most of these people when I read about them, they are isolated. They like to be in their own space and in their own world. For example, Tame Impala. To create my favourite album, he went to a beach house without phone service. He was in isolation, far away from everyone and everything. There’s a purity his sound also has. There’s a nuclear sense to all his ideas and it makes it feel more authentic. Listening to his music feels very pure and original. That’s why I’m inspired by these people. 

 

View this post on Instagram

 

A post shared by BLOODY CIVILIAN (@bloody__civ)

Your creative process entails you stepping back from the world to your own space to create. As a writer, and producer, do you think anyone comes first when you’re creating a song? 

Usually, the words drop with the beat idea. A concept or a chord progression. I always get the message and it already has its chords, melody and tune. My struggle from that point is to decide how to package the initial idea. 

Have ever produced tracks for anyone else, and is that something you’re looking to do in the future?

Yeah back in the day. Nothing too big. I started off making Trap because trap was very for my rapper friends. I charged 15K per one. It wasn’t much, and they were working with me because I was the only one they could afford. Now, because my production and artistry are tied together, working with other people is something I want to do. I have to see how that goes because I want to prioritise my career and take that leap of faith in myself . 

One thing that stands out about your music from the titles to lyrics is how confident and unapologetic they are. Especially “How To Kill A Man” and “I Don’t Like You.” Why was it so important to communicate these strong feelings as titles?

Music has been an escape for me. It’s where I live vicariously through the characters I create. For me, it’s necessary for my mental health. I can’t do without being able to express myself. If I didn’t have music, I don’t know what I would have turned out to be. I was a troublesome child  and music was one of those things I used to hold myself together while feeling like I’d let emotions out. 

Do you see music as your own storytelling medium?

Music is definitely my storytelling medium. I had a point where I really loved writing poems and short stories but I found out my attention span was really thin. With songs, you can tell a shorter story in a small amount of time. I’d enjoy the dopamine of musicality and still have a similar experience. 

It’s difficult to place you in a box or under one genre, is that something that was intentional? If you had to describe your music to someone that has never listened, how would you qualify it? 

My Spotify Wrapped always grouped me as an explorer. [I] cannot be in one place and that has been true for the longest. I really consume music in moods. I see myself as an A&R in a way. I love to curate different types of music that are not even in English. It has given me problems and benefits. Problems because my ability to focus on one thing is very slim. I usually just do so much. It also helps me have an abundance of ideas and inspiration. It’s so much stuff I’ve studied sonically and it helps me infuse so many different things. I started off making beats online. I noticed the recurrent feedback was ‘how did you mix those two things?’ I know that’s something I’ve organically had this inclination for. 

Are there genres you look forward to exploring in the future? 

Not really. I go by ear. I also just feel genre’s don’t serve the same titles as they did in the past. We’re defining genres more demographically now. I just know that I love music and when something sounds good and it inspires me, it simply works. 

Let’s talk about the moments leading up to your debut EP. How have you felt leading up to the release? 

The moments leading up to it were similar to most people. I [released] two singles and gauged what kind of crazy songs people would like “How To Kill A Man” and an even crazier song like “I Don’t Like You.” I followed the process of self-discovery and it was fun. I met people, and lost people. It was everything I expected. My perspective is just the default I guess.

Artists usually comb through a series of projects as inspiration for their own music. Who are the people you listened to while creating ‘Anger Management’?

The songs were created over a long period of time so it’s hard to place. Everything got reproduced so it can suit the times. I personally believe you can carry any song concept and put it in any time. A lot of those concepts changed from years ago, I just reproduced and revamped them to make sense for now sonically. I have been listening to everything. I can say for specific songs like “I Don’t Like You,” I liked “Xtra Cool” by Young Jonn. I loved his voice and the rhythm. At the time, he brought it into a space where I couldn’t find songs that sounded similar to what he brought in regards to the drum pattern. There was something about it and it really inspired how I approached the drums for “I Don’t Like You.” 

 

View this post on Instagram

 

A post shared by BLOODY CIVILIAN (@bloody__civ)

What messages were your priority when you were creating the ‘Anger Management’?

I’ll be honest with you. At first, I was trying to tone it down. I didn’t want it to be on the nose but I couldn’t do it any other way because these were the things I was really feeling. As I was making some of the songs, I was actually really upset. I was really angry. I was trying to tone it down but it wasn’t working because it simply was not aligned with my reality. At some point, I had to tell myself I could only keep the act up for a while. It was going to be very different and toned down. Things happened as I was trying to wrap up the EP and we ended up having to change it from what it was before. I was taking out things I felt were fake and not what I represented. I had to go back and forth asking what the implications of trying to put swear words on air would be for example. People just kept saying do what you want because we can always do a clean version. I just wanted to be unhinged with everything and luckily, I have a good team that will help me keep my dreams of being X-rated. 

It definitely paid off. 

For sure. I’m glad we kept it as raw as it was coming. 

You have six tracks on the EP. Talk me through your process of deciding the final songs especially considering you had recorded some a while back. How did you decide what needed to make a comeback and the final cut?

[The songs] made sense. I also thought no one was going to listen to eight tracks, so I opted for six tracks rather than four. Left for me, I wanted to do an album but you can’t do it for your first drop. I haven’t been putting out music but I’ve been making music for such a long time. This is a dilemma you usually don’t find. Where people are making music and not releasing because most people’s motivation is the fact that they would put it out. I’ve spent so many years of my life just creating so I have so much music. It was very hard deciding what songs to push to the front. I went based on how I was feeling at the time. If I feel angry/passionate at a certain time, all the songs need to reflect that. I need to talk about that. The other songs will come out later if they make sense for how I feel at that time. 

What can we expect from you in the future?

People should expect more music from me. That’s what I do. What I want for my future is to meet people, travel and work with great minds. I am excited to see what the future holds. I feel like my team is enough for me and my A&R’s are convinced that I can find people outside the team I already have. I’m curious to see where that goes and I’m open to being raw for sure. 

Stream ‘Anger Management’ below.

Featured Image Credits/The NATIVE

‘Journey of a Billion Streams’: 4 Takeaways from Spotify’s new Afrobeats-Focused Website

Posted on by Uzoma Ihejirika

In recent times, urban West African pop—aka Afrobeats—has gained huge appeal across and beyond the borders of the African continent, finding homes in both the African diaspora and foreigners with cultural ties to Africa and also entering and clinching hitherto rarefied spaces and awards. From 2Baba to Fuse ODG to Burna Boy to Rema, African artists have curated homegrown sounds that have resonated with the world and sparked the explosion of Afrobeats.

One of the major contributors to the growth of Afrobeats is streaming platforms. With the ease that technological advancements have created, commodities such as music have become easier to access and ensured that a song from an artist in Ghana or Nigeria or South Africa can reach a listener in London, New York, Paris or Tokyo. These streaming platforms, with their curated playlists and catalogue of songs, have taken African artists and their music straight into the homes of consumers.

 

 

View this post on Instagram

 

A post shared by Spotify Africa (@spotifyafrica)

Spotify is one of those pivotal streaming platforms. Founded in 2006, Spotify entered the African market in 2018, first launching in Algeria, Morocco, Tunisia, and Egypt before expanding into a 49-strong list of territories that includes South Africa, Nigeria, Ghana, Angola and Zimbabwe. In the same year, Spotify launched “Afro Hub” as part of its Global Cultures initiative, featuring a dedicated curatorial space for listeners to interact with Afrobeats via artist-helmed playlists and podcast, as part of the streaming giant’s plans to create a digital archive and resource for African music.

In celebration of the genre’s ascendant dominance, Spotify recently launched Afrobeats: Journey of a Billion Streams, a dedicated infotainment website for everything surrounding the genre, from the past to the present. “There is no doubt that Afrobeats as a genre is here to stay, and will only continue to shatter more ceilings. In 2023 alone, the genre has been played for more than 223 million hours with streams exceeding 7.1 billion on Spotify,” revealed Jocelyne Muhutu-Remy, Spotify’s Managing Director for Sub-Saharan Africa. “We created this site for both new and longtime fans of the genre, who would like to have a better understanding of how and where this explosive sound came to be.”

Going through the website, here are four takeaways from Afrobeats: Journey of a Billion Streams.

ACCESSIBLE INTERFACE

Although the website isn’t fully updated, it is organised in a way that makes the information quick to understand. On the homepage of the site, there’s a timeline carousel for the Afrobeats genre, relaying information about Kennis Music’s emergence in 1998, the birth of Mo’Hits Records in 2004 and DJ Abrantee launching his radio station in 2011, among others. 

The site also states its five pillars, which are Origins (the exploration of the origins of Afrobeats and the sounds that influenced it along the way), Evolution (Afrobeats’ evolution from its 90s sound to the current sound), Fusion (the different genres in Afrobeats as well as Afrobeats’ biggest collaborators), Cultural Export (a look at Afrobeats’ biggest moments on global stages) and Women of Afrobeats (exploration of key female figures and their contributions).

INSIDER INFORMATION

Afrobeats: Journey of a Billion Streams provides data about the songs and artists in Afrobeats dominating the charts. This data, which will be updated on a biweekly basis, is based on Spotify’s user base and is intended to “share noteworthy findings and trends.” The data includes the Top 10 Afrobeats songs of all time, age group percentage listening to Afrobeats, top cities streaming Afrobeats and their most streamed songs, Top Female Afrobeats artists and Afrobeats emerging markets, among others.

There is also a curated selection of Afrobeats playlists and podcasts “that allow you to immerse yourself and develop a better understanding of the genre.”

