Over the past few years, The NATIVE has been devoted to documenting the impact of popular culture on tomorrow: today, and over time, this has only intensified. Whilst carving out a niche to be the pulse of the young African, feminist values have been at the core of everything we do at The NATIVE Magazine. This is not only because the editorial operations are helmed by women, but because we believe in the fair and equal treatment of all people, regardless of gender, religion, nationality, sexuality, or anything else. So we birthed uNruly, a space for The NATIVE Woman, by the NATIVE’s women.
It is imperative that we use our platform to empower women, amplify their voices and stand in solidarity with women as they continue to strive for an equal footing in this unjustly androcentric world. Thus came the birth of uNruly —a vertical of The NATIVE which aims to create disruptive discourse around African popular culture. The women of The NATIVE Networks have carved out this digital and experiential space for young, black, African women to bare all and let loose, building upon the foundation we have set in the company’s 6-year history. With uNruly, we are focused on building a community, country and continent that caters directly to the needs of young, African women through stellar storytelling and unique experiences.
Launching today, the new vertical will maintain the theme of this year’s Women’s History Month ‘the women who tell our stories’, and use this platform to continue to do so. Remember what Beyoncé said about chopping the wood from the tree and making your own table? Welcome to your own table, girls.
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 close out last week, we brought you songs from Libianca, Nv Funk, Kwesi Arthur 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!
IBRAAH – “NIMEPONA”
Tanzanian musician Ibraah is a sweet-voiced singer. Showcasing prodigious talent from age eight, the youngster now marks distinct territory in his home country. He’s been on records with the likes of Harmonize and Joeboy, each time impressing with fluid melodies and heartwarming messages on the variant edges of love. “Nimepona” has a melancholic finish to its delivery, with Ibraah evoking the song’s subtitle, “I have recovered”. Classic heartbreak story from tears to triumph, but the flavour this time is remarkably fresh.
Emmanuel
JACI MARTINZ & DEADWVLF – “SENSUAL”
Off their recently released 5-track EP, ‘The House Kids From Africa,’ DeadWvlf and Jaci Martinz enlist Nigerian-EDM producer Jamie Black for “Sensual.” Appearing on the back end of the project, the Afro-house number immediately leads in with mid-tempo drums accompanied by subtle elements of clashing cymbals, setting the pace for the sweet-sounding vocals. After an upbeat delivery on the verse in which they recollect the impact of their love interests, the track’s instrumentals take centre stage with the saxophone gaining a harmonious solo rendition.
Nwanneamaka
MORENA LERABA – “HELERU”
Although Morena Leraba has been around for over a decade, the Lesotho artist has only just released his debut project, ‘Fela Sa Ha Mojela’. The project fuses traditional elements polished with explosive neo-soul grooves. Closing record “Heleru” thrives off that amorphous artistry, retaining mystery in the upbeat percussions while brooding undertones adds poignant layers. Leraba’s vocal inflections oscillate between menacing and celebratory, seeming to call forth energies from raw soil.
Emmanuel
TANAKA – “WAIT FOR LOVE”
Blink twice and there’s a new South African auteur waiting to rock your world. Tanaka has taken the time off popular lifestyle to work on his sound, collaborating sparingly over the years with close friends like Skai Lounge. He’s now released his debut project, ‘You Look Beautiful In This Light’, and it’s a masterpiece. Four songs with incredible layers, “Wait For Love” is a standout. Burnished with the fun bounce of bedroom pop, Tanaka’s dreamy vocals evoke the breathless emotions that come with wanting love. An electronic sheen runs through, complementing his vocals in a way only a producer like him could execute.
Emmanuel
DAP THE CONTRACT – “I REMEMBER” FT. CHANDLER ELYSE
On his first single of the year, Nigerian-born rapper/producer, DAP The Contract pays homage to the bittersweet attachments of memories. “It’s hard to remember just how we met/But I couldn’t forget you,” he sing-raps. Over a Trap-influenced beat, he realises that foraging into the past can unearth both pleasant and bad occurrences. Guest artist Chandler Elyse also battles her feelings about distant connections as she sings, “Think about me when it’s someone else.”
Uzoma
CAMIDOH – “BEAUTIFUL”
The rising profile of Ghanaian musician Camidoh is owed to his fresh takes on R&B. He’s been able to blend a unique West African flavour to his breezy delivery, a pairing that’s yet audible in his new record, “Beautiful”. With bubbly drums and a sonorous guitar, he sings affectionately about a lover, painting fine images in the minds of listeners.
Emmanuel
REBECCA WINTER – “ME FIRST”
For her first release of the year, Nigerian Afro-fusion artist Rebecca Winter delivers a slow tempo number about protecting her peace and prioritising her needs in a relationship. The lyrics hold stark vulnerability as she croons on the melodious pre-hook, “How can i be with you and feel alone, I’ll take each day as it comes but I’m taking it on my own/ I cannot lose myself, I’m doing this for myself.” An undeniably reflective number, she reaffirms through the course of the track the need to ask important questions and refrain from enabling toxic relationships.
Nwanneamaka
ZUCHU – “NAPAMBANA”
Unarguably one of East Africa’s biggest pop stars, Zuchu has maintained a consistent streak over the years. “Napambana” arrives with stellar timing with Women’s History Month. Bubbly production is met with a positive-themed approach of Zuchu, taking a stand for the unique issues pertaining to women in African society. The video is similarly poignant, cutting across social status to depict scenarios with tear-inducing humanity. Professionally-trained vocals often are melodious but it takes a socially-aware artist to lend their voice to issues larger than themselves.
The 2023 elections in Nigeria aren’t over yet. Just as they did two weeks ago for the presidential and senatorial elections, Nigerians will troop to their polling units on Saturday ( March 11) to vote for their preferred candidates in the elections for Governorship and State House of Assembly seats. Many citizens have expressed frustration at the shortcomings of the Independent National Electoral Commission (INEC) and there is a desire for better practices during the forthcoming elections.
Only three states out of the country’s 36, several states won’t hold elections on March 11. Some of those states are Imo, Kogi and Bayelsa, which will instead hold their gubernatorial elections on November 11, due to the tenures of the incumbent governors ending on January 14, 2024 (Imo State), January 26, 2024 (Kogi State) and February 13, 2024 (Bayelsa State) respectively. As the anticipation heats up for this weekend across the country, here are five states whose situations you should keep an eye on.
LAGOS STATE Elections
Labour Party (LP) presidential candidate Peter Obi pulled a massive upset in Lagos State during the Presidential elections, when he polled 573,088 votes over All Progressives Congress (APC)’s candidate Bola Tinubu’s 571,575 votes and People’s Democratic Party (PDP)’s candidate Atiku Abubakar’s 76,290 votes. In recent times, Lagos State has been a stronghold of the APC, and candidates of the party vying for governorship positions have never lost an election in the state since Tinubu became Governor in 1999.
Obi’s win in the Lagos 2023 Elections cancelled the long-held public opinion that Lagos State is a no-go area for other political parties. His win will serve as an encouragement to the other two major contenders—PDP’s Abdul-Azeez Olajide Adediran and LP’s Gbadebo Rhodes-Vivour—vying for a position against the current Governor, Babjide Sanwo-Olu of APC. Prior to Saturday’s election, Adediran (also known as Jandor) and his running mate Funke Akindele have made clear their intentions to loosen APC’s grip on the state, while Rhodes-Vivor, per social media, appears to be the candidate the youth of the country flock to.
ABIA STATE Elections
The biggest news from Abia State during presidential/senatorial elections was that the incumbent governor Okezie Ikpeazu (of PDP) lost his senatorial bid to Enyinnaya Abaribe of the All Progressives Grand Alliance (APGA). Throughout the years, many people have spoken up against the way the state has been governed, and have described it as “leadership failure, god-fatherism and imposition.” During the 2023 election, LP won by a landslide with 116,338 votes over PDP’s 5,713 votes and APC’s 2,164 votes.
There is the belief that victory is possible for LP, with its candidate Alex Otti backed by the goodwill of Peter Obi. On the other hand, while PDP’s candidate Okechukwu Ahiwe, who enjoys the support of Ikpeazu, has pledged to do “completely new things in the state,” it is left for the citizens to show their belief in his words at the poll. APC candidate, Ikechi Emenike remains in contention while APGA will likely not be in the running after their choice of governorship candidate was nullified by the Court of Appeal in Abuja.
‘I Will Not Endorse APC Governorship Candidate Against My Blood Brother Who is also Running for Election’
Senator Orji Uzor Kalu rationalizing his withdrawal of support for the APC Governorship Candidate in Abia State. pic.twitter.com/tTA7ZKea9d
Sitting governor Seyi Makinde, who was elected into office in 2019, is running for a second term amid claims that he threw his support behind APC candidate Bola Tinubu—who won the polls in the state with 329,427 votes—during the presidential election. Makinde’s alleged act has caused fracas within his PDP camp, with the APC branch in Oyo State denying claims that Makinde had a hand in Tinubu’s victory and distancing themselves from his re-election bid.
The complications in Makinde’s bid in the 2023 elections could create an advantage for other major contenders such as Teslim Folarin (of APC) and Adebayo Adelabu (of Accord). Although Makinde remains a popular figure in Oyo State, the election on Saturday will prove if his goodwill with the public is still as strong as it is perceived to be.
RIVERS STATE Elections
Although Bola Tinubu was declared the winner of the presidential election polls in Rivers State, the result has been contested by the LP frontman Peter Obi. According to Stears Electionsfigures, LP won the election in the state with 155,583 votes over APC’s 130,209 votes. This situation adds a twist to the gubernatorial election as LP’s candidate Beatrice Itubo could fancy her chances to cause an upset.
An intense battle can also ensue between the major contenders Tonye Cole (of APC), Siminalayi Fubara (of PDP) and Magnus Abe (of Social Democratic Party (SDP)). Fubara has the backing of the sitting Governor, Nyesom Wike but Cole and Abe seem to also be able to hold their own weight.
PLATEAU STATE Elections
In 2015, power shifted to APC in Plateau State after it had resided in the hands of PDP since 2004. Both parties are in the running for Saturday’s election with their respective candidates Nentawe Yilwatda Goshwe and Caleb Mutfwang confident about their chances of victory. But from all indications, it won’t be only an APC-PDP battle in the 2023 elections.
During the presidential election, LP won in the state with 236,618 votes; it was the first time the party knew the taste of success in the state. It has given the party’s candidate Patrick Dakum confidence that he has a good chance of winning and overturning the APC and PDP reigns. There is also the chance for more parties to make their impact felt as the APC and PDP governments have been accused of “a lack of political will, lack of innovation, capacity and competency.”
The secret to the serenity that comes with Dwin, The Stoic songs might be in the singer’s husky voice. Offering the assurance of his soft yet assertive vocals, as he croons over often minimal production choices, Dwin is sure the king of ballads. His 2018 album ‘Heavy Heart’ was received with much critical acclaim, an intimate set of songs situating him within the tradition of singer-songwriters in Nigerian alt-pop. Mostly opting for a folk-influenced sound palette on that solo debut LP, his storytelling powers were on full display as he navigated the taxing tides of youthful uncertainty—mostly attuned towards romantic situations.
Dwin’s 2022 was filled with a rollout of songs and collaborations parading his artistic range. Experimenting with smooth, R&B-tinged pop in “Streets,” he offered a new face to the mastery of his skill-set and inherently teased the multitude of possibilities for his future output. On the 3-song pack, ‘Gkw/Winning Bread’, he does not shift from his calm cadence but instead amplifies his tender message on a percussive backdrop. Adding an intimate touch to the song, Dwin releases a soft hum as if comforting his struggling listeners on the second single “Winning Bread.”
Tonally similar to many of his previous minimalistic offerings, Dwin, The Stoic returns with his first single of the year, “Sit.” While the sonic direction would usually point to a lovelorn direction, Dwin opts for a more bracing approach as he offers a hopeful message over the soft chime of the guitar strings. As if asking his listeners not to dwell in the past but rather to march forward, Dwin opens the first verse adding an intimate touch to the song as he recalls his father’s words: “Son, don’t cry/things go missing all the time/Son, please take care/people come and people go.” His husky voice glimmers over the bridge as the organic production mirrors the soft touch of someone comforting you.
Music always reflects what we are feeling and acts as a reflection of our society. The process of healing is not as easy as portrayed. The pain doesn’t forever slip away but instead finds its quiet moment to creep in and remind you of your loss. In the second verse, Dwin takes charge, assuring his listeners that pain doesn’t last forever because the world always moves on. Understanding the challenges of grieving and losing a valued item, Dwin, The Stoic leaves a descriptive image of the healing process. “But if I ever feel like my world is crashing down I close my eyes and breathe take a seat like my father said, just sit and breathe my dear.“
Partly self-produced, Dwin has found his foot in vivid storytelling. Painting a vivid image, “Sit” acknowledges the ease of wallowing in the pool of melancholy, but it also offers a comforting life raft for when it’s time to get back to shore. It’s reminiscent of Yinka Bernie’s cult classic song, “It’s Okay to Cry,” fitting right into the mould of balmy and ultra-relatable cuts. For Dwin, this song also elevates his status as a songwriter and artist, with his shift from love-oriented cycles to pragmatic issues coming without any vivid growing pains.
Gearing up for the release of his EP ‘Love Lane,’ Dwin gives his fans a sneak peek of what to expect from his first proper solo project since ‘Heavy Heart.‘ A perfect start to his year, Dwin, The Stoic is continuously evolving and morphing into a more confident and authentic artist. Drawing the world from stressful occurrences, Dwin reminds all of us to breathe.
Following the release of Seyi Vibez and Kizz Daniel-assisted “Gwagwalada” a few days shy of a month ago, BNXN fka Buju’s track reclaims the No. 1 spot with 3.55 million plays on streaming platforms as well as 26 million in radio reach during the tracking week. Following closely behind and making a re-entrance into the charts is Omah Lay’s “Soso.” A fan favourite off his July 2022 debut LP, ‘Boy Alone’, the song snags 46.8 million in radio reach and 2.30 million across streaming services.
After debuting at No.1, Ayra Starr’s “Sabililty” slips down one spot this week to No. 3. With a series of entries like “Bloody Samaritan” and “Rush,” Ayra remains the only Nigerian female artist with multiple No.1 entries in the Turntable Top 100. “Holiday” by Fellow Mavin Signee and Ravelord, Rema, tallies 2.36 million across streaming services, sitting at No. 4 in this week’s rundown. For another week, Ruger’s “Asiwaju” remains at No. 5 after topping the charts for seven consecutive weeks between December 2022 and January 2023.
Just outside the top five, Asake’s “Yoga” holds the 6th spot spot for another week, with Khaid’s “Jolie” coming in at the 7th spot. Rexxie’s “Abracadabra,” a pre-released single ahead of his recently announced sophomore album, ‘BIG TIME’, has dipped to No. 8 for this week’s rundown. Sitting at No. 11 last week, Kizz Daniel’s “RTID (Rich Till I Die)” comes up to No. 9, while Spyro’s “Who is Your Guy,”recently remixed with a new Tiwa Savage verse, closes out the charts at No. 10.
Outside the top ten, Young Jonn’s “Currency” with Olamide returns to its No. 11 peak and Lojay’s “MOTO” glides up the chart at No. 21. Chart predictions anticipate the track in the top twenty rundown following the Friday debut of his sophomore EP, ‘Gangster Romantic’.
