Do you know that every time you get a new text, the brain secretes a substance called dopamine? This substance is responsible for the feeling of happiness we get when a new notification pops up. That’s why you always get so angry when your phone lights up and it’s another annoying text from MTN.
The modern rave that is Snapchat allows you broadcast videos across the internet in seconds as well as stream the videos that others put up. Artists like Bryson Tiller will be grateful for the SnapChat videos from Kylie Jenner whose influence on the Snap helped turn ears to his music. And that’s just an example of how major deal Snapchat is, they totally changed the game. They designed each post last for only a specified period of time, and for anyone who uses the app, this really works two ways.
You get the impression that the day you aren’t online, you might miss something important and you keep coming back—even though 90% of the time, your timeline is just full of pouting faces and people doing random shit.The second way that works is that those who are somewhere between too cool and too insecure to have hundreds of posts online at once would be rescued from their literal “social insecurity”. Everything that happens on Snapchat only stays on Snapchat and you will be notified when conversations saved. Now instead of going back to delete drunken tweets in the morning after you can sleep easy knowing even if you created a stripping alter ego, they will only live until the twenty-four-hour period clocks at 0:00.
This revolutionary app has woven its way deeply into our DNA, tricking us all into thinking our lives are interesting enough to have a reality show. We have gone from watching other people’s lives on TV, to creating our own lives on the internet, and to the greatness of our generation, we’re all living to see snow white angels like Bobrisky literally descend from heaven to become Nigerian pop culture icons.
Snapchat knows how our brain works. We have gotten high on our own need for validation and the need to know about other people’s lives and addiction has slowly crept up on us. Those quick and seemingly harmless highs have made us slaves to our phones. We can barely stand radio silence for longer than a day before the withdrawal symptoms start to take over our minds. You won’t agree now, but you will remember this when you catch yourself checking every hour to see how many new people have watched your snap story.
The new FKA twigs campaign with Nike is exactly what we have come to expect from the two respective brands: innovative, sublime and well-executed. With an ensemble carefully curated by twigs herself, we saw one of the most breath-taking ads that Nike has produced in quite some time.
Upon posting the video, Twigs took to her personal Instagram to post stills from the shoot, all shot by a young man named David Uzochukwu. David was selected by twigs herself to bring her vision to life, and he did just that. While he may be unknown to some, Uzochukwu’s work has been featured in Vogue and he has shot some stunning portraits of artists such as Benjamin Clementine and Raleigh Ritchie. Check out some of his best work below.
‘Best New Music’ is a new column we will be publishing every Monday to bring you a review of our critics choice-pick for music released in the last 7 day period.
Skales’ “Temper” comes as his first official statement of the year after a chaotic 2016. For those who were probably living under a rock, Skales made headline rounds mid-last year after getting arrested and sued by his record label on charges of mismanaged funds. Against the backdrop of this career blip, “Temper” comes pre-prepared by a Skales looking for a calmer side of things.
Produced by KrissBeats (the same man who gave us “Pana” last year), “Temper” is set on a simple chord progression, with soft kicks and Afro-inspired synths. Burna Boy’s foray into the trap music genre has been documented over the last few months, but the singer stuck to basics for this feature, sampling lyrics from Fela’s 1977 album “Sorrow, Tears and Blood” for a hook and adlibs used by late Afrobeat king as vocal refrain.
“Temper” may play almost too similar to what you’ve probably heard from Burna Boy on “Soke” and “Jealousy“after a couple replays, but this clean-cut appears to be Skales attempt to tap into the neo-afrobeat wave, a trend nearly the entire industry caught on to last year (No, thanks to Mr Eazi). Both Burna and Skales don’t bring their snazziest songwriting to paper here, but the laid-back output of the collaboration, along with its subject’s intent makes this just about the right message—going forward. If you had a dodgy 2016 like Skales, which (was probably everyone anyway), “cool cool temper”.
On side note, as Fela’s estate continues to let samples mooched off the late Afrobeat king’s catalogue slide without any royalty claims or lawsuits, we hope artists are in their rooms saying silent prayers for that dark day not to come.
