Asake vs Seyi Vibez: 4 key points on their brewing rivalry

Posted on by The Native

Following a brief, grief-induced hiatus, Seyi Vibez is set to return with a new single, which has already proven to be controversial. In a recent snippet of the soon-to-be-released song, the singer is heard taking not-so-subtle swipes at rival apparent Asake. “Mr Ability, organise yourself,” he sings, referencing “Organise” and “2:30,” two smash hits from Asake. It’s the latest development in a situation that’s been partly stoked by the public over the last six-plus months since Seyi Vibez vaulted into wider ubiquity with “Chance (Na Ham)” and copycat accusations immediately followed.

Beyond the surface chatter of two of street-pop’s biggest stars supposedly going at each other, there are more questions that need to be examined contextually—especially if the temperature of the tiff dials up a notch in the coming months. Below, three writers of The NATIVE’s editorial staff take a look at four major talking points.

Is the Asake and Seyi Vibez comparison apt or lazy?

There are good reasons why the comparisons between Asake and Seyi Vibez exist. For one, sonically, especially in recent times, both artists are cousins cut from the same cloth. The mainstay in their sound is South Africa’s Amapiano, which they embellish with indigenous rhythms. Also, concerning fashion choices, Asake and Seyi Vibez share similarities. However, what negatively impacts the situation is the constant lack of nuance in the conversation, which doesn’t take each artist’s uniqueness into account. While some music observers have noted the history that runs through the music of both artists, some sections of fans from both sides seem to fan the flames of conflict with mostly a bid to undermine the art of either artist. This is exacerbated by both artists who have chosen to keep mute publicly and exchange shots on wax. Perhaps, both artists see the benefit of the situation in having their names continually discussed in public but the absence of nuance robs audiences of dollops of needed insight.

Uzoma Ihejirika

Are there any peculiarities separating the artistry of both artists?

There are definitely peculiarities in the artistic skill-sets of Asake and Seyi Vibez and, even though they might not be very obvious to many, the details are apparent in the music. Asake has always been upfront about the influence of Fuji music, as well as Juju music to a lesser extent, on his sound and general approach to music. From the definitive single, “Peace Be Unto You (PBUY),” to ‘Mr Money With The Vibe’ deep cut “Sunmomi,” the Fuji inspirations are clear. 

For Seyi Vibez, his music leans more on influence from Apala music, an obvious evidence being his interpolation of Alhaji Fatai Olowonyo’s “Elewure Wole” on “G.O.A.T,” the intro track on January’s ‘Memory Card’ EP. Fuji and Apala are two distinct genres, which means the way they inform the music of both artists is peculiar, and it shows in their diverging points. Asake’s music clearly deals in pop appeal, taking the innately colourful nature of Fuji and synthesising it for a younger, more global audience. Seyi Vibez clearly takes pride in being gritty and specific in his super-lyrical approach, a descendant attribute of Apala music.

While they both infuse log drums and sometimes employ rap-adjacent cadences, there’s enough stylistic differences that shows there are some layers of separation even though both artists are luminaries of street-pop at this moment.

Dennis Ade Peter

Is there any chance for this beef to escalate beyond the music?

Beef is an avowed culture in many music genres, especially those started by Black people. The case of Seyi Vibez and Asake is particularly interesting because their origin genres were heavy on beef, attempting to upend their musical rivals through lyrical wits and ingenuity. The heady beef between The Notorious B.I.G and 2Pac during the nineties showed the world how conflict could influence the sensibility of a music industry, more so when said conflict is approached artistically. Among industry stakeholders and fan bases, that should be the credo to stand by.

Violence or actual recourse to physical challenges hasn’t been a fixture in Nigerian music for a while. Except for those with unquestionable criminal character, there’s little basis for why “beef” between these musicians should be discouraged. We should rather engage the positive aspects of this Seyi Vibez call-out, even though the nature of response would rest ultimately with Asake, YBNL and their stakeholders, to a much lesser extent. Being street-influenced artists, from a purist perspective one would expect a sustained run to this. Should Asake opt against a direct reprisal, at least the situation would have informed his awareness going into that next record, and that’s exactly what he needs after his unprecedented and largely unchallenged run as the artist of last year.

Emmanuel Esomnofu

What’s the broader significance of this supposed rivalry to the fabric of Nigerian music?

There are several talking points here, the most obvious of which is immediate cultural impact. Beef sells and rivalries are very profitable when the primary parties are clearly talented. Part of the reason Wizkid and Davido emerged as huge Afropop superstars is the rivalry between both artists, fanned by the flames of Stan culture. It’s not quite the like-for-like comparison but the similarities are already brewing, and the artists are playing into it.

The other talking point is versatility, considering that we’ve already established the artistic differences between Asake and Seyi Vibez. On a wider scale, it just shows the range of street-pop from Nigeria’s southwest no matter how much mainstream conversations want to flatten the scene into a singular sonic ideology. Finally, it could be a throwback to the iconic rivalries in Yoruba music, think Ayinla Omowura vs Fatai Olowonyo or Salawa Abeni vs Kubura Alaragbo or Wasiu Alabi Pasuma vs Saheed Osupa. To many, this detail might seem esoteric but Asake and Seyi Vibez are carriers of Yoruba music and cultural heritage, and it would be flat-out wrong to ignore the history behind them even as Nigeria’s music mainstream is tuned into this brewing situation.

Dennis Ade Peter

ICYMI: FOR ITS NEXT LAP, NIGERIA’S STREET POP IS PUSHING INTO EXPERIMENTAL FIELDS

Five Takeaways From The 2023 AMVCAs

Posted on by The Native

On Saturday night, the 9th edition of the African Magic Viewers Choice Awards (AMVCA) were held in Lagos, Nigeria. A dazzling showcase of the film industry, it brought several professionals for a night which was important for all the obvious reasons. Since hosting its inaugural event in 2013 the show presented by the African broadcasting company MultiChoice has become one of the most sought-after recognitions across the world of film, becoming a cultural phenomenon over its past eight editions.

The latest event was preceded by a spurt in Nigerian and African filmmaking, as evidenced in the emergence of several new voices, making an incursion into a most promising market. Cutting across entry from major streaming platforms such as Amazon and Showmax, indie filmmakers pushing the frontiers of storytelling, or the local Asaba films which play out endlessly on TVs across the country, the excitement prior to Saturday night set up the event to deliver transcendental moments.

Here’s our reactions to the prestigious award night, what happened and what else we think should have happened. 

IS IT A CELEBRATION OF FILM OR ARE WE HERE FOR THE PARADE? 

If there’s any indication of how far off the critical mark the AMVCAs are, it’s in the general parade-like atmosphere of the whole event. Sure, glamour plays a huge role in major award shows but there’s always a general consensus that it’s the art that matters the most. At the biggest film awards in Nigeria, the art doesn’t matter as much as the glamour, evident in how most of the chatter is about who’s wearing what and not necessarily about if the winners are a strong representation of the best filmmaking during the year in review. Much like the last few editions, this year’s AMVCA was a multi-day event that featured several sub-events that focused on the glitz, and its finale pretty much carried on with the same spirit. So, are the awards really for film as art, or film as a conduit for celebrities to inundate us with eccentric fashion choices? There’s a balance, but it’s just not happening at the AMVCAs right now.

Dennis Ade Peter

ASABAWOOD NOT BEING RECOGNISED  

During the period we now refer to as Old Nollywood, the template for storytelling was striking. Rural settings, overdramatic acting and cliche but flamboyant storylines made all the difference in our childhood, but things have changed. Out with the old, in with the new: Lekki bridge, suave bankers, affluence and money talk. These are the disparities between the films which win the AMVCAs and those that are actually shown on Africa Magic—it is African Magic Viewers’ Choice Awards after all.

However, it speaks to an implicit elitism how this is the upheld structure. Obviously, the quality of narration is better amongst the new filmmakers, but since the awards are by voters’ choice, how are people watching these Netflix films? It certainly doesn’t happen on Africa Magic, which means that the hardwork Asabawood puts into entertaining a large number of Nigerians across class lines are looked over, all in favour of the more posh alternative. It was further polarising to see an actress like Patience Ozokwor awarded a Lifetime award, while the structures that took her to the zenith of Nigerian film were nowhere to be found. A balance should be struck, and the earlier, the better.

Emmanuel Esomnofu

‘CRIME AND JUSTICE LAGOS’ AS A HUGE WIN FOR SHOWMAX 

Showmax is going about its mission to amplify Nigerian (and African) stories with a remarkable verve. Of the ten nominations in the Best Television Series at this year’s AMVCA, five of the nominated shows are Showmax originals. The police and legal procedural drama, ‘Crime & Justice Lagos’, eventually won the category on Saturday night, perhaps the most deserving win of the entire awards. Starring Folu Storms and Jammal Ibrahim as the lead detectives of a special unit, the 6-episode series is a consistently engaging show that takes inspiration from a Nigerian society where crime is prominent but justice is often elusive.

Apart from the also-nominated ‘Single Kiasi’, none of Showmax’s original drama series—including co-nominated shows ‘Flawsome’ and ‘Diiche’, as well as the Scarlet Gomez-led ‘Wura’—have been renewed for a second season, despite all coming out to generally favourable critical reception. Perhaps it’s a numbers thing, as Showmax is still looking for an ubiquitous hit to move it ahead in the race for popularity amongst the several streamers jostling for attention in Nigeria. Regardless, this win and the other nominations at the AMVCA, which also included the reality show ‘The Real Housewives of Lagos’, should be an encouraging achievement for the Multichoice-owned streamer.

Dennis

SHOULD THE VOTING SYSTEM BE UPDATED?       

A major flaw from this year’s awards night is its current fan-led voting system. For years, the AMVCA has placed power in the hands of the audience at home, but this has not always represented our film industry and the best-in-class productions it creates. A resonant conversation in the aftermath of Saturday’s awards was that a lot of deserving actors and actresses were snubbed for their more popular counterparts.

The snub of Kunle Remi, even on the nominees list, was one such glaring omission. Considering ‘Anikulapo’ was nominated in all the major categories, and eventually won Best Overall Film, it’s a technical confusion how its lead actor manages to walk out without any awards. Critical and popular opinion holds up the strength of his character across that striking epic, not much like Osas Ighodaro, another controversial choice. Winning Best Actress in a Drama, the Nigerian’s success at the AMVCAs continues. Not many were convinced by her acting in ‘Man of God’, a movie whose scripting flaws weren’t particularly redeemed by the actors, save for Dorcas Shola Fapson. 

Tami Makinde

DESERVED WIN FOR NORA AWOLOWO

An essential mission of The NATIVE is spotlighting young, driven creatives from around Africa who are telling peculiar stories about the (their) world. Nora Awolowo fits every standard of that characterisation, and has been excellent for a while. ‘Life At The Bay’ was an introductory work to her oeuvre, a collaboration with the journalist Kiki Mordi which highlighted the issues of civil rights being perpetuated against native settlers at the Lagos-based Tarkwa Bay. Captured through the reflective lens of Nora, the people and stories came alive, and thereafter the arrival of an important new voice in Nigerian filmmaking was confirmed.

Last year, the 24-year-old took her work to new heights after working with the premier footballing body in the world, FIFA. Creating a documentary about Nigeria’s first time at the World Cup, it was an intense package which built on emotional touchpoints as much as statistical data and research. If anything, Nora’s star power was reiterated as another documentary from her, ‘Baby Blues’ was nominated in the same category. With ‘Nigeria-The Debut’ eventually winning at this year’s AMVCA, Nora’s first major award turns out to be a big one, and going forward it would be a thrill to witness the other forms of filmmaking she gets into.

Emmanuel

 

View this post on Instagram

 

A post shared by Oreoluwa Awolowo (@noraawolowo)

ICYMI: THE RISE & RISE OF WOMEN FILMMAKERS IN NOLLYWOOD

Interview: Dare Olaitan Talks About Ile Owo & Nigerian Filmmaking

Posted on by Uzoma Ihejirika

Last week, Nigerian filmmaker Dare Olaitan’s fourth feature-length film ‘Ile Owo’ premiered globally on Netflix. Initially released in June 2022, the film is a horror/psychological thriller flick that follows a young Nigerian woman and the capitalist system that sucks her into a messy situation. ‘Ile Owo’ stars Immaculata Oko-Kasum, Bisola Aiyeola, Efa Iwara and Sophie Alakija, among others.

Olaitan’s career as a filmmaker kickstarted in 2016 with the crime-heist comedy ‘Ojukokoro’ and placed him as one to watch. He followed up the success of ‘Ojukokoro’ with 2018’s ‘Knockout Blessing’, which showcased his range and versatility as a filmmaker. Olaitan’s relationship with fellow Nigerian filmmaker Kayode Kasum would blossom over the years, starting from their 2021 film ‘Dwindle’. In this conversation with the NATIVE, Olaitan speaks about his career, Kasum and his latest film ‘Ile Owo.’

NATIVE: Your journey with filmmaking started while you were completing your undergraduate degree in Economics. What films shaped your childhood?

OLAITAN: To be honest, I started watching films pretty late. I didn’t start watching films until I got to university. [But] I watched the popular stuff. 

Dwindle was the first film you co-directed (with Kayode Kasum). What would you say is most interesting about making a film with another director rather than directing alone?

Honestly, I and Kayode produced the film, so it was more of a production decision than a directing decision. We were trying to divide the risk and also to see if we would be able to work together in future. So it was more of a producer thing.

In terms of directing, though, how did you two manage to share the work?

Me and Kayode are very good friends. When you’re working with your friend, I guess it’s very good. First of all, coming from just respect, I respected his processes and he respected my processes. And if we didn’t understand anything, we tried to have [other] people’s decisions about the processes and just be able to come to a solution that works for both of us.

You also co-produced Kayode Kasum’s film Obara M. What would you say is your favourite thing about working with Kayode?

My favourite thing about working with Kayode is his work ethic. We come from backgrounds in which we like to work. And so it’s good to work with somebody that has the same values as you. So yeah, I appreciate that very much.

Your latest movie Ile Owo is a psychological thriller about societal distinctions and the effects of capitalism. Describe the creative process for the film.

