Legendury Beatz made its first move this year, dropping a joint single with rave of the moment, Mr Eazi titled “Heartbeat” a few days ago. The Producer-Songwriter duo behind Wizkid’s globally acclaimed “Ojuelegba” also announced a new project Afropop 101 and this single might be a lead off the project.
Mr Eazi sings about cheating girlfriends and salutes girls who stay strong with their man over Legendury Beatz’s EDM-Afropop earworm and creates the perfect balance for this new Summer-inspired jam.
So far so good, we’re looking forward to more collaborations between Eazi and Legendury Beatz. Hopefully, there will be more of Eazi on Afropop 101.
Edit: The 9-Track project, a vibrant mix of different sounds, from hip hop, to electro-house featuring Simi, Wizkid, Timaya and Niniola is out now. Listen.
Okay, first off I’m about to kick someone’s ass. Who the hell at OBFW is responsible for that cliff hanger ending in Episode one? Because that person is a scammer who lives for drama. Had us all totally scammed.
In hindsight, I should have known there was no chance in hell that Charles, the web show’s protagonist would get run over by a car at the end of the first episode, especially when the episodes are like 15 minutes long maximum. But I was kind of expecting it to be some kind of plot device to justify just how much time it would take the show’s main characters to settle into themselves. Congratulations y’all, you deserve to join Donald Trump’s cabinet.
SPOILER ALERT
If you haven’t seen episode two, do it here, and if you don’t, continue at your own peril.
Episode two starts off where it left off, with hunka-hunk Charles in ‘exercise’ gear. He gets run over (my chest) and wakes up in bed, revealing to us, the scammed, that it was just a nightmare. Pretty ordinary scene, except that bros Charles is wearing an expensive leather watch when he gets out of bed. Who wears an expensive leather watch to sleep. Continuity people at OBFW, WYD?
After the fantastic opening montage (someone please find me who sang that song) we see Charles at work, Mac at hand, looking as crim-crim as he does in spandex. Jade hits him up to remind him that they still have to meet and discuss his list of potential wives and after he gets a skype call from a work colleague, informing him that his boss is looking for him. When he does track the boss down, turns out his boss is a total tool who without barely looking at him, informs him another colleague’s been fired and Charles is taking over the accounts he oversees. As a colossal asshole, he informs Charles he has a briefing in an hour and insinuates he’s going to get sanctioned if he doesn’t close the contract. Worst part, the thing Mr Boss is so busy doing that he can’t even bother to look Charles in the face is virtual Chess.
DA FUCK?!
Me drinking so I don’t have to reach into my television and kick someone’s ass.
Charles is sha a big boy so he better be able to handle himself.
Jade on the other hand needs a lot of help. She calls Kemi to complain that Tunde, the mythical guy from Episode one who Kemi was trying to hook her up with somehow got her number and called her. Kemi’s already had it up to her with Jade’s forming and disregards her completely. Her complaint done, Jade turns to the real reason she called. She needs a favour from Kemi’s husband; discounted tickets from his airline. Turns out Kemi hasn’t heard from her bae since he last flew for his company which she chalks up to his ‘work’.
Okay gurl.
They sha get into Charles infamous list, and while Jade has a dozen names on her list, Kemi only has two; Tara and Jade *wink, wink*. Charles on the other hand is at his meeting pitch, the folks at his client like the pitch they just need the entire team to agree on things. And guess who is part of the team?
Yup, that one. The one who Charles slept with and kicked out of his house the morning after. He tracks her down to the staff kitchen and tries to smooth things out with her, but she isn’t having any of it AT ALL. If this is how Charles treats all the women he sleeps with, he is in big shit, because aunty Onome completely obliterates Charles’s pitch, potentially losing him the job.
After work, Charles go over to Jade’s to discuss the list. Together over shots of Courvoisier, the three of them come up with 8 names, a master list of 8 women that Charles could possibly marry. Kemi and Jade lay out the ground rules; one date per girl, no sex, no going back to each other’s houses and most importantly, no telling anyone he is looking to settle down. Sounds simple right?
This gon be good.
Charles goes on his first date with Tara, of whom the episode is named. Tara definitely earns the problematic ‘thirsty’ title because homegirl is more turned on than a Jamaican dagger party. Every single word that comes out of her mouth is unabashed flirtation and they’ve barely spent a minute on the date before she’s already whispering into Charles’s ear and pushing her boobs in his face. He breaks rule number one almost immediately and breaks number two when she suggests she wants to fuck him. She grabs his face and stuff her tongue into mouth before he can drop to his knees and propose and then they’re knacking like there’s no tomorrow.
Thirsty Tara waits till uncle Charles has passed out from post-coital knacks before she packs her load and slips out. Not before she makes a detour to his living room and drops him a special present.
An invitation to her wedding.
Episode 3 better be fayah.
By the way, I’ve always wanted to see Tay Iwar’s Fores (only the most decadent song ever) used properly as a soundtrack. Fucking decadent. Thank you OBFW.
