The Best Features on Davido’s ‘Timeless,’ Ranked

Posted on by The Native

Since his debut on the scene in 2017 with “Dami Duro,” Davido has edged out the competition with ease. From his debut album ‘Omo Baba Olowo’ with standout tracks such as “Back When,” “Ekuro,” “For You,” and more, he’s consistently spoken directly with his audience through his music and bypassed naysayers on his way to the top. His omnivorous album fast-tracked Davido’s name as a household name in Afropop history. While his return to a cohesive body of work didn’t come till almost seven years later, Davido never strayed from the limelight, keeping his legion of fans satisfied with groovy cuts and meme-able chrouses from 2017’s “FIA” and “Fall” to 2018’s “Assurance,” and more recent cuts such as Popcaan-assisted “Risky,” “FEM” and “Ke Star” featuring Focalistic.

His latest and fourth album ‘Timeless’ arrived last Friday after personal delays, but its record-breaking reception so far shows that its suffered very little from this. With the release of his new album, Davido brings to full picture the decade-long journey to the top of his game. A serial hitmaker in his own right, he wastes no time threading high concepts and innovative imagery buoyed by the album’s well-tuned production. While he establishes his signature identity and litters the project with delicious new slangs, he also welcomes a talented spate of artists into his world, both new and experienced–making way for their talent to shine while keeping him in the limelight as the skilled auteur.

There are nine features on ‘Timeless,’ a notable decrease from the stacked guest features on his 2020 album ‘A Better Time’ which welcomed artists such as Nicki Minaj, Lil Baby, Hit-Boy, Nas, Sauti Sol, CKay and more into his orbit. On ‘Timeless,’ no feature is out of place and Davido ensures that his guests flex their muscles and capabilities across the project’s 49 minute run time. Set up by outstanding performances by Davido and stellar production by Magicsticks, all collaborators on Davido’s highly anticipated fourth studio album, ‘Timeless,’ had big shoes to fill. From Skepta’s sleek bars, the dulcet vocals by new DMW signee, Morravey and more, here are The NATIVE’s best features on ‘Timeless,’ ranked.

 

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9. “U (JUJU)” – SKEPTA

Skepta has a soft spot for his African kindred and it’s visible in his numerous collaborations with Nigerian Pop stars. Whether it’s working with Wizkid on “Glow In The Dark,” Skepta has continuously tapped into his African roots bringing Africa to the world while simultaneously bringing the world to Africa. On Davido’s “U(JUJU),” the alluring saxophone paired up with the mid-tempo log drums accompany Skepta as he puts his best foot forward. The romantic number finds Skepta rapping about his adoration for his muse, “…while guys were switching sides you were there for me…” while tackling the challenges experienced in a relationship with a star. Closing off with lamba as he raps, “I never sleep sabi no dey worry me,” he puts a perfect cap on the single as Davido picks up the chorus.

Tela

8. “BOP” – DEXTA DAPS

Davido and Jamaican act Dexta Daps had previously collaborated on the 2021 single “Scripture,” a sensual, R&B-flavoured tune. They continue their connection on Davido’s “BOP,” an uptempo production with Dancehall influences. Like on “Scripture,” Davido and Dexta Daps are concerned with their affection for the female anatomy; with his verse and chorus, Davido sets the pace, while Dexta Daps, on his verse, utilises his patois delivery to add colour to the track’s hedonistic tendencies.

Uzoma

7. “NO COMPETITION” – ASAKE

Asake and Davido are a match made in heaven. After emerging as the undisputed champion of Afropop ‘22, his appearance on ‘Timeless’ seemed fated–a further crowning of his hit-making abilities. To the host’s credit, “NO COMPETITION” isn’t usurped by Mr Money. They’re both rather in synergy with the warm vibe the song exudes, their distinct styles making for a great record. Davido does absolutely fantastic on the opening and closing parts, paring down his vocals to mirror the theme of love. Asake’s verse however bursts in so unpredictably, taking on a rhyme scheme that elevates the mood as the production swells about him. In a way similar to Lil Durk on Drake’s “Laugh Now, Cry Later”, the feature thrills and then cedes way for the host. 

Emmanuel

6. PICASSO- Logos Olori

On “PICASSO,” there are two winners: Davido and Logos Olori. Both label owner and latest signee exhibit a chemistry that portends great fruits for the future. Before signing to Davido’s label and making an appearance on ‘Timeless,’ Logos Olori was making music independently, playing with diverse sounds and genres and fashioning a way out of the Nigerian underground music scene. From 2020’s “Shine” to 2021’s “Iregullar” to last year’s “Lale,” the music act was building the foundation of the moment he enjoys currently.

On the R&B-tinged, cravings-full “PICASSO,” Logos Olori’s post-chorus is sweet and memorable, employing simile and metaphor as he sings “So baby draw me closer like Picasso” and “Make I sing and make you dance Awilo.” It’s his smooth vocals that give those lyrics their potency, and Davido, too, offers a fine showing with his impressive performance. While Logos Olori’s talent is undebatable, the major takeaway is that music lovers should expect—and will love—more tunes from both artists. 

Uzoma

5. “KANTE” – FAVE

When Fave first caught onto Afropop audiences through a freestyle released during the pandemic, her voice was the decisive trait. It was fully embodied yet dynamic and could be playful and sensual if it needed to be. In the years since, those distinct vocals have been on wonderful display on her ‘Riddim 5’ EP and features with the likes of Olamide and Ajebo Hustlers, demonstrating a range that’s seen Fave mentioned in the same breath as the greats. 

On “KANTE,” she gets unarguably her biggest feature yet and boy, does she own it! The beat nodding to Dancehall’s rhythmic pomp, Fave finds herself in familiar terrain. Enunciating the perspective of a lover enjoying intimate moments, she conducts the record, setting the perfect atmosphere for Davido. “Like Kante your skill is precious, you can’t change the whole direction,” she sings on the chorus, using the celebrated French footballer as a parallel for the iconic figure she shares space with on this ‘Timeless’ record. 

Emmanuel

4. “CHAMPION SOUND” – FOCALISTIC

Released as a single and sitting within the soundscape of ‘Timeless,’ “Champion Sound” is a revered banger. Like the rest of the project, loaded with great vibes, joy and optimism -as expected from Davido- “Champion Sound” couldn’t have been a more perfect choice for the album’s closing track. Like the game of tag, the duo effortlessly glide in and out of the track, bragging in Pidgin English and SiPitori with verses bursting with catchy bars and distinct adlibs. Sitting within the spectrum of Amapiano’s buzzing synths, the dance track closes out the highly anticipated album on a cheerful note, capping off a welcome return for 001.

Nwanneamaka

3. “NA MONEY” – ANGÉLIQUE KIDJO & THE CAVEMEN 

When the track list of Davido’s album was released, “NA MONEY” was one of the songs that instantly caught the attention of music lovers. Sibling duo Kingsley and Benjamin Okorie (of The Cavemen.) have introduced excitement into the African music catalogue with their style of experimental Highlife, recalling old sounds and modernising them for a younger audience. Angélique Kidjo is…well, Angélique Kidjo: Grammy winner and renowned performer of multiple genres around the world. What would be the result of combining a veteran, a pioneer of contemporary Nigerian music and two new talents? “NA MONEY” holds all the answers.

Produced by 1da Banton, who is also an artist, the track is a comfortable setting for The Cavemen.: Highlife. The surprise, though, is Davido. He easily finds a spot for himself on the song, matching the energy of the Okorie brothers without missing a step. It’s pure synergy, as all three flow in and out of one another’s verses, absorbing themselves into the percussions and delightful guitar riffs. Angélique Kidjo, as the master that she is, adds icing to the cake with an effortless, melody-rich delivery. In tandem with the theme of the song, Davido, The Cavemen. and Angélique Kidjo contribute to making “NA MONEY” a tastefully-made piece of music.

Uzoma

2. “IN THE GARDEN” – MORRAVEY

Morravey’s debut on ‘Timeless’ was nothing short of charismatic. While we all know Davido’s wide range palette in crafting love numbers, Morravey added a new feminine spice that came with authentic naivety that equalled the sincerity in her words. As she crooned over the bouncy afrobeat production “..never seen a man like you..” Morravey’s verse adds an extra layer of depth and dimension to the track. Showing off her sultry vocals and her daring nature as she hit the high notes while opening the track, “IN THE GARDEN,” was precise with one message clear: it’s Morravey’s time and we should all make way for the queen. 

The glistening production from Rore only brought Davido’s vision of the project to life as he and Morravey exchanged verses of love that is pure. Sounding like an ancient love letter to your significant other, “IN THE GARDEN” is a sweet remorse of the beauty that love embodies.

Tela 

1. “UNAVAILABLE” – MUSA KEYS

Considering standout tracks like “Kancane,” “Selema (Po Po)” and more under his belt, South African Afro-House frontliner Musa Keys and his eccentric artistry are visibly drenched in gently syncopated synths and rich harmonies. So when the ‘Timeless’ track list was revealed with a feature from Musa Keys, any fans of Nigerian Pop and Amapiano were bound to be excited. Having collaborated with the likes of Focalistic, Abidoza and Sho Madjozi, Davido and Musa Keys would expectedly be a perfect sonic match and the pair did not disappoint. 

With Davido’s delivery on the catchy hook, “I’m unavailable, dem no dey see me” and Musa’s euphonious vocals paired with the glittering production by Magicsticks, “UNAVAILABLE” is deservedly already a crowd favourite a few days after the project’s release. Operating within the familiar soundscape layered with intoxicating drum patterns and rhythmic keys, Musa Keys is set up for a stellar delivery by Davido’s outstanding verses. Following the second rendition of the track’s captivating hook, Musa Keys’ mellifluous sound perfectly contrasts Davido’s rustic one, expertly riding the wave of beat. In a few short seconds, Musa Keys is able to elevate the already glimmering verse with an increased pace on the witty two-liner, “Cause I’m a big propeller, save the remorse/Girls go jealous, cause I dey Banana.” 

Nwanneamaka

Featured Image Credits/The NATIVE

ICYMI: DAVIDO’S NEW ALBUM ‘TIMELESS’ MARKS HIS INDELIBLE LEGACY IN AFROPOP

Turntable Top 100: Adekunle Gold’s “Party No Dey Stop” spends another week at No 1

Posted on by Nwanneamaka Igwe

Peaking last week at No. 1 a few short weeks after its release, Adekunle Gold “Party No Dey Stop” tallied 3.12 million across streaming platforms and 75.2 million in radio reach. The Zinoleesky-assisted single is Adekunle Gold’s with top ten entry and Zinoleesky’s tenth top 10 entry in Nigeria.

Sitting comfortably at No. 2 for the second week is BNXN aka BUJU’s “Gwagwalada” assisted by Seyi Vibez and Kizz Daniel, after spending four weeks at the summit. Following after at No.3 is “Stamina” by Tiwa Savage, Ayra Starr and Young Jonn. This acts as Tiwa Savage’s second highest charting single, Ayra Starr’s sixth entry into the top 5 and Young Jonn’s second highest charting single after “Xtra Cool.” Spyro and Tiwa Savage’s “Who Is Your Guy(Remix” dips to No.2 after peaking last week at No.2 while Don Toliver and Rema-assisted “Soweto (Remix)” occupies the No.5 spot.

Omah Lay’s “Soso” off ‘Boy Alone’ released mid-2022 occupied the No.6 spot after spending multiple weeks at its No.2 peak. On the other hadn’t, Rema’s “Holiday” dips from the 6th to the 7th spot. One week after its release, Odumodublvck’s “Declan Rice” debuts at No.8 making it the rapper’s first entry into the Turntable Top 10. It is also the first HipHop/Rap song to debut in the top ten after Black Sherif’s “Kwaku The Traveller.” Khaid’s “Carry Me Go” slips to the no.9 spot after spending last week at No.8 and Ayra Starr’s “Sability” drops to the tenth spot from No.7

Read a full breakdown of the chart here.

Featured Image Credits/Adekunle Gold

What’s Going On: Ghana’s anti-LGBTQ bill under review, Kenyan opposition to call off protests & more

Posted on by Tela Wangeci

“What’s Going On” Tallies Notable News Headlines From Across The Continent — The Good, The Bad, And The Horrible — As A Way Of Ensuring That We All Become A More Sagacious African Generation. With This Column, We’re Hoping To Disseminate The Latest Happenings In Our Socio-Political Climate From Across The Continent, Whilst Starting A Conversation About What’s Important For Us To All Discuss. From Political Affairs To Socio-Economic Issues, ‘What’s Going On’ Will Discuss Just That.

GHANA TO EASE UP ITS FAMILY VALUE BILL

For the past week, United States Vice President Kamala Harris has been on a three-nation visit to Africa. Touring Tanzania, Zambia, and finally closing off with Ghana, Kamala Harris insisted on the importance of investing in African ingenuity and creativity to enable its development. Meeting with Ghana’s president Nana Akufo-Addo, the two held a press conference last week on Monday where the Ghanaian president publicised the Anti-LGBTQ law framed under the guise of family values would be revised. 