Honestly, the creative process for the film was pretty much interesting in the fact that, like you asked earlier, me and Kayode started with Dwindle to see if we could create something together under tight conditions and see if we could make it work. We did it and it was a financial success. So we said since it had worked, we were going to make two daring films that [are different from regular genres]. So I said I’d make a horror film and Kayode said he’d make a musical and that’s how we went forward.

Where did the inspiration for Ile Owo come from?

So Kayode said he had a musical he wanted to make for years so we said alright, we are going to make that. And I said I wanted to make a horror movie and I had a [story] that was ready but I didn’t feel confident because I hadn’t worked on something for a while. So we said in that case, it’d be nice to still make a horror film but we waited for the right time. [I asked that] if I’m making a horror film, what will the story be about so Kayode said he would like to see me make a romantic film. I was like, “Wow. Imagine a romantic horror film,” and that was the nugget idea that then became what we have.

What was most challenging yet rewarding for you in making Ile Owo?

Honestly, I made this film during a trying personal time. I think we made this film right at the end of coronavirus and my father was pretty sick at the time with corona. He was in the hospital and I didn’t have that chance to push myself to the max. So I had to write it [Ile Owo] and at the same time produce it while I was juggling taking care of my family. So I tried to do something I knew that I could afford to make.

 

 

View this post on Instagram

 

A post shared by Dare E. Olaitan (@darthcoal)

Ile Owo, like your previous films, draws inspiration from situations relatable to Nigerian people. What is most important to you as a filmmaker: to entertain or to educate?

I feel like all films are different and all films are made for different reasons, depending on the filmmaker and the story they’re trying to tell. For me, because of the way I see the world, I can’t help but not impact my own perspective of the world. 

What is the best way as a director to communicate your vision to your cast and crew?

I do write my scripts [and I’m rooted in the story] so I know exactly what I’m trying to do. So I know how to guide people towards that vision and sometimes people can assist because film is a collaborative effort. So I have the vision and let people know this is what I’m trying to do. And maybe they can be like, “Oh, add to this.” But I come with a very defined idea of the film.

What is the most important ingredient to becoming a great filmmaker?

I don’t know about the most important ingredient because I believe that it [filmmaking] is different for everybody but I do believe that you need to read a lot. That’s all because you need to take in a lot of information to accurately reflect the world. Just read broadly about life.

Ile Owo is out on Netflix. With the rising number of Nigerian productions being hosted by global streaming platforms, what does this portend for the future of the Nigerian film industry?

I believe we can already see the influence of the [streaming platforms] on the Nigerian film industry, in line with making varying genres and taking more experiments. What was going to be a purely cinema endeavour would have been more difficult to make a horror film but because of the exceptions of streaming platforms, it makes it possible to take more daring decisions. 

Featured Image Credits/ The NATIVE

TurnTable Top 100: Rema’s “Charm” Returns to No. 1

Posted on by Uzoma Ihejirika

Rema’s “Charm” returns to the summit of the Official Nigeria Top 100 for a second week at No. 1, tallying 76.5 million in radio airplay reach (No. 1 on radio) and 2.21 million streams (No. 3 on streaming). It is Rema’s longest No. 1 song in Nigeria – surpassing the one week of “Won Da Mo” at the top.

Kizz Daniel’s “Shu-Peru” debuts at No. 2 on this week’s Official Nigeria Top 100 (making a larger-than-projected launch on the chart). “Shu-Peru” tallied 2.13 million on-demand streams (No. 4 on streaming) and 61.6 million in radio reach (No. 8 on radio). It is Kizz Daniel’s third top ten entry on the singles chart in Nigeria – joining 4-week No. 1 “GWAGWALADA” and No. 2-peaking “RTID (Rich Till I Die.” “Shu-Peru” is also the biggest debut on the New Music Friday of May 12, 2023 (the song’s performance was boosted by the premiere of its official video on the same day).

Asake’s “2:30” falls to No.3 on this week’s chart after spending four non-consecutive weeks at the top. BNXN fka Buju’s “PRAY” rockets to No.4 on the Top 100. The song drew 2.31 million on-demand streams (No. 1 on streaming) and 50.2 million in radio reach (No. 12 on radio) during the tracking week of May 12 – 18 [it is important to note that the song was released on May 11, which meant that its first day numbers counted towards the tracking week of May 5 – 11].

Davido’s “FEEL” slides to No. 5 from its No. 3 peak on the Top 100. For a second straight week, it holds the distinction of being the biggest song of the ‘Timeless’ album in Nigeria. Davido’s “UNAVAILABLE” with Musa Keys rebounds to No.6 after peaking at No. 2 on the chart while Zinoleesky’s “Many Things” dips to No.7. Rounding out this week’s top ten; Adekunle Gold’s “Party No Dey Stop” with Zinoleesky drops 4-8; Victony’s “Soweto (Remix)” with Omah Lay & Tempoe retreats 5-9 while Young Jonn’s “Aquafina” is down to No. 10.

Outside of this week’s top ten,  Lil Durk’s “All My Life” with J. Cole debuts at No. 16. It is the biggest debut for any non-African Hip-Hop in singles/aggregated chart history in Nigeria. The song tallied 2.29 million on-demand streams in its first week – good enough for a No. 2 debut on the streaming chart. Interestingly, the song doesn’t appear on this week’s radio chart and did not make the Top 500 Songs on the radio during the tracking week.

Other new debuts include Bella Shmurda & Tiwa Savage’s “NSV” at No. 23, Teni’s “No Days Off” at No. 25 and Ruger’s “Jonzing Boy” at No. 28.

Featured image credits/

NATIVE Selects: New Music From Amaarae, Gigi Atlantis, Omah Lay & more

Posted on by Damilola Animashaun

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

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

KAYTRANADA & AMINE – “SOSSAUP” FT AMAARAE 

Last month, Kaytranada and Amine debuted their Pharrel Williams-backed “4EVA” for their joint Hip-Hop project assisted by catchy dance-floor hits. ‘Kaytranime’ features 11 groovy tracks with witty, sex themed penmanship performed by the likes of Big Sean and Snoop Dogg. However, a clear standout -fitting perfectly into the project’s theme with her sultry, dulcet vocals- is Amaarae. “Sossaup” leads in Amine’s confident wordplay, accompanied by sombre strings and a catchy drum pattern. Taking up the second verse, Amaarae delivers a melodious rendition and airy ad-libs, further elevating the track. 

OMAH LAY – “SOSO” FT. OZUNA 

Since Omah Lay’s ‘Boy Alone’ hit the airwaves last year, standout track, “soso” has seen exponential growth. Though the Tiny Desk performance received varying audience reactions, the track is an undeniable banger. Omah Lay takes the track a step further with a cross-continental remix with Puerto Rican singer, Ozuna. Still retaining its melodious hook, Ozuna comes in shortly after the first introduction and on the backend of the track for a groovy rendition in Spanish. 

 

GIGI ATLANTIS – “GTK”

Last we heard of the eclectic singer, she was delivering a stellar performance with DETO BLACK and Amaarae on “body count” off Odunsi(The Engine)’s ‘EVERYTHING YOU HEARD IS TRUE.’ Gigi Atlantis makes a poignant comeback after three years on “GTK” with production contributions from Sholz and a soulful spoken word verse by Tau Benah. The uplifting track features a captivating hook about feelings of self-contentment and finding peace, closing out mental health awareness week on high notes. 

OXLADE & FLAVOUR – “OVAMI” 

Nigerian singer Oxlade had an incredible 2022 with the global success of “KU LO SA” after a COLORS performance. He featured Camila Cabello on the remix and dropped the Mayorkun-assisted “Bad Boy,” furthering his ascendency. On “OVAMI,” his first single of 2023, Oxlade taps Highlife veteran Flavour for a romance-themed ballad built from Magicsticks’ lush instrumentation. The track puts Oxlade in a new light as he showcases his versatility and  growing profile.

BOB MARLEY & THE WAILERS – “WAITING IN VAIN” FT TIWA SAVAGE 

After an undeniably successful first quarter, Tiwa Savage continues her hit streak with an outstanding verse with the Reggae icon, Bob Marley. The pair express the all too familiar feeling of longing for a past love interest despite the inadequacies of the relationship, joined by staccato rhythms played by mellow guitar and piano strings. 

RAYBEKAH – “GONE BACK”

Sometimes, falling in love comes with hurt. It is this sentiment that Nigerian singer Raybekah channels into “Gone Back.” She sings about disloyalty she has suffered at the hands of those she has trusted with her affection. “I’m a fool, yes I’ve gone back/To my ex, I’ve gone back,” she sings—a direct contradiction to her 2022 single “EX BOYFRIEND,” where she sang, “I’ll be a fool to go back to my ex boyfriend.” Entertainment wise, it is a good song that marks Raybekah as one to watch.

BRUM3H – “HOLD YOU DOWN”

Nigerian singer and record producer Brum3h follows up his March release “You Don’t Want Me” with a new song “Hold You Down.” Co-produced by Brum3h and Cybertiger, the song employs powerful drums and synth-wave-inspired melodies to create an immersive experience as Brum3h belts his heart about the complications rife in a romantic relationship.  

SOUNDZ & FAVE – “FEVER”

Duets will never go out style. For the new song, the duo of Soundz and Fave combine their qualities for a heartwarming number. “Fever” uses the familiar metaphor of not feeling well because of a woman, even though there’s a progressive intensity that keeps the listener engaged from start to finish. 

SHALLIPOPI & ZLATAN – “ELON MUSK (REMIX)”

For a while now, this song has been an internet sensation and the artist behind it, highly sought after. Zlatan joins the remix, introducing his trademark energy to the catchy song. The result is a tune renewed, facing the appealing possibility of extending its run at the zenith of online culture. 

FASINA – “RELOAD”

As the Summer approaches, more songs will try to crack a breezy ease into their peculiarities. The true bops however have an air of natural arrangement to their qualities, and “Reload” is one such song. Audibly in his element, Fasina’s Dancehall-inflected tone thrills over a shiny guitars and a laid-back drum pattern. 

 

 

Identify: Bongeziwe Mabandla Is Channeling The Beauty Of The Times

Posted on by Emmanuel Esomnofu

Bongeziwe Mabandla is walking. Behind him are lush green trees, the street quiet except for the sound of footsteps. It is some days after the release of ‘amaXesha’, the South African musician’s fourth studio album, and he’s momentarily resident in Maputo, the capital of Mozambique. This is the hometown of Tiago Paulo, the longtime producer of Bongeziwe who has produced his last two albums. They are rehearsing in anticipation of some shows the artist would be playing early next month in London.

“This is part of the shows that I’m actually rehearsing for,” revealed Bongeziwe in a recent conversation with NATIVE Mag. “We have, like, two sold out shows, and it’s just an exciting time”. The time is surely prime for Bongeziwe, whose album has been heralded following the release of ‘iimini’ in 2020. Some weeks ago, the musician premiered the soulful “sisahleleleni (i)” on COLORS, delivering an evocative performance while serving skin in a graceful yellow top. It was an extension of the run-up that set the ground for ‘amaXesha’, which is an album that reiterated Bongeziwe’s artistic focus on those shared intimacies of the human race. 

“The whole album came about how do you go back to a relationship that didn’t work?” he says. “How do you approach that? How do you try and fix things with somebody that were broken? It’s all about relearning how to trust each other, relearning about the person, trying not to make the same mistakes, finding love again with somebody where there’s a lot of hurt.” 

Exploring tensions borne from a romantic affair has been a recurring totem in Bongeziwe’s writing. ‘amaXesha’ pondered those tensions in a direct style as he’s seldom done, weaning bigger lessons from his distinct experiences and those he’s observed in the world around him. Bongeziwe admits that the reason why he thought the album was important because of the relationships he observed around him. “You find somebody who’s divorced, maybe, going back to his significant other, and giving the marriage a second chance. And I just thought about how that process would be – because you’re going against a lot of people who are surprised, who don’t understand it. And people are like, ‘How can you go back’?”

Mabandla considers ‘amaXesha’ a Side-B of the pandemic era album, honing into its themes of positivity and finding new perspectives within the narrative it espoused. ‘iimini’ means ‘Days’ and ‘amaXesha’ translates to ‘The Times’, revealing the progressive scope of Bongeziwe’s ideations. “Both of these concepts are about sometimes, we are living, and we unaware and we just going through our days,” he explains, “not knowing that one day, when we look back our lives we’ll know, ‘Oh, those experiences that I was having, those were the times of our lives’. You know, life happens through time”. 

A lot of the writing happened during lockdown, in South Africa, where the artist was resident. “It brought a lot of challenges to the recording,” he says about the album’s creation process during that period. “I’d obviously start off at home and record my vocals and the guitar, and then send it to [Tiago] and we would talk over the phone, and then he would work on stuff, like put drums and bass and send it back to me. After a while, we were in the same space here in Mozambique to record together.” 

Tiago, the often mentioned producer who steers Bongeziwe’s sound, was a member of the 340ml band. His former bandmate Paulo Chibanga had produced the artist’s debut ‘Umlilo’, and one album afterwards, Tiago sought out Bongeziwe. Their first project was the award-winning ‘iimini’, where conceptual sonic flourishes were paired with evocative singing. ‘amaXesha’ parlays that understanding into riveting pieces with electro edges, offering a soundscape that continues Bongeziwe’s movement beyond the Folk tradition, yet retaining a characteristic soulfulness. “When I met Tiago, it felt like a really great match and it happened instantly,” said Bongeziwe. 

He doesn’t consider ‘amaXesha’ as “straightforward” as the preceding album, although the careful listener might find sonic parallels. For one, it echoes his philosophy about what an album should do. “An album is about capturing a certain period,” he said. If the atmosphere surrounding ‘iimini’ was the growing career of Bongeziwe, the close relationship he was approaching with Tiago, ‘amaXesha’ is more personal and melancholic. To capture those emotions, the sound moves on similar motivations. Affirming its direction, Bongeziwe says: “It evolves on the experimental side”. 

