NATIVE Exclusive: T.I Blaze Is Becoming Major

Posted on by Emmanuel Esomnofu

T.I Blaze understands the journey is a long one. The Nigeria-based singer has stepped into his superstar status for a little over a year, and has been a hustler for way longer. When “Sometimes” emerged ion the circuit in late 2021, its emotive ring encapsulated the post-End SARS angst so many Nigerian youths were feeling and became an instant hit. Quite admirably, the 22-year-old quickly moved on from its blistering light, did a remix with Olamide, released a couple other songs, and, in that artistic process, brought more focus to the awareness of his vocal compositions. It was clear that T.I Blaze was becoming major. 

Last month, the singer shared his debut studio album ‘El Major.’ Concisely put, thirteen songs make up the projects, with features coming from the elite line-up of Bella Shmurda, LADIPOE, Fave, Backroad Gee and Camidoh, the latter pair being Congolese-British rapper and the Ghanaian vocalist, Camidoh. “I [recorded the songs] like three or four months to the album,” says T.I Blaze at the start of our conversation, bringing its trajectory to notice. “Before that time, I had some songs on ground already, since like January. So I just pieced them together.” 

‘The Fresh Prince of Lagos’ was released in February, an EP of six records which included “Sometimes” and “Try,” its similarly emotive follow-up. It was T.I’s plan to release multiple projects this year, “two or three,” he shares candidly. Having stayed in the background for so long, there’s only a natural instinct to put out as much as he can, and in conversation he reveals his intent to keep on releasing projects, every year he’s active. Between the nine months separating his debut EP and then album release, T.I Blaze evolved his subject matter, from sketching his narrative alongside the established lore of Lagos to staking out new territory. 

Street Hop’s ethos of heartfelt aspirational messaging is well documented, but T.I Blaze is a singular prospect. He’s able to explore variant extremes of emotions, relaying undertones of melancholy even while charting the seas of his progressive course. Whereas ‘Fresh Prince’ had “Try” propelling its uber-aware message, ‘El Major’ spreads itself to incorporate diverse storylines and perspectives. “While recording the album, I wanted people to know it’s not about me, and more about expanding my craft,” he says, taking it “above just Africa. I already planned everything on the album. The album has to be a general thing that everyone can hear; the type of Afrobeats the whole world wants. In the album, people tend to learn a lot.”

True to T.I’s words, ‘El Major’ is a wise album. Beginning with the warm optimism of “Good Life,” the project unfurls layers of hard-wrought introspection (“Lock Up”), romance-centred tensions (“Play”) and testaments on the workings of the world (“Frenemies”). All through, the verses and hooks of T.I’s are threaded by this dedication to realism, and when posed with the question of his preferred creative environment, he instantly lights up, mentioning the studio. “I like to stay in the studio a lot and listen to beats,” he affirms. “I like to do emotional songs, sad songs and street songs, so any beat that gets me in that mood, I’m definitely working with it.”

Given the emo themes in his work, it’s not surprising to know T.I Blaze has experienced the rougher edges of life. While only 22, he speaks with the wisdom of a sage who’s been wise to the game all their life. Similarly, his foray into the music industry was inspired by his resolve to chart his own course. He recorded “Sometimes” in Agbado, the neighbourhood in Ogun state where he grew up. It was an area bordering Lagos, so T.I visited the entertainment capital frequently, linking up with friends resident in different parts of the state. 

When he recorded his first ever song in 2018, it was his hunger to prove himself that earned him studio hours. Prior to then he was writing songs in notebooks and clamouring to be heard, but few people took him seriously. He played the debut record for everyone: his family, friends, neighbourhood folks. Everyone loved it. T.I Blaze became a sort of local celebrity, playing at events and recording songs. All for free, he tells me. “I can boldly say that I’ve never paid for a recording session in my life, so I feel like—I think God wants it”. 

T.I remembers his family being engrossed in music and supportive of his interest. Among three children, he was the middle child, and wasn’t too young to learn the ways of balladry from his mother’s choir days. Though he was a Muslim, in practice his father didn’t visit the mosque very often, a choice that informed his rather eclectic tastes. As a boy Timilehin would sit by his father’s side while he listened to songs on the radio. Inside the house, classic music from Haruna Ishola, Ebenezer Obey, “all those old men songs,” would fill each room. Through genres such as Fuji and Juju, which he paired with the 2000’s R&B and contemporary Afropop, T.I Blaze nurtured a voracious musical appetite which provided the perfect backdrop for his singing talent to emerge. 

While T.I Blaze frequented Lagos, there was a time when he slept in the kitchen of a hotel, along with another homeless friend of his. Narrating this point in his life, he doesn’t glorify its existence as much as he sees it as something that had to happen. He was born into music and it was only normal to work through his teenage years to see that dream become reality. It wasn’t a straightforward journey however. “I left home when it wasn’t time for me to be on my own, but I left,” he says. “I was doing my streets, I was doing my thing. I didn’t know where it was leading me to, I was just doing everything. Moving up and down, squatting around. At some point, I felt lost but I just knew that everything is going to happen, and it’s happened.”

T.I Blaze understands the responsibility of being major. “The lifestyle has changed,” he reveals. “You can’t talk anyhow, you can’t post anyhow, you can’t move anyhow—it has changed totally.” A stranger might mistake such acknowledgements for a show-off, but if you know anything about T.I Blaze, this is far from the truth as he’s known to move through life gently. Perhaps this is due to what he’s experienced in close quarters. 

In the Olu The Wave-directed video of “Try,” he orchestrates a crime while detailing the hunger he feels for success. The poignant visuals ends with his character dying after many attempts to claim the spoils alone, and its closing section reads out the caveat, “In all your endeavours…regardless of your situation/circumstances, robbery is never a way out.”

“The streets of Lagos is so crazy,” he says now about the precarious path he took to find his way, which his mother didn’t agree with. “You can easily turn into a thug; you have to be strong or your life will just change into a bad thing and before you know it, you’re gone,” he says, snapping his fingers. “You won’t find your way back to a normal life.”

So how strong does T.I Blaze reckon he is at this stage in his career?

“Very strong,” he responds.

“Why do you think so?” 

He pauses. “I like taking hard decisions,” he shares with the NATIVE after some time. “Because I know that’s where the real path is.”

Stream ‘El Major’ below.

The Best Dance & Electronic Projects of 2022, Ranked

Posted on by The Native

Dance music is embedded in African culture. From square-filled carnivals which rose with thunderous drums to percussive rattles awakening the groove of ancient masquerades, the natural urge to movement has been sufficiently translated into music over eras. In the context of modern pop music, several countries across the continent have consistently polished and presented their distinct iterations of the sound, birthing genres and subgenres which often shapes up as the edgiest and most sonically inventive on the palette of a listener.

Earlier this year, Drake, arguably the biggest artist in the world, tapped from the intimate mystery of South African House music, working with the trio of Black Coffee, Sona and TRESOR on ‘Honestly, Nevermind.’ While the album’s positive reception brought some degree of attention to the origins of its finest collaborators, there’s surely more where that came from. Amapiano continues to tighten its hold on contemporary African music while dominating party floors and club rooms across the world; the propulsive distortions of Gqom soundtracks the biggest festivals in the world; Deep House and Afro-Tech are making upward progressions and entering the consciousness of a popular audience, project after project, one remarkable breakout artist after another.

This year has seen no shortage of music projects from the purveyors of Dance music. Traversing the genre’s usual perception and including variant styles of expression, this list captures the expansive scope of the continental music scene. As expected, some of the projects embrace anthropological ethos by preserving traditional sounds and rituals, while others are rather forward-facing, pairing existing elements with novel experiments. All together, it’s an essential curation of artistic achievement and a recognition of humankind’s most primal desire: movement.

15. DJ LeSoul – ‘Soul Awakening’

As an assembler, arranger and song curator, DJ LeSoul’s music is a testament to her exploratory instincts. ‘Soul Awakening’ is an impressive show of the producer and DJ’s upward creative trajectory, a rewarding listen with obvious dancefloor intentions, spiritually-inclined moments and gently moving bangers. A perfect combination of sweet-sounding vocals paired with a skillful organisation of a slew of instruments, the project provides a balance of heart-thumping mixes on solo performances like “Turmoil” and more melodious numbers like “Sebenza”, a standout assisted by Nkosazana Daughter and Azana. Sitting at the intersection of Tribal House, Afro-tech and Deep House, ‘Soul Awakening’ encapsulates DJ LeSoul’s self-proclaimed aim as a musical scientist.

Nwanneamaka Igwe

14. Mellow & Sleazy – ‘Bacardi Fest’

Within a few weeks of their breakout, Mellow & Sleazy quickly defined their sonic identity, merging the distinct snare sound and synthesiser melodies of Bacardi with Amapiano. Even as it’s gone on to become a wildly popular ‘Piano strain, the Pretoria-raised producer duo continue to prove themselves as inventive soundmen and ultra-reliable hit-makers in that lane. ‘Bacardi Fest’, their third project within a year, was released as a precursor to their headline gig of the same name but it’s a lasting show of star power and cultural reverence. Highly collaborative, the project is graced by prominent figures like Sir Trill and Musa Keys, risers Chley and 2woshort, Bacardi veteran Dadaman, and more. Closing with the breathless lead single, “Wenza Kanjani”, the project’s feel-good tracks are loaded with intoxicating rhythms certain to get anyone on their feet and ready to dance.

Wonu Osikoya

13. Citizen Deep – ‘Arcade 2’

Soweto-born Dance music producer and DJ Citizen Deep is known for blending new school electronic production with nostalgia-fuelled, folk-tinged melodies. A veteran enjoying a new lease on life and relishing recent boosts to his profile with last year’s ‘Arcade’, Citizen Deep has been in the game since the late 2000’s, figuring out the layers to his artistry. That dedication to his craft is evident in the consistent warmth and the electrifying feel of his soulful deep house tracks. On ‘Arcade 2’, he continues to refine, putting out some of the most experimental songs in his catalogue. Playing host to Just Bheki, Azana, ZeneeMusiq, Vernotile and many more vocal heavyweights, Citizen Deep’s compositions are ornate richly layered and aptly tuned to equally match and challenge the evocative performances of his guests.

Wonu Osikoya

12. Coco Em – ‘Kilumi’

Coco Em’s music demands your attention at every turn. The Kenyan DJ/producer carries the heart of a consummate experimentalist underneath the sleeves of an electronic musician. Over half-a-decade since she began drawing acclaim for her mixes, and with only a few previous song releases to her name, her debut project, ‘Kilumi’, impressively confirms Coco Em’s bonafides as a genre-bender whose only allegiance is to her well-honed intuitions. Here, she breaks into varying styles of Electronic and Dance music, as well as adjacent sounds, using those shards to piece together enchanting bangers and a cumulatively entrancing body of work. ‘Kilumi’ asserts the undeniable powers of its creator.

Dennis Ade Peter

11. DJ Lag – ‘Meeting With The King’

It’s possible to read the title of DJ Lag’s debut studio album, ‘Meeting With The King’, as self-aggrandising, but one listen through the mutating 15-track project sounds like an undulating ride through a primordial African castle. Since the inception of Gqom in the 2010s, DJ Lag has rounded every bend and scaled every fence, serving as a leading voice of the culture. ‘Meeting with the King’ sees this motif in its full glory, as the iconoclastic 26-year-old artiste burrows deep into the most starkly experimental pockets of Gqom: slowing down the tempo and sloshing it with an assortment of eclectic sounds, from Amapiano to Funk. For an artist who has been a frontrunner in the genre’s burgeoning scene for over a decade, his debut album witnesses his knack for inventiveness at an all-time high. On songs like “Raptor”, where drums rumble with unbridled gusto and he marries the entrancing ethos of Techno with whimsical theatrical explorations, it’s obvious that he crafted ‘Meeting With The King’ with the grandest, voyeuristic experience of Gqom in mind.

Chibuzo Emmanuel

10. Chrisman – ‘Makila’

Taking inspiration from his Gqom, Trap and Afro-house experimentations on the 2021 EP ‘Ku Mwezi’, Congolese producer, DJ and sound engineer Chrisman digs deep into his bag of experimental tricks for his debut album, ‘Makila.’ Named after his late father, the album, with traces of Trap and Gqom, weaves Angolan kuduro, tarraxinha and kizomba dances with electronic elements, creating a soundscape that is at once full-of-form yet formless, carefully assembled yet structureless and everything in between. ‘Makila’ is interesting music and the product of a musician obsessed with erasing the boundaries that separate musical genres.

Uzoma Ihejirika

9. NATIVE Sound System – ‘NATIVEWORLD’

Epic in vision and intimately delivered, ‘NATIVEWORLD’ is musical confidence on steroids. From British-bred musicians to iconic Alte figures resident in Lagos and artists dominating the rap industry in Abuja—the album has it all, a showcase of how much deliberation went into its set-up. Its warm vibe results from this cocktail of influences, incorporating the familiar conventions of Afropop and the sprawling sounds of Africa’s diasporic base. Never mind it’s the first time a project this scale is being executed on this side of the continent: every musician here knows what they’re doing, orchestrating seamless progressions and unpredictable highs, and its dance core holding the colourful fabrics together as the sea breeze pulls closer.

Emmanuel Esomnofu

8. Caiiro – ‘Pyramids’

On the 20-track ‘Pyramids,’ South African DJ/music producer Caiiro continues his iteration of Afro-house sounds that pulsate with poignant rhythms and emotions. The sprawling set is the latest marker of Caiiro’s grand executions, where the music has a hefty presence and vibrant verve, but with an emotionally relatable core. His supporting cast of artists—Nkosazana Daughter, KekeLingo, Inga Hina, Tina Ardor, Toshi and Khaeda, to mention a few—layer their feelings over Caiiro’s productions, journeying from romance to hope. On tracks where there are no vocals, like “The Akan”, “Dat Guitar” or “Zukku”, Caiiro still shines as he melds multiple elements into his captivating sound. ‘Pyramids’ is a celebration of talent and the power of community.

Uzoma Iherijika

7. La Roche – ‘Liye Liye’

Across the half-hour runtime of ‘Liye Liye’, a stark ethos of mysterious tension is established. Bold, tribal drums are paired with crashing bottles, swinging notes of horns and variants of eccentric percussion, the vocalisation reminiscent of a rousing performance before the members of an ancient clan. The music is vivid and visceral. Part of the Kinshasa-based collective Fulu Miziki, the incandescent buzz of communalism permeates this debut album from La Roche, retaining an intimate groove within the propulsive, sharp edges of the production.

Emmanuel Esomnofu

6. Moonchild Sanelly – ‘Phases’

Flamboyance lies at the heart of Moonchild Sanelly’s acclaim. Her artistry reveals a musician deeply steeped in the traditions of South Africa while aware of the music elsewhere. These fragments are threaded by an explosive sense of electronic music, a preference that’s seen her dabble in Gqom, Amapiano and other similar sounds. ‘Phases’, the musician’s sophomore album, followed her foray into British music circles (several UK musicians feature here) and finds her executing flagrant ideals. Romance is usually the subject, but she’s astoundingly subversive, constructing remarkable storylines from queer angles. What’s magical is her ability to have fun while at it, taking the listener into a soundscape that sounds like an entire carnival.

Emmanuel Esomnofu

5. Avalanche Kaito – ‘Avalanche Kaito’

A griot from Burkina Faso and a Belgian noise-punk duo is the sort of pairing that yields anything but orthodox music. Avalanche Kaito is where traditions from a West African society meets post post-modern experimental music, a plane that’s a portal to ancestral codes and a future-facing, purposefully disconcerting wall of sound. The group’s eponymous mid-year album builds on ‘Dabalomuni’, their debut EP from the very first days of 2022, a searing set of songs that cut across riotous punk, near-wordless haunts of beatless noise, screamo vocals over glitching and whirring synths, spiritually-charged free jazz improvisation filtered through electronic arrangements, and just about anything left-field that glimmers with an otherworldly quality. ‘Avalanche Kaito’ is transportive.

Dennis Ade Peter

4. Ibibio Sound Machine – ‘Electricity’

There’s always been an intriguing ambition to Ibibio Sound Machine, even before the scope of its sound—infusing West African rhythms with electronic elements—began to expand with subsequent follow-ups to their 2014 eponymous debut. Marked by grand execution, ‘Electricity’ is the London-based band’s highest creative zenith yet. Produced by synthpop savants Hot Chip, the electronic excursions are amped up as a way of emboldening the band’s virtuosity at spinning viscerally stunning grooves. On its divinely-tilted intro, “Protection from Evil”, vocalist Eno Williams literally speaks in tongues, a zany moment that sets up ISM’s most accessible album till date. ‘Electricity’ is colourful and propulsive, where an optimistic search for hope, joy and light takes centre stage amidst Afrobeat, ‘80s disco, ‘90s house, Moroder synths and Cameroonian water drumming. Here, darkness has no chance at winning.

Dennis Ade Peter

3. Prince Kaybee – ‘Gemini’

‘Gemini’ doesn’t just reference Prince Kaybee’s zodiac sign, it embodies the album’s push and pull between familiar sound preferences and experimental excursions. Growing into ubiquity through guitar-laced House classics, the South African producer and DJ has always ventured beyond those star-making inclinations, even co-opting Gqom at the height of his commercial dominance in the late 2010s. Where his last album was sprawling and messy by facing every direction at once, Prince Kaybee’s versatility shines through on his 5th LP by reestablishing the guitar sound as his base.

Lead singles “Sbindi Uyabulala” and “Breakfast In Soweto” offered clear signs in the lead up to ‘Gemini’, soulful house tracks with an affecting quality. Across the album’s 15 tracks, Prince Kaybee composes an array of feel-good songs accompanied by a range of mellifluous guest vocals from Ami Faku, Nkosazana Daughter, Ben September and more, with percussive ticks and rhythmic touches cued from Tech-house and Afro-Tech. On “Milani”, Prince Kaybee crafts a wordless ode to his son, a gorgeous assembly of guitar riffs and a violin solo, showing just how far the clean execution of pristine chord arrangements can take a body of work.

