uNder: Best New Artists (February 2023)

Posted on by The Native

In recent years, we have been privy to several momentous occasions with the sounds from these parts incessantly redefining the status quo and breaking boundaries one track at a time. Now more than ever, spotlighting the expansive talent pool and variety of sounds emanating from this side could not be more critical. From the homegrown artists telling the stories of the streets in Johannesburg to the burbs of Abuja or Nairobi and even the artists emerging from the diaspora.

With a viewer attention span shorter than ever, some exceptional talents may skip your radar but the monthly instalments of our uNder column are here to ensure that all corners are covered. A month after bringing you artists that we expect to have a big 2023, we’re back with a new set of great, budding artists for uNder’s 2023 February class, with hypnotic sounds from South Africa’s viral Amapiano sensation, Justin 99, joined by the experimental synths from Flier in Kenya, the exuberant and introspective indie raps of Horrid the Messiah, plus more. Find your new favourite artist(s) below.

KEMUEL

Earlier this year, Kemuel got recognition from some of the greatest in the game. It is telling that the duo of Spinall and Olamide allowed him space to establish the direction for “Bunda,” the lead record off Spinall’s sixth album, ‘Top Boy’. Beyond industry affiliations, Kemuel has shown glittering promise since the release of last year’s ‘ESCAPE’, a well-curated project which introduced him as one to watch out for.

Described as a literal escape from the restrictive shackles of realism, the longing for perfect union enlivens the project. Right from the ethereal sonics of “AWAY”, there’s an associative vibe to Kemuel’s sound. Not quite heavy in percussive tones, the colours of his singing meet the exquisite movements of Wondah, who produces the entire tape. “Can we run?” poses the song’s central tension, but between the reverb echoes of “away, away” and the inclusion of ominous elements, a lot of sonic layers unfurl. “FINALLY” and “MUMU” reveal similar sensations, Kemuel’s vocals ever poignant and coloured with bases of hums, strings, call-and-response patterns. Unhurried, it’s the type of Afropop CKay and Victony gets consistent props for, although Kemuel’s language is distinctly his, not quite risqué as the aforementioned names but tender, serenading with his milky vocals.

As a child, Kemuel loved to play with choir instruments, enabling a grasp on the rudiments of sound. In 2021, his production for Sukah’s “Spotlight” showcased the atmospheric elements he’s now immersed in. The titular record of that EP—and also the last—demonstrates Kemuel’s appeal: affectionately scripted, the laidback grooves radiate with purpose and passion. Over time we’ve seen artists that produce make great music, and Kemuel seems to have so much in the bag. His journey burns with promise.

RHITA NATTAH

One of the most striking qualities of Moroccan singer Rhita Nattah is her voice; it bears so much emotion and charisma. The next thing that catches your attention is her lyrics, which shine with insight from lived experiences. Although she has been in the music industry since 2016, Rhita Nattah released her first single “Not the Same” in 2019, in partnership with long-time collaborator Samir El Bousaadi. She and El Bousaadi, since the days of her Afrobeats-themed covers, have spent time learning production and songwriting and crafting a sound that is both ancient and contemporary.

“I gave up on everything for the music, and made bloody sacrifices in Morocco to be able to create it,” she tells the NATIVE. “In Morocco, there’s no music industry and artists don’t even get paid their royalties from organisations. Samir El Bousaadi and I used to have two eggs per day and create music. Even though I had a master degree in French didactics and he was working as a graphic designer director, he gave up on his work to live doing his passion, because we can’t imagine ourselves doing something else.”

In early February, Rhitta Nattah released ‘INNER WARRIOR,’ a documentation of her journey and experiences, as regards love, self and Moroccan society. Effortlessly, through traditional Moroccan music, R&B and Soul, she makes room to vent her angst, embrace her vulnerabilities and call out her country’s politicians. “I am gonna tell you things about myself/I didn’t know before/Things I hide from myself, from myself/Oh, some days were dark,” she opens up on “Garden” off ‘INNER WARRIOR.’ 

“Counting all my blessings, I’m not willing/To give up on my soul and my sanity/I have faith in my words and their honesty,” she sings on “Fear Nothing,” revelling in her inner strength. “I want to be a voice for the people, a friend, a sister, through my music and words,” the singer tells The NATIVE. Rhita Nattah is a voice that will be heard for a long, long time to come.

JUSTIN99

The intoxicating log drums and sweet-sounding shakers, accompanied with the heart warming melodies commonplace in Amapiano have become a comforting sound for most listeners privy to South Africa’s burgeoning scene. Ever so often, artists like Justin99 discover new ways to transform the transcendental ‘piano sounds and facilitate an even deeper connection to the listener, devoid of language barriers. Framed within the digital age, a viral moment for an artist like Justin couldn’t be more perfectly timed and well deserved. While many may recognise his 29-second snippet for the #Justin99Challenge, accompanied by striking dance moves from a number of Tiktokers, Justin99’s discography holds other notable tracks.

His debut, “Chipi ke Chipi,” off Amapiano hit-making producer-duo Mellow and Sleazy’s ‘Midnight in Sunnyside’ couldn’t have been a more perfect entry into the scene, a chippy viral hit song with over 2 million plays on Spotify alone. Doubling down on stellar collaborations, Justin99 enlisted Mr JazziQ, Pcee and EeQue for a catchy, thumping rendition on “ZoTata,” alongside “Mozambique” and “Dlala 99,” off the Volume 2 compilation of South Africa’s Black is Brown Entertainment album. From his small but mighty catalogue and snippets of future collaborations with Amapiano heavyweights like Kabza De Small, the producer, DJ, dancer and vibes curator has proven to be a promising act to keep an ear out for.

HORID THE MESSIAH

Intricate songwriting has always been a forte for rappers. Listening to Horid The Messiah, the South African rapper’s formative diet of classics from older relatives and the contemporary model of A-Reece is revealed through the strength of his pen. Horid began releasing material two years ago, pairing glossy, trap-suffused production with narrative zest. The October 2021 debut EP, ‘I V T A P E S’ had four tracks under a runtime of ten minutes, but it was enough time for Horid to flex tightly-scripted bars and exuberant deliveries, with themes like self-belief and romantic fissures scripted with visceral ability.

The Johannesburg-bred rapper continued to forge on, his tendency to collaborate with fellow rising acts—Kaz, Eddie Soul, fellow uNder alumni Scumie—burnishing his credo amongst a community of like-minded folks. Horid’s sobriquet as ‘Baby Jesus’ might reference his diminutive stature but it’s also a reflection of his complete appeal as a music superstar. Modelling and acting for brands, he’s got one foot in the corporate world while the second roams, enabling stellar releases such as “I WON’T TELL” and the ‘While You Wait’ project, both in 2022. “HURT” was the latter’s opener and an indication the rapper sought to probe the greater demons of his mind. “I don’t condone all the shit that I’ve done, this is something that you don’t deserve,” he raps over a thinly sketched production. An immersive project advancing the shock value of glitz, The Messiah’s humane quality comes alive.

Horid walks on a path trodden by the likes of Reece and Nasty C, rappers whose pop-leaning direction does not diminish their dedication to street narratives. The Solo Sae and Ficz-assisted “UHHH” also marked a great start to the year, its  distinct cadences and synth-heavy production endowing the record with ostensible hit qualities. Horid The Messiah’s fine range is demonstrated most recently in his Valentine’s Day-released two-pack ‘Do 4 Luv’, baring, at this point, his double-edged sword of boisterous cuts and soulful introspection.

CHELSEA DINORATH

There’s an obvious sensuality to Kizomba music that lends itself the best to affectionate performances. For a genre whose popularity cuts across multiple continents with Lushophone ties, there’s no shortage of great vocalists and there’s always an influx of fast-rising talent, who understand the music’s form and how to function within it. Angolan singer, Chelsea Dinorath is on track to become Kizomba’s latest superstar, delivering earworm jams with heartfelt intentions.

Even though she’s been making music for much longer, she officially debuted in 2019 with “Retrato Perfeito,” a mid-tempo song where the building blocks for her artistry can be heard in hindsight. In subsequent years, she followed up with diverse singles, going the contemporary R&B route on “With U,” singing in multiple languages on “Toi Et Moi,” and contributing a lilting half-verse to the ensemble cast hit song, “Céu Azul.” While a large part of the last couple of years could be described as her development stage, Chelsea Dinorath is officially in full bloom.

With her richly textured, siren voice and a writing style that boils down the tension of romance into gorgeous songs, the singer’s abilities have been better realised over her singles from the past year. It’s no coincidence that it comes with her full lean into Kizomba, like the winning warmth of her biggest song yet, “Sodadi.” On “Melhor,” log drum infusions accent the buttery groove, showing her willingness to innovate within genre boundaries. Chelsea has already opened her account for 2023 with “Unfollow,” which emboldens the effortless beauty of her voice – a striking artistic trait that will help carry her to greater successes.

FLIER

Flier describes himself as the “purveyor of all things fly.” There’s an enveloping serenity to a Kenyan singer, rapper and producer’s music, where personal dispatches take on a relatable warmth. On “Filthy Rich,” his vocals and minimalistic production choices invites you into his world where he sings his admiration of being rich and being able to make it out. 

Singing and rapping in both Kiswahili and English, his voice cuts across the chorus with the first verse being a dedication to his family and the second verse to his romantic muse, both of which he promises the world to them. His singles are often paired with distinct guitar productions as seen in “Embrace,” “Policy” and “Kile Tumepitia.” The most exciting part about Flier’s career is his ever-diverse creativity which sees him explore diverse subjects. Whether it’s love as seen in “Bandia” or just teasing his production skills in “Run Deputy Run,” which carries clear inspiration from Bob Marley and the Wailers’ 1973 hit, “I shot the Sheriff.”

With a limited digital footprint and a sprawling catalogue of singles that stretch back four years, Flier is yet to hit a mainstream breakout moment but he doesn’t seem keen to break the mode of his operations, seemingly trusting that the music will find its intended audience. Flier’s music found us, let it find you too.

TOLIBIAN

Nigerian street-pop is fond of elevating viral stars with veritable talent. (See: Zinoleesky.) Ilorin-raised Tolibian first popped on Nigeria’s youth culture radar with a series of ear-catching, humour-tinged covers of popular pop songs, with the most notable arguably being his cover of Buju’s “Peru (Refix)”—itself a cover of Fireboy DML’s global hit song, “Peru.” Those covers exhibited the influence of Apala on his vocal tricks, which is fitting since the genre of Yoruba folk music has a deep history tied with Ilorin.

In 2021, Tolibian officially kicked off his journey with his debut single, “Abortion,” a fine display of his ability to deliver songs relaying the Nigerian experience, delivered in a winning mix of pidgin English and Yoruba quips. He’s followed with several well-received singles, setting himself up as an accessible voice in street pop without losing the winning charm of his earlier covers. Even as his voice and style is heavily influenced by Apala, there’s a very modish tilt to Tolibian’s artistry, even approaching the R&B-influenced side of Nigerian pop with songs like “Abaya Palava” and his most recent lovestruck single, “Hello.”

Over the past two years, Tolibian has converted internet listeners into fans with his voice of gold, and the potential for stardom is brighter than ever. With a knack for blending catchy Afropop rhythms with soothing R&B melodies, Tolibian is one to look out for this year — a fresh new voice of the generation we’re looking out for this year.

LEANDRA.VERT

In November, South African Amapiano producer/DJ Musa Keys spearheaded the eponymous release of his label’s debut compilation project, ‘House of TAYO’, packed with contributions from emerging artists on the imprint’s roster. On this compilation, singer Leandra.Vert quickly showed out as a standout performer, turning in indelible contributions across the four songs she’s featured on. With her cherubic, positively dizzying voice, she floats over the saxophone-infused “AboMalume” and  adds an ethereal dimension to the project’s commercial centrepiece, “Blue Tick.”

Before her House of TAYO affiliations, Leandra.Vert was already flaunting her potentials as a singer, mainly opting for soulful pop and R&B soundscapes on earlier singles, including the 2021 debut song “In Too Deep” and early last year’s “Tse Monate” with Mustbedubz. Both love songs, they served as an introduction to her raw vocal talents, which she’s been harnessing better with subsequent releases. Drawing inspiration from a range of artists, including current neo-soul luminary Ari Lennox and soul-fusion rule-breaker Iamddb, the singer has spent ample amounts of time perfecting her craft to fit varying sonic moulds, with Amapiano being the current focus of her sound. The sample size isn’t huge, but Leandra.Vert is already an artist to pay attention to.

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

ICYMI: LIBIANCA, TYLA & MORE ARTISTS TO LOOK OUT FOR IN 2023

Ghana’s Contributions to Afropop History Goes Deeper Than Music

Posted on by Emmanuel Esomnofu

For a relatively small country, Ghana’s contributions to Afropop has been gargantuan. Where contemporary audiences have been eager to praise the incursions of Nigerian and South African pop into popular spaces, the music of Ghana is no slouch in the journey of Afropop. From patenting the classical techniques of Highlife to providing a cache of lingo that’s been used everywhere across the continent, there’s no doubt that Ghana plays an invaluable role in bridging musical evolution with cultural ingenuity, and for too long its flowers have evaded her. 

In the nineteenth century, the music of Africa—and West Africa specifically—was a mix of the various traditional sounds across several ethnic groups and Eurocentric influences, especially from colonists who were resident in countries such as Ghana. Apart from church music, which was sometimes recorded in local languages, what was considered popular music around the 1900s usually had traceable influences from the more equipped Europeans. Ghanaians were the first to take the refined aspects of music-making and filter their own sounds through them, creating Highlife, which is rightly considered the sonic precursor to modern pop music in West Africa.

This essential bit of history hasn’t gone unchallenged. In the past, Nigerians have erroneously viewed Highlife as its own creation, ostensibly due to the fact that the genre became very popular during a crucial period of the country’s independence in the sixties. Artists from the geographically bigger West African country have also minted gold records from its conventions, but would Nigeria have become that conscious to Highlife’s appeal if artists like E.T Mensah hadn’t toured the country? Considered the modern pioneer of the form, Mensah’s creative freedom allowed the likes of Bobby Benson to learn directly from his style, and Benson in return solidified the genre’s standing among the elite class of Lagos with his acclaimed Jam Sessions which would also help in developing many future stars of Highlife. 

More pertinently, it was the five-beat pattern which was adapted from the percussive style of Akan music which provided the sonic template for what’s now known as Afrobeats. Without glossing over the diverse sonic traditions prevalent in accomplished music scenes across Francophone and Southern Africa, it’s almost unarguable that contemporary Afropop as a global phenomenon was largely reliant on the sound of Ghana. Azonto and Hiplife had amassed great followership in diasporan communities before many genres that’s now popular today. On ‘Afrobeats: The Backstory’, a most intriguing episode was when the filmmaker Ayo Shonaiya traced the origins of the five-beat pattern to Ghanaian folk music, also connecting its peculiarity to the primal bounce of Hip-Hop. 

Thus, Ghana resides at the very centre of Black art. No other African country boasts a relationship with such important conventions across music, art and history. Perhaps we can attribute this wide-ranging attribute to the reach of Ghana’s coasts, which although prompting the unfortunate history of slave dealings, was also a factor towards its cultural vibrancy. Quite fortunately, the country has proven eager to align its historical importance with its modern outlook on culture. The revered Kwame Nkrumah was a pioneering figure of Pan-Africanism, and besides mentoring other African personalities who became thought leaders in their own countries, a strong imprint in his ideology is the communion of black communities across the world in fashioning a global front for our own interests. It’s also telling that the great W.E.B Du Bois maintained a great relationship with Nkrumah and resided in Ghana until his death. 

In the past half-decade, Ghana has done important cultural work. From ‘The Year of the Return’ to other musical events which have designated areas of local history to highlight, a lot of people in the diaspora have travelled to the country. With celebrities often making that trip, the perception of Ghana in the international media space has tremendously improved, while music companies such as Audiomack have proven eager to set up offices in the country. Against the risk of trivialising diverse experiences, it’s also important to note that this tourist attention hasn’t always translated into a more vibrant economy for everyday Ghanaians, as we’ve reported in recent times. 

This cross-continental relationship was demonstrated on a holistic scale last year by the American rappers Chance The Rapper and Vic Mensa, who parlayed months of deliberate collaboration with Ghanaian acts like King Promise and Kwesi Arthur into the Black Star Line festival, a multidisciplinary event which was held in Accra’s history Black Star Square and had US superstars such as Erykah Badu, T-Pain and Tobi Nwigwe in attendance. The name of the historic steamship corporation founded by Marcus Garvey, the Black Star Line was an important showcase of Ghana’s decades-long role as a mediator of black cultures and experiences.

Another instance of international stars aligning with the GH culture came through the figure of Kendrick Lamar, who made a trip to the country around the same time his long-anticipated LP ‘Mr Morale & The Big Steppers’ was released last year. Being a rapper who allies closely with his African heritage, Lamar’s move had an almost spiritual connotation. And yes, music hasn’t always been the pulling factor—the rapper Noname whose interests in historic Black Literature brought her to the George Padmore Research Library on African Affairs last year. 