.@BNXN’s “Gwagwalada” with @KizzDaniel & @seyi_vibez spends a second week as the official No. 1 song in Nigeria
It tallied 3.55 million on-demand streams (#1 on streaming) and 46 million in radio reach (#3 on radio) during the week of Feb 24 — Mar 2 https://t.co/FNd2KcrKqd
Over the years from holding down the NATIVELAND crowd to festivals in LA, Paris, Malta or Accra, SHŌLZ has gathered a reputation for his standout showmanship behind the deck, joined by DJ partner, Addy Edgal for NATIVE Sound System. With several shows under their belt, the pair released their debut compilation album, ‘NATIVEWORLD’ enlisting a slew of African talents on standout tracks like “Stuck on You” and “Runaway” with Mavins Records SabiGirl, Ayra Starr, The Cavemen on the stellar intro, “Tortoise,” Cruel Santino on “EDMP (E Dey Move Person)” and more. Championing the growth of the creative community in these parts, the project also featured note-worthy contributions from talented producers like P.Priime, Tyler Turner, GMK and more.
Now coming in fully as an artist-producer, SHŌLZ debuts his new single “Vex,” the second song in a two-pack release, alongside the Somadina and TAR1Q-assisted “Cruel Love,”. After witnessing a shift in the attitude of many Nigerians following the loss of innocent protesters at the Lekki Toll Gate Massacre on October 20th, 2020, many Nigerians surrendered all feelings of political apathy in order to take a stand in determining their country’s future. However, following the events of the 2023 Presidential election, many Nigerians have once again been left feeling unenthusiastic for the country’s future.
At such a sensitive time for many Nigerians, music can serve as a source of comfort and togetherness for everyone feeling defeated at the state of the country’s affairs. Understanding this, SHŌLZ channels these strong emotions, tapping into a distinct range of rap geniuses including a major face in Nigerian drill music, Odumodublvck, Alte Pioneer Teezee and uNder alum Candy Bleakz. Accompanied by an energetic beat, Teezee crosses between Yoruba, English and Pidgin to express his frustrations on the standout verse saying, “You try to kill us but we are up/You can’t kill our spirit, We go vex.” Finally, armed with his usual hard-hitting bars, Odumodublvck shows that he is not afraid to speak his mind with witty lyricism as the track draws to a close, “Tinubu day call me, Odumodu can you PM/ I tell am say I no go free if e no buy me loud.”
Fresh off the song’s official release, The NATIVE spoke to SHŌLZ on the new single “Vex,” under Nigeria’s current political climate, the song’s accompanying visuals and what we can expect from the artist-producer in the future.
His answers, which follow below, have been lightly edited for clarity.
NATIVE: Hi SHŌLZ, coming off the release of ‘NATIVEWORLD’ with NATIVE SoundSystem, this is your first solo release as an artist-producer. Why was it important for your song to speak about the state of Nigeria?
SHŌLZ: I’ve always been attracted to music that could move me and make me feel something. Having spent more time in Nigeria in the past couple of years and being here for the last few months, it’s impossible not to feel for what’s going on here politically. In my own way, I wanted to push a sound that could encourage conversation and make others feel what I felt. To see the direction that the country is moving in is painful and vexing. I wanted to bring our world and community into that.
NATIVE: Teezee, Candy and Odumodu are inimitable rap talents with very distinct styles. How did the selection process for the featured artists come about?
SHŌLZ: There wasn’t any selection process to be honest. I prefer music to develop organically. We normally run camps to record new tracks and develop existing ideas and this was one of the songs that came out of the camp we ran in August, last year. I think Candy recorded her verse first and by the time OD(Odumodublvck) recorded his, we knew we had something because everyone knew the words by the end of the day.
NATIVE: The video for “Vex” finds all artists in the streets of Lagos, talking about what’s currently vexing them. What message were you trying to pass across with the video?
SHŌLZ: I want the music to be a medicine for the pain I guess. This thing called life can get hard, so whether it makes you dance, laugh or even cry for a second, it reduces pain. I’ve been trying to vocalise more of what I’m going through and hopefully, it encourages others to do the same.
NATIVE: What’s next for SHOLZ this year?
SHŌLZ: More of everything. I am looking to drop an album this year, ‘JJC,’ so keep a lookout for that as well as some instrumental/beat tapes. Some other dope stuff too which I can’t really share but let’s just say it involves going on the road.
In recent years, we have been privy to several momentous occasions with the sounds from these parts incessantly redefining the status quo and breaking boundaries one track at a time. Now more than ever, spotlighting the expansive talent pool and variety of sounds emanating from this side could not be more critical. From the homegrown artists telling the stories of the streets in Johannesburg to the burbs of Abuja or Nairobi and even the artists emerging from the diaspora.
With a viewer attention span shorter than ever, some exceptional talents may skip your radar but the monthly instalments of our uNder column are here to ensure that all corners are covered. A month after bringing you artists that we expect to have a big 2023, we’re back with a new set of great, budding artists for uNder’s 2023 February class, with hypnotic sounds from South Africa’s viral Amapiano sensation, Justin 99, joined by the experimental synths from Flier in Kenya, the exuberant and introspective indie raps of Horrid the Messiah, plus more. Find your new favourite artist(s) below.
KEMUEL
Earlier this year, Kemuel got recognition from some of the greatest in the game. It is telling that the duo of Spinall and Olamide allowed him space to establish the direction for “Bunda,” the lead record off Spinall’s sixth album, ‘Top Boy’. Beyond industry affiliations, Kemuel has shown glittering promise since the release of last year’s ‘ESCAPE’, a well-curated project which introduced him as one to watch out for.
Described as a literal escape from the restrictive shackles of realism, the longing for perfect union enlivens the project. Right from the ethereal sonics of “AWAY”, there’s an associative vibe to Kemuel’s sound. Not quite heavy in percussive tones, the colours of his singing meet the exquisite movements of Wondah, who produces the entire tape. “Can we run?” poses the song’s central tension, but between the reverb echoes of “away, away” and the inclusion of ominous elements, a lot of sonic layers unfurl. “FINALLY” and “MUMU” reveal similar sensations, Kemuel’s vocals ever poignant and coloured with bases of hums, strings, call-and-response patterns. Unhurried, it’s the type of Afropop CKay and Victony gets consistent props for, although Kemuel’s language is distinctly his, not quite risqué as the aforementioned names but tender, serenading with his milky vocals.
As a child, Kemuel loved to play with choir instruments, enabling a grasp on the rudiments of sound. In 2021, his production for Sukah’s “Spotlight” showcased the atmospheric elements he’s now immersed in. The titular record of that EP—and also the last—demonstrates Kemuel’s appeal: affectionately scripted, the laidback grooves radiate with purpose and passion. Over time we’ve seen artists that produce make great music, and Kemuel seems to have so much in the bag. His journey burns with promise.
RHITA NATTAH
One of the most striking qualities of Moroccan singer Rhita Nattah is her voice; it bears so much emotion and charisma. The next thing that catches your attention is her lyrics, which shine with insight from lived experiences. Although she has been in the music industry since 2016, Rhita Nattah released her first single “Not the Same” in 2019, in partnership with long-time collaborator Samir El Bousaadi. She and El Bousaadi, since the days of her Afrobeats-themed covers, have spent time learning production and songwriting and crafting a sound that is both ancient and contemporary.
“I gave up on everything for the music, and made bloody sacrifices in Morocco to be able to create it,” she tells the NATIVE. “In Morocco, there’s no music industry and artists don’t even get paid their royalties from organisations. Samir El Bousaadi and I used to have two eggs per day and create music. Even though I had a master degree in French didactics and he was working as a graphic designer director, he gave up on his work to live doing his passion, because we can’t imagine ourselves doing something else.”
In early February, Rhitta Nattah released ‘INNER WARRIOR,’ a documentation of her journey and experiences, as regards love, self and Moroccan society. Effortlessly, through traditional Moroccan music, R&B and Soul, she makes room to vent her angst, embrace her vulnerabilities and call out her country’s politicians. “I am gonna tell you things about myself/I didn’t know before/Things I hide from myself, from myself/Oh, some days were dark,” she opens up on “Garden” off ‘INNER WARRIOR.’
“Counting all my blessings, I’m not willing/To give up on my soul and my sanity/I have faith in my words and their honesty,” she sings on “Fear Nothing,” revelling in her inner strength. “I want to be a voice for the people, a friend, a sister, through my music and words,” the singer tells The NATIVE. Rhita Nattah is a voice that will be heard for a long, long time to come.
JUSTIN99
The intoxicating log drums and sweet-sounding shakers, accompanied with the heart warming melodies commonplace in Amapiano have become a comforting sound for most listeners privy to South Africa’s burgeoning scene. Ever so often, artists like Justin99 discover new ways to transform the transcendental ‘piano sounds and facilitate an even deeper connection to the listener, devoid of language barriers. Framed within the digital age, a viral moment for an artist like Justin couldn’t be more perfectly timed and well deserved. While many may recognise his 29-second snippet for the #Justin99Challenge, accompanied by striking dance moves from a number of Tiktokers, Justin99’s discography holds other notable tracks.
His debut, “Chipi ke Chipi,” off Amapiano hit-making producer-duo Mellow and Sleazy’s ‘Midnight in Sunnyside’ couldn’t have been a more perfect entry into the scene, a chippy viral hit song with over 2 million plays on Spotify alone. Doubling down on stellar collaborations, Justin99 enlisted Mr JazziQ, Pcee and EeQue for a catchy, thumping rendition on “ZoTata,” alongside “Mozambique” and “Dlala 99,” off the Volume 2 compilation of South Africa’s Black is Brown Entertainment album. From his small but mighty catalogue and snippets of future collaborations with Amapiano heavyweights like Kabza De Small, the producer, DJ, dancer and vibes curator has proven to be a promising act to keep an ear out for.
Intricate songwriting has always been a forte for rappers. Listening to Horid The Messiah, the South African rapper’s formative diet of classics from older relatives and the contemporary model of A-Reece is revealed through the strength of his pen. Horid began releasing material two years ago, pairing glossy, trap-suffused production with narrative zest. The October 2021 debut EP, ‘I V T A P E S’ had four tracks under a runtime of ten minutes, but it was enough time for Horid to flex tightly-scripted bars and exuberant deliveries, with themes like self-belief and romantic fissures scripted with visceral ability.
The Johannesburg-bred rapper continued to forge on, his tendency to collaborate with fellow rising acts—Kaz, Eddie Soul, fellow uNder alumni Scumie—burnishing his credo amongst a community of like-minded folks. Horid’s sobriquet as ‘Baby Jesus’ might reference his diminutive stature but it’s also a reflection of his complete appeal as a music superstar. Modelling and acting for brands, he’s got one foot in the corporate world while the second roams, enabling stellar releases such as “I WON’T TELL” and the ‘While You Wait’ project, both in 2022. “HURT” was the latter’s opener and an indication the rapper sought to probe the greater demons of his mind. “I don’t condone all the shit that I’ve done, this is something that you don’t deserve,” he raps over a thinly sketched production. An immersive project advancing the shock value of glitz, The Messiah’s humane quality comes alive.
Horid walks on a path trodden by the likes of Reece and Nasty C, rappers whose pop-leaning direction does not diminish their dedication to street narratives. The Solo Sae and Ficz-assisted “UHHH” also marked a great start to the year, its distinct cadences and synth-heavy production endowing the record with ostensible hit qualities. Horid The Messiah’s fine range is demonstrated most recently in his Valentine’s Day-released two-pack ‘Do 4 Luv’, baring, at this point, his double-edged sword of boisterous cuts and soulful introspection.
CHELSEA DINORATH
There’s an obvious sensuality to Kizomba music that lends itself the best to affectionate performances. For a genre whose popularity cuts across multiple continents with Lushophone ties, there’s no shortage of great vocalists and there’s always an influx of fast-rising talent, who understand the music’s form and how to function within it. Angolan singer, Chelsea Dinorath is on track to become Kizomba’s latest superstar, delivering earworm jams with heartfelt intentions.
Even though she’s been making music for much longer, she officially debuted in 2019 with “Retrato Perfeito,” a mid-tempo song where the building blocks for her artistry can be heard in hindsight. In subsequent years, she followed up with diverse singles, going the contemporary R&B route on “With U,” singing in multiple languages on “Toi Et Moi,” and contributing a lilting half-verse to the ensemble cast hit song, “Céu Azul.” While a large part of the last couple of years could be described as her development stage, Chelsea Dinorath is officially in full bloom.
With her richly textured, siren voice and a writing style that boils down the tension of romance into gorgeous songs, the singer’s abilities have been better realised over her singles from the past year. It’s no coincidence that it comes with her full lean into Kizomba, like the winning warmth of her biggest song yet, “Sodadi.” On “Melhor,” log drum infusions accent the buttery groove, showing her willingness to innovate within genre boundaries. Chelsea has already opened her account for 2023 with “Unfollow,” which emboldens the effortless beauty of her voice – a striking artistic trait that will help carry her to greater successes.
FLIER
Flier describes himself as the “purveyor of all things fly.” There’s an enveloping serenity to a Kenyan singer, rapper and producer’s music, where personal dispatches take on a relatable warmth. On “Filthy Rich,” his vocals and minimalistic production choices invites you into his world where he sings his admiration of being rich and being able to make it out.
Singing and rapping in both Kiswahili and English, his voice cuts across the chorus with the first verse being a dedication to his family and the second verse to his romantic muse, both of which he promises the world to them. His singles are often paired with distinct guitar productions as seen in “Embrace,”“Policy” and “Kile Tumepitia.” The most exciting part about Flier’s career is his ever-diverse creativity which sees him explore diverse subjects. Whether it’s love as seen in “Bandia” or just teasing his production skills in “Run Deputy Run,” which carries clear inspiration from Bob Marley and the Wailers’ 1973 hit, “I shot the Sheriff.”
With a limited digital footprint and a sprawling catalogue of singles that stretch back four years, Flier is yet to hit a mainstream breakout moment but he doesn’t seem keen to break the mode of his operations, seemingly trusting that the music will find its intended audience. Flier’s music found us, let it find you too.
TOLIBIAN
Nigerian street-pop is fond of elevating viral stars with veritable talent. (See: Zinoleesky.) Ilorin-raised Tolibian first popped on Nigeria’s youth culture radar with a series of ear-catching, humour-tinged covers of popular pop songs, with the most notable arguably being his cover of Buju’s “Peru (Refix)”—itself a cover of Fireboy DML’s global hit song, “Peru.” Those covers exhibited the influence of Apala on his vocal tricks, which is fitting since the genre of Yoruba folk music has a deep history tied with Ilorin.
In 2021, Tolibian officially kicked off his journey with his debut single, “Abortion,” a fine display of his ability to deliver songs relaying the Nigerian experience, delivered in a winning mix of pidgin English and Yoruba quips. He’s followed with several well-received singles, setting himself up as an accessible voice in street pop without losing the winning charm of his earlier covers. Even as his voice and style is heavily influenced by Apala, there’s a very modish tilt to Tolibian’s artistry, even approaching the R&B-influenced side of Nigerian pop with songs like “Abaya Palava” and his most recent lovestruck single, “Hello.”
Over the past two years, Tolibian has converted internet listeners into fans with his voice of gold, and the potential for stardom is brighter than ever. With a knack for blending catchy Afropop rhythms with soothing R&B melodies, Tolibian is one to look out for this year — a fresh new voice of the generation we’re looking out for this year.
LEANDRA.VERT
In November, South African Amapiano producer/DJ Musa Keys spearheaded the eponymous release of his label’s debut compilation project, ‘House of TAYO’, packed with contributions from emerging artists on the imprint’s roster. On this compilation, singer Leandra.Vert quickly showed out as a standout performer, turning in indelible contributions across the four songs she’s featured on. With her cherubic, positively dizzying voice, she floats over the saxophone-infused “AboMalume” and adds an ethereal dimension to the project’s commercial centrepiece, “Blue Tick.”