Pop music in Africa has predominantly come from Nigeria for the better part of a decade, and this does not seem to be changing any time soon. From 2Face to Davido, P-Square to Yemi Alade, Nigeria has produced the biggest mainstream stars on the continent consistently. Despite the stronghold the country has had on the music of the masses, there has been a historically difficult transition from the halls of the underground to the green rooms of the mainstream. In an industry paralysed by payola and old heads, we have seen exciting underground artists pander to widespread appeal through watered down songs and evidently forced collaborations. However, something changed last year. 2016 was the year that the Nigerian underground stopped politely knocking on the door of the mainstream, but instead did it their own way, taking with them the most important people in music: the fans. Instead of playing up to traditional industry figures, artists like Nonso Amadi flipped the script and grew his fanbase organically, all the while not compromising on his music.
When we first spoke to Nonso Amadi at the end of 2016, everything seemed to be taking shape perfectly. His breakout track “Tonight” was growing past Soundcloud plays, he was in the studio with Mr. Eazi and Juls, and he was already making plans to release his second EP to capitalise on his growing buzz. In the short time since then however, his meteoric rise to the top of everyone’s “Next Up” lists has been nothing short of remarkable. “Tonight” has become a dancefloor staple, while the Beats1 x Ebro premiered “Radio” is taking on a life of its own.
In early December we spoke to Nonso over the phone shortly after he shot the video for “Tonight”. We spoke about his influences, who he sees himself working with in the future, and the muse behind his music. Check out the video below (directed by UAX) and our chat with him before the hype.
The Native: It’s been over a year since the release of your EP ‘Alone’ Tell us about the past year…
Nonso Amadi: It’s kind of been a phase where I’ve grown musically, because I don’t want to be in a hurry to put out anything. I’ve taken the time out to reflect on how far I’ve come, the pros and cons worked out what I can do better. It’s been a time to connect with other people who can actually help me and my sound in general. The wait hasn’t really been a waste for me per say, I’ve just been doing things actively to improve myself.
Did you have a specific mindset when approaching the EP?
I actually thought people would figure it out, but to break it down, it revolves around heartbreak. It’s about an experience I had with a girl while I was in the UK – I don’t wanna go into too much detail but it was revolving around heart ache and like…sort of depression? There’s a phase where you go through these things and I was just speaking out, expressing myself and emotions based on that experience.
Do you find it challenging, or daunting to be so open in your music?
Definitely. If I was just singing anything it wouldn’t matter that much, it wouldn’t matter at all where the music goes, but I’m actually sharing parts of my life, as you said. It’s kind of scary, especially reading the comments and reviews on what people think about you and your personality. It’s definitely a scary thing to go through. Somehow enjoy it, so I’ll keep doing it.
I know you’re set to release a new EP, but have had a couple of setbacks. Will your new EP be a continuation from your last?
Yeah, the point is to tell a story throughout my career and it’s hard to at times, especially when the person that broke your heart before, you’re really cool with right now. So you need them to break your heart again, so you can do the same thing [laughs]. But I have to definitely move on so I’ve picked out little phases of other things I have seen. It’s not necessarily my personal experience, but it’s definitely something related and I feel like other people can relate, too.
What would you say has been the biggest challenge you’ve had working on a full length project?
The biggest challenge? That’s a tough question. I’ve faced a lot of challenges but the one that sticks with me, is the fact that I don’t know how to make everything flow in a very smooth way. It was easier on the previous EP (Alone). The songs all have the same theme, but I don’t know how to make them connect yet. Until I can make ends meet and make everything connect properly, I’m going to just have to push it.
You’re also a producer and sound engineer. Which artists are you looking to work with and who have you worked with to date?
They aren’t really huge artists yet but I’ve worked with people like Odunsi already. I haven’t worked with a lot of people, because most of the artists want the regular commercial stuff and I’m trying to go in a different direction, so it’s hard to work with a lot of people. Hopefully, a lot of music will come out where I’ll be collaborating with people who I’ve found and are willing to do the type of music that’ll change things.
Focusing on your music, what genre would you classify your stuff as?
For now, I can’t say. Maybe because I’m also trying to discover what it is and what it’s under but there’s a lot of things I’ve played around with. Mostly when I’ve put out songs on Soundcloud, I literally just call it “abstract music”, because I don’t know what the genre is. My music; it’s a story, it’s slow sometimes, the lyrics are deep, the beat is not necessarily commercial. So I couldn’t tell you a specific genre as of yet.
Your music is generally considered different to what’s coming out of Nigeria right now, or with Nigerian artists overall. How have Nigerians responded to your music?
I wouldn’t say I necessarily have a lot of Nigerians in Nigeria listening to the songs right now, like I was saying before, it’s not particularly commercial, so my market based on surveys and streams I’ve seen is mainly the U.K., Canada and the US. Nigerians are like 5th or 6th on the list! I think that is something that I still need to work on, just trying to grab the attention of Nigerians in Nigeria, because they matter a lot. They have a huge say in where I perform and in helping me expand the sound to different places, I need to figure out how to still meddle with the sound a bit.
Do you think they’ll eventually be accepting of your sound?
I don’t know, I’ve met with a lot of music heads and I’ve asked the same question. And they say “yeah, just keep doing what you’re doing!” That’s what I expect for them to say and not necessarily the truth. So I don’t know really.