As a Nigerian, one is born to recognise the tensions with our next-door neighbours. In recent times the supremacy of Jollof rice has been the most keenly contested aspect of our shared history, although to that conversation no unarguable consensus has been reached (I’ll wait until I taste Ghanaian Jollof in Ghana before I reach my own verdict). There’s also the more touchy history of Ghana Must Go in 1983 which, it must be said, was spearheaded by a government that had an eye on retaliation (Ghana had done the same in 1954 and 1969) and didn’t necessarily consider the nuances of diplomacy but also humanity, why it is necessary that anyone who hasn’t proven a threat to society should be allowed to reside wherever they want provided they go through the proper channels of entry. 

Growing up, the love for Ghanaian culture was quite visible in social spaces. Even today, without missing a breadth a lot of Nigerians would mention Ghana as the African country they would most like to visit. I remember the homage Highlife musicians such as Cardinal Rex Lawson and Chief Osita Osadebe have paid to Ghana in their songs, either singing in local Ghanaian dialects or referencing the country in storytelling mode. Flavour’s “To Be A Man” had such a character who travels to Ghana to hustle, and upon getting a visit from his friend, reveals that life hasn’t been great to him. A sprinkle of the famous Kuffour name, and Flavour arrives at the cross-cultural blend which was responsible for birthing his genre. Ghanaian-themed bars were also a thing growing up, and during my moments of voyage in reality or through movies, it wasn’t at all strange to see a ‘Baba Ghana’ bar which was owned by a Nigerian.

During the mid 2010s, the Ghanaian sound made a return to the centre of Nigerian popular music through Mr. Eazi. The revelation of Eazi was actually felt throughout the continent, but more poignantly within Nigeria, which was his home country. With songs like “Leg Over” and “Hollup” drawing from the aforementioned five-beat pattern, urban lingo such as ‘ohema’ and ‘charley’ also became widely popular. Runtown’s “Mad Over You” was the sonic icing; mentioning Ghana girls and some famous meals from the country, its resonant production coated the song with the warmth of a love letter, from Nigeria, and indeed the rest of Africa, to Ghana. 

On their part, Ghanaian artists have been forward-facing with the sound. The likes of Sarkodie and M.anifest have frequently stretched hands of collaboration towards other African musicians, and in the process, creating multi-layered catalogues for themselves. Efya, Cina Soul and now Gyakie have reflected R&B excellence, blending its sensitivity with the brimming colours of Highlife. R2Bees, Shatta Wale and Stonebwoy are approaching veteran levels, but there remains a vivid desire for merging the rich sonic history of their country with sounds from elsewhere. In recent times, artists like Amaarae, Camidoh, Black Sherif and Kojo-Cue have showcased the necessary mix of talent and intentionality needed to secure their spot at the zenith of Afropop for the next decade at least.

What is obvious is that Ghana has always been a part of Africa’s desire to fashion its own identity. The government can surely do better in bringing the benefits of its cultural renaissance down to the average citizen, but in terms of embracing its cultural history, Ghana is right now a beacon of inspiration to the entire continent of Africa. As the country celebrates its Independence Day today, it’s surely worthwhile to consider what true independence means and how Ghana has taken the necessary first step of aligning its sociopolitical agenda with the storytelling of its peculiar history.

ICYMI: THE SIGNIFICANCE OF KENDRICK LAMAR RELEASING HIS ALBUM FROM GHANA

NATIVE Selects: A List Of The Best Songs This Week

Posted on by The Native

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

To close out your week, we brought you a stellar collaboration from Don Toliver and Wizkid alongside a slew of singles from Falz, Tay Iwar and more. Today, we have songs that move from Afropop to Amapiano to R&B; these artists—from Nigeria, South Africa, Kenya, and more—showcase their unending talent and passion for creativity. Lock in!

KWESI ARTHUR – “PAIN INTERLUDE”

Ghanaian rapper, Kwesi Arthur showcases once again his brilliant craftsmanship on “Pain Interlude,” his second release of the year after DJ Semtax and BackRoad Gee-assisted “Floor Shake.” Immediately leading in with a daunting key, in line with the tracks title and cover, Kwesi delves into the matters necessitating his frustrations while expressing the need to live his life without regret. Maintaining a mid tempo across the track’s length, Kwesi croons on the memorable hook, “Make I talk about the pain/No pain no gain.”

Wonu

BAABA MAAL – “FREAK OUT” FT. THE VERY BEST

While some may recognise the Senegalese singer from chart toppers like “There Will Be Time” or “Wona,” others can recount his pristine writing contributions to Burna Boy’s rendition of “Alone” off ‘Black Panther: Wakanda Forever.’ Off his three- track release ‘Freak Out,’ the project’s energetic intro serves as the second track from his forthcoming album ‘Being,’ slated for release later this month. Blending the traditional, heart-thumping drums with the visceral electronic production by Johan Eugo, Maal enlists vocals from Esau Mwamwaya from The Very Best. “Freak Out” offers a standout cut from the project, exploring the effect of social media and the internet on Africa and the world community. 

Nwanneamaka 

SPYRO – “WHO IS YOUR GUY (REMIX)” FT. TIWA SAVAGE

On the remix of his viral 2022 single “Who Is Your Guy?,” Nigerian singer Spyro invites superstar Tiwa Savage for an energetic, fun-filled ode to friendships and connections. Over Amapiano and Afropop, Spyro and Tiwa Savage recall the individuals in their lives who carry positive influences and have contributed massively to their growth. Tiwa Savage immerses herself in Spyro’s world and exemplifies her versatility. 

Uzoma

NU FVNK – “BLACK SHADOW” 

Haunting bass progressions are the first thing you hear on “Black Shadow”. With every second’s count the beat incorporates more elements, before Nu Fvnk’s vocals sweep in with the right amount of tension. A song with military leanings, it evokes the poignant heat of civil rights demonstrations. Fvnk’s native South Africa has a layered history of that and his chant-esque writing mirrors that urgency. “Anywhere I go, anywhere I live/ Black shadow on my skin, tryna take the light from me,” he sings with sharp imagery, burnishing the ethos of his unique direction. 

Emmanuel

REXXIE – “CALL MY PHONE” FT. AJEBO HUSTLERS 

With “Abracadabra” still doing a madness on the streets, Rexxie isn’t catching any sleep. He moves closer to the imminent release of a project titled ‘Big Time,’ expanding the scope of his artistry with each song. “Call My Phone” does exactly just that: produced by the mercurial Niphkeys, the song’s balance of affectionate songwriting and cherry production renders a sweet tease about it. Ajebo Hustlers continue on their impressive feature streak, owning the record through their original takes and vivid storytelling. 

Emmanuel

LIBIANCA – “PEOPLE (REMIX)” FT. AYRA STARR & OMAH LAY

Following the success of “People,” released in the later parts of 2022, Libianca taps young Afropop stars Omah Lay and Ayra Starr for the track’s remix. A dreamy blend of melodious vocals from the trio, “People (Remix),” like the original lead in with Libianca’s instantly recognizable vocals and lyrics, “I’ve been drinking more alcohol for the past five days/Did you check on me?” Following up with ad-libs and a full solo verse, Ayra’s mellifluous vocals take center stage as she expresses the all too familiar need to escape reality as she questions her sanity. The slow-tempo track closes out with Omah Lay reiterating the song’s sentiments. 

Wonu

MAJOR LEAGUE DJZ & MAJOR LAZER – “DESIGNER” FT. JOEBOY

Closing out 2022, a surprise collaboration from Major League DJz, DJ Maphorisa, Tiwa Savage and Diplo resulted in a catchy chart topper, “Koo Koo Fun.” For their most recent release, the iconic South African duo, Major League DJz and superstar DJ-producer, Major Lazer tap into Joeboy on “Designer.” The instantly catchy Afro-house number leads in with percussive elements layers over subtle drum patterns as Joeboy sings of rocking his designer items and spoiling his love interest with equally flashy gifts. Midway through the track, the instrumentals take the forefront as the hook repetitively sings “I be rockin my designer.”

Nwanneamaka

BONGEZIWE MABANDLA – “UKUTHANDA WENA” 

Shortly after the release of “noba bangathini” in the earlier parts of the year, South African singer Bongeziwe Mabandla is notorious for fusing traditional Xhosa folk music with more modern electronic productions, creating distinct sounds as seen on his new track “Ukuthanda Wena.” WIth production credits attributed to Tiago Correia-Paulo, marries heavy drum patterns with a techno-esque production featuring layers of percussion elements. “Ukuthanda Wena” serves as the second promotional single of his studio album, ‘amaXesha,’ slated for release later in the year. 

Nwanneamaka

MID3 – “UNDER G”

Fusing the menacing energy of Drill with the colourful melodies of Afropop, “Under G” is a fitting introduction to the sound of rising act, MiD3. He draws from the familiar convictions of the country’s Gen-Z, flagrantly establishing his desire to soundtrack great moments in the present generation. With vocals which instantly stand out, the song’s usage of live talking drums is also a nice touch, earning the artist a striking personality. 

Emmanuel

SHARYN – “WHEN LOVE COMES” FT. JAE EAUX

For all the changes in the modern world, we’ve never lost belief in a Godly presence. That force remains a source of life and hope for many all across the globe, and it’s a transcendent feeling Sharyn evokes on “When Love Comes.” As part of Platoon’s Gospel Heritage compilation, it advances the ethereal vision, a soothing record which builds towards an ecclesiastical atmosphere. Sharyn’s admonition to open our hearts to love is amplified by her warm vocals, a serenade which assures the listener that God is in control of our affairs. 

Emmanuel 

Featured Image Credits/The NATIVE

ICYMI: AFROPOP ON THE RISE: JUST WHEN YOU THOUGHT IT COULDNT GET ANY BIGGER, IT DID

NATIVE Sound System’s DJ Sholz Shares Stellar 2-Pack, “Cruel Love” & “Vex”

Posted on by Emmanuel Esomnofu

Afropop exists at a very interesting juncture right now. In the hands of innovative producers and musicians it’s become a most malleable sound, easily folded with conventions from other genres. That sonic compatibility emboldens the scene with the responsibility of creative risk taking, and few have so valiantly stepped up like NATIVE Sound System. Carved out of the NATIVE Networks, NSS is a DJ collective and producer supergroup that has increasingly touched base with the sounds of Africa and its sprawling diaspora, releasing last year’s ‘NATIVEWORLD’ in alliance with that vision. 

 

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A post shared by shōlz (@djsholz)

This year, the collective has again struck musical gold. Championed by SHOLZ, the release of his two-pack single arrives with much promise. Given the magical body of work which its debut proved to be, establishing the diverse grooves of our heart through earthy, lived-in music and talented spate of artists on the roster. Just as the collaborators on that project embodied the creative vision, so also do the featured artists across these two new songs–including the heavily sought after artist from Abuja, OdumoduBlvck and Chocolate City rappers, Candy Bleakz and TAR1Q (Nu Trybe). 

Cut from a dreamy soundscape, “Cruel Love” starts off with the floating beauty of Somadina’s vocals. The production merges an heart-grabbing drum pattern with finishes of psychedelia disco, ominous tones and retro sound effects playing from the background. Vocally, Somadina’s eighties-evoking sheen meets in harmony with TARIQ’s new-school Trap-welcoming flow. All the mental hoops that comes with hoisting a toxic affair is present, and with skilled precision as well the richly layered sound, their emotions and perfectly set up the second release.

“Vex” is a different beast. Many listeners would likely return from this with Odumodublvck’s incinerating verse playing off their domes, but Teezee’s nostalgia-inducing set-up is just as inviting. At the heart of the song is Candybleakz’s poignant hook, bravely singing, “Na wetin I want I go get, and if una no give am to me, I go vex,” establishing the protestant edge which coats every angle of the record. Odomodu’s gleeful but demanding lyrics echoes his style on “Picanto,” but feels gruffer in delivery which captures the difficult emotions many young Nigerians currently feel.

With the heavy cloud of political activities in Nigeria, a record like “Vex” becomes a stance on democracy, on the supremacy of the people’s will. Bursting with a menacing Drill base, the accompanying elements from producer Adey only serves to heighten the atmosphere. In consideration with “Cruel Love”, the two-pack shines a light on the private and public aspect of Nigerian lifestyle, reining-in strong opinions on what are the most discussed topics in our contemporary society. 

With a background forged by spreading the gospel of breaking sounds from our home state, country, and continent, NATIVE Sound System and SHOLZ’s latest release is a reminder of their penchant for identifying, championing and now producing sounds from this side to the world watching.. The zesty turns of Dance music although charging the songs, leaves ample space for the musicians to impress their distinct perspectives. Beautifully ideated and even better executed, “Cruel Love” and “Vex” is essential music.

ICYMI: OUR FIRST IMPRESSIONS OF NATIVE SOUND SYSTEM’S ‘NATIVEWORLD’

Lojay’s Sophomore EP ‘Gangster Romantic’ Is Finally Here

Posted on by Wonu Osikoya

Lojay is the moment. The talented singer and songwriter arrived in grand style less than two years ago with the release of his debut collaborative EP ‘LV N ATTN’ with record producer Sarz. Since his debut, Lojay has consistently shown off undeniable star power which he backs up with a stellar pen game and a unique vocal cadence. 

Through 2021 and 2022, Lojay delivered deep romantic cuts that soundtracked our innermost desires, while keeping his finger on the pulse of what’s currently trending through records such as “Monalisa,” “Only Fan,” and “Tonongo.” With no signs of slowing down anytime soon, late last year, he drew listeners into his world of automobiles and romance with the electrifying P.Priime-produced record, “LEADER!” Shortly after, he welcomed DJ Maphorisa and Kabza De Small into his orbit with the Amapiano-infused track, “CANADA.”  All these records have only led up to the release of his sophomore EP. 

Arriving today is the 7-track body of work ‘GANGSTER ROMANTIC,’ a brisk 17-minute run which sees the artist at his most honest and his most unified. Across the four new tracks, Lojay blends his silky and sultry vocals with sharp lyricism, expressing personal vulnerability in several melodic confessions.

He opens the project with “YAHWEH,” a romantic number to his love interest, which founds Lojay laying down his cards and painting a picture that visualises his romantic intentions for his muse. The dark chord progression adds a fine and unique layer to the record. Elsewhere on the project, the artist delivers the soulful record, “IYD.” On this track, Lojay dials up his lover boy anguish, infusing the track with a deeper emotional palette than his previous releases. Similar to “CANADA,” the record “AVALABU” is an amapiano-infused number which sees an energetic drum pattern along with Lojay’s catchy vocals. He rounds out the tape with yet anothe P.prime-produced jam titled “OVA,” an uptempo record filled with melodic synth lines and syncopated drum patterns. Here, Lojay speaks on a past relationship he’s dealing with while still showcasing his vocal ability and range. 

With his sights firmly set on expanding the purveys of his artistry, Lojay approaches his sophomore EP with a keen sense of curiousity and a new-found sense of confidence. ‘GANGSTER ROMANTIC’ is a fine addition to his growing catalogue, showcasing yet again why Lojay is one of the most compelling and unique artists within the Afropop scene right now.

Listen to ‘GANGSTER ROMANTIC’ here.

Featured Image Credits/NATIVE/Courtesy of the artist

ICYMI: ASAKE’S TIME

NATIVE Exclusive: Magicsticks Wants to be King of the World

Posted on by Michael Aromolaran

Magicsticks cages his guard dog and leads me into his duplex in Ajah, an upper-middle-class area in Lagos, Nigeria. It was here, in his home studio, that he produced, mixed and mastered all twelve songs in Asake’s debut album, ‘Mr Money With The Vibe’. The album was released in September 2022, only a few days before I visited him. There are two of Magicsticks’ friends in the living room, one of whom is Logos Olori, an up-and-coming artist. He and Magicsticks had first met at Lagos State Polytechnic (LASPOTECH) in Ikorodu, where the latter was admitted to study computer science in 2018; they have been inseparable ever since. It was also in Ikorodu, a city in the north-east of Lagos, that Magicsticks’ career as a record producer took off. He has come far since then, winning many awards and producing one of the most commercially successful albums in Nigeria in 2022.

Born Kareem Olasunkanmi Temitayo to a Christian home—a fashion designer mother and a father who is into “oil and gas”—Magicsticks, the first of five children, was born in Alagbado, Lagos, but was raised in Sango Ota, Ogun State. Later, his family lived in Ifo, also in Ogun. But wherever they went they carried a ravenous appetite for music. Magicsticks recalls his father, a former disc jockey, playing all kinds of music in the house, “from old school to afrobeats to house music to jazz.” “It’s not like I was consciously paying attention to it. But in the house, it’s boom boom every time,” he says.

 

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His was an early entry into music. In his teens, he played the drums for a local church and, on occasion, the piano. Rife are tales of artists who faced disapproval from parents wishing for them white-collar careers. Far from having an apathy for the arts, these parents merely understand the financial perils such a career promises in the country. But such was Magicsticks’s luck that a musical strain runs in the family, and with it, perhaps, an understanding of the futility of unheeding art’s calling. His father would lead him by hand to a record producer in Abeokuta, Ogun State, where he was advised to learn computer engineering. He did; these days he can by himself repair his music production gadgets whenever they crash.

