Last month, Asake’s “Sungba (Remix)” with Burna Boy marked its one-year anniversary. The previous year was evidently a thrilling ride for the Nigerian artist, and that track was an important fixture in the series of successful events that elevated him from an underground hitmaker to a bonafide superstar. On“Sungba (Remix),” Burna Boy, who had laid a winning verse on the remix of Black Sherif’s “Second Sermon” the year before, added further gloss to an Asake song that was already tearing through music charts in and outside Nigeria. That Burna Boy cosign cemented Asake’s place in the list of new and exciting Afrobeats acts exporting Nigerian music and culture to the world.
The foundation for Asake’s successes was 2020’s “Mr Money,” a sleeper hit that began his fruitful relationship with Nigerian music producer Magicsticks. “Mr Money” had the Amapiano-infused instrumentals that would become a necessary feature in Magicsticks and Asake’s works. On the Olamide-assisted “Omo Ope,” they raised the stakes, elevating their connection and artistry. “I think ‘Mr Money’ was us trying to find our sound, and ‘Omo Ope’ was like, yes this is the sound,” Magicsticks said about that period.
It is worth mentioning the Olamide feature here. Around the world, newcomer artists have always depended on influential artists to acknowledge their sounds and back them with either a guest feature or public recognition. These acknowledgements do wonders for the careers of newer acts by opening doors for them where it seemed there was none. Olamide did this for Asake on “Omo Ope”; he went a step further to add the singer to his roster of artists on YBNL Nation. Immediately, Asake was in the spotlight and began catching the attention of the mainstream media.
“Omo Ope” was part of the songs on ‘Ololade Asake,’ Asake’s debut EP. The four-song project introduced Asake’s style of Yoruba Gospel, Fuji influences and Amapiano-aided Nigerian pop primarily honed by Magicsticks. “Trabaye,” “Omo Ope” and “Baba God” carried ample evidence of Asake’s engaging storytelling and gratitude to a higher being. But it was “Sungba” that proved the potential of his star power. Off of Magicsticks’ infectious production, Asake unleashed his repertoire of quotables and fully assumed his role as a hitmaker.
In his memorable verse on“Sungba (Remix),” Burna Boy, who was only months away from dominating the world with “Last Last,” merged his energy with Asake’s, finding pockets of melody that highlighted his position as one of Nigeria’s most versatile music makers. Both he and Asake didn’t outshine each other; instead, it was a flawless collaborative effort as both artists allowed each other space to wield their creativity and pump the blazing track with extra verve.
Within the context of the music industry, the importance of music videos cannot be overstated. While the production of these contents has evolved through the years, they are important pillars for any artist in the industry. Asake was aware of this and enlisted TG Omori, one of the best hands in the game, to curate the music video for “Sungba.” It was in the video that Asake and TG Omori began to piece together the details that would transform Asake from an everyday man to a leading man, starting from his physical appearance to his fashion choices. TG Omori reprised his role for the music video accompanying“Sungba (Remix),” chiselling the edges of Asake’s on-screen persona.
With every song and music video that followed“Sungba (Remix)”—“PALAZZO,” “Peace Be Unto You (PBUY),” and “Terminator”—the trio of Asake, Magicsticks and TG Omori kept on hitting new highs and reinventing the singer’s dynamism. When Asake’s debut album ‘Mr Money With The Vibe’ eventually arrived, audiences were primed and ready to experience the full dose of Asake’s magic. The project, in addition to housing “Sungba (Remix),” also featured incredible cuts such as “Organise,” “Dupe,” “Joha,” “Nzaza” and “Sunmomi.” Both music videos for “Joha” and “Organise” deepened the chemistry between Omori and Asake, marking their partnership (as well as that of Asake and Magicsticks) as one of the most dynamic in Nigerian music history.
The Asake of “Mr Money” no longer exists. In his place is a renowned performer who has toured the UK and the US and appeared on Jimmy Fallon’s late-night show. Musically, too, Asake has sought reinvention, most clear on “Yoga,” his first single of 2023. On the track, Asake dug his feet into other African cultural influences by sampling Mauritian singer Michel Legris’s “Mo Capitane,” and for the music video, TG Omori bought into Asake’s Pan-African inclinations by setting up shop in Senegal.
Asake is a star living in his glory and seeking to explore new forms of musical creativity. In just one year, he has steered his career in an upward trajectory, with the help of his label boss, a gifted producer and a sharp-eyed music director. His story is noteworthy for the crowd of support he has enjoyed, whether from fellow musicians or fans.“Sungba (Remix)” is one of the fitting examples of talent-meets-efforts-meets-support. Boom. Stardom.
In the lead-up to the release of “Korokoro,” Prettyboy D-O’s newest single, the rapper released a promotional video that got fans amped up for the song. Directed by Badflicks and written by Prettyboy D-O, the video features Prettyboy D-O and a friend arriving at a local shrine. When the witch doctor turns him away, saying, “He smells of love. There’s no fire in his eyes,” Prettyboy D-O protests: “Love? There’s fire! There’s fire.” What follows next in the clip is the opening seconds of “Korokoro,” which features Dare Kasali’s monstrous instrumental and the opening lyrics of a classic Prettyboy D-O slapper.
“They’re two things a nigga can’t do/That’s stick to their word or mind their business/But there’s nothing that me I can’t do/When it comes to the dough or to get my interests,” Prettyboy D-O raps. Those words carry a tenacity to them, courtesy of D-O’s guttural vocals that he has manipulated throughout his discography to winning effect. Whether it is being war-ready on the Cruel Santino-assisted “Pull Up” or expressing his affection for a romantic partner on the WANI-featuring “Mentally,” Prettyboy D-O knows how to hold a listener’s attention. And on “Korokoro,” the former is the case.
Prettyboy D-O’s dislike for detractors and their negative energy has fuelled his music, becoming a signature of his sound, which is a mesmerising mix of Hip-hop, Afropop, Dancehall and R&B. Regardless of the subject matter of his songs, D-O takes pride in his place as an outlier, bull dozing his way with his Alté-leaning sonics and fashion choices. “I’m not a proud person, but I confident die,” he said in a recent interview. That confidence is infectious and finds a common home among his teeming, die-hard fans.
From the get-go, what makes “Korokoro” an irresistible tune is its production. The song begins with the rumblings of drums and the angelic-feel chants of tribal singing before transitioning into a Drill-influenced slapper of a beat. The production itself pulsates with so much energy that it would be a sin if D-O didn’t match it with his delivery and lyrics. “Korokoro” is also a fine addition to the great songs that D-O and his producer, Kasali have made including “Odeshi” and “Same Energy” from 2020’s ‘Wildfire’ and “1996,”“Rodman Style / Dre’s Interlude”and “Broke Boy Fc”from 2021’s ‘Love is War.’
“Pray my pride never be a weakness/If I fall, let my opps never bear a witness/Stepped in, flip-flops and my singlet,” Prettyboy D-O raps in “Korokoro,” firing shot after shot at his enemies who hope that he fumbles. Line after line, he is relentless, rapping like a man with a point to prove. Last year, Prettyboy D-O crowned himself the president of Alté, a sub-genre of the Nigerian music scene known for its inventiveness in sound, fashion and visuals. He isn’t all talk, though; his style of music as well as the cinematic feel of his music videos have led him to classify his sound as Culté music, an amalgamation of the words: cult and Alté. Since the release of “Korokoro,” fans of D-O have splashed social media with images of them holding a hand to one of their eyes, in solidarity with their favourite act.
As exemplified in his previous album ‘Love is War,’Prettyboy D-O is aware of the difficulties with rising to the zenith of one’s career. He, too, had a tough beginning with many false starts before getting his breakthrough with 2018’s ‘Everything Pretty.’That doggedness powers his moves, as he is weary of the challenges yet confident of surmounting the challenges that appear in front of him, whether in forms of Nigeria’s ineffectual policies or the scheming industry people. In the latter parts of “Korokoro,” he raps, “See all the fake love brother, me I no like am/‘Cause I wear shades, no be say I no sight am,” and then he advises himself: “Mind your business, biko, make you no mind am.”
Prettyboy D-O has teased a forthcoming project titled ‘Pretty Please.’ Whether “Korokoro” is a part of that project or not, D-O’s efforts on the new track hold a tantalising promise. The rapper shows that he is still passionate about his music and is hungry to prove that his music deserves the recognition it enjoys—and even more.
Life is unpredictable. This fact about our existence impacts the quality of art that has been created over the years, carrying into their foundation an element of that suddenness. Last year, Davido suffered inexplicably, and in public. In a perfect world, what happened on that first day of November 2022 does not happen. Alas, it did, forever changing the life of a beloved superstar even while he balanced the expectations of his name.
Being one of the brightest and biggest stars in Afropop comes with a lot of responsibility. You’re unarguably a figurehead for an entire movement, contributing many great memories over the years and soundtracking African joy for a local and global audience, with the same intensity as the early days and without losing that unique quality across the sprawl of time. Since the entry of a new vanguard of stars at the turn of the 2020s, David Adeleke’s legacy has come into focus. Sonics are changing, and generations are ever-turning in their relevance to popular culture—it was everything for a musician who’s been active for over ten years to still have hits.
A detour into one’s mind provides that clarification. Few musicians who emerged before the first two years of the last decade are present today. At best they have abandoned the scorching thrill of creating art for mass audiences and at worst they still release music, but with sound and subject matter failing to align with contemporary realities. That is not a Davido problem: with “Champion Sound” and Pheelz’s “Electricity” boasting that hard-to-get combination of genuine audience love and hit quality, he showcased flexibility in perspective and brought the Afropop audience to his singular language.
The more last year progressed, Davido’s deep bag of tricks ensured he wasn’t missing in popular conversations. Meanwhile, the crowd-suffused vocals of Asake were making a serious affront on the entire scene, from Nigeria to the south of Africa. Unpredictably, the sonic landscape had again shifted and it was only right, many wanted to know how someone like Davido would respond. More successfully than the few other superstars in his league, he bent trends to his will, changing notions about the ephemeral not having real currency.
001’s response came through “Stand Strong.” Tints of crowd vocals permeated some parts, but the application was less Asake and more black gospel choir, suggesting a new sonic terrain for Davido. That single didn’t catch on as Davido’s camp would have hoped, but its tone and approach were striking.“OBO no go minus” also became a fan favourite catchphrase for the musician’s resilience, how gracefully he forges on amidst the humane losses he’s had from childhood and now into his thirties.
A fitting peak to Davido’s year would have come on the FIFA World Cup stage, billed to perform at the final after featuring prominently in its official soundtrack, “Hayya Hayya.” As footballers such as Lionel Messi and Kylian Mbappe walked down the tunnel of the Lusail Stadium in Qatar, the promise glimmered in the eyes of Afropop fans worldwide: Davido would have been there, electrifying the stadium and baring his easy smile as the cameras linger on him during the match.
When he shared “See y’all March” on social media last year, the tweet carried great deal of significance. It embodied strength and love for the art of music making. Soon enough, ‘Timeless’ followed the timely strategy of album roll-outs, utilising a packed window to heighten expectations. In typical Davido style, he made the run-up an event of its own. He announced shows in select venues around the world, dropped a merch collaboration with Puma, granted revealing interviews on the self-tailored “Timeless Radio” and most importantly unveiled a due rebranding of his record label, Davido Music Worldwide.
On the old insignia, the depiction of an infant David was the centre of attraction. In its new form, it’s one of a lion with glitzy edges, a nod to the allure and zest of popular culture. Alongside this, Morravey and Logos Olori were also announced as new signees to the label, their intriguing backstories positioning them as worthy torchbearers for the expansion of the DMW legacy. The newcomers were also featured on two of the album’s seventeen songs, meaning that ‘Timeless’ built on the numerical thread of records that have been on every Davido album.
The album incorporates a slew of Davido tricks. Its opener “OVER DEM” continues the chest-thumping affirmation he’s demonstrated on previous album openers such as “FEM” and “All Of You,” on ‘A Better Time’ and ‘Omo Baba Olowo: The Genesis’ respectively. Flexing the verve of his legacy with a joy that suggests introspection, Davido culls biblical metaphor to create the record’s most catchy lyric, “If dem wan turn Goliath, I be David for life.” It’s the sort of phrase crafted with audiences in the mind’s eye, but the mellow groove of the production is coasted smoothly by Davido, lending it peculiar warmth which is a novelty among the other openers in this conversation.
In truth, ‘Timeless’ is a very cohesive album. That sense of warmth never departs its sonic core. Subverting popular expectations, only a few records continue on that path of self-investigation. Legacy is sometimes necessary to contend with, but staring too often into the ocean of one’s influence could drown an artist. It’s therefore credible that ‘Timeless’ ends with “LCND” and “Champion Sound” respectively. Whereas the latter was heavily influenced by the Hip-Hop indebted inflexions of Focalistic over the Amapiano production, Davido goes the solo route on the former.
Perhaps “LCND” would have made a better closer; twinning the album’s talking points of love and loss, it presents the Davido manifesto better than most songs on the ticket.“Make I tell you something, life is not fair,” he sings in the opening line. “Lost many of my guys, but I thank God I still dey here.” The record then flips, celebrating the essence of being alive: being able to touch, taste and love. Except for “UNAVAILABLE” and “PRECISION,” which comment on the nature of relationships, the other records dive head-in into the comforting silk of love’s fabric.
