Page 37 – The NATIVE

Where Were You: Femme Fest’s continuing impact for women in our community

Posted on March 29, 2023March 29, 2023 by Tamara Odibi

A derivative of Femme Africa, Femme Fest has quickly asserted itself in the cultural and creative space. The festival is aimed at empowering, educating and entertaining women while celebrating their all-round existence. Building upon their 3C’s, Femme Africa’s infusion of Culture, Content and Community creates an atmosphere for the girls to show up and show out as their most authentic selves. Since its inception, Femme Africa has spent the past few years giving back to the community by creating a space for and by women; in a way that is embodying a new template of authenticity for the creative industry.

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Last Saturday, the latest iteration of its annual one-day festival was held at Harbour Point in Victoria Island to resounding success for both brands and concert-goers alike. The musical showcase, beauty market and panel discussions, have become an annual March tradition to culminate all the efforts made throughout the month to champion and support Black African women. On arriving at the venue, it was clear that this year’s showcase was a fine marker of the Femme Africa’s 4 year-long mission to provide women a space to just exist. All around the venue, every inch of space was utilised to showcase the breadth of female talent in the country from one hall focused on vendors, workshops and panels, to an adjoining hall which served as home to the stage and dance floor.

For many women in attendance on the day, Femme Fest ‘23 certainly passed the vibe check. The atmosphere was bubbly with a picturesque and welcoming environment for all women and girls–and even men too. As they milled about the venue and explored the activities, women and girls of all ages were donned in colourful avant-garde outfits and festival makeup. The registration and ticketing was pretty simple; ushering the entire schedule of events off to a great note. Once inside, the space transformed into every young woman’s dream. All around the hall, there were beaming friendly faces and numerous stalls to explore.

The vendor hub was a huge standout of the day. The event included vendors in various businesses who offered services such as candle making (Rékojà), free hair consultations (Amari Hair Care), a girls’ night hosting class “22b” and body art by Skin Ink. The space also hosted a “beauty market” with renowned beauty brands like Mohini and Uncover. Many other Nigerian brands made an appearance, with jewellery brands like Refine Studios and Osé, skincare brands like Sublime Skin by Jumai, haircare brands like Kinky Apothecary and fashion brands like Her Apparel, Afrique KOD and 21 Wool Street. The stalls catered to Femme Fest’s uber-modern crowd which included women of all backgrounds; from wellness enthusiasts to music, beauty, tech, hospitality and more. It was a networker’s dream. Speaking to Simi, one of the day’s attendees and also an upcoming artist, she shares “This is what it should be about! It’s about building and supporting and networking.”

Alongside the beauty hub, Femme Fest also featured several beneficial panels which served as introductory taster courses to the music, creative and entrepreneurship industry. Dubbed as the “School of Femme,” a partnership between Femme Africa and the Orchard, the curated panels and workshops were packed with information to empower and steer budding creative talent on the right path. Kicking off in the afternoon, School of Femme began with “Get Legal,” an informative session about legal matters in the creative industry which was hosted by Wurola Ajeigbe and included a stunning roster of women with legal expertise including Oyinkansola “Foza” Fawehinmi, Bukola Bakinson and Kike Soyode Ojewale. The next set of panels were geared at the music industry and uncovering the realities of distribution for the independent woman artist and a songwriting and production bootcamp in partnership with Women in Music Nigeria.

Aside from providing an elementary introduction to songwriting, production, legal work and podcasting, the panels were incredibly interactive and immersive for the young women in attendance, ensuring that we heard first-hand from professionals within these different fields and proffering opportunities from keen and curious minds to engage with potential mentors. As the sun set, it was time to wrap up the panel discussions and make way for the live musical showcase–the creme de la Femme. From some of the resident female DJs to the female performers, the entertainment and performances of the night were a true manifestation of women talking the talk and walking the walk. From DJ Ayizan to twin DJs Wanni x Handi, there was no dull moment as we waited for the night to truly begin.

As the eager crowd waited for the artists to take to the stage, the drinks were flowing around the hall courtesy of Absolut Vodka. Attendees could also wander around the venue and try out the numerous photo booths placed around the hall. There was also a chill corner with comfortable throws and pillows on the floor for guests to sit and wait for the night’s activities. The singer Mairé performed her single “Show Up x Shut Down” and serenaded the crowd with her relatable lyrics and energetic backup dancers. Next up was Qing Mai whose voice of gold filled the hall with musical manifestations of strength and power.

There were also appearances from a talented spate of female talent including Winny, Layzee Ella, Candy Bleakz and more. The most riveting performance, however, came from Nigerian rapper SGaWD who stomped across the stage with her signature pink Telfar in hand and venom in her bars. SGaWD ran through her familiar hits with the receptive crowd and introduced us to new music titled “Intermission.” As she strutted up and down the stage, all the girls flocked to the front of the stage to get a good view of the rapper who is expanding conversations around women in Hip-Hop/Rap in West Africa.

“Femme is for women by women so I’ll always be there to show love and support.”

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Once the performances were over, the lights darkened and it was time for the after party. The energy in the room picked up as guests were entertained with killer sets from DJs such as Atracta, Wanni x Handi, Ayizan and more. With back-to-back hits, Wanni x Handi kept the dancefloor active through their set and maintained, if not elevated, the high vibrations of the festival. Neezybeats, another resident female DJ at the festival, also wowed the enthusiastic and growing crowd with straight hits, no misses from her infectious set. As guests danced, belted out lyrics and exchanged contacts, it became clear that Femme Fest’s continuing impact for women in our community could rarely be argued.

Women-centred events and showcases such as Femme Fest are needed in today’s androcentric society to remind women that there are spaces for and by us. “Femme is always amazing because it is rare to find a platform that is dedicated to creating memorable experiences for women,” SGaWD shares with the NATIVE. Not only did this year’s iteration create a safe and nurturing space for women and girls, it also brought together a community of creatives, entrepreneurs and professionals who are primed to expand the value and contributions of women in our community. By catering to a wide audience from various backgrounds, Femme Africa has once again successfully showcased women’s undeniable contributions to the music, fashion and creative industries. It was the perfect end to an event social calendar for International Womens Month and with two festivals deep now, we’re excited for what’s in store in the coming years.

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Tamara Odibi is a connoisseur of all things woman and all things wellness. Alongside her work in branding and communications, she contributes to the female wellness community through her passion project – @matteabyher on instagram.

NATIVE Selects: New Music From Suté Iwar, Lil Kesh & More

Posted on March 28, 2023 by Damilola Animashaun

It’s that time again. Every day, 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.

To kickstart your weekend, we brought you fresh releases from Odumodublvck, Nonso Amadi, Ajebo Hustlers, another collaboration from iconic duo, Wani and Odunsi(The Engine) plus 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!

SUTE IWAR & KADIATA – “STAR PLAYER”

Following up on his first release of the year, Tim Lyre-assisted “Space Cowboy,” Nigerian alternative singer taps the Kadiata for the slow-tempo track, “Star Player.” The self produced track. Sute Iwar’s sweet-sounding vocals carry on the first half of the track, accompanied by soothing instrumental and light adlibs. As Sute Iwar’s smooth vocals tell a story of finding oneself and embracing the unknown, Kadiata’s sleek delivery tied into the lustrous production assisted by bAd entity reiterates the track’s message about shining amidst adversity.

Nwanneamaka

LIL KESH – “GOOD BAD BOY”

On “Good Bad Boy,” Lil Kesh opts for tongue-in-cheek humour as he calls out an unnamed woman who has a list of qualities that her potential spouse must have. Shuffling between rapping and singing, Lil Kesh makes clear his grouse with such women. “She said a gangster will break heart/And a church boy is not enough/She wants a gangster that is a pastor/She wants all in one,” he sings. “Good Bad Boy” is a catchy tune that should delight fans of the former YBNL star.

Uzoma

MOJO AF FT. MASIANO – “HIGHEST STUDENT”

Known among a section of rap fans as a most unique voice, Mojo AF is a name to look out for. He’s been relatively low key in recent times but on “Highest Student” he stages an impressive come-back. Loosely patterned after Drill progressions, the beat teases a memorable performance from him and his guest. With Mojo’s wavy flow reminiscing on the glorious haze of younger days, the song leaves a nostalgic and simultaneously fresh impression on listeners.

Emmanuel

ZAMORRA – “GLOW”

Despite the momentum and buzz gathered around his debut extended play, ‘Storms and Rainbows’ in 2021 and his upbeat Amapiano single, “Paradise,” Zamorra had a fairly quiet 2022 with the release of only two tracks. However, the uNder (previously Fresh Meat) alum is taking a different approach this year with two releases in the first quarter alone. For his recently released single, “Glow,” Zamorra delivers a heartfelt, melodious rendition over the slow-tempo instrumentals, led heavily by soothing guitar strings and local drum patterns. Fueled with passion, Zamorra sings about a life predetermined for success, “My life is strictly for me, No one can dictate how it’s supposed to be/ I am the light, I’m sure you can see.”

Nwanneamaka

LYTA – “GEH MONIE”

Nigerian singer Lyta follows up his 2023 EP ‘Stranger’ with a new single “Geh Monie.” Over the Amapiano-infused uptempo beat, Lyta expresses his disinterest in the criticisms aimed at him by his detractors. He’s all about his money and living to the best of his abilities. “Geh Monie” is proof Lyta still has jams under his sleeves.

Uzoma

KOFI FT. KUAMI EUGENE – “DON’T LIE”

While Kuami Eugene is more established, his host on this record is relatively new. Which is no problem because he pulls the ears to listen on “Don’t Lie”. Stripped from baggy excesses, the song’s pairing of cool vibes and narrative sequencing proves to be a winner, as it rewards several listens. On his part, Kofi’s hook is a fine demonstration of his soulful voice, and with his obvious relationship with rap it’s a promising run down the road for his progressive R&B vision.

Emmanuel

SOMI & LAMII – “OPTIONS”

Expanding her discography even further, SOMI releases a melodious love-themed track assisted by Lamii. As she sings about missing her love interest, she shares her plans to explore if he doesn’t fully meet her expectations, “Don’t walk away, don’t make me look for options.” Her mellifluous vocals, assisted by the mid-tempo beat, leads in for Lamii’s swift delivery.

Nwanneamaka

KEEMA X – “RUNAWAY”

“When you see me/Hug me and give me some money/Sapa dey choke me I can’t see,” Keema X sings in her latest single “Runaway.” On the Damilfice-produced track, which incorporates elements of Dancehall, the Nigerian artist shares her frustrations with the economical situation in the country and how it affects her day-to-day living as an adult. She then seeks solace in her lover, inviting him to join her and run away to a better place.

Uzoma

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For The Girls: Faridah Folawiyo is making Black art accessible, one exhibition at a time

Posted on March 28, 2023April 18, 2023 by Nwanneamaka Igwe

For many years, the Art world has maintained a white, male face but we’re coming into times where Black artists are gaining similar levels of recognition. Defying the status quo, a number of independent artists and art lovers came together to form their own communities where they can exist and flourish without validation from the industry’s gatekeepers. With the advent of the internet and peer-to-peer networking, the interconnectivity of artists is like never before. They are adamantly making their voices heard and garnering the attention they deserve, with or without a co-sign from MoMA’s and Tate’s of the world. One of such communities is run by Nigerian curator, Faridah Folawiyo.

At the core of Faridah’s curatorial visions in the contemporary art space is a passion for championing Black art and artists, and making art accessible for a young and curious generation. Reflecting her passion for ensuring African art is not boxed into stringent and lazy categories, Faridah established FF Projects, a love letter to Black African art. In an attempt to bridge this gap, FF Projects came into fruition to create a a space for Black art to be consumed and appreciated solely for its existence.

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Folawiyo’s appreciation for art goes beyond its mere aesthetic quality, Faridah tells me she was simply born for this. “People have also been telling me for years and years that I should do it by myself but you can only come to that sort of conclusion when you’re ready. I think I was just ready when I was,” she says to the NATIVE.

When she was in university, she took a History of Art course which piqued her interest in a long-time career in the Art world, buoyed by encouragement from her then professor, Chika Okeke-Agulu. She was also raised in a home that appreciated African art by her mother, Reni Folawiyo, the founder of Alara – West Africa’s first fashion luxury and lifestyle concept store. Now, with a robust background working on freelance projects such as Art X Live and more, Faridah is working more on her own individual projects.

Her recent project MANIFOLD was a lush visual curation with strong themes of Black culture and experiences. The art showcase featured works from 15 black female artists including Fadekemi Ogunsanya, Isabel Okoro, Oluwakemi Lidaju, Oluwatobiloba Ajayi and more. The showcase which ran last November, 2022 , furthered Faridah’s mission to grow a wholesome community for artists and art lovers, one exhibition at a time. “What ‘MANIFOLD’ gave these artists was a sense of community. It gave that to me as well. A sense of community and support wrapped up in something that’s there to hold you up,” she shares.

Outside of art, Faridah is also championing wholesome Black experiences for people both in London and Nigeria. Her entertainment outfit – No Fronting – is a rolling party collective that celebrates safe and representative spaces for people to let their hair down and have a good time. “We think about how to create safe spaces of community and fun for everything. There’s definitely similarities between everything I do,” shares Faridah.

With MANIFOLD 2.0 only a few days away, we spoke to Faridah about her curatorial experiences, the genesis of the establishment of two powerful initiatives, FF Projects and No Fronting, and more.

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The conversation which follows below has been lightly edited for clarity.

NATIVE: What prompted you to start FF Projects?

Faridah: I’ve worked for different companies and late last year or earlier this year when I was into freelancing, I was having a lot of conversations with some gallerists and different institutions. Putting on shows for them helped me see that I could put it on for myself. It felt like there was always going to be a discrepancy between what I love and what I want to show with the barriers that are put in place in institutions. That is obviously normal but I just felt like there was something that meant me doing this by myself. People have also been telling me for years and years that I should do it by myself but you can only come to that sort of conclusion when you’re ready. I think I was just ready when I was.

Since creating FF Projects, what has your curatorial experience been like in the contemporary art space?

It’s been amazing. ‘MANIFOLD’ has been the main show that I’ve worked on this year and it feels kind of life changing in the sense that we got to do that as 15 Black women. We made a space for ourselves and we made a space that we were very comfortable in. For me, as my first independent curatorial project, it set the tone for what I know I want going forward. I think when you have an intense educational background, you have all these ideas of what you’re supposed to do. You now turn that on its head in a way that works for me and the artists as well. That has also allowed me to reconsider what the traditional methods are and how they don’t suit me.

Do you have a specific goals or visions you hold on to going into the shows you curate?

I say this a lot but I really think the idea of comfort is important to me. I think that’s what I was really happy about with ‘MANIFOLD.’ Anyone that came into the space spent a lot of time because they felt comfortable in it. I think that I was more interested in what a random person that came in felt, as opposed to any of the art people that I know. That, I would say is more important to me. What is the initial visceral reaction to the work. The idea of comfort would always be something that I am thinking about. Art should not be alienated to anyone.

Yes I’d say accessibility is very important.

Exactly, it should be accessible. So I’m thinking curatorially, how can you make that happen? That is my constant challenge and something that I always want to be thinking about.

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How important is it for black artists to have a platform like FF projects to showcase their works?

I don’t know in terms of importance because I think the artists that I brought together are amazing and would always have some sort of platform. However, what ‘MANIFOLD’ gave these artists was a sense of community. It gave that to me as well. A sense of community and support wrapped up in something that’s there to hold you up. I think that’s what ‘MANIFOLD’ did for me and the artists I’ve spoken to. A feeling of ‘ok, I’m not alone in this.’ Not only am I not alone, I’m surrounded by amazing women who are doing amazing things and there to cheer me on. The sense of community was more important than the platform.

Have you had any particular challenges that standout with curating?

Curating is hard. I think putting together the show is a lot because I’m working with 15 artists so you’d imagine the number of moving parts. Logistically it was crazy and you also have to learn how to manage different personalities. I was working with amazing people who helped me in terms of modelling the space. I would always move things around within the model so I already knew where each artwork was going. There’s a lot of doubt that goes into that process. You’re thinking, ‘what if this doesn’t look good here?’ or people might not understand the relationship I’m trying to show between here and there.

Has curating changed how you view art? Do you have more appreciation for artists as individuals?

Definitely, but also for curators as well. I’ve always been in awe of artists. A lot of my best friends are artists and when I watch their processes, I think about how crazy it is. ‘MANIFOLD’ opened me up to 15 different processes and it’s amazing. I remember the curators that I know have done such big shows and think that’s crazy, hats off to you.

Has the No Fronting Collective helped you find that golden thread between music and art?

The way we work in ‘No Fronting’ is something I try to carry into my own curatorial practice which is essentially not taking yourself too seriously. Understanding that while I’m creating art, it is to be consumed, understood and enjoyed. With both those things, we’re always thinking about that. Us at ‘No Fronting’ are incredibly over educated but it’s very important for us to not hit people in the head with that. We think about how to create safe spaces of community and fun for everything. There’s definitely similarities between everything I do and me trying to stay as far away from the pretentious as possible. That is very hard but I think about how to not only make it accessible but help people feel things.

