It’s that time again. Every week, new music shows up, sweeping fans and music lovers off their feet while artists gauge reactions to know the effect of their creativity. At the NATIVE, we are committed to keeping our ears on the pulse of the music scene and bringing the best sounds to your doorstep.
Earlier in the week, we brought you stellar new releases from Johnny Drille, Darkoo, Joeboy and more. Today, we have songs that move from Afropop to Amapiano to R&B, with our select artists showcasing their unending talent and passion for creativity. Lock in!
PRETTYBOY D-O – “KOROKORO”
After months of teasing across social media platforms, self-assured rapper, Prettyboy D-O has dropped his second single of the year, just days after his recently released solo “It’s Different.” On the DARE-produced track, D-O’s “korokoro” leads in with sharp and echoey cult-like chants and soft keys. Following a daunting intro, D-O’s hard-hitting bars take centre stage on the eccentric instrumentals as his effortless, rhythmic flow rides the wave of the beat. His brisk delivery on the track explains that his enemies can never see him fall as he raps a prayer, “May my pride never a weakness, If I fall may my opps never bear witness.”
DJ BIG N, AYRA STARR & OXLADE – “HOW MANY TIMES”
Two of the Afropop’s youngest and freshest faces join forces with DJ and producer, Big N for a slow-tempo, melodious track, “How Many Times.” Evidently heavy with emotions, Mavin’s pop princess better known as Sabi Girl lead us into the track with her soothing ad-libs accompanied by mellow piano keys. Still holding a ting of excitement, some energetic drum patterns guide Oxlade as he takes the first verse, reassuring his love interesting and encouraging her to shutout all distractions and naysayers in their relationship. Ayra Starr delivers a mellifluous response explaining that actions speak louder than words and their love story might be a lost cause.
CANDY BLEAKZ – “WALE”
Sitting at the forefront of Street-pop with the likes of Zinoleesky and Zlatan, Candy Bleakz’s flow and rustic bars undeniably pushes the envelope of the domineering genre with every release. Following her feature on SHOLZ’s “Vex,”assisted by Teezee and Odumodublvck, Candy Bleakz drops her first solo of the year, “Wale.” Another story of the hustle to make it -a common theme of the genre- Candy Bleakz open up on a vulnerable note of the stresses she experiences on a regular basis. She reiterates the cries of her mother who desperately misses her and wants her to return home. However, she is dedicated to the grind and evidently isn’t stopping anytime soon.
KOREDE BELLO & MR EAZI – “JEJELY”
After a relatively quiet 2022 with only two releases under his belt, Koredo Bello makes a resounding come back into the scene with the assistance of Mr Eazi on “Jejely.” If the cover art and song title -which loosely translates to taking things easy/slowly- didn’t already suggest that the pair are in a relaxed mode, the airy instrumentals of the mid-tempo track did. Korede Bello sings of steering clear away from all stresses as he searches for peace of mind. Over soothing drum patterns, he delivers wordless harmonies on the intoxicating hook and Mr Eazi reiterates the tracks message as he croons, “Problem no day finish so I’m choosing my peace.”
MANNYWELLZ – “MAGIC”
An assured tune a few short seconds into the track, a groovy beat leads us into Mannywellz’s recently released single, “Magic.” When his intoxicating vocals commence the track, it is clear that Mannywellz is here to serenade his listeners and surely enough he does just that. He showers his love interest on the sensual track, sparing no details to let her know the stronghold she has over him. He is undoubtedly smitten as his smooth vocals and dreamy guitar strings hold a promise of love and passion that knows no bounds.
MOHBAD – “ASK ABOUT ME”
With an already quick start to the year, Mohbad continues reshaping his craft with consistent, back to back releases and his recent Amapiano effort, “Ask About Me.” It’s always a guaranteed good time when you hear the rhythmic drum beats and lush shakers commonplace in Amapiano but Mohbad takes this a step further with warm saxophone chord and background chants, reminiscent of a harmonious church choir. On a mellow note, Mohbad’s vocals swell with appreciation of his journey thus far, armed with bars in Yoruba and English.
As has become customary in the last few years, there’s always something new to celebrate and discuss in Nigerian film. A week ago, Jade Osiberu’s latest directorial feature ‘Gangs of Lagos’ was both the toast and topic of social media timelines during the long Easter weekend. Even now, it remains a topic for a controversial, if unnecessarily contrived, reason. Osiberu is one of Nollywood’s most exciting filmmakers working today, and the mainstream attention her work consistently garners has reached another peak with her latest film.
Co-written with Kay I. Jegede, ‘Gangs of Lagos’ landed with the preceding hype of being the first African film originally commissioned by Prime Video, the streaming platform owned by tech giant Amazon. Inspired by the gritty streets of Lagos Island, colloquially referred to as Isale Eko by locals, the film delves into betrayal, friendship, grief, revenge, deferred dreams, and the connections between street politics and actual politics. Working through the lens of lead character Obalola (Tobi Bakre), the script prioritises nuance in establishing its characters, from Oba’s lifelong friends Ify (Chike Ezekpeazu Osebuka) and Gift (Adesua Etomi), to the street kingpin Kazeem (Olarotimi Fakunle) and his daughter Teni (Bimbo Ademoye).
In early conversations about ‘Gangs of Lagos’, many were quick to point out the film’s place within the recent pile of gritty dramas with underground crime elements in Nollywood. For Osiberu, it’s a realm she’s been part of since her breakout with ‘Sugar Rush’, which she produced. Her last two films, the cinema blockbuster ‘Brotherhood’ and ‘The Trade’ from earlier this year, fall within this same scope but it would be unjust to not gauge Osiberu’s latest film on its own merits, even if there’s external context to consider.
Let’s be clear: ‘Gangs of Lagos’ isn’t a perfect film. Whether it’s a great one depends on who you ask and what they value when experiencing a film. The characters and their set-ups are impressive, while the story development could’ve been better. To the latter, it’s telling that two relatively minor characters fill in tension-generating information in the third act using flashbacks. Perhaps a longer run time or even expanding it into a mini-series could’ve helped. Technically, it’s well-shot and there are sequences that bring to mind the 2002 classic Brazilian crime film, ‘City of God’. The fight scenes are well-choreographed, while the scenes involving guns could’ve been much better.
If there’s one part of ‘Gangs of Lagos’ that’s absolutely stellar: it’s the music. Nollywood has had an uneven relationship with music since its emergence in the early ‘90s. Musicians have taken on acting roles, actors have delved into music, and the excellence of music selection and composition in Nigerian film has undulated between great and tepid.
When paired successfully, theme songs and scores have the power to enhance the film viewing experience. As NATIVE’s senior writer Uzoma Ihejirika recently pointed out, “Original Gangster” by Sess, Reminisce and Adekunle Gold is one of the finest examples in recent memory of a theme song working in tandem with its film—in this case, Kemi Adetiba’s ‘King of Boys’. Even now, it’s impossible to think of Eniola Salami’s imperial form and not instantly recall the rumbling Bata drums that enliven Adebayo Adepetun’s score in that film and its mini-series sequel.
Right from its trailer, ‘Gangs of Lagos’ makes music selection and composition a big part of its experience. In the trailer, packed with slow-motion shots from the film, a chopped version of Ladipoe’s drill slapper, “Man Already,” booms underneath. Parts of the song’s vibrant hook are tethered to a dismantled, guttural version of its original beat, adding to the trailer’s foreboding feel that ups the stakes for expectation.
As the film begins, composer Tolu Obanro quickly makes his hand seen with sinister keys that score the film’s first killing. That quickly morphs into an orchestral folk arrangement with chanted spiritual vocals as the opening credits roll in. The music composition choices in the early going resurfaces throughout the film, from the rumble of broody strings that accompany a weapons acquisition scene to the dirge-like piano lines that run alongside Obalola walking over to his best friend’s corpse. Similar to the intro, orchestral folk compositions are worked into integral scenes in the third act.
In one of the film’s glossier moments, the character Teni is re-introduced to viewers in a manner akin to that spotlighting a vixen in a music video. In that slow-motion shot, the score is a radiant acoustic folk interpretation of King Sunny Ade’s “Ma Jaiye Oni.” In addition to its aesthetic value, it’s also a call-back to an earlier scene where a much younger Obalola (Maleek Sanni) eats dinner at the home of his adopted father and street kingpin, Ninalowo (Tayo Faniran). There, KSA’s 1982 classic rings out in all its evergreen glory as Oba tears into a piece of chicken thigh while Nino watches him between wide smiles.
For much of the first act in ‘Gangs of Lagos’, the period isn’t strongly defined. It isn’t until we see Nino’s headstone that we know those early years of Oba and his friends are portrayed circa 2007. That gives credence to young Ify’s (Pamilerin Ayodeji) dream of becoming a big musician like 2Baba, then known as 2Face Idibia. There’s also “Funky Fuji,” the 2005 hit by Fuji immortal Dr Wasiu Ayinde Marshall—aka K1 De Ultimate—which plays as Nino’s regally trudges the streets of Isale Eko behind Oba, Ify and Gift (Small Mummy).
As opposed the more urban choice in its trailer, the music selection in ‘Gangs of Lagos’ is a representation of the music that buzzes out of speakers in inner parts of Lagos like the setting of this film. Before the now older Obalola, Ify and Gift brutally flushes out a person suspected of scalping Kazeem’s money, Naira Marley’s street smash “Koleyewon” serves as an ominous scene-setter. It’s one of the two contemporary songs in the film, the other being “On Fire,” a pop song with Amapiano influences performed by Chike and written for the character Ify, who’s also actively chasing dreams of music stardom.
Like a lot of its technical details, great attention was clearly paid to the music in ‘Gangs of Lagos’. Whether that’s in the songs licensed for scenes in the film, or in a score that’s as stirring as it is majestic. To the latter especially, the end credits feature the names of session musicians and vocalists who contributed to the score. It might be a minor detail that many viewers won’t pay that much attention to on first view, but the music in ‘Gangs of Lagos’ is a complimentary positive that deserves to be appreciated.
Before Nigerian rappers Reminisce and Illbliss made their acting debut in the Kemi Adetiba’s crime-thriller King of Boys (2018), and Phyno followed right after in Genevieve Nnaji’s Lionheart(2018), there was Christy Essein-Igbokwe in Chico Ejiro’s Flesh and Blood (1996) and Onyeka Onwenu in Chimdi Chiama and Ndubuisi Okoh’s Conspiracy (1999). These artistswere not just making cameo appearances in these films; instead, they were taking on full roles that took them out of their otherwise pop star glam and inhabiting worlds very different from that of stardom.
Nollywood and the Nigerian music industry have always enjoyed a symbiotic relationship. Often, when musicians starred as actors their songs were used to soundtrack the films, even when their acting roles were minor. This was the case with the 1997 feature film Mark of the Beast,which featured the late Reggae musician Majek Fashek in a cameo role. In fact, a silhouetted image of Majek Fashek played the guitar and sang a tune as the film’s opening credits ran over. Onyeka Onwenu also lent her original song “You and I” to the soundtrack of Conspiracy (1999). The late Gospel artiste Sammie Okposo composed soundtracks and scores for films, outside of releasing his singles, and is behind the music of so many Nollywood hits and classics like Most Wanted (1998), Issakaba (2001), Emotional Tears(2003), and The Amazing Grace (2006). There was also a quality to the kind of music produced in that time that isn’t attainable today.
“Early Nollywood scoring was reflective of what music consumption was like in the 1990s, before the Afrobeats boom. The scorers of the time demonstrated lots of influences from originally Western genres like R&B and Blues,” Kelechi Njoku, a Nollywood enthusiast and writer, tells theNATIVE. The soundtracks of ‘Glamour Girls’ (1994), ‘Domitila’ (1996), ‘Blood Money’ (1997), and ‘Scores to Settle’ (1998) all have this flavour. There was a commitment to vocal dexterity in them as well. A few examples include composer Stanley Okorie’s work with singer Thelma Yakubu on Chika Onu’s Confusion’s lead soundtrack “Something’s Wrong Somewhere”; or the vocals on “We Have Overcome,” which is Omololu Richard Ogunleye’s work for The Mark of the Beast.
Thankfully, there was a penetration that homegrown Nigerian sounds started to have from around 2003 that wasn’t happening in the 1990s. However, this development failed to produce remarkable soundtracks. In the 1990’s flicks, composers like King Jaja, Mike Nliam, and Abay Esho paid close attention to the stories they were composing for; the music was never in the way. “By the mid-2000s, we could be watching a movie and there’s just song underlining the entire flick, sometimes in ways that are emotionally dissonant from the story,” Njoku stated, adding that a lot of serious stories were rendered comical with that kind of music. Unfortunately, the practice continues to this day under the onslaught of Afrobeats club hits thrown into our movies.
Another consequence of the diminishing artistry with the music of Nollywood starting from the mid-2000s was that filmmakers started to rely on foreign hit songs to soundtrack their films, especially for romance dramas. Celine Dion and Westlife’s discography were great resources for these filmmakers. But that was only an aspect of the many issues with Nollywood from the year 2004 when marketers became filmmakers and placed a ban on actors they considered too demanding. These actors were Genevieve Nnaji, Omotola Jalade-Ekeinde, Ramsey Nouah, Richard Mofe-Damijo (RMD), Emeka Ike, Stella Damasus, Jim Iyke and Nkem Owoh. That singular act, now known as the G8 ban, had a colossal effect on the industry: the marketers-turned-filmmakers cared more for commercial gain than artistic merit, and for that reason, the quality of films, the music in the films inclusive, dropped.