In the period before the 2010s, Bongeziwe Mabandla was unknown. At least, not in the music circles he’s dominating today. Prior to releasing music, Bongeziwe considered a career in theatre. He had grown up in the Eastern Cape, an area rich in Black and musical traditions, but Bongeziwe had plans to stake fresh territory. The world was changing, and belonging within English culture seemed the definitive medium for belonging anywhere of importance. In high school, he went by Bonge. 

The move to Johannesburg would change Bongeziwe’s life forever. There he was supposed to become an actor, but found that “the training wasn’t as intense as I thought it would be,” as he said in an interview with Music In Africa. He was rather immersed into the world of art and music, where pro-Black ideologies had the philosophical edge on young people such as himself. That was when he decided to create art under his full name, and also to sing in his native Xhosa. “It was very black conscious music,” he says about the Jo Burg music scene. “Growing dreadlocks, claiming their culture and their language back. I wanted to be part of that because I knew it was very powerful; it was also very important. So I was super influenced by that”. 

Having attended English schools all his life, this re-education was important in the new phase of Bongeziwe. He credits artists such as Simphiwe Dana and Thandiswa Mazwai for sparking the necessary flame of cultural reclamation, while seeing himself as working in the tradition of artists who’d casually release an album entirely written in Xhosa. “It was a statement,” he said. 

Prior to signing a record deal, Bongeziwe worked with the aforementioned Chibanga of 340ml. They had created ‘Umlilo’, capturing the multifaceted sound of the artist. He had, after all, listened to artists such as Tracy Chapman, Asa and Lauryn Hill, whose solo work and as part of The Fugees  taught Bongeziwe to translate his music with more intentionality. “[Chibanga] had taken the record to different labels in South Africa and there were times when I would almost sign to one, and then it wouldn’t fall through,” he says, “And then I had heard about SONY Music, and there were interested, and I think I heard in June, and only got to sign the contract in March the following year. So it took a long time”. 

Behind the scenes, Bongeziwe mastered his craft. ‘Mangaliso’ was released five years later, in 2017, and was a calculated risk at broadening the perimeters of his sound. Emerging from the griot tradition did not mean he couldn’t build on their peculiarities; although estranging some section of his fanbase, the album proved a critical success as it was awarded the South African Music Award (SAMA) for Best Alternative Album. ‘iimini’ won in the same category three years afterwards, which would mean all eyes would be on Bongeziwe when the prestigious award comes by this year.

The more important acclaim for Bongeziwe is bound to be genuine musical connection, however. And that, he has lots and lots of. Early this year, when I really got into his music, I had searched for a live performance to watch. Finding one of “isiphelo (#untitled)”, he had recorded the video during the pandemic, a time when actual human connection was necessary but scarce. Mirroring the powerful emotions on display, the majority of comments on that YouTube page affirmed the transcendental pull of Bongeziwe’s music, whether in memory of a departed one or as a touchstone of a life-changing moment. Even something as commonplace as a breakup, which the song is actually about, becomes illuminated under Mabandla’s careful, soul-wrenching singing. 

Perhaps this quality can be attributed to Bongeziwe’s connection with theatre, establishing close emotional honesty in his songs. This can be traced also back to the music he listened to at the start, how resonant those messages of love and life were. He had distinct taste from the start; not being necessarily drawn to popular stuff. “I liked that about myself,” he said, “That I was not listening to what everybody was listening to. I found my kind of music, and that was a major thing for me. It made me individual”.

In the South African music scene which is right now studded with talent, Bongeziwe sticks out like gracefully. During the course of our conversation, I brought up Lloyiso, an R&B singer who this magazine recently covered. Mabandla affirms he’s met the musician not long ago; and while a collaboration might be possible in the future, right now he’s promoting the stunning collection that is ‘amaXesha’. Each time offering fresh perspectives to listeners, Bongeziwe’s approach to writing embraces a practical dedication that renders it rich narrative quality, making him, truly, a most competent purveyor of the times. 

“You know, I try and find topics that move me,” he says, now pulling on a strand of his hair. “I try to write about things that are important to me, that changed me and are important to how I live my life. If something really upsets me, I’ll go write a song about it. If something really makes me happy, I’ll go write a song about it”. 

IDENTIFY: YINKA WANTS THE WORLD TO LOVE AGAIN

A 1-Listen Review Of Wande Coal’s ‘Legend or No Legend’

Posted on by Emmanuel Esomnofu

Ever so often, someone somewhere listens to a song that reminds them how much of a genius Wande Coal is. The message is taken to just about everywhere, worded in a phrase that’s been gracefully supplied by the artist himself: “Nobody be like Wande”. Other times, the skill and sojourn of Wande Coal is placed under rightful scrutiny, with detractors unconvinced he’s successfully parlayed his talents into a rock-solid superstar profile. 

One thing is clear however: over the past half decade, as more amorphous sounds open themselves within Nigerian Pop, the distinct evocative qualities of Wande has proven a core influence. Those dazzling vocal runs, the usage of ethereal-sounding gibberish, the Michael Jackson-influenced swagger—those are present still, even permeating underground indie terrain. It’s one of the most enviable legacies in all of Afropop, but it’s understandable why Wande Coal would want to extend that sonic respect into making genius in his own portfolio, and that’s the narrative coming into his latest ‘Legend Or No Legend’. 

 

View this post on Instagram

 

A post shared by Wande Coal (@wandecoal)

Being his first full-length work in eight years, ‘Legend Or No Legend’ undoubtedly arrives to a lot of expectations. It doesn’t take the mountain off Wande’s chest considering he’s offered different iterations of his sound across that sprawling expanse of time, and choosing which to include here (and the more essential vision of their pairing) would have been tasking. The recent conversations about his actual standing in the Hall of Fame would have been no more comforting, except more people have stood on his side. Let’s hear what he does with this elevated podium. 

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

“NOBODY HOLY”

A Dunnie ‘Legend Oh’ tag to start off an album concerned with legends is a nice touch. The bounce in these drums is very visceral, I enjoy the colours they evoke. Quite Fela-esque but something indie about the production; heh, Wande is approaching this well. That ‘nobody holy’ idea is a bit overused in Nigerian music, but at least he’s riveting. Muscular flexing of his vocals; nothing too showy. On a topic-level, this opener doesn’t do much for me however. Memorable performances across board, though. What’s that closing drum sequence? Gives the song the kind of epic show-starting feeling you’d get from the opener of Little Simz’s ‘SIMBI’. Let’s see (hear) if the album follows the sonic trail. 

“COME MY WAY”

I liked this when it dropped, it’s quite original. Perhaps by not being on many amapiano records, Wande has maintained a freshness for that sound. The feel-good element here cannot be missed. I remember it was released close to December, and just sort of captured the victorious energy of that period. It’s prime-era reminiscent of how many directions he’s coming at this from; colouring a song with different-sounding vocalisations is a favourite trick, after all. When the drums strip away and he embarks on THAT melodic solo, this song comes alive. I like its early placement on the album; it makes you excited for what comes next. 

“3 SQUARE MEAL”

Some trap-esque guitars starting off this one, and Wande doing his best southern American impression. The tone here is sombre; quite disjointed from the previous record. I hear what he’s trying to do, but it’s not working well enough. The production sounds empty while the vocals could have done with more dynamism. Somehow, the laid-back R&B approach on a beat like this doesn’t give sufficient vibes. An easy skip imo. 

“DUES”

These keys are giving “Spaceship Jocelyn” Rema and Victony. He starts with that emo rap-influenced crooning, but rather than demons, it’s the movement of a woman he’s battling with. What’s this rap zest? Wande Coal has launched into full MC mode, these bars are really magnetic, even if I’ll need a revisit to properly gauge what he’s saying. The cadence has no flaws, though. Wande has always been like that singing guy you knew could rap but never had the patience to sit and write rhymes. This is the song “3 Square Meals” wished it were; the cross-cultural pairing works so effortlessly here. 

“E CHOKE”

Another mellow number. Don’t know if it’s just me but the transitions on here have been underwhelming. Perhaps, I’d appreciate “E Choke” better on subsequent listens but this current one isn’t working. Can’t seem to wrap my head around what he really wants to say, the songwriting isn’t the most coherent. And it doesn’t help that the production has a lot of space for writing. Meanwhile, the lyrics sound freestyled. You can guess already: I don’t like this song very much. 

“LET THEM KNOW”

This production sounds a bit familiar. Yes, that first song; I think they have similar tones. But the production is more bouncy, something Wizkid would float over with two eyes closed. It’s meant to be a feel good song, but the energy is a little overstretched to be effortless. Then the beat could have lost some of its verve, and also, at the risk of sounding too high art-demanding, this would have benefited from an abstract approach to the writing. A little less directness, a lot more focus. Wande’s a good freestyler but an album shouldn’t have such obviously unstructured songs. 

“STREETS” (FT. T-PAIN)

When the snippet of this collaboration went online, it wasn’t exactly what a lot of people thought a song with T-Pain and Wande Coal would sound like. Myself included, to be honest. For many years, these two artists have been considered as musical twins, operating in similar folds by moving seamlessly between R&B and pop, boasting smash hits which were yet close in context. Love songs were something they also did well, whereas this “Streets” seems to come up from nowhere. The T-Pain verse was purposeful but not evocative, Wande’s contribution tried to be evocative but lacked its prerequisite of specificity. This is one of those few songs where popular expectation would have been been the ideal execution. 

“KPE PASO” (FT. OLAMIDE)

In my opinion, this is one of the best pop songs released this year. Everything’s on check, from the haunting bass of the production to the vocal deliveries. Definitely one of Olamide’s most affecting features in recent times. “That booty look like a place they told me not to go,” is such a captivating lyric. Wande’s first verse has such great measure, too. The crowd vocals are in good taste, amplifying the (sensual) tension the song embodies. Both voices are well-synced; I think Wande Coal is one of the most seamless pairings for Olamide’s vocals. The aforementioned MJ swag is everywhere in this second verse; Wande is to be moonwalking on afropop galaxy. 

“EBELEBE” (FT. WIZKID)

We’re here now. The bromance between these acts is one of the most wholesome things in all of African music and this is a chance to capture that energy in song. That’s after all, the topmost unifying factor whenever they’re in a room together. Drums are mellow, spiritual, sparse. Wande’s adlibs works great in such opening sections; here, it particularly reveals its influence in the style of Kizz Daniel. Wiz has come in; the pace is great for him and he’s coasting over it, quite well too. His presence is heavy. Wande’s switched in; that street fighter bar came in sweet. I like what the production is doing; very subtle tweaks and progressions happening in the background. I will definitely be revisiting this one. 

“GENESIS”

This song just started off with an energy of its own. An arrangement of the synths brings out the flows, zesty by the way. “And I been setting a legacy, don’t care about positive or negative” is one of the most revealing lyrics all album long; it’s the first to directly reference its title. These Indian-inflected melodies bring the Rema argument to light, and while I think they’re both distinct and accomplished vocalists, it’s fair to consider WC an early blazer in that path. I remember when he used to drop those Mandarin-sounding gibberish, and would make them very important sections of the songs. He does that here, although they call up much attention to what they’re doing, and that contradicts the subtle ambitions of performance. 

“JABO” (FT. FIREBOY DML)

Another of the more anticipated collaborations on the album. Fireboy has always been about the Wande Coal influence in his craft and this being the second time they’re officially collaborating, a semblance should have been struck by now. This is Fireboy singing what is obviously the hook; it’s uncanny how much of Wande Coal seeps into his vocals. He rides on the space to deliver the first verse, does a neat job of that too. I’m just picking that the drums on this album have had a cohesive base, but it’s the pace and structure where they fall short. Wande Coal’s impact on this song is not quite moving, these runs don’t move as they’re meant to. He could have gone verse for verse with Fire, but he chose the vocal route. That comes more naturally to him, obviously. 

“SHO MA GBA”

The tension is palpable on this one. Definitely a late-album banger. I’m feeling the drums and Wande’s carefree singing. The Odogwu mention is heartwarming lol; he would have made a fine feature here. Beyond the energy, and the timely reminder of his greatness, there’s not much happening here. It’s almost a filler, but the pace repurposes the album’s direction, and that’s a good set-up for the last record. 

“DON’T FEEL LOVE” 

Last song on the album. Vocals right off the drop, there’s no hiding that the intent here is to sing. Kel-P has featured very prominently in this album, and I don’t know if that is good or bad. Anyways, the singingit  is quite moving even though it’s polarising what love Wande sings of. The initial sections had suggested a wider spectrum of the emotion being taken account of, but it’s revealing itself to be a romantically-inclined. Heh, I’m not feeling these adlibs; the album has too many of them, and without much distinction. This hook is lukewarm, doesn’t excite past the innate melody of Wande’s voice. Down to the end, the sound grasps on those highs the artist has mastered over the course of his career, but the effect is audible less poignant. 

FINAL THOUGHTS 

While it scarcely references its title, ‘Legend or No Legend’ would definitely be a polarising album. To be truthful, the breadth of Wande Coal’s influence in Nigerian pop would always make him a legend, while his cache of hits transcend mere cult hero status, but looking beyond those achievements this album doesn’t summarily capture his genius. Most of the records are approached from a place of comfort rather than pushing himself, and that manifests in the overt reliance on melodies to build song structure. 

More than a one-trick phony, Wande Coal demonstrated during his peak years that he can approach music from variant angles, but that versatility isn’t found here. What is rather obvious is the banking on a headline-worthy title to spur listenership, but sadly, there isn’t enough to keep them present or want subsequent listens. Most of all, Wande’s songwriting craves purposeful indulgence, the toil of being in rooms where his legacy means nothing and the creation of new lore becomes the domineering motivation. This would set this legend back on course, utilising better the pristine qualities of those gifts that once held us spellbound. 

Teni brings her sophomore album one step closer with new single, “No Days Off”

Posted on by Uzoma Ihejirika

In March, Teni shared a snippet of her latest single “No Days Off,” whetting fans and music lovers appetite in a wave of excitement. The track, with its uptempo bass and shuffling keys, sounded nothing like Teni’s previous works. The sonics of “No Day Off” as well as her fashion choices in the video for the snippet—baggy pants, sneakers and grills—are synonymous with the Alté music scene and are important pieces to Toni’s current mosaic.

