Dami Oniru Returns With Her Sophomore EP, ‘Matter Of Time’

Posted on by Wonu Osikoya

In 2017, when Dami Oniru arrived into the music scene, she stood out for many reasons including her distinct honeyed voice of gold. At the time, the singer released the record “Iyawo,” and captured the hearts and ears of many with her unique vocal performance . After making appearances on records such as “Casted” and “Farabale” both with Odunsi The Engine, Dami Oniru soon made her indispensable mark on the Nigerian alternative music scene, and she’s been contouring her voice around lovelorn pleas ever since.

 

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After taking a two-year hiatus to perfect her craft, she released her debut EP ‘Bri’s Lounge’ in 2019. The body of work featured the standouts “Higher” and her hit record “Alive,” which coursed through topics such as love, romance, levelling up and being a better version of herself.  Co-produced by herself and Remy Baggings, the 7-tracker allowed the artist to show a level of vulnerability while displaying stellar lyricism.

Now, 4 years later, Dami Oniru is back with her sophomore EP which is titled ‘Matter Of Time.’ Produced by herself and long time friend Remy Baggings, the project focuses on Dami Oniru’s growth, development, self-love and self-expression, coursing through the lessons she’s learnt since her debut on the scene. The 20-minute long project features powerful records such as “Emotions” and the promotional single, “Soft Life.”

The latter sees the artist speaking about her wish to live her life to the fullest and focus on the positive aspects of life. Over the melodious production of the track, she sings “I just want this soft life, enjoy all the time/If you give me money money, I know I’ll be fine” while the former sees the artist chanting the lyrics “You fall in love with the right guys too, you hold me down when I’m nice to you/You fell in love with the lifestyle oh, do anything to do right by you,” letting her muse know she’ll always be there in time of need. 

With such a firm grasp of her sound and a relatable writing style, it’s clear that Dami Oniru has released her most cohesive project yet. Armed with silk croons and alluring melodies, she’s learning how to become her own type of star with the tools in her repertoire. As sophomore projects go, ‘Matter Of Time’ is a solid body of work that exhibits an ever-growing trajectory for the Lagos-based singer as she ascends in the game.

Listen to ‘Matter Of Time’ here.

Featured Image Credits/Dami Oniru

Essentials: Johnny Drille Comes Full Circle On New EP, ‘Home’

Posted on by Wonu Osikoya

Eight years ago, Johnny Drille made his first-ever appearance on the screens of West Africans as a contestant in the sixth edition of Project Fame, West Africa. His honeyed voice and easygoing charm captured the ears and eyes of many viewers all over West Africa, and although his exit came around the season’s midway point, the singer began to garner attention for being a former contestant on a renowned talent show.

 

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He released a cover of Di’Ja’s “Awww” in 2015 and gained the attention of many loyal listeners through social media. Gaining sizeable traction from this, the singer then released his debut single “Wait For Me,” which earned him new levels of recognition, including nods from industry heavyweights such as Mavin Records CEO, Don Jazzy. In 2017, Johnny Drille inked a deal with Mavin Records and nothing has been the same since.

While Drille remains an impressive vocalist, he is also a record producer, a songwriter, an audio engineer and an all round musician. Drille is responsible for production or post production on records of some of his fellow label mates, including Ayra Starr, Crayon, Bayanni and more. Last year, he released his debut album, ‘Before We Fall Asleep,’ after taking his time to properly curate the sonorous body of work. The 14-tracker featured guest appearances from artists such as label mates Ladipoe, Ayra Starr and veteran boy band, Styl Plus.

Although it took the artist six years after his debut single and four-plus years after being signed to a label, the album represents every message Johnny Drille was hoping to pass across. Now, a year and a few months later, Johnny Drille is here with another body of work, ‘Home,’ a 6-track project which cuts across matters concerning self-awareness,  love, all forms of relationships and its difficulties. The 20-minute long play features highlife duo, The Cavemen, Adekunle Gold, Phyno and more.

Johnny Drille begins the tape with his distinct drawl, sailing smoothly over the melodious production on “Home.” The mid tempo melodic record sees the artist singing about his current state of mind. The guitar strings of the record allows the soulful singer to glide smoothly over its production. On the record, he quips “Nowhere else to go So I chase the fading light, up all night till done/Wonder how many days have gone, will papa take me back If i want to go home,” searching for light amidst all he may be going through. New school highlife duo the Cavemen also breather a new life into the record, as the pair sing over a more uptempo beat of the same production.

The record slowly fades out and segues smoothly into the next track. “How Are You (My Friend)” which arrived a week ahead of the project’s official release and served as the lead single off the EP lays heavy emphasis on the importance of friendships. Co-produced by himself and Don Jazzy, the mid-tempo bop serves as a letter to an old close friend of Johnny’s. When Don Jazzy and Johnny Drille come together, the distinct synergy between them cannot be overstated. While he chants the lyrics “I never forget you, how I go forget you?, See my shoulder, make you rest upon me/You know I got you, na me be your friend indeed,” Drille assures listeners that distractions may come but its important to keep up with the people that matter a long way. 

Elsewhere on the tape, Johnny Drille is more vulnerable than usual. On the record “Only God Knows,” he sings about his current state of mind and his recent struggles. Over the mid-paced production, he sings “If only someone will call me to know how I’ve been doing lately/Hanging on for dear life, I’m dying inside,” letting listeners into his world as he speaks on battles he has to fight. On “Jumoke,” the romantic side of the artist is more pronounced.

He speaks to his love interest about his deepest feelings for her and the intentions he has towards her. He opens the record chanting the lyrics “Jumoke there is nobody like you, I don check am your loving na true/You dey special to me they don’t know, You dey give me the joy wey I need.” He rounds up the impressive body of work with the Adekunle Gold-assisted record “Journey Of Our Lives.” Similar to “Jumoke,” the record is a romantic number which sees the artist showering his love interest with love and affection, while affirming her place in his life. On the chorus of the track, he quips “I’m wasting no more time, no not for another minute/Steady on my mind, tell me you’re ready for the ride, down for the journey of our lives.” 

With ‘Home,’ Johnny Drille is telling relatable stories that matter: family. It’s clear that with every new project, Drille shows his listeners that he’s only getting better. When he released his debut album last year, the growth in his music was beyond evident and now, it’s clearer that Drille took his time with the body of work, which is certainly paying off. ‘Home’ doesn’t change Johnny Drille’s persona as a romantic at heart, but it highlights how far from quixotic he’s gotten. 

Listen to ‘Home’ below.

Featured Image Credits/The NATIVE

Where Were You: Lagos Fashion Week is a hub for sartorial creativity

Posted on by The Native

You don’t truly understand the chaos of a backstage fashion show till you have experienced it first hand. It’s a whole production, from the builders working on construction to designers frantically rushing, and models eagerly waiting to get prepped by the hair and makeup team. This was the scene I experienced last week, when Heineken Lagos Fashion Week opened its doors to fashion lovers and the potential investors on the 26th to 30th of October.

Contrasting the chaos behind the scenes, guests at Fashion Week strolled in to the venue ahead of the runway shows, with delectable looks and outfits. A pink arc with the words ‘Welcome to Lagos Fashion Week’ ushered eager guest into the venue, as people mulled around waiting for the day’s events to kick off. Streetwear, elaborate frills, colourful ruffles and casual looks were just a few of the recurrent themes amongst the attendees of one of the most highly anticipated events of the social calendar. 

For me, the first day was the most exciting. The show which was slated to begin at 4pm, did not kick off until much later in the evening. At around 7:30pm, just as the sun set on the Federal Palace Hotel, guests began taking their seats inside the Fashion Week tents with audible excitement in the air. On entry, photographers and press had set up opposite the runway with chairs for attendants on either side, all eagerly waiting for the main event to commence.

The show opened with womenswear brand Kadiju, which was founded by Oyindamola Aleshinloye. She is known for her collections marrying complexity and sophistication through brightly coloured fabrics and voluminous silhouettes. In the same vein as its previous collections which adopt a maximalist approach to ready to wear designs, Kadiju’s 004 collection “The Antithesis of Convention” did not shy away from this. The collection was breathtaking and effervescent, with a standout being the hand crafted pieces including Kadiju’s Orange v Lotus which is made with 17 yards of silk dupioni and Silver Metal Spiral Skirt.

Desirée Iyama followed shortly after with a collection filled with pastel greens coupled with bright hues of red and pink. Her stunning collection was one of, if not the only ones, that featured a plus-size model in her signature Eudaemonia Crepe mini dress. As her bright collection was ushered off the stage graciously, the real scene stealer came next with LGBTQIA+ activist, Fola Francis who made her runway debut on the LFW stage. Boldy strutting the runway, Fola Francis modelled for Cute-Saint and Fruché, a landmark moment that was widely celebrated because Francis is the first openly trans models to walk Lagos Fashion Week and any other fashion shows in the country.