Following the ban, Genevieve Nnaji released her debut album ‘One Logologo Line’ in December of 2004 with “No More” as its lead single. Her film influence shined over the song. Against the song’s upbeat tempo, she narrates, in English and Igbo, her experience in a relationship that started beautifully but quickly turned toxic, and finding the strength to flee. The song’s music video is a short film depicting this relationship.
What the G8 ban did was that it started an era of actors also becoming musicians and this wasn’t restricted to the G8 actors. Omotola, RMD, Desmond Elliot, and Ebube Nwagbo also tried their hand at music at some point. Nollywood producers also capitalised on this wave and introduced albums inspired by films. For instance, Nkem Owoh’s‘I Go Chop Your Dollar’ is based on Andy Amenechi’s 2005 film The Master, a film about Owoh’s character defrauding and scamming unsuspecting white men. On the album ‘National Moi-Moi,’ Patience Ozokwo takes on the personality of her character Mama G, a middle-aged woman dedicated to the epicurean lifestyle much to the annoyance of her husband and community, in Gabriel Moses’s Old School (2002). The ‘Dinta’ album with vocals from Chioma Chukwuka, Fred Aseroma, and Chiege Alisigwe is adapted from Amayo Uzo Philip’s Sacred Tradition (2005).
Today, however, there is an almost complete abandonment of creating original soundtracks for films. Our films are often jam-packed with the latest Afrobeats hit or club banger. This isn’t right. These songs, no matter how catchy they may be, are not written for the film and so hardly ever elevate the film. Music aids storytelling and even helps the tone of a film, and thus, should be part of the story-creating process.
“Music can propel narrative swiftly forward, or slow it down. It often lifts mere dialogue into the realm of poetry. It is the communicating link between the screen and the audience, reaching out and enveloping all into one single experience,” said American film composer Bernard Herrmann, who contributed scores to films including Citizen Kane (1941), Psycho (1960) and Taxi Driver (1976). Nigerian filmmaker Raymond Yussuf and a member of The Critics Company relied on music to help drive the narrative and form the emotional core of his film One Can Only Hope and Wonder, which was recently exhibited at the Zollamt MMK in Germany. Inspired by German composer Hans Zimmer’s “Cornfield Chase”for Christopher Nolan’s 2014 film Interstellar, he employed a filmmaking tool, the leitmotif, to achieve this.
“There was a certain scene in the film where the rhythm of the music was very important to me as it influenced the editing, the performance, and the filming process, so we had like three pieces of music already composed before we shot the film,” Yussuf tells the NATIVE. Without dialogue, Yussuf and the Critics Company were able to tell an emotionally cohesive story with the aid of music. Another Nollywood film that actively employed the use of leitmotifs to enhance its storytelling is Daniel Oriahi’s 2018 film Sylvia with the score composed by Michael “Truth” Ogunlade. Its haunting, sombre tune set the mood for the film.
But these are exceptions and not the norm. This isn’t to say that most Nollywood films are entirely bereft of score or soundtracks. They’ve just not been properly employed as tools for storytelling. It is common to watch intimate scenes where the music applied distracts rather than heightens the emotion. And there is no crime in using popular music in films but filmmakers need to be deliberate about its use and consider what they want the audience to feel at that moment. Has the use of it rendered what should be a melancholic scene comical? Does it enhance or align with the actions in a scene or contrast it for irony? Does it connect to the characters and their situation in a meaningful way? Does it serve the story?
The music in many Nollywood films reveals that music is often treated as an afterthought. Film is a form of audiovisual media; both sound and picture need to work in unity. The symbiotic relationship between Nollywood and the music industry needs to go beyond featuring musicians in films, or Nollywood actors trying their hand at music, to a point where the relationship between our film and music industry reflect in the quality of music soundtracking our films.
Musicians who have also become actors are in the best position to lead this movement. Banky W, for instance, before venturing into acting was telling stories with his music videos that aptly captured the message of his R&B love songs. Aside from that, musicians already know about sonically creating emotions with lyrics and melody. It is no surprise that one of the most memorable soundtracks we have had in recent times is “Original Gangster” for King of Boys, produced by the multi-award-winning music producer Sess with vocals from Adekunle Gold and Reminisce, one of the stars of the film.
Even with the generally intriguing history between Nigeria’s contemporary music and film scene, the possibilities for consistent excellence when they interface remains vast and could develop into a mammoth cultural force.
Music is such a life-moving force that it takes little time to spot a natural. Anyone who’s cultivated an ear for sound knows when potent emotional channels are being hit, there’s a brain rush triggered by sonic excellence. Lloyiso has a similar effect on listeners: first on his immediate family members in Uitenhage, his warm-hued vocals have serenaded audiences on prestigious shows such as South Africa’s Got Talent and Idols SA. He finished fifth on the latter, in 2015 when he was only sixteen, and ever since the allure of LLoyiso has been on remarkable display, now perfected with the release of his debut EP, ‘Seasons’.
Sparingly releasing music over the years, Lloyiso has built up social currency. Covers of records by the likes of Billie Ellish, Lewis Capaldi and Rihanna have spawned viral TikTok moments, leading to a deal with Universal Music Group South Africa and Republic Records in the US. That was two years ago; since then, “Seasons” and “Speak” are some records which have established his mastery of R&B, sprinkled with native linguistic influences.
The timing couldn’t have been better for ‘Seasons’. For someone who’s been a sort of celebrity since high school, it’s a feat of sustenance how Lloyiso updates his perspective. Rather than steer the easier lane of debauchery that can be afforded by financial prosperity, he hones into the sensitive. As you’ll glean from his social media comments, listeners tend to find Lloyiso when they’re faced with dicey odds at life and relationships. He doesn’t offer easy answers, but contends his tussles with grace and reason, most regularly the former.
In an interview with Apple Music, LLoyiso revealed that he wrote the project to reflect the motions of a personal heartbreak. For those who’ve given their all in love, there’s a lot of pain that comes with letting everything drop. The memories, most especially, but also the feelings of inadequacy that comes with being by oneself, without the constant reassurance of another. The opener “Seasons” works up the ballad form to tell a lucid and quietly compromising tale. “Is it because I cry too often? That you don’t believe me when I say I’m hurtin’?” he sings, establishing a theme of gaslighting which runs through the song.
As far as openers go, it’s sets up the entire thematic landscape of the project, and even more remarkably, from an intimate perspective. When self-love becomes hard, it becomes important to declare one’s issues with the prior relationship while reiterating the strength to move on. “Is it because I don’t love my body?” he asks in the second verse, “That you make me feel like you’re the only one that loves me?” The song progresses into the final compromise: “I’m taking my heart back, it’s all I have”.
Lloyiso’s writing is beautiful and bold, in that he doesn’t spare himself the criticism of a better perspective. Ultimately, it’s that honesty which leads to the project’s generally positive energy. “Give A Little Kindness” turns up the energy, swirling with bright drums and Lloyiso’s vocals cartwheeling with refreshing splendour. An admonition to pour into his kindness as readily as he pours into others, he paints serene imagery of a man finding peace. “Sitting on a lake, breathin’ in my space/ Out of touch, this is kind of nice,” he proclaims with infectious exhilaration. Credit to his virtousic performance, his voice still has audible shades of hurting, contributing on a meta level to the song’s roundedness as a quintessential post-heartbreak song.
Victory can sometimes be pierced by hurting. It’s this duality which emboldens ’Seasons’. With additional input from Norwegian producer Earwulf, the music works splendidly to carry the heft of these ideas. Lloyiso’s understanding of the piano enables him the base which to start off, letting his vocals soar in tandem with the notes. Soft drums are also a regular fixture, increasing the tempo as the intensity of emotion demands. “What Would I Say” has this quality, as Lloyiso paints the riveting image of looking for his beloved, with his heart craving the intimacy of small things. “I’ve played these love songs,” he sings, “They can’t seem to get the words right, they can’t seem to get the feelings right.”
On the flip side, “Run” goes into the world for something to hold on to. When physical spaces inhabit so much memory, it’s inevitable to seek the grandiose and unpredictable. It’s an accomplished record which sees Lloyiso tone down his vocals for breeziness. “Let Me Love You” has electronic influences, but the rippling energy only works to highlight Lloyiso’s vocals. A measure is evident in the writing, again placing himself in the seat of provider. As though to counter that perspective, the song which follows is titled “Where Do We Go (When We Need Love)” and flips the gaze on his own desires.
Emotive notes and violins rise to warm Lloyiso’s penultimate confession; with church-reminiscent vocalisations and beat change that’s set off by a percussive base, it’s a beautiful structure of a song. “Damn, I’m supposed to make this song about this pressure of society/ Oh, that’s the frenemy,” he sings in one of the project’s few lines which directly references the external, implying in a subtle way that the personal is as poignant, while the world which is constantly at odds with itself, could be a friend.
‘Seasons’ is a stunning achievement. Lloyiso’s prodigious nature might have suggested a promising career, but the execution shines with a personal energy that’s easy to hear. For a youngster who got into music from his sister’s playlist which consisted of Beyonce and Jennifer Hudson, artists whose prime isn’t that far-off, it’s amazing what Lloyiso can do with his voice. He’s made a confident first step into the world of projects by banking on his heart. And the music indeed makes you feel, that for Lloyiso, it’s all he has.
Mas Musiq is one of Amapiano’s finest soundmen. As a producer and engineer, he’s been involved in enduring moments, whether that’s mixing and mastering the entirety of DJ Maphorisa and Kabza De Small’s first project as the Scorpion Kings—a commercial beacon of things to come in ‘Piano—or setting the musical tone for Riky Rick’s vulnerable admissions on his affecting single, “HOME.”
Like all A-list ‘Piano producer-DJs, the best way to enjoy the full Mas Musiq experience is through his full-length projects. With three albums and a joint EP with singer Aymos, Mas Musiq already has a preferred side of the Amapiano spectrum he operates in. Working on the Deep House side of things, the producer’s sound sits at the intersection of buttery and booming, where radiant piano melodies have as much allure as the rhythmic bounce of the rumbling bass and thudding log drums.
Already respected for a catalogue of known hits like “Zaka” and “Bambelela,” 2021’s ‘Auti ‘eSharp’ elevated the Tembisa-raised producer’s stock. Off the album, “Uzozisola,”“Inhliziyo,” and “Sengizwile” became hugely popular songs that pushed him into superstar territory, while the project’s immersive feel, refined touch and perfectly curated cast of collaborators highlighted his powers as an auteur. In a few weeks, Mas Musiq will release his fourth long play, ‘NINI na NINI’, and its lead single already portends a new creative apex.
Usually, when there’s a Kabza and Maphorisa credit on a headlining Mas Musiq song, the expected primary vocals are those of Aymos. This time around, it’s the robust and sweetly-scented voice of Daliwonga that rounds out the quartet on the newly released “Gangnam Style.” Referencing the 2012 dance-pop smash by the Korean artist PSY, the song is another showcase of Amapiano creators’ ability to find inspiration wherever they look.
Asides Daliwonga’s interpolation of the viral phrase, “Oppan Gangnam style,” there’s no other explicit connection between both songs released eleven years apart, but the link between them is far from tenuous. First off, there’s the galloping tempo of its rhythmic groove, a direct referencing of the horse-y dance that greatly helped catapult PSY’s song into viral popularity. Also, there’s the incredibly fun and effortless charisma in Daliwonga’s performance, as he hops between snappy sung-rap quips and gorgeous onomatopoeic chants. There’s a guiding hand for Mas Musiq’s “Gangnam Style,” but its draw is in how incredibly fun it is without the gimmick of its inspiration overshadowing the sum of its parts.
As with any song involving Kabza and Mas Musiq, the melodic aspects of the music are ear-holding, with gospel-style keys providing angelic harmony runs. The overall framework for “Gangnam Style” is uncomplicated: The groove is consistent, simple but ultra-effective, while Daliwonga puts in a typically strong shift that continues his trademark mix of swag and gritty soul. There will be twelve more songs that will vie for the best song on ‘NINI na NINI’ when it’s out in its entirety, and “Gangnam Style” has set quite the bar for what to expect—that’s in addition to being one of the most gorgeous dance songs in ‘Piano so far in 2023.
Nigerian comedy group Ikorodu Bois are an internet sensation, appealing to fans with their DIY skits and entertaining audiences in Africa and around the world. Formed in 2017, the group consists of Muiz Sanni, Maleek Sanni and their cousin Fawas Aina—all managed by Muiz and Maleek’s brother Babatunde Sanni. The group uses everyday household items—mops, pots, wheelbarrows and bins—to recreate multimillion-dollar music videos and Nollywood and Hollywood movie trailers, shot by shot.
Based in Ikorodu, a suburb in Lagos, the group, with its 1.2M followers on Instagram, has caught the attention of celebrities including basketball star LeBron James and film superstar Will Smith. In 2020, Ikorodu Bois got an invite from the producers of the Hollywood flick Extraction 2 after the recreation of the movie trailer went viral. They also got the endorsement of the American streaming platform Netflix, which gifted them filming equipment.
“[Maleek] actually wants to go into acting later in life, but his elder brother, Muiz, still wants to be a doctor,” Babatunde revealed in an interview. Last year, Maleek and Fawaz made their acting debuts in Kunle Afolayan’s Netflix-distributed film Aníkúlápó with small roles. Judging from Babatunde’s words, Maleek seems determined to make a career out of acting as he has featured in Jade Osiberu’s rave-of-the-moment film Gangs of Lagos.
