How Women In Comedy Are Navigating Nigeria’s Androcentric Industry

Posted on by Uzoma Ihejirika

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

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

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

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

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

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

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

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

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

“It’s been very bitter-sweet. It’s been difficult,” Real Warri Pikin tells the NATIVE about building a career in the Nigerian entertainment industry. “The foundation was not easy, especially coupled with the fact that I was married with little kids. I’m also a woman in the industry, dealing with those backward narratives. You know how e dey be. It’s been really difficult but I was very intentional and bent on changing the narrative. A woman can be in a male-dominated industry and still stand out.”

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

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

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

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

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

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

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

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

Featured image credits/NATIVE

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

Identify: Yinka Wants The World To Love Again

Posted on by Uzoma Ihejirika

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

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

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

 

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NATIVE: How did music start for you?

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

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

During this period, you were in Nigeria, right?

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

Who were your musical influences while growing up?

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

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

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

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

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

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

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

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

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

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

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

What made you change your stage name to Yinka?

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

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

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

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

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

 

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What was the creative process for the project? 

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Did you say Bollywood?

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

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

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

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

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

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

Stream ‘Let’s Get Romantic’ below.

Featured Image Credits/NATIVE

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

Posted on by Makua Adimora

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Posted on by Tela Wangeci

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

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

 

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A post shared by Nonso Amadi (@nonsoamadi)

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

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

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

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

Pre Save the album below and watch the trailer:

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

Posted on by Wonu Osikoya

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 in the week, we brought you songs from Victony, Chinko Ekun, Themba and more. Today, we have songs that move from Afropop to Amapiano to R&B, with our select artists showcasing their unending talent and passion for creativity. Lock in!

Odumodublvck – “Declan Rice”

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

Uzoma

 

Ajebo Hustlers – “You Go Know”

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

Emmanuel 

Noon Dave – “Hilary”

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

Emmanuel 

Magixx – “Colors (My Baby)”

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

Wonu

Nonso Amadi & Zinoleesky – “Lock Up”

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

Uzoma

 

WANI & Odunsi The Engine – “No Doubt”

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

Nwanneamaka 

IYANYA  – “PLANS”

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

Uzoma

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

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

Emmanuel 

Jay Bahd – “Yaa Baby”

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

Uzoma

Coblaze – “Good Girl”

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

Wonu

Featured Image Credits/The NATIVE 

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

Posted on by Nwanneamaka Igwe

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

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

 

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

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

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

Listen to ‘Piano Republik’ here.

Featured Image Credits/The NATIVE

ICYMI: SOUNDS FROM THIS SIDE:AMAPIANO

Odumodublvck Shares Highly Anticipated New Single, “Declan Rice”

Posted on by Emmanuel Esomnofu

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

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

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

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

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

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

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

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

Posted on by Emmanuel Esomnofu

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

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

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

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

WHAT WAS YOUR INITIAL REACTION TO THE SONG? 

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

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

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

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

DID “CALM DOWN” NEED A REMIX? 

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

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

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

HOW WELL DOES SELENA GOMEZ DO ON THE REMIX? 

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

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

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

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

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

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

HOW BIG COULD REMA BECOME GLOBALLY?

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

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

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

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

 

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

Review: Lojay’s ‘Gangster Romantic’

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

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

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

 

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

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

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

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

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

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

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

 

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

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

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

Stream ‘Gangster Romantic’ below.

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

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

Posted on by Dennis Ade Peter

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

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

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

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

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

 

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

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

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

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

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

“For me, that’s one of the refreshing things about the BAL,” Gbemisola Abudu says of young players getting to experience and play basketball at a high level on the continent. “It’s creating that opportunity so that you don’t necessarily have to leave the continent to become a successful basketball player and make a living. The BAL is enabling talents to stay on the continent and encouraging sports tourism in all the different countries, which ends up driving economic developments in the cities where we currently play.”

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

 

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

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

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

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

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

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

Posted on by Damilola Animashaun

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

Last week, we brought you songs from Bella Shmurda, Justin 99, Elaine and more. Today, we have songs that move from Afropop to Amapiano to R&B, with our select artists showcasing their unending talent and passion for creativity. Lock in!

 

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

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

Uzoma

 

“MUSTARD SEED” – LANAIRE ADEREMI

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

Emmanuel

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

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

Nwanneamaka

MAU FROM NOWHERE – “S_T_L” FT. MAYA AMOLO

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

Tela

 

CHINKO EKUN – “I LIKE GIRLS” 

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

Emmanuel

 

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

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

Nwanneamaka

Featured Image Credits/ NATIVE

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

Posted on by Wonu Osikoya

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

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

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

 

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

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

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

Get your tickets here.