A DOSE OF FUN

It’s not just serious stuff on the site. There are fun games planned in the form of quizzes and polls to test the audience’s knowledge about Afrobeats as well as deepen that knowledge in the process. There’s a quiz website visitors can go through, which reveals access to an exclusive Afrobeats playlist at the end. Visitors can also participate in a weekly poll, with questions being changed on a weekly basis, while a wordcloud activity rounds out the games tab.

A SIGN OF GOOD THINGS TO COME

This site portends good tidings for Afrobeats. By joining other stakeholders who are documenting the history and rise of the genre, Spotify is ensuring that there will be a great database of information for both Africans and foreigners to learn more about the genre, its roots, key players, accomplishments and future stars.

Visit ‘Afrobeats: Journey of a Billion Streams’ here.

ICYMI: SPOTIFY WELCOMES CREATORS TO STREAM ON 2023

Burna Boy, Libianca & Tems lead a stellar night for Afropop at the 2023 BET Awards

Posted on by Emmanuel Esomnofu

Every year the BET awards is attended by huge fanfare from the global Black community. This year’s event was no different, as several celebrities from different walks of life were present, contributing to Sunday night’s glitzy appeal. As always, the red carpet looks were endearing moments but by and large the main focus was on the events which happened on-stage, those performances and award wins that has got many people still talking hours after the event.

For Afropop, the biggest news was Burna Boy winning his fourth Best International Artist award in five years. With the exception of Tems, who won it last year, the self-proclaimed African Giant has been on a memorable award run. This time he faced competition from notable superstars such as Ayra Starr, who was the only other Nigerian on the list; France’s Aya Nakamura and Tiakola; Uncle Waffles and K.O, from Swaziland and South Africa respectively; United Kingdom’s Stormzy, Ella Mai and Central Cee, and Brazil’s L7nnon. 

Native Now! cover star Davido also courted headlines for his performance. The ‘Timeless’ artist continues to give an excellent post-release account of his imminent classic, performing an electrifying medley of summer breakaway hit song “UNAVAILABLE” and “FEEL”.

Tems continues to stack her already-glittering set of awards, winning the Best Collaboration category for her role in Future and Drake’s “WAIT FOR U”—the same collab that earned her a Grammy award. The Nigerian artist is no newcomer to such awards, although the biggest conversation from last night’s awards however featured another female artist.

Having announced herself with the emotive smash  “People,” Libianca won the Best New International Act. The category was keenly-contested as it included other budding acts like uNder alum Pabi Cooper, Camidoh and Raye. Of them all, Asake was however the strongest competitor, given the shift he’s brought to the music scene and the larger culture since his 2022 breakthrough.

A section of social media (which is unarguably populated by Nigerians) have registered disbelief at Libianca winning the category, although their opinions, like any other person’s, have a subjective merit to them. With her history at the American Idol and how purposefully “People” was marketed outside the continent, it’s not entirely surprising that an ‘International’ category would recognise her.

After that breakout single, she’s also given a good account of herself. Her Ayra Starr and Omah Lay-helmed remix of the record further endeared her to African audiences, while her sterling appearance on Jae 5’s “I Wish” alongside Lojay also furthered her reach. Her first single of the year “Jah” takes account of divine blessings, while reiterating Libianca’s vision to rise to the top.

If the BET awards means anything (and it does, a whole lot), there’s a number of narratives that are still being written. Regardless where one pitched their tent, we can agree that for an awards show that represents Black excellence across continents, this year was particularly good for Africa. We’re still on the rise.

See the full list of nominees and winners HERE.

ICYMI: WHY LIBIANCA IS A BONAFIDE BREAKOUT STAR

ALÁRA Lagos Debuts A Stellar Multi-Sensory Exhibition at Brooklyn Museum

Posted on by Nwanneamaka Igwe

Since its inception in 2015, Alára Lagos has been a major attraction in West Africa, housing luxury art and design by African creatives. The contemporary retail store, located in Victoria Island and owned by Reni Folawiyo, looks to promote and celebrate African luxury and lifestyle predominantly through fashion. The name itself, which means “wondrous performer,” suggests an impact that reaches beyond the four walls in which the building stands. Folawiyo has stated that her aim is to “create a meeting point for design, fashion and art,” and has now taken the concept store global with its recent exhibition in Brooklyn Museum.

 

View this post on Instagram

 

A post shared by ALÁRA (@alaralagos)

The exhibition, dubbed “Africa Fashion,” is one the museums largest ever presentation, with over 180 works by 40 designers from over 20 countries across the continent. Organised thematically, this multi-sensory experience features immersive displays of haute couture and ready-to-wear apparel, photographs, literature, sketches, music, textiles, and jewellery to name a few. Speaking on her contribution to the exhibition, Folawiyo shares: “Combining this with the urgency of all things African, from afrobeat to tech to consumer, it felt natural, and also like a responsibility, to bring that positioning to bear globally. Brooklyn Museum is a terrific partner because, like Alára, it engages with culture and builds community on so many levels.”

For Alára’s unique installation, Folawiyo collaborated with Ernestine White-Mifetu, the co-curator for the exhibition and curator of African Art at Sills Foundation. “The partnership with Alára is an essential part of the discussion the exhibition is having around the importance of African creatives choosing how they are represented,” White-Mifetu says. “Reni is showcasing the best and brightest in a way that allows them to shine—and the exhibition is doing the same.” The exhibition is slated to run all summer from June 23 to October 22, 2023. It features a capsule collection in collaboration with WafflesNCream (waf.lagos) and Dye Lab, as well as ceramics from Clementina van Her, conceptual pieces by Cedric Mizero, furniture by Ousmane Mbaye and much more.

ICYMI: REVISIT THE NATIVE X ALÁRA FASHION EDITORIAL, ‘U N R U L Y.’

NATIVE Selects: New Music From Burna Boy, Lady Donli, Fireboy DML & More

Posted on by Emmanuel Esomnofu

Every week, new music shows up, sweeping fans and music lovers off their feet while artists gauge reactions to know the effect of their creativity. At the NATIVE, we are committed to keeping our ears on the pulse of the music scene and bringing the best sounds to your doorstep.

In our last edition, we brought you new releases from Asake, Omah Lay, Libianca 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!

BURNA BOY – “SITTIN’ ON TOP OF THE WORLD (REMIX)” FT 21 SAVAGE

A few days out of his sold out stadium tour, Burna boy released “Sittin’ On Top Of The World” and the timing couldn’t be more perfect, as he adds more outstanding accomplishments to his belt. He acknowledges his international status over the Brandy-sampled instruments of “Top of the World.” For the remix, Burna boy returns with 21 Savage for a sleek and effortless delivery to accompany his mellow vocals. 

FIREBOY DML – “YAWA” 

Superstar producers, Telz and Magicsticks lay the groundwork for an outstanding track that’s buzzing the airwaves less than 24 hours after its release. Fireboy’s recently released track, “Yawa” introduces an ultra-confident artist. “I’m on a mission, I see no competition,” he sings over an instantly captivating, head-bopping beat. He smoothly dabbles between Yoruba and English as he sings of drowning out the background noise and focusing on his journey.  Midway through the track, infectious log drums join Fireboy’s rendition with subtle whistle adlibs that embellish the track. 

VICTONY – “MY DARLING” 

Off the back of two successful remixes, Victony returns with a two pack release dubbed ‘My Darling + Angelus’. The Juls-produced track features infectious drum patterns accompanied by lush guitar strings. Victony unabashedly paints his love interest in a glorious light as he expresses why she is one of one saying. The track’s hook sees Victony repetitively refer to his love interest with the assistance of high-tempo choir vocals. 

LADY DONLI – “MY ABILITY”

As her sophomore album inches nearer, Lady Donli peels back another layer of her artistry with her recently released “My Ability.” The groovy track features a confident Donli reaffirming her expertise and addressing the naysayers who are unsure of her talents. This stems from the doubt fans have expressed regarding her ability to top her standout debut project, ‘Enjoy Your Life.’ The track’s release is supported by colourful visuals that perfectly suit the gleaming production of the feel-good track. 

DOPE SAINT JUDE – “ALPHAS”

South-African rapper, Dope Saint Jude, delivers some sure-fire bars over a drum-lead beat pattern for her first track of the year. She seamlessly glides across the heart-thumping instrumentals armed with slick bars and silvery vocals celebrating queer love and attraction.  

MAJOR AJ & BLAQBONEZ – “MY OWN”

Carried on a great run of form, Blaqbonez has been most impressive on collaborations from last year. On “My Own” however, fellow Chocolate City signee and uNder alum Major AJ imprints his energy on the visceral cut, setting the tempo before his feature’s rap verse. With sweet horn licks and crowd vocals, it’s a song in sync with contemporary stylings while upholding the distinct message of debauchery and realism at its core. 

TIM LYRE – “CHASING WIND”

A most intentional creative, Tim Lyre is equally great at producing and performing. Those twin aspects come to the fore on “Chasing Wind,” a serene record about the conflicting nature of life. Buttery bass sends a reggae-esque wave through the body, as the musician calmly sings about existential concerns. It’s a potent reminder of Lyre’s unique ability as a musician, this time moving past previously communal ideals to dig deeper into the core of one’s own individuality. 