Dubbed the first Amazon Original Movie from Africa, Gangs of Lagos, which premiered on the American streaming platform Amazon Prime Video, has won the hearts of movie lovers who have embraced the project, dissecting it in threads and kick-starting conversations on the internet. Gangs of Lagos is centred on the lives of a group of friends in Isale Eko, Lagos who work for the criminal underworld but hold dreams and aspirations of a more comfortable, secure future. The performances of the actors in the production have received rave reviews, from veterans like Chioma Akpotha to newcomers like Omoniyi “Zlatan” Temidayo Raphael. But amongst the cast is a special set of child actors, most especially Maleek Sanni, Small Mummy (real name Ashafa Salamot) and Oluwanifemi Lawal, who play younger versions of the three friends.
In the first act of the film (approximately 30 minutes), Sanni, Small Mummy and Lawal (as well as Pamilerin Ayodeji) are the stars in their roles as Obalola, Gift and Ify. They are street kids, snatching bags and remitting the proceeds to older, street ganglords. Obalola is the son of a late street gangster and an overly religious mother who is desperate to ensure he doesn’t end up on the same path as his late father. While it is the voiceover of Tobi Bakre (who plays the older Obalola) that colours the film from start to finish, Maleek does a fantastic job of portraying a young, vulnerable and impressionable boy who seeks a father figure.
The conversations between Maleek and his friends are honest and childlike, in an unforced manner. When they talk about their dreams for the future or their crush on another character, amid bants, the chemistry is undeniable. It sounds like the kind of everyday conversation every adolescent child would have, regardless of their familial or financial background. But it is Maleek’s interaction with the older actors that highlights his latent talent. After his character is brought to face the gang leaders for a crime he committed, his stoic outlook endears him to one of them, Nino (Tayo Faniran), who takes him under his wings. Nino is the father figure that Obalola desperately seeks, even though he doesn’t know. In a scene where he narrates wanting to be a gangster like Nino to another character, he says, “But Nino said no. He says I have head for book, that I should become an economist like that CBN governor, or writer like Wole Soyinka.” With Nino, Obalola is whoever his guardian wants him to be: street-smart hustler here or untainted bookworm there.
But the most powerful scene Maleek had was his character refusing to return home to his mother. As Obalola’s mother, Iyabo Ojo delivers an intense performance. Her love for her child is the fiery and smothering type—“You know I’m doing all this for you,” she tells him in Yoruba. Heartbroken by the death of her husband, she fights to prevent her son from falling into the same predicament. When she finds out Obalola has moved in with Nino, she begs him to come home with her, and when he refuses, anger clouds her face as she utters curses at him. Obalola doesn’t say a word but his face bears his emotions: fearful of his mother’s words yet determined to create his path. It is that scene that stamps Maleek as a gifted actor.
In 2021, Maleek’s reenactment of a Steve Harvey speech received praise from the popular American TV host for capturing his mannerisms, from the hand movements to the pauses. The following year, he did another sketch of Steve Harvey. These and the other skits with his Ikorudu Bois relatives have helped Maleek polish his acting skill, which now has its deserved recognition with Gangs of Lagos. As an actor in the film, his character was used to lay the foundation for an older version, and Maleek achieved this, with a strong performance that forged an emotional connection with the audience.
With talented child actors slowly becoming a thing again in Nollywood, actors like Maleek, Small Mummy, Oluwanifemi and Pamilerin herald an era when the screens won’t only be the arena of older actors but instead, a place where craft and expertise are allowed to blossom. The future looks promising.
Ghanaian singer, Mellissa wants to reintroduce herself to her audience. Following her scene-stealing appearance on Amaarae’s debut album ‘The Angel You Don’t Know,’ Ajebutter’s ‘Soundtrack To The Good Life,’ and BOJ’s ‘Gbagada Express’with her sister and partner, Moliy, Mellissa is ready to reveal new layers to her artistic expression. Fairly a new name and face in the scene, Mellissa’s verses are marked with poignant and evocative details about life, becoming, friendship and love. Since her debut single “Limelight” in 2021, the singer has made music that is thematically bound to introspection and constantly evaluates personal truths.
While her discography may be sparse and short, the music has been able to steadily carve out her own intimate corner in a crowded and versatile music scene, ensuring that she’s not left out of the conversation. “I also just wanted to make people free, happy and have fun. When we’re creating those songs, we’re having fun. I can only hope that anyone who is listening is going to catch that,” she shares with the NATIVE. It’s clear that improving her skills is a great source of pride. This has in turn, endured her to a rising legion of loyal fans and subtly widened the scope of her ability.
Now, Mellissa is inching towards the powerhouse she is capable of becoming with an album slated for release later this year. “My EP is coming out this year for sure. Ok, let me not say for sure, but this year, all other things being equal. I’ll be releasing singles before that. The first single hopefully in June and it’ll flow into the EP,” she shares with the NATIVE.
Ahead of its release, we caught up with Mellissa, the undeniably sought-after collaborator on some of her music influences, her two-way creative process to her stellar performances as well as some future solo releases and more.
The conversation, which follows below, has been lightly edited for clarity.
NATIVE: Some of your standout performances are with your sister, Moliy. What’s it been like building a career in music together?
Mellissa: It’s been very fun. Most of the features that I have out, like the one with BOJ and Amaarae, are with her. She had already started releasing music and we’re so close so we’re together all the time. The [son] with Amaarae for instance just happened because I was in the studio. We just talked about a hook idea and Amaarae was like ‘You have to record that.’ It’s been fun. We’ve always made music together since we were really young. Even on our way to school, we’d sing together. Everything is connected in music so we’ve done a lot of growing together.
What’s your experience been like working with other artists like BOJ & Ajebutter?
The best way I can explain it is fun. It was more fun than anything and I feel like that’s how it’s supposed to be. All those sessions, I remember them being very fun. We had fun making the music and I’m sure it reflects when you’re actually listening to the music.
Definitely. Do you have any particular African female musicians you look to for inspiration?
I really love and admire Tems. Her sound and brand especially. I really love Tems. There’s a long list but I’d rather just keep it short. I also really love Efya, she’s from Ghana. I still haven’t made music with her yet, I don’t know why but I’m going to. She’s actually in Nigeria right now. I bumped into her here so maybe we’d make music here. Who knows?
Looking forward to hearing that. What’s the most important thing about the music you create?
The most important thing about my creative process, I think would be for it to be relatable and real. I feel like we’re all connected somehow. If you’re going to talk about something people don’t know about or you don’t actually align with, then how do you expect people to connect to that? That’d be the first thing and I guess I also just wanted to make people free, happy and have fun. When we’re creating those songs, we’re having fun. I can only hope that anyone who is listening is going to catch that. Those are two of the most important things I’d say.
Describe your creative process to me. You mentioned mostly just having fun so are you more spontaneous? How do you get into the zone to make music?
It completely depends on who I’m collaborating with. If I’m alone for instance, I usually start with melodies so it almost sounds like gibberish. That would be the canvas and I’d eventually feel out what that sound is representing. What does this feel like? Is this a love song? Then when that’s figured out, I can now start painting the picture with words and that’s how it grows. Usually that’s my most comfortable way of doing it but sometimes the words comes with the melodies and we get a song with a hook then build from there. That’s what happened with “In A Loop.” The hook, “what we fi do” was a melody that came with the words.
Can we expect any solo releases from you this year?
100 percent. So my EP is coming out this year for sure. Ok lemme not say for sure but this year all other things being equal. I’d be releasing singles before that. The first single hopefully in June and it’d flow into the EP. I can’t wait to release it, I’m not going to lie because I’ve had a lot of features but this will be more like what I’ve been working on.
Do you have any one you’re keen on collaborating with?
There’s a few people. Right now I’m in Nigeria and it would be really dope to collaborate with the likes of Lojay. I actually want to work with Bloody Civilian as well. I think her music is really dope. Her swag is also there. I think it would be nice working with her. Then I’d say Efya as well since she’s here.
Do you have any reasons as to why you think you’d go really well sonically? Is there anything that stands out to you with their sound that would pair perfectly with yours?
Yes. So i’d say with Efya, her vocals are very powerful. We could make a timeless song. There’s this song that she made with Sarkodie and the song has been stuck in my brain and heart. It has always been a dream of mine to collaborate with her and make something similar. A track that would last for time. I’d say with Lojay, obviously his melodies are out of this world so I just want to, in a way, test myself and get in my bag with melodies like that. We could make something dope. Bloody Civilian’s music seems so fun and free. That’s also my vibe so I want to see what could come out of that.
How would you describe your average listener and what audience do you anticipate targeting in the future?
I think my average listener would hopefully be a lot of women. I create music obviously for everyone but I think a lot of women would connect more with my experiences. That would be the main demographic but I’d say anyone who wants to move, dance, have fun and feel free. That’s the main essence of my project for instance. It was what I wanted freedom to sound like in beautiful melodies.
What was the second question again? I think it was a two part question.
Yes, Is there any audience you feel has not really caught on to your music yet that you feel could relate with you on a different level when they listen?
I’m not sure yet. I think my music could tap into multiple markets if I’m being honest. For instance, my EP is Afro-fusion but I included some elements of Latin and I think it’s because I went to school in Orlando and the Spanish scene there is very big. It was inevitable. I just soaked in a lot of their culture and their music definitely influenced me so the’re bits of that included in the sound. Maybe not immediately, but I think the music will translate well in those areas. Hopefully.
Strut Records, in partnership with South African musician and anti-apartheid activist Julian Bahula, has today announced to reissue South African group Malombo Jazz Makers’ ‘Malompo Jazz’ (1966) and ‘Malombo Jazz Makers, Vol 2’ (1967) on vinyl for the first time since their original release. The deal is an attempt to bring international recognition to Malombo Jazz Makers, an influential collective in South Africa’s anti-apartheid movement during the ‘60s and ‘70s. The vinyls will be released in May 2023.
Malombo Jazz Makers was formed in Mamelodi township near Pretoria and consisted of Julian Bahula (malombo drums), Philip Tabane (guitar) and Abbey Cindi (flute, penny whistle). The group, managed by veteran photographer Peter Magubane (whose images decorated the pages of DRUM, widely known as the first black lifestyle magazine in Africa), first rose to fame in 1964 after winning the prestigious Castle Lager Jazz Festival. After Lucky Ranku replaced Tabane, the group revolutionised South African jazz music, merging the elements from their native roots with the characteristics common in the works of John Coltrane, Dizzy Gillespie and Miles Davis.
“We grew up listening to American jazz, but we wanted to mix it with what our forefathers were doing,” Julian Bahula says about the group’s decision to include homegrown instrumentation in their work. “Our ancestors used them to heal people who weren’t well, as did all the African doctors who would dance around the person as they were healing them. We thought this would be a lovely name for our band because we saw what we were doing as music that heals.”
Malombo Jazz Makers’ music soundtracked the resistance against apartheid and advocated liberation for black South Africans. They struck ties with activists Steve Biko and Saths Cooper and raised awareness around the lengthy imprisonment of Nelson Mandela, leading to several tense encounters with the South African police.
Speaking on the conditions of touring under the apartheid regime, Bahula remembers: “The struggle was heavy on us. We would get arrested often and the police tried to stop our shows several times. We had to tour in secret because we weren’t allowed to go from town to town as a result of the Natives Land Act. There were restrictions on where you could go and a curfew after 6pm – we weren’t supposed to be in certain areas.”
The barriers created by apartheid prevented Malombo Jazz Makers from reaching success outside of South Africa. Their history and legacy have largely survived due to oral histories and the anecdotes of figures who were on the ground to witness their story. With these stories and albums now being uncovered for the first time internationally, Malombo Jazz Makers are now in a place to be recognised as one of the most vital groups of the early anti-apartheid movement, paving the way for generations of artists who followed them to infuse an assured South African pride in their music and presentation.
The group’s legacy and tireless efforts in popularizing African music continued with the work that Julian Bahula undertook when he escaped South Africa in 1973 and settled in London. He met and struck up friendships with jazz icons Art Blakey and Wynton Marsalis during their London tour dates and continued his work as a musician and drummer with a new band he named Jabula. He would become a key figure in promoting many African artists to UK audiences for the first time at The 100 Club and The Forum in London during the ‘70s. Fela Kuti, Miriam Makeba, and Hugh Masekela were among the performers whose first British appearances were organised by Bahula and his company Tsafrika Promotions. Bahula would later organise the 1983 Festival Of African Sounds at Alexandra Palace on the eve of Nelson Mandela’s 65th birthday, drawing a crowd of 3000 in support of Mandela and other political prisoners.
Malombo Jazz Makers’ ‘Malompo Jazz’ and ‘Malombo Jazz Makers, Vol 2’have been recognised as unique landmarks of South African jazz through popular tracks like “Sibathathu,” “Jikeleza,” “Emakhaya,” “Hhlezipi” and “Abbey’s Mood.” Founded in London, Strut Records is one of the world’s leading labels for re-issues and compilations in Jazz, Funk, Soul and Dance music. They are famed for their work in bringing the catalogues of Patrice Rushen, Miriam Makeba, Tony Allen, Ebo Taylor and Sun Ra Arkestra to new audiences in addition to unearthing lost and obscure gems from artists and musicians across the African, Caribbean and Latin diasporas. The vinyls are slated for release on May 26, 2023.
