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.
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.
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” 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 massshooting 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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
“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.
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.
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.
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)
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)
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 withJah-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.
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.
.@rugerofficial’s “Asiwaju” becomes only the eighth song ever to reach No. 1 on all charts in Nigeria
“Asiwaju” 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 pic.twitter.com/zeqtO8o2AY
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.
.@rugerofficial’s “Asiwaju” becomes only the eighth song ever to reach No. 1 on all charts in Nigeria
“Asiwaju” 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 pic.twitter.com/zeqtO8o2AY
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.
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.
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.
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.
The death of Chadwick Boseman changed everything for Marvel’s ‘Black Panther’ franchise. The first stand-alone film featuring Marvel comic’s royal cum superhero quickly became a seismic cultural event when it arrived in 2018 garnering over $700 million domestic gross and $1.8 million worldwide. Thanks to an inspired screenplay by writer-director Ryan Coogler, the late Chadwick Boseman who had introduced the character earlier in ‘Captain America: Civil War’ stepped into his cinematic purpose. It was clearly, the role Boseman was born to play and everything he’d done in his career led up to that moment. Leaning into the character’s symbolic significance, Boseman turned in a regal performance in tune with just how much the character meant to people around the world, particularly for Black people. It sometimes seemed like an outsize responsibility being T’Challa but Boseman shouldered it with grace.
This year, arriving during the hazy summer days in July, came the stunning teaser for ‘Black Panther: Wakanda Forever’ which soon set the mood for the sophomore film that followed later in November. At the time, heartrending scenes of grieving characters who were part of T’Challa’s circle of trust including Nakia, Queen Ramonda, Shuri, were set to the tune of Tems’ emotive cover of the 1974 Bob Marley and the Wailers classic, “No Woman, No Cry,” as they ostensibly grieved the loss of T’Challa and by extension–their friend and colleague, the late Chadwick Boseman. These sequences in the trailer soon gave way to the defiant refrain of cathartic release promised by Kendrick Lamar’s rallying anthem, “Alright.” For many of us, it was clear from this teaser that music would be crucial to the mourning process in ‘Black Panther: Wakanda Forever,’ just as plays a special role in the burial rites of many African cultures.
According to Ludwig Göransson, the Oscar winning Swedish composer who masterminded the musical architecture of both ‘Black Panther’ films, the plan with its sequel, ‘Black Panther: Wakanda Forever’ was to create a rich, immersive music landscape that visualised the characters experiences as they discovered the underwater world of Talokan, while serving a dual function of paying tribute to Boseman. Speaking about the release, Göransson shared “Thematically, we wanted to move the audience from grief to celebration. When you listen to the soundtrack, you can close your eyes and relive the experience of the movie. That was the intention.”
The new soundtrack follows an epic first album, curated by Kendrick Lamar, for 2018’s ‘Black Panther.’ Featuring artists such as SZA, Travis Scott, and the Weeknd, the album trended at the time of its release, with over eight songs charting on the Billboard Hot 100 just over a week after the film’s release. The first ‘Black Panther’ album also won two Grammy awards–one for the score and the second for Best Rap Performance for “King’s Dead” by Jay Rock, Kendrick Lamar, Future, and James Blake. It’s safe to say that the expectations for the new release were sky high anchored by the record-setting firsts of its predecessor.
Even though the original ‘Black Panther’ was packed with brilliant performances and incredible world building, Boseman remained both the film’s moral leader and soulful epicenter. His character–T’Challa, the noble king of Wakanda, a fictional African nation blessed with endless natural resources–was a new age hero. A dignified, aspirational figure tasked with maintaining the isolationism that had served his country so well, and fulfilling his duty with his Avenger colleagues in world-saving business. However, when Boseman tragically fell ill to colon cancer in 2020 at the age of 43, Coogler and the studio were compelled to reimagine the direction of the franchise. An early decision was made not to recast the character and with this established, Coogler went to work on its sequel while mourning his leading man and close friend.
The result of this excursion is felt in ‘Black Panther: Wakanda Forever.’ Coogler and his cast and crew pour all of their emotional response, both immediate and delayed, into creating both the film and its soundtrack. The sequel is powered by the themes of grief and mourning as reality and fiction are blended in often uncanny ways that might have been exploitative in other people’s hands but feels cathartic in sensitive, well-intentioned ways when Coogler is the firm hand behind the material.