Featured image credits/NATIVE

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

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

Posted on by Emmanuel Esomnofu

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Featured Image Credits/The NATIVE

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

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

Posted on by Uzoma Ihejirika

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

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

 

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

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

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

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

Samir El Bousaadi. Image Credit: Instagram/@samirbs

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

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

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

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

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

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

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

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

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

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

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

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

Stream Rhita Nattah’s ‘INNER WARRIOR’ below.

Featured image credits/NATIVE

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

Posted on by Damilola Animashaun

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

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

 

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

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

 

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

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

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

Pre-save the album below and watch the trailer.

Written by Emmanuel Esomnofu and Tami Makinde 

ICYMI: Revisit our TIME cover story on Davido here

What’s Going On: Mass Protests In Kenya, Malawi Declares State of Emergency & More

Posted on by Tela Wangeci

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

MASS PROTESTS IN KENYA

Mass protest have broken out in Kenya. For the better part of Monday morning, police officers pitched camp at different areas in Kenya ahead of the expected protests by the Azimio la Umoja coalition. The strike dubbed #Maandamano was created by the opposition led by Azimio leader, Raila Odinga to compel the current regime to honour various issues the country including the high cost of living, discrimination in state appointments as well as purported lack of transparency in the country’s electoral body.

Odinga’s opposition believes that the election was stolen despite Kenya’s highest court upholding victory for incumbent President William Ruto in last year’s election. Odinga is also calling for a reinstatement of the four commissioners sacked by Ruto’s government from the electoral body. Despite being deemed illegal, the protests continued as planned with roads leading to government buildings now blocked and the president’s official residence sealed off.

Police clashed with protesters in Nairobi’s city centre, with businesses in the city centre shuttered for the day, and in Nairobi’s Kibera slum, where Odinga has substantial support. Clashes were reported in the city of Kisumu, in western Kenya, which is considered a stronghold for Odinga. One university student is reportedly shot dead in Kisumu. According to the National Police Service, the protest was termed illegal since it didn’t meet the threshold of the law. Nairobi police commander Adamson Bungei, says Azimio failed to meet the threshold to hold the protests as the law requires that one informs the police of the intended protest at least three days prior. Following this, Raila Odinga informed the government that mass protests will take place every Monday until the government meet their demands.

#NATIONALSHUTDOWN: PROTESTERS DEMAND THE RESIGNATION OF RAMAPHOSA IN SOUTH AFRICA

Thousands of protesters marched through South Africa’s cities on Monday, calling on President Cyril Ramaphosa to resign over the lack of jobs and electricity. In response, the country’s security forces guarded and sealed off malls and streets to prevent any violence and looting. Current reports state that more than 550 protesters have been arrested since Sunday night on charges of public violence, intimidation, damage to critical infrastructure and theft, the national intelligence body said in a statement.

In several parts of Johannesburg, protesters waved banners saying “Ankole must go”, referring to Ramaphosa’s love for the Ankole cattle breed. Other banners read “our people sleep hungry,” as many join the demonstrations to push back against prolonged economic turndown. The Marxist Economic Freedom Fighters (EFF) led by their leader Joseph Malema protested against social and economic challenges faced by South Africans, including crime, corruption, load shedding and unemployment amongst others.

Prior to the anti-government protests, 87 people were arrested after Julius Malema addressed followers in the streets of Pretoria. Dubbing the protests #NationalShutdown, many shops were closed down due to fear that the demonstrations would grow and mirror the 2021 protests in the country.

MALAWI DECLARES A STATE OF EMERGENCY DUE TO CYCLONE FREDDY

According to authorities in Malawi, Mozambique and Madagascar, the death toll in southeast Africa due to the exceptionally long-lasting Tropical Cyclone Freddy has risen to 522. Of the countries, Malawai has been hit hardest by the cyclone and disaster management authorities in Malawi reported on Saturday that the death toll had risen to 438. Malawi’s president, Lazarus Chakwera, declared a 14-day national mourning period last Thursday.

The cyclone which is named Freddy has now dissipated, causing widespread devastation in Malawi, including critical infrastructure. Roads have been cut off and electricity poles have fallen down, according to the Electricity Generation Company Limited (EGENCO). Malawi has declared a state of emergency. Cyclone Freddy first made landfall on February 21 in Madagascar. From there, the storm moved on to Mozambique and then back across the Indian Ocean. On March 11, it reached Mozambique for the second time and then moved on to Malawi.