BABYBOY AV – “QUICK QUESTION”

The sonic experimentation currently underway in Nigerian pop is mindblowing. Artists are digging into the roots of sound, unearthing gems which will resonate for a long time to come. “Quick Question” bears evidence of such artistic vision. Carried on a mellow palmwine music groove, it’s a sensual record that shows Babyboy AV at his most tender. “Me I be different kind of person/ Baby, make we connect,” he sings, promising his love interest the better experiences of life. A magical record, this one. 

MOHBAD & BELLA SHMURDA – “PARIWO”

The bromance between Bella and Mohbad has provided some wholesome cultural moments. On “Pariwo” they translate their obvious love for each other into a banging afropop record. With both honing on their strengths—Bella’s hook prowess and Mohbad’s rap-styled flow–it’s a feel-good that shines with a mellow flair. One for the dancefloor and all the fun spaces in between. 

MINZ & ZINOLEESKY – “SOKOTO”

Earlier this year, Minz scored a ubiquitous hit with “Wowo”. After its remix and fairly recent visuals, the artist has moved on from what has been a productive run. “Sokoto” joins forces with the expressive Zinoleesky, both musicians impressing their distinct vibe. It’s Minz who sets things off with his atmospheric vocals, establishing the theme of romantic tension. Zino polishes the idea, while the amapiano-tinged production does great in its movement, exploding in its final minute from its initial silky control. 

TOMI AGAPE – “CONTROL” FT T.U.C

It’s been a while since we got Tomi Agape music but she more than makes up with the sexy direction of “Control”. Utilising T.U.C’s avant-garde production that has House roots but swirls with ambient elements, there’s a visual sense of rolling lights in a dancefloor. It’s essentially a vibe song, as Tomi sings with a hint of naughtiness, “Control it, my emotions rolling”. 

SKALES – “AS I WAKE UP”

It’s been a tale of resilience and verve that Skales has continued to put out music. A lot of artists who blew up around the same time as him have eased their grasp on the pop sphere, but not S to the K. “As I Wake Up” is unarguably his most immediately appealing record in a while. With assured songwriting upholding positivity amidst everything that’s happening, it’s a feel-good capsule that truly mirrors the freshness of a brand new day. 

BORELSON – “SUMMERTIME IN TORONTO”

Amapiano continues to be the most influential genre around Africa. On this new cut, Gabonese Congolese musician Borelson curates a fun vibe that’s direct in its pursuit of happiness. Crowd vocals, rap verses, a hyped interlude—all the classic elements are present, and by the end of the record, its effusive vibe would have made its mark on the listener. 

ICYMI: TEEZEE CAPTURES THE EFFERVESCENCE OF BRAZIL ON “STAMINA”

New Music Friday: New Projects from Nkosazana Daughter, Harrysong, Rukmani & More

Posted on by Uzoma Ihejirika

It’s another Friday and time for a roundup of music projects from African acts to check out. Throughout the week, music has poured in from all over the continent and sometimes it can slip through the cracks, unheard. This column serves to bring those projects to your ears as you prepare for the end of work and look forward to the weekend. Settle in for an experience as we travel the African continent for the latest music projects.

NKOSAZANA DAUGHTER – ‘UTHINGO LE NKOSAZANA’

It’s a star-studded affair on Nkosazana Daughter’s debut album ‘Uthingo Le Nkosazana.’ After teasing the project with a string of singles, the South African artist unveils her album, whose fulcrum is Amapiano. She adds R&B and Afropop to the sound and showcases her range while inviting some of the biggest music makers in South Africa and across Africa, including Master KG, Kabza De Small, DJ Maphorisa and Young Jonn. 

CAMIDOH – ‘L.I.T.A (DELUXE)’

Three weeks after he put out the ‘L.I.T.A’ album, Ghanaian act Camidoh updates the record with a deluxe version, increasing the 15-track length of the former with three new tracks: “Big Mama,” “Odo Dede” with Sarkodie and “Save My Soul.” “Big Mama” is dedicated to the ever-generous affection of mothers, “Odo Dede” is where Camidoh and Sarkodie open up their intentions for a love interest and “Save My Soul” is a stirring tune about Camidoh’s vulnerabilities and the pressures he faces. It’s another high point for Camidoh who recently was nominated for a BET award.

HARRYSONG – ‘GOD AMONGST MEN’

Harrysong is an old hand in the Nigerian music space who has stayed active with hit tracks and a healthy catalogue. Three years after his 2020 project ‘Right About Now,’ he returns with a 15-track LP that finds him exploring the prevalent sounds of Afropop with newer acts such as Majeed, Fireboy DML, Camidoh and KolaBoy. ‘God Amongst Men’ flows from introspective cuts to ready-made party starters.

ALYN SANO – ‘RUMURI’

Rwandan singer and songwriter Alyn Sano consolidates on her efforts with her debut 13-track album ‘Rumuri.’ In March, Sano released the EP ‘Boo and Bae.’ On ‘Rumuri,’ she pulls inspiration from R&B, Pop, Alternative Rock and indigenous African sounds to curate a variety of songs that explore love, societal pressures and finding strength in oneself. While she alternates from Swahili to Kinyarwanda to English, Alyn Sano’s clear, strong vocals ensure that the listener feels whatever emotions she wants them to feel.

EKITI SOUND – ‘DRUM MONEY’

Ekiti Sound is the moniker of Leke Awoyinka, a record producer and DJ who has shared his time between Nigeria and the UK since childhood. With his music, Ekiti Sound pays obeisance to indigenous Nigerian sounds and pairs them with elements from Electronic music and Hip-Hop. On his sophomore album ‘Drum Money,’ these influences of Africa and the diaspora come alive as Ekiti Sound finds a balance in curating sounds that merge his individuality with diverse cultures.

RUKMANI – ‘ANGEL ON THE RUN’

When an undeniable talent comes around, it’s hard to ignore. Nigerian singer Rukmani is one of those. Her debut EP ‘Angel On The Run’ is at once captivating, which is a result of her piercing vocals and intricate, deliberate songwriting, making for an immersive experience. She utilises the songs to chronicle her struggles as well her wins as regards love and self-discovery. ‘Angel On The Run’ is a memorable gift for an artist with a promising future.

ESSENTIALS: CHMBA FASHIONS UNIVERSAL SOUNDSCAPES ON NEW EP, ‘OKONGOLA CAUCUS’

Air Afrique Partners with Bottega Veneta to Launch New Magazine

Posted on by The Native

Independence was a recurring theme across West Africa in the late 1950s and early ‘60s. In that era of the region’s wind of change, countries relished their self-determining authority, which inevitably extended into collaborative efforts and general camaraderie. In 1961, the leaders of Senegal, Central African Republic, Cameroon, Ivory Coast, Gabon, Benin, Burkina Faso, Mauritania, Niger, Congo and Chad launched Air Afrique, an airline for intra-regional movement and as a link to the global African diaspora, as well as the rest of the world.

Air Afrique was undoubtedly a pan-African endeavour and in its four decades of existence, was a promoter of culture, serving as a patron for film festivals such as FESPACO, large art exhibitions like Biennale de Dakar, and more seminal cultural gatherings. The airline also housed Balafon, the now-defunct magazine publication whose slogan read, “for a better knowledge of Black Africa.” These issues, which were produced and sold between 1964 and 2000 served as a document of the history and evolving times of the African continent, promoting a forward-facing narrative away from any Afro-sceptic sentiments.

Predominantly made up of young Parisian creatives from across the African diaspora, the Air Afrique collective is set to release their debut issue. Led by Creative Director, Lamine Diaoune, co-founders Djiby Kebe and Jeremy Konko,  and editor-in-chief Amandine Nana, the collective was inspired by the now-defunct pan-African airline and its magazine publication, which served as a premier cultural manifesto in its heyday. With this launch, Air Afrique’s editorial approach will be in line with the legacy of pan-African magazines of the 20th century, to serve as an accessible cultural platform of knowledge and aesthetics designed to connect and stimulate contemporary Afro-diasporic perspectives, stories and cultural initiatives.

“We want to revive the African transcendence that Air Afrique represented,” Lamine Diaoune says of Air Afrique. “Our mission is to preserve this heritage, to put Air Afrique back in the cultural conversation, and to build on their example of cultural engagement.” Djibe Kebe adds: “Air Afrique was more than an airline. It was a cultural platform. We want to share the Air Afrique archive and create our own archive—to capture this moment of change in Black awareness and expression.”

For its first issue, Air Afrique has partnered with luxury fashion house, Bottega Veneta. In this partnership, Bottega Veneta will co-host the magazine’s launch party today in Paris during the ongoing Men’s Fashion week, while creating a series of unique campaign images that will combine the purpose of Air Afrique and the aesthetics of Bottega Veneta. The brand will also release a limited-edition series of blankets designed by Franco-Sudanese designer, Abdel El Tayeb. 10 blankets will be sold through Bottega Veneta channels and the proceeds will be donated.

The Air Afrique collaboration is part of Bottega Veneta’s unique approach to print media partnerships, focused on new and revived cultural magazines. In 2022, the brand sponsored the return of BUTT, the iconic magazine focused queer culture and sexuality. Dating back to the seminal 1978 campaign, “When Your Own Initials Are Enough,” in Interview magazine, Bottega Veneta has been associated with significant creative media partnerships, and Air Afrique is its latest marquee endeavour.

With sterling inspiration from the past, a winning mission statement for its present and future, as well as extensive support from a hugely popular patron of the arts, Air Afrique is primed for immediate, as well as lasting, impact.

