Kwame Brathwaite, photographer and activist whose images redefined Black beauty in the 1960s and inspired generations of artists, died on April 1, aged 85. His son, Kwame Brathwaite, Jr., shared the news of his father’s death on social media, saying, “I am deeply saddened to share that my Baba, the patriarch of our family, our rock and my hero has transitioned.”
Brathwaite’s work has served as an anchor for new forms of representation, especially for Black women. In the late 1950s and throughout the 1960s, Kwame Brathwaite’s photography popularised the political slogan “Black Is Beautiful.” Recently, his work gained mainstream attention with museum retrospectives and monographs and, over the years, has appeared in publications and on album covers.
Born in 1938 to Barbadian immigrant parents, Brathwaite attended the School of Industrial Art (now the High School of Art and Design). In 1956, he and his older brother Elombe Brath, inspired by the writings of activist and black nationalist Marcus Garvey, co-founded the African Jazz Arts Society and Studios (AJASS) and Grandassa Models in 1962. AJASS was a collective of artists, playwrights, designers, and dancers, and Grandassa Models was a modelling agency for black women, founded to challenge white beauty standards.
Throughout the 1960s, Brathwaite, in his tiny darkroom in Harlem, perfected a processing technique that enriched the look of black skin in a photograph. The black-and-white images of his subjects highlighted Blackness in its glory. In 1962, AJASS organised the first of its “Naturally” fashion shows, which saw Black models, known as Grandassa Models, walk the runway with their natural hair. In 1965, Brathwaite met a Grandassa Model named Sikolo and in 1966, they wedded. By the 70s, Brathwaite had photographed a wide range of Black musicians including Duke Ellington, Thelonious Monk, Miles Davis, Nina Simone, Bob Marley and John Coltrane.
During the ’70s, Brathwaite travelled to Africa, visiting countries such as Egypt, Tanzania, Kenya, and more. He documented Jackson Five’s tour in Ghana and covered the 1974 “Rumble in the Jungle” boxing match between Muhammad Ali and George Foreman in Zaire (now the Democratic Republic of the Congo). In 2019, Rihanna spoke to Vogueabout the influence of Brathwaite’s work on her Fenty cosmetics label, saying, “When I was coming up with the concept for this release, we were just digging and digging and we came up with these images—they made me feel they were relevant to what we are doing right now.”
Kwame Brathwaite’s work has been featured in museums and galleries around the world, with the most recent being a Philip Martin Gallery exhibition in Los Angeles, US, titled “Pocket Universe,” which celebrated Brathwaite as well as other artists including Ericka Beckman, Brian Bress and Carl Cheng, among others. An exhibition of his works titled “Kwame Brathwaite: Things Well Worth Waiting For” is currently on view at the Art Institute of Chicago, where it will remain until July 24.
The National Basketball Association (NBA) in Africa has announced that it would be holding its first academy showcase on the continent. Starting today, Thursday, April 6 to Sunday, April 9, it will take place at the NBA Academy Africa in Saly, Senegal and will feature 71 high school-age prospects from 26 countries representing NBA Academy Africa, NBA Academy Latin America, SEED Academy and Mountain Stars Basketball Club.
Visiting the UNESCO World Heritage site Gorée Island, the prospects will participate in activities to promote cultural exchange and life skills development. That is, added to the advantage of the prospects competing with and against each other and showcasing their skills in front of NCAA coaches and NBA scouts, all of which makes the showcase an important event for the African basketball community.
“The first-ever NBA Academy Showcase Africa will provide impactful development opportunities and exposure to promising young prospects, while demonstrating Africa’s capacity to host best-in-class basketball development events here on the continent,” said NBA Africa Head of Basketball Operations Franck Traore. “We look forward to welcoming teams and stakeholders from around the world and helping the next generation of players showcase their potential in a competitive and fun environment.”
As part of the mentorship package, twelve NBA Academy Africa prospects participating in the showcase will also be a part of the 12 Basketball Africa League (BAL) teams for the league’s 2023 season as part of the “BAL Elevate” program. “The inaugural group of BAL Elevate players who joined our league from NBA Academy Africa last season not only showcased their talent and potential but also contributed greatly to the improved play in season two,” said BAL President Amadou Gallo Fall. “We have received terrific feedback from the teams and coaches who worked with the players, some of whom went on to sign with NBA G League Ignite or commit to NCAA Division I schools in the U.S. We look forward to watching this year’s class contribute to their respective teams and continue their development on a global stage.”
A year-round basketball development program, the NBA Academy aims to provide top high school-age athletes from outside the United States with holistic player development and open a pathway towards maximizing their potential. Since 2017, NBA Academies have been launched in Canberra, Australia; Greater Noida, India; San Luis Potosí, Mexico; and Saly, Senegal as a meeting place for top prospects from their respective countries and continents. The facility in Saly, Senegal, was opened in 2018 and features two indoor basketball courts, a multipurpose activity centre, a weight room, conference rooms, dormitories and educational facilities.
In a conversation with the NATIVE earlier this year, the NBA Africa vice president revealed that the organisation had plans to make basketball a more powerful force in the continent. Programs like BAL are a natural extension of that zeal, which as she said, is “one of the refreshing things about the BAL. It’s creating that opportunity so that you don’t necessarily have to leave the continent to become a successful basketball player and make a living. The BAL is enabling talents to stay on the continent and encouraging sports tourism in all the different countries, which ends up driving economic developments in the cities where we currently play.”
Founded in 2017, Bloom Bar is one of the popular nightlife hotspots in Ghana’s capital, Accra. The open-air space, which caters to both Ghanaians and foreigners, is renowned for its expert cocktails and African-inspired ambience. Last year, in December, Bloom Bar’s owners, Kofi Adjei Maafo and Keith Edem Aweke, celebrated the outfit’s fifth anniversary and launched its new brand BlueChip Hospitality.
“I love the whole idea of cooking up experiences to entertain people,” Maafo shares with the NATIVE. “I like to create spaces and concepts, whereas Edem has always had the interest of curating the drinks and services and the food that people enjoy when we create these concepts.” While in university, he and Aweke organised parties for their friends and would eventually make a big splash when they hosted their biggest party (a glow-in-the-dark party) at a lounge in Ghana. Noting their success, the duo decided to venture full-time into the hospitality business.
“I took programs and courses in pyrotechnics [and] I studied more about how to enhance experiences through the concepts and shows I had worked on in my line of work,” Maafo says. At that time, Aweke was in the United States, where he went to a culinary school and also did a mixology program. He would go on to work in the New York scene as a mixologist and became a head bartender at Havana Central, a rum-based bar located in downtown Manhattan. “We at one point just felt like Ghana needed a new level of experience,” Maafo adds, “and with him having a proper idea on how operations are run, we cooked the concept up, looked at the advantages of what we’re going to bring, studied a few things on the Ghanaian nightlife then and realized that we could bring something to enhance the nightlife. And then the journey started with what we see today.”
One of the things Maafo and Aweke observed before starting Bloom Bar was that most of the businesses in the hospitality scene—bars, restaurants and hotels—in Ghana were owned by foreigners. This meant that the scene didn’t inculcate African sensibilities into modern concepts and that there weren’t enough models for young Ghanaians who wanted to own businesses to follow. “When we came in, we were pioneers and [created] systems when systems were not there,” Aweke says. “We tried to create a space for ourselves. It was a space for young people, where young people could feel comfortable. It was the modern Ghanaian hospitality, that’s how I’d term it.”
Patrons at Bloom Bar. Image Credits: Instagram/bloombargh
It is the constant drive to excel and build efficient systems that have resulted in the birth of BlueChip Hospitality, a hospitality management company that oversees the affairs of Aweke and Maafo’s Bloom Bar, East End Bistro and Big Leagues Sports Bar, as well as offer business conceptualisation (development, startup and growth), construction (mortgage review, contracting, design), menu development and curation, staff recruitment, hiring and training, and operations management and setup.
“We came into a system where, if you want to even grow as a bar, you had a problem because you needed banks or a solid system in terms of government laws, taxes and a financial system to support a business growth,” says Maafo. “Now, the economy did not really regard tourism and hospitality as a sector to prioritise, and until they saw some level of seriousness or some systems in place, I don’t think anyone was going to regard our industry. So coming in there, we realised that a lot of people would do the business and would take it on as a hobby. They would do the business and take it on as something they are just doing, but not necessarily to grow and take the industry to the next level. So we asked ourselves the question, ‘How are we going to create a system for everyone who wants to come in to be able to help the industry grow?’—because we couldn’t do it alone. That was one and [secondly], how do we also create that reputation and recognition for what we are going to do?”
To increase the appeal of their businesses to investors, Aweke and Maafo worked on their branding, increased and trained their workforce—which rose from 8 to 122 people—and ensured that their books were in order. “When the banks and the big brands started to see the profile and started to see that we were really making some social impact, it started to change the narrative,” Maafo says. Their efforts were also bolstered by the resounding success of Ghana’s Year of Return campaign.
Patrons at Bloom Bar. Image Credits: Instagram/bloombargh
In 2018, Ghana’s Nana Akufo-Addo-led government, along with US-based Adinkra Group, launched theYear of Return, Ghana 2019 initiative to encourage African Americans and the African Diaspora to seek Ghana as a travel destination and also invest in the country and the African continent. The year 2019 was significant because it marked 400 years since enslaved Africans arrived in the United States. Since its launch, the campaign has attracted famous names to Ghana: Idris Elba, Naomi Campbell, Cardi B, Steve Harvey and Jidenna, among others.
“We were fortunate to have positioned ourselves and take advantage of that position by giving people that vibe [of quality Ghanaian culture and nightlife services] through whatever we offer,” Maafo says. “So we didn’t necessarily have to reach out to people to come into the space, but we did our marketing. We obviously gave a service offering and people came. People came because they had heard. They had seen. And it was also thanks to social media and people curating their reels and stories for people to see and just drive a lot of people into the space during moments where they came to enjoy Ghana.”
Bloom Bar has played host to top music/entertainment industry folks from Burna Boy, Wizkid, Davido, Jidenna, Chance the Rapper, Vic Mensa, Rema, Ayra Starr to Micheal Blackson. Last year, Maafo and Aweke curated Afrochella’s Official Afterparty, Everyday People x Ghana Edition, London’s DLT Brunch, a D’usse Day Party, Mr Eazi’s Detty Rave and King Promise’s Promiseland concert. In January, they had a hand in the Black Star Line Festival, which was hosted by Chance the Rapper and Vic Mensa.
Patrons at Bloom Bar. Image Credits: Instagram/bloombargh
For Aweke, the union of music and the hospitality business is a no-brainer. He says music is used to highlight the Ghanaian and African cultures and also create opportunities for the works of artists to reach new audiences. Maafo adds that beyond the music, every other aesthetics was taken into consideration. “When we first set out to do this whole hospitality journey, there were things that I always identified as experience determinants. And I did that by looking at how I could engage the senses of people when they come into a space – the five senses,” Maafo says. “So we considered what people see when they come into your space and even what they touch when they come there. The chair, how it feels, what you are sitting on. All of these things were considered.
Patrons at Bloom Bar. Image Credits: Instagram/bloombargh
“So when it came to music, we were very specific because we would curate the night in a way that we would put certain type[s] of songs on for the early crowd and we knew how to change it at certain hours to create a vibe. And it was all very deliberate and intentional to give the vibe that you have seen over the years in Bloom [Bar]. To us, the DJs are an integral core part of what we do. We spend time with them on their playlists. We are looking at how we can entertain the crowd, how we can engage them through music, when we want everybody to get out from their chair, how we want them to start playing that kind of songs that would get everybody off their chairs, get them screaming for about 30 minutes and making them calm down in 45 minutes. It’s very intentional. So we do consider music as a serious core part of what we do.”
Patrons at Bloom Bar. Image Credits: Instagram/bloombargh
Aweke states that one of the biggest challenges he and Maafo have faced in the day-to-day running of their businesses is finding the right people to add as staff members and also training them to be suitable for the high level of skill they desire. Another challenge is the erratic nature of the business climate in Ghana and Africa, as a whole. On his part, Maafo believes that the hospitality sector is saturated with businesses that provide the same service. He calls for businesses to come together and have a collective voice to earn negotiating power and raise the standards of the industry. He adds that it would be helpful if the government set up more hospitality-focused training schools as this would fill the industry with more qualified workers and enhance the level of professionalism.
“It is one of our dreams to help change the narrative of the industry and help to actually improve the narrative [and] perception of the business. That’s the first thing,” Maafo says about the aspirations of BlueChip Hospitality. “We wanted to be as attractive as possible, not just to investors, but to the young and up-and-coming students in universities now that it’s an option. It’s an option to set up a restaurant, it is an option to apply for careers that our industry can offer, which is, you know, a lawyer in hospitality, an accountant in hospitality, procurement managers, procurement officers. These are all very interesting careers that are never talked about in the school curriculum [in Ghana]. These are some of the things that we wish to draw awareness to through BlueChip because we have educational programs that we would be running; so these are some of the things that we want to highlight and draw younger generations to and make that impact not just in Ghana but throughout the African region.”
Although BlueChip Hospitality is still in its nascent stage, the lofty aspirations Maafo and Aweke hold for the company are inexhaustible. They are aware that as the years pass, plans are bound to change and require improvement but they are not deterred. “We would love to impact as many businesses as possible with the expertise that we have,” Maafo says. “This year, we are hoping that we can get a number of clients who would want to work with us to help build their businesses, help set up their systems, help train their staff, help build their concepts and then help set a standard for the industry through BlueChip. So for this year, that is what we really would want to work on. Basically, just give back five to six years of experience to anyone that wants to come [into] the industry and help build their businesses, teach them the ways to hustle [and] ultimately be successful in the space.”
Any active social media user would’ve seen Uncle Waffles’ infamous set where she captured the hearts of the guests and audiences beyond with her enthralling dance moves and masterful set. Since its release, the viral video that propelled Uncle Waffles into Instagram fame has been viewed more than 6.5 million times. The clip encapsulated everything audiences want right now–the workings of a budding artist keen to explore whatever soundscapes she traversed next with a charismatic and commanding presence.
Born Lungelihle Zwane, the Eswatini DJ is expanding the notoriety and texture of South Africa’s Amapiano movement on the global map, one set at a time, as she sells out venues within Africa and beyond. As the expansive genre briskly sweeps across several corners of the world gathering a global following of music lovers, this superstar DJ and now artist is ensuring that she must never be left out of the conversation. Waffles joins a long line of skilled industry heavyweights such as Scorpion Kings (DJ Maphorisa and Kabza De Small), Major League DJz or Virgo Deep who are laying the groundwork for the genre world domination.
Just last year, when Uncle Waffles debuted her first single on Boiler Room x Ballentines True Music Studios, she exhibited beyond a doubt that her talent extended well beyond the deck.“Tanzania,” the lead promotional single of her debut EP, ‘Red Dragon’ is a fresh and tasteful proof of the time and commitment the young DJ invested in dissecting the intricacies of Amapiano and South Africa’s music landscape as a whole. Despite her short time on the scene, Uncle Waffles has had an undeniable role in taking the sounds well beyond the boundaries of Africa making her the NATIVE’sBest New Artist for 2022.
In a short amount of time, Waffles has grown to become a near-perfect embodiment of where the global sound of South Africa’s hood can go sonically and at the precipice of one of the most exciting times to be a new artist and DJ. Each new output from Uncle Waffles gives an element of the unexpected, with social media bring to sharp focus her infectious personality, killer dance moves and radically modern approach. Already shaping up to be an industry tsunami with minimal effort and maximum skill, Uncle Waffles has continued to keep the focus squarely on what matters: her love for music and taking on the global stage. For a genre predominantly production-led with chant-like adlibs and lyrics, Waffles is able to effortlessly translate meaning and feeling to her audiences live and over the screen.
