Exploring the Evolving Relationship Between Afropop and Latin Pop

Posted on by Emmanuel Esomnofu

Afropop doesn’t care that it’s early in the year. The global movement is picking up pace with each passing moment, and redefining the texture of its sound through its commingling with global genres. In recent years, Afropop’s frontrunners have furthered their global ambition by tapping into different music markets and collaborating with the artists within those spheres to bring their music to new audiences and expand their pool of loyal listeners.

Of the many genres that interact with Afropop, Latin Pop has emerged as a common fixture in the Nigerian Pop scene and sure-fire way of attaining new levels of global success. In addition to the similarities of its shared economic prospects, musicians from this side have led the conversation by fostering creative partnerships. Of the numerous Afropop musicians with interests in Latin music and culture, Rema is right now the most consequential.

Some weeks ago, “Calm Down” became the first African song to peak at #1 on the Billboard Global 200 chart. This means asides in the United States, Rema boasts one of the biggest records in the world. Bring in the Billboard Hot 100 and he’s ranked #35 from last week’s chart. From being played across multi-packed festivals to a stadium belonging to Al-Nassr, the club which houses the biggest football star in the world Cristiano Ronaldo, “Calm Down” has been leaving an indelible mark on popular culture. 

Quite frankly, “Calm Down” possessed star quality upon release. Coasting on Andre Vibez’s colourful, visceral production, his neatly written account of young love was as starry-eyed as anything the Benin-born act has ever put out. It was a good record, but not many people would have anticipated its meteoric rise through the skies of popular music. As part of ‘Rave & Roses,’ the song remained as potent as on first listen, propelling the album’s movement in agile style. 

When talks of a remix surfaced, it was the one thing many saw coming. The idea was keenly argued, revolving around the archetypical Western coverage that was due to gloss over the contributions of the song’s initial creators and local audience. For many, cultural context had seriously been lacking in previous attempts to take Afropop songs to the world via collaboration. It should also be said that although Justin Bieber had little bearing on the original creative nexus of “Essence,” he offered tremendous commercial value through his feature. This goes the same for Ed Sheeran, whose appearance on the remix of “Peru” skyrocketed Fireboy DML’s profile in the United Kingdom. 

Another international-facing remix of an already famous song considerably drew sighs, but Rema’s choice of feature was quite interesting. Unlike many of his contemporaries, the Benin-born didn’t opt for another Drake-esque feature, an artist orbiting the famous world of Hip-Hop and R&B. Instead, he collaborated with an established pop star like Selena Gomez, a TV-star-turned-musician who is long entrenched in American pop culture both in music and cinema. As a musician, she has had a career many would term successful, with a wide-reaching fanbase that follows her every move. There’s also the fact that more particularly Selena’s ethnic multiplicity (being part Mexican) favourably emboldens Rema’s collaborative vision. 

 

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In 2023, the business of music is a multi-billion dollar industry. From Africa down to Europe, corporations are seeking new markets to tap into and new genres to discover for an omnivorous audience. Listeners flock to the heralded sound, wanting to uncover the next cool thing before it becomes popular and old. For all the buzz about such demographics, Afropop and Latin pop are the most cemented, influential across continents and turning the ears of the global audience to their distinct sounds. 

To discuss the flagrant set-up of Afropop is to rehash a consideration from last year, and indeed since 2019. An unprecedented number of young superstars are creating music alongside recognised greats, bringing into their presentation influences from as far as emo and as nearby as Fuji. It has shaped the African music scene very excitedly, with global domination being the reasonable trajectory to explore. On its part, Latin pop took an earlier seat at the table. Shakira and Marc Anthony were some of the biggest acts which propelled its nineties movement, recording some records in English and stitching their names into the consciousness of the language’s speakers worldwide. 

Over the years, as the global music industry grows, so has Latin pop alongside it. A real game changer has been the streaming era, which for the first time took the listening patterns of the Spanish-speaking world into the crucible of hard data. Released in 2017, Luis Fonsi and Daddy Yankee’s “Despacito” heralded the new era for the movement. Its party-starting groove rendered its sentiments clearly to the world, even (and perhaps especially) to those who didn’t come from its origins. 

It’s common knowledge that Bad Bunny is legitimately one of the biggest Pop stars in the world. He’s cornered the sort of Michael Jackson-esque fanbase only a few musicians command globally. With his Trap flows drenched in bouncy Latin sonics, recent anthems like “Dakiti” and “Titi Me Pregunto” continue to establish his musical prowess as much as they demonstrate the potency of Latin pop as a genre. What’s more? He currently has 67 million monthly listeners on Spotify, which is the most widely used music streaming platform in the world. For perspective, Drake has 69 million monthly listeners and Beyonce has 50 million while only Taylor Swift, considerably trumps Bunny’s Spotify listenership with 81 million monthly listeners. 

Asides Bad Bunny, the likes of Rosalia, J Balvin and Rauw Alejandro have also made great impact in the mainstream American music scene. Selena Gomez might not outrightly belong in this category, but her Mexican heritage and the obvious origins of her name adds her to artists of this ilk. As much as music remains a creative endeavour, such business decisions fuel the machinery which allows the artist’s best form to shine through. In Rema’s case, “Calm Down” already had Spanish-evoking melodies and a bounce that wouldn’t be out of place on an Ozuna album. On air with Capital Xtra in 2021, he affirmed the intent to take Afrobeats to places it had never been. Illustrating his point, he spoke on the Bollywood-style flow that got him humorous digs when he was starting out, asking, “Why can’t we shut down India?” 

Historically, the relationship between African music and its Latin counterpart is well documented. Among scholars and musicologists, it’s an accepted fact that the Latin areas of America and the Caribbean received an influx of Black people from Africa during the slave trade. Once they arrived on unfamiliar shore, these people sought the familiarity of music, emerging at the Cuban clave which sounded like the many percussions back home. Over the years, their efforts at playing were recognisable influences on the popular music of the region. 

The relationship went both ways. Upon further research, a Wikipedia page infers that it was “Cuban music, more than any other, that provided the initial template for Afropop.” Known for its contribution to the liquid spontaneity of Highlife, Congo was the first African country to adapt Latin guitar styles into their music. From the 1940’s local bands and musicians, spurred by the urban-focused curation of the influential Radio Congo Belge, began to create music around the trendy Cuban style. Sung in French, the new sound was called rumba, which is now the most popular genre in Congo and other parts of Francophone Africa. 

In contemporary Afropop, Rema is hardly the sole artist tapping the rich sonics birthed from Latin culture. Rumba’s most acclaimed purveyor Fally Ipupa continues to hold the French world in awe, his 2022 three-part album ‘Formule 7’ demonstrating impressive mastery over the sound and bending it towards an African perspective. With the forward-facing scope of his projects since ‘Boyfriend,’ CKay also belongs in this conversation. “Jeje de Whine” and “Skoin Skoin” draw explicit inspiration, the former rolling with a Spanish guitar while Brazilian musician Bianca Costa features on the latter. The Warner Music act in interviews has shared that Latin music appeals a lot to his listening taste, and so, it’s no surprise to see certain choices he makes on his projects. His much-heralded debut album ‘Sad Romance’ has its fair share of Latin influences: Cape Verdean musicians Mayra Andrade and Ronisia features on “samson and delilah” and “lose you” respectively, colouring both records with the dramatic flair associated with the sound. If anything, CKay’s trust in the musicians proves there’s potential for French and Portuguese-speaking musicians in the ever-amorphous vision of Afropop. 

All around us, the world is brimming with Latin musical influences. And now, because of the massive cultural reach of Spanish, Portuguese and French, there’s a lot of potential new listeners Afropop could be getting, through collaboration. Music scarcely takes a linear shape, and it’s quite fitting that the sounds which left our shores centuries ago are now returning, in the hands of pop stars no less. Last year, Oxlade’s “KU LO SA” sparked off a viral social media trend, its affectionate message instantly endearing many listeners. Many could see the record getting the international remix treatment, but not many would have accurately predicted the choice of feature. 

Camilla Cabello isn’t the most obvious choice, and she does come with her allegedly racist history. But she’s a very calculated feature: considering all the nuances and numbers that have since been highlighted, it’s likely that Oxlade has his eyes on the Latin market. On Spotify, Cabello has 42 million monthly listeners, which is very appealing from a streaming perspective. Even though such metrics don’t guarantee an instant smash hit, with the variant promotional tools available to artists and labels today, one wouldn’t want to bet against the song making a return to popular culture this year. 

What’s left to safeguard is the currency of history. While collaborations are sometimes tilted to whatever is in vogue, the origin of genres remain rock solid. It would be aghast for a demographic to claim ownership of a sound they didn’t really create, and collaborations, when not done right, can crack the loophole through where misinformation can slip through. Therefore, artists should be intentional about speaking up for their inspiration when they do interviews. Music is universal after all, and anybody can create anything. Just acknowledge the source; this way, everybody eats. 

ICYMI: Would Essence have come this far without its remix?

East Africa’s Women Executives Are Challenging The Music Industry’s Male-Dominated Narrative

Posted on by Tela Wangeci

The music business has mostly been a space dominated by men. Across history, the top brass positions were reserved for men while women were seen as cheerleaders on the sideline. Although women have long dominated the airwaves with widely loved hits, from girl groups to solo acts, their essence in boardrooms was reserved for menial tasks such as serving cups of tea. However, in 2020, the global shutdown due to the COVID-19 pandemic served as a turning point for the scene. What were once stones that were cast away ended up being the cornerstones of a revolution in the music business.

While it is undeniable that East Africa struggles to find its definitive role in Afropop, women executives have stepped in acting as guides towards effective business models spearheading music in East Africa. From PR consultants to label executives, women have opened gates to gender equality. From Seven Mosha, Marketing & Artist Manager at Sony East Africa, Camille Storm, PR Consultant and Founder of Camille&.Co/C&C Distro, to Bilha Ngaruiya, the country leader at ONErpm, there are now more women in senior leadership positions that pave the way for women who look and talk like them, challenging the archaic music narrative.

 

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When Spotify announced its entrance into the African market, the main question on everyone’s lips was how would the brand would support and promote the East African market given that it’s largely been left out of Afropop conversations on the continent. Monica Kemoli-Savanne was one of the first woman to take up the role of Spotify’s Artist & Label Partnerships Manager for East Africa. Opening up the gates for artists to easily share their art worldwide, this caused a whole paradigm shift as Kenyans who initially relied on YouTube to share their music, had a new option for having their songs on platforms and receiving support which could catapult them to the world–only with the talent, of course. Not long after, new programs supporting artists such as East African curated playlists, and artist support from platforms like Boomplay and Spotify with Equal and Radr began popping up on the platform. 

This is largely replicated across the music industry. In 2023, celebrating women entering first-time roles in the industry is not the intentional representation we’re looking for. It was not until one week ago the Kenya Association of Music Producers (KAMP) elected Ms. Angela Ndambuki as the first female chairperson since its emergence. KAMP also elected Suzanne Gachukia as its Chair Licensing and Operations Committee while Faith Kithele was elected as the Chair of the Finance and Human Resource Committee and Monica Kibayu as its Chair Audit and Legal Committee. Despite these recent changes to their board, KAMP is the only collective management organisation (CMO) whose board has the highest representation of women that commands the majority number of four out of seven board members. 

“I don’t know why but even when in gatherings with music executives, the men are always trying to pitch the women against each other. I mean, yes there is competition but it’s all friendly competition. We are all trying to elevate the game,” Bilha Ngaruiya shares with the NATIVE. It’s only been less than a year since Bilha stepped into her new role and already, ONErpm has signed two leading Kenyan acts Buruklyn Boyz, who are the face of Drill in the country, and Boutross, a key player in the rise of Shrap. The results of these partnerships bore fruitful results as Boutross’s tape ‘Mawingu’ trended on Apple Music’s Top 100 while the lead song “Angela” hit No.1 on Youtube.

“Men are always trying to pitch the women against each other. I mean, yes, there is competition but it’s all friendly competition. We are all trying to elevate the game.”

For other women such as Camille Storm, a journalist and PR Consultant in Kenya, bringing more women in the door is a top priority.  “I am trying to put more women in the industry into power. You can walk into a meeting and everyone thinks you are a secretary. The constant undermining of women is something that needs to be stopped.” The challenges African women face are mostly borne out of bias and societal misconceptions major in as well. A lot of the time, there are often sneaky comments made directed towards sexual harassment, and whether women could handle the pressures associated with the industry. At the moment Kenyan DJ and artist, Janice Iche is fighting a tumultuous court battle after she was assaulted by her producer. 

“As a woman, you need to work twice as hard and be street smart. Music is not an easy business and there’s a lot of men. Some people are driven by certain desires and will see you as an object rather than an executive. You always have to stand your ground and make it purely professional,” Camille Storm echoes. At each stage of these women’s careers, they faced an obstacle they had to surmount. They had to put work in, face their fears and also stand out from their male counterparts, going through several hoops to prove they are worth their salt. 

Compared to ten years ago, the music industry has made major moves, especially in East Africa. Women are now filling all the spaces that they haven’t traditionally filled and they’re fitting in well. The more we’re seeing women in all these spaces, the more doors we open for other young women looking to break into the industry. In 2022, Boomplay held an all-women dinner under the theme “breaking the bias,” one the first-events of its nature by a music streaming platform. While this is not a magnanimous feat by any means, it’s a step in the right direction for the industry who has spent years maligning women and pitting them against each other.

Now, we need to collectively create space for more women to emerge in leadership roles and to be represented in higher numbers across the industry which is happening, slowly but surely. Soon, the interior of the music industry will catch up with the progressive and diversified roster of women it supports on the outside. Till then, more African women in music are making more positions for themselves at the table rather than waiting for the crumbs to be handed down to them. 

ICYMI: JAIL TIME RECORDS IS THE HOME OF CAMEROON’S INCARCERATED ARTISTS

Essentials: Dj Mura K.E Is Still The Dancefloor Master On ‘Murastar.Vol 2’

Posted on by Tela Wangeci

Over the years DJ Mura K.E has etched his way into Kenyan hearts with dancefloor-ready bangers and eccentric mixes. His unorthodox East African edge, even when producing commercial sounds, has given the artist an upper hand in carving his name into contemporary Kenyan music. The lean dreadlocked DJ has become a familiar face in the alternative scenes and his minimalist, house-infused production makes him an avart-grande producer/DJ always looking for innovative ways to impress audiences.

Mura has worked with several renowned names to great results. He teamed up with Ayrosh on the fan favourite “Hutia,” which blended dance, Benga, Afropop and Folk. With sultry Kikuyu vocals by folk-fusion artist Ayrosh, the single draws from a range of different textures that immerse a discerning listener in a kaleidoscope of cultures, vibes and grooves. Udulele who also features on his recent project, was on the guitar giving soul to the rhythmic melody of the song.

Releasing ‘Murastar Vol 1’ in 2022, DJ Mura K.E weaved a web of love tales against Electronic and Amapiano backdrops. The warm silhouette of Wendy Kay against the mid-tempo productions and vibrant shakers in “Nikikuona” paint a vivid tale of 21st century love that is mostly online. The smooth music bed is soulful as the saxophone sweetly blends in Wendy’s voice. The third studio album combined sounds from East, South and West Africa telling the tragic stories of love juxtaposed by serenading afro-house beats.

With eight years of music under his belt and , DJ Mura K.E’s sound is continuously evolving. Using his recently released EP ‘Murastar Vol.2′ to showcase his soulful and dance side he taps into Amapiano as the main inspiration infused with R&B. Through ‘Murastar 2,’ Mura reveals his artistic journey and growth as an artist. Essentially making African electronic dance music, the project shows where his mindspace is at in regards to what he’s currently playing on his DJ sets, hence the influence in his music production journey as well. The project is also filled with a hybrid of traditional sounds and music fused with electronic elements.

Immediately from “Loving,” featuring Njerae, he sets an impeccable tone for the tape. Dj Mura K.E’s airy synths cut across the Amapiano infused tune with the alliterating chants that set an upbeat production. Njerae’s silky vocals meld into the African sound as she assures her love of her undying love. Accompanied by cool visuals directed by KG Brian the song oozes the beauty and purity of love.