Before her House of TAYO affiliations, Leandra.Vert was already flaunting her potentials as a singer, mainly opting for soulful pop and R&B soundscapes on earlier singles, including the 2021 debut song “In Too Deep” and early last year’s “Tse Monate” with Mustbedubz. Both love songs, they served as an introduction to her raw vocal talents, which she’s been harnessing better with subsequent releases. Drawing inspiration from a range of artists, including current neo-soul luminary Ari Lennox and soul-fusion rule-breaker Iamddb, the singer has spent ample amounts of time perfecting her craft to fit varying sonic moulds, with Amapiano being the current focus of her sound. The sample size isn’t huge, but Leandra.Vert is already an artist to pay attention to.
Compiled and written by Emmanuel Esomnofu, Uzoma Ihejirika, Nwanneamaka Igwe, Wonu Osikoya, Tela Wangeci & Dennis Ade Peter.
For a relatively small country, Ghana’s contributions to Afropop has been gargantuan. Where contemporary audiences have been eager to praise the incursions of Nigerian and South African pop into popular spaces, the music of Ghana is no slouch in the journey of Afropop. From patenting the classical techniques of Highlife to providing a cache of lingo that’s been used everywhere across the continent, there’s no doubt that Ghana plays an invaluable role in bridging musical evolution with cultural ingenuity, and for too long its flowers have evaded her.
In the nineteenth century, the music of Africa—and West Africa specifically—was a mix of the various traditional sounds across several ethnic groups and Eurocentric influences, especially from colonists who were resident in countries such as Ghana. Apart from church music, which was sometimes recorded in local languages, what was considered popular music around the 1900s usually had traceable influences from the more equipped Europeans. Ghanaians were the first to take the refined aspects of music-making and filter their own sounds through them, creating Highlife, which is rightly considered the sonic precursor to modern pop music in West Africa.
This essential bit of history hasn’t gone unchallenged. In the past, Nigerians have erroneously viewed Highlife as its own creation, ostensibly due to the fact that the genre became very popular during a crucial period of the country’s independence in the sixties. Artists from the geographically bigger West African country have also minted gold records from its conventions, but would Nigeria have become that conscious to Highlife’s appeal if artists like E.T Mensah hadn’t toured the country? Considered the modern pioneer of the form, Mensah’s creative freedom allowed the likes of Bobby Benson to learn directly from his style, and Benson in return solidified the genre’s standing among the elite class of Lagos with his acclaimed Jam Sessions which would also help in developing many future stars of Highlife.
More pertinently, it was the five-beat pattern which was adapted from the percussive style of Akan music which provided the sonic template for what’s now known as Afrobeats. Without glossing over the diverse sonic traditions prevalent in accomplished music scenes across Francophone and Southern Africa, it’s almost unarguable that contemporary Afropop as a global phenomenon was largely reliant on the sound of Ghana. Azonto and Hiplife had amassed great followership in diasporan communities before many genres that’s now popular today. On ‘Afrobeats: The Backstory’, a most intriguing episode was when the filmmaker Ayo Shonaiya traced the origins of the five-beat pattern to Ghanaian folk music, also connecting its peculiarity to the primal bounce of Hip-Hop.
Thus, Ghana resides at the very centre of Black art. No other African country boasts a relationship with such important conventions across music, art and history. Perhaps we can attribute this wide-ranging attribute to the reach of Ghana’s coasts, which although prompting the unfortunate history of slave dealings, was also a factor towards its cultural vibrancy. Quite fortunately, the country has proven eager to align its historical importance with its modern outlook on culture. The revered Kwame Nkrumah was a pioneering figure of Pan-Africanism, and besides mentoring other African personalities who became thought leaders in their own countries, a strong imprint in his ideology is the communion of black communities across the world in fashioning a global front for our own interests. It’s also telling that the great W.E.B Du Bois maintained a great relationship with Nkrumah and resided in Ghana until his death.
In the past half-decade, Ghana has done important cultural work. From ‘The Year of the Return’ to other musical events which have designated areas of local history to highlight, a lot of people in the diaspora have travelled to the country. With celebrities often making that trip, the perception of Ghana in the international media space has tremendously improved, while music companies such as Audiomack have proven eager to set up offices in the country. Against the risk of trivialising diverse experiences, it’s also important to note that this tourist attention hasn’t always translated into a more vibrant economy for everyday Ghanaians, as we’ve reported in recent times.
This cross-continental relationship was demonstrated on a holistic scale last year by the American rappers Chance The Rapper and Vic Mensa, who parlayed months of deliberate collaboration with Ghanaian acts like King Promise and Kwesi Arthur into the Black Star Line festival, a multidisciplinary event which was held in Accra’s history Black Star Square and had US superstars such as Erykah Badu, T-Pain and Tobi Nwigwe in attendance. The name of the historic steamship corporation founded by Marcus Garvey, the Black Star Line was an important showcase of Ghana’s decades-long role as a mediator of black cultures and experiences.
Another instance of international stars aligning with the GH culture came through the figure of Kendrick Lamar, who made a trip to the country around the same time his long-anticipated LP ‘Mr Morale & The Big Steppers’ was released last year. Being a rapper who allies closely with his African heritage, Lamar’s move had an almost spiritual connotation. And yes, music hasn’t always been the pulling factor—the rapper Noname whose interests in historic Black Literature brought her to the George Padmore Research Library on African Affairs last year.
As a Nigerian, one is born to recognise the tensions with our next-door neighbours. In recent times the supremacy of Jollof rice has been the most keenly contested aspect of our shared history, although to that conversation no unarguable consensus has been reached (I’ll wait until I taste Ghanaian Jollof in Ghana before I reach my own verdict). There’s also the more touchy history of Ghana Must Go in 1983 which, it must be said, was spearheaded by a government that had an eye on retaliation (Ghana had done the same in 1954 and 1969) and didn’t necessarily consider the nuances of diplomacy but also humanity, why it is necessary that anyone who hasn’t proven a threat to society should be allowed to reside wherever they want provided they go through the proper channels of entry.
Growing up, the love for Ghanaian culture was quite visible in social spaces. Even today, without missing a breadth a lot of Nigerians would mention Ghana as the African country they would most like to visit. I remember the homage Highlife musicians such as Cardinal Rex Lawson and Chief Osita Osadebe have paid to Ghana in their songs, either singing in local Ghanaian dialects or referencing the country in storytelling mode. Flavour’s “To Be A Man” had such a character who travels to Ghana to hustle, and upon getting a visit from his friend, reveals that life hasn’t been great to him. A sprinkle of the famous Kuffour name, and Flavour arrives at the cross-cultural blend which was responsible for birthing his genre. Ghanaian-themed bars were also a thing growing up, and during my moments of voyage in reality or through movies, it wasn’t at all strange to see a ‘Baba Ghana’ bar which was owned by a Nigerian.
During the mid 2010s, the Ghanaian sound made a return to the centre of Nigerian popular music through Mr. Eazi. The revelation of Eazi was actually felt throughout the continent, but more poignantly within Nigeria, which was his home country. With songs like “Leg Over” and “Hollup” drawing from the aforementioned five-beat pattern, urban lingo such as ‘ohema’ and ‘charley’ also became widely popular. Runtown’s “Mad Over You” was the sonic icing; mentioning Ghana girls and some famous meals from the country, its resonant production coated the song with the warmth of a love letter, from Nigeria, and indeed the rest of Africa, to Ghana.
On their part, Ghanaian artists have been forward-facing with the sound. The likes of Sarkodie and M.anifest have frequently stretched hands of collaboration towards other African musicians, and in the process, creating multi-layered catalogues for themselves. Efya, Cina Soul and now Gyakie have reflected R&B excellence, blending its sensitivity with the brimming colours of Highlife. R2Bees, Shatta Wale and Stonebwoy are approaching veteran levels, but there remains a vivid desire for merging the rich sonic history of their country with sounds from elsewhere. In recent times, artists like Amaarae, Camidoh, Black Sherif and Kojo-Cue have showcased the necessary mix of talent and intentionality needed to secure their spot at the zenith of Afropop for the next decade at least.
What is obvious is that Ghana has always been a part of Africa’s desire to fashion its own identity. The government can surely do better in bringing the benefits of its cultural renaissance down to the average citizen, but in terms of embracing its cultural history, Ghana is right now a beacon of inspiration to the entire continent of Africa. As the country celebrates its Independence Day today, it’s surely worthwhile to consider what true independence means and how Ghana has taken the necessary first step of aligning its sociopolitical agenda with the storytelling of its peculiar history.
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 close out your week, we brought you a stellar collaboration from Don Toliver and Wizkid alongside a slew of singles from Falz, Tay Iwar and more. Today, we have songs that move from Afropop to Amapiano to R&B; these artists—from Nigeria, South Africa, Kenya, and more—showcase their unending talent and passion for creativity. Lock in!
KWESI ARTHUR – “PAIN INTERLUDE”
Ghanaian rapper, Kwesi Arthur showcases once again his brilliant craftsmanship on “Pain Interlude,” his second release of the year after DJ Semtax and BackRoad Gee-assisted “Floor Shake.” Immediately leading in with a daunting key, in line with the tracks title and cover, Kwesi delves into the matters necessitating his frustrations while expressing the need to live his life without regret. Maintaining a mid tempo across the track’s length, Kwesi croons on the memorable hook, “Make I talk about the pain/No pain no gain.”
Wonu
BAABA MAAL – “FREAK OUT” FT. THE VERY BEST
While some may recognise the Senegalese singer from chart toppers like “There Will Be Time” or “Wona,” others can recount his pristine writing contributions to Burna Boy’s rendition of “Alone” off ‘Black Panther: Wakanda Forever.’ Off his three- track release ‘Freak Out,’ the project’s energetic intro serves as the second track from his forthcoming album ‘Being,’ slated for release later this month. Blending the traditional, heart-thumping drums with the visceral electronic production by Johan Eugo, Maal enlists vocals from Esau Mwamwaya from The Very Best. “Freak Out” offers a standout cut from the project, exploring the effect of social media and the internet on Africa and the world community.
Nwanneamaka
SPYRO – “WHO IS YOUR GUY (REMIX)” FT. TIWA SAVAGE
On the remix of his viral 2022 single “Who Is Your Guy?,” Nigerian singer Spyro invites superstar Tiwa Savage for an energetic, fun-filled ode to friendships and connections. Over Amapiano and Afropop, Spyro and Tiwa Savage recall the individuals in their lives who carry positive influences and have contributed massively to their growth. Tiwa Savage immerses herself in Spyro’s world and exemplifies her versatility.
Uzoma
NU FVNK – “BLACK SHADOW”
Haunting bass progressions are the first thing you hear on “Black Shadow”. With every second’s count the beat incorporates more elements, before Nu Fvnk’s vocals sweep in with the right amount of tension. A song with military leanings, it evokes the poignant heat of civil rights demonstrations. Fvnk’s native South Africa has a layered history of that and his chant-esque writing mirrors that urgency. “Anywhere I go, anywhere I live/ Black shadow on my skin, tryna take the light from me,” he sings with sharp imagery, burnishing the ethos of his unique direction.
Emmanuel
REXXIE – “CALL MY PHONE” FT. AJEBO HUSTLERS
With “Abracadabra” still doing a madness on the streets, Rexxie isn’t catching any sleep. He moves closer to the imminent release of a project titled ‘Big Time,’ expanding the scope of his artistry with each song. “Call My Phone” does exactly just that: produced by the mercurial Niphkeys, the song’s balance of affectionate songwriting and cherry production renders a sweet tease about it. Ajebo Hustlers continue on their impressive feature streak, owning the record through their original takes and vivid storytelling.
Emmanuel
LIBIANCA – “PEOPLE (REMIX)” FT. AYRA STARR & OMAH LAY
Following the success of “People,” released in the later parts of 2022, Libianca taps young Afropop stars Omah Lay and Ayra Starr for the track’s remix. A dreamy blend of melodious vocals from the trio, “People (Remix),” like the original lead in with Libianca’s instantly recognizable vocals and lyrics, “I’ve been drinking more alcohol for the past five days/Did you check on me?” Following up with ad-libs and a full solo verse, Ayra’s mellifluous vocals take center stage as she expresses the all too familiar need to escape reality as she questions her sanity. The slow-tempo track closes out with Omah Lay reiterating the song’s sentiments.
Wonu
MAJOR LEAGUE DJZ & MAJOR LAZER – “DESIGNER” FT. JOEBOY
Closing out 2022, a surprise collaboration from Major League DJz, DJ Maphorisa, Tiwa Savage and Diplo resulted in a catchy chart topper, “Koo Koo Fun.” For their most recent release, the iconic South African duo, Major League DJz and superstar DJ-producer, Major Lazer tap into Joeboy on “Designer.” The instantly catchy Afro-house number leads in with percussive elements layers over subtle drum patterns as Joeboy sings of rocking his designer items and spoiling his love interest with equally flashy gifts. Midway through the track, the instrumentals take the forefront as the hook repetitively sings “I be rockin my designer.”
Nwanneamaka
BONGEZIWE MABANDLA – “UKUTHANDA WENA”
Shortly after the release of “noba bangathini” in the earlier parts of the year, South African singer Bongeziwe Mabandla is notorious for fusing traditional Xhosa folk music with more modern electronic productions, creating distinct sounds as seen on his new track “Ukuthanda Wena.” WIth production credits attributed to Tiago Correia-Paulo, marries heavy drum patterns with a techno-esque production featuring layers of percussion elements. “Ukuthanda Wena” serves as the second promotional single of his studio album, ‘amaXesha,’ slated for release later in the year.
Nwanneamaka
MID3 – “UNDER G”
Fusing the menacing energy of Drill with the colourful melodies of Afropop, “Under G” is a fitting introduction to the sound of rising act, MiD3. He draws from the familiar convictions of the country’s Gen-Z, flagrantly establishing his desire to soundtrack great moments in the present generation. With vocals which instantly stand out, the song’s usage of live talking drums is also a nice touch, earning the artist a striking personality.
Emmanuel
SHARYN – “WHEN LOVE COMES” FT. JAE EAUX
For all the changes in the modern world, we’ve never lost belief in a Godly presence. That force remains a source of life and hope for many all across the globe, and it’s a transcendent feeling Sharyn evokes on “When Love Comes.” As part of Platoon’s Gospel Heritage compilation, it advances the ethereal vision, a soothing record which builds towards an ecclesiastical atmosphere. Sharyn’s admonition to open our hearts to love is amplified by her warm vocals, a serenade which assures the listener that God is in control of our affairs.
Afropop exists at a very interesting juncture right now. In the hands of innovative producers and musicians it’s become a most malleable sound, easily folded with conventions from other genres. That sonic compatibility emboldens the scene with the responsibility of creative risk taking, and few have so valiantly stepped up like NATIVE Sound System. Carved out of the NATIVE Networks, NSS is a DJ collective and producer supergroup that has increasingly touched base with the sounds of Africa and its sprawling diaspora, releasing last year’s ‘NATIVEWORLD’in alliance with that vision.
This year, the collective has again struck musical gold. Championed by SHOLZ, the release of his two-pack single arrives with much promise. Given the magical body of work which its debut proved to be, establishing the diverse grooves of our heart through earthy, lived-in music and talented spate of artists on the roster. Just as the collaborators on that project embodied the creative vision, so also do the featured artists across these two new songs–including the heavily sought after artist from Abuja, OdumoduBlvck and Chocolate City rappers, Candy Bleakz and TAR1Q (Nu Trybe).