Magicsticks tells me that his relationship with his parents was mostly cordial, but it was sometimes spotty. One time, while in secondary school, he ran away from home. On finding him, his parents bound his hands and dragged him home, he says, the gleam of mischief in his eyes suggesting hyperbole. When he could legally leave home, he left right away and made Abeokuta his new haven; there he pursued his “personal hustle.” It was while in Abeokuta that he got admitted to LASPOTECH, prompting his move to Ikorodu.

“I just don’t buy the idea of living with your family for too long,” he says. In many ways, self-sufficiency has defined his career; most of what he knows about music production he taught himself, an exercise in trial-and-error that began in 2013 when he bought FruityLoops software from Computer Village, a cluster of stores in Ikeja famous for trading electronics. And when he grew tired of sound engineers excising the “emotions” from his productions, he taught himself mixing and mastering. The first song he mixed and mastered, Ryan Omo’s saxophone-rich “Belema,” was released in the summer of 2020.

But before launching his career as a record producer, Magicsticks had donned his father’s old robes, working as a deejay from 2009 to 2013. In 2013, while in Ikorodu, he caught the ear of the music producer Jay Pizzle, who would double as a friend and benefactor. With Jay Pizzle’s help, Magicsticks moved from Ikorodu to the more urban Lagos Island, and in a sense, towards the pulse of Nigerian popular music, for most of the country’s important music events are staged in that glittering part of town. “If you are not yet a big producer, artists don’t really want to fuck with you,” he says. “Jay Pizzle, with his industry influence, was able to help me. If an artist was in the studio, he would tell them to listen to some beats I made.”

It was also through Jay Pizzle he acquired a taste for house music; it would mark Magicsticks’ later records, playful pastiches of soulful pianos and violins and breathlessly percussive beats. Jay Pizzle would also urge Magicsticks to get a producer tag, introducing him to a friend who then coined the famous “Tune in to the King of Sound and Blues,” a line delivered with a nasally cartoonish fervour at the start or end of every song produced by Magicsticks.

It was also through the record producer that Magicsticks met DJ Neptune in 2020 at a music camp organised by Mr Eazi. One of the beats he played to DJ Neptune and Mr Eazi’s hearing would provide the sonic canvas for the former’s “Nobody,” featuring the latter and Joeboy. The high-energy single, with its age-old message of romantic jealousy, was released in March 2020 and was widely received as though it were the cure to the pandemic that had left most people home-ridden. It placed number 1 in a list compiled by TurnTable Charts of the 50 most streamed Nigerian songs in 2020.

Though the song introduced Magicsticks to the mainstream, it was his work with Asake that proved he was more than a tourist. He had first met the artist in a studio, in 2019, through the online comedian Sydney Talker; Asake and Sydney Talker had come to master the former’s 2020 single “Lady.” A self-professed introvert, Magicsticks is not wont to “letting people into my space,” but with Asake it was different. Words desert him as he tries to explain why theirs is a producer-artist union conceived choate. “You know people connect. Sometimes you just meet and connect with them,” he says. Perhaps realising his response tended to the abstract, he seeks to dress it in bone and flesh as he cites the divine. “Maybe it’s just God in the middle of us,” he says, an easy smile powdering his face.

Asake and Magicsticks’ first work was the 2020 single “Mr Money,” which Magicsticks produced, mixed and mastered. It was released with moderate success. Amapiano shakers and log drums, the raves that year, defined the song. With the release of the Olamide-assisted “Omo Ope” in January 2022, the duo had settled into the sonic identity they would carry into Asake’s debut extended play and album. “I think ‘Mr Money’ was us trying to find our sound, and ‘Omo Ope’ was like, yes this is the sound,” Magicsticks says.

In “Omo Ope,” which was an instant hit, Magicsticks blends elements of South African house with Afropop sensibilities. Though there are hints of it in Ryan Omo’s “Belema,” it was in “Omo Ope” that Magicsticks would first prominently use the crowd vocals technique that has come to be associated with Asake, as much as with him. This layering of vocals has the knack of lending a religious feel to even songs with irreligious concerns, so that when Olamide raps about female derriere in “Omo Ope,” Magicsticks’ production gives it the veneer of a sacred subject.

Magicsticks reveals that the crowd vocals, a motif in many of his records, are not computer-generated but rather created by a real-life choir handpicked by Asake. He also reveals his preference for working with instrumentalists while making a record. His friend Goke had played the saxophone for “Organise,” a song in Asake’s album. But Magicsticks often has a hard time getting this ad hoc band to effectively recreate the sounds in his head. Nonetheless, he finds ways around it. “Somehow I find a way to let them understand where the vision is coming from,” he says.

Seeing potential in Asake, Olamide signed the artist to his YBNL record label, and seeing potential in his partnership with Magicsticks, he allowed Magicsticks to produce most of the songs in Asake’s debut EP, ‘Ololade Asake’ (three out of the four songs)—which was released in February 2022—and all twelve songs in his debut album ‘Mr. Money With The Vibe.’ Acutely aware of the label owner’s influence on his career, Magicsticks says, “If it was not for Badoo (Olamide), I don’t think we’ll be having this conversation right now.”

In “Sungba,” a hit song off Asake’s EP, Magicsticks bares his Fuji strain, which would even be more pronounced in “Joha,” a track in Asake’s album. He calls “Joha” the most difficult song he worked on in the album. A version of it had been released when Asake was still a student at Obafemi Awolowo University, Osun State, and was a favourite in the student community. Wanting to improve the original version and yet not wanting to bias Magicsticks’ creativity, Asake let the record producer listen to only a fraction of the original record, and then the producer had to recreate the song using only the faint memory of the beat he had heard. In Magicsticks’ hands, the original version of the song—a high-tempo cracker designed to excite exuberant undergraduates—lost some of its pace.

‘Mr. Money With The Vibe’ debuted at number 66 on the Billboard 200 chart. Also, Magicsticks has picked up several awards including plaques from TurnTable Charts for producing four songs which were the most streamed in Nigeria. The songs include “Omo Ope,” “Sungba (Remix),” “Peace Be Unto You (PBUY)” and “Terminator,” all Asake’s songs. But perhaps the capstone of his achievement with Asake is how, by combining elements from popular genres like Afrobeats and South African house with those of niche ones like Fuji, he has been able to create what sounds primarily like Nigerian street music while exuding a mainstream appeal not common to street music.

The record producer, who turns 28 this month, continues to search for new sonic material. For “Yoga,” Asake’s first single of 2023, Magicsticks swaps Amapiano for Séga, sampling Michel Legris’s “Mo Capitaine,” replacing log drums with the deep rumble of the ravanne. Though a bulk of his work has been done with Asake, Magicsticks stresses the importance of artists working with as many producers as possible, if only to test themselves on a variety of sounds. “Normally I advise artists that they shouldn’t be working with just one producer. I tell them to work with different producers and get different sounds,” he says. He too has worked with a varied few: he produced Niniola’s “I Did It (Bum Bum),” Olamide’s “We Outside,” and Tega Starr and Mr Eazi’s “French Kiss,” to name a few.

The success Magicsticks has had has not lessened his work ethic. He still wakes up at 4am daily and works until 9pm, producing no fewer than five beats. “There’s always stuff to do. There’s always stuff waiting for me,” he says. Unlike other Nigerian producers like Young Jonn and the Grammy-winning Tejiri Akpoghene who have moved into singing and songwriting territory, Magicsticks expresses no such desire. He does not see himself on stage with a microphone singing a song; he sees himself on stage “with my big deejay mixer, controlling the crowd.”

In a room in his Ajah home, there is a board on which the producer writes the names of the artists with whom he would like to work. Some of the names include the giants of Nigerian pop music: Burna Boy, Davido, Olamide and Wizkid. He has worked with all; one name, however, proves elusive. “I just want to produce that record for Drake first, then let’s know what’s next. Drake, I’m looking for you, man,” he says, laughing. There is a sense that, for the producer, Drake is only a metaphor for global acclaim. The King of Sound and Blues, it seems, wants to be King of the World.

 

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Michael Aromolaran is a Nigerian writer and journalist. He is @michaelaromol on Twitter.

NATIVE RESET ISSUE: ASAKE, UNDISPUTED

For Us By Us: Leadership, power & Nigeria’s government of the people

Posted on by Dennis Ade Peter

What is Democracy? Ask many of us in Nigeria and you’re likely to get a uniform answer: Democracy is a government of the people by the people. I remember this particular definition because it was taught to me and my classmates in Primary 4. My memory isn’t photographic but I do remember Mrs. Obasi, the longstanding teacher in that grade and assistant head teacher at my primary school, ensuring we knew that definition by heart. Also, for the purpose of this story, I asked my 11-year old nephew to define democracy, and he gave me the same answer.

By the second year of junior secondary school, a significant part of the social studies syllabus is dedicated to democracy and its system of operation. I can’t remember everything but I do remember the emphasis on citizen participation in electing leaders to various offices and holding them accountable. Also, I remember that Nigeria practices Representative Democracy, where citizens elect officials to legislative house, officials whose jobs are to propagate laws and policies for public good. I also remember separation of powers as a characteristic of Democracy, and being taught the general functions of the three arms of government: Legislative, executive and judiciary.

Along with the democracy proselytisation in JSS 2, I think, we were taught about the autocracy and monarchy systems of government, albeit without any real depth beyond the idea that they aren’t as great as democracy—which makes all the sense in the world on paper. It was agreed upon in the syllabus that Democracy is best and, since that was the system of governance in Nigeria, it was the only one that really mattered. By the time I was in JSS 2, Nigeria was inching towards an uninterrupted decade of democracy, its longest streak after the first four decades of independence were largely lorded over by military dictatorships.

On May 29 this year, Nigeria will mark 24 years of democratic governance system. It will also do so by swearing in a new president, and welcome in newly elected and returned officials into various public offices. For almost a year, the country has been in election mode, which has culminated in citizens taking to the polls to elect choice candidates, starting this past Saturday with elections for president and federal legislators into Senatorial seats and the House of Assemblies.

In these times, and stretching all the way back to the heart-breaking aftermath of the EndSARS protests against police brutality, the overwhelming sentiment has been that Nigerians—the youth especially—should go out and exercise their supreme civic duty: Voting. The reason I bring up the EndSARS protests is because it’s come to define the relationship of many Nigerians to leadership. Like I mentioned earlier, democracy is meant to foster citizen participation in government proceeding—basically, Nigerians have a voice and the government is meant to listen.

As the Lekki tollgate massacre and other killings in the protests’ aftermath showed, the Nigerian government wasn’t only unwilling to listen, it was ready to act tyrannically and with brazen impunity. It was the latest example of power show. In a truly democratic society, none of those things should have happened. And even after they did, people should have been held accountable, but that hasn’t happened till date. It frames how government really works in Nigeria, where the people are meant to be subservient regardless of conditions and elected officials don’t want to work in service of the people.

In the ideal of democracy, there’s an emphasis on government as leadership to the people through service. In Nigeria’s democracy, it’s been repeatedly shown by the powers that be that government is about wielding power. This is why it’s very common to hear Nigerians refer to the presidency as a seat of power, not a seat of leadership. During this election period, I’ve seen way too many tweets referring to candidates and their capacity to “rule,” when the discussion should be better tuned to who’s best fit to serve the country and its citizens.

It’s unsurprising, though, considering that 16 years of our almost 24 years of democracy has been led by two former military dictators from the ‘70s and ‘80s. As much as it is in the past, it feels fitting to say that our democracy is still defined by the country’s relationship with autocracy. That our vocabulary when we discuss public office hasn’t evolved beyond power and ruling, into leadership and service, is easy proof of where we are as a country.

To be realistic, being in public office comes with its set of powers but as is often said, with great power comes great responsibility. In Nigerian democracy, though, power is just that—power. Responsibility be damned. This is why many politicians and their affiliates approach elections as a do-or-die affair, because getting into office means assuming great power where responsibility is arbitrary. It’s why elections in Nigeria are widely considered to be rigged in favour of those willing to attain that power by any means necessary, whether it’s through bribery or violence. It’s also why an entire generation–this writer–included has grown up disillusioned by the power play at hand, choosing instead to find pockets of joy where we can.

If elections are seen as contests to bring in leaders meant to serve and point the country in a better direction, there would be less emphasis on bringing people into power from all sides of the electorate. This current election cycle might just be more proof of how Nigerian democracy works, especially in relation to how officials work to get into office. Since Saturday’s presidential and federal legislative houses elections, there’s been widespread allegations of irregularities, from voter suppression and disenfranchisement to blatant rigging and general lack of transparency. Regardless, winners have been announced.

Nigeria practices democracy but time and again, but it’s more about who’s at the top lording over the rest of us at the bottom, and these elections have yet to really topple that status quo. Maybe that will change one day, but right now, our democracy doesn’t look like it’s acting as a government of the people by the people.

ICYMI: NIGERIANS ARE DEMANDING ACCOUNTABILITY FROM INEC FOLLOWING THE 2023 ELECTION

The first episode of ‘Voices Rising: The Music of Wakanda’ is now streaming on Disney Plus

Posted on by Nwanneamaka Igwe

Last November, Marvel Studios ‘Black Panther: Wakanda Forever,’ the Ryan Coogler-directed superhero film set in fictional kingdom of Wakanda, was released to rave reviews. Arriving with a Ludwig Gorasson-produced soundtrack which included the pensive and memorable singles “No Woman, No Cry,” a heart-wrenching solo performed Tems and “Lift Me Up,” with Rihanna, the new film and its accompanying score set out to tell a story of grief, love, perseverance and celebration.

Featuring a talented spate of continental stars including African talent led by Burna Boy, CKay, Tems, Fireboy DML, Bloody Civilian, DBN Gogo and more, and Mexcian performers such as Vivir Quintana and Mare Advertencia Lirika, the music from ‘Black Panther: Wakanda Forever’ pulled together an eclectic mix of sounds and genres that served to further bolster the film’s message of grief.  

Now, Marvel Studios wants to further unveil the world behind the film franchise. Arriving yesterday on Disney Plus, ‘Voices Rising: The Music of Wakanda Forever’ is a mini-documentary which gives audiences a behind-the-scenes look into the making of the ‘Black Panther: Wakanda Forever – Music From And Inspired By’ soundtrack. 

The first episode takes audiences to Lagos, Nigeria where recording for the album began and took shape. Titled ‘Nigeria: Past is Present,’ the debut episode paints a colourful picture of the early stages of the film’s score, taking it to Lagos where this publication’s very own Seni Saraki, Lady Donli, Lmbskn and more, laid the foundation for what would go on to become a commingling of sounds and cultures.

Directed by Bernardo Ruiz, co-directed by Meji Alabi and produced by Serin Marshall, the three-episode series is executive produced by Ryan Coogler, Sev Ohanian, Zinzi Coogler, Peter Nicks, Ludwig Göransson, Kevin Feige, Brad Winderbaum, Louis D’Esposito, Victoria Alonso, Jimi Adesanya, Justine Nagan, Bonni Cohen, Jon Shenk and Jeff Redmond. Co-producers are Lauren Goralski and Gaby Arvizu.

Subsequent episodes, ‘Mexico: Con La Brisa’ and ‘London: Bring It Home,’ will begin streaming on Disney Plus on March 7 and 14, respectively. Until then, viewers can dive into the first episode which brings the world around the album closer with the key players who brought it to life.

Watch the trailer of ‘Voices Rising: The Music of Wakanda Forever’ here. 

Featured Image Credits/NATIVE

50 Years of Hip-Hop: A Current Look At Nairobi’s Thriving Rap Scene

Posted on by Tela Wangeci

Hip-hop culture is intricately tied with youth identity in Kenya, made even more evident by the progressive rap scene in the country’s capital city, Nairobi. Associated with creative freedom and exuberance in the three-plus decade since its emergence, rap music has evolved into a dominant art-form and hip-hop culture is a way of life with distinct quirks morphing alongside different generations.

As with most early rap scenes across Africa, the beginnings were humble but the ambitions are no less inspiring. In 1991, artist-turned-actor Jimmy Gathu released “Look, Think Stay Alive,” and the pairing of his laid-back flow with hard-hitting drums helped make it an impactful single. The song, which publicised safe driving, received massive airplay and caused a shift in a music industry where foreign songs received more attention. At the time, the local mainstream’s focus tilted towards bands and artists whose sounds were heavily built on the fusion of traditional instruments. All this included a lot of singing, which meant rappers did not have a platform. The commercial success of Jimmy Gathu’s single and the rise of rap-centric shows such as Mzizi helped in fostering the rise of Kenyan Hip-hop.

There’s a ton of historical gaps to fill in the 30-plus years since rap music’s mainstream advent, but there’s an overflow of talent and success in the present that suggests that Nairobi and Kenyan rap is enjoying a prolonged golden era. In this moment, and stretching back over the last decade-plus, the most obvious names are Khaligraph Jones and Octopizzo, two relentlessly prolific rap artists that played primary roles in Kenyan rap growing beyond borders—creatively and commercially. In an interview with the Youtube channel Cleaning The Airwaves, Khaligraph rubs his impact in the industry by insisting he was the first Kenyan to jump on a trap beat. While this is an issue that is greatly debated between the Khaligraph and Octopizzo fandom, its result saw the rise of rappers switching from social-political issues and adapting more accessible themes that not only showcase their writing ability with wordplay but also their flexibility in production.