It’s the interwoven thread around the album’s almost fifty-minute runtime. The run-up to the release of ‘Timeless’ came with the announcement that Davido had married to his longtime partner, Chioma Rowland (a.k.a. Chef Chi). A heartwarming moment hinged on the affectionate direction of “Assurance,” which was inspired by and featured the chef in its visuals, it had full-circle appeal. From that backdrop, the several love-attuned songs on the album feel like letterings on the doorpost of their relationship. From heartbreak to head-spinning intimacy, just about every spectrum of emotion is touched upon.
However, Davido delivers varying results, or perhaps, the songs just fail to come together. A rare misstep occurs on “U (JUJU),” which sounds like a well-thought-out song but falls quite short of brilliance. Skepta’s verse and the production are bright spots, but altogether the record fails to leave a lasting impression. The interpolation of Ice Prince’s “Juju” succeeds in its nostalgic intent, pointing a potential direction towards being a deep cut.
Fortunately, the good songs appear way more frequently. That goes partly to the focused direction of collaborations on ‘Timeless,’ which brought Davido into a light he’s scarcely seen to occupy previously. ‘A Better Time’ baulked under the American motivations behind its collaboration, with Nicki Minaj seeming to be only the essential from a bunch which included Nas, Hit-Boy and Young Thug. Far from a rapper, those incursions suggested more passion than tact, and it’s a gap Davido fills with ‘Timeless’.
In very different ways, each feature on ‘Timeless’ elevates their respective records, whether it’s Asake bringing his signature word-bending to “NO COMPETITION” or a Wizkid-reminiscent contribution from Logos Olori on “PICASSO.” Fave’s evocative writing adds bubbly feminine energy to “KANTE” in ways similar to Morravey on “IN THE GARDEN.” The neo-Highlife flourish on “NA MONEY” scores typical and successful features with The Cavemen., but the energy of Angelique Kidjo doesn’t just excite on a visceral level, it brings the album’s cross-generational appeal into focus. Add Musa Keys on the TikTok-winged “UNAVAILABLE” and the pan-African vision of OBO present on Diamond Platnumz’s “Number One” and “Tchelete (Good Life)” with Mafikizolo reveals itself as enduring.
The biggest takeaway from ‘Timeless’ is the renewed vocalism of Davido. As a genre, Afropop hasn’t been the keenest on voices but that perception is changing. As showcased in their recent work, artists like Burna Boy and Ayra Starr have vocals that would rival anyone anywhere, and it’s an industry phenomenon as well. So many unique voices and then there’s Davido. Husky and inflected with Nigerian lingo which manifests in adlibs and animated catchphrases, it’s a highlight of modern African music. But sometimes he’s tried too hard to be evocative, almost seeming pressed under the weight of legacy.
‘Timeless’ witnesses an essential stripping of that weight. Every song benefits from this ease of delivery. On “FEEL,” he almost lulls into the microphone, the muscular verve replaced with, finally, an air of accepting the validity of his peculiar skillset. Fewer songs capture Davido’s vocal dynamism as “E PAIN ME,” one of his most vulnerable moments on wax. The storytelling is gripping but it’s his switching between the metres of sound—cool and detached in one lyric, hurt and screaming in another—that makes the song stick. “FOR THE ROAD” adopts a weary gaze that accentuates the longing for one last intimacy before the girl departs, while Davido’s curative expertise meets this vocal awareness most brilliantly on “NA MONEY,” sandwiched between his guests and becoming light to allow the energy flow through his contribution.
With the production, Davido balances pomp with cohesiveness. This, he achieves with variant producers, virtuosos of Nigerian pop such as Shizzi, Blaisebeats, Magicsticks and 1Da Banton sharing the room with relatively fresh figures which include Young Alpha, Rore, Jon P, Sparriq and Damie. Amapiano-coloured log drums are present on many songs, but arrangements with violins and pianos brood side-by-side with the percussive base, establishing a breezy vibe for most parts of the ‘Timeless’ ride. The Yung Willis-produced “LCND” energises the album’s final run, which is then amplified through a remastered “Champion Sound.”
In all of this, it is evident Davido has been working behind the scenes. ‘Timeless’ smoothens the musical and structural cracks of his previous albums, showing how fame has been shaped not only by his music career, but by the very many strings he has to his bow. Its variance in thematic material can be lacking, but Davido more than makes up with the assured warmth on most records. No doubt watching him interpret them to live music would be interesting, and with the model of ‘Timeless’, the future shines with great promise. For now, take a bow, David. You’ve conquered the Goliath of your career.
In the NATIVE’s uNder column for March, Winny’s music was noted for its “lyrics and…emotion-laden vocals that demand attention; the simplicity in her words does not belie the profoundness they carry, and her voice, which reverberates with a certain ache, pulls at the heartstrings.” Those sentiments were ascribed to her previously released singles “Pretty” and “Don’t Leave,” and on her recently released self-titled EP, they remain true.
On ‘Winny,’ the singer born Winifred Ohili Adanu builds upon the essence of her music, which is her Dancehall-esque patois delivery. It is the bedrock of everything she does—the way she plays with her words and shifts gears with her vocals to evoke the emotions she does. She is excellent on “Pretty” as she pledges commitment to her desires and sense of individuality. “Me and myself in a one-man gang/I guess it’s best if ‘alone, I stand’/Only the best of me, I desire,” she sings. She replicates that magic in “Don’t Leave,” pleading earnestly with her lover not to exit her life. From those two singles, it is clear that Winny sings from the deepest parts of herself, making her music relatable and arresting.
She starts the EP with “Operation,” sounding agitated and pained about a failed relationship. Over producer Damie’s heavy drums, Winny part-shames her ex-lover and part-blames herself for how their love turned sour. “You make my life go dark/Even sef the fire wey dey burn, e dey cause one hole/Not sure I’ll love again/Me ah never know if this wound e go ever wan close,” she sings. As the end of the song nears, it becomes clear that Winny has one operation in mind: getting her past lover back into her life. She urges him to “open up the closet of your heart” because loving someone shouldn’t be so difficult.
On the Wodemagic-produced Trap-influenced “Burn,” she drops a piece of advice for both herself and the listeners: “Baby, burn, burn your love for him/Burn it up until the light goes dim.” For a track with a runtime of fewer than two minutes, “Burn” carries invigorating energy. Thematically, it serves as a point of escape away from the hurts Winny has felt in the preceding tracks. Wodemagic, who also produced “Pretty,” is another reason “Burn” is one of the best tracks on the EP. The blend of Hip-Hop and Winny’s Soul inclinations is immaculate, and she hops on the track with an infectious bounce.
Damie returns on “Ghetto Feels” as a confident Winny brags about the security she finds in her circle of friends. “Cyaan be no imposter/Weh mi from everyone is a soldier/One champion, different ah holders/Real gees gat my back all over,” she sings. Winny understands that the energies of the people she surrounds herself with play a huge role in her life and is proud of the company she keeps. Underneath the staccato drums of “Ghetto Feels,” Damie inserts a guitar chord that colours the song right until the end.
“Kiss me from my head to my knees and toes,” Winny sings on “Kiss Me,” unveiling the sensuousness of her music. She utilises her vocals to devastating effect, rendering the imagery of lovemaking fuelled by pure romance. “Me no go lie/You put your hands all over me/Me love the way you put your hands all over me, O boy/Me no fit follow nobody (nobody).” It’s another track that spotlights her chemistry with Damie and portends good tidings for their working relationship.
The EP ends with Winny recollecting sad moments on “Boji.” Here, unlike in “Operation,” Winny doesn’t ascribe any blame to herself. She makes it clear that she had no hand in the mistreatment and gaslighting she suffered at the hands of a man she loved. “You don’t wanna take the blame ah,” she sings before proceeding to lay the blame at his feet with the chorus: “Boji Boji you do me/Why you do me?” It isn’t explicit but one gets the sense that she is done with holding on to the past.
Since debuting “Pretty” last year, Winny has been slowly courting the attention of music lovers with her tunes and eye-catching visuals and fashion sense. Weeks ago, she performed at this year’s Femme Fest, joining other female artists to entertain women and lovers of music by women. On her EP, she makes good on the promise of the pre-released singles, ensuring that you don’t leave after the last track without a better appreciation of her sound, which is raw, soothing and melodious.
Nigerian-American award-winning filmmaker Kaelo Iyizoba’s short film Boy Meets Girl made its global debut on April 14, 2023. The film was inspired by the tragic events of the Chibok girls’ abduction in 2014 by the Islamic terrorist group Boko Haram.
Set in the town of Gamboru in Borno State, North-East Nigeria, Boy Meets Girl follows a seemingly ordinary day in the life of 15-year-old Musa whose life’s trajectory is irrevocably changed during a chance encounter with a young girl on a bus. Boy Meets Girl is Kaelo’s first narrative film. It stars Aaliyah Atazamu and Gabriel Dung and is produced by Adnaan Muhammed-Ali and Conrad Johnson-Omodiagbe. It won the award for Outstanding Experimental Film at the 2021 Abuja International Film Festival.
“Boy Meets Girl first started as a class exercise in school,” says Iyizoba, who has been described by Buzzfeed as one of four upcoming Black filmmakers shaping the future of the industry. “My professor had asked that we write a 2-page script with no dialogue. The caveat was that at the end of the script, the protagonist’s world must have irreversibly changed. Somehow as soon as the assignment was given, I knew exactly what I was going to write.
Still from Boy Meets Girl.
“This assignment was never meant to be made into a film, but after reading it, my professor insisted I found a way to film it. With a script and zero budget, I and my producers Conrad Johnson-Omodiagbe and Adnan Muhammed-Ali jumped into the making of this film. I remember the night before the shoot, we had not been able to cast one of our lead characters yet. I and Adnan were literally on the streets of Abuja searching for someone who could pull it off. Honestly, without context, it would be easy to have mistaken us for kidnappers. Luckily Conrad came to the rescue with a dying-minute goal and we had the perfect actor to play Musa’s mother.”
In a runtime of fewer than eight minutes, ‘Boy Meets Girl’ is a poignant movie that forces us to confront the uncomfortable truth about the mass abduction of children in Nigeria. It’s also a reminder that we must never give up in the fight for justice and security. “Over time, it becomes too easy to reduce entire lives to mere numbers,” says Iyizoba, who also serves as the film’s executive producer. “We can distance ourselves from their humanity, forgetting that they loved and were loved, just like us. This film is a call to action for me.”
Kaelo holds the Arthur Krim Award for Excellence in Producing (from Columbia University) and is a Blackhouse-Meta fellow and a Facebook SEEN future filmmaker grant recipient. The young creator is passionate about making films that allow us to see pieces of ourselves in others. He considers himself a trader whose merchandise is empathy.
Still from ‘Boy Meets Girl.‘
“Acting as ‘Girl’ in this film introduced me to a different perspective of pain,” says Aaliyah Atazamu, one of the lead actors in Boy Meets Girls. To be in that helpless place where death is the only way out. It gave me more empathy [for] the plights of displaced people in Nigeria.”
Muhammed-Ali, one of the film’s producers, adds: “The film unveils some of the insidious tactics used by extremist groups to manipulate vulnerable individuals. It also serves as a reminder to us all of the urgent need to address the underlying grievances that fuel terrorism in Nigeria today.”
The wheels of Afropop never stop spinning. More than ever, artists are utilising their creativity for the satisfaction of music fans around the world. These projects serve the purpose of preserving a moment (or moments) and distilling them into sonic pleasures. On this week’s New Music Friday, there are exciting new releases from Kenyan genre-bending artist mau from nowhere, British-Nigerian rapper ENNY, South African ‘Piano auteurs Mellow & Sleazy and Felo Le Tee, and more projects from across Africa. Get into it below.
MAU FROM NOWHERE – ‘THE UNIVERSE IS HOLDING YOU’
On his debut album ‘The Universe is Holding You,’ Kenyan-British artist/producer mau from nowhere interrogates existential concerns, ranging from romance to loss of self. The uNder alum incorporates his rapping and singing skills into the self-produced genre-defying project, which features guest appearances from African acts including Maya Amolo, NAiLA and MAUIMØON, among others. ‘The Universe is Holding You’ contains previously released singles “Try,”“Dogtail,”“Ghost,”“I Like,” the Maya Amolo-assisted “s_t_l”and “Refuse Refuge.”
Uzoma Ihejirika
ENNY – ‘WE GO AGAIN’
British-Nigerian rapper ENNY provided one of the brightest moments in 2020 with “Peng Black Girls,” a wholesome and inclusive celebration of black femininity. She followed up with the impressive ‘Under Twenty Five’, a coming-of-age project that purposefully expanded on the soulful foundations of her sound. Today, ENNY drops her sophomore project, ‘We Go Again’, an impressive feat in portraiture that finds the rapper healing from the emotional turmoil of toxic relationships and asserting herself as a dynamic person on the previously released lead single, “Champagne Problems.” British-Guyanese rapper Loyle Carner joins the previously released closer, “Take it Slow,” as the project’s only guest.
Dennis Ade Peter
MIZZLE – ‘NOW YOU KNOW’
Nigerian artist Mizzle (real name Anifowoshe Temitayo Michael) has been on the grind since pushing his production and singing skills on social media by recreating musical patterns of mainstream acts and releasing his ‘In The Dark’ EP in 2021. He returns with another EP ‘Now You Know,’ staking his claim as a promising act with his unique take on contemporary Afropop. The 6-track project has only ODUMODUBLVCK as a guest feature and all songs are produced by Mizzle.