Nwanneamaka Igwe

2. Lady Aicha & Pisko Crane’s Original Fulu Mziki of Kinshasa – ‘N’Djila Wa Mudjimu’

Immediately you press play on ‘N’Djila Wa Mudujimu’, opening track “Mesami” sucks you into the magnificent, fun-filled world of Lady Aicha & Pisko Crane’s Original Fulu Mziki of Kinshasa. Over a decade and a half, Pisko Crane, who grew up in the slums of Kinshasa, has constantly sought ingenious ways to create music that represents his creative leanings and empower the sounds emanating from his neighbourhood. He went into the streets, gathered discarded trash (old computer bits, oil cans, springs, metal pipes, etc.) to build musical instruments and then set up the eco-punk band Fulu Mziki, whose name in English means “music from the garbage.”

Over the years, Pisko Crane’s Fulu Mziki has attained legendary status. With the assistance of performance artist, sculptor and fashion designer Lady Aicha, Fulu Mziki have reinvented themselves, venturing further into Soukous and exhilarating mix of punk, electronic music, industrial music and Spiritual Jazz. It is this embellishment of sounds that makes up the 11-track ‘N’Djila Wa Mudjimu.’ From the pounding rhythms of “Tikanga” to rousing chants on “Mutangila” and the hypnotic swirls of “Congo”, ‘N’Djila Wa Mudjimu’ is a definitive album, signposting the fascinating and wildly creative sounds of contemporary DR Congo.

Uzoma Iherijika

1. Kabza De Small – ‘KOA II Part 1’

Kabza De Small is a creator and curator of lasting moments. Part of that is a by-product of his obsessive need to express himself, a prolific soundman always in need of a canvas to splash together piano riffs, synthesised notes, and unyielding percussions. Part of that is because, when you proclaim yourself king in a wildly inventive subgenre that turns out new stars with every blink, greatness is the only option at every turn. Two years off his incredibly expansive, classic debut solo LP, ‘I am the King of Amapiano: Sweet & Dust’, the producer returns with a sequel that’s even more arrogant than its predecessor.

Assertiveness pours out of ‘KOA II Part 1’ unbridled; this is not a statement of importance, it’s an edict from the top of Mount Olympus. The scope is unpretentiously grand, invariably packed with incredibly soulful cuts, affecting folksy tunes, and wall-rattling bangers. Ever the shamanistic composer, Kabza De Small spends two-plus hours purposefully teasing out Amapiano’s range with consistent experimentations, directing a star-studded cast of guest voices that augment the simple fact that, no matter how routine it may seem, this is actually greatness personified.

Dennis Ade-Peter

Featured image credits/NATIVE

Written by Emmanuel Esomnofu, Nwanneamaka Igwe, Wonu Osikoya, Chibuzo Emmanuel, Tela Wangeci, Uzoma Ihejirika & Dennis Ade Peter.

ICYMI: THE BEST RAP ALBUMS OF 2022, RANKED

ICYMI: Afropop On The Rise: Just when you thought it couldn’t get any bigger, it did

Songs Of The Day: New Music From Zinoleesky, Tekno, Simi & More

Posted on by Emmanuel Esomnofu

2022 is winding down and it’s been an eventful year for Afropop. There’s been a torrent of great new music, spawning a massive stack of inventive smash-hit songs. From Highlife-infused Ghanaian pop, to the unrelenting force that is Nigerian street-pop to South Africa’s indomitable Dance scene, to tantalising Drill explorations in East and Central Africa, and much, much more, we’re living through abundant and musically expansive times.

Every week, many songs from African artists make their way to digital streaming platforms, and wading through them can be intense. That’s where The NATIVE’s Songs of the Day column comes in to help. We go through as many new releases as possible, spotlighting them here, two to three times every week. Today, enjoy new music from Naira Marley, Mannywellz, Masterkraft, Fally Ipupa and more. Lock in!

ZINOLEESKY – “PERSONAL”

In recent times many a fan has been clamouring for Zino to switch up the style. Amapiano has long formed the bedrock of the musician’s sound, sometimes sounding overwrought. “Personal” is the most energised Zinoleesky has sounded, a late-year affirmation of his strength while seeking the assurance of his parents’ blessings. Combining a prayerful tone with assured flows, the BabyBeats production pulls beautifully under him to create a serenade. Yet it’s a record you can bop to as well, its introspection not getting in the way of its quality to move the body. It’s a strong release from Zinoleesky, and a timely reiteration of his prowess going into the new year.

SIMI – “CHRISTMAS SOMETIN”

Christmas SZN is upon us and Simi has just the perfect groove. We haven’t seen many mainstream musicians dabble particularly in Christmas records, making Simi’s record very welcome at such a time. Sparking the awe and glitter of our earliest celebrations, this Blaise Beats-produced record exudes a similar warmth. Over sweet notes and mellow percussions, Simi takes the cherry route, reminding listeners of love and the need to forget one’s worries. With a touch of her signature storytelling, it’s a beautiful record which should grow on listeners as the date pulls closer.

MANNYWELLZ – “MY HEART”

In october, diaspora-based Nigerian artist Mannywellz released the emotive ‘Unwanted,’ establishing a sparse, spiritual edge over his established R&B sound. He follows up now with “My Heart,” a record that sounds cut from the ethos of the previous EP. Unfurling his deepest convictions over a solo piano and soft-rising synths, he addresses the song to negative presences in his life and, given the scope of his lyrics, perhaps the society in general. Though it’s barely two minutes long, the weight of his writing enriches it with great replay value. “I’m moving in silence, I’m moving with God,” he signs on the opening lyric, “You’re moving with violence, and moving with guns”.

FALLY IPUPA – “FORMULE 7”

Although a proven icon of Francophone African music, Fally Ipupa has been putting in the work all 2022. Today sees the release of the Congolese musician’s new album. ‘Formule 7’ is a sprawling body of work, comprised of three sections which combines for over 3hours of listening time. The titular record combines the rhythmic guitar-playing and chanted sections of rhumba. Through its eight-minutes runtime the musician curates an expansive groove, switching tempo with assured mastery.

MASTERKRAFT & TEKNO – “10 SURE ODDZ”

Frequent collaborators Masterkraft and Tekno have never been known to miss on a record. For their latest, the duo references the humorous language of sports betting, a language that’s increasingly influenced the motions of popular culture. The revered producer’s Amapiano-laced beat manages to sound novel, excelling through its weight of percussion and the disco-esque keys which swirls around it. On his part, Tekno sounds the freshest we’ve heard him in a while, his lyrics delivered in a whisper-like tone which perfectly mirrors the usual disposition of someone who’s won a huge bet.

VICTOR AD – “DANGEROUS”

It’s been a while since we got new AD music but he surely makes it count on the new single. “Dangerous” is a breezy record lined with colourful production and the musician’s famous songwriting skills. Detailing the head-spinning highs of a relationship, he employs a mellow edge to his vocalisation which leads to a tender, even if humour-laced appraisal of the central lady character. No doubt a fine return from one of Afropop’s more distinctive musicians.

HERMEZ FT. TIM LYRE – “LUCID CRUISE 2.0”

Not long ago, the duo of Hermez and Tim Lyre collaborated on the sparkling “Lucid Cruise 2.0,” combining their distinct musical characteristics for an eternal slapper. For such a fine record, it’s only right attendant visuals would be in the works. Now released, the Jordan Margolin-directed video seamlessly captures the chill vibe of the song, placing the artists in sea-evoking scenes while playing up tropical elements like wild flowers. With a number of beautiful vixens also making the cut, it’s a quintessential representation of a get-together moment, warm with intimacy and rippling with the excitement of things yet to come.

KPEE – “JOLLY”

While he starred on The Voice, Kpee’s warm interpretation of Afropop and Western classics took him to the finals, his star potential obvious to anyone who saw him perform. He’s been polishing his skills ever since, bidding his time to make his claim on the ever-ascendant movement of Afropop. “Jolly” is a fine demonstration of his prowess, a groovy cut lined with the vocal awareness common within ballads. Grasping the nuances of space, Kpee effectively balances experimentation and experience, giving this record great potential as we enter the festive season.

SENTH – “SO FINE”

Olamide has some of the greatest ears in Afropop and that’s on fact. From Fireboy DML to Asake, the YBNL boss has been known to tap distinct talents and overseeing their development to astounding levels. Sometime ago, he announced Senth as the latest addition to that esteemed cast. To announce his presence, the artist has just put out the EP titled ‘Senth Of Her’, and “So Fine” is a sparkly standout. Built on stuffed pads and nostalgia-inducing keys, an element of bedroom pop permeates the record, even though Senth’s writing is aware of pop culture lingua. A memorable, heartfelt song, it sounds like nothing YBNL has put out before. Surely, Senth is an act to look out for going into the new year.

NAIRA MARLEY – “GIRLS JUST WANNA HAVE FUN”

Marlian Records CEO Naira Marley has been putting in the work all year. From his debut album ‘God’s Timing The Best’ to the Backroad Gee-assisted “Vawulence,” he’s been everywhere. Just in time for the December festivities, he’s put out what is his most hit-ready record this year. “Girls Just Wanna Have Fun” takes the drums of Amapiano but slows the tempo, Naira Marley unfurling electric flows within its seams. He curates the hair-down groove, playing down the intensity of heated conversations while giving the all-pass to having fun and having funds. A simple man, Naira Marley.

UAX – “SAFE”

After years working as a video director, Uax is expanding his scope in the music industry. “Safe” is his first official single, but there’s an intimate and assured vibe one gets from listening to the record. Over soft, skittering percussions, he sings lovingly about a woman’s love, promising to treat her right while engaging salacious references. Quite an affectionate affair, exuding such warmth on first try surely indicates there’s great potential for Uax in the scene.

Hot Takes: SGaWD VS. Dvpper Music, ‘Far From Home’ Debates & More

Posted on by Uzoma Ihejirika

Christmas is inching closer and the spirit of celebration is in the air. Aside from the Christian festivity, the month of December is also home to parties and concerts, where music lovers gather to have a good time with their favourite acts. As the year comes to a close, there have been heated moments as well as funny ones, from Wizkid’s “Rap is dead” melee and concert absences to Asake’s wardrobe malfunction, the moments keep on piling. What would be the year’s crescendo?

In the UK, the citizens are experiencing one of the coldest weathers while in Qatar, millions of football fans are feeling the heat of the tournament as it winds down to a close on Sunday. On this week’s Hot Takes, I take the reins and write about copyright problems in Nigerian music, Netflix’s Nigerian Young Adult show and Lionel Messi and Argentina’s chances at World Cup glory.

WHAT I’M WATCHING

I didn’t know what to expect before watching Franklin J. Schaffner’s 1973 film ‘Papillon.’ I had read that it was a classic and that there was a 2017 remake of the same name but that was all I knew about the film. Minutes into the more-than-two-hours runtime of the film, though, I realised I was in for a treat. ‘Papillion’ is based on the 1969 autobiographical novel of the same title by French writer and ex-convict Henri Charrière. It is a story about the characters Papillon (Steve McQueen) and Louis Dega (Dustin Hoffman) who become friends while incarcerated in the harsh prison system of French Guiana and then begin to plan their escape.

Steve McQueen’s portrayal of Papillon as a tough yet considerate convict is brilliant. One of the most stirring moments in the film is when Papillon, after being sentenced to solitary confinement, begins to hallucinate while being tortured with starvation and the cutting off of sunlight into his cell. As with other intense moments, the film doesn’t shy away from the details, choosing to fully show the severe conditions of incarceration and its effects on the psyche of the prisoners. ‘Papillon’ is an excellent film about friendship and gut-busting resilience.

 COPYRIGHT INFRINGEMENT: SGAWD VS. DVPPER MUSIC

On Wednesday, on his Instagram Story, Seunfunmi Tinubu aka SET, the manager of Nigerian rapper and singer SGaWD called out Dapper Damm (CEO of Dvpper Music) over copyright issues concerning a song by one of its artists PaBrymo. The song in question is titled “Tippy Toe” and sits on PaBrymo’s debut album ‘Never Stop, Vol. 1.’

Through correspondence with the NATIVE, SET revealed that after his client SGaWD had recorded a verse for Dapper Damm on October 3, the label head and its artist PaBrymo had proceeded to use the verse “without any form of clearance or permission from SGaWD or myself.”

“After we started seeing promotion of the project with a feature from SGaWD, both she and I reached out to Dapper Damm to state that we hadn’t heard the final version of the song and hadn’t cleared it to be on the project yet,” SET said. “We received the song a couple days before the project came out and were not satisfied with the mix on the song and we weren’t even aware that the release date was so close. This led to us eventually requesting the song to be taken down after we realised that it released.”

The issue of copyright infringement in Nigerian music is a familiar matter. This year, there was also the Carter Efe-Berri Tiga saga that rocked the scene. This SGaWD and Dvpper Music topic is another reminder that there needs to be a re-education among industry professionals about the proper codes of conduct as it concerns creative content.  This is always disheartening for any creative whose work doesn’t get the deserved recognition/compensation it deserves. SET puts it clearly when he says, “Using an artist’s vocals and lyrics when they haven’t cleared or approved it is a violation. Creating music is a deeply personal process and at the very least, it is common courtesy to ensure that if you want to collaborate with an artist, you gain their explicit permission to use their work.”

‘FAR FROM HOME’: YOUNG ADULT TV SERIES AND AGE-APPROPRIATE ACTORS

On December 16, ‘Far From Home’ will get an exclusive global premiere on Netflix. Produced by Inkblot Productions, the five-part series is the first Nigerian Young Adult show on the streaming entertainment service. ‘Far From Home,’ which is directed by Catherine Stewart, Kayode Kasum and Kenneth Gyang, is the story of Ishaya (Mike Afolarin), a charismatic teenager and talented artist from a poor family who gets a scholarship to a prestigious school in the country and whose happiness is threatened by a huge secret.

In some quarters of Nigerian online space, there has been criticism about the choice of casting older actors for roles of teenagers. Much of the argument leans on the fact that actors in the age range of the roles should be cast instead. I think that it doesn’t matter; what matters is how well the actors can portray their characters. The South African TV series ‘Blood & Water,’ which is about teenagers in a school, is an example of excellent actors who wear their characters like a second skin.

Across the African shores, the hit British TV series ‘Sex Education,’ which is heavy in sexual content, would be impossible to make if it were to feature under-18 actors, even though its primary audience is the teenage population. What makes ‘Sex Education’ work and resonate with millions of viewers across the world is the believability of the actors who inhabit the world of the story. That is the power of good acting and it is that power that the Nigerian audiences should be most concerned that its actors possess.

MESSI CARRIES ARGENTINA INTO THE WORLD CUP FINAL WHILE MOROCCO ENDURES HEARTBREAK

This year’s World Cup has been full of twists and turns. Heavyweights like Germany, Spain, Portugal and Brazil have exited the tournament, rueing their misfortune. On the other hand, Morocco has proved to be a giant killer and made history as the first African nation to reach a World Cup semi-final. Although the Moroccan fairy tale ended yesterday at the hands of the impressive France team, there is no doubt that the team—from the coach Walid Regragui to the players(the World Cup has rejigged the career of Hakim Ziyech who has had difficulty cementing a place in the Chelsea squad)—have made the African continent proud.

On Sunday (December 18), Lionel Messi-led Argentina will take their chance at World Cup glory against the defending champions France. The last time Argentina won the competition was in 1986 after the Diego Maradona-captained team beat West Germany 3–2 in the final. Messi, who sports the No. 10 jersey for Argentina and toes the same legendary path as Maradona, has confirmed that Sunday’s match will be the last time he wears the Argentine jersey. The final will also be Messi’s opportunity to earn another point over his arch-rival Cristiano Ronaldo, whom he and his Portuguese teammates were dumped out of the competition in the quarterfinal by Morrocco. For the sake of football rivalry, an Argentina win on Sunday will scorch the hearts of Ronaldo fanatics while a loss will be a healing balm for them.

On Saturday, Morocco still has the opportunity to make history by being the first African country to scoop a third-place win at the World Cup when they face a wounded Croatian team. Croatia, in some way, is similar to Morocco: they are dogged and don’t mind playing ugly to get a win. For Morocco and Croatia, Saturday’s match will test their resolve and offer them compensation for their troubles.

David Oyelowo is set to develop a limited series on the Biafran War

Posted on by Nwanneamaka Igwe

With a slew of blockbuster releases under his belt including ‘Selma,’ ‘A Wrinkle In Time’ and ‘Gringo,’ British-Nigerian actor and two-time NAACP winner, David Oyelowo is a prominent feature in the movie industry, known for his captivating and heart-felt performances that throughly embody the depth of the characters played. For his latest project, Oyelowo will be turning his focus to his home country, Nigeria and telling the story of the deadly Biafran war, which affected the lives of many Igbo people in the country’s Eastern region. Announced earlier this week by Deadline, the new limited series is currently in development with the BBC, alongside recently launched Argo Films and Oyelowo’s Yoruba Saxon Productions.

 

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Seen through the eyes of a young Black British woman, the series will combine character-led personal story with themes of family, identity and belonging at its heart. While the limited series is still awaiting the green light, the BBC original is set for production across different locations, including the UK and Nigeria as it sets out to recollect the stories across two major timelines: the 1967-1970 Biafran War and present day Nigeria.

Oyelowo who described ‘Biafra’ as one of his treasured projects expressed his drive to create the series in order to spotlight more stories that matter. “My Nigerian heritage and desire to see African stories told at the highest level has led to Biafra being one of my most treasured projects. My parents married across the tabooed tribal lines of the Biafran conflict, and it shaped my life, much as it has done to millions of Nigerians,” he shares with Deadline, talking about his relation with the subject matter.

With this limited series, Oyelowo and his production has set out to tell an incredibly powerful story of pain and betrayal, while reclaiming a lost identity and often-forgotten history. Joining him on the execution of this project are some award wining writers Bola Agbaje of the 2013 comedy, ‘Gone too Far’ and Lawrence Olivier for the series screenplay as well as co-development and directorial roles by Ngozi Onwurah. Additional executive producers, Yvonne Isimeme Ibazebo, popular for her outstanding work on British series, ‘Top Boy’ and Fremantle’s Christian Vesper and Richard Johns will also be joining Oyelowo on the project.

Learn more here.