With the success and dynamic artistry of these two superstars—and more forebears—as OGs, new classes of rap freshmen emerge with distinct approaches and identities to their craft. It’s still all Hip-Hop: Shrappers, Drillers, Kilimani babies and more have carved a new niche in the scene. Creating a ubiquitous sound that peels new layers to their artistry, the current classes of younger rap artists have seen new names rise up defying the odds. “Boutross has to be the biggest artist in Nairobi and this was not the case three years ago,” a rap enthusiast tells the NATIVE. Often known as the shrap god, Boutross has stood the test of time as a pioneer of Shrap. Unlike rap, the subgenre took a new approach to its creation. Paying attention to flow rather than hard-knocking lyrics, the genre thrived with witty bars and occasion bragging. New ideas are rarely welcomed in a confined society where rules define your every move and to many Hip-Hop heads were adamant to reject the subgenre teaming it as not “hard enough to be termed as rap.”

In 2016 Musau Mumo, Dope-I-Mean, Jovie Jovv, Boutross, Kay Green, and more affiliates were creating an upbeat breed of rap that resonated more with the current generation. On heavy 808s, bouncy drums, and hi-hat electronic beats, they combined English and Swahili creating slang that saw the birth of Shrap. Its defying moment came with the release of Jovie Jovv’s “Kiasi,” the lean-advocating song that coupled with weed and sex lines saw an attention shift. Unlike the rap songs that were flooding the mainstream industry, “Kiasi,” was playful and one you could trap to. To most Kenyans, this is how they were introduced to the sub-genre. Like a foreshadowing of their greatness, Boutross is a testament to their gospel. One of the biggest artists in Kenya he has built a fandom of shrappers who are loyal to him and he stamped shrap’s authority with “Shrap Over The Rest.”

Like Boutross, Wakadinali also has played a huge role in shaping the rap industry. According to 2022’s Spotify Wrapped, they were one of the top three streamed artists in Kenya. Consisting of Scar, Mad Munga, and Sewer Sydda, the trio has revolutionised the face of Hip Hop in Nairobi. There’s an identity that Wakadinali represents that people are drawn to. For over two decades, they have written Hip Hop on their own terms with each release unveiling greater potential. Whether it’s fusing reggae with hip-hop as seen in “Rong Reggae“ or scintillating on cutthroat cyphers, Wakadinali is incredibly dynamic without losing any of their gritty edge. With over four projects under their belt and still flourishing as solo acts, the trio has a dedicated following among the Nairobi youth.

Their relentless consistency has seen them rise from underground stars to household names. With Hip-Hop inspired percussions, the trio’s precise skills and knowledge of their audience places them on a pedestal. Representing the ordinary Kenyan youth their brevity matches Mashifta’s with the technical skills of Ke rap forefathers, Ukoo Fulani. Three years ago when Nairobi was undergoing a musical renaissance, Wakadinali’s “Morio Anzenza, ” emerged like a fast and furious bolt from the blue. Fusing raw sounds and grimy beats, the single sounded like the past, present, and future of Kenyan rap music all wrapped up at once. Mad Munga’s helter skelter flow and Scar’s lethal lyricism opened up the minds of the youth and the people and become aware of our people, our situation, our community, and our knowledge of self. Featuring Dyana Codds her ice-cold cadence brought new conversations to the table: Women rappers in Nairobi. Her ability to match up to Wakadinali’s proficiency proved that women can own the mic and drop flows. While the conversation of needing more women in the spotlight is unending, this was not the first time a woman outshined expectations in rap. Just like US Hip Hop had Lil Kim, Missy Elliot, and more, Nairobi has its fair of rap first ladies.

“Nazizi was the first lady to boldly step into the scene when ladies weren’t really at it. She had a very impressive run in the rap game as a solo act before forming the group Necessary Noize with Wyre, and while at it she worked with the best in the game at that time, namely Kshaka, Ksouth, Tedd Josiah and the list is endless. The First Lady of Hip-hop as she’s known, Nazizi had a very dope run when coming up.”Ondu, a Hip-Hop enthusiast and podcast host tells the NATIVE. Shaping the space for women, Nazizi’s pen game was adorned with punchlines and wordplays that went above sexism and misogyny. Her songs covered a wide range of themes encouraging girls it’s okay to make the first move in “Kenyan Girl, Kenyan Boy.” For many women in the industry, Nazizi was the first embodiment of a Kenyan woman rapper.

Currently, Nairobi’s rap scene is undergoing an exciting period celebrating the highest rate of women in the industry. Rappers such as Tulia, Silverstone, and NATIVE’S 2021 Fresh Meat Alum Groovy Jo are dominating the industry. Preaching body positivity, sexual liberation, and freedom, female rappers have a platform that was not there previously. While the number still lags behind, the growth is commendable highlighting the genre has evolved making space for both men and women.

Rap groups have always been an aspect of rap. Creating a catalogue of hits, rap groups such as Kalamashaka, Mau Mau, K-South, Mashiftar, and more showed that unity is the basic unit of a rap group.”Kalamashaka is one of the most successful Rap Groups ever do it in Kenya and East Africa.”Ondu tells the NATIVE. “These guys were heading major gigs in Kenya mid to late 90s. They even opened for Coolio and Lost Boyz Crew between 1996-98, performed for a crowd of 70,000 people in Nigeria, rocked stages in Sweden, performed and recorded jams with Dead Prez, and were even featured in the Source Magazine, the longest-running Hip-Hop/Rap publication in America. They were so huge Snoop Dogg talked about them back then saying they were the African WU-TANG CLAN. They later formed MAU MAU CAMP which comprised Nairobi-based rappers mostly from Dandora.

“Ksouth were the originators of that new Funk that wasn’t revolutionary raps as much as they did some social political & conscious tracks. They did comical rap which in Tanzania is called Rap Katuni. The duo which consisted of Bamboo and Abass created the sub-genre dubbed Kapuka which has been an intricate part of Kenya’s sound. K-South were so huge that by just dissing the new style Banda which Ogopa Djs was experimenting with, they gave birth to a whole genre called KAPUKA,” Ondu shares. Originating in the late 1990s with artists such as Redsan, Bebe Cool, and more, Kapuka is a fusion of hip-hop, reggae, and African traditional music styles and has grown to become one of the founding sounds of East Africa’s music scene.

Looking back, Hip-Hop has evolved into a solid reflection of Kenya’s ascendant talent. Stars such as Mashifta who enjoyed massive success when they dropped their first two tracks, “System Ya Majambazi” and “Pesa Pombe na Wanawake,” which were well received by the masses thus enjoying airplay on mainstream media before the government flagged the songs down due to their message. The genre has made an impact socially, politically, and emotionally.

Currently, the present class of Hip-Hop freshmen looks hopeful and the future is brighter for Hip-Hop on the continent. Buruklyn Boyz is the biggest export from Nairobi in the rap scene making astronomical steps with the release of their debut album ‘East Mpaka London’ and even featured as curators for 2022’s Boiler Room, they showcased the genre has moved from the streets into boardrooms. Solo acts such as STL and Lness have shown ladies they can spit bars and look pretty while groups such as Camp Mulla, Bamboo, Big Mike,Kapten, and Kantai made it cool to rap in English making space for the Kilimani rap babies.

“We are at a space where KE HIPHOP is the genre with the most Nominations and most consistent appearance on most if not all Music Award shows in Kenya, East Africa, and Africa at large,” Ondu says about Kenyan rap at the moment. “At the recently concluded SOUNDCITY awards, Ke Hiphop had 4 Nominations and a major performance on the big stage in Nigeria. Tell me what that is if not GROWTH?? The only stand-alone genre with its own Award Show. That looks like growth to me.”

EAST AFRICA’S WOMEN EXECUTIVES ARE CHALLENGING THE MUSIC INDUSTRY’S MALE-DOMINATED NARRATIVE

Nigerians are demanding accountability from INEC following the 2023 election

Posted on by Emmanuel Esomnofu

On Saturday, February 25 2023, Nigeria held one of its most pivotal elections till date. Following eight years of rule under the reigning All Progressive Congress (APC), the country has taken massive blows to its economy, made worse by a declining currency and the rising price of petrol. In the run-up to the election cycle, these issues were only exacerbated by the ongoing naira and fuel scarcity and increased violence and brutality from authority. With all the strife in mind, many Nigerians across various age groups, tribes, and backgrounds were frustrated with the current administration looking to the recently concluded Presidential, house of Assembly and Senate elections as a time to vote out its inept leaders.

Elections in Nigeria isn’t an activity for the lighthearted. As our history books go and the first-hand experience of many who have lived in the country, elections are peak times for the instigation of corrupt and violent practices. Despite the introduction of the new bimodial accreditation system which was introduced to curb issues with overvoting, this past Saturday was no different with several reports of malpractice, voter suppression and violence across various states in the country including Lagos and Rivers State.

All eyes are on Nigeria’s electoral body, the Independent National Electoral Commission (INEC) which is currently under scrutiny for the increasingly disturbing reports surrounding its lack of proper planning and implementation. In the run-up to Saturday elections, popular mistrust in INEC shot up the roof. Citizens had a lot to worry about; from the logistical efficiencies which made voter registration and PVC collection so daunting, to widespread images of adolescent-looking children accredited as voters, the dominant conversation going into Saturday was whether the INEC would adequately carry out the job it had been preparing for the past four years.

Last year, the INEC chairman Prof. Mahmood Yakubu demanded an election-budgeted N305 billion in addition to the annual N40billion the organisation is allocated, citing the growing costs of manpower and resources it would take to organise polling units across the 36 states of the country. Having being availed of the huge monetary resources it demanded for, many Nigerians looked to the 2023 elections as a time for INEC to make good on its duties.

On a national scale,  elections happen once every four years, a timeframe that should allow for sufficient preparations for a civic responsibility that determines the future of a country. Electoral malpractice and negligence shouldn’t be a political discussion in these times but as we have seen often across the African, true democracy is still very far off. The leaders of old systems bank on widespread corruption to keep them perpetually above removal from public office. As an electoral body charged with impartiality to the Nigerian populace, the 2023 elections were a let down, which massively highlighted the body’s gross ineptitude. 

Perhaps the earliest demonstration of an unplanned election was the late arrival of INEC officials at polling units across the country. On Saturday, the election was scheduled to start at 8.30AM, however, by mid-day, several reports reached social media of the zero attendance from officials and in some cases, their arrival without the adequate voting material. Between those hours, millions of Nigerian voters resisted the urge to return home, determined to cast their votes for the candidates of their choice. 

Even with the late arrival at polling stations, it was gathered that the officials were understaffed and sometimes undertrained, slowing down the overall voting process well into the night at some polling units. For those who stood for hours in queues that Saturday, it was considered a fair price to pay for good democratic representation in the next four years. Still, INEC officials weren’t all voters had to suffer; in the states of Lagos and Rivers, several incidents of thuggery and voter manipulation were recorded, and it’s something that has no place in any voting space at all, let alone in national elections. 

Among the discrepancies that were allowed to stand by INEC was the gross persuasions ongoing on the day, as officials attempted to sway votes in favour of APC’s running candidates. Through these illicit practices by officials at the polling units, there was a deliberate frustration of electorates at several polling stations. Working for the public entails communicating with the public, but on that Saturday, the relationship was more hostile than conversational in many polling units across several states. The voting process dragged on till late hours of the night, with voters across several regions present at their stations until 11pm in some cases, and some others even later than that. 

Alongside this, INEC failed to adequately present its officials with all the necessary tools. In some polling units, reports circulated of citizens offering to share essential materials like power supply, ink, internet—things the INEC should have had available. There was also a suspicious motivation to keep election results from being uploaded via the BVAS portal. Many voters complained that after stations had counted their votes, the officials repeatedly found excuses to avoid uploading the results. There were more direct instances of malpractice, a viral video taken from Apapa in Lagos showing an INEC official who was manipulating results in favour of the APC. There were also result discrepancies on the iRev website where polling units were displayed; in some were uploaded faces of electoral officers rather than results; some others had photos of unverifiable quality, white-toned and mostly unreadable. 

Despite their numerous gaffes which took place over the weekend, INEC remained largely silent on the issue. A shoddy statement was issued on social media concerning the widespread issues of the iRev website, blaming the “technical hitches related to scaling up the iRev from a platform for managing off-season State elections to one for managing nationwide general elections.” The reported cases of malpractice and inefficiency were paid no mind, and on Sunday afternoon, the National Collation Centre was declared open in Abuja, although a number of states still had local governments that hadn’t voted at the time. 

In parts of the country where voting didn’t happen because of logistical problems or violence, INEC gracefully scheduled a rerun on Sunday. These were mostly in the southeastern part of Nigeria, where there were massive accounts of voter suppression prior to the elections and even during. As someone who resides in the region, I know firsthand that potential breakout of violence would have been reason enough for many people to not vote, but that wasn’t the case in most Eastern states. The people had great will to participate, and often INEC let them down, reducing a great number of voters during the PVC collection stages. In the days to the election, it was reported that two hunters came upon a discarded cache of PVCs in a bush within the Akamili community in Nnewi, Anambra state. 

At this very moment, there are still many electorates who haven’t gotten a chance to vote. Across Abia, Imo, Enugu and parts of Anambra, the number of disenfranchised voters is largely unknown, which is an anomaly that shouldn’t be allowed to stand. Speaking to a voter from Ogidi, he affirmed that no one voted in the 3000-populated polling unit of Ward 1. “They arrived late with just 800 materials,” one of our sources said, “people refused and requested they should bring the whole material and refused them to start the voting because they won’t vote half. Inevitably, they agreed to come back the next day which was Sunday; we went there around 8am, no INEC officials showed up. I’m so hurt,” he shares with the NATIVE.

Few days before the elections, the Federal High Court in Lagos stopped INEC from entrusting the distribution of election materials across the state’s polling units to the Lagos State Parks Management Committee and its chairman, Musiliu Akinsanya, popularly known as MC Oluomo, a member of the APC who’s the same visually implicated in threats against Igbo people at a Lagos-based polling unit. Ruling in favour of the Labour Party and five others, Justice Chukwujekwu Aneke ordered an interlocutory injunction which prevented any such association. Other situations, such as liking a post criticising Labour Party candidate Peter Obi, has put a hovering question mark on INEC’s supposed objectivity. 

Prior to the 2000s, INEC was founded to checkmark the country’s adherence to democratic institutions—a crucial foundation meant to ensure that the citizenry’s choices were elected and adequately represented at the helm of the country’s politics. In the years since, the electoral body has largely split opinions, with some of the view that it has corrected some of the deficiencies which rocked elections in times past. Others haven’t been so convinced, and for good reason, as INEC have been prone to work in relative obscurity without revealing their practices to the suspecting eyes of Nigerians.

INEC and its residing chairman, Professor Mahmood’s insistence on allowing things to move on as though voter suppression is not being carried out before our very eyes, is quite disheartening. If anything, his imminent sack should come with charges locating his place in the disruption of Nigeria’s democracy, leading a corrupt process that has seen many declare him the worst chairman of INEC ever. 

Prior to the elections, President Muhammadu Buhari promised to concede to INEC to ensure free and fair elections. Not only has the election not been free, the challenges of security have proved to be anything but fair. In all this, the Nigerian Police should also catch its due share of criticism, showing as we’ve seen in videos that they’re working more in tandem with detractors than they are on protecting voting citizens. Such anomalies feed the idea that corruption in this election cuts across several governmental and paramilitary agencies, and with the overwhelming evidence that’s been recorded and shared online, it’s more than an idea at this point. It is the ugly truth.            

                                         

INEC remains questionable in all of this. In light of the inefficiencies we’ve so far witnessed, the mistrust of the citizenry is established on solid grounds. As votes continue to be counted, the shouts for malpractice have been deafening. The results of Ekiti state remain keenly contested while re-run elections in Delta state are allegedly being manipulated with state power. Final results would expectedly be announced in the coming hours but it’s quite a hard position that INEC has placed Nigeria in.

FOR US BY US: WHY THE FORTHCOMING ELECTIONS MATTER TO YOUNG NIGERIANS

Best New Music: Falz & Tekno’s New Single “O Wa” Offers A Timely Message About Radical Action

Posted on by Uzoma Ihejirika

Throughout his career, Falz has never shied away from pairing his musical talents with his political leanings. The lawyer-turned-artist has managed to find a sweet spot between entertaining listeners and provoking thoughts about the dysfunctions in the Nigerian social and political structures. On “Senator” off his 2014 debut album ‘Wazup Guy,’ he mocked the selfishness of the country’s ruling class as he rapped in his popular comic drawl, “Take the people property/You no dey do things properly/Calculate you no show working/You say na summary.” Falz, in an interview with Audiomack World, revealed that political activism has always been an integral part of his personality. “I grew up with both my parents as activists,” he said “I was born into that sort of family, that sort of background, so, inevitably I was always gonna have that aspect of me.”