Which artists were particularly influential on you growing up?
I think for every Nigerian kid, Michael Jackson would be one of the people definitely. Chris Brown, Wizkid, definitely. There’s surely more, but those are the ones I know that had the most impact.
What are some of the things you hope for listeners to take away from your music when they listen to it?
I really just want people to relate to it, it’s just like talking to a friend about something you went through. And you want them to just nod their head and they agree with your pain and stuff. The reaction I’d expect would be approval of the things I’m saying. Online, when someone tweets me saying, “this part of the lyrics really got me,” that’s the kind of thing that really keeps me going. The fact people can connect to it is really all I want from them.
It’s just February and the IJGB’s are braving the thick of winter while we try to survive the economic depression so anything that lifts our spirits is more than welcome. And what better to lift your spirits and get you ready for a lit summer than Nigerian designer Andrea Iyamah. Helmed by Dumebi Iyamah (sister of hot actress Somkhele Idhlama) Andrea Iyamah has become world famous for its swimwear line which has been worn by everyone from Draya to Angela Simmons and continues to get international acclaim.
Andrea Iyamah debuted her Spring Summer 17 collection at a private pool party (three words you always want to hear) in collaboration with Absolut Vodka (which was killer and I’m kicking myself for not going) and showed a collection of edgy fashion forward swimwear pieces. Now she wants the rest of us to join the fun by releasing an editorial campaign hotter than the Sahara. Several 2017 trends like the off shoulder and contrast prints make the collection, as well as Andrea Iyamah staples like high cut swim trunks and exposed bra frames. And the model Zanana, Whoo lord! She is the stuff of melanin laced dreams.
The first thing you think of when you hear Tenatenpo’s strain of Latinx inspired Reggaeton is sex. Slow, languid sex, ecstatic couples slow whining in a dimly lit room. The instrumentation is sparse, a single saxophone riffing like a backup singer adlibbing behind Tenatenpo’s languid sung-rap. His cadence is perfect, his delivery seductive, switching from unhurried to frantic, keeping you on your toes. It’s almost too hard to imagine that the person behind this is Nigerian but he is and that only makes this even better. Expect to hear him everywhere as the year progresses.
A new generation of African spoken word poets are finally leaving dingy open mic events and finding new audiences on the web, taking their messages with them. It was only a matter of time, international artists like Bassey Ikpi already proved that there was an audience for performed poetry and that young Africans are looking for themselves in new mediums.
Vanessa Akua Medie’s half Liberian/half Ghanaian heritage is one of her major influences, as are her experiences as a woman of colour raised in Africa. She shares these insights through her stage name Dzyadzorm, first as part of the People Of Equal Thoughts & Spirits [P.O.E.T.S] society in 2010 and now as a individual poet. As part of Ghana’s feminist renaissance, Medie’s spoken word is helping bring awareness to women’s issues specific to a new generation of women.
The Wine Wrote This, is Dyzadzorm’s first spoken world album, a six track long lyrical album with draws musical influences from several genres including hip-life and jazz as current on which Medie explores intensely personal themes like loss and love, sexual and gender identities and the place of women in a world that seems stacked against them. Obaa Boni (possibly in homage to the Ghanaian feminist activist) is especially poignant, an anthemic taunt daring the patriarchy and bringing it to it’s knees. Dzyadorm’s EP only has one feature and my, she couldn’t have chosen better. Poetra Asantewa, who features on Love, Of course, is an internationally recognised feminist poet and 1 Beat 2016 Fellow.
It’s a gamble covering a popular song, especially if it is a song by someone as big as indigenous rapper Olamide. But if you do get it right, the magic that can ensue is definitely worth the risk. Afropop singer Kaline has been building her profile among Nigerian audiences since she returned to the country to pursue music by opening for a series of high powered musicians including Asa, Bez Idakula, Waje and Praise. That and a series of private concerts in mid 2016 and a performance for bespoke tailor Mai Atafo had everyone buzzing about her. She closed out the year with her Beetle Sessions, a series of performances where she put her bluesy spin on critically successful pop songs. Her cover of Olamide’s Shakitibobo is the one that really caught our eye.
The original lyrics and melody structure of the song is left intact, and all that Kaline tweaks is the instrumentation and production. The new decidedly nu-soul in the style of duos like Floetry and Les Nubians, Bass synthesizers beating staccato like a pulse under reams of single organ notes. Layered chorals come in to fill the spaces that Kaline leaves and she layers a backing track to create a subtle harmonious chorus. It is even more impressive that Kaline did the original arrangement herself, as well as mixing and producing the cut. It’s one of those rare covers that are on par, or even slightly better than the original.
Olamide needs to get on this, maybe release it as a remix. Shakitibobo deserves a second go at the charts.
Boogey’s last rite for 2016 was the release of his Incognito mixtape in the third quarter of the year. To put a spotlight on the tape, he has released visuals for “Matiasma”, a lead single off the project. “Matiasma” is produced by wunderkind Odunsi The Engine and veteran Beazy who also directed the video.