Global streaming service, Spotify is adapting to the need of creators on its platform. This year, artists, songwriters, journalists, video and content creators, podcasters, and fans from all over the world joined Spotify for its second Stream On event which took place at its Los Angeles campus. As the NATIVE’s Managing Editor, I was privileged to be one of the few journalists from the continent in attendance, for the week-long festivities which unveiled Spotify’s plans for welcoming and providing for creators, podcasters and micro-influencers in its fold.
Stream On is a Spotify original event which pulls back the curtain on how Spotify is connecting creators with fans and empowering creators to live off of their art. Launched back in 2021 during the peak of the COVID-19 pandemic, Stream On was heralded as a key moment to show how Spotify is unlocking new possibilities for more types of creators than ever before, so that they can better connect with and build a global audience. This year’s affair was similarly touted as an essential event for a new generation of creators finding their community online, particularly those who could make use of the new tools and features being rolled out on the streaming and tech platform.
Kicking off with the welcome dinner and drinks at Holloway House in West Hollywood, Spotify welcomed creators, journalists, and editors of all ages to its week-long schedule of events. Each individual was assigned a Spotify buddy who was available and on-hand to assist and welcome them to LA. After a night of icebreakers, the following day was the main event–a 3-part series which included Stream On; a open note discussion on unlocking new possibilities for more creators than ever before, Play On; focused creator workshops and fireside chats with Spotify editors and execs, and Party On, a night of special performances and entertainment at the Roxy Theatre.
During Stream On, Spotify reinforced its mission to champion diversity and discovery, revealing a reimagined interface that leverages new visuals, and a completely new and interactive design — all to drive deeper and long-lasting connections between creator and listeners. “Stream On is about all the ways we are bringing Spotify to life and letting creators at all stages of their careers know that we are open for business. We are focused on building the best home for them – a place where they can establish a career, thrive and grow and where the world can be inspired by their creativity,” shared Spotify Founder & CEO Daniel Ek during the morning keynote presentation.
During the presentation, Spotify also rolled out a number of tools and features that will aid performance for creators and artists on its platform–including an all new interactive homepage design. Within Africa and Nigeria specifically, Spotify also launched Smart Shuffle, a tool to enhance an existing playlist with just the tap of a button, a Preview feature for playlists and podcast episodes which allows users to sample before they play or save and Autoplay for podcasts which allows continuity and seamlessness during the listening experience. For creators in Africa, these new tools will place them directly in front of their audience who can make well-informed decisions about opting for a particular content.
Artists were not left out of the mix. Spotify showcased a suite of Spotify for Artists tools that help artists find the fans who’ll love their music most and enhance their line of revenue to help artists grow: merchandise and live events. For example, the platform launched new Concert and Merch Discovery tools which will help make sure concert-goers never miss another show in their city and a Fans First program to ensure top listeners receive emails and notifications that give them special access to concert pre-sales and merch exclusives.
Alongside this, Spotify announced the end of Anchor–its podcasting platform which will be replaced by Spotify For Podcasters–a dedicated platform that brings the best of Spotify’s podcast creator tools into a one-stop shop to create, manage, grow and monetise podcast content. “Today, there are more than ten million creators on Spotify with over half a billion listeners across 184 countries and markets,” Spotify Founder & CEO Daniel Ek noted. “Think about the massive potential that represents for creators. No matter where you are on your own creative journey within music, podcasts or audiobooks. The potential to reach half a billion people. And that reach is about to become more powerful with what we’ve introduced.”
Following this session, it was time to visit the Spotify West Hollywood campus in the Arts District for a day of interactive creator sessions and panel discussions from artists, creators and Spotify staffers including Central Cee, Rickey Thompson, Denzel Dion, Sulinna Ong and more, who unveiled more around the world of Spotify, its playlists and music discovery, podcasting and more. The music team fireside chat was led by Spotify global editors including Jeremy Erlich, Spotify’s Head of Global Music Content; Bruno Carlot, Global Head of International; and Sulinna Ong, Global Head of Editorial.
“The role of the editor is, as I said, is to listen to all the music. So we’re the closest point to the music and thinking about, you know, the artist, where it’s coming from, and how it might connect with an audience on the platform,” shared Ong about the editorial arm. “In each market, there are specialists in the local cultural scene, that’s really important, because no one’s going to know what’s happening on the ground better than an editor in that market, and to really be a champion for local domestic repertoire.”
In addition to listening to the music, Jeremy Erlich also talks candidly Spotify’s on the pulse editorial team that has broken many artists on the platform. For example, Ghana’s Black Sherif gained considerable traction on the platform after first being spotted by the local team in Ghana and boosted on global editorial playlists. “From there, we went to Ghana with Kendrick Lamar, and we introduced him to Black Sherif. So we’re first facilitating hip hop and culture, those co-signs are really important,” shares Jeremy.
The week-long event closed out with Party On–a night of musical festivities and networking held at the Roxy Theatre. Inviting guests in with warm hues of purple, the night included an all-female showcase from Gwen Stefani, Rita Ora, and more. The excitement from guests and colleagues in attendance was palpable, with many people buzzing about the new features unlocked on Spotify. Spotify’s Stream On 2023 was a resounding success thanks to its mission to champion creators and artists who have been instrumental in keeping us entertained, seen and represented.
It’s that time again. Every week, new music shows up, sweeping fans and music lovers off their feet while artists gauge reactions to know the effect of their creativity. At the NATIVE, we are committed to keeping our ears on the pulse of the music scene and bringing the best sounds to your doorstep.
Last week, we brought you stellar releases from Stonebwoy, Kotrell Kamauu, and more. Today, we have songs that move from Afropop to Amapiano to R&B, with our select artists showcasing their unending talent and passion for creativity. Lock in!
DAVIDO – “UNAVAILABLE” FT. MUSA KEYS
Since the release of his album ‘Timeless,’ Davido’s “UNAVAILABLE” has been a fan favourite, flying through social media platforms and prompting Davido to take notice and persuade fans participation with #UnavailableChallenge. The music video, a product of Polar Film Production, recreates the fun of the track with colourful costumes and entertaining choreography. Davido and Musa Keys also give energetic performances, firing up “UNAVAILABLE” with more verve.
DARKOO – “DISTURBING U” FT. AYRA STARR
Darkoo has made beyond headway in her musical career since her sprouting single, “Gangster” with so much more to be noted in her diary of exploits. In her latest single, “Disturbing U,” she teams up with Mavin’s golden child Ayra Starr. Possessing a solid sonic quality with clearly worded content easy to grasp at first play, “Disturbing U” relates to the stance of every successful sought-after youngster thriving in the creative industry. The enthralling display of strings immediately gets you stuck on this song.
JOHNNY DRILLE – “BELIEVE ME”
Mavin Records’ act returns with a new single “Believe Me” after the warm reception that greeted his ‘Home’ EP and its lead single “How Are You (My Friend).” On the Don Jazzy-produced “Believe Me,” Drille sings to his heartthrob named Anwuli, seeking her acceptance and promising her the best of his actions. The production features tuned-down Amapiano elements and a Highlife feel that makes the song a jolly, mid-tempo number.
JOEBOY – “DUFFEL BAG”
Ahead of his sophomore album ’Body and Soul’ in May, Joeboy returns with a celebratory and effervescent new single titled “Duffel Bag.” The track’s instrumentation is a highlight, combining 808 bass lines, elegant string stabs, and fluid, soulful guitars to create a vibrant and energizing backdrop for Joeboy’s seamless vocal delivery. With its upbeat tempo and captivating lyrics, “Duffel Bag” depicts the essence of love, luxury, and lust. Joeboy sings about a woman who desires a man who will treat her with respect, provide for her, and take her to supper. “Plenty of money for my duffel bag / Let me know when you don’t want to see me, darling”
ASAKE – “2:30”
Asake’s new song “2:30” celebrates authenticity and individuality, with an upbeat tempo and vibrant energy that testifies to the Nigerian artist’s talent for blending various musical styles into something completely new. The song’s dreamy Afrobeats blend seamlessly with IDM-influenced percussion, resulting in a rich tapestry of textures that is both familiar and thrilling. The track’s lyrics emphasise the importance of accepting one’s real self.
“HELLO SADNESS” – HOOK, KARUN, STEPH KAPELA , SIM CITIZEN
Kenyan songbird Karun teams up with Steph Kapela, Hook and Sim Citizen for an electric single. Over EDM beats Steph Kapela raps about the inconsistency experienced in love as Karun croons, expressing the sadness experienced in relationships and when you have a lover.
MAU FROM NOWHERE – “REFUSE REFUGE”
uNder alum mau from nowhere, who is readying his album ‘The Universe is Holding You,’ releases a new track. “Refuse Refuge” is a bop that fuses Hip-Hop with Funk elements as mau from nowhere raps and sings about wanting peace of mind and doing away with unnecessary drama. “See I won’t give up on me,” he sings on what is the last single before the album.
LADY DU & REEKADO BANKS – “OYINI” FT. SIYAKHA KHITHA & T-MAN SA
South African DJ Lady Du unveils a new single from her upcoming album ‘Song Is Queen.’ On “Oyini,” she features Nigeria’s Reekado Banks and fellow South African acts Siyakha Khitha & T-MAN SA. The song bounces with a moody, infectious melody underpinned by Amapiano influences.
With a career spanning over decades, Angélique Kidjo has soundtracked diverse eras and events. Her sound, borne from the West African traditions of her childhood in Benin and her interactions with the influences from Europe and Latin America, has travelled the world and imprinted her name in the hearts and minds of music lovers, both old and young. With numerous local and international awards under her belt, the veteran musician hasn’t relented in her strive for excellence, constantly reaching for musical highs as well as contributing to the social and economic wellbeing of the African people through her advocacy and social works.
Kidjo was born and raised in Benin in 1960 to a Yoruba mother and a Fon father. Her parents and older sibling were music lovers and, as a child, Kidjo absorbed the music they listened to: Miriam Makeba, Hugh Masekela, Aretha Franklin, Manu Dibango, Wilson Pickett, Fela Kuti, Otis Redding, Sam Cooke, the Rolling Stones, the Beatles and Stevie Wonder, among others. She began her music career at six after rendering an impromptu performance at her mother’s theatre troupe. In 1981, at the age of 21, she released her first album ‘Pretty’ with the assistance of Cameroonian Makossa legend Ekambi Brillant. The album made Kidjo a star in her home country and neighbouring countries.
A few years later, Kidjo was forced to flee Benin due to the difficult political climate orchestrated by Mathieu Kérékou, the country’s leader at that time. She settled in Paris, France where she began attending Centre d’informations musicales (CIM), a school of jazz and contemporary music. It was in Paris that Kidjo immersed herself in the proponents of what is known as world music, fusing her African influences with foreign genres and sounds. In 1991, after signing with Island Records, she released her major label debut album ‘Logozo.’The project enjoyed both critical and commercial success and cemented Kidjo’s style of singing in different African languages—Fon, Yoruba, Goun, Mina—and in French as well as her made-up language.
She followed up ‘Logozo’ with ‘Ayé’ (1994). The album spawned the hit track “Agolo,” whose music video celebrated African religions (featuring a Zangbeto masquerade and the serpent deity Ayida-Weddo) and earned Kidjo her first Grammy nomination. Her 1996 album ‘Fifa’was the first time Kidjo added English to her repertoire of languages she sang in. The album, for which she enlisted the help of percussionists in villages across Benin, was deemed as Kidjo’s crossover attempt as it blended her signature African-inspired rhythms with Funk, Hip-Hop and Pop, with “Wombo Lombo” being the lead single. She continued her musical foray into newer grounds with ‘Oremi’(1998),‘Black Ivory Soul’(2002) and‘Oyaya!’(2004). The three projects were Kidjo’s way of starting a conversation with the African tradition and its roots in the United States, Brazil, and the Caribbean.
On ‘Oremi,’ Angelique Kidjo collaborated with American musicians Branford Marsalis, Kelly Price and Cassandra Wilson, and performed a reinterpretation of Jimi Hendrix’s “Voodoo Child.”On ‘Black Ivory Soul,’ she added her spin to Brazilian sounds, alongside acts like Rubens De La Corte, Vinicius Cantuária, Carlinhos Brown and Gilberto Gil.‘Oyaya!’saw her give her take on Caribbean sounds such as Salsa, Bolero, Meringue, Calypso and Ska, with Alberto Salas and Henri Salvador. She kept up the fusion of musical cultures on‘Djin Djin’(2007), featuring a reinterpretationof French composer Maurice Ravel’s 1928 orchestral piece“Boléro”and other acts such as Amadou & Mariam, Alicia Keys, Ziggy Marley, Carlos Santana, among others.‘Djin Djin’gave Kidjo her first Grammy win for Best Contemporary World Music Album in 2008. Her 2010 album‘Õÿö’was dedicated to the music of her childhood, including traditional music, Miriam Makeba’s songs, Yoruba interpretations of Otis Redding’s “I’ve Got Dreams to Remember” and Carlos Santana’s “Samba Pa Ti,” and homages to Aretha Franklin’s “Baby I Love You” and James Brown’s “Cold Sweat.”