Experimenting with sound has been Dj Mura KE’s focal point and it resulted to a well oiled machine coordinating as the songs seamlessly flow into each other. Inviting Polaris in his canon of hit collaborations, DJ Mura K.E captures a vulnerable side in “Nimechoka.” Capturing the pain of a lovelorn relationship, he adds his midas touch transforming it to a nostalgic number with lush production. The serenity experienced in the guitar strings surprisingly give birth to an astral number. The piano riffs in “Goodtime Riddim,” featuring Udulele and Robin Marcel offer the perfect close to the dynamic project. The piano riffs and the harmonisation of the keys uplift you to euphoria as you get absorbed by the seditious production.

Murastar affirms Dj Mura K.E’s game plan is united with the talent and ability to showcase his distinctive flow and rhythm when making and playing music. Not afraid to jump out of his musical comfort zone, ‘Murastar Vol.2’ is a compilation lethal tailor-made for the dancefloor.

Listen to ‘Murastar Vol.2’ below.

BEST NEW MUSIC: TYLA BARES HER DESIRES IN HOUSE-DISCO STUNNER “BEEN THINKING”

AV Club: ‘Crime and Justice Lagos’ tackles societal ills through the police & legal procedure

Posted on by Dennis Ade Peter

Showmax is building a formidable catalogue of original African film and TV content. Currently, the Multichoice-owned streamer is better known for airing reality shows, including its live-streaming of the ubiquitous Big Brother Naija, its constant stream of episodes in the Real Housewives franchise from Durban to Lagos, and minor hits like I Am Laycon and GH Queens. Encompassing all of that, though, is an obvious dedication to telling African stories, with dozens of commissioned and renewed TV series mainly from Nigeria, Ghana, Kenya and South Africa, over the past few years.

A recent sign of Showmax’s commitment is the first season of ‘Crime and Justice Lagos’, which serves as a new instalment in a promising franchise. In 2021, the streamer premiered the debut season of ‘Crime and Justice’, a police procedural drama set in Kenya where two detectives—Makena (Sarah Hassan) and Silas (Alfred Munyua)—investigate cases with grave crimes at their centre. The show, which returned for a second season last year, took inspiration from real life happenings, giving it a lived-in premise and a strong base to explore these stories from a human angle.

‘Crime and Justice Lagos’, released across six weeks from last December, follows the same ethos, and even retains some of its predecessor’s traits, especially in its casting of two lead detectives, Kelechi (Folu Storms) and Danladi (Jammal Ibrahim). With an already set template, the show doesn’t have to justify the reason for its existence, but it does have to navigate its relation to a city—and country—where crime is regular but neither investigation nor justice is a consistent occurrence.

In October 2020, millions of Nigerian youth and concerned citizens marched onto highways and streets across the country, in protest against police brutality, particularly against the notorious Special Anti-Robbery Squad (SARS) unit of the Nigerian police force. The protests, which came to a brutal halt after soldiers of the Nigerian Army and officers of the police shot at and killed unarmed protesters at the Lekki Tollgate, is referenced in “Clash,” the fourth episode of ‘Crime & Justice Lagos’. In that episode, four young adults are killed by three policemen and, in uncovering the situation, what follows is a portrayal of the machinations that are usually at play when the men in black are on the wrongful end of a crime.

“Clash” is easily one of the best episodes of ‘Crime and Justice Lagos’, a very Nigerian event that gets treated with the level of care and tenacity that seldom happens in real life. That tension between what most Nigerians know happens regularly versus what is shown on screen makes for a gripping hour of screen time. Adding to that, Kelechi and Danladi belong to the Serious and Special Crimes Unit (SSCU), which is meant to be an antithesis to the real life SARS unit. As the detectives jump through hoops to expose the events that led to those deaths, the bureaucratic hurdles they have to jump through are a reflection of a police force where commissioners tell police brutality victims’ loved ones to “leave it for God.”

“The truth? When did the police start caring about the truth?” one of the errant policers remarked while being interrogated. Unlike that biting, real life assertion, the fictional SSCU cares about finding the truth and ensuring justice. Deviating from the perception of a Nigerian police force that has neither the means nor the will to solve crime, the SSCU has the persons and tools to conduct investigations, from an autopsy lab headed by a competent Dr. Aggey (Uche Mac-auley) to the tech wizard Simi (Maggie Osuome), who is mainly in the show to “make your lives easier while you guys take the credit.”

 

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Led by a straight-cut unit leader, DCP Biboye (William Benson), there’s no established pattern to the cases investigated by the SSCU. That gives the show a flexibility in how to approach each case, while giving viewers insight into each character on an episode by episode basis. The issue with that, though, is we really never know the founding motivation for the unit. Serious and Special is a broad basis for a unit, and it shows in how the focus of episodes from kidnapping to organ harvesting, but as a cumulative body of work, these cases come across as arbitrary selections from higher powers we aren’t privy to, and that undefined quality seeps into the reading of the whole show.

As leads, Folu Storms and Jammal Ibrahim do a great job of showing up as passionate detectives in the Nigerian police force, but their performances are also welded to the show’s limitations. For one, halfway through ‘Crime and Justice Lagos’, it seems like the writers haven’t figured out whether Kelechi and Danladi are cordial colleagues or workers who’ve become friends. Part of that is because there’s no establishment of the timeline of the SSCU’s formation and their working relationship. On the OG ‘Crime and Justice’, viewers get to know that Makena and Silas are new partners within the opening scenes of the first episodes, and we get to watch their evolution into colleagues who greatly trust each other.

On “Sliced,” the second episode, the detectives take interest in the case of a missing girl child against the wishes of Biboye, up to the point of risking their salaries. As the plot unfolds, it becomes a commentary on Female Genital Mutilation (FGM), a pressing social issue in Nigeria. It’s in this episode that we’re allowed into Kelechi’s life a little more, but because she’s mainly defined by man troubles, expectations from a rigid father and trauma from a child-related event that doesn’t eventually get revealed, Folu Storms has to wear a perpetual scowl. Part of that is fitting for a character in a male-dominated field, especially as she deals with blatant misogyny on several occasions, but it unfairly gives Kelechi a single dimension.

 

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Danladi gets slightly more grace because the character gets a little more interest later in the show. On “Harvesters,” the penultimate episode, the case of young boy who has his kidney removed through an illicit system is put in conversation with Danladi’s backstory as a street beggar when he was much younger. It’s not exactly what you would describe as truly special, but Jammal Ibrahim’s performance is moving enough to keep a rather pedantic episode afloat.

Even though most of it is focused on the investigation of these cases, ‘Crime and Justice Lagos’ features some legal procedure, with the final arch of five out of six episodes taking place in the courtroom. At its best, these parts of the show find the balance between final expositions and resolutions—regardless of whether the arraigned are convicted or not. At their worst, it’s a lot of explanation that tells the viewer what happened when they could’ve been shown as the investigation developed.

In “Oro,” the court scene is captivating because it shows the generally baffling nature of ritual killings, in relation to how the law deals with culture. It’s capped by the best revelations on the show. By contrast, first episode “Zero” loses the bulk of its momentum by walking around evidence in circles and leaving uncertainties with its resolution. In these up and down parts, as with a lot of the show, an undeniable positive is how well-defined the aesthetic is.

Taking cues from its predecessor, the colours on ‘Crime and Justice Lagos’ are eye-holding without being loud. Even when swinging between the upscale SSCU headquarters and grittier, rustic locations, there’s a steadiness that makes it easy for scenes to absorb viewers. In a way, it reminds me of the American crime drama show, ‘The Blacklist’, a show with some speculative influences on ‘Crime and Justice Lagos’—both shows are centred around units with lead detectives whose character matrix have some similarities.

Beyond its Kenyan predecessor and my speculations, there aren’t a lot of forerunning police procedural dramas in Nigerian television. When I asked for examples, an older journalist friend pointed me to ‘Third Eye’, a show from the late ‘80s starring the iconic Olu Jacobs, and the mid to late ‘90s Ghanaian sitcom ‘Inspector Bediako’ which was quite popular in Nigeria during its heyday. (‘Inspector Bediako’ got a fairly recent 52-episode reboot that’s currently streaming on Showmax.)

Being part of a franchise, ‘Crime and Justice Lagos’ has a template but this first season comes off across as a show still figuring out its strengths. That much is clear in its finale, “Deadnappers,” which is based on an unnecessarily muddled plot. Personally, I think the second season of ‘Crime and Justice’ was better than its first. I’m betting on the second season of ‘Crime and Justice Lagos’ following that same trend. There’s no shortage of crimes to portray on the small screen, and much like the system of justice in Nigeria, there’s always room for improvements.

AV CLUB: SHANTY TOWN IS A PICTURESQUE CRIME THRILLER WITH GLARING PLOT HOLES

NATIVE Selects: A List of the 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.

As such, every Tuesday and Friday, the NATIVE will compile a list detailing the best and most enjoyable songs released during the week. Last week, we covered releases from Tyla, Jeriq and more. Today, uncover our favourite tunes from Asake, Pheelz, Bad Boy Timz and more.

ASAKE – “YOGA”

On the back of the prolific heater that was his 2022 run, Asake has just returned with his first single of this year, “Yoga.” Where his music from the previous year was defined by its inspired relationship with Fuji, this new single sees the singer reach even further back into the canon of Yoruba music history. “Yoga” takes clear influences from Sakara, the bluesy style of music that was popular in Nigeria’s southwest from the 1930s and even served as a stylistic progenitor to Fuji. Created in tandem with the main collaborator Magicsticks, Asake dispels the bad energy that can come from being young, rich and famous, letting ancestral spirits from the past guide him in the present.

BAD BOY TIMZ & EMPIRE – “FAYA”

Last year, music distribution giant EMPIRE curated a project, ‘Where We Come From Vol. 1’, featuring artists from several parts of Africa. The roll-call included artists in different stages of their careers, from world-renowned new schoolers to veterans of eras past, bringing a cocktail of feels to the project. On “Faya,” the electric style of Bad Boy Timz edges remarkable space for itself. Since his arrival on the mainstream scene, Timz has kept his music groovy, making bold statements while having obvious fun on the beat. This new record retains those energy levels, but the storytelling is remarkably heightened, working up a metaphor which represents fire as desire and destruction. 

PHEELZ – “STAND BY YOU”

Pheelz’s impressive run of form continues. As he gears up for the release of his ‘Pheelz Good’ EP, the Nigerian producer/artist puts out the mellow tune “Stand By You.” On the track, Pheelz surrenders to the spellbinding love he shares with his woman as he promises to remain by her side through good and rough times. The track is strewn with catchy lyrics—like “I don chop breakfast, lunch and dinner”—that make the song a fire tune.

NEZSA – “SHOULD HAVE CARED”

Love is blind until it robs you of your dignity and self-respect. On “Should Have Cared,” Canada-based Nigerian R&B singer Nezsa rues the decision to devote herself to someone who wouldn’t reciprocate with the same intensity, despite the signs being there all along. The affecting quality of this song is, Nezsa offers herself grace as much as she beats herself up, her earthy voice floating over Reggae-tinged production that’s accented by talking drums and rippling strings.

FADÉ – “LIGHT MY FIRE”

As the year starts, new female voices are equally stepping into the scene. Newcomer Fadè joins the conversation as she arrives with her debut two-pack single, ‘Ignited Heart.’ It features the records “Light My Fire” & “Love Me.” The former sees her serenading a love interest as she sings soulful lyrics such as “You light my fire/I hope you feel the same” with her clear and solid vocals, over the melodious production of OgbeniSB. 

LOTI – “SEARCHING”

Debauchery is a subject Afropop artists are increasingly discussing in records. From Omah Lay to the ascendant Libianca, the motions of a heart learning to survive have made for dramatic complexity. “Searching” finds Loti threading that path, layering mellow vocals over ominous production. Like evocative singers are known to do, he enters into the emotion of his messaging, really making this personal affair embrace the wholesome strain of something universal. It’s a distinct direction from last year’s EP, ‘Gorimapa Gangster,’ but following the characterisation of that project it’s a fine portrait of a character caught in his excesses and clawing through the mud for redemption. 

BAABA MAAL – “AGREEMENT”

After collaborating with Swedish composer Ludwig Göransson on the score for last year’s ‘Black Panther: Wakanda Forever,’ veteran Senegalese artist Baaba Maal unveils the second single from his forthcoming album ‘Being,’ which is his first in seven years. “Agreement” contrasts the upbeat nature of “Yerimayo Celebration,” the project’s first single: its gentle-moving melodies are hypnotic and meditative, flowing in tandem with Maal’s observations about relationships and connections, both cultural and emotional.

SAMBA PEUZZI – “MERCEDES” FT. REMA

Known for contributing his dynamic vocals to diverse artists around the globe, Rema gets on this new record with Senegalese rapper Samba Peuzzi. “Mercedes” takes after the glossy feel of its title, its bewitching drum base matched with sunny rhythms. Romantic promises make up the lyrical content, and the distinct cadences of the featured acts impressively pad the song’s appeal. Samba has consistently flirted with pop-leaning sounds since flexing muscles as a freestyle rapper, and here he’s in familiar grounds. With his feature polishing the affirmative direction, the listener comes away with the exhilarating lightness of sunbathing on the famous beaches of Senegal. 

DIAMOND PLATNUMZ – “YATAPITA”

Drama is half the vocal performance in Bongo Flava. Within the Tanzania-birthed genre, no one is better adept at heightening the emotions in their lyrics than its foremost superstar, Diamond Platnumz. After dabbling in a multitude of Afropop genres on last year’s EP, ‘First of All’, he returns to his roots with “Yatapita,” a heartfelt love song written from the perspective of a man promising to give his partner the finest things money can buy when he’s financially capable. Like many of his best songs, the draw is how his voice rings out and wrings out feeling out of every line and melody.

BONGEZIWE MABANDLA – “NOBA BANGATHINI”

In preparation for his forthcoming album ‘amaXesha’ in April 2023, South African musician Bongeziwe Mabandla serves a blueprint with the stirring single “Noba Bangathini.” The track is centred on the power of love to overcome difficult situations as well as protect, strengthen and elevate a person. “It’s about seeing all the obstacles and heartache that comes with sharing your life with another, but still choosing to do so, in spite of it all,” Mabandla says about the track.

MAANDY & SAVARA – “NITARUDI”

Maandy’s scope has widened enabling her to flourish as a pop star. Weaving numerous bangers with her cheeky lyricism and cadence, she’s stood out as a budding female artist. After teasing with still shots with Savara, Maandy offers her latest offering “Nitarudi. (I will come back).” Maandy showcases her honeyed vocals over the mellow beat as she pledges loyalty to her significant half. She shows her lovesick heart that yearns for love even if she’s hurt. Sauti Sol’s Savara melodic voice intertwines with the dulcet cadence delivering a passionate love song.

MUTHAKA & CHEMUTAI SAGE – “GO”

Very few people manage to personify R&B like the 90’s but Muthaka and Sage Chemutai are special exceptions with their alluring vocals. Muthaka is fresh from her AFRIMA win and she isn’t slowing down. The duo teams up on a nostalgic 90’s old-skool R&B beat with vivid details of a fiery love that pushes you to the edge.

Featured image credits/NATIVE

ICYMI: Tyla bares her heart desires in new disco-stunner, “Been Thinking”

NATIVE Exclusive: Jail Time Records Is The Home of Cameroon’s Incarcerated Artists

Posted on by Uzoma Ihejirika

In November 2022, Jail Time Records, a non-profit record label made up of rappers, singers, producers and filmmakers formerly and currently incarcerated in Cameroon’s Douala Central Prison, released its first compilation album ‘Jail Time, Vol. 1.’ The album is a collection of 24 tracks that revolves around Rap, Afrobeats, Afro-trap, Drill and Afro-house. Through an assemblage of languages spoken in Cameroon—French, English, Douala, Fulbè, Bamoun, Bassa and Sango—several artists chronicle life behind bars and explore themes of frustration, pain, love, guilt, hope, social and political criticism. The album is a showcase of the strength of community and the redemptive power of music.

“It’s always a matter of chemistry or alchemy how you compose an album, especially when you have hundreds of songs to choose from. It’s not always easy but it kind of made sense,” says Dione Roach, one of the co-founders of Jail Time Records. “The songs had different themes. They had different feelings [and] different emotions. It kind of created a bit of a story, a narrative around this universe of incarceration. So I think we were looking for that diversity. And that’s why there’s also the skits in the album, sounds from the prison, a [recording of a guy] speaking, interviews or even phone calls between one of the artists and his daughter.”