Uzoma
FELO LE TEE & MELLOW & SLEAZY – ‘THE III WISE MEN’
In just close to two years, South African producer duo Mellow & Sleazy have earned their stripes as leaders in Amapiano. Co-pioneering and playing a huge role in popularising the Bacardi-tinged strain of ‘Piano, the pair are known for their inventiveness and a consistently growing catalogue of hits. A week before releasing the sequel to last year’s ‘Midnight in Sunnyside’, their latest drop is a joint project with ‘Piano veteran and fellow hit-maker, Felo Le Tee. ‘The III Wise Men’ is packed with guests, including NATIVE uNder alum Chlèy, MaWhoo, Masterpiece YVK and several other notable names in South Africa’s ever-expanding Amapiano scene.
Dennis
HUNTER ROSE – ‘BUTTERFLY’
South African act Hunter Rose has curated an enviable catalogue of music that delves into the sweetness and complexities of love and relationships, with both personal and collaborative bodies of work. She continues in that path on her latest EP ‘Butterfly,’ merging her R&B/Soul sensibilities with elements that borrow from Jazz and Funk, among others. ‘Butterfly’ asserts Hunter Rose’s dedication to finding pleasures in romance and discarding the negativities that sometimes come with it.
Uzoma
KWEKU SMOKE – ‘OLD COMPOUND’
Kweku Smoke is one of the most prolific and exciting acts in Ghanaian rap at the moment. Often rapping over booming trap and drill beats, his voice possesses a serrated edge that adds a lived-in colour to his bars. After dropping two EPs in 2022, he’s opening his account for this year with ‘Old Compound’, a 6-track project paying “homage to the blocks that built him.” Unlike last year’s guest-laden ‘Big Shmoke’, he mostly goes solo on this EP, with the sole guest appearance coming from Ghanaian pop star Kuami Eugene on the romance-themed “Be Mine.”
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 in the week, we brought you stellar new releases from Johnny Drille, Darkoo, Joeboy 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!
PRETTYBOY D-O – “KOROKORO”
After months of teasing across social media platforms, self-assured rapper, Prettyboy D-O has dropped his second single of the year, just days after his recently released solo “It’s Different.” On the DARE-produced track, D-O’s “korokoro” leads in with sharp and echoey cult-like chants and soft keys. Following a daunting intro, D-O’s hard-hitting bars take centre stage on the eccentric instrumentals as his effortless, rhythmic flow rides the wave of the beat. His brisk delivery on the track explains that his enemies can never see him fall as he raps a prayer, “May my pride never a weakness, If I fall may my opps never bear witness.”
DJ BIG N, AYRA STARR & OXLADE – “HOW MANY TIMES”
Two of the Afropop’s youngest and freshest faces join forces with DJ and producer, Big N for a slow-tempo, melodious track, “How Many Times.” Evidently heavy with emotions, Mavin’s pop princess better known as Sabi Girl lead us into the track with her soothing ad-libs accompanied by mellow piano keys. Still holding a ting of excitement, some energetic drum patterns guide Oxlade as he takes the first verse, reassuring his love interesting and encouraging her to shutout all distractions and naysayers in their relationship. Ayra Starr delivers a mellifluous response explaining that actions speak louder than words and their love story might be a lost cause.
CANDY BLEAKZ – “WALE”
Sitting at the forefront of Street-pop with the likes of Zinoleesky and Zlatan, Candy Bleakz’s flow and rustic bars undeniably pushes the envelope of the domineering genre with every release. Following her feature on SHOLZ’s “Vex,”assisted by Teezee and Odumodublvck, Candy Bleakz drops her first solo of the year, “Wale.” Another story of the hustle to make it -a common theme of the genre- Candy Bleakz open up on a vulnerable note of the stresses she experiences on a regular basis. She reiterates the cries of her mother who desperately misses her and wants her to return home. However, she is dedicated to the grind and evidently isn’t stopping anytime soon.
KOREDE BELLO & MR EAZI – “JEJELY”
After a relatively quiet 2022 with only two releases under his belt, Koredo Bello makes a resounding come back into the scene with the assistance of Mr Eazi on “Jejely.” If the cover art and song title -which loosely translates to taking things easy/slowly- didn’t already suggest that the pair are in a relaxed mode, the airy instrumentals of the mid-tempo track did. Korede Bello sings of steering clear away from all stresses as he searches for peace of mind. Over soothing drum patterns, he delivers wordless harmonies on the intoxicating hook and Mr Eazi reiterates the tracks message as he croons, “Problem no day finish so I’m choosing my peace.”
MANNYWELLZ – “MAGIC”
An assured tune a few short seconds into the track, a groovy beat leads us into Mannywellz’s recently released single, “Magic.” When his intoxicating vocals commence the track, it is clear that Mannywellz is here to serenade his listeners and surely enough he does just that. He showers his love interest on the sensual track, sparing no details to let her know the stronghold she has over him. He is undoubtedly smitten as his smooth vocals and dreamy guitar strings hold a promise of love and passion that knows no bounds.
MOHBAD – “ASK ABOUT ME”
With an already quick start to the year, Mohbad continues reshaping his craft with consistent, back to back releases and his recent Amapiano effort, “Ask About Me.” It’s always a guaranteed good time when you hear the rhythmic drum beats and lush shakers commonplace in Amapiano but Mohbad takes this a step further with warm saxophone chord and background chants, reminiscent of a harmonious church choir. On a mellow note, Mohbad’s vocals swell with appreciation of his journey thus far, armed with bars in Yoruba and English.
As has become customary in the last few years, there’s always something new to celebrate and discuss in Nigerian film. A week ago, Jade Osiberu’s latest directorial feature ‘Gangs of Lagos’ was both the toast and topic of social media timelines during the long Easter weekend. Even now, it remains a topic for a controversial, if unnecessarily contrived, reason. Osiberu is one of Nollywood’s most exciting filmmakers working today, and the mainstream attention her work consistently garners has reached another peak with her latest film.
Co-written with Kay I. Jegede, ‘Gangs of Lagos’ landed with the preceding hype of being the first African film originally commissioned by Prime Video, the streaming platform owned by tech giant Amazon. Inspired by the gritty streets of Lagos Island, colloquially referred to as Isale Eko by locals, the film delves into betrayal, friendship, grief, revenge, deferred dreams, and the connections between street politics and actual politics. Working through the lens of lead character Obalola (Tobi Bakre), the script prioritises nuance in establishing its characters, from Oba’s lifelong friends Ify (Chike Ezekpeazu Osebuka) and Gift (Adesua Etomi), to the street kingpin Kazeem (Olarotimi Fakunle) and his daughter Teni (Bimbo Ademoye).
In early conversations about ‘Gangs of Lagos’, many were quick to point out the film’s place within the recent pile of gritty dramas with underground crime elements in Nollywood. For Osiberu, it’s a realm she’s been part of since her breakout with ‘Sugar Rush’, which she produced. Her last two films, the cinema blockbuster ‘Brotherhood’ and ‘The Trade’ from earlier this year, fall within this same scope but it would be unjust to not gauge Osiberu’s latest film on its own merits, even if there’s external context to consider.
Let’s be clear: ‘Gangs of Lagos’ isn’t a perfect film. Whether it’s a great one depends on who you ask and what they value when experiencing a film. The characters and their set-ups are impressive, while the story development could’ve been better. To the latter, it’s telling that two relatively minor characters fill in tension-generating information in the third act using flashbacks. Perhaps a longer run time or even expanding it into a mini-series could’ve helped. Technically, it’s well-shot and there are sequences that bring to mind the 2002 classic Brazilian crime film, ‘City of God’. The fight scenes are well-choreographed, while the scenes involving guns could’ve been much better.
If there’s one part of ‘Gangs of Lagos’ that’s absolutely stellar: it’s the music. Nollywood has had an uneven relationship with music since its emergence in the early ‘90s. Musicians have taken on acting roles, actors have delved into music, and the excellence of music selection and composition in Nigerian film has undulated between great and tepid.
When paired successfully, theme songs and scores have the power to enhance the film viewing experience. As NATIVE’s senior writer Uzoma Ihejirika recently pointed out, “Original Gangster” by Sess, Reminisce and Adekunle Gold is one of the finest examples in recent memory of a theme song working in tandem with its film—in this case, Kemi Adetiba’s ‘King of Boys’. Even now, it’s impossible to think of Eniola Salami’s imperial form and not instantly recall the rumbling Bata drums that enliven Adebayo Adepetun’s score in that film and its mini-series sequel.
Right from its trailer, ‘Gangs of Lagos’ makes music selection and composition a big part of its experience. In the trailer, packed with slow-motion shots from the film, a chopped version of Ladipoe’s drill slapper, “Man Already,” booms underneath. Parts of the song’s vibrant hook are tethered to a dismantled, guttural version of its original beat, adding to the trailer’s foreboding feel that ups the stakes for expectation.
As the film begins, composer Tolu Obanro quickly makes his hand seen with sinister keys that score the film’s first killing. That quickly morphs into an orchestral folk arrangement with chanted spiritual vocals as the opening credits roll in. The music composition choices in the early going resurfaces throughout the film, from the rumble of broody strings that accompany a weapons acquisition scene to the dirge-like piano lines that run alongside Obalola walking over to his best friend’s corpse. Similar to the intro, orchestral folk compositions are worked into integral scenes in the third act.
In one of the film’s glossier moments, the character Teni is re-introduced to viewers in a manner akin to that spotlighting a vixen in a music video. In that slow-motion shot, the score is a radiant acoustic folk interpretation of King Sunny Ade’s “Ma Jaiye Oni.” In addition to its aesthetic value, it’s also a call-back to an earlier scene where a much younger Obalola (Maleek Sanni) eats dinner at the home of his adopted father and street kingpin, Ninalowo (Tayo Faniran). There, KSA’s 1982 classic rings out in all its evergreen glory as Oba tears into a piece of chicken thigh while Nino watches him between wide smiles.
For much of the first act in ‘Gangs of Lagos’, the period isn’t strongly defined. It isn’t until we see Nino’s headstone that we know those early years of Oba and his friends are portrayed circa 2007. That gives credence to young Ify’s (Pamilerin Ayodeji) dream of becoming a big musician like 2Baba, then known as 2Face Idibia. There’s also “Funky Fuji,” the 2005 hit by Fuji immortal Dr Wasiu Ayinde Marshall—aka K1 De Ultimate—which plays as Nino’s regally trudges the streets of Isale Eko behind Oba, Ify and Gift (Small Mummy).
As opposed the more urban choice in its trailer, the music selection in ‘Gangs of Lagos’ is a representation of the music that buzzes out of speakers in inner parts of Lagos like the setting of this film. Before the now older Obalola, Ify and Gift brutally flushes out a person suspected of scalping Kazeem’s money, Naira Marley’s street smash “Koleyewon” serves as an ominous scene-setter. It’s one of the two contemporary songs in the film, the other being “On Fire,” a pop song with Amapiano influences performed by Chike and written for the character Ify, who’s also actively chasing dreams of music stardom.
Like a lot of its technical details, great attention was clearly paid to the music in ‘Gangs of Lagos’. Whether that’s in the songs licensed for scenes in the film, or in a score that’s as stirring as it is majestic. To the latter especially, the end credits feature the names of session musicians and vocalists who contributed to the score. It might be a minor detail that many viewers won’t pay that much attention to on first view, but the music in ‘Gangs of Lagos’ is a complimentary positive that deserves to be appreciated.
Before Nigerian rappers Reminisce and Illbliss made their acting debut in the Kemi Adetiba’s crime-thriller King of Boys (2018), and Phyno followed right after in Genevieve Nnaji’s Lionheart(2018), there was Christy Essein-Igbokwe in Chico Ejiro’s Flesh and Blood (1996) and Onyeka Onwenu in Chimdi Chiama and Ndubuisi Okoh’s Conspiracy (1999). These artistswere not just making cameo appearances in these films; instead, they were taking on full roles that took them out of their otherwise pop star glam and inhabiting worlds very different from that of stardom.
Nollywood and the Nigerian music industry have always enjoyed a symbiotic relationship. Often, when musicians starred as actors their songs were used to soundtrack the films, even when their acting roles were minor. This was the case with the 1997 feature film Mark of the Beast,which featured the late Reggae musician Majek Fashek in a cameo role. In fact, a silhouetted image of Majek Fashek played the guitar and sang a tune as the film’s opening credits ran over. Onyeka Onwenu also lent her original song “You and I” to the soundtrack of Conspiracy (1999). The late Gospel artiste Sammie Okposo composed soundtracks and scores for films, outside of releasing his singles, and is behind the music of so many Nollywood hits and classics like Most Wanted (1998), Issakaba (2001), Emotional Tears(2003), and The Amazing Grace (2006). There was also a quality to the kind of music produced in that time that isn’t attainable today.
“Early Nollywood scoring was reflective of what music consumption was like in the 1990s, before the Afrobeats boom. The scorers of the time demonstrated lots of influences from originally Western genres like R&B and Blues,” Kelechi Njoku, a Nollywood enthusiast and writer, tells theNATIVE. The soundtracks of ‘Glamour Girls’ (1994), ‘Domitila’ (1996), ‘Blood Money’ (1997), and ‘Scores to Settle’ (1998) all have this flavour. There was a commitment to vocal dexterity in them as well. A few examples include composer Stanley Okorie’s work with singer Thelma Yakubu on Chika Onu’s Confusion’s lead soundtrack “Something’s Wrong Somewhere”; or the vocals on “We Have Overcome,” which is Omololu Richard Ogunleye’s work for The Mark of the Beast.