This year, the DJ and artist is already billed to perform on some big-ticket stages such as Coachella this April, AfroNation Portugal over the summer and is also one the line-up for Lauryn Hill’s concert with Diddy, Ari Lennox, Lucky Daye and more. In the lead up to the biggest festival of the Easter, Waffles has been teasing the release of her sophomore EP‘ASYLUM’which was released last week Friday. Initially kicking off the project’s promo back in January with a viral dance video for “Yahyuppiyah,” the promotional single which features lead vocalist, Justin99, Tony Douardo, EeQue, Pcee & Chley and has been the soundtrack of many TikTok videos since its release. Advancing the culture is central to Waffles vision and she wastes no time using tracks such as “Yahyupppiyah” to show her good ear for music and provide a platform for other artists and producers to get their voices heard.
In sharp contrast to her debut EP,‘ASYLUM‘ is markedly darker in its tone and delivery. For one, the name ‘asylum’ denotes a shelter or confine from danger and ill health, a noticeable stepdown from ‘Red Dragon’ with its innovative fiery imagery and dazzling sequence. It’s clear in Waffles world, the light and dark co-exist and she’s determined to unveil new layers to her artistry with moody pensive beats that are buoyed by catchy features and emerging talent from South Africa and beyond.
The opening track “Sghhubuhandro” leads in with heavy—almost daunting—chords followed by chant-like sonorous ad-libs. Assisted by Shakes and Les, the tempo on this track gradually builds up, setting our expectations high for what to expect across the rest of the project, an almost melancholic and infectious rhythm that more than commands you bump your head or sway your hips. The intro sets the scene quite nicely for the promotional and second single on the project, “Yahyupppiyah” which picks up the pace a bit with urgent delivery and heavy shakers. The project is a fine playground of instrumentation and lithe vocals which plays melodies front and centre of everything.
Already high with the buzz of glittering ‘piano keys on the preceding track, Uncle Waffles’ delivery on “Morrocco,” joined by Milkiee and Scummie, leaves listeners wanting more. Over eerie production and mid-tempo percussive groove, Waffles sings “drip covered by the blood when I walk/Godly you can hear huh/I’m a blessed girl, whole life on sneeze” with a braggadocious tone, talking up her success and her achievements over the past year. She also passes on the baton to rising South African rapper, Scumie who raps circles around the DJ with a menacing flow that carries a profound sense of depth with each word.
The following track “SLS” takes another dip, opting for a grainier darker production and inviting Shakes and Les once more to join Uncle Waffles and Ghost for a thumping party-starter.Characterised by a blend of soft and bass chants, the sweet-sounding keys commonplace in soulful Amapiano variations takes centre stage on “SLS.” Dubbed after the popular kids’ game, the next track, “Angry Birds,” features chilling vocals from 3TWO1 across the smooth production by Waffles and serial collaborator Tony Duardo.
With subtle Jazz-like elements, “Babiee” follows through with its groovy vocal delivery by Jelly Babie as she delivers an ode to two of the most popular house genres in South Africa, Bacardi and Amapiano. Almost stunned by their sonic abilities, Jelly Babie repetitively chants her and Waffles’ names in a praise-like tone through the track’s four-minute run time. When the track’s outro, “Blue Tick” comes along, the moment is bitter-sweet. Joined by a packed cast of DJ Stresser, Given Kanu, Vuyo Ndevu and CT MusiQ, ‘ASYLUM’ closes out on high notes with a well-paced buildup on the mid-tempo, heart-thumping production.
With each passing day and new release, it’s clear that Uncle Waffles is hurdling closer to the Amapiano crown jewels and the powerhouse she is. Given the singles dominated market that has largely trailed Africa and its most prominent music stars, it’s always great to see a young artist bent on flooding the circuit with her extended plays–a fine taster course to the breadth of her artistry and curation abilities. With ‘ASYLUM,’ Waffles continues collecting real estate and reverence with her fans and new listeners, reminding us to just have fun with it while providing a launch pad for rising SA talent to step up to the mic. It’s on early days for Waffles and we’ve not seen the full extent of powers.
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 Davido, Bloody Civilian, SGaWD, 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!
STONEBWOY – “FAR AWAY”
One of the most intentional artists out of Africa, the music of Stonebwoy is fusion-centric in scope. Dancehall forms his core, but he’s able to work well outside its conventions, leading him to create great moments with every record. “Far Away” is a new single off Stonebwoy’s forthcoming album, ‘5th Dimension.’ With celebrated guests such as Davido, Stormzy and Angelique Kidjo, he sets the release favourably with this scintillating record. His vocals are flexible and the messaging of seeking peace is relatable; it’s an exciting run-up to what’s shaping up to be a major event in Afropop.
KOTRELL – “SMILE FOR ME”
With appearances in music concerts hosted by Chike and Ric Hassani, the name Kotrell is one to watch out for. As the aforementioned acts suggest, Kotrell works in the R&B and folk tradition, working up his way in a scene that’s remarkably full of singular talents. “Smile For Me” makes his own case; over stripped acoustics front-ended by dreamy guitar licks, his vocals serenade with mellow assurance. “Oh my baby, money no fit buy this kind of love,” he sings warmly, using the right measure of vocal reverberations to enhance the emotion in other parts of the record.
POPCAAN – “CELEBRATE” FT. BLACK SHERIF
Earlier this year, Jamaican dancehall superstar Popcaan released his fifth album, ‘Great Is He.’ While that album had great features such as Burna Boy and Drake, obviously Popcaan still has more pop in his can. On the album deluxe he stretches the narrative palette, on this standout record uniting with the soulful Black Sherif for a laidback appreciation offered to Jah. A subject matter that’s been poignantly translated by both artists through the prism of their harsh early circumstances, “Celebrate” is an alliance of like minds.
EXRAY & SCAR MKADINALI – “TOA NJEVE”
Gengetone has come a long way since its eruption in 2019. Its assimilation into other genres has seen the sporadic progress of the genre. In Exray’s latest single “Toa Njeve” he teams up with Hip Hop veteran Scar Mkadinali. Bringing the street culture of situationships and fast life the duo rap on a hi-hat 808 beat creating a perfect backdrop illustrating Nairobi’s love life as Exray sings, “Hakuna ndoa huku kuna mechi mafriendly.”
KAMAUU – “ANTIDOTE” FT. KOJEY RADICAL & SIIMBIE LAKEW
Born in the US to musically-inclined parents, KAMAUU was destined to rock the mic. More poignantly, his chosen genre of rap allows him the space to dissect and discuss his origins and as well the motions of the modern state, which are heady topics which haven’t quite intruded on the enjoyability of his music. “Antidote” bears this quality; featuring Kojey Radical who also props his Ghanaian descent and Siimbie, it’s a bouncy number which combines a proud perspective of Blackness and the ownership of our art.
SUPER SMASH BROZ – “DISTANCE” FT. RIA SEAN
As DJs, tastemakers, and facilitators, the Super Smash Broz has been making waves in the Boston music scene for years. Their latest single “Distance” showcases their production skills and ability to work with talented artist, Ria Sean. “Distance” showcases Ria Sean’s soulful vocals as she sings about missing her lover who is far away. Her delivery brings comfort to the listener, acknowledging the pain of being apart from someone you love. The Super Smash Broz production provides an exciting backdrop for Ria’s vocals, creating a song that is both fun and emotionally powerful. This upbeat Amapiano production will have listeners dancing while still resonating with the heartfelt message of a long-distance relationship.
In Nigeria’s ever-evolving Hip-Hop scene, PayBac Iboro is one of its most active players, constantly seeking to outdo himself, track after track and project after project. He had his breakthrough with his 2018 LP ‘The Biggest Tree’where he delved into personal details about his life and aligned those experiences with the general Nigerian lifestyle. That has become a trademark of Iboro: rapping about who he is and how being a Nigerian has contributed his personhood.
On his latest LP ‘West African Goat,’PayBac Iboro builds on the foundations laid by 2020’s ‘Cult!,’ injecting Nigerian references into his raps about politics, corruption and personal will. With a solid Hip-Hop base, ‘West African Goat’ borrows elements of Jazz and R&B and Pop. Iboro raised expectations for the project with the singles“The Story of Hushpuppi,”“Bury Me For Gold,”“Danfo To Headies”and “Sacrifice.”‘West African Goat’ also comes with a host of features, which includes Alpha Ojini, Ozone, Barzini, Viveeyan and Payper Corleone, among others.
“Look Me Less,” one of the standout songs of ‘West African Goat,’ is an enthralling peek into the psyche of many of Nigeria’s youth population. Featuring fellow Nigerian rapper Elveektor,PayBac Iboro takes on the role of a frustrated individual who is crushed by the system and out for blood. It is no news that Nigeria, even though it is one of the richest in the world in terms of natural resources, is still a country that grapples with poverty. According to the National Bureau of Statistics’ 2022 Multidimensional Poverty Index survey, 63% of persons living within Nigeria (133 million people) are multidimensionally poor. This is no thanks to years of poor government policies and institutional mismanagement. Across Nigeria’s music spheres, artists have lamented the situation, giving voice to the plight of the masses.
“Too many wahala for my head/Me I need cash/Quick fast/Need breakfast/I go take from my fellow man,” PayBac Iboro raps over Charlie X’s production, setting the stage for the drama that is to follow. It is a reality that is all too familiar: many of the Nigerian youth population, noticing the lopsided policies that have been in play for a long time, seek other avenues to better their lives. In some cases, they resort to crime, thereby targeting other innocent citizens. “I go wait for the junction/Catch anyone wey dey come from the junction/Collect his phone and his wallet/And with a gun he cannot run,” Iboro continues.
Elveektor, another promising rapper on the scene, is Iboro’s potential victim. Like Iboro, Elveektor has been on the grind, releasing song after song and curating projects. His 2020 project ‘Nsibidi 2’ proclaimed his Igbo roots as well as his determination to succeed. Although he raps mostly in Igbo, the verve he employs in his vocals is undeniable. On “Look Me Less,” Elveektor is accosted by PayBac Iboro and, after failing to find the humanity in Iboro’s character, he charges into aggression mode, rapping, “Oga 1K dey okay for dis Buhari time/ka m gba gi eziokwu/I na waste my time/Jiri nwayoo before m gosi gi onye m bu.” It is a reality of the present state of things: the Nigerian way of cooling down another person’s aggression is hitting them with your own aggression.
Charlie X (a.k.a. CHx or Charlie Xtreme) is a revered name in Nigeria’s underground Hip-Hip circuit. His resume includes the likes of PayBac Iboro, Boogey and LadiPoe, among others. The producer, singer, rapper and songwriter is known for his samples and hard-hitting beats. On “Look Me Less,” there are simmering melodies underneath the bass, which keeps the production far from stale and allows the Iboro and Elveektor to settle into pockets of flow. Charlie X has refused to be shoved into the “Hip-hop Producer” box and insists that he is, at the core, a music maker.
Elsewhere, Elveektor’s aggression doesn’t dissuade PayBac Iboro’s character. “Give me your money if you no want problem/Give me your phone if you no wan die today/Reason why I dey thieve na the government,” Iboro raps. Following Elveektor’s stubbornness to part with his belongings, he ends his verse with “I go just keep quiet make the gun talk,” reminiscent of the police killings that spurred the#EndSARS protests in October 2020, where thousands of Nigerians, championed by the youth population, challenged the injustices meted on them by the country’s security agencies.
Weeks ago, Nigeria’s presidential and gubernatorial elections was held, leaving citizens with mixed feelings about the cases of violence, rigging and tribalism. PayBac Iboro’s “Look Me Less” is a snapshot of the issues bedevilling the country; it shows that citizens are also as culpable as the government they blame for their woes as well as the trauma that many Nigerians carry around: quick to attack and quicker to return the aggression. With “Look Me Less” and ‘West African Goat,’PayBac Iboro makes no mistake highlighting the condition of being a Nigerian, in all its glory and pain.
Since his debut on the scene in 2017 with “Dami Duro,”Davido has edged out the competition with ease. From his debut album ‘Omo Baba Olowo’ with standout tracks such as “Back When,”“Ekuro,”“For You,” and more, he’s consistently spoken directly with his audience through his music and bypassed naysayers on his way to the top. His omnivorous album fast-tracked Davido’s name as a household name in Afropop history. While his return to a cohesive body of work didn’t come till almost seven years later, Davido never strayed from the limelight, keeping his legion of fans satisfied with groovy cuts and meme-able chrouses from 2017’s “FIA” and “Fall” to 2018’s “Assurance,” and more recent cuts such as Popcaan-assisted “Risky,”“FEM” and “Ke Star” featuring Focalistic.
His latest and fourth album ‘Timeless’ arrived last Friday after personal delays, but its record-breaking reception so far shows that its suffered very little from this. With the release of his new album, Davido brings to full picture the decade-long journey to the top of his game. A serial hitmaker in his own right, he wastes no time threading high concepts and innovative imagery buoyed by the album’s well-tuned production. While he establishes his signature identity and litters the project with delicious new slangs, he also welcomes a talented spate of artists into his world, both new and experienced–making way for their talent to shine while keeping him in the limelight as the skilled auteur.
There are nine features on ‘Timeless,’ a notable decrease from the stacked guest features on his 2020 album ‘A Better Time’ which welcomed artists such as Nicki Minaj, Lil Baby, Hit-Boy, Nas, Sauti Sol, CKay and more into his orbit. On ‘Timeless,’ no feature is out of place and Davido ensures that his guests flex their muscles and capabilities across the project’s 49 minute run time. Set up by outstanding performances by Davido and stellar production by Magicsticks, all collaborators on Davido’s highly anticipated fourth studio album, ‘Timeless,’ had big shoes to fill. From Skepta’s sleek bars, the dulcet vocals by new DMW signee, Morravey and more, here are The NATIVE’s best features on ‘Timeless,’ ranked.
Skepta has a soft spot for his African kindred and it’s visible in his numerous collaborations with Nigerian Pop stars. Whether it’s working with Wizkid on “Glow In The Dark,” Skepta has continuously tapped into his African roots bringing Africa to the world while simultaneously bringing the world to Africa. On Davido’s “U(JUJU),” the alluring saxophone paired up with the mid-tempo log drums accompany Skepta as he puts his best foot forward. The romantic number finds Skepta rapping about his adoration for his muse, “…while guys were switching sides you were there for me…” while tackling the challenges experienced in a relationship with a star. Closing off with lamba as he raps, “I never sleep sabi no dey worry me,” he puts a perfect cap on the single as Davido picks up the chorus.
Tela
8. “BOP” – DEXTA DAPS
Davido and Jamaican act Dexta Daps had previously collaborated on the 2021 single “Scripture,”a sensual, R&B-flavoured tune. They continue their connection on Davido’s “BOP,” an uptempo production with Dancehall influences. Like on “Scripture,” Davido and Dexta Daps are concerned with their affection for the female anatomy; with his verse and chorus, Davido sets the pace, while Dexta Daps, on his verse, utilises his patois delivery to add colour to the track’s hedonistic tendencies.
Uzoma
7. “NO COMPETITION” – ASAKE
Asake and Davido are a match made in heaven. After emerging as the undisputed champion of Afropop ‘22, his appearance on ‘Timeless’ seemed fated–a further crowning of his hit-making abilities. To the host’s credit, “NO COMPETITION” isn’t usurped by Mr Money. They’re both rather in synergy with the warm vibe the song exudes, their distinct styles making for a great record. Davido does absolutely fantastic on the opening and closing parts, paring down his vocals to mirror the theme of love. Asake’s verse however bursts in so unpredictably, taking on a rhyme scheme that elevates the mood as the production swells about him. In a way similar to Lil Durk on Drake’s “Laugh Now, Cry Later”, the feature thrills and then cedes way for the host.