Variety lives on ‘Jail Time, Vol. 1.’ Songs like D.O.X.’s “Loubards,” Empereur’s “Sa Ngando,” Do Stylo’s “Sang Or Argent” and Kengol DJ’s “Ça Va Aller” are hard-hitting Rap songs with verve and power; songs like Makondo’s “Low” dwell on introspective topics; Jeje, who is the only woman and Nigerian on the tracklist, provides catchy melodies on “Show Me The Way,” and these melodies are replicated on D.O.X’s Vidou H-assisted “Offline,” Landy’s D.O.X. and Debit-featuring “Tuerie 1” and Vankings’ D.O.X.-assisted “Micky Mouse.”

Some of Jail Time Records’ artists. Image Credit: Jail Time Records.

Some of Jail Time Records’ artists. Image Credit: Jail Time Records.

For most of the artists on ‘Jail Time, Vol. 1’, which is dedicated to the memory of Chimico, one of Jail Time Records’ artists who passed on in 2019, the project is a major milestone in their lives. “They are really excited and really proud because most of them had never had music released before,” Roach says. “And in general, it gives them a lot of optimism and it gives them even more desire to commit and go further with the music.”

Between 2017 and 2018, Dione Roach, who is a multidisciplinary artist working with photography, video and painting, was a volunteer with the Italian NGO Centro Orientamento Educativo (COE), at Douala Central Prison in Cameroon. It was her first time in Africa. During that time, while she gave painting workshops and organised dance and music events, she met a group of rappers—Stone Larabik, King Ice, Chimico, Do Stylo, Picsou—called La meute des penseurs, which translates as “the wolf pack of thinkers,” who would then invite Roach to their rehearsals. “They were rehearsing every day in the death sentence court of the prison. It’s a crazy space,” she says. “Sometimes they use it as a church. Other times they use it to watch soccer. Other times it’s a restaurant. There’s a lot of drug trafficking as well and stuff. That was my first contact with the musical part [of the prison].”

Dione Roach. Image Credit: Jail Time Records.

Roach, who was born in Italy and was surrounded by art and familial support all her life, became thrilled by the dedication and passion of the musicians who didn’t come from backgrounds that encouraged their artistic leanings. She approached COE for funding to build a recording studio inside the prison and both the NGO and prison officials obliged her. Afterwards, she met Steve Happi (aka Vidou H), a multi-instrumentalist, sound engineer, producer and singer who became Jail Time Records’ in-house producer and her co-founder.

In hindsight, Happi and Roach’s meeting seem divinely orchestrated. Throughout Roach’s volunteer activities in the prison, their paths never crossed. Happi spent most of his mornings and afternoons in his cell and used the nights to stretch his legs and mind. One midnight, a late pal who knew he was into music told him about a “young white lady” who frequented the prison and had kick-started plans to build a recording studio. The friend spoke to Roach about Happi and the two met and, while in conversation, discovered that they shared a lot in common. A couple of months later, as her time in Cameroon as a volunteer was coming to an end, Roach handed Happi the key to the studio and told him he was in charge of it.

Steve Happi (Vidou H). Image Credit: Jail Time Records.

At Jail Time Records, Happi kept an open-door policy, allowing anyone who showed interest in music to stay and record. When Roach returned to Cameroon five months later, Happi had recorded over a hundred songs spanning Hip-Hop, R&B, Afropop and Gospel. She was impressed with the efforts of Happi and the other prisoners and decided to create a functional music label and release those songs to the public. After Happi left the prison in 2020, he handed control of the studio to Stone Larabik.

“It was really a new experience,” says Happi about his time in prison and making music. “It’s not even something you take [a] decision like, ‘Yeah, it’s about to be a new experience.’ No. You are just living the experience because you are behind bars. The conditions are really different. The spirit is really different. Your soul is acting different. Prison is another world. Your creative processes are really different. The inspiration is even different. You are in the middle of four walls and that’s when music [becomes] an instrument of resistance, an instrument of sharing, an instrument about knowing people.”

Happi’s experience in prison also taught him about the motivations and desires of the inmates whose songs he recorded. Those songs offered him a peek into the mental and emotional psyche of the artists who sang or rapped about personal and familial travails, often basing their songs on their memories of their fathers, mothers, children or friends. “It was more about [the] real lessons of life. They even educate you through the stories. So for me, it was a huge experience about resistance,” he says.

Stone Larabik. Image Credit: Jail Time Records.

The first music video shot in Douala Central Prison was for La meute des penseurs’ “MERCI” in 2019. It was directed, filmed and edited by Roach. Since then, she has handled the direction of the music videos for tracks from Jail Time Records’ artists. These music videos—Stone Larabik’s “Fils du terre terre (Freestyle),” Landy’s “Tuerie 1,” Empereur’s “Sa Ngando,” Abdel’s  “Soungoula,” Jeje’s “Show Me The Way” and D.O.X.’s “Offline”—feature grittiness and unsophisticated emotions that highlight the harsh circumstances surrounding the artists. In some of the videos, Roach adds body painting as a costume choice to give the visuals another dimension.

“The prison is always the same space and it’s very limited. So we have to find stuff to make it different,” Roach says. “You have to find just different visual colours or you have to be quite creative to make it a bit different. Otherwise, it will always be the same because it’s the same place. So yeah, I think out of that limitation, it kind of made me want to explore an art direction that took on different elements.”

Some of the prisoners at Douala Central Prison. Image Credit: Jail Time Records.

Some of the prisoners at Douala Central Prison. Image Credit: Jail Time Records.

Some of the prisoners at Douala Central Prison. Image Credit: Jail Time Records.

Some of Jail Time Records. Image Credit: Jail Time Records.

In December 2021, Jail Time Records built a new recording studio outside the prison. The reason for the new studio was to ensure an easy transition for the ex-convicted artists into free citizens of the community. “For a lot of guys, when they come out of prison, it becomes quite difficult if we have to bring them back to prison to record,” Roach says. “Like already it’s not that easy for them if we’re not there to have access [to studios] and then a lot of them don’t really want to go back to prison because there’s a lot of bad memories.

“That’s why it was important to keep the guys busy, to keep them working, to keep them focused once they leave because actually, the most sensitive moment is when they leave prison because that’s when it’s like, ‘Okay, what happens now? Are you really going to change your life or are you going to go back to the life you were living before?’ And you know a lot of them come from quite disadvantaged backgrounds and maybe the families won’t take them in or they need money. So it’s important to be there at that stage and keep them motivated.”

Steve Happi in the new studio outside prison. Image Credit: Jail Time Records.

A Jail Time Records artist recording in the new studio. Image Credit: Jail Time Records.

Jail Time Records plans to help some of the artists to launch solo careers. One of those artists is Jeje who has always been committed to music since she was 18 and who Roach says is “incredibly talented.” Aside from music, the record label, through Roach and Happi’s savings, has found accommodation for some of their artists and given out capital to others to set up businesses. Roach reveals that it is just recently that the label got funding from the Moleskine Foundation and the Supporting Act Foundation.

Happi, who produced and engineered all the tracks on ‘Jail Time, Vol. 1,’ found the process challenging but fulfilling. “I don’t like to put boundaries [on myself] because I don’t have the audacity to judge people. It was really a matter of spirituality. It was a matter of connection [and] energy,” he says. He also reveals that Roach was pivotal to the process. “She’s the kind of person that’s going to tell you, ‘Mix this and that.’ She was the one who told me, ‘Yeah, it’s good to make traditional music, but I would like you to put maybe a traditional singer on a trap beat. She’s a producer too. I told her, ‘You don’t know this, but you are a producer. It’s not only about making beats.’”

Dione Roach, Steve Happi and some of Jail Time Records’ artists. Image Credit: Jail Time Records.

In terms of the promotion of the album, Jail Time Records offers some of the artists who are outside the prison the opportunity to perform at concerts and find new audiences. The record label also plans to expand its reach to other prisons in Africa. “[In] 2023, we are going to go to MACO (Maison d’Arrêt et de Correction de Ouagadougou) prison in Burkina Faso. [We were] there for like a workshop last year (2021) and we’re going to build a studio there as well,” Roach says. “But as you can imagine, Nigeria is a dream in terms of musical potential. And so Lagos [has] always been on our top list of places we would love to go and bring the project.”

Yet, those aren’t the only plans Roach and Happi, who describes his experiences in prison—meeting Roach, working with fellow incarcerated artists and making ‘Jail Time, Vol. 1’—as “a blessing,” have in store for the label and themselves. In the future, Happi and Dionne plan for Jail Time Records to really become a kind of movement and an established platform for the voices of prisoners and for great music as well. Roach says, “and to have as big as an impact it can have on the life of the people involved and of their families and the community and society as a whole.

Now, Jail Time Records has their sights set on making a documentary. “We’ve been working on a documentary of the life of the artists inside prison. Hopefully, we will get done this year. And for us as artists, I think I can speak for both of us, there’s a lot of creativity [around us that is stimulating]. All these people we work with have such strong stories and the cultures they come [from]—because they all come from different ethnic groups and different backgrounds—there’s so much cultural richness [and] it’s a very fertile environment for creativity, for imagination and work. So I think it’s just to bring as much of that out artistically as we can.”

Stream ‘Jail Time, Vol. 1′ below.

Featured image credits/

TurnTable Top 100: Rexxie Debuts On The Top Ten With “Abracadabra” Featuring Naira Marley & Skiibii

Posted on by Wonu Osikoya

This week on the TurnTable Top 100, Ruger’s hit single “Asiwaju” spends another week as the No.1 song in the country. The record tallied 2.54 million on-demand streams and 77.7 million in radio reach joining the ranks of Omah Lay’s “soso” and Joeboy’s “Sip (Alcohol),” both of which spent 11 and 10 weeks atop the charts respectively. 

It is followed by Omah Lay’s “soso” which rises to a new peak at No.2 tallying 2.55 million on-demand streams and 62.7 million in radio reach. “RTID (Rich Till I Die)” by Kizz Daniel slips to No. 3 after debuting at No. 2 on the Top 100 only two weeks ago. To close out the top 5 is Zinoleesky’s “Personal” at No. 4 while Mavin All-Star’s “Won Da Mo” which recently topped the charts drops to No. 5.

Outside the top 5, Young Jonn’s “Xtra Cool” remains  at No. 6 for a third straight week and it’s followed by a new entry on the charts–Rexxie’s sleeper hit “Abracadabra” with Naira Marley & Skiibii which rises from No. 16 to a new peak at No.7 on the chart this week. The viral song tallied 1.32 million on-demand streams and 35.7 million in radio reach ahead of the release of the street pop producer’s new project ‘Big Time’ set for release on March 3rd.

Joeboy’s “Body & Soul” is at No. 8, becoming the biggest debut this week with 878,000 on-demand streams and 50 million in radio reach. “Body & Soul” is Joeboy’s biggest debut across all platforms since “Sip (Alcohol)” in October 2021. Seyi Vibez’s “Chance (Na Ham)” falls from 7-9 while EMPIRE & Kizz Daniel’s “Cough (ODO)” drops from 9-10. Outside of this week’s top ten; Libianca’s “People” moves from No. 43 on last week’s chart to No. 12 while Minz’s “Wo Wo (Remix)” with BNXN fka Buju & Blaqbonez debuts at No. 18. Spinall’s “Bunda” with Olamide and Kemuel also debuts at No.4 on this week’s charts.

Read a full breakdown of the charts here.

Featured Image Credits/Demola Mako

ICYMI: Revisit our Sounds From This Side Street Pop Digital Cover

Best New Music: Tyla Bares Her Desires In House-Disco Stunner “Been Thinking”

Posted on by Emmanuel Esomnofu

Before the pandemic shifted the workings of music production three years ago, Tyla was already on-course for a run at the top. Then 18-years-old, the breakout single “Getting Late” was the South African singer’s velvety interpretation of Amapiano, the heavily-percussive genre which wasn’t welcoming of many vocalists at the time. As the next year came, evidence of credible listenership was unfolding right before Tyla: on social platforms Instagram and TikTok, the record’s affecting dance groove caught on among new listeners and when the visuals were released in early 2021, it hit over a million views in record time.

 

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Since then, the scintillating performer has found reason to venture deeper into the nexus of her creativity. “Been Thinking” is a colourful pop record with polishes of house and disco, extending the sonic direction Tyla has so far charted in her career. As her first single of ‘23, there’s undoubtedly a pristine focus on furthering the creative choices that has so far worked for the Johannesburg native. On “Getting Late,” the budding talent had collaborated with her longtime producer Kooldrink. While the song’s electric quality remained top-shelf, her aesthetic on the Topshotta-directed visual was vividly represented by her stylist Thato Nzimande and her creative director Garth. Everything was well structured to allow the musician to embody the idea, which is based on an expressive, feminine point-of-view that has stood shoulder to shoulder with the male-dominated perspective of contemporary pop music. 

With relationships being the usual subject of Tyla, she reverts the attention towards herself, singing her innermost desires with sharp focus. A young musician, Tyla’s nearby experiences are shaped by widespread totems of globalisation such as the TV, along which art forms like music, movies and fashion have emerged through. She brings this angle into her creations, sketching a portrait of where she is without feeling the need to exaggerate details. “Getting Late” plays out from the fairy tale-esque storyline of the male love interest waiting for the lady to be ready, a point of tension Tyla explores with lighthearted disregard throughout the song. 

She has grown as a writer, more confident in her desires than ever. “Been Thinking” thus constructs an aura of longing, brought into grandiose terrains by the Grammy Award-winning producer Tricky Stewart. Moving with purposeful intensity, the beat coerces a similarly fierce performance from Tyla, singing the feelings of lust with an urgency which charges her songwriting. “All day, all night, I’ve been thinking about you,” she sings on the catchy chorus, “can’t hide, can’t lie, I’ve been thinking about you”. In one of the verses, she cues-in more detail and flexes her pen game with the imagery, “You the best that I never had, somebody call up Usher cause I got it bad/ I’m on your top like a durag, I’m at your crib where you live with a duffel and my Louis bag”. 

In her NATIVE Exclusive, the origins of Tyla’s musical inclinations were laid bare. According to the artist born Tyla Seethal, she always imagined herself singing and performing to crowds, even before she had an inkling of what the lifestyle of a professional musician demanded. All she had to go by was her love for sound; mostly from 2000s American R&B, she learned to work her vocals and how best to express her unique desires, and by the time she made her debut the musician was already quite versed on how to put everything together. So far, she’s had icons of South African Dance music DJ Lag (“Overdue”) and DJ Maphorisa (“To Last [Remix]”) feature on her records, an inclination of how much she has been trusted to advance the popular scene of a country with deep musical history. 

As always, the video for “Been Thinking” is beautifully planned and delivered evocatively from Tyla. Sultry hues like purple and red establish the mood of desire early enough, while the scenes are packed with the familiar energy of mosh pits and party spaces. As she’s proven eager to do, Tyla interprets the song’s groove with dancing moves, admirably taking much of the screen time in a video whose external impulses contribute to its appeal. Going off her deal with Epic Records and now this new release, it’s quite clear the promise this year holds for Tyla. 

What’s Going On: Mass Shooting In South Africa, Protests In Burkina Faso & More

Posted on by Tela Wangeci

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

GUNMEN KILL EIGHT AT A BIRTHDAY PARTY IN SOUTH AFRICA

On Sunday evening, gunmen opened fire on a group of people in KwaZakhele, South Africa celebrating a birthday on the weekend, killing eight and wounding three others. The birthday celebrant was among those gunned down in the mass shooting. A statement released by the police on Sunday evening stated the guests randomly shot at guests and their motive for the attack is still unknown. The mass shooting was carried out by two attackers and occurred between 5:15 and 5:30 p.m.

Nomthetheleli Mene, the provincial police chief for the Eastern Cape province, condemned the killings as “a blatant disregard for human life.” An investigation has been launched into the attack and police said a manhunt for the perpetrators was underway.  Eastern Cape police have launched a manhunt for two suspects who opened fire on guests.