Thankfully, there was a penetration that homegrown Nigerian sounds started to have from around 2003 that wasn’t happening in the 1990s. However, this development failed to produce remarkable soundtracks. In the 1990’s flicks, composers like King Jaja, Mike Nliam, and Abay Esho paid close attention to the stories they were composing for; the music was never in the way. “By the mid-2000s, we could be watching a movie and there’s just song underlining the entire flick, sometimes in ways that are emotionally dissonant from the story,” Njoku stated, adding that a lot of serious stories were rendered comical with that kind of music. Unfortunately, the practice continues to this day under the onslaught of Afrobeats club hits thrown into our movies.
Another consequence of the diminishing artistry with the music of Nollywood starting from the mid-2000s was that filmmakers started to rely on foreign hit songs to soundtrack their films, especially for romance dramas. Celine Dion and Westlife’s discography were great resources for these filmmakers. But that was only an aspect of the many issues with Nollywood from the year 2004 when marketers became filmmakers and placed a ban on actors they considered too demanding. These actors were Genevieve Nnaji, Omotola Jalade-Ekeinde, Ramsey Nouah, Richard Mofe-Damijo (RMD), Emeka Ike, Stella Damasus, Jim Iyke and Nkem Owoh. That singular act, now known as the G8 ban, had a colossal effect on the industry: the marketers-turned-filmmakers cared more for commercial gain than artistic merit, and for that reason, the quality of films, the music in the films inclusive, dropped.
Following the ban, Genevieve Nnaji released her debut album ‘One Logologo Line’ in December of 2004 with “No More” as its lead single. Her film influence shined over the song. Against the song’s upbeat tempo, she narrates, in English and Igbo, her experience in a relationship that started beautifully but quickly turned toxic, and finding the strength to flee. The song’s music video is a short film depicting this relationship.
What the G8 ban did was that it started an era of actors also becoming musicians and this wasn’t restricted to the G8 actors. Omotola, RMD, Desmond Elliot, and Ebube Nwagbo also tried their hand at music at some point. Nollywood producers also capitalised on this wave and introduced albums inspired by films. For instance, Nkem Owoh’s‘I Go Chop Your Dollar’ is based on Andy Amenechi’s 2005 film The Master, a film about Owoh’s character defrauding and scamming unsuspecting white men. On the album ‘National Moi-Moi,’ Patience Ozokwo takes on the personality of her character Mama G, a middle-aged woman dedicated to the epicurean lifestyle much to the annoyance of her husband and community, in Gabriel Moses’s Old School (2002). The ‘Dinta’ album with vocals from Chioma Chukwuka, Fred Aseroma, and Chiege Alisigwe is adapted from Amayo Uzo Philip’s Sacred Tradition (2005).
Today, however, there is an almost complete abandonment of creating original soundtracks for films. Our films are often jam-packed with the latest Afrobeats hit or club banger. This isn’t right. These songs, no matter how catchy they may be, are not written for the film and so hardly ever elevate the film. Music aids storytelling and even helps the tone of a film, and thus, should be part of the story-creating process.
“Music can propel narrative swiftly forward, or slow it down. It often lifts mere dialogue into the realm of poetry. It is the communicating link between the screen and the audience, reaching out and enveloping all into one single experience,” said American film composer Bernard Herrmann, who contributed scores to films including Citizen Kane (1941), Psycho (1960) and Taxi Driver (1976). Nigerian filmmaker Raymond Yussuf and a member of The Critics Company relied on music to help drive the narrative and form the emotional core of his film One Can Only Hope and Wonder, which was recently exhibited at the Zollamt MMK in Germany. Inspired by German composer Hans Zimmer’s “Cornfield Chase”for Christopher Nolan’s 2014 film Interstellar, he employed a filmmaking tool, the leitmotif, to achieve this.
“There was a certain scene in the film where the rhythm of the music was very important to me as it influenced the editing, the performance, and the filming process, so we had like three pieces of music already composed before we shot the film,” Yussuf tells the NATIVE. Without dialogue, Yussuf and the Critics Company were able to tell an emotionally cohesive story with the aid of music. Another Nollywood film that actively employed the use of leitmotifs to enhance its storytelling is Daniel Oriahi’s 2018 film Sylvia with the score composed by Michael “Truth” Ogunlade. Its haunting, sombre tune set the mood for the film.
But these are exceptions and not the norm. This isn’t to say that most Nollywood films are entirely bereft of score or soundtracks. They’ve just not been properly employed as tools for storytelling. It is common to watch intimate scenes where the music applied distracts rather than heightens the emotion. And there is no crime in using popular music in films but filmmakers need to be deliberate about its use and consider what they want the audience to feel at that moment. Has the use of it rendered what should be a melancholic scene comical? Does it enhance or align with the actions in a scene or contrast it for irony? Does it connect to the characters and their situation in a meaningful way? Does it serve the story?
The music in many Nollywood films reveals that music is often treated as an afterthought. Film is a form of audiovisual media; both sound and picture need to work in unity. The symbiotic relationship between Nollywood and the music industry needs to go beyond featuring musicians in films, or Nollywood actors trying their hand at music, to a point where the relationship between our film and music industry reflect in the quality of music soundtracking our films.
Musicians who have also become actors are in the best position to lead this movement. Banky W, for instance, before venturing into acting was telling stories with his music videos that aptly captured the message of his R&B love songs. Aside from that, musicians already know about sonically creating emotions with lyrics and melody. It is no surprise that one of the most memorable soundtracks we have had in recent times is “Original Gangster” for King of Boys, produced by the multi-award-winning music producer Sess with vocals from Adekunle Gold and Reminisce, one of the stars of the film.
Even with the generally intriguing history between Nigeria’s contemporary music and film scene, the possibilities for consistent excellence when they interface remains vast and could develop into a mammoth cultural force.
Music is such a life-moving force that it takes little time to spot a natural. Anyone who’s cultivated an ear for sound knows when potent emotional channels are being hit, there’s a brain rush triggered by sonic excellence. Lloyiso has a similar effect on listeners: first on his immediate family members in Uitenhage, his warm-hued vocals have serenaded audiences on prestigious shows such as South Africa’s Got Talent and Idols SA. He finished fifth on the latter, in 2015 when he was only sixteen, and ever since the allure of LLoyiso has been on remarkable display, now perfected with the release of his debut EP, ‘Seasons’.
Sparingly releasing music over the years, Lloyiso has built up social currency. Covers of records by the likes of Billie Ellish, Lewis Capaldi and Rihanna have spawned viral TikTok moments, leading to a deal with Universal Music Group South Africa and Republic Records in the US. That was two years ago; since then, “Seasons” and “Speak” are some records which have established his mastery of R&B, sprinkled with native linguistic influences.
The timing couldn’t have been better for ‘Seasons’. For someone who’s been a sort of celebrity since high school, it’s a feat of sustenance how Lloyiso updates his perspective. Rather than steer the easier lane of debauchery that can be afforded by financial prosperity, he hones into the sensitive. As you’ll glean from his social media comments, listeners tend to find Lloyiso when they’re faced with dicey odds at life and relationships. He doesn’t offer easy answers, but contends his tussles with grace and reason, most regularly the former.
In an interview with Apple Music, LLoyiso revealed that he wrote the project to reflect the motions of a personal heartbreak. For those who’ve given their all in love, there’s a lot of pain that comes with letting everything drop. The memories, most especially, but also the feelings of inadequacy that comes with being by oneself, without the constant reassurance of another. The opener “Seasons” works up the ballad form to tell a lucid and quietly compromising tale. “Is it because I cry too often? That you don’t believe me when I say I’m hurtin’?” he sings, establishing a theme of gaslighting which runs through the song.
As far as openers go, it’s sets up the entire thematic landscape of the project, and even more remarkably, from an intimate perspective. When self-love becomes hard, it becomes important to declare one’s issues with the prior relationship while reiterating the strength to move on. “Is it because I don’t love my body?” he asks in the second verse, “That you make me feel like you’re the only one that loves me?” The song progresses into the final compromise: “I’m taking my heart back, it’s all I have”.
Lloyiso’s writing is beautiful and bold, in that he doesn’t spare himself the criticism of a better perspective. Ultimately, it’s that honesty which leads to the project’s generally positive energy. “Give A Little Kindness” turns up the energy, swirling with bright drums and Lloyiso’s vocals cartwheeling with refreshing splendour. An admonition to pour into his kindness as readily as he pours into others, he paints serene imagery of a man finding peace. “Sitting on a lake, breathin’ in my space/ Out of touch, this is kind of nice,” he proclaims with infectious exhilaration. Credit to his virtousic performance, his voice still has audible shades of hurting, contributing on a meta level to the song’s roundedness as a quintessential post-heartbreak song.
Victory can sometimes be pierced by hurting. It’s this duality which emboldens ’Seasons’. With additional input from Norwegian producer Earwulf, the music works splendidly to carry the heft of these ideas. Lloyiso’s understanding of the piano enables him the base which to start off, letting his vocals soar in tandem with the notes. Soft drums are also a regular fixture, increasing the tempo as the intensity of emotion demands. “What Would I Say” has this quality, as Lloyiso paints the riveting image of looking for his beloved, with his heart craving the intimacy of small things. “I’ve played these love songs,” he sings, “They can’t seem to get the words right, they can’t seem to get the feelings right.”
On the flip side, “Run” goes into the world for something to hold on to. When physical spaces inhabit so much memory, it’s inevitable to seek the grandiose and unpredictable. It’s an accomplished record which sees Lloyiso tone down his vocals for breeziness. “Let Me Love You” has electronic influences, but the rippling energy only works to highlight Lloyiso’s vocals. A measure is evident in the writing, again placing himself in the seat of provider. As though to counter that perspective, the song which follows is titled “Where Do We Go (When We Need Love)” and flips the gaze on his own desires.
Emotive notes and violins rise to warm Lloyiso’s penultimate confession; with church-reminiscent vocalisations and beat change that’s set off by a percussive base, it’s a beautiful structure of a song. “Damn, I’m supposed to make this song about this pressure of society/ Oh, that’s the frenemy,” he sings in one of the project’s few lines which directly references the external, implying in a subtle way that the personal is as poignant, while the world which is constantly at odds with itself, could be a friend.
‘Seasons’ is a stunning achievement. Lloyiso’s prodigious nature might have suggested a promising career, but the execution shines with a personal energy that’s easy to hear. For a youngster who got into music from his sister’s playlist which consisted of Beyonce and Jennifer Hudson, artists whose prime isn’t that far-off, it’s amazing what Lloyiso can do with his voice. He’s made a confident first step into the world of projects by banking on his heart. And the music indeed makes you feel, that for Lloyiso, it’s all he has.
Mas Musiq is one of Amapiano’s finest soundmen. As a producer and engineer, he’s been involved in enduring moments, whether that’s mixing and mastering the entirety of DJ Maphorisa and Kabza De Small’s first project as the Scorpion Kings—a commercial beacon of things to come in ‘Piano—or setting the musical tone for Riky Rick’s vulnerable admissions on his affecting single, “HOME.”
Like all A-list ‘Piano producer-DJs, the best way to enjoy the full Mas Musiq experience is through his full-length projects. With three albums and a joint EP with singer Aymos, Mas Musiq already has a preferred side of the Amapiano spectrum he operates in. Working on the Deep House side of things, the producer’s sound sits at the intersection of buttery and booming, where radiant piano melodies have as much allure as the rhythmic bounce of the rumbling bass and thudding log drums.
Already respected for a catalogue of known hits like “Zaka” and “Bambelela,” 2021’s ‘Auti ‘eSharp’ elevated the Tembisa-raised producer’s stock. Off the album, “Uzozisola,”“Inhliziyo,” and “Sengizwile” became hugely popular songs that pushed him into superstar territory, while the project’s immersive feel, refined touch and perfectly curated cast of collaborators highlighted his powers as an auteur. In a few weeks, Mas Musiq will release his fourth long play, ‘NINI na NINI’, and its lead single already portends a new creative apex.
Usually, when there’s a Kabza and Maphorisa credit on a headlining Mas Musiq song, the expected primary vocals are those of Aymos. This time around, it’s the robust and sweetly-scented voice of Daliwonga that rounds out the quartet on the newly released “Gangnam Style.” Referencing the 2012 dance-pop smash by the Korean artist PSY, the song is another showcase of Amapiano creators’ ability to find inspiration wherever they look.
Asides Daliwonga’s interpolation of the viral phrase, “Oppan Gangnam style,” there’s no other explicit connection between both songs released eleven years apart, but the link between them is far from tenuous. First off, there’s the galloping tempo of its rhythmic groove, a direct referencing of the horse-y dance that greatly helped catapult PSY’s song into viral popularity. Also, there’s the incredibly fun and effortless charisma in Daliwonga’s performance, as he hops between snappy sung-rap quips and gorgeous onomatopoeic chants. There’s a guiding hand for Mas Musiq’s “Gangnam Style,” but its draw is in how incredibly fun it is without the gimmick of its inspiration overshadowing the sum of its parts.