The film’s plot introduces the new sub-marine kingdom of Talokan and with that, a whole new culture that claims its ancestry from Mexico’s ancient Mayan civilisation. The film’s antagonist, Namor (Tenoch Huerta) and his indigenous underwater nation had suffered the devastating effects of colonialism, being nearly wiped out by germs and guns brought on by Spanish colonialists. In this regard, there is a sense of shared experience with the Wakandans as Coogler seeks to comment on the geopolitics and cultural ties between two would-be marginalised communities.
Working on both the score and the soundtrack projects at the same time, Göransson travelled to Mexico while the film was shooting. In Mexico, Göransson worked with an eclectic crew of established and upcoming artists not to mention music archeologists and historians to unearth the instruments and sounds that would form the sonic scape for Talokan. Some of the earliest result of this deep dive appeared on the 3-track prologue EP that followed the release of the teaser. Fast rising Mexican rapper Santa Fe Clan contributes “Soy,” a hard-hitting rap single.
Themes of trauma and loss are common to both the Wakandans and the Talokans and the music of Wakanda Forever is fully in tune with this. The entrancing “Árboles Bajo El Mar,” recorded by Mexican performers Vivir Quintana and Mare Advertencia Lirika deploys drums, breathing, shakers and lyrics that dwell on rebirthing, to relay a seductive otherworld. “Con La Brisa” is a lilting love song laced with the flirty vocals of singer Foudeqush. While talented vocalist Blue Rojo delivers a show stopping dirge “Inframundo.”
For the world of Wakanda, thrown into mourning by the loss of their king and protector, Coogler and Göransson seeking authenticity decided to look to the obvious corner, Nigeria. In recent years, contemporary Nigerian pop music has been on a steady incline on the global stage, and Göransson tapped into this swell of activity. After principal photography wrapped, Coogler and Goransson flew to Lagos and connected with the Co-President of NATIVE Records, Seni Saraki, who in turn marshalled a revolving door of big-name talent- Burna Boy, Ckay, Rema- and session musicians to write and record songs that would eventually make up the soundtrack.
Afropop and mourning would instinctively appear to be strange bed fellows. A generous portion of this ascendant music culture is characterised by uptempo tunes that work best as dancefloor prompts prioritizing fast living. But this conclusion would be an incomplete reading of this musical renaissance that goes back at least to the early noughties. The embrace of Afropop has in some way, paralleled the economic downturn that Nigeria has experienced in the last decade. Afrobeats has emerged as a form of respite to these tough times, creating distractions, upliftment and in its own way, documenting the struggles even. A recent example would be a record like Omah Lay’s debut album ‘Boy Alone’ which clearly has a lot more on its mind than just dance- although there is plenty of that. The singer chronicles his struggles with the fame monster crafting catchy tunes about alcoholism, loneliness and depression.
The soundtrack’s lead single “Lift Me Up,” written by Tems- with contributions by Coogler- is notable for marking Rihanna’s return to recording music following a six-year absence spent pursuing other interests. While the new mother was not keen to sign on initially, she was ultimately unable to resist the powerful teaser as well as the themes of motherhood connecting both Wakandan and Talokan worlds. The resultant product is a serviceable ballad peppered with non-committal lines such as, “Burning in a hopeless dream/Hold me when you go to sleep,” anonymous enough to project emotions surrounding Boseman’s demise onto it- or any other emotional experience to be honest.
Working as a more precise reflection of loss within the context of the film is the Burna Boy-performed, P.Priime and Tay Iwar-produced title, “Alone” which soundtracks some of Wakanda Forever’s most palpable emotional beats. “Alone” has some fine colourful writing: “Don’t let them take my head/And dance over my dead—Body, yeah,” Burna Boy wails mid tune as the record builds to a swirling crescendo. Whil evidently solemn and self-reflective, Burna Boy finds space to wink to his audience by including the line, “Mr DJ gbemi trabaye.” In ‘Wakanda Forever,’ “Alone” is preceded by Stormzy’s tone poem which is inserted as an interlude on the album. The British superstar sings and raps about moving through the world alone following the loss of a loved one.