Emmanuel
6. PICASSO- Logos Olori
On “PICASSO,” there are two winners: Davido and Logos Olori. Both label owner and latest signee exhibit a chemistry that portends great fruits for the future. Before signing to Davido’s label and making an appearance on ‘Timeless,’ Logos Olori was making music independently, playing with diverse sounds and genres and fashioning a way out of the Nigerian underground music scene. From 2020’s “Shine” to 2021’s “Iregullar” to last year’s “Lale,” the music act was building the foundation of the moment he enjoys currently.
On the R&B-tinged, cravings-full “PICASSO,” Logos Olori’s post-chorus is sweet and memorable, employing simile and metaphor as he sings “So baby draw me closer like Picasso” and “Make I sing and make you dance Awilo.” It’s his smooth vocals that give those lyrics their potency, and Davido, too, offers a fine showing with his impressive performance. While Logos Olori’s talent is undebatable, the major takeaway is that music lovers should expect—and will love—more tunes from both artists.
Uzoma
5. “KANTE” – FAVE
When Fave first caught onto Afropop audiences through a freestyle released during the pandemic, her voice was the decisive trait. It was fully embodied yet dynamic and could be playful and sensual if it needed to be. In the years since, those distinct vocals have been on wonderful display on her ‘Riddim 5’ EP and features with the likes of Olamide and Ajebo Hustlers, demonstrating a range that’s seen Fave mentioned in the same breath as the greats.
On “KANTE,” she gets unarguably her biggest feature yet and boy, does she own it! The beat nodding to Dancehall’s rhythmic pomp, Fave finds herself in familiar terrain. Enunciating the perspective of a lover enjoying intimate moments, she conducts the record, setting the perfect atmosphere for Davido. “Like Kante your skill is precious, you can’t change the whole direction,” she sings on the chorus, using the celebrated French footballer as a parallel for the iconic figure she shares space with on this ‘Timeless’ record.
Emmanuel
4. “CHAMPION SOUND” – FOCALISTIC
Released as a single and sitting within the soundscape of ‘Timeless,’ “Champion Sound” is a revered banger. Like the rest of the project, loaded with great vibes, joy and optimism -as expected from Davido- “Champion Sound” couldn’t have been a more perfect choice for the album’s closing track. Like the game of tag, the duo effortlessly glide in and out of the track, bragging in Pidgin English and SiPitori with verses bursting with catchy bars and distinct adlibs. Sitting within the spectrum of Amapiano’s buzzing synths, the dance track closes out the highly anticipated album on a cheerful note, capping off a welcome return for 001.
Nwanneamaka
3. “NA MONEY” – ANGÉLIQUE KIDJO & THE CAVEMEN
When the track list of Davido’s album was released, “NA MONEY” was one of the songs that instantly caught the attention of music lovers. Sibling duo Kingsley and Benjamin Okorie (of The Cavemen.) have introduced excitement into the African music catalogue with their style of experimental Highlife, recalling old sounds and modernising them for a younger audience. Angélique Kidjo is…well, Angélique Kidjo: Grammy winner and renowned performer of multiple genres around the world. What would be the result of combining a veteran, a pioneer of contemporary Nigerian music and two new talents? “NA MONEY” holds all the answers.
Produced by 1da Banton, who is also an artist, the track is a comfortable setting for The Cavemen.: Highlife. The surprise, though, is Davido. He easily finds a spot for himself on the song, matching the energy of the Okorie brothers without missing a step. It’s pure synergy, as all three flow in and out of one another’s verses, absorbing themselves into the percussions and delightful guitar riffs. Angélique Kidjo, as the master that she is, adds icing to the cake with an effortless, melody-rich delivery. In tandem with the theme of the song, Davido, The Cavemen. and Angélique Kidjo contribute to making “NA MONEY” a tastefully-made piece of music.
Uzoma
2. “IN THE GARDEN” – MORRAVEY
Morravey’s debut on ‘Timeless’ was nothing short of charismatic. While we all know Davido’s wide range palette in crafting love numbers, Morravey added a new feminine spice that came with authentic naivety that equalled the sincerity in her words. As she crooned over the bouncy afrobeat production “..never seen a man like you..” Morravey’s verse adds an extra layer of depth and dimension to the track. Showing off her sultry vocals and her daring nature as she hit the high notes while opening the track, “IN THE GARDEN,” was precise with one message clear: it’s Morravey’s time and we should all make way for the queen.
The glistening production from Rore only brought Davido’s vision of the project to life as he and Morravey exchanged verses of love that is pure. Sounding like an ancient love letter to your significant other, “IN THE GARDEN” is a sweet remorse of the beauty that love embodies.
Tela
1. “UNAVAILABLE” – MUSA KEYS
Considering standout tracks like “Kancane,” “Selema (Po Po)” and more under his belt, South African Afro-House frontliner Musa Keys and his eccentric artistry are visibly drenched in gently syncopated synths and rich harmonies. So when the ‘Timeless’ track list was revealed with a feature from Musa Keys, any fans of Nigerian Pop and Amapiano were bound to be excited. Having collaborated with the likes of Focalistic, Abidoza and Sho Madjozi, Davido and Musa Keys would expectedly be a perfect sonic match and the pair did not disappoint.
With Davido’s delivery on the catchy hook, “I’m unavailable, dem no dey see me” and Musa’s euphonious vocals paired with the glittering production by Magicsticks, “UNAVAILABLE” is deservedly already a crowd favourite a few days after the project’s release. Operating within the familiar soundscape layered with intoxicating drum patterns and rhythmic keys, Musa Keys is set up for a stellar delivery by Davido’s outstanding verses. Following the second rendition of the track’s captivating hook, Musa Keys’ mellifluous sound perfectly contrasts Davido’s rustic one, expertly riding the wave of beat. In a few short seconds, Musa Keys is able to elevate the already glimmering verse with an increased pace on the witty two-liner, “Cause I’m a big propeller, save the remorse/Girls go jealous, cause I dey Banana.”
Peaking last week at No. 1 a few short weeks after its release, Adekunle Gold “Party No Dey Stop” tallied 3.12 million across streaming platforms and 75.2 million in radio reach. The Zinoleesky-assisted single is Adekunle Gold’s with top ten entry and Zinoleesky’s tenth top 10 entry in Nigeria.
Sitting comfortably at No. 2 for the second week is BNXN aka BUJU’s “Gwagwalada” assisted by Seyi Vibez and Kizz Daniel, after spending four weeks at the summit. Following after at No.3 is “Stamina” by Tiwa Savage, Ayra Starr and Young Jonn. This acts as Tiwa Savage’s second highest charting single, Ayra Starr’s sixth entry into the top 5 and Young Jonn’s second highest charting single after “Xtra Cool.” Spyro and Tiwa Savage’s “Who Is Your Guy(Remix” dips to No.2 after peaking last week at No.2 while Don Toliver and Rema-assisted “Soweto (Remix)” occupies the No.5 spot.
Omah Lay’s “Soso” off ‘Boy Alone’ released mid-2022 occupied the No.6 spot after spending multiple weeks at its No.2 peak. On the other hadn’t, Rema’s “Holiday” dips from the 6th to the 7th spot. One week after its release, Odumodublvck’s “Declan Rice” debuts at No.8 making it the rapper’s first entry into the Turntable Top 10. It is also the first HipHop/Rap song to debut in the top ten after Black Sherif’s “Kwaku The Traveller.” Khaid’s “Carry Me Go” slips to the no.9 spot after spending last week at No.8 and Ayra Starr’s “Sability” drops to the tenth spot from No.7
“What’s Going On” Tallies Notable News Headlines From Across The Continent — The Good, The Bad, And The Horrible — As A Way Of Ensuring That We All Become A More Sagacious African Generation. With This Column, We’re Hoping To Disseminate The Latest Happenings In Our Socio-Political Climate From Across The Continent, Whilst Starting A Conversation About What’s Important For Us To All Discuss. From Political Affairs To Socio-Economic Issues, ‘What’s Going On’ Will Discuss Just That.
GHANA TO EASE UP ITS FAMILY VALUE BILL
For the past week, United States Vice President Kamala Harris has been on a three-nation visit to Africa. Touring Tanzania, Zambia, and finally closing off with Ghana, Kamala Harris insisted on the importance of investing in African ingenuity and creativity to enable its development. Meeting with Ghana’s president Nana Akufo-Addo, the two held a press conference last week on Monday where the Ghanaian president publicised the Anti-LGBTQ law framed under the guise of family values would be revised.
For the past few years, the marginalised community has been undergoing human injustice. Early on in 2021, the first LGBTQ support centre was shut down after religious leaders and government leaders blamed the West terming it as a way to recruit young Africans. Thus the introduction of the proposed Family Values Bill, which sought to introduce some of the harshest anti-LGBTQ laws on the African continent.
Three years later Nana Akufo-Addo reveals that the country is ready to put the private bill under revision following the recent visit of Kamala Harris. Discussing during a press conference about the eligibility of the bill, Nana Akufo-Addo said that the bill was not under his regime and it was under discussion with the parliament. Adding on to that, he also affirmed that the parliament will consider human rights when discussing the bill.
LAGOS TEACHERS CHARGED WITH MANSLAUGHTER
Staff at Chrisland High School have been charged with manslaughter after a pupil died. The 12-year-old girl identified as Whitney Adeniran died in February as a result of asphyxiation and electrocution during the school’s inter-house sports activities at Agege Stadium. However, the school management, in a statement released after her death, said she slumped in public view and not under any hidden circumstances.
In 2022, a video depicting improper acts among some students of the school, who went on a trip to Dubai went viral. The alleged scandal happened when Chrisland School was in Dubai in March 2022 to take part in the World School Games, a four-day annual competition with schools from all over the world. The development came less than four years after a teacher in the school, Adegboyega Adenekan, was convicted and sentenced to 60 years jail term for raping a two-year-old female pupil.
Since the death of Whitney, the school has been closed down to enable investigations to take place.
KENYA DEMONSTRATIONS HELD ON PAUSE
Kenyan opposition leader Raila Odinga decided Sunday to call off nationwide protests following an appeal from President William Ruto. “In view of the foregoing, we stand down our demonstrations for Monday, April 3, 2023,” Odinga said. “In accepting the call for dialogue, we ask that all arrests and prosecutions related to our demonstrations be stopped with immediate effect.” Odinga said that as the opposition, they agree that a balanced parliamentary process for dialogue co-chaired by both sides and backed by experts from outside should proceed.
He added that the committee should be composed with immediate effect with strict deadlines for resolving the crises facing the country. “Should there be no meaningful engagement or response from Ruto to our counter-offer, we will resort to resuming our demonstrations after one week,” Odinga warned. Ruto in a televised address to the nation on Sunday had asked the opposition to call off the protests, noting that recent political demonstrations have resulted in grave acts of lawlessness, widespread violence, looting and the invasion of private property, causing loss of lives, injuries, property damage and denting the nation’s image.
“In these circumstances, and in view of the recent events that led to loss of lives and destruction of property, I urge Hon. Raila Odinga to call off any further demonstrations,” he pleaded. He said the country’s economy had been hard hit, with all his measures to attract investors and create opportunities for the youth being derailed by acts of violence, chaos and anarchy.
President Ruto said he is willing to engage with Kenyans from all walks of life, including elected and appointed leaders from across the political divide and the religious fraternity, to make the country better and more prosperous based on the rule of law and the Constitution. The protests, aimed at forcing Ruto’s government to reduce the cost of living, have been ongoing for weeks and resulted in three deaths, including that of a police officer, and dozens of arrests.
Deputy President Rigathi Gachagua had also warned Odinga against holding continuous demonstrations, stating that Monday will be the last day before the government “asserts its authority.”
In the last ten years, it can be argued that women musicians have made more inroads in the music industry generally. On the global scene, Beyoncé has risen to become one of the most compelling auteurs of the 21st century while Adele’s cathartic music was as popular—if not more than—anything released over the past 15 years. In Nigeria, progress for women musicians has been forthcoming: Tiwa Savage moved from upstart to undeniable pop presence and global force in the space of 10 years, Yemi Alade transcended the quirky messaging of “Johnny” to become a pan-African superstar and, in recent times, younger stars like Tems and the Ghanaian-American singer and rapper, Amaarae, have shown that international success is not a pipe dream but a strong possibility given the right opportunities and connections.
Yet, despite all these successes, women remain critically under-represented behind the boards. One studyfound that less than 3% of producers operating in the United States of America are women. While Nigeria does not have credible stats for this sort of information, a simple eye test of the most popular Nigerian songs on a variety of streaming platforms shows a recurring pattern of them being produced by mostly—overwhelmingly so—men. Some women (including Simi and Dunnie) have found success producing for themselves and others but the numbers remain abysmally low, hinting at a more systemic issue for their exclusion.
London-based Nigerian producer Aderike Sodeinde, who produces and performs as Babyrix Burger, chalks up the glaring absence of women producers to the larger mistreatment of women by society. “I think we can all see that women are treated differently in the music industry and it really reflects how men treat women in general,” she explains. “So, it’s not really about the industry, it’s just how Nigeria is as a country. And it’s like an elephant in the room because people like to say, ‘Oh, keep going,’ and all of that. It’s almost like they are ignoring the difficulties women face and not doing anything to make it better. I think everyone needs to stop for a second and figure out how to deal with this elephant in the room. It’s just so annoying that people are acting like these issues don’t exist and if they do acknowledge it they don’t want to do anything about it.”
Babyrix Burger, who grew up in Nigeria before relocating to London at eight, has loved music for all of her life and dreamed of being a rapper, eventually resorting to making beats for herself to translate her ideas into reality. While her production has brought a spotlight on her, it has also placed her in proximity to situations that reflect why many women are discouraged from pursuing a career in production. “I didn’t realise that I would be an anomaly while making beats,” she offers. “I was just doing it for fun but I started getting noticed, and when you start getting noticed you realise that you’re not always being treated fairly.”
“It’s not something I braced myself for because I didn’t really think about it when I was making beats for fun. But as I started to interact with more people that weren’t just my friends, I realised that this is really messed up and not okay!”
Oladunni Lawal is an artist, songwriter, and record producer professionally known as Dunnie. An alumnus of The Sarz Academy, the Ibadan-born producer has created a niche for herself as one of the few Nigerian musicians who is as known for their production as they are for their musical output. In 2021, she followed the minimalist palette of her 2018 project, ‘Seven,’ with the party-starting vibes of her ‘Amazon The EP,’ headlined by the airy, Amapiano-influenced “Mosafejo.” While Dunnie has produced for acts such as Niniola, Becca, and Busiswa and represented brands such as Ciroc, Oppo, Maggi and Kotex Sanitary Pad over the last three years, her path into production was fraught with complexities. While completing her high school-leaving exams, she took a shine to production but was disheartened by unwanted propositions. “I’d go and meet people to teach me but something would happen,” she says, laughing at the sad memory. “It would either be that one person wanted to marry me or a wife would say I was trying to snatch her husband, it just didn’t work out.”
These experiences pushed her to largely learn production on her own, determined to make a success of herself with her music. “I talked to some of my producer friends and they gave me some software for production and I went on YouTube,” she offers. “This time around, I was determined to not have to meet anyone so they won’t proposition me. I watched a lot of tutorials on YouTube and that’s how I started producing. I gave myself a target of making 10 beats daily and I learned how to produce in one month. I knew that if I made 10 beats daily, one would make sense and before I knew it I got better at production. By 2018, I had a major record, ‘Pempe,’ with Sean Tizzle and that’s what my journey has been like.”
Dunnie mentions that one of the biggest challenges she faced when she started was the lack of visible female producers to serve as inspiration. “To be honest when I wanted to start production, there were no women in Nigeria to look up to,” she confesses. “The only person giving me consolation was Missy Elliott who was American and also Lauryn Hill who produced parts of the ‘[The] Miseducation of Lauryn Hill’ but locally, there was nobody in Abuja or Lagos to look up to. I was on my own for most of that phase.”