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What’s your advice to people who want to begin curating, particularly young black women?

I’m not in any place to give anyone any advice but I think everything comes down to what you like and how does that sort of translate. How do you create a physical embodiment of that. I’d also recommend finding that sense of community that you can build and be a part of.

Are there any changes you’d like to see in the art industry in Nigeria, Africa or globally?

Oh wow, don’t get me started. I mean I’m trying to be less shady now but thinking about Nigeria specifically, I do think there is a lot of space for female artists to shine. I would love a world in which all female art practitioners have the same opportunities as the male ones. From artists to curators to gallerists to dealers to gallery owners and just in general. I’m always rooting for the black woman. If we could take over that space some more, I’d be super happy but that would take time.

Do you have any plans to open up a permanent gallery space for showcases or is there a value in moving locations per exhibition?

I think that the value that I find, I always say is about asking questions rather than answering them. The shifting of context allows me to view that. The way I design a show in London, I don’t believe that that would make sense in Lagos. Cultural specificities and how different cultures react to art and the way in which they consume it. Context affects the presentation of artworks and the perception of it. For now, at the very least, I like the nomadic model because it allows me to ask questions. In terms of permanence, I’m not sure. I might eventually get tired but for now I’m open to seeing how different places react to different artist and works.

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Featured Image Credits/NATIVE

Nwanneamaka couples her creative interests with her individuality, using writing as a vessel for her expression.

ICYMI: FOR THE GIRLS: YTBOUTTHATACTION IS AS REAL AS IT GETS

TurnTable Top 100: Tiwa Savage’s “Stamina” Is The Highest-Charting Female Collaboration

Posted on March 28, 2023 by Uzoma Ihejirika

Tiwa Savage’s “Stamina” with Ayra Starr & Young Jonn moves twenty-two places to a new peak of No. 4 on the Top 100 – becoming the highest charting female collaboration ever. It surpasses the No. 5 peak of Tiwa Savage’s “Somebody’s Son” with Brandy in 2021 and Libianca’s “People (Remix)” featuring Ayra Starr & Omah Lay at No. 6 in 2023. “Somebody’s Son” remains the only all-female collab to reach the top ten in Nigeria.

Adekunle Gold’s “Party No Dey Stop” with Zinoleesky leads this week’s Top 100, setting a new record for the biggest total activity by any single in a week in 2023. It also sets a new record for the biggest total streaming tally by any single in a week – surpassing BNXN’s “Gwagwalada” with Seyi Vibez & Kizz Daniel.

“Party No Dey Stop” tallied 4.56 million on-demand streams (No. 1 on streaming) and 70.4 million in radio reach (No. 4 on radio), becoming Adekunle Gold and Zinoleesky’s first No. 1 single in Nigeria. “Party No Dey Stop” is Adekunle Gold’s fifth top-ten entry in Nigeria. It is also Zinoleesky’s tenth top ten entry and he is the only artist with at least ten top 10 entries to have a sole number one single.

*Adekunle Gold & Zinoleesky holding their No. 1 song plaque. Image Credit: TurnTable Charts.*

BNXN’s “Gwagwalada” with Kizz Daniel & Seyi Vibez dips to No. 2 after spending four weeks atop the chart. Spyro’s “Who Is Your Guy (Remix)” with Tiwa Savage retreats 2 – 3; it tops the radio chart for a third week with 93.5 million in radio reach. It sets a new record for the all-time biggest weekly tally by any single on the radio.

Omah Lay’s “soso” falls 3-5 while Rema’s “Holiday” slips 4-6 on this week’s Nigeria Top 100. Ayra Starr’s “Sability” backtracks 5-7 after topping the chart for a week.

Rounding out this week’s top ten, Khaid’s “Carry Me Go” with Boy Spyce enters the top ten at No. 8, becoming Khaid’s third top 10 entry and Boy Spyce’s fourth. Ruger’s “Asiwaju” dips 7-9 after spending seven weeks at No. 1 while Bella Shmurda’s “Ara (Gen Gen Tin)” falls 6-10.

Read a full breakdown of the chart here.

.@adekunleGOLD’s “Party No Dey Stop” with @zinoleesky01 ascends to No. 1 on the Official Nigeria Top 100

The song tallied 4.56 million streams (#1 on streaming) and 70.4 million in radio reach (No. 4 on radio)

See full chart here https://t.co/grrl9xikRK pic.twitter.com/JjETlxeLMP

— TurnTable Charts (@TurntableCharts) March 28, 2023

ICYMI: Revisit our TIME cover story on Davido here

A Look Back At Odumodublvck’s Best Football References

Posted on March 28, 2023March 28, 2023 by Emmanuel Esomnofu

When it comes to rap, metaphors are a potent device. Being technical writers, comparing someone or something to another thing allows rappers the space to illuminate perspective in a surprising way. ODUMODUBLVCK is one such rapper; since entering the heralded Abuja scene before the turn of the 2020s, the rising artist has packed an exciting set-up of sporting references in his work, most regularly drawing from the technical aspects of football and as well some personalities in the sport.

Across the distinct history of rap, several MCs over time have created inimitable portraits of themselves through references. The legendary stature of Mode9 was referenced partly through his several football references, while the likes of Kendrick Lamar and Drake have rested their catalogue’s autobiographical heft to their respective hometowns of Compton and Toronto. For ODUMODUBLVCK, the relationship with football is similarly personal, as he’d once nurtured dreams of a professional career before the (in)famous injury turned him onto music instead.

With “Declan Rice” being the hottest song in the country right now (reaching No. 1 on Apple Music and Spotify), the time is prime to recollect some of ODUMODUBLVCK’s best football references. Across the dense backlog of projects he’s built from his underground years to his more recent releases flecked with ominous pop influences, there’s a lot to unpack in how ODUMODUBLVCK has used football to reiterate his mental strength and the peculiar skillset that makes him one of the most promising torchbearers of rap music right now.

“DECLAN RICE” – ODUMODUBLVCK

Year: 2023

Lyric: “Do like Declan Rice.”

So far the most penetrative of his footballing metaphors, it’s peculiar how there’s only one reference on this track. Subverting typical notions of what a track named after an actual person should sound like, ODUMODU uses the acclaimed strength of Declan as the base for his proclamations. The West Ham captain might not be the most popular English international, but he’s a dedicated member of the squad and he’s the representative figure of its relentless push to the zenith of English and European football. More than most, Rice demonstrates that it’s possible to do great things from a small place, and it’s an ethos ODUMODU has reflected ever since coming from the Abuja scene. Refusing to fully relocate to Lagos, he’s doing like Declan Rice on many levels: staying with the community, tackling the industry hard and leading his people to greatness.

“KEVIN DE BRUYNE PASS” ODUMODUBLVCK FT. REEPLAY

Year: 2021

Lyric: “As I dey run my race, I dey smell canta/assist my man with Kevin De Bruyne pass.”

Kevin De Bruyne is widely regarded as one of the best midfielders of all time. A captain of English Premier League side Manchester City, he’s famed for the breadth of his assists. Pulling diverse range on his playmaking, he’s arguably the best creator still active in the game, a quality his teammate Erling Haaland has massively benefited from. ODUMODUBLVCK is likewise a team player, someone who’s eager to carry along his peers. Like De Bruyne, he has been recognised for his individuality, but his legacy as he’s so far reiterated is to lead his family to the promised land.

“OYOYO” – ODUMODUBLVCK FT. CH1DZ

Year: 2022

Lyric: “Soldiers of the kingdom, we dey tackle ojoro.”

Asides from footballing metaphors, ODUMODUBLVCK also has a knack for religious allusions. He’s often spoken about his strong faith as a Christian, and it’s all of these diverse strands of identity that make him so magnetic as an artist. In this cut from ‘The Drop,’ his collaborative tape with B.O.C Madaki, he pairs both worlds in the quoted lyric, emerging with imagery that’s as stark as it is elusive. When he calls himself a soldier of the kingdom, the immaculate force of angelic stories comes to mind, but it’s his tackling of ojoro that highlights something of an industry flaw, the hype that previously eluded him. But through his grace and grit, he’s making the industry take notice of communities outside the epicentre of Lagos.

“ODIEGWU”

Year: 2021

Lyric: “Defend my soul, Celestine Babayaro.”

The Super Eagles team from 1994 to the Olympics-winning ‘96 was one of the best teams in the world. Achieving a continent-high FIFA World ranking of 5th place, its myth is ingrained in the popular culture of not just Nigeria but Africa. An important part of the latter team was Celestine Babayaro, a left-back who sometimes played as a midfielder. Here ODUMODU makes the reference to Babayaro’s footballing position, but he also incorporates commentary on preserving his uniqueness as an artist, which isn’t an easy feat considering the fast-shifting nature of the music industry. As he’s since shown, ODUMODUBLVCK has been delivering on this promise, and I’m sure Babayaro would be proud of his defending.

“DOG EAT DOG”

Year: 2022

Lyric: “My baby give me big koroba, she dey lap for my yard/I dey find kaluba, I say make I feel among, Lacazette I dey fire like that.”

Bravado is a defining trait of ODUMODUBLVCK’s music, but being a versatile lyricist, he knows how to branch out those plains. “Dog Eat Dog” is one of his few records that centre romantic themes, coasting over ODUMODU’s vocal background and the laidback production. Regardless of the stripped mood the song imbibes, the rapper uses a football metaphor to enliven one of its hooks. “Lap for my yard” references the famous goalkeeper-resident ‘Box 18’ in football pitches, an off-kilter way of saying his lady loves being intimate with him, while the mention of former Arsenal striker Lacazette firing like that flips the perspective onto his desires. In one progression, with the aid of the established imagery football provides, ODUMODUBLVCK creates such a stirring, sensual lyric, and the best thing—even the radio can’t sanction this.

“DUVAN ZAPATA” – ODUMODUBLVCK

Year: 2021

Lyric: “Muscle full ground like Duvan Zapata/Italo mafia, headquarters dey for Atalanta/Keeper vanish before I load am, with my back to goal, with a shangalo, I scatter the post ah.”

Colombian international Duván Zapata is a burly forward. With his career taking him to different football leagues across Europe, he’s currently a player for Italian Seria A side Atalanta FC. Zapata might not be mentioned among the great strikers of his generation but during his prime, his combination of athleticism and technical quality was feared by opposing defenders, and it’s that image which ODUMODUBLVCK holds up here. Detailing what is arguably the most outlandish move in football (the overhead kick, otherwise known as Shangalo), he makes a case for his flair while evoking the communal and dangerous association of being part of a mafia.

“OJUJU CALABAR” ODUMODUBLVCK FT. REEPLAY & AGUNNA

Year: 2021

Lyric: “I catch you for post, it’s a goal.”

When he’s not defending his soul, ODUMODUBLVCK is the one making the charge. He’s the guy with the ball at his feet, capable of doing anything and going anywhere. He’s the one who hits the net, as he reminds us on this cut. Assertiveness has always been a trait necessary for artists to create and it’s everywhere in ODUMODU’s music. On this particular bar, he opts for simplicity, but the message is clear and confident.

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ICYMI: How women in comedy are navigating Nigeria’s androcentric music industry

Best New Music: Nonso Amadi & Zinoleesky Are A Perfect Pairing On “Lock Up”

Posted on March 27, 2023 by Nwanneamaka Igwe

A few months before the pandemic took over the world early 2020, singer and producer Nonso Amadi took a much needed hiatus from the scene. Rejuvenated with a renewed focus after an evidently rewarding time away, Nonso Amadi made a noteworthy return in 2022 with new single, “Foreigner” and a collaborative deal with Universal Music Canada. His return was welcomed by the generation of millennials and Gen Z whose music he found favour with, and displayed an update on his familiar R&B style accompanied with illustrious chord arrangements. Evidently still ruled by his reflections on love, the track expressed the singer’s deep infatuation and dedication his muse

Prior to this, he enlisted Canadian R&B duo Majid Jordan on “Different,” before sharing “Eye to Eye” and “Ease Up,” two singles which were replete with clever wordplay. Now, the singer is unveiling the world around his debut album ‘When It Blooms,’ a collection of songs poised to celebrate his maturity and experience as both an artist and person. Alongside the four promotional singles, the singer has now shared new single “Lock Up,” a delightful new cut which features Street Pop’s Crowned Prince, Zinoleesky.

On “Lock Up,” Nonso Amadi expertly finds a middle ground between his energy and that of Zinoleesky’s. Over the past few years, Zinoleesky has risen up as one of the ascendant stars from the street-pop scene. Flooding our airwaves with his freestyles and singles during his debut year, Zinoleesky wrestled his way into wider Afropop conversations off the back of the sheer quality of his voice and his sharp and gritty lyricism. It doesn’t come as a surprise that he has become a sought after collaborator for a number of artists in the past few months.

Before his project ‘Grit & Lust,’ last December, Zino was already inching his ways into several high-flying collaborations. For instance, the singer featured on a string of feel-good tracks such as “O’dun” with Naira Marley, “Kilometre Remix” with BNXN, “Blessings” with producer, Niphkeys, “No More Condition” with Rexxie, among others. In the space of a few months, Zinoleesky had more than proved his salt as a formidable collaborator with the ability to hop on an artist’s track and bolster it to greater heights. This year, it’s clear that Zinoleesky is wasting no time to keep his output fresh and exciting for his listeners. Already, the singer has featured on Adekunle Gold’s “Party No Dey Stop,” a sonic shift from his predominantly soulful discography, which harbours hit records like “Before You Wake Up.”

Its this rapid-fire ability that Zinoleesky also brings to Nonso Amadi’s latest single “Lock Up” off his forthcoming project, ‘When It Blooms.’ While the singer landed his breakout hit from his heartwarming 2016 breakout single, “Tonight,” a soulful R&B-tinged cut with soft twinkling keys, “Lock Up” is a testament of his sonic evolution. On paper, the marriage of their two distinct sounds may raise eyebrows, however, the pair deliver an outstanding performance on “Lock Up,” showing where Afropop is able to go sonically and lyrically.

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Over an intoxicatingly jovial beat, Nonso Amadi maintains his loverboy anguish as he addresses a love interest who he’s willing to go the lengths for. The rhythmic mid-tempo production encapsulates his romantic and personal emotions for his love interest as he expresses his interminable love and affection singing “This kind love wey you give me, Abi na miracle ye pa/Her name na miracle ye pa, Top of the pinnacle ye pa.” In typical Nigerian colloquial vocabulary, “Lock Up translates to shut up,” Nonso Amadi explains as means to shun all intruders and naysayers of the relationship.

Coming in shortly after the first verse and chorus, Zinoleesky’s instantly recognisable vocals take over the track as he reiterates its themes in the most brutally honest way, “See many man shall fall that day, If anybody try touch my bae.” With production credits attributed to P.Prime and Nonso Amadi, Zinoleesky is able to deliver a standout performance in his few short lines as his gritty rendition drives home the points in a way Amadi’s sweet-sounding vocals might not have. Undisputed king of memorable one liners, he doesn’t close out his verse without delightful rhymes, “Charge her up like any other day, She thinks I’m Michael Faraday/She hit me up when she wants to escape, She knows I take her faraway.”

Following a few rounds of the beautifully delivered, mellifluous chorus, the outro of the track takes on another perspective. More mellow and vulnerable, Nonso Amadi addresses his hiatus and future aspirations as well as the socio-political climate in Nigeria through the lens of police brutality, “Government men make you fear them o/Them dey carry gun and them get round o.” Amidst the chaos, he lets us know that leans on his love interest as a form of escapism.

Ahead of the release of ‘When It Blooms,’ Nonso Amadi has proven again to be an outstanding vocalist with a few tricks up his sleeve. Skilfully leading in with Zinoleesky’s witty and confident verses, Nonso hints that his debut album will be an expansive exploration of his sound alongside a more possible collaborators.

Listen to “Lock Up” here.

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How Women In Comedy Are Navigating Nigeria’s Androcentric Industry

Posted on March 27, 2023 by Uzoma Ihejirika

Across numerous eras and genres, comedy has been a fundamental part of popular culture, appearing in different mediums of entertainment including television, radio, film, music, books, theatre, and more. This art form, which dates back to medieval times, has undergone several changes and modulations but its major objective remains the same: eliciting laughter in audiences to, even if briefly, forget everyday circumstances. In today’s digitalised world, comedy has taken on new, unique forms while retaining its core values, and women—fighting against tough societal and economic challenges—have played a major role in this shift.

In Nigeria, our collective relationship with comedy as a profession harkens back to the late nineties, with names such as Moses “Baba Sala” Olaiya, Ayo “Papalolo” Ogunsina, Tajudeen “Jacob” Gbadamosi, Kayode “Aderupoko” Olaiya, Chika “Chief Zebrudaya” Okpala, James “Gringory” Iwoha, Sunday “Papi Luwe” Omobolanle, in constant circulation. The works of those performers were rooted in theatre and television, which were striving fields in the early forties and fifties. Baba Sala, who performed with his Alawada Group, is regarded as a pioneer in modern Nigerian comedy. While the trio of Papalolo, Jacob and Aderupoko scored success with their plays that aired on TV stations in the southwestern part of the country. Chief Zebrudaya and Gringory were the stars in the hit TV series ‘The New Masquerade’ that ran from the 80s to the mid-1990s. In that space, the most notable female comic actor was ‘The New Masquerade’s’ Lizzy Evoeme, who played the role of Ovularia.