“A lot of areas are inaccessible, restricting the movement of assessment and humanitarian teams and life-saving supplies,” said Paul Turnbull, the World Food Program’s director in Malawi. “The true extent of the damage will only be revealed once assessments have been concluded.” Both nations were already facing a cholera outbreak before the cyclone hit and there are fears that the flooding could worsen the spread of water-borne diseases. Mozambique was also dealing with Freddy’s first battering and floods earlier in the year.

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ICYMI: Five States To Watch In Nigeria’s Gubernatorial Polls

Here’s What We Know About Peter Obi’s Petition Against Tinubu and INEC

Posted on by Emmanuel Esomnofu

Call this the biggest lawsuit in the country and you wouldn’t be wrong. On March 20, the presidential candidate of the Labour Party (LP) Peter Obi filed his official petition against Bola Ahmed Tinubu, Nigeria’s president-elect and candidate of the All Progressives Party (APC). In the weeks since the Independent National Electoral Commission declared Tinubu as the winner of the 2023 presidential elections, the gross misconduct which saw several accounts of voter suppression and electoral malpractice have been a major talking point, both in on home turf and internationally. 

As expected, Peter Obi and the Labour Party had rejected the outcome of the elections. In his national address to the country on March 3rd, Obi said, “The election has been conducted and results announced as programmed. It is a clear deviation from the electoral rules and guidelines as we were promised and did not meet the minimum criteria of a free, transparent, credible and fair election devoid of voter intimidation and suppression, and late commencement of voting in some specific states”.

While many Nigerians had reservations about the judicial process, the precedent of Peter Obi in court cases provided hope to his teeming supporters. Those who witnessed his ascendance in state politics recollected how Obi had reclaimed his mandate from Dr. Chris Ngige of the Peoples Democratic Party (PDP) after state elections in 2003, after thirty five months of the latter sitting in power. Even though he contested with a newly formed party All Progressives Grand Alliance (APGA), the doggedness of Obi saw him make history as the first candidate to unseat a sitting governor through the judicial process. Eight months after he was sworn in, he was impeached by the state House of Assembly in 2006, but for the second time he went to court, reclaiming his mandate and returning as governor in 2007. 

Earlier this month, the Labour Party had dragged INEC to court, commencing its case by seeking to prevent INEC from reconfiguring its Bimodal Voter Accreditation System (BVAS). Although the Court of Appeal had refused his prayer, it had granted Obi and other candidates the approval to scrutinise electoral materials. That court case had been the INEC’s validation in postponing the gubernatorial elections, but with this recent petition filed by Peter Obi and the Labour Party, it is clear that we have a major legislative battle on our hands. 

As can be accessed on the document made available by investigative journalist David Hundeyin, the petition was filed on the 20th of March. It makes the case of Peter Gregory Obi and the Labour Party against Bola Ahmed Tinubi, his running mate Kashim Shettima, INEC and the APC. In the petition, Obi’s case rested on five points, which are namely: that Bola Ahmed Tinubu was not qualified to run, that he failed to get majority of the lawful votes, that he failed to score 25% in the Federal Capital Territory, Abuja, and the election be cancelled and a fresh one conducted in which Tinubu and Shettima won’t be a part of. 

Other details which came into prominence was the point made against Shettima, who accepted the vice presidential nomination even though he was a senatorial candidate. Although he withdrew the latter on February 15th, on the previous day he had a double nomination which infringed on the Section 115(d) of the new electoral act. More importantly, the petition also made mention of the alleged drug charges which Tinubu faced in the US prior to his becoming a politician in Nigeria. As many have pointed out, foreign security departments might be subpoenaed and called to testify at the case, which puts this in full glare of the international world.

The unprecedented nature of this case is not lost on Nigerians. With palpable buzz following the announcement of the petition, it has been described as a petition into the Supreme Court as a body. When these charges are brought to court and the witnesses present, it would open up the legislative framework of Nigeria in a way no case has ever done before. 

Indeed for Nigerian electorates, these are very interesting times. Having proven unable to conduct credible elections and demands for accountability falling on deaf ears, it would be revelatory to gauge the impartiality of the judicial process. As a country with weak democratic institutions, there’s a lot of potential in this particular court case. 