In some African cultures, it is believed that the dead do not exactly leave their loved ones but are on a continuous journey to the afterlife. The Black Panther films have embraced this belief and with the films’ ancestral plane, Coogler has set up a space where living and deceased can communicate. Fireboy’s “Coming Back For You” is a celebration of this life after life, with reliably vague Fireboy lyrics hinting of a kind of omnipresence. This is backed by a melodic chorus and chants delivered in Yoruba. With this song, the film dwells on the beauty of the grieving process and celebrates solitude and reflection as well as the burning of the mourning attire that usually marks the end of the period.
CKay takes the lead on “Anya Mmiri” which is literally translated as tears– a superfluous affair that wastes the brilliant use of the melodious oja flute. The flute is also incorporated in the film’s climactic battle scene, and is used to better effect on the Amaarae stunner, “A Body, A Coffin” on the prologue disc. Mexican and African cultures collide on songs like “La Vida,” a lively celebration of cultural identity that also stresses the links between minority communities. Snow Tha Product and American rap icon E-40 share lead on this hip hop mariachi fusion. Elsewhere Rema puts in a surprisingly confident verse and more than holds his own alongside rapper Alemán on the braggadocious, “Pantera.”
Just like the film that inspired it, the soundtrack album is more than its mournful parts. The South Africans DBN Gogo, Sino Msolo, Kamo Mphela, Young Stunna and Busiswa get the party started-twice- on Amapiano anthems, “Love & Loyalty (Believe)” and “Jele.” And Tobe and Fat Nwigwe are delightfully boisterous on the highlight, They Want It, But No. The soundtrack serves as further proof that as far as African cultures go, the grieving process can also be a celebration of life.
Stream ‘Wakanda Forever – Music From And Inspired By’ below.
Wilfred Okiche is a writer, culture critic and all round great guy-at least that’s what people say. He tweets from @drwill20
On the 4th of January 2023, the decomposing body of Kenyan LGBTQ activist Edwin Chiloba was found stashed in a metallic box. Chiloba, who was a popular model, social media influencer and divisive figure in Kenya’s largely queerphobic society, was grotesquely found with socks stuffed into his mouth and a piece of denim from jeans tied around his face. This gory murder attracted global condemnation as it was initially thought of as a crime against his sexuality. Right now, though, it has been alleged as a crime of passion by law enforcement. Five people were arrested in connection with the murder, including Chiloba’s long-time friend and suspected lover Jackton Odhiambo, who local authorities have described as the main suspect.
Both former president Uhuru Kenyatta and Kenya’s current presiding leader, have given a clear stand on homosexuality constantly claiming their rights are not priority issues in Kenya. Homosexuality is taboo in Kenya, not too dissimilar to much of Africa, and gay people often face discrimination or persecution. Attempts to overturn British colonial-era laws banning homosexuality in Kenya have proven unsuccessful, and gay sex remains a punishable crime with penalties that include imprisonment of up to 14 years. This negligence has even grown over into social crimes such as domestic violence within homosexual partners who have the expectations that these cases will be swept the carpet because of Kenya’s stand against homosexuality.
Kenya’s Penal Code, a colonial-era relic, criminalises “carnal knowledge against the order of nature,” widely understood to refer to anal intercourse between men. Government agencies have denied some organisations representing lesbian, gay, bisexual, and transgender (LGBT) Kenyans the right to register and operate legally, on the grounds that they allegedly promote illegal behaviour, although recent court victories have compelled the authorities to register two organisations. Politicians and extremist religious leaders seek to bolster their relevance by proposing homophobic legislation and preaching hatred against gay Kenyans. Media houses engage in sensational reporting on “scandals,” sometimes entirely fabricated, involving LGBT+ people. Although many LGBT people draw on support from friends and family and carve out spaces in which they can live in relative safety, the risk of violence remains present.
Kenya’s progressive new constitution, promulgated in 2010, guarantees all Kenyans the rights to privacy, equality, dignity, and non-discrimination. It articulates a set of national values that include “human rights, non-discrimination, and protection of the marginalized.” Further, the constitution integrates international law—including treaties ratified by Kenya that prohibit discrimination on the grounds of sexual orientation—into Kenyan law. These provisions provide Kenyan authorities with an opportunity to eliminate laws and practices that discriminate on the basis of gender identity and sexual orientation.