In her 2014 autobiography Spirit Rising: My Life, My Music, which Kirkus Reviewstermed as “warm, lively and compassionate,” Angélique Kidjo shines a light on her childhood, early beginnings as an artist and her rise to becoming a Grammy-Award–winning artist, and her work as a UNICEF ambassador (since 2002) and founder of Batonga Foundation, which champions education and empowerment of adolescent girls in Africa. That same year, she released ‘EVE,’ named after her mother and dedicated to her experiences as an African woman; the project scooped the Grammy plaque for Best Contemporary World Music Album. A year later, she collaborated with the Luxembourg Philharmonic Orchestra on ‘Sings,’which restructured 11 songs across her discography into orchestral pieces. It also won Kidjo her third Grammy award.
Three years after ‘Sings,’ Angélique Kidjo received an epiphany. She was humming American Rock band Talking Heads’ “Once in a Lifetime”—a song she first heard three months after she arrived in Paris—when a friend told her the name of the group responsible for the song.Kidjo had conversed with David Byrne (Talking Heads’ lead vocalist) but she hadn’t known it was his voice on the song. Kidjo listened to Talking Heads’ 1980 album ‘Remain in Light’ (from where “Once in a Lifetime” was housed) for the first time and decided she would cover the project. In 2018, she released her album titled after Talking Heads’ ‘Remain in Light,’ planting the rhythms of the band onto African drums and percussions. In a 2022 interview, Kidjo and Byrne shared their thoughts on music in Africa and the diaspora, African traditional practices and the political situation in Africa, especially Nigeria.
As the years have passed, Angélique Kidjos’s influence has grown, both on the African continent and in international spaces. She has graced stages around the world, from Cape Town to Dakar to New York to London to Paris to Sydney to Oslo. Her discography has also inspired younger generations of artists who have sampled and interpolated her music, including Burna Boy and Yemi Alade. In 2010, BBC’s Focus On Africa Magazineincluded her among its list of 50 African Icons; in 2011, The Guardianadded her as one of the top 100 women in art, film, music and fashion and Forbes put her in the list of 40 most powerful celebrities in Africa; and in2021, TIME named her in its list of 100 Most Influential People in the world. In 2015, she was awarded the prestigious Crystal Award by the World Economic Forum in Davos, Switzerland for her humanitarian work.
On the musical side, Angélique Kidjos’s talent and knack for experimentation never waned. In 2019, she released ‘Celia,’an Afrobeat-inspired album-length interpretation of songs across the discography of Cuban singer Celia Cruz, whose music Angelique Kidjo first heard as a teenager in 1974. ‘Celia’ won the Grammy Award for Best World Music Album, Kidjo’s fourth Grammy win. On 2021’s ‘Mother Nature,’ Kidjo tackled the issues of global warming and political corruption, while also making space for some of Africa’s reigning music stars in the likes of Burna Boy, Yemi Alade, Mr Eazi and Sampa the Great. “They have something to say about where Africa is and where it is going,” she said of the artists to The Guardian. “This was really a delight – it gives me energy and a good feeling.” She also worked with young African music producers in the mould of Kel-P, Vtek and Rexxie. A year before, when Kidjo received her Grammy plaque for ‘Celia,’ she dedicated her win to Burna Boy, saying, “Four years ago on this stage, I was telling you that the new generation of artists coming from Africa are going to take you by storm. And the time has come.”
Angelique Kidjo, recognising her legendary status, hasn’t shied away from collaborating with this new generation of African artists, making guest appearances on songs from Burna Boy, Yemi Alade, Somi, Omawumi and Sampa the Great. Her latest collaboration alongside The Cavemen on Davido’s “NA MONEY”drew praise and highlighted her ever-present star quality. Speaking to Forbes Africa about the current African superstars, she said, “What I learned from them is their professionalism – it’s mind-blowing. Every music that had been sent was spotless. I had waited for this day… And on top of being artists, these are entrepreneurs, they understand they have to be free. [In my time], I had to sign a contract for 10 years… These kids have the right to do whatever they want. They sat back and learned from my experience, and the experiences of Youssou N’Dour, and Salif Keita. And they don’t want to take that road. They want to be free in their own right and they are right to be free.”
Last year, Kidjo’s collaboration with French-Lebanese trumpeter Ibrahim Maalouf ‘Queen of Sheba’ delved into the life of the famed Ethiopian monarch and intersected the connections between Africa and the Middle East. It is the constant drive for reinvention that has kept Angélique Kidjo in the conversation as one of the respected names in world music. She has continued to defy the odds, serving as an inspiration for artists on the African continent on how to build a lasting career and legacy. Two weeks ago, Kidjo was awarded the 2023 Polar Music Prize, becoming the third African act to win the distinguished award after South Africa’s Mariam Makeba who won in 2002 and Senegal’s Youssou N’dour won in 2013.
“To be awarded the Polar Music Prize is humbling. I have no words to say how important this is for me. It comes with a sense of responsibility that is bestowed upon me as an artist to continue to do great work,” Kidjo said. “My passion for music has always been unwavering. Being on stage for me is like being in paradise – it’s my sanctuary. It’s my place to link and to connect with my fellow human beings. That is something that I’m grateful for every day.”
Davido scores one of the most historic debuts in TurnTable Charts’ singles chart history as he becomes the first artist to claim eight entries in the top ten as a lead artist – and the second overall (Asake also claimed eight entries with seven as a lead artist and one guest entry during the week of September 9 – 15, 2022. Davido extends his record for most top-ten entries to 25. Additionally, he claims the entire top four of a weekly singles chart for the second time – having achieved the same feat during the debut week of his last album,‘A Better Time.’
‘Timeless’ also becomes the first album to produce nine top ten entries – surpassing the previous high of 8 by Asake’s ‘Mr. Money With The Vibe’ and Davido’s ‘A Better Time.’ In addition to the eight top ten entries this week, “Champion Sound” also peaked in the top ten in 2021.
Davido’s “No Competition” is No. 1 with Asake has 4.54 million on-demand streams (No. 2 on streaming) and 68.3 million in radio reach (No. 4 on radio); “OVER DEM” is at No. 2 with 5.61 million on-demand streams (No. 1 on streaming) and 26.8 million in radio reach (No. 27 on radio); “UNAVAILABLE” with Musa Keys is at No. 3 with 3.94 million on-demand streams (No. 4 on streaming) and 58.2 million in radio reach (No. 8 on radio); “FEEL” is at No. 4 with 4.43 million streams (No. 3 on streaming) and 24.8 million in radio reach (No. 28 on radio); “KANTE” with Fave is at No. 7 with 3.14 million on-demand streams (No. 6 on streaming) and 28.4 million in airplay (No. 24 on radio); “AWAY” is at No. 8, : 3.35 million streams (No. 5 on streaming) and 12.7 million in airplay (No. 60 on radio); No. 9, “NA MONEY” with The Cavemen and Angélique Kidjo is at No. 9 with 2.65 million streams (No. 10 on streaming) and 30.3 million in airplay (No. 30 on radio); and “IN THE GARDEN” with Morravey is at No. 10 3.03 million streams (No. 7 on streaming) and 9.94 million in airplay (No. 83 on radio).
The two non-Davido songs in the top ten are Adekunle Gold’s “Party No Dey Stop” with Zinoleesky at No. 5 and BNXN’s “Gwagwalada” with Kizz Daniel and Seyi Vibez at No. 6. Other tracks from Davido’s ‘Timeless’ occupy different positions in the top 40.
All the tracks on @davido’s ‘Timeless’ are on this week’s Official Nigeria Top 100
“NO COMPETITION” at No. 1 is the highest charting single while “CHAMPION SOUND” at No. 38 is the lowest charting entry this week
How does an artist successfully cash-in on virality? Zlatan is certainly one artist whose career is a manifestation of playing the long game and staying true to oneself. Since his debut on the scene, the rapper has commanded attention with ease and his 2019 was more a stretch of viral moments forming into real currency. Although having a backlog before then, that year he was arguably the hottest rapper in the continent. That he’s here in 2023 boasting similar reverence isn’t something many saw Zlatan doing, and his tact and ever-evolving skill level deserves recognition.
The subject of rap and rappers is a recurring discussion in Nigerian music circles. Once the nucleus of our popular music, observers are keen to register lower levels of participation in the genre these days. Beyond faulting the apathetic communities around the music, conversations have often been centred around the attitude of rappers, a lack of deliberate moves often the mentioned undoing. Zlatan was carried on electric wings upon his entrance; a dancer, an assured spitter with street hop origins, he was heralded.
Hip-Hop might try to corner its unique spaces but traditionally, it’s always existed side-by-side with Pop. America’s glorious nineties had the entwined sounds of Rap and R&B working in its favour and the likes of P Diddy and Bad Boy Entertainment would best pair these elements, dominating the sonic zeitgeist of pre-2000s pop music. In these parts, it’s similarly important that Zlatan was embraced by Davido the year before 2019. We often give 001 his flowers but he’s consistently been a champion of the Rap music he loves, and on “Osanle” we definitely got a taste of Zlatan’s versatility.
Produced by Fresh VDM, the song had that buttery percussive sound Davido had on lock throughout 2018. With his freewheeling style Zlatan describes the hardships of time past, neatly wrapping up the first verse before his feature’s emotive hook. Rap-wise, it wasn’t the most spectacular of performances, but Zlatan’s energy was palpable. His tendency to deliver bars with sing-songy cadences that made one dance was also a demonstration of his distinct technique.
That record being his first stamp in popular conversations, Zlatan had the ears and eyes of an interested industry on him. It was too early to make any concrete predictions, thus he had the wiggle room to be creative. Any further doubts were dispelled by the end of the next year—2019—whose reign of ubiquity began with a song which foreshadowed that moment. “Able God” at that point was the soundtrack of urban culture; working to fulfil desires of living a peaceful cosmopolitan lifestyle, residents in places like Lagos always relate with a divine plea for help. Even outside the state and far beyond, the Chinko Ekun song was massively loved.
Without Zlatan’s contribution, both in sound and personal direction, the song might not have gained as much traction. The production was somewhat tailored to his cadences and his consistent adlibs was a colourful streak which made this particular cry for blessings less melancholic and more celebratory. By the time “Am I A Yahoo Boy” dropped, Zlatan’s figure was chiselled fine, although he’d come out of that a lesser-known artist than Naira Marley. Commentaries such as “Never forget Naira Marley’s 2019” underlie the fact that Zlatan also had a great year that year too.
Zlatan didn’t have an-establishment movement in the mould of Marlians, but for sure he had the industry. “Killin’ Dem” would most demonstrate how effective he could be on wax, for most parts being the fulcrum behind the song, owned by the Nigerian superstar, Burna Boy . It would also help in constructing the ‘African Giant’ myth and epic Grammys Award run-up, while the man born Temidayo Oponiyi would go his own way, dipping toes in pop music more than any other person who rapped in the country.
The successful trio of “This Year”,“Bolanle” (with IVD) and “Yeye Boyfriend” were released at different points during the year, and with distinct ambitions. Where the first was a nostalgia-inducing song charting impending greatness, the later two appeared at the tail-end of the year, its festive vibe quickly establishing itself. Both seemed to follow the same narrative sequence: centering the titular Bolanle, it charted her dissatisfaction with a lover. “Who no like better thing?” asks Zlatan in a way that doesn’t deride women but validates their desires, a sensitivity not quite common among Afropop musicians. With shiny guitar-playing and Fuji-replete influences, both songs confirmed Zlatan as a hit-making machine.
The ‘Zanku’ album was the only blip on Zlatan’s 2019. The project was stuffed with too many sonic choices and an almost nonexistent narrative thread, it was more like a jumbled collection of songs. None of the feature choices were excitable, suggesting his unpreparedness going into that debut album. Perhaps the only longstanding regret would be that he’s now used the choice of that particular title, but it’s a shortcoming which Zlatan took in good stride.
In 2020, the artist remembered his roots. From then on the artist increasingly collaborated with rappers, bringing his signature energy to records such as the uber-popular “Cash App” and the Oladips-helmed “Mainland 2 Island,” which coalesced into an EP with the same title. He still coveted viral moments by tapping from reined-in totems of popular culture. “Egungun Be Careful”paid direct homage to his Fuji influences through the collaboration with the iconic Obesere, while “Lagos Anthem” flagrantly reiterated the city’s mythos, referencing its status as the commercial epicentre of the country. “Dem go talk say money no dey Lagos,” he proclaimed in the chorus, in a sarcastic way which subtly replied, “Na lie, there’s money in this place”.
Zlatan’s most memorable appearance between 2020 and the following year came tellingly on a rap song. “Kuronbe” featured the unique rapping skills of Prettyboy D-O (who Zlatan has previously collaborated with on “Police n Teef [Remix]”) and Ice Prince, marking a new direction for curation on Rap songs. By bringing the several sides of the genre together—D-O’s ragga and drill-inflected style, Ice’s legacy English-speaking flow, Zlatan’s indigenous zest—the Trap-indebted artist Straffiti gave a solid nod to the evolution of Hip-Hop in the country. Whereas D-O had the best verse (by my own estimation), it was Zlatan who unarguably owned the song, delivering its bouncy hook and after delivering adlibs in the background, returns to lay the closing verse.
In no small way that was one of Zlatan’s most defining moments. While rappers have been prone to fancy high concept records, here was this person who made the mundane become extraordinarily powerful. He wasn’t revolutionary in that “Local Rappers” style of his acclaimed predecessors Reminisce, Olamide and Phyno, but he set the still-blazing trail for indigenous rap—and rap in general—to be taken more seriously by popular audiences.