South Africa last year saw a mass shooting that killed nearly two dozen at bars in different Johannesburg and in the eastern city of Pietermaritzburg. Police Minister Bheki Cele, the national police commissioner Fannie Masemola, and crime experts were scheduled to visit the scene of the attack later Monday morning.

BURKINA FASO CELEBRATES THE WITHDRAWAL OF FRENCH TROOPS

On Saturday, protestors in central Ouagadougou held signs bearing slogans including “Down with imperialism,” “Down with French policy in Africa” and “Forwards for Burkina’s sovereignty” in support of the ruling junta, days after France confirmed its special forces there would withdraw within a month. Junta leader Captain Ibrahim Traore was acting for the West African state’s sovereignty and “an army powerful enough to fight jihadists,” said Alassane Kouanda, head of an association backing the planned transition to civilian rule.

The former colonial power France has special forces based in Ouagadougou, but its presence has come under intense scrutiny as anti-French sentiment in the region grows. Last week, Paris confirmed that the troops, deployed to help fight a years-long jihadist insurgency, would leave within a month. Mahamadou Sawadogo, leader of the Burkina-Russia association, said during Saturday’s protest that there were other opportunities for cooperation in the fight against jihadis. The French foreign ministry recalled its ambassador to Burkina Faso, citing the context of recent developments, a day after Paris announced it would withdraw its troops from the African country.

Anger within the military at the government’s failure to control the insurgency, which has raged since 2015, fueled two coups in Burkina Faso last year. Violence by insurgents linked to al-Qaida and the Islamic State group has killed thousands of people and forced around 2 million more to flee their homes. The biggest source of the anti-French sentiment is Paris’s military intervention in Mali in 2013 to beat back jihadists who were advancing from the north and threatening to overrun the government in the capital Bamako. Protests by opponents of the French military were heavily linked to perceptions that France has not done enough to tackle an Islamist insurgency that has spread in recent years from neighboring Mali

NIGERIA LAUNCHES DOMESTIC CARD

Nigeria’s central bank has launched a domestic card scheme, AfriGo hoping to enhance its drive to make Africa’s biggest economy a cashless society and save the country foreign transaction fees. AfriGo is owned by CBN and Nigerian banks. The announcement by Central Bank of Nigeria governor Godwin Emefiele follows the bank’s decision last year to phase out old higher denomination bank notes. Speaking at the launch on Thursday, the CBN governor, Godwin Emefiele, said the event signals another major step in the drive to ensure a thriving and competitive payment landscape in Nigeria.

During a virtual launch of the AfriGo card scheme, Emefiele said that although penetration of card payments in the country had grown over the years, many citizens are still excluded. The national domestic card is expected to rival Visa and Mastercard, the market’s biggest players. Visa and Mastercard have dominated the card payment market in Nigeria. While they remain convenient, especially for international transactions, domestic cards are expected to better serve the unbanked market and increase competition within the payment landscape. Given the limited usage of cards by Nigerians and in a bid to deepen penetration, the Bank actively promoted the National domestic card scheme which will be accessible to all Nigerians and also address our local peculiarities.

 

TROPICAL STORM IN MADAGASCAR KILLS 25

Two dozen Madagascans have died and tens of thousands have been left homeless since a severe tropical storm started last week and continued for days off the island’s western coast. The storm which started ten days ago has caused flooding extending damage to houses, and schools and cutting off several national roads. According to an update from Madagascar’s Office for Risk and Disaster Management on Sunday, 21 people were confirmed missing.

The storm headed back to sea on Sunday and had been stationary off the western city of Morondava for more than two days, the office said. The storm and rain had so far displaced just over 60,000 people and damaged 13,000 houses and 100 classrooms, the European Commission’s Civil Protection and Humanitarian Aid Operations department said in a statement on Thursday.

In recent years, Madagascar and Mozambique have been repeatedly hit by severe storms and cyclones that have destroyed homes, infrastructure, and crops and displaced large numbers of people. In January and February last year, four major storms hit Madagascar, killing at least 138 people, destroying 124,000 homes, and displacing about 130,000 people.

ICYMI: KENYA’S LGBTQ COMMUNITY IS STILL AT RISK

New Music Friday: New Projects From Jeriq, Sjava, Pawzz & More

Posted on by Emmanuel Esomnofu

It’s only the first month of the new year but already, our favourite Afropop stars are treating us to a myriad of new and genre-defying music. Fridays are a favourite day on the calendar for any music enthusiast due to the sheer volume of releases in circulation on the scene. While last year witnessed an uptick in the amount of solid projects and body of works we were receiving, this year is shaping up to be even greater for the musical landscape as a number of highly anticipated albums and EP’s are expected to drop within the coming months.

In this light, we’re committed to our mission of making sure good music isn’t slept on. Through our New Music Friday column, we’ll be spotlighting the best projects from around the continent. Regardless where you listen to your music, on Spotify, Apple Music or elsewhere, lock in to these projects from Jeriq, Pawzz, Ouma Wa Mafegi and more. 

JERIQ — ‘BILLION DOLLAR DREAM (DELUXE)’

With haunting bass vocals and a menacing flow, Jeriq is one of the most exciting rappers in the country. Over the past couple of years he’s flown the gritty banner of Drill music, colouring his sound with the sunny potential of music born from the Eastern part of Nigeria. ‘Billion Dollar Dream’  marked the rapper’s foray into the extensive scope of an album, but no one could have guessed it. From thumping rap bangers to soulful cuts, it had every desired element. Now releasing its deluxe, Jeriq broadens his vision, adding six new songs. Veteran act Phyno is the sole new feature on the whistling bounce of “My Bro,” joining Jeriq in his trademark appraisal of the young community. 

SJAVA — ‘ISIBUKO’ 

Famed for being able to contort his music into any form, Sjava is a singular presence in the South African music scene. In the last few years he’s lent his skills to features, going from diverse acts like Mafikizolo to Kabza De Small with relative ease. On the solo train, he’s moved with similar precision, spacing out his projects to allow him ample time to build their soundscapes with stark realism. Arriving today, ‘Isibuko’ sees the musician uphold the ethos of self-reflection. The titular word means ‘mirror’ isiZulu and across its eighteen tracks, he unpacks a weighty mass of subjects, from familial tension to the motions of a romantic relationship. Alongside other talented musicians, he’s joined on select tracks with the likes of Emtee, Sampa the Great and Mzukulu.

PAWZZ — ‘PREZZ PLAY’ 

Everytime a new artist makes their debut, Afropop holds its breath. We’ve become used to seeing electrifying talents enter the scene, but sometimes there’s more obviously going for a particular act. Pawzz is one such talent, a big package of musical ability and confidence. Hailing from Benue state, the 20-year-old is a songwriter, rapper and drummer. Across his five-track EP ‘Prezz Play’ his percussive background is on colourful display, forming the core of bold records that would no doubt rock a dancefloor with the intended gravitas. From the bounce of lead single “Koma” to the affectionate writing abound on “Suga,” Pawzz will align with lovers of high-energy Afropop. 

OUMA WA MAFEGI — ‘VILLAIN YEAR’ 

A rapper and songwriter from Kenya, Ouma Wa Mafegi is steadily climbing the ropes of mainstream acceptance. He’s made a lot of moves in the local scene, taking his Trap-tinged style to a considerable number of listeners around the country and even beyond, making incursions into other pockets of East African music. With his portfolio featuring an EP and a collaborative album with Mi$tak, another rapper from his hometown of Kilimani, Ouma does have a lot of leverage going into the new year. He makes good on that run with ‘Villain Year,’ a full-length capturing the fluctuating states of his mind while embodying the boppy direction of Trap/Drill music. A strong showing by any measure. 

NATIVE Selects: A List Of The Best Songs This Week

Posted on by Tela Wangeci

In 2023, music from the African continent is advancing at a breakneck pace. The past decade has witnessed the rise of new players, from veterans such as Wizkid, Olamide, Burna Boy, and new frontrunners such as Tems, Rema, Cruel Santino, who are stretching the genre beyond its boundaries and adapting to changing times.

For the past five years, we’ve been resolved in our mission to champion the sounds of tomorrow: today. This is no easy feat and it’s easy for new music to get slept on in the process, due to the milieu of new music in rotation from our favourite artists. As such, every Tuesday and Friday, the NATIVE will compile a list detailing the best and most enjoyable songs released during the week. Earlier this week, we covered releases from Minz, Shatta Wale and more, this new music Friday, get into new cuts from South Africa’s Tyla, Jeriq, Bongeziwe Mabandla and more.

TYLA – “BEEN THINKING”

South Africa’s Tyla is always pushing the boundaries of her musical ability. Following strong releases such as the Kooldrink-assisted “Getting Late,” and “To Last,” the singer has now shared new single, “Been Thinking.” Over twinkling keys and shimmering percussive patterns, Tyla sings about a love interest who she can’t seem to get off her mind. Released alongside a brand new video, “Been Thinking” is a strong contender for our best release this week.

BONGEZIWE MABANDLA – “NOBA BANGATHINI”

Bongeziwe Mabandla is one of the most exciting and innovative artists cropping from South Africa. His unique style fuses traditional Xhosa folk music with modern influences such as R&B, soul, and electronic production. His first offering of the year  ‘Noba Bangathini’  sees him exploring love’s frontiers in exquisite and moving depth that reveals his continuously blooming artistic expression. Collaborating with long-time producer Tiago Correia-Paulo the song tells a tale about accepting one’s imperfections and loving them despite their flaws.

WETALKSOUND, PDSTRN & VADER THE WILDCARD FT. KAEY — “SHOW ME SOMETHING”

Over the years WeTalkSound has embodied the pristine values of the community. They’re now an unmissable imprint in the fabric of African culture, and the new year comes with a lot of promise. Starting out 2023, they’ve released this new song with a trio of talented acts. Over stripped, scintillating production, the musicians croon sweetly about desire, a woman’s sensual allure forming the song’s irresistible chorus and its similarly brilliant parts. 

1DA BANTON — “CALL JEHOVA”

Since gaining TikTok virality with “No Wahala,” the Port Harcourt-repping 1Da Banton has grown his musical stock around the world. From collaborations with continental icons such as Kizz Daniel to working with French-Algerian producer Moh Green and US rap star French Montana, Banton is moving intentionally. On new single, “Call Jehova,” he turns inward and delivers a reflective number that finds him singing about the ethereal presence of God in his life. With breezy cadences floating over the chill beat, he comes across as introspective and fulfilled, a combination that builds the song’s warm allure. 

KHAID – “JOLIE”

At the beginning of 2022, Neville Records announced Khaid as a new signee, a move which has set him on the path to further stardom and virality. A year later Khaid continues to make astronomical steps with the Afro Classic song filled with themes of love, “Jolie” is full of smooth melodies and lyrics, dedicated to the girl he desires but can’t seem to pin down. He expresses his love to her, describing his attempts and persistence over a track drenched with an infectious hook, drumbeats, and Khaid’s infectious vocals.

KENDICKSON — “KEYHOLDER”

Holding a guitar on the cover of his ‘Love Series’ tape, Kendickson is a soulful musician. Across the 4-track tape, the affecting writer sets out to display his romantic intentions which are perfectly encapsulated on standout track, “Keyholder.” A warm record that highlights the sweet essence of his vocals, it’s buoyed by rich percussion and violin-tinged production that drive its message home. With Valentine SZN not too far off, this deserves to be on your playlists.

OGC – “BLESSED BOY” ft. ODUMODUBLVCK

Following the enormous success of his debut EP, ‘Epiphany,’ Emo-Afrobeats star OGC shares his latest offering, “Blessed Boy,” featuring Abuja-based rapper, ODUMODUBLVCK. With gruff-talking rap style and scanty singing, the pair trade bars about getting their shit popping and their unending blessings. The Grey Beatz-produced track gives fans a taste of what to expect on OGC’s new album, ‘The Maraji Experience’ which is set for release later this year.

PHEELZ – “STAND BY YOU”

Pheelz is having a moment. Following the success of his recent singles “Ballin” and Davido-assisted “Electricity”, the Nigerian artist, songwriter and producer Pheelz makes his returns with his new single  “Stand By You.” Over smooth keys, Pheelz seals the deal with his dreamy, whispered lyrics: “I put nothing above you,” he sings. “I’m so proud to call you my boo.” The stirring, Afropop anthem is the latest single from Pheelz’s forthcoming ‘Pheelz Good EP’, which is to be released on February 9th.

BOY SPYCE – “FOLAKE”

It’s only been a year since Boy Spyce’s debut on the scene but already, he’s recorded several wins. From the release of his debut EP to his strong features on the Mavin All-Star album, ‘Chapter X,’ he’s been determined to showcase his dexterity and stellar penmanship. For his first release this year, Boy Spyce shares “Folake,” a romantic number tailor-made for constant radio play. Produced by Sparqq, the earworm track tells the story of a young boy who is hopelessly in love with a girl who has garnered a reputation from rejecting all the boys. 

DJ MURA K.E – “LOVING” ft. NJERAE

Following the release of ‘Murastar 1‘, DJ Mura has released its follow-up tape, furthering the music series which reflects on experimentation. ‘Murastar 2’ unveils a new side to the electrifying DJ as he teams up with Kenyan songbirds and collaborated with artists Njerae, Udulele John, and Polaris. The standout track “Loving” featuring Njerae shows a new side of Mura as he reveals his artistic journey and growth as an artist.

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Track-By-Track: Ajebutter Breaks Down His New Album, ‘Soundtrack To The Good Life’

Posted on by Wonu Osikoya

Ajebutter22 was always destined to create a project like ‘Soundtrack To The Good Life.’ Since his debut on the scene at the turn of the noughties, the singer and songwriter has created earworm bangers in Nigerian music conversations. Imaginative in his lyricism and exacting in his delivery, the singer formed a trademark identity segueing between Yoruba, English and Pidgin to tell stories about the excesses of Lagos.

With two projects under his belt including his debut album ‘Anytime Soon,’ and its excellent follow-up ‘What Happens In Lagos,’ Ajebutter22 has pieced together a wild collage that pulls from his mismash of interests–from working a 9 to 5 tech job to cruising round Lagos with his goons. Through the years, he’s maintained a godfather like figure in the alte scene, working with close collaborators such as BOJ, Falz, Odunsi The Engine and more, with cool but confident verses that have soundtracked cool summer nights for many Nigerian millennials.

Now, 6 years on from his last body of work, Ajebutter22 is ready to expand his sonic world with new lessons learnt and new ways of expressing himseld. The 15-track body of work pulls from a range of different topics such as love, heartbreak, addiction, enjoying life as well as focusing on the positives. With production credits from a talented pool of producers including long-time friend, Studio Magic and Johnson IP, ‘Soundtrack To The Good Life’ is collage of vibrant sounds that will appeal to young (and young-at-heart) listeners. In an exclusive Spaces interview with The NATIVE, Ajebutter22 takes us through his third studio album, one track at a time.

 

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

“Soft Life Manifestations” ft. Koromone 

For this [track], I knew I wanted something that would kind of set the tone for the album, and I had already written down the title even before creating an idea for the song. I ran into Koromone and we hadn’t seen each other in a while but she said she’d like to be on my next project and I knew she’d be such a great fit, so I gave her the title and she did her thing. It took her about two months to finish it up but it was certainly worth it. Then, I got one of the producers Yung Z, and he just added the music. 

“Soft Life” ft. LadiPoe 

I knew I wanted this song on the album and I knew how I wanted it to feel but it took me so long to actually get the mood and tone right. I had to go to Abuja for three days just to record music with the producer, Ransom Beats and in the three days, that was all I did, and we finished my part of the song. I had the original idea for this in 2021 and I was able to come up with the hook but I finished it off in Abuja. When I had this done, I just knew I wanted a rapper that was blown enough to understand the life I was talking about and articulate enough to pen it down. It took Ladipoe quite a while to send in his verse, in fact I had to block him at the Mavin studio one night and he just did his verse. I initially wanted him to do 32 bars but then we switched it up, so he did 16 bars and did his thing for the rest of it. Making the new song took roughly about 6 to 7 months, if not longer. 