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ICYMI: EXCLUSIVE: EVERYTHING WE KNOW ABOUT NETFLIX NAIJA’S FIRST EVER YOUNG ADULT SERIES ‘FAR FROM HOME’

After A Year Away, Runtown Makes His Welcome Return With New Album ‘Signs’

Posted on by Nwanneamaka Igwe

After getting a glimpse of the soon-to-be star in the heartwarming video for Davido’s “Aye,” undeniably one of the biggest love anthems in Nigeria, Runtown’s presence and impact has been magnanimously felt all across the music industry. It was in 2014 that the Afropop star earned his breakout with Davido on “Gallardo,” and since then, Runtown has with a plethora of releases, proven himself an exceptional trailblazer and hitmaker in these parts. His discography is coloured with promising singles including the Phyno and De Boss-assisted “Got It in My Vein,” and “The Latest,” which are deep cuts that showcase the depth of his artistry. However, there’s no denying that he solidified his position with the release of 2016’s chart topping single, “Mad Over You.”

That year, while gearing up for the festive detty December season, artists were dropping new releases at breakneck pace and “Mad Over You” sat comfortably within that repertoire of party-starting records which took over the clubs and airwaves. To an unitiated ear, the track was simply a catchy one with the memorable hook: “Babygirl you bad o, girl the way you whine/I dey mad over you girl, I day mad over you girl.” However, looking back at its influence now, it’s safe to say that Runtown had transformed opportunity into chart-topping success.

Produced by Del B and T Spice, “Mad Over You” was a perfect blend of R&B and Ghanian Highlife, laced with intoxicating mellow drum patterns over a mid-tempo beat that celebrated African beauty in all its glory. With clever penmanship, Runtown incorporated relatable references from Ghana: “Ghana girl say she wan marry me/I hope say she sari cook Waakye/Hope your love go sweet pass Shito,” reinforcing our close-border friendships with the neighbouring West African country. Bolstered by the song’s spell-binding rhythm, Runtown quickly rose in prominence off the back of the romantic record, whose Clarence Peters-directed video now sits comfortably at 143 million views on YouTube–it’s the artist’s most played single.

Five years later, the blueprint of “Mad Over You” is felt colossally across Afropop. Now, predecessors such as J.Derobie, Fireboy DML, Joeboy, Victony and more, are harnessing their powers fully and achieving ubiquity with their distinct flavour of Afropop, R&B, Hiplife, Highlife and more. More than just an enjoyable track, “Mad Over You” serves as an almost time capsule of 2016 where tracks such as Wande Coal’s “Iskaba,” Tekno’s “Rara,” Small Doctor’s “Penalty,” Dotman’s “Akube,” and more, were firmly in our sonic orbit.

Reminiscing on the track on Apple Music Radio’s ‘Africa Now’ early last year, Runtown shared “It’s really that song that’s a blessing and a curse at the same time. It’s that song that changed everything, not just for me, but for the whole industry. So, you now have to not necessarily live up to that, but a lot of people expect you to have another “Mad Over You.”” Understandably, its an age-old conundrum for artists to spend many years of their career chasing the same formula laid down in their breakout single, however, that’s never faired well for anyone seeking true artistic fulfillment. Despite the success of the track, it was clear that Runtown,while trying to create more hits in the future, was less bothered about creating another song that sounded like “Mad Over You.”

For the next three years, Runtown would put his head down and work tirelessly to perfect his craft. The releases that follow reaffirm his star power and cemented him as a household name in Afropop. Think Wizkid-assisted “Bend Down Pause” and “Said” featuring South African superstar, Nasty C, both released in 2017, which further expanded his audience well beyond Ghana and Nigeria. Both tracks showcased Runtown’s skilled penmanship alongside showcasing where he was able to take his music sonically. “Said,” in particular, was a testament to the artist patience as he looked back on the early days and the labour he put into his craft. Just before 2017 closed out, Runtown shared “Energy,” another tuneful track with relatable lyrics. While being candid about the difficulties he faces in the music industry, he employs the melodious hook to express that any efforts to steal his joy will be rendered unsuccessful.

In 2018, Runtown was at the peak of his powers. He arrived with another love anthem, “For Life,”and shortly after, he released the Fekky-assisted “Unleash,” which served as a fine showcase of his abilities. He rounded up 2018 with two more chart topping numbers; “Oh Oh Oh (Lucie)” and “Gimme Love” with Seyi Shay, produced by Sarz. Staying true to his formula, while figuring out a singular style that worked for him, he became of the most magnetic voices to emerge–and with an army of loyal listeners to prove it.

However, nothing good lasts forever. That same year, just as Runtown was dominating airwaves and charts, his career took a significant hit as he faced several lawsuits from his label boss, Eric Manny of Eric Manny Entertainment. While issues spanned across several months, it reached a peak after a collusion between the pair regarding payment of performance fees and other revenue sources. The legal battle which involved several cases of extortion, threats and intimidation tactics, dissolved in June 2018, granting Runtown full ownership and rights to his music production.

The next time we heard from Runtown, he’d bounced back from the horrors of his past and established his own music company called Sound God Music Group. With a heightened sense of autonomy, Runtown reclaimed his sound and surprised audiences with an outstanding performance on Odunsi (The Engine)’s genre-defying album ‘rare.’ On that same album, Odunsi The Engine also paired with artists such as Davido, bridging the worlds of alternative and mainstream music together. Runtown was an obvious standout and “Star Signs,” was a huge slapper hit with memorable one-liners and smooth vocals. While it was not obvious at the time, Runtown was effectively teasing a different facet to his craft on “Star Signs,” a side that would potentially resurface in the future.

A plethora of singles later, Runtown in 2019 came out with ‘Tradition,’ a six track EP featuring standout songs, “International Badman Killa” and intro track, “Redemption.” The EP combined a range of punchy one-liners, dancefloor-ready beats and the usual palpable sincerity in his records. Without a doubt, ‘Tradition’ served as a reintroduction to the man and the artist–combing eclectic sartorial choices with otherworldly production. That same year, he was engaged to be married to South-Sudanese model, Adut Akech, further introducing his music to a new set of global audiences. It seemed like nothing could go wrong for the star whose ascension to household status felt long overdue.

By 2021, the pair had ended their very public relationship and Runtown had refocused his attention on his craft. That year brought with it more collaborations including the Bella Shmurda and DarkoVibes-assisted “Body Riddim,” before the eventual release of Runtown’s first full length LP under his label, titled ‘SoundGod Fest Reloaded.’ With appearances from Made Kuti, Rowlene and more, the 12-track album found Runtown gunning for new audiences by blending more soundscapes into his orbit. From the colourful bass guitar chords with reggae influences on “Understanding Love” and the rousing trumpet riffs by Made Kuti on “Mama Told Me” to the introspective track “Ghetto Gospel Riddim” with stripped down piano chords, ‘SoundGod Fest Reloaded’ reinforced Runtown as an artist far more than his Afropop bangers.

 

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Before 2021 fizzled out, Runtown appeared to be missing from the music circuit. Every other day, tweets about his disappearance circulated on social media, as fans clamoured for a new release from the famed Sound God. However, Runtown continued to lay low that year. Now, after almost two years of silence, Runtown emerges victorious with the promise of a new album. Arriving earlier this year, Runtown shared new single “Things I Know”, off the back of his fifth studio album ‘SIGNS.’ The mid-tempo track shows Runtown declaring his commitment to his love interest as he inches us one step closer to what could be a comeback for the singer.

Aptly titled ‘SIGNS,’ the album title foreshadows that Runtown has his sights set on showcasing how his time away has him itching to display musical ability, both old and new. According to the tracklist, the new album will include 14 tracks with suggestive titles such as “Sinner Man,” “O Fe Pa Mi,” “War,” “High Spirit,” and “Mic Check,” which quite notably does not include any featured artists. Whether Runtown is keeping these names close to his chest, or there are indeed no features on the album, it’s clear to see from the song titles that this project is gunning to be one of the most honest and emotional releases this year.

Since the release of his 2021 album ‘SoundGod Fest Reloaded,’ the temperature of the music scene has changed and developed with new players emerging ever second, with albums that place them shoulder to shoulder with Afropop royalty. As such, with only a few hours left until the release of ‘SIGNS,’ it’s clear that the stakes are much higher this time around, but it’s pertinent that we give Runtown his flowers as he ushers listeners into the next phase of his career. With “Things I Know,” Runtown is evidently keyed into the present with its subtle hints of Amapiano, while revisiting his unique style seen in the earlier parts of his career. The stakes may be higher this time around, but we’re sure that Runtown will bank on furthering his creative footprint.

Featured Image Credits/The NATIVE

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

ICYMI: REMA: STILL DIVINE

Afropop On The Rise: Just when you thought it couldn’t get any bigger, it did

Posted on by Nwanneamaka Igwe

We’re very well beyond the point of surprise as we witness Afropop incessantly redefining the status quo, breaking the boundaries and peeling off all labels, as its key players garner attention of audiences beyond the home base. The commendation for this steady yet astronomical rise goes beyond the artists creating the music but to all creatives involved in the process, inclusive but not exhaustive of the producers, videographers, directors and most especially this year the DJ’s. From the back of the ever-evolving street pop corner in Nigerian Pop to the genre-defying acts in South Africa’s Amapiano and plethora of others, the power of Afropop aggressively grows stronger with every new release. 

With COVID-19 almost completely out of the way and the scare of live, public gatherings practically non-existent, concerts, parties, clubs, Boiler Rooms and other venues that play a crucial role in flinging the ropes of Afropop far beyond its curbs are bigger, louder and brighter than ever. If the iconic dynamic duo, Major League DJz aren’t rocking the sound waves with the hottest and freshest sounds from these parts in Ibiza, then superstar DJ Uncle Waffles is debuting her Amapiano hit single “Tanzania,” on one of the biggest online music broadcasting and promotional platforms in the world, Boiler Room. Right off the heels of her viral video last year, where she captured audiences with her enthralling dance moves and masterful set, Uncle Waffles set out to display her skills beyond the deck.

As the proliferation Amapiano exceeds its borders, standout acts like Mellow and Sleazy are captivate audiences with their enthralling, Bacardi-infused take on the incredibly prominent sound, championing hood ‘Piano invention that continues to cross borders. Think “Abo Mvelo,” “Wenza Kanjani” and expanding its impact to this year via its music video release, the TikTok-favourite “Nkao Tempela.” It’s just one part of the inventive equation, when you consider the continued presence of Private School Amapiano and the Deep House-led excursions of veteran hands like Gabba Canal and newer faces like Sam Deep.

Recently, ‘Piano luminary Njelic sparked a conversation on the seeming one-way traffic effected by growing international attention on the dance subgenre, where more producers and artists are spending more time trotting foreign soil for gigs. Njelic believes South Africa, being the creative cradle of Amapiano, should be a Mecca for the rest of the world to travel to in order to truly experience the sound and culture around it. It’s a complex take, an idealistic one with its own demerits, but it’s an implicit testament to the strides a hood-originated sound has taken over the last few years. A lot of that, like nearly everything that has helped propel Afropop to global dominance, has been powered by ubiquitous digital tools: Internet, streaming and social media.

Music doesn’t just travel farther than the geographical point of its immediate audience, it does so at its fastest pace yet. Whether an artist travels outside their country to perform or not, all it takes a viral moment to reach worldwide recognition—a phenomenon that’s being aided by globally-viewed virtual performance platforms. Over the course of this year, COLORS Studios shared a batch of single song live sets from a slew of Nigerian Pop artists, including Lady Donli’s breezy “Thunderstorm in Surulere,” Victony’s contemplative “Many Man,” BNXN’s balmy “In My Mind,” Ayra Starr’s cheeky “ASE,” and more. While these COLORS performances were generally compelling, the clear standout was Oxlade’s helium-tinged voice and gyrating dances for his rendition of “KU LO SA.”

To those who’ve been unto the singer since his show-stealing feature on Blaqbonez’s “Mamiwota,” Oxlade’s voice is one of the most captivating in Nigerian pop and his on-stage presence is a joy to behold. Given a global platform and armed with a great song, those parts of his abilities were greatly amplified, helping him jump out as the latest viral superstar in Afropop. With help from TikTok, the singer’s movements seeped into pop culture through reverent and playful mimicry, and in a few months “KU LO SA” gradually grew into an international hit song. This path to popularity is reminiscent of CKay’s “Love Nwantiti,” and Amaarae’s “SAD GIRLZ LUV MONEY” remix assisted by Moliy and Kali Uchis, two already popular songs which went on to top international charts after they hit TikTok. Oxlade, like his counterparts, is on the cusp of further breakthrough as he contributes to the expansion of Afropop conversations using his infectious vocals.

And when the stars are not delivering ground-breaking performances on music platforms, they are gathering their fans from across the world and selling out some of the biggest concert venues and redefining live performances forever. In a pinch-me Afropop moment, Grammy-winning Nigerian singer Burna Boy performed to a sold out crowd at the prestigious Madison Square Garden in New York, that late April night coming just over three years after his Coachella line-up outburst. During his engaging and memorable MSG show, Burna Boy premiered “Last Last,” a then-new single ahead of his sixth studio album, ‘Love, Damini’. The song, a riveting track about failed romance and coping mechanisms quickly became a national smash, which was expected considering how much its songwriting conversed with Nigerian pop culture lingo.

What many didn’t envisage, though, is how huge of a global hit “Last Last” would become. Even as its housing album came out with several big name features—Ed Sheeran, Khalid, Kehlani, Popcaan and more—the song remained its commercial lodestar. For the second year in a row, Nigerian pop had submitted a veritable candidate for stateside and worldwide song of the summer, and it’s perhaps more impressive that it happened without a feature-based remix.

To be plain, features have been and remain an important tool to the spread of Nigerian pop, but it’s remarkable that they’re aren’t a do or die option to improve a song’s reach. Even before Justin Bieber eagerly jumped on the remix of Wizkid and Tems’ “Essence”, it was already a cultural needle mover. In fact, it reiterated just how drawn non-African artists are to the sounds emanating from these parts. If Destiny Child’s Kelly Rowland isn’t remixing Ayra Starr’s “Bloody Samarittan,” then Selena Gomez’s melluflous vocals are gracing Rema’s “Calm Down” garnering the young Mavins Records signee several plaques and certifications. While the long term effects of international influences on Afropop can be debated, there is undeniable benefit for African artists and their crossover to global audiences. 

Coupled with the features, African artists continue to etch our sounds into the soundscape beyond Africa while maintaining the nonpariel elements that make it ours. South African DJ, Black Coffee, alongisde his son, Esona Tyolo, scored production credits on “Texts Go Green” and “Currents” off Drake’s dance album, ‘Honestly, Nevermind.’ On the subject of dance albums from some of the biggest names in the music industry, BET award winner Tems and dexterous producer P2J snagged performance and production credits on “Move” from Beyoncé’s ‘RENAISSANCE.’

Beyond that, a slew of African creatives graced the soundtrack for the highly anticipated film, ‘Black Panther 2: Wakanda Forever.’ Leading up to the release was Tems’ formidable cover of Bob Marley’s “No Woman, No Cry” for the films trailer alongside her writing credits on “Lift Me Up”, performed by Rihanna and an exceptional rendition by Ghanian superstar, Amaarae, on “A Body, A Coffin” for the prologue. This was followed up by some of the greatest talents in Afropop on the film’s soundtrack, including: Burna Boy, DBN Gogo, Sino Msolo, Fireboy DML, CKay, Rema, Young Stunna and Bloody Civilian -who learnt of her involvement before the release of her debut single “How To Kill A Man”– to name a few.

With or without international recognition, African artists are constantly breaking the boundaries and redefining the status quo and with notable mention are the younger generation of artists like Mellow and Sleazy and Mavins Records signee’s Ayra Star and Rema. Ayra Starr continues to witness groundbreaking success with innovative chart topping hits like “Rush”  off ’19 and Dangerous: Deluxe’ and “2 Sugar,” standout track from Wizkid’s fifth studio album, ‘More Love, Less Ego.’ And with every new release, the starlet showcases maturity with her braggadocious lyricism and euphonious vocals. Her record label partner, Rema, from one concert venue to the other broadens the scope of his already trailblazing debut album ‘Rave and Roses’ with noteworthy tracks like Aj Tracey-assisted “FYN” and “Oroma Baby.” However, worth notable mention is indisputably one of the biggest, loudest and most relentless breakthrough acts of the year, Asake. 

While he was thrown into the limelight this year with back to back hits—“Omo Ope,” “PALAZZO” and “Terminator”—Asake has been in the music scene for years now. Two years before memorable one-liners like “I just blow, but omo I know my set” off “Peace Be Unto You (PBUY),” Asake had inserted himself within Nigerian music conversations with popular street-pop hit, “Mr Money.” Following the success of such tracks and stellar visuals directed by industry key player, TG Omori, to accompany them, Asake announced his debut album, ‘Mr. Money With The Vibe.’ Every year, Nigerian pop ushers in several candidates to the mainstream, Asake’s run offers a standout cut from the group this year. With a stack of smash hit singles under his belt, conversation was steered around if his debut album -being a full body of work- would live up to expectations.

Undoubtedly, ‘Mr. Money With The Vibe.’ outlived the expectations of many. The 30 minute 12-track project, fit for today’s consumer with a low attention span, provided a mix of Asake’s typically catchy, upbeat productions and more slower-paced tracks like “Nzaza” and “Muse.” He also reinforced his versatility with tracks like “Dupe,” a house-influenced track, serving as an appreciation for his tumultuous journey thus far. Employing Yoruba, Pidgin and English, Asake with every release, including standout features like Tiwa Savage-assisted “Loaded” and Fireboy’s “Bandana,” has proven to be an unstoppable force.

From the sound waves in Nigeria to the airwaves in Johannesburg, acts like Prince Kaybee, Musa Keys, Focalistic, Kabza De Small and others are broadening our sonic palettes one ‘Piano track at a time. “Kancane,” a marriage of captivating cadences, heart-thumping and mellow rhythms, taps into the finest elements of Afropop, Amapiano and soulful house. 9umba 9umba’s hypnotic, hip-gyrating track, “uMlando,” which enlisted an all star cast including Young Stunna and Sino Msolo or Pabi Cooper’s “Banyana Ke Bafana” featuring Amapiano heavyweight, Focalistic, amongst others or Kabza De Small’s “Eningi” off ‘KOA II Part 1.’