So we got the scoop that Tiwa Savage has been announced as a performer at the 8th annual Essence “Black Women in Music”—an official GRAMMY Week event – this February and we are so excited for her. While this is huge, this isn’t her first involvement with The GRAMMYs.
It has been well documented that early in her career Tiwa sang backup vocals for a variety of artists including the late George Michael, Mary J. Blige and Andrea Boccelli (yeah, even we had to fact-check the last one). However, what many don’t know is that Tiwa Savage is actually a GRAMMY nominee already for her contributions to Fantasia’s sophomore album, “Back To Me”. Tiwa co-wrote the third single from the album, “Collard Greens & Cornbread”, which was nominated for “Best R&B Album” in 2011.
After a 2016 played out on the tabloids and blogspots, Tiwa Savage seems to be getting her career back on track. Savage ended the year with a string of critically-accalaimed shows all over the continent, building on the hype of penning a management deal with Roc Nation.
Now we’re in 2017 and she’s performing at the Grammy’s this February. Here’s to more Ws this year for the former Queen of Afro-Pop.
Falz has released the video for his latest single “Wehdone Sir”, and just like most of Falz’s videos, it is expertly executed. It has enjoyed a lot of positive reviews and comments from both lovers of his music and music critics. He doesn’t disappoint day one fans with his infamous brand of comical rap. As his fame has grown, Falz has started to tackle the kind of issues that his activist lawyer father made his name on, using his unique delivery to subtly get his socio-political message across.
The video was directed by Clarence Peters, who once again was able to capture the public’s take on a social concept video. Falz has shown time and time again that his talent doesn’t just revolve around music. Going from rapper, to talk-show host, to comedian and back again, all in the space of a year. This latest video shows he may have added choreographer to his already lengthy skill-set.
We intended our first edition of NATIVELAND to make a powerful statement and that’s just what we did with headliner Skepta’s Homecoming. The Boy Better Know leader hit Natistage with some of his most enduringly energetic tracks to an audience already super-hyped to watch him perform. In particular, his performance of Konnichiwa standout “Man (Gang)” was a moment to remember, with Skepta and the crowd (which included his parents!) chanting the lyrics in unison. From “Shutdown” to“No Security”, Skepta’s performance was a fitting climax to a crazy day.
Maleek Berry’s tribute to Lagos
Niyi Okeowo
Maleek Berry’s breakaway from his behind-the-scenes days mainly as a producer came to an end earlier this year with the release of his Last Daze of SummerEP and the international success of its lead single, “Kontrol”. On the same EP is a mid-tempo neo-Afrobeat tribute track, “Eko Miami”featuring UK artist, Geko. The hook of “Eko Miami” was another goosebump-inducing moment as fans echoed Maleek Berry’s nostalgia of a night lived without worries for tomorrow, a perfect message for the end of what has been a year of many surprising events
DRB Reunion
Niyi Okeowo
With BOJ’s continued rise out of the alternative underground into the mainstream, there have been questions about his allegiance to his collective, DRB. However, while on stage, BOJ used this time to clear the air doubts rumors that he left the group. He denied ever leaving the group, just before bringing the rest of the DRB crew on stage to perform cult-classics “Toyin” and “3 Kingz”
Moshpits (yes, in Nigeria)
Niyi Okeowo
Because Nigerian concert-goers are often too busy trying to look ‘cool’ to actually enjoy a good show, fans rarely get the full concert experience of energetic fans bouncing to one uniform or irregular pattern.
However the festival-goers at NATIVELAND set an atmosphere that has been missing at Nigerian live events for years. With JHus, Ycee and Skepta (shoutout his energy crew) all stating on stage how shocked they were at the raucous crowd.
Power may have been snubbed for this year’s Golden Globes, but the diverse range of talents the show houses continues to prove the premium quality of the series. One of those stand out talents, is Nigerian-American singer and actor, Rotimi.
Born Olurotimi Akinosho, the multidisciplinary artist, continues to extend his reach into the R&B music scene with the release of “Paradise”, a mid-tempo bonus single off a post-summer mixtape titled Summer Bangerz.