Cut from a dreamy soundscape, “Cruel Love” starts off with the floating beauty of Somadina’s vocals. The production merges an heart-grabbing drum pattern with finishes of psychedelia disco, ominous tones and retro sound effects playing from the background. Vocally, Somadina’s eighties-evoking sheen meets in harmony with TARIQ’s new-school Trap-welcoming flow. All the mental hoops that comes with hoisting a toxic affair is present, and with skilled precision as well the richly layered sound, their emotions and perfectly set up the second release.
“Vex” is a different beast. Many listeners would likely return from this with Odumodublvck’s incinerating verse playing off their domes, but Teezee’s nostalgia-inducing set-up is just as inviting. At the heart of the song is Candybleakz’s poignant hook, bravely singing, “Na wetin I want I go get, and if una no give am to me, I go vex,” establishing the protestant edge which coats every angle of the record. Odomodu’s gleeful but demanding lyrics echoes his style on “Picanto,” but feels gruffer in delivery which captures the difficult emotions many young Nigerians currently feel.
With the heavy cloud of political activities in Nigeria, a record like “Vex” becomes a stance on democracy, on the supremacy of the people’s will. Bursting with a menacing Drill base, the accompanying elements from producer Adey only serves to heighten the atmosphere. In consideration with “Cruel Love”, the two-pack shines a light on the private and public aspect of Nigerian lifestyle, reining-in strong opinions on what are the most discussed topics in our contemporary society.
With a background forged by spreading the gospel of breaking sounds from our home state, country, and continent, NATIVE Sound System and SHOLZ’s latest release is a reminder of their penchant for identifying, championing and now producing sounds from this side to the world watching.. The zesty turns of Dance music although charging the songs, leaves ample space for the musicians to impress their distinct perspectives. Beautifully ideated and even better executed, “Cruel Love” and “Vex” is essential music.
Lojay is the moment. The talented singer and songwriter arrived in grand style less than two years ago with the release of his debut collaborative EP ‘LV N ATTN’ with record producer Sarz. Since his debut, Lojay has consistently shown off undeniable star power which he backs up with a stellar pen game and a unique vocal cadence.
Through 2021 and 2022, Lojay delivered deep romantic cuts that soundtracked our innermost desires, while keeping his finger on the pulse of what’s currently trending through records such as “Monalisa,” “Only Fan,” and “Tonongo.” With no signs of slowing down anytime soon, late last year, he drew listeners into his world of automobiles and romance with the electrifying P.Priime-produced record, “LEADER!” Shortly after, he welcomed DJ Maphorisa and Kabza De Small into his orbit with the Amapiano-infused track, “CANADA.” All these records have only led up to the release of his sophomore EP.
Arriving today is the 7-track body of work ‘GANGSTER ROMANTIC,’ a brisk 17-minute run which sees the artist at his most honest and his most unified. Across the four new tracks, Lojay blends his silky and sultry vocals with sharp lyricism, expressing personal vulnerability in several melodic confessions.
He opens the project with “YAHWEH,” a romantic number to his love interest, which founds Lojay laying down his cards and painting a picture that visualises his romantic intentions for his muse. The dark chord progression adds a fine and unique layer to the record. Elsewhere on the project, the artist delivers the soulful record, “IYD.” On this track, Lojay dials up his lover boy anguish, infusing the track with a deeper emotional palette than his previous releases. Similar to “CANADA,” the record “AVALABU” is an amapiano-infused number which sees an energetic drum pattern along with Lojay’s catchy vocals. He rounds out the tape with yet anothe P.prime-produced jam titled “OVA,” an uptempo record filled with melodic synth lines and syncopated drum patterns. Here, Lojay speaks on a past relationship he’s dealing with while still showcasing his vocal ability and range.
With his sights firmly set on expanding the purveys of his artistry, Lojay approaches his sophomore EP with a keen sense of curiousity and a new-found sense of confidence. ‘GANGSTER ROMANTIC’ is a fine addition to his growing catalogue, showcasing yet again why Lojay is one of the most compelling and unique artists within the Afropop scene right now.
Listen to ‘GANGSTER ROMANTIC’ here.
Featured Image Credits/NATIVE/Courtesy of the artist
Magicsticks cages his guard dog and leads me into his duplex in Ajah, an upper-middle-class area in Lagos, Nigeria. It was here, in his home studio, that he produced, mixed and mastered all twelve songs in Asake’s debut album, ‘Mr Money With The Vibe’. The album was released in September 2022, only a few days before I visited him. There are two of Magicsticks’ friends in the living room, one of whom is Logos Olori, an up-and-coming artist. He and Magicsticks had first met at Lagos State Polytechnic (LASPOTECH) in Ikorodu, where the latter was admitted to study computer science in 2018; they have been inseparable ever since. It was also in Ikorodu, a city in the north-east of Lagos, that Magicsticks’ career as a record producer took off. He has come far since then, winning many awards and producing one of the most commercially successful albums in Nigeria in 2022.
Born Kareem Olasunkanmi Temitayo to a Christian home—a fashion designer mother and a father who is into “oil and gas”—Magicsticks, the first of five children, was born in Alagbado, Lagos, but was raised in Sango Ota, Ogun State. Later, his family lived in Ifo, also in Ogun. But wherever they went they carried a ravenous appetite for music. Magicsticks recalls his father, a former disc jockey, playing all kinds of music in the house, “from old school to afrobeats to house music to jazz.” “It’s not like I was consciously paying attention to it. But in the house, it’s boom boom every time,” he says.
His was an early entry into music. In his teens, he played the drums for a local church and, on occasion, the piano. Rife are tales of artists who faced disapproval from parents wishing for them white-collar careers. Far from having an apathy for the arts, these parents merely understand the financial perils such a career promises in the country. But such was Magicsticks’s luck that a musical strain runs in the family, and with it, perhaps, an understanding of the futility of unheeding art’s calling. His father would lead him by hand to a record producer in Abeokuta, Ogun State, where he was advised to learn computer engineering. He did; these days he can by himself repair his music production gadgets whenever they crash.
Magicsticks tells me that his relationship with his parents was mostly cordial, but it was sometimes spotty. One time, while in secondary school, he ran away from home. On finding him, his parents bound his hands and dragged him home, he says, the gleam of mischief in his eyes suggesting hyperbole. When he could legally leave home, he left right away and made Abeokuta his new haven; there he pursued his “personal hustle.” It was while in Abeokuta that he got admitted to LASPOTECH, prompting his move to Ikorodu.
“I just don’t buy the idea of living with your family for too long,” he says. In many ways, self-sufficiency has defined his career; most of what he knows about music production he taught himself, an exercise in trial-and-error that began in 2013 when he bought FruityLoops software from Computer Village, a cluster of stores in Ikeja famous for trading electronics. And when he grew tired of sound engineers excising the “emotions” from his productions, he taught himself mixing and mastering. The first song he mixed and mastered, Ryan Omo’s saxophone-rich “Belema,” was released in the summer of 2020.
But before launching his career as a record producer, Magicsticks had donned his father’s old robes, working as a deejay from 2009 to 2013. In 2013, while in Ikorodu, he caught the ear of the music producer Jay Pizzle, who would double as a friend and benefactor. With Jay Pizzle’s help, Magicsticks moved from Ikorodu to the more urban Lagos Island, and in a sense, towards the pulse of Nigerian popular music, for most of the country’s important music events are staged in that glittering part of town. “If you are not yet a big producer, artists don’t really want to fuck with you,” he says. “Jay Pizzle, with his industry influence, was able to help me. If an artist was in the studio, he would tell them to listen to some beats I made.”
It was also through Jay Pizzle he acquired a taste for house music; it would mark Magicsticks’ later records, playful pastiches of soulful pianos and violins and breathlessly percussive beats. Jay Pizzle would also urge Magicsticks to get a producer tag, introducing him to a friend who then coined the famous “Tune in to the King of Sound and Blues,” a line delivered with a nasally cartoonish fervour at the start or end of every song produced by Magicsticks.
It was also through the record producer that Magicsticks met DJ Neptune in 2020 at a music camp organised by Mr Eazi. One of the beats he played to DJ Neptune and Mr Eazi’s hearing would provide the sonic canvas for the former’s “Nobody,” featuring the latter and Joeboy. The high-energy single, with its age-old message of romantic jealousy, was released in March 2020 and was widely received as though it were the cure to the pandemic that had left most people home-ridden. It placed number 1 in a list compiled by TurnTable Charts of the 50 most streamed Nigerian songs in 2020.
Though the song introduced Magicsticks to the mainstream, it was his work with Asake that proved he was more than a tourist. He had first met the artist in a studio, in 2019, through the online comedian Sydney Talker; Asake and Sydney Talker had come to master the former’s 2020 single “Lady.” A self-professed introvert, Magicsticks is not wont to “letting people into my space,” but with Asake it was different. Words desert him as he tries to explain why theirs is a producer-artist union conceived choate. “You know people connect. Sometimes you just meet and connect with them,” he says. Perhaps realising his response tended to the abstract, he seeks to dress it in bone and flesh as he cites the divine. “Maybe it’s just God in the middle of us,” he says, an easy smile powdering his face.
Asake and Magicsticks’ first work was the 2020 single “Mr Money,” which Magicsticks produced, mixed and mastered. It was released with moderate success. Amapiano shakers and log drums, the raves that year, defined the song. With the release of the Olamide-assisted “Omo Ope” in January 2022, the duo had settled into the sonic identity they would carry into Asake’s debut extended play and album. “I think ‘Mr Money’ was us trying to find our sound, and ‘Omo Ope’ was like, yes this is the sound,” Magicsticks says.
In “Omo Ope,” which was an instant hit, Magicsticks blends elements of South African house with Afropop sensibilities. Though there are hints of it in Ryan Omo’s “Belema,” it was in “Omo Ope” that Magicsticks would first prominently use the crowd vocals technique that has come to be associated with Asake, as much as with him. This layering of vocals has the knack of lending a religious feel to even songs with irreligious concerns, so that when Olamide raps about female derriere in “Omo Ope,” Magicsticks’ production gives it the veneer of a sacred subject.
Magicsticks reveals that the crowd vocals, a motif in many of his records, are not computer-generated but rather created by a real-life choir handpicked by Asake. He also reveals his preference for working with instrumentalists while making a record. His friend Goke had played the saxophone for “Organise,” a song in Asake’s album. But Magicsticks often has a hard time getting this ad hoc band to effectively recreate the sounds in his head. Nonetheless, he finds ways around it. “Somehow I find a way to let them understand where the vision is coming from,” he says.
Seeing potential in Asake, Olamide signed the artist to his YBNL record label, and seeing potential in his partnership with Magicsticks, he allowed Magicsticks to produce most of the songs in Asake’s debut EP, ‘Ololade Asake’ (three out of the four songs)—which was released in February 2022—and all twelve songs in his debut album ‘Mr. Money With The Vibe.’ Acutely aware of the label owner’s influence on his career, Magicsticks says, “If it was not for Badoo (Olamide), I don’t think we’ll be having this conversation right now.”
In “Sungba,” a hit song off Asake’s EP, Magicsticks bares his Fuji strain, which would even be more pronounced in “Joha,” a track in Asake’s album. He calls “Joha” the most difficult song he worked on in the album. A version of it had been released when Asake was still a student at Obafemi Awolowo University, Osun State, and was a favourite in the student community. Wanting to improve the original version and yet not wanting to bias Magicsticks’ creativity, Asake let the record producer listen to only a fraction of the original record, and then the producer had to recreate the song using only the faint memory of the beat he had heard. In Magicsticks’ hands, the original version of the song—a high-tempo cracker designed to excite exuberant undergraduates—lost some of its pace.
‘Mr. Money With The Vibe’debuted at number 66 on the Billboard 200 chart. Also, Magicsticks has picked up several awards including plaques from TurnTable Charts for producing four songs which were the most streamed in Nigeria. The songs include “Omo Ope,”“Sungba (Remix),”“Peace Be Unto You (PBUY)” and “Terminator,” all Asake’s songs. But perhaps the capstone of his achievement with Asake is how, by combining elements from popular genres like Afrobeats and South African house with those of niche ones like Fuji, he has been able to create what sounds primarily like Nigerian street music while exuding a mainstream appeal not common to street music.
The record producer, who turns 28 this month, continues to search for new sonic material. For “Yoga,” Asake’s first single of 2023, Magicsticks swaps Amapiano for Séga, sampling Michel Legris’s “Mo Capitaine,” replacing log drums with the deep rumble of the ravanne. Though a bulk of his work has been done with Asake, Magicsticks stresses the importance of artists working with as many producers as possible, if only to test themselves on a variety of sounds. “Normally I advise artists that they shouldn’t be working with just one producer. I tell them to work with different producers and get different sounds,” he says. He too has worked with a varied few: he produced Niniola’s “I Did It (Bum Bum),” Olamide’s “We Outside,” and Tega Starr and Mr Eazi’s “French Kiss,” to name a few.
The success Magicsticks has had has not lessened his work ethic. He still wakes up at 4am daily and works until 9pm, producing no fewer than five beats. “There’s always stuff to do. There’s always stuff waiting for me,” he says. Unlike other Nigerian producers like Young Jonn and the Grammy-winning Tejiri Akpoghene who have moved into singing and songwriting territory, Magicsticks expresses no such desire. He does not see himself on stage with a microphone singing a song; he sees himself on stage “with my big deejay mixer, controlling the crowd.”
In a room in his Ajah home, there is a board on which the producer writes the names of the artists with whom he would like to work. Some of the names include the giants of Nigerian pop music: Burna Boy, Davido, Olamide and Wizkid. He has worked with all; one name, however, proves elusive. “I just want to produce that record for Drake first, then let’s know what’s next. Drake, I’m looking for you, man,” he says, laughing. There is a sense that, for the producer, Drake is only a metaphor for global acclaim. The King of Sound and Blues, it seems, wants to be King of the World.
What is Democracy? Ask many of us in Nigeria and you’re likely to get a uniform answer: Democracy is a government of the people by the people. I remember this particular definition because it was taught to me and my classmates in Primary 4. My memory isn’t photographic but I do remember Mrs. Obasi, the longstanding teacher in that grade and assistant head teacher at my primary school, ensuring we knew that definition by heart. Also, for the purpose of this story, I asked my 11-year old nephew to define democracy, and he gave me the same answer.
By the second year of junior secondary school, a significant part of the social studies syllabus is dedicated to democracy and its system of operation. I can’t remember everything but I do remember the emphasis on citizen participation in electing leaders to various offices and holding them accountable. Also, I remember that Nigeria practices Representative Democracy, where citizens elect officials to legislative house, officials whose jobs are to propagate laws and policies for public good. I also remember separation of powers as a characteristic of Democracy, and being taught the general functions of the three arms of government: Legislative, executive and judiciary.
Along with the democracy proselytisation in JSS 2, I think, we were taught about the autocracy and monarchy systems of government, albeit without any real depth beyond the idea that they aren’t as great as democracy—which makes all the sense in the world on paper. It was agreed upon in the syllabus that Democracy is best and, since that was the system of governance in Nigeria, it was the only one that really mattered. By the time I was in JSS 2, Nigeria was inching towards an uninterrupted decade of democracy, its longest streak after the first four decades of independence were largely lorded over by military dictatorships.
On May 29 this year, Nigeria will mark 24 years of democratic governance system. It will also do so by swearing in a new president, and welcome in newly elected and returned officials into various public offices. For almost a year, the country has been in election mode, which has culminated in citizens taking to the polls to elect choice candidates, starting this past Saturday with elections for president and federal legislators into Senatorial seats and the House of Assemblies.
In these times, and stretching all the way back to the heart-breaking aftermath of the EndSARS protests against police brutality, the overwhelming sentiment has been that Nigerians—the youth especially—should go out and exercise their supreme civic duty: Voting. The reason I bring up the EndSARS protests is because it’s come to define the relationship of many Nigerians to leadership. Like I mentioned earlier, democracy is meant to foster citizen participation in government proceeding—basically, Nigerians have a voice and the government is meant to listen.