ICYMI: ‘BOTTEGA VENETA: MEN’ EXPLORES GENDER BOUNDARIES IN SOCIETY

14 Years and A Day: A Distinct Love Story Intimately Representing Queer Identities

Posted on by Nwanneamaka Igwe

The history of queer representation in African cinema is unpleasant—to say the least. A large part of that results from the widespread criminalisation of homosexuality and gender non-conformity in Africa. When the queer community isn’t grappling with censorship and under-representation, they are poorly represented in distasteful and degrading scenarios. The growth of the digital atmosphere has enabled a significant increase in queer representation but despite the recent advances of the entertainment industry in Africa, our filmmakers omit these stories. As a result, queer people have begun bypassing industry gatekeepers to tell their stories and make it accessible to all audiences across the globe.

However, the stories that have made it to our screens often take a tragic tone in a bid to spotlight the injustices the queer community face. Understandably so. According to the creators of ’14 Years and a Day’, this disregards the beauty of a genuine queer love story we have around us. Ayo Lawson and Uyaiedu Ikpe-Etim, the movie’s writers and directors have taken the responsibility of spotlighting these crucial perspectives of a queer person navigating life in these parts, while celebrating love and self-discovery within and outside relationships.

 

View this post on Instagram

 

A post shared by Uyaiedu Ikpe-Etim (@uyaiedu)

“The few times I remember seeing queer characters, they were displayed in very terrible light,” Uyaeidu Ikpe-Etim tells The NATIVE. “They were either begging people for change or deliverance. It just made it seem like there was something inherently wrong with queer people.”

Ahead of their screening in Lagos, we caught up with Ayo and Uyai regarding their creative process, choosing queer collaborators for the film the intricacies of telling a queer love story and more.

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

NATIVE: Hello guys, thanks for joining me today. Take me back to the beginning. What sparked the idea to work on a film for Pride Month? 

Ayo: What really inspired the film was La Tarvena, the location we shot the film. Uyai and I were at dinner and we thought that it would be a nice place to shoot. We thought the fairy lights looked very romantic and it could be a great setting for a love story. It also crossed our minds that La Tarvena has become a safe place for queer people and there’s so many different stories we could tell there. We were also inspired by our own love story.

Uyai: We’re screening the film this month because it’s a great time. We don’t really have a lot of pride celebrations. We do have a couple and we wanted to be part of that. We wanted to include more celebrations for queer people this month. We’ve built so much anticipation for the film and it just clicked to do this during pride month.

Let’s talk about your background. What are some of your directorial experiences?  Uyaiedu, you’ve directed ‘Ife,’ a short film with queer themes. Did that experience make this film a less daunting task?

Uyai: Absolutely. ‘Ife’ was my first time directing and it was also a queer film. There was a lot that came with that especially being a first time director. However, making ’14 Years and A Day’ was a lot less daunting because I already had the experience of negative and homophobia. I was aware that they are just fear tactics. With making this, I was not too worried. Also, I was making ’14 Years and A Day’ with Ayo and that took away [some pressure]. We could really bounce off each other. We worked so well together. Finding actors and putting a crew together was still very difficult but because of my experience with ‘Ife,’ I knew how to navigate that.

Ayo: ’14 Years and A Day’ is also my second time directing. I directed ‘Nightmare on Broad Street’ with Femi Johnson but as much as it had queer experiences, I wouldn’t say it was a queer film. Going into this having met Uyai, I’ve become more confident in my queerness because I want it to be the forefront of the story. Let people choke on the queerness literally. I wanted it to be clear and in-your-face that the characters were queer but not let that be the only topic of the story. I also didn’t want to represent queerness through the lens of homophobia or all the hardships that come with living in Nigeria.

What’s it like working on projects with your real life partner? Are there any unique challenges and benefits that come with it?

Ayo: It’s interesting. I think we make a really good team. Obviously it’s difficult because when stress levels get high, it’s natural to snap at each other. Sometimes we’d have an idea and the other person is not getting it. All in all we really had an eye for what we wanted. We had spoken about it a lot so we were mostly on the same page. I’m really someone that wants to talk about how everything looks. I mostly come from art filmmaking so I want to ensure it looks nice and has the great aesthetic but Uyai is more particular about the story line and acting. Coming together, we both got to look at the other sides more than we would have normally.

Uyai: I really agree that we make a great team. Even beyond making the film, preparing for the screening and the ball has been great. Last night, Ayo looked over to me and said we make a great team. We’re on the same page and when we’re not on the same page, our ideas complement each other.

Given the conservative norms we have in our society, what made you take a more positive perspective/standpoint as opposed to the more daunting realities? Why did you think you had to paint that picture for the audience? 

Uyai: We wanted to tell the complete story. I grew up watching a lot of Old Hollywood and there was hardly any representation of queer characters. The few times I remember seeing queer characters, they were displayed in very terrible light. They were either begging people for change or deliverance. It just made it seem like there was something inherently wrong with queer people. For Ayo and I, we wanted to tell the full story. Here we are, queer people and we have an amazing community. We exist. We love and we live here. We experience life and heart break like every other Nigerian. We wanted to bring that to the forefront and put it in your faces. This exists and these people are happy despite the negative stories you’ve tried to tell us. We’re here to tell a different story.

Ayo: As much as we have positive realities also, being queer in Nigeria is still hard. We wanted to create an escape. Some of the other recent queer films still talk about struggle which is very valid but we wanted to change the narrative so people can have a story to aspire to. If not that, feel some sort of hope that there is light somewhere at the end. People are having positive experiences. We can have spaceS. We can have love. We can meet people and life can be positive. We also wanted to change the narrative for our international audiences. When we screened in England, people asked us why we live in Nigeria and suggested we seek asylum. We’re not hidden and prisoned here and while they aren’t many, there are spaces we are accepted. We wanted to create more spaces and inspire people to create more spaces.

What factors informed your choices of other people to collaborate with on the film? 

Uyai: Allyship. It’s very difficult to find queer crew in Nigeria. It’s very difficult to find queer crew in Nigeria, that’s another thing that we struggle with. I had worked with someone on ‘Ife’, the same person who did the cinematography. He was such a great ally and respectful of the cast. We also went with him because there was a way we wanted the film to look. For the actors, we went with almost 100% queer actors. We had a nonbinary actor play a non binary character. That was very important to have that kind of representation. 

Ayo: Another thing that was important to us was finding new talent. People have a tendency to use the same faces. I don’t know how many people in Nigeria would even be comfortable playing those roles. We did a casting call for people to send monologues and that’s how we narrowed it down. We also just reached out to some people and said, “We think you’d be really good at this.” A lot of them got cast that way. For example, Alex, who plays Max, this was their first time ever acting. That was a good way of finding and nurturing talent.

Dating as an intersex person I think creates such a unique struggle both in and out of the queer community. What inspired you to explore this theme in the film? 

Uyai: While we’re very particular about telling queer stories, we’re also particular about having teachable moments. Initially we were just going to go with a non-binary character but we decided that we should infuse other identities, especially those that aren’t highlighted in the media. The intersex identity is not even highlighted in Hollywood, let alone in Nigeria. We think about how we can infuse entertainment with education, that’s why we had that character.

Ayo: Even in the queer community, we realised that a lot of people aren’t in the know. It’s not just educating the masses but also educating the queer community.

 

View this post on Instagram

 

A post shared by 14 Years & a Day (@14yearsandaday)

Let’s talk about the main characters, what inspired the main character Amal and Max?

Uyai: We wanted to tell a love story and tell it from different perspectives with different kinds of queer people. I feel like in Nigeria, there are different kinds of gays. We’ve noticed the more oppressed you are in Nigeria the more willing you are to be more visible to fight for your freedom. As opposed to class gays who have so much to lose and would rather be closeted about their sexual identity and we wanted to bring that together. Not in a way to judge either ends of the spectrum but bring that up in conversation. A class gay can say ‘this is my reason I don’t want to come out’ and that’s ok. We wanted that to be visible in the story. We also put other kinds of gays who are visible and loud and that comes as a shock to the class gays who assumes they can’t have another kind of life. We wanted to show all these journeys are valid and they matter. 

Why did you think Adunolaoluwa Osilowo and Alexandra Maduagwu would best play the lead roles? 

Uyai: So we spent lots of time looking for actors. Like Ayo mentioned earlier, finding queer actors willing to play these roles was very difficult. We did put out a casting call and got responses. However we still didn’t find a person who fit our Max character. While we had other people in mind—Ayo had actually worked with Adu in the past and thought she’d be a great fit for the role—we couldn’t possibly find someone for Max. randomly we remembered Alex and thought they would fit perfectly in the role. We just thought, “hmm, can they act?” That’s another question but let’s just try. So we hit up Alex and asked them to come for the screening and then we did a chemistry test with Adu. It was the chemistry test that sold us and showed us that it was a perfect match.

I’m sure you had some reference points when creating the film. Did any piece of media have a significant impact on your film?

Ayo: At the time we were really inspired by K-Dramas and old Asian film aesthetics. We were inspired by the colour and lighting of films like that. Some of the films we watched were ‘Suspiria’ and ‘Parasite’ for their cinematography and camera movements.

Uyai: Story wise, we really drew from our community and the people around us. I remember when we sent Fola Francis the script to play the trans woman, Divine, she was so excited. We drew from our own lives because we wanted it to be relatable. 

Are there any particular characters you each take particular interest or liking to and why?

Ayo: I’d probably say Max. I feel like Max’s experiences are somewhat like mine. They never felt they were able to fit into the closet. I feel like once I realised my queerness there was no going back. Also with how masc representing I am, I resonate with that. Even in the situation where Amal and Max come out of the bathroom and the cleaner was like ‘Ah ah, this is a woman’s bathroom.’ That’s my life. I get that on a constant basis. That’s my struggle. I feel like I could just relate with their experiences. 