As with any song involving Kabza and Mas Musiq, the melodic aspects of the music are ear-holding, with gospel-style keys providing angelic harmony runs. The overall framework for “Gangnam Style” is uncomplicated: The groove is consistent, simple but ultra-effective, while Daliwonga puts in a typically strong shift that continues his trademark mix of swag and gritty soul. There will be twelve more songs that will vie for the best song on ‘NINI na NINI’ when it’s out in its entirety, and “Gangnam Style” has set quite the bar for what to expect—that’s in addition to being one of the most gorgeous dance songs in ‘Piano so far in 2023.
Nigerian comedy group Ikorodu Bois are an internet sensation, appealing to fans with their DIY skits and entertaining audiences in Africa and around the world. Formed in 2017, the group consists of Muiz Sanni, Maleek Sanni and their cousin Fawas Aina—all managed by Muiz and Maleek’s brother Babatunde Sanni. The group uses everyday household items—mops, pots, wheelbarrows and bins—to recreate multimillion-dollar music videos and Nollywood and Hollywood movie trailers, shot by shot.
Based in Ikorodu, a suburb in Lagos, the group, with its 1.2M followers on Instagram, has caught the attention of celebrities including basketball star LeBron James and film superstar Will Smith. In 2020, Ikorodu Bois got an invite from the producers of the Hollywood flick Extraction 2 after the recreation of the movie trailer went viral. They also got the endorsement of the American streaming platform Netflix, which gifted them filming equipment.
“[Maleek] actually wants to go into acting later in life, but his elder brother, Muiz, still wants to be a doctor,” Babatunde revealed in an interview. Last year, Maleek and Fawaz made their acting debuts in Kunle Afolayan’s Netflix-distributed film Aníkúlápó with small roles. Judging from Babatunde’s words, Maleek seems determined to make a career out of acting as he has featured in Jade Osiberu’s rave-of-the-moment film Gangs of Lagos.
Dubbed the first Amazon Original Movie from Africa, Gangs of Lagos, which premiered on the American streaming platform Amazon Prime Video, has won the hearts of movie lovers who have embraced the project, dissecting it in threads and kick-starting conversations on the internet. Gangs of Lagos is centred on the lives of a group of friends in Isale Eko, Lagos who work for the criminal underworld but hold dreams and aspirations of a more comfortable, secure future. The performances of the actors in the production have received rave reviews, from veterans like Chioma Akpotha to newcomers like Omoniyi “Zlatan” Temidayo Raphael. But amongst the cast is a special set of child actors, most especially Maleek Sanni, Small Mummy (real name Ashafa Salamot) and Oluwanifemi Lawal, who play younger versions of the three friends.
In the first act of the film (approximately 30 minutes), Sanni, Small Mummy and Lawal (as well as Pamilerin Ayodeji) are the stars in their roles as Obalola, Gift and Ify. They are street kids, snatching bags and remitting the proceeds to older, street ganglords. Obalola is the son of a late street gangster and an overly religious mother who is desperate to ensure he doesn’t end up on the same path as his late father. While it is the voiceover of Tobi Bakre (who plays the older Obalola) that colours the film from start to finish, Maleek does a fantastic job of portraying a young, vulnerable and impressionable boy who seeks a father figure.
The conversations between Maleek and his friends are honest and childlike, in an unforced manner. When they talk about their dreams for the future or their crush on another character, amid bants, the chemistry is undeniable. It sounds like the kind of everyday conversation every adolescent child would have, regardless of their familial or financial background. But it is Maleek’s interaction with the older actors that highlights his latent talent. After his character is brought to face the gang leaders for a crime he committed, his stoic outlook endears him to one of them, Nino (Tayo Faniran), who takes him under his wings. Nino is the father figure that Obalola desperately seeks, even though he doesn’t know. In a scene where he narrates wanting to be a gangster like Nino to another character, he says, “But Nino said no. He says I have head for book, that I should become an economist like that CBN governor, or writer like Wole Soyinka.” With Nino, Obalola is whoever his guardian wants him to be: street-smart hustler here or untainted bookworm there.
But the most powerful scene Maleek had was his character refusing to return home to his mother. As Obalola’s mother, Iyabo Ojo delivers an intense performance. Her love for her child is the fiery and smothering type—“You know I’m doing all this for you,” she tells him in Yoruba. Heartbroken by the death of her husband, she fights to prevent her son from falling into the same predicament. When she finds out Obalola has moved in with Nino, she begs him to come home with her, and when he refuses, anger clouds her face as she utters curses at him. Obalola doesn’t say a word but his face bears his emotions: fearful of his mother’s words yet determined to create his path. It is that scene that stamps Maleek as a gifted actor.
In 2021, Maleek’s reenactment of a Steve Harvey speech received praise from the popular American TV host for capturing his mannerisms, from the hand movements to the pauses. The following year, he did another sketch of Steve Harvey. These and the other skits with his Ikorudu Bois relatives have helped Maleek polish his acting skill, which now has its deserved recognition with Gangs of Lagos. As an actor in the film, his character was used to lay the foundation for an older version, and Maleek achieved this, with a strong performance that forged an emotional connection with the audience.
With talented child actors slowly becoming a thing again in Nollywood, actors like Maleek, Small Mummy, Oluwanifemi and Pamilerin herald an era when the screens won’t only be the arena of older actors but instead, a place where craft and expertise are allowed to blossom. The future looks promising.
Ghanaian singer, Mellissa wants to reintroduce herself to her audience. Following her scene-stealing appearance on Amaarae’s debut album ‘The Angel You Don’t Know,’ Ajebutter’s ‘Soundtrack To The Good Life,’ and BOJ’s ‘Gbagada Express’with her sister and partner, Moliy, Mellissa is ready to reveal new layers to her artistic expression. Fairly a new name and face in the scene, Mellissa’s verses are marked with poignant and evocative details about life, becoming, friendship and love. Since her debut single “Limelight” in 2021, the singer has made music that is thematically bound to introspection and constantly evaluates personal truths.
While her discography may be sparse and short, the music has been able to steadily carve out her own intimate corner in a crowded and versatile music scene, ensuring that she’s not left out of the conversation. “I also just wanted to make people free, happy and have fun. When we’re creating those songs, we’re having fun. I can only hope that anyone who is listening is going to catch that,” she shares with the NATIVE. It’s clear that improving her skills is a great source of pride. This has in turn, endured her to a rising legion of loyal fans and subtly widened the scope of her ability.
Now, Mellissa is inching towards the powerhouse she is capable of becoming with an album slated for release later this year. “My EP is coming out this year for sure. Ok, let me not say for sure, but this year, all other things being equal. I’ll be releasing singles before that. The first single hopefully in June and it’ll flow into the EP,” she shares with the NATIVE.
Ahead of its release, we caught up with Mellissa, the undeniably sought-after collaborator on some of her music influences, her two-way creative process to her stellar performances as well as some future solo releases and more.
The conversation, which follows below, has been lightly edited for clarity.
NATIVE: Some of your standout performances are with your sister, Moliy. What’s it been like building a career in music together?
Mellissa: It’s been very fun. Most of the features that I have out, like the one with BOJ and Amaarae, are with her. She had already started releasing music and we’re so close so we’re together all the time. The [son] with Amaarae for instance just happened because I was in the studio. We just talked about a hook idea and Amaarae was like ‘You have to record that.’ It’s been fun. We’ve always made music together since we were really young. Even on our way to school, we’d sing together. Everything is connected in music so we’ve done a lot of growing together.
What’s your experience been like working with other artists like BOJ & Ajebutter?
The best way I can explain it is fun. It was more fun than anything and I feel like that’s how it’s supposed to be. All those sessions, I remember them being very fun. We had fun making the music and I’m sure it reflects when you’re actually listening to the music.
Definitely. Do you have any particular African female musicians you look to for inspiration?
I really love and admire Tems. Her sound and brand especially. I really love Tems. There’s a long list but I’d rather just keep it short. I also really love Efya, she’s from Ghana. I still haven’t made music with her yet, I don’t know why but I’m going to. She’s actually in Nigeria right now. I bumped into her here so maybe we’d make music here. Who knows?
Looking forward to hearing that. What’s the most important thing about the music you create?
The most important thing about my creative process, I think would be for it to be relatable and real. I feel like we’re all connected somehow. If you’re going to talk about something people don’t know about or you don’t actually align with, then how do you expect people to connect to that? That’d be the first thing and I guess I also just wanted to make people free, happy and have fun. When we’re creating those songs, we’re having fun. I can only hope that anyone who is listening is going to catch that. Those are two of the most important things I’d say.
Describe your creative process to me. You mentioned mostly just having fun so are you more spontaneous? How do you get into the zone to make music?
It completely depends on who I’m collaborating with. If I’m alone for instance, I usually start with melodies so it almost sounds like gibberish. That would be the canvas and I’d eventually feel out what that sound is representing. What does this feel like? Is this a love song? Then when that’s figured out, I can now start painting the picture with words and that’s how it grows. Usually that’s my most comfortable way of doing it but sometimes the words comes with the melodies and we get a song with a hook then build from there. That’s what happened with “In A Loop.” The hook, “what we fi do” was a melody that came with the words.
Can we expect any solo releases from you this year?
100 percent. So my EP is coming out this year for sure. Ok lemme not say for sure but this year all other things being equal. I’d be releasing singles before that. The first single hopefully in June and it’d flow into the EP. I can’t wait to release it, I’m not going to lie because I’ve had a lot of features but this will be more like what I’ve been working on.
Do you have any one you’re keen on collaborating with?
There’s a few people. Right now I’m in Nigeria and it would be really dope to collaborate with the likes of Lojay. I actually want to work with Bloody Civilian as well. I think her music is really dope. Her swag is also there. I think it would be nice working with her. Then I’d say Efya as well since she’s here.
Do you have any reasons as to why you think you’d go really well sonically? Is there anything that stands out to you with their sound that would pair perfectly with yours?
Yes. So i’d say with Efya, her vocals are very powerful. We could make a timeless song. There’s this song that she made with Sarkodie and the song has been stuck in my brain and heart. It has always been a dream of mine to collaborate with her and make something similar. A track that would last for time. I’d say with Lojay, obviously his melodies are out of this world so I just want to, in a way, test myself and get in my bag with melodies like that. We could make something dope. Bloody Civilian’s music seems so fun and free. That’s also my vibe so I want to see what could come out of that.
How would you describe your average listener and what audience do you anticipate targeting in the future?
I think my average listener would hopefully be a lot of women. I create music obviously for everyone but I think a lot of women would connect more with my experiences. That would be the main demographic but I’d say anyone who wants to move, dance, have fun and feel free. That’s the main essence of my project for instance. It was what I wanted freedom to sound like in beautiful melodies.
What was the second question again? I think it was a two part question.
Yes, Is there any audience you feel has not really caught on to your music yet that you feel could relate with you on a different level when they listen?
I’m not sure yet. I think my music could tap into multiple markets if I’m being honest. For instance, my EP is Afro-fusion but I included some elements of Latin and I think it’s because I went to school in Orlando and the Spanish scene there is very big. It was inevitable. I just soaked in a lot of their culture and their music definitely influenced me so the’re bits of that included in the sound. Maybe not immediately, but I think the music will translate well in those areas. Hopefully.
Strut Records, in partnership with South African musician and anti-apartheid activist Julian Bahula, has today announced to reissue South African group Malombo Jazz Makers’ ‘Malompo Jazz’ (1966) and ‘Malombo Jazz Makers, Vol 2’ (1967) on vinyl for the first time since their original release. The deal is an attempt to bring international recognition to Malombo Jazz Makers, an influential collective in South Africa’s anti-apartheid movement during the ‘60s and ‘70s. The vinyls will be released in May 2023.
Malombo Jazz Makers was formed in Mamelodi township near Pretoria and consisted of Julian Bahula (malombo drums), Philip Tabane (guitar) and Abbey Cindi (flute, penny whistle). The group, managed by veteran photographer Peter Magubane (whose images decorated the pages of DRUM, widely known as the first black lifestyle magazine in Africa), first rose to fame in 1964 after winning the prestigious Castle Lager Jazz Festival. After Lucky Ranku replaced Tabane, the group revolutionised South African jazz music, merging the elements from their native roots with the characteristics common in the works of John Coltrane, Dizzy Gillespie and Miles Davis.
“We grew up listening to American jazz, but we wanted to mix it with what our forefathers were doing,” Julian Bahula says about the group’s decision to include homegrown instrumentation in their work. “Our ancestors used them to heal people who weren’t well, as did all the African doctors who would dance around the person as they were healing them. We thought this would be a lovely name for our band because we saw what we were doing as music that heals.”
Malombo Jazz Makers’ music soundtracked the resistance against apartheid and advocated liberation for black South Africans. They struck ties with activists Steve Biko and Saths Cooper and raised awareness around the lengthy imprisonment of Nelson Mandela, leading to several tense encounters with the South African police.
Speaking on the conditions of touring under the apartheid regime, Bahula remembers: “The struggle was heavy on us. We would get arrested often and the police tried to stop our shows several times. We had to tour in secret because we weren’t allowed to go from town to town as a result of the Natives Land Act. There were restrictions on where you could go and a curfew after 6pm – we weren’t supposed to be in certain areas.”
The barriers created by apartheid prevented Malombo Jazz Makers from reaching success outside of South Africa. Their history and legacy have largely survived due to oral histories and the anecdotes of figures who were on the ground to witness their story. With these stories and albums now being uncovered for the first time internationally, Malombo Jazz Makers are now in a place to be recognised as one of the most vital groups of the early anti-apartheid movement, paving the way for generations of artists who followed them to infuse an assured South African pride in their music and presentation.