She was styled in a red Cute-Saint number which also featured a batik logo imprint while her Fruché runway featured a snow white dress which adorned with elaborate cutouts and celebrated femininity in all its greatness. Fruché’s presentation was made more memorable given that the collection served as a touching tribute to his father, Gabriel Onuwa Aghuno. As such, Frank Aghuno, the brainchild of Fruché, enlisted a painter to redesign one of the collection’s standout dresses live on the runway. Clips from this moment have been shared on social media and received rave reviews for mimicking Bella Hadid‘s spray-painted dress moment with Coperni.  

The second day of LFW had an equally interesting line-up of designers including the Green Access finalists Oshobor, SVL Designs, Sahrzad Design, House of AKACHI and Olisa Kenya. The Green Access initiative was created to provide a platform and spotlight the young designers prioritising environmental sustainability, recycling and other ethical means of production. Alongside their LFW debuts, there was also collections from the talented designers at the South African Collective and Nigerian designer, Tia Adeola, who has stacked up a roster of clients including Gigi Hadid, SZA and more. 

Kenyan designer, Kiko Romeo, utilised elegantly simple silhouettes for models of all genders, perhaps to balance out the uniquely dyed patterns used on most of the pieces. A memorable part of the show was Tia Adeola who opened her set with a ballet performance by a dancer in a bright yellow leotard with ruffled hems. The dance was set to Fela Kuti’s “Lady”, showcasing more familiar roots to a dance form that is often exclusively seen as European, with unabashed femininity. The collection followed through, utilising sequins, lace and the brand’s signature ruffles to give the looks a soft and romantic flair.

Under the SA Collective, designers laid emphasis on prints with Munkus’ use of portraits colliding with wide set, bold silhouettes which created pieces to remember.  Imprint by Mzukisi Mbane also tapped into the designer’s roots by using traditional Xhosa prints and the use of cowboy hats also contrasted with the prints, creating an allusion to the old American west. Another SA designer known as Ezokhetho had allusions to classic American imagery with hats, high boots and fitted skirts that evoked the 1960’s uniforms of Pan Am flight attendants.

 

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The final day of LFW was indeed one of the most memorable. The Green Access designers showcased their daring and audacious collections to the eager attendees who’s anticipation seemed to rise as the days went on. Despite all the pomp and circumstance around the finale, many presentations had quietly sincere moments. There was emphasis on family, with the sustainable designer Abigail Ajobi kicking off the day’s events with a video depicting the influence her parents’ love had on her collection and ending with a tearful family meet up on the runway. 

There was also a reminder of the growing need for environmental consciousness in fashion through the Green Access brands, perhaps in acknowledgment of their emphasis on reducing waste. The collections mostly took the minimalist approach, for example, HOUSE OF AKACHI featured unique designs with refined silhouettes. A major exception, however, was the brand Oshobor, which stood out with boldness both in colour and feathery textures. 

BLOKE, known for their gender neutral, androgynous pieces also showcased stunning looks from his SS23 collection ‘A POLAROID NAMED CAMOUFLAGE’. On his inspiration behind the collection creative director and founder, Faith Olujimi shared, “This year, I traveled a lot. I started the year in Ghana and went back twice. France and Italy, twice. I also went to Germany and Seychelles. So it was a combination of everything and all the places I’ve been through. My experiences with customs, the people, the culture and everything mixed together inspired the works I’m about to show.”

 

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Alongside the riveting collections on the runway, there was also other interesting brands invited to the stage. The most memorable of which was Lush Hair, the synthetic hair company which has been donned by your favourite celebrities including Ayra Starr. One model’s russet locs framed the upper half of her body in a discrete lion-like fashion. While some models featured bald and low cut looks, others donned ponytails and the rest, intricately woven cornrows. It was also refreshing to see some brands utilise such experimental hairstyles, as most other presentations prioritised simplicity, understandably to ease the rotation of models.

Music also played a big part in the memorability of the nights at Lagos Fashion Week. While a lot of interesting music choices were used throughout the shows, a standout was from Austrian Lace who exhibited their collection on Day 3. The brand had live musicians performing string covers of contemporary African music, the most distinctive of which was Asake’s “Peace Be Unto You”. Fruché models also walked to “Alien Superstar” and “Heated” from Beyoncé’s latest studio album, ‘RENAISSANCE‘.

All in all, Lagos Fashion Week returned with a bang for its 11th year running, and continued its mission of fostering a hub for African creatives across all spheres. Photographers, designers, models, dancers, musicians, stylists and more, were in attendance for the celebration of some of the best innovators in the fashion scene in Africa. I definitely will be back next year.

Featured Image Credits/NATIVE

Words by Moore Wright and Nwanneamaka Igwe. 

ICYMI: UNDER: BEST NEW ARTISTS (OCTOBER,2022)

Exploring The Prospects of Wizkid’s Forthcoming Album ‘More Love, Less Ego’

Posted on by Emmanuel Esomnofu

More Love, Less Ego: with these four words, Wizkid has commanded the attention of his global audience, a much-heralded follow-up to his classic ‘Made In Lagos.’ Last month makes it two years since its release, and where doubts arose initially, its current status as a scene-shifting album is very much unanimous. We have seen Afropop projects afterwards crafted in that style, a slowed sensuality revolving around genres like R&B and Dancehall. 

Since ‘Sounds From The Other Side,’ Wizkid has proved capable of bridging sounds from the diaspora and Nigeria, as he shares his refined sound and vocal deliveries between both sensibilities. When the Tems-assisted “Essence” took off, it was a different kind of “Afrobeats” hit song—no dig to its Nigerian roots, but it was a record that could have been made elsewhere; its famous chorus was faintly reminiscent of Celine Dion ballads, while the rhythm had Caribbean undertones. 

 

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Way before ‘Made In Lagos’ dropped that October day, its words were firmly planted on the minds of expectant listeners. This was done through posts from Wizkid himself, those from close-by associates, rumours about potential collaborators, but of the music not much was heard until it was time. Close control is a practice favoured by the world’s biggest artists and with Wizkid, operating at a time when many Nigerian pop artists readily share snippets for promotional purposes, the anomaly of his fierce protection makes for more excitement. 

To this, you could point to precedents for how ‘MLLE’ has been packaged thus far. With ‘Made In Lagos’ having enjoyed a two-year dominance, and some records like “True Love” and “Piece Of Me” not completely tapped for its audio-visual prospects, Wizkid has the long game’s luxury. He’s certainly earned that, after successfully rebranding himself since he appeared on the scene. No easy task has this been, given how quickly sounds transform and superstars die, losing the fire which once ignited their myth. Wizkid has grown in private, somehow staying ahead of the game while staying in it.

For the laid-back ‘MIL’ vibe, few people could have predicted it. Obviously when it dropped the sonic precedent was ‘SFTOS’ but there was an unmistakable alliance between the sound and the life Wizkid was living. While the under-appreciated LP was too itinerant in its scope, and Wizkid’s lifestyle wasn’t as available as it is now, it was harder to place the album fully in perspective. The times play a huge role in the popularity of musicians, and this is just one instance where it does. 

In the three years between 2017 and the release of ‘MIL,’ the colourful edge of Nigerian pop was still present in his music. The Highlife-tinged “Manya” formed the core of that era, a collaboration with producer Mut4y which began Wizkid’s close alliance with producers. It’s also telling that the hits which followed were all collaborations: “Oshe” with DJ Jimmy Jatt, “Nowo” with Spinall, “Kana” with Olamide and “Energy (Stay Far Away)” with Skepta. The uber-popular “Fever” was the follow-up, its strengths in no way reduced by the arguable opinion that the starring of Tiwa Savage as the video’s diva accelerated its acceptance. 

It was also at that point where Wizkid’s songwriting began to come under focus, with some being of the opinion he didn’t possess his lyrical strength of old. Admittedly, I shared the opinion at the time, but only mildly because while I thought he could do better, there are many ways to be an intelligent songwriter. Wizkid might not be your typical sad poet, but he’s able to fill the spaces of his lush sonics with a kind of singing that works only for him. As he continued to deliver on archetypical Afropop songs throughout 2019 and 2020—during this time he released and featured in “Totori,” “Ghetto Love,” “Joro” and “Arizona”—it must have made sense to drop the ‘Soundman Vol. 1’ EP and he did, under Starboy Entertainment. 

That was a neat wrap-up to his era of pomp. The Wizkid who followed soon after recognised his position as an OG, and created music to fit the attendant lifestyle. Pop music in Nigeria has a tendency towards slowing down, just as the R&B-inspired bops of the early 2000s replaced the dominant Reggae/Dancehall sound in the preceding decades. Just as the Highlife-indebted sound of Juls and Mr. Eazi slowed the upbeat Pon Pon sound some six years ago, just about the time South African genres made new headway into the centre of Nigerian Pop. 