During the Universal Periodic Review (UPR) process at the UN Human Rights Council in January 2015, Kenya rejected recommendations to decriminalise same-sex conduct between consenting adults, but accepted a recommendation to “adopt a comprehensive anti-discrimination law affording protection to all individuals, irrespective of their sexual orientation or gender identity.” Kenyan activists are pushing for the government to uphold this commitment as well as to decriminalise same-sex conduct.
Kenya’s approach to addressing the clear vulnerability of LGBT people to violence and instability should be guided by a landmark resolution passed by the African Commission on Human and People’s Rights in 2013, which called on member states to “end all acts of violence and abuse, whether committed by State or non-state actors” against individuals on the basis of their real or perceived sexual orientation or gender identity. This general stigma even makes it difficult for those close to queer persons to offer support. Prior to Edwin Chiloba’s burial, his family constantly denied his sexuality, to the point of claiming he was a pastor and a youth leader.
It’s clear that the abuse and discrimination against the LGBTQ+ community in Kenya drives public opinion and enhances stigma among Kenyans. For Edwin Chiloba, the police’s investigations alleging that it was a crime carried out by a close friend and a partner, is in stark contrast to the initial perception that his murder was queerphobia-fuelled. Even the reactions on social media mirrored the casual cruelty consistently meted out to queer persons, with gleeful vitriol floating around after news of Chiloba’s passing became public.
Regardless of the intentions behind his murder, a crime was still committed. That it happened to Edwin Chiloba, who was openly and flamboyantly queer, is a sharp reminder that the LGBTQ+ community in Kenya exists in a hateful society. All that we can keep doing is admonishing and joining in the calls for the abolishment of state-backed queerphobia. The Kenyan Parliament and county legislative assemblies should repeal laws that discriminate on the basis of sexual orientation, gender identity, or sex worker status. They should adopt comprehensive anti-discrimination laws that explicitly protect people of all sexual orientations and gender identities. It is the Kenyan government’s responsibility to ensure the safety of all citizens, including by more effectively addressing the violence and insecurity that lesbian, gay, bisexual, and transgender people face.
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. Whether you listen to your music on Spotify or Apple Music, lock in to new projects from Ajebutter22, Camidoh and more.
Ajebutter22 – ‘SOUNDTRACK TO THE GOOD LIFE’
After taking a brief hiatus from releasing any projects, Ajebutter22 is back with his third studio LP ‘Soundtrack To The Good Life.’ The 15-track album features artists such as LADIPOE, Kida Kudz, Toby Shang, Not3s and sees production credits from record producers such as Twitch Papii, Johnson IP, Chillz, Ransom Beatz and more. Across 47 minutes, Ajebutter speaks on enjoying life, focusing on the positive side of life and having a great time while at it.
Joya Mooi – ‘WHAT’S AROUND THE CORNER’
A follow up to ‘Whats Around The Corner (Side A),’ which explored thought-provoking themes of loss and longing on “So Stunning” or the tribute to her freedom fighter father on “Most Frail,”‘What’s Around The Corner’ continues with political commentary geared towards achieving social change and gaining personal resolution.
In the later parts of last year, South African singer, Joya Mooi introduced us into the world of her debut album, ‘What’s Around The Corner’ with “Tears,” a soulful R&B record celebrating Joya notoriously raw lyricism and other-worldly vocals. The reflective number touched on a slew of topics surrounding embracing life’s journey amidst its challenges, all the while utilising its unique Jazz and Hip-hop touches in production by Sim Fane and SIROJ. With 6 new tracks leading in from SIROJ-produced “No Beginning,” Joya takes the experimental approach, combining alternative R&B with a sprinkling of trap, tied together with dreamy string arrangements.
Camidoh – ‘A LIFETIME IS NOT ENOUGH’
Since the success of his hit single “Sugarcane Remix” which enlisted Mayorkun, King Promise and Darkoo, Camidoh has gathered a small cult following in Ghana and beyond, with the track topping several charts and his fans taking part in the #SugarCaneChallenge via TikTok. Exploring love and the complexities of modern relationships, Camidoh has followed this up with memorable performances on “Kaba” and joins South Africa’s Focalistic and Costa Titch to deliver a standout verse on for Crayon’s standout track, “Ijo (Laba Laba).” A long way from his 2018 debut with “Trap Motivation,” Camidoh is back with a series of dulcet melodies on his joint 6-track EP with G.D.S, ‘A Lifetime Is Not Enough.’ While “Like You Mean It” features a stellar rendition from Cina Soul, the rest of the project showcases the pair’s effortless flow as they speak of love from a plethora of standpoints.