The group’s legacy and tireless efforts in popularizing African music continued with the work that Julian Bahula undertook when he escaped South Africa in 1973 and settled in London. He met and struck up friendships with jazz icons Art Blakey and Wynton Marsalis during their London tour dates and continued his work as a musician and drummer with a new band he named Jabula. He would become a key figure in promoting many African artists to UK audiences for the first time at The 100 Club and The Forum in London during the ‘70s. Fela Kuti, Miriam Makeba, and Hugh Masekela were among the performers whose first British appearances were organised by Bahula and his company Tsafrika Promotions. Bahula would later organise the 1983 Festival Of African Sounds at Alexandra Palace on the eve of Nelson Mandela’s 65th birthday, drawing a crowd of 3000 in support of Mandela and other political prisoners.
Malombo Jazz Makers’ ‘Malompo Jazz’ and ‘Malombo Jazz Makers, Vol 2’have been recognised as unique landmarks of South African jazz through popular tracks like “Sibathathu,” “Jikeleza,” “Emakhaya,” “Hhlezipi” and “Abbey’s Mood.” Founded in London, Strut Records is one of the world’s leading labels for re-issues and compilations in Jazz, Funk, Soul and Dance music. They are famed for their work in bringing the catalogues of Patrice Rushen, Miriam Makeba, Tony Allen, Ebo Taylor and Sun Ra Arkestra to new audiences in addition to unearthing lost and obscure gems from artists and musicians across the African, Caribbean and Latin diasporas. The vinyls are slated for release on May 26, 2023.
Global streaming service, Spotify is adapting to the need of creators on its platform. This year, artists, songwriters, journalists, video and content creators, podcasters, and fans from all over the world joined Spotify for its second Stream On event which took place at its Los Angeles campus. As the NATIVE’s Managing Editor, I was privileged to be one of the few journalists from the continent in attendance, for the week-long festivities which unveiled Spotify’s plans for welcoming and providing for creators, podcasters and micro-influencers in its fold.
Stream On is a Spotify original event which pulls back the curtain on how Spotify is connecting creators with fans and empowering creators to live off of their art. Launched back in 2021 during the peak of the COVID-19 pandemic, Stream On was heralded as a key moment to show how Spotify is unlocking new possibilities for more types of creators than ever before, so that they can better connect with and build a global audience. This year’s affair was similarly touted as an essential event for a new generation of creators finding their community online, particularly those who could make use of the new tools and features being rolled out on the streaming and tech platform.
Kicking off with the welcome dinner and drinks at Holloway House in West Hollywood, Spotify welcomed creators, journalists, and editors of all ages to its week-long schedule of events. Each individual was assigned a Spotify buddy who was available and on-hand to assist and welcome them to LA. After a night of icebreakers, the following day was the main event–a 3-part series which included Stream On; a open note discussion on unlocking new possibilities for more creators than ever before, Play On; focused creator workshops and fireside chats with Spotify editors and execs, and Party On, a night of special performances and entertainment at the Roxy Theatre.
During Stream On, Spotify reinforced its mission to champion diversity and discovery, revealing a reimagined interface that leverages new visuals, and a completely new and interactive design — all to drive deeper and long-lasting connections between creator and listeners. “Stream On is about all the ways we are bringing Spotify to life and letting creators at all stages of their careers know that we are open for business. We are focused on building the best home for them – a place where they can establish a career, thrive and grow and where the world can be inspired by their creativity,” shared Spotify Founder & CEO Daniel Ek during the morning keynote presentation.
During the presentation, Spotify also rolled out a number of tools and features that will aid performance for creators and artists on its platform–including an all new interactive homepage design. Within Africa and Nigeria specifically, Spotify also launched Smart Shuffle, a tool to enhance an existing playlist with just the tap of a button, a Preview feature for playlists and podcast episodes which allows users to sample before they play or save and Autoplay for podcasts which allows continuity and seamlessness during the listening experience. For creators in Africa, these new tools will place them directly in front of their audience who can make well-informed decisions about opting for a particular content.
Artists were not left out of the mix. Spotify showcased a suite of Spotify for Artists tools that help artists find the fans who’ll love their music most and enhance their line of revenue to help artists grow: merchandise and live events. For example, the platform launched new Concert and Merch Discovery tools which will help make sure concert-goers never miss another show in their city and a Fans First program to ensure top listeners receive emails and notifications that give them special access to concert pre-sales and merch exclusives.
Alongside this, Spotify announced the end of Anchor–its podcasting platform which will be replaced by Spotify For Podcasters–a dedicated platform that brings the best of Spotify’s podcast creator tools into a one-stop shop to create, manage, grow and monetise podcast content. “Today, there are more than ten million creators on Spotify with over half a billion listeners across 184 countries and markets,” Spotify Founder & CEO Daniel Ek noted. “Think about the massive potential that represents for creators. No matter where you are on your own creative journey within music, podcasts or audiobooks. The potential to reach half a billion people. And that reach is about to become more powerful with what we’ve introduced.”
Following this session, it was time to visit the Spotify West Hollywood campus in the Arts District for a day of interactive creator sessions and panel discussions from artists, creators and Spotify staffers including Central Cee, Rickey Thompson, Denzel Dion, Sulinna Ong and more, who unveiled more around the world of Spotify, its playlists and music discovery, podcasting and more. The music team fireside chat was led by Spotify global editors including Jeremy Erlich, Spotify’s Head of Global Music Content; Bruno Carlot, Global Head of International; and Sulinna Ong, Global Head of Editorial.
“The role of the editor is, as I said, is to listen to all the music. So we’re the closest point to the music and thinking about, you know, the artist, where it’s coming from, and how it might connect with an audience on the platform,” shared Ong about the editorial arm. “In each market, there are specialists in the local cultural scene, that’s really important, because no one’s going to know what’s happening on the ground better than an editor in that market, and to really be a champion for local domestic repertoire.”
In addition to listening to the music, Jeremy Erlich also talks candidly Spotify’s on the pulse editorial team that has broken many artists on the platform. For example, Ghana’s Black Sherif gained considerable traction on the platform after first being spotted by the local team in Ghana and boosted on global editorial playlists. “From there, we went to Ghana with Kendrick Lamar, and we introduced him to Black Sherif. So we’re first facilitating hip hop and culture, those co-signs are really important,” shares Jeremy.
The week-long event closed out with Party On–a night of musical festivities and networking held at the Roxy Theatre. Inviting guests in with warm hues of purple, the night included an all-female showcase from Gwen Stefani, Rita Ora, and more. The excitement from guests and colleagues in attendance was palpable, with many people buzzing about the new features unlocked on Spotify. Spotify’s Stream On 2023 was a resounding success thanks to its mission to champion creators and artists who have been instrumental in keeping us entertained, seen and represented.
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 releases from Stonebwoy, Kotrell Kamauu, 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!
DAVIDO – “UNAVAILABLE” FT. MUSA KEYS
Since the release of his album ‘Timeless,’ Davido’s “UNAVAILABLE” has been a fan favourite, flying through social media platforms and prompting Davido to take notice and persuade fans participation with #UnavailableChallenge. The music video, a product of Polar Film Production, recreates the fun of the track with colourful costumes and entertaining choreography. Davido and Musa Keys also give energetic performances, firing up “UNAVAILABLE” with more verve.
DARKOO – “DISTURBING U” FT. AYRA STARR
Darkoo has made beyond headway in her musical career since her sprouting single, “Gangster” with so much more to be noted in her diary of exploits. In her latest single, “Disturbing U,” she teams up with Mavin’s golden child Ayra Starr. Possessing a solid sonic quality with clearly worded content easy to grasp at first play, “Disturbing U” relates to the stance of every successful sought-after youngster thriving in the creative industry. The enthralling display of strings immediately gets you stuck on this song.
JOHNNY DRILLE – “BELIEVE ME”
Mavin Records’ act returns with a new single “Believe Me” after the warm reception that greeted his ‘Home’ EP and its lead single “How Are You (My Friend).” On the Don Jazzy-produced “Believe Me,” Drille sings to his heartthrob named Anwuli, seeking her acceptance and promising her the best of his actions. The production features tuned-down Amapiano elements and a Highlife feel that makes the song a jolly, mid-tempo number.
JOEBOY – “DUFFEL BAG”
Ahead of his sophomore album ’Body and Soul’ in May, Joeboy returns with a celebratory and effervescent new single titled “Duffel Bag.” The track’s instrumentation is a highlight, combining 808 bass lines, elegant string stabs, and fluid, soulful guitars to create a vibrant and energizing backdrop for Joeboy’s seamless vocal delivery. With its upbeat tempo and captivating lyrics, “Duffel Bag” depicts the essence of love, luxury, and lust. Joeboy sings about a woman who desires a man who will treat her with respect, provide for her, and take her to supper. “Plenty of money for my duffel bag / Let me know when you don’t want to see me, darling”
ASAKE – “2:30”
Asake’s new song “2:30” celebrates authenticity and individuality, with an upbeat tempo and vibrant energy that testifies to the Nigerian artist’s talent for blending various musical styles into something completely new. The song’s dreamy Afrobeats blend seamlessly with IDM-influenced percussion, resulting in a rich tapestry of textures that is both familiar and thrilling. The track’s lyrics emphasise the importance of accepting one’s real self.
“HELLO SADNESS” – HOOK, KARUN, STEPH KAPELA , SIM CITIZEN
Kenyan songbird Karun teams up with Steph Kapela, Hook and Sim Citizen for an electric single. Over EDM beats Steph Kapela raps about the inconsistency experienced in love as Karun croons, expressing the sadness experienced in relationships and when you have a lover.
MAU FROM NOWHERE – “REFUSE REFUGE”
uNder alum mau from nowhere, who is readying his album ‘The Universe is Holding You,’ releases a new track. “Refuse Refuge” is a bop that fuses Hip-Hop with Funk elements as mau from nowhere raps and sings about wanting peace of mind and doing away with unnecessary drama. “See I won’t give up on me,” he sings on what is the last single before the album.
LADY DU & REEKADO BANKS – “OYINI” FT. SIYAKHA KHITHA & T-MAN SA
South African DJ Lady Du unveils a new single from her upcoming album ‘Song Is Queen.’ On “Oyini,” she features Nigeria’s Reekado Banks and fellow South African acts Siyakha Khitha & T-MAN SA. The song bounces with a moody, infectious melody underpinned by Amapiano influences.
With a career spanning over decades, Angélique Kidjo has soundtracked diverse eras and events. Her sound, borne from the West African traditions of her childhood in Benin and her interactions with the influences from Europe and Latin America, has travelled the world and imprinted her name in the hearts and minds of music lovers, both old and young. With numerous local and international awards under her belt, the veteran musician hasn’t relented in her strive for excellence, constantly reaching for musical highs as well as contributing to the social and economic wellbeing of the African people through her advocacy and social works.
Kidjo was born and raised in Benin in 1960 to a Yoruba mother and a Fon father. Her parents and older sibling were music lovers and, as a child, Kidjo absorbed the music they listened to: Miriam Makeba, Hugh Masekela, Aretha Franklin, Manu Dibango, Wilson Pickett, Fela Kuti, Otis Redding, Sam Cooke, the Rolling Stones, the Beatles and Stevie Wonder, among others. She began her music career at six after rendering an impromptu performance at her mother’s theatre troupe. In 1981, at the age of 21, she released her first album ‘Pretty’ with the assistance of Cameroonian Makossa legend Ekambi Brillant. The album made Kidjo a star in her home country and neighbouring countries.
A few years later, Kidjo was forced to flee Benin due to the difficult political climate orchestrated by Mathieu Kérékou, the country’s leader at that time. She settled in Paris, France where she began attending Centre d’informations musicales (CIM), a school of jazz and contemporary music. It was in Paris that Kidjo immersed herself in the proponents of what is known as world music, fusing her African influences with foreign genres and sounds. In 1991, after signing with Island Records, she released her major label debut album ‘Logozo.’The project enjoyed both critical and commercial success and cemented Kidjo’s style of singing in different African languages—Fon, Yoruba, Goun, Mina—and in French as well as her made-up language.
She followed up ‘Logozo’ with ‘Ayé’ (1994). The album spawned the hit track “Agolo,” whose music video celebrated African religions (featuring a Zangbeto masquerade and the serpent deity Ayida-Weddo) and earned Kidjo her first Grammy nomination. Her 1996 album ‘Fifa’was the first time Kidjo added English to her repertoire of languages she sang in. The album, for which she enlisted the help of percussionists in villages across Benin, was deemed as Kidjo’s crossover attempt as it blended her signature African-inspired rhythms with Funk, Hip-Hop and Pop, with “Wombo Lombo” being the lead single. She continued her musical foray into newer grounds with ‘Oremi’(1998),‘Black Ivory Soul’(2002) and‘Oyaya!’(2004). The three projects were Kidjo’s way of starting a conversation with the African tradition and its roots in the United States, Brazil, and the Caribbean.