“Matiasma” references the ‘Evil Eye’, the malevolent glare from ill-wishers. The Evil Eye is a common superstition that appears in different incarnations in cultures across the world. The video starts off with a recording stating human nature is full of hate that can only be outweighed by fear.
Boogey comes in riding on the sample of“Twice The First Time” . He raps about being careful about people in general and not trusting their intentions.
“If you want to criticise, please talk small small, cos you no holy pass my brother”
– 2face, “U No Holly Pass”, Face2Face, 2006
The quote above, is a tight jab at our collective consciences and its potency is even more relevant now to the life and times of the man who voiced it.
Earlier last week, 2face called for Nigerians to protest against the government’s policies. This comes amidst public outrage over the crumbling Nigerian economy and a government that has done too little to help. The first media reactions mostly came with a sarcastic rhetoric, but with less than a week to the march, social media buzz and celebrity support indicate 2Baba may have finally activated his legend card.
As we all know, a slew of near-classic LPs does not forgive how Tuface has not been able to translate his impact on the culture in actual value. Add that with a couple of misfire albums and his inability to co-sign any new talent (If we never talk about Dammy Krane and Rocksteady, they never happened) and what you get is portrait of that guy with that one great song.
Still, redemption is for those who seek it and after floating a career simply based off general belief that there is no greater baba than TuBaba (somewhat metaphorically, mostly literally), he seems to be standing for something that could potentially go down in history.
But the internet is the beginning and end of all sins and good deeds. It didn’t take long for his critics to come biting for varying reasons. The ideas ranged between how 2Baba stayed mute on Southern Kaduna killings. Or how he rubbed noses with deep pocketed politicians in the past. And the lowest hanging fruit, his baby mama drama(s). Someone even asked Tubaba to a game of thrones style public challenge.
Their arguments either questioned his character or asked how a man like him can infer order on society, against the backdrop of the chaos of his own life.
2face may have been pure of intent but fame is a bed of roses with thorns. He should’ve known better than to unleash cankerworms on a farm that may or, may have not fed him. In a market where nobody buys albums and live shows are rarity, even top shelf acts are forced to resort to corporate gigs and posh soirees at backyards of ranking public servants for cheques. But while it is easy to question the integrity of a man eating from the same pot many are starved from, 2face is a also a product of his society and that only validates his argument.
He is common man who became an insider by sheer luck of being a public figure on the fringes of the political class. 2face has gotten a whiff of how much wealth floats in the air in a country stricken with shocking levels of mass poverty.
In fairness to his critics, that 2face has protested the government in his music and participated in similarly motivated ‘Occupy Naija’, ‘Enough Is A Enough’ campaigns in the past, doesn’t completely dismiss the social nature to his patriot’s call. He is a man nearing the end of his career, leading a rebellion may be too lofty an ideal, but perhaps, sparking a fire will do.
But whatever the motive, lets take a cue from Obama, a generally great guy who was also a commander-in-chief that authorised drone assassinations at a wedding. Or the Clintons who super cool and liberal but are probably secretly racist. If the media focused attention on these shady aspects of their lives, the narrative will be skewered against the cause of the people they speak for.
If 2face’s message is dismissed because his motives and premise are dodgy, the possibility of the greater good that could come of his pseudo-activism will be buried at infancy.
WHo doesn’t like a little existentialism with their purp laced afro-trap? WundaB delivers a superb cut on For The WInter, an introspective tirade that even the king himself Kid Cudi would be proud of over one of the slickest trap beats we’ve seen out of Nigerian producers in a while. That becomes twice as impressive when you realise WundaB actually mastered and produced the song himself.
Don’t wait one more second, get into this right now.
(Lyrics)
Fix my eyes on the ceiling
What’s wrong with my feelings? Anxiety creeping.
I’m gone off the deep end. My words have no meaning
Might die with my secrets. They spy when I’m speaking
You guys don’t believe me (x2)
Verse:
I remember when my money was the only thing lower than my self esteem
When a nigga did anything just to help me live all my selfish dreams
Lord help me please. I aint tryna be where the devil be
Im thirsty for the money and the fame. Its a muthafucking shame
But I think I wanna be a new celebrity
Mehn these niggas is not my brothers
So I’m waiting till they show their true colors
See its all black and white. The truth is they lie
I keep it low-key but Im usually high
I don’t socialize. I don’t know these guys
Imma burn the blunt till they roaches tonight
And I ain’t even playing dawg Im coaching tonight
As I see this fly thang approaching me right right
Hook:
I want you to come through
So I could tell you things like I love you
But then you realize by the time we’re through
That I was telling lies but thats nothing new (with the winter)
Chorus:
I’ll be gone for the winter
Gone for the winter (x2)
Smoking strong with my niggas
That strong finna kill us.
Im gone for the winter
I got songs to deliver (x2)
Im gone for the winter
I got songs to deliver
I’ll be gone for the winter (gone for the winter)
Verse:
ohhh wow
I think you need to cool down
You really need to cool down
You’re acting like a fool now
Its that new feni nigga who this?