Three days before the 2023 presidential election, which was held on February 25, Falz teamed up with fellow Nigerian artist Tekno on “O Wa,” his single of the year. The Chillz-produced track calls on Nigerian citizens to not be afraid to step away from and cast out any government that doesn’t respect their rights to better and inclusive policies. “All the tax wey we generate/Why the cash no dey circulate?/And when we start to calculate/Everybody come dey agitate,” Falz sings. While the Nigerian economy ranks as one of the richest in Africa—courtesy of the late 60s boom in the petroleum industry—a majority of the country’s citizens still grapple with poverty, with the 2022 Multidimensional Poverty Index survey confirming that 63 per cent of persons in Nigeria (133 million people) are multidimensionally poor.

In 2018, Falz’s commentaries on society and politics shrugged off the comic edge and adopted a sharper, pointed tone. In May of that year, American artist Childish Gambino shook the collective consciousness of the world with “This Is America,” whose lyrics and accompanying music video addressed issues of racism, police brutality and gun violence in the United States. Gambino’s “This Is America” inspired many artists from around the world and spawned global remixes from France, India, Ghana, South Africa, Afghanistan and Iraq, among others. Falz was one of the artists who drew inspiration from that track. His version of the song, as expected, fixed the searchlights on the problems bedevilling Nigerian society, from political corruption to insecurity to fraud. The music video drew the ire of the Muslim Rights Concern (MURIC) who ordered Falz to take down the video because it showed women wearing the hijab and dancing Shaku Shaku, a popular street dance. 

The massive support Falz received for “This Is Nigeria” egged him on into bolder territory. On his 2019 fourth studio album ‘Moral Instruction,’ over Fela Kuti samples, he gave a scathing critique of the Nigerian political and religious classes as well as the citizenry. On “Johnny,” he railed against police brutality; on “Talk,” he criticised corrupt politicians (even sparing a moment for MURIC); on “Amen,” he condemned the antics of unscrupulous clerics; and on the Chillz-assisted “Paper” and the Demmie Vee-featuring “Hypocrite,” he lambasted the broken compass of the Nigerian people as well the folly of homophobia. While Falz’s songs have got their fair share of criticism bordering accusations of misogyny and feminist-bashing, ‘Moral Instruction’ was a notable project as it marked the growth of a (flawed) artist taking up the onus to speak against power.

The bedrock for Chillz’s production on “O Wa” is the Fela Kuti-birthed Afrobeat, drawing on signature elements such as sparkles with horns, trumpets and saxophones. Kuti’s music is an essential part of the relationship between music and politics in Nigeria, with his tunes soundtracking a generation of political and societal injustices, while also inspiring thousands of artists in Nigeria and around the world. On “O Wa,” Chillz, in a subtle mix, adds those predominant Afrobeat elements to the log drums of the rave-of-the-moment Amapiano. Chillz’s production gives “O Wa” a danceable quality but it doesn’t steal the shine of the song’s poignant message. 

“Because/It’s a critical reaction/My country no get formation,” Tekno sings on “O Wa,” blending bits of lyricism with his trademark melody-driven style. “O Wa” isn’t Tekno’s first attempt at political commentary; between 2015 and 2017, when he dominated the airwaves with hit singles “Duro,” “Wash,” “Pana,” “Diana” and “Yawa,” Tekno released “Rara,” an Afrobeat-inspired record that mourned the infrastructural and democratic states of Nigeria. A few days ago, he released “Freetown,” decrying issues such as child beggars, fuel scarcity and unemployment. On “O Wa,” he and Falz transform their angst into a sweet-sounding tune. 

But the message in “O Wa” is anything but sweet. Falz and Tekno are mostly concerned with inspiring listeners to rise and, with their voter’s card, reclaim their power from corrupt political leaders. “Why you no give me change (Change) I para/I curse the driver, I tell conductor say “waka”/Stop the motor I need to come down, I tire,” Falz sings. In the Nigerian context, o wa—a Yoruba saying—is spoken by passengers in public transport when they are about to alight at their destination. In the accompanying music video, co-directed by OyeTwoPointO and Falz, the country is a chaotic space, with Falz and Tekno acting as galvanising forces to lead the people to grab change, even with force.

“O Wa” possesses a timely message as it urges citizens to use their votes at the polls to create the kind of Nigeria that they want to live in. Although the presidential election was held over the weekend, it doesn’t mean that the fight for proper governance is over, no thanks to the reports of election rigging and violence. With votes currently being counted across the country, and the gubernatorial elections two weeks away, the message in “O Wa”— “Do not be swayed by lies and kick out poorly performing government”—still rings true.

Stream “O Wa” below.

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ICYMI: The many layers between music and politics in Nigeria

NATIVE Exclusive: DJ 4Rain is Embracing His African Roots

Posted on by Emmanuel Esomnofu

On the day of DJ 4Rain’s conversation with the NATIVE, he had just returned from Egypt. His trip to the North African country was both personal and professional: since his early career, the French-born producer and DJ has been very pragmatic in seeking out inspiration. He has resided in a number of cities—London, Paris, Montreal, Toronto, Miami—and that vast cultural palette informs his eclectic musical style.

4Rain’s most recent undertaking is however his most important yet as he’s made trips into Africa in recent years, performing events and collaborating with musicians and fellow producers. Forthcoming on the 24th of February, is his live mix which was shot in the historic town of Cidade Velha, a United Nations Heritage centre. “We planned it about a year ago,” says 4Rain, whose parents were born on the island of Cape Verde, where the town is located. “I haven’t been in my country for fourteen years, and we planned to make it there, and we wanted to make something really special. It was like, ‘what can we do in our home country that can have an impact on the world?’ We chose Cidade Velha because it’s one of the biggest stories of the country.” 

 

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In collaboration with his team, 4Rain did more research and the magnificent natural scenery only added to his zeal to have a DJ set there. Cidade Velha, considered the oldest settlement in Cape Verde, was discovered in the 15th century by Portuguese traders. Over the centuries its importance bolstered as a route for intercontinental trade while Portuguese colonial efforts in other parts of Africa was largely established from this stronghold. With dealings in slaves, the town became a multicultural hub, although by the nineteenth century that enterprise fortunately withered. Most of the breathtaking structures—a royal castle, a 15th century church, the town square—however remain in place, making Cidade Velha officially one of the Seven Wonders of Portuguese  Origin in the World and UNESCO World Heritage Site. 

4Rain’s forthcoming DJ mix as part of the celebrations for Black History Month is therefore quite the curation. Such meticulous planning to showcase what might be the most underexposed of the world’s wonders is an invaluable lesson in paying artistic homage. “The live is a mix of a lot of African music and also some music from Cape Verde—it’s like a mix of all my favourite artists. I tried to share the best music with emotional [resonance]; so there’s a lot of rhythm, there’s a lot of emotions”. Being a musician and particularly being Black, the significance of Black History Month isn’t lost on 4Rain, and he’s “very proud” to share in its celebration this year. “We have the opportunity that people will listen more to what we have to say in this period,” he affirms. 

A global name, DJ 4Rain has been rocking with the creme de la creme of the music industry for a while now. He started out early in the bubbling French scene, by his late teens already gathering a credible fanbase with his spirited takes on electronic music. He would become acclaimed in the producer-DJ lane, making incursions into the Canadian and US scene where he’d lived in the city of Miami. JLV, who managed his early career, introduced him to the camp of Meek Mill and 4Rain worked on the ‘Dreams Worth More Than Money’ album. Around this time in 2015, 4Rain released his debut single “Call Me”, a commercial success which reached the peak of no. 2 on the Shazam French charts. 

Right from the start, 4Rain has always had the sort of close mentorship and protection which grounds him in positive ideals. His elder brother frequently travelled and joining him expanded his perspective on life. He also tells me that he began producing by watching a friend create music steeped in Cape Verdean and Portuguese music traditions, funana and kuduro respectively. “That’s the way I started,” he said, “And one day I said, ‘let me try something’.” Although he stopped, two or three years later he began DJing. Production would come again way later, some eight years ago. This time 4Rain had more than just the fundamentals going for him; attuned closely to his individual journey, his production often traversed geographical sounds, representing the high levels of consciousness and lifestyle to be found in different places.  

“Whatever” coaxes a memorable performance from Sasha Ogletree, her vocals serenading with shiny lightness. As with most EDM songs, the feeling of exhilaration arrives mostly from the beat but 4Rain’s perfect soundscape gives just as much importance to the featured act. “I Don’t Belong” employs similar use of the soaring vocals, pairing existential concerns with the sharp edges of the electro-based production. 4Rain flavours “You And I” with the zesty turns of Techno, released sometime last year. Navigating the nuances of the close-lying genres, there’s no surprise that varied demographics and acclaimed festivals around the world have welcomed 4Rain into their midst.

More recently, he’s been exploring African sounds. Even though DJ 4Rain wasn’t born in Cape Verde, he never felt alienated from its musical culture. His father played a bit of the guitar and would regularly listen to Cape Verdean music, most popularly Cesaria Evora who was nicknamed ‘The Barefoot Diva’. It was later in his life that EDM savants like Paul van Dyk, David Guetta and Tiesto replaced the affinity for Hip-Hop, another genre of Black origin that has been widely influential across the world, much like House and the ever-ascending Amapiano has done in recent years. 

“For the past five years I’ve tried to connect more with my country, with my community” he says, “I want to know how my life would be different if I grew up in Africa, because in Africa how people act together is different from how Africans in France or in Europe are together. In Europe, there are white people, there are Black people, and we’re treated differently from how it would be if I grew up in Africa. That’s why I’m trying to connect as much as I can with my country, and that’s what we tried to achieve with the Cidade Velha mix.”

 

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Like most DJs, 4Rain travels for the sound. With any country he enters, he embraces the ebbs of society and applies them to his music. A scroll through his Instagram page gives insight into what he’s been doing; early on, a viewer would behold the magnificence of Egypt’s world-famous pyramids and the ancient peculiarities of its landscape. He also played in Morocco not long ago, soundtracking a great night for the residents of Marrakech. 

“The first time I was in Africa I didn’t know how it’s gonna be,” he says, “because I used to play a lot in Europe where they consumed House music. I was really surprised that it was like—it was amazing, in Africa I feel like the people feel you more than other parts of the world. It’s like they’re living more for it, you know? It’s so unique, I mean, it’s unique everywhere in the world but in Africa I felt like it was something different. I really felt a big love.” 

That’s definitely saying something for someone who’s played at prestigious events and venues such as the Miami Spring Break Pool Party; the Netherlands-based FunX; Movie Club in Alicante, Spain, and at the High Club in Nice, France. Not just bringing the performing aspect to Africa, 4Rain has also proven eager to touch base with the continent’s sonics. In recent songs, listeners have uncovered an evolving love for Afro House. “Where’s Love” shimmers with the mysterious overtones of the genre, pairing bouncy drums with psychedelia-based electro-pop. With vocal samples creeping from underneath, a vivid nature comes alive throughout the song’s three-minute runtime. 

Collaboration wise, 4Rain has been bringing African artists into his sonic journey. Last year’s “Disturb Phone” featured Nigeria’s acclaimed Queen of Afro House Niniola and R&B-indebted South African singer KLY, a pairing which situated both artists in familiar soundscape while staking out new territory. “Out of Time” is perhaps his most successful incursion into the genre yet, a dazzling showcase which combined the beat making prowess of Botswana’s producer duo Team Distant with the luscious voices of Lioness Ratang, also from Botswana, and South Africa’s Priscilla K. Thematically, the song continues 4Rain’s sojourn into naturalist ideals, a need to diminish life’s fleeting trait by soaking in every moment. 

4Rain is also a dedicated ambassador for the environment, reflecting its beauty through his brand while speaking up on the dangers of modernisation’s creeping hands. Shot in the South of France, the visualisation for “Whatever” is ethereal in its depiction of nature, from the spotted horses to the mountains and skies, the caves. “I love nature, I love animals,” he says, “It’s so peaceful. I’m living a really fast life so for me it’s the only way to really disconnect. I don’t know, maybe I’m born with it, but I always felt we need to protect natural life. It’s a big message that we need to share too”. 

Growing up in the French city of Cannes, 4Rain loved to play football. This accelerated his networking within his immediate community and beyond, and considering the social aspect of music creation, it’s fair to say he got off to a solid start. DJ 4Rain is however concerned with handling the story of his life, and because that traces back to Africa and Cape Verde particularly, he’s been leaning more into this direction. He repeatedly mentions a Cape Verdean artist he’s working with, John Freedom, and hopes to collaborate more widely across the African music space. His dream collaborators? Black Coffee, Burna Boy, and DJ Maphorisa, who he’s “talking a lot with”. 

In the mean time, DJ 4Rain continues to explore the boundaries of sound and the geography behind them. His team are working to make sure he performs in more African countries and “Out of Time” has a “big” remix package to be expected in the coming months. His calendar for a world tour starting in April promises to be magnanimous, much like everything DJ 4Rain has done from the start of his career till this point. “So stay tuned, I’ll probably come to your country too,” he shares before we wrap up.

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The layers of Nigeria’s relationship with music and politics

Posted on by Uzoma Ihejirika

Nigeria’s 2023 presidential election draws nearer. All the candidates involved—from the major contenders Bola Ahmed Tinubu of All Progressives Congress (APC), Peter Obi of Labour Party (LP) and Atiku Abubakar of the Peoples Democratic Party (PDP) to the little-known challengers such as Mazi Okwudili Nwa-Anyajike of National Rescue Mission (NRM)—have gathered their supporters and aired out electoral promises.

The election, which is scheduled to hold on February 25, holds much significance, especially for young Nigerians, who are still reeling from the unfortunate series of events in October 2020, the backwardness exemplified by the current government when it banned Twitter in the country for seven months among other unreasonable socio-economic policies. For most Nigerians, next week’s election is a fresh opportunity to elect a leader who they believe will overturn the country’s most pivotal cost of living crisis.

During #EndSARS in October 2020 when young Nigerians flooded the streets to call out a now-disbanded notorious police unit, music was one of the weapons they utilised alongside their voices and placards. Songs such as Davido’s “FEM,” Ajebo Hustlers’ “Barawo,” Stereoman’s “E Dey Pain Me” and African China’s “Mr President” soundtracked many protest grounds, fuelling protestors’ desire to demand better governance from their leaders. Certain Nigerian artists also lent their support on wax as they documented the protests with songs—Burna Boy with “20.10.2020,” Chike with “20.10.20 (Wahala Dey),” Orezi with “We Don Tire,” Efe Oraka with “Live rounds in the dark,” and Dwin The Stoic with “This Fight,” among others.

“The very nature of politics is, like music, rooted in conflict and harmony. The heart of music is the interplay of the physical and the mental, as the compromise between them forms a cohesive whole,” wrote Rex Thomson, a writer at Live For Music. Elsewhere in the piece, he posited that “from protest songs to voter campaigns, campaign rallies to musical endorsements and musicians campaigning, there’s been no shortage of love between music and politics.” That reality is not foreign to Nigeria, with the union between music and politics going as far back as the 1970’s.

The love between music and politics is layered and multidimensional. This is because many artists, before their music, are first of all citizens who have experienced the consequences of the inept decisions of their political leaders. In many cases, these decisions do not have the best interests of the regular person at heart. In Africa and around the world, where there has been a spate of bad governance and corruption, music has proved to be an effective platform to speak up against these poor policies, and soundtrack the plight of the people rarely offered a platform to speak about their pains and frustrations. 

Rap music is a good example of protest music and nowhere has it been wielded more strongly than in America. The country is full of history – from its connections with slavery to its civil war to the Great Depression to racism and the civil rights movement. Formed in the 1970s, the genre also known as hip-hop music has been a dependable source of voicing the anger, frustration and indignation of the African American community towards the government. Through the 80s and 90s, hip-hop groups such as Jungle Brothers, De La Soul, A Tribe Called Quest, Black Star, Arrested Development, The Roots and Dead Prez addressed the issues of racism and violence affecting the black communities. In 1988, the American group N.W.A aimed a bombshell at the authorities with “Fuk Da Police,” which called out police harassment. “Fuck the police comin’ straight from the underground/A young nigga got it bad ‘cause I’m brown/And not the other colour, so police think/They have the authority to kill a minority,” Ice Cube raps. From 2Pac’s “Changes” to Ice Cube’s “I Wanna Kill Sam” to OutKast’s “B.O.B. (Bombs Over Baghdad)” to Eminem’s “White America” to Kendrick Lamar’s “Alright,” American rap artists have ensured that their thoughts and those of other Americans stay in plain view.

The late Nigerian music legend Fela Kuti is one of the major names that come up when music and politics are mentioned in Nigeria. A believer in Pan-Africanism, Fela used Afrobeat to tackle the issues prevalent in his times—from bad leadership to corruption and nepotism. His music was a tool that won him both admirers and enemies but he is a formidable example of how music and politics complement each other. Years later, Fela’s musical style has influenced many contemporary Nigerian artists, even birthing the offshoot Afrobeats, which is stamping its authority in the global space.