On ‘Oremi,’ Angelique Kidjo collaborated with American musicians Branford Marsalis, Kelly Price and Cassandra Wilson, and performed a reinterpretation of Jimi Hendrix’s “Voodoo Child.”On ‘Black Ivory Soul,’ she added her spin to Brazilian sounds, alongside acts like Rubens De La Corte, Vinicius Cantuária, Carlinhos Brown and Gilberto Gil.‘Oyaya!’saw her give her take on Caribbean sounds such as Salsa, Bolero, Meringue, Calypso and Ska, with Alberto Salas and Henri Salvador. She kept up the fusion of musical cultures on‘Djin Djin’(2007), featuring a reinterpretationof French composer Maurice Ravel’s 1928 orchestral piece“Boléro”and other acts such as Amadou & Mariam, Alicia Keys, Ziggy Marley, Carlos Santana, among others.‘Djin Djin’gave Kidjo her first Grammy win for Best Contemporary World Music Album in 2008. Her 2010 album‘Õÿö’was dedicated to the music of her childhood, including traditional music, Miriam Makeba’s songs, Yoruba interpretations of Otis Redding’s “I’ve Got Dreams to Remember” and Carlos Santana’s “Samba Pa Ti,” and homages to Aretha Franklin’s “Baby I Love You” and James Brown’s “Cold Sweat.”
In her 2014 autobiography Spirit Rising: My Life, My Music, which Kirkus Reviewstermed as “warm, lively and compassionate,” Angélique Kidjo shines a light on her childhood, early beginnings as an artist and her rise to becoming a Grammy-Award–winning artist, and her work as a UNICEF ambassador (since 2002) and founder of Batonga Foundation, which champions education and empowerment of adolescent girls in Africa. That same year, she released ‘EVE,’ named after her mother and dedicated to her experiences as an African woman; the project scooped the Grammy plaque for Best Contemporary World Music Album. A year later, she collaborated with the Luxembourg Philharmonic Orchestra on ‘Sings,’which restructured 11 songs across her discography into orchestral pieces. It also won Kidjo her third Grammy award.
Three years after ‘Sings,’ Angélique Kidjo received an epiphany. She was humming American Rock band Talking Heads’ “Once in a Lifetime”—a song she first heard three months after she arrived in Paris—when a friend told her the name of the group responsible for the song.Kidjo had conversed with David Byrne (Talking Heads’ lead vocalist) but she hadn’t known it was his voice on the song. Kidjo listened to Talking Heads’ 1980 album ‘Remain in Light’ (from where “Once in a Lifetime” was housed) for the first time and decided she would cover the project. In 2018, she released her album titled after Talking Heads’ ‘Remain in Light,’ planting the rhythms of the band onto African drums and percussions. In a 2022 interview, Kidjo and Byrne shared their thoughts on music in Africa and the diaspora, African traditional practices and the political situation in Africa, especially Nigeria.
As the years have passed, Angélique Kidjos’s influence has grown, both on the African continent and in international spaces. She has graced stages around the world, from Cape Town to Dakar to New York to London to Paris to Sydney to Oslo. Her discography has also inspired younger generations of artists who have sampled and interpolated her music, including Burna Boy and Yemi Alade. In 2010, BBC’s Focus On Africa Magazineincluded her among its list of 50 African Icons; in 2011, The Guardianadded her as one of the top 100 women in art, film, music and fashion and Forbes put her in the list of 40 most powerful celebrities in Africa; and in2021, TIME named her in its list of 100 Most Influential People in the world. In 2015, she was awarded the prestigious Crystal Award by the World Economic Forum in Davos, Switzerland for her humanitarian work.
On the musical side, Angélique Kidjos’s talent and knack for experimentation never waned. In 2019, she released ‘Celia,’an Afrobeat-inspired album-length interpretation of songs across the discography of Cuban singer Celia Cruz, whose music Angelique Kidjo first heard as a teenager in 1974. ‘Celia’ won the Grammy Award for Best World Music Album, Kidjo’s fourth Grammy win. On 2021’s ‘Mother Nature,’ Kidjo tackled the issues of global warming and political corruption, while also making space for some of Africa’s reigning music stars in the likes of Burna Boy, Yemi Alade, Mr Eazi and Sampa the Great. “They have something to say about where Africa is and where it is going,” she said of the artists to The Guardian. “This was really a delight – it gives me energy and a good feeling.” She also worked with young African music producers in the mould of Kel-P, Vtek and Rexxie. A year before, when Kidjo received her Grammy plaque for ‘Celia,’ she dedicated her win to Burna Boy, saying, “Four years ago on this stage, I was telling you that the new generation of artists coming from Africa are going to take you by storm. And the time has come.”
Angelique Kidjo, recognising her legendary status, hasn’t shied away from collaborating with this new generation of African artists, making guest appearances on songs from Burna Boy, Yemi Alade, Somi, Omawumi and Sampa the Great. Her latest collaboration alongside The Cavemen on Davido’s “NA MONEY”drew praise and highlighted her ever-present star quality. Speaking to Forbes Africa about the current African superstars, she said, “What I learned from them is their professionalism – it’s mind-blowing. Every music that had been sent was spotless. I had waited for this day… And on top of being artists, these are entrepreneurs, they understand they have to be free. [In my time], I had to sign a contract for 10 years… These kids have the right to do whatever they want. They sat back and learned from my experience, and the experiences of Youssou N’Dour, and Salif Keita. And they don’t want to take that road. They want to be free in their own right and they are right to be free.”
Last year, Kidjo’s collaboration with French-Lebanese trumpeter Ibrahim Maalouf ‘Queen of Sheba’ delved into the life of the famed Ethiopian monarch and intersected the connections between Africa and the Middle East. It is the constant drive for reinvention that has kept Angélique Kidjo in the conversation as one of the respected names in world music. She has continued to defy the odds, serving as an inspiration for artists on the African continent on how to build a lasting career and legacy. Two weeks ago, Kidjo was awarded the 2023 Polar Music Prize, becoming the third African act to win the distinguished award after South Africa’s Mariam Makeba who won in 2002 and Senegal’s Youssou N’dour won in 2013.
“To be awarded the Polar Music Prize is humbling. I have no words to say how important this is for me. It comes with a sense of responsibility that is bestowed upon me as an artist to continue to do great work,” Kidjo said. “My passion for music has always been unwavering. Being on stage for me is like being in paradise – it’s my sanctuary. It’s my place to link and to connect with my fellow human beings. That is something that I’m grateful for every day.”
Davido scores one of the most historic debuts in TurnTable Charts’ singles chart history as he becomes the first artist to claim eight entries in the top ten as a lead artist – and the second overall (Asake also claimed eight entries with seven as a lead artist and one guest entry during the week of September 9 – 15, 2022. Davido extends his record for most top-ten entries to 25. Additionally, he claims the entire top four of a weekly singles chart for the second time – having achieved the same feat during the debut week of his last album,‘A Better Time.’
‘Timeless’ also becomes the first album to produce nine top ten entries – surpassing the previous high of 8 by Asake’s ‘Mr. Money With The Vibe’ and Davido’s ‘A Better Time.’ In addition to the eight top ten entries this week, “Champion Sound” also peaked in the top ten in 2021.
Davido’s “No Competition” is No. 1 with Asake has 4.54 million on-demand streams (No. 2 on streaming) and 68.3 million in radio reach (No. 4 on radio); “OVER DEM” is at No. 2 with 5.61 million on-demand streams (No. 1 on streaming) and 26.8 million in radio reach (No. 27 on radio); “UNAVAILABLE” with Musa Keys is at No. 3 with 3.94 million on-demand streams (No. 4 on streaming) and 58.2 million in radio reach (No. 8 on radio); “FEEL” is at No. 4 with 4.43 million streams (No. 3 on streaming) and 24.8 million in radio reach (No. 28 on radio); “KANTE” with Fave is at No. 7 with 3.14 million on-demand streams (No. 6 on streaming) and 28.4 million in airplay (No. 24 on radio); “AWAY” is at No. 8, : 3.35 million streams (No. 5 on streaming) and 12.7 million in airplay (No. 60 on radio); No. 9, “NA MONEY” with The Cavemen and Angélique Kidjo is at No. 9 with 2.65 million streams (No. 10 on streaming) and 30.3 million in airplay (No. 30 on radio); and “IN THE GARDEN” with Morravey is at No. 10 3.03 million streams (No. 7 on streaming) and 9.94 million in airplay (No. 83 on radio).
The two non-Davido songs in the top ten are Adekunle Gold’s “Party No Dey Stop” with Zinoleesky at No. 5 and BNXN’s “Gwagwalada” with Kizz Daniel and Seyi Vibez at No. 6. Other tracks from Davido’s ‘Timeless’ occupy different positions in the top 40.
All the tracks on @davido’s ‘Timeless’ are on this week’s Official Nigeria Top 100
“NO COMPETITION” at No. 1 is the highest charting single while “CHAMPION SOUND” at No. 38 is the lowest charting entry this week
How does an artist successfully cash-in on virality? Zlatan is certainly one artist whose career is a manifestation of playing the long game and staying true to oneself. Since his debut on the scene, the rapper has commanded attention with ease and his 2019 was more a stretch of viral moments forming into real currency. Although having a backlog before then, that year he was arguably the hottest rapper in the continent. That he’s here in 2023 boasting similar reverence isn’t something many saw Zlatan doing, and his tact and ever-evolving skill level deserves recognition.
The subject of rap and rappers is a recurring discussion in Nigerian music circles. Once the nucleus of our popular music, observers are keen to register lower levels of participation in the genre these days. Beyond faulting the apathetic communities around the music, conversations have often been centred around the attitude of rappers, a lack of deliberate moves often the mentioned undoing. Zlatan was carried on electric wings upon his entrance; a dancer, an assured spitter with street hop origins, he was heralded.
Hip-Hop might try to corner its unique spaces but traditionally, it’s always existed side-by-side with Pop. America’s glorious nineties had the entwined sounds of Rap and R&B working in its favour and the likes of P Diddy and Bad Boy Entertainment would best pair these elements, dominating the sonic zeitgeist of pre-2000s pop music. In these parts, it’s similarly important that Zlatan was embraced by Davido the year before 2019. We often give 001 his flowers but he’s consistently been a champion of the Rap music he loves, and on “Osanle” we definitely got a taste of Zlatan’s versatility.
Produced by Fresh VDM, the song had that buttery percussive sound Davido had on lock throughout 2018. With his freewheeling style Zlatan describes the hardships of time past, neatly wrapping up the first verse before his feature’s emotive hook. Rap-wise, it wasn’t the most spectacular of performances, but Zlatan’s energy was palpable. His tendency to deliver bars with sing-songy cadences that made one dance was also a demonstration of his distinct technique.
That record being his first stamp in popular conversations, Zlatan had the ears and eyes of an interested industry on him. It was too early to make any concrete predictions, thus he had the wiggle room to be creative. Any further doubts were dispelled by the end of the next year—2019—whose reign of ubiquity began with a song which foreshadowed that moment. “Able God” at that point was the soundtrack of urban culture; working to fulfil desires of living a peaceful cosmopolitan lifestyle, residents in places like Lagos always relate with a divine plea for help. Even outside the state and far beyond, the Chinko Ekun song was massively loved.
Without Zlatan’s contribution, both in sound and personal direction, the song might not have gained as much traction. The production was somewhat tailored to his cadences and his consistent adlibs was a colourful streak which made this particular cry for blessings less melancholic and more celebratory. By the time “Am I A Yahoo Boy” dropped, Zlatan’s figure was chiselled fine, although he’d come out of that a lesser-known artist than Naira Marley. Commentaries such as “Never forget Naira Marley’s 2019” underlie the fact that Zlatan also had a great year that year too.
Zlatan didn’t have an-establishment movement in the mould of Marlians, but for sure he had the industry. “Killin’ Dem” would most demonstrate how effective he could be on wax, for most parts being the fulcrum behind the song, owned by the Nigerian superstar, Burna Boy . It would also help in constructing the ‘African Giant’ myth and epic Grammys Award run-up, while the man born Temidayo Oponiyi would go his own way, dipping toes in pop music more than any other person who rapped in the country.
The successful trio of “This Year”,“Bolanle” (with IVD) and “Yeye Boyfriend” were released at different points during the year, and with distinct ambitions. Where the first was a nostalgia-inducing song charting impending greatness, the later two appeared at the tail-end of the year, its festive vibe quickly establishing itself. Both seemed to follow the same narrative sequence: centering the titular Bolanle, it charted her dissatisfaction with a lover. “Who no like better thing?” asks Zlatan in a way that doesn’t deride women but validates their desires, a sensitivity not quite common among Afropop musicians. With shiny guitar-playing and Fuji-replete influences, both songs confirmed Zlatan as a hit-making machine.
The ‘Zanku’ album was the only blip on Zlatan’s 2019. The project was stuffed with too many sonic choices and an almost nonexistent narrative thread, it was more like a jumbled collection of songs. None of the feature choices were excitable, suggesting his unpreparedness going into that debut album. Perhaps the only longstanding regret would be that he’s now used the choice of that particular title, but it’s a shortcoming which Zlatan took in good stride.
In 2020, the artist remembered his roots. From then on the artist increasingly collaborated with rappers, bringing his signature energy to records such as the uber-popular “Cash App” and the Oladips-helmed “Mainland 2 Island,” which coalesced into an EP with the same title. He still coveted viral moments by tapping from reined-in totems of popular culture. “Egungun Be Careful”paid direct homage to his Fuji influences through the collaboration with the iconic Obesere, while “Lagos Anthem” flagrantly reiterated the city’s mythos, referencing its status as the commercial epicentre of the country. “Dem go talk say money no dey Lagos,” he proclaimed in the chorus, in a sarcastic way which subtly replied, “Na lie, there’s money in this place”.