Imma turn your dream girl to my new chick
You know me nigga keep it cool as shit
So please don’t hit my line with the foolishness
Niggas wanna ask me bout my movements bitch
But I be steady focused on this music shit
Faridah, Khadija, Anita, Hadiza,
I know that I want ya
I think that I need ya
Niggas wanna ask me bout my movements bitch
But I be steady focused on this music shit
Hook
Chorus
Amazing production
Fix my eyes on the ceiling
What’s wrong with my feelings? Anxiety creeping.
I’m gone off the deep end. My words have no meaning
I’ll die with my secrets. They spy when I’m speaking
You guys don’t believe me (x2)
We’ve waited nearly six years for Bez’s sophomore album Gbagyi Child and when he did deliver, it didn’t have the earnestness of Super Sun but it showed just how much growth the Gbagyi child had had as an artist and a musician. It also featured a first for Bez, features. Both were very strategic duets with alt queen Simi and mainstream juggernaut Yemi Alade. Bez has released the first video for the third single off the album You Suppose Know with Yemi Alade.
Now the song has heavy jazz influences, with strong horn sections and an acoustic guitar riffs running through it and of course both Yemi and Bez channel retro-jazz melodies of the sixties so we weren’t really surprised to see director Clarence Peters decide to recreate a decadent 30’s style speakeasy for the music video, replete with low lighting and low hung chandeliers. Bez and Yemi play performers in the same revue who have feelings for each other but refuse to indulge them because of their public profiles. And while Bez and Yemi give decent performances the video itself lacks enough originality to truly immerse us in the image they’re trying to sell.
Peters never really commits to the era, probably because it’d be too expensive and there is so much going in the video that you are constantly distracted by the clutter of bodies and props. Did we really need gilded chairs, a Martin Luther King poster, LED lighting, heavy velvet curtains and a stage all in a minor scene? Not to mention Yemi Alade who is a spectacular dancer and the video could have really done with a dance sequence.
A much better example of this was Kiss Daniel’s Good Timewhich while it wasn’t perfect, it at managed to stay era specific. Bez’s You Suppose Know deserved a much more memorable music video, and we hope the next single he releases gets a video with the kind of originality of More You.
FOX announced Monday that it has renewed the long-running dance competition show So You Think You Can Dance for its 14th season this year.
For this season, they are returning to their original setup showcasing talented dancers in the 18-30 age bracket after their last attempt with SYTYCD: The Next Generation that featured contestants between ages 8-13 did not catch on with the core SYTYCD fanbase.
We’re already looking forward to the next season, but to get you hyped for what’s coming, here are some great performances from the previous season you can revisit right away.
“I Got You” — Melanie and Marko, Season 8
In this performance, Melanie and Marko play 2 best friends who fall in love after Marko is jilted at the altar. It’s a beautiful song about not noticing what you’ve had in front of you for a long time and Melanie and Marko brought Leona Lewis’ song to life. Their chemistry is quite intense and that kiss sends a jolt all the way from there.
“Dhoom Taana” — Katee and Joshua, Season 4
Their performance isn’t legendary just because they were the first to perform a Bollywood-inspired routine. The mere fact that Katee and Joshua were able to pull off this technical high-energy choreography perfectly was a feat in itself.
“Mercy” — Katee and tWitch, Season 4
Here, Katee Shean and tWitch were paired for this performance before he was an all-star. Their typically friendly chemistry mutated as a more sexy version for this routine. Katee plays the epitome of the psycho ex-girlfriend; tWitch the definition of “too cool.” Duffy’s “Mercy” could not have been interpreted better by a different pair.
“Hip Hip Chin Chin” — Lacey and Danny, Season 3
Lacey and Danny made it impossible to forget their names with the leg work and pure sensual energy they brought to the stage. Their samba routine is pure flames. No other description works as well.
“Are You The One” — Neil and Danny, Season 3
Their routine automatically brings Interview With A Vampire to mind where Tom Cruise and Brad Pitt were vampires in pre-emancipation Louisiana. Neil and Danny went head to head with a Mia Michael’s contemporary routine. The story involves two princes fighting for the throne, and Danny mentioned how in real life they are sort of fighting, in terms of the competition to be crowned America’s favourite dancer at the time.
“Fix You” — Robert and Allison, Season 8
In this very moving, personal piece, Travis Wall choreographed a routine about his mother’s surgery and his journey to help her through it. Even though the whole dance itself is beautiful, the ending walk is the big selling point. Robert and Allison gave their all, perfectly executing the routine and creating this masterpiece.
“Wicked Game” — Amy and Travis, Season 10
Season 10 winner Amy Yakima danced with Travis Wall (who also created the routine) in what might have been the perfect pairings of dancers, music and choreography. The result is an unforgettable piece of art.
“Say Something” — Amy and Robert, Season 10
This routine was about an unhealthy relationship where Amy is so dependent on partner Robert who loves her so much that he lets her drain him almost entirely, until the very end when he just can’t do it anymore and he has to walk away. Stacey Tookey choreographed this piece and Amy-Robert beautifully translated this piece.
Hometown Glory — Katee and Joshua, Season 4
Here’s another season 4 routine originally done by Katee Shean and Joshua Allen set to Adele’s “Hometown Glory” (before Adele became the biggest thing ever). This routine told the story of two individuals bent on achieving their dreams they ignore everyone else. They both murdered this routine and it’s hard to imagine another pair do it better.