In an interview with SPIN, Fela acknowledged his position in Nigeria’s music scene, saying, “No one in Nigeria likes to play political music now, because the political situation is very bad. Africa is not like Europe in any way at all. If I can go to jail for 18 months, think how long an ordinary musician would go. But people want to hear political music. There are a few boys trying to, but it is not an easy thing to do political music. If you do, they clamp you down. At one time I was to play Zaire, but I wasn’t allowed into the country at all.” 

The political climate in Nigeria in the 70s and 80s was a heated stage, fuelled in no small part by the Biafran War of 1967-70 and the economic downturn courtesy of the boom of oil production and the relegation of cocoa, peanuts and palm products as Nigeria’s major foreign-exchange earners. The dissatisfaction in the country swelled and—galvanised by a host of coups—birthed issues such as poverty, corruption, unemployment and crime, which the county still grapples with. “My people sef dey fear too much/We fear for the thing we no see/We fear for the air around us/We fear to fight for freedom/We fear to fight for liberty/We fear to fight for justice/We fear to fight for happiness,” Fela Kuti sings on “Sorrow Tears & Blood.” With songs like “Sorrow Tears & Blood,” “Zombie,” “Shuffering and Shmiling” and “Coffin For Head of State,” Fela Kuti documented personal and collective angst about Nigerian society.  

In the 80s, Reggae was a mainstay on the Nigerian airwaves. The Nigerian version of the genre carried the soul of its Jamaican forebears and its artists infused their music with the pain and ache they felt about the Nigerian situation. “They say I’m talking politics but I’m singing reality/For the suffering of the masses, so my brothers I’m feeling so right/Situation getting worse only the poor feel the pain/The fury falls on them, don’t close your eyes to reality,” Victor Essiet of The Mandators sings on “Rat Race” from their 1988 album of the same title. Other songs such as Ras Kimono’s “Under Pressure (Part 2)” and “Gimme Likkle Sugar” spoke about the daily struggles of Nigerians and the injustices caused by bad leadership. 

Outside of reggae, Nigerian Funk musician William Onyeabor, in “Politicians,” a track off his 1982 album ‘Hypertension,’ pleaded with political leaders, party leaders and supporters to refrain from playing dirty and consider the future of the country in their decisions. “We make mistakes during the oil boom/Not knowing that was our doom/Some people now have everything/While many many have nothing/Let’s save Nigeria/So Nigeria won’t fall,” Sunny Okosun sings on “Which Way Nigeria?” from his 1984 album of the same name.

As the issues bedevilling Nigerian society worsened, the musicians of the late 90s and early 2000s continued to report their thoughts about the county’s political climate. “Nigeria jaga jaga/Everything scatter scatter/Poor man dey suffer suffer,” Eedris Abdulkareem sings in his scathing 2004 song “Jaga Jaga.” The track took a direct swipe at the county’s politicians who didn’t care that bad decisions had worsened the living conditions of the masses. The song was so potent that it caught the attention of Olusegun Obasanjo, Nigeria’s president at the time, who didn’t take kindly to the song’s message. From the early 2000s to the late ‘00s, songs like 2Shotz’s 9ice-featuring “Make Them Talk,” African China’s “Mr President,” Aṣa’s “Fire on the Mountain,” 2Baba’s “4 Instance,” Sound Sultan’s 2Baba and W4-assisted “Bushment (Ole),” Oritse Femi’s “Flog Politicians (Koboko)” and Falz’s “Talk” and “This Is Nigeria” represent past and present issues preventing the country from being a habitable place for every Nigerian.

The music and politics affair is not all strife and protest. Some artists choose to offer hope to the masses. Veno Marioghae’s “Nigeria Go Survive,” Onyeka Onwenu’s “One Love” and Sound Sultan’s “Motherland” remind citizens of the great potential of the country to give them the good things of life. For other artists, they use their music to tighten their bond with political figures. In his track “Abacha Chibayi Democracy,” Highlife legend Oliver De Coque lauded the late Nigerian Head of State Sani Abacha and his First Lady Maryam Sani-Abacha for initiatives such as the Family Support Programme. The six-minute song was replete with praise after praise, even terming Maryam as “Mama Africa.” Fellow Highlife titan Chief Stephen Osita Osadebe also chipped in the names of political figures in his songs. 

Throughout the years, the synergy between music and politics has become even more blurred. It’s not odd to see a Nigerian politician offer Nigerian artists spots on their campaign rallies or teams. The job of the artists, it seems, is to create catchy tunes about actual (or proposed) good works of the politicians, while the politicians ride that wave to the polls. In 2015, Nigerian music acts M.I Abaga, Ice Prince, Yemi Alade, Olamide, Flavour, Banky W and Dammy Krane got together to create “Gbagbe,” a campaign tune that praised the potential of Akinwunmi Ambode to serve as governor of Lagos State prior to him beginning his four-year tenure.

That same year, on the track “Lagos Boys” off his album ‘Eyan Mayweather,’ Olamide paid his respect to the streets of Lagos while saluting some important figures in the southwestern Nigerian state. “Jo oh, I juba for my governor, Governor Ambode,” he sang. The following year, he went full-on Ambode hype on “I Love Lagos,” with the Unlimited L.A-directed music video extolling the achievements of the governor. Olamide isn’t the only Nigerian artist to use his music and support a politician. On “Great Politician” and “Shine Ur Eyes,” Nigerian artists Oritse Femi and Eedris Abdulkareem lent support for the re-election of Goodluck Ebele Jonathan as president during the 2015 presidential election.

Away from the shores of Nigeria, American music mogul Jay-Z was an integral part of Barack Obama’s 2008 presidential campaign as both shared their admiration—rooted in music and policy changes—for each other. Obama shared that he and Jay-Z have “a little bond,” with the rapper and his wife Beyoncé joining the list of celebrities who organised fundraisers for the former president. In the same vein, Kanye West was a vocal supporter of Donald Trump’s 2016 presidential aspirations and ignored the criticisms and ire of fellow music stars and the Black American community. It is a reminder that the political choices of artists, no matter how personal those choices are, can go a long way in swaying—favourably or unfavourably—the public’s perception of a public servant.

It is a similar situation in Nigeria, as regards the forthcoming presidential election. Artists have not been shy about throwing their weight behind their preferred candidate—sometimes with less-than-appreciated results. Earlier in the year, the Nigerian singer, Brymo, who has allegations of sexual assault, came under fire for his tweet which painted the Igbo community as a lesser entity in Nigerian society. Brymo was criticised for covert tribalistic sentiments and a petition was created calling for his disqualification from the 8th All Africa Music Awards (AFRIMA). Some days ago, Afrobeat act Seun Kuti ruffled feathers when he termed Labour Party candidate Peter Obi as an opportunist who wasn’t the right person to lead the country. Among the crowd angry at Kuti’s thoughts was Peter Okoye, one-half of the Nigerian music duo P-Square. Okoye, a staunch supporter of another candidate took shots at Kuti resulting in warring sides trading abuse on social media. Regardless of how misguided the exchanges were, it showed the grip that the country’s political climate has on its stars; for both, the election determines their futures and those of the ordinary Nigerian tired of bad governance.

In recent years, Nigerian music has entered global spaces, with stars earning high-profile international collaborations and notching up Grammy plaques and Oscar nominations. Still, Nigerian artists have not stopped calling out the government for poor policies. Hip-hop duo Show Dem Camp are one example of such an artist. While they create easygoing, fun-fuelled tunes with their ‘Palm Wine Music’ series, they utilise the ‘Clone Wars’ series as a tool to tackle Nigeria’s political and societal issues. “See something just happen right now/Omo Sars laid a nigga out flat, oh boy/Their turn up is seeing people run down/It’s messed up but I don’t see no one react, oh boy,” Ghost, one-half of Show Dem Camp, raps on the Ozone-assisted “Epigenetics” off ‘Clone Wars Vol. IV: These Buhari Times.’ Over a hard-hitting beat, the song, along with the rest of the project, establishes a connection between the unsteady political and economic climate of the country while delving into the mental and psychological state of mind of its citizens. The project addresses the traumas—financial, social and personal—that imprison Nigerians and force most of them to seek greener pastures in foreign lands.

Another music duo balancing party vibes and political commentary is Ajebo Hustlers, whose 2020 single “Barawo,” tackles the horrors of mob justice, brought them into the limelight. “The masses dey para cos raba no dey,” Knowledge, one-half of the duo, raps. The poignant line is even more crucial in this current time of naira scarcity and the riots that broke out as a result of Nigerians’ frustration with the situation. It is telling that the sad reality of a song released in 2020 still rings true in 2023; it is also indicative of the poor choices of the government throughout the years. Ajebo Hustlers and a slew of other artists—Burna Boy (“Monsters You Made”), Yemi Alade (“CIA (Criminal In Agbada)”), OdumoduBlvck (“Fake Politicians”), Prettyboy D-O (“Chop Elbow”)—represent the ever-standing relationship between those in the corridors of power and those who wield power with a microphone; as long as the Nigerian society remains an entity governed by laws and policies, there will always be a response, whether positive or not, about those laws and policies.

Most recently, Nigerian artist Falz released “O Wa” featuring Tekno, which serves as his first single of the year. It follows the thread of political commentary that started with earlier releases such as “This Nigeria” and the 2019 album ‘Moral Instruction.’ In the Nigerian context, owa—a Yoruba word—is spoken by passengers in public transport when they are about to alight at their destination. Falz and Tekno are advocating that citizens should not be afraid to step away from and cast out any government that doesn’t respect their rights to better and inclusive policies. “Why you no give me change (Change) I para/I curse the driver, I tell conductor say “waka”/Stop the motor I need to come down, I tire,” Falz sings. With the presidential election a day away, “O Wa” possesses a timely message as it urges citizens to use their votes at the polls to create the kind of Nigeria that they want to live in.

Across social media, Nigerian party supporters have taken the responsibility canvass for their preferred candidates ahead of the 2023 presidential election. As the date for the election draws near, more fusion between music and politics is expected, whether in preparation for the election or as a means to celebrate victory.

Featured image credits/NATIVE

ICYMI: The importance of biometric voters accreditation as Nigerians go to the polls

NATIVE Selects: A List of Best Songs This Week

Posted on by Damilola Animashaun

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

Earlier this week, we highlighted exciting new releases from the likes of Patoranking, Niniola and Beautiful Nubia. To close out the week, we’ve selected from a broader range of genres and countries, indeed covering the vast soundscape of Afropop through the newest and fresh iterations of its diverse musical traditions. Lock in!

FALZ FT. TEKNO – “OWA”

Nigerian artist Falz’s first single of the year “O Wa,” which features Tekno, follows the thread of political commentary that started with “This Nigeria” and the 2019 album ‘Moral Instruction.’ In the Nigerian context, owa—a Yoruba word—is spoken by passengers in public transport when they are about to alight at their destination. Falz and Tekno are advocating that citizens should not be afraid to step away from and cast out any government that doesn’t respect their rights to better and inclusive policies. “Why you no give me change (Change) I para/I curse the driver, I tell conductor say “waka”/Stop the motor I need to come down, I tire,” Falz sings. With the presidential election a day away, “O Wa” possesses a timely message as it urges citizens to use their votes at the polls to create the kind of Nigeria that they want to live in.

Uzoma

TAY IWAR – “HEALING”

Tay Iwar is one of Afropop’s most soulful musicians. Long accustomed to stripping the excesses of his heart, he’s created records with raw vulnerability. “Healing”, like the title suggests, is a purging of one’s soul after the encounter of a toxic relationship. Waxing poetic and warm over the serenading breaks of the production, it’s a performance which advances the sensitive direction of Iwar who, in recent times has been lending his gifts to his contemporaries such as Wizkid and Omah Lay, through songwriting or features. Another year looms ahead, and it’ll be interesting to observe Tay’s journey over the course of it. 

Emmanuel

MPHO.WAV – “INYANISO” FT. BUKEKA 

A formidable South African producer, Mpho.Wav casts layered spells with his takes on electronic music. “Inyaniso” is no different—built from the mystical pairing of sped-up drums and ominous chords, Bukeka makes the record come alive in the most interesting ways. Her vocal contribution is stellar, but so are the accompanying turns of the production, all together instantly capable of coaxing delicate dance moves from a listener. 

STORMZY – “HIDE & SEEK” [REMA VERSION]

A few months ago, Stormzy arrived with a new studio LP titled ‘This Is What I Mean.’  The body of work featured the standout record “Hide & Seek” which caught the attention of listeners as soon as it was released. Arriving today is the Rema remix of the record. In typical Rema style, he adds in heavy melodies to the track and breathes a new life into it, ushering in pop elements into the song while letting his love interest in on his intentions for her.

Wonu

 

DON TOLIVER – “SLOW MOTION” FT. WIZKID 

The last time we got this effortless pair on a track was on the Juls-produced number, “Special” off Wizkid’s highly anticipated studio album, ‘More Love Less Ego.’ Closing out the chart-topping project, the pair go back and forth explaining why their love interest stands out from the crowd. For their new track, Wizkid extends the favour as he lends his vocals on “Slow Motion” from Don Toliver’s recently released album, ‘Love SIck.’ Sitting amongst features from Brent Faiyaz and Glorilla, “Slow Motion” offers a standout cut for a number of reasons. The track leads in with an instantly captivating and heavy bass accompanied by Don’s melodious vocals. Swooping in mid-way, Wizkid offers a unique rendition as he delivers his brief sensual verse in Pidgin. 

Nwanneamaka 

SUTE IWAR & TIM LYRE – “SPACE COWBOY”

Musicians who blur the lines between rapping and singing are a rare find in Afropop. Sute Iwar and Tim Lyre are two such musicians, so it’s only fitting they’d collaborate over the years, often to stellar effect. “Space Cowboy” sounds as atmospheric as you’d expect, with soft drums polished by piano notes warm as baby coos. Their deliveries are distinct but aligned, with urgent flows on the verses paired with the gliding ease of the hook. With subtle takes on sociopolitical reality, it’s a record that flexes its genius with relative simplicity, a quality that makes their forthcoming album ‘ULTRALIGHT’ such an enticing prospect. 

Emmanuel

MAJEED & TIWA SAVAGE – “GBESE”

Closing out the year on a high note with stellar releases like DJ Maphorisa and Major League DJz-assisted “Koo Koo Fun” as well as “Loading” featuring Asake, Tiwa Savage joins Majeed on the Maskerkraft-produced “Gbese.” Fusing Afropop and Amapiano, the mid-tempo track leads in with a captivating blend of log drums and flutes as the pair’s vocals glide effortlessly back and forth, delivering a noteworthy rendition. 

Nwanneamaka 

 

GROUND UP CHALE – “ON THE ROAD (FAR GONE)”

Over the years Ground Up Chale has established itself as a most trusted incubator for Ghana’s best budding talents. Associated with names such as Kwesi Arthur and Kofi Mole, the duo of Kimati and Albabwoy are staking a claim to a piece of GH’s musical cake. ”On The Road”, a fitting demonstration of their distinct skills, follows the familiar but still relevant aspirational path. Over bubbly production, the qualities of their charge towards mainstream relevance is discussed, with confidence and fine doses of introspection, endowing the song with thematic balance. 

Emmanuel

FANCY FINGERS – “ONE IN A MILLION” FT. KARUN

It is undeniable that Fany Finger’s voice is ubiquitous. With a strong vocal range and knowledge of instruments his songs are filled with experimental tunes as he croons over stellar productions. In his latest offering Karun joins Fancy Fingers for the serenading ballad “One In A Million.” Karun’s soft but powerful vocals and Fancy Finger make a perfect intersection, working to create a warm record which does justice to both their distinct abilities.

Tela

T’NEEYA – “PRETTY MIND”

German-Cameroonian singer and songwriter T’neeya’s displays an effortlessly special performance on the record “Pretty Mind.” Over the mid tempo production of the record, she’s as honest as she can be as she confesses her love for him and how she makes him feel. On the record, she quips the standout lyrics “Truth is I really like the vibe that we’ve been getting on/when it’s getting so cold, I can keep you warm,” opening up her mind to her love interest.

Wonu

DJ SEMTEX – “FLOOR SHAKE” FT. BACKROAD GEE & KWESI ARTHUR

DJ Semtex’s latest single “Floor Shake” operates on high energy. The legendary English radio veteran, producer and author delivers a Drill-inspired banger featuring British–Congolese rapper BackRoad Gee and Ghana’s Kwesi Arthur. Over mean-faced chords and hypnotic synths, Kwesi Arthur drops an infectious hook and BackRoad Gee goes at the beat with an energetic flow. “Last autumn whilst touring with Lil Tecca, and doing shows with Joey Badass and Black Sherif, I played this instrumental each night, and it went off every time,” DJ Semtex says. Listening to “Floor Shake,” it is understandable why this song will be a fan favourite.