For the past few years, the marginalised community has been undergoing human injustice. Early on in 2021, the first LGBTQ support centre was shut down after religious leaders and government leaders blamed the West terming it as a way to recruit young Africans. Thus the introduction of the proposed Family Values Bill, which sought to introduce some of the harshest anti-LGBTQ laws on the African continent. 

Three years later Nana Akufo-Addo reveals that the country is ready to put the private bill under revision following the recent visit of Kamala Harris. Discussing during a press conference about the eligibility of the bill, Nana Akufo-Addo said that the bill was not under his regime and it was under discussion with the parliament. Adding on to that, he also affirmed that the parliament will consider human rights when discussing the bill. 

LAGOS TEACHERS CHARGED WITH MANSLAUGHTER

Staff at Chrisland High School have been charged with manslaughter after a pupil died. The 12-year-old girl identified as Whitney Adeniran died in February as a result of asphyxiation and electrocution during the school’s inter-house sports activities at Agege Stadium. However, the school management, in a statement released after her death, said she slumped in public view and not under any hidden circumstances.

In 2022, a video depicting improper acts among some students of the school, who went on a trip to Dubai went viral. The alleged scandal happened when Chrisland School was in Dubai in March 2022 to take part in the World School Games, a four-day annual competition with schools from all over the world. The development came less than four years after a teacher in the school, Adegboyega Adenekan, was convicted and sentenced to 60 years jail term for raping a two-year-old female pupil.

Since the death of Whitney, the school has been closed down to enable investigations to take place.

KENYA DEMONSTRATIONS HELD ON PAUSE

Kenyan opposition leader Raila Odinga decided Sunday to call off nationwide protests following an appeal from President William Ruto. “In view of the foregoing, we stand down our demonstrations for Monday, April 3, 2023,” Odinga said. “In accepting the call for dialogue, we ask that all arrests and prosecutions related to our demonstrations be stopped with immediate effect.” Odinga said that as the opposition, they agree that a balanced parliamentary process for dialogue co-chaired by both sides and backed by experts from outside should proceed.

He added that the committee should be composed with immediate effect with strict deadlines for resolving the crises facing the country. “Should there be no meaningful engagement or response from Ruto to our counter-offer, we will resort to resuming our demonstrations after one week,” Odinga warned. Ruto in a televised address to the nation on Sunday had asked the opposition to call off the protests, noting that recent political demonstrations have resulted in grave acts of lawlessness, widespread violence, looting and the invasion of private property, causing loss of lives, injuries, property damage and denting the nation’s image.

“In these circumstances, and in view of the recent events that led to loss of lives and destruction of property, I urge Hon. Raila Odinga to call off any further demonstrations,” he pleaded. He said the country’s economy had been hard hit, with all his measures to attract investors and create opportunities for the youth being derailed by acts of violence, chaos and anarchy.

President Ruto said he is willing to engage with Kenyans from all walks of life, including elected and appointed leaders from across the political divide and the religious fraternity, to make the country better and more prosperous based on the rule of law and the Constitution. The protests, aimed at forcing Ruto’s government to reduce the cost of living, have been ongoing for weeks and resulted in three deaths, including that of a police officer, and dozens of arrests.

Deputy President Rigathi Gachagua had also warned Odinga against holding continuous demonstrations, stating that Monday will be the last day before the government “asserts its authority.”

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How Nigerian women are changing the narrative for producers in the studio

Posted on by The Native

In the last ten years, it can be argued that women musicians have made more inroads in the music industry generally. On the global scene, Beyoncé has risen to become one of the most compelling auteurs of the 21st century while Adele’s cathartic music was as popular—if not more than—anything released over the past 15 years. In Nigeria, progress for women musicians has been forthcoming: Tiwa Savage moved from upstart to undeniable pop presence and global force in the space of 10 years, Yemi Alade transcended the quirky messaging of “Johnny” to become a pan-African superstar and, in recent times, younger stars like Tems and the Ghanaian-American singer and rapper, Amaarae, have shown that international success is not a pipe dream but a strong possibility given the right opportunities and connections. 

Yet, despite all these successes, women remain critically under-represented behind the boards. One study found that less than 3% of producers operating in the United States of America are women. While Nigeria does not have credible stats for this sort of information, a simple eye test of the most popular Nigerian songs on a variety of streaming platforms shows a recurring pattern of them being produced by mostly—overwhelmingly so—men. Some women (including Simi and Dunnie) have found success producing for themselves and others but the numbers remain abysmally low, hinting at a more systemic issue for their exclusion. 

London-based Nigerian producer Aderike Sodeinde, who produces and performs as Babyrix Burger, chalks up the glaring absence of women producers to the larger mistreatment of women by society. “I think we can all see that women are treated differently in the music industry and it really reflects how men treat women in general,” she explains. “So, it’s not really about the industry, it’s just how Nigeria is as a country. And it’s like an elephant in the room because people like to say, ‘Oh, keep going,’ and all of that. It’s almost like they are ignoring the difficulties women face and not doing anything to make it better. I think everyone needs to stop for a second and figure out how to deal with this elephant in the room. It’s just so annoying that people are acting like these issues don’t exist and if they do acknowledge it they don’t want to do anything about it.” 

Babyrix Burger, who grew up in Nigeria before relocating to London at eight, has loved music for all of her life and dreamed of being a rapper, eventually resorting to making beats for herself to translate her ideas into reality. While her production has brought a spotlight on her, it has also placed her in proximity to situations that reflect why many women are discouraged from pursuing a career in production. “I didn’t realise that I would be an anomaly while making beats,” she offers. “I was just doing it for fun but I started getting noticed, and when you start getting noticed you realise that you’re not always being treated fairly.”

“It’s not something I braced myself for because I didn’t really think about it when I was making beats for fun. But as I started to interact with more people that weren’t just my friends, I realised that this is really messed up and not okay!”

Oladunni Lawal is an artist, songwriter, and record producer professionally known as Dunnie. An alumnus of The Sarz Academy, the Ibadan-born producer has created a niche for herself as one of the few Nigerian musicians who is as known for their production as they are for their musical output. In 2021, she followed the minimalist palette of her 2018 project, ‘Seven,’ with the party-starting vibes of her ‘Amazon The EP,’ headlined by the airy, Amapiano-influenced “Mosafejo.” While Dunnie has produced for acts such as Niniola, Becca, and Busiswa and represented brands such as Ciroc, Oppo, Maggi and Kotex Sanitary Pad over the last three years, her path into production was fraught with complexities. While completing her high school-leaving exams, she took a shine to production but was disheartened by unwanted propositions. “I’d go and meet people to teach me but something would happen,” she says, laughing at the sad memory. “It would either be that one person wanted to marry me or a wife would say I was trying to snatch her husband, it just didn’t work out.”

These experiences pushed her to largely learn production on her own, determined to make a success of herself with her music. “I talked to some of my producer friends and they gave me some software for production and I went on YouTube,” she offers. “This time around, I was determined to not have to meet anyone so they won’t proposition me. I watched a lot of tutorials on YouTube and that’s how I started producing. I gave myself a target of making 10 beats daily and I learned how to produce in one month. I knew that if I made 10 beats daily, one would make sense and before I knew it I got better at production. By 2018, I had a major record, ‘Pempe,’ with Sean Tizzle and that’s what my journey has been like.”

Dunnie mentions that one of the biggest challenges she faced when she started was the lack of visible female producers to serve as inspiration. “To be honest when I wanted to start production, there were no women in Nigeria to look up to,” she confesses.  “The only person giving me consolation was Missy Elliott who was American and also Lauryn Hill who produced parts of the ‘[The] Miseducation of Lauryn Hill’ but locally, there was nobody in Abuja or Lagos to look up to. I was on my own for most of that phase.”

 

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When Phebean Adedamola Oluwagbemi started Audio Girl Foundation with her partner, Bada Aramide, in 2018, the goal was to let young women interested in positions behind the boards in the Nigerian music industry know that others like them existed and provide some mentorship for these women. Describing the NGO’s objective, Phebean says: “The whole point of Audio Girl Foundation was to create a platform where young African girls can get support from us and network into the music industry, especially for those interested in the audio technology side of things, music production, live sound engineering, and also live productions. Stage management, production management, road management, and talent management,  everything that has to do with the back-end of the music industry.”

In the five years since being established, Audio Girl Foundation has trained over 500 women and hosted six workshops, two boot camps, and a major accelerator program all from funds raised within their network and with little support from corporate partners. The Creative Accelerator Programme known as CAP ‘19 was organised with support from Femme Africa and was Audio Girl Foundation’s last major programme before the COVID-19 pandemic struck. 

“The interesting thing for us is that we are not focused on people already in the industry, we want to train young girls in high schools and at the tertiary level because we believe that’s where we can actually shape minds,” Phebean explains. “It’s where we believe we can effect change the most. We want it to be that more than 1% of those working as engineers or producers are women.” Of the 500 women they have trained, there are already success stories. Some of their trainees have secured internships with frontline music label Mavin Records, while others have also interned with Audio Girl Foundation. One former trainee, Anwuli Roseline, is now a sound designer for films and works with EbonyLife. “We have a long way to go but these are some of the highlights of what we’ve done and seen our people move on to better things in their careers,” Phebean says. 

Phebean, who works as a recording, mixing, and live sound engineer, is quick to dispel the myth that women are not interested in getting behind the boards, pointing out that Audio Girl Foundation has been getting responses to its call that are way beyond its present capacity. “For our last program, we had over 200 women register and we couldn’t take them all, we could only take about 100 people and we could only attend to 50 of them physically,” she says. “The others had to join virtually. It showed us that there were girls who were interested in learning to be engineers and producers. I think a fundamental problem is that women don’t see more people like them out there and people like to make it seem like it’s not a profession for women and it fuels that disparity. That has to change.” 

When I ask Babyrix Burger about the role of male producers in helping to achieve a more representative industry, she says, “Not many people want to acknowledge it because the system benefits them the way it is right now.” The rising producer doesn’t necessarily think that the situation of women working exclusively alone is a panacea to the micro-aggressions of navigating the industry as a woman. “I really feel like that would just be boycotting and it would not help,” she says. “We just need accountability. I love when women come to me and feel safe with me because I’m a woman, that’s part of the reason why they say they come to me. I think having more female producers will probably be better but I don’t think we should boycott because that won’t solve the problem. It’d just still be there.”

Phebean believes that educating women would play a critical part in empowering the new generation of would-be producers, making them knowledgeable about the options and paths available to them. “We need women to know that certain opportunities are open to them and that’s where Audio Girl Foundation comes in,” she says. “We need to keep educating young girls and let them know that their dreams are valid and that we’re here to support them. Specifically, there’s not enough support for women in the industry. I know that men will say there’s not enough support for them but it’s even worse for women.”

For Dunnie, her success has opened her up to more opportunities but she is sceptical of chances that come to her based on her gender, instead hoping to be recognised for her artistic merits. “Initially for me, in the 2017 era, I could feel that people didn’t take me as seriously until they got into a studio with me,” she says. “They’d have the reaction that says, ‘She’s actually good.’ I feel like it has changed now, a lot of people don’t remember that I’m a woman now because the quality of my work leaves no doubt.” 

Despite these inroads in the industry, these women don’t want to be handed roles simply based solely on their gender. “I mean if I’m given such opportunities I’d go for it but I don’t want people to come to me because I’m a woman. I want my work to stand out for me,” Dunnie says. “If you hear a great song, the gender of who created it doesn’t come into question. If it’s good, it is good and that’s what my major focus has been.”

Featured image credits/NATIVE

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

NATIVE Selects: New Music from Davido, Falz, Bloody Civilian & More

Posted on by Damilola Animashaun

It’s that time again. Every week, new music shows up, sweeping fans and music lovers off their feet while artists gauge reactions to know the effect of their creativity. At the NATIVE, we are committed to keeping our ears on the pulse of the music scene and bringing the best sounds to your doorstep.

Previously, we brought you fresh releases from Suté Iwar, Lil Kesh and more. Today, we have songs that move from Afropop to Amapiano to R&B, with our select artists showcasing their unending talent and passion for creativity. Lock in!

DAVIDO — “UNAVAILABLE” FT. MUSA KEYS

After much anticipation, Davido has released his 17-track album ‘Timeless.’ Out of the project, “UNAVAILABLE” is one of the early standouts. Davido lays his vocals over Magicsticks’ intoxicating Amapiano-tinged production, sharing his frustrations with the unrealistic expectations society has placed on him. He is majorly concerned with reminding listeners that he is just a human with flaws. South Africa’s Musa Keys adds his soothing voice to the track with nice flows and, amid Magicsticks’ signature crowd vocals, he and Davido ensure that “UNAVAILABLE” will be a fans’ favourite.

Uzoma

FALZ & VECTOR — “YAKUBU”

Among the current generation of African musicians, few match the social consciousness of Falz. In a career streaked with hit songs, the rapper has also been consistent in speaking to the Nigerian sociopolitical climate. The biggest conversation from this year has been the controversial elections and on “Yakubu,” he joins forces with Vector in what is a riposte against the INEC chairman and the country’s political elites in general. From the lyricism down to the allegory-heavy visuals, it’s a brave and haunting reminder of what Nigerians have experienced in just three months of 2023. 