This first quarter of 2023, few songs have captured the period’s rap sensibilities better than “Omo Ologo”. Last week, the record became the first by a Nigerian rapper to reach No. 1 on the Official Hip-Hop/Rap Songs chart by Turntable. Edging out records such as ArrDee and Cat Burn’s “Home For My Heart” and Rema’s “Ginger You”, it is joined in the Top. 5 by Odumodublvck’s “Picanto,” a song he’s also featured in.
“Omo Ologo” has brooding vocals and drum arrangement which sounds parallel to the production on Eminem’s “Like Toy Soldiers” and Olamide’s “Ilefo Illuminati”. It’s a quintessential direction for rappers with stuff to get off their chest, but then again, Zlatan has always had good ears for beats. He’s rather sharper in his rapping, each lyric packed with the intentionality of a person who’s been working behind the scenes. Autobiographical in lyricism but flagrant through its visual representation, it’s also a nod to Zlatan’s approaching act as a fashion and beauty influencer.
Afropop doesn’t thrive solely on the music’s quality. That’s of course a strong factor, but the visual influence behind stardom has often been understated in these parts. From stylists to video directors, art directors, digital artists and costume designers, there’s a whole ecosystem behind the musicians who make sure they look the part. Rap’s appeal is very much aligned with looking the part, and that’s something all-rounders like Jay-Z and Kanye West understand. Zlatan belongs in this category, as we’ve seen in recent months.
All these skin care brands no get Zlatan money or they sleeping?
People are increasingly taking note of Zlatan’s glow up, how deliberate he’s been in taking care of himself. It’s not everyday that a Street Hop-emerging artist gets praise not for their songs but for their looks, and it’s an indication Zlatan knows the influential appeal of looking and operating at your best. A face is the first thing people see; it’s also the stand-in for gauging one’s energy or financial status in some rare cases, and just by looking good Zlatan has placed himself there.
There’s also the matter of his fashion. While he might not be the most avant-garde dresser, Zlatan has always held his own in his outfits. His early career was often attended by tight jeans and polo shirts, with his hair partly sprayed golden. Nothing too special, but he looked as though he’d rap the most exciting Yoruba-laced bars you ever heard. It was purposeful. During the “Bolanle” era he was usually seen in blazers, again referencing the ballroom-centric music he was then making. Nowadays, Zlatan is able to go either way—a dripped-out rapper or a conservative stylist, while his neatly-locked hair can be let down depending on his choices.
Directed by Visionnaire Pictures, the video casts beautiful scenes to incorporate these stylistic nuances. It’s no surprise that it’s arguably Zlatan’s best video yet. With nods going to legacy brands such as Louis Vuitton, Daily Paper and Richard Mille, he charts a successful trajectory in a way that is evocative more than boastful, a trait not many rappers share.
With the rap scenes across Nigeria opening up in refreshing ways, Zlatan is a figure worthy of emulation. Off the mic, he’s kept himself free from any serious controversy while implicitly upholding the ethos of Drink water and relax. As a rapper, his willingness to get on songs with rising talents have earned him respect which transcends the genre, one which has most poignantly been captured by Odumodublvck when he raps, “Zanku runs Ibile” on his newest track “Declan Rice,” the follow-up to the chart-topping success of “Picanto”. As an actor, he’s recently just starred as Kash on Jade Osiberu’s latest film ‘Gangs Of Lagos’ which premiered on Amazon Prime Video Naija this weekend.
That is where Zlatan is at this moment. Overlooking the wider plains of Rap music in Nigeria, it’s understandable why some might gloss over his contributions, seeing as he’s neither the most technically-skilled rapper or boasts acclaimed projects. His influence is however more pertinent: he’s a champion for excellence, for the relentless pursuit of self while meeting the far-reaching requirements that comes with being great. He’s done all this while looking flawless, and that’s a major flex.
In 2021, Netflix and UNESCO partnered to launch a short film competition on African folktales to discover new voices and to give emerging filmmakers in Sub-Saharan Africa visibility on a global scale. The six winners were trained and mentored by industry professionals and provided with a US$75,000 production budget to create short films alongside also receiving $25,000 each. The result of that competition is the six-part short film anthology ‘African Folktales, Reimagined.’
‘African Folktales, Reimagined’ is the brainchild of six African film directors, which include Korede Azeez from Nigeria, Loukman Ali from Uganda, Voline Ogutu from Kenya, Gcobisa Yako from South Africa, Walt Mzengi Corey from Tanzania and Mohamed Echkouna from Mauritania. In tandem with the theme of the competition, all six directors take an old tale unique to their country and spin them into modern yet inventive interpretations for new audiences. These short films also incorporate indigenous African languages for their dialogues, as well as English and French.
Loukman Ali’s “Katera of the Punishment Island” starts the anthology. The Ugandan director is no novice (his 2020 film The Girl in the Yellow Jumper is on Netflix and he directed the Jade Osiberu-produced 2022 film Brotherhood). Set in the early 1900s, the film is based on the old western Ugandan island of Akampene, a Rukiga word for “punishment,” where unmarried pregnant girls, whose conditions brought shame to their families, were abandoned to die. Katera (Kababiito Tracy) is one such girl. In her case, it isn’t her family who sent her to the island; it is Gregory (Michael Wawuyo), a general who is a sympathiser with the British colonialists.
After being rescued by Omar (Michael Wawuyo Jr.), Katera plots revenge against Gregory. Loukman Ali’s grip on “Katera of the Punishment Island” oozes confidence; he knows the kind of thriller he wants to make the film—drama-like yet action-packed—and does so flawlessly. He also maintains his working relationship with father-and-son actors Michael Wawuyo and Michael Wawuyo Jr, from The Girl in the Yellow Jumper, and the 2021 short films The Blind Date and Sixteen Rounds.
In the world of Nigerian director Korede Azeez’s “Halima’s Choice,” 99% of the world population has uploaded themselves into a virtual paradise called Napata. Deep in a Fulani village in this postmodern, AI-enabled space lives Halima (Habiba Ummi Mohammed), a young girl desperate to escape an arranged marriage. He meets and falls in love with Umar (Adam Garba) but their union is threatened by familial, societal and technological difficulties. Azeez, who has been honing her craft with other short films (like 2020’s Tip of the Edge), cites the Nigerian folktale “The Disobedient Daughter Who Married a Skull” as inspiration for her short film, which received production assistance from Kenneth Gyang’s Cinema Kpatakpata.
Kenyan director Voline Ogutu’s “Anyango and the Ogre” slightly toes the sci-fi path. Based on a children’s folktale, the film portrays Mama Otis (Sarah Hassan) who, with her three children, is stuck in an unhappy marriage rife with violence. In the film’s world, citizens are divided into two groups: Grey Zone and Blue Zone. The former is an abandoned territory full of single and unmarried women (sometimes with children) whose lives are shown to hold no meaning until they get into the Blue Zone. The latter is paradise-on-earth: colourful, serene and a place strictly for married couples and their families. Otis (Trevor Jones Kamau) is the driving force of “Anyango and the Ogre,” as he, unhappy with the attitude of his father (Lucarelli Onyango), seeks better fortunes for his mother and two siblings.
For Mauritanian director Mohamed Echkouna’s lead character (Zainabou Ahmed Mohamed) in “Enmity Djinn,” who is in her late seventies, her nemesis is always seeking her. From the sand-covered fields of the desert to a bustling Mauritanian city, a djinn—an ancient spirit—terrorises the grandmother, serving as a reminder of a haunting past. Echkouna’s film, just like his 2016 short film Trail of Hope,through the purview of culture and religion, casts a light on how both function in the lives of its characters. In Tanzanian director, Walt Mzengi Corey’s “Katope,” culture and community collide in the life of the eponymous character (Rahele Matete), a young girl, whose destiny, from birth, is tied to the fortunes of her village. South African director Gcobisa Yako’s “MaMlambo” borrows inspiration from South African mythology as the aforementioned river goddess, played by Simphiwe Dana, resurfaces in present-day South Africa to pursue her duty of watching over troubled bodies.
One underlying thread connecting all six short films is their feminist viewpoints on the topics of domestic violence, sexual violence, forced marriage and female empowerment. The films are written entirely by their directors (except for “Enmity Djinn,” which Mohamed co-wrote with Connor Syrios, and “Katope,” which Walt co-wrote with Rebecca Mzengi Corey) and feature female characters who fiercely defy the status quo and handle any situation they find themselves. Even in the Otis-led “Anyango and the Ogre,” it is his mother’s decision that ultimately changes their lives. These short films join a list of recent productions on the African continent that centre women as major and important characters, including King of Boys (2018), Rafiki (2018), Lionheart (2018), Binti (2019) and Lingui, The Sacred Bonds (2021).
While there are male characters who contribute to the development of the films’ plots, there is a deliberate act to shield the lead characters away from the male gaze. In the six films,the lead female characters face male figures in their lives who want to knock them into submission. For Katera in “Katera of the Punishment Island,” it is Gregory; for Halima in “Halima’s Choice,” it is her father, played by Sani Mu’azu; for Mama Otis in “Anyango and the Ogre,” it is her abusive husband; for the grandmother in “Enmity Djinn,” it is the djinn; for Katope in “Katope,” it is an elder in her village; and for Amandla (Zikhona Bali) in “MaMlambo,” it is an unnamed male voice that haunts her sleep. Still, the male characters are also important figures who rouse something in the female characters—like Omar in “Katera of the Punishment Island,” Umar in “Halima’s Choice” and Otis in “Anyango and the Ogre”—but they don’t steal the agency of the female characters, as the filmmakers ensure the bulk of the decision making lies at their feet.
It might be that, due to the theme of the competition that birthed the short films in the first place, there is also a conscious effort to portray diverse cultures of Africa, majorly through setting, costume and dialogue. Each film is richly textured with the elements of its location, whether it recalls the past or is set in the future. The filmmakers are also bold to venture into genres such as fantasy and science fiction, offering glimpses into the stylistic choices of Africa’s new generation of filmmakers.
On the technical side, the films are of high quality; the cinematography and sound, in particular, are not pedestrian, as they feature both experienced hands in Loukman Ali(“Katera of the Punishment Island”), Baba Agba (“Halima’s Choice”), Enos Olik (“Anyango and the Ogre”), Sheldon Chau (“Enmity Djinn”) and Konstantinos Koukoulitos (“Katope”).But as is bound to happen, some filmmakers in the anthology exhibit a level of mastery that is exemplar for all to follow suit. Yet, ‘African Folktales, Reimagined’ is a rewarding ride.
The filmmakers in ‘African Folktales, Reimagined’ have, rightfully, utilised the opportunity from Netflix and UNESCO to showcase their talent. With the attention of a global audience fixed on them, they are certain to benefit because the works that have contributed to the anthology are excellent. In the greater scheme of things, it is a win for African filmmakers and the continent as a whole.
For the first time in five years, Odunsi (The Engine) is headlining a show in Lagos state. The alternative icon has been away creating other stuff since the release of his celebrated debut album ‘rare’in 2018, and to mark his return to his home state, Odunsi is pulling up with some of his great friends.
‘The Delivery’ is having its inaugural edition, suggesting that there will be more to come. Much like anything Odunsi (The Engine) does, the premise is very exciting, as the musician will play a curator role by working with close collaborators and emerging artists. Built around unique experiences, the show will feature a mix of live and electronic music, while ambient mood setting should be expected from the DJs set to play.
Since making his entry into the Nigerian music scene in 2016 through the affectionate R&B-suffused ‘Time of Our Lives’, Odunsi has been deliberate about championing new perspectives for the African youth, whether as a musician, producer or through visuals. He’s also collaborated widely and with intent, establishing creative links across Nigeria and the continent at large. In 2018, he was the creative director and producer of the ART X LAGOS.
With ‘The Delivery’, he steps into a new and deserved arc as a curator for the Nigerian youth experience. The wealth of musicians he would be sharing space with reveals the scope of Odunsi’s vision. Among other musicians, event goers will be treated to exquisite sounds from Cruel Santino, Teni The Entertainer, Lady Donli, Tochi Bedford, SOLIS and Wavy The Creator.
‘The Delivery’ is happening this Friday. Get your tickets HERE.
Kwame Brathwaite, photographer and activist whose images redefined Black beauty in the 1960s and inspired generations of artists, died on April 1, aged 85. His son, Kwame Brathwaite, Jr., shared the news of his father’s death on social media, saying, “I am deeply saddened to share that my Baba, the patriarch of our family, our rock and my hero has transitioned.”
Brathwaite’s work has served as an anchor for new forms of representation, especially for Black women. In the late 1950s and throughout the 1960s, Kwame Brathwaite’s photography popularised the political slogan “Black Is Beautiful.” Recently, his work gained mainstream attention with museum retrospectives and monographs and, over the years, has appeared in publications and on album covers.
Born in 1938 to Barbadian immigrant parents, Brathwaite attended the School of Industrial Art (now the High School of Art and Design). In 1956, he and his older brother Elombe Brath, inspired by the writings of activist and black nationalist Marcus Garvey, co-founded the African Jazz Arts Society and Studios (AJASS) and Grandassa Models in 1962. AJASS was a collective of artists, playwrights, designers, and dancers, and Grandassa Models was a modelling agency for black women, founded to challenge white beauty standards.