Uyai: For me I think I can relate to almost all the characters. I can relate to not fitting into the closet because as soon as I realised my queerness I accepted my new life. Another character I resonated with was Max’s ex Zara (Funmbi Toye’s character). In the film, Max finds out they’re intersex and doesn’t know if they’re transitioning. I could really relate to that as a partner who’s not sure what their partner is becoming and constantly thinking about how it would affect the relationship. I can really relate to a character just packing up and leaving while being unsure that they actually wanted to leave.

 

View this post on Instagram

 

A post shared by 14 Years & a Day (@14yearsandaday)

Comparing your script to the final copy, were there any major changes that had to be made through the course of production?

Uyaidu: Not really, because we were the writers and directors. We really stuck with the vision that we had in mind. I would say there were some changes based on our shooting schedule because we only had a night to shoot and the entire film was meant to happen at night. However, the shooting time had to go into the morning so we had to make that change.

Ayo: There were also meant to be cameos by iconic gays. We wanted to have cameos by people who were activists and public figures but we didn’t have the time.

The landscape for queer youth has changed in the past few years, especially in Nigeria. How do you think the film would be received now compared to five or ten years ago?

Ayo: I think it’s going to be a lot of mixed feelings. Because of the growth of the queer community, I feel like there’s going to be acceptance for our film, even though there’s going to be the normal backlash. We live in Nigeria. When things are hyped up that’s when the homophobia comes in and the homophobic people want to shit on it. But because of the changing and the acceptance of people, I feel like there’s been change created so ’14 Years and A Day’ can be more accepted.

Uyai: I don’t even think I could have made this film 10 years ago. There’s been a lot of change and a lot of people being more vocal about their sexuality. That of course has helped us feel bolder to make this kind of film. 

What was it like shooting this film in Lagos? Did you encounter any challenges?  

Ayo: Like Uyai said we only had a night to shoot. We had booked La Taverna for one day and we had to make sure that everything was done within that day. There were some logistic issues. I think the main issue was just timing because we had less than 8 hours to shoot. To get everything in was just difficult to do because we had to change camera and light set ups. Another thing I’ll mention was just getting the crew. Because the crew wasn’t queer, we were educating them on pronouns and how to interact with people. We had a few slips here and there but it was still alright. It was an educative moment for them.

You’re having your Lagos screening soon. What have the days leading up to this moment been like for you? 

Uyai: Initially, there was a lot more anxiety. However, we’ve gotten a lot of help from international organisations who have agreed to host it and take a lot of that pressure off of us. I’m honestly just really dazed and excited. I feel like what’s happening in a few days has been a dream for me; to have the queer community come together and party in a really queer way. I can’t wait for people to see it and see themselves represented. That’s not a thing that happens a lot for us. I’m also hoping that this leads on to more screenings across Nigeria and internationally. That’s really our dream, that everyone in Nigeria gets to see it.

Ayo: I’d say that for me, it was quite anxiety inducing. The whole purpose of making this film was for queer Nigerians to see themselves represented on screen. When we did the RSVP link, it closed in less than four hours. It just shows how many people want this and how many people have been waiting to see themselves represented. It was such a big deal and that I feel has taken all my anxiety away. I know that at the end of the day it’ll just be joy. It’s fulfilling for me. And the ball, I’ve always wanted to do the ball. I’ve been huge on ballroom culture as well.

What sort of impact do you hope this has on the audience, especially queer Nigerians grappling with self-identification and sexuality?

Uyai: I really hope that creators and artists are inspired to make more queer art. I know that everyone will be excited to see themselves represented, but I really hope that it inspires more creators to make more films with queer people and create more art with queer people centred. That’s one impact that will make me super grateful and happy.

Ayo: For me, I didn’t watch old Nollywood and I didn’t really have any representation of queerness in Nigeria at all. Even internationally, I don’t think I was watching any shows that had any prominent queer characters. Later, I heard about ‘L Word’ but it was so white that I couldn’t relate to it. The impact I want to make is creating that representation in different forms. Not just a gay man or woman. Trans people, non binary people, intersex. I feel like the impact is going to educate people and create some kind of acceptance. It’s going to change people’s perspectives as well. I feel like it will inspire people to do more. Maybe it’s idealistic, but maybe it could inspire people to come out and live authentically.

[Featured Image Credits/The NATIVE]

ICYMI: UYAIEDU IKPE-ETIM VS NOLLYWOOD

Teezee’s new single “Stamina” captures the effervescence of Brazil

Posted on by Emmanuel Esomnofu

Teezee knows the potential of culture. Striking out the scene in the 2000s with DRB Lasgidi, the artist has occupied many roles and worn many hats throughout the industry. Right now, Teezee is acclaimed in popular culture for his leadership role at the Def Jam-affiliated Native Records, whose flagship act ODUMODUBLVCK has been making memorable incursions into the mainstream domain, while courting a niche dedication in their fanbase, much like Teezee did all those years ago. 

 

View this post on Instagram

 

A post shared by TEEZINHO (@teezee)

Despite how far he’s come in the game, music remains a prime activity for Teezee. He’s an intentional creator, matching his vast sonic palette with narrative choices that brings his ideas to colourful light. Last year’s ‘ARRESTED BY LOVE’ was attended with an Old Nollywood-esque dramatism, placing the motions of his life under consideration on wax. 

“Stamina” is the rapper and singer’s latest release. It’s a fun drop with exquisite polishes, right from the sound and down to the visuals. As he tells us in this exclusive, it’s a summery bop intended to settle the listener into a chill vibe and paint a picture of his time in Brazil.

Ahead of the official release of the visuals for “Stamina”, Teezee tells The NATIVE about how the record came together, its relationship with the beautiful game of football, visiting Brazil, and the ongoing experimentation going behind his sound.

NATIVE: You worked with frequent collaborator Sholz on this one. Did that play a role in how intimate and relaxed this song sounds?

Teezee: Yeah, Sholz is one of my oldest friends. We actually started making music together, like back in JSS1. He’s a co-founder of Native Records; working with him is always seamless and easy. We’re just in a search to create a new sound and really tap into this Afro-Dance element which kind of retracts elements of Amapiano, Afrobeats, Afrofusion, some pop, some Garage. Elements that we’ve kind of discovered and explored around the world. You know, this Afro-Dance is not a new idea to us; it’s something we’ve been trying to create since, with the inception of Native Sound System and the ‘NATIVEWORLD’ album—so we’re just developing on that sound to take it further. 

The song is titled “Stamina” (which is a popular word to football fans) and you’re wearing a Brazil football jersey on set. Was that a coincidence or is there some narrative behind that choice?

Teezee: Wearing a Brazil jersey is very intentional. I think I probably have the most in-depth jersey collection in Nigeria. I don’t want to say Africa because some guys might have it more than me. You know, football is near and dear to my heart. Like that’s something that I use as an anecdote to many things in life. And especially Brazilian football—you know Brazilian footballers are really good, but people say they’re playful because they’re fun with it. They dribble a lot; they’re about having fun but they also win and I think that’s what we at Native Records represent. Like, we take this very seriously but it’s also fun. It’s also what we love doing. We love to dance, we love to score goals, we love to create assists. 

You can check the track record, I’ve always worn classic football jerseys in most of my historic music videos. DRB Lasgidi “Necessary”, wore the Nigeria; one of 23 kits that came out in 1994; Odumodu’s “Declan Rice”, I wore the Zinedine Zidane jersey from Euro 2000. And for “Stamina” I’m wearing Ronaldinho, one of my icon’s Brazil jerseys from the 2002 World Cup. It’s really special for me. 

“Stamina” is a feel-good song which sounds perfect for summer. How do seasons and moods contribute to the music you make?

Teezee: Seasons and moods completely contribute to that. I’m a summer baby, and I’m a water sign. So those two things really collaborate into making the type of music I want to hear when I’m outside, when I’m having fun, when I’m travelling with my friends, when I’m at the beach, when I’m swimming, when we’re about to go to the party, when I’m dressing about to get lit. You know, that’s the kind of music I want to create; I want to create ambience music that’s like the soundtrack to your enjoyment. And I think that’s the vibe I try to give to “Stamina.”

What was the most memorable experience from your trip to Brazil?

Teezee: My memorable experience from Brazil was definitely the carnival. That was a mind blowing experience. Just seeing the richness in cultures, how all those favelas are the ones that actually build up those mannequins that kind of walk through the whole stadium and you get to watch and just see a rich celebration of culture. Brazil also being a place where the culture is really immersed in diversity. It’s one of the most diverse places in the world; in fact, I read that Brazil has the most afro-diverse community outside of Africa in the world. So you understand when us as Africans go to Brazil, you feel an instant connection with the people and cultures. 

The visuals are quite colourful and striking in a cinematic way. How did those scenes come together? 

Teezee: I just work with a beautiful creative team. Shoutout to Sawa, Rafa, Mowa, the whole crew. Just some young, dope, I’ll call them—you know, just people pushing subgenres out in Brazil. There’s people like us around the world and we found them and just made a masterpiece and I just really took stems from seeing what Brazil looks like when it was represented to us back in the day—from watching movies like ‘City of God’ or also watching what Pharell and Snoop Dogg did in “Beautiful”. I just wanted to recreate that, but in my own way, and in a very Teezee, natural, alte kind of version of that. 

If you could play this song anywhere in the world, where would you play it? 