The fusion of theatre, TV and comedy was the building block for what later became Nollywood–the country’s premiere film industry. It also took until the 1990’s, the same amount of time it did for Nollywood, for the comedy industry to blossom and diversify itself. One such advancement came in the form of stand-up comedy. Following the path created by acts such as John Chukwu (JC), Mohammed Danjuma, Tony St Iyke, Jude “Away Away” Onakpoma, Atunyota “Ali Baba” Alleluya Akpobome became a household name. The comedian is regarded as the one who revolutionised stand-up comedy in Nigeria, making it a profitable and respectable career path.

As the comedy grew and broadened its horizons, Nigerian film producer-cum-comedy-entrepreneur Opa Williams delivered a watershed moment with the growth of the genre with his comedy show “Night of a Thousand Laughs,” which birthed ascendant names such as Okey Bakassi, Julius Agwu, Basketmouth, I Go Dye, Gandoki, AY, Gordons and Bovi, among others. Entertainment producer Bunmi Davies also made an impact with his comedy show, “Stand Up Nigeria,” deepening the pool of local comic talents. At the time, it was glaring that the industry was male-dominated, as there were only a handful of women who received their deserved recognition.

One of those women is Mandy “Mandy” Uzonitsha who is considered a pioneer among female stand-up comedians in Nigeria. She performed on the same stage as her male counterparts, earning their respect as well as the admiration of her audiences. In 2017, Mandy celebrated 25 years in the industry and hosted an all-female comedy show. Her success carved the path for Damilola “Princess” Adekoya, Bose “Lepacious Bose” Ogunboye and Helen Paul. Like Mandy, Princess, Lepacious Bose and Helen Paul found creative ways to gain relevance in the industry. Princess’s jokes are mostly about her experiences as a Nigerian woman, Lepacious Bose uses her comedy to call attention to the beauty and gloriousness of plus-size women, and Helen Paul’s signature child-like vocal delivery is a winning formula.

These female comedians have also found success outside of stand-up comedy. They have ventured into TV, music and film and notched up endorsement deals. Princess was part of the cast of Kayode Peters & Tope Alake’s film ‘Crazy Grannies’ (2021); Lepacious Bose won Best Comedic Act category in the 2014 film ‘Being Mrs Elliot’; and Helen Paul, who is a TV and radio presenter, starred in numerous film and TV productions and pursued a music career.

Despite the wins, the journey to success wasn’t an easy feat for those women as they faced unfair challenges that riddled their path with more obstacles, compared to their male counterparts. In an interview with The Punch, Mandy cited instances where “most of the juicy jobs usually go to our male counterparts, even the jobs that are tailor-made for females.” It is a credit to the resilience of Mandy and other female comedians that they stuck to their talent and eventually found success, thereby making the path easier for the next generation of women to follow.

The early 2010s gave rise to the boom of the internet and social media in Nigeria, benefiting creative industries including film and music. The comedy industry was not left out from this. The ubiquity of smartphones meant that more Nigerians had access to content from around the world and could also curate content for audiences outside the country. This led to platforms such as YouTube, Thriller, Vine and WhatsApp becoming arenas for creatives to showcase their talents and gather a massive following.

While this phenomenon saw the influx of large numbers of male creatives, it also ensured that women too gained access without any restrictions to contend with. Through short comedy sketches popularly known as skits, women with comic talents have found ways to garner attention such as Anita “Real Warri Pikin” Asuoha, who is a stand-up comedian, on-air personality and actor. In her skits, Real Warri Pikin assumes different roles and humorous spins on ordinary Nigerian lifestyles. She mostly utilises Pidgin English (of the Warri brand) to create her content and embeds it into the sociocultural texture of Nigerian society. Over the years, Real Warri Pikin, who is also a mother, has managed to strike a balance between her career and motherhood.

“It’s been very bitter-sweet. It’s been difficult,” Real Warri Pikin tells the NATIVE about building a career in the Nigerian entertainment industry. “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.”

Chioma “Chigul” Omeruah is another performer whose signature act is her Igbo accent that proudly celebrates her roots in the southeastern part of the country. Like Real Warri Pikin Chigul has featured in TV and film productions, and like Real Warri Pikin, she has been open about mental health challenges. In an interview for Accelerate TV’s “The Cover” segment, she spoke about the discrimination she has faced because of her plus-size frame and how she has managed to keep her focus on her career. Her YouTube show “Her Matters” features conversations with respected individuals on the topics of youth, family and sexuality.

Similarly, Maryam “Taaooma” Apaokagi-Greene rose to stardom in 2019 after uploading a skit on Instagram about an agitated mother hurrying to take her daughter, who overslept, to school. Along the way, the daughter mentions that she forgot her school bag at home. “Did you carry food?” the mother asks and when the daughter says yes, the mother rains slaps on her. That skit went viral and formed the basis of Taaooma’s work: the (sometimes dysfunctional) relationship between parents and their children, when it comes to traditional forms of discipline and family life in general. Taaooma has since leveraged her breakthrough, directing for the cinematography firm The Greenade Company, founding her food company Chop Tao and pursuing a music career.

Indeed, no conversation about comedy in Nigeria will be complete without the mention of “Maraji” Oloruntobi, who is another illustrious name in Nigeria’s comedy scene. In her comic skits, Maraji plays multiple roles, from troublemaking students in a classroom to the behaviours of mothers concerning their daughters’ intimate lives. In one skit, she showed the different reactions that parents would express when watching TV and a kissing scene appeared. After giving birth to her child in 2022, Maraji has used her social media pages to document her journey with pregnancy and motherhood and keep her audience entertained with new material that celebrates her growth and maturity.

The crux of comedy is collaborations and in Nigeria, female comedians are also keen on collaboration to widen their arsenal and endear them to new audiences. Oluwabukunmi Oyebisi “Kie Kie” Adeaga-Ilori is a skit maker, event and TV host, actor, a brand influencer and fashion enthusiast. Her character Kie Kie is a cantankerous, semi-literate yet funny personality with an opinion on everything and everyone. Some of her collaborators include Mr Macaroni, Broda Shagi, Lasisi Elenu and Officer Woos. Taaooma, too, has worked with names such as Twyse, Mr Macaroni and MC Lively. The collaborations have yielded benefits for both male and female comedians as they access one another’s fanbase and increase their reach.

Outside the country, there are female comics (of Nigerian descent) who have made incredible impacts. Born in the United States, Chinasa Anukam started her stand-up comedy career in the United Kingdom and she is also an actor, presenter and content creator. Anukam has a YouTube web series called “Is The Seat Taken?” where she has unscripted conversations with public figures. Last year, she toured Lagos and Abuja for her stand-up comedy show “By The Grace of God and Black Man Blood.” Other names outside these parts include Regina Obedapo “Gina Yashere” Iyashere and Drea Okeke. Gina Yashere is a British comedian, actress and writer who has performed in the UK and America and co-created the American sitcom ‘Bob Hearts Abishola’ while Drea Okeke uses TikTok to entertain and promote Black creators on the platform.

Like their counterparts in Nigeria, Gina Yashere and Drea Okeke have faced challenges navigating a male-dominated industry. Yashere told The Guardian that years of commitment to her craft and being the only female engineer at Canary Wharf have helped her surmount the obstacles hindering women from reaching the peak of their careers, saying that those have “built up my layers of resilience going through all those things.” On her part, Okeke admitted that although “her path hasn’t been as tough as other female comedians,” she has struggled with being taken seriously outside the comedy space. “In the hierarchy of social media, the beauty and lifestyle creators definitely do get the higher budgets,” she told In The Know. “Comedians do get paid, …but the ‘stuck in a box’ problem is real.”

While these issues remain, female comedians, both in Nigeria and in the diaspora, have been resilient in their bid to garner the attention of audiences and compete with their male colleagues. They have leveraged social media’s ability to reach large numbers of people, whether in Nigeria or outside the shores of the country. “One of the advantages of me also having an online presence is reach,” Real Warri Pikin says. “Since I already have an online audience and presence, before they call me, they’ve [the audience] started cheering. So the online videos help them have an idea what to expect. They know that I’m funny. That has helped me in my standup.”

The future looks promising for Nigeria’s female comedians. Over the years, there has been more influx of names whose impacts have been felt, from child star Emmanuella “Emmanuella” Samuel to Kemi “Mummy Wa” Ikuseedun to Ope “SwitOpe” Keshinro. It remains only a matter of time before they attain the respect they rightfully deserve as creators and artists.

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ICYMI: The NATIVE launches new women-focused vertical, Nruly

Identify: Yinka Wants The World To Love Again

Posted on March 27, 2023 by Uzoma Ihejirika

Earlier in the month, Yinka (previously known as Olayinka Ehi) released her new EP ‘Let’s Get Romantic.’ As its title suggests, the seven-track project is a compendium of matters of love, touching on both the good and not-so-great moments. It is a subject matter Yinka has perused throughout her career, which began in the late 2010s, from 2018’s ‘Story’ to 2019’s “Thinking” to 2020’s “Terms and Conditions” to 2021’s Mannywellz-featuring “Someone Else.”

On ‘Let’s Get Romantic’ though, Yinka’s ruminations about love carry more gravitas. “I feel like this was a debut to me,” she tells the NATIVE, “this was an introduction and I kind of just wanted it to be my voice and I wanted it to be literally the closest to intimate as possible.” On songs such as “Two Weeks,” “Die Loving You” and the title track, Yinka serenades her loved one with care and affection; elsewhere, she struggles with the pain that sometimes comes with loving.

In this exclusive with the NATIVE, Yinka shares her passion for music, the processes involved in the making of ‘Let’s Get Romantic’ and her thoughts on love and society.

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NATIVE: How did music start for you?

YINKA: My mom says I was three. I have always liked singing, and I’ve always liked music, so it’s just something I was doing. I was learning I was just copying the singers I would listen to. And then it wasn’t until I started school that I was like, “Okay, I want to really start singing.” There was a show in school and I’d asked to sing. So I was singing, and my principal at that time had come to my house to tell my parents, “Wow, did you guys know that she had a voice like this? Did you know she could sing? So from then, [at] any opportunity I could get, I would ask to sing. I just wanted to always sing. So that’s really how I started singing. I just knew that I had something.

And then I tried to mimic stuff. I’d try to write my own songs. My late uncle was the first person that showed me how to write a song because he also wanted to be a rapper. So I learned from him, as far as writing music, trying to be a musician, a verse, a hook. All that kind of stuff. So that’s where I really learned and I was like, “You know what? I’m determined. I want to be a singer. Ever since then, it’s been something that I’ve been doing.

During this period, you were in Nigeria, right?

Yeah. I was born in Benue State but I started school in Abia State. I was all over Nigeria, to be honest.

Who were your musical influences while growing up?

It’s crazy and it’s so random but I used to be a big fan of Lagbaja. I was really young, but I was just so taken by the music because he always used to talk about just real shit in his stuff, you know. He used music to say stuff and that was when I was like, “Oh, you can use music to say things.” That was my first understanding of [the fact] that music could be a message, music could be a way to express yourself. And then after that, it was Destiny Child and Beyoncé. Also, P-Square [and] Styl-Plus as far as Nigeria [is concerned]. And then growing up, it was Rihanna, Rosalía – she’s one of my new favourite artists. I feel like now I don’t even really listen to other people’s music that much because I’m always in my head, but yeah, those are just a few influences. [Also] James Blake is really, really dope. That’s a dream producer I’d love to work with but other than that his music is also amazing. SZA, Rosalía, James Blake, Rihanna. Those are just really dope influences that I think about.

You were born and raised in Nigeria and then moved from New York to Los Angeles. Was the acclimatisation to a new environment seamless for you?

It was difficult because it’s a new thing, new life, new culture, new food, new people. It wasn’t as seamless because you are moving from one country to another; you have to relearn things and you have to make new friends. I think I can honestly say music is really what held things together because I saw like, “Oh, I could still make music.” So as much as I didn’t like certain things, I always found a way to be like, “Okay, I want to do music. Maybe an art program. So I think music really helped that transition for me, as corny as that sounds, because it was just the peace in the midst of madness, really. When you are coming from one country to another, it could be crazy and then you miss home.

You quit your job after getting bachelor’s and master’s degrees and faced music full time, did you get any pushback from friends and family?

Of course. So, basically, I rushed to finish school, so I finished my master’s at 22. That’s a pretty young age to finish and then make that decision because, you know, Nigerian parents, as long as you’re in that house, it doesn’t matter. So I was pretty young to just say, “Hey, listen, I’m gonna pick up and do this and do it full time.” The degree didn’t really mean much to me because I knew what I wanted to do. I was just trying to finish and tell my parents, “Okay, listen, this is what you wanted me to do. I’ve done it. It’s time for me to choose myself,” and I guess it was rebellious because that wasn’t the plan. I just did it because I think at the end of the day, as much as we love our parents, they got to live their lives. They got to do whatever they wanted to do, the choices they made, whether good or bad, they’ve done it. So I just saw it as, “Listen, it’s my life.” I [didn’t] think I’d be disowned but nothing mattered to me at that moment but just chasing my dream fully because I will have myself to blame.

So yeah, there was definitely pushback. And then also to just pick up my stuff and move here by myself. I moved to Los Angeles without a plan. I didn’t even have an apartment. I just knew that I needed to be here in order to push to chase my dream and I just did it. I packed my suitcase. I got here and I’ve just been figuring things out since then. And I think my parents have seen that and they’re like, “Okay, This is something serious to you.” They even supported me fully because they were like, “You are pushing for something. You must love it so much that you’re ready to risk a lot of things.” Risking just being comfortable and things like that, and when they saw that, I think it helped them be more supportive of it and just kind of respect my decision, even though they’re scared. But life goes on.

You released your first project ‘Story’ in 2018. In your interview with VovageLA, you said the aim was to raise funds for the construction of an all-girls school in Tanzania. Tell me more about that project.

I’ve always been into women’s rights and equality for women. So that’s always been something that has been important to me as far as being an advocate for that and things like that. So, prior to doing that, I had gone to Tanzania with a church to volunteer. We had volunteered at a school and the principal of the school wanted to open up his own school, and I knew that I had some music coming out, and I was just like, “How can I help basically?” because this is somewhere that I lived in for like a month in the village. I know how hard it is to kind of come up with funds and things like that.

I’m also a photographer; so I had taken some pictures while I was there and I decided to have a big fundraiser event. And then I partnered with a friend of mine who’s also Idoma; they have their own foundation called WACRIA Foundation. So I reached out to them and then we worked together in order to help raise funds. So, I performed my songs. I also auctioned off some of the pictures that I took and we were able to raise—I don’t know the exact amount—but we were able to raise money for the school. So it was really close to my heart because women in Africa go through a lot, especially in places where they don’t really have as much rights. So, I think it was really important to me to kind of bring awareness and then use my music to help jumpstart it [the project]. It was really a good experience and I’m blessed to be able to even do that.

With the benefit of hindsight, what are you grateful for about putting out ‘Story’ at the time you did?

I think it taught me a lot because I feel like music is a journey. I feel like I’ve evolved as an artist from that time and I needed that as a stepping stone, you know? So I think that really helped me understand how I wanted to sing and if I didn’t do it, I wouldn’t have been able to do ‘Let’s Get Romantic.’ I feel like ‘Let’s Get Romantic’ is my debut project because it was the first time that I felt like, “This is how I want to be heard,” compared to that first project where I was trying to figure out how to be an artist. So I think I needed that as a stepping stone to where I am today and I feel like the next project would be the same thing. I’m gonna evolve more, I’m gonna learn more, and in order to learn, you have to do. So I feel like it was a step in my journey going forward.

What made you change your stage name to Yinka?

It wasn’t really a deep thing. My name is still Olayinka Ehi [and] that’s gonna be there. But I felt like because I was entering into a more intimate part of my music, Yinka is the name that everyone calls me. Yinka is me. I wanted to just step into that intimacy as an artist and yes, I just decided to switch the name, but my socials are still Olayinka Ehi because I feel like that shows both worlds like I’m Idoma [and] I’m Yoruba – put it together [and] I think it’s the perfect way to kind of define me. I’m still both but I think Yinka is just more intimate. It’s a step into my music. It’s almost like having two separate personalities or something, you know; one is [a] more intimate, closer part of me and I think ‘Let’s Get Romantic’ is a very intimate project, so it just kind of made sense to dive deeper in there.

‘Let’s Get Romantic’ feels very intentional about love. What made you choose to create this project that hinges on romantic thoughts and commitments?