One thing these artists are constantly doing is building a community of minds alike by tapping into their unique sounds and perspectives, making the genre an ever evolving one not slowing down any time soon. Beyond the country, they tap into artists who provide a fresh perspective on the already groundbreaking tracks. A perfect example are Musa Keys and Loui who enlisted Victony for a remix on their hot track, “Selema (Po Po).” The trajectory of Amapiano continues being shaped by other ground breaking acts like Tyler ICU, Virgo Deep, Mas Musiq, Mr JazziQ, Dali Wonga, Ami Faku and the likes as they drive the infamous lush keys and log drums to cult success. 

Also taking the South African house-influenced sounds to a whole new levels by merging with R&B are acts like Venom and Shishiliza for their outstanding work on ‘Love is Pain.’ Promotional singles “Sondela” and “Vuka” which had the streets in a chokehold, built anticipation for the project – a perfect blend of mellow Amapiano soundscapes with jazz and soul sensibilities. Not only did the duo manage to draw the legendary Mr Selwyn out of retirement, they brought some contemporary rappers like Loki on board with industry legends like the late Riky Rick in an eclectic sonic palette. Doubling down on mentionable R&B projects this year is Ria Boss’ ‘Remember.’ The soulful Accra-based musician delivered a project on her sorrow, love, and frustrations with life in a way many other artists could not afford, in a live performance. The album boasts of exquisite productions as well as stellar vocals from the artist and the Ghanaian band, The Musical Lunatics.

While the musical year started off on sour notes with the Grammy snob for Wizkid’s genre-defying album, ‘Made In Lagos,’ with only a few days left till the year end, we’re now wrapping up with four Grammy nods split evenly between Burna Boy and Tems. It goes without saying that 2022 has been another outstanding year for the proliferation of the burgeoning Afropop scene. African creatives in the music scene are sustaining the momentum as they go head-to-head with their international counterparts. One thing’s for certain, they won’t be stopping anytime soon.

Featured Image Credits/The NATIVE

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

ICYMI: ASAKE’S TIME

Interview: How Jamaal Milbry’s TruTrader Is Making Forex Trading More Accesible For Young Nigerians

Posted on by Adewojumi Aderemi

It’s no secret that young Nigerians are in a capital deficit. Our economy has been declining all our lives, with the worst economic regression of this century hitting our young adult years. Finding a well-paying job in this climate is nearly impossible, and even if one manages to secure the golden ticket, the naira you take home at the end of every month is worth less and less each month due to our currency’s volatile decline.

The country is in its worst economic period, and young Nigerians are looking for a way out. For some, it’s to Japa; for others, it’s diversifying their income, and still, there are those of us with our eyes on earning the all-too-important forex. That’s what this new fin-tech, TruTrader Fx, is offering young Nigerians battling our declining economy – a chance at financial freedom right at our fingertips.

 

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Forex trading is the buying and selling of currencies based on the exchange rate at particular points in time. The Foreign Exchange Market enables traders to make money from the fluctuations in the market, investing in countries’ economies when they are on the rise, and when they’re in decline, selling against them.

Thanks to mobile technologies, forex trading is incredibly accessible and can fit around any schedule, as the markets are open throughout the day. With, no doubt, thousands of sites where you can trade, all you need is the proper education, knowledge and research, and you can grow your finances. A crucial piece to this puzzle, however, is capital. As with everything on this green earth, the more money you put in, the more you can get out.

That’s where TruTrader Fx comes in. Founded by Jamaal Terrance Milbry, truTraderFx is a Forex Proprietary Trading, commonly known as a “Prop Firm”. Dubbed “the Netflix of forex, truTraderFx is an instant funding forex trading platform for traders worldwide,” using a subscription model, where traders pay a monthly fee for the service – who also split a percentage of the profit you make.

 

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Whilst truTraderFx does not encourage you to gamble with the market or to trade for the lifestyle; the platform does provide users with the capital to make informed trading decisions and earn financial freedom through this alternative means of income. Democratising trading so that even people with lower incomes can trade with tangible capital, truTraderFx and its founder Jamaal Milbry believe in empowering people with the knowledge they need to be good traders and the capital they need to yield strong returns; “The only reason why people don’t trade is that they don’t know,” Milbry says. With an academy of students from over 15 different countries (the majority of which are from here in Nigeria), Milbry teaches the tricks of the trade – offering free zoom calls, alerting his audience to changes in the market, and advising them when to buy and when to sell.

With truTraderFx fresh into the Nigerian market, flying off the ground in October this year, it is time to get to know. Especially since the COVID-19 pandemic, world economies are still recovering from the effects of the widespread virus, with many countries still in crisis mode. As we all scramble for additional income to bolster our financial security, truTraderFx is here as a solution that capitalises on the volatility of world economies in this period and monetises the politics and global news updates we typically see as nothing but discouraging. With forex trading, we can flip our circumstances into opportunities with the proper learning and platform.

By far the largest market in the world, open 24 hours a day and accessible on your mobile device, forex trading is available to everyone to make money. It’s the answer young Nigerians need, and all you need to do is learn; with truTraderFx, the capital is just waiting for you to invest.

Featured image credits/NATIVE

ICYMI: Read our Ember2022 RESET Issue: Rema, Still Divine

The Best Rap Projects Of 2022, Ranked

Posted on by The Native

Once every few weeks, there’s a renewed conversation on the supposed deficiencies of Rap music in Africa. The catalysts are as varied as random beef or a comment from one of Afropop’s main superstars, but it almost always settles into rap’s perception as a genre lagging behind melodic Afropop and dance forms in terms of commercial impact. It’s a complex discussion with peculiar points in varying countries, but it would be a grave injustice to disregard the prolific, creative and inventive output happening across Africa’s Rap landscape. In fact, this year has seen an overflow of impressive rap projects, underlined by the ever evolving range of styles these artists bring to the table.

Stemming from its institution in the Bronx, Hip-Hop has seeped into the layered fabric of African music over the past three decades and successfully blended with the sounds from these parts, generating a fresh take with the already boundary-pushing sounds. Think Focalistic’s ever-exhilarating merger of Amapiano and rap, or Buruklyn Boyz infusing an urban Kenyan attitude into drill, or Kirani Ayat parsing rap through his Hausa heritage. The NATIVE editorial team’s list of the Best Rap Projects this year is a tribute to this infinite musical range, as well as the teeming brilliance in lyricism, narrative layout, unending flows, and an overall dedication to excellence.

15. M.I Abaga – ‘The Guy’

M.I Abaga is a perennial fixture in Nigerian (and African) rap, finding ways to remain musically and lyrically engaging even if his mainstream powers have declined from what they were this time a decade ago. This sort of longevity requires a boulder-size chip on your shoulder, which M.I gladly flaunts on ‘The Guy’, unvarnished evidence of an artist that has stayed true to his art and is relishing his current wins more than the past glories. Partly a return to the pop-rap dimension of his artistry, it’s the most accessible M.I project in eight years, packed with ultra-confident cuts with big hooks and feature-laden songs revelling in the glow of love—he got married this year, after all. In between are ruminations on legacy, the effects of toxic masculinity, and a closing song expressing an infectious joie de vivre.

Wonu Osikoya

14. Sarkodie – ‘JAMZ’

Sarkodie continues to tighten his grasp on the state of African Hip Hop affairs, and collaborations have been a major tool in his arsenal. ‘Jamz’ wholly explores the pop-rap direction he’s previously charted, calling on younger Afropop musicians to colour its seams. Featuring inspired performances from Lojay to King Promise, Ink Boy, Oxlade and Cina Soul among others, the music manages the pomp of festivity without feeling packed. The heart-pumping excesses of romantic love gives the Ghanaian music icon ample space to bend his Twi-laced considerations into form, with breezy productions casting a seaside vibe over its 35 minutes runtime. Yet there are moments of vulnerability, especially the BNXN-helmed closer “Better Days” which holds a torch over the well-documented struggles of the Tema-born rapper. When one’s caught in the fruity tangles of pleasure and good times, it’s normal after all, to reminisce on lesser-privileged moments.

Emmanuel Esomnofu

13. A-Reece – ‘The Burning Tree’

On ‘The Burning Tree’, his first of two solo projects this year, South African rapper A-Reece delivers a eulogy to the tantalising powers of marijuana. Although countless artists have made music inspired by their love for the herb—think Peter Tosh’s ‘Legalize It,’ Dr. Dre’s ‘The Chronic’ or Wiz Khalifa’s ‘Kush & Orange Juice’ & ‘Rolling Papers’—what makes ‘The Burning Tree’ far from a frivolous affair is A-Reece’s merger of personal struggles with exceptional rap skills. Across nine tracks, A-Reece and his guest artists shift from vulnerable to braggadocious, recalling childhood and adolescent travails to sending disses at opposing rappers who choose to ignore their proficiency in the booth. With bouncy drum packs and melodies that waft around leisurely, ‘The Burning Tree’ demands that you pay attention to a man confessing his love to his trusted companion.

Uzoma Ihejirika

12. Buruklyn Boyz – ‘East Mpaka London’

Immediately Buruklyn Boyz premiered the seminal “Nairobi”, they became the de-facto voices of Kenyan drill. Usually, that should come with some pressure, but Ajay and Mr Right have sauntered through expectations with subsequent releases, none more rousing than their debut album, ‘EAST MPAKA LONDON’. After over a year of building their credentials with great singles, some of them utterly essential to the Kenyan drill canon, they add a thrilling debut album to that repertoire. Over the course of the sprawling set, they reinvent as much as they stay tethered to their blueprint, adding some heart to the brawn they’ve always showcased, resulting in a dynamic album that collects the abilities of Ajay, Mr Right and their collaborators into a finely aggregated whole.

Dennis Ade Peter

11. Okmalumkoolkat – ‘uShukela eTiyeni’

Okmalumkoolkat has been an OG for a while, which would be an overwhelming advantage if the often colliding worlds of South African rap and dance music weren’t moving a mile a minute. For ‘uShukela eTiyeni’, he settles into being the cool uncle in exemplary fashion, exhibiting the essential tricks that brought him to ubiquity and finding pockets to fit in within more modish trends. There’s a bouncy depiction of being a family man, he masterfully whips his way through a minimalist trap beat, log drums find their way into the mix, and his mastery at rapping over the broken beats of gqom remain unparalleled. It’s the latest flex of greatness from a seminal talent.

Dennis Ade Peter

10. J Molley – ‘Almost Dead’

One of the attributes that makes J Molley stand out as a rapper is his voice, a droning tool that can communicate a range of emotions from hedonistic delight to existential dread. The South African rapper shared his most recent body of work, ‘Almost Dead’, earlier in the year and it quickly underlined his status as one of the most potent emo-rap purveyors on this side of the world. An immersive dunk into his mental space, where suicidal thoughts rub up against cutthroat raps, the 10-track project is an emotional rollercoaster. On a technical level, ‘Almost Dead’ is a statement of his forward-facing choices as a rap artist, with melodic flows snaking through the contours of trap slappers and drill excursions.

Wonu Osikoya

9. Reggie & O’Kenneth – ‘Straight Outta Kumerica 2’

A follow-up to 2020’s formative Asakaa tape, ‘Straight Outta Kumerica’, Reggie and O’Kenneth return with their unique spin on Drill music, substituting the hard-hitting beats for a chill aura that incorporates acoustic guitars and Caribbean influences. Rapping in a mix of Twi, Hausa, Pidgin and English, they and their Ghanaian colleagues document their personal and musical journeys in their home city of Kumasi, particularly relishing their triumphs in the last few years. ‘Straight Outta Kumerica 2’ is proof that Reggie and O’Kenneth, along with their Asakaa counterparts responsible for the explosion of Drill music in Ghana, are not running out of ideas for pushing the genre forward anytime soon.

Uzoma Ihejirika

8. Focalistic – ‘Ghetto Gospel’

Championing the fusion of Amapiano and Rap, Focalistic has come into his own as an influential hit-maker. Even as he plays an integral role in the global incursion of ‘Piano, with Davido collaborations and international gigs, President Ya Straata keeps his music hood-oriented—specifically, Pretoria hood-specific. Like his other projects, ‘Ghetto Gospel’ blends the infectious sounds of Amapiano whilst retaining the artist’s ability to make straightforward rap songs, keeping the quips flowing in Sepitori. Where his last long play, ‘Sghubu Ses Excellent’, was breathless in its fusion and unyielding dancefloor intentions, Foca allows for moments of introspection that simmer, while also doubling down on his powers as an inimitable commandeer of droning, party-ready rhythms. ‘Ghetto Gospel’ keeps the streets fed.

Nwanneamaka Igwe

7. Maglera Doe Boy – ‘Diaspora’

For Maglera Doe Boy, society and its attendant environment aren’t just backdrops—they’re active characters. That’s why he doesn’t just rep the hood in his music, he interrogates its matrix with relation to his life and the life choices he’s witnessed. Participant and keen observer, ‘Diaspora’ is littered with detailed stories of rugged events, songs depicting exuberant scenes, moments of breath-taking introspection and charming tenderness, Kwaito-influenced beats and serrated 808s. Referencing the displacing origins of South Africa’s townships—and also motioning towards parts of the global black experience—Maglera works in enough context to not pretend like he has all the answers, as he examines street politics and proclaims that “God is a Black Woman”. On the Ason-featuring “Dor Do Povo”, many of his raps are questions, but it’s obvious that there’s an incredible sense of clarity at play.

Dennis Ade Peter

6. Show Dem Camp – ‘Palmwine Music Vol. 3’

The last half-decade is packed with highlight reels strengthening Show Dem Camp’s mythos as arguably the greatest rap duo in Nigerian music history. This prolific run is commercially buoyed by their ‘Palmwine Music’ series where Tec and Ghost’s skill as rappers meets earworm guest hooks and colourful grooves inspired by highlife and entirely helmed by Spax. The third and final instalment in the series reaffirms the fact that no one is telling the tales and representing the rollercoaster nature of modern romance in Nigeria, with Lagos as an ever-present reference.

Amping up the thematic stakes, there’s depictions of toxicity, nail-biting drama, acerbic moments and rapping that ranges from joyfully vigorous to wistfully-toned. Featuring sweet-sounding collaborations from Victony, Tems, Oxlade, Boj, and many more, ‘PM3’ leaves listeners either with a great degree of accessibility with it’s message or longing for an experience they’ve never had—a feature at the core of rap and music in general.

Nwanneamaka Igwe

5. Thato Saul – ‘Life is Gangsta’

In rap, bravado is often used as a tool for exaggeration. For Saulsville-bred Thato Saul, bravado is a tool to make his reality raps even more searing. Always rapping at a purposefully frantic pace, with a cadence that makes everything he utters jab with the force of a stapler gun, every line is doused with a seen-it-all edge. On ‘Life is Gangsta’, his best-rounded project yet, posturing is grounded by honesty and each hood-related quip is from an earned lesson.

With quaking 808s and soulful melodic riffs, Thato Saul finds his groove as a song-making rap lyricist who can also turn in great hooks, but it’s the hands-on-bible truth telling that is the compelling gambit. “When it feels like depression, I pray to Jesus I fight this/really got G homies cutting their wrist, don’t wanna slice this,” he raps on the title track. It’s a gut-wrenching admission from a street-rap opus that represents the lives in his community and also offers intimate peeks into the rapper’s life.

Dennis Ade Peter

4. Black Sherif – ‘The Villain I Never Was’

Vulnerability is a major part of the music Blacko creates. On the breakout duo of “First Sermon” and “Second Sermon”, Black Sherif is at his most honest and vulnerable but he masks this with hard hitting bars and his distinct vocal texture. Blacko is even more honest and very much more intentional on his debut album, ‘The Villian I Never Was.’ Across 14 tracks, the 20-year old rapper is consistent with his pen game, his flows and his melodies, and most importantly, Blacko is consistent with the delivery of the message and the storytelling. 

The highlife influences on records such as “Oh Paradise” and “Don’t Forget Me” colours the tone of his delivery and the mellow rhythm of the records. Throughout the 40-minute run, Blacko displays honesty, making striking revelations across different records such as “The Homeless Song”, while pulling sonic cues from drill, emo-rap, reggae and more. ‘The Villian I Never Was’ is a letter from Black Sherif to the world; a letter in which he has used to document his pains, dreams and future aspirations.

Wonu Osikoya

3. Tyson Sybateli – ‘Home’

Discovering the music of Tyson Sybateli has been a highlight of my year. According to popular commentary on the state of rap music, the genre has entered an unprogressive ditch, creating uninspired, context-lacking records. If rap were to fight against those allegations, ‘Home’ would be inside the boxing ring before the opponent is ready. It’s an album with strong narrative verve and even stronger production to carry its ideals. Sybateli’s ethos is as real as they come; even when the beats are grand and highly fine-tuned, there’s a raw passion permeating verses.

He’s a lyricist with flair but also with an eye on the gritty life he’s meandered in South Africa, pulling all the stories into his broad canvas. “Bra Nyoga ‘Lude” bares his technical sleekness over a menacing beat as the rapper unfurls tales of familial history alongside his rap superiority. “Handouts” pairs Trap-tinged production with humour-laced admissions about being on the come-up and sparing no change for the needy. When Sybateli exhausts the fire in his punch, he incorporates the voices of MCs as diverse as he is (“Chauncy II”), a multiplicity which works to enrich the album with generational currency.

Emmanuel Esomnofu

2. Kirani Ayat – ‘Aisha’s Sun’

From the small community of Madina in Greater Accra, the rapper Kirani Ayat has embodied a stirring personality. His music encompasses the geographical and linguistic nuances of the region, with ‘Aisha’s Sun’ being the most accomplished of his explorations thus far. Being in the making as early as 2018, the project underwent a tonal and thematic change after the pandemic hit. Ayat’s vision was then pulled into the shifting nuances of being part of a community while furthering the instinctive urges of one’s own artistry.

He recorded parts of the album again, emerging with the lean-but-layered scope of ‘Aisha’s Sun.’ In just 22 minutes, the previously US-resident musician mints cultural currency into enduring portraits of strength. Vividly-produced, the soundscape borrows the lush influences of Hausa folk while culling in the boisterous intent of Trap. Kirani’s vocals also work to bolster the record’s replay value, whether he’s rapping about the strength of family or burnishing the credo of his trajectory and still-evolving craft.