Otega – ‘AS IT SHOULD BE’
Singer and songwriter Otega is here with his most recent body of work ‘As It Should Be,’ an 11-tracker that cuts across topics such as self awareness, growth as well as making money and living life freely. The project features Dremo and Qdot and sees stellar production from the likes of Beat Monster, Sterry T, Jay Fred and more.
Uncle Vinny – ‘YOUTH LEAGUE’
South African singer and songwriter Uncle Vinny first arrived with the record “Pholas” a few weeks ago and has now arrived with her debut EP titled ‘Youth League.’ The body of work features industry heavyweights such as Major League DJz, Mellow & Sleazy, Yumbs, Kailey Botman and more. While the 7-tracker cuts across many different themes, the project remains euphonious through the 45-minutes.
As the year kicks off, new music never stops in rotation. Every week, many songs from African artists make their way to digital streaming platforms, and wading through them can be intense. That’s where The NATIVE’s Songs of the Day column comes in to help. We go through as many new releases as possible, spotlighting them here, two to three times every week. Today, enjoy new releases from Spinall, Lojay, Nonso Amadi and more. Lock in!
JOEBOY – “BODY AND SOUL”
Having ended the last year with a positive run which culminated in “Contour,” Joeboy is shaping up to have an interesting 2023. Already tipped for a full-length release, he’s set the ball rolling with “Body And Soul”. The E-Kelly produced record is a stirring, string-based sonata, a praise rendered to the feet of a lover. Catching a lot of fun on socials with perspectives of falling in love, Joeboy indeed sounds the part here, coolly assuring the love interest of his undying dedication to their trajectory. Sentimental ballads are Joeboy’s forte and he’s very memorable in this early-year showing.
SMALLGOD FT. LOJAY – “AUTOMATIC”
Over the years Smallgod has solidified his name as one of the most creative executives operating out of Africa. Responsible for curating some memorable Afropop moments, the Netherlands-based exec keeps his ears open and mind willing to create, and “Automatic” is proof of that zeal. Tapping up the talented Lojay, the charged percussions of the production and a somber electronic twist gives the musician’s ample space to flex his vocal dynamism and writing skills. In all, it’s a well-structured perusal of lust and the seductive depths people can go to satisfy their craving.
BOB MARLEY FT. SARKODIE – “STIR IT UP”
A reggae classic gets a fitting twist. Known to millions around the world, Bob Marley’s love-suffused records brought many eyes to the transcendental journey and messages of Jamaica-birthed Reggae. “Stir It Up” ranks high among his lovely hits, a song that has stayed relevant over the generations. A king in his own right, Ghanaian legendary MC Sarkodie colours the updated sound with signature flows. It’s a collaboration that not many would have expected, but one that nonetheless sparkles with brilliance.
AKA FT. KHULI CHANA – “PRADA”
South African rapper has a new album out this year, and he’s rapping like a man with something to prove. Collaborating with some of the most promising acts from Rainbow Nation over the past couple years, he’s bridged the big sound of Trap with electronic flourishes, stepping up to something unique whenever he’s on the mic. “Prada” is instantly memorable, rippling with loud synths and the swerving cadences of the duo of established rappers.
SPINALL FT. KEMUEL & OLAMIDE – “BUNDA”
Curation comes naturally to Spinall. With a new album in the pipelines, he starts off the roll-out with this expertly crafted song which features Kemuel and the legendary Olamide. Increasingly getting known among Afropop lovers, Kemuel’s sweet-toned vocals light up the song from the start, serenading a love interest with the potential of everything good. Bubbly percussions and light notes carry his message like a feather, until a short but effective verse from the YBNL honcho brings it home. Very good record, this.