“Enjoyment” ft. Ajebo Hustlers 

There are a number of name similarities and this was based on the references to each other. At some point, I just heard [Ajebo Hustler’s] music, and I knew these guys were such talented musicians and songwriters. My former manager hit me up to ask if I’d be interested in working with them and I was open to that but at this time, I was basically done with the album. So we got into the studio and we made two songs and yeah, “Enjoymemt” came about. 

“African Man” 

This is produced by Studio Magic and I actually recorded this in 2020 just before COVID hit. This was when I started forming the idea of Butter Nation. The whole song was really about just being proud of who we are as Africans. At some point it wasn’t cool to be African but I’ve always been proud to be African, and I just made this to further embrace that. 

“Floating”

If you’re an artist, you’ll get a lot of beats and beat packs from producers. KC Freely used to send quite a lot of beats to my email and they were really good. I could just see him steadily improving, so I knew we had to work on something together for the album. I wrote “Floating” when I was in a good mood in Kigali, so I just decided to write something that takes me away from where I am and everything flowed really quickly. This is one of those songs that I settled down to write the verses and write bars. If you listen to the bars properly, there are a lot of crypto references and personal references and this is because I really took my time to write this particular one.

  

“Fire” ft. Jeff Akoh

I found Jeff Akoh on Instagram so I reached out and we linked up and made this song together. The beat I had already got from Spax a while ago so Jeff started the song and just did his thing and I just started adding more and more words to this. I wrote my verse and well that’s how the song came together.

“Sumoju”

I found Johnson IP on Twitter a while ago. He just used to post a lot of fire beats on Twitter and what stood out to me was the fact that his beats are not noisy at all, so that just makes it easy for me to write to it. He sent me 3 beats and I just wrote to them really quickly because it was just so natural, I really love writing to his stuff.

“Light, Spark” 

“Light, Spark” is really interesting to me and another song I really took my time to write. It’s about love and about addiction basically and the comparison between these two things. [It explores] the withdrawal from their constant supply and how they’re both the same thing. The whole song is a double entendre, so I could be talking about love and I could be talking about drugs at any point in the whole song. On the song, I talk about relapsing and just comparing the both sides.

“Unconditionally” ft. Oxlade 

We just decided to link up and make something and Chillz also contributed to the songwriting process. Oxlade did his thing in the studio and in no time, he was done and he absolutely killed it. I took my own back and properly wrote down my verse when I had the time to do that. This is also one of my favourite songs based on how smooth the song is. 

“Finish Me” 

Before I made this record, I had asked Studio Magic to send me a Drake type international beat then I slept off. When I woke up, I saw the beats he sent and I just recorded and made “Finish Me” right there. After, I was playing the record back and it just seemed like something was missing. He came up with the Daddy Showkey idea and it just worked so well for me. 

“Confam” ft. Kida Kudz

This one I recorded deep in lockdown, this song practically puts the entire idea of the album together. I just wanted to take my mind to a place that was free. I sent to Kida and he did his verse and sent it back and he absolutely killed it. 

“Dey Ok” ft. Joey B & KiDi 

I was in Ghana for a bit and I recorded this. Joey has a studio and I had some free time before my flight so we just went ahead and did the record, we went off each other’s energy and it was such a good time. KiDi actually did his verse when I had left Accra. He heard the record and he liked it so he just did his verse and they both did very well on the record. 

“King of Parole” 

I wrote and recorded this song very quickly and it just worked. The guy that produced the record also produced the intro “Soft Life Manifestations” and “Amapiano x Shisha.” The record was fast and so easy to record and I remember telling my people around that the song was going to be so big. It honestly was just so fun to make. I enjoyed that.  

“Amapiano x Shisha” ft. Toby Shang

Every time you go out in Nigeria, all you hear is Amapiano and then there’s booze. I just had to capture that since this is what nightlife in Lagos is like now and Toby Shang is such a character. He just came on the record and showed himself. He brought his full energy and I loved that so much. 

“Hear My Sound” ft. Melissa & Not3s

I just wanted to talk about how Afrobeats is moving and talk about how far the sound itself has come, that was the idea I had when I wanted to make this record. Melissa did her thing and Not3s didn’t hold back either. He brought his A-game and killed it. To me, it was just a great way to end the album, so yeah, we did that. 

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Review: Ajebutter22’s ‘Soundtrack To The Good Life’

Life rarely unfolds in linear form. It’s a situation that many young adults have to come to terms with as they figure out how to reach what we think is our ideal selves. Every once in a while, it’s not uncommon to come across a tweet that reads something like, “I’m 27 and this was supposed to be the year I buy my private jet but LMAO we move.” It’s reality check that’s more bracing than disheartening, particularly for many young Africans. On his excellent 2017 sophomore LP, ‘What Happens in Lagos’, Ajebutter22 reflects the twisting and sometimes exhausting nature of finding your own way.

“Why would I strive for 9 to 5/When singing some lines would bring me more profit,” he sang three years earlier on “Humble,” the opener on his debut album ‘Anytime Soon’. Butter was wide-eyed, and understandably so. The BOJ-assisted “Omo Pastor” had ushered him into budding stardom in the latter part of the early 2010’s and  became a club staple shortly after. “I celebrate the things I don’t have yet ‘cause I could get them anytime soon,” he remarkably quipped on “Celebrate in Advance” off that same debut. Ajebutter22 was clearly ready to reap the glossy rewards of music stardom.

By the cinematic intro of ‘What Happens in Lagos’, “Good Place to Start,” a wearied tone began forming in his delivery. Things haven’t exactly gone according to those ideal plans; instead, he’s waking up at 4AM to get ready for a 9 to 5, and he’s doing it in a city that pushes against the lives of many of its inhabitants. By the album’s end, Butter has figured out how to be a Lagos big boy, juggling a well-paying job with fanning the embers of healthy indie music career, but the formative experiences he puts on wax across his sophomore are deeply relatable. The ethos is as Nigerian as it can possibly get: You have to figure out how to live life adequately and enjoyably regardless of what’s happening around you.

On his new third solo album, ‘Soundtrack to the Good Life’, Ajebutter isn’t just living life adequately and enjoyable, he’s successful and relishing in it. The differences are immediately obvious, from its brightly-coloured cover art to Koromone’s spoken word intro packed with images of flamboyance—a far cry from the somewhat stark, evolution-based cover of ‘WHIL’ which revelled in the hardcore Lagos experience. This isn’t just Lagos big boy music, it’s ‘flying first class to an exotic island as a lifestyle’ music. This is the album that best fits the rapper and singer’s moniker, local slang for people enjoying high class perks.

“All she wants to do is japa, all because of sapa/Get her visa and ghost,” Butter sing-raps on third track and pre-album single, “Enjoyment.” The reference to the widespread urge to exit the country to forge a better life away from Nigeria is quintessential Ajebutter22, but there’s an implied underlay that suggest the intention to japa is mostly leisure-based. Viewed within the song’s romantic framework, you can easily conjure the image of someone with the resources to up and leave with a significant other, just because. “Let me into your life, use enjoyment blind your eyes, baby,” Piego of Ajebo Hustlers gently belts on the hook, making that image even more vivid.

Because of how plain-stated it is, ‘Soundtrack to the Good Life’ is the least intriguing title of an Ajebutter22 album. The expectations are laid bare—for better and for worse. In Nigerian music, plush, breezy production choices and flowery romance being the primary thematic concern are signifiers within albums espousing the good—or soft—life, a recent high watermark being Wizkid’s ‘Made In Lagos’. Butter adheres to those tenets on his new album, favouring a music selection that simmers for an overwhelming portion of its run time, from the buttery R&B-inflected Nigerian pop of the Ladipoe-assisted “Soft Life” to the gentle Afro-swing of closing track, “Hear My Sound.”

It’s all meant to be seamless in order to properly portray the ease of living the soft life, but there’s a gnawing lack of edge which has never been a Butter trademark. Even though he’s better known for his ability to make earworm bangers in wider Nigerian music conversations, Butter’s greatest strength has always been in depth that’s as sly as it is accessible. Mining the dynamic nature of his baritone voice, a tool that can adapt to sling breezy melodies or deliver ear-holding bars, he’s able to turn quotidian topics into stimulating slaps.

 

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The 2019 loosie single, “Lagos Love,” is easily one of the very best Ajebutter22 love songs because of how he makes the act of finding and falling someone new sound like an utter wonder. By comparison, several of the love-struck songs on ‘STTGL’ come across as cliché encounters. “You get sparks like 4th of July,” off “Unconditionally,” is the type of unassuming pun you’d expect from Butter but he immediately follows with “e be like shayo dirty my eye, that’s why I can speak my mind,” tapping into the kind of generic line you’d hear in a lot of Nigerian pop songs wooing women. It also doesn’t help that Oxlade’s hook comes across more synthetic than soulful, no thanks to auto-tune usage that fails to enhance his siren voice this time.

Across his first two albums, Ajebutter22 framed himself as an artist who says it as he experiences and sees it, always rapping in first-person perspective while using clever humour as a relatable gambit. It’s not that a lot has changed about his artistic approach, it’s that the music is not as compelling and is less ambitious than previous works. Songs like “What Are We” and “Okafor’s Law” from ‘Anytime Soon’ were on the more complex side of romance spectrum, while “Yoruba Boys Trilogy” off ‘WHIL’ is epic in scope. ‘STTL’ falls into the trap of comfort.

Men singing about what they can offer women in a relationship is as mainstream as it gets in Nigerian music. As much as leaning into that ethos as the core of this album suits its soft life representations, Butter blends into broader Nigerian pop rather than conversing with it on his own terms, as he’s done over time. Objectively, none of the songs here are technically bad, more than a handful are inert in feel. On “Fire,” there’s a lot of puns about the titular element, in relation to praising a romantic interest, but the song doesn’t particularly sizzle.

‘Soundtrack to the Good Life’ is meant to simmer on full listens, but it doesn’t offer much beyond chill vibes on deeper reading. It works to the effect of its creator’s intent, but there are moments that show that intrigue can be found within the confines of comfort. “I have some destiny I’m not using,” Butter cracks on highlight “Finish Me,” where a song by Nigerian dancehall great Daddy Showkey is briefly interpolated over a Reggaeton-inspired beat. The self-eulogising lead single, “King of Parole,” remains as delightful ever, brimming with easily memorable Butter quotes over throbbing log drums.

“My motto is chop life and live long/Alté hall of fame is where I belong,” he raps on “Floating,” a passage that encapsulates the easy conviction that powers ‘Soundtrack to the Good Life’. At that, the song itself is a little too languid, perhaps lending more credence to the idea that the destination is rarely as interesting as the journey.

Stream ‘Soundtrack To The Good Life’ below.

ICYMI: AJEBUTTER22’S ARTISTRY HAS ALWAYS BEEN UNIQUELY NIGERIAN & CULTURE-DEFINING

AV Club: Shanty Town is a picturesque crime thriller with glaring plot holes

Posted on by Emmanuel Esomnofu

Three years ago, Netflix entered Nigerian film. The streaming giant’s reputation for glossy, big-budget movies was heralded as the next step for Nigeria’s promising filmmakers, even though opposition from the long-held cinema and piracy culture rose to contest its ambitions. In 2023, credible conversations still continue to follow the release of a new Netflix blockbuster, just as it’s been in the years since its entry.

Of their new movie ‘Shanty Town,’ there was relatively little buzz prior to its release late-last week. Underplaying the marketing’s intensity was a defining stroke towards the series’ reception. Whereas ‘Blood Sisters’ and ‘Far From Home’ had more of a big-budget roll-out, many people knew about ‘Shanty Town’ the day of its release. I didn’t go into the series with overblown expectations and that it proved to be an enjoyable, conversation-starting production was quite the satisfaction.

On the rudimentary scale, the six-part series follows the story of sex workers held in terror by the thug-slash-pimp Scar (who’s played by Chidi Mokeme). On the other hand however, the series attempts to connect the gritty realities of that underbelly to the high offices of state politics. These motivations are achieved to varying degrees, though sometimes there’s a fusion of interests which thicken the plot’s progression.

In recent years, we’ve seen New Nollywood grapple with themes of sexuality and consent. From ‘Citation’ to ‘Oloture’ and ‘Ijakumo,’ there’s been an unrelenting investigation into the currency of sex, especially its prospects existing within faux-conservative societies such as Nigeria. Usually from the perspective of women, these movies attempt to unfurl the realities of sex workers and the systems that uphold the mistreatment of women.

However, in new Netflix Naija crime thriller ‘Shanty Town,’ the series tries to present a moral evocation of society but its glaring plot holes diminish the viewer’s satisfaction. Scar’s emergence into the pimp leader role doesn’t possess enough depth to relay why people were so scared of him; however Mokeme brilliantly carried the role with muscular gravitas. While Enem’s arrival in Shanty Town, played by Ini Edo, set off a range of catastrophic events, her release from prison was offset by demanding the poetic “pack of cigarettes and a phone call”. It seemed to aloof and foreign to be the realities of a Nigerian prison, too cleanly written to be reality. Inem’s CIA-type infiltration into the fold of Shanty Town also doesn’t carry enough dramatic weight, while the touch of dark spirituality fails to affect the plot.

Some of the storytelling direction on ‘Shanty Town’ takes on the well-adopted lane of oppressor versus victim, and most times the individual parts don’t make for a well-designed whole. A better predecessor of such narrative is ‘On Black Sister’s Street,’ the 2007 novel from Nigerian novelist Chika Unigwe, which followed the lives of four African women trafficked to Belgium to become sex workers. Their lives intersect when a colleague dies, although with more biographical detail forming their present selves. While this draws parallels to Jackie’s character (played by Mercy Eke), the book takes it a step further by informing the unpredictable nature their desire for freedom has taken.

A similar perspective has been remarkably utilised in South African cinema, taking the racial and political material into their storytelling. Due to their divisive history, the Rainbow Nation has some of the most politically aware filmmakers in Africa. From classics like ‘Tsotsi’ to recent productions like ‘The Brave Ones’ and ‘Collision,’ their rich history is used as a backdrop to advance storytelling. Similarly, the currency of ordinary life is peeled back with close detail and there’s a gradual progression to connect the misfortune of poverty with the suaveness of wealth. In ‘Shanty Town,’ director Dimeji Abiola sets out to unearth the connections between the political and the underworld, but falls flat when lead antagonists such as Scar are conjured without much depth. This leaves viewers wondering what circumstances could possibly have shaped a man like Scar.

 

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Time constraints however impound on every production, especially for Netflix where economy of storytelling is the current trend. Acting-wise, ‘Shanty Town’ would no doubt be an early-year provider for forthcoming movie awards. Most people would walk away from this remembering Scar, so wonderfully embodied by Chidi Mokeme. The veteran actor in an interview with Channels TV revealed he suffered from Bell’s Palsy during the promotional period of ‘76,’ the Izu Ojukwu film which he also starred in. His return here fittingly captures his range as an actor: from his body gestures down to his code-switching between Nigerian languages, his performance is a career-highlight which places him favourably for future roles.

The women of ‘Shanty Town’ all delivered splendid performances as well. Nancy Isime proves that she gets roles not just by being well-connected, and Mercy Eke does well in her showing as Jackie. Both friends on-screen, they’re the prism through which Scar’s terrifying acts reflect in the early episodes. On their part, Nse Ikpe-Etim and Ini Edo (who’s rather divisive in her role as Inem) portray strong women characters. Their relationship isn’t as lovey-dovey as the former, but it’s certainly more rewarding and more consequential to the plot (the Ibibio spoken between them is also a refreshing touch). Although he doesn’t say much beyond “everywhere good” and “body dey pepper me,” Zubby Michael in the role of Colorado holds his own pretty well, a character many viewers would find themselves increasingly liking with every passing scene.

Aesthetically, ‘Shanty Town’ is a well-put together production. At this point, Netflix has a preference for certain kinds of stories and the creators sell it well. More crucially, a fine job is done of the execution, especially from a technical viewpoint. With the exception of its writing failing to advance the conversation of similar sex-meets-crime-meets-politics movies, the usage of cinematography is brilliant. The artsy design of Shanty Town was especially pleasing to the eyes, while the angle of the shots improved the film’s tensions. Perhaps the soundtrack could have been better, but again, I understand the pop-leaning direction. It’s like a child building a house of Lego bricks and it starts to rise above their heads. They can either continue or call it a day—for their unique motivations, the creators of ‘Shanty Town’ choose the second option.