Back in 2017, Teni made her mark in the Nigerian music industry with songwriting credits on Davido’s single “Like Dat.” Before her return to the country, she schooled in the US, where she polished her musicianship in music studios while relying on the benevolence of friends. After signing with Dr Dolor Entertainment in 2017, Teni went on a brilliant run of singles in the following year—“Lagos,” “Fake Jersey,” “Fargin,” “Wait,” “Pareke,” “Shakeam,” “Case,” “Askamaya,” “Christmas Is Here” and “Uyo Meyo”—and stamped her name on the consciousness of the music audiences. 

“Askamaya,” “Case” and “Uyo Meyo” were particularly influential in turning Teni from an upstart to a star that demanded mainstream attention. Those songs showcased Teni’s propensity to underpin a vast range of topics and concerns with her powerful vocals. Shortly after she entered the scene, awards followed, with  Teni scooping the Rookie of the Year plaque at the Headies Awards alongside other wins. In 2019, Teni didn’t lose any steam as she fed fans with “Party Next Door,” “Sugar Mummy,” “Power Rangers” and the ‘Billionaire’ EP.

Along with her music, Teni held appeal to her confidence as a plus-size woman in an industry and society that are ultimately judgemental of the lifestyle choices of women. With more music punctuating the years—her 2021 debut album ‘WONDALAND,’ for instance—Teni’s music has evolved, pushing beyond the boundaries by merging genres with her unique touch.

After sharing the snippet for the Genio Bambino-produced “No Days Off,” Teni heightened anticipation for the track with more promotional videos, showing off dance steps that match the energy of the track.  “I’ve been shooting hoops on the court with no days off/And you know I put my life on the line and it paid off,” Teni sings in praise of her perseverance and hard work. She also shouts out her day ones, people who have stood by her and injected confidence into every step of her journey. As much as the track is Teni’s celebration of her feats, it is also an opportunity for others to take pride in their exploits and the challenges they have surmounted.

With a sophomore album on the horizon, Teni uses “No Days Off” to recalibrate her artistry and lay a precursor for future sonic iterations. While she has scored massive success in the past, it is a fresh start for the singer as she reaches for new creative highs.

Featured image credits/Teni

ICYMI: Revisit our review of Teni’s debut album ‘WONDALAND’

TurnTable Top 100: Asake’s “2:30” Returns To No. 1 For A Fourth Week

Posted on by Uzoma Ihejirika

Asake’s “2:30” tallied 78.4 million in radio reach (No. 1 on radio) and 2.28 million in radio reach (No. 3 on streaming) as it rebounded back to the summit of the Official Nigeria Top 100 for a fourth week. The song extends its record as Asake’s longest No. 1 song as a lead artist. Rema’s “Charm” dips to No. 2 after becoming the artist’s first No. 1 as a lead artist when it debuted at the summit last week.

Davido’s “FEEL” rebounds to a new peak of No. 3 on the chart – it is the highest charting single off ‘Timeless’ on the Top 100 this week. This is the first time it has held that honour since the March 31 release of Davido’s fourth studio album. Adekunle Gold’s former 2-week No. 1 “Party No Dey Stop” with Zinoleesky rebounds 5-4. Victony’s “Soweto” with Tempoe featuring Don Toliver and Rema slips to No. 5. It peaked at No. 4 on the chart last week.

Zinoleesky’s “Many Things” is unmoved at No. 6 while Davido’s “UNAVAILABLE” with Musa Keys drops to No. 7. The song peaked at No. 2 on the chart. Rounding out this week’s top ten; BNXN fka Buju’s “GWAGWALADA” with Seyi Vibez and Kizz Daniel is down to No. 8 after leading the chart for four weeks. Young Jonn’s “Aquafina” holds at No. 9 for another week while Johnny Drille’s “Believe Me” enters the top ten for the first time.

Featured image credits/

NATIVE Selects: New Music from Tyla, Tay Iwar, Bella Shmurda and more

Posted on by Damilola Animashaun

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

Last week, we brought you stellar new releases from Fireboy DML, BNXN, CKay 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!

TYLA & AYRA STARR – “GIRL NEXT DOOR” 

Representing the new generation of outstanding African talents, Ayra Starr and Tyla join forces on the catchy mid-tempo track produced by P.Prime. The intoxicating, Amapiano-tinged beat opens the track, followed by the honeyed vocals and harmonies by the pair. Their sweet sounding melodies perfectly contrast the direct message to their love interest, warning them of the dangers of their nonchalant attitude. The pair reiterate that they’re the it girls singing, “Don’t mess this up, I’m not warning you//Got a lot of options wishing they were you” 

TAY IWAR & TWELVE XII – “UNDERCOVER LOVER” 

Ahead of his recently announced EP, ‘Summer Breeze’ -slated for release next month- Tay Iwar’s new track gears us nearer to the highly anticipated project. The slow tempo track features Tay’s harmonious vocals, expressing his dire need for his love interest. Accompanied with a sultry, almost whispering rendition, he openly calls out to her with showers of praise. 

 

BELLA SHMURDA & TIWA SAVAGE – “NSV” 

For his third release of the year, following the Nasty C-assisted remix of “Philo,” the Street-pop flag bearer taps Tiwa Savage on the new groovy single, “NSV.” The track immediately starts on a high note featuring a distorted chant by Bella Shmurda, subtle piano keys and the infamous log drums. Over a mid-tempo track, Tiwa’s lush vocals elevate the track as the pair swing back and forth proclaiming themselves as the life of the party. 

BNXN – “PRAY” 

Coming off a big hit earlier this year, “Gwagwalada,” BNXN is back with another stunning release, reaffirming his status as a serial hitmaker. The magicsticks-produced track is an appreciative one as BNXN recalls the struggles he has faced and the people who refused to support him in his early career days. He recalls significant career strides like playing O2 Brixton and his incessant need to remain prayerful as he continues this journey. 

KIZZ DANIEL – “SHU-PERU”  

“Shu-Peru,” through his catchy beats, relatable lyrics and infectious hook, perfectly showcase Kizz Daniel’s musical prowess and further stamps him as a key force in Afropop today. Produced by Reward beatz, the upbeat production creates an inviting atmosphere for Daniel’s memorable rendition. The tracks catchy, repetitive hook rings beyond the first listen, proving that the pair have a timeless piece on their hands. 

   

OBONGJAYAR – “JUST COOL”

Premiered as Clara Amfo’s Hottest Record, the Karma Kid-produced track marks Obongjayar’s first release since his perfectly curated debut album ‘Some Nights I Dream of Doors’ released last year. “Just Cool” arrives just in time for summer with its punchy, sun-drenched rhythms and instantly catchy vocals. The rhythmic track seamlessly blends elements of 70’s West African funk a la Fela Kuti & Kio Amachree with OB’s ice-cool vocal delivery that showcases an exciting new evolution for the experimental artist.  

MR EAZI & YUNG WILLIS – “HAPPY”

Fast-rising musician, Yung Willis has collaborated with Mr. Eazi for an upbeat number dubbed “Happy.” Yung Willis sings about his desire to live his best life in a mood while Mr. Eazi in his usual laid back, no-stress attitude emphasises the need to live a happy life. “Happy” is a seamless blend of Afropop and current sounds, creating a feel-good mood that will lift the spirits of any listener. 

TOMI TRYBE & TOYE – “NI NIGERIA” 

Tomi Trybe, a fast-rising star in collaboration with talented act, Toye has released, “Ni Nigeria.” Armed with moving lyrics in Yoruba and English, the duo celebrate the beautifully diverse cultures and traditions in the country, over a fusion of Afropop and Amapiano sounds. The Dante Beats-produced track embodies an effortless flow, housed by the celebratory aura and shared pride resonating through its course. The accompanying visuals reiterate the track’s message as we see on the flag-painted faces of the children. 

RUGER – “BUN BUN” 

After an impressive run in 2023, Ruger has returned to the airwaves with “Bun Bun,” a quick follow-up to his recently released “Jonzing boy.” In “Bun Bun,” Ruger makes a case for the seductive body of a woman and showers her with praise. The smooth vocals and awesome beat enables Ruger deliver a captivating track that will leave every listener moving their bodies.

DJ TUNEZ – “SHAKA ZULU” FT LADY DU, SMEEZ & D3AN 

From his highly anticipated project, ‘Triple Threat,’ Nigerian singer and songwriter, DJ Tunez, has released a single titled “Shaka Zulu,” an ode to the South African monarch, Shaka Zulu. The amapiano soundtrack brags of sizzling verses delivered  from Smeez, D3AN and Lady Du. The synergy of the acts on the song complement DJ Tunez’s distinct sound, vocals and production skills.

Featured Image Credits/The NATIVE

 

Best New Music: Trill Xoe Sets The Bar High With “Let Me In”

Posted on by Emmanuel Esomnofu

The Nigerian music scene is an interesting place right now. Existing side-by-side are variant genres and traditions, all drawing from diverse aspects of our shared cultures. Beyond pop musicians and its aspirations, a number of gifted creatives are reinventing the sound with overt influences cued-in from several genres around the world. During the mid-2010s, a high level of sonic bending led to the birth of the alte culture, pairing that kaleidoscopic musicality with exciting detours into fashion, film and visual art. 

In more ways than one, Trill Xoe belongs among this class of musicians. A producer and A&R at Native Records, he released his debut project ‘Blood, Sweat & Tears’ in 2018, featuring promising musicians whom he steered towards his vision. He’s also a pioneering member of the 44db producer collective, underlying his place in the culture both on a sonic level and as a member of the wider community. Over the years, he’s doubled down on those ambitions, emerging with a portfolio that ranks among the best of his generation. 

 

View this post on Instagram

 

A post shared by Trillo (@trillxoe_)

Still charting solid off the co-produced “DECLAN RICE”, we caught up with Trill Xoe some months back to discuss his journey into music, as well as his future plans. He made it excitedly known that his much-awaited sophomore tape wouldn’t be awaited for much longer, sharing some plans he had for the tape which would be titled ‘Lucent’. 

Trill Xoe has begun the run-up to that project, and in breathtaking style, too. Being his first official release in over three years, “LET YOU IN” can be parsed both as an enjoyable new record but also as an reintroduction to his production and curatorial skills. The song features the promising Azanti and Mahgi, a musician Trill Xoe has been working with and developing for quite some time. Always in tune with the ebbs of what’s happening beneath the glistening board of mainstream afropop, Trill Xoe’s pairing works to give the record an unpredictability which the listener eases into on first listen. 

Shimmering with an ominous sequence, the brilliance of the production is audible early on. Swaggering drums are introduced, mellow but groovy, just about the same time Azanti enters the record. Thematically, it’s a very Afropop record; bemoaning the unavailability of his heart and affection, it tallies the emo perspective that’s been adopted by many new-age musicians. “I can’t let you in ah ah, it’d be bad for me and you,” sings Azanti with breezy longing, the melancholy of that sentiment matched with the vibrancy of the overlapping rhythm. 

On his part, Mahgi takes a different direction to Azanti’s, bringing a fuller sensation to the record through his interlude-esque verse. The beat also expands on itself to bring that emotion of longing to life, incorporating brazy trumpets, dropping percussions, and synth runs lending to an atmosphere with audible cinematic flourish. Existing closer to the progressive R&B tradition of Bryston Tiller and Drake, “LET YOU IN” thus sounds like two songs in one, paired with the overt Afropop influence audible in its first half.

Trill Xoe obviously has the direction of his next sonic phase on lock and “LET YOU IN” is a brilliant take-off in that direction. Where producers making projects were once considered novelty, fortunately the scene has changed in a positive direction, and producers like Trill Xoe are most equipped to push it onto the next phase. 

What that might mean, as heard on this new record, is producers creating experiences that transcend the primal creative instinct to create songs. Already working in that intersection between creativity and criticism, Trill Xoe’s bag of tricks is ever deepening, and it wouldn’t be surprising that ‘Lucent’ turns out to be one of the noteworthy projects to drop this year. Already setting a high bar, this colourful, coordinated collaboration has begun that process in typical auteur style. Tell everyone: Trill Xoe is back. 

Review: Suté Iwar’s ‘Ultralight’

In contemporary urban music, the ‘90s represent the ideal portrayal of what romantic love should feel like. A lot of that comes from the R&B of that era and the perception it created in the minds of millions of young black people, that fire, desire and unending devotion were all it took to make relationships work. Sure, Mary J. Blige exorcised toxicity on “Real Love” and Erykah Badu read “Tyrone” for filth, but rose-tinted memories elevate the significance of songs like SWV’s “Rain” or the several videos where singers would perform dramatically under the rain.

On his 2021 project, ‘199X’, Suté Iwar clearly leans into the idea that the ‘90s is the pinnacle for lovestruck expressions. At the end of the deep cut “Mushy Girl,” a lady eulogises some of the hallmarks of the R&B in those years, including singers speaking mid-song while “the boy group is doing the adlibs” and how many women sang with a yearning verve. “I feel like the way that they sold love was just exceptional,” she says. For much of that 17-song tape, Suté invokes fire, desire and unending devotion, but there’s an obvious nod to the simple fact that times have changed.

Romance has gotten even more complex; no one is singing under the rain in an era where people are texting their way into infatuation, situationships and going ghost or being ghosted. “You know we gotta speak some time/’Cause I can’t read your mind,” he sings on the balmy “Pulp Fiction,” situating his yearnings in the present. At that, Suté sings about two people pressing into each other emotionally and physically, with conviction that romantic utopia is reachable even in these times.

On his most recent project, ‘ULTRALIGHT’, the Nigerian artist is yet to figure it all out. In fact, it’s gotten even more complex for him too. “Monogamy, that was the plan/that’s one way we measure a man,” he muses on the instant highlight “SHUGA PEACH.” It’s the perfect set-up to a sequence marked by raw introspection and bracing self-awareness, with the explicit acceptance of his own faults and flaws in making his relationships messy. That candidness is particularly refreshing in a time when male R&B and rap is marked by deluded solipsism, where artists are content playing the heel and toxicity isn’t just revealed—it’s almost always revelled in.