Emmanuel

BLOODY CIVILIAN — “I DON’T LIKE YOU”

Since her outstanding debut as Bloody Civilian on “Cold Freestyle” off NATIVE Sound System’s ‘NATIVEWORLD,’ this artist-producer has been one to watch. Shortly before her solo debut, she joined Rema to deliver a standout performance on “Wake Up” for the Black Panther Soundtrack. Still in her experimental phase, as she settles down in the industry, Bloody does not shy away from expressing exactly how she feels on tracks like “How to Kill A Man” and recently released “I Don’t Like You.” Over a groovy beat, Bloody leads into the track by directly reiterating the title, emphasising that she cannot be swayed. She closes out with subtle log drums, intensifying the track even more. 

Nwanneamaka 

PAYBAC IBORO — “OLOUN” FT. PAYPER CORLEONE 

Off his just-released ‘West African Goat’ album comes this rippling collaboration with Payper Corleone. As gleaned through his recent songs, PayBac’s growing ease with Trap-tinged sounds makes for great bops. With his cache of Nigerian references delivered in a wavy flow, the ominous elements swirling beneath the drums make for very effective progressions. Payper’s signature chill flow also works to amplify the mood, while the hook sees PayBac continue to excel with sing-along bars. 

Emmanuel

DEELA — “TAKE IT UP”

Audacious rapper and uNder alum Deela is back for her first release of the year, “Take It Up.” Since releasing the snippet on Tiktok with the catchy lines, “Take it up with another hoe who cares you fucked up,” Deela’s new single serves as a reminder that she is not one to mince her words. The melodious trap record, layered with subtle of Hip-Hop elements displays Deela’s effortless and commendable flow on the track, earmarked by her unapologetic attitude. Deela is clearly over it and she is unwilling to entertain any exes trying to spin the block and distract her from her bag. 

Nwanneamaka 

CHOP LIFE CREW, MOJO AF & EESKAY — “NO EXCUSES”

Chop Life Crew, an ever-evolving collective of Nigerian rappers, is one of the names keeping the lights on in Nigeria’s Rap scene. On “No Excuses,” MOJO AF and EESKAY dip into their bags of braggadocio to unleash one-liners and punchlines and warning shots at their contemporaries. “Got a couple screws loose/Can I use it to hold the game together?/So we can last forever/Maybe I’m way too advanced for my class/So I sit in the back while my dogs dey attack,” EESKAY raps over Shwoff and BANICLAVA’s Drill-inspired production.

 

Uzoma

TESH CARTER — “MONSTER” 

Over the years, Tesh Carter has been in and out of mainstream prominence, but her talent has never been in doubt. Last year’s ‘Rebel EP’ demonstrated her seamless ability to parlay her rap origins into sonically vibrant music. Debuting this ‘23 with “Monster,” Tesh plays beautifully into the zeitgeist of contemporary Afropop. Her svelte vocals interchange exciting rhymes with a lustful edge to them, layered confidently over the upbeat Amapiano production. With the year’s second quarter just starting, this record—while being an eventful release on its own—gives her listeners so much to bank on. 

Emmanuel

SGAWD — “INTERMISSION”

On “Intermission,” Nigerian rapper SGaWD has a lot of thoughts to get off her chest. Over an infectious production from 44DB Collective’s Trill Xoe and JohnWav, she calls out the bullshit of those seeking to drain her energy and pledges allegiance to her close associates. “Intermission” is SGaWD’s first release of the year, coming after “Telfar,” last year’s collaboration with Ronehi and her 2021 EP ‘Savage Bitch Juice.’

Uzoma

BRUM3H — “YOU DON’T WANT ME” 

With bluesy production and measured vocals, Brum3h tells the quintessential heartbreak story on “You Don’t Want Me”. The subject matter is hardly new to musicians and to his credit, the rising artist makes his song stand out. Anyone who’s been in love would understand the crushing emotions that come with pouring yourself wholeheartedly into someone whose affection only trickles down—that tension is the sweet spot of Brum3h’s writing, which is enlivened through the passioned vocals he wraps around the production. It’s a song which sets grand ambitions for itself and delivers with understated confidence. 

Emmanuel

YAZZAVELLI — “KPOLI POLICE” FT. DOPEMAN TWIZZY

On her catchy single “Kpoli Police,” Nigerian rapper Yazzavelli creates a stoner’s anthem, as she and fellow Nigerian artist Dopeman Twizzy infuse their dedication to the herb into the daily conditions of living in the country. In a mix of English and Pidgin English, Yazzavelli and Dopeman Twizzy trade playful bars over a Hip-Hop production, calling out greedy smokers and the good feelings the herb elicits in them.

Uzoma

SHALOM DUBAS — “RUN ME LOVE”

Since we last heard from her on “Gold,” the brilliant Shalom Dubas has been relatively quiet. That’s no problem because the America-based Nigerian rapper packs a lot of thought into every song, and her latest single is no different. Carried on soft strings and quietly knocking drums, she flits in her signature style between rapping and singing, imbibing a distinct even if nostalgic vibe onto “Run Me Love.” In it, she explores the weight of relationships and the disparity that sometimes arises between what some are willing to give and what they expect. With a wise perspective, Dubas blazes on sweet wheels for the rest of the year. 

Emmanuel

Featured Image Credits/The NATIVE

New Music Friday: New Projects From Uncle Waffles, Lloyiso, Paybac Iboro & More

Posted on by Emmanuel Esomnofu

It’s Friday and the weekend beckons. What better time to unwind with the latest music projects from the African continent? More than ever, artists are utilising their creativity for the satisfaction of music fans around the world. These projects serve the purpose of preserving a moment (or moments) and distilling them into sonic pleasures. On this week’s New Music Friday, in addition to Davido’s feverishly anticipated ‘Timeless’, we’ve curated new music emerging from South Africa’s multi-genre scene down to Tanzania, Senegal and of course, Nigeria, which provides an anticipated album from a respected rap savant. 

UNCLE WAFFLES — ‘ASYLUM’

Since breaking out via a viral moment in 2021, Uncle Waffles has continued to thrill her burgeoning fan base. The South African polygoth has a distinctly energetic brand on showcase whether on social media or at shows where she plays, but it’s her music which keeps her hot on the lips. Her sophomore project ‘ASYLUM’ is now released, almost exactly a year after sharing ‘Red Dragon’. Extending her collaborative style, the seven-track tape features many voices impressing unique vocals over mostly ‘piano production from Uncle Waffles. 

BAABA MAAL — ‘BEING’

Baaba Maal is African music royalty. Making his debut in the late eighties, the Senegalese musician has shifted the metres of sound with every release, vividly imprinting his griot-influenced music on diverse audiences. With his soaring vocals and inimitable storytelling, he was destined to sing for the world. ‘Being’ sees him stage a triumphant return to making projects, his first in seven years. Recorded in London, Brooklyn and Senegal, he’s joined by producer Johan Karlberg who charges his soulful hue with epic arrangements. A backlog of bass and percussion layered through, it’s a forward-facing execution of a tradition which goes back centuries, through which Baaba Maal again confirms his singular place in the pantheon of world music. 

LLOYISO – ‘SEASONS’

Anyone who hears Lloyiso sing is bound to be astonished. The South African has a voice sweet and fluid as milk, a quality he’s consistently built on since entering into the scene before the turn of this decade. A master of melancholic imagery, he usually sets his music to stripped R&B acoustics, a choice which allows for unfettered emotion and vulnerability. After getting signed onto Universal Music Group affiliate Republic Records in 2021, Lloyiso has increasingly caught the ears of listeners, and ‘Seasons’ could have come at no better time. Just over twenty minutes in runtime, the scales of his writing is however unbound, while the music stretches past broody acoustics to incorporate ethereal variations. 

MABANTU — ‘UNIVERSITY’

Tanzanian duo Mabantu have come good in the East African scene over the past few years. With their vocals complementing each other, their bright takes on the popular Bongo Flava sound has earned them regional hits such as “STAR” and the Harmonize-featured remix of “Utamu”. On their first project, the duo of Twarha and Muuh chart the rollercoaster of memories which is often the mark of youthful existence, using the university as a setting to access such moods. Adapting inflections from genres as diverse as rap and soukous, it’s a colourful project which solidifies Mabantu’s position in the scene. 

PAYBAC IBORO – ‘WEST AFRICAN GOAT’

A great figure in Nigeria’s underground rap scene, Paybac iBoro has been moving towards mainstream recognition in recent years. With Headies nominations and features with the likes of Show Dem Camp’s Ghost, his technical prowess and ability to shine over any beat hasn’t gone unnoticed. Another incredible tool in iBoro’s arsenal is his conceptualisation of albums: from ‘The Biggest Tree’ to ‘CULT!’ and now ‘West African Goat’, there’s a charged theme running through each, yet connecting to his personal-streaked takes on communal existence. With colourful Nigeria-centric production and immersive stories, ‘WAG’ culls in features from Viveeyan, Barzini, Elveektor, Alpha Ojini, Ozone, Payper Corleone, Pizzo Da Lp and 3rty. 

DAPIANO — ‘RE-PRODUCTION’ 

Producers making projects is no longer a new thing in Afropop, fortunately. Given the far-reaching sounds they’ve been known to imbibe, projects curated by producers are usually encompassing in their vision. Dapiano is one of those names who’ve been in the Nigerian music scene for a while, producing a number of hits, but haven’t really gotten their deserved credit. He steps towards that light with his new project which is titled ‘Re-Production’. A succinct collection of four songs, the sole features are rapper Vector and Shizzo, a sparse direction which allows the bubbly flavour of Dapiano’s production take centre stage. 

RHYMA — ‘STAMINA’

Based in South Africa, the Nigerian musician Rhyma packs a lot of influences in his music. A conduit through the distinct musical traditions of both countries, he’s experimented with everything from Afropop to House and even New Age. On his almost hour-long album ‘Stamina’, there’s an intensity which lights up the records from underneath, while Rhyma’s bubbly vocals usually work to connect the wide-ranging sounds. A number of features also join the carousel, giving the album a festive sheen. 

NAKHANE – ‘BASTARD JARGON’

Since last year, Nakhane has been teasing a new album through songs with features like Nile Rodgers, Moonchild Sanelly and Perfume Genius. Although starting their career with a folksy sound which was partly in tribute to the legendary Ali Farka Toure, Nakhane has largely embraced electronic music since their coming out as queer. They’ve been championed by icons like Elton John and Madonna; listening to their music, the acclaim really comes alive. ‘Bastard Jargon’ is the latest iteration in their ever-evolving artistry as Nakhane charts the meeting point of individual taste and familial history. Through evocative, epic records such as “Hear Me Moan” and “My Ma Was Good”, it’s a sure way to get your weekend started off with some explosive sexiness. 

ICYMI: READ OUR 1-LISTEN REVIEW OF DAVIDO’S ‘TIMELESS’

Meet Morravey, the Nigerian singer on Davido’s new album ‘Timeless’

Posted on by Nwanneamaka Igwe

With a decade-long career and only three albums, the announcement of any body of work by Davido will always pique the interest of listeners. However, for some reasons, the announcement of his fourth studio album, ‘Timeless,’ was markedly different. Since the two years post-release of his cross-Atlantic album, ‘A Better Time,’ Davido delivered consistently stellar tracks that pushed the envelope around his sound. From CKay’s “WATAWI” with Focalistic to Pheelz’s “Electricity,” and Adekunle Gold’s chart-topper, “High,” each new release serves as a reminder that Davido doesn’t just have a phenomenal ear and taste for music, but he’s also a deservedly revered and reliable force in Afropop.

As we close out the first quarter of 2023, Afropop enthusiasts are granted front-row seats to a new wave of music with a fresher and bolder outlook. This entrance into a new era comes with the highly anticipated relaunch of Davido Music World (DMW) since the announcement of a fourth studio album, ‘Timeless,’ from the label boss himself. Still reeling from the excitement of the release with features from Angelique Kidjo, Musa Keys, Asake and more, DMW 2.0 introduced two record label signees, Logos Olori and Morravey, who feature on the album.

 

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With Davido’s opulent discography, the consistent hitmaker and sought-after collaborator has a good ear for the craft, considering the astronomical success of his previous signees, Mayorkun, Dremo and more. And in a world where talented women are repetitively sidelined and excluded from important rooms and conversations, Davido incessantly lives up to his motto, ‘We rise by lifting others’ with Daniella Ibinabo Daniel aka Morravey. The Rivers State-born signee will be the second woman, after Liya, to work under DMW.

For rising artists, relentlessly waiting for their moment of breakthrough where their sound reaches the right ears, the grind doesn’t stop. For those that have been at it for several months or years, that tender stage requires a significant amount of persistence and consistency but with the recent age of social media, the process has been somewhat simplified. Taking to TikTok to show anyone who would care to listen to what she is made of, 21-year-old Morravey posted a series of freestyles on the app. With the drive and hunger of any up-and-coming artist, she tagged several front players of the blooming genre that is Afropop and one viral video later, she successfully gained the attention of Davido. The budding star benefits from the buzz generated around the label boss’ album release and rightly so as her debut performance on “IN THE GARDEN” doesn’t disappoint.