In a video that flirts with familiar tropes of a relationship’s honey-moon phase as depicted byNollywood, Rotimi journeys to Bridgetown, Barbados to chase his love-interest through bright outdoor locations and stunning landscapes.
The rest of his mixtape (which is lit by the way), is a hybrid of conventional R&B and the auto-tune inspired psychedelia of the genre’s new wave. Summer Bangerz also cleverly features tracks with samples from classic 90’s hits like Like Mya’s “Movin On”, LL Cool J’s “Doin It” and an ingenious sample of Black Rob’s “Whoa”, laced on the biggest highlight on the tape “Have You”.
I’ll be the first to admit that I’m partial to the musicians and bands branching out into lesser played genres like afrofusion and naija chillwave, partly because I’m omnivorous with my music and partly because experimental genres eventually go mainstream. Continue reading “Introducing: To Name A Few”
This Thursday, an idea we have silently nurtured for many years will be brought to life to you in the form of a Native, a music, pop culture, and lifestyle magazine especially styled for Africa’s boisterous metropolitan youth.
Our arrival comes in style with the first official NATIVELAND Festival, at the Muri Okunola Park, Victoria Island, Lagos on the 22nd of this month. Festival-goers will be treated to a diverse set of performances and music genres from UK’s gritty Grime to the best of Nigeria’s alternative underground.
Strengthening the formation of sub-cultures that exist within the mainstream is one of our core values at The NATIVE and we have curated a set list that reflects that intent. The best of British Grime will be on-ground as our co-headliner, Skepta, alongside fast rising UK rapper, JHus are ready to thrill fans with energetic performances. On the native side of things, our other co-headliner Burna Boy will do what he has been doing all year, and is definitely not to be missed. Other acts billed to perform include producer-turned-artist Maleek Berry, Soundcloud prince Odunsi The Engine, and Mark Ronson co-signed DAP The Contract.
Tickets are now available at venues around Lagos, and online exclusively here. You can also stand a chance to win free tickets just follow our Instagram @TheNativeMag and our Twitter @NativeMag for more information.
For every pair of original Yeezy 360’s there are at least a 100 fakes. For a sneaker head like me, who actually checks the forums and knows all the little details that an original is supposed to have, going out to TPL or Mente De Moda is like starring in an episode of Myth Busters. And they’ve gotten so good at the dupes, so good.
LAGOS WEATHER
Lagos is a bastard, especially when it comes to the weather. I can’t tell you how many times I leave my house on a bright, sunny day only for some freak rain to turn Lagos into a swamp. If you see someone walking knee deep in rain with his pristine vintage Jordans in a cellophane bag over his head, that’d probably be me. Don’t be an asshole, say hi.
THE GOOD STUFF NEVER BEING AVAILABLE IN YOUR COUNTRY
In case no one told you, the first rule of being a sneaker head in Nigeria is furnishing yourself with decent internet from at least two providers and a personal Amazon/Ebay account. The good stuff never, NEVER comes to Nigeria. Have you been to the Nike stores in Lagos? They’re still selling shoes from 2012 (because your government won’t let them import the good stuff without ridiculous tax tariffs). And if a miracle happens and new sneakers do come to Nigeria, they’re almost always sold out before you get to the store. So be kind to yourself beloved, and pre-order that shit direct from the Reebok site.
COLOUR WHEELS
Hahahahaha! Forget that Nigerians don’t know the ultimate goal of a sneaker head is to have a pair of sneaks that match every obscure colour in your wardrobe. Good luck getting shoes that aren’t black or white (and if you’re lucky, all shades of blue). You won’t even find fake converses in a colour like maroon, let alone fuschia. Ogbeni, get your card, close your eyes and open Amazon.
ALL THE CELEB SNEAKER LINES IN NIGERIA ARE SO TACKY
I want to buy Nigerian, I really do. God knows it would be easier on my wallet, plus I’d be supporting a local brand. But have you seen these Nigerian celebrity sneaker lines? It’s bad enough that they’re merely clones of international sneaker lines, but why they gotta have so many colours though? What’s with all the logos everywhere (*cough* Sasha P, Rugged Man *cough*). I’ve bought clothes I knew I wouldn’t wear because #BuyNigerian but sneakers? Nah. Y’all need to do better. Funfere Koroye does do good work though, you should cop something from him.