“Bang Bang” — Alex and Eliana, Season 9
Alex and Eliana recreated a story of an abusive relationship where Eliana could not leave her manipulative lover. Nancy Sinatra’s song could not have been choreographed any better (except by Stacey Tookey). Notice how silent the audience was until the end of the performance? Enough said.
There have been so many wonderful performances that it was quite a tax to narrow it down to ten. Do you agree with the list? What’s your favourite SYTYCD performance?
Under Italian designer Alessandro Michele, Gucci has gone from a stuffy designer label that only made bank from its distinctive logo and leather accessories to pop culture royalty, especially in black Hollywood, with everyone from Dwayne Wade to Kevin Hart to Gucci Mane all rocking Michele’s distinctive duds. A lot Gucci’s current success has been Michele’s unabashed approach to lavish expressions of self and generous use of the label’s distinctive colours, in a way that Black culture always has. Using clothing as expressions of self is an integral part of black culture and Gucci’s clothing in the last few seasons echo that, instead of the widespread minimalism that a lot of other designer labels seem to be embracing.
It seems this season Gucci is taking things a step further and casting a predominantly black roster for its PreFall 17 fashion show. It unexpectedly posted nine videos on its Instagram page from it’s PreFall 2017 campaign castings in London, each model black. The videos suggest that Gucci’s next collection will have something to do with ‘Soul’, as in the American musical genre and the distinct culture that came with it. If Gucci does go ahead with this, it will be the first time a major Italian label has a black only advertising campaign and will catapult the 9 models who seems fairly unknown into superstardom.
YCEE first international tour was announced earlier this year and as part of promotion for his UK stop, the rapper co-hosted DJ Edu’s Destination Africa show on BBC Radio 1 Extra. While on-air he gave a customary short freestyle over instrumentals for Mr Eazi’s “Leg Over”.
YCEE is laid back as ever, creaming Eazi’s simple instrumentals with soft brags and smooth adlibs. The result is almost too short for comfort but you probably won’t see hear any vibes this clean anywhere else.
Every week we will be publishing this playlist with a collection of ten songs from SoundCloud, the Nigerian mainstream and everywhere else. There is no ranking order, era restriction or critique system. The Bumplist is just strictly for readers and fans to find and discover stuff they may like
From The Cloud
GYENOM – Tonero
“GYENOM” comes almost completely stripped of lofty ideals many SoundCloud artists drench their lyrics in. There is a tint of psychedelia that transitions too smoothly, creaming your ears with lush vocals, synths and minimalist drums.
945 – J.Molley
There is nobody out of Johannesburg’s underground getting near enough attention as J.Molley is right now and the reason is evident on vibe-y tracks like “945” where his druggy voice foregrounds minimalist hollow synths and trap drums.
Man Of The Hour – Orinayo
There is just something about personalised feel good music, that makes you feel good about yourself (Like ‘duh’ right?).
Stay Over – To Name A Few
I have evangelised the gospel of this beautiful song since last year, if you didn’t get the message, this is your chance to receive this audio blessing. Hit play already.
Cruisin – Olu and The Coconut
There will always be a place for experimental Nigerian music on my playlist, and once you stop cracking up at this guy’s name, his reinvention of Daft Punk’s signature cyborg vocode doesn’t sound as bizzare as you may initially assume.
From Our Pot Of Jollof
Link Up – YCEE x Reekado Banks
Somewhere in my mind, I feel like I always knew what this collaboration would sound like, trippy, dark and clean. What i did not see coming though, is how Reekado Banks is slowly evolving a sleeker, sexier carriage of melody.
Packaging (feat. Davido) – DJ Spinall
“Packaging” is the second reapperance of Davido and Del B on the same song, since DJ Neptune’s “So Nice” in 2014. Spinall’s vocal absence would have brought more pre-meditated sanity to this Afro-house hit, but his featured artists are the ultimate tag team and they fulfill their roles excellently
Get Up (feat. Flash) – Sarz
https://www.youtube.com/watch?v=3zyO6sk1AXc
It may be the voice layered on the beat or the Afrohouse drums swinging on and on, either way, Sarz’s “Get-Up” is an instant replay trap you can ensare yourself with.
Spice and Everything Nice
Gold – Kiiara
Kiiara’s story is something of a fairytale. She is a 21 year old cloud rapper (EDM + Trap+ Dubstep) who got a record deal as a store keeper and turned her life around. Have a taste of her epic rise to glory on this chopped and screwed electronic gem.
Salt Skin – Ellie Goulding
If you like colourful organised noise layered under poetic songwriting about unrequited love and chasing your heart’s desires, go for it.
In some ways, Lagos has earned its place as the true cultural centre of Nigeria, a melting pot of cultures and influences, an early adopter of all that is and will be hip. But Lagos is also a painfully restrictive place, where only a certain kind of good or new is allowed at a time. Change is aggressively moderated, dissenters are swiftly dismissed or ostracized. If Bizzle Osikoya’s tweet rant is a lodestone (and he is one of Nigeria’s most influential music producers so he knows his shit) even our most successful DJ’s are afraid to try out new things, introduce us to new music.