Wizkid placed one foot forward with “Smile” and never looked back. 

The Roundhouse in Chalk Farm Road, London, played host to Wizkid’s listeners last month for an exclusive listening experience for his new studio album. Updates on social media came some hours after the whole event was done, suggesting that phones were sealed at the entrance. Asides the fact Wizkid’s superstardom is at an all-time high, he’s always merged that with a dedication to his craft and production. Just as his music moves towards a peculiar neatness, he works to make the live experiences similarly enjoyable.

the attendees was Daisy, a member of our community who resides in London. Over WhatsApp voice notes, she affirms that it was a large gathering. Queues went long into the street, but inside the arena was quite immaculate in its arrangement. The chairs formed a circle around the main stage, which pulled intimately towards the construction so everyone felt really connected to him. The lights went from blue to red, setting a mood that we can slightly expect to pre-empt the album’s records which Daisy describes as “very sensual [and] very vibey.” He performed with a full band, everyone from saxophonist to bassist and guitarist present; Wizkid has always been a trailblazer in this regard, his early songs like “Pakurumo” and “Jaiye Jaiye” attuned to the urgency and agency of live music. 

Wizkid’s fashion was very much on point too, wearing a fitted blue suit and jewellery on his first outfit, then swapping that for an all-white later on. Mostly, he performed his already-released songs, and when he premiered about five or six new songs from ‘MLLE’ the crowd went wild. There’s a record with Ayra Starr, and there were loud cheers when she got on the stage to perform alongside Wiz. “That really lifted the mood as well,” says Daisy, “People were really dancing.” And yes—their phones were sealed in tight bags and with the exception of a few who were able to pop theirs open, everything went uncovered. 

“I really enjoyed that because it just allowed us to be in the moment and not be on our phones,” she says of the choice, and speaking of her overall impression to the event, “I really loved it and I liked the exclusivity of it, like allowing his fans to experience the album first. I felt that was very thoughtful”. 

As the album release date moves closer, DJ’s and friends of Wiz are said to be hosting exclusive parties around the world, from Lagos to London, Amsterdam, Atlanta, Ghana and many other places. We can also expect motion-style promotional techniques, bringing the MLLE experience to the streets as poignantly as it pops off in the bars and lounges. What’s obvious though, is that Wizkid will employ his role as a cross-cultural ambassador to fine effect. Inspired by a quote from a prominent Black author, ‘More Love, Less Ego’ will be a movement as much as an album.

Backtracking through the ‘MLLE’ trail, the potential features already teased on the album have been varied but believable, from Ayra Starr to Don Toliver and Skepta. There’s another less-obvious Nigerian collaboration, oiling Wizkid’s Caribbean connection, a record features not one, but two exciting Jamaican artists. With the ‘MIL’ features of Projexx, American R&B musicians Ella Mai and H.E.R., and Nigeria’s alt-pop savant Tay Iwar, Wiz has proven adept at ceding the limelight for the overall quality of his records. His curatorial skills come in full glare then, a dominant edge in the artistry of many great musicians throughout history.

In all of this, it’s expected that Wizkid will again attempt to shift the needle of his sound and by virtue of his impact, perhaps the sound of mainstream Afropop. The wheels have been set in place, and from now, we can only roll forward. When one considers the thrilling vivacity of the ‘Made In Lagos’ run, it’s a very exciting prospect to watch the unfurling of this one because, once again, Wizkid SZN is upon us. 

Pre-save ‘More Love, Less Ego’ below.

uNder Spotlight: 4IAM Is The T-Pop Voice Of South Africa’s New Generation

Posted on by Tela Wangeci

The early 90’s saw the rise of the girl group such as Destiny’s Child, Spice Girls, TLC and more. However, these days, all-female groups are far and few between, save for the British R&B trio, FLO who are now dominating conversations for their harmonious vocals and unbreakable chemistry. Cut from the same ilk is South Africa’s 41AM, an all-girl group which was formed back in 2021, and is now set to push serious weight in the music world.

Created by Hitchat Entertainment, a talent discovery outfit at the forefront of music entertainment in South Africa, the beauty of the 4IAM’s sound lies in their ability to flitter between the contemporary and nostalgic. Tying the perfect mix of South African-born sounds, Amapiano, Pop, Kwaito‎, House, and Hip-Hop with influences from K-Pop, 4IAM, which is pronounced For I Am, as chartered her path as an empathic voice of Gen Z.

 

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Comprising of two rappers Giselle and P.H.X, and three vocalists Grace, Annie, and Doli, 4IAM are already making some of the most honest and forthright music today, creating something that sonically feels like a late-night conversation with your homegirls. Their connection is palpable all through their releases, particularly on debut single, “Legends.”

Their natural bond can easily be mistaken for years of friendship but the girls reveal that they first met during a bootcamp organised by Hitchat last year. “Our company, Hitchat ran a talent competition and posted it on Instagram and Facebook. Each person sent a video singing or rapping and we made the cut. The company then held a Bootcamp in Cape Town and that is where we all met. It went very well, it didn’t feel like a competition.”

Although their careers have only just begun, 4IAM is crafting their music with sharp-clawed precision and a finely-tuned ear while championing their community of T-pop artists who entertain music fans in townships using local and relatable sounds and videos. “We make T-Pop, which means Township pop,” 4IAM told the NATIVE. According to the girls, T-Pop is the cumulation of South African sound and international sounds. Through the beautiful and emotionally layered genre, 4IAM weave stories of hope, ambition, and making it out of the hood.

4IAM is also a well-oiled machine with each member of the pack assuming an indispensable role beneficial to the group’s functioning. Doli is the youngest of the group but also its defacto leader as well as its lead dancer. P.H.X is the 21-year-old rapper and dancer, Grace acts as the groups sub-vocalist, Annie is its 24-year-old vocalist while Giselle is a rapper and sub-vocalist as well. Each member is essential to the group’s entire output and it’s clear that their shared vision has made them unapologetic about repping their townships, and showing up as their most authentic selves.

Recently, 4IAM shared the new single, “Mthebelele,” an earworm record that finds the girls singing about staying humble and acknowledging your own self-worth and power. In a world where women are taught to tone down their voices and message, 4IAM is showing up audaciously and singing about relatable stories for young Black African women. With their debut EP due for release any moment now, the girls sat down with the NATIVE to talk about their background, T-pop, their forthcoming project and their plans for the future.

“T-POP HAS BEEN THERE BUT WE ARE ABOUT TO SHOW THE WORLD THAT 4IAM IS THE QUEEN OF T-POP.”

Their words which follow below have been lightly edited for clarity.

 

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NATIVE: Can I ask where everyone’s penchant for making music came about?

4IAM: Most of us started in church singing at a young age. From there, we moved on to school so, you could say that we started loving music from a young age.

Where did you all meet each other?

Our company, Hitchat ran a talent competition a few years ago on social media. Each person had to send a video singing or rapping and then selections would be made. Luckily, we made the cut. The company then held a Bootcamp in Cape Town, and that is where we all met. It went very well, it didn’t feel like a competition. Everyone was very friendly and helpful. 

What are some of your earliest memories of making music?

Giselle:  My friend sent me a beat and I was able to write down a chorus immediately. In two minutes, we had a full song. My friends then pressured me to release more music. Remember the old Nokia phones? I would use the table as my stage and a broom as my microphone and sing to the ringtone.

Grace: My earliest memory has to be singing in church. I also used to have a YouTube channel and started doing covers and uploading on YouTube.

How was growing up in South Africa for all of you?

We were exposed to the Internet quite early and we used to listen to international artists which influenced a lot of our sound. We only came into the SA industry in our late teens. That’s when we realised there are rappers like A-Reece who have been in the industry for years. That’s when we discovered South Africa is a minefield for talent and you can stand out internationally when you’re yourself. Some of us grew up listening to Reggae. Some of our influences are mostly Soul and Blues as we grew up listening to people like Lauryn Hill.  

How did 4IAM get started as an official girl group?

At the Bootcamp, we were a total of 16 girls but the company only need five girls. Through competitions, the group was narrowed down and that is how we ended up as five girls. This was last year in February. 

Did you have anyone to look up to in the South African music scene when it came to establishing a girl’s group?

Jamali was our biggest influence because they were the biggest group. It’s been difficult because there isn’t a girl group doing the type of music we have been doing. We find it difficult because we sometimes have to draw our influences from K-Pop. It’s the closest thing to what 4IAM is doing at the moment. No girl group is doing what we are doing in Africa. 

Now, let’s talk about everyone’s individual strengths in the group. What role do you all play in 4IAM?

Grace:  I am the sub-vocalist in 4IAM.

Doli: I am the leader of the group and the lead dancer.

Giselle: I am the sub-vocalist of the group and the main rapper.

P.H.X: I am the lead rapper and the main dancer of the group.