 

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Still warming up for the 17-track album, “IN THE GARDEN”—the third song of the project—is short and sweet. Leading in with heart-thumping log drums, you already know what to expect as you delve deeper into the promising track. Morravey’s vocals kick off the love-themed track instantly making it known that she is not shy to showcase how high those harmonious notes can go. Her sleek vocals hold confidence as she expertly rides the wave of the beat, never once displaying a hint of uncertainty despite this being her debut performance.

Prepping us for Davido’s smooth entrance into the track, Morravey lays her intentions bare and she is sure not to mince her words as she sings, “Far far in the garden, I wanna give you loving/Be the one to hold my hand, I want you to be my man.” However, the hook, which I anticipate will be stuck in my head for the next couple of days, elevates the track even further as her dulcet vocals pair perfectly with the intoxicating instrumentals.

With a brisk delivery in the middle of the track, Davido is in and out in no time, intentionally allowing Morravey to shine. By the end of “IN THE GARDEN,” the message is clear. If you weren’t paying attention before, do so now.

Featured Image Credits/Morravey

For The Girls: Real Warri Pikin is an unstoppable force in African comedy

Posted on by Nwanneamaka Igwe

Undisputedly, the functions art serve for any consumer cannot be summarised in a finite list. From documentation of events to a means of self-expression or simply as a medium to raise awareness and educate. However, a major role art plays is entertainment. And for a country like Nigeria, regularly riddled with a plethora of quandaries, the entertainment purpose of art doubles down as a means of escapism. For years on end, comedy has served as a reference point to temporarily suspend reality. Despite the fact Nigerians unarguably need a laugh from time to time, the stand-up comedy industry—like every other creative and non-creative industry in the country—is reserved for and dominated by men. Working just as, if not twice as hard to achieve results, the women struggle to make a name for themselves and stand out from their male counterparts who have no issues taking up space.

On the rare occasion that a woman is credited for her outstanding efforts in this field, one of the names you’d likely come across is Real Warri Pikin (Warri Pikin). As her stage name implies, the comedian—born Anita Asuoha—hails from Warri, Delta State. “I think my heritage is one of the factors that has brought me this far and it has played a huge role. I remember when I was going for my London show, the first set of people who bought my tickets were Ijaw, Urhobo and Itsekiri people that live over there. It was really strategic.” Anyone familiar with the comedy star knows that her heritage is also reflected in the sort of jokes she tells as well as the language she adopts. “Na where my strength dey, that pidgin English. I don’t speak proper pidgin. It’s the Warri Pidgin.” 

However, deciding a stage name and the reference point for her witty punchlines and jokes was the least challenging aspect of the journey ahead. Building a career from scratch, with minimal experience in the comedy field after studying political science was difficult enough but doing it in a male-dominated field made it more tasking. Reminiscing on her entrance in 2018, sitting amongst industry heavyweights like Basket Mouth, Bovi and AY to name a few, she faced numerous setbacks. From being told to change locations or the tone of her jokes because they were too ‘vulgar,’ some industry colleagues made several conscious or unconscious attempts to paint her as an overachiever. 

“‘Why do you want to use a big hall? Start with a small hall because you know female comedy shows are not as big.’ They tried to discourage me but I said, ‘why I no go fit use the biggest hall? If a man can use the biggest hall, why can’t I?,” Warri Pikin laughed as she looked back at the measly attempts to shut her down. However, she chose to remain persistent and authentic, trusting that her hard work will pay off. In a sit down with The NATIVE, Warri Pikin goes into detail about her journey and lessons in the industry thus far as well as how the steps she took at the start have enabled her to build a brand on the global stage that is the internet. 

 

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Our conversation, which follows below, has been lightly edited for clarity. 

NATIVE: Let’s start from the top. As someone working on the inside, what’s it been like building a career in the Nigerian entertainment industry?

Real Warri Pikin: It’s been very bitter-sweet. It’s been difficult. It’s just mixed emotions because when you’re still in the beginning stages you don’t realise that it’s something you’re going to build forever. You never get to the finish line. As long as you are alive, you continue to build and evolve if you want to remain relevant. The foundation was not easy, especially coupled with the fact that I was married with little kids. I’m also a woman in the industry, dealing with those backward narratives. You know how e dey be. It’s been really difficult but I was very intentional and bent on changing the narrative. A woman can be in a male-dominated industry and still stand out. 

Comedy in Nigeria as you’ve rightly pointed out is very male-centred with many top spots reserved by men. Would you say there’s been a significant incline in the number of women doing comedy? 

About an increase in women in comedy, not at all. There’s no single increase. If you want to compare with the male comedians, it’s nothing. No one can count but you can count the number of female comedians and we might not be up to ten. The number is really not encouraging. 

What’s your secret ingredient to staying confident and focused on your craft?

Not really a secret ingredient but I’d say authenticity. Just being myself. It’s very easy to be me. I do my very original jokes and I’m not faking it. Who I am on camera is the same person I am in real life. Just being myself is my secret I guess. It’s also a blend of my being very focused, consistent, intentional and also trying to learn new things. Being myself is still that key. 

Given that there weren’t very many women in the space, who did you look up to growing up? Who were your early comedic inspirations?

For my role models I had a couple, like Helen Paul. I had role models like Aunty Mandy and Lepacious Bose from A Night of a Thousand Laughs as well. 

Having recognised this problem, what role would you say consumers have to play in ensuring the longevity of female comedians?

Oh yes! The consumer factor is like 50%. Consumers need to support and they need to encourage. I remember when I won [Comedian] of the Year [at] Humour Awards and I saw a lot of comedy consumers say things like, ‘Ah na woman them go give? Where was BOVI?’ I was just thinking, didn’t I work? Didn’t I do comedy shows? I no crack joke? They need to really show support because the comments were not good. Even on Hip TV, they were saying ‘You want to tell that Warri Pikin is funnier than so and so?’ Do you understand? I had to block out the noise. Make I no lie to you I funny die! The narrative is just poor and consumers need to really support female comedians.

 

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Comparing when you started in comedy and now, has your approach to comedy and the sort of jokes you tell changed? 

Of course, my approach is still changing because I always evolve and build myself. I always want to learn, unlearn and relearn things. The joke wey I crack for stage 2018 or 2019, I no fit crack am now. I go don pad am and upgrade am. I’m more in tune with my environment. I understand people better and I understand my audience better. I can say for a fact that my comedy now and before has really really changed. 

We’ve also had a shift from stand-up comedy to Internet comedy in Nigeria. How would you say using social media channels such as Instagram and TikTok have been for the advancement of your career?

One of the advantages of also having an online presence is reach. As a standup comedian, when you’re on stage and people don’t know you, the first look they give is always a weird ‘you better be funny.’ It takes the grace of God to really perform and leave the stage without getting booed. Since I already have an online audience and presence, before they call me, they’ve started cheering. So the online videos help them have an idea of what to expect. They know that I’m funny. That has helped me in my standup. I’ve never been booed and I don’t think I will ever be booed by the grace of God. That first ten seconds of cheers, na the energy wey you go take kill am. 

Fair enough. How did the COVID-19 pandemic affect your work and what are some of the ways you navigated that rough time?

That 2020 ehn? The pandemic made me discover other things about myself because when I started, all I had going for me was standup comedy but it occurred to me that we need to focus on other things. At the same time, it taught me that I need to have more content online. That was the time I opened my YouTube. Invest and create more content online across platforms. Instagram is very short, you know. The life span of one video is short so I had to create longer form content on YouTube. Staying at home helped me discover that and see how I can get more content for other platforms. 

I guess it would’ve also helped you grow audience membership. 

I’m telling you! The kind of views I got on Facebook in 2020 I’m struggling to get them now. I used to get 16-20 million views but now I dey struggle with 1000 views. I’m telling you. My followers increased drastically as well. I opened my TikTok in 2020 and I got over 500 thousand followers in a week. 

 

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What advice would you give to any woman trying to venture into comedy in Nigeria? 

First of all, you need to work on your mind. If you can conquer your mind you can conquer the world. It’s all in the mind. When I started, if I had listened to what people said I won’t be here today. There are two veterans—I no fit call their names—but top comedians in Nigeria, one of which told me to come to Lagos if I want to blow. Just imagine those words coming from a veteran. It will make you start thinking and making decisions that you aren’t prepared for. Because they’ve done 20 years plus in the industry, you’d now be thinking you always have to take their advice. I don’t know the kind of mind I had then that just pushed me to do as I like. I had a goldfish mentality. Anywhere wey I dey for the water, they go see me.

Very essential especially as you’re starting.

Exactly. Another veteran told me to change my type of comedy saying, ‘You’re too vulgar. You’ll not go far.’ You need to conquer that mindset and set your own rules. Times have changed. If you’re a woman that wants to do what I’m doing, you need to conquer that mindset. You don’t have to go with what the world thinks. It’s what you think would work for you. Everyone has their own customised grace and strategies. Second of all, you have to make sure that what you want to do is what you’re supposed to do. Be sure you have passion for it and you feed it by learning about it and working on it. With those things, you now focus as well. You’re good to go. The internet is also like a small stage right now so in 2 seconds you can blow.

Amazing advice. What’s next for Warri Pikin this year?

Just stay put. Watch out. 

Featured Image Credits/The NATIVE

ICYMI: THE NATIVE LAUNCHES NEW WOMEN-FOCUSED VERTICAL, UNRULY

A 1-Listen Review Of Davido’s ‘Timeless’

Posted on by Dennis Ade Peter

Absence, they say, makes the heart grow fonder. For 12-plus years, Davido has been a fixture in Afropop, an inescapable superstar with an outsize personality and designer duffle bags brimming with hits. As he’s unequivocally established himself as Nigerian (and African) music’s quintessential pop savant, Davido has also grown into the man that he is very publicly. That means celebrations are shared with millions, controversies are amplified, missteps are loudly dissected, and personal losses attract communal condolences.

Around this time last year, there was chatter about a potential Davido album for the summer, given some credence by the May release of the gospel-influenced “Stand Strong,” in collaboration with the Sunday Service Choir. As the months passed without further developments, those hopes for a project would come to be replaced by sympathies to the singer and his family, following the loss of his son. Death and grief, sadly, aren’t new to David Adeleke, but this loss carried more weight than the previous losses he’d grieved.

Months of silence was broken a few days ago, keeping promise with his “see you in march” tweet from last December. The cinematic video officially set off the road to his fourth studio album, ‘Timeless’, with an open letter hinting at the music’s formative times and his definitive trait of resilience. We’ve seen Davido weather his way through losses and controversies, but the nuances here are different, which plays a role in our expectations of the music. How has Davido weathered the last few months? ‘Timeless’ has the answers.

In usual 1-Listen review fashion, all reactions are in real-time while the music plays. No pauses, rewinds, fast-forwards or skips.

 

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“OVER DEM”

Going in a bit blind without all the credits but, boy, am I excited?! This sax is adding a spiritual dimension to this gbedu-type beat. “I be David for life” is going to ring out at concerts, I’m 1000% sure. I don’t know what I was expecting from this intro but this is a little more rambunctious than I expected, but then again, this is Davido in imperial form and it sounds quite fitting. I like that verse, a couple of self-possessed quips. The groove in this beat is a really good springboard for Davido’s brag. The dancing governor gets a line, which is an excellent touch because his tenure has gotten off to an excellent start from all reports. Nice intro, nothing crazy but it’s great as a tone-setter.

“FEEL”

Omotepiano is in the building! Davido knows how to get your attention regardless of what’s happening in the music, it’s that magnetic star power always at work. There’s some depth to this even though it’s a love song, heartfelt on first scan but I need to hear this again for critical value. In the moment, though, this could be one of those sleeper hits. Might not be a huge song but you’ll hear people murmuring the hook when it comes on.

“IN THE GARDEN” (feat. Morravey)

Nigerian pop songs that feature gossamer guitar loops rarely miss. More omotepiano vibes. Whose voice is this? (Editor’s note: DMW new signee, Morravey.) Her voice is very radiant and the melodies are supple, reminds me a little of Waje. I don’t know if it’s my headphones but the mix on this log drums sound a little more cruddy than necessary. This is Davido in his “My money, my body na your own o” bag. Nice verse, but this hook is the star of the show. That guitar loop as well. That was short, really short.

“GODFATHER”

Blaise Beatz’ quarterly streaming checks must be going crazy. Yes, I’m pocket watching. I might be getting omotepiano’d out, dawg. This sounds like a Davido song I’ve heard before, sounds like he’s in cruise control. Maybe it’s the title but I expected something a little more assertive. Ah, there go the lines about his status, but this romantic tilt to it is undercutting it for me. Even this hook is tepid to me, like I’ve the man sing similar sentiments to stronger effect. Might be a skip.

“UNAVAILABLE” (feat. Musa Keys)

Musa Keys credit and Magicsticks tag? This has to be some heat. Yeah, this is an anthemic hook. Those piano chords came in with some sauce, and this man is talking. I’m going to be repeating “I’m unavailable, dem no dey see me” to any and every one for the next few days. I might need more people to go to Musa Keys for vocal features, this is a remarkable contribution. I figured he didn’t produce this since there were no delicious guitar chords, but Magic delivered—as he always does. Interesting to have a South African producer/singer over a Nigerian-produced ‘Piano track. This is the hit song.