Uzoma

SERGE IBAKA, ARIEL SHENEY & DAPHNE – “TATA NZAMBE”

NBA player Serge Ibaka also holds his own as a musician. Having started exploring the nuances of East African sonics in 2021, the citizen of the Republic of Congo has vaunted himself deeper into musical experimentation. “Tata Nzambe” progresses with the colourful overtones of Rumba, but with a percussive base that shares more alignment with contemporary Pop than many Francophone records. The other artists introduce a vocal range that works to enliven the atmosphere, ultimately creating a song charged with the characters of a personal ode and a more immersive call to communal living. 

Emmanuel

MAU FROM NOWHERE – “I LIKE”

The build up to Mau From Nowhere’s album is definitely worth the hype. His capability to jump out of a simple nostalgic tune into a serenading tune reflects the width of his artistry. In his latest release “I Like,” Mau moves from his minimalistic box and jumps into an experimental upbeat. Using happiness as his subject matter the new song is a flip from Mau’s sad and dejected personality. As he sings to his muse of their young love, the purity of his adoration similar to the first days of love gleams through out the song. The single is accompanied by the Tyse Visuals directed video that are dreamy with a lot of color similar to the excitement love brings you in its early days. 

Tela

NATIVE Premiere: mau from nowhere’s “I LIKE” is a warm display of romantic affection

Posted on by Tela Wangeci

mau from nowhere is always on a road to self-discovery. With a catalogue of hits under his belt, the 2022 uNder alum is opening up his book with memorable and relatable releases. The last quarter of 2022 saw Mau spring up with new creativity featuring in collaborations with Ugandan artist Mauimoon and Maya Amolo. With the new year in sight, the Kenyan singer is ready to establish a well-rounded identity in his music. 

Gearing up for the new year mau from nowhere took to Instagram to announce a surprise project that was exclusive to SoundCloud. Dubbed ‘MIM. VOL4’ project is curated with five songs each one minute long. Whether touching on identity crisis and self-sabotage in “Here In Time,” on “Who I Thought U Were,” or exploring his sonic template with “Hey There” covering Plain White T’s “Hey There Delilah” , mau from nowhere has cemented his position in Kenya’s alternative canon.

With this in mind, mau from nowhere is today sharing the official video for his recent single “I LIKE,” a clear sign that the road to his new project is drawing nearer and nearer. Drawing inspiration from the initial stages of love, mau switches his signature minimalistic productions to uptempo distinct mellow piano riffs which provide the perfect backdrop for his romantic intentions.

Singing “I like taking my time, I like taking things slow//I like holding your hand,” he addresses a love interest who he enjoys spending time with, a sign of his commitment to her. Accompanied by equally exciting visuals helmed by Tyse Visual, “I LIKE” is a sweet-sounding barrage of wordplay and flirtations with a sobering, almost-too personal vulnerability. The video is visual feast which exemplifies mau’s adoration towards his muse with rich colour and ambient scenes.

Speaking about the new single, mau shares “I Like is a song about the early stages of falling in love. Those early stages in which butterflies are swarming and excitement is kicking fear’s ass. I really loved making this song because it was simple, and while usually I’m over analysing a lot of what I’m feeling and what’s around me when I write lyrics, this time everything came out in a light and easy way.”

Ahead of the official release of the Tyse Visual-directed video “I LIKE,” the NATIVE spoke with mau from nowhere about the new release, his experiences with love and his plans for the rest of the year.

 

View this post on Instagram

 

A post shared by mau from nowhere (@maufromnowhere)

His answers, which follow below, have been lightly edited for clarity.

NATIVE: Hi mau from nowhere, what was the inspiration behind your new single, “I Like”?

mau from nowhere: The song was inspired by the early stages of falling for someone. At that time I was quite jaded about myself in relation to love and I thought it would take a while to find myself catching feelings for someone, so when it happened again it felt like quite a lot. 

The new track talks about the early stages of love and relationships. What are some of the signs you show when you’re in love?

mau: Lowkey I’ll start writing songs. It’s weird because I don’t necessarily have writer’s block beforehand but when words start falling out of me it’s a sign and a lot of those words are either triggered by being around them or conversations with them. As far as it relates to the person I’m feeling things for I think I just start getting a lot more comfortable, so I start overthinking less and can be my full self

What were the major challenges when creating this video?

mau: Honestly, the main challenge I felt was from a performance perspective. It was the first time I was performing with a happy song as well as working with an actress or love interest character. It’s a bit easier for me to tap into gloomy and introspective instead of being a sweet-boy on camera, so I think the first few scenes were a bit odd for me because I was worried about it coming across as forced or disingenuous. It really helped that my friends were there throughout and so it felt really natural. 

In the video, contrasting Hues are heavily featured to attract the viewer’s attention. Was this done on purpose and if so, why?

mau: I think vibrancy was a huge part of the visual direction of the video. When I approached Tyse about the video I stressed how much I wanted it to emulate that rose tinted view we have when we find ourselves falling for someone. People often talk about how love can make “colours brighter” and “food taste better” so I wanted to play on that idea and have the video feel like a stylised romance film. Tyse really took lead with this with colouring the video too as he brought out a really stunning vintage pastel look in all the shots that made that dreamlike feeling a lot more tangible. 

You are preparing to release an album, what themes will you be exploring with the new drop?

mau: I think just being honest with your feelings where they are at the moment. The whole album centres on vulnerability and the necessity for openness to grow and trust the process, be it life or artistry. This song was made in the throws of that crazy delusional space of early romance and I think it was important for me to fully embrace that space even though it’s never clear things are going to work out. The feeling of wanting to hold someone’s hand and explore life with them regardless of the outcome is a beautiful thing and I wanted that joy and excitement to be captured in its entirety. I think the album is about feeling things to the fullest in a lot of ways, the good and the bad. 

Watch the premiere of “I LIKE” below.

Featured image credits/NATIVE/Courtesy of the artist

ICYMI: Rema relishes in his superpowers on new two-pack single, “Holiday/Reason You”

Elections 2023: The importance of biometric voter accreditation as Nigerians go to the polls

Posted on by Dennis Ade Peter

To say Nigeria’s voting system is evolving would be simultaneously generous and fitting. On the one hand, registering to become an eligible voter still comes with stress-inducing, bureaucratic hurdles which are heavily documented across social media. The rigours of getting a Permanent Voter’s Card (PVC) pales in comparison to the seamless nature of being a voter in better developed countries with unified database systems. On another, President Muhammadu Buhari signed a new Electoral Act into law in 2022, which addressed several voting system issues in Nigeria, aimed at improving the chances for free, fair and transparent elections.

As part of the new Electoral Act, voter accreditation was introduced to counter the issue of overvoting. Prior to this, overvoting was viewed from the perspective of the number of registered voters at a polling unit. Voter turnout has always been an issue in Nigerian elections, with the Independent National Electoral Commission (INEC) reporting that only about 35% of registered voters actually voted across the last two election cycles. Because of this paltry turnout, it has been alleged that party delegates collude with INEC officials in polling units with few voters to stuff ballot boxes, as long as the fabricated votes do not exceed the number of registered voters.

Now, with the introduction of the Bimodal Voter Accreditation System (BVAS), this form of election rigging now has its counter. With BVAS, registered voters will first be accredited using fingerprints and/or facial features before they’re allowed to vote. Once a registered voter is accredited, it’s digitally reflected on INEC’s central database, making it easy for the electoral body to track the number of actual votes in a polling unit. If the number of votes from a unit is more than the number of accredited voters, overvoting occurs and the result is cancelled.

Currently, overvoting is the primary reason for the Osun State Electoral Tribunal’s ruling that nullifies the win of Senator Ademola Adeleke at the late 2022 gubernatorial polls in the southwestern state. Announced in late January, the ruling states that overvoting occurred in 744 polling units out of the over 3,000 polling units in the state. With the results from those units struck out, opponent and then-incumbent governor Gboyega Oyetola was declared the winner. While the tribunal has ruled that INEC revoke the Certificate of Return issued to governor Adeleke, the case is under appeal at the Supreme Court.

While BVAS is being credited with playing a role in the tribunal’s ruling, it is brow-raising that a seemingly automated feature provided by the new Electoral Act didn’t help with instant transparency. If true, it calls the potency of BVAS into question. Even with its faults and flaws, BVAS is an upgrade from the smart card system that routinely malfunctioned and aided collusion between rigging party delegates and INEC.

As concerned citizens, it is important to play our parts on election day to ensure that the accreditation system put in place can foster free and fair elections. That means knowing your polling unit and getting accredited before voting. Every voter is issued a polling unit based on registration process or transfer, meaning that voters can’t vote at just any polling station they can find.

If you’re not sure of your polling unit, you can do so with your VIN on INEC’s voter verification portal or by texting the 9-digit code at the left hand corner of your PVC to 8014. Knowing your assigned polling unit and getting accredited before you vote validates your vote.

For most Nigerians, especially the youth, these elections are monumental. After the 8-year tenure of President Buhari, which has been riddled with economy-harming policies, gross insecurity and general disregard for the Nigerian populace, electing the candidate(s) we believe is best to reset Nigeria and set it in the right direction is beyond imperative. If you have your voter’s card, Saturday, February 25 is one of the dates to go to your polling unit, get accredited and vote. If you’re willing to go the extra mile, report any non-accredited persons voting to appropriate authorities. Our vote is our power.

NIGERIA’S POLITICAL FUTURE AS EXEMPLIFIED BY AFRICAN CHINA’S “MR PRESIDENT”

Essentials: Ice Prince Celebrates His Wins & Struggles on New EP ‘To Be Continued’

Posted on by Uzoma Ihejirika

At the height of their reign, Chocolate City-affiliated supergroup Choc Boyz—M.I. Abaga, Jesse Jagz and Ice Prince—were one of Nigeria’s beloved Hip-Hop trios. They were the face of the then Audu Maikori-owned music label and, with memorable songs and solid projects, imprinted their influence into the fabric of Nigeria’s popular culture. While M.I. Abaga was rightfully the most decorated (critically and commercially) of the trio, Ice Prince ensured his quality was unquestionable: “Oleku,” his 2010 Brymo-assisted song, was the starting point of his journey into stardom. The song, sweetened by Ice Prince’s clever lines lived on the lips of every Nigerian music lover and became one of Nigeria’s most-remixed hits of all time. Ice Prince’s 2011 debut album ‘Everybody Loves Ice Prince’ completed his winning run, cementing his place as one of the country’s certified hitmakers. 

When he left Chocolate City in 2015 (where he dropped two more projects after ‘Everybody Loves Ice Prince’: 2013’s ‘Fire of Zamani’ and 2015’s ‘Trash Can’), Ice Prince set up his label Super Cool Cats, under which he continued dropping more music and gathering a loyal following, with tunes such as the Phyno and Falz-featuring “Feel Good,” the Oxlade-featuring “KOLO” and the CKay-assisted “Shakara.” On his latest project ‘To Be Continued,’ which is tagged as an instalment in the rapper’s ‘Trash Can’ series, Ice Prince and his small cast of producers—Runcheck, Blaisebeats, SB and Chopstix—confirm that he has more musical goodies in his bag. 

“Mehn I’ve been down/I’ve been heartbroken/Look into my eyes/You see the scar shows,” Ice Prince raps on “Bless,” setting the stage for an introspective peek into the challenges of his past. He reveals how his professional work collides with his personal and romantic lives when he raps, “Airport and hotel’s the routine/But when there’s no booking/I get mood swing/I’m on the phone arguing with my lady/She don’t understand/Why the boy’s gone crazy/I wish I could explain/But the words all fail me.” Throughout the song, Ice Prince is at home on Runcheck’s guitar-led mid-tempo production and he finds consolation in his soliloquy with the lyrics, “Everything happens for a reason/Bless.”

Blaisebeatz offers another mid-tempo production on “Disco,” choosing to employ generous use of the saxophone. Buoyed by a melodious hook from Nigerian indie singer Mstruff, Ice Prince opens up about the finer things of life as well as his struggle with an ex-lover who wants his attention. “Took a sip and I forgot and that’s how you got me so bad/I can’t trust you for shit/But still I keep coming back to drop you a kiss/I fall into your pit and it’s deeper than the abyss,” he raps. He further pulls down the emotional walls on “Get At You” as he longs for the presence of a lover who no longer resides in his life. “Girl you came into my life/When I need you the most/But then you left me when I needed you the most/I’m all alone and am talking to a Ghost/Seems like you right there and I can feel you close,” he raps as the underlying coos and ad-libs glide over SB’s pristine production. 

“Aboki,” was one of the best-performing songs off Ice Prince’s ‘Fire of Zamani.’ Produced by Chopstix, it was a fun, boastful tune about Ice Prince’s star status; on that same project, Chopstix produced “More,” where a contrite Ice Prince pleaded for affection from a lover. Since then, Ice Prince and Chopstix’s relationship has continued to blossom. They reignite their connection on ‘To Be Continued’ with “All Day,” an Amapiano-influenced tune as Ice Prince enters celebration mode. While he calls out his naysayers, Ice Prince also sends sexually-charged shots at his beau, promising bouts of intense lovemaking. 

In September 2022, Ice Prince was in the news after he was remanded in prison for allegedly assaulting a policeman. He faced a three-count charge consisting of assault, obstructing a policeman from carrying out his statutory duties and abduction. The following month, Nigerian media personality Rico Swavey died in a car accident. Ice Prince references those situations on “Holding On” by shouting out Rico Swavey and rapping, “I woke up to a quick fix/Court dates/Baby girl I can’t miss this/The magistrate is deep with linguistics/If she judge you, you must be in deep shit.” He looks back at his early days in Jos and the challenges he surmounted on his path to music glory. “Holding On” is standard boom-bap rap – a fertile ground for Ice Prince to investigate his feelings. 

“Whiskey,” the Sunny Neji-assisted tune off ‘Fire of Zamani,’ was one of the instances Ice Prince showed that he wasn’t only good with the rhyme schemes but could also be trusted to handle song hooks. Another example is his masterful performance on Major Lazer and DJ Maphorisa’s “Particula.” He repeats that skill on “Jah Bless Me,” an all-thanks-to-God song. “Jah bless me/Even when I’m drifting away his love and light/Jah bless me/And I no go lie, I dey fall, I dey fuck up, I dey dull/But Jah bless me,” he sings. He extends appreciation to the Almighty for not withholding blessings from him despite his imperfections, while SB provides a smooth-flowing soundscape. 

‘To Be Continued’ is a snapshot of Ice Prince’s state of mind: guilt and regrets here and there but full of celebration and satisfaction. Most importantly, the project furthers Ice Prince’s musical explorations and exemplifies that he still operates at a high-skill level. His decision to embrace his vulnerabilities also makes the project relatable, showing a side of him not open to the public and a reminder that everybody’s cool kid has his troubles but he is bettering himself as a person, one event at a time.

Stream ‘To Be Continued’ below.

Featured image credits/Instagram

ICYMI: Lindsey Abudei is expanding her horizons

Best New Music: Rema relishes in his superpowers on new two-pack single, “Holiday/Reason You”

Posted on by Tami Makinde

In 2019, Rema arrived on the block, hot on his heels and ready to prove his star power. Launched into the music scene off the back of two of the country’s most illustrious record labels Jonzing World and Mavin Records, the singer and rapper was bolstered to new levels of recognition within days of releasing his debut self-titled EP, which housed multiple seminal hits. Since then, he’s more than proved his salt, earning a spot in wider Afropop conversations and transforming into an industry tsunami to be reckoned with, with every drop including his latest two-pack release “Holiday/Reason You.”

 

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Fresh off the boat, Rema was offering something fresh, something different. Not one to constrict his persona and his musical capabilities, Rema has played within different pockets, stretching the parameters of his sonic abilities, flirting with new motifs and genres and inducting new slang into our pop culture canon. Just last year, he released his stunning debut album ‘Rave & Roses’ which is full of veritable hits from AJ Tracey-assisted “FYN,” the affecting opener “Divine,” the self-reflective “Are You There,” and euphoric pop cuts such as “Jo.” On his debut effort ‘Rave & Roses,’ Rema continues to salute the salacious nature of Afropop, but his vocal deliveries are far-ranging, existing on the seams of diasporic affiliations and dreamy inventiveness.

Now, the singer is racking up musical successes including his Selena Gomez-assisted “Calm Down,” the Billboard US Afrobeats Songs chart for 19 straight weeks, reaching a current high of No. 46 on the Hot 100 and, most impressively, reaching No. 1 on the Global Excl.-US chart and performing at the NBA All Stars Half-Time Show alongside Grammy-award winning artists, Tems and Burna Boy–a historic feat for Afropop. He’s a long way from the wunderkind from Benin with the world at his feet, as we predicted–instead, Rema is now operating as a seemingly fully formed version of his predecessors.

A few days before he billed to perform at Salt Lake City in Utah, Rema opened up his book for the year with the two-pack release of new singles “Holiday/Reason You.” The double-sided release marked his first release since his debut album last year and continues his thematic inspection into himself, his life and his feelings. Opening up with “Holiday,” a spiritual dance track helmed by Blaisebeatz, the mastermind behind hits such as Kizz Daniel’s “Buga (Lo Lo Lo).” Across the smattering clash of shakers and percussion, Rema sings about his come-up in the industry, striking a delicate balance between boastful of his abilities and a humble self-awareness of God’s hand upon his life.