I think post-pandemic, I just kind of noticed that everybody—around me at least—I felt like we were just losing the idea of being intentional with each other, including me. I was just like, “Ah, fuck it. Who cares?” I think something stirred my feelings to question, “Do we actually hate love?” I think that was around the time it was like, “Oh, you’re a simp if you do this, if you do that,” and I was just like, “That sounds crazy because how are we deciding not to be intentional and not to really be intimate each other,” so it just kind of triggered my thought process. I don’t think we hate love and intimacy. I think we’ve had bad experiences, right? Like, I mean I don’t know about you, but people I talk to, my friends, me included. I think, “I want to be loved by someone. I want to love someone.” I just feel like we’ve had such experiences that it makes you almost not want to try.

So I think that’s what really inspired me to give love a chance again and just to be like fuck it, if I go in fully, I go in fully, instead of just putting one foot in so that in case anything happens, you don’t care anymore. But I think it’s just time [give love a chance]—not even just as lovers but as friends, you know, being more intimate with your friends, telling them you love them because I just feel like life is too short to not be intentional about the people that you love. So ‘Let’s Get Romantic’ is not just about lovers. It felt like a movement to me; I wanted it to be a movement where we’re all just trying to be intentional with the people that we love; and even with strangers, we just shouldn’t be so cold anymore.

I don’t know if you’ve seen but we’ve been delivering flowers to people; people have been sending requests like, “Oh, I want to send this person flowers,” which is just a physical symbol of care and love for someone. I want people to see that it’s more than just music; this is something I feel we should all collectively do: receive love, give love and just really be intentional because we all have hearts so there’s no point being cold and I doubt that we all want nonsense. I know that we want good, genuine [and] intentional stuff. That was really the whole thought process and then as I continued to add more songs, it became more and more intimate. It became more of a message that I wanted to put out there and I think the EP ends with the song “Flowers” because it talks about not receiving flowers, not receiving all these things but it’s like, “You know what, I still want to try. I still want to give love and I still want to receive it even though I might have not received it in the past. I think from start to finish, it’s a conversation, you know. It’s like, “Can anybody find me someone to love?” in the beginning, and then it ends with “Well even if I don’t find it right now, I’m still gonna give it. I’m still gonna be that person.”

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What was the creative process for the project?

[The process] was chill. It was like me using my full-on creativity, even with “Interlude,” I wanted it to be a poem because we don’t see poems anymore, we don’t see love letters anymore. I was like, “You know, let’s bring back these things that some people might see right now as corny” but I didn’t give a fuck because, in the end, I do what I want. I do what I think feels good. So to me, it was [about] bringing these little things that were romantic and I try to intertwine that into my project. You see a lot of strings, you see a lot of grand gestures because I wanted it to feel like a grand gesture. I wanted it to feel like my kind of love letter to everyone and I hope people are receiving it that way.

You spoke about expressing love publicly and literally sending flowers, do you think people are apprehensive of intimate expressions now because these expressions might have been linked to chivalry?

That’s a good question. I think it’s kind of tough because I’ve been seeing these podcasts that have been going viral [about] couples. What is supposed to be done? Expecting too much, expecting too little blah blah, like judging people based on what they’re doing. and I feel like it depends on where that person is at the moment. Not everybody cares for flowers, right? Not everybody cares about different aspects of material things. It could be whatever you want to receive. The EP’s intro is like a question, so I think if someone wants to go and deep dive into the project, they can actually ask themselves and have a conversation with themselves, and I think by the end of the EP, they should be thinking, “Do I actually not like these things? Do I actually not like love or certain expressions of it?” Or “What is my love language?” versus “Oh, I don’t care for it.” So it really depends on the person but I wanted it to be an open letter so it’s not just specific. It’s for the people who are inside of love, it’s for people who are apprehensive as well. It’s just like whatever you feel, I want you to feel it fully. Hopefully, it changes things and changes the mindset.

How did you decide on the songs that made the project?

I think from the start of it down to the end, we might have recorded 15 songs during that time because it was just like, you know, trying different things. And then we had to pick [the] ones [on the project] based on the message. It was pretty easy because since it was happening in such a fluid way, it was already a story from the beginning and then after we were done, we were just like, “Let’s see if there are other things that we can talk about or any way to make it better,” then it took a while. I think “Flowers” was the last song. There are literally three versions of that song because I wanted to end the EP with something solid and strong and intimate enough. It was like, “Well, you don’t get it, you don’t give it.” Um, and

At first, “Flowers” was personal and then I changed it to something more about others. So there were a couple of songs but I think these seven were pretty solid after all the other records that we did. Hopefully, you guys will be able to hear the other records when the next project comes. But yeah, it wasn’t too hard because it was a conversation from the start.

Our Best New Music column on “Flowers” was about how the track deviated from the rose-tinted POV of the other songs and depicted something a lot darker. What does “Flowers” mean to you and why did you choose to have it on the project?

I appreciate you really listening to that detail. I’m glad that you caught it. I realised that love is not always blissful. Love is not perfect in any way. You can have love and be with someone that’s not giving it to you, right? I don’t want people to just think that we’re living in delusion, even though that’s good sometimes. I think for me it was like, “Okay, let’s also come back to reality. Let’s say you don’t get it. Let’s say you’re saying, ‘Let’s get romantic, let’s get romantic,’ and the person is like, ‘No, fuck that.’ What do you do now?” I don’t want it to just be, “Aww, I’m just in my head,” and I’m not talking about reality. I wanted to dive a little deeper into the fact that the reason that we’re here now as a generation where it’s like, “Oh, fuck love. I only care about money and I only care about this, this and that” is not because we don’t like it; it’s because of the experiences. So now it’s like, “Okay, let me prep you. If you do go out there. If you put yourself out there, if you are intentional and someone doesn’t give that back or someone doesn’t appreciate it and hurts you, you need to be ready to still keep on going.”

So I wanted to end with that because it was important that you don’t just go out there and think, “Oh, once something bad happens again, I’m done.” Go out there with the intention that if it doesn’t work out with this person, you’re gonna keep going. Literally, in the verses, I talk about just how love could feel sometimes like “Head above water” and “I’m hopeless in love.” “The dust didn’t even settle” literally means I didn’t let that relationship kill me, it just happened and I’m still like, “It’s okay. I’m gonna still go and love someone else.” So a breakup or someone hurting you doesn’t have to equate to saying fuck love. You just have to keep on going because you don’t want to become what broke you. So I think for me, it was good to end with a “Hey, just in case it doesn’t work out, be ready to keep going, because there’s really no point of going backwards when you could just go for it and be intentional with other things and with other people and actually find someone that gives you the same energy that you’re giving them.” So yeah, I appreciate that question because I think “Flowers” is a little bit dark but because the project is called ‘Let’s Get Romantic,’ not everyone sees that. But it was definitely a different view on [love] for me.

Listening to “Flowers” gave the impression of someone in a relationship who isn’t getting what she wants but refuses to leave [the relationship] and move on to someone else who would give her the kind of love she wants. The song seemed like someone desperate for love and sticking with a bad situation.

Okay, I see what you mean. I can actually see how you see it from that angle, but it’s more [about] moving on but I could see how it could seem that way. I love it. I actually like that you saw a different take on it. Don’t stay anywhere that they don’t love you, please. But the real meaning when I was writing was more just like, “I keep on going, even if you don’t give me stuff. I’m still gonna find love. I’m still gonna be loved regardless of my experiences. Sometimes I feel like I write in riddles, so sometimes I can see why different people can have different takes on it. But yeah, no please, just go somewhere else.

What was the inspiration behind the cover of ‘Let’s Get Romantic’?

I wanted this EP to kind of be open[ended]. So, if you wanted to talk about self-love, if you want to give yourself flowers, if you wanted to talk about loving your partner, cool, if you wanted to talk about loving your man, your woman, whoever, you know, that’s great, but I think flowers have historically been a representation of love, even flowers of different colours. They mean different things. I didn’t want to put a guy there because that was expected. I don’t like to do what is expected of me all the time.

When someone sees the cover, I want them to just look at it and think to themselves, “Oh, what does that mean?” I just didn’t want it to be so obvious and I feel like ‘Let’s Get Romantic’ is a message of let’s love again. It doesn’t necessarily have to be with the partner. It could just be self-love, whatever it is. But I think I wanted the flowers to just be a representation of love and not actually of a person, so whatever you wanted to use love to do, you can just be open to doing that. So yeah, I thought that was a good way to express myself and do something interesting. I wanted something that’s like, “Oh, what does that mean?” So I’m glad you even asked because that’s the goal.

What was it like working with the producers to bring your ideas for the project to fruition?

I feel like what I did here was combine classical and contemporary music with [an] edge. It’s a unique project. So, I think what I appreciated the most and enjoyed the most was being able to be free with my creativity. When I met Chris, he was like, “Oh, come let’s just write.” So [the music] was about all these different things I like. I like Frank Sinatra. I like classical music. I like this and that and then we were able to put it together and form a sound and that sound now became an experience. I really enjoyed that part of things; to actually bring out the ideas I had in my head and them [the producers] being open enough to receive it and we were able to do this project without them saying, “Well, why don’t you just do the classic R&B stuff that everyone’s doing?” I was able to be creative and I plan to be even more creative. I want the artistic freedom to continue, so it was great working with them because they allowed that to happen. And then Shae was able to put that together. I enjoyed the whole creative experience because I was able to express myself and begin a sound that I feel like it’s more me as an artist.

You have mentioned loving classical music but how did you get to the discovery of your voice, your genre because it’s a bit different from what everybody’s putting out now. It looks like you’re not really focused on trying to become trendy, but you are focused on trying to create an atmosphere around your genre. So could walk us through how you were able to get there?

I think it’s because I just stopped putting myself in a box. Right. It’s so easy to be put in a box like, “Okay, you are African, you should be doing Afrobeats.” For me, I live in my head so much, sometimes a little too much. I like different things. I like Bollywood music. I like classical music. I’m the friend that you don’t want to give the AUX because my playlist is just crazy.

Did you say Bollywood?

Yeah, I’m a big Bollywood fan. I grew up on Bollywood because, you know, they don’t kiss [in their films]. My parents were really strict so we were allowed to watch Bollywood because they knew that no one was doing anything crazy. So I’d listen to a lot of Bollywood music going up and I still do. So, I love all these things and I have experienced all these things and I’ve always been the odd person so I didn’t really care to be trendy. I’m okay being in my own lane because I feel like the right people would come to you. So when I was thinking about this project, I was just like, “Yeah, these are things that I genuinely love. This is something that’s a part of me. How can I instil that in my music?” So you hear a lot of strings. The interlude is so dramatic, it’s like this grand thing. It was really just me thinking about how I don’t want to be in a box. I want to do what I want to do. I want my sound to be multi-dimensional and I want it to be an experience, kind of like how we’re talking about James Blake.

James Blake has worked with so many different people because it’s whatever he feels like doing at the time and I just saw myself in that way. It’s like, “I feel like doing this, it’s close to me, and as an artist, I want people to get as close to me in that way as possible,” and that was the thought process here and it wasn’t any trend. It was just me being myself and really truly expressing myself. I dropped ‘Let’s Get Romantic’ at a time when people might not have been feeling that but to me, it was important to get that message out. I’ve always felt like music is the way to speak to people and maybe change their minds on topics. That was the goal and I know it’s different and it’s unique, but I love that about myself and I love that about my work.

Obviously ‘Let’s Get Romantic’ is a personal project. Was that the reason why there are no features on the project?

Definitely. It wasn’t so intentional but the thing is, I’ve been chasing my full sound and I’m still gonna always be chasing it, but I feel like this was a debut to me, this was an introduction and I kind of just wanted it to be my voice and I wanted it to be literally the closest to intimate as possible. I wanted to introduce myself in this new sound and this new understanding of who I am. I’m always gonna evolve as an artist but I think just having it be me was the closest I can get to an intimate conversation with my listeners. I was just like, “Yeah, let’s just leave it as Yinka having a conversation” and I’m glad we did. I always want to collaborate. That’s the goal going forward. I want to work with more female artists as well as female producers, but I think this was necessary for me to introduce myself as “This is me. This is my sound and this is the Yinka experience.”

In the spirit of International Women’s Month, what are you most excited about as a woman working in the music industry?

Basically seeing more women in the rooms that I get into. I see more female engineers. I see more female producers. That’s what’s exciting to me because you feel more comfortable; you feel comfortable enough to be vulnerable, and honestly, it just feels like a big support system sometimes. I just love seeing women do dope things so it’s like the industry’s growing and more women are being respected and regarded in it, and that’s really exciting to see. I love when a woman does anything really but yeah it’s been great seeing women in these places.

Stream ‘Let’s Get Romantic’ below.

Featured Image Credits/NATIVE

What is Alté: How Nigeria’s most prominent alternative community continues to thrive

Posted on March 27, 2023March 29, 2023 by Makua Adimora

If you were an even mildly internet-savvy and culturally-aware teen or twenty-something growing up in Lagos back in 2016-17, then you more than likely remember the advent of the alté scene. Through the colourful words of frontrunners such as Cruel Santino, Odunsi (The Engine), DRB, and more, a vibrant and exciting cultural movement quickly captured the minds of young people across Nigeria. The subculture represented left-field styles of thinking through music, fashion, politics, tech and the arts. Alté started as a rebellious response to a traditional way of thinking, but it was most popularised by its genreless sound. And although now a globally-acknowledged movement, its origins are more multi-layered than many would assume.

There was the first coming between 2009 and 2014, heralded by the likes of DRB LasGidi, L.O.S, Ajebutter22, Show Dem Camp (SDC), and Blackmagic. These artists—many of whom were still secondary school students—emerged placing an uncommon emphasis on creativity, individuality and authenticity, while merging Western and local influences to produce music that was unlike anything coming out of Africa at the time. At first, the music was mainly shared through closed circuits—house parties, BlackBerry Messenger group chats, peer-to-peer Bluetooth sharing—but the internet and MP3 blogs made the music more accessible to anyone who happened to be curious enough. The creators had power in their hands and the ability to capture audiences attention with each daring choice.

The term ‘alté’ wasn’t coined until around the subculture’s second coming in 2016—a creative renaissance led by likes of Odunsi [The Engine], Santi (now known as Cruel Santino), Lady Donli, Amaarae, Tay Iwar, Fasina and Nonso Amadi. This new crop of young mavericks were even more united by their desire for experimentation, tapping into the deepest parts of their psyche to produce otherworldly music and crafting immersive worlds around experiencing it. As a subculture, the ethos remained the same, but the only difference was the increased avenues for connection and community-building. Technology advancements saw platforms like SoundCloud become the nexus point for them to share their music and build a community of ardent listeners and supporters both at home and abroad. Community-driven events like 90s Baby, NATIVELAND, The Basement Gig, and The Lemon Curd also offered a safe space for these artists to showcase their abilities and connect with their fans as well as like-minded creatives, in a way that mainstream platforms had failed to.

Soon enough, the alté scene expanded its terrain, spreading wider across fashion, film, and photography. Drawing inspiration from nostalgic early aughts media, the alté aesthetic quickly became a distinct marker for creatives who were dedicated to bucking traditions and living their truth. Meanwhile, on the music front, the scene grew richer and even more diverse with acts like Tems, Yinka Bernie, Prettyboy-DO, AYLØ, WurlD, WANI and Wavy the Creator catering to various types of listeners all searching for fresh sounds within Afropop. “Alté artists, at the time, represented something bigger than music,” says culture journalist Adaobi Ajegbo. “They represented a whole new generation of talent, adopting elements from pre-existing culture to create their own. Their newness was very fresh and it was very much like a rebellion against the norm, and doing something that had never been done before.”

But with rebellion came opposition, as the mainstream struggled to accept the alté scene’s desire for individualistic expression, criticising their experimental sounds and style choices, and ostracising them from industry events. Despite efforts at cultural advancement, Nigeria remains a deeply conservative society, and any attempts at going against the grain are often met with scepticism and derision. It’s no surprise then that alté—a culture that champions individuality and a sense of notoriety—was met with pushback from cultural gatekeepers and the wider public looking to maintain the status quo. “It was just a lack of understanding,” Ajegbo says, further explaining the mainstream’s initial rejection of the scene. “People always have an issue with something new, until they see the vision. They just didn’t see the vision at the time, especially when it was so different from what was common in Nigerian music.”

Yet, despite these obstacles, the defiance and determination of the movement have set a precedent for radical individualism among younger artists. Luminaries like Cruel Santino, Odunsi [The Engine], BOJ and Lady Donli have inspired a new vanguard of alternative artists while creating a playing field where they are confidently accepting the ‘alte’ tag—something that wouldn’t have happened a few years ago.

From acts like Somadina, SGaWD, brazy, Oshunda, VNTAGEPARADISE and Forevatired (now defunct), this crop of fresh talent are looking back to the near-past, and ahead to the future, while crafting sounds that are unique to them. Sonically, we could draw parallels between this new generation and their predecessors—the tight-pocketed bounce and groovy cadence on Oshunda’s “Dine” and “Battle Angel” harken back to Cruel Santino, while Somadina’s new-found psychedelic aesthetic is highly reminiscent of Odunsi [The Engine]. Still, what has inspired them the most is the courage their predecessors showed in chasing the freedom to create.