Suté’s revelations are his way of growing out of toxic patterns, for himself and the people he interfaces with on a level as deep as romance. That’s the core of ‘ULTRALIGHT’: Holding yourself up to the light as an act of purification. Like a revered rap artist once said, “You can’t heal what you never reveal.” The best part is that Suté doesn’t break form with who he is to get introspective, putting in a typically vibrant shift as he switches seamlessly between singing and rapping. Largely self-produced, the album is a buoyant suite of booming kicks and breezy percussions, sunny melodies and humming bass, and a dub reggae song.

In several ways, this album is the culmination of his growth as an artist and many experiences as a person into his latest opus. As much as it’s a great successor to his last project, you can hear spiritual call-backs to his older work here. Featuring a gleaming hook for RayTheBoffin, “THE PLEASURE PRINCIPLE” feels like a retrospective rendering of the sort of situation he sang about on “Time,” a track off 2020’s ‘Colors’. Where that older track fixated on infatuation, Suté is better positioned to see the ill effects of a relationship built on shared vices. As an added genius, he links it to the crash that can accompany reckless thrill seeking, recalling a time he had to be taken to the hospital for smoking too much.

 

View this post on Instagram

 

A post shared by Suté Iwar (@suteiwar)

Romance is the central theme of the last two albums but it ultimately works as a framework of evaluation for Suté, one that even applies artistically. “I don’t feel like rapping again,” he half-croons on “Feeeed” from ‘199X’. “I just want to sing/but all these things I have to say/can’t say ‘em one way.” In the aftermath of his second project, 2015’s ‘Visions’, Suté placed an increased emphasis on his versatility, refusing to be boxed in by rap messiah expectations after his 2014 debut, ‘Jelí’, achieved cult classic status in the SoundCloud era. He sang more on subsequent projects and it’s intriguing the 2018 rap-centric EP ‘Leopards’ was nowhere to be found on the internet not long after its release.

In a post-‘Take Care’ world, the aversion to sticking to one mode of vocal delivery has increased; rappers singing and singers rapping is the norm. By making binary expertise the main point of his music, it felt like there weren’t enough moments of definitive lyricism in Suté’s music. As a rapper, intricate rhyme schemes are his vehicles for storytelling and perspective sharing. As a singer, he’s mostly evocative and there are less details, which means there’s a strong reliance on melodies to keep listeners fully engaged.

Suté does have an agile voice with a pleasant tone but it’s limited in range, so rapping has to play an important role within the context of a full-length project, even if singing takes a larger share of the run-time. ‘199X’ found that balance, featuring singalong highlights like “Fever” and tuneful rap slappers like “Funk Soldier,” but they all worked in service of the artist creating paeans to falling in love. On ‘ULTRALIGHT’, that balance again works in service of Suté figuring out how to be a better version of himself, in relation to his love life and the world around him.

“My lady never let me go/she’s my home when the world gets cold,” he sings over the mid-tempo, Caribbean pop-influenced beat on “SIGNS,” an image of romantic bliss that also nods to climate change. On the lead single, “JUDAH LION,” WurlD adds to the ride-or-die attitude with his trademark charm, while Efe Oraka acts as the reciprocating love interest over the lustrous reggae guitars of “ICE DUB.” Working with many outside voices isn’t something Suté indulges in on his projects, but ‘ULTRALIGHT’ features more than a handful of complimentary guests, from Shalom Dubas’ gorgeous 8-bar coda on the bright-eyed “BIG WORLD BABY” to brother Tay and Lex Amor calmly expelling their demons on “MEDITATE.”

On “EARTH ANGEL,” Ogranya’s hook is succinct and soulful, while Suté raps with a defiance on the first verse, chipping at those regards as inferior and snarling at “industry niggas.” On the second verse, he gets vulnerable and even changes cadence, revealing emotional issues with his father. It’s the second time on the album he discusses that relationship, hinting that his dad might have cheated on the confessional side of “SHUGA PEACH.”

In dealing with this inherited issues, he does offer grace to himself and his father, an indicator that he’s putting the work in to not transfer it to his partners and those around him. ‘ULTRALIGHT’ is about the process—“I know sometimes I hide my trauma,” he admits on closing track, “THE LIGHT.” It’s particularly endearing that Suté doesn’t turn himself into an avatar, since all he’s doing here is “sharing my journey so far.” Tacitly, he’s an advocate for personal effort on the path to being the kind of wholesome person deserving of that type of ‘90s R&B love. Sometimes, all we can do is our best.

NATIVE EXCLUSIVE: SUTÉ IWAR IS ON A JOURNEY OF EXPLORATION

A 1-Listen Review Of Jidenna’s ‘Me You & God’

Posted on by Dennis Ade Peter

The last time Jidenna released an album, he was serving as the guide along metaphorical yet increasingly tangible highway between urban America and Africa. ‘85 to Africa’ came out around the time when pop music from West Africa was receiving wider attention on sustained momentum. That was the year Burna Boy and Mr Eazi performed at Coachella, and Davido’s then 2-year old “Fall” was getting serious radio airplay and fringe song of the summer considerations.

Four years have passed, we’ve lived through a pandemic and Billboard’s dedicated Afrobeats chart is one of the many indicators of just how mainstream pop music from the continent has gotten in the U.S. For a new album, it would be easy to envision Jidenna capitalising on the upward trajectory of Afropop, but that doesn’t seem to be the route he’s taking. In the teaser trailer for the newly released ‘Me You & God’, he hints at an album inspired by a romantic situation insulated by the bubble of the Coronavirus pandemic.

Pre-released singles, “FRONT END” and the Bootsy Collins-assisted “SAFE” have hinted at a musical direction heavily indebted to Funk music, with contemporary rap and R&B cadences to accompany his portrayal of romance in the 2020s. I wasn’t fully won over when I heard those singles but I was intrigued, and intrigue is a good enough premise to go into ‘Me You & God’ with an open mind.

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

 

View this post on Instagram

 

A post shared by Jidenna (@jidenna)

“MiSS BEHAVE”

First track was just a bleep, hopefully it’s not my internet. [Editor’s note: It’s not the internet, it was a 2-second bleep.] This is a sunny groove, wouldn’t be out of place on a Free Nationals album. There are no theatrics in Jidenna’s voice to start but the charm is dripping. Oooh, this hook has some sexy to it. I share this man’s raunchy enthusiasm at the top of the second verse, LOL. The beat has switched into something a little more electric and somewhat a cappella-ish, that’s the best description I can think of right now.

“FRONT END” (feat. Gardens & Villa, Roman GianArthur & Sensei Bueno)

Interesting way to open things up, the sequencing is giving me endorphins. “I wanna tell you from the jump, you’re a motherfucking vibe” is such a 2020s R&B lyric, very stock. I really wasn’t digging the vocal manipulations on this song when I first heard it because I found the lyrics a little too vacuous, just felt like anyone could be singing these songs to anyone. The bass guitar riffs are to die for, though. Still not all in on this one, but I wouldn’t mind not skipping it if this album presents higher points and I feel like replaying.

“BLUSH”

Oh man, those grainy sounds caught me. The production on this album is something, and I like that Snoop Dogg reference because this is definitely some breezy California bounce. I like the details in this first verse, the devotion is tangible. “When I love a women, I ain’t afraid to commit” is real talk. I wasn’t buying that hook until those high-pitched runs hit. This song will probably make many listeners want to be whipped. Hehhh, that “I love you, no homo” line is cringe, dawg. Still an early highlight.

“RiPE”

Another nice touch with the sequencing. Funk Music is consistently tantalising, there’s almost no way to fuck it up, especially when you find the right bass guitar riff and a nice drum pattern. This is a spoken word interlude with Jidenna’s voice heavily pitched down. I don’t know that I feel great about it, but a couple of lines that you could use in rinsing a love interest have caught my ear.

“SAFE” (feat. Bootsy Collins)

Has Bootsy Collins ever graced a Thundercat album? I want that, stat. I digress. More vocal manipulations, but this one sounds better. “I think I might just go outside” was such a daring thing to think and actually do during the pandemic. I heard a line about reparations and I chuckled a bit, maybe because I would also lazy around with my favourite person if a shit ton of money landed in my lap. Is that Bootsy Collins singing or Jidenna doing an impression? I think I will listen to this a few more times just to figure it out. The drums on this are bonkers. Might be keeper.

 

“MAYBE SWANKAFORNiA”

Acoustic guitar being strummed, need to hear the drums. Ah, there they go. More California vibes, you can literally hear the beaches and palm trees on this song. This is the vision of two bodies constantly grazing under some pleasant heat, I just don’t know that I want this much vocal manipulations at play. This needs another listen, too.

“PULLOUT”

This definitely isn’t Jidenna’s voice. I’m interested in what this beat builds up, definitely has that spacey vibe already. Oh, I get it. This is the pensive moment that comes with a partner being late on their period and you’re wondering why you even decided to have sex anyways. I don’t think Jidenna and his collaborator aren’t regretting the sex, just weighing the consequence of their actions. I like this.

“SWEETBiTTERS”

Spanish guitars never go wrong where sexual attraction is concerned. Flashbacks are the absolute worst, LOL. “We end up fucking just to break up all the fuckery” reminds of those TV couples that do the pause thing during their argument just so they can have sex. I like the rapping in this verse, the perspective feels very lived-in. Thinking about it, this album feels like a logical follow-up to “The Other Half,” the final track from Jidenna’s last album, where he talks about the difficulty of men fully letting their guard down. This song is obviously more of a deep cut but it might be the best track on here, so far.

“SiTUATION”

Sounds like some psych-funk in here. This sounds like something lifted from Steve Lacy’s iPhone, and I mean that in a good way. All these vocal manipulations aren’t doing much for me because I don’t hear their functionality beyond being stylistic choice, which adds a nice wrinkle to Jidenna’s artistry but I need to be gripped and reeled in. At the risk of being wrong, I’m going to say this is St. Beauty and they’re killing it. This is the comedown from the high of a romantic situation, but the regret doesn’t feel earth-shattering. Needs a revisit.

“SUMMER HUNGER”

Maybe I’m making it up but I’m hearing some bluegrass in here, LOL. I heard the best love elevates a person into the best they can be. I AM DEAD, LOL! “Even rich niggas got to eat” as the basis for cunilingus is funny. I like the swing in these drums by the way. Actually, this is a bop. I mean, you won’t catch me yelling the lyrics outside but I’ll sneak into one of my playlists. “You scared the fuckboy out of me” is an ear-catching bar. Love can do great things to men, apparently.

“YOU SCARY”

Final track. This has been a really breezy listen and I’m digging the grand build to this beat. That electric guitar is a nice, if chintzy, touch. “I’ll be yours forever and a day” is the stuff fairytales are made of. Yo! I want this to be longer. This is a serene switch, not a terrible way to close things off.

Final Thoughts

Jidenna has returned with an album for the lovestruck—and those who believe in the effect of being lovestruck. Like I mentioned earlier, this album feels spiritually connected to the closing song on ‘85 to Africa’, a deeply introspective song where Jidenna digs into his toxic patterns as a romantic partner. “We dominate to overcompensate/our bravado dripping with overconfidence,” he rapped on that song, with an explicit understanding that these issues comes from failing to fully give into the other person and the situation.

‘Me You & God’ is a portrait of what happens when a previously guards falls into a romantic relationship without any reservations. For Jidenna, that means the joy is boundless, their corner of the world feels sunnier even under the dark cloud of a pandemic, and breezy Funk Music has to be soundtrack. Largely helmed with long-time collaborator Nana Kwabena, the musical arrangements mostly features thick slabs of delicious bass riffs and vintage drum packs.

The formula is pretty simple, romantic bliss meets summer-ready music, but Jidenna’s choice to experiment with technologically-enabled vocal tricks is quite the distraction. It also doesn’t help that several songs don’t have a solid lyrical base, which makes these voice modulations come off as crutches rather than enhancements. For what it’s worth, ‘Me You & God’ is a mostly smooth listen front-to-back listen. It might not blow you away but it will wash over you gently if you let it.

ICYMI: THE CULTURAL SIGNIFICANCE OF REMA’S TOUR OF INDIA

Nigerian Music To The World – Through Hollywood

Posted on by Uzoma Ihejirika

Across the globe, Nigerian music is on the ascendancy, soundtracking the lives of people, parties and festivals, and stamping the names of its stars on the lips and hearts of listeners. Following behind is its film industry—popularly known as Nollywood—creating homegrown content with improved technicalities for both Nigerian and worldwide audiences through partnerships with international streaming platforms. According to a PwC report, the Nigerian entertainment industry is one of the most profitable industries in the country and will generate $14.8 billion in revenue in 2025. 

“Due to heavy leverage on digital platforms, the Nigerian entertainment industry has gone global,” said Professor Umar Danbatta, the Executive Vice-Chairman and Chief Executive Officer (EVC/CEO) of the Nigerian Communications Commission (NCC). He further added, saying, “Nollywood is one of the biggest movie industries in the world. In fact, more movies are produced by Nollywood yearly in comparison to Hollywood…[and] Nigerian music stars are in hot demand worldwide because of their popularity and brand recognition on social media.”

The connections between the Nigerian music and the film industry is layered and manifold. Stakeholders in both industries have found common grounds to deepen ties between themselves and lay the foundation required to become a “mammoth cultural force.” With the current mantra of “Afrobeats to the World” signposting the march of Nigerian artists with their music, the film industry has also contributed in no small way to the moment that our music stars now enjoy. 

In 1983, the same year he released his album ‘Synchro System,’ Nigerian Juju veteran King Sunny Adé starred in Jim McBride’s Breathless. The following year, Adé became the first Nigerian artist to get a Grammy nomination. In 1985, Adé and his band, the African Beats, featured in Robert Altman’s film O.C. and Stiggs and contributed substantially to the film’s score. In his piece for Burning Ambulance, Phil Freeman revealed that both films were his introduction to the music of Adé and his band. “The footage of them performing ‘Penkele,’ from their 1983 album Synchro System, captivated me,” he wrote. “The lilting Yoruba vocals; the shimmering waves of guitar, bolstered by synthesizers and zinging steel guitar; the conga polyrhythms and the amazing-sounding talking drum; it was like no music I’d ever heard before, and while I never spotted any of his albums in record stores, I filed his name in my head for future reference.”