“BOP” (feat. Dexta Daps)

I was about to say there might be no log drums here but it hit me right in the ear drum. This one has an afro-bashment knock to it, catchy but I need to hear something more special from Davido to sell me on this. Who’s this? Sounds like a voice of a UK-based artist to me for some reason. (Editor’s note: It’s Dexta Daps.) There’s more fire in this person’s verse, love the passion in his voice, sounds like the infatuation is consuming him. This hook is serviceable and it works well with the beat. Need to revisit.

“E PAIN ME”

The Pon-Pon sound is back! My excitement is based on this being a variety addition, not that it’s an excellent beat. I mean, it’s good enough to pull out a really strong Davido performance. Who was the last person that did Davido dirty? He’s doing a good job recounting those dark days, or at least channelling someone else’s experience. That “Baby no be so” line on the chorus stands out to me, maybe it’s the melody. This fade out isn’t it, man.

“AWAY”

Shekpe! always gets me going. Is Magicsticks is the best omotepiano producer out here? I’m on the yes side of this argument. “Gbedu dey body/I’ve been doing this/e don tey.” That entire bridge is quintessential Davido, every line sparkles with a knowing conviction. Davido is coming for all the dancefloors with this album, which is expected. This one is a hit-ready slapper. Short, straight to the point and effective.

“PRECISION”

This album has flown by. Haha, I like that opening line. I don’t know about this decision to add a log drum to this, I think the konto/galala groove was really strong on its own. I guess we’re keeping things modern. “As I dey here, I’m counting my blessings” is a resonant lyric. One of the most underappreciated things about Davido is how he’s honed his voice to make everything sound infectious, even if the timbre is a little unconventional. “Precision” is a solid example of that, it all sounds effortless. This would end up being more of a deep cut, but it’s one of the brightest spots for me so far.

“KANTE” (feat. Fave)

More Caribbean pop vibes, very colourful. Fave! Her voice is so distinct. I think people focus on the timbre of her voice more than how agile it is, which is really the sell of her singing power. Davido is mirroring Fave’s melodies but with his own swaggering touch. This verse is giving Oli Ekun’s “Agba lo n s’oro” vibes, LOL. It’s the only thing I could compare it to. This is a really good hook. Yeah, this is going to be one of the shorter ones here. Good deep cut.

“NA MONEY” (feat. The Cavemen & Angelique Kidjo)

I heard “Sawa” and those guitars and I knew the Okorie brothers are in the building. Benjamin’s voice was beamed in from an ancestral plane, and the way Davido slides in so majestic. The groove is grooving! “Be like mamiwota, why you fine like this?” I feel you, David. I just remembered that thread of Igbo women displaying utter beauty. God dey create. Ms. Kidjo! Always a force when she steps in front of the mic. Like 50 good things are happening on this song. This is such a pleasant surprise. Definitely a keeper.

“U (JUJU)” [feat. Skepta]

Any song that follows “NA MONEY” has to slap, man. Come on, Davido. Give me something. I like this, R&B-tinged slapper. “Tule”-era Davido is one of the greatest highlights in modern Nigerian music culture. I like the bounce on this. Big Smoke! Skepta on Nigerian pop jams is always welcome, he put on before—redacted. The pidgin bit is a nice touch. This is a solid song.

“NO COMPETITION” (feat. Asake)

I’m awake, man. The last couple of songs have kept me engaged and this one is already doing the same. “You go no say people fine/God design na elelele” is such a remarkable line. Bro, Nigerian women are so stunning. Like, you’ll just be taking an evening stroll and you’ll be thanking God for the gift of sight. I digress, my bad. Asake! Okay, talk to her! Yeah, this is a great verse. This is exactly how I’d expect Asake to yarn a babe if he’s attracted. I like this song.

“PICASSO” (feat. Logos Olori)

These are some beautiful guitar strums. Davido really put on for the loverboys on this album, and this is going to be part of the reason why I need everyone to kill the Yoruba demon agenda. I’m trying to place this voice, I’ve heard it a few times before. Fuck, I hate this no credits P. (Editor’s note: That’s new DMW signee, Logos Olori.) Davido listening to Sauti Sol to prove his romantic-at-heart bonafides is funny to me, but I get it. Whoever this guest is, you put in a great shift.

“FOR THE ROAD”

Blaise Beatz tag, hope I don’t hear no log drums. I like this sort of folk-pop direction, has some Caribbean pop bounce and colour to it. Davido dipping into his lower register is an interesting, if a little tepid, choice. LOL, guys have such wild ways to cajole women to get what they want. The choral hook is a nice touch but I don’t think I want to hear this song more than one or two more times after this.

“LCND”

Penultimate song, let’s get it. This is going to some emotional place, I think. Sike, my man is doubling down on his readiness to enjoy life and make money. You know what? I rate it, because legends truly never die. I automatically hate any line that references Lukaku; I’m an Arsenal fan, go figure. This beat is radiant and triumphant, fitting for Davido’s proclamations. Will revisit this for sure.

“CHAMPION SOUND” (w/Focalistic)

Counting its leak, this song is almost two years old and I think it’s time to call it what it really is: A CLASSIC. Caltonic SA and ___ gave Mr. Adeleke and Mr. Sebetso a heat rock of a beat. More than “Ke Star (Remix),” this song is the one that represents their chemistry and I think we need to start asking about the whereabouts of that joint EP. That Runtown line is Nigerian pop heritage, Focalistic’s syncopated flow and Davido adding adlibs is one of the greatest feats in Nigeria-SA collaboration. Like I said, this is A CLASSIC.

Final Thoughts

001 is back and he means business. I don’t think anyone expects Davido to be shaking off rust, but there’s almost a concerted effort to get things going right from the bat instead of addressing his absence. ‘Timeless’ is a reassertion of greatness from one of the greatest entertainers of his (and any other) generation. Almost all of the 17 songs here are made with the intent of showing Davido at his most optimised, a hit song generator that distils his perspective as a young, famous and successful person into dance-ready jams.

For the most part, ‘Timeless’ comes across as effortless—maybe a little too effortless. Unlike how his last two albums helped us better understand him as a person that cherishes his loved ones (‘A Good Time’) and a man with a boulder-sized chip on his shoulder (‘A Better Time’), this new album doesn’t land revelatory punches. Also, there aren’t too many musical risks, leaning heavily on Nigerian translations of Amapiano especially on the album’s first half. The collaborations are remarkable, though, a diverse cast that help the project’s variety and also underlines Davido’s adaptability as a pop artist.

The driving force for ‘Timeless’ is invincibility. Between opener “OVER DEM” and penultimate song, “LCND,” there’s a triumphant air Davido walks in. Even though the moments of emotional realness are rare and undercut in favour of posturing, Davido’s comeback is a worthwhile affair in pomp and self-conviction.

ICYMI: DAVIDO’S NEW ALBUM ‘TIMELESS’ MARKS HIS INDELIBLE LEGACY IN AFROPOP

NATIVE Exclusive: Trill Xoe Is Always Expanding His Artistry

Posted on by Emmanuel Esomnofu

“Trillo tell me say na NATIVE be the matter,” raps the mercurial ODUMODUBVLCK in what is currently the hottest song in the country. That makes the mentioned figure one of the most sought-after people on the internet, where the song is dominating every post and status, its instantly catchy beat in swaggering symmetry with the quotable-laden bars of the rapper. When Trill and I connected on Zoom some days ago, we immediately got to the Declan-sized elephant in the room. 

“It’s just crazy to see everyone’s reaction,” says Trill who co-produced the record and is professionally known as Trill Xoe. “I was just literally watching a video of Tony Elumelu listening to it and I’m like ‘wow’.”

A billionaire who’s one of the richest men in Africa, Elemelu’s endorsement follows a long list of celebrity mentions: from Wizkid to Adekunle Gold, Timaya, and the West Ham captain himself Declan Rice, the Trill Xöe beat has been heard just about everywhere. Having a glossy finish without losing its gritty appeal, the production perfectly aligns with the song’s vision—a treatise on self-confidence which sounds the part. With ODUMODU’s mention of his friends and crew members, “Declan Rice” sparkles with boisterous communal energy. 

 

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This was initially achieved through the creative process, Trill Xöe tells the NATIVE. “I have to shout out 44db,” he says, referencing a producer collective he’s part of. “John Wav—he’s a part of 44db, he’s a frequent collaborator with me—he sent me the pack when I was in Ghana cos I asked him for that, to send me zips to work on, cos that’s how we normally work. So he just sent me the beat and I heard the first twenty seconds and I was like yo, this is crazy.” 

With that grand vision set, Trill Xöe knew the beat had to go somewhere else, and he got people in. “One guy called OTB—shoutout OTB—he did some drums that were fire and John added melodies,” he says. “I heard it, the full beat he sent and I wasn’t feeling all the melodies so I told him to send me the zip so I could touch it up. Then ODUMODUBLVCK just pulled up and he heard it and was like, ‘Chill. This is it’.”

Everything was in alignment: it was their first day in Ghana for a recording camp and he was just setting up his gear when the song came together. The gunshot sounds being ODUMODU’s idea, the Native Records rapper sent it to UC who produced “Dog Eat Dog”, and kept a steady creative rapport with the artist. “He felt like something was missing,” Trill recalls, “and UC now added that string base that you hear (mimes the sound) and a flute. There was already a flute in the beat but this flute was a bit different. And you know, that’s how the magic was made.”

Collaboration has always been a part of Trill’s sonic philosophy. As early as 2018, he was thinking through a curator’s lens, bringing artists together in songs he produced. That year saw the release of ‘Blood, Sweat and Tears,’ a sort of manifesto which underlined his resolve to dig beneath the field of popular music. Featuring a host of rappers like Psycho YP, Barelyanyhook and Zilla Oaks, the EP however swirled with delicate touches, revealing Trill Xoe’s mastery over his wide-ranging genres. 

In 2016, Trill Xoe had left for the island country of Mauritius for his university education, and while there getting involved in the music ecosystem. “I was just going through a lot mentally,” he says about the period, “because I was trying to balance school and putting myself out there through music. It was sort of my dissertation cos I wanted to show the world what I was working on. And you know it was that period when SoundCloud was hot; so this is me out here, seventeen years old in Mauritius, just saying you know what? I’ll just release this”. 

Surprisingly, he barely met any of the artists in person during the creative process. “At that point, the only person I met in person was Rilwan,” he explains, “because we went to school together. But YP, Tonero, I never met them in person,” he says with a laugh. “I’m a perfectionist, I pay attention to every detail,” says Trillo when I ask about his involvement in a recording session. “Down to the writing, I try my best to just direct the artist in where I was going with the beat. Cos I really love synergy; let’s say I’m making a beat from scratch, I want to be on the same page as the artist.” 

We wind off an anecdote about Sarz grouping producers as either musicians or beatmakers, depending on their levels of interaction with the complete creative process. Trill Xoe then mentions the legendary producer as one of his inspirations and I ask who else belongs on that podium. “A lot, I can’t lie,” he says. “Firstly, everyone in 44dB, RZA, Kanye, Metro, who else? Kabza—ah mehn, Kabza is crazy. So these are just based off listening from when I started to where I am right now; Adey, Sarz, they’re a lot.” 

Music being part of his everyday existence, it’s no surprise how deep Trill Xoe’s interest runs. He remembers being a stubborn kid and always getting in trouble. “Funny enough, my first introduction to music was in church; I used to be a drummer,” he reveals. “Even before then, I used to always—we used to have this big cupboard that was like a drum, so I’d get pencils and just be tapping on it. I was making different noises but to me it was fun sha”. 

He was in church for about five years before he went to boarding school. In senior secondary school, he became more immersed in the modern adaptation of use. Using laptops within the school was then newly approved and a senior whose name was Olu (who was also a DJ) had FL Studio which Trillo found fascinating. The era of DRB Lasgidi and Joules Da Kid, young people were being increasingly drawn towards creativity. “I was just amazed to see them record these things from scratch,” he recalls. “I got FL from Olu; I think he bought the CD or something cos that was the very old FL. And he gave the CD, gave me all the details. Then I used to make rubbish beats. I realised I wasn’t feeling what I was making”. 

YouTube provided the source material for further research. Spending hours on the platform, he’d watch tutorials to learn the concepts of music-making. Metro Boomin’s ‘Cook Up’ volumes were important for him; more than just techniques of mixing, he also learnt how to handle a studio. He started remaking beats and executing a flawless replication of Chief Keef’s “3Hunna”. “Once I did that,” he says, “I realised I actually do not want to be one of those guys making Type beats on YouTube and from there I just went on a path of self-discovery. Knowing the sounds I like, the tempos I like, the keys I like, sort of acts I like, it just helped me out”. 

Trill Xoe is also a DJ, which is a skill he picked while in Mauritius. Wanting to “hustle for [his] shit,” he was advised by his close friend and manager Julian to meet clubs and event organisers in the area. “At a point, it was like we were the best DJs on the island,” he says. “I remember Davido came, Mayorkun came, Falz came, Kiddominant came—it was just something like ‘yeah, I can actually do something with DJing’. Anything music, you can catch me there”. 