Cruel Santino · Suzie’s Funeral

“I feel like they were the kids who really hacked Soundcloud,” explains culture journalist Chinonso Ihekire of Cruel Santino and Odunsi [The Engine]’s impact. “They understood its international significance, or maybe not, but they soared on that leverage. They rebelled consistently against the norm in fashion, music, [and] music marketing, especially with their unique style of making music videos and promoting themselves on social media. That sense of audacity was alluring.”

Even while passing along the baton, the older generations of alté artists aren’t slowing down anytime soon. Tems has gone from performing for a niche audience to winning a Grammy award, bagging an Oscar nomination and collaborating with the likes of Beyonce, Rihanna and Drake; Cruel Santino and Odunsi [The Engine] are scoring slots at international festivals and touring the world, Amaarae’s music has travelled a long way from the storied halls of SoundCloud to the top of Billboard charts, and Show Dem Camp has remained generationally relevant while also incubating new talent. And in many ways, their sense of individuality has equally inspired the mainstream, breathing new life into its cultural landscape.

Landmark collaborations like Odunsi [The Engine] and Davido’s “divine,” Wizkid and Tay Iwar’s “True Love” (and Iwar’s songwriting credit on Wizkid’s “Steady”) as well as Tems and Wizkid’s global smash “Essence” are just a few examples of how the genre has expanded the sonic scope of Afropop. And with emerging and established acts like Ayra Starr, Asake, Fireboy DML and Adekunle Gold adopting video aesthetics and fashion choices from altéculture, the movement’s impact on the mainstream can no longer be denied. “Everyone is comfortable enough to be vulnerable and abstract with their music, because of these pioneers,” explains Ihejirika. Still, there’s something to be said about the mainstream co-opting altécultural codes and sounds but not embracing the scene as a whole.

“I think the alté scene is at a crucial juncture in terms of where the sonics and aesthetics can go and what the goal for the scene and its stars is,” suggests culture journalist Wale Oloworekende. “There’s criticism that the Nigerian music industry has not embraced them wholeheartedly but I think there needs to be reflection on both sides. Alte music has gone hyper-specific as Afropop is entering its mass-market era and that speaks to the foundational ethos of individuality that propelled the scene to global fame. Still, it would be nice to see projects that mix that free-wheeling sense of experimentation with a stylistic nod to Afropop elements like Amaarae’s debut did and songs like Odunsi’s ‘Fuji 5000.’”

One factor that played a critical role in the rise to prominence of the alté community is the progressive work put in by each successive generation of the community. Starting from the pioneering work of collectives like L.O.S and DRB LasGidi, who largely laid down the alternative ethos and founded the precept of tight-knit camaraderie within the community. Others like Odunsi, Cruel Santino and Lady Donli set the stage for what the alté sound could aspire towards, taking creative risks that paid off and stamping a defined sonic identity for the community. Newer generations are now building on the work of their predecessors, with artists like brazy, Somadina and Azanti taking the sonics and creative aesthetics to a whole new level.

Yet, as the scene has progressed, many worry it may be losing its communal essence. Born in the cultural fringes, the alté scene has historically touted a sense of solidarity and collaboration among its members. But these days, there’s a visible lack of camaraderie within the community that has translated to a gradual dearth of prominent cultural institutions to celebrate their sound. Perhaps this might be one reason alté music hasn’t been able to solidify its place in the Nigerian music scene after all this time.

Critics of the alté movement argue that it didn’t “scale as well as it could have when it needed to” while rallying for more cross-industrial collaborations with the mainstream. “We already exist in an industry that doesn’t have structure. So when you are trying to develop a subgenre in such a space, it’s difficult,” explains Simi Badiru, Head of Artist Services & Relationships, Trace West Africa. “I just feel the alté community needs to try as much as possible to plug themselves more into more mainstream conversations, because at the end of the day, you can’t do everything yourself.” In some ways, this is already happening: just recently, Cruel Santino released the full version of his TikTok viral number, “Showmetheway !!,” which featured street pop culture icon Poco Lee.

Unanimous mainstream acceptance – sans co-opting – may still be far off, but the impact of acts like Cruel Santino, SDC and Odunsi will only continue to be evident in future generations to come, inspiring them to reinvent the genre’s sonic wheels. “Are we going to see more artists like Santi?” questions Badiru. “Probably, but then again, I feel like there’s going to be somebody else that comes to completely change [the] game. It’s been done before, it can be done again.”

ICYMI: THIS GOOGLE AFRICA DOCUMENTARY CELEBRATES THE VIBRANCY OF THE ALTE SCENE

Nonso Amadi Teams Up With Zinoleesky On New Single, “Lock Up”

Posted on March 24, 2023March 24, 2023 by Tela Wangeci

When Nonso Amadi made his debut on the scene in 2016 with “Radio,” it was instantly clear that he was a formidable vocal performer with a voice of gold. Rising up at the time on Soundcloud–a direct to consumer platform utilised by a burgeoning set of artists to bypass industry gatekeepers–Nonso Amadi was in good company, releasing a string of honest confessionals buoyed by eclectic production. While breakout single, “Tonight” saw him take a romantic approach to please his lover, his next single “Long Live The Queen,” displayed his meticulous writing skills.

Since then, Nonso Amadi has been peeling new layers to his artistry. Earlier last year, after a much needed hiatus from the scene, the singer and producer re-emerged with “Foreigner,” Majid Jordan-assisted “Different,” and “Eye to Eye,” which revealed his growing musical bag of tricks which is filled with deceptively sweet lyrics coated with his infectious vocals. Today, he teams up with street pop artist Zinoleesky for a brand-new single “Lock Up.”

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A post shared by Nonso Amadi (@nonsoamadi)

“Lock Up” is the fifth track off the singer’s forthcoming project, ‘When It Blooms.’ Amadi skillfully teams up with globally recognised street-pop artist, Zinoleesky to deliver this danceable, up-tempo collaboration. Over catchy and rhythmic production, Nonso Amadi addresses a muse who he has undying affection for, and wants to convince of his devotion. “Tell your guy, make he lock up,” he sings over the song’s hook, addressing outsiders who may want to encroach his relationship.

Constantly evolving with his sound and image, Nonso Amadi is no guest in collaborations. From “Closure” which sees him team up with Savannah to “Different” where he works with Majid Jordan, Nonso Amadi is propelling the Alte and R&B genre not only regionally but internationally. After almost five years of waiting, Nonso is ready to make his return with a cohesive body of work that offers a time capsule of romantic and personal emotions.

The singer made the announcement on his social media pages with an animated visual, as he prepares for the release of his album ‘When It Blooms’ set on 26th May. Serving as his first album, Nonso pens up a ravishingly bewitching cumulation of his emotions as he recounts his emotional journey. Speaking to NATIVE about his latest release he terms it as a declaration of his commitment. “The actual theme of the song is way edgier than most of my other songs as well. Lock up in Nigerian slang translates to Shut up, so this is me acting strong telling a girl that I like her and am willing to tell off anyone who might get in the way of a relationship.”

The album will feature four previously released singles including the song that served as the epic return after a hiatus, “Foreigner,” as well as the collaborative track “Different” featuring Majid Jordan. Coming off his two recent EPs, it is clear Nonso Amadi is pushing the envelope on his signature sonice identity. ‘When It Blooms,’ promises an exploration of joy, hurt and love co-existing in tandem with one another.

Pre Save the album below and watch the trailer:

NATIVE Selects: New Music From Nonso Amadi, Magixx, Noon Dave & More

Posted on March 24, 2023March 24, 2023 by Wonu Osikoya

Earlier in the week, we brought you songs from Victony, Chinko Ekun, Themba 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!

Odumodublvck – “Declan Rice”

ODUMODUBLVCK is having a moment. After signing to NATIVE Records and Def Jam Recordings last year, the Nigerian artist has been cultivating a loyal following and generating buzz across the internet. His debut single of 2023 “Declan Rice” finally arrives off the back of the impressive “Picanto” and co-signs from important figures in the music industry. The track is titled after English international Declan Rice, with Odumodublvck likening himself to: a tough player “tackling the industry.” On the catchy production, ODUMODUBLVCK spices the track with his signature punchlines and flows, alerting everyone to take note and watch his ascendency.

Uzoma

Ajebo Hustlers – “You Go Know”

Since late last year, Port Harcourt griots Ajebo Hustlers have maintained a consistent streak. After following up their acclaimed ‘Kpos Lifestyle Vol. 1’ tape with ‘Bad Boy Etiquette’, they’ve been on features with Ajebutter22 and now, have debuted in 2023 with “You Go Know”. Delivered in their signature wit and wisdom, it’s a reflective number which casts life lessons in a new light. “In case you never know, na today you go know,” sings Piego on the hook.

Emmanuel

Noon Dave – “Hilary”

Chocolate City artist Noon Dave has been slowly making his entry into the nucleus of Nigerian Pop. With the label undergoing a renaissance with Blaqbonez and Young Jonn, he’s had to wait his while. On “Hilary,” the artist justifies the buzz, layering balmy vocals over a stirring string-based production. The subject of unrequited love inspires a heartfelt performance, coasting alongside emotional backing vocals which polishes off the song’s brilliance.

Emmanuel

Magixx – “Colors (My Baby)”

Magixx is here with the two-song pack “Colors (My Baby)/Loyal,” produced by Andre Vibez. On the record “Colors,” he makes romantic claims and confessions to his love interest as he lets her in on the lengths to which he is willing to go for her. On “Loyal,” he brings in an element of dancehall as he merges that with Afropop elements, singing about the lack of loyalty from his love interest. These two records stand as the artists’ first official singles of the year.

Wonu

Nonso Amadi & Zinoleesky – “Lock Up”

Nonso Amadi’s “Lock Up” comes after he had announced his forthcoming debut album ‘When It Blooms.’ The new track, which joins previously released singles (“Different” and “Ease Up”) to make up the album features Marlian Music act Zinoleesky, in a union that seemed musically impossible. On “Lock Up,” Nonso Amadi and Zinoleesky find a common ground to express their affection for their lovers. Over the mid-tempo instrumental that has elements of Amapiano, both artists infuse love with topics of sex and politics, creating a curious yet formidable connection.

Uzoma

WANI & Odunsi The Engine – “No Doubt”

Anyone familiar with the alternative music scene knows that WANI and Odunsi (The Engine) are a match made in collaboration heaven. From astounding renditions and catchy hooks on 2019’s “Better Days” to a standout performance for NATIVE Sound System’s promotional single, “Wedding Ring” off the debut album, ‘NATIVEWORLD.’ The serial hitmakers are back for another love-themed melodious track, “No Doubt.” Leading in with smooth piano chords on the slow-tempo track, WANI’s harmonious adlibs, joined by Odunsi’s mellow vocals ponder the regrets from a past relationship.

Nwanneamaka

IYANYA – “PLANS”

Iyanya is full of questions on his latest single “Plans.” Weary of his lover’s motives, he demands to know if she’s really into him or if she’s seeking an exit out of their relationship. “Is it love you are looking for/But e be like say love is not enough/Ahh you should you let me know/If e don dey choke,” he sings. Co-produced by Xtofa and Reward Beatz, “Plans” is an Afropop tune infused with Amapiano log drums; it is a happy-feeling beat that contrasts with Iyanya’s inner turmoil.

Uzoma

K.O FT. YOUNG STUNNA, DIAMOND PLATNUMZ & OXLADE – “SETE (REMIX)”

One of the biggest hits to emerge from South Africa in recent times, “Sete” has colourful Afropop influences that sound at home just about anywhere. For its remix, the veteran rapper enlists a pan-African cast. With the features impressing their distinct styles on the record, its appeal opens up in a spirited way, establishing a party vibe that’s bound to get listeners going.

Emmanuel

Jay Bahd – “Yaa Baby”

Ghanaian act Jay Bahd’s Drill-inspired “Yaa Baby” is a love song of the Bonnie and Clyde sort. The rapper from the famed Asakaa Boys wraps his guttural vocals around Joeyonmars’ production as he raps about his woman and how she holds him down in any situation. In a mixture of Twi and English, Jay Bahd presents an anthem for the hustlers and lovers chasing the bag and protecting those close to their hearts.

Uzoma

Coblaze – “Good Girl”

Newcomer singer and songwriter Coblaze has arrived with his debut EP titled ‘Orbit.’ The body of work sees 6 tracks and sees a feature with DJ and producer, Spinall. On the record “Good Girl,” Coblaze is extremely vocal about the sort of woman he wishes to be with. On the self production, he showcases his very distinct vocal range and stellar pen game.

Wonu

Featured Image Credits/The NATIVE

Amapiano drivers Major League DJz join forces with Major Lazer on new project, ‘Piano Republik’

Posted on March 24, 2023 by Nwanneamaka Igwe

Amapiano, South Africa’s global township sound, is an international phenomenon. What was once an underground genre with a parochial following has become one of the defining sounds from this side of the world. It’s been widely co-opted across all of Afropop, and many key players out of South Africa are consistently shutting down clubs all over the world with captivating live sets. Major League DJz, the producer-DJ twin duo, are undeniably at the forefront of this global incursion, and their latest move is another show of their consistent push.

In collaboration with popular dance and electronic collective Major Lazer, the Mbere brothers have just released a 9-track extended play, ‘Piano Republik.’ While anyone familiar with Major Lazer—comprising Walshy Fire, Diplo and Ape Drums—recognises their standout hits like “Lean On,” they are not new to leading stellar collaborations with African acts. Think the catchy and star studded “Particula” which enlisted South Africa’s Nasty C and DJ Maphorisa as well as Nigeria’s Patoranking, Jidenna and Ice Prince or “My Love” with stunning vocals from Wale, Wizkid and Dua Lipa. This new project with Major League DJz continues Major Lazer’s love affair with urban African music.

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In the later parts of last year and a few short weeks ago, the project’s promotional singles provided insights on what to expect from the group’s joint project. While the Tiwa Savage and DJ Maphorisa-assisted “Koo Koo Fun” delivers an upbeat and memorable rendition of sexual politics and consent, “Designer” similarly sustains the high energy and momentum previously established. Led in with intoxicating percussive elements layered over subtle drum patterns on “Designer,” Joeboy sings of rocking his designer items and spoiling his love interest with equally flashy gifts.

In their usual pattern of fusing multiple world genre elements over primarily dance instrumentals and production, ‘Piano Republik’ pairs a series of twinkling keys with vocal accompaniments from a plethora of acts in different musical spheres. The project’s intro receives an instantly recognisable, sonorous rendition by TY Dolla $ign on “Smoking and Drinking.” In addition, Major Lazer and Major League DJZ offer a stellar remix of South Africa’s late Brenda Fassie’s Magnum Opus “Vulindlela.” Retitled “Mamgobhozi,” the remastered version of the track still retains Brenda’s mellifluous vocals, now accompanied with light shakers and an infectious, heart-thumping drum beat.

Also featuring other standout acts like Boniface, Msaki, Gaba Canaal and more, ‘Piano Republik’ isn’t just another major link up in dance music. It showcases just how mouldable and versatile the domineering genre of Amapiano is and proves even more how powerful production is in evoking emotions where words cannot as seen in the project’s outro, “Higher Ground.” The expansive genre that is Amapiano is constantly redefining the status quo and this collaboration provides a stellar attempt to nudge an astronomical rise for the ever-evolving sound.

Listen to ‘Piano Republik’ here.

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ICYMI: SOUNDS FROM THIS SIDE:AMAPIANO

Odumodublvck Shares Highly Anticipated New Single, “Declan Rice”

Posted on March 24, 2023March 24, 2023 by Emmanuel Esomnofu

In conversations about Hip-Hop/Rap in Nigeria, the name ODUMODUBLVCK is not to be missed out. Since making his debut in 2017 with a slew of singles and projects which showcased his ingenious ability, few rappers from these parts have courted the same widespread attention. Last year’s “Picanto” which was released under NATIVE Records and Def Jam Recordings, is a slow burner whose relatable narrative grip quickly caught onto listeners and enjoyed chart-topping success for 12 weeks straight on the TurnTable Top 100. For his debut solo record of the year, ODUMODUBLVCK has now released the much anticipated “Declan Rice.”

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Through sharing snippets of memorable scenes behind the song’s creation, listeners know bits of the song already which is shaping up to be a potential classic in every sense. “Declan Rice” on a level is an anthemic ode to the West Ham captain but more essentially, it’s a tribute to the rapper’s community, with some of them—NATIVE Records co-presidents Chubbz and Teezee, visionary visual artist Slawn, other members of his crew—getting recognised on the song. Joyful in its bounce, Odumodu’s bars are enriched with subtle vocal flourishes, a fusion he’s described as Okporoko Rhythm.

“Declan Rice is a hard tackling midfielder. A box to box midfielder. The captain of his team,” ODUMODUBLVCK says about the song’s message. “I am Declan Rice. I am tackling the industry and I’m doing it very hard. From my box to their box. I am defending and I am scoring. I am leading all my guys to the promised land.”

The charting success of “Picanto” sets a great precedent for this new record. The Zlatan and Ecko Miles-assisted record had spent 12 weeks straight in the Top 50 of Nigerian premiere music charts, Turntable Top 100 and peaked at No. 1 on Apple Music Alternative Charts. With this purposeful record inspired by Odumodu’s own days as a footballer before an injury made him focus on music, it’s foreseeable to witness its personal edge appealing to listeners.