Emmanuel Esomnofu

1. Sampa the Great – ‘As Above, So Below’

Home is where the love is. Home is where the hate is. Home is where the heart is. There’s no place like home. There are enough universal quotes to understand that what home truly means is ultimately personal, even if these relative values are widely relatable. The way Sampa the Great presents it on her excellent sophomore album, ‘As Above, So Below’, home is the catalyst for recalibration, the place that helps you step into your truest self away from the contrived pressures of the external world.

“You can do anything tryna forget who you are,” she sings on the positively haunting opener, “Shadows”. ‘As Above, So Below’ is an act of remembrance, of falling back in love with self and reconnecting with the purest source of inspiration possible. Inspired by her return and prolonged stay in Zambia amidst Covid-19 in 2020, Sampa’s reinvigoration is evident in its self-affirming core, pushing back against restrictive artistic perceptions with American rapper Denzel Curry, showing cultural pride in her momentous resurrection of Zamrock, being delightfully potty-mouthed alongside British rap artist Kojey Radical, and recruiting Beninese icon Angelique Kidjo for a blaring hook on the triumphant closer, “Let Me Be Great.”

‘As Above, So Below’ pulls in cross-continental vocal guests, but the music—it’s very soul—is mainly crafted with a core of Zambian collaborators, led by the revered Mag44, hopscotching across a kaleidoscopic musical blend, from folk and gospel-influenced flourishes to grungy and groovy choices with percussive stomp. The album’s heart and magnetic centre is Sampa the Great hell-bent on representing no one but herself, a premise executed to have as much spiritual significance as its visceral pull.

Dennis Ade Peter

Written by Emmanuel Esomnofu, Nwanneamaka Igwe, Wonu Osikoya, Tela Wangeci, Uzoma Ihejirika & Dennis Ade Peter.

ICYMI: THE BEST R&B PROJECTS OF 2022, RANKED

Songs Of The Day: New Songs From Teni, Harmonize, Jeune Lio & More

Posted on by Tela Wangeci

2022 is winding down and it’s been an eventful year for Afropop. There’s been a torrent of great new music, spawning a massive stack of inventive smash-hit songs. From Highlife-infused Ghanaian pop, to the unrelenting force that is Nigerian street-pop to South Africa’s indomitable Dance scene, to tantalising Drill explorations in East and Central Africa, and much, much more, we’re living through abundant and musically expansive times.

Every week, many songs from African artists make their way to digital streaming platforms, and wading through them can be intense. That’s where The NATIVE’s Songs of the Day column comes in to help. We go through as many new releases as possible, spotlighting them here, two to three times every week. Today, enjoy new music from Peruzzi, Jeune Lio, Harmonize,  and more. Lock in!

Teni – “Maitama” ft. Mayorkun, Costa Titch & Ch’occo

Last month, Teni made her welcome return to the scene since the release of her debut album ‘WONDALAND,’ with the Mayorkun, Ch’occo and Costa Titch-assisted single “Maitama.” The groovy record was buoyed by delectable Amapiano production laid down by producer, Jay Synths. Now to amplify the track further, Teni has released the song’s accompanying video which was directed by Darion and showcases the beauty of South Africa.

LUCIANNE- “TE AMO’ REMIX FT. PERUZZI & FIOKEE

After the success of the original “Te Amo“, British Nigerian singer, songwriter and actress Lucianne is not resting on her laurels. She has joined forces with Afrofusion star Peruzzi and Nigerian guitarist Fiokee to bring the track further to life with an infectious remix offering to close out her exceptional year. Written and composed by Lucianne, and produced by Majeek, the remix finds Peruzzi and Fiokee take the track to new heights. Peruzzi with his soulfully expressive and impassioned vocal delivery, groovy melodies, and glorious lyrical flair, while Fiokee brings his trademark lush guitar licks and arrangements to the party. Throughout the remix offering, Lucianne’s message of defiance, strength and not settling for less than she deserves still permeates as an anthem for women to boldly recognise their worth and fight for it.

ROTIMI & NEKTUNEZ – “MAKE YOU SAY”

For his latest offering, Rotimi teams up with Ghanaian producer Nektunez to create the infectious new single, “Make You Say.” The feel-good, upbeat, rhythmic track blends Rotimi’s smooth vocals over a mellow keys and twinkling production. The music video has been directed by TG Omori enabling Rotimi to connect with his Nigerian roots.

HARMONIZE – “MWENYEWE”

Talented singer Harmonize has shared a new single titled “Mwenyewe.” The compendium of the African drums and the percussion laced with delectable strings and chords compliment his sonorous vocals. Over the groovy beat, he sings about the essence of loving yourself, while detailing tale of winning and understanding the steps taken toward achieving personal happiness.

JEUNE LIO & MAGASCO – “LADY”

Cameroon-born, Abidjan-based DK Jeune Lio has teamed up with Magasco for a sizzling EP titled ‘Love In Transition.‘ Telling an emotive story of fading love while engulfed by lust, the three-track EP housed vocal collaborations from R&B songbird Iguocho and producer Veen. On “Lady,” the duo reminds listener about the uncertainty of admitting love to your crush. The intensity of the production and melodic composition displays the purity and compulsion of being in love with no care in the world.

HAZEL MAK – “SAKA SAKA”

The AFRIMA award-winning artist Hazel MaK teams up with Deep House DJ and Producer M.Patrick to bless us with an exciting new single “Saka Saka.” The single serves as an enlightening piece showcasing the beautiful beginning of the partnership between M.Patrick and Hazel Mac. “Saka Saka” sets the right tone for what’s to come from this Malawian queen come 2023.

Featured image credits/Harmonize

Turntable Top 100: Mavins’ “Won Da Mo” Leads The Chart

Posted on by Tela Wangeci

The overwhelming success of Mavin Record Label in the past ten years has been monumental. Following the release of their star-studded album ‘Chapter X’, Mavin becomes the second label to record a No. 1 song as billed artist with “Won Da Mo.” This follows weeks after record label EMPIRE’s “Cough” held the title. “Won Da Mo”  tallied 50.4 million in radio reach earning the No.3 position on radio and No.2 on streaming platforms with 3.1 million streams.  Mavins’ artists continue to dominate the charts as all artists. Climbing three spots up on this week’s charts, Mavin continues setting new records as “Won Da Mo” becomes the first No.1 song with 8 artists.

After a successful three-week dominance at No.1, Young Jonn’s “Xtra Cool” slips to No. 2. Still the fan-favorite song attained the No.1 position on the radio for the fourth week and No.2 on TV. Following close behind is Ruger’s “Asiwaju.” Peaking at No.3, the single is the artist’s highest charting single with 3.1 million streams and 48.2 million in radio reach. Kizz Daniel and EMPIRE’s “Cough (ODO)” bows down to No. 4 after spending four non-consecutive weeks atop the chart. Closing off the top five is Tiwa Savage & Asake’s “Loaded” after peaking at No.3.

Ayra Starr records two entries in the TurnTable Chart with “Rush” at No.6 and Wizkid’s “2 Sugar” sits at No.7. “Rush” occupied the No.1 position for three consecutive weeks. Andre Vibez produced both “Won Da Mo” and “Rush” making him the fourth producer to have multiple No. 1 songs in 2022. He joins Magicsticks, Blaise Beatz, and Rewardbeatz   Rounding out this week’s top ten; BNXN’s “Traboski” holds at No. 8, Asake’s “Joha” descends to No. 9 while Bella Shmurda & Omah Lay’s “Philo” is steady at No. 10 for another week. Elsewhere in the chart Mayorkun’s “Alarm” and “Oshey Boys” debut on the chart at No.79 and No.76 respectively.

See the complete TurnTable Chart Here.

ICYMI: READ OUR REMA COVER STORY FROM THE NEW RESET ISSUE

Essentials: Ovye’s ‘Ramin Tsuliyan Ungwan Pama’ Is For The Wanderers & Truth Seekers

Posted on by Immaculata Abba

According to the old fables, the journey of a hero is never linear. However, it typically follows that the hero goes on an adventure, emerges victorious in a decisive crisis, and returns home transformed. On Nigerian singer and songwriter, Ovye’s sophomore album, ‘Ramin Tsuliyan Ungwan Pama’ (RTUP), a sober hero returns with tales from a journey of wandering and wondering. Following the release of his 2019 debut album, ‘Ketchup on Everything,’ Ovye established himself as a bold, new, exciting voice of the experimental Soul/R&B tradition. 

Earlier this year, he was the selected performer for the first NOK Audiolabs, a platform by ALARA Lagos that encourages music-social experiments to interrogate oral traditions and celebrate fresh Afro-cultural talents. “In venturing into music as the thing I want to give people, I wanted it to reflect what I had been through because I was convinced I had gone through another cycle,” the Kaduna-born and based artist shared with the NATIVE. “I had seen a bunch of things, and I had been brought back to the beginning. I wanted it to invoke something up-down and sideways, for the music to paint that image of circumambulation.” 

While the album adeptly weaves through several important themes such as homecoming, belonging and more, a good starting point into the mind of the artist is where the album ends, where it began: “Daddy Issues.” Arriving as the last track on the album, “Daddy Issues” is co-produced by Duktorr Sett and Ovye and was the first song written on the album—back in 2019. On the album cover, Ovye is wearing a very difficult suit that belongs to his father. It was the certificate day for a professional qualification he had spent three years working towards. “Horrible outfit, horrible! Horrible! I had called someone to repair the suit [because] the length of it was a bit much and the size of it a bit much. Then he made one leg shorter than the other. And it was too late [for the event], so I just went like that. I kept holding up one of the legs now and then, hoping nobody would figure it out.”

These personal anecdotes colour most of the new album. Ovye sings “Gaia knows my song, she whips a ballad out of me, on mostly Saturdays when I’m holding back to keep to a rational path—a harm that never heals from me,” Ovye sings on “Daddy Issues.” However, unlike the rest of the painstakingly honest album, this song is more symbolic of a collective experience than it is a narrative of the artist’s experience. “I asked a lot of people to tell me stories of their relationship with their fathers. I wanted to detach myself from the song but rather go to the studio with a mood,” Ovye explained.

Ovye’s charismatic presence colours the rest of the album, as he oscillates between a spate of moods and themes. Each track aligns with the fable of the hero which constructs a coherent narrative. Except for “Daddy Issues” and “A Gathering,” it’s a wonder that Ovye’s album was recorded over two nights in 2020, a year which caused a seismic change in the lives of many people around the world. However, it took a further two years to find himself and feel all he needed to complete the album. “I needed to work with people with an emotional connection to the music,” he shares candidly. This journey led him to eventually collaborate with fellow experimental artists and producers Eseomo ‘Seo’ Mayaki, Nabot Ayuba and David Kambai to produce the rest of the album.

The album’s opener “In Spirit” opens with a call to “inhale slow, exhale slower,” accompanied by stretched-out notes on the violin, piano and Ovye’s sonorous voice. You can almost see the artist shaking his head as he reflects soberly: “Na for my hand the blunt die pass. I catch cruise. I lose guard fast. My mind, е wonder, wonder, wonder. About yonder, yonder, yonder.” On the next track, “Anini,” Ovye pipes out a confession in staccato:“[My mental health], it deteriorates,” after which there is a dramatic pause, before ending with the warning “chasing the storm chasing you… don’t be the type gone too soon.”

On “Dey,” Ovye delivers an instruction to listeners to “run like hell. Don’t return, even when it hurts to see the ones you love waste away.” As the song builds, Ovye lets them in on the motivation behind his instruction: “dey your dey/lane,” which is roughly translated as stay focused on yourself. It’s clear that he’s laser-focused on uncovering the intentions of a lover and by extension, discovering his true self: “In case I fail to return when I do go in search for more, at heart, I’m yours.” This sorrow gives way to the aggression in the next track, “4th Exodus,” where the artist’s alliteration beats a drum. With layered yet distinct vocals, he repeatedly questions, “Is wickedness sweet?” and answers both “all the time.” With a plaintive chorus and sharp verses, Ovye conjures a playground of lithe instrumentals before chanting in Hausa: “If we’re done here, we’ll go home…to our hole of play…to our hole of gambling.”

As the album builds, the anger from the preceding track gives way to bargaining in the sixth track titled “A Gathering.” Over a distinctly Nigerian praise-and-worship rhythm, Ovye pleads in falsetto to “deny yourself the right to keep hope alive.” And what are the options in this bargain? “Leave or be left behind?/Or Deal or be dealt with?” Side-stepping the bargain, the artist’s chorused voice advocates the third option repeatedly: “Worry!”

Ovye is most vulnerable on “Gone 2 Soon,” a singular behind-the-curtain moment in the album where he shows love without defences. With the tenderness one finds at the end of weeping, Ovye speaks to a lost, loved one: “Anini, I will take my admiration of you with me where I’m going.” Attentive to the economy of sound and silence, his music is reminiscent of the experimentation with Soul and rhythm one finds in artists of the same ilk including Moses Sumney, Jon Bap and Benjamin Clementine. For ‘RTUP,’ Ovye only admits to direct inspiration from growing up in the church, including gospel classics Women of Faith and Panam Percy Paul, the Nigerian Neo-soul singer Lindsey Abudei, soul legends Sade and Erykah Badu and the South African Makhafula Vilakazi’s spoken-word album ‘I Am Not Going Back to the Township.’

Without understanding Hausa, the title of this album sounds like a royal title, an effect that venerates the title’s literal translation: “In the Butt-hole of Ungwan Pama.” (Ungwan Pama is the town in Southern Kaduna where the artist grew up.) ‘RTUP’ offers no easy consolation for anyone going through it, but carries an earnestness of heart and a strong voice unafraid of its panoramic range, tenderness and pain. It allows its listener to go to places they may not be brave enough to go otherwise: back home again. As the album’s final lines say: “Yaron baba na da yaron uban baba na.” / “This noise being made is ours, but it is not done yet.”

NATIVE EXCLUSIVE: THANDO SKWATSHA ADDRESSES PERSONAL & UNIVERSAL THEMES ON ‘IIMINI NENTSUKU’

EXCLUSIVE: Everything We Know About Netflix Naija’s First-Ever Young Adult Series, ‘Far From Home’

Posted on by Wonu Osikoya

Since Netflix made its debut in Nigeria, we’re consuming more and more original African content from the streaming giant. From notable releases such as Kemi Adetiba’s 7-part series ‘King Of Boys: The Return of the King,’ which became the first original series from Netflix Naija, to the streamer’s first African original reality TV ‘Young, Famous & African,’ and ‘Blood Sisters’ which was released earlier this year, there’s no dearth of entertaining content intently pressed on what’s coming out of Africa.

 

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Now, Netflix Naija is ready to premiere its first-ever Nigerian young adult TV series titled ‘Far From Home.’ Written by Dami Elebe, the forthcoming series will follow the life of Ishaya Bello (played by Mike Afolarin), a young teenager and talented visual artist from a poor family who gets to live his dream when he lands himself a scholarship to one of the most prestigious schools in the country. The Inkblot produced 5-part series also sees talented actors such as Genoveva Umeh, Ruby Okezie, Bolanle Ninalowo, Olumide Oworu, Funke Akindele, Richard Mofe-Damijo, Carol King, Bucci Franklin and more.

According to the show’s synopsis, Ishaya Bello becomes entangled with the affluent world of Nigeria’s elite and battles a huge secret that threatens his new reality and his family’s safety. Ahead of the series’ premiere on Netflix this Friday, 16th, we caught up with some of the cast from the ‘Far From Home’ series, to gain some exclusives ahead of tomorrow’s release.

When I asked a few of the cast members about the most challenging aspect of working on the series, Olumide Oworu who plays a character known as Atlas shared: “The most difficult part about filming this show was just trying to not have too much fun, for me because this is the most fun I’ve had filming in my entire career.” Similarly, Bucci Franklin who plays Government in the series also shared: “I’ll say the most difficult part about filming was waking up everyday knowing it’ll all come to an end one day and we would wrap up on the production at some point.”

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

What are you most excited for viewers to watch in ‘Far From Home’?

Mike: For me, the interesting thing would be the fact that I’m on Netflix’s first Nigerian young adult series, and I, for some reason, am the lead character. How did that happen? I find that really interesting.

Ruby: For me, the most exciting thing about sharing this is that it’s a Netflix original. Also, the fact that it’s speaking to young adults all over the country, the continent and even the world is such a big deal for me. I’m also happy for viewers to see how talented the young people are. There are a lot of young people in this series and these people are incredibly talented, so I’m definitely happy to be sharing this with the world in a few days.

Bucci: Honestly, I know as actors, we say this all the time but with this project, we created magic. This is the result of sweat, sleepless nights, people getting hurt physically, and a few hassles here and there. Filming during COVID was also a lot but to be here now, experiencing what’s going on, seeing the series come together is magical. I haven’t seen the series yet but I’m extremely confident about it and confident with what I did with my character. We all made magic honestly, and I can’t wait for the world to see what we have here in Nigeria.

Gbubemi: The most interesting thing is the character I played. She is very different from what I would usually play and that was what stood out for me.

Nino: Well, sort of the same thing. Being on the first Nigerian young adult series on Netflix, and now having to play the bad guy on it you know that’s quite interesting for me if you ask me.

What did you find most interesting about the character you play in ‘Far From Home’?

Mike: I love the fact that [my character] does it all. To be honest, my character is truly unique because of all the different places I had to go to communicate his special emotions. I enjoyed playing a lot of the scenes because these are things that I’ve experienced in my reality at some point in my life so it was easy for me to tap into that and get the emotions that needed to be communicated.

Olumide: Personally, I think the most interesting thing about my character is you expect him to be one dimensional but there are actually many different layers to him. I believe I was able to connect with him beyond just what you perceive when you initially meet him. His journey across the season is really interesting and I cannot wait for people to experience that.

What stood out to you the most about the casting? 

Ruby: With the casting, I believe they did an excellent job. Everyone literally ate their individual roles and it was so inspiring to see. Everyone brought their A-game to this and that helped me myself. I was able to feed off other character’s energies and that helped me bring my best foot forward and just bring my own A-game as well without feeling any sort of way about portraying Nnenna for who she really is. Everyone wanted to create magic and we all had like minds so the casting was well thought out in my opinion.