ICYMI: Nigeria’s 2023 election serve as a reminder of our oppresive past

TurnTable Top 100: “Who Is Your Guy (Remix)” Becomes Spyro & Tiwa Savage’s Highest Charting Single

Posted on by Uzoma Ihejirika

Tiwa Savage’s impressive run continues as her placement on Spyro’s “Who Is Your Guy (Remix)” moves the track to a new peak of No. 2 on the chart, becoming both her and Spyro’s highest charting singles in Nigeria. Tiwa Savage previously peaked at No. 3 on the singles chart with “Loaded” in 2022. “Who Is Your Guy (Remix)” tallied 75.6 million in radio reach (No. 1 on radio) and 2.08 million on-demand streams (No. 5 on streaming).

For the fourth week, BNXN’s “GWAGWALADA” leads the Official Nigeria Top 100, tallying 3.45 million on-demand streams (No. 1 on streaming) and 43.9 million in radio reach (No. 3 on radio). It is BNXN’s second-longest No. 1 song in Nigeria – a week behind “Feeling,” which spent five weeks at No. 1 in 2021.

Omah Lay’s “soso” slips to No. 3 while Rema’s “Holiday” dips to No. 4. Ayra Starr’s “Sability” stays at No. 5 for another week after debuting and peaking at No. 1 for a week.

Bella Shmurda’s “Ara (Gen Gen Tin)” debuts at No. 6, tallying 2.17 million on-demand streams (No. 3 on streaming) and 22.8 million in radio reach (No. 16 on radio). The song is Bella Shmurda’s eighth top-ten entry in Nigeria. Ruger’s “Asiwaju” is steady at No. 7 for a second week after topping the chart for seven consecutive weeks.

Adekunle Gold’s “Party No Dey Stop” with Zinoleesky launches at No. 8 on the Top 100 off two days of tracking. The collab track accumulated 1.94 on-demand streams (No. 6 on streaming) and tallied 14.4 million in radio reach (No. 31 on radio). The song is challenging for No. 1 on next week’s chart in its first full week on the chart.

Khaid’s “Jolie” steps into No. 9 while Kizz Daniel’s “RTID (Rich Till I Die)” is unmoved at No. 10. Outside the top ten, Khaid’s “Carry Me Go” with Boy Spyce debuts at No. 16 off a partial tracking week (4/7) while Tiwa Savage’s “Stamina” with Ayra Starr & Young Jonn starts at No. 26. Other top 40 debuts include Zlatan’s “Omo Ologo” at No. 21 and Peruzzi’s “Pressure” with Fireboy DML at No. 25.

Featured image credits/Youtube: Spyro

NATIVE Selects: New Music From Elaine, Bella Shmurda, Justin 99 & More

Posted on by Emmanuel Esomnofu

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 we brought you songs from Adekunle Gold, Tiwa Savage, Chike, Khaid 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!

BELLA SHMURDA FT. NASTY C – “PHILO (REMIX)”

Prelude to the release of his 15-track debut album, ‘Hypertension,’ Nigerian street pop pioneer, Bella Shmurda enlisted Omah Lay for a standout performance on “Philo.” As expected, the track became a mainstream success, sitting at the top of several national charts for weeks on end. For the remix, Bella Shmurda taps into South African music heavyweight, Nasty C for a stunning delivery. Still maintaining its catchy, fabled hook, Nasty C’s smooth vocals and flawless rhymes elevate the track to new heights. 

Nwanneamaka

QING MADI – “WHY” 

Confidence is an infectious trait in every artist and Qing Madi has an overdose. The soulfully energetic “See Finish” had introduced the Nigerian artist’s distinct style to listeners and she’s proven keen to keep soaring in good form. “Why” benefits from a stripped soundscape which allows her R&B-inflected vocals shine through. A reprisal against detractors, she sings for the protection of her individuality, a mood that’s best reflected in the lyrics, “No dey put your eyes for my business, cos you dey want to kill my spirit”. 

Emmanuel

YUMBS, UNCLE VINNY & JUSTIN 99 FT. PCEE – “PIKI PIKI” 

Viral Amapiano sensation, Justin 99 joins upcoming staples in the domineering genre, Yumbs, Uncle Vinny and Pcee for an intoxicating mid-tempo rendition assisted by the genre’s infamous log drums and shakers, incorporated with sweet-sounding flute notes. In usual ‘piano fashion, the track’s harmonious instrumentals took center stage with sonorous vocal embellishments, making its four-minute plus run a pleasurable sonic ride. 