Teezee: I’ll play this song…at the beach. When you’re meditating and you’re just trying to free your mind, just enjoying yourself. So I think the beach; Tarkwa Bay preferably.

ICYMI: A TRIP TO CUBA WITH TEEZEE, SKEPTA & STEPHEN TAYO

Asake, Wizkid & the influencing power of listeners on artists’ creativity

Posted on by Emmanuel Esomnofu

Last Friday, Asake released ‘Work of Art’, his second studio album in nine months. It came with much discussion about the sounds Asake would pick up, especially in light of some criticism he’d faced the year before. According to listeners who shared their thoughts on social media, the YBNL artist’s zealous utilisation of the amapiano-meets-fuji blend was becoming less novel and more hectic, which kind of suggested he was maybe a one-trick pony. 

Every new song was parsed through critical ears. For instance, the progressions on “Sungba” and “Palazzo” were considered to be a rehashing, and prior opinions hinted that he and the Magicsticks alliance was suffering a bit of complacence. Perhaps it was expected: boasting a melodic grasp on the poignant lyricism of fuji, listeners wanted to hear those inflections on a different sound. As though in direct contradiction of their expectations, Asake made ‘Mr Money With The Vibe’ one of the most closely-curated Nigerian pop albums in recent times, each song wielding those same qualities that had gotten him the banter name ‘Sungbaman’ some months earlier. 

A new album is here and the fires of conversation are again stoked. Earlier this week, a tweet featuring a video comparing the opening seconds of different Asake songs across his two albums went viral, suggesting the Lagos-born artist was being formulaic. 

As you’d expect, the comments were varied but most were similarly enraptured by the excitement of new things. It seemed as though Asake’s secret had been revealed to the world. Well, there’s a deeper discourse at play, and it surely extends past Asake. For as long as there’s been entertainers, there have been audiences. It’s a relationship with a subtle but powerful relevance, as it has the potential to shape both parties. For audiences, the associative tendencies produced by their favourite creators stands the possibility of influencing them. 

Beyond shaping their artistic sensibilities, there’s often a real life effect that comes from the art we consume. There’s no surprise when listeners of Nas turn out to be society-grounded intellectuals. He frames his music from the perspective of an insider, utilising high art no less to bring the situations alive. On the other hand, a rapper like Jay-Z embodies the totality of celebrity. He’s a fantastic stylist, but his career is what it is in spite of that and not because of that. This artist-audience dynamic is important because very often, it’s the perspective of the audience that’s heard. Through social media, open letters, at concerts and festivals, in magazine pieces like this, the audience somehow asserts his presence. 

For artists, the question becomes: beyond their presence, just how influential the audience should be. Is it worthy to create from purely individual impulses or rather the work attune itself to contemporary interests? These are nuanced considerations and attempting to unfurl them may reveal something relevant to the present conversation. 

In the sphere of Nigerian, audience expectations are almost as popular as the music. Especially in the hyper-connected age of social media, opinions have the ability to make or break a release. The awareness of their power has made the audience cover new ground in the historical landscape of their relationship with creators. Quite frankly, the philosophy of the music business is that musicians should go where the market is. That is, creating music to suit the sensibilities of the people you’re supposedly creating for. 

However, it would be overstating the audience’s wisdom to say some musicians haven’t successfully created outside of those expectations. Artists have sometimes struck out on their own to establish what the German philosopher Friedrich Schlegel described as the absolute arbitrariness of an artist who transcends all influences to create from his own subjectivity. In ‘Sounds From The Other Side’, the artistic vision of Wizkid was revealed as forward-facing, especially after the album’s standing was solidified as time went by.

The project’s mellow soundscape was a sharp turn after from the pomp of his earlier releases. Crystallised by ‘Superstar’, the artist’s grasp of the triumphant pop banger was unrivalled, and by creating ‘STFOS’ had betrayed the audience’s image of him. In relation to the Asake situation, first of all, this demonstrates that fan expectation isn’t always consistent. At best, fans will depend on their emotions to inform their takes. There’s actually little research that suggests that they’re speaking from an artistically informed perspective. 

‘Made in Lagos’ solidified the efforts of Wizkid from ‘STFOS’, blending the juicier elements of Caribbean pop with the conversational ebbs of African cultures. Thus with a more controlled creative room, Wizkid successfully set up the sonic bridge he’d begun building with his Drake-hosted “One Dance”. In hindsight, were Wizkid to have succumbed to fan pressure, it is likely he would not have gotten the experience he needed to create ‘MIL’.

Likewise, the evolution of Adekunle Gold was initially open to criticism. His folk-minted records such as “Sade” and “Ready” had tugged the sensitive plains of audiences’ hearts, making him the favourite everyman. Gold’s vision was however focused on a broader direction, and he began to chart that lane gradually, starting with the glossy intimacy of ‘About 30’. For a musician who had the streets, with an audience base which included varied demographics, most people considered it an abrupt move. If there are any other dissenting views, the elite cache of pop-centric hits Adekunle Gold has scored in the past four years puts them to bed. 

Being an artist is such a dangerous thing to do. I say this as someone who hopes to one day write books and create stuff. Out there in the world, nobody really cares for the mental fortitude it takes to create what you create. The work is all that is visible; everything else melts away. 

For this particular reason, creating art has to be an experience true to oneself. The mass commercialisation of Nigerian Pop (or Afrobeats, if you will) makes this seem like an altruistic vision but it is perhaps the only vision for a serious creative. During his peak years, the artist Iyanya was the rave of the industry. He followed the conventional wisdom; he was everywhere people needed him to be, but he was seldom there for his artistry. When others came with better alternatives to what he was satisfied with providing, he was largely forgotten, castaway on the trail of old Nigerian Pop loves. 

In contrast, the legendary P-Square stuck to their guns during their era of dominance. People often criticised them for taking too much from classic American R&B, but the twins knew how to work those sensibilities into a uniquely Nigerian flavour. They believed in their style rather than churning out similar music to what everyone else was making. As a result, they have one of the most identifiable catalogues in modern Nigerian music, positioned at the forefront when an audience wants to get into a particular vibe.  

Let’s come back to Asake. There’s an opinion I saw somewhere; that ‘MMWTV’ and ‘Work of Art’ can be considered as siblings rather than twins. I agree. The amapiano log drums from which Magicsticks usually shapes his compositions isn’t known to be the most malleable instrument, in that it’s a very distinct sound. Regardless of how it’s being utilised, this means it comes off as repetitive to the everyday listener. 

Producers would however tell you that few songs on this sophomore album have a direct copy from last year’s breakout one. Rather, they extend the vision, adapting breezy progressions to carry the superstar persona Asake is all about. Where the production was previously heavy to carry the grass-to-grace narrative, here it’s essentially stripped, contributing to a generally celebratory tone. We need to understand that novelty can still be created within an existing template, to borrow the words of that Twitter user. 

South African ‘Piano savants likes Kabza De Small and De Mthuda have demonstrated this across several albums in their oeuvre. Making subtle, intricate flourishes from beat to beat, there’s a continuity in the sound that makes the listener locked wholesomely in that world. Alternatively, some other listeners are bound to get bored, but it’s the nature of art to resist unanimous acclaim. Subjectivity, that often mentioned word, is so profoundly present in music, that the surest bet is to trust the musician. 

In an interview with OkayAfrica, the rapper LADIPOE spoke about the initial pushback he got when he was making incursions into the pop-rap sphere. “You don’t have to focus on the evolution because the artist will evolve faster than the audience, it’s nature” he said, a poignant reminder that these people are the ones in those studios, traveling around the world, and soaking in sounds and cultures as they do. It’s expected that sometimes their creations wouldn’t resonate in early listens, especially when it’s so different (or in Asake’s case, similar) to their previous work. 

This doesn’t mean that a work of art can’t be critiqued. Rather, it’s a reminder that audiences shouldn’t hold artists to their own standards. At its essential, basic level, the artist creates to satisfy an itch within themselves, and with an audience or not, the work still remains art. Acclaim might come decades later, or not at all, and critics like myself might constructively unravel a project, but it’s to the detriment of art to tell the artist what to create. Personally, what I do is highlight the shortcomings in the execution of the work; I do not pretend to know the intent behind its ideation. 

Fortunately, the man at the centre of this has given us an insight into his process. In his sprawling NATIVE Issue 005 cover profile, he referred to his style as a special rice he’d discovered. If everyone was looking for that potent mix of cultural impact and commercial success, and his dive into Amapiano had provided that, it makes little sense to divorce the sonic marriage. “My sound is my sound,” he said. “That makes it my sound, because you can’t understand it. The moment I understand it, that means it’s not my sound, so I have to keep dipping into my sound”. That’s good perspective to have, especially when he’s this fresh into his mainstream career. I believe the Asake on “Yoga” who floated over the bluesy rhythms of Sakara—via sampling a Sega music classic—would still resurface; he only needs the time to learn its intricacies as well as he’s done Amapiano. Without that grounding, he might flounder in the process of experimentation. 

Art isn’t a walk in the park. Popular music has a tighter runtime than other disciplines like painting or writing, but we can sometimes borrow from their practices. Artists are known for different styles throughout their career, and each style isn’t necessarily moved into after one successful outing with it. The works of transcendental painters like Picasso and Caravaggio were critiqued according to their distinct eras, from early paintings to mid-age paintings and, finally, their later works. And even when these works are different in medium or execution, there’s often a unified thread running through them. We can and should give musicians this grace; they’re artists too.