Bucci: Big ups to the people in charge of the casting. The casting was divine and this was beyond putting pen and paper together, they found the right people and everyone was able to show themselves and their individual strengths. 

Nino: A lot of work was put into that casting. This was my first time with many of the young characters on set and like I said it was a self realisation. I had a lot of self realising moments seeing the hunger in disguise and knowing that I’ve been there at some point and I’ve had a lot of opportunities where I’ve celebrated success in certain films that i’ve done and knowing that feeling that they’re going to get that opportunity and hoping and praying that they’re able to utilise it well and in the right direction.

What was the most difficult part about filming ‘Far From Home?’

Bucci: For me, I’ll say the most difficult part about filming was waking up everyday knowing it’ll all come to an end one day and we would wrap up on the production at some point. I won’t get to share time with the directors anymore, the cast, the crew and everyone, that was definitely a lot to take in for me because filming this has been the most exciting thing I had done in a while. It was my first time working with a bunch of people and I certainly made some great friends on this set, I literally fell in love with these guys. I don’t joke with my craft because I see this as a means of evangelism so when I see people that understand and at least appreciate why they are artists and creators, I don’t take that for granted.

Olumide: The most difficult part about filming this show was just trying to not have too much fun, for me because this is the most fun I’ve had filming in my entire career. It was just so much fun that I had to remind myself at some point that this is work. That was really the only challenge for me, just trying to cut down on the amount of fun I was having because the entire production was just so great. They really gave us an opportunity to thrive and we thrived. I can’t wait to see the outcome. 

What do you hope for viewers to take away from this? 

Mike: From the perspective of my character who is a dreamer, I would say your dreams are valid, stay on course, stay on guard and focus on the focus.

Olumide: The biggest take away I want people to have when they see this show is to really be sensitive to yourself and to your environment. Pay attention to what’s happening around and make the best of whatever opportunities you have. Sometimes these opportunities come to you and sometimes, you need to create these opportunities for yourself. So make the most of what you have and always be grateful for everything you have. 

Gbubemi: Think and make good decisions and of course you have something you want to achieve, goals to get to but please go about it the right way and not the wrong way cause at the end of the day even if you get to where you want there is no peace there if you used wrongful means to get there. Take your time and it’ll come to you.

Nino: I hope viewers find it entertaining, inspiring and motivating, that’s all. I really just want people to have fun with it. 

Watch the trailer for ‘Far From Home’ below.

Featured Image Credits/Courtesy Netflix Naija

Join Momo Hassan-Odukale at the Chanel Métiers d’art show in Dakar

Posted on by Nwanneamaka Igwe

Last weekend, Momo Hassan-Odukale, Lagos-based creative director and stylist touched down in Dakar, Senegal for Channel’s Métiers d’art 2023 fashion show. Counting Wonderland and Lagos Fashion Week as some of her clients, Momo ethos remains putting together spruce looks while spotlighting homegrown brands and designers like Kenneth Ize, Lisa Folawiyo, Patta, WAF Lagos and the likes. With a front row view of Chanel’s show on December 8th, Momo sat amongst fashion entrepreneur, Reni Folawiyo, Adebayo Oke-Lawal, founder of Orange Culture and other longtime muses, Pharrell Williams and Naomi Campbell.

Commonly globe-trotting especially within Africa, Momo is no stranger to Dakar as she shares, “Dakar is one of my favourite cities in the world,” as she documents her moments prior to and during the show for the NATIVE. Arriving at her hotel, Momo was met with an personalised invitation from Chanel alongside a brand necklace with an African pendant and the iconic Chanel logo. In her usual fashion of representing African fashion designers, Momo’s two outfit choices were picked from Abiola Olusola’s SS23 collections, having to make a difficult decision between the crisp RIBAYI silk dress and the AINA set with a yellow organza apron, draped over a delicately beaded bralette. Opting for the latter and pairing with a pair of blue heeled mules, Momo evidently made the right choice.

 

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With some spare time on her hands, Momo headed to Lulu Cafe dressed in Nyosi Brand’s Sayi Daisy hand-dyed Adiré dress after which she went jewellery shopping at the local market to purchase some rings. “My jewellery was stolen recently so I’m just getting back all of my favourite piece,” Momo shares. Just hours to the show, Momo hit the next stop for a solo sushi date to gather enough fuel for the show slated for later in the day.

Chanel’s Métiers d’art 2023 fashion show breaks records for what is hoped to be the first of many. Being the first European fashion house to stage a show in Sub-Saharan Africa and Dakar couldn’t be a more perfect place. Home to an expansive world of contemporary art, fashion, film, dance and  music to name a few, Dakar is an influential art capital both within Africa and on an international scale. “More than just a show, this event will be part of a three-day cultural program accompanied by concrete action in terms of creative dialogue, sustainable development and the transmission of savoir-faire,” Chanel shared in a statement.

Hosted at Palais de Justice, the building, housing Senegal’s Supreme Court, is prominent architecture, characterised by large pillars and a seemingly airy space. The runway, a celebration of the culture and spirit of Senegal, kicked off with a vibrant show by musician and local, Obree Daman alongside a display by dancers from École des Sables. The collection was decidedly reminiscent of the ’70’s with printed silk shirts and pointed collar necklines alongside Chanel’s iconic intricate embroidery textures and patterns. “The show was great. This was my favourite look. I love the casting. I love the models that were walking down,” Momo shares. Following the outstanding show came performances by some Senegalese dancers alongside a glittering rendition by CKay.

Below are some looks from the runway, courtesy Momo Hassan-Odukale.

Photo: Momo Hassan-Odukale’s favourite look off Channel’s Métiers d’art 2023 runway

Photo: A white floral crochet dress off Channel’s Métiers d’art 2023 runway.

Photo: A beaded jacket over floral dress off Channel’s Métiers d’art 2023 runway.

Photo: Lafalaise Dion and Momo Hassan-Odukale

Photo (left to right): Faridah Folawiyo, Reni Folawiyo, Momo Hassan-Odukale, Arinola Fagbemi and Lola Ogunnaike (standing)

Featured Image Credits/The NATIVE

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

ICYMI: STREETWEAR IS ON THE RISE IN AFRICA BUT INDUSTRY-WIDE SUPPORT IS SLOW TO HAPPEN

What’s Going On: Hoodlums Attack Nigeria’s Electoral Building, Tremor in Ghana & More

Posted on by Emmanuel Esomnofu

“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.

ARMED HOODLUMS ATTACK ELECTORAL OFFICE IN NIGERIA

On Monday morning, a number of armed hoodlums attacked the headquarters of the Independent Electoral Commission of Nigeria (INEC). The attack happened along Port Harcourt Road, a popular location in Imo state in the country’s southeastern region. According to eye-witness reports, the attackers were in a convoy of more than five vehicles, shooting sporadically as they drove into the neighborhood where the INEC office was located. They then set fire to some parts of the building, possibly with the intention to burn the permanent voters cards (PVCs) and other sensitive materials being stored there. The police however responded in good time, managing to protect a major part of the structure. 

“It happened,” says the Imo state police Public Relations Officer Chinenye Chijioke-Osuji. “You can come and see things for yourself. Not all the offices were attacked but one side was completely down. The Election and Political Party Monitoring Liaison building was attacked, and part of the main building”. 

EARTH TREMOR ROCKS PARTS OF GHANA 

Residents in the Ghanaian capital, Accra, were left agitated as parts of the city were hit by an earth tremor. Between 10am and 12pm, some social media users reported what they’d felt—a tremor, rocking, to varying degrees, the communities of Dansoman, Mataheko, Weija, Accra Central and Mallam. While the reactions on social media were understandably marked by tension, Ghanaian authorities have moved to assure people of their safety. 

Speaking to the Citi Prime News shortly afterwards, the Principal seismologist at the Ghana Geological Survey Authority (GGSA) Nicholas Opoku, assuaged fears of Ghanaian residents, even though there were bound to be other similar cases. “What we have been saying all this while is that Accra is situated in the earthquake-prone zones so from time to time we will be experiencing these major earthquakes until such a time that a major will happen”. True to his words, similar incidents were reported between 2018 and 2020.

GUINEA’S COUP LEADER TAKES STAND FOR FIRST TIME 

On September 28, 2009, security forces opened fire on unarmed protesters who moved against Moussa “Dadis” Camara and his ambition to run for president. Camara had successfully led a coup against the government of Guinea, seizing power a year earlier, and was going to solidify his position at the helm of the West African country’s affairs but was resisted by the people. After the rounds of direct gunshots led to the reported deaths of over 150 people and dozens of women raped at the stadium where they had gathered, Camara became public enemy. He survived an assassination attempt months later and fled to Burkina Faso where he lived in exile for over a decade before returning to stand trial in Guinea. 

He made his first court appearance yesterday, visibly nervous as he made a plea for his innocence. Human rights groups have reiterated the stand that Camara, being the commander in chief at the time of the massacre, must bear the brunt of responsibility. In his account Camara made an unsatisfactory comment of being asleep when the protesters were being murdered, while pointing fingers at former President Alpha Conde as being behind an assassination attempt on him. Of the eleven people accused, Camara is the ninth to stand trial. 

NEARLY R2 BILLION FOR SOUTH AFRICA’S APARTHEID REPARATIONS UNSPENT

The unfortunate events of apartheid in South Africa saw a mass degradation of human rights, which created some of the most racially-discriminated societies and organisations in modern state history. Till this day, its effects are still felt, the downwards trajectory suffered by black people still crippling the potential of generations yet to come. Over the past five years, a special account called The President’s Fund, which was established by the Promotion of National and Reconcillation Act of 1995, was mandated to make reparations to victims of the human rights abuses under apartheid. 

Yet, according to the people this fund is supposed to be disbursed to, they haven’t received anything near the set-aside amount. Since 2017, even though the Fund has received R531 Million in investment revenue, only R98 Million has been disbursed. As a result, for the past two months over 150 victims of apartheid have been sleeping outside the country’s Constitutional Court in Johannesburg as part of the Khulumani Galela Campaign. They want the reparations owed to them, they’ve told reporters, with the extent of their injuries ranging from the physical to the mental, as in the case of a woman whose husband was gunned down. 

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Best New Music: Kelechief & Amaarae’s intoxicating new single “Fine Wine”

Posted on by Nwanneamaka Igwe

Kelechief is playing the long game. As far back as the mid-2010s, the rap artist had been garnering attention his chops as a lyricist who deploys obvious technical brilliance in service of music reflecting his reality. After winning a Mountain Dew open call contest, he earned a $50,000 grant to make an album, the resulting project being 2016’s ‘Before the Quarter’, featuring standout tracks like “Play With My Hair” and “Immigrant Son,” detailing his life as a Nigerian born and raised in Atlanta, Georgia.

In the years since, Kelechief has released four projects, each one offering affecting insights into his growth as a person, and generally emphasising his preference for full-length projects as the medium for wholesome expression. While he’s always been upfront about his Nigerian upbringing, mostly within a first generation immigrant context, the last couple of years has seen him embrace that part of his identity even more, evident in the title and content of last year’s ‘Going Home’, and his travel to Nigeria in December 2021, which included a headline show and several live appearances.

In a few days, Kelechief will be releasing his newest album, ‘ATLagos’, a project he’s been teasing in the last few months with a torrent of freestyles and a couple of loose singles. Setting the album up, he’s joined by iconoclastic Ghanaian artist Amaarae on lead single “Fine Wine,” a collaborative choice that proves rewarding. Two years after her glittering debut album, ‘The Angel You Don’t Know’, stacked with standout tracks tracks like Santi and Kojey Radical-assisted “Jumping Ship” and “Celine,” Amaarae’s career has reached new heights. While “SAD GIRLZ LUV MONEY,” featuring fellow Ghanian musician Moliy, was already gaining traction across Africa, the Kali Uchis-assisted remix rocketed into stateside and global hit status, partly helped by TikTok virality.

Since then, Amaarae has sparingly put out new music, engaging with her fans through live performances on stages across the globe, from Koko London to Pitchfork Fest, as she works on a second studio album currently dubbed ‘Fountain Baby.’ It doesn’t mean she’s been radio silent, though. A bonafide feature-killer, she’s bared those seductive fangs on several occasions, including silvery bars on “Born Again” off Santi’s ‘Subaru Boys: Final Heaven’, a sensual showcase on Babyface’s “One Good Thing,” and brief yet indelible appearances on Blaqbonez’s “WHISTLE” and Stormzy’s “This Is What I Mean.”

 

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Amaarae is a song-elevating presence, which puts her high on a lot of artists’ feature list, but there’s a remarkable touch to how Kelechief creates the perfect environment for him and his guest to effortlessly thrive. Self-produced in collaboration with Zane and Steph Swanky, “Fine Wine” is a tantalising record drawing parallels with a love interest and the intoxicating highs of fine wine. The track’s alluring mellow keys lead into Kelechief’s enthralling vocals over the rhythmic percussion of the beat as he immediately confesses just how spell bound he is over his love interest: “Tispy, I might be/ Drunk of your lips I’m a lightweight.”

The mid-tempo track draws deeper as Kelechief’s melodic flow melts into the simple, ultra-effective and sweet-sounding hook. “It’s fine wine, fine wine, fine wine,” he repeats. Midway through the track, Amaarae’s mellifluous vocals and memorable adlibs, buzzing with its usual sensual energy, elevates the song to new heights. “When I’m around you I feel like I’m floating,” Amaarae whispers of her love interest, an all too familiar feeling elevated by the singer’s ethereal touch. Towards the backend of her outstanding verse, the singer switches to a patois-inflected flow, reminiscent of her iconic verse on Santi’s “Rapid Fire”, a nostalgia-based trick she doubles on by interpolating the hook of Santi’s “Sparky”—another ‘Mandy & The Jungle’ era classic.

Ahead of his upcoming album ‘ATLagos’, “Fine Wine” shows us the softer, more melodious side of the artist, contrasting his previously built discography around hard-hitting bars. Drawing us further into the project, anticipated to be a stellar combination of unique, Atlanta rap sensibilities and Afropop in Lagos, “Fine Wine” shows just how expansive Kelechief’s sonic landscape can be expanded.

Listen to “Fine Wine” below and presave ‘ATLagos’ here.

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NATIVE RESET ISSUE: Rema, Still Divine

Posted on by Tami Makinde

In three short years, the young boy that was once rapping out of the car window has become the young man on top of the world. Rema has scaled to the pinnacle of the music pyramid, and he’s done so seemingly without even breaking a sweat. Signing jointly to Jonzing World and the machine that is Mavin Records in 2019, he came on the scene young but confident boy, tipped as The Next Big Thing.

Not only has he lived up to the billing, but it’s fair to say he may have already surpassed the expectations the ever-sceptical Nigerian music industry had for him. Today, he sits atop the Billboard US Afrobeats Charts for a record 11th week, as a result of his borderline fanfic collaboration with Selena Gomez.

For NATIVE’s The Reset Issue cover, Rema is setting the record straight–he’s still Divine, the wunderkind from Benin who has bent Hip-Hop, Trap and Pop into his sonic orbit. “Everything that you hear is from my soul. I rarely have an external principle lead my spirit to create. I’m not boxed in. I can be on [any] genre and still sound like me. Afro-Rave is ME,” he declares triumphantly on our Ember 2022 Issue.

Full credits.

Photography: Richie Igunma

Art Direction: Gbenga Ayeblue

Styling: Pat Ada Eze

Production: Dawa Thompson

Make-Up: Ayopo Abiri

Photography Assistants: Toafiq Alade, Idowu Oe, Tunde Sunmi, Jeremiah Ogunsina

Art Assistants: David Abai, Busayo Adedeji

Styling Assistant: Freya

Production Manager: Ademola Eshinlokun

Production Assistants: Tega Akintola, Olaotan Collins, Moore Wright, Damilola Layiwola

Words by Seni Saraki

Read the full cover story here.

Songs Of The Day: New Music From King Perryy, Vigro Deep, Niinety9 & More

Posted on by Wonu Osikoya

2022 is winding down and it’s been an eventful year for Afropop. There’s been a torrent of great new music, spawning a massive stack of inventive smash-hit songs. From Highlife-infused Ghanaian pop, to the unrelenting force that is Nigerian street-pop to South Africa’s indomitable Dance scene, to tantalising Drill explorations in East and Central Africa, and much, much more, we’re living through abundant and musically expansive times.

Every week, many songs from African artists make their way to digital streaming platforms, and wading through them can be intense. That’s where The NATIVE’s Songs of the Day column comes in to help. We go through as many new releases as possible, spotlighting them here, two to three times every week. Today, enjoy new music from King Perryy, Vigro Deep, Niinety9 and more. Lock in!

King Perryy – “Turkey Nla Remix” ft. Tekno 

Off the back of his most recent single release titled “Turkey Nla” which arrived only a few months ago, Afro-fusion artist King Perryy has now shared the Tekno-assisted remix for the record. The Amapiano-infused record makes the original track more enjoyable with catchy verses and memorable hooks alongside a feature from Afropop star, Tekno. The track sets the momentum for his highly anticipated EP titled ‘Continental Playlist’ with star-studded appearances from Tekno, Victony, Ria Sean, and 1da Banton.

Vigro Deep – “Shukushuku” ft. Senjay

South African DJ and producer Vigro Deep makes music that sees listeners at the base of their emotions. Last Friday, he shared his latest project titled ‘My House, My Rules,’ which featured the standout track, “Shukushuku.” The party-starting bop “Shukushuku,” finds him teaming up with Senjay for an instantly memorable anthem. In usual Vigro Deep fashion, he makes use of log drums, heavy kicks and ascending cymbals to create otherwordly melodies that provide the perfect backdrop for his collaborators. 

R2Bees – “Su Mo Mi”

Following their streak of releases this year, Ghanaian duo R2Bees have recently arrived with their most recent release titled “Su Mo Mi.” The uptempo Amapiano record sees the duo at their most experimental, as they explore more drums and heavy beats. Over the KillBeatz production, the artists sing in their native dialects about their attraction to their love interests.