Annie: I am the main vocalist and the lead dancer of the group.

 

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Do you face any challenges when working as a group?

Grace: Yes, we do. Sometimes we have different interests. We each listen to different music so we draw our inspiration from different areas. We all have different personalities and are from different backgrounds. I might phrase a statement in one way and a group member might misinterpret it differently but we have to make it work.

Now, let’s get into the music itself. Could you describe the type of music you make?

We do Township pop or T-Pop. It’s a fusion of every genre in South Africa. In one song, you can hear a blend of sounds such as R&B, House, Amapiano and Pop.

Let’s talk a bit about T-pop or township pop as it is widely known. What are the early origins of this genre and how do you girls make it unique to you?

We were introduced to the idea of T-Pop by the founder of Hitchat Entertainment but we are the pioneers of the sound. We understand T-Pop as an exchange of culture. Now, we see genres like Amapiano being listened to worldwide and before that, we once thought  only international music was the standard of exquisite music. So, T-Pop is very new and we are trying to show the world that it’s all about the quality of music rather than your location. If anyone wants to understand what T-Pop is they should listen to our upcoming EP. 

T-pop is also inspired heavily by K-pop. What are some of your favorite things about Korean pop?

The visuals and the fusion of genres. They mix a lot of genres and make them their own. Also, the production of the sound, makes it different and the way they dress as well.

Now, you’ve got a new single out this week and a new EP in the works for release very soon. What stories are you looking to tell on your new EP?

We are entering the festive season so it’s a festive EP and a reminder you should always be yourself and nurture the relationships around you. We are introducing a new era for 4IAM as we are introducing T-Pop to the world. 

What about the new single, “Mthebelele.” What was the process of recording this track like for you all?

It was exciting, it was the best time because it felt like the first time we were sitting down and writing a song from scratch. We were trying to find a beat inspiration on Youtube which was successful because we started writing and our producer remade the beat from scratch. If you listen to the original beat and the beat in the song it’s completely different. 

How was the creative process during the album?

It was crazy. There were ups and downs. We had a writer’s bloc which made us frustrated. We have been working on this EP since August this year. 

What other songs can we expect to hear on the EP?

It depends on your mood. If you are looking for happy, child-like songs then go to “Mthebelele” or “Chewing Gum“. If you are feeling in love you need to listen to “Summer Nights.” If people are testing you, and you need to remind them of your greatness, then listen to”Deeper“, and if you are feeling like a bad girl we have a song for you. There is a song for everyone.

What do you want listeners to take away from this new EP?

We want them to understand the music we are making, which is T-Pop. The reason we are releasing this album is to introduce our sound officially. It is also about our journey and who we are as well as the dilemmas we face in our relationships and how we treat each other. 

At this pivotal time for music coming out of SA, what role do you see 4IAM playing in the music scene?

Variety and diversity. We are bringing T-Pop. We are bringing a second representative from South Africa. At the moment, we are bringing something the world has never heard of since SA is widely represented by Amapiano. We are also bringing female domination, we want to show the world that women are here to be the leaders and trendsetters and not co-drivers of the culture.

What next for 4IAM as a group and individually?

We have a couple of live performances lined up and we are looking to make a bigger impact on our TikTok. Individually, we are still figuring out our brand as artists. This is the starting line so we are trying to align ourselves with our interests.

Featured image credits/NATIVE

ICYMI: Here’s a list of our Best New Artists in October

5 Standout Songs From Bella Shmurda’s Debut Album, ‘Hypertension’

Posted on by Emmanuel Esomnofu

On a recent episode of Korty’s show on YouTube, the artist Bella Shmurda admitted to misusing his platform as a budding superstar. Much of his earnings went into a lifestyle of debauchery, while his music didn’t evolve into the wholesome package of art it could easily become. These revelations came just days before the musician released his debut album, ‘Hypertension’, and the emergence of new information strikingly coloured his personality. 

Bella Shmurda had obviously gone through a period of character development, and the signs bore into the music he was creating. Where he once allied strongly with his street roots and the responsibility of being a storyteller, Shmurda plays now to the flamboyance of celebrity while maintaining the perspective and candour that’s made him so endearing. “New Born Fela” and Omah Lay-assisted “Philo” offered different vantage points from which Bella could be viewed, through the sweeping influences of foundational music figures or as a chronicler of modern desires, utilising edgy language which is partly formed from popular culture and, in return, influences its evolution. 

 

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On ‘Hypertension,’ the several faces of Bella Shmurda are expressed in poignant records. With fifteen songs amounting to under forty-five minutes of listening, Bella colours the project even more eclectically with his choice of features—from Jamaican Dancehall stalwart Popcaan to Afropop mainstays Phyno, Simi and Victony, there’s an array of vibes establishing and pushing the groove from beginning to end. Very well-produced, the fine flourishes of plug-ins and natural instrumentation animates the singing across the project. 

These are five standout records which most capture the album’s energy and range. 

“NEW BORN FELA” 

Not many things connect Bella Shmurda to Fela Kuti, but one of them is the willingness to step into the role of social commentator. During his early career stages Bella frequently embodied the ethos, using songs like “Ginger Me” and “Cash App” to reach the underside of society which was rarely covered by more established outlets of the media. The rebellion of Kuti provides the framework for this anthem record. Bold horns and animated singing uphold the song’s electric appeal, while Bella’s writing expresses a more polished facet to previous street-inspired imagery. “I be the new born Fela, story teller, battery charger,” he brags on the triumphant chorus, on either side using his verses to construct items associated with the attendant lifestyle. Some would argue that Bella’s opting of Fela’s name without recognising his political vibrancy is one-dimension, but there’s more to the man, as we know. That Afrobeat gene is so strong that even when a little bit is taken, there’s already a wealth of sound to be explored. Bella does so well, and it’s no surprise he makes this record the album opener. Mission statements don’t come more naturally. 

“LOOSE IT” FT. SIMI 

Bella Shmurda’s voice has always been one of his more powerful attributes. Over the years he’s wielded its piercing lilt to beautiful effect, often to the service of larger-than-life themes which reveal facets of contemporary culture. But what does Bella sound over a chill beat, and with little existential worries hovering on his mind? “Loose It” answers both questions with assured mastery, linking the musician with Afropop savants Niphkeys and Simi. The producer lays down the breezy R&B-patented instrumental, utilising Dancehall-evoking loops to inflect the laid-back percussion with party-esque prospects. Simi offers a counterpoint to Bella’s lyrics, employing her lithe vocals in response to the angst-streaked direction of his host. Romantic tension has been sparingly explored across Bella’s oeuvre but seldom has he been this descriptive, using his typically-exciting language to register poignant images in the listener’s mind. 

“LAGOS CITY”

Many artists have attempted to  capture the colourful effervescence of Lagos. The city’s multi-cultural and commercial prospects have attracted countless sojourners over the years, and Bella Shmurda’s invocation of the state surely ranks among the better efforts of recent times. Brought alive with trumpets and some of the most vibrant drums all-album through, the artist is less critical of Lagos’ flaws as much as he chronicles the weight of its multiplicity. As he’s always done, he somehow manages to make the communal wear the intimacy of the personal. The verses follow the aspirational direction familiar among Street Hop artists, one of the few times on ‘Hypertension’ when Bella Shmurda flies the cape for old times sake. Even when he’s singing about one’s desires, the unending thrill of the city is mirrored in the serenade of the guitar playing, the sped-up pace of its percussive rhythm, and the tension spawned from Bella’s repetition in the chorus. 

“MAN OF THE YEAR” 

You would expect a record titled “Man of the Year” to collect brazen thoughts of braggadocio from its creator, but Bella Shmurda—ever the ingenious musician—subverts the egoist tendencies of that gaze, instead highlighting the struggles that has come with stepping into his deserved glory. Quite unarguably the most introspective record on the tape, Bella evokes the emo gaze many of his contemporaries have increasingly taken note of. “Deeper than the ocean, further than the eyes can see,” he sings in its opening lyrics, echoing the epic vision of 2Baba’s “Spiritual Healing”. His own vision is later revealed for its selflessness, but the emotion is very striking and carries the heft of personal trajectory. “Every man deserves to be man of the year, brother man why you fear? Everyone deserves to be loved and cared for, but no love to share,” he sings in the pre-hook before his vocals are carried by the luminous ad libbing of backup vocalists. By the song’s end, the listener feels the force of having been taken around several worlds with wind-like speed, an exhilarating energy which comes with its due moments of melancholy and sustained introspection – exactly what Bella wants you to feel. 