Throughout the 1960s, Brathwaite, in his tiny darkroom in Harlem, perfected a processing technique that enriched the look of black skin in a photograph. The black-and-white images of his subjects highlighted Blackness in its glory. In 1962, AJASS organised the first of its “Naturally” fashion shows, which saw Black models, known as Grandassa Models, walk the runway with their natural hair. In 1965, Brathwaite met a Grandassa Model named Sikolo and in 1966, they wedded. By the 70s, Brathwaite had photographed a wide range of Black musicians including Duke Ellington, Thelonious Monk, Miles Davis, Nina Simone, Bob Marley and John Coltrane.
During the ’70s, Brathwaite travelled to Africa, visiting countries such as Egypt, Tanzania, Kenya, and more. He documented Jackson Five’s tour in Ghana and covered the 1974 “Rumble in the Jungle” boxing match between Muhammad Ali and George Foreman in Zaire (now the Democratic Republic of the Congo). In 2019, Rihanna spoke to Vogueabout the influence of Brathwaite’s work on her Fenty cosmetics label, saying, “When I was coming up with the concept for this release, we were just digging and digging and we came up with these images—they made me feel they were relevant to what we are doing right now.”
Kwame Brathwaite’s work has been featured in museums and galleries around the world, with the most recent being a Philip Martin Gallery exhibition in Los Angeles, US, titled “Pocket Universe,” which celebrated Brathwaite as well as other artists including Ericka Beckman, Brian Bress and Carl Cheng, among others. An exhibition of his works titled “Kwame Brathwaite: Things Well Worth Waiting For” is currently on view at the Art Institute of Chicago, where it will remain until July 24.
The National Basketball Association (NBA) in Africa has announced that it would be holding its first academy showcase on the continent. Starting today, Thursday, April 6 to Sunday, April 9, it will take place at the NBA Academy Africa in Saly, Senegal and will feature 71 high school-age prospects from 26 countries representing NBA Academy Africa, NBA Academy Latin America, SEED Academy and Mountain Stars Basketball Club.
Visiting the UNESCO World Heritage site Gorée Island, the prospects will participate in activities to promote cultural exchange and life skills development. That is, added to the advantage of the prospects competing with and against each other and showcasing their skills in front of NCAA coaches and NBA scouts, all of which makes the showcase an important event for the African basketball community.
“The first-ever NBA Academy Showcase Africa will provide impactful development opportunities and exposure to promising young prospects, while demonstrating Africa’s capacity to host best-in-class basketball development events here on the continent,” said NBA Africa Head of Basketball Operations Franck Traore. “We look forward to welcoming teams and stakeholders from around the world and helping the next generation of players showcase their potential in a competitive and fun environment.”
As part of the mentorship package, twelve NBA Academy Africa prospects participating in the showcase will also be a part of the 12 Basketball Africa League (BAL) teams for the league’s 2023 season as part of the “BAL Elevate” program. “The inaugural group of BAL Elevate players who joined our league from NBA Academy Africa last season not only showcased their talent and potential but also contributed greatly to the improved play in season two,” said BAL President Amadou Gallo Fall. “We have received terrific feedback from the teams and coaches who worked with the players, some of whom went on to sign with NBA G League Ignite or commit to NCAA Division I schools in the U.S. We look forward to watching this year’s class contribute to their respective teams and continue their development on a global stage.”
A year-round basketball development program, the NBA Academy aims to provide top high school-age athletes from outside the United States with holistic player development and open a pathway towards maximizing their potential. Since 2017, NBA Academies have been launched in Canberra, Australia; Greater Noida, India; San Luis Potosí, Mexico; and Saly, Senegal as a meeting place for top prospects from their respective countries and continents. The facility in Saly, Senegal, was opened in 2018 and features two indoor basketball courts, a multipurpose activity centre, a weight room, conference rooms, dormitories and educational facilities.
In a conversation with the NATIVE earlier this year, the NBA Africa vice president revealed that the organisation had plans to make basketball a more powerful force in the continent. Programs like BAL are a natural extension of that zeal, which as she said, is “one of the refreshing things about the BAL. It’s creating that opportunity so that you don’t necessarily have to leave the continent to become a successful basketball player and make a living. The BAL is enabling talents to stay on the continent and encouraging sports tourism in all the different countries, which ends up driving economic developments in the cities where we currently play.”
Founded in 2017, Bloom Bar is one of the popular nightlife hotspots in Ghana’s capital, Accra. The open-air space, which caters to both Ghanaians and foreigners, is renowned for its expert cocktails and African-inspired ambience. Last year, in December, Bloom Bar’s owners, Kofi Adjei Maafo and Keith Edem Aweke, celebrated the outfit’s fifth anniversary and launched its new brand BlueChip Hospitality.
“I love the whole idea of cooking up experiences to entertain people,” Maafo shares with the NATIVE. “I like to create spaces and concepts, whereas Edem has always had the interest of curating the drinks and services and the food that people enjoy when we create these concepts.” While in university, he and Aweke organised parties for their friends and would eventually make a big splash when they hosted their biggest party (a glow-in-the-dark party) at a lounge in Ghana. Noting their success, the duo decided to venture full-time into the hospitality business.
“I took programs and courses in pyrotechnics [and] I studied more about how to enhance experiences through the concepts and shows I had worked on in my line of work,” Maafo says. At that time, Aweke was in the United States, where he went to a culinary school and also did a mixology program. He would go on to work in the New York scene as a mixologist and became a head bartender at Havana Central, a rum-based bar located in downtown Manhattan. “We at one point just felt like Ghana needed a new level of experience,” Maafo adds, “and with him having a proper idea on how operations are run, we cooked the concept up, looked at the advantages of what we’re going to bring, studied a few things on the Ghanaian nightlife then and realized that we could bring something to enhance the nightlife. And then the journey started with what we see today.”
One of the things Maafo and Aweke observed before starting Bloom Bar was that most of the businesses in the hospitality scene—bars, restaurants and hotels—in Ghana were owned by foreigners. This meant that the scene didn’t inculcate African sensibilities into modern concepts and that there weren’t enough models for young Ghanaians who wanted to own businesses to follow. “When we came in, we were pioneers and [created] systems when systems were not there,” Aweke says. “We tried to create a space for ourselves. It was a space for young people, where young people could feel comfortable. It was the modern Ghanaian hospitality, that’s how I’d term it.”
Patrons at Bloom Bar. Image Credits: Instagram/bloombargh
It is the constant drive to excel and build efficient systems that have resulted in the birth of BlueChip Hospitality, a hospitality management company that oversees the affairs of Aweke and Maafo’s Bloom Bar, East End Bistro and Big Leagues Sports Bar, as well as offer business conceptualisation (development, startup and growth), construction (mortgage review, contracting, design), menu development and curation, staff recruitment, hiring and training, and operations management and setup.
“We came into a system where, if you want to even grow as a bar, you had a problem because you needed banks or a solid system in terms of government laws, taxes and a financial system to support a business growth,” says Maafo. “Now, the economy did not really regard tourism and hospitality as a sector to prioritise, and until they saw some level of seriousness or some systems in place, I don’t think anyone was going to regard our industry. So coming in there, we realised that a lot of people would do the business and would take it on as a hobby. They would do the business and take it on as something they are just doing, but not necessarily to grow and take the industry to the next level. So we asked ourselves the question, ‘How are we going to create a system for everyone who wants to come in to be able to help the industry grow?’—because we couldn’t do it alone. That was one and [secondly], how do we also create that reputation and recognition for what we are going to do?”
To increase the appeal of their businesses to investors, Aweke and Maafo worked on their branding, increased and trained their workforce—which rose from 8 to 122 people—and ensured that their books were in order. “When the banks and the big brands started to see the profile and started to see that we were really making some social impact, it started to change the narrative,” Maafo says. Their efforts were also bolstered by the resounding success of Ghana’s Year of Return campaign.
Patrons at Bloom Bar. Image Credits: Instagram/bloombargh
In 2018, Ghana’s Nana Akufo-Addo-led government, along with US-based Adinkra Group, launched theYear of Return, Ghana 2019 initiative to encourage African Americans and the African Diaspora to seek Ghana as a travel destination and also invest in the country and the African continent. The year 2019 was significant because it marked 400 years since enslaved Africans arrived in the United States. Since its launch, the campaign has attracted famous names to Ghana: Idris Elba, Naomi Campbell, Cardi B, Steve Harvey and Jidenna, among others.
“We were fortunate to have positioned ourselves and take advantage of that position by giving people that vibe [of quality Ghanaian culture and nightlife services] through whatever we offer,” Maafo says. “So we didn’t necessarily have to reach out to people to come into the space, but we did our marketing. We obviously gave a service offering and people came. People came because they had heard. They had seen. And it was also thanks to social media and people curating their reels and stories for people to see and just drive a lot of people into the space during moments where they came to enjoy Ghana.”
Bloom Bar has played host to top music/entertainment industry folks from Burna Boy, Wizkid, Davido, Jidenna, Chance the Rapper, Vic Mensa, Rema, Ayra Starr to Micheal Blackson. Last year, Maafo and Aweke curated Afrochella’s Official Afterparty, Everyday People x Ghana Edition, London’s DLT Brunch, a D’usse Day Party, Mr Eazi’s Detty Rave and King Promise’s Promiseland concert. In January, they had a hand in the Black Star Line Festival, which was hosted by Chance the Rapper and Vic Mensa.
Patrons at Bloom Bar. Image Credits: Instagram/bloombargh
For Aweke, the union of music and the hospitality business is a no-brainer. He says music is used to highlight the Ghanaian and African cultures and also create opportunities for the works of artists to reach new audiences. Maafo adds that beyond the music, every other aesthetics was taken into consideration. “When we first set out to do this whole hospitality journey, there were things that I always identified as experience determinants. And I did that by looking at how I could engage the senses of people when they come into a space – the five senses,” Maafo says. “So we considered what people see when they come into your space and even what they touch when they come there. The chair, how it feels, what you are sitting on. All of these things were considered.
Patrons at Bloom Bar. Image Credits: Instagram/bloombargh
“So when it came to music, we were very specific because we would curate the night in a way that we would put certain type[s] of songs on for the early crowd and we knew how to change it at certain hours to create a vibe. And it was all very deliberate and intentional to give the vibe that you have seen over the years in Bloom [Bar]. To us, the DJs are an integral core part of what we do. We spend time with them on their playlists. We are looking at how we can entertain the crowd, how we can engage them through music, when we want everybody to get out from their chair, how we want them to start playing that kind of songs that would get everybody off their chairs, get them screaming for about 30 minutes and making them calm down in 45 minutes. It’s very intentional. So we do consider music as a serious core part of what we do.”
Patrons at Bloom Bar. Image Credits: Instagram/bloombargh
Aweke states that one of the biggest challenges he and Maafo have faced in the day-to-day running of their businesses is finding the right people to add as staff members and also training them to be suitable for the high level of skill they desire. Another challenge is the erratic nature of the business climate in Ghana and Africa, as a whole. On his part, Maafo believes that the hospitality sector is saturated with businesses that provide the same service. He calls for businesses to come together and have a collective voice to earn negotiating power and raise the standards of the industry. He adds that it would be helpful if the government set up more hospitality-focused training schools as this would fill the industry with more qualified workers and enhance the level of professionalism.
“It is one of our dreams to help change the narrative of the industry and help to actually improve the narrative [and] perception of the business. That’s the first thing,” Maafo says about the aspirations of BlueChip Hospitality. “We wanted to be as attractive as possible, not just to investors, but to the young and up-and-coming students in universities now that it’s an option. It’s an option to set up a restaurant, it is an option to apply for careers that our industry can offer, which is, you know, a lawyer in hospitality, an accountant in hospitality, procurement managers, procurement officers. These are all very interesting careers that are never talked about in the school curriculum [in Ghana]. These are some of the things that we wish to draw awareness to through BlueChip because we have educational programs that we would be running; so these are some of the things that we want to highlight and draw younger generations to and make that impact not just in Ghana but throughout the African region.”
Although BlueChip Hospitality is still in its nascent stage, the lofty aspirations Maafo and Aweke hold for the company are inexhaustible. They are aware that as the years pass, plans are bound to change and require improvement but they are not deterred. “We would love to impact as many businesses as possible with the expertise that we have,” Maafo says. “This year, we are hoping that we can get a number of clients who would want to work with us to help build their businesses, help set up their systems, help train their staff, help build their concepts and then help set a standard for the industry through BlueChip. So for this year, that is what we really would want to work on. Basically, just give back five to six years of experience to anyone that wants to come [into] the industry and help build their businesses, teach them the ways to hustle [and] ultimately be successful in the space.”
Any active social media user would’ve seen Uncle Waffles’ infamous set where she captured the hearts of the guests and audiences beyond with her enthralling dance moves and masterful set. Since its release, the viral video that propelled Uncle Waffles into Instagram fame has been viewed more than 6.5 million times. The clip encapsulated everything audiences want right now–the workings of a budding artist keen to explore whatever soundscapes she traversed next with a charismatic and commanding presence.
Born Lungelihle Zwane, the Eswatini DJ is expanding the notoriety and texture of South Africa’s Amapiano movement on the global map, one set at a time, as she sells out venues within Africa and beyond. As the expansive genre briskly sweeps across several corners of the world gathering a global following of music lovers, this superstar DJ and now artist is ensuring that she must never be left out of the conversation. Waffles joins a long line of skilled industry heavyweights such as Scorpion Kings (DJ Maphorisa and Kabza De Small), Major League DJz or Virgo Deep who are laying the groundwork for the genre world domination.