Fela Kuti is another musician in that era whose music has inspired countless artists around the world and has been made part of the soundscape of many Hollywood productions. In 2021, Kuti’s “Let’s Start,” off his 1971 live album with Ginger Baker, soundtracked the trailer of Jeymes Samuel’s The Harder They Fall. His tracks “Open & Close” and “Je’nwi Temi (Don’t Gag Me)” were part of the soundtrack for Tom McCarthy’s 2007 film The Visitor; so also were his tracks featured in the TV series Narcos (“Who’re You”), Atlanta (“Shakara”) and Stumptown (“Zombie”), among others. Kuti’s “Zombie” was also sampled in Beyoncé’s 2019 concert film Homecoming. 

King Sunny Adé and Fela Kuti weren’t the only ones from Nigeria’s musical past whose songs entered the sphere of Hollywood. In Season 6, Episode 4 of the American TV series Homeland, Segun Adewale’s “Ojo Je,” Joe King Kologbo’s “Sugar Daddy” and Vocal Slender’s “Aje Gunle” were part of the soundtrack. “After story, music is the strongest emotional cue in film,” notes Ben Stamos. “Music adds to a movie’s narrative in several ways: It sets the mood, it focuses attention, it foreshadows what’s about to happen, it reflects the characters’ emotions, and it influences the viewer’s perception of certain characters. It even dictates how scenes are cut. Music is a powerful narrative tool that can make or break a movie.”

As the 2000s rolled in, the soundscape of Nigerian music experienced changes as artists incorporated their unique homegrown idiosyncrasies into Western sounds. “African Queen” by 2Baba—previously known as 2Face Idibia—ushered in a renewed awareness about the musical talent on the African continent and made a splash in foreign scenes. “Africa Queen” was part of the soundtrack for the 2006 Mo’Nique-starring American film Phat Girlz, alongside Mad Melon & Mountain Black’s “Danfo Driver.” The latter parts of the 2010s witnessed the rise of Wizkid, Davido, Burna Boy and Yemi Alade, and those artists have contributed to making Nigerian music the dominant force that it is today. They have also caught the attention of the film industry, with their songs soundtracking films and TV series such as Pacific Rim Uprising, Ballers, Top Boy, Bitten and Sex Education, among others. 

In 2019, a host of Nigerian artists were featured on the Beyoncé-curated soundtrack for the musical drama The Lion King. They included Wizkid, Burna Boy, Tiwa Savage, Tekno, Mr Eazi and Yemi Alade. Two years later, Davido appeared in a cameo role to perform his song “Assurance” in Coming 2 America, the sequel of the celebrated film franchise starring Eddie Murphy and Arsenio Hall. He also featured in the film’s soundtrack alongside Burna Boy, Tiwa Savage and Tekno. 

The newer Nigerian music stars are ensuring that the pipeline connecting music and film gains more strength. Rema and Tems’ vocals were on the teaser video for 2022’s Black Panther: Wakanda Forever, and they both featured on the film’s soundtrack alongside Fireboy DML, Burna Boy, CKay and Bloody Civilian. The British sci-fi TV series, The Power, which is currently airing on Amazon Prime Video, features songs from The Lijadu Sisters (“Orere-Elejigbo”), Obongjayar, Chief Stephen Osita Osadebe (“Osondi Onwedi”) and Lady Donli (“Hello Lady”). Days ago, news broke that music from Wizkid, Tekno and 1da Banton featured in the third season of the American comedy TV series Ted Lasso. These developments are evidence that Nigerian music is on the right track. With more channels to promote their music, Nigerian artists can be sure that their art will reach larger audiences and that the legacy of their works will live for years to come. 

Featured Image Credits/The NATIVE

ICYMI: Dunsin Wright is just getting started

What’s Going On: Unrest In Sudan, National Mourning In DR Congo & More

Posted on by Uzoma Ihejirika

“What’s Going On” Tallies Notable News Headlines From Across The Continent — The Good, The Bad, And The Horrible — As A Way Of Ensuring That We All Become A More Sagacious African Generation. With This Column, We’re Hoping To Disseminate The Latest Happenings In Our Socio-Political Climate From Across The Continent, Whilst Starting A Conversation About What’s Important For Us To All Discuss. From Political Affairs To Socio-Economic Issues, ‘What’s Going On’ Will Discuss Just That.

SUDAN REFUGEES ENTER ETHIOPIA AMID UNREST

Following the war that broke out between the Sudanese Army and the paramilitary group Rapid Support Forces (RSF) on April 15, hundreds of refugees—consisting of citizens and residents of Sudan—have fled the country and crossed the border into Ethiopia. The fighting has claimed the lives of at least 700 people, most of them civilians and wounded thousands.

Multiple truce deals have been declared and quickly violated as gun battles and air strikes flared on Sunday in Khartoum, Sudan’s capital. The latest ceasefire efforts came from Saudi Arabia and the United States. “The United States stands with the people of Sudan—and we are acting to support their commitment to a future of peace and opportunity,” President Joe Biden said in a statement on May 4. “Today, I issued a new Executive Order that expands U.S. authorities to respond to the violence that began on April 15 with sanctions that hold individuals responsible for threatening the peace, security, and stability of Sudan; undermining Sudan’s democratic transition; using violence against civilians; or committing serious human rights abuses.”

With the eyes of the world on Sudan, some citizens and foreign nationals are caught in the middle of the war, hiding in their homes amid shortages of water, food, medicines and other essentials.

AUTOPSIES RULE OUT ORGAN HARVESTING IN KENYA CULT DEATHS

According to government pathologists, autopsies performed on 112 bodies of cult members unearthed from shallow graves in Kenya’s coastal Kilifi County have excluded the possibility of organ harvesting. The verdict is that some of the victims died due to starvation, strangulation and suffocation.

The victims were members of the Paul Mackenzie Nthenge-led Good News International Church. In April, at least 109 bodies were retrieved from mass graves in the Shakahola forest, with Nthenge believed to have encouraged his followers to starve themselves to gain salvation. Nthenge appeared in court on Tuesday (May 2) and could face “possible terrorism charges,” according to his lawyer George Kariuki.

Kenyan police are expected to excavate more graves in their search for additional victims. Mackenzie is currently in police custody, pending investigation. To investigate the deaths of these Christian cult followers, President William Ruto has established a commission of inquiry.

DR CONGO MOURN AFTERMATH OF DEADLY FLOODS

According to officials, the death toll from the floods that ravaged two villages in the Democratic Republic of Congo has risen to more than 400. The government has also declared Monday as a day of national mourning in memory of the dead and missing.

On Thursday, May 4, the villages of Bushushu and Nyamukubi in Kalehe territory, South Kivu province, were submerged after days of torrential rain caused landslides and rivers to leave their banks. The disaster came two days after floods killed at least 131 people and destroyed thousands of homes in neighbouring Rwanda.

“It is the worst flood we have ever had,” civil society representative Christian Zihindula Bazibuhe said, adding that bodies were still floating on Lake Kivu. António Guterres, the Secretary-General of the United Nations (UN), stated on Saturday during a visit to Burundi that it was “a new illustration of an acceleration of climate change and its dramatic consequences for countries that are not involved in global warming” of the planet.

NIGER SOLDIERS DIE IN MINE EXPLOSION

The Nigerien National Guard (GNN) reported on Sunday that seven Nigerien soldiers were killed when their vehicle exploded on a mine in the western region of Tillabéri, where jihadist groups regularly operate.

“A vehicle of the weekly supply escort mission hit a mine late this morning, about 6km from the village of Samira, in the department of Gothèye, near the border with Burkina Faso,” said a statement on state television from the GNN, which is attached to the Interior Ministry and is at the forefront of the anti-jihadist fight. The village of Samira has been home to Niger’s only industrial gold mine since 2004.

Africanews reports that the Nigerien government has been fighting jihadist groups linked to Al Qaeda and the Islamic State in the Greater Sahara (IS-GS) there since February 2022, in an operation called Niya with more than 2,000 men. Niger is also facing deadly actions by Boko Haram and the Islamic State in West Africa (ISWAP) in its south-eastern part.

Featured Image Credits/The NATIVE

New Music Friday: New Projects from Bongeziwe Mabandla, Dwin, The Stoic, A-Q & More

Posted on by Emmanuel Esomnofu

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

BONGEZIWE MABANDLA – ‘AMAXESHA’ 

As you can tell by now, NATIVE Mag loves the music of Bongeziwe Mabandla. For months, we’ve counted down to the South African musician’s fourth album, the grand ‘amaXesha’ which translates as ‘The Times’.  A soulful encapsulation of the breathless emotions Bongeziwe has evoked since his decade-plus presence in the scene, it’s a masterful reconstruction of Xhosa folk. The contemporary radiance of electro flourishes meets his spirited vocals with epic intent, progressively taking the listener through every song, so the tape plays out like a collection of evocative movie scenes reaching the crescendo of its final moment. With the COLORS-released “sisahleleleni (i)” starting out the album, potential listeners already have an inkling as to its atmospheric quality. 

A-Q – ‘GOD’S ENGINEERING 2’

Better late than never is a saying familiar to many, but few careers embody that like A-Q’s. Having began releasing music officially in the mid 2000s, the rapper hit the peak of his artistry just before the 2020s, going on an unprecedented run that was largely fuelled by the production genius of the late Beats By Jayy. The joint-album ‘Crown’ with Loose Kaynon among that run, Q’s position at the zenith of Nigerian rap lyricism was solidified by ‘God’s Engineering’, which became arguably his best album. With introspective, cutting raps stitched over elegiac beats, he unfurled personal demons while taking stock of the world around him. ‘God’s Engineering 2’ continues on that path, adding the glitter of pop flourishes around the hardcore pyrotechnics of A-Q. The result is an essential rap album.

YKB – ‘YUSFUL MUSIC’

The Lagos music scene is one abuzz with talents, but over time, we’ve seen that the ones more likely to break through are those with a unique grasp on social conditions. Over the years, the musician known as YKB has worked towards perfecting that quality in his art, merging the details of his personal life onto the grander palette of a city that seems at odds with itself. ‘YUSFUL MUSIC’ is the latest iteration of that experiment; in five soulful, related tracks, he charts the seas of the internal and external with heartfelt brilliance, inching closer to that mainstream ubiquity that has been looming around for a while now. Read YKB’s track-by-track breakdown of the EP. 

OYEDELE – ‘IRAWO’

Consistency and experimentation is the watchword for Nigerian act Oyedele. On his latest EP ‘Irawo,’ the rapper merges traditional Nigerian music with modern sounds to create unique experiences. “Irawo is actually my most personal project,” he says. “In crevices of sound and cadence, there are personal imprints all over the project— it marks a particular period in my life.” Oyedele’s aim for the project is to “push boundaries with music,” and that aim manifests ‘Irawo,’ “from featured artists, to producer, mix mastering engineer, to designer, to set designer, photographer and all.”

DWIN, THE STOIC & RHAFFY – ‘LOVE LANE’ 

Last year when NATIVE Mag profiled Dwin, The Stoic, the artist was excited to reveal his expanding grasp on popular sounds. His ‘Love Lane’ EP, he said, would challenge expectations of his oft-categorised ‘alternative music’, and after following up with some singles, the referenced project is finally here. As promised, ‘Love Lane’ is a kaleidoscope of sounds, presenting Dwin’s signature melancholic direction in new light, and his writing pushing unbounded into new thematic terrains. For lovers of sensitivity and the constant search for a fuller existence, this is a must-listen. 

TENA TENPO & BENMAELEN – ‘COLOR BLIND’ 

Over the years, Tena Tenpo has established a name as one of the most avant-garde artists out of Nigeria. Orbiting sonic lanes around R&B, rap, and afropop, he’s flexible in his direction, perhaps the quality that influences the title of his latest project. ‘Color Blind’ presents a wide spectrum of sounds and perspectives, parsing each element through the plain honesty of Tenpo and Benmaelen, his co-star. With its intimate sonic touches influencing an autobiographical edge onto the project, it rewards the listener both on a technical and emotional scale. 

NATIVE Selects: New music from CKay, Fireboy DML, BNXN & more

Posted on by Damilola Animashaun

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

Earlier this week, we brought you stellar new releases from Mayorkun, NOT3S, Kwesi Arthur 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!

FIREBOY DML – “SOMEONE”

In the third quarter of 2022, Fireboy’s highly anticipated ‘Playboy’ dropped. Featuring tracks like the chart topping “Peru,” assisted by Ed Sheeran, the standout cuts on the project have undoubtedly positioned the artist for a bigger breakthrough. “Someone” serves as the first release for the artist since the album and it does not disappoint. Over a groovy, dance beat -almost reminiscent of Drake’s “Texts Go Green”– Fireboy DML’s infectious vocals unabashedly beckons on love and affection from his muse. His vulnerable lyrics and soulful vocals express his preconceived feeling of loss due to the absence of his love interest. 

IYANYA & BNXN FKA BUJU – “SINNER”

Back from a well deserved hiatus, Iyanya makes a stellar comeback on BNXN-assisted “Sinner.” Over the groovy, mid-tempo beat, Iyanya and BNXN wear their hearts on their sleeve as they sing of the hypnotic powers of their love interests. A beautiful fusion of Iyanya’s expressive vocals and BNXN’s rustic verse performed in his local dialect, the recently released single is certain to have audiences hooked on a first listen. The sleek collaboration, produced by Shuga(shugavybz), is a testament to Iyanya’s musical prowess and BNXN’s unique ability to further develop an outstanding track. 

KILLERTUNES, BZ & NOT3S – “SHY”

For his first single of 2023, Nigerian record producer and singer Killetunes taps UK acts BZ and Not3s for the sultry number “Shy.” The track brilliantly infuses jazz elements with pop rhythms as the trio serenade their love interests.  BZ also uses his verse to deliver some heartfelt lines about being his family’s breadwinner. “Shy” is a flex, both sonically and thematically.