As the Lekki tollgate massacre and other killings in the protests’ aftermath showed, the Nigerian government wasn’t only unwilling to listen, it was ready to act tyrannically and with brazen impunity. It was the latest example of power show. In a truly democratic society, none of those things should have happened. And even after they did, people should have been held accountable, but that hasn’t happened till date. It frames how government really works in Nigeria, where the people are meant to be subservient regardless of conditions and elected officials don’t want to work in service of the people.
In the ideal of democracy, there’s an emphasis on government as leadership to the people through service. In Nigeria’s democracy, it’s been repeatedly shown by the powers that be that government is about wielding power. This is why it’s very common to hear Nigerians refer to the presidency as a seat of power, not a seat of leadership. During this election period, I’ve seen way too many tweets referring to candidates and their capacity to “rule,” when the discussion should be better tuned to who’s best fit to serve the country and its citizens.
I congratulate His Excellency @officialABAT on his victory. Elected by the people, he is the best person for the job. I shall now work with him and his team to ensure an orderly handover of power. pic.twitter.com/YwryZ1uFXJ
It’s unsurprising, though, considering that 16 years of our almost 24 years of democracy has been led by two former military dictators from the ‘70s and ‘80s. As much as it is in the past, it feels fitting to say that our democracy is still defined by the country’s relationship with autocracy. That our vocabulary when we discuss public office hasn’t evolved beyond power and ruling, into leadership and service, is easy proof of where we are as a country.
To be realistic, being in public office comes with its set of powers but as is often said, with great power comes great responsibility. In Nigerian democracy, though, power is just that—power. Responsibility be damned. This is why many politicians and their affiliates approach elections as a do-or-die affair, because getting into office means assuming great power where responsibility is arbitrary. It’s why elections in Nigeria are widely considered to be rigged in favour of those willing to attain that power by any means necessary, whether it’s through bribery or violence. It’s also why an entire generation–this writer–included has grown up disillusioned by the power play at hand, choosing instead to find pockets of joy where we can.
If elections are seen as contests to bring in leaders meant to serve and point the country in a better direction, there would be less emphasis on bringing people into power from all sides of the electorate. This current election cycle might just be more proof of how Nigerian democracy works, especially in relation to how officials work to get into office. Since Saturday’s presidential and federal legislative houses elections, there’s been widespread allegations of irregularities, from voter suppression and disenfranchisement to blatant rigging and general lack of transparency. Regardless, winners have been announced.
Nigeria practices democracy but time and again, but it’s more about who’s at the top lording over the rest of us at the bottom, and these elections have yet to really topple that status quo. Maybe that will change one day, but right now, our democracy doesn’t look like it’s acting as a government of the people by the people.
Last November, Marvel Studios ‘Black Panther: Wakanda Forever,’ the Ryan Coogler-directed superhero film set in fictional kingdom of Wakanda, was released to rave reviews. Arriving with a Ludwig Gorasson-produced soundtrack which included the pensive and memorable singles “No Woman, No Cry,” a heart-wrenching solo performed Tems and “Lift Me Up,” with Rihanna, the new film and its accompanying score set out to tell a story of grief, love, perseverance and celebration.
Featuring a talented spate of continental stars including African talent led by Burna Boy, CKay, Tems, Fireboy DML, Bloody Civilian, DBN Gogo and more, and Mexcian performers such as Vivir Quintana and Mare Advertencia Lirika, the music from ‘Black Panther: Wakanda Forever’ pulled together an eclectic mix of sounds and genres that served to further bolster the film’s message of grief.
Now, Marvel Studios wants to further unveil the world behind the film franchise. Arriving yesterday on Disney Plus, ‘Voices Rising: The Music of Wakanda Forever’ is a mini-documentary which gives audiences a behind-the-scenes look into the making of the ‘Black Panther: Wakanda Forever – Music From And Inspired By’ soundtrack.
The first episode takes audiences to Lagos, Nigeria where recording for the album began and took shape. Titled ‘Nigeria: Past is Present,’ the debut episode paints a colourful picture of the early stages of the film’s score, taking it to Lagos where this publication’s very own Seni Saraki, Lady Donli, Lmbskn and more, laid the foundation for what would go on to become a commingling of sounds and cultures.
Directed by Bernardo Ruiz, co-directed by Meji Alabi and produced by Serin Marshall, the three-episode series is executive produced by Ryan Coogler, Sev Ohanian, Zinzi Coogler, Peter Nicks, Ludwig Göransson, Kevin Feige, Brad Winderbaum, Louis D’Esposito, Victoria Alonso, Jimi Adesanya, Justine Nagan, Bonni Cohen, Jon Shenk and Jeff Redmond. Co-producers are Lauren Goralski and Gaby Arvizu.
Subsequent episodes, ‘Mexico: Con La Brisa’ and ‘London: Bring It Home,’ will begin streaming on Disney Plus on March 7 and 14, respectively. Until then, viewers can dive into the first episode which brings the world around the album closer with the key players who brought it to life.
Watch the trailer of ‘Voices Rising: The Music of Wakanda Forever’ here.
Hip-hop culture is intricately tied with youth identity in Kenya, made even more evident by the progressive rap scene in the country’s capital city, Nairobi. Associated with creative freedom and exuberance in the three-plus decade since its emergence, rap music has evolved into a dominant art-form and hip-hop culture is a way of life with distinct quirks morphing alongside different generations.
As with most early rap scenes across Africa, the beginnings were humble but the ambitions are no less inspiring. In 1991, artist-turned-actor Jimmy Gathu released “Look, Think Stay Alive,” and the pairing of his laid-back flow with hard-hitting drums helped make it an impactful single. The song, which publicised safe driving, received massive airplay and caused a shift in a music industry where foreign songs received more attention. At the time, the local mainstream’s focus tilted towards bands and artists whose sounds were heavily built on the fusion of traditional instruments. All this included a lot of singing, which meant rappers did not have a platform. The commercial success of Jimmy Gathu’s single and the rise of rap-centric shows such as Mzizi helped in fostering the rise of Kenyan Hip-hop.
There’s a ton of historical gaps to fill in the 30-plus years since rap music’s mainstream advent, but there’s an overflow of talent and success in the present that suggests that Nairobi and Kenyan rap is enjoying a prolonged golden era. In this moment, and stretching back over the last decade-plus, the most obvious names are Khaligraph Jones and Octopizzo, two relentlessly prolific rap artists that played primary roles in Kenyan rap growing beyond borders—creatively and commercially. In an interview with the Youtube channel Cleaning The Airwaves, Khaligraph rubs his impact in the industry by insisting he was the first Kenyan to jump on a trap beat. While this is an issue that is greatly debated between the Khaligraph and Octopizzo fandom, its result saw the rise of rappers switching from social-political issues and adapting more accessible themes that not only showcase their writing ability with wordplay but also their flexibility in production.
With the success and dynamic artistry of these two superstars—and more forebears—as OGs, new classes of rap freshmen emerge with distinct approaches and identities to their craft. It’s still all Hip-Hop: Shrappers, Drillers, Kilimani babies and more have carved a new niche in the scene. Creating a ubiquitous sound that peels new layers to their artistry, the current classes of younger rap artists have seen new names rise up defying the odds. “Boutross has to be the biggest artist in Nairobi and this was not the case three years ago,” a rap enthusiast tells the NATIVE. Often known as the shrap god, Boutross has stood the test of time as a pioneer of Shrap. Unlike rap, the subgenre took a new approach to its creation. Paying attention to flow rather than hard-knocking lyrics, the genre thrived with witty bars and occasion bragging. New ideas are rarely welcomed in a confined society where rules define your every move and to many Hip-Hop heads were adamant to reject the subgenre teaming it as not “hard enough to be termed as rap.”
In 2016 Musau Mumo, Dope-I-Mean, Jovie Jovv, Boutross, Kay Green, and more affiliates were creating an upbeat breed of rap that resonated more with the current generation. On heavy 808s, bouncy drums, and hi-hat electronic beats, they combined English and Swahili creating slang that saw the birth of Shrap. Its defying moment came with the release of Jovie Jovv’s “Kiasi,” the lean-advocating song that coupled with weed and sex lines saw an attention shift. Unlike the rap songs that were flooding the mainstream industry, “Kiasi,” was playful and one you could trap to. To most Kenyans, this is how they were introduced to the sub-genre. Like a foreshadowing of their greatness, Boutross is a testament to their gospel. One of the biggest artists in Kenya he has built a fandom of shrappers who are loyal to him and he stamped shrap’s authority with “Shrap Over The Rest.”
Like Boutross, Wakadinali also has played a huge role in shaping the rap industry. According to 2022’s Spotify Wrapped, they were one of the top three streamed artists in Kenya. Consisting of Scar, Mad Munga, and Sewer Sydda, the trio has revolutionised the face of Hip Hop in Nairobi. There’s an identity that Wakadinali represents that people are drawn to. For over two decades, they have written Hip Hop on their own terms with each release unveiling greater potential. Whether it’s fusing reggae with hip-hop as seen in “Rong Reggae“ or scintillating on cutthroat cyphers, Wakadinali is incredibly dynamic without losing any of their gritty edge. With over four projects under their belt and still flourishing as solo acts, the trio has a dedicated following among the Nairobi youth.
Their relentless consistency has seen them rise from underground stars to household names. With Hip-Hop inspired percussions, the trio’s precise skills and knowledge of their audience places them on a pedestal. Representing the ordinary Kenyan youth their brevity matches Mashifta’s with the technical skills of Ke rap forefathers, Ukoo Fulani. Three years ago when Nairobi was undergoing a musical renaissance, Wakadinali’s “Morio Anzenza, ” emerged like a fast and furious bolt from the blue. Fusing raw sounds and grimy beats, the single sounded like the past, present, and future of Kenyan rap music all wrapped up at once. Mad Munga’s helter skelter flow and Scar’s lethal lyricism opened up the minds of the youth and the people and become aware of our people, our situation, our community, and our knowledge of self. Featuring Dyana Codds her ice-cold cadence brought new conversations to the table: Women rappers in Nairobi. Her ability to match up to Wakadinali’s proficiency proved that women can own the mic and drop flows. While the conversation of needing more women in the spotlight is unending, this was not the first time a woman outshined expectations in rap. Just like US Hip Hop had Lil Kim, Missy Elliot, and more, Nairobi has its fair of rap first ladies.
“Nazizi was the first lady to boldly step into the scene when ladies weren’t really at it. She had a very impressive run in the rap game as a solo act before forming the group Necessary Noize with Wyre, and while at it she worked with the best in the game at that time, namely Kshaka, Ksouth, Tedd Josiah and the list is endless. The First Lady of Hip-hop as she’s known, Nazizi had a very dope run when coming up.”Ondu, a Hip-Hop enthusiast and podcast host tells the NATIVE. Shaping the space for women, Nazizi’s pen game was adorned with punchlines and wordplays that went above sexism and misogyny. Her songs covered a wide range of themes encouraging girls it’s okay to make the first move in “Kenyan Girl, Kenyan Boy.” For many women in the industry, Nazizi was the first embodiment of a Kenyan woman rapper.
Currently, Nairobi’s rap scene is undergoing an exciting period celebrating the highest rate of women in the industry. Rappers such as Tulia, Silverstone, and NATIVE’S 2021 Fresh Meat Alum Groovy Jo are dominating the industry. Preaching body positivity, sexual liberation, and freedom, female rappers have a platform that was not there previously. While the number still lags behind, the growth is commendable highlighting the genre has evolved making space for both men and women.
Rap groups have always been an aspect of rap. Creating a catalogue of hits, rap groups such as Kalamashaka, Mau Mau, K-South, Mashiftar, and more showed that unity is the basic unit of a rap group.”Kalamashaka is one of the most successful Rap Groups ever do it in Kenya and East Africa.”Ondu tells the NATIVE. “These guys were heading major gigs in Kenya mid to late 90s. They even opened for Coolio and Lost Boyz Crew between 1996-98, performed for a crowd of 70,000 people in Nigeria, rocked stages in Sweden, performed and recorded jams with Dead Prez, and were even featured in the Source Magazine, the longest-running Hip-Hop/Rap publication in America. They were so huge Snoop Dogg talked about them back then saying they were the African WU-TANG CLAN. They later formed MAU MAU CAMP which comprised Nairobi-based rappers mostly from Dandora.
“Ksouth were the originators of that new Funk that wasn’t revolutionary raps as much as they did some social political & conscious tracks. They did comical rap which in Tanzania is called Rap Katuni. The duo which consisted of Bamboo and Abass created the sub-genre dubbed Kapuka which has been an intricate part of Kenya’s sound. K-South were so huge that by just dissing the new style Banda which Ogopa Djs was experimenting with, they gave birth to a whole genre called KAPUKA,” Ondu shares. Originating in the late 1990s with artists such as Redsan, Bebe Cool, and more, Kapuka is a fusion of hip-hop, reggae, and African traditional music styles and has grown to become one of the founding sounds of East Africa’s music scene.
Looking back, Hip-Hop has evolved into a solid reflection of Kenya’s ascendant talent. Stars such as Mashifta who enjoyed massive success when they dropped their first two tracks, “System Ya Majambazi” and “Pesa Pombe na Wanawake,” which were well received by the masses thus enjoying airplay on mainstream media before the government flagged the songs down due to their message. The genre has made an impact socially, politically, and emotionally.
Currently, the present class of Hip-Hop freshmen looks hopeful and the future is brighter for Hip-Hop on the continent. Buruklyn Boyz is the biggest export from Nairobi in the rap scene making astronomical steps with the release of their debut album ‘East Mpaka London’ and even featured as curators for 2022’s Boiler Room, they showcased the genre has moved from the streets into boardrooms. Solo acts such as STL and Lness have shown ladies they can spit bars and look pretty while groups such as Camp Mulla, Bamboo, Big Mike,Kapten, and Kantai made it cool to rap in English making space for the Kilimani rap babies.
“We are at a space where KE HIPHOP is the genre with the most Nominations and most consistent appearance on most if not all Music Award shows in Kenya, East Africa, and Africa at large,” Ondu says about Kenyan rap at the moment. “At the recently concluded SOUNDCITY awards, Ke Hiphop had 4 Nominations and a major performance on the big stage in Nigeria. Tell me what that is if not GROWTH?? The only stand-alone genre with its own Award Show. That looks like growth to me.”
On Saturday, February 25 2023, Nigeria held one of its most pivotal elections till date. Following eight years of rule under the reigning All Progressive Congress (APC), the country has taken massive blows to its economy, made worse by a declining currency and the rising price of petrol. In the run-up to the election cycle, these issues were only exacerbated by the ongoing naira and fuel scarcity and increased violence and brutality from authority. With all the strife in mind, many Nigerians across various age groups, tribes, and backgrounds were frustrated with the current administration looking to the recently concluded Presidential, house of Assembly and Senate elections as a time to vote out its inept leaders.
Elections in Nigeria isn’t an activity for the lighthearted. As our history books go and the first-hand experience of many who have lived in the country, elections are peak times for the instigation of corrupt and violent practices. Despite the introduction of the new bimodial accreditation system which was introduced to curb issues with overvoting, this past Saturday was no different with several reports of malpractice, voter suppression and violence across various states in the country including Lagos and Rivers State.
All eyes are on Nigeria’s electoral body, the Independent National Electoral Commission (INEC) which is currently under scrutiny for the increasingly disturbing reports surrounding its lack of proper planning and implementation. In the run-up to Saturday elections, popular mistrust in INEC shot up the roof. Citizens had a lot to worry about; from the logistical efficiencies which made voter registration and PVC collection so daunting, to widespread images of adolescent-looking children accredited as voters, the dominant conversation going into Saturday was whether the INEC would adequately carry out the job it had been preparing for the past four years.