As expected by his fans, ODUMODUBLVCK will be releasing his debut album this year. “Declan Rice” is the second single from the forthcoming NATIVE Records and Def Jam project, which is titled ‘Eziokwu’, which means ‘Truth’ in the Igbo language. Packed with a string of hard-hitting raps & melodious anthems, ‘Eziokwu’ is a cohesive project that will serve as an introduction to Okporoko—the self-defined genre by ODUMODUBLVCK which is “a form of Hip-Hop that takes influences from grime, Fela Kuti’s Afrobeat, and progressive R&B.”

Often mentioned as a pioneer of Nigerian Drill and one of the hottest rap voices in the continent, ODUMODUBLVCK makes a great push forward with “Declan Rice.” With co-signs coming from the footballer himself along with figures such as Skepta, Wizkid, Fireboy DML and Rema, the rapper’s trajectory knows no bounds. The promised land is here.

ICYMI: The alluring rise of Rema’s “Calm Down” remix with Selena Gomez

The Alluring Rise of Rema’s “Calm Down” Remix With Selena Gomez

Posted on March 23, 2023 by Emmanuel Esomnofu

Hits aren’t new to Rema but the trajectory of “Calm Down” has been special. Listeners would vary in accounts of when the Andre Vibez-produced song first held them spellbound, but for most, its appeal was instant. It was released in anticipation of an heralded debut album, and before progressing on that journey, the dazzling genius from Benin City showed his hand. Exuberant and vocally dynamic, the record’s potential wasn’t overshadowed by other songs on ‘Rave & Roses’, and rather took the album’s great stature beyond 2022 and into the future.

Two days ago, the announcement came that the Selena Gomez-assisted remix of “Calm Down” had climbed into No. 8 on the Billboard Hot 100 chart. A career-first, the song’s achievement of cultural and commercial acclaim was one scarcely recorded in crossover records, proving Rema’s amorphous style as artistically rewarding. “Trying to hold in the tears,” he shared on social media accounts, “I know how hard I worked to get my sound here.”

Traditionally, songs are known to court peculiar audiences depending on its sound but “Calm Down” has a universal appeal–it cuts across generations and countries. From football icon Cristiano Ronaldo sharing a video of his kids dancing to the song, to pulsating raves and filled-out stadiums, there’s no scene where the tracks feels out of place. The song was at the center of a national moment when it was revealed five kids in Iran were detained for sharing a dance video without wearing the mandatory headscarves. In response, Rema had tweeted, “To all the beautiful women who are fighting for a better world, I’m inspired by you, I sing for you, and I dream with you.”

The engineering of such a global hit song usually demands sturdy label backing and in Mavin Records, Rema has the experience to go with talent. In this roundtable discussion, members of The NATIVE’s editorial team explore the record’s success and other relative considerations.

WHAT WAS YOUR INITIAL REACTION TO THE SONG?

Nwanneamaka: Following the release of ‘Raves and Roses,’ I leaned more towards songs like “FYN” and “Oroma Baby” so the release of a remix for “Calm Down” didn’t necessarily spark my attention. While I understand the benefit of a remix in taking the track to new heights, I was not enthusiastic about this because I couldn’t see Rema and Selena blending on a track. While this wasn’t a bad attempt, I can say I still prefer the original.

Wonu: I usually don’t listen to Rema as I personally don’t connect with a lot of his songs but “Calm Down” was that song. It instantly did it for me, I remember having the song on repeat for weeks when it initially came out. The record at the time was a fine addition to his ever evolving discography.

Uzoma: I loved it the first time I heard it. The production from Andre Vibez was instantly catchy, and how Rema was slipping in and out of pockets of melody was masterful. I have been a fan of Rema since “Iron Man” and “Calm Down” made me know that the young star was here to stay. Also, Director K’s colourful visuals for the song heightened its appeal.

Daniel: It was love at first listen for me. Having not dropped a record for a minute before “Calm Down”, I immediately fell in love with the feel of the record and sonic shift from Rema.

DID “CALM DOWN” NEED A REMIX?

Dennis: I stopped believing in remixes a while ago, so I didn’t believe “Calm Down” needed a remix when it came out. In fact, I still haven’t listened to the remix since the first time I watched the video. Hindsight is 2020: Without that remix, that song’s potential wouldn’t have swelled into the undeniable behemoth that it is.

Uzoma: Honestly, I never imagined a remix for “Calm Down” because I believed Rema did a great job on the song. When the news broke about the Selena Gomez feature, I didn’t know what to expect. On first listen, it didn’t feel too different from the original. But after a couple of more listens, I had to admit that Selena Gomez came through with top effort. She and Rema had good chemistry and the success of the song is proof of that synergy.

Emmanuel: In the weeks before ‘Rave & Roses’ dropped, “Calm Down” was the song I listened the most to. For me, it was such a perfect song; the writing, the beat, the adlibs, even the video. So naturally, I’d be sentimental and say it didn’t really need a remix. However, the remix is very well done, and doesn’t rub off the wrong way on the OG version. Business-wise, I can’t fault the young man too.

HOW WELL DOES SELENA GOMEZ DO ON THE REMIX?

Nwanneamaka: Undoubtedly a good attempt especially when comparing some of the international contributions we’ve had on the big Afropop songs from these parts. Selena is a good vocalist, no doubt about that, I just wonder if the song was actually elevated sonically.

Wonu: Selena Gomez did good on the remix. I wouldn’t have been bothered if there was no remix to the record but it was a great move for the record, the track surely needed the elevation.

IF YOU WERE TO SELECT AN ARTIST TO BE ON A “CALM DOWN” REMIX, WHO WOULD YOU CHOOSE?

Daniel: Honestly, I would have been fine without a remix, but if I were to choose, I’d have definitely loved to hear Tems on the track.

Wonu: I would have loved to see Nasty C on the remix actually, that would have been an interesting pair.

Emmanuel: Well, songs by Rema are usually versatile so a lot of names come to mind. I think Rema has shown more than any contemporary that he’s willing to stretch his sound outwards, and for novelty, it would have been exciting to see an Africa-facing remix. Perhaps something with CKay or a South African producer, something that spices up the song in an unexpected way. I’m a sucker for freshness.

HOW BIG COULD REMA BECOME GLOBALLY?

Dennis: If you ask me for a shortlist of Nigerian artists that could perform on the most prestigious stages, with an obsessive fan base and possibly the type of mammoth world tours guys like Bad Bunny and The Weeknd have pulled off, Rema would be one of the first two I would name. (The other is Tems, but I digress.) Rema isn’t just talented, he’s a magnetic character with a sound that’s both pop and edgy, and this remix is another example of the great decisions that he consistently makes.

Emmanuel: Musically, I don’t think we’ve seen the best of Rema and that’s frightening. Not for him, though. He’ll definitely be enjoying the start to the year and if anything, the dual release of “Holiday” and “Reason You” is a great way to embark on another journey. With the right moves, I see Rema tapping more into the sporting and fashion aspects of culture, especially after his appearance at the NBA halftime show. And given the world-dominating status of this “Calm Down” remix, it’s expected that Rema would mark out those spaces where he hasn’t yet penetrated, and make a targeted push for ubiquity there.

Uzoma: It feels like Rema is just getting started. With every new release, he keeps elevating his artistry and breaking new ground. His exploits on his songs and other projects—say the ‘Black Panther’ soundtrack—have proved that he can function effortlessly as both a singer and a rapper. With consistency and fresher sonic iterations, he will cement his legacy as one of Nigeria’s biggest music exports.

Nwanneamaka: The growth he has experienced and the boundaries he has managed to break with only a couple of extended plays and one debut album is insane. A crucial trait he also possesses for an artist on the cusp of a breakthrough is good stage presence. Watching how his electrifying energy translates to audiences and to me on the other side of the screen is incredible. A star in the making, without a doubt.

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ICYMI: Gbemisola Abudu wants to strength basketball & the NBA as a cultural force in Nigeria

Review: Lojay’s ‘Gangster Romantic’

In 2021, Lojay transformed from an underground act to a household name. This shift in trajectory was due, in part, to the co-sign from revered Nigerian music producer Sarz, who tapped Lojay for their EP ‘LV N ATTN,’ their groovy collaborative project. The project would serve as Sarz’s second collaborative EP with a Nigerian artist; after 2019’s ‘I LOVE GIRLS WITH TROBUL’ with WurlD. At the time, before the project was due to be released, Lojay got the internet buzzing with its lead single “Tonongo,” which showcased his latent lyricism and compelling vocals.

A few months later, a video of Lojay’s reacting to hearing Wizkid’s verse on one of the songs—a heartfelt moment of an artist’s pure admiration for an idol—raised the anticipation for the project. Lojay’s success wasn’t dissimilar from other artists who launched their careers off the back of influential co-signs, including Wizkid himself on M.I Abaga’s “Fast Money, Fast Cars,” Davido featuring Naeto C on his debut single “Back When,” Naira Marley featuring Olamide on “Issa Goal” and, most recently, Asake featuring Olamide on “Omo Ope.” Just as it did for those artists, the co-sign and the collaborative EP catapulted Lojay into mainstream acceptance.

Before 2021, Lojay was already on a steady incline with his music career. Since his debut on the scene in 2016, the singer had been consistent with his output, refining his craft one song at a time. By the time an opportunity to work with Sarz arrived, Lojay had racked up an impressive catalogue and was ready to be thrust into viral prominence. He released both his debut and sophomore singles “Simple Matter” and “Kuli Kuli” in 2016 and the following year, he put out his debut EP ‘Midnight Vibes,’ a five-track project that opened the chapter on his Pop-heavy experimentations of Afrobeats. Between 2018 and 2020, he released three singles each year—“Over the Bar,” “Ariel” and “Ogogoro.” Confident in his abilities, he reached out to Sarz to produce a record but Sarz, taken by Lojay’s talent, decided that they work on a project instead.

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When ‘LV N ATTN,’ arrived in 2021, Lojay took full advantage of the producer’s star power: buoyed by Sarz’s outstanding concoction of Electro, Dancehall, R&B and Amapiano. Lojay delivered joyous amounts of hedonistic cravings, underlined by catchy lyricism and vocal mastery. ‘LV N ATTN’ was a tidy bag of hit tracks, with “Monalisa” being the biggest out of the lot; the EP made Lojay a standout name among the ever-growing list of stars in Nigeria’s music scene. Released just a few months after we were allowed back outside since the COVID-19 pandemic, which forced both artists and music listeners indoors, ‘LV N ATTN’ (recorded during the lockdown) benefited in no small way from the relief that enveloped the country. Starved of the usually-abundant human connections at clubs, live shows and performances, listeners were eager to engage with the music and remind themselves what it meant to dance in a crowd of people. It also helped that the songs on SARZ and Lojay’s project were incredibly catchy and danceable—all thanks to the addictive log drums of Amapiano, which ruled airwaves through songs like Rema’s “Woman,” DJ Kaywise’s “Highway” and Masterkraft’s “Hallelu.” A year after the release of ‘LV N ATTN,’ American singer Chris Brown was tapped to feature on the remix of standout track “Monalisa,” an obvious play for global crossover into new markets.

Lojay’s sophomore EP ‘GANGSTER ROMANTIC’ arrives bearing the weight of those expectations. With his previous efforts, Lojay had set a high standard for himself that only an exceptional project would surpass. There was also the extra pressure of replicating the success of ‘LV N ATTN’ without Sarz’s seal of approval–but ‘GANGSTER ROMANTIC’ more than proves Lojay’s solo capabilities. In the months leading up to the release of the new project, Lojay didn’t show any signs of cracking under the pressure, judging by his impressive outings on DJ Neptune’s “Only Fan” with Zlatan, NATIVE Sound System’s “Runaway” with Ayra Starr, and Blaqbonez’s “Whistle” with Amaarae. He also served up a string of powerful standout singles “LEADER!,” “CANADA” and “MOTO.” The consistency and diversity of Lojay’s output have highlighted his talent and artistic growth, reflecting his desires, which he told the NATIVE is “conscious development” and making intentional music.

Just as with ‘LV N ATTN’ and ‘Midnight Vibes,’ ‘GANGSTER ROMANTIC’ concerns itself with matters of the heart but its focus is much more pointed. “When I was creating the project, it was coming from a place of just having been through stuff in Nigeria, just being through streets of Lagos,” Lojay told Apple Music Africa Now Radio. “In order to survive I need to toughen up in these streets and be a gangster a bit.” It is a sentiment that, in recent times, has permeated the sonics of Nigerian artists, most especially Blaqbonez with his albums ‘Sex Over Love’ (2021) and ‘Young Preacher’ (2022). But where Blaqbonez pivots toward emotional detachment, Lojay pads his machismo with a raw and sincere vulnerability.

On “MOTO,” whose title is Nigerian slang for a car, Lojay nurses his bruised ego after getting jilted by a lover who has moved on with someone new. He reminisces, without a trace of entitlement, about the efforts he made to make life pleasurable for his old flame and how his efforts went to waste. “All of my gees say make I move slow/You do me things wey nobody else know-know/I know you poison deep in my soul/But I no fi leave you uh, leave you alone-lone,” he sings. In Nigerian society, owning an automobile is a sign of upward social mobility; Lojay craves comfort in this fact (a sign that he, too, has moved on to better things) but his ex-lover still haunts him, which he reveals by singing, “I dey see your face in my rearview.” It is further proof that material gains can hardly heal emotional wounds. When the hook comes on, Lojay’s voice is loud and charged but it is a cover for the pain he feels.

Lojay’s search for closure continues on “IYD” where he re-establishes a connection with a former lover who, like the one in “MOTO,” is in the arms of another person. “Please, let me borrow a minute/Ain’t seen you ‘round in a minute (Hm-mm)/Heard you in love with a billionaire now/Still, can’t afford all your feelings (Oh-ooh),” he sings over LOUDAAA’s R&B-tinged production. The hurt that Lojay feels cuts deep and hinders him from moving on—there is a need inside of him to redo old situations and come out the winner. Subtly, he acknowledges that the wrongness of his actions can only be silenced with Dutch courage when he sings, “And I can bring a bottle if you’re sober, sober alone, no.”

Lojay typically flirts with motifs about cars and automobiles in ‘GANGSTER ROMANTIC.’ Through his eyes, cars depict luxury and Lojay’s stardom as well as how they boost his confidence or remind him of the absence of something else more meaningful–in this case which is honest reciprocated romance. “Shey you don see moto with suicide door and electric charge/We dey do pim-pim-pim with American boys from Silicon Valley,” he brags on “LEADER!” Bouncing off of P.Priime’s heady rhythms, Lojay is proud and uncompromising: “Leave her/If she move wrong, leave her/Too many babes on signal.” On this track, Lojay’s Tesla, which appears in the UAX-directed music video, is his protection against the shenanigans of any woman who refuses to play ball. In the visualizer for the DJ Maphorisa and Kabza De Small-featuring “CANADA,” where Lojay assumes the role of a bon viveur, the singer cruises alongside his woman in a convertible. His predilection for automobiles also shows up in his guest appearance on Smallgod’s “Automatic.”

“On hearing a beat, I already know what I want to say within the first 5 seconds,” Lojay told the NATIVE. “In the space of 5 seconds, I know how the beat is making me feel, I know what I want to talk about and I just basically express myself then fill in the gaps properly after.” On ‘LV N ATTN,’ coupled with his merging of Yoruba and English, Lojay’s lyrics. shone with inventive spins that gave words a playful and picturesque effect. That quality remains on ‘GANGSTER ROMANTIC.’ In the first verse of the opener “YAHWEH,” Lojay’s account of his lover performing fellatio on him—right before both have sex in a Mercedes—is visually stimulating. He reports about another sexual encounter on “AVAILABU,” singing, “She remember the bum-bum receiving/Say me fire with handsome delivery.” Even when dealing with the raunchiest of topics, Lojay always manages to keep the songwriting enticing and brimming with creativity.

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While it is no fault of Lojay’s that his EP with Sarz was his breakthrough project, it is fair to assume that, perhaps, somewhere in his mind, laid the thought of what he could do without the training. Across the project’s 21 minute run-time, Lojay employs the help of a talented team of producers including P.Priime, LOUDAAA, Moon Wills, ElementZ, Kabza De Small, DJ Maphorisa, Herc Cut The Lights and Magicsticks, who orchestrate an impressive catalogue of sounds from R&B, Amapiano and Afropop. What makes ‘GANGSTER ROMANTIC’ an easy listen is the faultless sequencing that accentuates Lojay’s emotions throughout the project, from playboy to loverboy, and from self-assured to hesitant. Although his career is still nascent, Lojay has worked with some of the best hands in the music business and, with his ability to make great music, the signs portend good tidings for his future.