FINDING FELLOW SNEAKER HEADS
I’ll gladly endure everything else Lagos throws at me, as long as I find my own community of sneaker heads who actually collect because they understand and appreciate the work that goes into the design of each sneaker, it’s pedigree and function, its exclusivity and accessibility, original year of manufacture and how many reissues have been made, all the geek stuff. But finding a fellow sneaker head who isn’t in it for bragging rights or doesn’t have his head wedged firmly up his ass is like finding a grounded Nigerian techpreneur.
But I’m nothing if not persistent. I keep searching.
2016 has had more than its share of upheavals but none as interesting as all the big name acts leaving their labels and striking out on their own. Tekno is finally, after much speculation, the newest recipient of a major distribution deal with Sony Music Africa (not to be mistaken for a record deal) for all his present and future music. We’re not quite sure the exact details of the distribution deal, but we know it will make it much easier for him to book international music festivals and have his music promoted properly on all the major music and streaming sites.
What you might not know is that Tekno is, (or used to be?) part of the Made Men Music Group (he hasn’t quite made this clear yet), the same Ubi Franklin led label that introduced Iyanya to the world. That was until Iyanya unceremoniously dumped them for Don Jazzy’s Mavin records. Losing your two biggest stars in the space of two months has got to hurt major. Now that is hurt is something K-Cee and E-Money of Five Star Records are very familiar with now that their own cash cow Harrysong has quit their label, taking his UAC Foods endorsement for Gala with him, and going on record to state that he, not K-Cee was the creative force behind the label’s roster of club hits. Strong stuff, but now that he’s started his own label, he gets to put his money where his mouth is.
Before everyone else starts chomping at the bit to leave their record contracts, perhaps it might be time to revisit the cautionary tales of Brymo and Vector the Viper. Now it must be said that Brymo and Vector are two insanely talented men, but neither have quite recovered from the fall out that followed them leaving their labels and defaulting on their record contracts. Brymo has definitely come out stronger as an artist and truly found his voice, but Vector is still struggling. Let’s not even mention Skales and that mess.
Do your homework kids, and get into contracts that you don’t feel pressured to get out of prematurely.
On Tekno, the purpose of pop music, and what the future holds for it.
Tekno’s overnight success with Pana was probably one of the most unforeseen revelations of last year. The infectious track has led to Tekno topping charts, creeping into international airplay and recently inking a global distribution deal with Sony. Yet despite these achievements, critics have reacted to the content, meaning and lyrics of the summer hit with raised noses and eyebrows.
“Artists don’t create society, they reflect it” – Ben Elton
Questionable composition aside, Nigerian music is still a deeply human art form that gleans the artist’s reality and in some respect, the listeners’ too. This is not to say, for example, that the Nigerian life is nothing but a series of endless parties or love bordering solely on physical attraction, sex and money. At its best, modern Nigerian pop music represents an underlying aspirational mindset to go from rags-to-riches by any means necessary. And furthermore, to bask in those riches for the entire 15 minutes of stardom. At its worst? Modern Nigerian pop music is tone-deaf to the struggles of its listeners, submissive to the system, and embarrassingly materialistic. Most pop songs in the recent singles dominated market have fallen somewhere in the middle of this spectrum, however artists on the wrong side would likely unknowingly reference novelist Ben Elton’s claim that “Artists don’t create society, they reflect it”. They would argue that they only make the kind of music they make because this is what the audience want to hear.
Over the years, Nigerian music has relied more and more on heavy instrumentals and vocals augmented with electronic tweaks, two universal trends in world music. However, because Nigerian artists neither have access to training or legions of songwriters who can help shape their thoughts into sound, the music is heavily dependent on the craft of its producer than the actual vocals of the artist.