When Phebean Adedamola Oluwagbemi started Audio Girl Foundation with her partner, Bada Aramide, in 2018, the goal was to let young women interested in positions behind the boards in the Nigerian music industry know that others like them existed and provide some mentorship for these women. Describing the NGO’s objective, Phebean says: “The whole point of Audio Girl Foundation was to create a platform where young African girls can get support from us and network into the music industry, especially for those interested in the audio technology side of things, music production, live sound engineering, and also live productions. Stage management, production management, road management, and talent management, everything that has to do with the back-end of the music industry.”
In the five years since being established, Audio Girl Foundation has trained over 500 women and hosted six workshops, two boot camps, and a major accelerator program all from funds raised within their network and with little support from corporate partners. The Creative Accelerator Programme known as CAP ‘19 was organised with support from Femme Africa and was Audio Girl Foundation’s last major programme before the COVID-19 pandemic struck.
“The interesting thing for us is that we are not focused on people already in the industry, we want to train young girls in high schools and at the tertiary level because we believe that’s where we can actually shape minds,” Phebean explains. “It’s where we believe we can effect change the most. We want it to be that more than 1% of those working as engineers or producers are women.” Of the 500 women they have trained, there are already success stories. Some of their trainees have secured internships with frontline music label Mavin Records, while others have also interned with Audio Girl Foundation. One former trainee, Anwuli Roseline, is now a sound designer for films and works with EbonyLife. “We have a long way to go but these are some of the highlights of what we’ve done and seen our people move on to better things in their careers,” Phebean says.
Phebean, who works as a recording, mixing, and live sound engineer, is quick to dispel the myth that women are not interested in getting behind the boards, pointing out that Audio Girl Foundation has been getting responses to its call that are way beyond its present capacity. “For our last program, we had over 200 women register and we couldn’t take them all, we could only take about 100 people and we could only attend to 50 of them physically,” she says. “The others had to join virtually. It showed us that there were girls who were interested in learning to be engineers and producers. I think a fundamental problem is that women don’t see more people like them out there and people like to make it seem like it’s not a profession for women and it fuels that disparity. That has to change.”
When I ask Babyrix Burger about the role of male producers in helping to achieve a more representative industry, she says, “Not many people want to acknowledge it because the system benefits them the way it is right now.” The rising producer doesn’t necessarily think that the situation of women working exclusively alone is a panacea to the micro-aggressions of navigating the industry as a woman. “I really feel like that would just be boycotting and it would not help,” she says. “We just need accountability. I love when women come to me and feel safe with me because I’m a woman, that’s part of the reason why they say they come to me. I think having more female producers will probably be better but I don’t think we should boycott because that won’t solve the problem. It’d just still be there.”
Phebean believes that educating women would play a critical part in empowering the new generation of would-be producers, making them knowledgeable about the options and paths available to them. “We need women to know that certain opportunities are open to them and that’s where Audio Girl Foundation comes in,” she says. “We need to keep educating young girls and let them know that their dreams are valid and that we’re here to support them. Specifically, there’s not enough support for women in the industry. I know that men will say there’s not enough support for them but it’s even worse for women.”
For Dunnie, her success has opened her up to more opportunities but she is sceptical of chances that come to her based on her gender, instead hoping to be recognised for her artistic merits. “Initially for me, in the 2017 era, I could feel that people didn’t take me as seriously until they got into a studio with me,” she says. “They’d have the reaction that says, ‘She’s actually good.’ I feel like it has changed now, a lot of people don’t remember that I’m a woman now because the quality of my work leaves no doubt.”
Despite these inroads in the industry, these women don’t want to be handed roles simply based solely on their gender. “I mean if I’m given such opportunities I’d go for it but I don’t want people to come to me because I’m a woman. I want my work to stand out for me,” Dunnie says. “If you hear a great song, the gender of who created it doesn’t come into question. If it’s good, it is good and that’s what my major focus has been.”
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.
Previously, we brought you fresh releases from Suté Iwar, Lil Kesh 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
After much anticipation, Davido has released his 17-track album ‘Timeless.’ Out of the project, “UNAVAILABLE” is one of the early standouts. Davido lays his vocals over Magicsticks’ intoxicating Amapiano-tinged production, sharing his frustrations with the unrealistic expectations society has placed on him. He is majorly concerned with reminding listeners that he is just a human with flaws. South Africa’s Musa Keys adds his soothing voice to the track with nice flows and, amid Magicsticks’ signature crowd vocals, he and Davido ensure that “UNAVAILABLE” will be a fans’ favourite.
Uzoma
FALZ & VECTOR — “YAKUBU”
Among the current generation of African musicians, few match the social consciousness of Falz. In a career streaked with hit songs, the rapper has also been consistent in speaking to the Nigerian sociopolitical climate. The biggest conversation from this year has been the controversial elections and on “Yakubu,” he joins forces with Vector in what is a riposte against the INEC chairman and the country’s political elites in general. From the lyricism down to the allegory-heavy visuals, it’s a brave and haunting reminder of what Nigerians have experienced in just three months of 2023.
Emmanuel
BLOODY CIVILIAN — “I DON’T LIKE YOU”
Since her outstanding debut as Bloody Civilian on “Cold Freestyle” off NATIVE Sound System’s ‘NATIVEWORLD,’ this artist-producer has been one to watch. Shortly before her solo debut, she joined Rema to deliver a standout performance on “Wake Up” for the Black Panther Soundtrack. Still in her experimental phase, as she settles down in the industry, Bloody does not shy away from expressing exactly how she feels on tracks like “How to Kill A Man” and recently released “I Don’t Like You.” Over a groovy beat, Bloody leads into the track by directly reiterating the title, emphasising that she cannot be swayed. She closes out with subtle log drums, intensifying the track even more.
Nwanneamaka
PAYBAC IBORO — “OLOUN” FT. PAYPER CORLEONE
Off his just-released ‘West African Goat’ album comes this rippling collaboration with Payper Corleone. As gleaned through his recent songs, PayBac’s growing ease with Trap-tinged sounds makes for great bops. With his cache of Nigerian references delivered in a wavy flow, the ominous elements swirling beneath the drums make for very effective progressions. Payper’s signature chill flow also works to amplify the mood, while the hook sees PayBac continue to excel with sing-along bars.
Emmanuel
DEELA — “TAKE IT UP”
Audacious rapper and uNder alum Deela is back for her first release of the year, “Take It Up.” Since releasing the snippet on Tiktok with the catchy lines, “Take it up with another hoe who cares you fucked up,” Deela’s new single serves as a reminder that she is not one to mince her words. The melodious trap record, layered with subtle of Hip-Hop elements displays Deela’s effortless and commendable flow on the track, earmarked by her unapologetic attitude. Deela is clearly over it and she is unwilling to entertain any exes trying to spin the block and distract her from her bag.
Nwanneamaka
CHOP LIFE CREW, MOJO AF & EESKAY — “NO EXCUSES”
Chop Life Crew, an ever-evolving collective of Nigerian rappers, is one of the names keeping the lights on in Nigeria’s Rap scene.On “No Excuses,” MOJO AF and EESKAY dip into their bags of braggadocio to unleash one-liners and punchlines and warning shots at their contemporaries. “Got a couple screws loose/Can I use it to hold the game together?/So we can last forever/Maybe I’m way too advanced for my class/So I sit in the back while my dogs dey attack,” EESKAY raps over Shwoff and BANICLAVA’s Drill-inspired production.
Uzoma
TESH CARTER — “MONSTER”
Over the years, Tesh Carter has been in and out of mainstream prominence, but her talent has never been in doubt. Last year’s ‘Rebel EP’ demonstrated her seamless ability to parlay her rap origins into sonically vibrant music. Debuting this ‘23 with “Monster,” Tesh plays beautifully into the zeitgeist of contemporary Afropop. Her svelte vocals interchange exciting rhymes with a lustful edge to them, layered confidently over the upbeat Amapiano production. With the year’s second quarter just starting, this record—while being an eventful release on its own—gives her listeners so much to bank on.
Emmanuel
SGAWD — “INTERMISSION”
On “Intermission,” Nigerian rapper SGaWD has a lot of thoughts to get off her chest. Over an infectious production from 44DB Collective’s Trill Xoe andJohnWav, she calls out the bullshit of those seeking to drain her energy and pledges allegiance to her close associates. “Intermission” is SGaWD’s first release of the year, coming after“Telfar,”last year’s collaboration with Ronehi and her 2021 EP ‘Savage Bitch Juice.’
Uzoma
BRUM3H — “YOU DON’T WANT ME”
With bluesy production and measured vocals, Brum3h tells the quintessential heartbreak story on “You Don’t Want Me”. The subject matter is hardly new to musicians and to his credit, the rising artist makes his song stand out. Anyone who’s been in love would understand the crushing emotions that come with pouring yourself wholeheartedly into someone whose affection only trickles down—that tension is the sweet spot of Brum3h’s writing, which is enlivened through the passioned vocals he wraps around the production. It’s a song which sets grand ambitions for itself and delivers with understated confidence.
Emmanuel
YAZZAVELLI — “KPOLI POLICE” FT. DOPEMAN TWIZZY
On her catchy single “Kpoli Police,” Nigerian rapper Yazzavelli creates a stoner’s anthem, as she and fellow Nigerian artist Dopeman Twizzy infuse their dedication to the herb into the daily conditions of living in the country. In a mix of English and Pidgin English, Yazzavelli and Dopeman Twizzy trade playful bars over a Hip-Hop production, calling out greedy smokers and the good feelings the herb elicits in them.
Uzoma
SHALOM DUBAS — “RUN ME LOVE”
Since we last heard from her on “Gold,” the brilliant Shalom Dubas has been relatively quiet. That’s no problem because the America-based Nigerian rapper packs a lot of thought into every song, and her latest single is no different. Carried on soft strings and quietly knocking drums, she flits in her signature style between rapping and singing, imbibing a distinct even if nostalgic vibe onto “Run Me Love.” In it, she explores the weight of relationships and the disparity that sometimes arises between what some are willing to give and what they expect. With a wise perspective, Dubas blazes on sweet wheels for the rest of the year.
It’s Friday and the weekend beckons. What better time to unwind with the latest music projects from the African continent? 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, in addition to Davido’s feverishly anticipated‘Timeless’, we’ve curated new music emerging from South Africa’s multi-genre scene down to Tanzania, Senegal and of course, Nigeria, which provides an anticipated album from a respected rap savant.
UNCLE WAFFLES — ‘ASYLUM’
Since breaking out via a viral moment in 2021, Uncle Waffles has continued to thrill her burgeoning fan base. The South African polygoth has a distinctly energetic brand on showcase whether on social media or at shows where she plays, but it’s her music which keeps her hot on the lips. Her sophomore project ‘ASYLUM’ is now released, almost exactly a year after sharing ‘Red Dragon’. Extending her collaborative style, the seven-track tape features many voices impressing unique vocals over mostly ‘piano production from Uncle Waffles.
BAABA MAAL — ‘BEING’
Baaba Maal is African music royalty. Making his debut in the late eighties, the Senegalese musician has shifted the metres of sound with every release, vividly imprinting his griot-influenced music on diverse audiences. With his soaring vocals and inimitable storytelling, he was destined to sing for the world. ‘Being’ sees him stage a triumphant return to making projects, his first in seven years. Recorded in London, Brooklyn and Senegal, he’s joined by producer Johan Karlberg who charges his soulful hue with epic arrangements. A backlog of bass and percussion layered through, it’s a forward-facing execution of a tradition which goes back centuries, through which Baaba Maal again confirms his singular place in the pantheon of world music.
LLOYISO – ‘SEASONS’
Anyone who hears Lloyiso sing is bound to be astonished. The South African has a voice sweet and fluid as milk, a quality he’s consistently built on since entering into the scene before the turn of this decade. A master of melancholic imagery, he usually sets his music to stripped R&B acoustics, a choice which allows for unfettered emotion and vulnerability. After getting signed onto Universal Music Group affiliate Republic Records in 2021, Lloyiso has increasingly caught the ears of listeners, and ‘Seasons’ could have come at no better time. Just over twenty minutes in runtime, the scales of his writing is however unbound, while the music stretches past broody acoustics to incorporate ethereal variations.
MABANTU — ‘UNIVERSITY’
Tanzanian duo Mabantu have come good in the East African scene over the past few years. With their vocals complementing each other, their bright takes on the popular Bongo Flava sound has earned them regional hits such as “STAR” and the Harmonize-featured remix of “Utamu”. On their first project, the duo of Twarha and Muuh chart the rollercoaster of memories which is often the mark of youthful existence, using the university as a setting to access such moods. Adapting inflections from genres as diverse as rap and soukous, it’s a colourful project which solidifies Mabantu’s position in the scene.
PAYBAC IBORO – ‘WEST AFRICAN GOAT’
A great figure in Nigeria’s underground rap scene, Paybac iBoro has been moving towards mainstream recognition in recent years. With Headies nominations and features with the likes of Show Dem Camp’s Ghost, his technical prowess and ability to shine over any beat hasn’t gone unnoticed. Another incredible tool in iBoro’s arsenal is his conceptualisation of albums: from ‘The Biggest Tree’ to ‘CULT!’ and now ‘West African Goat’, there’s a charged theme running through each, yet connecting to his personal-streaked takes on communal existence. With colourful Nigeria-centric production and immersive stories, ‘WAG’ culls in features from Viveeyan, Barzini, Elveektor, Alpha Ojini, Ozone, Payper Corleone, Pizzo Da Lp and 3rty.
DAPIANO — ‘RE-PRODUCTION’
Producers making projects is no longer a new thing in Afropop, fortunately. Given the far-reaching sounds they’ve been known to imbibe, projects curated by producers are usually encompassing in their vision. Dapiano is one of those names who’ve been in the Nigerian music scene for a while, producing a number of hits, but haven’t really gotten their deserved credit. He steps towards that light with his new project which is titled ‘Re-Production’. A succinct collection of four songs, the sole features are rapper Vector and Shizzo, a sparse direction which allows the bubbly flavour of Dapiano’s production take centre stage.
RHYMA — ‘STAMINA’
Based in South Africa, the Nigerian musician Rhyma packs a lot of influences in his music. A conduit through the distinct musical traditions of both countries, he’s experimented with everything from Afropop to House and even New Age. On his almost hour-long album ‘Stamina’, there’s an intensity which lights up the records from underneath, while Rhyma’s bubbly vocals usually work to connect the wide-ranging sounds. A number of features also join the carousel, giving the album a festive sheen.
NAKHANE – ‘BASTARD JARGON’
Since last year, Nakhane has been teasing a new album through songs with features like Nile Rodgers, Moonchild Sanelly and Perfume Genius. Although starting their career with a folksy sound which was partly in tribute to the legendary Ali Farka Toure, Nakhane has largely embraced electronic music since their coming out as queer. They’ve been championed by icons like Elton John and Madonna; listening to their music, the acclaim really comes alive. ‘Bastard Jargon’ is the latest iteration in their ever-evolving artistry as Nakhane charts the meeting point of individual taste and familial history. Through evocative, epic records such as “Hear Me Moan” and “My Ma Was Good”, it’s a sure way to get your weekend started off with some explosive sexiness.
With a decade-long career and only three albums, the announcement of any body of work by Davido will always pique the interest of listeners. However, for some reasons, the announcement of his fourth studio album, ‘Timeless,’ was markedly different. Since the two years post-release of his cross-Atlantic album, ‘A Better Time,’ Davido delivered consistently stellar tracks that pushed the envelope around his sound. From CKay’s “WATAWI” with Focalistic to Pheelz’s “Electricity,” and Adekunle Gold’s chart-topper, “High,” each new release serves as a reminder that Davido doesn’t just have a phenomenal ear and taste for music, but he’s also a deservedly revered and reliable force in Afropop.