From his debut on the scene, Rema has proclaimed himself as the anointed one, divinely blessed with the gifts to usher in a new vanguard for Afropop. It’s a difficult responsibility–to be tasked with the future of furthering a genre but it’s a cross that Rema has carried without sustaining any scratches alongside his peers. “Because I wan feed my family, na make me thief my own guy laptop,” he sings painting a picture that visualises the actions he’s taken to ensure his dreams become a reality. With a firm command of the beat that feels as though he’s switching lanes effortlessly, he continues, “Straight out of Benin, 2019, they think say the gbedu go finish, My music is travelling, from India to Asia to Berlin,” each line vibrating with defiance to the systems that once held him down but have now opened up to him.

Rema is triumphant, strutting with palpable confidence over the beat accompanied by a Director K-directed video that features cameos from his inner circle: from Ayra Starr to London to Psycho YP and more. While in celebratory mood, Rema doesn’t forget to pray for continued protection and sustenance for himself and his family while showing the beauty in capturing his whole rounded experience as a young pop star. As he sings about the wealth and success he now enjoys, he still seems like that young kid from Benin, now stepping into himself as the man–becoming a poster-child for never folding on your dreams.

Rather than squeeze his artistry into forms that have already been defined, Rema has been consistent with keeping each new release fresh and unpredictable. His second offering “Reason You,” takes a slight shift in gears, retaining elements of the latter’s bounce while swapping the shakers for smooth-sounding strings. Adding to his formidable catalogue of romantic hits including “Dumebi,” “Time N Affection,” “Ginger Me,” and “Oroma Baby,” the second track is a heart-warming rendition to a love interest, a fitting release for the post-Valentine’s blues.

Over gentle keys and the harmonious backdrop of a choir, he bares out the extent of his longing as he sings “I don turn laughing stock to my friends, say superstar boy like me for one girl I just dey fool myself.” As a young star, rumours about his dating life have always circulated social media but Rema has kept this all at bay by showing his appreciation and love for women, and his intentions to make the most of his young years. “Reason You” continues this fresh-faced charm as Rema flirts with the idea of commitment, while hiding his real cards to survive on the streets.

 

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With his ski-mask and high octane energy, Rema continues to blaze a new trail in the game as he wields a plethora of genres and sounds into his orbit with skilled precision. “Holiday/Reason You,” are fine additions to his ever-growing catalogue, building on his genre-mashing abilities which first catapulted him into wider Afropop conversations. As Rema himself says in his NATIVE 005 cover story: “There’s pressure for every person who vows to take the game to the next level, I won’t deny feeling pressure once in a while…but I don’t let it bother my peace for too long.”

NATIVE Selects: A List of Best Songs This Week

Posted on by Damilola Animashaun

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

To close out your week, we brought you a double release from Rema and a slew of singles from BNXN featuring Kizz Daniel and Seyi Vibez, Enny and more. Today, we have songs that move from Afropop to Amapiano to R&B; these artists—from Nigeria, South Africa, Kenya, and more—showcase their unending talent and passion for creativity. Lock in!

DJ SPINALL- “JUST TO BE” ft. JESS OF VANJESS 

Leading up to the release of his sixth studio album, superstar DJ Spinall piqued our appetite with hit singles such as Asake-assisted “Palazzo” and “Bunda,” featuring Olamide and Afropop newcomer, Kemuel. ‘Top Boy’ brags of musical range and expertise as showcased by some of the biggest names in Afropop today- Niniola, Amaarae and more- sitting alongside international hitmakers like 6LACK and Summer Walker. However, a standout cut from the project is the smooth-sounding “Just to Be,” with Jess of VanJess. Immediately led in with soothing saxophone chords and hypnotic drum patterns, Jess offers up her mellifluous vocals as she harmonises the lengths she would go to be in the presence of her love interest. 

Nwanneamaka

SUPERJAZZCLUB – “WICKED”

Ghanaian music group, SuperJazzClub have been orchestrating some of the most eclectic productions to come out of West Africa. On their latest single “Wicked,” the group weaves tales about their come-up and the industry through futuristic production. With no holds barred, they sing “Fuck the opps, make dem sing this song” over an infectious hook with a propulsive bounce that finds the trio admonishing the naysayers who have looked down on their abilities.

PATORANKING – “ABOBI” 

No stranger to political and societal conscious songs, Nigerian artist Patoranking’s latest release “ABOBI” is an Afrobeat-style record from his forthcoming album. In the song, the name Abobi is a pseudonym for the ordinary Nigerian citizen living under dire conditions, caused by political and societal ineptitudes. The song calls attention to police brutality, inter-neighbourhood wars and tribal and religious conflicts.

Uzoma

CASTRO – “EASIER”

The mellow saxophone opening up to “Easier” creates a vivid image of the complexities of love, creating the perfect backdrop for Castro. Crooning over the stealth production creating an undeniable groove to the song, he reminisces over the comfort alcohol brings when declaring your emotions or dealing with trivial issues. The compulsive snares reflect the sorrows and intensity of relationships. 

Tela

THA BEATSMITH- “YEMOJA”  

Known for frequently collaborating with Ogranya, the producer known as Tha Beatsmith is an accomplished purveyor of sound. He proves this on the just released ‘Ywme’ which means ‘Youth Was My Excuse,’ a nine-track project that takes on identity and the young individual. Varying perspectives enliven the direction, and on “Yemoja” he arrives a fitting closer. Bright percussions meet the floating tenderness of piano keys, giving the record a House vibe, amplifying the mystic suggestion of its title. In the end it’s a pleasurable song, exuding good vibes as the vocals build around the beat. 

Emmanuel

FRESCOOL – “MAGICAL (MORIMIWU)”

uNder alum, singer and songwriter Frescool is back with another rhythmic number titled “Magical.” The mid tempo record sees the artist switching between his Yoruba dialect and English as he professes his deepest feelings for his love interest. Over the melodious Alhaji Tunga-production, he chants on the chorus “O n mori miwu o, omo yen mori mi wu o” which translates to “this girl is making my head swell.” 

Wonu

NINIOLA – “MEMORIES” 

A valentine’s special, Niniola taps into her vulnerable side for the Niphkeys-produced slow tempo number. On “Memories,” her first single for the year, Niniola’s soulful vocals shine through the ethereal strings as she glides between Yoruba and English to deliver a heartfelt rendition of heartbreak. Different from her usually upbeat Afro-house numbers, “Memories” serves as an official introduction to her new album slated for release next month. 

Nwanneamaka

DJ WICKED & POSI – “APART” 

Posi’s honeyed vocals have an appealing allure that draw you in when listening to her. Her vast vocal range has seen her music get increasingly hypnotic with each release. Proving her artistic genius, she teams up with DJ WICKED releasing her debut album ‘Trouble Of The Heart.’ Posi’s graceful vocals earnestly soar over the gentle violin strings and soft keys on standout number, “Apart,” immediately drawing you into a world of unrequited love. “Don’t know if we will be together even if I say we will,” she chimes flirting with the thought of commitment.

Tela

BEAUTIFUL NUBIA – “A LE TENTE” 

Beautiful Nubia embodies the pure quality of roots music. For over two decades the folk musician has released albums of refreshing wisdom, pairing his signature storytelling with live grooves. ‘Olumuyiwa’ was created to honour the memory of his mother and the majestic scope of “A Le Tente” sets the ball early on. It’s a riveting account of the duo’s relationship, sung in the warmth you’d expect from such a virtuosic performer. A sweet ease into the album, the record never fails to leave an impression even after repeated listens. 

Emmanuel

JANELLE MONÁE – “FLOAT” FT. SEUN KUTI & EGYPT 80 

American singer and rapper Janelle Monáe taps Afrobeat act Seun Kuti and his Egypt 80 band for “Float,” the lead single off her forthcoming fifth studio album. “Float” is a shimmering Jazz/Pop-influenced song, which draws inspiration from a host of influences including Muhammed Ali, Mary Poppins and Aladdin. It is anthemic music that shows Janelle Monáe’s growth and self-confidence as she levitates over her doubts and fears.

Uzoma

Featured Image Credits/The NATIVE

TurnTable Top 100: Ayra Starr’s “Sability” Debuts at No. 1 This Week

Posted on by Wonu Osikoya

Ayra Starr debuts at No. 1 on the TurnTable Top 100 this week, making this her fourth No. 1 entry, alongside earlier hits such as “Bloody Samaritan,” “Rush” and “Won Da Mo.”  This week, “Sability” drew 3.42 million on-demand streams becoming No. 1 on streaming in Nigeria and 38.3 million in radio reach during the tracking week. Ayra Starr remains the only female artist with multiple No. 1 songs on the TurnTable Top 100.

Omah Lay’s “soso” holds its position at its No. 2 peak for another week, while Asake’s 2-week No. 1 “Yoga” falls two spots down to No. 3. This week, Ruger drops to No. 4 spot after topping the charts for seven consecutive weeks. “Asiwaju” also tops the radio chart for a ninth week which makes it only one week behind the all-time record set by Fireboy DML’s “Peru.” Rounding up the top 5 this week is Kizz Daniel’s “RTID” at No. 5. 

Boy Spyce’s “Folake” falls to No. 6 from its No. 5 peak while Khaid’s “Jolie” reaches a new peak of No. 7. Rexxie’s “Abracadabra” with Naira Marley & Skiibii falls from 7 to 8. Rounding out this week’s top ten; Spyro’s “Who Is Your Guy?” falls from No. 6 to No. 9 while Zinoleesky’s “Personal” moves from No. 8 to No. 10. Outside this week’s top ten; Young Jonn’s “Currency” with Olamide reaches a new peak of No. 11, Lojay’s “MOTO” moves from No. 58 to No. 34,  BNXN’s “Gwagwalada” with Kizz Daniel & Seyi Vibez debuts at No. 45 off two days of tracking and Wizard Chan’s “Earth Song” debuts at No. 72.

See the full list here.

Featured Image Credits/Instagram

For The Girls: Lindsey Abudei is Expanding Her Horizons

Posted on by Emmanuel Esomnofu

Alternative music, on most days, is a contested sphere of the music industry. No one seems to agree the exact merits of its alternate status, while its commingling with distinct and recognisable genres builds a strong case for more specificity. In Nigeria however, the colourful influence of its popular music makes the outliers stand even more visibly. Creating from spaces of considerable sanctity, the likes of Asa, Bez Idakula and Blackmagic have thrown their boundless imagination behind their visions for soul-driven music, establishing their names in the canon of alternative music. In 2016, the unassuming vocals of Lindsey Abudei placed her in this elite class, as she serenaded the heart’s longing on her excellent debut album, ‘…and the Bass is Queen’

Critics and everyday listeners seemed to agree: the latter class had the album’s humane quality to grasp, as Lindsey unfurled relatable experiences with its innate complexity while possessing her voice as an instrument, soft and surprising, a delicate push against the warm roots of the bass guitar. Described as “immersing and without fault,” the album’s critical value would also be deemed “of international standard” while Oris Aigbokhaevbolo, writing in Music in Africa, had high praise for Lindsey. “Unlike her contemporaries,” he wrote, “Ms Abudei puts production and songwriting on equal footing. She enunciates clearly; she sings wonderfully; and the beat throughout the album is stellar but never intrusive”. 

 

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When The NATIVE spoke to Lindsey Abudei about a week ago, she was a little sick. So powerfully realised in songs, her speaking tone now seemed to calm into the pace of a flowing stream. So were her stories—of which she had many of—released into the world with breathless ease, so that during a half-hour of conversation nothing stood between her world and I. Her sophomore album ‘Kaleidoscope’—whose literal meaning upholds multiplicity—had just been released some days before. “In this project we played with elements of different genres,” she confirms, “there are elements of classical music, elements of orchestra, elements of rock in there, there’s a folk element there; just different genres. And I also realised that before now I had been putting myself in a label. Cos it’s so easy to say oh, you’re a neo-soul singer but the truth is I am not. I am a singer-songwriter”. 

Lindsey returns to her other projects for context, making the point that her sound travels too much to be restricted. Specific records are mentioned for their associative genres and on a sonic level ‘Kaleidoscope’ makes the statement that she’s not a neo-soul singer. An experiment that tests the boundaries of a “regular” song, Abudei drew inspiration from K-Pop artists’ masterful braiding of genres within the space of a single record. She does not rush her recordings; Lindsey returns to skeletal forms as readily as she celebrates the executed song, editing until the desired sound is arrived. That thoughtfulness went into the structuring of ‘Kaleidoscope’, which had intermissions after every song. 

“Initially, we thought the project was going to be a four track or a five track EP,” she explains, “but I also wanted to play with transitions and I had these ideas, I had some of these songs I’d written that I wanted to be in the project. I was also trying to avoid having one song—let’s say ‘Thunder in My Arms’ for example, and then transitioning into ‘Gather Me to Your Place’ in one song, because I wanted those intermissions to be held properly, so I separated them instead, so that they would not be missed, and they could be seen as their own stand-alones, even though they’re intermissions of the songs following them. It’s like a coin that has two sides”. 

Clearly there’s a deep interest for the arts which Lindsey Abudei reveals in her creative process. This intimacy informs her choice of producers and how she works: on ‘…and the Bass is Queen,’ all except one song was produced by Atta Otigba, making the songs flow effortlessly over its fifty minutes runtime. On ‘Kaleidoscope,’ it is Bigfoot who enlivens her vocals with flawless composition, matching her pen’s vivacity with his epic vision. “I haven’t worked with any person that I don’t have chemistry with,” Lindsey tells the NATIVE. “If we don’t have chemistry, we can’t make music well. And when you’re exchanging ideas, it’s important that you’re with somebody who understands where you’re coming from. When I work with producers, it’s important that I lay down the idea of what the project is, and then when it’s certain that we get where we are and where we’re going, then we start bouncing ideas and see whether it matches what we intended in the first place.”

Lindsey Abudei can break down walls. She first held that immense power as a child growing up in Jos, listening to great music from her parent’s engrossing collection. European artists from countries like the Netherlands, Britain and New Zealand were listened to alongside American classics which included Stevie Wonder and Roberta Flack. Lindsey also hopped on the nineties Hip-Hop train. 

Even with this awesome musical background, a professional career in music wasn’t feasible until her late teens. “If you had asked me,” she says, “I would have probably laughed at you cos I didn’t see this coming”. Following her expansive taste, she however continued to collect deep cuts of albums, shaping something alternative from what the radio usually played. She had record store owners as acquaintances and would make demands for seemingly obscure records. Lindsey’s voice emerged more distinctly from her second year as a law undergraduate at the University of Jos. 

Lindsey broke into the esteemed community of local musicians which included M.I Abaga and his brother Jesse Jagz, Ruby Gyang and Ice Prince. A guy called Bolade Bisi, “who’s pretty central to all our careers,” had a studio in the neighbourhood and would travel for years, leaving it in the control of the Abaga brothers. They all had Jam Sessions at this place, and soon after Lindsey joined Loopy Records—this was some years before Lagos and Chocolate City came calling for the rappers. On “Jehovah” and “Dis Jagged Life,” she lent her dulcet vocals to records from the brothers, although as she progressed into her own career she had to establish her own qualities beyond the collective’s resume. 

In Abuja where she lived briefly, Lindsey was part of a Jazz quartet and also played the grand piano alongside Sammy Gyang. These closely knit circles helped inform the intimacy of ‘…and the Bass is Queen’, which was the body of work that announced Lindsey Abudei as an accomplished musician. She wanted to “honour” the bass, which is perhaps the most underappreciated of instruments, but she also desired a stronger showing of her craft. “When I started recording [the album], I wanted to do something that was slightly different from ‘Brown’,” she says, “because ‘Brown’ was I needed to do something of my own. ‘…and the Bass is Queen’ now became the project where I learned control. Learning when to let my vocals come in, to let it breathe, and to let other instruments breathe. Not always singing in every space that is there, and realising that the voice is also an instrument, it doesn’t have to be chaotic”. 

Lindsey Abudei has been living, which is something she eagerly reminds me of when I query her about the six years between her debut album and ‘Kaleidoscope’. “I’m a human being; people forget,” she says. “People always forget that artists are human beings and life has its own way of doing things. And sometimes, you’re not in a space to make anything, and sometimes if you make something, you’re not in the space to continue. I feel like that whole conversation of artists trying to beat time—at the end it burns you out, if you’re not very careful. We’ve seen it happen in front of us”. 

She’s been working in less traditional spaces in music for the past four years, Lindsey however affirms. “But I’m thankful now we’re here; there’s a project”, she says with understandable triumph. ‘Kaleidoscope’ arrives with all this feeling and contemplation, bridging Lindsey’s poetically sparse direction with cinematic flourishes. “We’ll see,” she responds to the question of what she’s got coming after this; videos, a show, something entirely different? “I don’t want to throw everything away; it’s one step at a time. We’re hoping to have a live session towards the end of the month, so fingers crossed.”

Listen to ‘Kaleidoscope’ here.

FOR THE GIRLS: OUT OF THE FOG, NEZSA EMERGES BETTER AND ASSURED