Last year, Trillo announced that he had signed on to NATIVE Records as an A&R. Bringing his wealth of technical mastery and industry knowledge, it’s an alignment of values as the urban cultural platform has always been big on spotlighting the best talents, regardless of where they are. Currently home to ODUMODUBLVCK and Smada, it’s a movement with every potential to define the soundscape of this particular generation. 

“Shoutout Teezee, shoutout Chubbz, shoutout Sholz,” he says with an air of genuine appreciation. “It’s crazy, I just feel like they just believed in me and we’re here for talent. You know how they say producers are the best A&Rs and they took the risk on me and you know, hopefully it’s paying off. We have the number one song in the country right now. So shout out everyone at NATIVE Records.” 

On an individual level, Trill Xoe has got some things planned for the year. “This year is looking fresh,” he says excitedly. “So this is going to be an exclusive, I’m dropping my first project since [‘Blood, Sweat and Tears’]. The project comes April 21st, first single April 14th. The single features Azanti and one of the young boys I discovered, his name is Maji and the project is the first time I’m rapping on like two songs. It’s a six track EP. I’ve been working on this like 2019; can’t wait for it to come out. It’s called ‘Lucent’. It means glowing with light.”

Featured image credits/NATIVE

Meet Logos Olori, the latest artist on DMW’s all-star roster

Posted on by Emmanuel Esomnofu

It’s not everyday you get signed onto a music label owned by one of the greatest artists Africa has ever seen. For up-and-coming musicians who consistently put in work into their craft and perception, due recognition also comes with energised determination. That is how Logos Olori would surely be feeling at this moment. Alongside Morravey, he was announced yesterday as the newest signees of Davido Music Worldwide (DMW), the premium markers of its exciting rebrand which refocuses for a conscious push into the global market that is now available to Afropop. 

Being one of the most consistent hitmakers between now and the previous decade, Davido has proven to have a great ear for sound. Over the years, the pop star has been able to place his fingers on the exact movement of a culture’s pulse, and use the resources at his disposal to execute his ideas. This was the unique pull behind the success of the first set of DMW signees, of which Mayorkun, Peruzzi, Dremo and DJ ECool penetrated deeply into the market, scoring many hits between themselves before most of them moved on. 

 

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Its this celebrated Afropop tradition that Logos Olori uses as his launchpad. Born in Lagos as Olalekan Emeka Taiwo, the singer began playing the drums when he was young. Iconic musicians such as 2Baba, Bob Marley, Michael Jackson and Fela Kuti were some of the inspirations he would imbibe as he set on a professional career, which really began while he was an undergraduate at the Lagos State Polytechnic (LASPOTECH). 

There, he also became close friends with Magicsticks, the acclaimed producer best known for his work on Asake’s ‘Mr. Money With The Vibe’. Being around such intentional creatives, it was natural for Logos Olori to grow confidently into his sound, which is probably why he has such a stacked catalogue before his first record deal. Produced by Magicsticks in 2020, “Only You” was his debut. A quintessential Tekno-esque Afropop groove, his emotive qualities were present even if not sharpened to elite standards. 

His creative relationship with the King of Sounds and Blues continued into the Dandizzy-featured “Logos Party,” a mellow bop which sees him flex a bit of rapping skills. Playful in tone and loosely structured around Magicstick’s horn-flecked production, there was audible development. That productive pandemic year continued with “Shine”, again produced by you-know-who. Perhaps the most accomplished record in his backlog, it’s a mix of good vibes and aspirational messaging. A favoured pairing among street hop musicians, it makes perfect sense in the hands of Olori, who’s mentioned as having grown up in the Ajegunle hood of mainland Lagos. 

Since then, he’s put out music each year. From the amapiano-indebted “Palliative” to the Young Thug-sampling “Irregular” and afropop-coloured “Dissolve Me”, the musician has maintained a versatile approach to his records. In case you thought he didn’t have a softer side, “Happy” featured a virtuosic folksy groove from Magicsticks, while the artist contemplated the confusion of mixed signals in his verses. “Yellow gold, pelu ice/ Feeling nice, I’m alright tonight/ Carry go, do me so, overflow oh/ I’m all yours tonight,” he sings with tender submission, but more excitingly, it’s the assured and understated way he positions the rhyme schemes in between the lines, showing his skill as a songwriter. 

“Lale” was his only release from last year, put out in July, which is presumably the period before he went into artist development by DMW. Stuffed in the recent style of Magicsticks, the beat teases a Fuji-inflected performance from him, yet another showcase of the Logos Olori dipping into the pockets of established sounds to find his rhythm. This is a man prepared for the journey. 

ICYMI: MAGICSTICKS WANTS TO BE KING OF THE WORLD

uNder: Best New Artists (March 2023)

Posted on by The Native

It’s no known secret that Afropop is growing at a breakneck pace; from welcoming ascendant stars to garnering the attention of audiences beyond its home and selling out big-ticket venues across the globe. According to the IFPI Global Music Report, Sub-Saharan Africa was the only region to see more than 30% growth, becoming the fastest-growing region for recorded music revenues in 2022. 

Despite this growth, women in Afropop, who have always been an integral part of the culture’s fabric, are still being shifted to the background either as decoration for their male counterparts, or pitted against one another, and in some cases, maligned by critics and fans alike. Thankfully, we have community-driven initiatives such as Femme Africa bridging this gap in the industry, and creating a space where artists, producers, DJs, A&Rs, music execs and enthusiasts can harness their skills and talents, and increase their reach through live music performances that endear them to listeners. That’s why this International Women’s Month, we’re partnering with the women over at Femme Africa to present our first-ever women-focused curation of Best New Artists across the continent.

With 2023 poised to be an even greater year for the music coming out of Africa, there are plenty of new women artists that we’re excited to watch out for; from bilingual Nigerian rapper Brazy to Ghanaian singer with a voice of gold, Melissa, and Cameroonian singer, Posi, there’s something in here for every listener. Tap in if you wish to be that friend putting people on to good music or if you’re an A&R, looking for the next best thing, this is the group of artists you want to be paying attention to.

WINNY

Winny

In association with Femme Africa.

Last year, Winny released “Pretty,” a riveting track that contained a litany of proclamations bordering on abundance, both financial and emotional. “I’m pretty in my own way/And I like to dey sing what’s on my mind/I love broke inna rich way/Stay humble, to make my money with pride,” she sings. It’s both the lyrics and Winny’s emotion-laden vocals that demand attention; the simplicity in her words does not belie the profoundness they carry, and her voice, which reverberates with a certain ache, pulls at the heartstrings. While the Benue State indigene is relatively new to the music scene, a little digging uncovers her consistency with covers of songs from other artists and a 2018 single “Toluwani.”

In music videos for her songs, which she calls “short films,” Winny also offers visual treats alongside the audio delights. In the Prince Akpa-directed video for “Pretty,” Winny favours minimalistic backdrops, allowing her striking fashion style—hair, clothing and accessories—to convey her sense of individuality and expression. In her latest single “Don’t Leave,” Winny recreates the magic of “Pretty” with a patois-influenced delivery as she shares her fear at the possibility of her lover exiting her life; she encourages him to ignore the detractors and stick by her side. 

The video for “Don’t Leave,” directed by Prince Akpa, also shares stylistic similarities with that of “Pretty”; both videos evoke the mood of intentionality that runs parallel with Winny’s brand of Afro-inspired R&B/Soul. With her debut, self-titled EP scheduled for release on April 7, Winny’s journey promises to be exciting. It’s a must-watch.

Uzoma Ihejirika

BRAZY

“Attends Shekeleva” was the phrase that had a stronghold on several TikTok users in Lagos and Accra late last year. Off her song, “Attends,” Brazy’s catchy track, adorned by a witty pre-hook, “cheat on me and I’ll cheat on you” made it clear that this rapper was a name that mustn’t be omitted in conversations about the next generation of audacious female rappers in the country. But before the Velli-produced track took audiences by storm, Brazy’s airy, euphonious vocals graced the intro track, “MATILDA” for Cruel Santino’s star-studded album, ‘Subaru Boys: Final Heaven.’

Sitting amongst music industry heavyweights in their own right, Amaarae, Gus Dapperton, Koffee and more, Brazy delivered a clutch, stand-out performance, leading her to accompany Cruel Santino on his Europe tour last year. When we last spoke to Brazy, she shares that she randomly decided to record “Attends”—translating to ‘wait’ in french—before the Paris show held in October 2022 and in 10 minutes, her biggest track yet was born.

However, that wasn’t the genre-fluid, bilingual rapper’s debut on the scene. Still relatively new to the scene, Brazy’s first attempt at music can be seen on the L0la-assisted “Siren.” And for all her singles including “1st Place” and “Gingerbread,” or her numerous collaborations with other female rappers as seen on “Selecta” or “ARI,” Brazy has taken the organic approach to create music. Despite starting her journey out as a means of having fun with friends, Brazy stands out from the crowd not just for her self-assured lyrics and witty penmanship, but also for her eccentric production and sheer ability to create tracks that instantly put you in a good mood. With Brazy already displaying many layers to her artistry, we’re excited to see where she could go sonically next. 

Nwanneamaka

MELLISSA

In association with Femme Africa.

With only a few songs under her belt, Mellissa has proven that she is an artist we should keep our eyes out for. While she made her solo debut in 2021 with “Limelight,” audiences first got a whiff of Moliy’s dulcet, hypnotic vocals on “FEEL A WAY” off Amaarae’s critically acclaimed debut album, ‘THE ANGEL YOU DON’T KNOW.’ Assisted by her serial collaborator and sister, Moliy, Mellissa took Amaaarae’s nihilistic party girl anthem to new, unimaginable heights. Pairing perfectly with the two vocalists, the Ghanaian singer’s sleek vocals blended so smoothly that they would all be briefly mistaken for one voice. But that was just the beginning of her stellar collaborations as with each release, she proves to be a versatile artist transforming the worlds created to another dimension.

Another clear standout cut, Boj enlisted Mellissa and Moliy for what would be one of the most streamed tracks on his solo album, ‘Gbagada Express.’ On “In A Loop,” the trio go back and forth over the rhythmic, groovy track as they sing of being stuck in the cycle of a toxic relationship. Carrying the track’s infectious hook, Mellissa’s luminous vocals are especially affecting as she sings, “What we fi do? We’re stuck in a loop/Nobody gonna win this game,” underscoring the romantic tension which vivifies the record. Reiterating her sheer artistry, she delivers another memorable performance with Not3s on “Hear My Sound,” the outro for Ajebutter22’s ‘Soundtrack To The Good Life.’ Still awaiting more solo releases, Mellissa is already a sought-after collaboration with evidently more tricks up her sleeve.

Nwanneamaka Igwe

QING MADI

In association with Femme Africa.

Snippets of Qing Madi’s 2022 debut single “See Finish” were already floating on her Instagram and TikTok pages before she decided to enter a studio and complete the song. The teenage singer had shared that she was in a bad place when she conceptualised the song as a means to purge her emotions. While gloom is the anchor of the finished version of “See Finish,” Qing Madi delivers the song with a mastery that belies her age. “Say I used to be the life of the party/Now the energy inside of me is drained,” she sings as she shares her disinterest in the happenings around her to avoid disappointment. It is a sentiment that many people would relate to and Qing Madi captures those emotions with astute songwriting and great vocals.

In her sophomore single “Why,” Qing Madi’s disappointment is of the romantic kind. She tells off an admirer whose vibes she isn’t comfortable with, preferring her solitude. With a Hip-Hop/R&B bedrock, “Why” and “See Finish” offer a peek into Qing Madi’s personality and artistry, revealing an artist unafraid to share her truest thoughts. In the Jyde Ajala-directed visuals for both songs, Qing Madi also shares her love for dancing, with the choreographed moves paying homage to the late 90s and 2000s R&B. She’s one artist whose name will soon be on every lip.

Uzoma

KEZIAH MALLAM

In a generation where relationships are casual and undefined, Nigerian songbird Keziah stands out with her love-lorn pleas. Commanding attention with her voice on songs like “Over X Over,” Keziah Mallam’s catalogue is a cannon of creative wit characterised by cathartic singles. 

Since making her debut in 2020 with “Zo Nan Nyanzu (Come Here Now),” Keziah has only been assuring of her position in the industry. Dedicating her 2022 to music, Keziah set off on an 11-month journey of finding her voice. Releasing 11 self-produced tracks including “Real Me,” she showed off her skilled penmanship by teaming up with groundbreaking artists such as SGaWD, moving on an upward trajectory and receiving nods from her numerous fans. Rapping on an upbeat 808, Keziah and SGaWD show boast of their womanhood “come from London to Lagos and still kept score/ I am my own superman s on my chest I depend on my plans.”

Rounding off 2022 with the Funk-inspired “Goodbye,” Keziah metaphorically bids farewell to a lover as she comes to her senses. Rounding off a chronological journey of falling in and out of love, the bass guitar accentuates her silky vocals as she is ready to step into the next chapter of her life. Her evolving persona and skills as she sets different moods to make her a perfect addition to a relaxing playlist. 