PRESS RELEASE
Challenges Experienced With The INEC Results Viewing Portal (IReV) pic.twitter.com/MbTFXIqugP
Last year, the INEC chairman Prof. Mahmood Yakubu demanded an election-budgeted N305 billion in addition to the annual N40billion the organisation is allocated, citing the growing costs of manpower and resources it would take to organise polling units across the 36 states of the country. Having being availed of the huge monetary resources it demanded for, many Nigerians looked to the 2023 elections as a time for INEC to make good on its duties.
On a national scale, elections happen once every four years, a timeframe that should allow for sufficient preparations for a civic responsibility that determines the future of a country. Electoral malpractice and negligence shouldn’t be a political discussion in these times but as we have seen often across the African, true democracy is still very far off. The leaders of old systems bank on widespread corruption to keep them perpetually above removal from public office. As an electoral body charged with impartiality to the Nigerian populace, the 2023 elections were a let down, which massively highlighted the body’s gross ineptitude.
Perhaps the earliest demonstration of an unplanned election was the late arrival of INEC officials at polling units across the country. On Saturday, the election was scheduled to start at 8.30AM, however, by mid-day, several reports reached social media of the zero attendance from officials and in some cases, their arrival without the adequate voting material. Between those hours, millions of Nigerian voters resisted the urge to return home, determined to cast their votes for the candidates of their choice.
Even with the late arrival at polling stations, it was gathered that the officials were understaffed and sometimes undertrained, slowing down the overall voting process well into the night at some polling units. For those who stood for hours in queues that Saturday, it was considered a fair price to pay for good democratic representation in the next four years. Still, INEC officials weren’t all voters had to suffer; in the states of Lagos and Rivers, several incidents of thuggery and voter manipulation were recorded, and it’s something that has no place in any voting space at all, let alone in national elections.
Amateur footage shared with TheGuardian alleges voter result manipulation at a collation centre in Apapa, Lagos. Party officials accuse electoral officials of inputting altered figures into the master sheet.
Among the discrepancies that were allowed to stand by INEC was the gross persuasions ongoing on the day, as officials attempted to sway votes in favour of APC’s running candidates. Through these illicit practices by officials at the polling units, there was a deliberate frustration of electorates at several polling stations. Working for the public entails communicating with the public, but on that Saturday, the relationship was more hostile than conversational in many polling units across several states. The voting process dragged on till late hours of the night, with voters across several regions present at their stations until 11pm in some cases, and some others even later than that.
Alongside this, INEC failed to adequately present its officials with all the necessary tools. In some polling units, reports circulated of citizens offering to share essential materials like power supply, ink, internet—things the INEC should have had available. There was also a suspicious motivation to keep election results from being uploaded via the BVAS portal. Many voters complained that after stations had counted their votes, the officials repeatedly found excuses to avoid uploading the results. There were more direct instances of malpractice, a viral video taken from Apapa in Lagos showing an INEC official who was manipulating results in favour of the APC. There were also result discrepancies on the iRev website where polling units were displayed; in some were uploaded faces of electoral officers rather than results; some others had photos of unverifiable quality, white-toned and mostly unreadable.
Despite their numerous gaffes which took place over the weekend, INEC remained largely silent on the issue. A shoddy statement was issued on social media concerning the widespread issues of the iRev website, blaming the “technical hitches related to scaling up the iRev from a platform for managing off-season State elections to one for managing nationwide general elections.” The reported cases of malpractice and inefficiency were paid no mind, and on Sunday afternoon, the National Collation Centre was declared open in Abuja, although a number of states still had local governments that hadn’t voted at the time.
In parts of the country where voting didn’t happen because of logistical problems or violence, INEC gracefully scheduled a rerun on Sunday. These were mostly in the southeastern part of Nigeria, where there were massive accounts of voter suppression prior to the elections and even during. As someone who resides in the region, I know firsthand that potential breakout of violence would have been reason enough for many people to not vote, but that wasn’t the case in most Eastern states. The people had great will to participate, and often INEC let them down, reducing a great number of voters during the PVC collection stages. In the days to the election, it was reported that two hunters came upon a discarded cache of PVCs in a bush within the Akamili community in Nnewi, Anambra state.
At this very moment, there are still many electorates who haven’t gotten a chance to vote. Across Abia, Imo, Enugu and parts of Anambra, the number of disenfranchised voters is largely unknown, which is an anomaly that shouldn’t be allowed to stand. Speaking to a voter from Ogidi, he affirmed that no one voted in the 3000-populated polling unit of Ward 1. “They arrived late with just 800 materials,” one of our sources said, “people refused and requested they should bring the whole material and refused them to start the voting because they won’t vote half. Inevitably, they agreed to come back the next day which was Sunday; we went there around 8am, no INEC officials showed up. I’m so hurt,” he shares with the NATIVE.
2 days in a row, @inecnigeria officials have not shown up. This is Orlu in Imo State. Yet I have a seen a result from here. Stamped and signed. The voting populace refused to be bought so they are buying INEC. pic.twitter.com/bCSKMpuSi4
Few days before the elections, the Federal High Court in Lagos stopped INEC from entrusting the distribution of election materials across the state’s polling units to the Lagos State Parks Management Committee and its chairman, Musiliu Akinsanya, popularly known as MC Oluomo, a member of the APC who’s the same visually implicated in threats against Igbo people at a Lagos-based polling unit. Ruling in favour of the Labour Party and five others, Justice Chukwujekwu Aneke ordered an interlocutory injunction which prevented any such association. Other situations, such as liking a post criticising Labour Party candidate Peter Obi, has put a hovering question mark on INEC’s supposed objectivity.
Prior to the 2000s, INEC was founded to checkmark the country’s adherence to democratic institutions—a crucial foundation meant to ensure that the citizenry’s choices were elected and adequately represented at the helm of the country’s politics. In the years since, the electoral body has largely split opinions, with some of the view that it has corrected some of the deficiencies which rocked elections in times past. Others haven’t been so convinced, and for good reason, as INEC have been prone to work in relative obscurity without revealing their practices to the suspecting eyes of Nigerians.
INEC and its residing chairman, Professor Mahmood’s insistence on allowing things to move on as though voter suppression is not being carried out before our very eyes, is quite disheartening. If anything, his imminent sack should come with charges locating his place in the disruption of Nigeria’s democracy, leading a corrupt process that has seen many declare him the worst chairman of INEC ever.
Prior to the elections, President Muhammadu Buhari promised to concede to INEC to ensure free and fair elections. Not only has the election not been free, the challenges of security have proved to be anything but fair. In all this, the Nigerian Police should also catch its due share of criticism, showing as we’ve seen in videos that they’re working more in tandem with detractors than they are on protecting voting citizens. Such anomalies feed the idea that corruption in this election cuts across several governmental and paramilitary agencies, and with the overwhelming evidence that’s been recorded and shared online, it’s more than an idea at this point. It is the ugly truth.
I call on @inecnigeria Chairman, ‘Professor’ Mahmood Yakubu to tender his unreserved apologies to over 215 million Nigerians, and as well tender his resignation at this point.
This is the worst election to be conducted in Nigeria.
INEC remains questionable in all of this. In light of the inefficiencies we’ve so far witnessed, the mistrust of the citizenry is established on solid grounds. As votes continue to be counted, the shouts for malpractice have been deafening. The results of Ekiti state remain keenly contested while re-run elections in Delta state are allegedly being manipulated with state power. Final results would expectedly be announced in the coming hours but it’s quite a hard position that INEC has placed Nigeria in.
Throughout his career, Falz has never shied away from pairing his musical talents with his political leanings. The lawyer-turned-artist has managed to find a sweet spot between entertaining listeners and provoking thoughts about the dysfunctions in the Nigerian social and political structures. On “Senator” off his 2014 debut album ‘Wazup Guy,’ he mocked the selfishness of the country’s ruling class as he rapped in his popular comic drawl, “Take the people property/You no dey do things properly/Calculate you no show working/You say na summary.” Falz, in an interview with Audiomack World, revealed that political activism has always been an integral part of his personality. “I grew up with both my parents as activists,” he said “I was born into that sort of family, that sort of background, so, inevitably I was always gonna have that aspect of me.”
Three days before the 2023 presidential election, which was held on February 25, Falz teamed up with fellow Nigerian artist Tekno on “O Wa,” his single of the year. The Chillz-produced track calls on Nigerian citizens to not be afraid to step away from and cast out any government that doesn’t respect their rights to better and inclusive policies. “All the tax wey we generate/Why the cash no dey circulate?/And when we start to calculate/Everybody come dey agitate,” Falz sings. While the Nigerian economy ranks as one of the richest in Africa—courtesy of the late 60s boom in the petroleum industry—a majority of the country’s citizens still grapple with poverty, with the 2022 Multidimensional Poverty Index survey confirming that 63 per cent of persons in Nigeria (133 million people) are multidimensionally poor.
In 2018, Falz’s commentaries on society and politics shrugged off the comic edge and adopted a sharper, pointed tone. In May of that year, American artist Childish Gambino shook the collective consciousness of the world with “This Is America,” whose lyrics and accompanying music video addressed issues of racism, police brutality and gun violence in the United States. Gambino’s “This Is America” inspired many artists from around the world and spawned global remixes from France, India, Ghana, South Africa, Afghanistan and Iraq, among others. Falz was one of the artists who drew inspiration from that track. His version of the song, as expected, fixed the searchlights on the problems bedevilling Nigerian society, from political corruption to insecurity to fraud. The music video drew the ire of the Muslim Rights Concern (MURIC) who ordered Falz to take down the video because it showed women wearing the hijab and dancing Shaku Shaku, a popular street dance.
The massive support Falz received for “This Is Nigeria” egged him on into bolder territory. On his 2019 fourth studio album ‘Moral Instruction,’ over Fela Kuti samples, he gave a scathing critique of the Nigerian political and religious classes as well as the citizenry. On “Johnny,”he railed against police brutality; on “Talk,”he criticised corrupt politicians (even sparing a moment for MURIC); on“Amen,”he condemned the antics of unscrupulous clerics; and on the Chillz-assisted “Paper”and the Demmie Vee-featuring “Hypocrite,”he lambasted the broken compass of the Nigerian people as well the folly of homophobia. While Falz’s songs have got their fair share of criticism bordering accusations of misogyny and feminist-bashing, ‘Moral Instruction’ was a notable project as it marked the growth of a (flawed) artist taking up the onus to speak against power.
The bedrock for Chillz’s production on “O Wa” is the Fela Kuti-birthed Afrobeat, drawing on signature elements such as sparkles with horns, trumpets and saxophones. Kuti’s music is an essential part of the relationship between music and politics in Nigeria, with his tunes soundtracking a generation of political and societal injustices, while also inspiring thousands of artists in Nigeria and around the world. On “O Wa,” Chillz, in a subtle mix, adds those predominant Afrobeat elements to the log drums of the rave-of-the-moment Amapiano. Chillz’s production gives “O Wa” a danceable quality but it doesn’t steal the shine of the song’s poignant message.
“Because/It’s a critical reaction/My country no get formation,” Tekno sings on “O Wa,” blending bits of lyricism with his trademark melody-driven style. “O Wa” isn’t Tekno’s first attempt at political commentary; between 2015 and 2017, when he dominated the airwaves with hit singles “Duro,”“Wash,”“Pana,”“Diana” and “Yawa,” Tekno released “Rara,” an Afrobeat-inspired record that mourned the infrastructural and democratic states of Nigeria. A few days ago, he released “Freetown,” decrying issues such as child beggars, fuel scarcity and unemployment. On “O Wa,” he and Falz transform their angst into a sweet-sounding tune.
But the message in “O Wa” is anything but sweet. Falz and Tekno are mostly concerned with inspiring listeners to rise and, with their voter’s card, reclaim their power from corrupt political leaders. “Why you no give me change (Change) I para/I curse the driver, I tell conductor say “waka”/Stop the motor I need to come down, I tire,” Falz sings. In the Nigerian context, o wa—a Yoruba saying—is spoken by passengers in public transport when they are about to alight at their destination. In the accompanying music video, co-directed by OyeTwoPointO and Falz, the country is a chaotic space, with Falz and Tekno acting as galvanising forces to lead the people to grab change, even with force.
“O Wa” possesses a timely message as it urges citizens to use their votes at the polls to create the kind of Nigeria that they want to live in. Although the presidential election was held over the weekend, it doesn’t mean that the fight for proper governance is over, no thanks to the reports of election rigging and violence. With votes currently being counted across the country, and the gubernatorial elections two weeks away, the message in “O Wa”—“Do not be swayed by lies and kick out poorly performing government”—still rings true.
On the day of DJ 4Rain’s conversation with the NATIVE, he had just returned from Egypt. His trip to the North African country was both personal and professional: since his early career, the French-born producer and DJ has been very pragmatic in seeking out inspiration. He has resided in a number of cities—London, Paris, Montreal, Toronto, Miami—and that vast cultural palette informs his eclectic musical style.
4Rain’s most recent undertaking is however his most important yet as he’s made trips into Africa in recent years, performing events and collaborating with musicians and fellow producers. Forthcoming on the 24th of February, is his live mix which was shot in the historic town of Cidade Velha, a United Nations Heritage centre. “We planned it about a year ago,” says 4Rain, whose parents were born on the island of Cape Verde, where the town is located. “I haven’t been in my country for fourteen years, and we planned to make it there, and we wanted to make something really special. It was like, ‘what can we do in our home country that can have an impact on the world?’ We chose Cidade Velha because it’s one of the biggest stories of the country.”
In collaboration with his team, 4Rain did more research and the magnificent natural scenery only added to his zeal to have a DJ set there. Cidade Velha, considered the oldest settlement in Cape Verde, was discovered in the 15th century by Portuguese traders. Over the centuries its importance bolstered as a route for intercontinental trade while Portuguese colonial efforts in other parts of Africa was largely established from this stronghold. With dealings in slaves, the town became a multicultural hub, although by the nineteenth century that enterprise fortunately withered. Most of the breathtaking structures—a royal castle, a 15th century church, the town square—however remain in place, making Cidade Velha officially one of the Seven Wonders of Portuguese Origin in the World and UNESCO World Heritage Site.
4Rain’s forthcoming DJ mix as part of the celebrations for Black History Month is therefore quite the curation. Such meticulous planning to showcase what might be the most underexposed of the world’s wonders is an invaluable lesson in paying artistic homage. “The live is a mix of a lot of African music and also some music from Cape Verde—it’s like a mix of all my favourite artists. I tried to share the best music with emotional [resonance]; so there’s a lot of rhythm, there’s a lot of emotions”. Being a musician and particularly being Black, the significance of Black History Month isn’t lost on 4Rain, and he’s “very proud” to share in its celebration this year. “We have the opportunity that people will listen more to what we have to say in this period,” he affirms.
A global name, DJ 4Rain has been rocking with the creme de la creme of the music industry for a while now. He started out early in the bubbling French scene, by his late teens already gathering a credible fanbase with his spirited takes on electronic music. He would become acclaimed in the producer-DJ lane, making incursions into the Canadian and US scene where he’d lived in the city of Miami. JLV, who managed his early career, introduced him to the camp of Meek Mill and 4Rain worked on the ‘Dreams Worth More Than Money’ album. Around this time in 2015, 4Rain released his debut single “Call Me”, a commercial success which reached the peak of no. 2 on the Shazam French charts.