“OVA” is a worthy closer. Here, Lojay discards his faith in expensive cars and alcohol, and faces the harsh reality: there was nothing he could do to stop the end of a relationship, and it was good it did because he and his ex-lover treated each other badly in the relationship, and most importantly, they should search for redemption elsewhere. In the song, Lojay sings with a finality in his tone—a finality borne from trials and errors. Perhaps, that’s what makes him more of a gangster romantic: loving and failing and yet choosing to still love but with less ego and more introspection.

Following the release of ‘GANGSTER ROMANTIC,’ Lojay held a listening party in London to connect with listeners and fellow creatives in the UK scene. While in London, he also appeared in interviews with British outfits BBC Radio 1Xtra and The Edit LDN. The UK scene has always been an important fixture in the exchange of pop culture between Africa and the diaspora—a tradition passed on from generations including the likes of Davido, Wizkid and Burna Boy, who have all performed at sold-out shows in the UK. Lojay’s moves indicate a desire to expand his reach beyond Nigeria; it bodes well for his future, as it would mean he joins the growing list of Nigerian and African artists inching their way to global visibility. ‘GANGSTER ROMANTIC,‘ aside from being a project that cements Lojay as a bonafide music star, is a testament to a man easing into an understanding of his strengths and imperfections.

Stream ‘Gangster Romantic’ below.

Featured image credits/Lojay

ICYMI: It’s about time we give Tiwa Savage her flowers

NATIVE Exclusive: Gbemisola Abudu wants to strengthen basketball & the NBA as a cultural force in Nigeria

Posted on March 22, 2023March 29, 2023 by Dennis Ade Peter

Gbemisola Abudu is beaming. Sitting in front of a custom background, she lets out a hearty chuckle at the mention of the 2023 NBA All-Star halftime, which featured a performance medley from Nigerian pop superstars Burna Boy, Tems and Rema. It’s the most visible of her several achievements since fully assuming her role as NBA Africa vice president and NBA Nigeria country head over the last year. Less than a week off a really busy weekend, and a hectic couple of weeks before, the qualifying word she uses for the experience is “exciting.”

“The truth is, when I accepted the job, being aware of what is required to build a brand in the first two years, I knew that it would be extremely tasking and demanding—that’s what happens when you’re building a brand,” she tells The NATIVE over a Zoom video call. In early 2022, when the National Basketball Association opened its third African office in Lagos, many basketball fans in Nigeria were immediately keen about the on-ground agenda from the most popular league and brand in global basketball. Also intriguing was Abudu, who became the youngest person and first woman of colour to serve as a country head.

Abudu’s path to her current role is the perfect merger of passion and experience. Her obsession with the game coincided with the rise of the late, great basketball immortal, Kobe Bryant, following him as he made the jump from high school to pro-athlete. Born and raised in California, Kobe becoming a Los Angeles Laker sealed her team of choice, but the deeper effect is that she fell in love with being around the game. Even as she interfaced with basketball—and sports in general—throughout college, even mulling a career path, Abudu’s post-college path includes stints at a law firm, a government, a well-known luxury brand and more, all contributing to her status as a marketing whiz.

Almost ten years in the making, Abudu’s appointment as NBA Nigeria country head came after two disappointing attempts to work for the NBA in the early to mid-2010s, partly due to the association’s then uncertainty about its expansion in Africa. Over the last few years, however, the NBA has made clear and concerted efforts to strengthen its presence, most notably through the establishment of the Basketball Africa League (BAL), its first league outside North America. The opening of the office in Victoria Island serves as tangible indication of the NBA’s readiness to engage the most populous country on the continent, where basketball’s popularity is widespread and only second to the ultra-ubiquity of football.

“There are different hindrances that have made basketball not to be where we foresee it to be, that’s why intentional investments are being made now,” Gbemisola Abudu explains. “From an infrastructural standpoint, you can play football anywhere but with basketball you need a ball that can bounce, you need a hoop and just the dedication to practise day in day out.” To her point about intentional investments, she mentions the efforts of people like Amadou Gallo Fall and Masai Ujiri. As the current BAL President and a long-time presence in NBA Africa, Gallo Fall’s efforts in strengthening basketball’s footprint on the continent is evident and exemplary. Ujiri, the President of Basketball Operations at NBA franchise, Toronto Raptors, and Founder of Giants of Africa, has taken a sustained shine to grassroots developments.

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In what she describes as a relay race, Gbemisola Abudu sees her role as a continuation of these efforts to make Nigeria’s basketball ecosystem even more robust. For Abudu, that means finding the middle ground that leverages the global standards of the NBA and culture drivers relatable to any and every Nigerian. In addition to identifying the right partners and team members for this brand mission, “it also involves making sure that we’re identifying how we want to connect with the market in Nigeria, knowing that Nigeria is a purveyor of culture and really determining what is the best way to position the NBA brand in Nigeria along those lines.”

As part of a partnership with Hennessy, the Court Beyond Series, which was designed to honour the NBA’s 75th Anniversary Season, in January 2022, NBA created the first floating basketball court in Africa off the Lekki-Ikoyi Bridge along with the NBA Crossover event, which consisted of a celebrity game. The tone-setting event highlighted the glossier side of how the NBA wants to meet Nigeria through exciting, eye-catching happenings. In leaning into culture to increase the NBA’s footprint through curated moments, Abudu identifies music, film, fashion, art and tech as the five cultural pillars to be engaged with on a deeper level as time goes on.

Last November, in line with this intentional approach, to reach Nigerians through culture and as part of the NBA’s DNA of setting trends, NBA Nigeria launched the NBA meets Art event, which celebrates art through the lens of basketball. Present at that event was NBA Deputy Commissioner and COO Mark Tatum, along with several executives in the NBA brass. “We hosted the Deputy Commissioner and COO of the NBA, Mark Tatum, in Nigeria. During his visit, we put together activities focused on cultural immersion that showcased different elements of our culture and the opportunities our culture presents to the NBA. Several of our investors and other NBA executives were also in town. It was an incredible four days filled with great activities focused on art, music, and different aspects of life in Lagos. During one of my conversations with Mark, he asked how cool it would be to bring Afrobeat to the U.S. I got excited because I knew exactly what he meant. He explicitly stated that we should make it happen for the All-Star halftime show. Mark birthed the idea of Afrobeats at the All-Star game.” Abudu recalls.

That conversation, followed by months of work, culminated in the All-Star game halftime show. “If anyone told me at last year’s all-star festivities that a year from now we’re going to have an Afrobeats-themed halftime show—I believe anything is possible but I didn’t think it would have happened as soon as it did.” It’s that sense of possibility that Gbemisola Abudu is applying to the grittier aspects of the NBA Nigeria agenda. Her passion is even more palpable when she discusses basketball as a path for boys, girls and young adults, not only for those looking to become pro athletes, but also as a resource tool to teach indelible life skills.

One of Abudu’s medium-term goals is to have a “proper, defined junior NBA league that schools in all six geopolitical zones in Nigeria are being plugged into.” By extension, that means strengthening basketball in school curriculums, to ensure young people are learning and dedicated to the game from an early age. It also means infrastructural developments will be carried out around the country to make the game easily accessible to Nigerians any and everywhere. The long-term effect of this goal would be that it creates a veritable pathway to getting college scholarships, and then playing professionally in the NBA or the BAL.

“For me, that’s one of the refreshing things about the BAL,” Gbemisola Abudu says of young players getting to experience and play basketball at a high level on the continent. “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.”

At the moment, the BAL is in the midst of its third season, having just concluded the Sahara Conference group games in Dakar, Senegal. For the second time in three years, Nigeria got a representative at the pan-African competition and this time, the Kwara Falcons bowed out with no win and a disappointing 0-5 record. In a way, it’s emblematic of the steps basketball in Nigeria must take to become a much stronger force on the continent, especially with regard to player development. It’s that evolution NBA Nigeria will be looking to help along through its grassroots-facing approach.

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From a logistics standpoint, Gbemisola Abudu would like Nigeria to host BAL games in the near future, “this means having a world-class facility where such games can happen.” For now, an immediate goal is to increase Nigerians’ engagement with the BAL by making games much more accessible. In the league’s first season, the best avenue for Nigerians to watch BAL games were mostly restricted to live streaming on its website. Now in its third season, viewers have more options, from watching on ESPN through satellite TV providers like DSTV and GoTV, or streaming online via the NBA app.

This same intentionality of improved access applies to NBA games, most of which are played at owl hours in Nigerian time due to time difference constraints. With an NBA ID and subscription to NBA League Pass, Nigerians can watch games live or catch up at their convenience. With weekend games, some of them primetime games, played at much earlier times to accommodate a broader international audience outside North America, Nigerian basketball fans can also watch games in real-time through satellite TV channels.

“[We want to make sure] everybody knows where to watch NBA and BAL games, and it’s easily accessible too,” Abudu reiterates. “Similar to how people banter back-and-forth about football, basketball and the NBA have to become part of those conversation.” It’s a lofty aspiration, considering the ultra-ubiquity of football bantering in Nigerian youth culture, but those are worthwhile heights of popularity to reach for. As a basketball fan myself, it’s no hyperbole that NBA and BAL games are at their most accessible in Nigeria. When I mention my daily habit of extensively checking in on happenings in the NBA via the NBA app, and even watching owl hour games, there’s an obvious joy in Gbemisola Abudu’s smile.

“Those are the kind of things I want to hear even more of,” she says. “Another goal would be that our fan base grows by 200% minimum [in three years], that people love basketball, people are talking about basketball, and people are engaging with the NBA continuously.”

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

NATIVE Selects: New music from Victony, Chinko Ekun, THEMBA & more

Posted on March 22, 2023 by Damilola Animashaun

It’s that time again. Every day, 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 songs from Bella Shmurda, Justin 99, Elaine 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!

VICTONY – “SOWETO (REMIX) FT. DON TOLIVER, REMA & TEMPOE

Almost a year after his ‘Outlaw’ project birthed the hit track “Soweto,” Victony returns with a star-studded remix featuring Nigerian superstar Rema and American artist Don Toliver. The track is another addition to the list of collaborations between Nigerian acts and their international counterparts, say Selena Gomez on Rema’s “Calm Down” and Don Toliver’s “Special.” Rema and Don Toliver add spice to a song that has been a fan favourite across the world, settling into Tempoe’s flute-sweetened production and reminding us again why “Soweto” is a fire track.

Uzoma

“MUSTARD SEED” – LANAIRE ADEREMI

Predominantly a performance poet, Lanaire Aderemi has now released her debut song. “mustard seed” is produced by the mercurial Yinka Bernie, who layers evocative strings with a neo-soul flourish. Her voice attuned to sparse movements, lanaire creates a record which floats with positive affirmation. It’s a soulful record which lifts the listener into the ethereal soundscape with relative ease, while the repeated “I can do all things” builds a dream-like warmth throughout the song’s runtime.

Emmanuel

“TABOO (REMIX)” – KAREN NYAME KG & DJ IC

In the later parts of last year, South African Afro-house musician, Karen Nyame KG delivers a soulful rendition on the high tempo productions accompanied by heart-thumping drum patterns and saxophone chords. For the remix with DJ IC, the track maintains Karen’s honeyed vocals however, taking on a mellow, slowed down approach with focus on the infamous log drums commonplace in house music in these parts.

Nwanneamaka

MAU FROM NOWHERE – “S_T_L” FT. MAYA AMOLO

Mau is the gift that doesn’t stop giving and “S_T_L” is testament to that. Joining hands with songbird Maya Amolo, the duo offer an intimate and minimalistic gift giving a sunset experience. The song was written in that liminal space where you recognize that you and this person need to follow your own paths but there still lingers a deep love and yearning for what you shared – and all the fears and insecurities that come with it. The delicate production and the conversational approach between the two artists portray pain in a beautiful and healing way.

Tela

CHINKO EKUN – “I LIKE GIRLS”

Once heralded as one of the best indigenous rappers around, Chinko Ekun has been rebranding in recent years. An important part of this comes from his flirtation with pop sounds, and “I Like Girls” is a confident move in that direction. Produced by Ozedikus, the spritzy record pulls from the logdrums of amapiano to establish its party-starting allure. Ever the punchline purveyor, Chinko Ekun sprinkles fun-streaked one-liners all over the record, emerging with a song which, more than proclaiming his love for girls, actually evokes a visceral mood which immerses the listener better into the groove.

Emmanuel

THEMBA & NICO DE ANDREA – “DISAPPEAR (REMIX)” FT. TASAN & ANDREA OLIVA

South African singer, THEMBA joins Dj and producer, Nico for an upbeat electronic number about a soured love story. Accompanied by a heart-warming vocal performance by Kasan, the track serves as a part of the two pack 2022 release. For THEMBA’s second release for the year, the newly configured version of “Disappear,” comes with deep-house instrumentals from Swiss producer, Andrea Oliva.

Nwanneamaka

Featured Image Credits/ NATIVE

Femme Fest’s all-female lineup returns to Lagos this weekend

Posted on March 22, 2023 by Wonu Osikoya

Over the years, women have been increasingly underrepresented in the music industry–both home and abroad. Whether its the top executive spots at record labels, or A&R’s, managers, artists, DJs and producers, the top spots are typically reserved for their male counterparts despite their valid contributions to the growth of the music industry across the years. When it comes to the live performance industry, these numbers are even lower. A BBC survey found that only 13% of female headliners are women, a staggering figure that is even lower when brought closer to home.

Femme Africa has filled a much-needed space in the music and entertainment industry, seeking to bridge the disparate gaps between female artists and their male counterparts in Nigeria’s androcentric society. This has culminated in a dedicated series of workshops, panels, and its live showcase–Femme Fest which has welcomed established and emerging acts to the stage since its inception in 2021.

More than just a space for women to perform and showcase their talent, Femme Africa–and by extension, Femme Fest has also served as an incubation platform for emerging female talent playing a hand in the music of Tems, Somadina, SOLIS, Bella Alubo, and more. This International Women’s Month, Femme Africa is not slowing down on its mission to spotlight and champion female talent on the African continent. Since March began, the Femme team have launched the Pink Book, a digital curation spotlighting African women doing exceptional work in audio and music.

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Now, the Femme team are bringing their Femme Fest back to Lagos this Saturday, 25 March 2023. The one-day music festival will feature some of the brightest and talented female names in music. This year, the show will see performances from Bloody Civilian, SGaWD, and newcomers such as Qing Madi & Winny, and female-owned brands like Skin Ink, Rekoja Cadles & more. With promises to make this year’s show even bigger and better, the festival is also sponsored by brands such as The Orchard, Amstel Malta, Star Radler, Kuda Bank, Absolut, MTV Base and more.

When we last spoke with Femme Africa’s founder, Ayomide Dokunmu, she spoke about growing tired of the tokenism in the music industry and carving out a space where women can learn, share their skills, and commune with one another: “It’s important because we don’t have that many that are just speaking to us- there’s also a need to make a conscious effort to promote diversity. Men had a head start, and in order for us to catch up, there needs to be initiatives that are just for us.”

Don’t miss out on all the new talent and brands at Femme Fest this weekend.

Get your tickets here.

Featured image credits/NATIVE

ICYMI: 8 essential books to read this Women’s History Month

For Us By Us: Nigeria’s 2023 Election Serve As A Reminder of Our Oppressive Past

Posted on March 21, 2023March 22, 2023 by Emmanuel Esomnofu

You must have seen the videos and heard the accounts. In the days after Nigeria’s gubernatorial elections, conversations around tribalism has been the most dominant to have emerged—tribalism, particularly against Igbo people, the ethnic group of which I’m proud to be part of. While there’s long been acts of violence and subjugation carried out against Igbo people, the most recent was set alight through comments made by the chairman of Lagos State Parks Management Committee, Musiliu Akinsanya, popularly known as MC Oluomo. In a meeting by the All Progressives Party (APC), Oluomo could be heard instructing the room packed with party loyalists. “Please tell them, we’ve begged them,” he says, referring to Igbo people, “If they won’t vote for us, it’s not a fight. Tell them that ‘Chukwudi’s mom, please, if you don’t want to vote for us, sit down at home!’”

The Nigerian Police Force (NPF) has not deemed this an immediate threat but Olumo’s words speak volumes about the current climate around Igbo people in Nigeria. Speaking to Channels TV a night before the elections, the spokesman of the NPF, Olumuyiwa Adejobi shared, “Let us take it as a joke, like he has said. He has come out to debunk that it is not true. Let us leave it that way that it is not true. It is a joke between two persons in that area at that particular point in time.”

Lagos is Nigeria’s commercial epicentre and a fixture in our booming cultural scene. Aside from being a former capital, it currently has one of the biggest economies in Africa, a position that has been generated through a mutual effort from each citizen resident in the state. For centuries, people within the geographical area known as Nigeria have moved around the country, going where their varied sensibilities find mutual acceptance despite their tribe.

MC Oluomo’s comment: Let’s take it as a joke, says police spokesman Muyiwa Adejobi. However, the video is being investigated, he added. #CTVTweets #NigeriaDecides2023 #The2023Verdict pic.twitter.com/DLkvie8N7J

— Channels Television (@channelstv) March 17, 2023

History indeed proves that there are few places in the world where its original inhabitants still reside today. Pertaining to arts, it’s been imperative that creators move across borders to share their work and learn new techniques, which has led to the multifaceted nature of Nigerian artwork. The particular invocation of the Igbo people is quite dangerous because, against the better instances of shared cultures, we’re returning to our oppressive and discriminatory past of the sixties. As anyone who knows what those years contained would tell you, it was the most gruesome period in our history.