“ASE”

Due to Bella Shmurda’s unique artistry, he has hardly created a song directly associated with a mood or setting. In technical terms, he isn’t a niche artist, rather he makes songs whose adaptability ensure they fit in anywhere. Viewed through this prism, the immediate catchiness of “Ase” reveals its artistic merits. Colourful drums cut from the owambe material situate Shmurda among his Juju forebears, while the lyrical direction—part praise-singing and part prayer session—enlivens the entire record. With deft pluckings of a guitar complementing the shekere’s faint touches, the production is beautifully put together to relay the aspirational message at the song’s centre. All the motivations collapse into a rewarding high on the chorus, where the titular word forms the call-and-response technique Shmurda employs throughout the album. Considering its placement early in the project, its gleeful positivity sets the project on a similar path. 

Best New Music: Cruel Santino Blends the Present & Past on Sauce Kid’s “OMOGE WA JO”

Posted on by Uzoma Ihejirika

Experimentation has always been the motto for Cruel Santino’s music. As one of the leading voices of Nigeria’s Alté music scene, he has perfected his knack for often polarising yet irresistible tunes. His 2019 debut studio album ‘Mandy & The Jungle’ was a thrilling ride of hard-hitting records and the accompanying visuals drew inspiration from Nollywood horror movies. He followed it up with the genre-bending sophomore project ‘Subaru Boys: FINAL HEAVEN,’ whose roots stretch far into his deep-seated love for Japanese pop culture. Recently, he resorted to the online platform Twitch to connect with fans and other artists on gaming and music.

Four days ago, he released a new single. As part of Spotify’s Singles Cover, Cruel Santino’s L0LA-assisted “OMOGE WA JO” is a reinvention of Nigerian artist Sauce Kid’s 2006 song of the same title that featured the veteran Mike Okri. Spotify’s Singles Cover aims to celebrate Nigeria’s music history. Cruel Santino is the latest act to deliver reimagined renditions of modern-day Nigerian classics.

Produced by Tochi Bedford, Cruel Santino’s version turns Sauce Kid’s Hip-Hop number on its head, pulling the smooth rhythm in the direction of upbeat alt-rock with Disco undertones. Sharing his thoughts on the cover, Cruel Santino revealed that “The difference between ‘OMOGE WA JO,’ the Sinzu version and mine [is that] Sinzu’s one is more like laid back and chill. Mine is just freeform sprinkled with like Santi madness.”

Tochi Bedford’s production is the solid base for the magic that Cruel Santino and L0LA weave on “OMOGE WA JO.” The drums and twinkling keys carry a life of their own; they invoke a sensation that feels both nostalgic and avant-garde, in line with Santino’s psychedelic tendencies. A recent collaborator on Rihanna’s “Lift Me Up,” Tochi Bedford, who also contributed to Cruel Santino’s ‘Subaru Boys: FINAL HEAVEN,’ leads the line with exceptional production that makes L0LA and Santino’s work easier.

In Sauce Kid’s “OMOGE WA JO,” the rapper oozed cool confidence as he bragged about being a far-from-average spitter and about the magnetic pull he had over the ladies. Mike Okri’s suave hook carried an impressive modern sheen for an act that ruled Nigerian airwaves 80s with dance music. Sauce Kid went on to rebrand as Sinzu and put out the Davido-featuring hit track “Carolina” and Mike Okri’s “Time Na Money” remains one of the evergreen songs in the history of Nigerian music.

“Lyrics don’t guide me sometimes, it’s just the feeling and the melody, and I make out what I make from it,” Cruel Santino told Rolling Stone earlier in the year. His version of “OMOGE WA JO,” in every sense, is freeform as he cuts through different subject matters. L0LA, on her part, brings some form of narrative: she sings about how being with her lover inspires uncertainty in her. The divergences, though, are unified by L0LA’s soft refrains.

The accompanying video reiterates the energy on the track as Cruel Santino and L0LA engage in joyful camaraderie as they dance and dance and hop through a London street. The video joins Santino’s growing list of music videos he has directed through his Monster Boys outfit— “Gangsta Fear,” “Freaky,” “Rapid Fire,” “Raw Dinner,” “HEATING ROCKS,” Odunsi (The Engine)’s “Alté cruise” and GoldLink’s “U Say.”

“My favourite part of the original song is the whole song. I spent like two weeks cracking my head on it,” Cruel Santino said. “When people listen to my version, I want them to be happy that those times were there but sad that they might never get them back again.” Cruel Santino continues to tease new music while revealing that he has four projects in his ‘Subaru’ series in the works; with his version of “OMOGE WA JO,” he again highlights that his artistry will never wane as he remains on his path of reinvention and experimentation.

Listen to Cruel Santino’s “OMOGE WA JO” below.

Featured image credits/NATIVE

Turntable Top 100: Kizz Daniel & EMPIRE’s “Cough (Odo)” spends a second week at No.1

Posted on by Tela Wangeci

Kizz Daniel is only getting better and better. His hit single with EMPIRE “Cough (ODO)” stays atop the charts for the second week running. This week, “Cough (ODO)” tallied 8.32 million streams and 76.6 million in radio reach. This surpasses Asake’s “Bandana” which held the record for largest radio reach with 72.4 million. Despite the 

Young Jonn’s “Xtra Cool” reaches a new peak of No.2 moving up one spot from last week, making it the highest charting single released under Chocolate City. “Rush” by Ayra Starr drops to No.3 this week after spending three consecutive weeks at No.1 while Asake’s “Joha” retains No.4 for another week. After the release of Bella Shmurda’s album ‘Hypertension’, “Philo” with Omah Lay leaps 3 positions up to No.5. The single amassed a total of 2.88 million streams, 37.5 million in radio reach, and 9.88 million in TV reach making it No.2 in the TV chart. This makes it Bella Shmurda’s fourth top 5 entry and Omah Lay’s ninth.

Elsewhere on the charts, “Electricity” by Pheelz and Davido maintains No.6 for another week while Blaqbonez and JAE5’s “Back in Uni” slips to No.7 after peaking at No.5 last week. Rounding up the last three slots are Asake’s “Organise” at No. 8, “Terminator” at No. 9, and “Bandana” at No. 10 with Fireboy DML. All three songs have occupied the No.1 position with “Bandana” spending seven non-consecutive weeks at No.1 and 15 weeks in the Top 100 chart.

Just outside the top ten; Johnny Drille’s “How Are You (My Friend)” rockets to a new peak of No. 16 from No.33 making it his first top 20 entry in Nigeria while Fave’s “Scatta Scatta” debuts at No.44. 

Featured image credits/Instagram

What’s Going On: Stampede in DR Congo, Twin Car Explosion In Somalia & More

Posted on by Nwanneamaka Igwe

“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.

11 CONCERT ATTENDANTS KILLED IN A STAMPEDE IN DR CONGO

Today, reports have reached social media that Congolese musician, Fally Ipupa’s concert at the biggest stadium in DR Congo’s capital, Kinshasa ended in a deadly stampede. The Martyrs stadium, which usually holds roughly 80,000 people, maxed out its capacity, causing a stampede that left 9 concert attendants and 2 police officers dead. The Interior Minister, Daniel Aselo Okito, in a statement expressed that the concert organisers went 100 percent over capacity and will face the consequences of their actions.

The Police Chief of Kinshasa, General Sylvain Sasongo, shared the statement of a witness who expressed that the stadium was overflowing, “even the corridors.” Congolese Press Agency ACP reported that police had cornered all sections of the venue including the pitch, VIP stage and the main stage. However, “Under the pressure of the crowd, the police could not hold out long,” ACP shared.

Speaking on the tragedy, Fally Ipupa shared “Despite all the measures taken for the strict respect of security requirements, unfortunate and dramatic events marred the end of the concert. It appears from elements at our disposal that after jostling at the exit and around the stadium compatriots were dragged to their deaths. I am deeply shocked and offer my most heartfelt condolences to all the families concerned.”

LAGOS COMMERCIAL BUS DRIVERS COMMENCE 7 DAY STRIKE

As of today, many commuters around Lagos were stranded due to the 7-day strike started by commercial bus drivers. The strike is as a result of extortion and harassment complaints by miscreants misrepresenting as conductors at these local motor parks. The striking drivers alleged that in an attempt to avoid extortion, they are arrested and required to pay a fine of 10,000 Naira. All this occurs, despite the existing restraining order granted by the Federal High Court issued against the Lagos State, restraining them from ticketing and all forms exaction. A statement last week by Joint Drivers Welfare Association of Nigeria (JDWAN), the union representing bus drivers, was released complaining of the exorbitant charges levied at the motor park.

The statement also listed some demands that were addressed in a meeting held with JDWAN’s leader, Akintade Abiodun and some representatives of the Lagos State government over the weekend. The representatives included Abdulhafiz Toriola, the Permanent Secretary at Ministry of Transportation, Hakeem Odumosu, the Parks Management Liaison Officer and Ayo Ademiluyi, Legal adviser for JDWAN. Rather than meeting the demands of the association, Hakeem Odomosu expressly stated that they cannot get rid of the extortionists because they work for the state government. He also allegedly threatened to organise thugs to attack the drivers and push the blame of violence on the drivers.