ICYMI: RECORDING ACADEMY ADDS NEW CATEGORY FOR AFRICAN MUSIC AT THE GRAMMYS

Ahead of his debut album, Victony continues to rise to greater heights

Posted on by Uzoma Ihejirika

In Nigeria’s burgeoning Afropop scene, Victony is one of the newer acts consolidating on the exploits of the veterans whilst laying the foundation for the sonic iterations of the genre for the future. He has curated a heady brew of Afrobeats, Hip-Hop and R&B, spiced with wit and candour about his experiences as a young Nigerian battling the vicissitudes of life. While 2021 proved to be a turbulent year for the rising star, he has maintained a zest that has added colour and ingenuity to his music, further raising his stock as one of Nigerian music’s leading lights.

Born Anthony Ebuka Victor, Victony got an early start in the music scene as a rapper, dropping freestyles and mixes. Inspired by Kendrick Lamar and Drake, Victony released a rap mixtape on SoundCloud; it featured covers of Nigerian and international hits including Burna Boy’s “On The Low,” Tems’ “Try Me,” Kendrick Lamar’s “DNA,” and Cardi B’s “Bodak Yellow.” He followed that with the singles “Menace,” “2mins in Space” and “S.M.S (Sing My Song)” with Zichy. Admittedly, “S.M.S (Sing My Song)” bore Hip-Hop elements but it was an early sign of Victony’s experimentation with Afropop-inclined melodies. At the peak of the COVID-19 pandemic in Nigeria and around the world, Victony put out the 2020 EP ‘Saturn,’ a display of his workings with Afrobeats.

Its title, ‘Saturn’ was an allusion to Victony’s ability to transport listeners with his music to different dimensions. While Victony found new Afropop delights with “More,” the Falz-assisted “Maria,” “Fasta” and “Jó Riddim,” he retained his love for rap with “Space & Time” and “87 Club.” Overall, the project was marinated in elements associated with Emo rap: moody, melancholic productions felt otherworldly. ‘Saturn’ was also our first encounter with Victony’s planetary alter ego Tredax. Throughout this period, Victony managed his music side by side with his academics as a student of the Federal University of Technology Owerri (FUTO).

On April 26, 2021, days after he dropped the single “Broken” and appeared on Hoodini’s “Euphoria,” tragedy knocked at Victony’s door. He and his friends were involved in a car crash, which left them severely injured and claimed the life of one of them. Victony, hospitalized, needed surgery. Prayers poured in from both fans and fellow artists. After surviving the crash, Victony’s only aid for movement was a wheelchair. In an incredible show of faith, Victony continued to make music, refusing to let the unfortunate situation keep him away from his passion. A few months after the accident, the two-track EP ‘Dark Times’ was born.

‘Dark Times’ was equal parts Victony’s place for mourning and a yearning for brighter days. He purged his emotions on “Pray,” shifting from feelings of grief to gratitude for the abundant love from family, friends and fans. On “Unfamiliar Realms,” he paints a picture of anguish, singing, “Don’t know myself/Another realm inside my head/Can’t tell me hell is not my residence/The devil’s here and then he plays with my intelligence.” ‘Dark Times’ garnered overwhelming positive reception and steered Victony onto the path of glory. He would go on to appear in other songs such as Savage’s “Rosemary,” Krizbeatz’s “Time & Place” with Terri, Mayorkun’s “Holy Father” and the two-song pack ‘Nataraja’ with Rexxie. “Holy Father” was the game changer, though; powered by his striking falsetto, Victony’s chorus fired the song into the minds and hearts of music listeners around the globe. 

On Christmas Day of 2021, at Davido’s “A Decade of Davido” concert, Victony rose to his feet with the aid of Davido and Mayorkun to perform “Holy Father” to the loud cheers of the audience. That act, aside from showing that Victony’s recovery was accelerating, was a sign that Victony was being welcomed into the class of elite Nigerian music stars, courtesy—and strictly—of his prowess. Victony’s 2022 began on an excellent note: he featured on DJ Boat’s “Old School Love” and released the P.Priime-produced thumper “Apollo” and the contemplative tune “Kolomental”—all culminating in the brilliant ‘Outlaw’ EP. He also made an appearance on A Colors Show to perform the track “Many Man.” ‘Outlaw’ is Victony’s finest moment yet; on the project, he has a firm grip on his stylistics, gliding across a colourful range of production choices to euphoric results. From the EP, “Soweto,” with music producer Tempoe, would transform Victony into a bonafide star.

Tempoe is one of Nigeria’s current hitmakers. With “Soweto,” he added to his catalogue of chart-topping records, dating from CKay’s “Love Nwantiti (Ah Ah Ah)” to Omah Lay’s “Understand” to Joeboy’s “Sip (Alcohol).” The rhythms of Victony’s “Soweto” are as addictive as the elements that make them up: mid-tempo drums, percussion and flute melody. The song soared through music charts around the world, soundtracking parties and becoming a staple on TikTok. “We just caught a vibe and it just happened. It was not an intense session,” Victony told The Fader. “…it’s kind of like a learning experience for me to just try our new stuff because you never know what people would like.” “Soweto” has birthed African and international remixes with the likes of Rema, Omah Lay and Don Toliver hopping on the track. 

Visually, Victony has adopted a more polished look, preferring retro-styled clothing that breathes class. It’s an intentionality that has always been present in all his creative processes. Nowhere does he make clear his latest trajectory than through the snippets he’s been sharing on social media for his forthcoming music. Snippets have become an effective marketing tool in contemporary Afropop and Victony, in preparation for what he has termed “Ebele Music,” has used them to capture the attention of his fans. 

He recently tweeted the names of Ebenezer Obey, Bright Chimezie, King Sunny Ade, Patty Obassey and Oliver De Coque, bookmarked by “LEGENDS NEVER DIE.” It is a perfect summation of the sound Victony has been teasing. The production is an intriguing collage of Highlife, Juju and Gospel music. The snippets also feature music acts Blaqbonez and ODUMODUBLVCK as well as online comedians Nasboi, Shank and Broda Shaggi. The forthcoming tracks “Angelus” and “My Darling” signal a new creative direction for Victony that is bound to yield dividends. The sound is instantly refreshing and harkens to the music of previous, time-tested generations. With these songs, Victony is serving as a conduit between the past and present to foretell the future.

Elsewhere, Victony’s global appeal received a further boost after he featured on Burna Boy’s Grammy-nominated album ‘Love, Damini.’ Since then, he has appeared on the remix of South African act Musa Keys’ “Selema (Po Po)” and UK-born act JayO’s “XO.” Coupled with the consistent rise of “Soweto” and the genre-merging attributes of his forthcoming music, Victony is staking his place to become one of the revered Afropop stars on the continent. Where once lived pain and grief, Victony has found beauty and strength, skyrocketing him to greater heights.

ICYMI: VICTONY & REXXIE BECOME MUSICAL KIN ON 2-SONG PACK, ‘NATARAJA’

Review: Seyi Vibez’s ‘Vibe Till thy Kingdom Come’

Urgency can be a catalyst for transcendent bursts of creativity. Mere days to the release of his November 2022 studio album, ‘Billion Dollar Baby’, Seyi Vibez was faced with a quandary. A song that featured a Nigerian pop superstar was being removed from the tracklist due to label red tape, throwing a major wrench in his plans. That song was also meant to be the album’s focus single post-release. There was a decision to be made, to either replace the scrapped single with something from the cutting floor or record an entirely new song. The latter happened and, as they say, the rest is history.

“Chance (Na Ham)” is the diamond forged from the pressure of its circumstance. Seyi Vibez, a Yoruba street-pop singer with a melodic rap flow as one of the calling cards in arsenal, ran through lines like there was a stopwatch ticking right in front of him. The song is a feat in stacking quips, a stream-of-consciousness approach where lustful desires rub up against divine reverence, with a general aura of self-assuredness keeping things from venturing too far either ways. Within days, ‘Billion Dollar Baby’ had its runaway smash hit, perhaps the most fitting outcome considering its genesis as a replacement cut.

The song’s notoriety became the lightning rod for copycat conversations. To the primary audience, i.e. those living in the inner parts of Lagos mainland and across Nigeria’s south-west, “Chance” packed infectious hood lingo over a beat that throbbed and flickered perfectly in tandem with Seyi Vibez’s charismatic performance, an exhibition of a street-pop luminary hitting a new creative peak. To the mainstream audience, he was basically jacking Asake’s style, and it didn’t help that DJs at many clubs often mixed the song right before or after Tiwa Savage and Asake’s “Loaded.”

If those criticisms of mimicry bothered Seyi Vibez, he didn’t show it. In fact, he doubled down. Cuts like “Psalm 23” and “Ogochukwu” off the ‘BDB’ deluxe edition are wrung from the same template, rapid-fire melodic raps over log drum-led production. On his new album, ‘Vibe Till Thy Kingdom Come’, the Lagos-born artist largely continues to operate within the same format, but he’s writing from a place of greater disrespect for detracting conversations. There’s greater control of his template and his chest sticks out with even more authority, but he does it without sacrificing the specificity of his quips or the urgency in his delivery.

‘VTTKC’ is the singer’s third project release in seven months, and it shows how well he’s capitalising on being in a creative flow state. Besides, his motivations haven’t really changed, they’ve simply evolved and the best way to fulfil them is to keep making music that comes to him authentically. After all, this is the guy that remarked, “Say I too dey drop song/Nigba tin ya’wo LAPO,” on “Para Boi” from January’s ‘Memory Card’ EP. His prolificness is purposeful, both as a means to financial gains and a fulfilment of destiny.