 Nwanneamaka 

TOBY GREY – “PEACE OF MIND”

Over Benyjo’s R&B production, Nigeria-born, UK-based singer Toby Grey utilises “Peace of Mind” in praise of an unproblematic lover. She exudes a tone of gratefulness at the fact that her love isn’t the jealous and insecure type who seeks to deflate the woman in their lives. “Peace of Mind” is the kind of answer that a lot of people in love—man or woman—pray to the heavens for.

Uzoma

1UCID – “GREATEST”

Given the versatile nature of Afropop, it’s no surprise that diasporan sounds have increasingly merged with the traditional percussive style. Ghana-born artist 1UCID (pronounced as Lucid) has spent many years in America, and the subtleties between both cultures informs his music. “Greatest” has an energy he calls ‘AfroBlues,’ heavy on the emotive inflections of his voice as he charts his rise to musical glory. Mellow, groovy and packing lots of quotables through his rap cadences, it’s a conscious effort at finding middle ground between associate genres. 

Emmanuel

REMY BAGGINS – “IN MY BED”

Three years after his 2020 EP ‘Amaterasu!,’ multitalented Nigerian singer, rapper, singer and sound engineer Remy Baggins unleashes his latest single “In My Bed.” Produced by TMXO (with additional production efforts from Remy Baggins, Jaylon and Ramoni), Afropop-inspired “In My Bed” births Remy Baggins as a suave lover skilled in the matter of sexual pleasures, as he beckons to his lover to join him in the bedroom. The single also comes courtesy of a new deal with Sony Music West Africa.

Uzoma

ELAINE & BLXCKIE – “LOVING YOU” 

Teasing their collaboration for weeks now, Elaine and Blxckie have finally released “Loving You”. With both artists flying the unique flags of their craft, it’s a song that lends itself to the ethereal space between R&B and House music. Their voices are assured and carry the theme of love so well, with Elaine’s warm vocalising meeting the melodious crooning of Blxckie with such fine style. It’s the kind of song to be heard anywhere, whether in the heated spaces of intimacy or outdoors, where its dreamy progressions would surely serenade any audience. 

Emmanuel

MEDIKAL FT. SISTER DEBORAH – “COLD & TROPHIES”

How do you make an epic record from a Trap bounce? Medikal has the answers on “Cold & Trophies”. The Ghanaian rapper hasn’t always been the most accepted MC from those parts but when he raps, he delivers pretty well. On the new record, it’s not just the shiny synths or the decimating weight of his bars that makes it stand out. Rather it’s the scope, how the beat switches halfway and he flows into a falsetto, setting the scene for Sister Deborah to drop an effective closing verse. It’s a song that works on many levels. 

Emmanuel

WINNY – “DON’T LEAVE”

As she prepares for her debut self-titled EP, Nigerian singer Winny shares new single “Don’t Leave,” an infectious tune that blends Dancehall, Pop and R&B. Through her patios-inspired delivery, Winny expresses her affection for her man and pleads with him to not leave her side. Winny’s vocals are charged with emotions and the pain colouring the idea of abandonment is visceral. “Don’t Leave” is a must-listen.

Uzoma

SINACHI & DAN AKINS – “WICKED”

The soundscape of African music has never been as multifaceted as it is today. Bridging the peculiarities of different genres, ingenious musicians have been able to come up with a new sound. The talented duo of Sinachi and Dan Akins achieves just that on “Wicked”, a song that ripples with originality. With a drill-esque bounce permeating its glossy surface, Sinachi unfurls great rhyme schemes while Akins provides the warm background, lulling sweet adlibs which provides balance. “Mali” is also shared as part of the 2-pack single, switching up the production in a more melancholic style but the theme of love and desire is universal, as ever embedded with finesse onto the song’s distinct groove.

Emmanuel

 

MAJOR LEAGUE DJZ, MAJOR LAZER & BRENDA FASSIE – “MAMGOBHOZI”

It’s a meeting of the majors on “Mamgohbhozi”. Primed to release their collaborative project ‘Piano Republic’ on March 24, the super producers have debuted a new single which features the legendary Brenda Fassie. Pulling her ethereal vocals from the classic “Vulindlela”, they build great Piano sonics around the song. More than a great way of paying homage, it reconstructs the record in a contemporary light, setting grand expectations for the forthcoming project.

Emmanuel

 

Amaarae explores love and sensuality on new single “Reckless and Sweet”

Posted on by Nwanneamaka Igwe

Amaarae is the gift that keeps on giving. Closing out 2020 with her critically acclaimed debut album, ‘The Angel You Don’t Know (TAYDK),’ featuring standout cuts like Cruel Santino and Kodey Radical-assisted “JUMPING SHIP” and promotional single, “LEAVE ME ALONE,” Amaarae reaffirmed herself as a force to be reckoned with. Soon enough, standout track “SAD GIRLS LUV MONEY” began to garner mainstream success and caught the attention of Columbian-American hitmaker, Kali Uchis for a remix, proving Amaarae’s penchant for topping worldwide charts.