Just last year, when Uncle Waffles debuted her first single on Boiler Room x Ballentines True Music Studios, she exhibited beyond a doubt that her talent extended well beyond the deck.“Tanzania,” the lead promotional single of her debut EP, ‘Red Dragon’ is a fresh and tasteful proof of the time and commitment the young DJ invested in dissecting the intricacies of Amapiano and South Africa’s music landscape as a whole. Despite her short time on the scene, Uncle Waffles has had an undeniable role in taking the sounds well beyond the boundaries of Africa making her the NATIVE’sBest New Artist for 2022.
In a short amount of time, Waffles has grown to become a near-perfect embodiment of where the global sound of South Africa’s hood can go sonically and at the precipice of one of the most exciting times to be a new artist and DJ. Each new output from Uncle Waffles gives an element of the unexpected, with social media bring to sharp focus her infectious personality, killer dance moves and radically modern approach. Already shaping up to be an industry tsunami with minimal effort and maximum skill, Uncle Waffles has continued to keep the focus squarely on what matters: her love for music and taking on the global stage. For a genre predominantly production-led with chant-like adlibs and lyrics, Waffles is able to effortlessly translate meaning and feeling to her audiences live and over the screen.
This year, the DJ and artist is already billed to perform on some big-ticket stages such as Coachella this April, AfroNation Portugal over the summer and is also one the line-up for Lauryn Hill’s concert with Diddy, Ari Lennox, Lucky Daye and more. In the lead up to the biggest festival of the Easter, Waffles has been teasing the release of her sophomore EP‘ASYLUM’which was released last week Friday. Initially kicking off the project’s promo back in January with a viral dance video for “Yahyuppiyah,” the promotional single which features lead vocalist, Justin99, Tony Douardo, EeQue, Pcee & Chley and has been the soundtrack of many TikTok videos since its release. Advancing the culture is central to Waffles vision and she wastes no time using tracks such as “Yahyupppiyah” to show her good ear for music and provide a platform for other artists and producers to get their voices heard.
In sharp contrast to her debut EP,‘ASYLUM‘ is markedly darker in its tone and delivery. For one, the name ‘asylum’ denotes a shelter or confine from danger and ill health, a noticeable stepdown from ‘Red Dragon’ with its innovative fiery imagery and dazzling sequence. It’s clear in Waffles world, the light and dark co-exist and she’s determined to unveil new layers to her artistry with moody pensive beats that are buoyed by catchy features and emerging talent from South Africa and beyond.
The opening track “Sghhubuhandro” leads in with heavy—almost daunting—chords followed by chant-like sonorous ad-libs. Assisted by Shakes and Les, the tempo on this track gradually builds up, setting our expectations high for what to expect across the rest of the project, an almost melancholic and infectious rhythm that more than commands you bump your head or sway your hips. The intro sets the scene quite nicely for the promotional and second single on the project, “Yahyupppiyah” which picks up the pace a bit with urgent delivery and heavy shakers. The project is a fine playground of instrumentation and lithe vocals which plays melodies front and centre of everything.
Already high with the buzz of glittering ‘piano keys on the preceding track, Uncle Waffles’ delivery on “Morrocco,” joined by Milkiee and Scummie, leaves listeners wanting more. Over eerie production and mid-tempo percussive groove, Waffles sings “drip covered by the blood when I walk/Godly you can hear huh/I’m a blessed girl, whole life on sneeze” with a braggadocious tone, talking up her success and her achievements over the past year. She also passes on the baton to rising South African rapper, Scumie who raps circles around the DJ with a menacing flow that carries a profound sense of depth with each word.
The following track “SLS” takes another dip, opting for a grainier darker production and inviting Shakes and Les once more to join Uncle Waffles and Ghost for a thumping party-starter.Characterised by a blend of soft and bass chants, the sweet-sounding keys commonplace in soulful Amapiano variations takes centre stage on “SLS.” Dubbed after the popular kids’ game, the next track, “Angry Birds,” features chilling vocals from 3TWO1 across the smooth production by Waffles and serial collaborator Tony Duardo.
With subtle Jazz-like elements, “Babiee” follows through with its groovy vocal delivery by Jelly Babie as she delivers an ode to two of the most popular house genres in South Africa, Bacardi and Amapiano. Almost stunned by their sonic abilities, Jelly Babie repetitively chants her and Waffles’ names in a praise-like tone through the track’s four-minute run time. When the track’s outro, “Blue Tick” comes along, the moment is bitter-sweet. Joined by a packed cast of DJ Stresser, Given Kanu, Vuyo Ndevu and CT MusiQ, ‘ASYLUM’ closes out on high notes with a well-paced buildup on the mid-tempo, heart-thumping production.
With each passing day and new release, it’s clear that Uncle Waffles is hurdling closer to the Amapiano crown jewels and the powerhouse she is. Given the singles dominated market that has largely trailed Africa and its most prominent music stars, it’s always great to see a young artist bent on flooding the circuit with her extended plays–a fine taster course to the breadth of her artistry and curation abilities. With ‘ASYLUM,’ Waffles continues collecting real estate and reverence with her fans and new listeners, reminding us to just have fun with it while providing a launch pad for rising SA talent to step up to the mic. It’s on early days for Waffles and we’ve not seen the full extent of powers.
It’s that time again. Every week, new music shows up, sweeping fans and music lovers off their feet while artists gauge reactions to know the effect of their creativity. At the NATIVE, we are committed to keeping our ears on the pulse of the music scene and bringing the best sounds to your doorstep.
Last week, we brought you stellar releases from Davido, Bloody Civilian, SGaWD, and more. Today, we have songs that move from Afropop to Amapiano to R&B, with our select artists showcasing their unending talent and passion for creativity. Lock in!
STONEBWOY – “FAR AWAY”
One of the most intentional artists out of Africa, the music of Stonebwoy is fusion-centric in scope. Dancehall forms his core, but he’s able to work well outside its conventions, leading him to create great moments with every record. “Far Away” is a new single off Stonebwoy’s forthcoming album, ‘5th Dimension.’ With celebrated guests such as Davido, Stormzy and Angelique Kidjo, he sets the release favourably with this scintillating record. His vocals are flexible and the messaging of seeking peace is relatable; it’s an exciting run-up to what’s shaping up to be a major event in Afropop.
KOTRELL – “SMILE FOR ME”
With appearances in music concerts hosted by Chike and Ric Hassani, the name Kotrell is one to watch out for. As the aforementioned acts suggest, Kotrell works in the R&B and folk tradition, working up his way in a scene that’s remarkably full of singular talents. “Smile For Me” makes his own case; over stripped acoustics front-ended by dreamy guitar licks, his vocals serenade with mellow assurance. “Oh my baby, money no fit buy this kind of love,” he sings warmly, using the right measure of vocal reverberations to enhance the emotion in other parts of the record.
POPCAAN – “CELEBRATE” FT. BLACK SHERIF
Earlier this year, Jamaican dancehall superstar Popcaan released his fifth album, ‘Great Is He.’ While that album had great features such as Burna Boy and Drake, obviously Popcaan still has more pop in his can. On the album deluxe he stretches the narrative palette, on this standout record uniting with the soulful Black Sherif for a laidback appreciation offered to Jah. A subject matter that’s been poignantly translated by both artists through the prism of their harsh early circumstances, “Celebrate” is an alliance of like minds.
EXRAY & SCAR MKADINALI – “TOA NJEVE”
Gengetone has come a long way since its eruption in 2019. Its assimilation into other genres has seen the sporadic progress of the genre. In Exray’s latest single “Toa Njeve” he teams up with Hip Hop veteran Scar Mkadinali. Bringing the street culture of situationships and fast life the duo rap on a hi-hat 808 beat creating a perfect backdrop illustrating Nairobi’s love life as Exray sings, “Hakuna ndoa huku kuna mechi mafriendly.”
KAMAUU – “ANTIDOTE” FT. KOJEY RADICAL & SIIMBIE LAKEW
Born in the US to musically-inclined parents, KAMAUU was destined to rock the mic. More poignantly, his chosen genre of rap allows him the space to dissect and discuss his origins and as well the motions of the modern state, which are heady topics which haven’t quite intruded on the enjoyability of his music. “Antidote” bears this quality; featuring Kojey Radical who also props his Ghanaian descent and Siimbie, it’s a bouncy number which combines a proud perspective of Blackness and the ownership of our art.
SUPER SMASH BROZ – “DISTANCE” FT. RIA SEAN
As DJs, tastemakers, and facilitators, the Super Smash Broz has been making waves in the Boston music scene for years. Their latest single “Distance” showcases their production skills and ability to work with talented artist, Ria Sean. “Distance” showcases Ria Sean’s soulful vocals as she sings about missing her lover who is far away. Her delivery brings comfort to the listener, acknowledging the pain of being apart from someone you love. The Super Smash Broz production provides an exciting backdrop for Ria’s vocals, creating a song that is both fun and emotionally powerful. This upbeat Amapiano production will have listeners dancing while still resonating with the heartfelt message of a long-distance relationship.
In Nigeria’s ever-evolving Hip-Hop scene, PayBac Iboro is one of its most active players, constantly seeking to outdo himself, track after track and project after project. He had his breakthrough with his 2018 LP ‘The Biggest Tree’where he delved into personal details about his life and aligned those experiences with the general Nigerian lifestyle. That has become a trademark of Iboro: rapping about who he is and how being a Nigerian has contributed his personhood.
On his latest LP ‘West African Goat,’PayBac Iboro builds on the foundations laid by 2020’s ‘Cult!,’ injecting Nigerian references into his raps about politics, corruption and personal will. With a solid Hip-Hop base, ‘West African Goat’ borrows elements of Jazz and R&B and Pop. Iboro raised expectations for the project with the singles“The Story of Hushpuppi,”“Bury Me For Gold,”“Danfo To Headies”and “Sacrifice.”‘West African Goat’ also comes with a host of features, which includes Alpha Ojini, Ozone, Barzini, Viveeyan and Payper Corleone, among others.
“Look Me Less,” one of the standout songs of ‘West African Goat,’ is an enthralling peek into the psyche of many of Nigeria’s youth population. Featuring fellow Nigerian rapper Elveektor,PayBac Iboro takes on the role of a frustrated individual who is crushed by the system and out for blood. It is no news that Nigeria, even though it is one of the richest in the world in terms of natural resources, is still a country that grapples with poverty. According to the National Bureau of Statistics’ 2022 Multidimensional Poverty Index survey, 63% of persons living within Nigeria (133 million people) are multidimensionally poor. This is no thanks to years of poor government policies and institutional mismanagement. Across Nigeria’s music spheres, artists have lamented the situation, giving voice to the plight of the masses.
“Too many wahala for my head/Me I need cash/Quick fast/Need breakfast/I go take from my fellow man,” PayBac Iboro raps over Charlie X’s production, setting the stage for the drama that is to follow. It is a reality that is all too familiar: many of the Nigerian youth population, noticing the lopsided policies that have been in play for a long time, seek other avenues to better their lives. In some cases, they resort to crime, thereby targeting other innocent citizens. “I go wait for the junction/Catch anyone wey dey come from the junction/Collect his phone and his wallet/And with a gun he cannot run,” Iboro continues.
Elveektor, another promising rapper on the scene, is Iboro’s potential victim. Like Iboro, Elveektor has been on the grind, releasing song after song and curating projects. His 2020 project ‘Nsibidi 2’ proclaimed his Igbo roots as well as his determination to succeed. Although he raps mostly in Igbo, the verve he employs in his vocals is undeniable. On “Look Me Less,” Elveektor is accosted by PayBac Iboro and, after failing to find the humanity in Iboro’s character, he charges into aggression mode, rapping, “Oga 1K dey okay for dis Buhari time/ka m gba gi eziokwu/I na waste my time/Jiri nwayoo before m gosi gi onye m bu.” It is a reality of the present state of things: the Nigerian way of cooling down another person’s aggression is hitting them with your own aggression.
Charlie X (a.k.a. CHx or Charlie Xtreme) is a revered name in Nigeria’s underground Hip-Hip circuit. His resume includes the likes of PayBac Iboro, Boogey and LadiPoe, among others. The producer, singer, rapper and songwriter is known for his samples and hard-hitting beats. On “Look Me Less,” there are simmering melodies underneath the bass, which keeps the production far from stale and allows the Iboro and Elveektor to settle into pockets of flow. Charlie X has refused to be shoved into the “Hip-hop Producer” box and insists that he is, at the core, a music maker.
Elsewhere, Elveektor’s aggression doesn’t dissuade PayBac Iboro’s character. “Give me your money if you no want problem/Give me your phone if you no wan die today/Reason why I dey thieve na the government,” Iboro raps. Following Elveektor’s stubbornness to part with his belongings, he ends his verse with “I go just keep quiet make the gun talk,” reminiscent of the police killings that spurred the#EndSARS protests in October 2020, where thousands of Nigerians, championed by the youth population, challenged the injustices meted on them by the country’s security agencies.
Weeks ago, Nigeria’s presidential and gubernatorial elections was held, leaving citizens with mixed feelings about the cases of violence, rigging and tribalism. PayBac Iboro’s “Look Me Less” is a snapshot of the issues bedevilling the country; it shows that citizens are also as culpable as the government they blame for their woes as well as the trauma that many Nigerians carry around: quick to attack and quicker to return the aggression. With “Look Me Less” and ‘West African Goat,’PayBac Iboro makes no mistake highlighting the condition of being a Nigerian, in all its glory and pain.