NONSO AMADI – “EASE UP”
For those in the know, Nonso Amadi has been experimenting with his style, incorporating more influences into his established R&B core. So far it’s made for very dynamic songs, reimagining the vocals and writing style of Amadi. “Ease Up” is his first record for the year and he’s gone for excitement, above all else. From the Mali-indebted chant which opens the record to the sequence of the production elements, there’s a motivation to keep one’s head afloat that makes it stir. The topic of easing up is most definitely important, especially during a time of the year when it’s easy to get caught in the heady tangle of aspirations and dreams.
KEL-P – “ONE MORE NIGHT”
In recent times, more producers have been stepping away from the background and creating songs of their own. Grammy Award-winning producer Kel-P is known for his distinct percussion but now, he’s branching out into expressing himself vocally. “One More Night” is a fitting demonstration of his prowess, summery banger with a Dancehall twist. Singing about his romantic interest, he angles from an array of perspectives and heartwarming vibe.
Seyi Vibez is in his bag at the moment. His debut album‘Billion Dollar Baby’ skyrocketed to the peak of the music charts, earning him over 185 million streams on Audiomack alone. It also spawned the runaway hit “Chance (Na Ham).” So massive was the adulation that greeted the album that Seyi Vibez followed it up with the deluxe edition a month after its initial release, loading the project with five new tracks that continued his obeisance to the hustle mentality.
Fresh off the euphoria of last year, Seyi Vibez started the New Year with the five-track EP titled ‘Memory Card.’ The project, which is a surprise release, signals that the indie act has chosen to maintain his efficient work ethic. He starts the project with “G.O.A.T,” which samples Apala maestro Alhaji Fatai Olowonyo’s “Elewure Wole.” On the song, Seyi Vibez iterates his desire to continue putting in the work to bolster his career. “So ti ba gba Grammy/There’s still a lot to achieve,” he sings on the solemn instrumental that sways with violins and backup choirs.
While ‘Billion Dollar Baby’ was praised for its brilliance, it drew Seyi Vibez piercing criticism, most especially on the Amapiano-led banger that is “Chance (Na Ham).” Last year, YBNL star Asake blazed through charts with hit after hit, which he solidified with ‘Mr. Money with the Vibe,’ his slapper of a debut album. Seyi Vibez’s rapid-fire flows on the song and edgy fashion choices have earned him unfavourable comparison with Asake, with many fans stating that he is biting off latter’s aesthetics. That assertion was strengthened when Seyi Vibez tapped Nigerian music video director TG Omori, Asake’s preferred collaborator for visuals, for a music video that carried similarities with an Asake video.
Seyi Vibez swatted aside the accusations of being a copycat in an interview with Apple Music. “I like Balenciagas a lot and I like to create them in my own way. I’m just… fashion boy,” he said. “I’m precious but I’m precious fashion. I want to impress! I like creating things in my own way.” He went further and said, “I’m not trying to sound like no one, it’s just pure me. The way I sing from way back, I also know how to put it on fast beats, so everything’s just going.” In reality, Asake and Seyi Vibez are both offsprings of multiple indigenous music genres and subgenres, ranging from Were to Waka to Fuji and Apala. What both artists have discovered is that there are treasures yet untapped from interpolating and sampling music from decades ago.
“Para Boi” is the cousin of “Chance (Na Ham)” on ‘Memory Card.’ It begins with a flurry of violin swirls before jumping into an Amapiano-powered territory of shakers and log drums. Seyi Vibez’s confidence is unerring when he declares that “Calming down is not recommended” as he revolves around diverse subject matters like love and his dislike for detractors – all underpinned by his hunger to be the best version of himself. He transforms that energy into “Alaska,” rich with Islamic influences and choir-like backup vocals.
On ‘Memory Card,’ Seyi Vibez’s songwriting is as scattergun as it can be. On each song (and even on each verse) he employs an ear-catching rap-like delivery that demands a listener’s participation because he sounds so sure of whatever falls out of his mouth. He fires this sonic enthusiasm into “IG Story,” shuffling from declarations of love to doling appreciation to his street roots.
Sonically, “Love is War” is different from other songs on the project. It features the project’s only guest appearance and takes on a laidback R&B-influenced rhythm. It is also the only song on ‘Memory Card’ where Seyi Vibez doesn’t sound assured. He delivers a a fine verse mostly in English but it isn’t excellent compared to American act YXNG K.A’s butter-smooth flows. Additionally, “Love is War” is the only song on the project that has a thematic focus.