As we close out the first quarter of 2023, Afropop enthusiasts are granted front-row seats to a new wave of music with a fresher and bolder outlook. This entrance into a new era comes with the highly anticipated relaunch of Davido Music World (DMW) since the announcement of a fourth studio album, ‘Timeless,’from the label boss himself. Still reeling from the excitement of the release with features from Angelique Kidjo, Musa Keys, Asake and more, DMW 2.0 introduced two record label signees, Logos Olori and Morravey, who feature on the album.
With Davido’s opulent discography, the consistent hitmaker and sought-after collaborator has a good ear for the craft, considering the astronomical success of his previous signees, Mayorkun, Dremo and more. And in a world where talented women are repetitively sidelined and excluded from important rooms and conversations, Davido incessantly lives up to his motto, ‘We rise by lifting others’ with Daniella Ibinabo Daniel aka Morravey. The Rivers State-born signee will be the second woman, after Liya, to work under DMW.
For rising artists, relentlessly waiting for their moment of breakthrough where their sound reaches the right ears, the grind doesn’t stop. For those that have been at it for several months or years, that tender stage requires a significant amount of persistence and consistency but with the recent age of social media, the process has been somewhat simplified. Taking to TikTok to show anyone who would care to listen to what she is made of, 21-year-old Morravey posted a series of freestyles on the app. With the drive and hunger of any up-and-coming artist, she tagged several front players of the blooming genre that is Afropop and one viral video later, she successfully gained the attention of Davido. The budding star benefits from the buzz generated around the label boss’ album release and rightly so as her debut performance on “IN THE GARDEN” doesn’t disappoint.
Still warming up for the 17-track album, “IN THE GARDEN”—the third song of the project—is short and sweet. Leading in with heart-thumping log drums, you already know what to expect as you delve deeper into the promising track. Morravey’s vocals kick off the love-themed track instantly making it known that she is not shy to showcase how high those harmonious notes can go. Her sleek vocals hold confidence as she expertly rides the wave of the beat, never once displaying a hint of uncertainty despite this being her debut performance.
Prepping us for Davido’s smooth entrance into the track, Morravey lays her intentions bare and she is sure not to mince her words as she sings, “Far far in the garden, I wanna give you loving/Be the one to hold my hand, I want you to be my man.” However, the hook, which I anticipate will be stuck in my head for the next couple of days, elevates the track even further as her dulcet vocals pair perfectly with the intoxicating instrumentals.
With a brisk delivery in the middle of the track, Davido is in and out in no time, intentionally allowing Morravey to shine. By the end of “IN THE GARDEN,” the message is clear. If you weren’t paying attention before, do so now.
Undisputedly, the functions art serve for any consumer cannot be summarised in a finite list. From documentation of events to a means of self-expression or simply as a medium to raise awareness and educate. However, a major role art plays is entertainment. And for a country like Nigeria, regularly riddled with a plethora of quandaries, the entertainment purpose of art doubles down as a means of escapism. For years on end, comedy has served as a reference point to temporarily suspend reality. Despite the fact Nigerians unarguably need a laugh from time to time, the stand-up comedy industry—like every other creative and non-creative industry in the country—is reserved for and dominated by men. Working just as, if not twice as hard to achieve results, the women struggle to make a name for themselves and stand out from their male counterparts who have no issues taking up space.
On the rare occasion that a woman is credited for her outstanding efforts in this field, one of the names you’d likely come across is Real Warri Pikin (Warri Pikin). As her stage name implies, the comedian—born Anita Asuoha—hails from Warri, Delta State. “I think my heritage is one of the factors that has brought me this far and it has played a huge role. I remember when I was going for my London show, the first set of people who bought my tickets were Ijaw, Urhobo and Itsekiri people that live over there. It was really strategic.” Anyone familiar with the comedy star knows that her heritage is also reflected in the sort of jokes she tells as well as the language she adopts. “Na where my strength dey, that pidgin English. I don’t speak proper pidgin. It’s the Warri Pidgin.”
However, deciding a stage name and the reference point for her witty punchlines and jokes was the least challenging aspect of the journey ahead. Building a career from scratch, with minimal experience in the comedy field after studying political science was difficult enough but doing it in a male-dominated field made it more tasking. Reminiscing on her entrance in 2018, sitting amongst industry heavyweights like Basket Mouth, Bovi and AY to name a few, she faced numerous setbacks. From being told to change locations or the tone of her jokes because they were too ‘vulgar,’ some industry colleagues made several conscious or unconscious attempts to paint her as an overachiever.
“‘Why do you want to use a big hall? Start with a small hall because you know female comedy shows are not as big.’ They tried to discourage me but I said, ‘why I no go fit use the biggest hall? If a man can use the biggest hall, why can’t I?,” Warri Pikin laughed as she looked back at the measly attempts to shut her down. However, she chose to remain persistent and authentic, trusting that her hard work will pay off. In a sit down with The NATIVE, Warri Pikin goes into detail about her journey and lessons in the industry thus far as well as how the steps she took at the start have enabled her to build a brand on the global stage that is the internet.
Our conversation, which follows below, has been lightly edited for clarity.
NATIVE: Let’s start from the top. As someone working on the inside, what’s it been like building a career in the Nigerian entertainment industry?
Real Warri Pikin: It’s been very bitter-sweet. It’s been difficult. It’s just mixed emotions because when you’re still in the beginning stages you don’t realise that it’s something you’re going to build forever. You never get to the finish line. As long as you are alive, you continue to build and evolve if you want to remain relevant. The foundation was not easy, especially coupled with the fact that I was married with little kids. I’m also a woman in the industry, dealing with those backward narratives. You know how e dey be. It’s been really difficult but I was very intentional and bent on changing the narrative. A woman can be in a male-dominated industry and still stand out.
Comedy in Nigeria as you’ve rightly pointed out is very male-centred with many top spots reserved by men. Would you say there’s been a significant incline in the number of women doing comedy?
About an increase in women in comedy, not at all. There’s no single increase. If you want to compare with the male comedians, it’s nothing. No one can count but you can count the number of female comedians and we might not be up to ten. The number is really not encouraging.
What’s your secret ingredient to staying confident and focused on your craft?
Not really a secret ingredient but I’d say authenticity. Just being myself. It’s very easy to be me. I do my very original jokes and I’m not faking it. Who I am on camera is the same person I am in real life. Just being myself is my secret I guess. It’s also a blend of my being very focused, consistent, intentional and also trying to learn new things. Being myself is still that key.
Given that there weren’t very many women in the space, who did you look up to growing up? Who were your early comedic inspirations?
For my role models I had a couple, like Helen Paul. I had role models like Aunty Mandy and Lepacious Bose from A Night of a Thousand Laughs as well.
Having recognised this problem, what role would you say consumers have to play in ensuring the longevity of female comedians?
Oh yes! The consumer factor is like 50%. Consumers need to support and they need to encourage. I remember when I won [Comedian] of the Year [at] Humour Awards and I saw a lot of comedy consumers say things like, ‘Ah na woman them go give? Where was BOVI?’ I was just thinking, didn’t I work? Didn’t I do comedy shows? I no crack joke? They need to really show support because the comments were not good. Even on Hip TV, they were saying ‘You want to tell that Warri Pikin is funnier than so and so?’ Do you understand? I had to block out the noise. Make I no lie to you I funny die! The narrative is just poor and consumers need to really support female comedians.
Comparing when you started in comedy and now, has your approach to comedy and the sort of jokes you tell changed?
Of course, my approach is still changing because I always evolve and build myself. I always want to learn, unlearn and relearn things. The joke wey I crack for stage 2018 or 2019, I no fit crack am now. I go don pad am and upgrade am. I’m more in tune with my environment. I understand people better and I understand my audience better. I can say for a fact that my comedy now and before has really really changed.
We’ve also had a shift from stand-up comedy to Internet comedy in Nigeria. How would you say using social media channels such as Instagram and TikTok have been for the advancement of your career?
One of the advantages of also having an online presence is reach. As a standup comedian, when you’re on stage and people don’t know you, the first look they give is always a weird ‘you better be funny.’ It takes the grace of God to really perform and leave the stage without getting booed. Since I already have an online audience and presence, before they call me, they’ve started cheering. So the online videos help them have an idea of what to expect. They know that I’m funny. That has helped me in my standup. I’ve never been booed and I don’t think I will ever be booed by the grace of God. That first ten seconds of cheers, na the energy wey you go take kill am.
Fair enough. How did the COVID-19 pandemic affect your work and what are some of the ways you navigated that rough time?
That 2020 ehn? The pandemic made me discover other things about myself because when I started, all I had going for me was standup comedy but it occurred to me that we need to focus on other things. At the same time, it taught me that I need to have more content online. That was the time I opened my YouTube. Invest and create more content online across platforms. Instagram is very short, you know. The life span of one video is short so I had to create longer form content on YouTube. Staying at home helped me discover that and see how I can get more content for other platforms.
I guess it would’ve also helped you grow audience membership.
I’m telling you! The kind of views I got on Facebook in 2020 I’m struggling to get them now. I used to get 16-20 million views but now I dey struggle with 1000 views. I’m telling you. My followers increased drastically as well. I opened my TikTok in 2020 and I got over 500 thousand followers in a week.
What advice would you give to any woman trying to venture into comedy in Nigeria?
First of all, you need to work on your mind. If you can conquer your mind you can conquer the world. It’s all in the mind. When I started, if I had listened to what people said I won’t be here today. There are two veterans—I no fit call their names—but top comedians in Nigeria, one of which told me to come to Lagos if I want to blow. Just imagine those words coming from a veteran. It will make you start thinking and making decisions that you aren’t prepared for. Because they’ve done 20 years plus in the industry, you’d now be thinking you always have to take their advice. I don’t know the kind of mind I had then that just pushed me to do as I like. I had a goldfish mentality. Anywhere wey I dey for the water, they go see me.
Very essential especially as you’re starting.
Exactly. Another veteran told me to change my type of comedy saying, ‘You’re too vulgar. You’ll not go far.’ You need to conquer that mindset and set your own rules. Times have changed. If you’re a woman that wants to do what I’m doing, you need to conquer that mindset. You don’t have to go with what the world thinks. It’s what you think would work for you. Everyone has their own customised grace and strategies. Second of all, you have to make sure that what you want to do is what you’re supposed to do. Be sure you have passion for it and you feed it by learning about it and working on it. With those things, you now focus as well. You’re good to go. The internet is also like a small stage right now so in 2 seconds you can blow.
Amazing advice. What’s next for Warri Pikin this year?
Absence, they say, makes the heart grow fonder. For 12-plus years, Davido has been a fixture in Afropop, an inescapable superstar with an outsize personality and designer duffle bags brimming with hits. As he’s unequivocally established himself as Nigerian (and African) music’s quintessential pop savant, Davido has also grown into the man that he is very publicly. That means celebrations are shared with millions, controversies are amplified, missteps are loudly dissected, and personal losses attract communal condolences.
Around this time last year, there was chatter about a potential Davido album for the summer, given some credence by the May release of the gospel-influenced “Stand Strong,” in collaboration with the Sunday Service Choir. As the months passed without further developments, those hopes for a project would come to be replaced by sympathies to the singer and his family, following the loss of his son. Death and grief, sadly, aren’t new to David Adeleke, but this loss carried more weight than the previous losses he’d grieved.
Months of silence was broken a few days ago, keeping promise with his “see you in march” tweet from last December. The cinematic video officially set off the road to his fourth studio album, ‘Timeless’, with an open letter hinting at the music’s formative times and his definitive trait of resilience. We’ve seen Davido weather his way through losses and controversies, but the nuances here are different, which plays a role in our expectations of the music. How has Davido weathered the last few months? ‘Timeless’ has the answers.
In usual 1-Listen review fashion, all reactions are in real-time while the music plays. No pauses, rewinds, fast-forwards or skips.
Going in a bit blind without all the credits but, boy, am I excited?! This sax is adding a spiritual dimension to this gbedu-type beat. “I be David for life” is going to ring out at concerts, I’m 1000% sure. I don’t know what I was expecting from this intro but this is a little more rambunctious than I expected, but then again, this is Davido in imperial form and it sounds quite fitting. I like that verse, a couple of self-possessed quips. The groove in this beat is a really good springboard for Davido’s brag. The dancing governor gets a line, which is an excellent touch because his tenure has gotten off to an excellent start from all reports. Nice intro, nothing crazy but it’s great as a tone-setter.
“FEEL”
Omotepiano is in the building! Davido knows how to get your attention regardless of what’s happening in the music, it’s that magnetic star power always at work. There’s some depth to this even though it’s a love song, heartfelt on first scan but I need to hear this again for critical value. In the moment, though, this could be one of those sleeper hits. Might not be a huge song but you’ll hear people murmuring the hook when it comes on.
“IN THE GARDEN” (feat. Morravey)
Nigerian pop songs that feature gossamer guitar loops rarely miss. More omotepiano vibes. Whose voice is this? (Editor’s note: DMW new signee, Morravey.) Her voice is very radiant and the melodies are supple, reminds me a little of Waje. I don’t know if it’s my headphones but the mix on this log drums sound a little more cruddy than necessary. This is Davido in his “My money, my body na your own o” bag. Nice verse, but this hook is the star of the show. That guitar loop as well. That was short, really short.
“GODFATHER”
Blaise Beatz’ quarterly streaming checks must be going crazy. Yes, I’m pocket watching. I might be getting omotepiano’d out, dawg. This sounds like a Davido song I’ve heard before, sounds like he’s in cruise control. Maybe it’s the title but I expected something a little more assertive. Ah, there go the lines about his status, but this romantic tilt to it is undercutting it for me. Even this hook is tepid to me, like I’ve the man sing similar sentiments to stronger effect. Might be a skip.
“UNAVAILABLE” (feat. Musa Keys)
Musa Keys credit and Magicsticks tag? This has to be some heat. Yeah, this is an anthemic hook. Those piano chords came in with some sauce, and this man is talking. I’m going to be repeating “I’m unavailable, dem no dey see me” to any and every one for the next few days. I might need more people to go to Musa Keys for vocal features, this is a remarkable contribution. I figured he didn’t produce this since there were no delicious guitar chords, but Magic delivered—as he always does. Interesting to have a South African producer/singer over a Nigerian-produced ‘Piano track. This is the hit song.
“BOP” (feat. Dexta Daps)
I was about to say there might be no log drums here but it hit me right in the ear drum. This one has an afro-bashment knock to it, catchy but I need to hear something more special from Davido to sell me on this. Who’s this? Sounds like a voice of a UK-based artist to me for some reason. (Editor’s note: It’s Dexta Daps.) There’s more fire in this person’s verse, love the passion in his voice, sounds like the infatuation is consuming him. This hook is serviceable and it works well with the beat. Need to revisit.
“E PAIN ME”
The Pon-Pon sound is back! My excitement is based on this being a variety addition, not that it’s an excellent beat. I mean, it’s good enough to pull out a really strong Davido performance. Who was the last person that did Davido dirty? He’s doing a good job recounting those dark days, or at least channelling someone else’s experience. That “Baby no be so” line on the chorus stands out to me, maybe it’s the melody. This fade out isn’t it, man.
“AWAY”
Shekpe! always gets me going. Is Magicsticks is the best omotepiano producer out here? I’m on the yes side of this argument. “Gbedu dey body/I’ve been doing this/e don tey.” That entire bridge is quintessential Davido, every line sparkles with a knowing conviction. Davido is coming for all the dancefloors with this album, which is expected. This one is a hit-ready slapper. Short, straight to the point and effective.