Nigerian Dj's please don't be Afraid to play new music, don't follow the crowd. Break records & stop being scared. PLS RT
But sanctions always foments rebellion, and rebellion is always championed by music, sounds that subvert the norms and engages the audience in ways other than mindless dance. Technology has democratized many things, even the creation and distribution of music. All of these circumstances have come together to make singer Nukubi. The singer first made his musical debut on the runways of the 2016 Lagos Fashion and Design Week scoring designer Babatunde Oyeyemi’s film for his diffusion line Bodun.ng, played during the designer’s Spring 17 presentation. It was enough to stir curiosity but there wasn’t any other information on him other than the fact that he is part of a collective of creatives that include Oyeyemi and visual artist Kadara Enyeasi. All we could do was wait.
Nukubi by Asamaige Ogaga
Nukubi’s calls his music ‘Juju Wave’ which I guess is a contraction of New Wave and Afrojuju, but really if “Bronze”, his first single off his coming debut EP of the same name is anything to go by, the singer actually falls more closely along the lines of 80’s inspired Synth heavy funk full of drum based music sequencers, electronic modulators and synth machines. By adding reverb to his vocals, Nukubi is able to replicate key choral elements of Chamber funk made popular by Devonte Hynes, strongly mirroring his sing-talk delivery.
“The song is basically about wanting a change of situation and being tired of waiting for things to move forward in life, a feeling I’ve felt a lot,” He told the NATIVE via email. “It’s something that used to wear me down. Sort of a demon that I carried around with me.”
But Nukubi’s soul is all his, and that soul, not the instrumentation or the very complex delivery is what makes “Bronze” so good. It’s that, and a fuji heavy breakdown that sends out the song with percussive elements strongly mimicking the gan-gan. The transition is dodgy but it stumbles into a delightful break, indicating Nukubi is a cerebral musician and Bronze, the EP will be something of a marvel.
For now, here’s the video to his first single, directed by Jimi Agboola.
Since its release, Moonlight has grown from a film centred on the life of a young man, Chiron, across different stages of his life to one of the most talked about phenomenons in the Award Season. Nicholas Britell, the Oscar nominee who composed the score for the film, revealed he created a theme of growth that mirrored the main character’s and he broke down how the theme evolved from a single piece of music on the podcast below.
The score for Moonlight has been nominated for Best Original Music Score at Academy Awards Ceremony this year.
Listen to what Nicholas Britell has to say about the score:
WflsNCrm (or Waffles’N’Cream to the uninitiated) is pretty good at being pioneers. They are after all Nigeria’s first skate shop and have provided mentorship and fostered community for a growing generation of post millennial Nigerians finding themselves earlier and becoming disillusioned with the status quo. Many young Nigerians are turning to ‘unconventional’ hobbies and subcultures, looking for their ‘tribes’ and skating/rollerblading has become a popular, consuming alternative. The Nigerian skate scene is surprisingly large, with factions skating for commerce, for community and fun. The Waffles’N’Cream skate shop is where all three factions intersect, and now they’re bringing artists into the fold.
Skate communities have always created art as way of documenting the unique idiosyncrasies of skate culture in each country and how skate communities self identify while being influenced by the historical and cultural precedents of their countries. It is also a way to mark territory through graffiti (for more die-hard skaters) or earn money for skateboards through art sales and skate merchandise or graffiti-ed skategear. Often the art comes as a consequence of the culture, but for the Nigerian skate brand, the art and merch came before the culture.
But now WflsnCrm is inviting you into their space to see art by friends and family of the skate shop, some inspired by the skate culture and other subcultures. Graffiti artist Tunde Alara is showing and my fave Yadichinma Ukoha-Kalu whose work with clay is phenomenal is closing out the exhibitions which will run all through February and end in March.
You should definitely check it out.
But for now, here’s a short documentary called Jide to start you off.
A handful of prominent artists will be sitting out this year’s edition of the GRAMMYs for racial representation in awarding categories amongst other reasons.
Frank Ocean, a two-time GRAMMY winner, already made a statement earlier last year, by refusing to submit both his critically acclaimed albums Blonde and Endless for Grammy consideration. Speaking to New York Timesabout the decision, Frank said “That institution certainly has nostalgic importance,” he said. “It just doesn’t seem to be representing very well for people who come from where I come from, and hold down what I hold down.” He noted that since he was born, just a few black artists have won album of the year, including Quincy Jones, Herbie Hancock and Ray Charles.
Kanye West has previously come out to say he will not be attending the GRAMMYs, and more recently he has been joined by his management-mate Justin Bieber. Biebervelli, whose label obligations did not allow omission from consideration, is nominated for four categorie. However the singer has revealed he will not attend the awards ceremony due to past injustices, and the disconnect between the board and the youth.
It’s kind of amazing how Niniola has become one of the few success stories from the slush pile of the often abysmal Project Fame West Africa. She has become the face of Nigeria’s Juju-House movement, a genre that takes the electronic dance strains from South Africa and Europe, jazzes them up with traditional Yoruba instrumentation and folk melodies. Niniola’s singles with Sarz have all gone on to become cult-classics, earning her niche but fiercely loyal fan base in Africa and beyond. Until now she really hasn’t tried to make the break into the mainstream Nigerian music.