Opener “Kingdom” kicks off the album on spiritually-inspired terms, weaving his early learning of the Quran from age nine into his lifelong dream to be the one to lift his family into generational wealth. “Tabbat Yada fun awon to n binu mi,” he sings on the bridge, invoking a Surah against his hecklers while an A Capella gospel sample fills out the ambience. It’s a striking representation of contemporary Yoruba culture where, in many cases, one parent devoutly practises Islam and the other Christianity, meaning the children have to put on a Kufi or head veil to Jumu’ah on Friday afternoons and also wear their white garment to Celestial Church on Sunday mornings.

For Seyi Vibez, being raised between two religions is important to his constant veneration of The Divine. At the same, it’s also a form of communication that fills him with the confidence that he’s manifesting—and will continue to manifest—great deeds. Asides the remix of “Gangsta,” originally a romance-themed deep cut on ‘Billion Dollar Baby’, there’s no song on ‘VTTKC’ that doesn’t reference God, but you’d be hard-pressed to find anyone calling this a gospel or Islamic-pop album.

The pre-released single, “Hat-Trick,” attracted virality when its snippet was shared, due to lustfully suggestive lines directly sung at Nigerian pop superstars Tems and Ayra Starr. On that same song, he ponders “why some artists dey use stream farm,” references both drug kingpin Pablo Escobar and Nigerian film icon Ogogo, while also delivering an impassioned plea to the Higher-Up: “Celestial, ma je n ri’ya.” (“Celestial, don’t let me see troubles.”) All of it may come across as purely scatter-brained, which it is to an extent, but Seyi Vibez works really well as a collagist because almost every line has its profound value, even when he’s being arcane to the wider world beyond the primary audience of Yoruba street-pop.

To those who believe Seyi Vibez is simply jacking Asake’s style wholesale, ‘VTTKC’ will do little to change that opinion. Although it would be foolhardy to not admit their shared similarities, which Asake helped popularise—“Chance” is quite the structural mirror of “Organise”—it would also be disingenuous to not accept Seyi Vibez’s unmissable peculiarities. Musically, there’s a preference for minimalism, an option that isn’t always exciting but it keeps the focus squarely on his quips, his robust voice and whatever vocal filter it passes through. For the most part, it’s log drums and atmospheric piano chords or synths.

That a song like “Money Matter” is club-ready and feels made for big atmospheres is as due to the bang of the Dibs’ production, as it is the larger-than-life boastfulness of Seyi Vibez and South African rap star Focalistic. Standout track, “Dejavu,” is indebted to the immersive, chill vibe of Deep House-indented Amapiano, and it’s a suitable sonic backing for a song that features a couplet run like, “Shower me blessings to po dada/furo go cause palava/I no like palava/no be by who get big cassava.” In four lines, he’s as effusive seeking divine favours as he is singing lascivious utterances.

For all of the conversation about style-switching, the title ‘Vibe Till Thy Kingdom Come’ is pulled directly from “Big Vibe,” a single off his 2021 album, ‘NSNV’. Going all that way back, there’s nothing particularly novel about Seyi Vibez’s “new” style. On that song, he’s divinely reverential and he writes in intricate rhymes. Even that album had Amapiano-influenced slaps produced by Rexxie. If anything, it’s that his music has gotten grittier, evident in how ‘VTTKC’ has the freewheeling energy of a mixtape.

More eyes (and ears) obviously mean more scrutiny, but there’s a magnetic edge to how Seyi Vibez revels in being unapologetic. “Twitter, Instagram, dem go talk,” he says on “Kingdom,” proof that he sees and hears the criticisms. He won’t be making any concessions, though, deciding to cater to those who (want to) get him. “Won gbo mi ni Germany de Ibafo,” he sings over the fast-paced omele drums of “Fuji Interlude,” touting his global listener base with a joie de vivre that feels like a lost Remi Aluko song has been resurrected.

‘Vibe Till Thy Kingdom Come’ is clear in its sentiment that Seyi Vibez believes his success isn’t man-made. Over the sombre piano keys of “Blacka Rhythm,” his faith is underlined by his belief that he’s got angels watching over him. “My sister, my mother, both gone/Oluwaloseyi, mo gba gbo (I believe),” he sings as the song fades into an Isicathamiya sample. It’s the most wistful moment in his catalogue yet, proof that there’s a heart beneath the veneer of his spiritually-backed convictions.

ICYMI: 4 KEY POINTS ON THE BREWING ASAKE VS SEYI VIBEZ RIVALRY

NATIVE Selects: New Music from Yaw Tog, Not3s AratheJay & More

Posted on by The Native

Every week, new music shows up, sweeping fans and music lovers off their feet while artists gauge reactions to know the effect of their creativity. At the NATIVE, we are committed to keeping our ears on the pulse of the music scene and bringing the best sounds to your doorstep.

In our last edition, we brought you new releases from Asake, Omah Lay, Libianca 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!

NOT3S – “START ME UP”

UK act Not3s continues his dive into his Nigerian heritage with “Start Me Up,” part of a two-song pack of the same title. For “Start Me Up,” Not3s taps Nigerian music producer P.Priime for the R&B-tinged track that shines with effortless swagger. “Eye chocolate/Not eye candy/You’re sweet how you be/You’re sweeter with me,” he raps, as he propositions a love interest to let down her guard and accept the romance he’s offering. “Start Me Up” is a smooth cut made for quiet moments bursting with love.

BILS – “IT’S GIVING SUMMER”

Summer creeps in and Bils has a song to celebrate that period of the year synonymous with sun-lit beaches and parties and drinks. Over an Amapiano-inflected production, “It’s Giving Summer” is a fun tune to soundtrack gatherings alive with joy and flirting. Bils compares the body of a love interest to the heat of summer and does so with deft, playful singing and songwriting. 

YAW TOG – “OBRA” FT. ROIII

Since his breakout with “Sore,” Yaw Tog has been consistent with his craft, raising his pen game one track after the other. With ‘TIME’ EP and a deal with EMPIRE in his bag, Yaw Tog’s hunger hasn’t waned. He shows it on “Obra” as he and Roiii pour their passion for being the best into your lyrics. Over the Drill production, Yaw Tog and Roiii brag and reminisce about their journey and the wins they have accumulated.

ARATHEJAY – “MY BABY”

AratheJay has been on an impressive run of form since the year began, releasing the single “Chosen” and collaborating with NYAMECMPLX on “2000 & Odeshi,” BillyDray on “Andele” and Nana Owusu on “Kasapa!” With “My Baby,” the Ghanaian act plays with the Highlife-laced tune, crooning to a lover about his feelings towards her. “My Baby” grabs attention and proves AratheJay’s prowess.

BU$H – “OH MY HONEY” FT. LADE

After the Jaywillz-featuring “Nintendo,” Nigerian act Bu$h teams up with fellow Nigerian singer Ladé for the love tune “Oh My Honey.” Bu$h and Ladé trade verses over CeeCee’s catchy production, promising both loyalty and sexual pleasures as they interpolate Gym Class Heroes’ “Stereo Hearts” with Adam Levine. Guitarist Fiokee also lends his skill to the track with bright guitar licks.

AMERADO – “THE HARDEST”

Ghana’s Amerado stakes a claim as one of the liveliest MCs in the game with the seven-minute “The Hardest.” Line after line, he brags about his abilities in comparison with other rappers in the Ghanaian rap scene and declares: “The best rapper /Amerado/The X-factor/Amerado/The next chapter/Amerado/Hardest rapper/Amerado.” With a hard-hitting Drill beat, he engages in an interesting ride of wordplay and dexterous flows.

Featured image credits/NATIVE

TurnTable Top 100: KCee’s “Ojapiano” Peaks at No. 1

Posted on by Uzoma Ihejirika

KCee’s “Ojapiano” leads at No. 1 on this week’s Official Nigeria Top 100 chart, tallying 3.51 million on-demand streams (No. 2 on streaming) and 72.2 million in radio reach (No. 1 on radio). The song is only the second traditional single to reach the summit of the Nigeria Top 100 and is majorly influenced by the music of the eastern Nigeria.

“Ojapiano” is also the first No. 1 song on the singles chart released under Five Star Music and Onerpm. KCee’s discography spans over two decades since his days with the defunct group KC Presh. The duo came into the limelight in 2002, ensuring that KCee becomes the first artiste with a career spanning over two decades to record a No. 1 song on the Official Nigeria Top 100. 

Seyi Vibez’s “Hat-Trick” rises to a new peak of No. 2 as it tallied 3.66 million on-demand streams (No. 1 on streaming) and 40.8 million in radio reach (No. 15 on radio). “Hat-Trick” continues to be Seyi Vibez’s highest charting single as a lead artist. 

At No. 3 is Asake’s “Amapiano” featuring Olamide, falling from its two-week stay at No. 1. Zinoleesky’s “A1 (Feeling Disorder)” retains its spot at No. 4 while Rema’s “Charm” slips to No. 5 after topping the chart for three weeks. Olamide’s “New Religion” with Asake drops from No. 2 to No. 6 while Davido’s “FEEL” slips from No. 6 to No. 7. Seyi Vibez’s “Dejavu” enters the chart at No. 8, becoming the highest debut off the latest album ‘Vibe Till Thy Kingdom Come.’ CKay’s “Hallelujah” with Blaqbonez holds its place at No. 9 and Davido’s “UNAVAILABLE” with Musa Keys does the same at No. 10 for another week.

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