“PRECISION”
This album has flown by. Haha, I like that opening line. I don’t know about this decision to add a log drum to this, I think the konto/galala groove was really strong on its own. I guess we’re keeping things modern. “As I dey here, I’m counting my blessings” is a resonant lyric. One of the most underappreciated things about Davido is how he’s honed his voice to make everything sound infectious, even if the timbre is a little unconventional. “Precision” is a solid example of that, it all sounds effortless. This would end up being more of a deep cut, but it’s one of the brightest spots for me so far.
“KANTE” (feat. Fave)
More Caribbean pop vibes, very colourful. Fave! Her voice is so distinct. I think people focus on the timbre of her voice more than how agile it is, which is really the sell of her singing power. Davido is mirroring Fave’s melodies but with his own swaggering touch. This verse is giving Oli Ekun’s “Agba lo n s’oro” vibes, LOL. It’s the only thing I could compare it to. This is a really good hook. Yeah, this is going to be one of the shorter ones here. Good deep cut.
“NA MONEY” (feat. The Cavemen & Angelique Kidjo)
I heard “Sawa” and those guitars and I knew the Okorie brothers are in the building. Benjamin’s voice was beamed in from an ancestral plane, and the way Davido slides in so majestic. The groove is grooving! “Be like mamiwota, why you fine like this?” I feel you, David. I just remembered that thread of Igbo women displaying utter beauty. God dey create. Ms. Kidjo! Always a force when she steps in front of the mic. Like 50 good things are happening on this song. This is such a pleasant surprise. Definitely a keeper.
“U (JUJU)” [feat. Skepta]
Any song that follows “NA MONEY” has to slap, man. Come on, Davido. Give me something. I like this, R&B-tinged slapper. “Tule”-era Davido is one of the greatest highlights in modern Nigerian music culture. I like the bounce on this. Big Smoke! Skepta on Nigerian pop jams is always welcome, he put on before—redacted. The pidgin bit is a nice touch. This is a solid song.
“NO COMPETITION” (feat. Asake)
I’m awake, man. The last couple of songs have kept me engaged and this one is already doing the same. “You go no say people fine/God design na elelele” is such a remarkable line. Bro, Nigerian women are so stunning. Like, you’ll just be taking an evening stroll and you’ll be thanking God for the gift of sight. I digress, my bad. Asake! Okay, talk to her! Yeah, this is a great verse. This is exactly how I’d expect Asake to yarn a babe if he’s attracted. I like this song.
“PICASSO” (feat. Logos Olori)
These are some beautiful guitar strums. Davido really put on for the loverboys on this album, and this is going to be part of the reason why I need everyone to kill the Yoruba demon agenda. I’m trying to place this voice, I’ve heard it a few times before. Fuck, I hate this no credits P. (Editor’s note: That’s new DMW signee, Logos Olori.) Davido listening to Sauti Sol to prove his romantic-at-heart bonafides is funny to me, but I get it. Whoever this guest is, you put in a great shift.
“FOR THE ROAD”
Blaise Beatz tag, hope I don’t hear no log drums. I like this sort of folk-pop direction, has some Caribbean pop bounce and colour to it. Davido dipping into his lower register is an interesting, if a little tepid, choice. LOL, guys have such wild ways to cajole women to get what they want. The choral hook is a nice touch but I don’t think I want to hear this song more than one or two more times after this.
“LCND”
Penultimate song, let’s get it. This is going to some emotional place, I think. Sike, my man is doubling down on his readiness to enjoy life and make money. You know what? I rate it, because legends truly never die. I automatically hate any line that references Lukaku; I’m an Arsenal fan, go figure. This beat is radiant and triumphant, fitting for Davido’s proclamations. Will revisit this for sure.
“CHAMPION SOUND” (w/Focalistic)
Counting its leak, this song is almost two years old and I think it’s time to call it what it really is: A CLASSIC. Caltonic SA and ___ gave Mr. Adeleke and Mr. Sebetso a heat rock of a beat. More than “Ke Star (Remix),” this song is the one that represents their chemistry and I think we need to start asking about the whereabouts of that joint EP. That Runtown line is Nigerian pop heritage, Focalistic’s syncopated flow and Davido adding adlibs is one of the greatest feats in Nigeria-SA collaboration. Like I said, this is A CLASSIC.
Final Thoughts
001 is back and he means business. I don’t think anyone expects Davido to be shaking off rust, but there’s almost a concerted effort to get things going right from the bat instead of addressing his absence. ‘Timeless’ is a reassertion of greatness from one of the greatest entertainers of his (and any other) generation. Almost all of the 17 songs here are made with the intent of showing Davido at his most optimised, a hit song generator that distils his perspective as a young, famous and successful person into dance-ready jams.
For the most part, ‘Timeless’ comes across as effortless—maybe a little too effortless. Unlike how his last two albums helped us better understand him as a person that cherishes his loved ones (‘A Good Time’) and a man with a boulder-sized chip on his shoulder (‘A Better Time’), this new album doesn’t land revelatory punches. Also, there aren’t too many musical risks, leaning heavily on Nigerian translations of Amapiano especially on the album’s first half. The collaborations are remarkable, though, a diverse cast that help the project’s variety and also underlines Davido’s adaptability as a pop artist.
The driving force for ‘Timeless’ is invincibility. Between opener “OVER DEM” and penultimate song, “LCND,” there’s a triumphant air Davido walks in. Even though the moments of emotional realness are rare and undercut in favour of posturing, Davido’s comeback is a worthwhile affair in pomp and self-conviction.
“Trillo tell me say na NATIVE be the matter,” raps the mercurial ODUMODUBVLCK in what is currently the hottest song in the country. That makes the mentioned figure one of the most sought-after people on the internet, where the song is dominating every post and status, its instantly catchy beat in swaggering symmetry with the quotable-laden bars of the rapper. When Trill and I connected on Zoom some days ago, we immediately got to the Declan-sized elephant in the room.
“It’s just crazy to see everyone’s reaction,” says Trill who co-produced the record and is professionally known as Trill Xoe. “I was just literally watching a video of Tony Elumelu listening to it and I’m like ‘wow’.”
A billionaire who’s one of the richest men in Africa, Elemelu’s endorsement follows a long list of celebrity mentions: from Wizkid to Adekunle Gold, Timaya, and the West Ham captain himself Declan Rice, the Trill Xöe beat has been heard just about everywhere. Having a glossy finish without losing its gritty appeal, the production perfectly aligns with the song’s vision—a treatise on self-confidence which sounds the part. With ODUMODU’s mention of his friends and crew members, “Declan Rice” sparkles with boisterous communal energy.
This was initially achieved through the creative process, Trill Xöe tells the NATIVE. “I have to shout out 44db,” he says, referencing a producer collective he’s part of. “John Wav—he’s a part of 44db, he’s a frequent collaborator with me—he sent me the pack when I was in Ghana cos I asked him for that, to send me zips to work on, cos that’s how we normally work. So he just sent me the beat and I heard the first twenty seconds and I was like yo, this is crazy.”
With that grand vision set, Trill Xöe knew the beat had to go somewhere else, and he got people in. “One guy called OTB—shoutout OTB—he did some drums that were fire and John added melodies,” he says. “I heard it, the full beat he sent and I wasn’t feeling all the melodies so I told him to send me the zip so I could touch it up. Then ODUMODUBLVCK just pulled up and he heard it and was like, ‘Chill. This is it’.”
Everything was in alignment: it was their first day in Ghana for a recording camp and he was just setting up his gear when the song came together. The gunshot sounds being ODUMODU’s idea, the Native Records rapper sent it to UC who produced “Dog Eat Dog”, and kept a steady creative rapport with the artist. “He felt like something was missing,” Trill recalls, “and UC now added that string base that you hear (mimes the sound) and a flute. There was already a flute in the beat but this flute was a bit different. And you know, that’s how the magic was made.”
Collaboration has always been a part of Trill’s sonic philosophy. As early as 2018, he was thinking through a curator’s lens, bringing artists together in songs he produced. That year saw the release of ‘Blood, Sweat and Tears,’ a sort of manifesto which underlined his resolve to dig beneath the field of popular music. Featuring a host of rappers like Psycho YP, Barelyanyhook and Zilla Oaks, the EP however swirled with delicate touches, revealing Trill Xoe’s mastery over his wide-ranging genres.
In 2016, Trill Xoe had left for the island country of Mauritius for his university education, and while there getting involved in the music ecosystem. “I was just going through a lot mentally,” he says about the period, “because I was trying to balance school and putting myself out there through music. It was sort of my dissertation cos I wanted to show the world what I was working on. And you know it was that period when SoundCloud was hot; so this is me out here, seventeen years old in Mauritius, just saying you know what? I’ll just release this”.
Surprisingly, he barely met any of the artists in person during the creative process. “At that point, the only person I met in person was Rilwan,” he explains, “because we went to school together. But YP, Tonero, I never met them in person,” he says with a laugh. “I’m a perfectionist, I pay attention to every detail,” says Trillo when I ask about his involvement in a recording session. “Down to the writing, I try my best to just direct the artist in where I was going with the beat. Cos I really love synergy; let’s say I’m making a beat from scratch, I want to be on the same page as the artist.”
We wind off an anecdote about Sarz grouping producers as either musicians or beatmakers, depending on their levels of interaction with the complete creative process. Trill Xoe then mentions the legendary producer as one of his inspirations and I ask who else belongs on that podium. “A lot, I can’t lie,” he says. “Firstly, everyone in 44dB, RZA, Kanye, Metro, who else? Kabza—ah mehn, Kabza is crazy. So these are just based off listening from when I started to where I am right now; Adey, Sarz, they’re a lot.”
Music being part of his everyday existence, it’s no surprise how deep Trill Xoe’s interest runs. He remembers being a stubborn kid and always getting in trouble. “Funny enough, my first introduction to music was in church; I used to be a drummer,” he reveals. “Even before then, I used to always—we used to have this big cupboard that was like a drum, so I’d get pencils and just be tapping on it. I was making different noises but to me it was fun sha”.
He was in church for about five years before he went to boarding school. In senior secondary school, he became more immersed in the modern adaptation of use. Using laptops within the school was then newly approved and a senior whose name was Olu (who was also a DJ) had FL Studio which Trillo found fascinating. The era of DRB Lasgidi and Joules Da Kid, young people were being increasingly drawn towards creativity. “I was just amazed to see them record these things from scratch,” he recalls. “I got FL from Olu; I think he bought the CD or something cos that was the very old FL. And he gave the CD, gave me all the details. Then I used to make rubbish beats. I realised I wasn’t feeling what I was making”.
YouTube provided the source material for further research. Spending hours on the platform, he’d watch tutorials to learn the concepts of music-making. Metro Boomin’s ‘Cook Up’ volumes were important for him; more than just techniques of mixing, he also learnt how to handle a studio. He started remaking beats and executing a flawless replication of Chief Keef’s “3Hunna”. “Once I did that,” he says, “I realised I actually do not want to be one of those guys making Type beats on YouTube and from there I just went on a path of self-discovery. Knowing the sounds I like, the tempos I like, the keys I like, sort of acts I like, it just helped me out”.
Trill Xoe is also a DJ, which is a skill he picked while in Mauritius. Wanting to “hustle for [his] shit,” he was advised by his close friend and manager Julian to meet clubs and event organisers in the area. “At a point, it was like we were the best DJs on the island,” he says. “I remember Davido came, Mayorkun came, Falz came, Kiddominant came—it was just something like ‘yeah, I can actually do something with DJing’. Anything music, you can catch me there”.
Last year, Trillo announced that he had signed on to NATIVE Records as an A&R. Bringing his wealth of technical mastery and industry knowledge, it’s an alignment of values as the urban cultural platform has always been big on spotlighting the best talents, regardless of where they are. Currently home to ODUMODUBLVCK and Smada, it’s a movement with every potential to define the soundscape of this particular generation.
“Shoutout Teezee, shoutout Chubbz, shoutout Sholz,” he says with an air of genuine appreciation. “It’s crazy, I just feel like they just believed in me and we’re here for talent. You know how they say producers are the best A&Rs and they took the risk on me and you know, hopefully it’s paying off. We have the number one song in the country right now. So shout out everyone at NATIVE Records.”
On an individual level, Trill Xoe has got some things planned for the year. “This year is looking fresh,” he says excitedly. “So this is going to be an exclusive, I’m dropping my first project since [‘Blood, Sweat and Tears’]. The project comes April 21st, first single April 14th. The single features Azanti and one of the young boys I discovered, his name is Maji and the project is the first time I’m rapping on like two songs. It’s a six track EP. I’ve been working on this like 2019; can’t wait for it to come out. It’s called ‘Lucent’. It means glowing with light.”
It’s not everyday you get signed onto a music label owned by one of the greatest artists Africa has ever seen. For up-and-coming musicians who consistently put in work into their craft and perception, due recognition also comes with energised determination. That is how Logos Olori would surely be feeling at this moment. Alongside Morravey, he was announced yesterday as the newest signees of Davido Music Worldwide (DMW), the premium markers of its exciting rebrand which refocuses for a conscious push into the global market that is now available to Afropop.
Being one of the most consistent hitmakers between now and the previous decade, Davido has proven to have a great ear for sound. Over the years, the pop star has been able to place his fingers on the exact movement of a culture’s pulse, and use the resources at his disposal to execute his ideas. This was the unique pull behind the success of the first set of DMW signees, of which Mayorkun, Peruzzi, Dremo and DJ ECool penetrated deeply into the market, scoring many hits between themselves before most of them moved on.
Its this celebrated Afropop tradition that Logos Olori uses as his launchpad. Born in Lagos as Olalekan Emeka Taiwo, the singer began playing the drums when he was young. Iconic musicians such as 2Baba, Bob Marley, Michael Jackson and Fela Kuti were some of the inspirations he would imbibe as he set on a professional career, which really began while he was an undergraduate at the Lagos State Polytechnic (LASPOTECH).
There, he also became close friends with Magicsticks, the acclaimed producer best known for his work on Asake’s ‘Mr. Money With The Vibe’. Being around such intentional creatives, it was natural for Logos Olori to grow confidently into his sound, which is probably why he has such a stacked catalogue before his first record deal. Produced by Magicsticks in 2020, “Only You” was his debut. A quintessential Tekno-esque Afropop groove, his emotive qualities were present even if not sharpened to elite standards.
His creative relationship with the King of Sounds and Blues continued into the Dandizzy-featured “Logos Party,” a mellow bop which sees him flex a bit of rapping skills. Playful in tone and loosely structured around Magicstick’s horn-flecked production, there was audible development. That productive pandemic year continued with “Shine”, again produced by you-know-who. Perhaps the most accomplished record in his backlog, it’s a mix of good vibes and aspirational messaging. A favoured pairing among street hop musicians, it makes perfect sense in the hands of Olori, who’s mentioned as having grown up in the Ajegunle hood of mainland Lagos.
Since then, he’s put out music each year. From the amapiano-indebted “Palliative” to the Young Thug-sampling “Irregular” and afropop-coloured “Dissolve Me”, the musician has maintained a versatile approach to his records. In case you thought he didn’t have a softer side, “Happy” featured a virtuosic folksy groove from Magicsticks, while the artist contemplated the confusion of mixed signals in his verses. “Yellow gold, pelu ice/ Feeling nice, I’m alright tonight/ Carry go, do me so, overflow oh/ I’m all yours tonight,” he sings with tender submission, but more excitingly, it’s the assured and understated way he positions the rhyme schemes in between the lines, showing his skill as a songwriter.
“Lale” was his only release from last year, put out in July, which is presumably the period before he went into artist development by DMW. Stuffed in the recent style of Magicsticks, the beat teases a Fuji-inflected performance from him, yet another showcase of the Logos Olori dipping into the pockets of established sounds to find his rhythm. This is a man prepared for the journey.