Right from the start, 4Rain has always had the sort of close mentorship and protection which grounds him in positive ideals. His elder brother frequently travelled and joining him expanded his perspective on life. He also tells me that he began producing by watching a friend create music steeped in Cape Verdean and Portuguese music traditions, funana and kuduro respectively. “That’s the way I started,” he said, “And one day I said, ‘let me try something’.” Although he stopped, two or three years later he began DJing. Production would come again way later, some eight years ago. This time 4Rain had more than just the fundamentals going for him; attuned closely to his individual journey, his production often traversed geographical sounds, representing the high levels of consciousness and lifestyle to be found in different places.
“Whatever” coaxes a memorable performance from Sasha Ogletree, her vocals serenading with shiny lightness. As with most EDM songs, the feeling of exhilaration arrives mostly from the beat but 4Rain’s perfect soundscape gives just as much importance to the featured act. “I Don’t Belong” employs similar use of the soaring vocals, pairing existential concerns with the sharp edges of the electro-based production. 4Rain flavours “You And I” with the zesty turns of Techno, released sometime last year. Navigating the nuances of the close-lying genres, there’s no surprise that varied demographics and acclaimed festivals around the world have welcomed 4Rain into their midst.
More recently, he’s been exploring African sounds. Even though DJ 4Rain wasn’t born in Cape Verde, he never felt alienated from its musical culture. His father played a bit of the guitar and would regularly listen to Cape Verdean music, most popularly Cesaria Evora who was nicknamed ‘The Barefoot Diva’. It was later in his life that EDM savants like Paul van Dyk, David Guetta and Tiesto replaced the affinity for Hip-Hop, another genre of Black origin that has been widely influential across the world, much like House and the ever-ascending Amapiano has done in recent years.
“For the past five years I’ve tried to connect more with my country, with my community” he says, “I want to know how my life would be different if I grew up in Africa, because in Africa how people act together is different from how Africans in France or in Europe are together. In Europe, there are white people, there are Black people, and we’re treated differently from how it would be if I grew up in Africa. That’s why I’m trying to connect as much as I can with my country, and that’s what we tried to achieve with the Cidade Velha mix.”
Like most DJs, 4Rain travels for the sound. With any country he enters, he embraces the ebbs of society and applies them to his music. A scroll through his Instagram page gives insight into what he’s been doing; early on, a viewer would behold the magnificence of Egypt’s world-famous pyramids and the ancient peculiarities of its landscape. He also played in Morocco not long ago, soundtracking a great night for the residents of Marrakech.
“The first time I was in Africa I didn’t know how it’s gonna be,” he says, “because I used to play a lot in Europe where they consumed House music. I was really surprised that it was like—it was amazing, in Africa I feel like the people feel you more than other parts of the world. It’s like they’re living more for it, you know? It’s so unique, I mean, it’s unique everywhere in the world but in Africa I felt like it was something different. I really felt a big love.”
That’s definitely saying something for someone who’s played at prestigious events and venues such as the Miami Spring Break Pool Party; the Netherlands-based FunX; Movie Club in Alicante, Spain, and at the High Club in Nice, France. Not just bringing the performing aspect to Africa, 4Rain has also proven eager to touch base with the continent’s sonics. In recent songs, listeners have uncovered an evolving love for Afro House. “Where’s Love” shimmers with the mysterious overtones of the genre, pairing bouncy drums with psychedelia-based electro-pop. With vocal samples creeping from underneath, a vivid nature comes alive throughout the song’s three-minute runtime.
Collaboration wise, 4Rain has been bringing African artists into his sonic journey. Last year’s “Disturb Phone” featured Nigeria’s acclaimed Queen of Afro House Niniola and R&B-indebted South African singer KLY, a pairing which situated both artists in familiar soundscape while staking out new territory. “Out of Time” is perhaps his most successful incursion into the genre yet, a dazzling showcase which combined the beat making prowess of Botswana’s producer duo Team Distant with the luscious voices of Lioness Ratang, also from Botswana, and South Africa’s Priscilla K. Thematically, the song continues 4Rain’s sojourn into naturalist ideals, a need to diminish life’s fleeting trait by soaking in every moment.
4Rain is also a dedicated ambassador for the environment, reflecting its beauty through his brand while speaking up on the dangers of modernisation’s creeping hands. Shot in the South of France, the visualisation for “Whatever” is ethereal in its depiction of nature, from the spotted horses to the mountains and skies, the caves. “I love nature, I love animals,” he says, “It’s so peaceful. I’m living a really fast life so for me it’s the only way to really disconnect. I don’t know, maybe I’m born with it, but I always felt we need to protect natural life. It’s a big message that we need to share too”.
Growing up in the French city of Cannes, 4Rain loved to play football. This accelerated his networking within his immediate community and beyond, and considering the social aspect of music creation, it’s fair to say he got off to a solid start. DJ 4Rain is however concerned with handling the story of his life, and because that traces back to Africa and Cape Verde particularly, he’s been leaning more into this direction. He repeatedly mentions a Cape Verdean artist he’s working with, John Freedom, and hopes to collaborate more widely across the African music space. His dream collaborators? Black Coffee, Burna Boy, and DJ Maphorisa, who he’s “talking a lot with”.
In the mean time, DJ 4Rain continues to explore the boundaries of sound and the geography behind them. His team are working to make sure he performs in more African countries and “Out of Time” has a “big” remix package to be expected in the coming months. His calendar for a world tour starting in April promises to be magnanimous, much like everything DJ 4Rain has done from the start of his career till this point. “So stay tuned, I’ll probably come to your country too,” he shares before we wrap up.
Nigeria’s 2023 presidential election draws nearer. All the candidates involved—from the major contenders Bola Ahmed Tinubu of All Progressives Congress (APC), Peter Obi of Labour Party (LP) and Atiku Abubakar of the Peoples Democratic Party (PDP) to the little-known challengers such as Mazi Okwudili Nwa-Anyajike of National Rescue Mission (NRM)—have gathered their supporters and aired out electoral promises.
The election, which is scheduled to hold on February 25, holds much significance, especially for young Nigerians, who are still reeling from the unfortunate series of events in October 2020, the backwardness exemplified by the current government when itbanned Twitter in the country for seven months among other unreasonable socio-economic policies. For most Nigerians, next week’s election is a fresh opportunity to elect a leader who they believe will overturn the country’s most pivotal cost of living crisis.
During #EndSARS in October 2020 when young Nigerians flooded the streets to call out a now-disbanded notorious police unit, music was one of the weapons they utilised alongside their voices and placards. Songs such as Davido’s“FEM,” Ajebo Hustlers’“Barawo,”Stereoman’s“E Dey Pain Me” and African China’s “Mr President” soundtracked many protest grounds, fuelling protestors’ desire to demand better governance from their leaders. Certain Nigerian artists also lent their support on wax as they documented the protests with songs—Burna Boy with“20.10.2020,” Chike with“20.10.20 (Wahala Dey),” Orezi with“We Don Tire,” Efe Oraka with“Live rounds in the dark,” and Dwin The Stoic with“This Fight,” among others.
“The very nature of politics is, like music, rooted in conflict and harmony. The heart of music is the interplay of the physical and the mental, as the compromise between them forms a cohesive whole,” wrote Rex Thomson, a writer at Live For Music. Elsewhere in the piece, he posited that “from protest songs to voter campaigns, campaign rallies to musical endorsements and musicians campaigning, there’s been no shortage of love between music and politics.” That reality is not foreign to Nigeria, with the union between music and politics going as far back as the 1970’s.
The love between music and politics is layered and multidimensional. This is because many artists, before their music, are first of all citizens who have experienced the consequences of the inept decisions of their political leaders. In many cases, these decisions do not have the best interests of the regular person at heart. In Africa and around the world, where there has been a spate of bad governance and corruption, music has proved to be an effective platform to speak up against these poor policies, and soundtrack the plight of the people rarely offered a platform to speak about their pains and frustrations.
Rap music is a good example of protest music and nowhere has it been wielded more strongly than in America. The country is full of history – from its connections with slavery to its civil war to the Great Depression to racism and the civil rights movement. Formed in the 1970s, the genre also known as hip-hop music has been a dependable source of voicing the anger, frustration and indignation of the African American community towards the government. Through the 80s and 90s, hip-hop groups such as Jungle Brothers, De La Soul, A Tribe Called Quest, Black Star, Arrested Development, The Roots and Dead Prez addressed the issues of racism and violence affecting the black communities. In 1988, the American group N.W.A aimed a bombshell at the authorities with “Fuk Da Police,” which called out police harassment. “Fuck the police comin’ straight from the underground/A young nigga got it bad ‘cause I’m brown/And not the other colour, so police think/They have the authority to kill a minority,” Ice Cube raps. From 2Pac’s “Changes” to Ice Cube’s “I Wanna Kill Sam” to OutKast’s “B.O.B. (Bombs Over Baghdad)” to Eminem’s “White America” to Kendrick Lamar’s “Alright,” American rap artists have ensured that their thoughts and those of other Americans stay in plain view.
The late Nigerian music legend Fela Kuti is one of the major names that come up when music and politics are mentioned in Nigeria. A believer in Pan-Africanism, Fela used Afrobeat to tackle the issues prevalent in his times—from bad leadership to corruption and nepotism. His music was a tool that won him both admirers and enemies but he is a formidable example of how music and politics complement each other. Years later, Fela’s musical style has influenced many contemporary Nigerian artists, even birthing the offshoot Afrobeats, which is stamping its authority in the global space.
In an interview with SPIN, Fela acknowledged his position in Nigeria’s music scene, saying, “No one in Nigeria likes to play political music now, because the political situation is very bad. Africa is not like Europe in any way at all. If I can go to jail for 18 months, think how long an ordinary musician would go. But people want to hear political music. There are a few boys trying to, but it is not an easy thing to do political music. If you do, they clamp you down. At one time I was to play Zaire, but I wasn’t allowed into the country at all.”
The political climate in Nigeria in the 70s and 80s was a heated stage, fuelled in no small part by the Biafran War of 1967-70 and the economic downturn courtesy of the boom of oil production and the relegation of cocoa, peanuts and palm products as Nigeria’s major foreign-exchange earners. The dissatisfaction in the country swelled and—galvanised by a host of coups—birthed issues such as poverty, corruption, unemployment and crime, which the county still grapples with. “My people sef dey fear too much/We fear for the thing we no see/We fear for the air around us/We fear to fight for freedom/We fear to fight for liberty/We fear to fight for justice/We fear to fight for happiness,” Fela Kuti sings on “Sorrow Tears & Blood.” With songs like “Sorrow Tears & Blood,” “Zombie,” “Shuffering and Shmiling” and “Coffin For Head of State,” Fela Kuti documented personal and collective angst about Nigerian society.
In the 80s, Reggae was a mainstay on the Nigerian airwaves. The Nigerian version of the genre carried the soul of its Jamaican forebears and its artists infused their music with the pain and ache they felt about the Nigerian situation. “They say I’m talking politics but I’m singing reality/For the suffering of the masses, so my brothers I’m feeling so right/Situation getting worse only the poor feel the pain/The fury falls on them, don’t close your eyes to reality,” Victor Essiet of The Mandators sings on “Rat Race” from their 1988 album of the same title. Other songs such as Ras Kimono’s“Under Pressure (Part 2)”and“Gimme Likkle Sugar”spoke about the daily struggles of Nigerians and the injustices caused by bad leadership.
Outside of reggae, Nigerian Funk musician William Onyeabor, in“Politicians,” a track off his 1982 album ‘Hypertension,’ pleaded with political leaders, party leaders and supporters to refrain from playing dirty and consider the future of the country in their decisions. “We make mistakes during the oil boom/Not knowing that was our doom/Some people now have everything/While many many have nothing/Let’s save Nigeria/So Nigeria won’t fall,” Sunny Okosun sings on “Which Way Nigeria?” from his 1984 album of the same name.
As the issues bedevilling Nigerian society worsened, the musicians of the late 90s and early 2000s continued to report their thoughts about the county’s political climate. “Nigeria jaga jaga/Everything scatter scatter/Poor man dey suffer suffer,” Eedris Abdulkareem sings in his scathing 2004 song “Jaga Jaga.” The track took a direct swipe at the county’s politicians who didn’t care that bad decisions had worsened the living conditions of the masses. The song was so potent that it caught the attention of Olusegun Obasanjo, Nigeria’s president at the time, who didn’t take kindly to the song’s message. From the early 2000s to the late ‘00s, songs like 2Shotz’s 9ice-featuring “Make Them Talk,” African China’s “Mr President,” Aṣa’s “Fire on the Mountain,” 2Baba’s “4 Instance,” Sound Sultan’s2Baba and W4-assisted “Bushment (Ole),” Oritse Femi’s “Flog Politicians (Koboko)” and Falz’s “Talk” and “This Is Nigeria” represent past and present issues preventing the country from being a habitable place for every Nigerian.
The music and politics affair is not all strife and protest. Some artists choose to offer hope to the masses. Veno Marioghae’s“Nigeria Go Survive,” Onyeka Onwenu’s“One Love” and Sound Sultan’s“Motherland” remind citizens of the great potential of the country to give them the good things of life. For other artists, they use their music to tighten their bond with political figures. In his track“Abacha Chibayi Democracy,” Highlife legend Oliver De Coque lauded the late Nigerian Head of State Sani Abacha and his First Lady Maryam Sani-Abacha for initiatives such as the Family Support Programme. The six-minute song was replete with praise after praise, even terming Maryam as “Mama Africa.” Fellow Highlife titan Chief Stephen Osita Osadebe also chipped in the names of political figures in his songs.
Throughout the years, the synergy between music and politics has become even more blurred. It’s not odd to see a Nigerian politician offer Nigerian artists spots on their campaign rallies or teams. The job of the artists, it seems, is to create catchy tunes about actual (or proposed) good works of the politicians, while the politicians ride that wave to the polls. In 2015, Nigerian music acts M.I Abaga, Ice Prince, Yemi Alade, Olamide, Flavour, Banky W and Dammy Krane got together to create“Gbagbe,” a campaign tune that praised the potential of Akinwunmi Ambode to serve as governor of Lagos State prior to him beginning his four-year tenure.
That same year, on the track “Lagos Boys” off his album ‘Eyan Mayweather,’ Olamide paid his respect to the streets of Lagos while saluting some important figures in the southwestern Nigerian state. “Jo oh, I juba for my governor, Governor Ambode,” he sang. The following year, he went full-on Ambode hype on“I Love Lagos,” with the Unlimited L.A-directed music video extolling the achievements of the governor. Olamide isn’t the only Nigerian artist to use his music and support a politician. On “Great Politician” and“Shine Ur Eyes,” Nigerian artists Oritse Femi and Eedris Abdulkareem lent support for the re-election of Goodluck Ebele Jonathan as president during the 2015 presidential election.
Away from the shores of Nigeria, American music mogul Jay-Z was an integral part of Barack Obama’s 2008 presidential campaign as both shared their admiration—rooted in music and policy changes—for each other. Obama shared that he and Jay-Z have “a little bond,” with the rapper and his wife Beyoncé joining the list of celebrities who organised fundraisers for the former president. In the same vein, Kanye West was a vocal supporter of Donald Trump’s 2016 presidential aspirations and ignored the criticisms and ire of fellow music stars and the Black American community. It is a reminder that the political choices of artists, no matter how personal those choices are, can go a long way in swaying—favourably or unfavourably—the public’s perception of a public servant.