This more or less explains the creative process behind Nigerian music. Producers are usually students of the game who have also evolved alongside the sound. Some artists task themselves with making their music relatable, and leave the producers with the job of directing play. In this case, the voice of the artist is just another instrument the producer works into the hit song. This is what has led to some amazing artist-producer duos this century. And more recently, led to producer-artist hybrids such as Tekno and Maleek Berry, who are a relatively new breed in Nigeria.
To immerse yourself in Nigerian music, the foreign listener requires a hard reset. Forget everything you know and listen anew. While you’re at it, find an artist that produces as well, to avoid the inevitable heartbreak of the infamous producer-artist breakup
Everyone, and we mean everyone, has been inspired by Fela Anikulapo-Kuti. Some by his style, some by his unique sense of political activism, and most by his genre-defining music. Fela’s brand of afrobeats; revolutionary but not forceful, enlightening but not preachy, and danceable but not brainless; is still unrivalled till today. His music has endured three decades and the man has become a legend all over the world.
There is no contemporary Nigerian musician who isn’t inspired by, or doesn’t eventually get compared to Fela. His music has been sampled by Timaya and Tuface, his lyrics have popped up in songs by Olamide and Terry G, his songs have been covered by Falana and Somi in her spectacular The Lagos Music Salon. But it would be naive to assume that his influence starts and ends in Africa. There is the critically acclaimed broadway musical, several hundred covers on Youtube and new tribute bands popping up every day. But none have interpreted Fela’s influences quite like Hiatus Kaiyote.
For the uninitiated (and seriously, what are you doing with your life), Hiatus Kaiyote is an Australian Future Soul band started by Naomi ‘Nai Palm’ Saalfied. They are Australia’s most successful R&B export, being the only band from the continent to get nominated for not one but two Grammy awards for best R&B performances with two albums that have received global critical acclaim and mainstream success. The band’s second album, Choose Your Weapon, is one of the decade’s most sonically adventurous albums and here’s the kicker, Nai Palm has actually come out to confirm that one of the album’s major influences was Fela’s life and music. To get a taste of just what Fela sounds like in the hands of a truly reverent fan, take the band’s song “Jekyll” for a spin.
Musicians are interesting creatures. Whilst most people in the world spend their entire lives searching for their soul-mates, whether romantically or in business, those in the music industry seem to find theirs fairly quickly. Due to the statistical miracle this is, you do tend to see producers and artists sticking together for long periods of time; Dr. Dre and Eminem, Metro Boomin and Future, 40 and Drake, Nas and Salaam Remi; the list goes on. However in the Nigerian industry, these relationships seem to go as quickly as they come.
One would think in a market in which the producer-artist match-ups are so influential to the hit-making and career-defining potential of both parties involved, they would be better protected. Guess Not.
Here are some of the most tear-jerking break ups in recent history:
Wizkid x Samklef
Pop stars all over the world often require a plethora of producers with hands buried deep in the production of their albums and singles. While Wizkid similarly worked with a horde of beatmakers on the production of his chart-topping Superstar debut, producer Samklef had the most credits for 6 songs on the LP. Wizkid had been introduced to Samklef by former label-mate Skales in 2009, but Wiz and Samklef didn’t really hit-it-off creatively until he produced his second major label single, “Tease Me”. He went on to produce other smash hits on Wizkid’s debut, such as “Pakuromo” and “Don’t Dull”. This set the groundwork for a sonic bond between them that transcended music, until differences sent Wizkid in the direction of younger calibre producers like Legendury Beatz and Maleek Berry. While the cause of their split is still unclear, Wizkid has gone on to well-documented levels of success, so it would be fair to say he’s not really losing sleep over this.