ICYMI: MIXED REACTIONS TRAIL NANCY ISIME’S BODY DOUBLE REVELATION IN ‘SHANTY TOWN’

With “Wo Wo Remix,” Minz Solidfies Himself As A Considerable Talent

Posted on by Emmanuel Esomnofu

2023 has been off to a great musical start. Thanks to Afropop’s teeming creators and their audiences, the scene has picked up from where it stopped in the previous, movement-defining year. Mainstays like Kizz Daniel, Shatta Wale and Joeboy have all released songs this year, while wanton up-and-coming artists have thrown their hat in the crowded ring of mainstream popularity, willing the best to happen. Among those who’ve participated in the thrill of releasing new material or refreshing old one, the artist and producer Minz has arguably been the most successful, embarking on an upwards career trajectory that may be well established this year. 

 

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“WO WO,” the song which sets him on that path, was released last November as a single under emPawa records, the Mr. Eazi-owned label he signed to in 2020. While no doubt an impressive record, its acclaim has been skyrocketed by the addition of two in-form musicians on its remix: BNXN and Blaqbonez. Career upliftment has been variantly explored by Afropop artists, a textbook style Minz pulls with unique zest here. On the original’s first verse, he sings, “tell the kele do proper, get the money, live soft life ah ah/ Say they want to link for vibes, on my neck it’s ice water ah ah,” those words sketching the hedonist underbelly of his aspiration. With bubbly, assured production from Mike Bgrz, the burgeoning fan base of Minz caught on to the song, but now even more people are catching on. 

At number eight on the Apple Top 100 chart for Nigeria, the song currently ranks above Seyi Vibez’s “Chance (Na Ham)” and Libianca’s viral “People.” While it’s yet to register similar impact on other streaming platforms or on TikTok, the motion has been set. In some ways, the story has been in progress since 2016, when his professional career started. “Aunty Patricia” bore the colourful percussive bounces he’d later master, but even the lesser-known “Neva Stop” had exciting composition going on for it. With breezy flourishes of Dancehall, the musician bares his Kranium influence with swag and poise.

Born Oluwadamilola Adedolapo Aminu, in 2017 Minz sat down with NATIVE Mag to discuss music. The resident Lagosian was then 22 but was already controlling the twin forces of his artistry: being a musician and producing his own songs, although he’d admitted that the former came more easily to him. “Beat making is dynamic,” he explained. “Each beat chooses its path to life”. It’s expected then, that Minz continued creating songs so he’d chisel them into his vivid interpretation of Afropop, a potpourri of influences that ranges from trap to reggae and highlife. 

Over the years Minz has parlayed his 360 skill set into a formidable portfolio, among others producing for Spinall (“Energy”), Boybreed (“Apuruka”) and Runtown, whose 2021 playlist-esque comeback tape ‘Soundgod Fest Reloaded’ had four tracks composed by Minz (“Sativa” “Ghetto Gospel Riddim” “Bad Pass Dem” “Fuck Eh Up”). As a featured act, he’s also appeared on a lot of records with fellow rising stars, a clear case of a musician pushing the bar alongside his peers. On “See Something” and “Boti,” he pulls up alongside acclaimed colleagues like Mr. Eazi and Cruel Santino and still delivers convincingly, making standout contributions to both records. As part of Ejoya’s ‘Class of ‘20,’ he appeared on two records, dazzling alongside a set we’ve increasingly become familiar with: BNXN fka Buju, YKB, EMO Grae, Jinmi Abduls. That year he also appeared on the near-hit record “Confetti,” off E Kelly’s ‘No Secrets,’ a slim project which served as a sort of group work for emPawa artists. 

As the Afrobeats movement propels itself further into the world, scenes across Africa are becoming hot prospects for international investors. Asides setting up label and streaming platform offices, more spontaneous engagements like writing and production camps are on the rise. Minz easily fits into several facets of the culture, and with the business-savvy Mr. Eazi by his side, there’s no foreseeable limit to his trajectory. On his own, he remains prolific, colouring last year with stirring solo releases like “Lady” and “Diamonds” while showing out with JAYLON on “Naya’s Riddim” and DJ Flex and Crayon “Meliza (Remix)”. 

A professional still immersed in the craft with a student’s zeal, Minz continues to grow. In a 2020 interview with Artish, he explained his approach to songcraft. “I’m someone who’s always trying to learn and evolve,” he said. “I’m observant. I observe what’s happening in the industry, I observe people when I work with them, like for example when I work with bigger artists or artists who have really gone far in their careers. I listen, I learn and sit down with them and just take notes of the things that I feel like made them get to where they are and I apply it in my music. I just learn and put my ears down and see what I could be doing better”. 

If anything, the ascendant success of “WO WO (Remix)” shows that Minz walks the walk as eagerly as he talks. In a meta sense, calling on the verbose motivations of BNXN references the Gbagada export’s own early days, marked with feature verses as many as the locks on his head. And wasn’t it Amaarae and BNXN who carried the potential of “Bling” into the youthful demographic it needed? Blaqbonez’s second act had properly begun then, his glitzy pop-star image cut with desired edge. 

Minz continues on his journey, and for those who believed since day one, there’s a cloud of destiny that seems to unfurl from above him. For his newer listeners, there’s a rich backend of music to forage through. That might be the sweetest thing about discovering a new artist after all—the wide world which opens to the listener. Later this 2023, the expected release of a new project will aim to cushion his successes, and that’s a seat anyone would want to be on, especially when the architectural process began so early in the year. Minz is coming. 

NATIVE Selects: A list of the best songs this week

Posted on by Damilola Animashaun

The tide of new music never stagnates. All across the continent, artists are releasing new music at a breakneck pace, whether to build their following or satiate the appetite of teeming fans. With our Songs of the Day column, we have consistently curated lists of exciting new music from Nigeria and around the African continent.

This week, we are debuting NATIVE Selects. Here, our editorial team will share new music (from the past 10 days) that they are excited about and want you to pay attention to. On our inaugural edition, we have scoured music from across the continent including Nigeria, Ghana, Côte d’Ivoire, Uganda and Jamaica. Featuring cuts from Minz who updates his single “Wo Wo” with a remix from Afropop stars, BNXN and Blaqbonez, Juls who delivers his first offering since his debut album, ‘Sounds of My World’ and Suspect 95’s hard-hitting new single.

NONSO AMADI – “EASE UP”

Nonso Amadi has hit foot firmly on the gas. Since his return to the scene, he’s been churning out experimental sounds rooted in his R&B leanings. His first offering this year “Ease Up” is a necessary call to chill out. From the Malian chant at the beginning of the song to the references to Lagos weather and lyrics about letting life run its course, he creates a memorable and relatable number to kick off the new year. Nonso’s new experimental style is exciting to see as he’s shaping himself into his own type pf star in real time.

MINZ – “WO WO” (REMIX) FT. BNXN & BLAQBONEZ

Minz has orchestrated many eclectic Afropop productions since his debut on the scene. Sorely overlooked for his cool vocal style which weaves in, over and through beats, he’s kicked off his new year with a hunger to etch his name in the minds of listeners across the continent. On “Wo Wo (Remix),” he calls on smooth crooner BNXN and Choc City rapper, Blaqbonez to deliver a mid-tempo track with familiar Nigerian references. Gliding over the intoxicating beat with lyrics that feel like feel-good flexes, Minz and his collaborators deliver their verses in a slow rolling cadence ushering listeners into the hazy Harmattan sunset.

SUSPECT 95 – “SOCIÉTÉ SUSPECTE” FT. YOUSSOUPHA

Ivorian rap is enjoying a period of abundance. One of its protagonists is Suspect 95, a dynamic veteran that embodies technical brilliance as a lyricist without sacrificing the importance of ear-holding song-making. For his latest single, “Société Suspecte,” Suspect delivers a snarling manifesto. Joined by Youssoupha, the pair run wild over a minimalist, thumping beat with an ominous melodic atmosphere, making rebellious proclamations entirely delivered in French. With sharp-tongued bars and a commanding, charismatic presence, the energy is palpable on this one.

MSAKI & TUBATSI MOLOI – “ZIBONAKALISE”

There’s an obvious deference to ancestry in Msaki’s music. While she’s widely known for her numerous collaborations with House/Electronic producers, the South African singer leans more towards modern Folk arrangements in her music, which she’s gearing up to display more on ‘Synthetic Hearts’, her upcoming full-length with Tubatsi Moloi. On the latest promotional single, “Zibonakalise,” the duo successfully reach into an otherworldly plane of spiritual joy, chanting within an acoustic frame with rustic orchestral flourishes.

JOSHUA BARAKA – “NANA”

With two previous EPs ‘Baby Steps’ and ‘Watershed,’ Joshua Baraka is a talent to watch out for in 2023. “Nana” is an anti-love anthem about longing for someone whose heart can’t be trusted. Opening up with swelling keys, hypnotic flourishes, and ragga-infused instrumental, Joshua adorns his muse with praises and adoration while coming to terms with the inevitable.

JULS – “SADE RIDDIM”

Ghanaian-British act, Juls is notorious for repeatedly blurring the lines between producer, DJ and musician. He makes a note-worthy return with his first release since the deluxe version of his debut album, ‘Sounds Of My World.’ Very well within his signature groovy catalogue, his new release “Sade Riddim” offers a wordless composition of dreamy harmonies layered over a slow tempo drum beat. Met with the instantly calm intro of crashing waves, Juls plays into a slew of instruments, creating a perfect cross between the hypnotic saxophone chords and light shakers.  

SHATTA WALE – “LONDON BRIDGE”

Ghanaian singer and songwriter Shatta Wale is one of the most charismatic music personalities . For his first offering this year, he’s turning the focus back on the music with the release of new single  “London Bridge.” The guitar strings coupled with the mid-paced drum pattern allow the record to come together nicely. Shatta Wale might just have another hit under his belt as “London Bridge” is set to start the year nicely. 

BOB MARLEY & THE WAILERS – “STIR IT UP” FT. SARKODIE

Fresh off his ‘JAMZ’ project, Ghanaian rapper Sarkodie kicks off 2023 with a cross-continental collaboration with the legendary Bob Marley & The Wailers on new single, “Stir It Up.” This latest version retains the Reggae feel of the original while injecting a modern Hip-Hop-inspired bounce into it. In his native tongue of Twi, Sarkodie raps about the softer and more romantic side of life as he makes promises to his lover. The accompanying music video, shot in Accra, Ghana, portrays the love and positivity of the song as lovers and friends party along the shores of a beach.

G.D.S – “ALL YOURS” FT. CAMIDOH

Ghanaian artists have always embedded the unique strain of their culture into the sonics. Although drawing often from R&B, Camidoh embodies a pristine sensuality in this new record with G.D.S. With recognisable percussions from Hiplife, he waxes soulfully over the mid-tempo number, engaging an array of vocal embellishments as the song coasts further. G.D.S takes a supporting role, lining his vocals with her striking svelte tone, a fusion which results in an exciting high reminiscent of classic duets. 

ONYINYE – “FREE MY MIND”

Off her ‘Stay Gone’ project, this sombre record highlights the immense potential of Nigerian singer, Onyinye. The understated production comes alive with wobbly elements enlivening the background while Onyinye’s vocals assume an alert sensitivity. Conversations about mental health have increasingly shifted into the centre of Nigerian music and Onyinye’s record forms part of that discourse, a uniquely alive song which aims to reclaim her autonomy from the pressing weight of the world around her. Although a romantic interest hovers above her writing, the sonic direction is amorphous and could fit into several life situations. 

mau from nowhere – “Ghost”

Kenyan artist mau from nowhere has been heavy on our radar for a minute. To open his tab for the new year, mau has updated his 2022 single, “Ghost” with a lush video. Directed by Chebeni, the video for “Ghost” is a compelling visual that finds the singer performing his verse against a dusty pink backdrop while firing off verses that sound like catching feelings on the breeziest summer day.

Featured image credits/NATIVE

ICYMI: 14 Projects The NATIVE Is Looking Forward To This Year

TG Omori leads nominees for Video of the Year at Soundcity MVP Awards 2023

Posted on by Wonu Osikoya

Over the weekend, nominees for the next edition of the Soundcity MVP awards were announced. Across three days, nominations were unveiled on social media, an elaborate move that has become customary for an award show that has grown into one of the most glamorous celebration of music in these parts. Formerly known as Soundcity Video Music Awards before transitioning into Soundcity MVP Awards, the award ceremony was set up with the plan to recognise outstanding achievements of African artists in 15 various music categories which include Best Male MVP, Best Female MVP, Song of the Year, Music Video of the Year, African Artist of the Year, African DJ of the year among others.

Not much has changed this year with regards to the categories, and while nominations cut across different acts from across Africa, the nominees list is overwhelmingly Nigerian. In one of the more diverse categories, Tems, Tyla, Gyakie, Zuchu, Tiwa Savage and five more artists from across four countries will vie for Best Female MVP. As is often the case with most award shows in Africa, men lead the pack of nominees: Burna Boy has the highest number of nods with eight in seven categories, and he’s closely followed by NATIVE Issue 005 cover stars Rema and Asake, both with seven total nominations. All three are in the Best Male MVP category alongside Wizkid, Davido, Diamond Platnumz, Focalistic, Kidi, Omah Lay and King Promise.

In the African Producer of the Year category, BlaiseBeatz, Andre Vibez, Tempoe, Niphkeys and more Nigerian producers make up nine of the ten nominees. have as well been announced as nominees for this category. The Video of the Year category is similarly Nigerian-dominated, with nominees including Rema’s “Calm Down,” Omah Lay’s “Soso,” Kizz Daniel and Tekno’s “Buga,” Asake and Fireboy’s “Bandana,” and more. In announcing the nominees for this category, the organisers failed to credit the directors for these videos. While these videos are quite strong selections, the hard work of the video directors and the entire production team should never go uncredited. The visual representation of a record is created by the music video directors and for this reason, they should be handed their flowers. 

In a recent instagram post made by popular music video director TG Omori, he expressed his displeasure at the awards and shared that a category such as Video of the Year should not be credited to the artists alone and the Video directors should never be left out of the larger conversations. This in fact is very understandable as most of the time, it’s usually a collaborative effort between the performing artist and the video director so for this reason, they should as well be credited. The music industry is constantly growing and Nigerian music is at a very sensitive point where it’s exporting many different talents and as the music is growing, the other parts of the industry aside from the music should be growing just as fast. Award shows, music festivals/concerts and more should be intentional about the work that’s put into its creation. 

Although it has now been rectified and the awards have announced the video directors in the place of the artists following the alarm raised by TG Omori—who has three nods in the category—this does not dispute the fact that intentionality should be a keyword when addressing the hard work of creatives. The Soundcity MVP Award ceremony is set to hold on the 11th of February at the Eko Convention Center.

Check out the full list of nominees below.