Choosing to work with DJ Spinall, one of our more nuanced celebrity DJ’s is definitely the way to go. Ojukokoro, the third single off his sophomore album Tenis less a feature than a collaboration. He makes concessions to Niniola’s sound with a decidedly Juju House vibe underlaid with complex gan-gan percussion. She handles all the vocal work, delivering top notch melodies and showing an unexpected sung-rap side to her. With a banging music video (albeit splashed with not subtle Smirnoff marketing; we get it, you’re a Smirnoff ambassador), Ojukokoro is definitely finding its way into the canon.
We do wish Dj Spinall had waited a few months to start promoting this song proper, it could have easily become a summer anthem. Who knows, it might still become one.
It’s 2017 and DJ Khaled’s major key lessons remain testimony of the inherent human nature, to sabotage good things and rob those who deserve it of its fruits.
Last night, the Nigerian Twitter erupted after NotJustOk owner OvieO weighed in on a tweet made by Yung6ix about only tuning to his own catalogue and the South African rap scene for good African hip-hop. And like that was not already soaked in contrived self-pretentious bullshit, OvieO, launched into a thread of rant tweets supporting Yung6ix’s initial claim.
And Nigerian fans get mad when SA rappers dominate our rap list. The truth hurts. https://t.co/1NqpbxqduY
By design it’s hard not to imagine a man whose impact on the industry has always been a celebration in reverse to shit where he eats, but that’s a discussion for another day and place.
Still, history should not be re-written to subvert the hard work of those who have been pushing the culture against odds of mainstream support from so-called music heads who encourage the commercialisation of the genre without respect for value. To take a hint, here are 5 largely ignored rappers who deserve a spot on your playlist
Poe
Poe does not release music as often as he should, considering the silent agreement that no one comes close in terms of on-beat confidence and flow. This wordsmith is the closest thing to Nigeria’s Jay Electronica, as a man that built all of his prolific reputation via killer guest verses, a handful of singles and no major project. Poe has a timely delivery he fuses with a distinct laid back style, almost listening like the reflections of a man too content with being a good rapper to worry about being a profitable one. He will probably out-rhyme and out-word any rapper on their own song, but he won’t be rushed to make a mark on Nigerian music nor be compelled to compromise soul for pay checks.
Recommended must-bumps: “All Fall Down “, feat. Poe by M.I, “Chardonnay Music” feat. Chyn and Poe by Falz, “Slow it Down” feat. Funbi
PayBac
PayBac understands the way of the world, he is aware that industry dynamics may require him to resort to making a more popular style of music to survive. Yet his focus for the past three years, has been making music for fans that understand its worth. He is an adept master of wordplay and truth telling on songs that require introspection and he’s as laid back on songs that just require warm room temperature and light vibes. The rapper is credited to four critically acclaimed underground mixtapes, Broken Symphonies, The Iboro Tape, The Other Side of the Radio, Frank Ocean Type Beats and one collaborative project, Face Off with rapper Boogey under the monicker, The Lost And Found.
Recommended must-bumps: “The Bad Bitch Song”, “BBQ (with Rexx and Boogey)”, “House of God”
AT
In 2012, AT’s debut mixtape, The Climb, was released to be recognised as one of the most distinctive LPs of the time. After garnering a wave of reviews, the rapper slinked out of public eye and effectively out of the airwaves. We already wrote about AT here, so we won’t go into more detail, but to understand how good she is, there is an underground saying that goes thus: “AT is not a good rapper for a girl, she’s a good rapper period”.
https://soundcloud.com/thisisat/ridin
Recommended must-bumps: “Ridin”, “Pensive” (feat. AT) by BankyOnDBeatz, “July”
Mojeed
Aristokrats Records signee Mojeed, is another rapper we wished we got more of. Mojeed’s music doesn’t strive to earn your attention because you’d be drawn into his world by simple fascination. His 2014 debut mixtape, Westernised West African is a collection of tightly-woven aspirational tracks hinged on themes of teenage nostalgia, relationships and just getting by the human condition. It is not so deep as it’s reflective and great for vibing-out, but by the time the last song ends, you’re aware what you just listened to will require more replays to fully unveil all of its secrets.
After Chocolate City cut him off and refused to fund his album promo last year, Kahli Abdu’s next moves don’t seem very evident. Nonetheless, Kahli Abdu is a noteworthy mention as part of an initial revolution we all (including Kahli Abdu) thought M.I was going to spearhead. But between his J.Town brothers taking the jollof music route for convenience and his relocation to the United States, its hard to say where words failed. Kahli hasn’t changed much these days. He’s is only experimenting with Afro-house music laced with acoustics, but he’s still the same rapper who spits fire bars in between breaths on fast paced instrumentation.
Reccomended must-bumps: “No Love” feat Kid Konnect, “Festival” , “Forever and Ever” with VHS Safari.
Featured Image Credit: Instagram & Twitter/@ladipoe, @whoismojeed, @talktopaybac