Burna Boy x LeriQ
Though LeriQ and Burna Boy have re-ignited their creative bromance on Burna Boy’s latest Redemption EP, the depth of the duo’s personal relationship had caused many to be teary eyed when they parted ways in 2014. LeriQ revealed in an interview that Burna was introduced to him in Port Harcourt by a friend in 2010. Burna had just returned from an extended stay in the United Kingdom and was looking to record music. Theirs was a true love at first ear story as they immediately recorded a freestyle titled “Freedom” off the Burn Notice mixtape, on the night they met. The close contact they had over the next year gave them enough time to record 5 more songs for the mixtape and 15 tracks for its follow up, Burn Identity. LeriQ coined his signature tag, “It’s LeriQ, call the paramedic” and the duo took their relationship further by working on Burna’s critically acclaimed debut album L.I.F.E. Although Burna has since parted ways with Aristokrat Records, we’re all relieved to see them back making music together.
Jesse Jagz x Chocolate City
Signed to Chocolate City alongside his brother, M.I, Jesse Jagz was both a recording artist and the label’s in-house producer. But after producing a bulk of the songs on two major label LPs for his brother and labelmates Ice Prince and Brymo, Jesse Jagz eased himself out of Chocolate City in 2013 due to never-really-revealed differences. Media reports reveal the Jagz Nation boss had been encumbered more with production duties for this label mates ahead of his own music and the frustration led to his exit from the label. Till date, fans and music pundits still cite the absence of Jesse Jagz’ production magic fingers as the cause of the critical flop of Ice Prince’s Fire of Zamani album. Thankfully, these days he is not only right where he belongs, he is also floating his own label imprint. Fans however, will not be forgetting the dark years of Jesse Jagz’s absence from Chocolate City in a near future.
Don Jazzy x D’Banj x Wande Coal
Still listed as one of the most heartbreaking events in the history of modern Nigerian music, the breakup of Mo’Hits Records was a national tragedy. Mo’Hits were running the game for six straight summers, and the trio of Wande Coal, Don Jazzy and D’Banj can take a lot of credit for that. The summer of 2008 will forever go down as the most dominant period by any record label in Nigeria, with Mushin 2 Mohits and The Entertainer occupying airwaves and dance-floors all over the country and continent at large. While Wande Coal has had relative success after the split with singles such as “Amorawa”, his sophomore album was mostly criticised for a perceived lack of sound progression since his debut. Similarly, D’banj’s incessant misfires seem to be an endless attempt to trying to rediscover a new sound with the same level authenticity and uniqueness that he created with Don Jazzy. As for the architect behind Mo’Hits, Don Jazzy himself has moved on to launch and relaunch his Mavin family, with what seems like a hit and hope strategy. Despite this strategy delivering its fair share of hits, he seems to have realised that the magic created in this Mo’Hits dynasty can not be replicated, and is thus working with various artists as opposed to the tight-knit crew he once called family.
DTunes x Iyanya
Despite being the winner of the first edition of Project Fame West Africa in 2008, Iyanya didn’t get a breakout single until 2011 with the DTunes produced banger “Kukere”. This marked the birth of a relationship that saw DTunes produce 12 tracks on Desire, Iyanya’s sophomore album, including hits such as “Flavour” and the Emma Nyra featured “Ur Waist”. Although Iyanya has repeatedly insisted there was no animosity after their split as it was a purely professional move, fans and the media have speculated otherwise. Why break up a winning formula?
Nollywood gets a bad rap. It’s not the best in terms of directing. Or writing. Or acting. It’s all about the sheer volume of movies being churned out, ultimately at the expense of quality. But gone are the days of having to sit through part 1-8 of ‘chance of fate’ (not quite gone, but there’s more variety), and there is light at the end of the perilously long tunnel of terrible filmography. The industry is evolving, and more and more directors are attempting to make films that are culturally relevant, interesting and in a much higher resolution. We now have the option of not just movies but tv shows, treating topics like the difficulties of worklife in Nigeria, peer pressure, religion, and drug abuse. If you’re like me and you love a good nollywood binge (guilt-free), IrokoTV has a great selection of movies and shows that you can actually enjoy, and here are some of the best!
Jenifa Diaries
A spin-off from the hit movie franchise “Jenifa”, this show follows a girl from a small village trying to make it in the big city Lagos. Jenifa diaries is great because not only is it hilarious, it also touches on current social issues such as drug abuse, domestic violence and even the increasing popularity of ponzi schemes (MMM, I’m looking at you)! The best thing about Jenifa diaries is that it’s a great show to watch with the whole family.