ManLikeJoe – “Games” ft. Niinety9

Newcomer ManLikeJoe has recently shared his new single titled “Games.” On the new number, he taps Afropop singer Niinety9 to deliver a romantic number. Over the melodious Johnson IP produced-track, the pair serenade their respective love interests with lyrics such as “All day, all day I’m thinking about you/my way, my way baby you go come my way.” 

Fasina – “Bad 4 Me”

Fasina makes sweet-sounding music that has earned him a loyal following of listeners. On his latest single, “Bad 4 Me,” the singer opens up about a toxic lover who he can’t get off his mind. Over twinkling keys and R&B-infused production with Afropop sensibilities, he sings “They say that you’re bad/all these boys do is cap cap cap,” as he lets her know the extent to which he’s willing to go for her.

Ronisia – “Probleme” ft. CKay

For the uninitiated listener, Ronisia was first introduced on CKay’s debut album ‘Sad Romance,’ when he featured the Cape Verde singer on the record “Lose You.” Now, Ronisia is here with her most recent offering titled “Probleme,” with a guest verse from CKay. The record finds the both artists reminding their muses about the hold they have over them. While Ronisia sings in her native dialect, her vocal texture combined with CKay’s give the record a special touch. 

Mr Eazi – “See Something” ft. Shatta Wale, DJ Neptune Medikal & Minz

Following the success of his hit single “Patek,” Mr Eazi teams up with Shatta Wale, DJ Neptune Medikal and Minz for another Amapiano-infused bop titled “See Something.” All the collaborators on the record bring their best to the record as they deliver stellar performances, colouring it with catchy and memorable verses that will surely get replay value this holiday season. 

SuperWozzy – “The Same” ft. PsychoYP 

Street pop rapper SuperWozzy taps Abuja based rapper PsychoYP for the brand new hippy record, “The Same.” On the Nakedbeatz-produced track, the artists are at his most braggadocious as they remind listeners of the work they put in to get to their current level. In usual PsychoYP style, he slides melodiously over the production while he delivers hard hitting bars.

 

Featured Image Credits/NATIVE

Everything We Know About Wizkid’s ‘More Love, Less Ego’ Africa Tour

Posted on by Damilola Animashaun

In 2020, during the seismic change caused by the COVID-19 pandemic, and the new normal that set in after, the music industry underwent similar changes of its own. With many of us confined to our homes and immediate family and friends, artists put their global tours and live performances on hold, bidding the time that we could all congregate in large gatherings and enjoy music in real-time. 

As artists and the music industry began settling into the temporary normal, virtual live shows tried to get more inventive. Travis Scott famously hosted a spectacular live event on the gaming platform Fortnite, Burna Boy performed at a show that allowed viewers watch in virtual reality mode, and Wizkid’s first post-Made in Lagos concert was made momentous by an intimate preamble offering a glimpse into his daily life. These examples pushed the boundaries of the norms with virtual performances, giving digital attendees an experience they can hold on to, as opposed to the straightforward stage exhibition.

This year, the influx of live shows has been astronomical. With the worst now seemingly behind us, artists made their return to stages and sets around the world including some of the big-ticket events around the world including Coachella, Rolling Loud, Wireless, Flytime Festival in Nigeria, and more. The welcome return of these shows cannot be overemphasised by listeners around the world, as we’ve seen a massive rush to purchase tickets to attend in person and witness artists grace the stage once more, to perform albums and songs that havee soundtracked the 2020 stay-at-home induced orders.

While the fans are undoubtedly excited to experience the music in new ways, it seems that there has been little change to the infrastructure around live shows and performances. Think Ticketmaster selling over two million tickets in pre-sales for international star, Taylor Swift, and having to forgo general ticket sales due to high demands and insufficient ticket inventory. Added to this, there is also the recent case of Puerto Rican musician, Bad Bunny, whose fans were left outside Estadio Azteca stadium in Mexico City, after being turned away due to their tickets being considered as fake or duplicated. Over in Africa, live shows have also suffered a similar fate with organisation. Recently, tragedy struck when 11 lives were lost during a stampede this year at Fally Ipupa’s show in the Democratic Republic of Congo. 

These infrastructural issues bring to light the rot which has always existed the heart of the entertainment industry—the prioritisation of capital over the real-time experience of the fans and listeners who attend these shows. In these parts, live shows have always been received with a sore thumb. Frequently, artists arrive hours after their scheduled performances and set times, leaving idle fans waiting with no appropriate communication for hours on end. For a while now, these discrepancies have largely been ignored by music lovers on the continent, who typically chuck it up to production issues or African time. However, this year, Afropop fans are speaking up and demanding better from the artists that they love.

Over the weekend, Afropop singer Wizkid was the latest African act to come under heat following his reported absence from his highly anticipated show in Accra, Ghana. According to reports on our timelines, Wizkid was scheduled to perform at the Accra Sports Stadium to a 40,000-capacity crowd of concertgoers. The night kicked off with a showcase of excellence from Gyakie, Efya, DarkoVibes, Joey B and more Ghanaian acts who got things going with riveting performances, while the palpable energy of MC Kojo Manuel engaged the restless crowd alongside performances from Afropop dancers.

As the night wore on, the crowd were anxious for its headliner and main attraction, however, things took a turn for the worst when Wizkid failed to grace the stage after hours and hours of wait time. At 4AM, disgruntled fans were captured leaving the venue, heartbroken and downcast at the lack of communication from Wizkid, his management and event organisers. Rightly so, fans left the venue and demanded that their tickets be refunded due to a no-show from the lead artist. One viral video includes a clip of popular Ghanaian influencer and Youtuber Mahalia Akatugba and a group of her friends, who share their disgruntled feelings about Starboy’s absence from the show. “If not you personally, the MC could have said two hours, a fucking go, at like 2 o’clock, chale, Wizkid, e no dey come,” retorts one of the girls in the video, as the group exclaim at the late hour in which a message from the organisers came. They also called for Wizkid to be cancelled, while exclaiming that such an occurrence would not have happened in Lagos, yet alone, in Manchester or New York. 

According to an official statement from LiveHub Entertainment, which was released on the company’s Instagram account, Wizkid breached his contractual obligations by failing to show up to the venue in Accra. However, Wizkid’s public apology hinted at a different reason for his absence. According to the singer, security alerts and production issues barred him from putting on a high-quality show that the fans deserved and as such, another show would be organised in Ghana for the fans who were left waiting for several hours at the venue.

While the details of the security threat is still unknown, Ghanaian journalist and TV presenter Olele Salvador shares details on how Wizkid’s absence was communicated to the crowd: “I personally don’t recall hearing or seeing the organisers make a formal announcement to inform the crowd of about the no-show situation. I learned Wizkid wasn’t going to show up by a tip off from a source close to Wizkid’s camp alleging that the Starboy had been informed by some persons not to show up due to low turnout.” 

As a result, while many appreciate Wizkid’s apology shared via social media, Olele believes the reason for the no-show to be bogus. It doesn’t help that barely hours after the incident and apology, Wizkid once again missed another show for his ‘More Love, Less Ego’ Africa tour—this time in Abidjan, Côte d’Ivoire. Meanwhile, he is seen via his social media landing in Cotonou, Benin without any explanation. Coupled with that, several videos have been circulating with Wizkid performing there, forfeiting the show in Abidjan. This raises questions regarding the validity of Wizkid’s reasons for his absence in Ghana shared via his apology. 

“I may not be privy to what type of production and security/safety that comes with booking Wizkid but when I saw what was provided in Cotonou where he performed 24 hours after, there was absolutely no difference. Perhaps the only difference was a seemingly larger crowd for the concert in Benin,” Olele shares. Reports are that there were about 5,000 concertgoers at the Accra Stadium, which tallies to just over 10% of the venue’s capacity, but low turnout shouldn’t be an excuse in a country currently dealing with runaway inflation numbers and a crisis with cost of living.

As Nigerian Pop heavyweights like Wizkid continue to redefine the status quo and sling the ropes of the burgeoning music scene beyond its borders, the importance of a near spotless reputation cannot be overemphasised. When, for whatever reason, things do not go as planned, full transparency and accountability are essential in ensuring the fans of the star do not feel slighted. Especially considering that the safety of many concert goers, as well as their money is at stake, negligence is unacceptable and at some point, apologies are just not going to cut it.

[Featured Image Credits/The NATIVE]

Editors note: We have reached out to Wizkid’s team for a comment and this post will be updated regularly with new updates.

Written by Tami Makinde and Nwanneamaka Igwe.

ICYMI: NIGERIAN MUSIC HAS A STREAMING FARM PROBLEM

NATIVE Exclusive: Thando Skwatsha Addresses Personal & Universal Themes on Debut Album ‘iimini nentsuku’

Posted on by Uzoma Ihejirika

Thando Skwatsha’s music is soul-stirring. It combines heartfelt melodies and his powerful vocals, which were strengthened through years as a lead choral singer. Skwatsha, who grew up in Gugulethu, Cape Town, infuses his African heritage into his music, creating a blend of modern and past sounds. In 2018, Skwatsha met South African music producer Milan Rendall, after a friend had told him of a producer who needed the assistance of a vocalist. Since then, Skwatsha and Rendall have forged a deep connection and in 2020, they released the project ‘Love Is.’

Last month, Skwatsha shared his debut album ‘iimini nentsuku,’ which means “days and nights.” The Rendall-produced and emPawa Africa-supported project is Skwatsha’s first time singing in his mother tongue isiXhosa, well as in isiZulu and English. From songs like “ngyazfela” that deal with love to songs like “iskhalo sabantwana” that preach hope, Skwatsha’s ‘iimini nentsuku’ is a documentation of situations that remind us of our humanity.

Skwatsha, who is also a stage performer and actor, speaks with the NATIVE about his upbringing, creative process and aspirations for his career.

NATIVE: What was life for you like growing up?

Thando: Okay, so I grew up in a family of four with my mother, my father and my younger brother. He’s four years younger than me. I lived at home for the first 12 years of my life, after which I went to boarding school because I enrolled at a music school in South Africa. And that is where my journey with music started professionally. Because at the school that I attended, I was enabled and equipped with the necessary tools that allowed me to be able to present myself and be musically enrolled in the way that I am today.

So I went to a boys’ school in Cape Town, [and] then I had to move because the way that happened how I went to music school was that my mom, who organised the audition, didn’t actually know that it was a school, she thought it was just a choir and something that I could do on the side. And at the end of the audition, they told us that I had passed the audition and now I need to move schools. So that was a big change. But I grew up as quite an exciting child, meaning basically, I was quite hyperactive. Very bubbly, and loving, quite warm. I was very much what I think people would label as a happy child, in terms of that I was always enthusiastic about everything and anything and forever cracking jokes.

Life was pleasant, thankfully, and I’m fortunate enough to be able to say that. I didn’t really struggle for anything. You know, we grew up in Guguletu, which is a location in Cape Town. But that really didn’t change anything. My parents worked really, really hard in order to make sure that we never lacked anything, so we never really actually did. And then I went to school, I finished school; I matriculated grade 12 at the age of 18 at boarding school, which I continued, and I moved back to Cape Town where I enrolled in university, and then I am where I am now.

NATIVE: You’re multi-talented and do a lot, from music, film and theatre. At what point did you discover your passion for performing arts?

Thando: It was more of a process, of me just, you know, really starting to do things that I really liked at school such as performing in plays and being on stage, joining the choir, and then being drawn to do things naturally. And then realising that actually, you know, I’ve got a bit of a talent and a gift that I can use. And then eventually, where I am now in being conscious of that usage and actually deciding that “Look, I’m going to use this gift now in this particular way, this is what I want to be doing for the rest of my life.” So it was really a growing and learning process for me and the arts to grow and learn together. But it originally started as just pure enjoyment, because it was something that I love to do.

And part of that learning process was discovering that look, it’s not just the choir that I enjoy being a part of, I also love being on stage as an actor in the theatre. And on top of that, I also love joining the dance troupe, you know, for example. So it really was a learning process.

NATIVE: And during this period where you were discovering your passions for these different art forms? How was the support from your family?

Thando: Amazing, it was really, really good. I’m really, really fortunate enough to be blessed with parents and family that really are supportive of what I do. I have a lot of friends, immediate friends who even come and ask me like, “Mate, how did you do that? I have this thing, I want to do this. But my mom says this, or my dad says this, and I can’t do this.” Honestly, it was really easy for me, because I just came out like “Dad and Mom, this is what I want to do” and they really never gave me a hard time about it. And they were really like, “Yeah, if that’s what you want to do, you’re more than welcome to do it.” In fact, they encouraged me to do it. So I’m really fortunate to be in that position.

NATIVE: You were a lead choral singer. How has that shaped you as an artist?

Thando: Being a classically trained musician and starting in choral music especially has shaped my musicianship skills in a way that I actually struggle to articulate because of how big the impact it has had, on not only my musical journey but my artistic journey in general. I think it is very important basics that are not required, but really do serve the artist well, if equipped to be starting in a choir and you want to break [through] as a solo singer. There are certain things that you learn, not only from the conductor or the music teacher in front of you but from your fellow choristers singing with you about yourself [and] about music in general.

When I left music school, I look back [as I have gotten into the rest of society] and I’m like, “I’m actually a bit ahead musically than other people” because, at music school, we were 12, 13, 14 years old doing university level stuff because of how intense the program was. And it really put me that much ahead and made me that much different from the artists next to me, who perhaps didn’t get the training that I did.

NATIVE: In your interview with emPawa Africa, you spoke about not planning to be a recording artist and how it happened out of a stroke of luck. Was music just a thing of passion at that time?

Thando: I think it would be a lie for me to say I joined the music to not make a career out of it for the arts because that was the goal from [the] get-go, like I really wanted to keep doing this for as long as I possibly can from as young as I can remember. I didn’t plan on becoming a recording artist, though. I must tell you that. That happened through my relationship and meeting my manager/producer Milan and that also was [due] me just doing my thing. But it was always the intention to be able to get to a position in my career where I am able to do this for as long as I want to, without having to struggle for it.

NATIVE: A lot of your songs touch on the human condition and situations of life. What is it about making that kind of music that appeals to you as an artist?

Thando: So I write a lot about love in general. But I think what makes this upcoming stage of my music career so exciting and unique is the fact that I play a lot with imagination, and bringing it back to the human condition, I think, every human being can relate [to] being or having an imagination of sorts. And that’s really what my music [is] now. I’m singing in a different language, which I’ve never sung in before, in the way that I’m seeing right now. And the melodies are amazing, [including] the beats and the harmonies.

I heard a review from a friend of mine, who was listening to my songs and he was like, “It sounds like I’m in a movie.” And really, that’s the imagination aspect that I’ve been playing on. So I think that’s what makes my music quite relatable on top of the experience of personal life in general. But the imagination aspect is quite powerful.

NATIVE: What prompted you to sing your mother tongue on this project?

Thando: Everyone asks this question and there’s no direct answer. We [Thando and Milan] were in the studio and we stay in the studio for hours and hours, man, and we play around a lot. A lot of the work that I do is based [on] us wanting to create something and seeing how it goes. It’s intentional in the fact that we want to make music and we want it to go somewhere, but we don’t know exactly where it’s gonna go, if it can go anywhere at all. So when I got into the studio, I heard a couple of beats and I was very, very happy with them and I just started singing. And what was natural for me at the time was that I just tried out singing in my mother tongue, which was something that I’d never done before, which was very scary.

So we did it once with the first song that was released from the album “isaziso” and it came out quite beautifully, I think. And then we just did it again or we did it again or we just kept on doing it and each and every day became a different day in the studio with a different beat and seeing what the feeling of that beat is and then translating it into text. My artistic journey really revolves around, in the studio especially when recording music as a singer, it revolves around me hearing the beats and discovering the melody first and then coming back and writing the text.

NATIVE: You spoke about how singing in your mother tongue was scary at first for you. Could you describe the process of recording this project, from start to finish?

Thando: Yeah, like I said, it was a bit scary at the beginning, because I didn’t listen to the entire project until about a year after we started the whole process. I remember at the end of one of the sessions, my producer looked at me like, “That’s an album.” And then I was like, wait, I wrote every single song on here and I never thought that before. So the whole process was very revealing to me. And like I said, at first, I was a bit scared; the scaredness didn’t really come from fear, it came from nerves, as to like, you know, the first time doing something, like, “Look, I don’t know if I’m doing it right.” You know what I mean?  That feeling of the unknown really hit hard in the beginning. And then after hearing the entire project, or at least, after hearing a couple of songs on the project, I felt very confident and comfortable enough to be able to say, “Look, I think we’ve got at least something going here.”

NATIVE: On this project, you sing about your childhood, connecting the dots to your hometown and evoking emotions that pull the listener into your own world. Why was it important to interrogate the past?

Thando: The few songs that are really speaking about the past, which is only like one or two, it’s just me speaking about my childhood experiences and wanting to connect more with my inner child. The rest of the album was really—and we’re speaking past tense now because it was about four years ago—the rest of the album was really created in that moment of what I was feeling [at] that time. You know, whatever I was going through [at] that time in my life; there was heartbreak [and] there was, there was an artist part of me that I was wanting to still discover, and that’s where the imagination and the storytelling comes from. And then the one [song] that connected with my inner child are really the ones that I was just trying to make a full circle, in my healing as a person.

NATIVE: You worked with Milan Rendall on this project and you guys have worked extensively. How has that relationship evolved?

Thando: Our relationship has evolved in a manner that, once again, is quite difficult to articulate, because Milan is my brother today. But, you know, four years ago, I didn’t know who he was. And he and I are really, really tight. And what really knits us together is the fact that we formed a really, really close bond and friendship first, that is also enhanced by the music that we both have a passion about and, you know, things that we care about that; naturally, music drew us together. And then I found out that “Hey, this guy is actually kind of cool.” I actually enjoy this guy’s presence, like I like this guy, you know, and he felt the same. So it developed into something quite strong and close-knitted. So I’m forever grateful for that. And the music that we make on top of that and how far it’s already come is just like a cherry on top. Because go into the studio and make music because it’s fun, like, we make music for fun.

NATIVE: What was the best thing about working with Milan on this project?