It’s no known secret that Afropop is growing at a breakneck pace; from welcoming ascendant stars to garnering the attention of audiences beyond its home and selling out big-ticket venues across the globe. According to the IFPI Global Music Report, Sub-Saharan Africa was the only region to see more than 30% growth, becoming the fastest-growing region for recorded music revenues in 2022.
Despite this growth, women in Afropop, who have always been an integral part of the culture’s fabric, are still being shifted to the background either as decoration for their male counterparts, or pitted against one another, and in some cases, maligned by critics and fans alike. Thankfully, we have community-driven initiatives such as Femme Africa bridging this gap in the industry, and creating a space where artists, producers, DJs, A&Rs, music execs and enthusiasts can harness their skills and talents, and increase their reach through live music performances that endear them to listeners. That’s why this International Women’s Month, we’re partnering with the women over at Femme Africa to present our first-ever women-focused curation of Best New Artists across the continent.
With 2023 poised to be an even greater year for the music coming out of Africa, there are plenty of new women artists that we’re excited to watch out for; from bilingual Nigerian rapper Brazy to Ghanaian singer with a voice of gold, Melissa, and Cameroonian singer, Posi, there’s something in here for every listener. Tap in if you wish to be that friend putting people on to good music or if you’re an A&R, looking for the next best thing, this is the group of artists you want to be paying attention to.
WINNY
In association with Femme Africa.
Last year, Winny released “Pretty,” a riveting track that contained a litany of proclamations bordering on abundance, both financial and emotional. “I’m pretty in my own way/And I like to dey sing what’s on my mind/I love broke inna rich way/Stay humble, to make my money with pride,” she sings. It’s both the lyrics and Winny’s 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. While the Benue State indigene is relatively new to the music scene, a little digging uncovers her consistency with covers of songs from other artists and a 2018 single “Toluwani.”
In music videos for her songs, which she calls “short films,” Winny also offers visual treats alongside the audio delights. In the Prince Akpa-directed video for “Pretty,” Winny favours minimalistic backdrops, allowing her striking fashion style—hair, clothing and accessories—to convey her sense of individuality and expression. In her latest single “Don’t Leave,” Winny recreates the magic of “Pretty” with a patois-influenced delivery as she shares her fear at the possibility of her lover exiting her life; she encourages him to ignore the detractors and stick by her side.
The video for “Don’t Leave,” directed by Prince Akpa, also shares stylistic similarities with that of “Pretty”; both videos evoke the mood of intentionality that runs parallel with Winny’s brand of Afro-inspired R&B/Soul. With her debut, self-titled EP scheduled for release on April 7, Winny’s journey promises to be exciting. It’s a must-watch.
Uzoma Ihejirika
BRAZY
“Attends Shekeleva” was the phrase that had a stronghold on several TikTok users in Lagos and Accra late last year. Off her song, “Attends,” Brazy’s catchy track, adorned by a witty pre-hook,“cheat on me and I’ll cheat on you” made it clear that this rapper was a name that mustn’t be omitted in conversations about the next generation of audacious female rappers in the country. But before the Velli-produced track took audiences by storm, Brazy’s airy, euphonious vocals graced the intro track, “MATILDA” for Cruel Santino’s star-studded album, ‘Subaru Boys: Final Heaven.’
Sitting amongst music industry heavyweights in their own right, Amaarae, Gus Dapperton, Koffee and more, Brazy delivered a clutch, stand-out performance, leading her to accompany Cruel Santino on his Europe tour last year. When we last spoke to Brazy, she shares that she randomly decided to record “Attends”—translating to ‘wait’ in french—before the Paris show held in October 2022 and in 10 minutes, her biggest track yet was born.
However, that wasn’t the genre-fluid, bilingual rapper’s debut on the scene. Still relatively new to the scene, Brazy’s first attempt at music can be seen on the L0la-assisted “Siren.” And for all her singles including “1st Place” and “Gingerbread,” or her numerous collaborations with other female rappers as seen on “Selecta” or “ARI,” Brazy has taken the organic approach to create music. Despite starting her journey out as a means of having fun with friends, Brazy stands out from the crowd not just for her self-assured lyrics and witty penmanship, but also for her eccentric production and sheer ability to create tracks that instantly put you in a good mood. With Brazy already displaying many layers to her artistry, we’re excited to see where she could go sonically next.
Nwanneamaka
MELLISSA
In association with Femme Africa.
With only a few songs under her belt, Mellissa has proven that she is an artist we should keep our eyes out for. While she made her solo debut in 2021 with “Limelight,” audiences first got a whiff of Moliy’s dulcet, hypnotic vocals on “FEEL A WAY” off Amaarae’s critically acclaimed debut album, ‘THE ANGEL YOU DON’T KNOW.’ Assisted by her serial collaborator and sister, Moliy, Mellissa took Amaaarae’s nihilistic party girl anthem to new, unimaginable heights. Pairing perfectly with the two vocalists, the Ghanaian singer’s sleek vocals blended so smoothly that they would all be briefly mistaken for one voice. But that was just the beginning of her stellar collaborations as with each release, she proves to be a versatile artist transforming the worlds created to another dimension.
Another clear standout cut, Boj enlisted Mellissa and Moliy for what would be one of the most streamed tracks on his solo album, ‘Gbagada Express.’ On “In A Loop,” the trio go back and forth over the rhythmic, groovy track as they sing of being stuck in the cycle of a toxic relationship. Carrying the track’s infectious hook, Mellissa’s luminous vocals are especially affecting as she sings, “What we fi do? We’re stuck in a loop/Nobody gonna win this game,” underscoring the romantic tension which vivifies the record. Reiterating her sheer artistry, she delivers another memorable performance with Not3s on “Hear My Sound,” the outro for Ajebutter22’s ‘Soundtrack To The Good Life.’ Still awaiting more solo releases, Mellissa is already a sought-after collaboration with evidently more tricks up her sleeve.
Nwanneamaka Igwe
QING MADI
In association with Femme Africa.
Snippets of Qing Madi’s 2022 debut single “See Finish” were already floating on her Instagram and TikTok pages before she decided to enter a studio and complete the song. The teenage singer had shared that she was in a bad place when she conceptualised the song as a means to purge her emotions. While gloom is the anchor of the finished version of “See Finish,” Qing Madi delivers the song with a mastery that belies her age. “Say I used to be the life of the party/Now the energy inside of me is drained,” she sings as she shares her disinterest in the happenings around her to avoid disappointment. It is a sentiment that many people would relate to and Qing Madi captures those emotions with astute songwriting and great vocals.
In her sophomore single “Why,” Qing Madi’s disappointment is of the romantic kind. She tells off an admirer whose vibes she isn’t comfortable with, preferring her solitude. With a Hip-Hop/R&B bedrock, “Why” and “See Finish” offer a peek into Qing Madi’s personality and artistry, revealing an artist unafraid to share her truest thoughts. In the Jyde Ajala-directed visuals for both songs, Qing Madi also shares her love for dancing, with the choreographed moves paying homage to the late 90s and 2000s R&B. She’s one artist whose name will soon be on every lip.
Uzoma
KEZIAH MALLAM
In a generation where relationships are casual and undefined, Nigerian songbird Keziah stands out with her love-lorn pleas. Commanding attention with her voice on songs like “Over X Over,” Keziah Mallam’s catalogue is a cannon of creative wit characterised by cathartic singles.
Since making her debut in 2020 with “Zo Nan Nyanzu (Come Here Now),” Keziah has only been assuring of her position in the industry. Dedicating her 2022 to music, Keziah set off on an 11-month journey of finding her voice. Releasing 11 self-produced tracks including “Real Me,” she showed off her skilled penmanship by teaming up with groundbreaking artists such as SGaWD, moving on an upward trajectory and receiving nods from her numerous fans. Rapping on an upbeat 808, Keziah and SGaWD show boast of their womanhood “come from London to Lagos and still kept score/ I am my own superman s on my chest I depend on my plans.”
Rounding off 2022 with the Funk-inspired “Goodbye,” Keziah metaphorically bids farewell to a lover as she comes to her senses. Rounding off a chronological journey of falling in and out of love, the bass guitar accentuates her silky vocals as she is ready to step into the next chapter of her life. Her evolving persona and skills as she sets different moods to make her a perfect addition to a relaxing playlist.
Tela Wangeci
POSI
Teresa Eposi Chando has a voice that will wash over you. It’s a cathartic experience to hear the musician sing, with lucent vocals covering the pensive motions of the romantic heart. Living in North Carolina, the artist of Cameroonian descent was a prodigy. By eight years old she could play the piano and violin and for her training, she replicated arrangements on songs such as Beyonce’s “Pretty Hurts.”
In Posi’s music, self-investigation flows alongside the worthy mission of seeking peace. Her debut 2022 debut song “The Plan” featured a moving performance enriched with great perspective. “You don’t have to be on your knees/ Oh, I can’t let life get the best of me,” she mulls over a colourful production that’s right in place with Afropop. Her next single “Trying” had stripped elements with subtly emotive songwriting. Poignant lyrics such as “even when evil comes to me, I deserve to be living free” see Posi holding up the affirmative energy of women musicians like Tems, Asa and Jhene Aiko, all of whom serve as touchstones for her progressive R&B sound.
She released her debut project ‘Troubles of the Heart’early this year; it was put together alongside Posi’s longtime collaborator DJ Wicked. A meditative collection pulsing with intimacy, Posi’s vocals are measured in tone and tradition. It’s a deftly-ambitious project in its use of her vocals and with stories of life and love at the ready, ‘Troubles of the Heart’ becomes an essential look into Posi’s vision of the human condition. Quite the talent, Posi’s career has unfurled to a definite start, and good things would inevitably find her as she continues to stay true to her sensitivity.
Emmanuel Esomnofu
VALERIE OMARI
Not many artists find success in their first album especially when it precedes a debut single. Valerie Omari preaches a different testimony. On her 2017 single “Pray for Me,” a source of solitude for hopeless romantics, it was her clear and emotive vocals that immediately caught your attention.
“Just Like The Rain,” her warm, seductive ditties invite you into her world as she fusses over love that’s exhausted. What’s most interesting about Valerie is her bold approach when penning her lyrics. As she sings “Just as the rain she had me dripping way down,” the bass-assisted single set off a perfect introduction to her escapist lyrics. Releasing the album ‘Therefore I am’ in 2019, she continued to edge closer towards stardom as she curated a confessional letter of self-love and identity.
Taking a slow but sure approach to releasing her music, Valerie has been on a musical journey of releasing intentional pieces that speak to her fans. “If I Tried” lives on the reminiscent 90s R&B singles that pay an ode to true love. Starting her 2023 on a high note, Valerie delivers a stellar performance showcasing her growth as a musical journey. ‘Closure’ is a follow-up of her debut album as she trails on self-discovery after the early stages of a breakup. Valerie Omari is a promising artist peeling a new layer of her artistry with each release.
Tela
GAIDAA
In 2018, Gaidaa burst onto the scene with a show-stealing performance on Dutch-Armenian DJ and producer Full Crate’s “A Storm on a Summers Day” and showed glimpses of her brand of honest R&B/Soul music. A child of Sudanese heritage, Gaidaa, born and raised in the Netherlands, hasn’t shied away from her roots and the unique intersection of cultures at her disposal, as exemplified by her 2019 debut single “Morning Blue,” which she performed in A Colors Show. She followed up “Morning Blue” with “I Like Trouble” and “Falling Higher,” both tracks that entered her 2020 debut EP ‘Overture.’
‘Overture’ was an intricately-woven project that highlighted Gaidaa’s honest lyricism and soulful vocals. On the SabaandJarreau Vandal-featuring “Stranger,” Gaidaa pondered about life’s unpredictabilities and her need to make sense of them. She pledges to stick to her values on “Ride My Way,” and on the Joshua J-assisted “Say Yes (Turquoise),” she proclaims success in her life despite any challenges, singing, “I’ma say yes every time/Yes every time/I’ma stay blessed every time.”
The independent act has performed on stages in the UK, US, Netherlands, and most recently, in her home country of Sudan. In her 2022 single “Figures,” she cites the multiple roles that society foists on individuals, preventing them from living to their fullest potential. Gaidaa’s music is about being honest to oneself and finding your way in the world’s maze – it calls listeners to the power they have to decide their present and future.
In 2012, an up-and-coming rapper named Boogey released a mixtape titled ‘Artificial Intelligence’. Replete with samples of robotic voices and braggadocious, highly technical writing, the project would become acclaimed, putting the young rapper in all-time great conversations afterwards. More than ten years later, the actual AI has again resurfaced in African music, this time not a narrative prop but the real thing. Or rather, the closest thing to the real thing.
Artificial Intelligence, which is most commonly referred to by its acronym of AI, is hardly a new phenomenon in science. From the 1940s, pioneering cybernetic scientists such as Norbert Wiener wanted to inculcate “a whole theory of control and communication, both in animals and machines.” With the Second World War in flux, many nations were finding new ways of being efficient in their tasks without overt reliance on the human factor.
Through the years and with much innovation, AI has morphed into a cultural breakthrough. Useful in just about any field, from helping detect the coronavirus to being utilised by filmmakers, it’s been perhaps the most divisive technological development in recent history. And for the first time, it’s seriously being considered among music audiences, as an alternative to the hard-wrought style of creating and releasing songs.
Some days ago, the AI enthusiast Roberto Nickson went viral with a video of him reproducing Kanye West’s vocals through Artificial Intelligence. A jarring and revealing experience, the video brought to the fore how much popular music could change in the coming years. “All you have to do is record reference vocals and replace it with a trained model of any musician you like,” says Nickson in the video. “Keep in mind, this is the worst that AI will ever be. In just a few years, every popular musician will have multiple trained models of them.”
Watching that video, I found myself asking the question: “How would this affect Afropop? For better or worse?” The consensus on the programming is that music creation could become lazy as a result. What used to inspire musicians to sit around studios and soak creative energy might just be taken away; then you’d have automated music and would there be a need for actual producers and musicians? It’s an ethical dilemma as much as a technological one, but if this present circumstance is any illumination, popular African music has always been inching towards this moment.
And just like that. The music industry is forever changed.
I recorded a verse, and had a trained AI model of Kanye replace my vocals.
In the past, live instruments were the most acceptable form of music creation. Except for a few genres with electronic history, most of the sounds emerging from Africa—whether Highlife, Juju or Kwaito—were created through the peculiar rhythm of human ears gauging the weight and pairing of instruments. Then came laptops and software like Fruity Loops (now known as FL Studio), which revolutionised and democratised production emerging into the 2000s. Even the later invention of Auto-Tune was initially considered a threat to natural voices, but years later, it’s a practice that’s been subtly ingrained into music.
The thing about Africa is that sometimes we learn about technological advancements too late. Since Western countries and governments understand the essence of research and fund them adequately, it’s understandable how knowledge about such conventions would be widely available over there before sparking serious conversation in the continent. To this end, Afropop may have already been incorporating techniques of a lesser-developed AI into the music-creation process. Being cultural vagrants who oscillate between several worlds, musicians are well-placed to carry these conventions into the sphere of popular discourse.
A similar case happened during the NFT rave of the past few years. Quite familiar among visual artists already, it was the entry of musicians like Don Jazzy and BNXN which brought it a wider reach. Suddenly more people wanted to know what NFTs were and how they worked. The premise is simple: technology that is distinctly tailored to music has sparingly been made, rather it’s musicians who’ve gone out of their way to learn these techniques. Still consistent is the human factor, because it demands a certain level of measure for any credible art to come about. Another argument arises: NFTs as a way of sharing music haven’t retained their popularity because it relies on widespread audience awareness, which unfortunately isn’t present. On the other hand, using AI can be solely executed by the artists themselves, and that’s a nuance worthy of recognising.