Gbomo Gbomo Express
The film is centred on the kidnapping of a record label boss and a companion he met at a bar, one that quickly becomes very complicated for the amateur kidnappers. With stellar performances from Ramsey Nouah (the GOAT) and Gideon Okeke, it’s hard to take your eyes off the screen!
Dry
This compelling drama successful doctor, Stephanie Okereke on her journey to self-discovery. She lives in Wales, and reluctantly embarks on a homecoming trip to Nigeria to treat illnesses commonly associated with young women. Here, she battles with childhood memories she fought hard to forget, and ends up finding and fighting for way more than she bargained. Warning: this one’s a real tearjerker!
Husbands of Lagos
This extremely amusing comedy follows the scandalous lives of five men living in Lagos, and their turbulent relationships with the women in their lives. The men find it hard to stay out of trouble, with their morals and love for their significant others being questioned at every turn.
Baby Shower
What starts out as the happiest day of a woman’s life, soon turns out to be a day that rocks her marriage and relationships with her friends and family, as things take an unexpected turn when shocking secrets are revealed.
2004 was interesting. We were four years removed from the new millennium and George Bush was about to begin his second term as the US President of the United States. Spider-Man 2 (the greatest Spider-Man movie of all time, by the way) was released and Kanye West – a relatively unknown producer to the general public at the time – released his life changing album The College Dropout.
2004 was also an interesting time in my life. I was 12 years old and just starting to figure out what music I actually enjoyed listening to. European/American music dominated the airwaves. MTV solely played music from the top 20 of the American Billboard charts and even the South African owned Channel O played the foreign stuff. My main musical influences came in the form of Destiny’s Child or ‘NSYNC. Bow Wow was in my top five dead or alive, primarily because we were more or less the same age and he rapped about basketball rather frequently. 50 Cent had dropped his magnum opus, Get Rich or Die Tryin’, the year before so I knew I liked “grown” hip-hop, but there was really no Nigerian artist I could get behind or relate with.
I’d heard my dad play Fela and yeah it sounded nice, but I wouldn’t be appreciating his revolutionary tracks for years to come. There was Lagbaja, but his mask spooked me. King Sunny Ade was also a main staple of the Adetunji
household, but my Yoruba was (and still is) very poor. None of those tracks felt like my music or at least music for my era.
Then suddenly, everything changed. 2004 saw the breakup of one of the most underrated (or unknown tbh) R&B trifectas in Nigerian history: The Plantashun Boyz. Innocent Ujah Idibia (2Face), rapper Blackface (Ahmedu Augustine Obiabo) and producer Faze (Chibuzor Oji) formed the band in early 2000 and they enjoyed relative local success before they went their separate ways. You know where this is going.
After their disbandment in 2004, 2Face decided that he was going to create a name for himself and he released his first solo project: Face2Face. Idibia’s first solo outing wasn’t exactly a flawless masterpiece, but on it, was the mammoth hit of that year and many years to come: “African Queen”. We are willing to bet that since its release, not a single wedding has taken place on African soil without it being played. It’s that big. Forget Marvin Gaye, Elton John or Beyoncé, 2face Idibia penned one of the greatest love-songs of all time, and he will go down as one of the GOATs for it.
The composition of the song itself is nothing to write home about: ‘Face serenading the love of his life over the repetitive plucking of a guitar. The song is so Nigerian, you have to love it. Its staying power in Idibia’s live sets is a testament to the timeless nature of the genre-defining hit. Almost greater than the impact “Queen” had on 2Baba’s career, was the impact it had on Nigerian music as a whole. He bridged the underground to the mainstream in a way that had not been done for many years. My friends loved it, my parents loved it and the radio loved it.
In the last couple of years, there has been a raging argument between listeners (which usually pits young vs old) as to what exactly is “Afrobeats” and who invented it. 2004 saw the beginning of my love for Nigerian music and the beginning of a shift in the norm. For me, 2004 also introduced the recognition of the notes, chords and strings that form the Afro-Pop movement.