BEST NEW MVP

1. Victony (NG)
2. Ayra Starr (NG)
3. Young Jonn (NG)
4. Seyi Vybez (NG)
5. Fave (NG)
6. Ruger (NG)
7. Black Sherif (GH)
8. Costa Titch (SA)
9. Phina (TZ)
10. Wakadinali (KE)

AFRICAN ARTIST OF THE YEAR

1. Burna Boy (NG)
2. Wizkid (NG)
3. Diamond Platnumz (TZ)
4. Kidi (GH)
5. Msaki (SA)
6. Asake (NG)
7. Rema (NG)
8. Kizz Daniel (NG)
9. Temz (NG)
10. Zuchu (TZ)

BEST COLLABORATION

1. Pheelz & Bnxn Fka Buju – Finesse (NG)
2. Fireboy & Ed Sheeran – Peru (Remix) (NG)
3. Black Sherif & Burnaboy – Second Sermon (GH)
4. Camidoh – Sugarcane (Remix) ft. Mayorkun, King Promise & Darkoo (GH)
5. Costa Titch – Big Flexa ft. C’buda M, Alfa Kat, Banaba Des, Sdida & Man T (SA)
6. Asake – Sungba (Remix) ft. Burna Boy (NG)
7. Kizz Daniel & Tekno – Buga (NG)
8. Daliwonga – Abo Mvelo ft. Mellow & Sleazy (SA)
9. Mayorkun & Victony – Holy Father (NG)
10. Mavin All Stars – Overdose (NG)

BEST HIP-HOP

1. Black Sherif – Kwaku The Traveller (GH)
2. Blaqbonez – Back In Uni (NG)
3. M.I – The Guy (NG)
4. Kaligraph (Og) Jones X Dax – Hiroshima (KE)
5. Nasty C & Aka – Lemons To Lemonades (SA)
6. Psycho Yp – Bando Diaries ft. Odumodu Blvck (NG)
7. Ladipoe – Running ft. Fireboy (NG)
8. Wakadinali – Geri Inengi ft. Sir Bwoy (KE)
9. Chyn – Hosanna ft. Fxtune (NG)
10. Vector – Clowns ft. Ladi Poe (NG)

LISTENER’S CHOICE

1. Oxlade – Ku Lo Sa (NG)
2. Kizz Daniel & Tekno – Buga (NG)
3. Burna Boy – Last Last (NG)
4. Ch’cco & Mellow & Sleazy – Nkao Tempela (SA)
5. Daliwonga – Abo Mvelo Ft. Mellow & Sleazy (SA)
6. Rema – Calm Down (NG)
7. Mavin All Stars – Overdose (NG)
8. Camidoh – Sugarcane (Remix) ft. Mayorkun, Darkoo & King Promise (GH)
9. Black Sherif – Kwaku The Traveler (GH)
10. Patoranking – Kolo Kolo Ft. Diamond Platnumz (NG)

VIEWERS CHOICE

1. Asake – Pbuy (NG)
2. Timaya – Cold Outside ft. Bnxn Fka Buju (NG)
3. Kizz Daniel & Tekno – Buga (NG)
4. Costa Titch – Big Flexa ft. C’buda M, Alfa Kat, Banaba Des, Sdida & Man T (SA)
5. Kidi – Touch It (GH)
6. Burna Boy – Last Last (NG)
7. Rema – Calm Down (NG)
8. Camidoh – Sugarcane (Remix) ft. Mayorkun, Darkoo & King Promise (GH)
9. Black Sherif – Kwaku The Traveler (GH)
10. Ayra Starr – Rush (NG)

DIGITAL ARTIST OF THE YEAR

1. Ckay (NG)
2. Wizkid (NG)
3. Rema (NG)
4. Burna Boy (NG)
5. Davido (NG)
6. Diamond Platnumz (TZ)
7. Omah Lay (NG)
8. 1da Banton (NG)
9. Zuchu (TZ)
10. Tems (NG)

AFRICAN DJ OF THE YEAR

1. Dj Obi (NG)
2. Dj Tunez (NG)
3. Dj Big N (NG)
4. Uncle Waffles (SA)
5. Dj Maphorisa (SA)
6. Dj Dips (NG)
7. Black Coffee (SA)
8. Dj Vyrusky (GH)
9. Dj 4kerty (NG)
10. Dj Tariqo (MZ)

BEST MALE MVP

1. Burna Boy (NG)
2. Wizkid (NG)
3. Asake (NG)
4. Davido (NG)
5. Diamond Platnumz (TN)
6. Focalistic (SA)
7. Kidi (GH)
8. Omah Lay (NG)
9. Rema (NG)
10. King Promise (GH)

BEST FEMALE MVP

1. Tems (NG)
2. Ayra Starr (NG)
3. Gyakie (GH)
4. Tiwa Savage (NG)
5. Boohle (SA)
6. Niniola (NG)
7. Nkosazana Daughter (SA)
8. Tyla (SA)
9. Zuchu (TZ)
10. Msaki (SA)

AFRICAN PRODUCER OF THE YEAR

1. Blaisebeatz (Big Flexa)
2. Andre Vibez (Calm Down)
3. Magicsticks (Organise)
4. Pheelz (Finesse)
5. Niphkeyz (I’m A Mess)
6. Tempoe (Soweto)
7. Rewardbeatz (Xtracool)
8. Chopstix (Last Last)
9. P.Prime (Woman)
10. S2kizzy (Kwikwi)

BEST GROUP OR DUO

1. Blaq Diamond (SA)
2. Show Dem Camp (NG)
3. Ajebo Hustlers (NG)
4. Major League Djz (SA)
5. Cavemen (NG)
6. Mellow & Sleezy (SA)
7. Dopenation (GH)
8. Buruklyn Boyz (KE)
9. Yababuluku Boyz (MZ)
10. Nsg (Uk, GH & NG)

BEST POP

1. Fireboy – Peru (Remix) ft. Ed Sheeran (NG)
2. Rema – Calm Down (NG)
3. Young Jonn – Xtra Cool (NG)
4. Kidi – Touch It (GH)
5. Diamond Platnumz – Mtasubiri ft. Zuchu (TZ)
6. Ruger – Dior (NG)
7. Omah Lay – Woman (NG)
8. Ayra Starr – Rush (NG)
9. Crayon – Ijo Laba Laba (NG)
10. Lasmid – Friday Night (GH)

SONG OF THE YEAR

1. Omah Lay – I’m A Mess (NG)
2. Oxlade – Ku Lo Sa (NG)
3. Wanitwa Mos, Master Kg & Lowsheen – Sofa Silahlane Ft. Nkosazana Daughter (SA)
4. Bien X Aaron Rimbui – Mbwe Mbwe (KE)
5. Burna Boy – Last Last (NG)
6. Camidoh – Sugarcane Remix ft. Mayorkun, King Promise & Darkoo (GH)
7. Kizz Daniel & Tekno – Buga (NG)
8. Asake – Organise (NG)
9. Zakes Bantwini X Kasango – Osama (SA)
10. Mayorkun & Victony – Holy Father (NG)

VIDEO OF THE YEAR

1. Rema – Calm Down (NG) [Director: DK]
2. Fireboy X Asake – Bandana (NG) [Director: TG Omori]
3. Costa Titch – Big Flexa ft. C’buda M, Alfa Kat, Banaba Des, Sdida & Man T (SA) [Director: Darion 4k & The Lotus Sutra]
4. Asake – Pbuy (NG) [Director: TG Omori]
5. Camidoh – Sugarcane Remix ft. Mayorkun, King Promise & Darkoo (GH) [Director: Rex]
6. Kizz Daniel & Tekno – Buga (NG) [Director: TG Omori]
7. Zakes Bantwini X Kasango – Osama (SA) [Director: Darion 4k]
8. Diamond Platnumz – Mtasubiri ft. Zuchu (TZ) [Director: IVAN]
9. Blaqbonez – Back In Uni (NG) [Director: Perliks & Blaqbonez]
10. Omah Lay – Soso (NG) [Director: Tophshotta]

[Featured Image Credits/NATIVE]

ICYMI: THE BEST MUSIC VIDEOS OF 2022

14 Projects The NATIVE is looking forward to in 2023

Posted on by The Native

Over the past decade, the music coming out of Africa has gained steady momentum on the international stage–resulting in big-hitter cross-continental features, record-breaking firsts, award-winning auteurs, and jaw-droppingly dexterous music. Today, the frontrunners of Afropop are changing the game and retooling the face of a genre for future generations to come, with memorable melodies and even catchier dance moves and relatable slang.

In 2023, the music reverberating from the continent has elevated to a revolving door of genres, from Pop to R&B, Hip-Hop/Rap, Drill, Fuji, Highlife, Amapiano, resulting in impenetrable soulful worlds buoyed by soulful and mesmerising production. With the global embrace of the international music community, all eyes are on Africa and the new generation of hitmakers who are cutting their teeth as some of the most exciting and promising acts of the now. Although we’re very much in the early days of the new year, there’s already so much new material to anticipate in the coming months. With superstars such as Olamide, Kabza De Small, Tems and more, primed for smooth follow-ups to their previous solo offerings, and new acts such as SGaWD, Uncle Waffles, mau from nowhere due for their debut albums, it’s already shaping up to be an exciting year for music and we have front row seats to the greatness to come.

Here’s a list of projects that the NATIVE is looking forward to in 2023. Enjoy.

Tems 

[Release Date: TBA]

Tems is working on a new album. The major label debut from the fast-rising Nigerian singer is one of the most highly anticipated prospects from the world of Afropop this year. With two EP’s already to her name, a debut album is certainly on the horizon for the Grammy-nominated artist who has ginned up attention and enthusiasm for its eventual release. “Still next level coming. I’m just about to start,” she tweeted in a rare moment of proximity to her 1.5 million followers back in November last year. With songs such as “Free Mind” and “The Key,” still attracting global accolades for their ability to meet listeners at the base of their emotions, it’s likely Tems will take a similar approach on the new project, unfurling the complexities of new found fame, success and womanhood, coolly but with directly confident verses that sound like a late night conversation with your girls. 

Tami Makinde

Amaarae – ‘Fountain Baby’

[Release Date: TBA]

Looking back at 2020, an undeniably traumatic time for the world, Amaarae’s debut project, ‘The Angel You Don’t Know(TAYDK)’ provided comfort to many listeners with the Ghanaian artists’ mellifluous vocals and otherwordly production from Yinka Bernie and the likes. The success of the 14-tracker attained new heights when Moliy-assisted standout track, “SAD GIRLZ LUV MONEY,” tapped Kalis Uchis for a remarkable rendition that later went viral on tiktok, leading the track to top several local and international charts.

In this time, Amaarae has been anything but silent. When she wasn’t going on live to play some demos, she was lending her honey-toned vocals on a number of tracks. Think Tiwa Savage’s “Tales by Moonlight,” BOJ’s “Money and Laughter,” Blaqbonez’s “WHISTLE” or even “This is What I Mean” off Stormzy’s recently released  album. Another honourable mention is “A Body, A Coffin” for the ‘Black Panther: Wakanda Forever Prologue’. It goes without saying that Amaarae has been anything but quiet. Alongside this, she toured several cities around the world and took to social media to tease her sophomore album dubbed ‘Fountain Baby.’ So far, we know the project potentially features Maesu and Kyu Steed, who made appearances on “FANTASY” and “CÉLINE” respectively.

Nwanneamaka Igwe

Lady Donli 

[Release Date: TBA]

Since the release of her 2019 debut ‘Enjoy Your Life,’ Lady Donli has been an artist everyone should keep their eyes peeled for. Featuring a series of outstanding tracks like VanJess and The Cavemen-assisted “Corner” or “Cash,” which indisputably played a role in shaping the alternative music scene in these parts, Lady Donli has proven to be an unstoppable force. However, amidst the 2020 COVID-19 pandemic, she went MIA with the exception of a few tracks. With a fresh and renewed perspective in her craft, Lady Donli released “Searching” off her EP ‘W I L D,’ translating to Where Is Lady Donli? While the 6-track project did not get much traction beyond her core fans, she stole the hearts of many with her stunning rendition on “Thunderstorm in Surulere” for A COLORS SHOW. For her sophomore album, Lady Donli released the promotional single, “Hello Lady,” in the later parts of 2022, showcasing her ever-luscious vocals over a glimmering production. We’re in for a treat from the pan-African rockstar.

Nwanneamaka

Nasty C

[Release Date: TBA]

Verse by verse, South African rapper Nasty C has risen through the ranks to become one of Africa’s respected MCs. With deft flows and impeccable songwriting, the artist is a bridge that conveys the feelings of younger audiences as well as appeals to the taste buds of the veterans. On both his mixtapes and studio albums, Nasty C has never shied away from unearthing personal demons and battles while also making space for the braggadocio that is synonymous with the rap game.

Through his recording deal with Def Jam Recordings (via a joint venture with Universal Music Africa), Nasty C has sought to expand his reach into territories outside the African market. With an album (in the works) geared as a follow-up to 2020’s ‘Zulu Man With Some Power,’ there is no better time for the man to place himself firmly in the conversation as one of Africa’s leading rap stars.

Uzoma Ihejirika

Kabza De Small

[Release Date: TBA]

It is no surprise that any offering from South African veteran, Kabza De Small is received with rave views. With his stellar addition to his discography in the last few years, Kabza has only left listeners in need of more music. Following its classic 2020 predecessor, the leading Amapiano producer and DJ reasserted his supremacy with ‘KOA II Part 1’, which featured Daliwonga, Ami Faku, Young Stunna, Msaki and more. Now, it seems like the self proclaimed King of Amapiano is set to release the second half to 2022’s album, with rumours of the project circulating ever since the first half’s release last June. Whether it’s the rumoured second half or an entirely new album, we’re rest assured that it’ll be some of his best work yet. With an impeccable work ethic and his level of confidence coupled with the stellar music production, we can only expect another classic.

Wonu Osikoya

Cruel Santino

[Release Date: TBA]

Cruel Santino takes his time. Over his decade-long career as a creative, the man born Osayaba Ize-Iyamu matches to the beat of his heart’s intuitions. Where many expect him to zig, he zags, and that’s what has consistently made him one of the most intriguing artists of his generation. Last year’s ‘Subaru Boys: FINAL HEAVEN’ strengthened the quality of his madcap ambitions, a breathless display that wove anime-inspired world-building and boundless musical experimentation around the trajectory of bouncing back from heartbreak. While it usually takes years for a follow-up, Santi has been adamant that his next project is already at a very advanced stage and should be in our ears soon as he’s already teasing a title known as ‘King of the Bounce’ on his social media. Whatever it is and whether you’re a fan or not, there will be millions listening to figure out where Santi takes us next.

Dennis

Olamide – ‘Unruly’

[Release Date: TBA]

Olamide’s influence on Nigerian cannot be overstated and he only keeps on getting better. Last year, it took fans and listeners by surprise when he announced his retirement from music after his still forthcoming 10th studio album, ‘Unruly.’ Recent efforts ‘Carpe Diem’ and ‘UY Scuti’ have only solidified the rapper’s place as a dynamic force in Nigerian pop. Olamide is known to cause conversations with minimal effort and ‘Unruly’ will be no exception.

After making appearances on records such as Asake’s hit single “Omo Ope” and “Bigger” with rappers M.I Abaga and Nas, he has set the tone for what the album should sound like. Although the album was announced to be released last year and could not be released, we believe that ‘Unruly’ will take form as one of the most standout albums of the year. In recent years, Olamide has become an important figure in Afropop, whether it’s through mentoring some of the biggest Nigerian acts in present day such as Asake, Fireboy DML and more, or its through connecting Nigerian talent to international audiences by distribution deals with EMPIRE, Olamide has his name written among the stars. With producers such as P.priime, Pheelz Magicsticks and more, ‘Unruly’ just as the name implies will be a statement by an artist who has done it all, successfully.

Wonu

SGaWD

[Release Date: TBA]

When SGaWD released her late 2021 debut EP, ‘Savage Bitch Juice’, it expanded on her abilities as a dynamic rap artist. Crown jewel “POPSHIT” is a fringe classic that epitomises Seddy’s song-making tricks. In that same EP, as on earlier slaps like “Feel Right”, you could hear her seamless ability to switch to smooth R&B-influenced melodies. Heading to two years since her last project, a new SGaWD project would not only anneal her standing as a curiously talented entity, but could also elevate into stardom conversations. The routes are multiple: She could double down on snappy rap bangers, infuse more purely sung tracks, or find a dance-inflected balance like on her standout Ronehi collab, “TELFAR”. SGaWD has me excited for all these possibilities—you should be excited too.

Dennis

Sarz

[Release Date: TBA]

Sarz is one of those rare old hands who have reinvented themselves at every point in their careers. At a nascent stage, in the late 2000s, he scored hits with Jah-Bless’ “Joor Oh,”  Shank’s “Ghetto,” Reminisce’s “Kako Bi Chicken,” and the Wizkid-assisted “Beat of Life (Samba),” among others. A decade later, he would make a pivot sonically, blending electronic influences into his productions and stamping his authority on the music scene with the 2019 declarative EP ‘Sinym (Sarz Is Not Your Mate).’

What followed can only be described with one word: incredible. His collaborative projects with WurlD (2019’s ‘I LOVE GIRLS WITH TROBUL’), Lojay (2021’s ‘LV N ATTN’) and Obongjayar (2021’s ‘Sweetness’) were an eclectic assortment of pulsating sounds, ranging from Soul to R&B to Afropop to House to Synthwave. Worthy of note is the fact that those projects served as breakthroughs for the music acts in the Nigerian music scene. On the production side, with The Sarz Academy, Sarz has helped to pave the way for the next generation of music producers; the academy has birthed stars such as P.Priime, Tempoe, and Dunnie who are already making significant impacts on the scene. Last year was a relatively quiet one for Sarz. This year, it is reasonable to believe those moments behind the scenes would birth a magnificent project to reinstate the notion that Sarz is no one’s mate.