Thando: The best thing about working with Milan on this project was his wisdom, his constant confidence in me, which sometimes comes more from him than it does from myself because of how much he sees and believes in me, and I think that was showcased more than ever during this project.

NATIVE: Was there any track on this album that was emotionally tasking to make?

Thando: Yes, of course, there were a lot of really emotionally tasking tracks that I worked on this album. You know, it’s never nice reliving hurt or things that didn’t serve you well. But I had to dig deep down as an artist and really overcome that, in order to be able to tell and sort of be stronger for the next person. And there were a couple of tracks, you know, “thandolwami,” “ngyazfela,” all of those love songs. And there’s even the one where I speak about heartbreak, but I speak about it next to a beat that is like pumping that you’d hear in the club, so it’s like a happy heartbreak song.

You know, just reliving all of those emotions is never an easy task. So I really find it quite challenging. And I’m really glad I overcame it in that manner.

NATIVE: Has that reinforced your belief as an artist to dig deeper? Or will you be more careful next time?

Thando: No, no, it showed me a few things. And one of those things is that, yes, it’s good to dig deeper, as much as it might be a scary thing to do, something that you don’t necessarily want. Digging deeper is where the magic stems from and how you become stronger and grow as a person as well. Because coming [face to face] with those deep emotions is necessary. Whether you do it in the forms of therapy—or, I choose to sing about it. But you know, it’s really, really messy and has really shown me that “Look, keep going. Keep going deeper and discover more, because there’s so much more.” This is only the first album; there’s so much more than I could dig deep upon as an artist.

NATIVE: Let’s talk about your work in film and theatre. Is there a satisfaction that film and theatre give you that music doesn’t give you?

Thando: No. All of my three babies, which I call them—music, acting and dance—none of them gives me a feeling that is higher than the other. It’s all just really, really good sense of dopamine because it’s all just expressive in different ways. It’s all using the body. It’s all telling a story in a certain way. And all of those things really make me feel the same way. No one gives me a higher power than the other.

NATIVE: You have a deal with emPawa Africa and you have shared your admiration for the outfit. What was it about emPawa Africa that made you want to work with them?

Thando: It really boiled down to my creator process not being hindered on, such as me not having someone who’s going to dictate how I make my music and where it comes from. The fact that I’m still retaining full ownership of my music was also a big factor. And a very big factor was the fact that emPawa aspires to empower young, independent African artists from Africa. So all of those things were really, really attractive to me. And I found it to be, I think, the best fitting home.

NATIVE: What do you hope your deal with emPawa Africa does for your music?

Thando: I hope my music is experienced in the best way possible. I hope people allow the music to take [them] on a journey. And I hope people let go and listen freely and simply just enjoy it.

NATIVE: What do you hope audiences take out from that project?

Thando: I’m feeling very confident about my project. You know, this process started four years ago and I’ve been waiting, waiting, waiting; there was a stage I didn’t know [if] this project was going to come out at all. But looking back on it now, I’m really confident [about] the art that I created; I think music is a blessing and being able to make music is such a huge blessing because it makes me feel things that sometimes I can’t explain, and I’m sure for the listener as well it does the same; music is a feeling, it’s a journey. And that’s what I hope my listeners aspire to when they listen to the album, in that they really take it in and allow the music to take them on a course.

Stream ‘iimini nentsuku’ below.

Featured image credits/NATIVE

The Best R&B Projects of 2022, Ranked

Posted on by The Native

Fusion has always lain at the heart of African music, but never so more than now. Each day new subgenres are tested for their quality and relevance, even though emerging from relative unfamiliarity onto the stage of mainstream attention has been a landmark of the truly great. Alongside the sonic experiments found in the year-long influential amapiano and African drill for instance, the presence of R&B continues to create enviable lores of its faithful practitioners while soundtracking the greater conversation of love in the modern era, imbibing a soulful sensitivity than the hyperrealist pomp of Afropop allows.

Repurposing narratives possessed with unarguable emotional weight, 2022 has seen the release of many accomplished projects whose tapestry are audibly inspired by the swirling, plush and sometimes experimental sonics we associate with R&B. From the glorious live-centric vision of Ria Boss’ ‘Remember’ to the electronic-lined admissions of mental health in Yinka Bernie’s ‘Something New,’ the projects on this list are thematically varied and musically vibrant, revealing a curiosity to probe the mutations being carried out in African music.

15. Blxckie – ‘4LUV’

With ‘4LUV’, Blxckie introduces a softer-hued edge to his rap-dominated catalogue. Sidestepping any rap messiah pressures, Blxckie continues to showcase an artistic sensitivity that propels his music to unpredictable highs. Here he fuses rap-originated quips and evocative melodies which harkens to his early experience with soul and deep house classics. “umoya” employs twinkling Rhodes keys and stuffed pads to create its pensive atmosphere, with Blxckie delivering an affectionate performance in isiZulu. Elsewhere he’s similarly versatile: making a case for a lover’s supposed intimacy, “cry” exists as a stark contrast to the A-Reece-assisted “sneaky” on its deluxe drop, which dubs their silky rap performances with the gloss of late night revelries. Without ceding the record’s sonic currency, ‘4LUV’ translates the potential of imperfect relationships into contemplative pieces.

Emmanuel Esomnofu

14. Halo Yagami – ‘You Can’t Replace the Sun’

On his debut album, ‘You Can’t Replace the Sun’, released eight months after his EP ‘Usiba’, South African artist Halo Yagami curates an atmosphere so soothing and mesmerising, you’d want to stay there and grow roots. Defying straightforward classification, with musical cues from Maskandi to mid-tempo Afropop, the stylistic trademarks are indelible on ‘You Can’t Replace the Sun’ and it’s all anchored by a golden voice with a rustic tinge and a soulful verve. Sincere in its intention, Yagami urges listeners to return their attention to the seemingly small things that really matter – love, romance and human connection – expressing feelings unabashedly (“Cuddles” and “Miss My Baby”) and dealing out lived-in declarations of hope (“Nyamazane” and “Tolikela”). ‘You Can’t Replace the Sun’ is Halo Yagami’s reminder to the world that the big, helpful feelings live in the small, often neglected moments.

Uzoma Ihejirika

13. WurlD – ‘My WorlD With U’

It takes an abundance of talent and a remarkable sense of purpose to deliver three excellently executed and well-received projects in just over a year, with one of them being a near-classic collaboration with one of the most revered producers in Afropop. For his official debut album, Nigerian singer WurlD strengthens his standing as the quintessential soul singer with an incredibly diverse music project. A moving portrait with a lived-in premise, ‘My WorlD With U’ traces the path to wholesome personal growth through a romance-themed framing. That path is littered with colourful and groovy musical choices, from House and Electronic pop inflections to a Fuji-meets-Salsa standout and a wonderful Sarz reunion. Even as it’s slightly flawed due to its sprawl, there’s a cumulatively riveting allure from the gorgeous intensity of WurlD’s voice and the affecting candour of his writing.

Dennis Ade Peter

12. Maya Amolo – ‘Asali’

Maya Amolo turned her angst at the difficulties of modern dating into atmospheric tunes on her remarkable debut EP, ‘Leave Me At the Pregame’. Two years later, following a much needed break, the singer returned with ‘Asali’ , a debut album carrying a more wholesome perspective. Leaving the sourness behind, Maya’s personality here is more mature and happier as she focuses on the honeyed experience of embracing love while accepting that love isn’t linear, whether that’s in platonic relations or more intimate ones with dizzying infatuation at their core. Expanding her musical choices, ‘Asali’ features airy songs with an ambient mood and cuts with gentle, shoulder-rolling grooves, like the SirBastien-produced title track, where Maya sings in Kiswahili—a lyrically novel approach that makes her sound more lustrous and deepens her identity as a Kenyan R&B songbird.

Tela Wangeci

11. Nanette – ‘Bad Weather’

After months of teasing the possibilities of being a vital voice in South Africa’s booming new age R&B scene, Nanette eclipsed the potentials she flashed in fringe feature roles with ‘Bad Weather’, a striking debut EP that evokes an impenetrable inner toughness. Translating the direct writing style she’d already shown—like on her standout appearance on lordkez’s “handmedowns”—into a full project, Nanette calls out “mama’s boys”, embraces the consequences of her less-than-deal choices, ponders life with a melancholic flair and ultimately offers herself some grace. Drawing from Neo-soul and contemporary R&B, the production choices amplify the detail-oriented tilt of Nanette’s writing and the consistent beauty of her vocal performance.

Wonu Osikoya

10. Jinku – ‘Oasis Park III’

For the third and longest instalment of his ‘Oasis Park’ series, Jinku recounts a tale of two cities—looking back to his roots in Nairobi while forging on to his new and uncertain future in Stockholm, Sweden. The entire project exerts the feeling of becoming and embracing change, which is in line with its synopsis, soundtracking Jinku’s final two weeks in Kenya and his first-ever winter in Sweden. To represent this unsettled period in his life, Jinku employs talented hands from back home, and his new life in Sweden, bringing together a talented spate of artists including Wendy Kay, Swahili Papi, Lina Hansson and more, into his orbit. “Looking for peace/Still searching for peace…I be feeling like Malcolm in the middle these days,” frequent collaborator DEZ sings on opener “Tena”, an introspective tone-setter for ‘Oasis Park III’ that also embodies Jinku’s focus on the album.

Tami Makinde

9. CKay – ‘Sad Romance’

CKay describes his music as ‘Emo-Afrobeats’ but there’s an obvious R&B nature to the scope and sound of ‘Sad Romance’. His first project since becoming an international star, the debut album is a clean execution of the singer’s take on the side of modern male R&B where solipsism is king, as he tells a love story from an unapologetic and blameless standpoint. Think “you cheated, I cheated too” or “leave me alone”, titles that instantly give away the tone of the project. The language is direct and the music is eclectic, incorporating mid-tempo Nigerian pop percussion, Amapiano influences on all-star standout “WATAWI”, and a lot of guitar riffs that recall 2000s R&B. Taking on the role of a protagonist in his narration—like many often do despite wrongdoing—CKay shows, with his indubitably plush and dulcet vocals, that it’s OK to engage with your pernicious side once in a while.

Nwanneamaka Igwe

8. Njeri – ‘D.R.U.G.S (Dear.Romance.U.Got.Sweet)’

In an interview with The NATIVE only a few months ago, Njeri shared that everything on ‘D.R.U.G.S’ is seamless, especially the music, and I have to agree. When the Kenyan singer and songwriter released the body of work in May, it was evident that Kenya’s growing R&B scene had a special talent in its vanguard. On ‘D.R.U.G.S,’ Njeri combines stellar writing abilities with eclectic vocal strength, to create the near perfect album. The artist serenades listeners with enchanting songs that have emotional honesty at its core, urging listeners to join in and be just as vulnerable as herself. ‘D.R.U.G.S’ sees the singer cycle through the high of romance, the complications that can lead to heartbreak and, eventually, a willingness to go through the finding new love and wholesomely fanning its flames. The optimism of its closer, “Love Again”, feels earned.

Wonu Osikoya

7. Jinku & Karun – ‘Passenger 555’

Karun’s voice keeps getting better. In June, she teamed up with Kenyan electronic producer Jinku for ‘Passenger 555’, a sublime partnership resulting in some of the most engaging music in either artists’ catalogue. A simultaneous two-way listen, the album moves through the motions of a failing relationship in its front-to-back order, while the reverse order sees a relationship fight its way into a wholesome rebound. Karun’s writing intentionally focuses on expressing emotions over sharing details, allowing listeners the licence to build the project’s characters however they want. Jinku constructs a soundscape of downtempo house and ambient R&B around Karun’s fluttering voice, wrapping listeners in a spacey bubble where time is suspended and all that matters are the characters they envision from the music.

Dennis Ade Peter

6. Sha Sha – ‘I’m Alive’

Even as she’s regularly touted as the Queen of Amapiano, it’s always been obvious that the base of Sha Sha’s artistry is that porcelain voice with breathy overtones. It just happened that the Zimbabwean singer found continental success and global interest with her ability to whip repetitive lines into siren chants. On ‘I’m Alive’, Sha Sha splits her debut LP into two slightly unequal halves, opening with silky and adequately thumping amapiano tunes, and a run of smoother tunes making up the back half of the project, but it’s the balmy melodies she consistently corrals that places the album in firmly soulful terrain. In the process of affirming her personal strength, through songs that delve into the complicated intricacies of modern romance, Sha Sha leans into her breathtaking range, reinterpreting a Sade classic over a gently smouldering ‘Piano beat and exuding joy on the closer, “Holiday”, while a piano melody reminiscent of ‘90s R&B creeps alongside.

Dennis Ade Peter

5. Dami Oniru – ‘Matter of Time’

When Dami Oniru released her early 2019 debut EP, ‘Bri’s Lounge’, it felt like a joyful exhale. After a few years hovering around as a promising R&B act with a few singles and several features, the singer turned up with a largely lovestruck EP, her voice radiantly snapping over groovy percussion and soulful melodies. After a hiatus, Dami Oniru returned with her sophomore EP, ‘Matter of Time’, a worthwhile representation of her growth as an artist.

From their cover arts, it’s telling that ‘Matter of Time’ is a direct sequel to its predecessor, more as a juxtaposition than a straightforward companion piece. Where she basked in the tingly feeling of attraction and asked for reciprocity on her debut, this project sees Dami Oniru grapple with the disappointment of being let down. There’s resentment but there’s no whining; in fact, it leads to a project laced with profound and playful moments of self-assurance, as she alternately broods and luxuriates in a sonic canvas that skates across atmospheric R&B, ‘80s New Wave inflections and UK Garage influences.

Wonu Osikoya

4. Manana – ‘but could the moments in between’

A glittering sensitivity remains the hallmark of Manana’s music. Released this year, ‘but could the moments in between’ extends its ethos of charting young love through the epic prism and acoustic-laden soundscape of R&B. Manana’s formal training as a musician informs his flawless pacing and weight, buttering the seams of this eight-track EP with electric layering and the serenade of his warm vocals. Through its 22 minutes runtime, the vulnerable writing finds perfect alliance with its nearby influences of neo-soul and Dance, endowing the project with undeniable replay value.

“Pulchritudinous” counts among the most beautiful songs released all year, each lyric charged with poetic intent while the music stirs with celestial arrangement. A similar tone permeates “But you first”, a sentimental ballad that echoes Frank Ocean and Moses Sumney. African musicians are cutting timeless gems from the golden quality of R&B and Manana’s second project in a planned trilogy highlights his unwavering focus as an A-level purveyor of his generation.

Emmanuel Esomnofu

3. Venom & Shishiliza – ‘LOVE IS PAIN’

As a greatly malleable sound, it helps that there’s no shortage of inventors and visionary curators in Amapiano. Late last year, Venom and Shishiliza showed their hand at being inventive curators with “Sho Boy”, a star-studded ‘Piano-meets-rap slapper. To start off this year, they put together the instant classic “Sondela”, a gorgeous love song that brought together Raspy’s dulcet singing, Blxckie’s near-spiritual melodic mutters, Tshego’s impassioned croon, a vigorous and emotive rap verse from the late Riky Rick, and Yumbs’ soulful, incredibly smooth ‘Piano-indented production.

Their attendant debut album, ‘LOVE IS PAIN’, chooses an emotionally stirring direction over slaps but it’s one glorious haymaker for the creativity that drives South Africa’s Amapiano, contemporary R&B and rap scenes. Packed with a litany of featured star artists and a myriad of producers behind the boards, the album is an exhortation on the commitment that is required of love, with a rotating cast that share perspectives on romance, relations between friends and even divine love. The standout appearances are innumerable, as is the overall wondrousness of the album’s palette. Many might be hesitant to call this an R&B project, but there aren’t many that have its stunning level of rhythm, blues, heart and soul.

Dennis Ade Peter

2. Yinka Bernie – ‘Something New’

There are very few African artists who can brag of an intricately self-produced project, robust with remarkable storytelling and stark vulnerability. In five songs and barely 13 minutes, that’s what Yinka Bernie achieves with ‘Something New’, his first solo multi-song release in well over three years. As much as it’s a nod to the 5-year gap between this sophomore EP and his debut project, ‘19 & Over’, the title undersells the music’s deeply emotional core.

The dazzling product of a polymath, one with a clear understanding of the synergy between what he wants to say and how he wants it to be heard, ‘Something New’ works through some of the most intimate parts of the human condition with a moving tenderness. Sung in his richly textured and deceptively agile baritone voice, over gently percolating percussion and sombre yet gleaming piano melodies, each line on each song embraces raw emotions without navel-gazing, a deeply relatable batch of songs without a contrived second. Two-year old lead single, “It’s Okay to Cry” with Joyce Olong, remains a resonant standout: “Look, it’s okay to feel lost inside, Man it’s okay to cry/ It’s okay to feel numb inside, Man it’s okay to cry.” Chills.

Nwanneamaka Igwe

1. Ria Boss – ‘Remember’

Ghanaian-Burkinabe R&B/Neo soul singer and songwriter Ria Boss had already begun work on her debut album ‘Remember’ before she lost her grandmother last year. She recounted that it was the grief that shook the project out of her. Seeking an outlet for the pain and sadness she felt, she proceeded to record ‘Remember’ as a live album, with the help of music director Emmanuel Nii Quaye Aryee, Ghanianan band The Musical Lunatics and a couple of music producers.

‘Remember’ is a moving collage of being lovestruck and lovelorn, of grief and memory, a declaration of the singer’s determination to live without the restrictions hoisted on women by society. Across the eleven tracks, she’s supported by a few guests and backed by a live band with tight technical chops and a loose feel. Ria Boss, armed with formidable vocals, spills excitement, ponders uncertainty and embraces personal joy, darting from sexually intense moments on “Somali Rose” to the giddy exuberance of the T’neeya-assisted “Damn” to the tender feelings brimming on “Kisses Under the Moon.” Recorded in one take, ‘Remember’ is a masterful and assured performance from a vocalist in touch with all of life’s complications and pleasantries.

Uzoma Ihejirika

Written by Tami Makinde, Emmanuel Esomnofu, Nwanneamaka Igwe, Wonu Osikoya, Tela Wangeci, Uzoma Ihejirika & Dennis Ade Peter.

ICYMI: THE BEST ALBUM COVERS OF 2022, RANKED