Tela Wangeci

POSI

Teresa Eposi Chando has a voice that will wash over you. It’s a cathartic experience to hear the musician sing, with lucent vocals covering the pensive motions of the romantic heart. Living in North Carolina, the artist of Cameroonian descent was a prodigy. By eight years old she could play the piano and violin and for her training, she replicated arrangements on songs such as Beyonce’s “Pretty Hurts.”

In Posi’s music, self-investigation flows alongside the worthy mission of seeking peace. Her debut 2022 debut song “The Plan” featured a moving performance enriched with great perspective. “You don’t have to be on your knees/ Oh, I can’t let life get the best of me,” she mulls over a colourful production that’s right in place with Afropop. Her next single “Trying” had stripped elements with subtly emotive songwriting. Poignant lyrics such as “even when evil comes to me, I deserve to be living free” see Posi holding up the affirmative energy of women musicians like Tems, Asa and Jhene Aiko, all of whom serve as touchstones for her progressive R&B sound.

She released her debut project ‘Troubles of the Heart’ early this year; it was put together alongside Posi’s longtime collaborator DJ Wicked. A meditative collection pulsing with intimacy, Posi’s vocals are measured in tone and tradition. It’s a deftly-ambitious project in its use of her vocals and with stories of life and love at the ready, ‘Troubles of the Heart’ becomes an essential look into Posi’s vision of the human condition. Quite the talent, Posi’s career has unfurled to a definite start, and good things would inevitably find her as she continues to stay true to her sensitivity.

Emmanuel Esomnofu

VALERIE OMARI

Not many artists find success in their first album especially when it precedes a debut single. Valerie Omari preaches a different testimony. On her 2017 single “Pray for Me,” a source of solitude for hopeless romantics, it was her clear and emotive vocals that immediately caught your attention.

“Just Like The Rain,” her warm, seductive ditties invite you into her world as she fusses over love that’s exhausted. What’s most interesting about Valerie is her bold approach when penning her lyrics. As she sings “Just as the rain she had me dripping way down,” the bass-assisted single set off a perfect introduction to her escapist lyrics. Releasing the album ‘Therefore I am’ in 2019, she continued to edge closer towards stardom as she curated a confessional letter of self-love and identity.

Taking a slow but sure approach to releasing her music, Valerie has been on a musical journey of releasing intentional pieces that speak to her fans. “If I Tried” lives on the reminiscent 90s R&B singles that pay an ode to true love. Starting her 2023 on a high note, Valerie delivers a stellar performance showcasing her growth as a musical journey. ‘Closure’ is a follow-up of her debut album as she trails on self-discovery after the early stages of a breakup. Valerie Omari is a promising artist peeling a new layer of her artistry with each release.

Tela

GAIDAA

In 2018, Gaidaa burst onto the scene with a show-stealing performance on Dutch-Armenian DJ and producer Full Crate’s “A Storm on a Summers Day” and showed glimpses of her brand of honest R&B/Soul music. A child of Sudanese heritage, Gaidaa, born and raised in the Netherlands, hasn’t shied away from her roots and the unique intersection of cultures at her disposal, as exemplified by her 2019 debut single “Morning Blue,” which she performed in A Colors Show. She followed up “Morning Blue” with “I Like Trouble” and “Falling Higher,” both tracks that entered her 2020 debut EP ‘Overture.’

‘Overture’ was an intricately-woven project that highlighted Gaidaa’s honest lyricism and soulful vocals. On the Saba and Jarreau Vandal-featuring “Stranger,” Gaidaa pondered about life’s unpredictabilities and her need to make sense of them. She pledges to stick to her values on “Ride My Way,” and on the Joshua J-assisted “Say Yes (Turquoise),” she proclaims success in her life despite any challenges, singing, “I’ma say yes every time/Yes every time/I’ma stay blessed every time.”

The independent act has performed on stages in the UK, US, Netherlands, and most recently, in her home country of Sudan. In her 2022 single “Figures,” she cites the multiple roles that society foists on individuals, preventing them from living to their fullest potential. Gaidaa’s music is about being honest to oneself and finding your way in the world’s maze – it calls listeners to the power they have to decide their present and future.

Uzoma

Featured image credits/NATIVE

ICYMI: Yinka wants the world to love again

Hot Takes: Fear Not, AI Is Not Coming For Afropop

Posted on by Emmanuel Esomnofu

In 2012, an up-and-coming rapper named Boogey released a mixtape titled ‘Artificial Intelligence’. Replete with samples of robotic voices and braggadocious, highly technical writing, the project would become acclaimed, putting the young rapper in all-time great conversations afterwards. More than ten years later, the actual AI has again resurfaced in African music, this time not a narrative prop but the real thing. Or rather, the closest thing to the real thing.  

Artificial Intelligence, which is most commonly referred to by its acronym of AI, is hardly a new phenomenon in science. From the 1940s, pioneering cybernetic scientists such as Norbert Wiener wanted to inculcate “a whole theory of control and communication, both in animals and machines.” With the Second World War in flux, many nations were finding new ways of being efficient in their tasks without overt reliance on the human factor. 

Through the years and with much innovation, AI has morphed into a cultural breakthrough. Useful in just about any field, from helping detect the coronavirus to being utilised by filmmakers, it’s been perhaps the most divisive technological development in recent history. And for the first time, it’s seriously being considered among music audiences, as an alternative to the hard-wrought style of creating and releasing songs. 

Some days ago, the AI enthusiast Roberto Nickson went viral with a video of him reproducing Kanye West’s vocals through Artificial Intelligence. A jarring and revealing experience, the video brought to the fore how much popular music could change in the coming years. “All you have to do is record reference vocals and replace it with a trained model of any musician you like,” says Nickson in the video. “Keep in mind, this is the worst that AI will ever be. In just a few years, every popular musician will have multiple trained models of them.”

Watching that video, I found myself asking the question: “How would this affect Afropop? For better or worse?” The consensus on the programming is that music creation could become lazy as a result. What used to inspire musicians to sit around studios and soak creative energy might just be taken away; then you’d have automated music and would there be a need for actual producers and musicians? It’s an ethical dilemma as much as a technological one, but if this present circumstance is any illumination, popular African music has always been inching towards this moment. 

In the past, live instruments were the most acceptable form of music creation. Except for a few genres with electronic history, most of the sounds emerging from Africa—whether Highlife, Juju or Kwaito—were created through the peculiar rhythm of human ears gauging the weight and pairing of instruments. Then came laptops and software like Fruity Loops (now known as FL Studio), which revolutionised and democratised production emerging into the 2000s. Even the later invention of Auto-Tune was initially considered a threat to natural voices, but years later, it’s a practice that’s been subtly ingrained into music. 

The thing about Africa is that sometimes we learn about technological advancements too late. Since Western countries and governments understand the essence of research and fund them adequately, it’s understandable how knowledge about such conventions would be widely available over there before sparking serious conversation in the continent. To this end, Afropop may have already been incorporating techniques of a lesser-developed AI into the music-creation process. Being cultural vagrants who oscillate between several worlds, musicians are well-placed to carry these conventions into the sphere of popular discourse. 

A similar case happened during the NFT rave of the past few years. Quite familiar among visual artists already, it was the entry of musicians like Don Jazzy and BNXN which brought it a wider reach. Suddenly more people wanted to know what NFTs were and how they worked. The premise is simple: technology that is distinctly tailored to music has sparingly been made, rather it’s musicians who’ve gone out of their way to learn these techniques. Still consistent is the human factor, because it demands a certain level of measure for any credible art to come about. Another argument arises: NFTs as a way of sharing music haven’t retained their popularity because it relies on widespread audience awareness, which unfortunately isn’t present. On the other hand, using AI can be solely executed by the artists themselves, and that’s a nuance worthy of recognising. 

In an article, Jonathan G. Shaw, who is a lecturer and author of ‘The South African Music Business’ related his experiences of AI and how it could be adapted to music. His point stands similar to mine; fractions of AI are already in use, such as the digital audio workstation (DAW) and modern synthesiser, while across film, fashion and gaming, there are several AI platforms which can instantly create music patterned to the peculiarities of any given piece. 

His most poignant thought was however the legal implications, which were also raised on Nickson’s Twitter thread. “If AI generation works,” he asks, “who will own the copyright of these works? If all the AI is doing is scanning historical works, identifying patterns and reordering them, is this not an example of a derivative rather than an original? Whoever owns the original would also own the adaptation. Perhaps the owner of the software may own its output, or would the user?”

Art is the most distinctly human of mankind’s advancements. While AI might help in its creation process, the random and unpredictable quality of an artist is what lends the form its surprise and acclaim. A possible downside of AI making music is its possible reiteration of cliched perception, depending on the software and the uniqueness of the orders given to it. 

The case of FN Meka points us in a curious direction. A major music-meets-technology news from last year, the AI-created rapper was later dropped by the label Capitol Records following complaints of its perpetuation of racist stereotypes. Beyond his green-coloured dreadlocks and jewellery, which establish his gritty outlook, a video of Meka being beaten by a police officer while saying the N-word demonstrated the logic of garbage in, garbage out. It was an implicit showcase of America’s prejudices against Black men, the single story that has so often plagued the mind’s audacity to wander.

Situated in the delicate position of being a global phenomenon, Afropop is learning to love itself. Doing this includes building the structures back at home so there’s something to return to. However, the conversation about ownership of sound has frequently come up, about the chances of African musicians when their white counterparts begin creating music that could pass as Afropop. Would they not shut down their awards to us and begin recognising themselves? 

While a valid concern, it’s quite reactionary to think they would immediately get the sauce that enlivens African pop music. If anything, it’s most possible that the reward systems might be considerably altered in their direction, but the pristine quality of music that’s made from the distinct experiences associated with its genre is unrivalled. This would likely be the influence of Artificial Intelligence on our popular music as well. Art would always need a guiding hand and a human hand, so Afropop is safe. It’s not coming for us because it’s already here. 

Featured image credits/NATIVE

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

What’s Going On Special: The Cruelty of Uganda’s new anti-gay laws

Posted on by Dennis Ade Peter

Let’s call it what it is: State-sanctioned homophobia is targeted violence. In many African countries, where ultraconservative values are regularly championed, being anti-gay is so rampant that laws backing this form of hate have been enshrined into the constitutions of over 30 countries. The penalties are often made even more brutal whenever those laws are visited and amended. It is not enough that people are pressed against the margins for who they are and who they love, a significant portion of African society—led by cruel leaders—want to persecute queer individuals as violently as possible.

About a week ago, Ugandan lawmakers approved a new anti-homosexuality bill that consists harsh penalties for a variety of “crimes” attached to being queer. In the bill, openly identifying as “a lesbian, gay, transgender, a queer, or any other sexual or gender identity that is contrary to the binary categories of male and female” is grounds for imprisonment for up to 10 years, while anyone convicted of “promotion of homosexuality” is liable for a prison term of up to 5 years.

The headliner of the bill, and easily the most discussed since its approval, is the death penalty submission for “aggravated homosexuality,” a broad term used to describe sexual acts without consent and under duress, against children, involving, and/or by a “serial offender.”

Introduced by opposition lawmaker Asuman Basalirwa, with the aim of protecting “our church culture; the legal, religious and traditional family values of Ugandans from the acts that are likely to promote sexual promiscuity in this country,” only two out of the 389 MPs voted against the bill. It is currently waiting to be signed into law by Yoweri Museveni, the authoritarian president who’s in his 38th year in power. Museveni recently called queer people “deviants,” so it’s expected that the anti-homosexuality bill would be gleefully signed in coming days.

This bill isn’t the first time Ugandan lawmakers and leaders have attempted to brutally criminalise being queer up to the point of the death penalty. In 2009, a bill was proposed to include a death sentence for gay sex, and the country’s lawmakers passed a bill in 2014 that replaced the death penalty with life imprisonment. It was eventually annulled by the Ugandan constitutional court on procedural grounds. While Uganda’s penal code already has punishments laid out for “carnal knowledge against the order of nature,” adopted from the country’s colonial past, Basalirwa says his draft of the bill is to “have it in tandem with the current situation.”

Basalirwa’s reference to “the current situation” is an acknowledgement that we live in a better enlightened world where queer people are increasingly proud of and comfortable in who they are. Like many African countries, though, that liberal outlook is being actively countered in favour of “traditional values.” It’s not dissimilar to the rhetoric many African lawmakers and executive leaders have used in whipping up support for anti-gay laws, claiming that the LGBTQ+ community is a danger to family life and societal morals. To top it off, the opium of the people—religion—is always invoked as a way to claim the moral high ground.

This continent-wide wave of queerphobic propaganda led by lawmakers has seen a consistent stream of happenings in the past few years, with very few bright spots. In late 2021, Botswana’s Court of Appeal upheld a landmark ruling that decriminalised homosexuality, infamously repealing a relic of colonial values and attitude towards queer people. Earlier this year, the Kenyan Supreme Court ruled that the country’s constitution barred the discrimination based on sexual orientation, upholding verdicts by lower courts that the government could not lawfully refuse to register the National Gay and Lesbian Human Rights Commission (NGLHRC) as an organisation.