In a statement, Akintade expressed the dire consequences of the extortion, “It is also visible to the blind in Lagos that the cost of goods and services is a consequence of Agbero’s extortion. No goods can be delivered and the 95% working class resident can be transported without the service of commercial drivers.” He also shared, “The unfettered and violent extortion by the Lagos government agents has not only increased transportation fare beyond the affordability of workers but also made every good and service out of reach of poor Lagosians.”

PAKISTANI JOURNALIST KILLED BY KENYAN POLICE ON MISTAKEN IDENTITY

On Sunday, officers in Kenya allegedly opened fire on a Pakistani journalist, Arshad Sharif and his friend, after the pair allegedly drove through a security roadblock just outside Nairobi. Described by the police as a case of mistaken identity, the 50-year old journalist is said to have been in hiding in Nairobi before his untimely death. Local officials also shared that they were on the stakeout for a child kidnapping case, for which suspects were rumoured to be in a similar vehicle to that of Arshad Sharif.

According to official reports, the officers had shot at the car nine times, and in the process shooting a bullet at Sharif’s head. In recent times, Kenya has grappled with several cases of police brutality and killings, leading parties to suspect foul play in this case considering the fact that the journalist was a fierce and vehement critic of the Pakistani government. However, Kenya’s Independent Policing Oversight Authority (IPOA), responsible for all matters regarding police misconduct, has opened up the matter to investigation.

CAR BOMBS KILL 100 PEOPLE NEAR THE EDUCATION MINISTRY IN SOMALIA

Two car bombs exploded on Saturday at around 2pm near the education ministry in Somalia’s capital, Mogadishu. This comes just a week after a devastating attack in a hotel in Mogadishu which left 9 people dead. At least 100 people were killed and 300 injured in an attack which, according to Somali President Hassan Sheikh Mohamud, can be tied to the terrorist group al-Shabaab. The two car bombs which exploded in a crowded intersection, Zobe junction was the same location as a bomb attack on October 14, 2017 which left over 500 people killed and 300 injured.

Speaking on the disaster, Mohamud shared “Today’s cruel and cowardly terrorist attack on innocent people by the morally bankrupt and criminal al-Shabaab group cannot discourage us but will further strengthen our resolve to defeat them once and for all… By the will of God, no other October like this will happen. They won’t get the chance to commit such a thing,” Mohamud said, calling Saturday’s attack a repeat of the 2017 bombings.”

Featured Image Credits/The New York Times

Songs Of The Day: New Music From Majeeed, GuiltyBeatz, Lil Kesh and More

Posted on by Wonu Osikoya

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

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

GuiltyBeatz – “Little Bit” ft. Joey B

Ghanaian producer GuiltyBeatz is here with another uptempo number “Little Bit” and this time he’s teamed up with Ghanaian rapper, Joey B. The feel-good Amapiano-infused track opens with heavy log drums which will have listeners moving and grooving before the verses kick in. Joey B holds down the track as he raps and slides over the bubbly production singing, “talk for a little bit, chill for a little bit/drinks on the house, maybe kiss for a little bit.” 

Lil Kesh – “Talk & Do”

On his latest record “Talk & Do,” Lil Kesh is focused on letting his actions do the talking to the people in his life. He offers up affirmations about his current standing in the game, his wealth and all his affection for his muse. Over the charming Niphkeys production, he says “She said what’s my hobby, I said making money, making money is my motto/Everywhere I go, won fe yamin photo.” 

Majeeed – “Stop Nonsense”

uNder alum Majeeed is making beautiful and incredibly produced lyrics. On his new single, “Stop Nonsense,” the singer aims to set the record straight with honest lyrics. On the track, he expresses how money changes a lot of things and clouds judgement. Over delectable Afropop and Highlife keys, Majeeed delivers a stellar performance woven together by catchy lyrics and poignant intimate stories.

RnB Princess – “Perfect Girl” ft. MisterKay

Allow her to reintroduce herself–it’s RnB Princess. For the past few years, RnB Princess has aired her series of romantic and personal frustrations on smooth-sounding tracks. Now, the singer is days away from a new project release which is set to reintroduce her to the world with new promotional single, “Perfect Girl,” already expanding her worldview. The slow-tempo record finds the artist speaking directly to a toxic love interest while she tries to figure out their behaviour. She’s joined by the prowess of MisterKay who steps in and sings to his muse about the hold she has over him. 

Teffy – “Special Love”

On the record “Special Love,” R&B singer and songwriter Teffy shows off his loverboy tendencies. Over the melodic production of the track, he sings “Girl I wanna give you special love, she say Teffy sing it all night long,” reflexively self-aware of the hold his lover has over him. Relatable to anyone who’s worn their heart on their sleeve, Teffy explores the nebulous gray space between fleeting thought and attempt.

Spy Shitta – “Migraine” 

A year after his debut on the scene, newcomer Spy Shitta has released his debut self-titled EP. On the standout record “Migraine,” he sings to his love interest and expresses his deepest feelings for her. Over the Blaise Beatz production, he chants “Girl if you give me love, I no go complain/but if you leave me, na kpeke oh baby.” 

Etienne – “RomCom” ft, Moyoswrld & Ictooicy

For a couple of years, Etienne has been one of the front facing members of Forevatired, the kids next door who are pushing the boundaries on genre-mashing. For his latest solo record “RomCom,” Etienne teams up with uNder alums Moyoswrld and Ictooicy. On the track, all three rappers at their most relaxed and laid back as they trade hard-hitting bars over the catchy and boisterous production.

Featured Image Credits/NATIVE

NATIVE Exclusive: WMNS WEAR Is Providing Quality Alternatives To Fast Fashion

Posted on by Wonu Osikoya

In 2019, a year before the COVID-19 pandemic caused seismic change to life as we knew it, three school friends, Elizabeth, Lola and Valerie came together to create and conceptualise the women-led clothing brand known as WMNS WEAR. With a £3000 financial backing to their name, these three friends saw a gap in the market at the time and rose up to the challenge to redress this gap by providing quality clothes for women outside the myriad of fast-fashion options.

 

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Utilising colourful patterns and trendy silhouettes and styles, WMNS WEAR has quickly risen through the ranks and become a near-perfect embodiment of the new-age Black British woman. The brand is based in London, where the three co-founders and creative directors manufacture and market their wide-ranging products which include dresses, two-piece sets, cut-out tops, body con mini skirts and more.

While WMNS WEAR is their first-ever official business venture, Elizabeth, Lola and Valerie have always been industrious. Right from a young age in school, the three friends piqued their business interest by selling cookies in the playgrounds to their young classmates and soon after, launched a clothing and lingerie brand during their university days. It’s from their shared desire to lead and take charge of all their affairs that the three friends formed WMNS WEAR, which allowed them to individually and collectively combine learning experiences, their sharp eyes for what’s trendy and a strong business mindset, in just 4 years of the brand’s existence. 

Now, WMNS WEAR has been donned by popular names such as Summer Walker, and past Love Island contestant, Mary Bedford. Social media has become one of their brand’s greatest assets as they utilise their social platforms to market their products to over 88K followers, who are keenly interested in every new drop which sells out in minutes. So far, they’re racking worthy accolades such as generating over £40,000 in sales a year into their launch and increasing their revenue to £500,000 within the next year.

With this in mind, it’s clear that founders of WMNS WEAR have worked out the winning formula on their home turf, and are now set on furthering their global ambitions to the rest of the world. The quality designs, social media buzz and sales led to major fashion retailers such as ASOS & Urban Outfitters stocking their products and now, WMNS WEAR is currently valued at £3M approximately and has easily become a go to hub for women who love fashion. 

With the launch of their new collection titled Apocalypse yesterday, The NATIVE spoke to the women at WMNS WEAR about their journey so far, sustainability and working together & co-owning a brand. 

Our conversation with Elizabeth, Lola and Valerie which follows below has been lightly edited for clarity.

NATIVE: Hello, how did WMNS WEAR come together? What was the idea behind it?

Elizabeth: As young kids, we went to school together and developed that love of fashion growing up. We made do with what we had by going thrift shopping and bargaining on fashion pieces. In the long run, we knew business was what we wanted to go for after studying different courses in the university. At a point in time, we had separate brands (lingerie and clothing line) and at the end of the day we figured out that together we could do something great. The lingerie brand birthed the idea of Wmnswear, and we have not looked back since then.p

Why did you decide to lean towards a women’s only brand?

Lola: The main reason we targeted this specific brand is because we are consumers first and we know what women like. It was easy focusing on this because we represent our target audience as well as our family and friends that are females.

Elizabeth: There were times when we wanted to wear certain things and not be able to buy them, it was very important to create wears that we wanted to wear and are true quality pieces that could be worn multiple times. The best part of it is that we are a big part of our target market first. 

What were the major resources used in starting up?