In an article, Jonathan G. Shaw, who is a lecturer and author of ‘The South African Music Business’ related his experiences of AI and how it could be adapted to music. His point stands similar to mine; fractions of AI are already in use, such as the digital audio workstation (DAW) and modern synthesiser, while across film, fashion and gaming, there are several AI platforms which can instantly create music patterned to the peculiarities of any given piece.
His most poignant thought was however the legal implications, which were also raised on Nickson’s Twitter thread. “If AI generation works,” he asks, “who will own the copyright of these works? If all the AI is doing is scanning historical works, identifying patterns and reordering them, is this not an example of a derivative rather than an original? Whoever owns the original would also own the adaptation. Perhaps the owner of the software may own its output, or would the user?”
Art is the most distinctly human of mankind’s advancements. While AI might help in its creation process, the random and unpredictable quality of an artist is what lends the form its surprise and acclaim. A possible downside of AI making music is its possible reiteration of cliched perception, depending on the software and the uniqueness of the orders given to it.
The case of FN Meka points us in a curious direction. A major music-meets-technology news from last year, the AI-created rapper was later dropped by the label Capitol Records following complaints of its perpetuation of racist stereotypes. Beyond his green-coloured dreadlocks and jewellery, which establish his gritty outlook, a video of Meka being beaten by a police officer while saying the N-word demonstrated the logic of garbage in, garbage out. It was an implicit showcase of America’s prejudices against Black men, the single story that has so often plagued the mind’s audacity to wander.
Situated in the delicate position of being a global phenomenon, Afropop is learning to love itself. Doing this includes building the structures back at home so there’s something to return to. However, the conversation about ownership of sound has frequently come up, about the chances of African musicians when their white counterparts begin creating music that could pass as Afropop. Would they not shut down their awards to us and begin recognising themselves?
While a valid concern, it’s quite reactionary to think they would immediately get the sauce that enlivens African pop music. If anything, it’s most possible that the reward systems might be considerably altered in their direction, but the pristine quality of music that’s made from the distinct experiences associated with its genre is unrivalled. This would likely be the influence of Artificial Intelligence on our popular music as well. Art would always need a guiding hand and a human hand, so Afropop is safe. It’s not coming for us because it’s already here.
Let’s call it what it is: State-sanctioned homophobia is targeted violence. In many African countries, where ultraconservative values are regularly championed, being anti-gay is so rampant that laws backing this form of hate have been enshrined into the constitutions of over 30 countries. The penalties are often made even more brutal whenever those laws are visited and amended. It is not enough that people are pressed against the margins for who they are and who they love, a significant portion of African society—led by cruel leaders—want to persecute queer individuals as violently as possible.
About a week ago, Ugandan lawmakers approved a new anti-homosexuality bill that consists harsh penalties for a variety of “crimes” attached to being queer. In the bill, openly identifying as “a lesbian, gay, transgender, a queer, or any other sexual or gender identity that is contrary to the binary categories of male and female” is grounds for imprisonment for up to 10 years, while anyone convicted of “promotion of homosexuality” is liable for a prison term of up to 5 years.
The headliner of the bill, and easily the most discussed since its approval, is the death penalty submission for “aggravated homosexuality,” a broad term used to describe sexual acts without consent and under duress, against children, involving, and/or by a “serial offender.”
Introduced by opposition lawmaker Asuman Basalirwa, with the aim of protecting “our church culture; the legal, religious and traditional family values of Ugandans from the acts that are likely to promote sexual promiscuity in this country,” only two out of the 389 MPs voted against the bill. It is currently waiting to be signed into law by Yoweri Museveni, the authoritarian president who’s in his 38th year in power. Museveni recently called queer people “deviants,” so it’s expected that the anti-homosexuality bill would be gleefully signed in coming days.
This bill isn’t the first time Ugandan lawmakers and leaders have attempted to brutally criminalise being queer up to the point of the death penalty. In 2009, a bill was proposed to include a death sentence for gay sex, and the country’s lawmakers passed a bill in 2014 that replaced the death penalty with life imprisonment. It was eventually annulled by the Ugandan constitutional court on procedural grounds. While Uganda’s penal code already has punishments laid out for “carnal knowledge against the order of nature,” adopted from the country’s colonial past, Basalirwa says his draft of the bill is to “have it in tandem with the current situation.”
Basalirwa’s reference to “the current situation” is an acknowledgement that we live in a better enlightened world where queer people are increasingly proud of and comfortable in who they are. Like many African countries, though, that liberal outlook is being actively countered in favour of “traditional values.” It’s not dissimilar to the rhetoric many African lawmakers and executive leaders have used in whipping up support for anti-gay laws, claiming that the LGBTQ+ community is a danger to family life and societal morals. To top it off, the opium of the people—religion—is always invoked as a way to claim the moral high ground.
We gathered earlier today to dedicate @Parliament_Ug to the Lord, and I pledged to the Country that a Bill will be introduced as soon as possible to deal with Homosexuality and lesbianism. We shall Jealously protect our cherished values and culture. pic.twitter.com/yAABBIs3dK
This continent-wide wave of queerphobic propaganda led by lawmakers has seen a consistent stream of happenings in the past few years, with very few bright spots. In late 2021, Botswana’s Court of Appeal upheld a landmark ruling that decriminalised homosexuality, infamously repealing a relic of colonial values and attitude towards queer people. Earlier this year, the Kenyan Supreme Court ruled that the country’s constitution barred the discrimination based on sexual orientation, upholding verdicts by lower courts that the government could not lawfully refuse to register the National Gay and Lesbian Human Rights Commission (NGLHRC) as an organisation.
The Kenyan Supreme Court’s ruling has proved divisive, especially as President William Ruto and many lawmakers have condemned the verdict. Currently, there’s a second case making its way through Kenyan courts that challenges the constitutionality of the penal code that bans sex “against the order of nature,” another proof that a large part of the laws criminalising and demonising homosexuality and queer people were directly handed down from colonial rule. Amidst the rampant queerphobia in East Africa, Rwanda has vehemently refused to criminalise homosexuality, ceding to citizens’ private rights even though there are currently no protective laws to counter the persecution of queer people.
In the African context, Rwanda’s somewhat neutrality is a stark contrast to the state-backed homophobia being perpetrated by its neighbours—and you could even argue that neutrality is not enough. When same-sex relations are punishable by life imprisonment in Tanzania and 24 people were recently charged with “homosexual practices” in Burundi, along with anti-gay laws in Nigeria and Ghana, Uganda is following a trend that makes neutrality to queer rights look revolutionary. What happens after President Museveni signs the anti-homosexuality bill into law is an easy guess: Queer people already living in fear of their lives will be in even more grave danger.
Uganda has passed a law making it a crime to identify as LGBTQ. There's a lot we could say about this, but @iGaddo explained it best already. pic.twitter.com/gV96TJEozW
Persecution isn’t enough; total erasure is the only acceptable outcome for these lawmakers and their supporters. It’s evident in the wording of the bill, especially as it deals with the “aggravated homosexuality” part that will result in the death penalty. By mentioning non-consent and relations with minors, there’s a blatant conflation of queer relationships with problematic sexual assault, echoing the terrible (and popular) idea that queer people can’t have relations that are devoid of toxicity.
When Uganda’s constitutional court struck out the initial anti-gay bill, there were sentiments that Museveni was using homophobia as a means of currying political favour from the Ugandan citizenry. Almost a decade later, and a few years after facilitating one of the worst elections Africans have seen in recent times, there’s a sense that he’s inciting the same emotions even as he grows increasingly unpopular with the youth. However, claiming that this bill is a deflection from the many administrative and economic issues in Uganda trivialises the simple, plain fact that these hostile (soon-to-be) laws are a form of targeted violence that should always be condemned.
Last week, Nigerian music superstar Davido announced his fourth studio album ‘Timeless’ to instant fanfare. Both fans and fellow artists took to social media to share their positive feelings about his return to the scene after an accomplished yet turbulent 2022. ‘Timeless,’ which comes three years after 2020’s ‘A Better Time’ feels more than an only-for-Davido project–it is a project both for Davido and his community of loyal fans and admirers who have supported his journey from a newcomer to a global renowned musician.
Since the start of his career, Davido has exhibited his affinity for the community, pooling the energies of those around him for maximum effect with his established everyman identity in the music industry. ‘Timeless,’ which drops on Friday, March 31, is another chapter for Davido and his community of friends and fans: a celebration of a man’s trip through life’s pleasures and adversaries. Davido first appeared on the Nigerian music scene in 2011 with the Naeto C-featuring “Back When,” which he produced. He returned to Nigeria to pursue a music career after his early years in the US and in the UK and joined the likes of Wizkid, Burna Boy, Flavour and Tiwa Savage who were also tending their fledgling careers. While the feel-good “Back When” enjoyed significant airplay, it told a grass-to-grace story that wasn’t a true reflection of Davido’s roots. Months later, Davido, the son of a business magnate and a late university lecturer, embraced his blood ties on the instant club hit “Dami Duro.” On the song’s chorus, Davido proclaimed that he, omo baba olowo, the son of a rich father, was unstoppable. A thread of later released singles such as “Ekuro” and the Sina Rambo-assisted “Overseas” ushered in Davido’s scene-stealing debut album ‘Omo Baba Olowo: The Genesis’in 2012.
‘Omo Baba Olowo: The Genesis’ wasn’t the critics’ favourite but it did enough to draw attention to Davido, who never failed to represent his then-label HKN Music and its offshoot collective HKN Gang, which featured him and his cousins Sina Rambo and B-Red. Between 2013 and 2016, Davido consolidated his rise with a string of singles and collaborations within and outside Nigeria. He closed 2013 with “Skelewu,” a dance-leaning track, which he supported with an instructional dance video, a dance challenge, and two music videos. The latter of the music videos was borne out of necessity after the first one (directed by Sesan) spawned criticism; it was shot in London by Moe Musa and was premiered exclusively on MTV Base UK. Davido went a step further to release an electronic version of “Skelewu” with American DJ group Major Lazer and Dutch DJ Wiwek, as well as a House version with South African group Uhuru.
Those collaborations rightfully expanded Davido’s reach in the music industry. He continued on that path, featuring South African duo Mafikizolo on“Tchelete (Good Life),”Ivorian act DJ Arafat on“Naughty,”South African actsUhuru & DJ Buckz on “The Sound”andAmerican rapper Meek Mill on“Fans Mi.”In 2016, Davido changed gears by signing with Sony Music Entertainment in a bid to venture further into the foreign music markets. It was one of the first signs of global appeal that Nigerian music held; the following year, Wizkid signed with RCA Records/Sony Music International and Burna Boy signed with Bad Habit and Atlantic Records; and in 2019, Tiwa Savage signed with Universal Music Group’s Motown Records.
2016 yielded the five-track EP ‘Son of Mercy’ which found Davido expanding on his sonic identity and creating a hybrid of sounds that borrowed from Caribbean music, Hip-Hop and Pop. The project gave Davido more concerns than wins: it weakened his hold on the Nigerian or African music scene with Davido panning the project as “shit.” Yet, 2016 wasn’t all that terrible for the rising superstar. At the time, he took his departure from HKN Music and founded his own label imprint – Davido Music Worldwide (DMW), his eponymous incubator platform that launched rising acts and close friends such as Mayorkun, Dremo, Peruzzi and Yonda. Mayorkun, in particular, proved to be an instant success in the Nigerian market. His singles “Eleko,”“Sade” and “Mama” became early fans’ favourites and rose to the top of music charts in Nigeria and Africa. Since it was established, DMW has also accommodated more artists including Ichaba, Lola Rae, Danagog, Fresh VDM, Speroach Beatz, DJ Ecool and Liya, who it has welcomed into its ascendant halls. Just as he did with HKN Music, Davido has never relented in promoting his artists and their music.
A year later, Davido re-emerged stronger than ever before, backed by a deal with Sony Music Entertainment and, in 2017, the resounding success of chart-smashing singles “If” and “Fall.” The Kiddominant-produced “Fall” rose through charts, both at home and abroad, and became the longest-charting Nigerian pop song in Billboard history. Its accolades are endless; “Fall” appeared on Pitchfork’s 200 best songs of the 2010s, was one of the most Shazamed songs in the United States and its music video is still one of the most viewed Afrobeats videos on YouTube with over 250 million views. As Davdio embarked on his back-to-basics mantra, he followed up with the Rae Sremmurd & Young Thug-featuring “Pere,”“FIA” and “Like That.” In 2019, he became the first solo African artist to sell out The O2 Arena in London, and throughout his career, he has amassed over 30 awards internationally.
As with everything in life, the good and the bad must cohabit. Davido has had his fair share of tragedies, with the death of close associates and friends such as Tagbo Umeike, Olugbenga “DJ Olu” Abiodun and Habeeb “Obama DMW” Uthman, to mention a few. News of those demises brought great distress to the artist, who has spent years fostering close-knit relationships with the brothers he has come to call partners at DMW. However, it was the recent loss of his three-year-old son Ifeanyi Adeleke in October 2022 that must have hit the man the hardest; with Davido retreating from the public eye to mourn the devastating loss. Through that period, fellow artists and music lovers never lost sight of their beloved 001, Nigerian Pop’s everyman in every sense of the word. In December 2022, in a moment of rare proximity, loyal artists and fans organised a concert to honour the memory of Davido’s son and celebrate his birthday. It was indicative of the great relationships Davido had built with fans—dubbed 30 Billion Gang—and fellow artists, whose songs and careers he had impacted. Moreso, it was a true representation of the calibre of the man who has spent the past few years putting it on for his people and his home city, Lagos.
Given that Davido is one of Nigerian Pop’s most visible frontrunners, his discography has something in it for every listener. His previous projects packed 17 songs each and are best viewed as collections of potential hit songs rather than cohesive, narrative-enhanced bodies of work. Aside from the preceding singles, ‘Omo Baba Olowo: The Genesis’ gave listeners “All of You” and the Ice Prince-assisted “Feel Alright”; 2019’s ‘A Good Time’ housed “If” and “Fall” but also delivered “1 Milli,” the WurlD, Naira Marley & Zlatan-featuring “Sweet in the Middle,”“Assurance” and the Chris Brown-assisted “Blow My Mind.” Barely a year later, Davido served up its follow-up 2020’s ‘A Better Time,’ which expanded on his hit-making abilities with strong cuts such as “FEM,”“Jowo,”“Something Fishy,” the Mayorkun-assisted “The Best,” the CKay-featuring “La La” and the Mayorkun & Sho Madjozi-assisted “I Got A Friend.” Some proponents argue that Davido’s albums have lacked the era-defining quality of his contemporaries, for instance, Wizkid’s ‘Superstar’ and ‘Made in Lagos’ or Burna Boy’s ‘Outside,’‘African Giant’ and ‘Twice as Tall.’ Whether that is an issue to Davido, no one can say, but in his 2022 single “Stand Strong,” there was clear storytelling and intentionality to his music, as he showcased a level of depth and maturity.
His forthcoming album, ‘Timeless,’ too, has 17 songs, with Davido’s 2021 single Focalistic-featuring single “Champion Sound” making an appearance. “There is a time for everything. A time to [grieve] and a time to [heal]. A time to [laugh] and a time to [dance]. A time to [speak] & A time for [silence],” Davido shared in the announcement video for the album. While there is no one way to process everything he has experienced in recent times, we might be getting some of Davido’s most vulnerable moments on display; or we might get the usual Davido: hitmaker par excellence; or both.
In preparation for the album, Davido has announced live shows in Lagos, London and New York, which, in a way, is a thank-you gesture to his fans who have remained dedicated to his life and music. There are also scheduled meet-and-greets with fans in New York and the UK for his fashion collection with PUMA. Davido has his hands full and rightfully so; both he and music lovers around the world deserve a grand return to the scene. One thing is clear, though: ‘Timeless’ will connect Davido to his community of friends and fans and serve as a healing process and reinstate the man where he belongs: happy and making music.