BALORANKING & IDA BANTON – “CARO (REMIX)”

There’s never been a time in Street Hop where its soundscape was as variant as it is now. Everyone’s evolving differently, an acknowledgment that’s necessary in the assessment of contemporary afropop. Balloranking belongs in this convo, a stylist whose merging of deeply-reigned Yoruba cultures and new-school storytelling has seen him elevated as a most promising act. He surely holds that reputation up on the remix of “Caro”, featuring the in-form 1Da Banton who joins him to detail the soulful aftermath of a break-up. 

CKAY – “HALLELUJAH” FT. BLAQBONEZ 

Without a doubt, Ckay’s growth over the past few years has been nothing short of outstanding. From the astronomical growth of his standout single, “Love Nwantiti” to a star-studded debut album laced with perfectly curated tracks telling a story of toxic love. CKay is THE moment. An ode to his career strides in recent years, CKay’s recently released single “HALLELUJAH” taps into Blaqbonez for an upbeat celebration of growth. The track’s intoxicating Amapiano-infused keys and drums sets the tone for the rest of the track as the pair make comparisons to their past life. Blaqbonez’s sleek bars follow after CKay’s melodious rendition, reiterating the track’s message of gratitude. 

ESPACIO DIOS – “THE SECOND KIND” FT OKMALUMKOOLKAT & NALELI

Ever pushing the boundaries of his craft, South African musician Espacio Dios can go anywhere. On “The Second Kind”, it’s a broody song which tells the story of young lovers caught in a storm. Both on a literal and metaphorical level, it’s an inspiring record with bold splashes of individual style. Between Naleli’s svelte tones and Okmalumkoolkat’s spirited verse, the linking quality of Dios’ output makes it come together. Add the smoothly-worked psychedelia and bottle-laden percussions and you get a visceral experience which places you in the world of sound, feeling and imagery. 

KING PROMISE – “TERMINATOR”

Ghanaian sensation, King Promise has had an awe-inspiring breakthrough into global audiences over the past few years. Since his Omah Lay-assisted hit single “10 Toes,” off his album, ‘5 Star,’ studded with local and international acts, King Promise has proven to be a serial hit-maker. His stellar songwriting skills and standout vocals come into play on his new single “Terminator.” The song’s catchy beat, produced by KillBeatz and clever lyricism will leave every listener hooked, adding to his already impressive discography. 

YABA BULUKU BOYZ & FALZ – “MADAM DE MADAM”

Entire records dedicated to female physiology isn’t new to Afropop musicians, but Falz does know how to spice up his. An astute lyricist with fine flexings on humour and relatable stories, he finds natural alliance with the earthy production of Mozambican super trio Yaba Buluku Boyz on “Madam De Madam”. House-tinged beats aren’t new to Falz and he does reiterate his brilliance on this style yet again, shining alongside the authoritative bars of the group. An accomplished record, it’s one destined to shake dance floors from Maputo to Lagos. 

LEEOBI – “TONIGHT” 

The Nigerian music scene is abuzz with talents. Every day, new records announce the peculiarities of rising acts, indeed giving much excitement to us music lovers. Leeobi is a name to watch out for, if his “Tonight” record is anything to go by. Seeming to work in the breezy love tradition of Tekno and Joeboy, he’s a musician with warm dispositions, as evident in his new song. Coloured with live instruments, his vocals are beautifully rendered in the telling of a love tale, establishing a pattern of pensive beauty which is maintained till the song’s last second. 

TTO – “BANK”

TTO opts for a mellow vibe on his new single “Bank,” produced by Lynzz Beats who he met online. The Dallas-based Nigerian artist has been honing his melodic rap skills and lyrical confidence with 2018’s ‘Panorama’ and 2022’s ‘You’ve Done.’ On “Bank,” TTO reflects on his journey of “steady tryna get to the bank” and also showers appreciation for a woman responsible for his happiness. TTO and Lynzz Beats have made magic with this feel-good track.

Featured Image Credits/The NATIVE

Track-By-Track: YKB Breaks Down His New EP, ‘YUSFUL MUSIC’

Posted on by Emmanuel Esomnofu

In the past few years, the Afropop scene witnessed the entry of a new vanguard of musicians. Without knowing it, the many young artists who began creating seriously during this period embodied a sonic and linguistic shift within the movement’s nucleus in Nigeria, and would come to capture the solitary zeitgeist of the following year in such stirring ways. One of such musicians was yusufkanbai who, until some couple of years ago, became simply known as YKB. 

Born Yusuf Oluwo, the artist possesses a strong sense of self. Prior to music he worked as a photographer, a profession that continues to influence the vivid snapshots encapsulated in his songwriting. Among other places, he resided in the Ketu neighbourhood of Lagos, gathering the experiences he would relate with crisp emotiveness across his oeuvre. YKB started creating music in 2019, getting on the much-vaunted Ejoya ‘Class of ‘20’ the following year, alongside other promising genre torchbearers such as Buju (now BNXN), Jinmi Abduls, DJ Yin and Emo Grae. 

In the years since, YKB has maintained a passion for output. He’s often releasing music to his ever-growing fanbase, advancing his sound with each project while centering biographical details within that amorphous range which, over the times, have included Afropop, R&B and Trap. As he told the NATIVE Mag, “My messaging is always going to remain the same, just that the music is going to get better”. 

 

View this post on Instagram

 

A post shared by YKB 🤎 (@ykbonly)

Evidence of that growth is all over ‘YUSFUL MUSIC’, the new project from YKB. Spurred from a nickname he flipped in secondary school, ‘Yusful’ extends the narrative palette of the March 2023-released ‘Never Lazy’ mixtape. The five-track EP continues to burnish his personal ideations, cutting through the heart’s pleasures and uncertainties to offer poignant perspectives. Like many of his projects, the uNder alum put together distinct but interrelated records. 

In this track-by-track breakdown with the artist, we dissect the origins and meanings behind each song, at the end placing it in the sprawling conversation of YKB’s unique creative process. 

“PRESSURE”

This na real life story oh. The day before the day I made “pressure”, something happened where my mom called me to come to her place, and then my elder sister called her phone that she wanted to talk to me. When they gave me the phone, she was talking about me looking for another option if music is not making sense, maybe music is not making money. That I’m only getting older and I need to start playing my role as a son, say my mama no dey collect pension. It’s all in music; like, I just narrated that whole p. The first verse of the song I just narrated what happened. Spax produced the song, and that’s like the second version of the song, but Spax is really the one that brought all the instruments together and made it sound like exactly what I wanted it to sound. I had written it down to an emptier beat, but Spax was the one that elevated it. 

“BO CARD (THINGS I NEED)”

“bo card” was basically me just flexing my vocals. I was singing my whole lungs out and I just wanted to create something where I could like, flex my vocal power, something sensual in that sense. We had parts of the beat before, and then we just came together and Spax was like, “This one, let’s make it together”. And that’s like Spax’s favourite song sef. I don’t know if I create [sensual records] often because I don’t really keep track of the topics, as long as it’s genuine and it’s real, that’s what I just go on. That’s my whole thing approaching music.

“SAN SIRO”

I made this in my room oh. I wrote “San Siro” to impress a girl. The girl likes when a song has witty lyrics and good songwriting. So I was like, let me make a song that this girl’s going to like. And we thank the Lord, she loved it; she still loves it. About the title, there’s this place where we used to play football when I was in secondary school; they used to call that place San Siro – it was in Mile 12. I didn’t even know it was the name of a real stadium. After I made the song, my creative director Niyi Okeowo was like, “Ah, how do you know about San Siro? That’s my team’s stadium”. I was like, ‘that’s mad’. So, everything is ordained. That’s how I knew “San Siro” was meant to be cos everything really came together. From the song to the video, it was a real story that came from the heart. 

“KOMPLETE RIDDIM”

So me and Steph, who’s the producer, were hanging out one day – cos we used to just hangout that period. He liked my music and I liked his music, so we’d just get together and make tracks. So we’re making a song – I can’t remember the song we were making, and we’re trying to complete a song, then his guitarist sent in a loop and I was like “Bro, load this thing immediately, put it on your laptop immediately”. Then I just came up with the hook and I sang it to him and he was like, “Guy, gone. Let’s finish it; it’s gone”. And Steph and them like Buju, they were the first set of people that used to say “It’s going, it’s gone”. When you record a take, and they say, “Is it going? Yeah, it’s gone”. So when I did “komplete riddim” it was like, don’t worry, it’s going; it’s gone. That’s how the song really came about; we actually made that song just to have fun cos that was the mood we were in. And if you listen to the song, you can tell that “Oh, this guy is having fun”. The way we even recorded it, he played the guitar on the computer, and I recorded the hook, and he played drums on it—we were just layering it, we were complementing each other with the creation of the song. So that’s like the most fun song on that project. 

“TRAFFIC”

I made “traffic” and “pressure” the same week. I think at the time I was really feeling myself, cos “pressure” was kind of like a release for me, it made me feel better. Imagine your sister calling you and saying, “How far this your music p?” Cos when you’re outside, people will always say, “Bro, you’re bad, your music is so good. But then your family member is now telling you that ‘Bro, this music, I don’t understand what you’re doing with it oh’”. So it really weighed heavy on my chest. But when I made “pressure” I just started feeling myself, so that was the energy I used to record “traffic”. And the hook of the song says, “I’m on my way, I’m just caught up in the sunkere fakere”. Sunkere fakere means ‘Traffic’ in Yoruba, so that was just me telling myself, “I’m going to get there, I’m just caught up in the traffic of the music industry”. Obviously, that’s how it works. You just have to wait for your spot to get there. 

Featured image credits/YKB

ICYMI: Zinoleesky’s Reign

NATIVE Exclusive: Dunsin Wright Is Just Getting Started

Posted on by Nwanneamaka Igwe

The driving force behind Tems’ inspiringingly firm sense of style is Dunsin Wright, a Nigerian stylist and expert who is the Nigerian singer and producer’s close friend and collaborator.

“I actually met someone on her team a couple of years ago, maybe two years ago,” Dunsin tells the NATIVE about the fated meeting. “At the time, [styling] was meant to be more of a side thing. Then I met someone on the team who had seen my work and he just pitched me. I guess Tems must have liked my work because then they sent me a mood board.” Having grown up in Lagos in the 1990s, she developed an affinity for home-grown luxury brands and had her first gig in the game with the global artisan, Lisa Folawiyo. “I think working in Lagos and with a female led brand definitely informed my idea of what was even possible,” she recalls of the experience.

Now, Wright is the in-house stylist for the Grammy and BET award winning artist, Tems and forms a core part of Tems’ small yet undeniably well-oiled machine. In such a short time, both Tems and Wright have embarked on an awe-inspiring trajectory that has birthed the global star a polished and sleek image direction. Working as Tems’ right hand, Dunsin ensures she looks breathtaking for all these moments. From her baby blue Brielle moment for the Global Citizen Festival to the ethereal custom Vivienne Westwood piece donned at the Grammys earlier this year, Wright is crafting and redefining the singer and producer’s entire wardrobe, one awe-inspiring look at a time.

Off the back of the 2023 MET Gala, the NATIVE sits down with the stylist to discuss her entry into the fashion industry, working with Tems, her creative process and much more.

 

View this post on Instagram

 

A post shared by The NATIVE (@thenativemag)

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

NATIVE: Hi Dunsin, thanks for joining me on this call. Can you talk about your first introduction to fashion? 

Dunsin: I would say that I was very heavily influenced by my mom. From when we were children,  my mom was always super intentional, very creative and always made me think or see fashion from different lenses. It was very intertwined with my idea of self-expression. I think I always admired that creativity and it’s something that has informed the way I look at clothes and style to this day. From a career standpoint, I never really looked at it as something I would go into professionally. It was just always very fun for me. After I graduated from university, I wasn’t loving some of the jobs that I tried to get into. I was going for something more corporate, but I just never really had a lot of fun doing it. I decided to get some experience in the fashion industry and started off working fashion PR in London. From there, I met the clothing designer, Lisa Folawiyo. I moved back to Lagos and I started running her comms and marketing. 

So you had the opportunity to understand the fashion industry on  a closer level. 

Yeah,  I had a lot more time to build experience and grow my contacts as well then I pivoted into styling and creative direction. That’s really it. 

What are some of your early fashion inspirations?

One of the biggest ones was my mom and older sister. I would say now it’s kind of everything and everyone, down to people on the street. I always say that I really love and appreciate street style especially in Lagos and London. Right now, I would say it’s a bit of everything. I can’t really pinpoint it to one person. I also love old music videos and fashion shows. Some independent designers here and there. So yeah, I would say it’s a mix of everything right now. 

As a young Nigerian woman, how were you able to chase your creative passions and get into that industry? You already mentioned working with Lisa Folawiyo, do you think working with a woman influenced your journey? 

I think pursuing my creative career was not easy at first because there was a social stigma attached to it. When I was growing up and even within my family, it wasn’t looked at as a lucrative career. Everyone was encouraged to study a more serious subject and fashion was not that at the time. It wasn’t easy at first but I was invested. I knew I’d really be denying myself of who I really am if I didn’t pursue this. I think working in Lagos and with a female led brand definitely informed my idea of what was even possible. Working with someone as strong as Lisa, who has so much respect in her industry, really paved a way for other fashion designers. It changed the way I looked at everything. I just realised that as long as you’re able to work hard and put as much effort in your work, it will always speak for you. It definitely informed the way I look at my work and possibilities. 

“All the women doing those amazing things are the reason younger girls have people to look up to.  I’m really not limited. That’s why they say representation is important.”

How would you define your style now? 

I think I am a lot more comfortable in my skin. I speak to so many designers everyday and I’m taking in a lot more fashion and style than I would ever have. I think that has translated into me being a lot more comfortable and I know my style a lot better. Now I gravitate towards things that feel like me. I connect with pieces a lot more. I feel like I have a wardrobe that is more reflective of my personality. I found that before, I’d probably look for clothing in a limited amount of places. I don’t think it’s possible to really have clothes that reflect all the different sides of you if you’re looking in limited spaces. And so now, whether it’s from markets and labels to thrift stores, to Depop or more high end clothing, I think being able to understand style from that space has allowed me to build on what reflects the different sides of my personality. 