Uzoma

Uncle Waffles

[Release Date: TBA]

Recently announced to make an appearance on Day 1 of Coachella 2023, South-African superstar DJ, Uncle Waffles is a couple mixes and tracks away from becoming a global household name. Since her viral video showcasing her exceptional skills on the deck with Young Stunna’s “Adiwele,” Uncle Waffles has debuted her smash hit single “Tanzania” off her EP, ‘Red Dragon.’ The 4-track EP features a series of memorable, heart-thumping tracks with vocal assistance from some of the scene’s key players including Tony Duardo, Sino Msolo and a slew of others. Following her remarkable NYE 2023 mix with Apple Music, Uncle Waffles teased new music out this year. Considering her small but mighty track record of stellar productions, we can expect more outstanding collaborations and hits from the artist. 

Nwanneamaka

Mau From Nowhere

[Release Date: TBA]

Mau From Nowhere has been etching his name into Africa’s alternative scene one song at a time. Featuring in NATIVE 2022 Under Best new artists, he has been staking his claim through his vigorous single releases like “Fireflies,”  “Ghost” and “Our Favorite Songs” whilst teasing his yearn for more longform projects on previous interviews. His minimalistic production coupled with intimate thoughts we all encounter saw his fan base scale up especially after the release of his project ‘MFN’.  His constant evolution of sound has seen him transverse across hip hop, afropop and alternative, channelling his frustration, desires and ambition each lyric at a time. This year should be an interesting coming of age era for the Nairobi based artist, starting off with the release of visuals to “Ghost” I’d hope we get to pree  more into his depth working alongside features on his upcoming album.  

Tela Wangeci

Sauti Sol

[Release Date: TBA]

When Sauti Sol announced that they will be taking a break as a group to focus on their solo projects fans only hoped that this wasn’t a premonition of splitting up the award winning band. Being together for 17 years, the group has found their niche audience with their culturally tailored projects that evolve with each release. Since the release of the critically acclaimed  fifth studio album ‘Midnight Train’  the four man band has strengthened their artistry which was reflected in their 2022 single ‘Lil Mama’ which was released two years after their sabbatical break.

Being the first song they produced collectively, Sauti Sol gave fans a sneak peek of what their new album might reflect. With many accolades, awards and global recognition, Sauti Sol has been soaring high. Singing in Swahili, Luhya, Luo and English, Sauti Sol prides themselves on storytelling as an East African tradition that permeates music from that region and this is what has kept them relevant with audiences across the world and earned them so many accolades along the way.

With the new year kicking in, fans are excited for the sixth studio album. In an open letter to fans back in October 2021, the group first announced they will be releasing the next Sauti Sol group album in May 2022 after the rollout of their solo projects  dubbed “Alone-Together” under the group’s label Sol Generation which meant to re-introduce the four group members as they usher in their sixth studio album. Despite failing to keep their promise, the group announced on twitter, fans should be ready for a futuristic new album with a more mature sound. 

Tela Wangeci

Davido

[Release Date: TBA]

Four words aren’t often enough to hold on to, but if you’re Davido—one of the biggest superstars in the world—that works just fine. “See you in March”, the musician had shared on his socials after performing at the FIFA World Cup closing ceremony in March. Added to his recent win of five categories at the AFRIMA Awards, that career-highlight event proves Davido’s star power even in a year understandably devoid of much solo material.

With March only two months away, the prospect of a new Davido album is tantalising and similarly pensive. Many listeners didn’t think ‘A Better Time’ satisfactorily advanced the autobiographical direction of his acclaimed sophomore, though the live-centric direction of his 2022 solo offering “Stand Strong” leaves a strong impression. “Electricity” and “Champion Song” with Pheelz and Focalistic were singles in-between which demonstrated Davido’s sterling knowledge of how to dominate a hit song. In the right mindset and with the right team, I don’t think anyone with a speck of fairness could doubt Davido’s ability to stage a memorable comeback. 

Emmanuel Esomnofu

Odumodublvck

[Release Date: TBA]

Big Gun has been firing heavy since last year. Once acclaimed as Abuja’s answer to M.I Abaga and Erigga, the rapper has morphed into a crafty music-maker. Describing his style as Okporoko music, there’s a haunting mix of menace and melancholy which makes his records pop. Odumodublvck has steadily climbed up the stairs of rap dominance, now peeking over the walls of mainstream influence. Of course he does that alongside the promising Native Records, a subsidiary of Def Jam Recordings shaping up for great things this year. From associating with top dons like Skepta and Tobi Nwigwe to the several African industry connections he already boasts, Odumodu’s forthcoming album is looking very strong. If anything, his ‘22 releases “Dog Eat Dog” and “Picanto” sets him up favourably, shimmering with their enthralling cadences and cinematic production which holds up the expanding scope of his artistry.

Emmanuel

ICYMI: THE BEST MUSIC VIDEOS OF 2022

TurnTable Top 100 : Ruger Is Still Leading Charts With “Asiwaju”

Posted on by Tela Wangeci

Undeniably, Ruger closed off his 2022 with a bang, growing his superstardom by constantly sharpening his captivating take on Nigerian Dancehall. The singer’s recent release “Asiwaju” continues his ascent into perennial hit-making status and the numbers are backing him up in a big way. Leading the Turntable Top 100 chart for the sixth consecutive week, “Asiwaju“ tallied 2.81 million streams—good enough for the seventh straight week on top of the streaming chart—and 78.9 million in radio reach. It joins an elite list of songs that have completed the clean sweep as it moves to No. 1 for the first time on this week’s YouTube chart.

The song has spent a total of six weeks as Ruger keeps rewriting his personal record for the longest No. 1. It becomes only the eighth song ever to reach No. 1 on all charts in Nigeria. Setting more records the single tallied 78.9 million in radio reach during the week of January 13 – 19, 2023: setting a new record for the biggest week by any single on the radio breaking the previous record held by Kizz Daniel & EMPIRE’s “Cough (ODO).” 

Kizz Daniel’s “RTID” maintains at No. 2 for another week peaking at No. 2 on radio reach and 2.71 million streams. Omah Lay’s “Soso” is giving Kizz Daniel’s  “RTID” a run for its money as there is a slim margin with 2.75 on-demand million streams and No. 2 on radio reach. “Personal” from Zinoleesky still remains at No.4 after peaking at No.3 while Mavin All-Star’s top-charting song “Won Da Mo“rounds up the top 5 after spending a second week at No.5. 

“Xtra Cool” from Young Jonn is steady at No.6 after peaking at No.1 for three weeks in 2022. This was his first time leading the charts. Seyi Vibez’s “Chance (Na Ham)” ascends to a new peak of No. 7 making it his highest charting single in Nigeria. It was No. 10 on streaming and achieved 37.2 million in radio reach making it No. 10 on the radio during the tracking week. Victony and Tempoe’s “Soweto”  makes an interesting comeback 10 weeks later after re-entering the top ten peaking at No.8

Rounding out the top ten; EMPIRE & Kizz Daniel’s “Cough (ODO)” slips to No. 9 while Asake’s “Joha” dips to No. 10. As a result, Asake extends his record for most consecutive weeks with a top ten song in Nigeria to 49 – three weeks shy of a full year with at least one top ten songs in the country. Just outside the top ten, Rexxie’s “Abracadabra” with Naira Marley & Skiibii jumps to a new high of No. 16 while Libianca’s “People” rockets to No. 43. 

Read The Full Breakdown of the charts here.

ICYMI: HOW RUGER IS CHAMPIONING THE HYPNOTIC SOUND OF DANCEHALL

Mixed reactions trail Nancy Isime’s body double revelation in Netflix’s ‘Shanty Town’

Posted on by Tami Makinde

Our reactions to nudity in cinema ranges from empowering to discomfiting. For a very long time in Hollywood, it was impossible to show nudity onscreen. There were regulations and censors set in place which monitored films closely for explicit content, flagging costumes that were too revealing or shots that were too leering for audiences. Nowadays, the times have now changed and films and television such as ‘Euphoria’ and ‘Sex Lives Of College Girls,’ are normalising on-screen nudity to further its plot and relationship between characters.

 

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A post shared by Nancy.E.Isime (@nancyisimeofficial)

However, when the lens of cinema is narrowed down to Africa, nudity is still widely divisive for both viewers and production teams. Over the weekend, Nigerian actress Nancy Isime shared a post to her Instagram account, informing viewers that the nude scene she recorded as Shalewa in Netflix Naija’s latest underworld drama 6-part drama series, ‘Shanty Town’, was filmed with a body double. Body doubles are an essential part of the filming and production process for many reasons, one of which is protection against physical and verbal backlash of an actor.

For anyone who has watched the new Dimeji Ajibola-directed series, which arrived last Friday, you’d already know that it follows the story of Lagos-born hustlers who unite to wage war against the biggest and most ruthless crime ring in the city, which draws its wealth and connections from the underground ‘burbs of Shanty Town. As the first official African original offering from Netflix this year, expectations were sky high for the action-packed drama which featured Nollywood veterans such as Sola Sobowale, Ini Edo and Richard Mofe-Damijo alongside names such as Isime’s, Mercy Eke, Nse-Ikpe Etim, Peter Okoye and more. However, the moment has seemingly been shaded by conflating reactions to nudity in Nollywood.

In the days since the show’s release, Isime’s post on social media has been received with mixed reactions by audiences across the country. For one, Isime’s announcement on social media was a result of several viewers of the new series sharing derogatory comments on social media, and talking down on the actress for appearing nude on a platform such as Netflix. Some had gone as far as to screen record clips of the nude scene and share and disseminate on social media.

On the other hand, Isime’s post served as means to educate the general public about the realities of acting and working with body doubles. In a follow-up comment on the post, Isime further shared “If there weren’t thousands of horny tweets and comments talking about how they’ve finally seen Nancy’s breast. The need to educate people won’t have come up…It’s been Western public knowledge for years and unless an actor or actress really was the one in the nude scene, she or he doesn’t have to talk about it because the public chooses to focus on what’s important. Most times, they can tell. This is new to Nigerians I understand.”

For a large number of viewers, it is understandable why Isime had to get ahead of the backlash and seize her story by announcing the use of a body double. In Africa, there’s no denying that nakedness attracts raised eyebrows from a society which always debates the display of nudity in public spaces—often from a derogatory standpoint. While no one is arguing for nudity to become the order of the day, it’s hard to divorce the current conversation from the perceived roles that women are expected to play in society: the saint and the slut. We’re given limited spaces to exist and show up in society, such that any woman who doesn’t strictly conform to purity culture has breached the moral fabric and should be shunned.

Nudity is a natural part of the human experience and should not attract shame and attention to the actor, given that she is playing a role set in a world where she sells her body to make ends meet. Informed viewers are aware that Isime is merely playing a role, and should not be the subject of indignation for embodying her character and its accompanying travails.

The rise of criticism on social media, where everyone’s an expert, is a double-edged sword, especially in cases with delicate subject matters such as this. While it might be common sense not to disseminate nude clips and videos of people online, there’s no denying that these conversations serve as learning curves for a large number of society, who otherwise would have diminished a woman for exercising her right to body autonomy. It’s conversations such as this that remind us that we have a long way to go in dismantling and disrupting dangerous societal norms. In the meantime, our focus should really be on celebrating the new Netflix Naija original which showcases fine talent and a tightly-packed plot woven around themes such as betrayal, crime, politics, sex work, displacement and more.

Watch ‘Shanty Town’ on Netflix Naija here.

ICYMI: DAVID OYELOWO IS SET TO DEVELOP A LIMITED SERIES ON THE BIAFRAN WAR

Best New Music: Libianca Gets Real About Mental Health On “People (Check On Me)”

Posted on by Uzoma Ihejirika

For 22-year-old Libianca, the success she enjoys with her single “People (Check On Me)” is the product of years of hard work and commitment. It is also another testimony of the power of social media platforms to catapult music acts into internet-aided stardom (see CKay’s “Love Nwantiti”). Officially released in December 2022, the track began gaining traction on social media; on TikTok alone, the videos tagged with Libianca’s name have amassed over 75 million views. Aside from all those factors, what makes “People (Check On Me)” a clear standout is the song’s subject matter: it is a topic that reminds listeners that they are no different from the next person who wears the biggest smile in public but weeps in the privacy of their home.

 

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A post shared by LIBIANCA (@iamlibianca)

On the song’s intro, Libianca shouts out her hometown of Bamenda in Cameroon. After that, the words that follow immediately suck you into the song. “I’ve been drinking more alcohol for the past five days/Did you check on me?/Now, did you look for me?/I walked in the room, eyes are red and I don’t smoke banga/Did you check on me? (Did you check on me?),” she sings. Those words are simply Libianca’s reality but it carries an accusatory edge that confirms to the listener that they are involved in the song, whether they appreciate it or not. You are forced to think of the persons you know or have met who fit the description of Libianca’s words. That instant relatability is one of the song’s strongest points.

In case you didn’t know, Libianca is no newcomer to the music business. Born in Minneapolis, Minnesota in the United States of America to Cameroonian parents, she started playing musical instruments and getting vocal lessons from a young age, and around 15, she signed to a record label. She is also a sound engineer, songwriter and creative director. Last year, she was a participant in The Voice, an American singing competition, where she was tutored by American country music act Blake Shelton and performed covers of SZA’s “Good Days,” The Weeknd’s “Save Your Tears,” Billie Ellish’s “Everything I Wanted” and Doja Cat’s “Woman.” During the show’s Blind Auditions, Ariana Grande, who was one of the coaches, had told Libianca: “You’re so good, you’re so beautiful, I’m obsessed.”

On “People (Check On Me),” Libianca addresses depression and anxiety. “Nobody wey know the paranoia oh/‘Cause I put a smile on my face/A facade you can never face (Ooh),” she sings. It is common knowledge that nobody readily puts out their woes for the world’s consumption. The act of faking appearances or emotions is a skill humans have perfected for many, many years. What would be expected, though, is that family and friends are one’s confidants but that isn’t always the case because sharing familial and personal ties doesn’t make a person’s internal turmoil decipherable. Libianca seems to know this when she sings, “And if you don’t know me well, well, oh/You won’t see how buried I am inside my grave.”

Sonically, Mage the Producer offers Libianca a soundscape that captures the hopelessness that saturates the track. The mid-tempo rhythm strays into the path of Afropop with Libianca’s Soul-tinged vocals and emotions colouring the tune. While Mage the Producer plays behind the board, ace British-Ghanaian record producer JAE5 mixes and masters the song, ensuring that the instrumentals and Libianca’s vocals are a perfect fit.

In today’s world, the internet has become both a blessing and a curse. Multiple social media platforms have made lives easy and made connectivity possible as people scattered across continents can communicate with a single click. Whether it concerns business, social, political or romantic interests, distance is no longer a problem; intentions are expressed and understood without hiccups. On the other hand, it has contributed to a more insular world, where people and real-life situations are mostly sources for viral content and nothing more. It is these circumstances that fuel the world of Libianca’s “People (Check On Me).”

Three days ago, Libianca released the music video to the song. The Ceojay-directed music video, which is an in-house production handled by Libianca and her team of video directors and photographers, mirrors the moodiness of the song. In the opening sequence, Libianca rises from sleep to start her day while she goes on to prepare food and invite her friends for dinner. By the end of the video, Libianca’s friends fail to show up and she remains indoors, dejected and alone. A piece of advice appears on the screen, encouraging viewers to check on their people because their “sense of kindness can break the wall of isolation and the feeling that no one cares.”

At the moment, Libianca is signed to RCA Records and JAE5’s 5K Records; it is a major step up for the previously indie artist, which means more attention and opportunities. Other music artists, including Nigerian singer BNXN, have expressed appreciation for Libianca’s craft and have done covers of “People (Check On Me).” Libianca’s song calls on listeners to remember our humanity and that for the time we are on earth, we are all we have got.

Stream “People (Check On Me)” below.

Featured image credits/