The biggest flaw of ‘Memory Card’ is its production quality, with the instrumentals coming off sometimes as skeletal and unfinished. Nevertheless, the project could be an indication of the direction Seyi Vibez has chosen to ply; if so, 2023 is going to be a big year for the music act who has continuously managed to hit new highs.
In the beginning, there was Ajebutter22. Before Alte culture significantly altered the landscape of African aesthetics, a Lagos-born musician was portraying a fresh narrative perspective and an even breezier approach to his branding. Career trajectories aren’t exactly crafted in perfect magical chambers, especially when Afropop music is involved, but there’s an element of timeliness in how the baritone-voiced rapper struck out. As pop stars flexed their pull, the rap game needed a musician who possessed similar smooth-talking skills, and even though unassumingly, the man born Akitoye Balogun stepped up. Ahead of his forthcoming sophomore album ‘Soundtrack To The Good Life,’ there isn’t a narrative strand out of place in the texture of what he’s achieved.
When considering Nigerian Pop in the contemporary era, there’s an irrefutable significance wedged in the pre-2015 era. In addition to the change in pace in mainstream pop music, there was also a changing of the Hip-Hop guard, a newer group of exciting rappers marking territory with distinct styles. Among the likes of Boogey, Phenom and Eva Alordiah, there was also a class of rappers which included Falz, Ladipoe (then known as Poe), and Ajebutter22. Unlike the MCs from previous eras, they had socially aware lyricism among their dominant skillset. In particular, Ajebutter22 was making music which was influenced by his Surulere background but not limited by it, adding colours from popular music elsewhere.
I remember hearing “Senrere” for the first time on the radio, sitting indoors without much to do. There was an energy which seemed to heat the record from within, its thumping bass lines swirling around Ajebutter’s delivery with liquid ease. Even at that early stage in his career, there was remarkable confidence about how the rapper carried himself. It wasn’t just the words he was saying, but how he said them, like he had lived several lives and could predict the potential ebb of a relationship even before intimacy was established. Thinking now about that first record, I realise its production had a House-esque bounce which had the perfect pair with zesty electronic flourishes.
With 2014’s ‘Anytime Soon,’ the musician made his official presentation to the world. Combining visceral production with lived-in material, the project emerged with great potential and was one of the sleeper gems of its era. Even with the recognition of class through his sobriquet, Ajebuter22 shared little propensity for rap’s fictional zeal. His stories were a fork digging through the earthy crater of existence. “Okafor’s Law” is as affecting as any classic love-gone-wrong tale, the rapper painting vivid images over a mellow drum and piano base. Heartbreak not being a subject Nigerian rap has sufficiently addressed, Ajebutter’s rendition remains as important as it was nine years ago.
Elsewhere, his vision remained unrelenting. “Omo Pastor” became the commercial darling, but the narrative thrust which made the song such a delight was as well present on the conversational “What We Are”. There he stages the complication of being on unclear terms with someone, not sure if it’s love or something ephemeral. With the clear outline of his structure, shifting perspective with every line and verse, it’s sometimes easy to forget such a song was released in 2014. Cue in CKay’s “WATAWI” and how the once-vulnerable phrase now serves a toxic characteristic, deliberately underplaying a person’s romantic interest. With Ajebutter, there’s a lot more nuance from the masculine perspective, not excusing as much as it portrays the heart’s eternal confusion of choice. “Church Mind” collects the album’s overarching subject matter into a stirring portrait, in sung-rap lyrics imbibed with aspirational currency. “E get many things, aswear I wan yarn, But if I speak church mind they no go like am,” he says in the record’s most revealing lyrics, sketching how he “went pop like oil inside can, when you pour water straight inside am”.
In promotional interviews, the rapper confirmed that ‘Anytime Soon’ was only a prelude to a larger project. True to his words, ‘What Happens In Lagos’ was released in 2017. By this time Ajebutter22 was more known around the country. The Alte movement swaggered with a globetrotting fusion of artistic cultures, catching on from Nigeria and sparking countercultures across Africa. Ajebutter was viewed differently; he was playing the long game after all. His choice sonics wasn’t as eclectic as the likes of Odunsi (The Engine) and Cruel Santino but within three years he had intentionally collaborated with its most influential players, while his corporate-friendly branding brought eyes and ears to a section of what the movement was doing. He is a part of the story as much as anyone else.