Zlatan’s most memorable appearance between 2020 and the following year came tellingly on a rap song. “Kuronbe” featured the unique rapping skills of Prettyboy D-O (who Zlatan has previously collaborated with on “Police n Teef [Remix]”) and Ice Prince, marking a new direction for curation on Rap songs. By bringing the several sides of the genre together—D-O’s ragga and drill-inflected style, Ice’s legacy English-speaking flow, Zlatan’s indigenous zest—the Trap-indebted artist Straffiti gave a solid nod to the evolution of Hip-Hop in the country. Whereas D-O had the best verse (by my own estimation), it was Zlatan who unarguably owned the song, delivering its bouncy hook and after delivering adlibs in the background, returns to lay the closing verse.
In no small way that was one of Zlatan’s most defining moments. While rappers have been prone to fancy high concept records, here was this person who made the mundane become extraordinarily powerful. He wasn’t revolutionary in that “Local Rappers” style of his acclaimed predecessors Reminisce, Olamide and Phyno, but he set the still-blazing trail for indigenous rap—and rap in general—to be taken more seriously by popular audiences.
This first quarter of 2023, few songs have captured the period’s rap sensibilities better than “Omo Ologo”. Last week, the record became the first by a Nigerian rapper to reach No. 1 on the Official Hip-Hop/Rap Songs chart by Turntable. Edging out records such as ArrDee and Cat Burn’s “Home For My Heart” and Rema’s “Ginger You”, it is joined in the Top. 5 by Odumodublvck’s “Picanto,” a song he’s also featured in.
“Omo Ologo” has brooding vocals and drum arrangement which sounds parallel to the production on Eminem’s “Like Toy Soldiers” and Olamide’s “Ilefo Illuminati”. It’s a quintessential direction for rappers with stuff to get off their chest, but then again, Zlatan has always had good ears for beats. He’s rather sharper in his rapping, each lyric packed with the intentionality of a person who’s been working behind the scenes. Autobiographical in lyricism but flagrant through its visual representation, it’s also a nod to Zlatan’s approaching act as a fashion and beauty influencer.
Afropop doesn’t thrive solely on the music’s quality. That’s of course a strong factor, but the visual influence behind stardom has often been understated in these parts. From stylists to video directors, art directors, digital artists and costume designers, there’s a whole ecosystem behind the musicians who make sure they look the part. Rap’s appeal is very much aligned with looking the part, and that’s something all-rounders like Jay-Z and Kanye West understand. Zlatan belongs in this category, as we’ve seen in recent months.
All these skin care brands no get Zlatan money or they sleeping?
People are increasingly taking note of Zlatan’s glow up, how deliberate he’s been in taking care of himself. It’s not everyday that a Street Hop-emerging artist gets praise not for their songs but for their looks, and it’s an indication Zlatan knows the influential appeal of looking and operating at your best. A face is the first thing people see; it’s also the stand-in for gauging one’s energy or financial status in some rare cases, and just by looking good Zlatan has placed himself there.
There’s also the matter of his fashion. While he might not be the most avant-garde dresser, Zlatan has always held his own in his outfits. His early career was often attended by tight jeans and polo shirts, with his hair partly sprayed golden. Nothing too special, but he looked as though he’d rap the most exciting Yoruba-laced bars you ever heard. It was purposeful. During the “Bolanle” era he was usually seen in blazers, again referencing the ballroom-centric music he was then making. Nowadays, Zlatan is able to go either way—a dripped-out rapper or a conservative stylist, while his neatly-locked hair can be let down depending on his choices.
Directed by Visionnaire Pictures, the video casts beautiful scenes to incorporate these stylistic nuances. It’s no surprise that it’s arguably Zlatan’s best video yet. With nods going to legacy brands such as Louis Vuitton, Daily Paper and Richard Mille, he charts a successful trajectory in a way that is evocative more than boastful, a trait not many rappers share.
With the rap scenes across Nigeria opening up in refreshing ways, Zlatan is a figure worthy of emulation. Off the mic, he’s kept himself free from any serious controversy while implicitly upholding the ethos of Drink water and relax. As a rapper, his willingness to get on songs with rising talents have earned him respect which transcends the genre, one which has most poignantly been captured by Odumodublvck when he raps, “Zanku runs Ibile” on his newest track “Declan Rice,” the follow-up to the chart-topping success of “Picanto”. As an actor, he’s recently just starred as Kash on Jade Osiberu’s latest film ‘Gangs Of Lagos’ which premiered on Amazon Prime Video Naija this weekend.
That is where Zlatan is at this moment. Overlooking the wider plains of Rap music in Nigeria, it’s understandable why some might gloss over his contributions, seeing as he’s neither the most technically-skilled rapper or boasts acclaimed projects. His influence is however more pertinent: he’s a champion for excellence, for the relentless pursuit of self while meeting the far-reaching requirements that comes with being great. He’s done all this while looking flawless, and that’s a major flex.
In 2021, Netflix and UNESCO partnered to launch a short film competition on African folktales to discover new voices and to give emerging filmmakers in Sub-Saharan Africa visibility on a global scale. The six winners were trained and mentored by industry professionals and provided with a US$75,000 production budget to create short films alongside also receiving $25,000 each. The result of that competition is the six-part short film anthology ‘African Folktales, Reimagined.’
‘African Folktales, Reimagined’ is the brainchild of six African film directors, which include Korede Azeez from Nigeria, Loukman Ali from Uganda, Voline Ogutu from Kenya, Gcobisa Yako from South Africa, Walt Mzengi Corey from Tanzania and Mohamed Echkouna from Mauritania. In tandem with the theme of the competition, all six directors take an old tale unique to their country and spin them into modern yet inventive interpretations for new audiences. These short films also incorporate indigenous African languages for their dialogues, as well as English and French.
Loukman Ali’s “Katera of the Punishment Island” starts the anthology. The Ugandan director is no novice (his 2020 film The Girl in the Yellow Jumper is on Netflix and he directed the Jade Osiberu-produced 2022 film Brotherhood). Set in the early 1900s, the film is based on the old western Ugandan island of Akampene, a Rukiga word for “punishment,” where unmarried pregnant girls, whose conditions brought shame to their families, were abandoned to die. Katera (Kababiito Tracy) is one such girl. In her case, it isn’t her family who sent her to the island; it is Gregory (Michael Wawuyo), a general who is a sympathiser with the British colonialists.
After being rescued by Omar (Michael Wawuyo Jr.), Katera plots revenge against Gregory. Loukman Ali’s grip on “Katera of the Punishment Island” oozes confidence; he knows the kind of thriller he wants to make the film—drama-like yet action-packed—and does so flawlessly. He also maintains his working relationship with father-and-son actors Michael Wawuyo and Michael Wawuyo Jr, from The Girl in the Yellow Jumper, and the 2021 short films The Blind Date and Sixteen Rounds.
In the world of Nigerian director Korede Azeez’s “Halima’s Choice,” 99% of the world population has uploaded themselves into a virtual paradise called Napata. Deep in a Fulani village in this postmodern, AI-enabled space lives Halima (Habiba Ummi Mohammed), a young girl desperate to escape an arranged marriage. He meets and falls in love with Umar (Adam Garba) but their union is threatened by familial, societal and technological difficulties. Azeez, who has been honing her craft with other short films (like 2020’s Tip of the Edge), cites the Nigerian folktale “The Disobedient Daughter Who Married a Skull” as inspiration for her short film, which received production assistance from Kenneth Gyang’s Cinema Kpatakpata.
Kenyan director Voline Ogutu’s “Anyango and the Ogre” slightly toes the sci-fi path. Based on a children’s folktale, the film portrays Mama Otis (Sarah Hassan) who, with her three children, is stuck in an unhappy marriage rife with violence. In the film’s world, citizens are divided into two groups: Grey Zone and Blue Zone. The former is an abandoned territory full of single and unmarried women (sometimes with children) whose lives are shown to hold no meaning until they get into the Blue Zone. The latter is paradise-on-earth: colourful, serene and a place strictly for married couples and their families. Otis (Trevor Jones Kamau) is the driving force of “Anyango and the Ogre,” as he, unhappy with the attitude of his father (Lucarelli Onyango), seeks better fortunes for his mother and two siblings.
For Mauritanian director Mohamed Echkouna’s lead character (Zainabou Ahmed Mohamed) in “Enmity Djinn,” who is in her late seventies, her nemesis is always seeking her. From the sand-covered fields of the desert to a bustling Mauritanian city, a djinn—an ancient spirit—terrorises the grandmother, serving as a reminder of a haunting past. Echkouna’s film, just like his 2016 short film Trail of Hope,through the purview of culture and religion, casts a light on how both function in the lives of its characters. In Tanzanian director, Walt Mzengi Corey’s “Katope,” culture and community collide in the life of the eponymous character (Rahele Matete), a young girl, whose destiny, from birth, is tied to the fortunes of her village. South African director Gcobisa Yako’s “MaMlambo” borrows inspiration from South African mythology as the aforementioned river goddess, played by Simphiwe Dana, resurfaces in present-day South Africa to pursue her duty of watching over troubled bodies.
One underlying thread connecting all six short films is their feminist viewpoints on the topics of domestic violence, sexual violence, forced marriage and female empowerment. The films are written entirely by their directors (except for “Enmity Djinn,” which Mohamed co-wrote with Connor Syrios, and “Katope,” which Walt co-wrote with Rebecca Mzengi Corey) and feature female characters who fiercely defy the status quo and handle any situation they find themselves. Even in the Otis-led “Anyango and the Ogre,” it is his mother’s decision that ultimately changes their lives. These short films join a list of recent productions on the African continent that centre women as major and important characters, including King of Boys (2018), Rafiki (2018), Lionheart (2018), Binti (2019) and Lingui, The Sacred Bonds (2021).
While there are male characters who contribute to the development of the films’ plots, there is a deliberate act to shield the lead characters away from the male gaze. In the six films,the lead female characters face male figures in their lives who want to knock them into submission. For Katera in “Katera of the Punishment Island,” it is Gregory; for Halima in “Halima’s Choice,” it is her father, played by Sani Mu’azu; for Mama Otis in “Anyango and the Ogre,” it is her abusive husband; for the grandmother in “Enmity Djinn,” it is the djinn; for Katope in “Katope,” it is an elder in her village; and for Amandla (Zikhona Bali) in “MaMlambo,” it is an unnamed male voice that haunts her sleep. Still, the male characters are also important figures who rouse something in the female characters—like Omar in “Katera of the Punishment Island,” Umar in “Halima’s Choice” and Otis in “Anyango and the Ogre”—but they don’t steal the agency of the female characters, as the filmmakers ensure the bulk of the decision making lies at their feet.
It might be that, due to the theme of the competition that birthed the short films in the first place, there is also a conscious effort to portray diverse cultures of Africa, majorly through setting, costume and dialogue. Each film is richly textured with the elements of its location, whether it recalls the past or is set in the future. The filmmakers are also bold to venture into genres such as fantasy and science fiction, offering glimpses into the stylistic choices of Africa’s new generation of filmmakers.
On the technical side, the films are of high quality; the cinematography and sound, in particular, are not pedestrian, as they feature both experienced hands in Loukman Ali(“Katera of the Punishment Island”), Baba Agba (“Halima’s Choice”), Enos Olik (“Anyango and the Ogre”), Sheldon Chau (“Enmity Djinn”) and Konstantinos Koukoulitos (“Katope”).But as is bound to happen, some filmmakers in the anthology exhibit a level of mastery that is exemplar for all to follow suit. Yet, ‘African Folktales, Reimagined’ is a rewarding ride.
The filmmakers in ‘African Folktales, Reimagined’ have, rightfully, utilised the opportunity from Netflix and UNESCO to showcase their talent. With the attention of a global audience fixed on them, they are certain to benefit because the works that have contributed to the anthology are excellent. In the greater scheme of things, it is a win for African filmmakers and the continent as a whole.
For the first time in five years, Odunsi (The Engine) is headlining a show in Lagos state. The alternative icon has been away creating other stuff since the release of his celebrated debut album ‘rare’in 2018, and to mark his return to his home state, Odunsi is pulling up with some of his great friends.
‘The Delivery’ is having its inaugural edition, suggesting that there will be more to come. Much like anything Odunsi (The Engine) does, the premise is very exciting, as the musician will play a curator role by working with close collaborators and emerging artists. Built around unique experiences, the show will feature a mix of live and electronic music, while ambient mood setting should be expected from the DJs set to play.
Since making his entry into the Nigerian music scene in 2016 through the affectionate R&B-suffused ‘Time of Our Lives’, Odunsi has been deliberate about championing new perspectives for the African youth, whether as a musician, producer or through visuals. He’s also collaborated widely and with intent, establishing creative links across Nigeria and the continent at large. In 2018, he was the creative director and producer of the ART X LAGOS.
With ‘The Delivery’, he steps into a new and deserved arc as a curator for the Nigerian youth experience. The wealth of musicians he would be sharing space with reveals the scope of Odunsi’s vision. Among other musicians, event goers will be treated to exquisite sounds from Cruel Santino, Teni The Entertainer, Lady Donli, Tochi Bedford, SOLIS and Wavy The Creator.
‘The Delivery’ is happening this Friday. Get your tickets HERE.