 

View this post on Instagram

 

A post shared by @dunsinwright

Let’s talk about Tems. How did both of you meet and how did you decide that this is something that you wanted to do with her? How did you guys hit it off?

I actually met someone on her team a couple of years ago, maybe two years ago. They were trying to put together a press shoot. At the time, I was working with Lisa, and I had just styled my first shoot with BOJ and Davido. So it was something I was starting to consider. I had also done some work for Lagos Fashion Week with NATIVE and Momo Fashion. I co-styled that shoot and I was just starting to consider styling. At the time, [styling] was meant to be more of a side thing. Then I met someone on the team who had seen my work and he just pitched me. I guess Tems must have liked my work because then they sent me a mood board. I got some clothes together. I actually got a lot of custom pieces made at the time with Lisa which was also very helpful.

We had to shoot and I think what stood out to her at the time was how well the clothes actually fit. It was rare for her at the time because a number of clothes didn’t tailor to her proportions. As African women, you’d know it’s sometimes hard to find people that cater to our body type specifically.  I think that’s something that Lisa Folawiyo is able to do quite well. That experience directly impacted my next experience, my next chapter. We really just had a great time. I think that was probably the most fun I had from a shoot. It was chill. It was very easy. At the time, I didn’t have a single approach to these things. It was on a job to job basis.  I think later, they were about to go on tour or for a couple of shows and they came back to me. We just kind of fell in love from there. It was very easy, very organic.

I see you and Tems have very unique and different styles. How are you both able to marry your creative ideas to pull together amazing looks?

I think that because of the nature of our relationship. We’re pretty close and we’ve built a lot of trust in each other. When pieces speak to me, it’s easy to translate that into something she’ll like because we spend so much time together. She’s quite vocal about things that she does or doesn’t like as well. I think as a stylist that’s one of the most important skills; to understand each person that you work with. Understand their creative vision and see things outside of yourself. I think the key thing here is probably just the trust, the relationship and the friendship that we have. I actually would say that it’s not as different as it may come across. The way we put things together will probably be quite different but in terms of the foundation, the sorts of pieces that we both gravitate to, I would say there’s a lot more similarity than you may think. So regarding that, it’s actually pretty easy. It’s pretty seamless. 

What message would you say you’re trying to pass across in Tems’ look as she crosses over from the Nigerian audience to a worldwide audience?

My approach was studying her as opposed to passing across any strong political messages. I say political because I think in recent times, a lot of people have probably thought that was the goal. I would say that it’s really not. My approach to styling her and working with her is really just wanting her to feel the best in what we’re putting together. It’s wanting her to feel the most confident in every piece. I think in my work, generally, I just want women to feel their most confident and beautiful.  From day one, I’ve always reminded myself it can’t be about what people think, you know? It has to really start with self because that will translate most naturally. She has things that she loves based on her body type or background. Like is said earlier, it’s about letting the young girls everywhere know, you can actually take up these spaces completely being yourself. I think with the age of the internet, it is not uncommon to receive that kind of backlash when you’re being daring and confident, especially as a black woman.

 

View this post on Instagram

 

A post shared by @dunsinwright

What would you say takes precedence for you working with Tems: style or comfort?

Definitely what she’s comfortable in. I could have a vision for something that I think would be amazing but if she doesn’t feel good or doesn’t feel herself, that will translate. It won’t even allow her to wear the piece in the way that it’s supposed to be worn. So yeah, it comes back to comfort. Of course, the looks are important but there’s also everything else including beauty. 

What’s this selection process like for the beauty and glam teams that you work with?

I mean naturally you look at people’s previous work, that’s one thing. The next thing is definitely their attitude I think. With everyone that we work with, the reason I work so well is because of the personalities we all have. So I think that’s definitely the next thing. For choosing the actual looks, we decide on the pieces first and what sort of vibe we’re going for. This could be a range of things. Based on the outfit, we then decide what sort of look we’re trying to create. We’ve been pretty lucky. In each city, we’ve worked with hair and makeup artists that are local and we’ve had some really amazing talent. They always bring in their own touch to whatever vibe we’re trying to create so that’s been really good.

How does your creative vision differ depending on the artist that you’re working with? How do you manage to keep those two visions separate?

It’s really just trying to get clothes outside of myself or jump out at me for my own style. What’s also quite special is that the people that I’ve worked with, I think there is some part of me that resonated with them and vice versa. It’s important to me to work with people that I also appreciate their style in a way, or they appreciate mine. I feel like if I’m working with the wrong people, then we might not be able to make some things work. But yes, building references out of film or music videos,  cartoons, runways or anywhere. So it’s about reaching into whatever mood or collections started building. You know there might be some similarities, some crossovers but you find yourself building completely new collections or references for each person. Each person that I work with as well is willing to experiment. Again, there has been a lot of trust for them to let you work. I think again each process is with each project is quite different. 

How do you feel about taking risks in your fashion? Are there any that you’ve taken that haven’t paid off?

I think it really takes out the fun if you’re not taking risks. For me, I feel like what even really constitutes a risk? it’s like, okay, you were just confident and did what you wanted to. It doesn’t really cross my mind that this could be a risk. It’s like, yeah, this may have a reaction, but ok. Yeah this could cause a conversation and I think that’s a good thing. As long as you’re not doing anything offensive. I guess everybody’s idea of what is offensive is different. But I think if you’re not harming anyone or not putting any messages of hate or whatever, then I personally think you’re good. People may not think that but whatever. 

You had an exhibition 2121 last year, how was this experience like?

That was my first exhibition. I had wanted to do it for a while before I actually got a chance to do it. The first time I wanted to, we entered into the lockdown. Last year just felt like the perfect time. It was very heavily influenced by my love of film and the way my love of film had influenced my love of fashion and sort of trying to marry the two worlds. It was about putting together ideas of what fashion in the future would look like.

It was very important for me to put those things together, to get the people – African creators – in a space to dream bigger than what is right in front of us, especially when things seem bleaker than ever in Nigeria. It’s like giving everyone that space to keep dreaming because if you can’t dream, then you’re never gonna get out of reality. I asked different fashion designers to create according to what they feel fashion will look like in 100 years from now. I also wanted my audience to come dressed in their own interpretation of that. Even with the music that we had, the DJ created a playlist with her idea of music or artists that represent the future of music. 

What can we expect from you this year, if there’s anything you can tell us?

Definitely more activations to do like 2121. I’m working on a few exciting projects, starting with creative direction and potentially directing music videos. 

Featured Image Credits/ The NATIVE

ICYMI: NATIVE EXCLUSIVE: “TOGETHER IS OUR WIN”, TEMS TALKS ABOUT WIDENING HER CIRCLE

Essentials: Jaywillz Captures The Pleasures Of Love On ‘Pretty Inside’

Posted on by Uzoma Ihejirika

Jaywillz, the singer, born Chinonso Emmanuel Ome, has anchored his music to the workings of love, whether it concerns a significant other, oneself, a thing, or the community. He wields his sonic magic—borne from a confluence of sounds from R&B to Highlife—with his mellifluous vocals, rich with falsetto and adlibs. ‘Love or the Word,’ aside from being the title of Jaywillz’s 2021 EP, is also the guiding light throughout his discography. Off the album came the hit track “Medicine,” where he professed love to his woman. Shortly after, he scooped a coveted spot on Olamide’s 2021 album ‘UY Scuti,’ singing heartily about being locked in love. 

 

View this post on Instagram

 

A post shared by ROLLBOY!!! (@jaywillzofficial)

On his newest project ‘Pretty Inside,’ Jaywillz sticks to his winning formula but finds ways to examine what affection means to him. He starts his reflections with  himself on the opening track “Good Life,” singing, “Am ready for this fight am ready to work, eh/Uuu, guard me, ooh Jah Jah.” While “Good Life” is set to Xtofa’s Amapiano-inflected beat, Jaywillz controls his vocals so well that the pain behind those words is felt. The overarching mood of the song is positive and hopeful, with Jaywillz encouraging listeners to aim for the good life when he sings, “You can be anything that you want oo/Just be bold, naaa na.

In 2020, Jaywillz signed with Chaado Music Worldwide and released his debut EP ‘P.U.N,’ an acronym for “Please Underrate Nobody.” “Abena” stood out from that body of work, in the same way that “Medicine” did from ‘‘Love or the Word.’ The case was the same for “Wishlist” from 2022’s ‘Sun Flower.’ If there’s any song from ‘Pretty Inside’ destined for that kind of fate, it’s “Colours,” a brilliantly jolly tune where Jaywillz professes everlasting love to his better half. “Say I go leave you dey whine/Good or bad we die here/Pray my pocket no dry/Cos I go spend on you,” he sings. Nigerian producer Shugavybz lives up to his name with delightful guitar strings and percussion that stir one to dance.

On “Oceans,” Jaywillz continues the Ghana-Nigeria connection, sprinkling “shito” into his lyrics and singing “Follow me go Ghana.” The love track is also proof of Jaywillz’s skill with hooks and choruses. It is a skill that has earned him the attention of more mainstream acts, who have invited him to bless their tracks with his impressive vocals. After receiving a co-sign from Olamide, he appeared on CDQ’s “Addicted” alongside Wande Coal and Diamond Platnumz’s “Melody.” 

Jaywillz replicates the romantic sentiments on the Xtofa-produced “Lobatan,” a House-inspired track. He also tilts the mood of the song toward the sensual, singing, “Make we do this all night long girl, eh.” It is a culmination of sweet nothings but Jaywillz’s mastery of the kind of singer he is ensures that the track and the project remains engaging. It’s no different on “Fine” as he serenades his lover with promises and witty lines, singing, “Use my tools (On you)/Dance like fool (For you)/Play some blues (For you)/Leave my food (For you)/Girl, I’ll bend my rules (For you).”

‘Pretty Inside’ ends how it started: Jaywillz uses himself as an example of facing hard times and winning despite the difficulties. Like on “Good Life,” “Calvary” also pulsates to an Amapiano beat yet Jaywillz’s vocals are drenched with gratitude. He addresses the hardships of his past and the naysayers who didn’t give his career a chance of survival. When he sings, “Calvary/Nothing impossible from calvary/Thank God for blessings that came my way,” his emotions are undeniable as they reflect his current state of mind.

By utilising a small crew of producers who have contributed to his discography, Jaywillz’s ‘Pretty Inside’ benefits from the chemistry he and the producers have forged over the years. The project packs great replay value and is a formidable body of work for the growing artist. For fans of Jaywillz, ‘Pretty Inside’ is another reason to love him, and for newbies, it is a great place to start and be acquainted with his talent.

Stream ‘Pretty Inside’ below.

Featured image credits/

Amaarae Shares New Single “Co-Star” And Announces Her Sophomore Album

Posted on by Emmanuel Esomnofu

Amaarae is back. Making her return with the kaleidoscopic sonic range of new single “Co-Star”, she pays tribute to the many beautiful women in Africa and the Diaspora. Fans of the sensational Ghanaian-American artist would observe that since releasing the genre-bending ‘The Angel You Don’t Know’ in 2020, Amaarae has receded from the task of putting out any new music, rather consolidating on the strengths of that great body of work. 

With collaborators including Cruel Santino, Mellissa, Kojey Radical and CKAY, the musician had united diverse sonic textures to create an accomplished, mesmerising whole, making that debut one of the most talked-about projects of its era. It also spawned the mega-hit “SAD GIRLZ LUV MONEY”, which rode on the waves of genuine fan love from TikTok virality to become one of the biggest songs in the world a year later, in 2021. An electrifying remix with Colombian-American artist Kali Uchis only worked to solidify its star power, amassing over 379 million global streams ever since.

Amaarae’s new record “Co-Star” comes on the back of these successes, although if there’s anyone who has proven consistent in extending her viral streaks into a body of work with lasting currency, it’s Amaarae. The release follows after “Reckless & Sweet” in March, where she stripped down the psychedelic pomp of ‘TAYDK’ for renewed sensitivity, boasting sweet guitar licks which underscored those ambitions. “Co-Star” is a decidedly distinct affair, featuring breezy sound elements which coaxes a teasing performance from Amaarae. With fluttering cadences and a narrative sequencing that calls upon zodiac imagery and game-esque presentation, it’s a fitting nod in the new direction Amaarae is charting. 

For a while now, those who follow the Ghanaian singer on social media might have been familiar with the ‘Fountain Baby’ title, and she’s just crystallised that by announcing it as the title of her anticipated sophomore album. Now, Amaarae has shared news of the album which is slated for release on June 9 via Interscope, and it is in celebration she releases the ravishing “Co-Star”, which exists at her signature intersection of female empowerment, subversion of gender norms, and a thrilling exploration of female sexuality and artistic self-expression – doing all this while centring her West African heritage within a sprawling global lens. 

“Co-Star” comes with scintillating visuals directed by Lauren Dunn. Reminiscent of the 90s supermodel era, it captures the song’s enchanting allure by creating a Co-Star competition which features some of the baddest women in the game such as The Clermont Twins, model Biba Williams, Nigerian rapper Deto Black, 1XBlue designer Lois Saunders, photographer, model Moyosore Briggs, and many others. The release comes just some weeks after Amaarae’s show-stealing performance at the launch of the Mugler x H&M collaboration in New York City, which also saw her revealed as the face of the collection, another feathered addition to modelling within the highest echelons in the fashion world. 

“‘Co-Star’ is a fun song about star signs,” she said in a statement. “I wanted to give people something cute and flirty for the summer. Astrology is such a huge part of our youth culture, it felt like a missed opportunity to not lean into that and give the girls an anthem that reads and celebrates them all at once. The video is amazing too! Having some of my favourite women in the whole world represent themselves in such an iconic way. The Clermont Twins are such a huge part of alternative African culture. These are the tastemakers of our time. It’s really so amazing to bring them all together”. 

‘Fountain Baby’ is nearly here and from the looks of its rollout, it will surely be an experience to enjoy for several years to come. For now, Amaarae has done well to place “Co-Star” at the forefront of that experience. Hearing and seeing the intentionality behind the record, we’re surely excited for the tidings June would come with.