It is a similar situation in Nigeria, as regards the forthcoming presidential election. Artists have not been shy about throwing their weight behind their preferred candidate—sometimes with less-than-appreciated results. Earlier in the year, the Nigerian singer, Brymo, who has allegations of sexual assault, came under fire for his tweet which painted the Igbo community as a lesser entity in Nigerian society. Brymo was criticised for covert tribalistic sentiments and a petition was created calling for his disqualification from the 8th All Africa Music Awards (AFRIMA). Some days ago, Afrobeat act Seun Kuti ruffled feathers when he termed Labour Party candidate Peter Obi as an opportunist who wasn’t the right person to lead the country. Among the crowd angry at Kuti’s thoughts was Peter Okoye, one-half of the Nigerian music duo P-Square. Okoye, a staunch supporter of another candidate took shots at Kuti resulting in warring sides trading abuse on social media. Regardless of how misguided the exchanges were, it showed the grip that the country’s political climate has on its stars; for both, the election determines their futures and those of the ordinary Nigerian tired of bad governance.
In recent years, Nigerian music has entered global spaces, with stars earning high-profile international collaborations and notching up Grammy plaques and Oscar nominations. Still, Nigerian artists have not stopped calling out the government for poor policies. Hip-hop duo Show Dem Camp are one example of such an artist. While they create easygoing, fun-fuelled tunes with their ‘Palm Wine Music’ series, they utilise the ‘Clone Wars’ series as a tool to tackle Nigeria’s political and societal issues. “See something just happen right now/Omo Sars laid a nigga out flat, oh boy/Their turn up is seeing people run down/It’s messed up but I don’t see no one react, oh boy,” Ghost, one-half of Show Dem Camp, raps on the Ozone-assisted “Epigenetics” off ‘Clone Wars Vol. IV: These Buhari Times.’ Over a hard-hitting beat, the song, along with the rest of the project, establishes a connection between the unsteady political and economic climate of the country while delving into the mental and psychological state of mind of its citizens. The project addresses the traumas—financial, social and personal—that imprison Nigerians and force most of them to seek greener pastures in foreign lands.
Another music duo balancing party vibes and political commentary is Ajebo Hustlers, whose 2020 single “Barawo,” tackles the horrors of mob justice, brought them into the limelight. “The masses dey para cos raba no dey,” Knowledge, one-half of the duo, raps. The poignant line is even more crucial in this current time of naira scarcity and the riots that broke out as a result of Nigerians’ frustration with the situation. It is telling that the sad reality of a song released in 2020 still rings true in 2023; it is also indicative of the poor choices of the government throughout the years. Ajebo Hustlers and a slew of other artists—Burna Boy (“Monsters You Made”), Yemi Alade (“CIA (Criminal In Agbada)”), OdumoduBlvck (“Fake Politicians”), Prettyboy D-O (“Chop Elbow”)—represent the ever-standing relationship between those in the corridors of power and those who wield power with a microphone; as long as the Nigerian society remains an entity governed by laws and policies, there will always be a response, whether positive or not, about those laws and policies.
Most recently, Nigerian artist Falz released “O Wa” featuring Tekno, which serves as his first single of the year. It follows the thread of political commentary that started with earlier releases such as “This Nigeria” and the 2019 album ‘Moral Instruction.’In the Nigerian context, owa—a Yoruba word—is spoken by passengers in public transport when they are about to alight at their destination. Falz and Tekno are advocating that citizens should not be afraid to step away from and cast out any government that doesn’t respect their rights to better and inclusive policies. “Why you no give me change (Change) I para/I curse the driver, I tell conductor say “waka”/Stop the motor I need to come down, I tire,” Falz sings. With the presidential election a day away, “O Wa” possesses a timely message as it urges citizens to use their votes at the polls to create the kind of Nigeria that they want to live in.
Across social media, Nigerian party supporters have taken the responsibility canvass for their preferred candidates ahead of the 2023 presidential election. As the date for the election draws near, more fusion between music and politics is expected, whether in preparation for the election or as a means to celebrate victory.
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.
Earlier this week, we highlighted exciting new releases from the likes of Patoranking, Niniola and Beautiful Nubia. To close out the week, we’ve selected from a broader range of genres and countries, indeed covering the vast soundscape of Afropop through the newest and fresh iterations of its diverse musical traditions. Lock in!
FALZ FT. TEKNO – “OWA”
Nigerian artist Falz’s first single of the year “O Wa,” which features Tekno, follows the thread of political commentary that started with “This Nigeria” and the 2019 album ‘Moral Instruction.’In the Nigerian context, owa—a Yoruba word—is spoken by passengers in public transport when they are about to alight at their destination. Falz and Tekno are advocating that citizens should not be afraid to step away from and cast out any government that doesn’t respect their rights to better and inclusive policies. “Why you no give me change (Change) I para/I curse the driver, I tell conductor say “waka”/Stop the motor I need to come down, I tire,” Falz sings. With the presidential election a day away, “O Wa” possesses a timely message as it urges citizens to use their votes at the polls to create the kind of Nigeria that they want to live in.
Uzoma
TAY IWAR – “HEALING”
Tay Iwar is one of Afropop’s most soulful musicians. Long accustomed to stripping the excesses of his heart, he’s created records with raw vulnerability. “Healing”, like the title suggests, is a purging of one’s soul after the encounter of a toxic relationship. Waxing poetic and warm over the serenading breaks of the production, it’s a performance which advances the sensitive direction of Iwar who, in recent times has been lending his gifts to his contemporaries such as Wizkid and Omah Lay, through songwriting or features. Another year looms ahead, and it’ll be interesting to observe Tay’s journey over the course of it.
Emmanuel
MPHO.WAV – “INYANISO” FT. BUKEKA
A formidable South African producer, Mpho.Wav casts layered spells with his takes on electronic music. “Inyaniso” is no different—built from the mystical pairing of sped-up drums and ominous chords, Bukeka makes the record come alive in the most interesting ways. Her vocal contribution is stellar, but so are the accompanying turns of the production, all together instantly capable of coaxing delicate dance moves from a listener.
STORMZY – “HIDE & SEEK” [REMA VERSION]
A few months ago, Stormzy arrived with a new studio LP titled ‘This Is What I Mean.’ The body of work featured the standout record “Hide & Seek” which caught the attention of listeners as soon as it was released. Arriving today is the Rema remix of the record. In typical Rema style, he adds in heavy melodies to the track and breathes a new life into it, ushering in pop elements into the song while letting his love interest in on his intentions for her.
Wonu
DON TOLIVER – “SLOW MOTION” FT. WIZKID
The last time we got this effortless pair on a track was on the Juls-produced number, “Special” off Wizkid’s highly anticipated studio album, ‘More Love Less Ego.’ Closing out the chart-topping project, the pair go back and forth explaining why their love interest stands out from the crowd. For their new track, Wizkid extends the favour as he lends his vocals on “Slow Motion” from Don Toliver’s recently released album, ‘Love SIck.’ Sitting amongst features from Brent Faiyaz and Glorilla, “Slow Motion” offers a standout cut for a number of reasons. The track leads in with an instantly captivating and heavy bass accompanied by Don’s melodious vocals. Swooping in mid-way, Wizkid offers a unique rendition as he delivers his brief sensual verse in Pidgin.
Nwanneamaka
SUTE IWAR & TIM LYRE – “SPACE COWBOY”
Musicians who blur the lines between rapping and singing are a rare find in Afropop. Sute Iwar and Tim Lyre are two such musicians, so it’s only fitting they’d collaborate over the years, often to stellar effect. “Space Cowboy” sounds as atmospheric as you’d expect, with soft drums polished by piano notes warm as baby coos. Their deliveries are distinct but aligned, with urgent flows on the verses paired with the gliding ease of the hook. With subtle takes on sociopolitical reality, it’s a record that flexes its genius with relative simplicity, a quality that makes their forthcoming album ‘ULTRALIGHT’ such an enticing prospect.
Emmanuel
MAJEED & TIWA SAVAGE – “GBESE”
Closing out the year on a high note with stellar releases like DJ Maphorisa and Major League DJz-assisted “Koo Koo Fun” as well as “Loading” featuring Asake,Tiwa Savage joins Majeed on the Maskerkraft-produced “Gbese.” Fusing Afropop and Amapiano, the mid-tempo track leads in with a captivating blend of log drums and flutes as the pair’s vocals glide effortlessly back and forth, delivering a noteworthy rendition.
Nwanneamaka
GROUND UP CHALE – “ON THE ROAD (FAR GONE)”
Over the years Ground Up Chale has established itself as a most trusted incubator for Ghana’s best budding talents. Associated with names such as Kwesi Arthur and Kofi Mole, the duo of Kimati and Albabwoy are staking a claim to a piece of GH’s musical cake. ”On The Road”, a fitting demonstration of their distinct skills, follows the familiar but still relevant aspirational path. Over bubbly production, the qualities of their charge towards mainstream relevance is discussed, with confidence and fine doses of introspection, endowing the song with thematic balance.
Emmanuel
FANCY FINGERS – “ONE IN A MILLION” FT. KARUN
It is undeniable that Fany Finger’s voice is ubiquitous. With a strong vocal range and knowledge of instruments his songs are filled with experimental tunes as he croons over stellar productions. In his latest offering Karun joins Fancy Fingers for the serenading ballad “One In A Million.” Karun’s soft but powerful vocals and Fancy Finger make a perfect intersection, working to create a warm record which does justice to both their distinct abilities.
Tela
T’NEEYA – “PRETTY MIND”
German-Cameroonian singer and songwriter T’neeya’s displays an effortlessly special performance on the record “Pretty Mind.” Over the mid tempo production of the record, she’s as honest as she can be as she confesses her love for him and how she makes him feel. On the record, she quips the standout lyrics “Truth is I really like the vibe that we’ve been getting on/when it’s getting so cold, I can keep you warm,” opening up her mind to her love interest.
Wonu
DJ SEMTEX – “FLOOR SHAKE” FT. BACKROAD GEE & KWESI ARTHUR
DJ Semtex’s latest single “Floor Shake” operates on high energy. The legendary English radio veteran, producer and author delivers a Drill-inspired banger featuring British–Congolese rapper BackRoad Gee and Ghana’s Kwesi Arthur. Over mean-faced chords and hypnotic synths, Kwesi Arthur drops an infectious hook and BackRoad Gee goes at the beat with an energetic flow. “Last autumn whilst touring with Lil Tecca, and doing shows with Joey Badass and Black Sherif, I played this instrumental each night, and it went off every time,” DJ Semtex says. Listening to “Floor Shake,” it is understandable why this song will be a fan favourite.
NBA player Serge Ibaka also holds his own as a musician. Having started exploring the nuances of East African sonics in 2021, the citizen of the Republic of Congo has vaunted himself deeper into musical experimentation. “Tata Nzambe” progresses with the colourful overtones of Rumba, but with a percussive base that shares more alignment with contemporary Pop than many Francophone records. The other artists introduce a vocal range that works to enliven the atmosphere, ultimately creating a song charged with the characters of a personal ode and a more immersive call to communal living.
Emmanuel
MAU FROM NOWHERE – “I LIKE”
The build up to Mau From Nowhere’s album is definitely worth the hype. His capability to jump out of a simple nostalgic tune into a serenading tune reflects the width of his artistry. In his latest release “I Like,” Mau moves from his minimalistic box and jumps into an experimental upbeat. Using happiness as his subject matter the new song is a flip from Mau’s sad and dejected personality. As he sings to his muse of their young love, the purity of his adoration similar to the first days of love gleams through out the song. The single is accompanied by the Tyse Visuals directed video that are dreamy with a lot of color similar to the excitement love brings you in its early days.
mau from nowhere is always on a road to self-discovery. With a catalogue of hits under his belt, the 2022 uNder alum is opening up his book with memorable and relatable releases. The last quarter of 2022 saw Mau spring up with new creativity featuring in collaborations with Ugandan artist Mauimoon and Maya Amolo. With the new year in sight, the Kenyan singer is ready to establish a well-rounded identity in his music.
Gearing up for the new year mau from nowhere took to Instagram to announce a surprise project that was exclusive to SoundCloud. Dubbed ‘MIM. VOL4’ project is curated with five songs each one minute long. Whether touching on identity crisis and self-sabotage in “Here In Time,” on “Who I Thought U Were,” or exploring his sonic template with “Hey There” covering Plain White T’s “Hey There Delilah” , mau from nowhere has cemented his position in Kenya’s alternative canon.
With this in mind, mau from nowhere is today sharing the official video for his recent single “I LIKE,” a clear sign that the road to his new project is drawing nearer and nearer. Drawing inspiration from the initial stages of love, mau switches his signature minimalistic productions to uptempo distinct mellow piano riffs which provide the perfect backdrop for his romantic intentions.
Singing “I like taking my time, I like taking things slow//I like holding your hand,” he addresses a love interest who he enjoys spending time with, a sign of his commitment to her. Accompanied by equally exciting visuals helmed by Tyse Visual, “I LIKE” is a sweet-sounding barrage of wordplay and flirtations with a sobering, almost-too personal vulnerability. The video is visual feast which exemplifies mau’s adoration towards his muse with rich colour and ambient scenes.
Speaking about the new single, mau shares “I Like is a song about the early stages of falling in love. Those early stages in which butterflies are swarming and excitement is kicking fear’s ass. I really loved making this song because it was simple, and while usually I’m over analysing a lot of what I’m feeling and what’s around me when I write lyrics, this time everything came out in a light and easy way.”
Ahead of the official release of the Tyse Visual-directed video “I LIKE,” the NATIVE spoke with mau from nowhere about the new release, his experiences with love and his plans for the rest of the year.
His answers, which follow below, have been lightly edited for clarity.
NATIVE: Hi mau from nowhere, what was the inspiration behind your new single, “I Like”?
mau from nowhere: The song was inspired by the early stages of falling for someone. At that time I was quite jaded about myself in relation to love and I thought it would take a while to find myself catching feelings for someone, so when it happened again it felt like quite a lot.
The new track talks about the early stages of love and relationships. What are some of the signs you show when you’re in love?
mau: Lowkey I’ll start writing songs. It’s weird because I don’t necessarily have writer’s block beforehand but when words start falling out of me it’s a sign and a lot of those words are either triggered by being around them or conversations with them. As far as it relates to the person I’m feeling things for I think I just start getting a lot more comfortable, so I start overthinking less and can be my full self
What were the major challenges when creating this video?
mau: Honestly, the main challenge I felt was from a performance perspective. It was the first time I was performing with a happy song as well as working with an actress or love interest character. It’s a bit easier for me to tap into gloomy and introspective instead of being a sweet-boy on camera, so I think the first few scenes were a bit odd for me because I was worried about it coming across as forced or disingenuous. It really helped that my friends were there throughout and so it felt really natural.
In the video, contrasting Hues are heavily featured to attract the viewer’s attention. Was this done on purpose and if so, why?
mau: I think vibrancy was a huge part of the visual direction of the video. When I approached Tyse about the video I stressed how much I wanted it to emulate that rose tinted view we have when we find ourselves falling for someone. People often talk about how love can make “colours brighter” and “food taste better” so I wanted to play on that idea and have the video feel like a stylised romance film. Tyse really took lead with this with colouring the video too as he brought out a really stunning vintage pastel look in all the shots that made that dreamlike feeling a lot more tangible.
You are preparing to release an album, what themes will you be exploring with the new drop?
mau: I think just being honest with your feelings where they are at the moment. The whole album centres on vulnerability and the necessity for openness to grow and trust the process, be it life or artistry. This song was made in the throws of that crazy delusional space of early romance and I think it was important for me to fully embrace that space even though it’s never clear things are going to work out. The feeling of wanting to hold someone’s hand and explore life with them regardless of the outcome is a beautiful thing and I wanted that joy and excitement to be captured in its entirety. I think the album is about feeling things to the fullest in a lot of ways, the good and the bad.
Watch the premiere of “I LIKE” below.
Featured image credits/NATIVE/Courtesy of the artist