The Kenyan Supreme Court’s ruling has proved divisive, especially as President William Ruto and many lawmakers have condemned the verdict. Currently, there’s a second case making its way through Kenyan courts that challenges the constitutionality of the penal code that bans sex “against the order of nature,” another proof that a large part of the laws criminalising and demonising homosexuality and queer people were directly handed down from colonial rule. Amidst the rampant queerphobia in East Africa, Rwanda has vehemently refused to criminalise homosexuality, ceding to citizens’ private rights even though there are currently no protective laws to counter the persecution of queer people.

In the African context, Rwanda’s somewhat neutrality is a stark contrast to the state-backed homophobia being perpetrated by its neighbours—and you could even argue that neutrality is not enough. When same-sex relations are punishable by life imprisonment in Tanzania and 24 people were recently charged with “homosexual practices” in Burundi, along with anti-gay laws in Nigeria and Ghana, Uganda is following a trend that makes neutrality to queer rights look revolutionary. What happens after President Museveni signs the anti-homosexuality bill into law is an easy guess: Queer people already living in fear of their lives will be in even more grave danger.

Persecution isn’t enough; total erasure is the only acceptable outcome for these lawmakers and their supporters. It’s evident in the wording of the bill, especially as it deals with the “aggravated homosexuality” part that will result in the death penalty. By mentioning non-consent and relations with minors, there’s a blatant conflation of queer relationships with problematic sexual assault, echoing the terrible (and popular) idea that queer people can’t have relations that are devoid of toxicity.

When Uganda’s constitutional court struck out the initial anti-gay bill, there were sentiments that Museveni was using homophobia as a means of currying political favour from the Ugandan citizenry. Almost a decade later, and a few years after facilitating one of the worst elections Africans have seen in recent times, there’s a sense that he’s inciting the same emotions even as he grows increasingly unpopular with the youth. However, claiming that this bill is a deflection from the many administrative and economic issues in Uganda trivialises the simple, plain fact that these hostile (soon-to-be) laws are a form of targeted violence that should always be condemned.

ICYMI: KENYA’S LGBTQ COMMUNITY IS STILL AT RISK

Davido’s New Album ‘Timeless’ Marks His Indelible Legacy In Afropop

Posted on by Uzoma Ihejirika

Last week, Nigerian music superstar Davido announced his fourth studio album ‘Timeless’ to instant fanfare. Both fans and fellow artists took to social media to share their positive feelings about his return to the scene after an accomplished yet turbulent 2022. ‘Timeless,’ which comes three years after 2020’s ‘A Better Time’ feels more than an only-for-Davido project–it is a project both for Davido and his community of loyal fans and admirers who have supported his journey from a newcomer to a global renowned musician. 

 

 

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Since the start of his career, Davido has exhibited his affinity for the community, pooling the energies of those around him for maximum effect with his established everyman identity in the music industry. ‘Timeless,’ which drops on Friday, March 31, is another chapter for Davido and his community of friends and fans: a celebration of a man’s trip through life’s pleasures and adversaries. Davido first appeared on the Nigerian music scene in 2011 with the Naeto C-featuring “Back When,” which he produced. He returned to Nigeria to pursue a music career after his early years in the US and in the UK and joined the likes of Wizkid, Burna Boy, Flavour and Tiwa Savage who were also tending their fledgling careers. While the feel-good “Back When” enjoyed significant airplay, it told a grass-to-grace story that wasn’t a true reflection of Davido’s roots. Months later, Davido, the son of a business magnate and a late university lecturer, embraced his blood ties on the instant club hit “Dami Duro.” On the song’s chorus, Davido proclaimed that he, omo baba olowo, the son of a rich father, was unstoppable. A thread of later released singles such as “Ekuro” and the Sina Rambo-assisted “Overseas” ushered in Davido’s scene-stealing debut album ‘Omo Baba Olowo: The Genesis’ in 2012.

‘Omo Baba Olowo: The Genesis’ wasn’t the critics’ favourite but it did enough to draw attention to Davido, who never failed to represent his then-label HKN Music and its offshoot collective HKN Gang, which featured him and his cousins Sina Rambo and B-Red. Between 2013 and 2016, Davido consolidated his rise with a string of singles and collaborations within and outside Nigeria. He closed 2013 with “Skelewu,” a dance-leaning track, which he supported with an instructional dance video, a dance challenge, and two music videos. The latter of the music videos was borne out of necessity after the first one (directed by Sesan) spawned criticism; it was shot in London by Moe Musa and was premiered exclusively on MTV Base UK. Davido went a step further to release an electronic version of “Skelewu” with American DJ group Major Lazer and Dutch DJ Wiwek, as well as a House version with South African group Uhuru.

Those collaborations rightfully expanded Davido’s reach in the music industry. He continued on that path, featuring South African duo Mafikizolo on “Tchelete (Good Life),” Ivorian act DJ Arafat on “Naughty,” South African acts Uhuru & DJ Buckz on “The Sound” and American rapper Meek Mill on “Fans Mi.” In 2016, Davido changed gears by signing with Sony Music Entertainment in a bid to venture further into the foreign music markets. It was one of the first signs of global appeal that Nigerian music held; the following year, Wizkid signed with RCA Records/Sony Music International and Burna Boy signed with Bad Habit and Atlantic Records; and in 2019, Tiwa Savage signed with Universal Music Group’s Motown Records. 

2016 yielded the five-track EP ‘Son of Mercy’ which found Davido expanding on his sonic identity and creating a hybrid of sounds that borrowed from Caribbean music, Hip-Hop and Pop. The project gave Davido more concerns than wins: it weakened his hold on the Nigerian or African music scene with Davido panning the project as “shit.” Yet, 2016 wasn’t all that terrible for the rising superstar. At the time, he took his departure from HKN Music and founded his own label imprint – Davido Music Worldwide (DMW), his eponymous incubator platform that launched rising acts and close friends such as Mayorkun, Dremo, Peruzzi and Yonda. Mayorkun, in particular, proved to be an instant success in the Nigerian market. His singles “Eleko,” “Sade” and “Mama” became early fans’ favourites and rose to the top of music charts in Nigeria and Africa. Since it was established, DMW has also accommodated more artists including  Ichaba, Lola Rae, Danagog, Fresh VDM, Speroach Beatz, DJ Ecool and Liya, who it has welcomed into its ascendant halls. Just as he did with HKN Music, Davido has never relented in promoting his artists and their music.

A year later, Davido re-emerged stronger than ever before, backed by a deal with Sony Music Entertainment and, in 2017, the resounding success of chart-smashing singles “If” and “Fall.” The Kiddominant-produced “Fall” rose through charts, both at home and abroad, and became the longest-charting Nigerian pop song in Billboard history. Its accolades are endless; “Fall” appeared on Pitchfork’s 200 best songs of the 2010s, was one of the most Shazamed songs in the United States and its music video is still one of the most viewed Afrobeats videos on YouTube with over 250 million views. As Davdio embarked on his back-to-basics mantra, he followed up with the Rae Sremmurd & Young Thug-featuring “Pere,” “FIA” and “Like That.” In 2019, he became the first solo African artist to sell out The O2 Arena in London, and throughout his career, he has amassed over 30 awards internationally.

As with everything in life, the good and the bad must cohabit. Davido has had his fair share of tragedies, with the death of close associates and friends such as Tagbo Umeike, Olugbenga “DJ Olu” Abiodun and Habeeb “Obama DMW” Uthman, to mention a few. News of those demises brought great distress to the artist, who has spent years fostering close-knit relationships with the brothers he has come to call partners at DMW. However, it was the recent loss of his three-year-old son Ifeanyi Adeleke in October 2022 that must have hit the man the hardest; with Davido retreating from the public eye to mourn the devastating loss. Through that period, fellow artists and music lovers never lost sight of their beloved 001, Nigerian Pop’s everyman in every sense of the word. In December 2022, in a moment of rare proximity, loyal artists and fans organised a concert to honour the memory of Davido’s son and celebrate his birthday. It was indicative of the great relationships Davido had built with fans—dubbed 30 Billion Gang—and fellow artists, whose songs and careers he had impacted. Moreso, it was a true representation of the calibre of the man who has spent the past few years putting it on for his people and his home city, Lagos.

Given that Davido is one of Nigerian Pop’s most visible frontrunners, his discography has something in it for every listener. His previous projects packed 17 songs each and are best viewed as collections of potential hit songs rather than cohesive, narrative-enhanced bodies of work. Aside from the preceding singles, ‘Omo Baba Olowo: The Genesis’ gave listeners “All of You” and the Ice Prince-assisted “Feel Alright”; 2019’s ‘A Good Time’ housed “If” and “Fall” but also delivered “1 Milli,” the WurlD, Naira Marley & Zlatan-featuring “Sweet in the Middle,” “Assurance” and the Chris Brown-assisted “Blow My Mind.” Barely a year later, Davido served up its follow-up 2020’s ‘A Better Time,’ which expanded on his hit-making abilities with strong cuts such as “FEM,” “Jowo,” “Something Fishy,” the Mayorkun-assisted “The Best,” the CKay-featuring “La La” and the Mayorkun & Sho Madjozi-assisted “I Got A Friend.” Some proponents argue that Davido’s albums have lacked the era-defining quality of his contemporaries, for instance, Wizkid’s ‘Superstar’ and ‘Made in Lagos’ or Burna Boy’s ‘Outside,’ ‘African Giant’ and ‘Twice as Tall.’ Whether that is an issue to Davido, no one can say, but in his 2022 single “Stand Strong,” there was clear storytelling and intentionality to his music, as he showcased a level of depth and maturity.

His forthcoming album, ‘Timeless,’ too, has 17 songs, with Davido’s 2021 single Focalistic-featuring single “Champion Sound” making an appearance. “There is a time for everything. A time to [grieve] and a time to [heal]. A time to [laugh] and a time to [dance]. A time to [speak] & A time for [silence],” Davido shared in the announcement video for the album. While there is no one way to process everything he has experienced in recent times, we might be getting some of Davido’s most vulnerable moments on display; or we might get the usual Davido: hitmaker par excellence; or both. 

In preparation for the album, Davido has announced live shows in Lagos, London and New York, which, in a way, is a thank-you gesture to his fans who have remained dedicated to his life and music. There are also scheduled meet-and-greets with fans in New York and the UK for his fashion collection with PUMA. Davido has his hands full and rightfully so; both he and music lovers around the world deserve a grand return to the scene. One thing is clear, though: ‘Timeless’ will connect Davido to his community of friends and fans and serve as a healing process and reinstate the man where he belongs: happy and making music.

Featured Image Credits/The NATIVE

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

Posted on by Tamara Odibi

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

 

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

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

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

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

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

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

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

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

 

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

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

Featured image credits/NATIVE

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

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

Posted on by Damilola Animashaun

It’s that time again. Every day, new music shows up, sweeping fans and music lovers off their feet while artists gauge reactions to know the effect of their creativity. At the NATIVE, we are committed to keeping our ears on the pulse of the music scene and bringing the best sounds to your doorstep.

To kickstart your weekend, we brought you fresh releases from Odumodublvck, Nonso Amadi, Ajebo Hustlers, another collaboration from iconic duo, Wani and Odunsi(The Engine) plus more. Today, we have songs that move from Afropop to Amapiano to R&B, with our select artists showcasing their unending talent and passion for creativity. Lock in!

SUTE IWAR & KADIATA – “STAR PLAYER” 

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

Nwanneamaka 

LIL KESH – “GOOD BAD BOY” 

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

Uzoma

MOJO AF FT. MASIANO – “HIGHEST STUDENT”

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

Emmanuel

ZAMORRA – “GLOW” 

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

Nwanneamaka

LYTA – “GEH MONIE”

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

Uzoma

KOFI FT. KUAMI EUGENE – “DON’T LIE”

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

Emmanuel

SOMI & LAMII – “OPTIONS” 

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

Nwanneamaka

KEEMA X – “RUNAWAY”

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

Uzoma

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

Posted on by Nwanneamaka Igwe

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

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

 

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

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

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

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

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

 

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

NATIVE: What prompted you to start FF Projects? 

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

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

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

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

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

Yes I’d say accessibility is very important.

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

 

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

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

Have you had any particular challenges that standout with curating? 

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

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

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

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

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

 

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

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

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

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

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

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

 

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

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

Posted on by Uzoma Ihejirika

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

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

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

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

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

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

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

Read a full breakdown of the chart here.

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A Look Back At Odumodublvck’s Best Football References

Posted on by Emmanuel Esomnofu

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

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

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

“DECLAN RICE” – ODUMODUBLVCK

Year: 2023 

Lyric: “Do like Declan Rice.”

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

“KEVIN DE BRUYNE PASS” ODUMODUBLVCK FT. REEPLAY

Year: 2021

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

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

“OYOYO” – ODUMODUBLVCK FT. CH1DZ

Year: 2022 

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

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

“ODIEGWU” 

Year: 2021

Lyric: “Defend my soul, Celestine Babayaro.”

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

“DOG EAT DOG” 

Year: 2022

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

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

“DUVAN ZAPATA” – ODUMODUBLVCK

Year: 2021

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

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

“OJUJU CALABAR” ODUMODUBLVCK FT. REEPLAY & AGUNNA

Year: 2021 

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

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

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

Posted on by Nwanneamaka Igwe

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

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

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

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

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

 

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

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

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

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

Listen to “Lock Up” here.

Featured image credits/NATIVE