Following the album’s outstanding success and memorable live performances at KOKO and Pitchfork Festival Chicago to name a few, keen listeners were itching for new music from the artist. Amaarae has paid this back by kicking off the rollout to her sophomore album, ‘Fountain Baby,’ which has found the artist lending her voice to a number of tracks, serving as a subtle reminder of her sonic abilities. Think the soulful “A Body, A Coffin” for the ‘Black Panther: Wakanda Forever Prologue’ and her sweet sounding bars on Cruel Santino’s “Born Again,” or the brief yet indelible renditions on Blaqbonez’s “Whistle” and Stormzy’s “This Is What I Mean.” Without a doubt, Amaarae is ready for her next act.

 

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A post shared by Fountain Baby (@amaarae)

Arriving today, the Ghanaian superstar makes a captivating solo comeback with new single “Reckless and Sweet,” a fun, sexy synth track that explores themes of love and loss. “Reckless and Sweet” serves as the first promotional single for Amaarae’s sophomore album, ‘Fountain Baby’ and launches Amaarae into a new act, where she’s offering a refreshing update from her debut album.

Over twinkling production touches, funky basslines and skittish flows, Amaarae’s sensual and honeyed vocals take centre stage as she tells a story of a lover using her for personal gains. Infusing a barrage of melodies including cross-continental sounds such as Arabic, Indian and African, Amaarae paints a picture that visualises her experiences with a sweet-sounding chorus and catchy lyrics such as “The evil-er eye has warned me of your intentions, it’s ’cause my money’s just too long/The thought of me spendin’, gives you goosebumps.”

Accompanying the track’s release, Amaarae plays the protagonist with two lead love interests in a lush, high fashion video. The monochromatic styling and warm tones drive the track’s message and tone of love and mystery. “Reckless and Sweet” also provides great insight to her new approach on the upcoming album, whetting our appetite for what’s to come. Speaking on the new single, Amaarae shares,

“It’s about being intentional with the ways we make and give love. It’s about finding the inner sensuality and confidence within yourself and sharing that with the world.”

Watch the video for “Reckless and Sweet” below.

Featured Image Credits/Amaarae

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

Turntable Hot 100: BNXN’s “Gwagwalada” Spends Another Week At No.1

Posted on by Emmanuel Esomnofu

“Gwagwalada” remains the top-ranked song in the Hot 100. The BNXN song which features Kizz Daniel and Seyi Vibez tallied 3.50million streams and 43.7million in radio reach, making it No. 1 and No. 4 respectively on both mediums. It joins “Finesse” as BNXN’s second-longest No. 1 while “Feeling” has two weeks on them.

Following behind is Omah Lay’s “Soso,” another No. 2 slot for the ‘Boy Alone’ cut, while Rema’s “Holiday” maintains its peak position on No. 3. The Tiwa Savage-assisted remix of Spryo’s “Who Is Your Guy” climbs to a new peak at No. 4, making it Tiwa’s fifth Top 10 entry and the first for Spyro. The song also contributes the largest share of the total chart points during the tracking week. It had 49 million in radio reach (No. 1 on radio) and 1.77 million (No. 5 on streaming), a new peak on both the radio and streaming charts.

Ayra Starr’s “Sability” drops to fifth place after debuting and spending one week at No. 1. Libianca’s “People (Remix)” with Ayra and Omah Lay enters the Top 10 for the first time, after tallying 48.2 million in radio reach and 1.38 million in streaming, placed at No. 2 and No. 7 on both mediums. At No. 7 overall, it is Libianca’s first Top 10 in Nigeria and it is Ayra Starr’s ninth (the most for any female artist) and the 12th for Omah Lay.

Rounding out this week’s top ten is Ruger’s “Asiwaju” which retreats to No. 7 while Khaid’s “Jolie” drops to No. 8. Rexxie’s “Abracadabra (Remix)” dips to No. 9. and Kizz Daniel’s “RTID” completes the top ten this week. Ascending purposefully, Lojay’s “MOTO” reaches a new high of No. 17 on the Top 100. The Magicsticks-produced “Availabu” off the artist’s ‘Gangster Romantic’ also debuts at No. 44.

Read a full breakdown of the charts here.