In the several accounts of people who were denied their right to vote in the gubernatorial election because they “looked Igbo,” this twisted ideology of preserving Yoruba dominance in Lagos was the common chant. As we’ve seen in the videos, people were attacked and killed, all in the presence of armed policemen and security officers who swore to protect lives. For several people who were forced to witness the ugliness of tribalism for the first time, it’s a crucial introduction to the most enduring of Nigeria’s loopholes as a country. And for Igbo people who were more or less born into this struggle, it’s another reminder of how easily seeds of hatred and discord can be sown into people, all for gaining political power.

One thing must be clear: tribalism, like poverty and illiteracy, has always been a favoured tool in the hands of Nigerian politicians. This goes back to the 1960s when the regions of the country—then the East, North and West—were divided on how best to approach independence. Among the leading politicians, there were agendas passed down to the people rejecting a central government, positioning eventual domination by other tribes as the major factor. For tribes who have evolved different religious and social lifestyles, this excuse of domination fed into already-existing tensions.

Guber Election: PDP, LP supporters protest against INEC in Enugu https://t.co/BnbssyxQHh

— Premium Times (@PremiumTimesng) March 20, 2023

Led by Emmanuel Ifeajuna and Kaduna Nzeogwu, the military coup of January 1966, which brought an end to Nigeria’s First Republic, was hastily called an “Igbo coup.” The coup plotters had planned to apprehend the major occupants in federal government positions although, according to Max Siollun’s ‘Oil, Politics and Violence,’ they didn’t unanimously agree on whether to arrest or kill them. That resulted in important Igbo personalities such as the county’s president Nnamdi Azikiwe and Premier of the Eastern region Michael Okpara escaping with their lives, which soldiers of northern extraction saw as complicit, especially as the most ranked northern politicians Tafawa Balewa and Ahmadu Bello had been murdered.

In supposed retaliation, six months later a counter-coup was carried out, this time killing over 250 Igbo and Eastern army officers, including the highest-ranking army officer Major General Aguiyi Ironsi. The following year saw the pogrom carried out against Igbos in all parts of the country, most notably in the north by soldiers. A scene in Chimamanda Ngozi Adichie’s 2006 novel ‘Half of a Yellow Sun’ describes the bone-chilling nature of the killings and how even pregnant mothers and children weren’t spared. In his acclaimed book ‘In Africa Biafra Died,’ Emefiena Ezeani relates how, in comparison to the other coups Nigeria would witness, “none has been associated with the ethnic origin of their principal plotters.”

These coups set the backdrop for tribalism against Igbos in Nigeria. Considering that over 40,000 Igbo lives were grotesquely claimed throughout 1967 in several parts of the country, the realisation is that Igbo people are more or less second-class citizens within Nigeria – it is frankly the least secured life in the country, and stoking this peculiar fire is ugly to say the least. We also must consider the various minority tribes (Nigeria has over 350 ethnic groups after all) being lumped into the Igbo group, a destructive proof that injustice is everyone’s concern. The barely-veiled scapegoatism thrives on a dangerous precedent without a proper deconstruction, putting off discussions and demonstrations of self-determination proves to be shortchanging history.

This man has been found and he is a NORTHERN man 🥶🥶🥶🥶🥶🥶🥶…

He was helping out his Igbo friends during the fire…

Tribalism is destroying Nigeria pic.twitter.com/CTLhkulCs7

— Darey (@dreyinker) March 11, 2023

As an Igbo person born and raised in Lagos, it’s been surprising but not shocking to see the anti-Igbo hatred being spewed from all angles and it actually takes the shape of an organised attack. Right from writing off the candidacy of Labour Party’s Gbadebo Rhodes-Vivour on the account of his mother being Igbo (and referring to him in a derogatory way as Chinedu) to the comments of MC Oluomo and several other party members who’ve referred to allowing Yorubas to be in “control” of Lagos, there’s been progressive coordination of these attacks, most recently culminating in the gaslighting we’ve seen from people who confine what’s been happening to a political strategy.

For over ten years I lived in Ajegunle, an area in Lagos State that suffered ethno-religious crises in the early 2000s, and among the everyday people, such tribalism was almost non-existent. Being one of the most ethnically-diverse neighbourhoods in Nigeria, it was obvious that we could live together if some people weren’t fanning the embers of hatred. Some of my closest friends in secondary school were from other tribes, and it didn’t matter much to us. The events of this election have been a brutal reminder that the ethnic-spurred storylines in Old Nollywood (“over my dead body would you marry an Igbo man”) among other signifiers has deep-running ties in the Nigerian socio-political space, and it’s a conversation that must be had.

“It has to do with the role Igbo people play in the economic landscape of Nigeria and then it has to do with their numbers.” – Chukwudera Chiedoziem, a journalist and writer based in Awka, southeastern Nigeria.

For Favour, a young graduate who voted in Lagos, it was jarring to be referred to as “Omo Igbo” for the first time in her life. She was asked to vote “for us” by street dwellers she met on her way to the polling booth. She also narrated to the NATIVE how sad it was to see people picking their ballot papers from the gutter, after thugs had arrived on a motorcycle to scatter the booth which was close to her house. “’All these Igbo people,’” she said, quoting their exact words, “’Una wan occupy Lagos, una wan pursue us.’ These people were with guns.” Chigozirim, who is presently an Architecture undergrad, spoke to us about witnessing “people who he grew up and played football with” openly disenfranchising others and instigating violence.

According to Chiedoziem, the potency of utilising Igbo hatred as a means of asserting political power can be traced to history. “The 1966 coup was tagged an ‘Igbo coup’ and Igbo people were killed and it led to the Biafra War,” he said. “These things have not been properly addressed on a national stage. We’ve not talked about it; there has been no consensus on the national stage that Igbo people were wronged. And the ‘restructuring, rehabilitation and reconciliation’ that the Gowon government recommended has not been carried out. It’s more like running away from trauma and the trauma keeps resurfacing.”

Featured Image Credits/The NATIVE

ICYMI: LEADERSHIP, POWER & NIGERIA’S GOVERNMENT OF THE PEOPLE

uNder Spotlight: Rhita Nattah’s Music Channels The Personal & Political

Posted on March 21, 2023March 25, 2023 by Uzoma Ihejirika

For Rhita Nattah, music—citing Nigerian Afrobeat legend Fela Kuti—is “a spiritual thing.” The Moroccan artist, whose entry into the music industry began with an unsavoury experience and who continues to grapple with bad policies in her home country, has managed to keep her head above water and her eyes fixed on the grand prize: making music that impacts the lives of her listeners. “You gotta respect the art. You got to respect music. That’s what I feel,” she says. “[Music] is first and everything comes after. Money and fame don’t come first. Never.”

Nattah’s debut EP ‘INNER WARRIOR,’ which was released last month, encapsulates all her ideals and beliefs. Over a bedrock of traditional Moroccan music—Aissawa and Ahwach—sprinkled with Western influences in the forms of R&B, Soul and Hip-Hop, Nattah digs into herself to unearth powerful yet catchy songs about self-belief and her experiences as a woman in Moroccan society. “I am gonna tell you things about myself/I didn’t know before/Things I hide from myself, from myself/Oh, some days were dark,” she sings on the EP opener “Garden.” Nattah, who appeared in the NATIVE’s uNder column for February, revealed that she wants to be “a voice for the people, a friend, a sister, through my music and words.”

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Born in Fez, which is the oldest of Morocco’s imperial cities and served as the country’s capital at least five times in its history, Nattah grew up listening to traditional Moroccan music. As a teenager—and with the help of computers and YouTube—her music expanded to accommodate more names: Amy Winehouse, Sarah Vaughan, Dinah Washington, Sizzla, Queen Omega. Courtesy of YouTube, she taught herself English (the languages spoken in Morocco are Arabic, Berber, French and Spanish), how to play the guitar and how to compose music.

In 2016, while she was a master’s student, the Swiss electronic band Kadebostany contacted her to write and compose a song for them. The song “Save Me,” which is one of the band’s most popular songs, has ten million views on YouTube, has over ten million plays on streaming platforms and has been remixed by artists in Greece and Germany, amassing over a 100 million views. Despite the success of the song, Rhita Nattah didn’t get any publishing credit. Rather than let disappointment destroy her passion for music, she decided to seek more knowledge about the music industry.

“I spent a lot of time trying to learn about the music business, about author rights, about neighbouring rights, about distribution, but I just discovered with time that in Morocco, they respect nothing about [rights] too,” she says. “That’s why that [Swiss] group took advantage of me because here [in Morroco] organizations are very fucked up. Big actors [and] big actresses in Morocco never get their rights. When it comes to art, it’s very bad. So even though I learnt about the rights and everything related to the music thing, I get nothing [in terms of royalties].”

Throughout her journey in music, Nattah has had Samir El Bousaadi by her side. He’s her musical collaborator and husband. They met while she was a university student in Rabat. Nattah had needed another guitarist for a concert she was billed to perform and found Bousaadi in her Facebook contact list. “He accepted and we met for rehearsals, and then we played together,” Nattah says. “We loved the vibe and then we started meeting more often to play music together, just to discover what we can do, just jamming in general.” Nattah and Bousaadi’s friendship deepened as they spent more time fine-tuning their craft. In 2017, they got married.

Samir El Bousaadi. Image Credit: Instagram/@samirbs

“I trusted him because I really love to work with people who listen to good music,” she says about Bousaadi. “And also because he’s a musician. I love producers who can play instruments. He can play guitar, bass and piano. And for me, this is important. If you’re a producer, you should know how to play instruments. He [Bousaadi] listens to a lot of metal and grunge. He used to play with several groups and when he plays the guitar, I feel it. The way he plays is very emotional and that’s the thing that I loved when we first met, before knowing everything about him.”

Between 2017 and 2019, Nattah and Bousaadi wrote and composed music, while trying to find their unique spot sonically. They also did covers of music from other artists—mostly Nigerian Afrobeats musicians. In the videos, Bousaadi, strumming his guitar, would sit beside Nattah who would belt out the songs. They covered songs from Wizkid, Tekno, Melvitto & Oxlade, Kizz Daniel, American singer Khalid and Syrian musician Bu Kolthoum. Although Nattah received offers from Afrobeats producers, she turned them down because she had no intention of being identified with one sound. In 2019, she and Bousaadi felt it was time for her debut.

Nattah’s debut single “Not the Same,” which Nattah’s friend on social media Jamie Portier mixed and mastered for free, was the precursor to ‘INNER WARRIOR.’ It tells the story of a woman ruing a failed relationship but determined to let go of her hurt and forge ahead. At the time, Nattah had completed her master’s degree and Bousaadi worked as a graphic designer/director in a French bureau in Rabat. When a job opportunity as a teacher (and with great pay) in a Catholic school appeared, Nattah turned down the offer to focus on her music. Bousaadi, too, quit his job.

“It was a very hard and crazy decision because everyone around us was very intrigued and they took us for crazy and childish people,” Nattah remembers. “They were like, ‘You know, in Morocco, we have nothing. We don’t have the industry. What are you doing?’ We [Nattah and Bousaadi] were believing. We had no idea of how we were gonna do the things, but we [knew] that we [could] have something. We just knew inside of our hearts that we can give something.”

Amid the resounding effects of the COVID-19 pandemic, Nattah and Bousaadi were holed up at home making music. They turned their room into a makeshift studio, with two tables, a computer and a mic. Nattah’s favoured place to record in the room was a closet. With Nattah singing and Bousaadi handling production, they finished recording the songs for Nattah’s EP in 2021 and sought the assistance of Talal Bouroki, who with Bousaadi, is a member of the Moroccan Rock band General Rest In Peace. The process of mixing and mastering the songs with Bouroki lasted from January 2022 to July 2022 because Bouroki had another job and could only work on the songs on Saturdays.

The recording process for ‘INNER WARRIOR’ was heavily collaborative. “Sometimes Samir starts working on a beat and I’m like, ‘Oh, this is interesting,’ and I just start doing toplines and melodies,” Nattah says. “[Then] Samir takes more time to make the beat and then when he finishes, I put words to these melodies.” An instance is “The Calling,” whose melodies for the verse and chorus Bousaadi had created before Nattah infused the words. According to Nattah, it’s all about the feelings the songs evoke in her and Bousaadi.

“On My Own” is Nattah’s most personal song on the EP. She reveals that it is a snapshot of a particular moment in her life as it cracks a peep into old decisions. In the first verse, Nattah sings, “I’ve been smoking lately I know bad (sir).” While she no longer smokes, she defends its importance in the song for her honesty in opening up about a habit she adopted during a stressful situation.

In a 2012 report, The New York Times noted that generations of creatives in Morocco earn paltry sums in royalties, even if they are lucky enough to get anything. Under the government, the Moroccan Bureau for Copyright, which “is supposed to find solutions and ensure respect of intellectual property, including the piracy” has been accused of withholding the royalties of artists. Eleven years later, the situation remains the same.

“The main problem [is] the fact that governments before and even [current] governments ignored art and culture because of [religious] thinking,” Nattah says. “And the people who were famous in Morocco [and] came before us didn’t prepare the path, didn’t find solutions, didn’t talk about it. Some people were [also] bought; they [governments] gave them a little bit of money and they shut their mouths.”

The Moroccan music industry has lacked a proper structure to collate the financial rewards that each artist deserves from their works. Although Nattah’s music is played by radio and TV stations in Morocco, she hardly receives any royalties. “Sometimes they choose to pay you with no details like it’s a salary. and sometimes, they don’t. It depends on their mood, I guess. Yeah, it’s very fucked up,” she says. “But I can’t stop making music because I chose this path, you know; no excuses.”

Nattah is already at work on her album, which she hopes will feature guest appearances from artists in Morocco, the UK and Nigeria. She and Bousaadi also have an EP in the pipeline with Canada-based Moroccan act Sami Chaouki. Nattah, who is an indie act, dreams of touring the world and performing in countries such as Germany, Turkey, the UK and the United States, where the streaming metrics say she has a loyal following.

With increased visibility in her career—featuring as Spotify Africa’s Equal Artist of the Month and a billboard appearance in New York’s Times Square—Rhita Nattah’s path to success is widening. “I’m just waiting to see what life has in store for me,” she says. “I’m just working on my music, minding my business [and] doing the things that I love. Hundred per cent following my heart, believing since day one and that’s it.”

Stream Rhita Nattah’s ‘INNER WARRIOR’ below.

Featured image credits/NATIVE

Davido makes his return with announcement of his new album, ‘Timeless’

Posted on March 21, 2023 by Damilola Animashaun

001 is back. The rumours are true, Nigeria pop star Davido is back from a well-deserved hiatus and he’s already whetting our appetites for new music. For months, Davido’s return has been at the height of social media conversations as fans held on to his cryptic tweet “See You In March” shared in a moment of proximity with his fans last December.

Wasting no time to make good on his promises for new music to our ears, Davido arrives today with the announcement of his fourth studio album ‘Timeless’ with a cinematic trailer recounting the travails he’s been through in the past year. With unbridled confidence and limitless audacity, Davido pens a letter to his fans and well-wishers, thanking them for their support on his journey and inviting them to the next phase of his career-defining ride.

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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.

Indeed, there’s little need for a reminder about Davido’s expansive catalogue and his place in Afropop’s ever-evolving canon. With the forthcoming release of ‘Timeless’ Davido brings to full picture the decade-long journey to the top of his game. In the video montage, Davido reflects on his journey by mapping out key moments in his career from his rebellious spirit in “Dami Duro” to his current standing as an artist commanding global audiences and selling out stadiums. He sings “If they wan turn Goaliath, I be Davido for life,” his voice vibrating with resilience and determination for his next act.

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In the trailer for ‘Timeless,’ the videos were baked into the music in a cinematic style which set the tone for where Davido could go sonically and thematically. Considering it’s been a while since he heard new Davido music, the Amapiano production which had the famed Magicsticks tagline brings a fresh excitement to the album and could portend the album’s experimentation. The scenes set in the rural, vegetative setting also hint at Davido’s immersion into the natural world, a pairing that foreshadows the album’s themes.

Coming from ‘A Good Time’ and it’s follow-up ‘A Better Time’, the artist’s exploration of familial values has been filtered through upbeat bops and the occasional introspective cut. ‘ABT’ was especially poignant as it charted a straight course from his motivations as a global artist to homeward considerations of his legacy, most strikingly captured on “The Best,” which features his protege Mayorkun.

With ‘Timeless’ establishing the associative moods of melancholy and triumph, it’s expected that Davido’s perspective has matured in a new light, especially after the unfortunate event that led to his absence on social media since last year. For a musician who is most potent when providing insight into his personal life, it’s clear that this ‘Timeless’ era in Davido’s storied career has all the potential to become an all-time high for Afropop. It’s his time.

Pre-save the album below and watch the trailer.

Written by Emmanuel Esomnofu and Tami Makinde