Valerie: We discussed with Laila’s Dad and he gave us lots of insight about how to manage business from the start to finish. We made mistakes in our other businesses and decided to learn from it. Properly do our market research and find out what people like to wear or would be most comfortable in.

How do your pieces come to life?

Elizabeth: We looked at what is missing in the fashion industry. The casual and comfortable pieces that can be worn multiple ways and in different styles.  On the business side, We looked at influencers to showcase our vision for the brand. But as we have grown, we have gotten an in-house designer to bring our vision to life.

What has been your biggest challenge on this journey?

Lola: Putting ourselves out there and creating a stronger social media presence. Starting from scratch to grow that and the images would attract people to know more about the company. Use our resources to market and Instagram helped in the advertising process. Finding manufacturers was also very hard  to share in your vision . 

Elizabeth: A lot of the things we were doing was from research and not necessarily having a strong background in design. It was a steady journey because starting out, we didn’t have like a mentor or anyone to put us through so it was basically a lot of  ‘trial and error’ and learning from our mistakes.

What has been the most difficult aspect of working together and co-owning a brand?

Lola: I think the major difficulty has to be schedules. We have different individual lives so sometimes there might be a clash in time. I won’t really look at it as a difficulty, it can also be to our advantage because there’s 3 of us so we can lean on each other to stand in for one another. 

What are your thoughts on sustainability and what are some of the sustainable practices you adopt for your brand? 

Lola: As a smaller brand it can be difficult to achieve everything we want because of budgeting. When trying to make sustainable fashion pieces, it requires funding especially for materials which can be quite expensive. So, we work closely with our manufacturers to make the products. The factories are in line with our plans, and we make sure to enforce a conducive work environment for the employees and also resist anything that negatively affect the climate. 

What sort of pieces do you make and what inspires these pieces?

Valerie:  I would say it is mainly pieces that are missing in our wardrobe. For us, it is making pieces that are not so extravagant but comfortable and of good quality. Look at the fact that post pandemic, places are now open for people to go out and have fun, so we make pieces that make you look good when you go out in the day time.

For your designs I see you deal with a lot of bright colors. Is this intentional and why? 

Elizabeth: That was only for one collection. The colorful collection you saw was our summer 2020 collection which was inspired by the heat, people going on holiday, taking pictures and having a lovely day without looking extravagant. Our earlier works had more neutral tones. Our pieces are transferable wears which don’t have to be worn as seen on our Instagram, you can pair them however you like. 

Has the vision for Wmnswear changed significantly over time? 

Elizabeth: I won’t say the vision has changed. When building the brand, we sat and discussed what we wanted for the brand and how to go about it. I think we stuck to that and it has worked for us. We are not there yet, we are still working on reaching our goal. The vision is to keep growing and that has not changed. 

What are the next steps for your brand and for you?

Elizabeth: We are about to launch our Autumn/ Winter 2022 collection. This is our biggest collection yet and it is very different from our colourful Summer 2022 collection. We are bringing in pieces we love wearing both day and night like cargo skirts, cargo trousers, mash tops, cut out tops, etc.  Pieces that will have you standing out in the crowd. There is a bit of something for everyone in this collection, I don’t want to give out too much. 

Lola: We are also trying to be more present because we have always hidden behind our brand. Not many people know who we are so we want to show that we are normal African girls, Nigerian and Sierra Leonean and there are a lot of people who can identify with us. People who want to start businesses but don’t know how to go about it just like we didn’t have anyone to see us through most decisions we made starting out. We want to be able to assist female business owners that need help and guidance. 

When is the new collection dropping? 

Elizabeth: The collection goes live on October 30th.

Featured Image Credits/NATIVE

AV Club: South African Mythology Meets Capitalist Ambitions In ‘The Brave Ones’

Posted on by Emmanuel Esomnofu

Netflix’s new limited series ‘The Brave Ones’ is billed as an extensive entry into South African lore, and the series delivers on that basic premise. The first sentences you hear on the show takes narrative shape, telling the story of how the titular Brave Ones were formed from the Tree of Life, to protect its great power against the greedy, capitalist-driven humans who would seek to destroy it. As a Nigerian, I couldn’t help but be reminded of Kunle Afolayan’s ‘The Figurine,’ which was similarly expository on mythology. But where that was assured and revolved around a specific neighbourhood, ‘The Brave Ones’ floundered in its early parts, too generic in overall direction and stiff with inter-character relations. 

 

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The vividness of the South African landscape provided credible backdrop for some of the scenes to come alive, but the acting and dialogue proved to be quite the obstruction. In the first episode, there were vague references like My Friend and My Uncle, giving the impression the writer didn’t quite know how to show these relationships on screen without naming its connection. The characters were likeable fortunately, especially the protagonist Ntsiki (beautifully played by Sthandile Nkosi) whose exuberant energy and androgynous fashion made her stand out from her cast mates. Her relationship with brother-in-law Nkosi (played by Bonko Khosa) develops stirringly over the now-available six episodes, as the latter tries endlessly to bring justice to the local councillor who was responsible for his activist fiance’s death. 

Any discussion of this series won’t be complete without considering its realistic aspect. Part of South Africa’s cinematic brilliance comes from its undaunted positioning of social and historical landmarks, and in this village of Ilanga, prospective investors seek to evict dwellers in order to build a casino. It’s a familiar representation of capitalism’s hard claws, but there’s even more layers to the deal as the series develops. Corrupt politicians are another trope in movies of this kind, but here, it’s well connected with the protagonist’s trajectory. When Ntsiki falls in love with the musician son of a politician, their burst of young romance colours the film with important lightness. 

These hip scenes are feel good scenes, soundtracked by the thrilling vivacity of R&B, Deep House, Kwaito, Rap, and the many other genres circulating urban South African areas. That contemporary flavour is retained in the set locations, which includes expansive balconies, filled-out bars playing karaoke, skyscraper offices. Of course, ‘The Brave One’ doesn’t know just yet that she’s the Brave One. Her powers are sought to be harnessed by a secret cult, while bulldozers raze through her village. Another woman seeks the Brave One’s blood to heal her severely sick child—it’s a thread of interwoven desires, and the writers attempt an unravelling over the six episodes. 

 

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To their credit, the unravelling isn’t always neatly done. Drama sometimes benefits from messiness, and by the fourth episode, the action is all over the place. Whereas trite affectation marked its early parts, the acting later progresses into the carefree mode of actual reality. That particular episode ends in a scene where Ntsiki uses her supernatural powers on a large scale for the first time. Afterwards the series takes a sharp turn into its supernatural side, but this time, the relative depth in the background constructs a richer story. 

Propelling this side of the story is Nomalanga Nkosi in the role of Ayanda, whose motivation is the most urgent on-screen. She has feet placed in both spiritual and physical worlds: she’d been a custodian of the Tree of Life, but abandoned the faith to pursue more conventional dreams. She didn’t just leave faith, the series exposes as she attempts to find The Brave One who will save her child. Married to the businessman behind the casino, she influences the Ilanga neighbourhood in more direct ways. 

In a stretch of poignant scenes, she summons dead relatives, pays someone to steal bracelets with supernatural powers, engages in media-savvy meetings to absolve her husband’s blame in a riot gone wrong. She then becomes a sort of anti-hero, and the viewer is soon found rooting for this woman who almost killed a baby as she sought desperate solutions to break the curse of losing her children. By the end of the sixth episode, her son becomes well—you’d expect her to stay in the background then, but there’s no suggestion of character immobility. 

 

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Boasting accomplished hands, the series is ideated and mostly directed by South African-based Nigerian filmmaker Akin Omotoso, who also directed the critically-acclaimed Disney biopic ‘Rise,’ based on NBA icon Giannis Antetokounmpo. He brings that form here, as ‘The Brave Ones’ possesses a striking cosmopolitan appeal. Many of the scenes are colour coded like high school movies, possessing the same slang-heavy language and communal habits which made for entertaining cinema as teenagers. Omotoso, who began directing films in 1994, is the son and brother of revered writers, Kole and Yewande Omotoso. The latter wrote ‘Bomboy’ which is one of my favourite African books and also features a character with a penchant (others would say curse) for stealing. Mysterious details coloured darkly the realism of that novel, and the storytelling element is wholly utilised here. 

Eventually the writing finds itself, and for those who wouldn’t bother about a genre’s conventions pointing some light down the tunnel, ‘The Brave One’ is quite immersive and divisive—it’s the kind of show that would set-off lots of conversations when watched with a group of people. Ultimately, it’s a series that identifies its vision and delivers on it. We haven’t had many feature films centred around mythology, let alone a series. The Cannes Grand Prix-winning ‘Atlantics’ (which is also available on Netflix) does a fine job of rooting Afro-spiritual ideals within class struggles, but where that film leans on poetic abstraction, ‘The Brave Ones’ exists on the punchy side, more Nnedi Okorafor than Leslie Nneka Arimah. These authors are speculative-inspired, but with distinct approaches to their work. 