Over the past fortnight, a conversation about ‘perfectly created’ songs was engaged online. A prompt: such a simple tool, but when employed right, there’s no telling where reminiscence could take the open mind. On The NATIVE social media handles, we requested for such perfectly created songs from the Alte community. Thousands of people have so far responded, sharing pictures and clips which would have given teary eyes to early-hoppers aboard the Alte train. From obvious choices like “Star Signs”and many cuts off ‘Suzie’s Funeral’ to less-celebrated classics like “Shaken” and “Cash”, it is beautiful to be reminded how colourfully distinct the Alte sound was and continues to be, and a nod to its ominous influence over much of the mainstream Afropop being created today.
In his own way, Ajebutter22 is an OG of the movement. Added to his hit songs and communal dedication, a huge feather on his cap comes from the singularly brilliant ‘What Happens In Lagos’. From top to bottom, a number of well-sequenced songs honestly capture the millennial experience, blending poetic introspection with swanky pop numbers, with features from Odunsi (The Engine) and Maleek Berry to Falz and M.I Abaga helping bring his vision to life. For the most parts though, it’s just Ajebutter and Studio Magic feeding off each other’s energy, curating a journey that is as seamless as it is memorable.
“Good Place To Start” begins with a spoken word from Koromone, sketching the mixed feelings that many Lagosians get from living in the city. “How do I begin the story about a place that can inspire and deflate you at the same time?” she asks over a base of gospel-evoking pianos, “How do I talk about Lagos?” A Yoruba folk spiritual from Mystro propels the angle, the currency of aspiration through which many of its residents live by. On his verses, Ajebutter exudes a zen calm as he relays his motivations, as an artist but mostly as a human. “Put everything on the line,” he raps in a lyric which sets up its other part to deliver on something grandiose, but he finishes instead with the cheeky simile, “like I’m waiting for all my clothes to dry”.
And yet the understatement works. Waiting for one’s clothes to dry can mean anything, especially for an artist whose career still looms in front of him and with so much promise. The album is elsewhere hyperrealist, from the visceral subject-flitting “Dollar Ti Won” to the dramatic scenes aflush in “Rich Friends” and “Bad Gang,” the pre-album single which features Falz. “Wayward” banks off big band-evoking production which also culls in Afrobeat horns, but Ajebutter’s evocation of women has some of the frustrating stereotyping that has marred some of his biggest songs. Alongside Odunsi, he delivers an epic narrative on “Yoruba Boys Trilogy”, going meta when the beat switches thrice, first a head-bopping Afropop-type production, then a sauntering party-ready beat which sounds straight from the eighties and, finally, a Trap-tinged progression.
Among Hip Hop’s most endearing qualities is the tradition of conceptual story arcs, and Ajebutter22 is very obviously a student of that school. From being part of the duo Soyinka’s Afro with his sister, there’s been an unrelenting desire to internalise the external, and to switch it up sometimes by parlaying the intimacies of his own life into more communal ideas. Honestly, I think ‘What Happens In Lagos’ is one of those albums that were massively slept on by the broader bent of mainstream Afropop. In terms of ambition and craftsmanship, it stands as a cult classic, in the tier of Mojeed’s ‘Westernized West African’ and ‘The Royal Niger Company’ by Jesse Jagz, two projects which possess the transcendental awareness of setting while upholding the creator’s individual inclinations.
With his third album ‘Soundtrack To The Good Life’ dropping this Friday, the direction Ajebutter22 is heading towards seems clear enough. The glossy petal-designed cover reflects its potential colourful vibe, while features include pop-leaning spitters (Ajebo Hustlers, Ladipoe, Joey B), sweet-toned singers (Oxlade, KiDi, Jeff Akoh) and talented diaspora-affiliated acts (Kida Kudz, Not3s, Mellissa). Koromone features on the opener “Soft Life Manifestations,” a track which would most likely continue his thread of delivering conceptual openers on his albums. It’s been six years since Ajebutter22 made his last album showing but if anything’s certain, it’s that the Soundtrack boasts the creator’s antecedents of being memorable. He’s done it twice before, and you know what they say: good things come in threes.