‘The Brave Ones’ combines lush imagery and gritty township life, and for the most parts maintains a cohesive storyline in regards to the goddess myth at its core. Sometimes the dialogue falters, other times the action holds little believability, often the politics is surface-level, but somehow the flaws do not disrupt its quality. As opposed to great movies, the viewer is aware of this film’s fictional quality, but there’s a propulsive inner energy which keeps the viewer watching. You wouldn’t want to miss out when that energy bursts into dramatic bliss. 

uNder: Best New Artists (October, 2022)

Posted on by Damilola Animashaun

Here is a fact: the talent pool is deep and far-reaching. That’s exactly what uNder seeks to spotlight. Whether with artists on the African continent or with artists in the diaspora who bear African roots, there is always talent waiting to be discovered. These artists, at varying degrees of development, continue to put out music, hoping to carve a home for themselves in the hearts of music lovers globally. In today’s Internet-powered world, artists have found accessible ways to make headway and find listenership.

In this month’s edition of the uNder column, The NATIVE’s editorial staff move from Abuja-based rapper OdumoduBlvck brand of Okporoko music to Ghana’s Baaba J’s smooth-flowing lyrics about her daily life and South Africa’s Khanyisa’s Amapiano-powered singing and more.

808vic

808Vic considers himself a bedroom musician who makes bedroom pop, a DIY music movement categorised by minimalistic, lo-fi instrumentals that features elements from multiple genres such as R&B and Hip-Hop. He began his career in 2016 as a producer after moving to London, adding his unique touch to songs of renowned artists such as Aaliyah, Chance the Rapper, Drake, and Post Malone, which he uploaded on SoundCloud. In 2018, he began adding his beats the following year, he released two EPs ‘Floppy Files’ and ‘Wav’s for the Summer.’ Those projects contained tales of his teenage years, from seeking love to making friends.

Born Victory Obot, 808Vic’s works have earned him placements on Spotify and BBC1Xtra. Last year, his EP ‘lived to love’ marked a change in his sonic direction; compared to the lo-fi nature of his previous outputs, the project sounded polished and expansive. Over a heady Pop bounce, he rid himself of the blame of a failed relationship on the title track. “Made my way/Saved my soul/Can’t be slain/After pain I still remain/Lived to love another day,” he sang. On “21,” off the same project, his clear-eyed introspection exemplified his maturity as a person and artist.

Last month, he released the two-song EP ‘Vic’s Odyssey.’ With an album in the works, 808Vic is making remarkable strides in his career; his journey embodies passion and consistency, two qualities that have followed him since his days as a teenager. For 808Vic, music means everything to him. “Like even if I don’t blow, I’ll still breathe music,” he says. “It’s helped bring me out of tough times, provide clarity and inspire me. I really feel privileged to be able to make it because there’s few feelings like the rush you get finally getting that melody right or stumbling into a new chord progression, or going to a live show and losing your voice singing along, I could go on.”

Uzoma Iherijika

Khanyisa

uNder

While many may know Khanyisa for her stellar performance on Vilosoul-produced track “Zula Zula (Hub Way)” featuring Amapiano stars, Focalistic and Acutedose, others recognise her from TikTok. Khanyisa Patricia Jaceni is a South African social media personality from Mpumalanga (Embalenhle) and very well known for the versatility of content she creates on the app. Her popular catch phrase, “Bottom Line” and her overall comedic presence on the app, scored the artist Social Media Influencer of the Year for the 1st annual edition of Basadi In Music Awards in Johannesburg. A couple of viral videos, Khanyisa began her music career in the early parts of 2021 with the release of her debut EP, ‘Journeys’ in 2021. However, she didn’t gain popularity for her music until she featured on an electrifying Amapiano “Ungangi Bambi” by one half of JazziDisciples, Mr JazziQ.

Since then, Khanyisa’s witty and related online persona coupled with her strong sense of ethnic identity which translates in her tracks, has helped her connect with audiences in South Africa and beyond. With the release of “Bheka Mina Ngedwa” supported by Marcus MC, Lady Du and Tsiki XII, Khaniyisa’s success rose to new heights, stamping her as a force to be reckoned with in Amapiano. In her short time in the scene, she has released three EP’s and a slew of singles, drawing the attention of major Amapiano heavyweight, Kabza De Small. Her recently released EP, ‘Halfway’, features 6 tracks laced with heart-thumping beats sure to deliver a sublime experience for its listeners. From mid-tempo intoxicating tracks like “iNkukhu” featuring Da Muziqal Chef with high quality production from Kabza De Small to “Ndikwethembile” and “Xoki” which features the artist’s ethereal vocals across low cadence percussion beats.

Through the 40 minutes duration of ‘Halfway’ and her other features and singles, Khanyisa’s star is only shining brighter. With each release, she takes listeners along on a journey as she explores Amapiano and a plethora of sounds emanating from that side. A promising act, every Khanyisa track is sure to transcend language barriers as she expresses a variety of emotions through her vast vocal range.

Nwanneamaka Igwe

Yimeeka

uNder

R&B sounds emanating from these parts seem to have a rising star on their hands with the release of Yimeeka’s debut EP ‘Alter Ego.’ Her personality, leaning more towards the introverted side made the days leading up to the release nerve wracking for a number of reasons including the sheer rawness of the project from the production and performance perspective. A skill she picked up during the COVID-19 lockdown, Yimeeka began trying her hand at production with the assistance of a friend of hers, Pheelz. Still sketchy on her production skills, Yimeeka held off on sharing her work. However with a couple of lessons and encouragement, Yimeeka became ready.

We get a whiff of her mellifluous vocals and dazzling penmanship from her Pheelz-assisted debut single “Smooth Criminal.” Still reeling from his chart topping hits like “Finesse” featuring BNXN and “Electricity” with Davido, Pheelz couldn’t be a more perfect choice for Yimeeka. His masterful songwriting and Yimeeka’s vulnerable rendition are a match made in heaven. On working with Pheelz, Yimeeka shares “I made the song with my guy so it felt natural. It was the song that took the shortest to make so that speaks to how seamless the creative process was.”

Shortly after the release of “Smooth Criminal”, Yimeeka rolls out with ‘Alter Ego.’ “I want to send my message out as loud as possible”, Yimeeka shares with the NATIVE. The 7-track project combines Yimeeka’s raw, honest storytelling with authentic production. From the spoken word “Interlude” where she asks questions regarding love and the meaning of life to “Memories” which conveys the all too familiar emotion of missing an ex-lover, Yimeeka’s message on ‘Alter Ego’ is sure to cut across and leave an imprint on her audience. Ultimately, she communicates the need for patience and taking risks to sharing, “I would like them (listeners) to know that they should never be scared to do things. It’s fine to start small and grow from the mistakes.”

Nwanneamaka

ODUMODUBLVCK

uNder

Born and raised in Lagos, Odumodublvck moved to Abuja when he was seven years old. He has mainly resided in the capital city ever since, operating as an enigmatic presence in its buzzing rap scene. Possessing the gruffest vocals you’ve ever heard, Odumodublvck has coloured Drill and Afropop beats with his infectious candour since releasing his first single in 2017. Over-the-top metaphors reminiscent of early Eminem are matched with cultural references from deep inside rural Nigeria, establishing the name of Odomodublvck as one of Nigeria’s most exciting rappers.

Odumodu has acquired the reputation of a young OG within music circles. He’s heavily collaborative, joining other exciting talents from ABJ to construct its lore in Nigerian rap discussions. ‘The Trenches’ and ‘Time And Chance’ released respectively in 2018 and 2021, along with several collaborative projects in-between, demonstrates the evolution of Odumodu from a verbose MC into a more poignant music-maker. His latest single “Dog Eat Dog” resides on those softer plains, carried by Odomodu’s sombre vocals which subvert the capitalist-evoking title to deliver an impressionable love record. “Say my future bright but they gossip that,” he sings assuredly, progressing from the more haughty ways of his earlier days.

These days, Odumodu has been seen with a lot of heavyweights in the music industry. From Nigerian rap legends giving him his flowers to Skepta sharing his music, the world seems to be ready for his generational talent. A new single with the newly minted NATIVE Records and Def Jam is also on the way, and for a man who believes strongly in Jesus, it does feel like prophecy. Big Gun—as he calls himself—is shooting for the top, and who’s going to stop this uNder star? No one.

Emmanuel Esomnofu

BAABA J

uNder

Limitless artistry sounds the alarm for Baaba J’s entry into the Afropop scene. The Ghanaian musician bleeds her soul into every song she creates, maintaining a heartfelt core even when flitting across the possibilities of genres from neo-soul to Ga-inflected folk, Reggae and other broader forms within Western Pop.

Two years ago, Baaba J began making in-roads into the deeply creative art scenes which resided just outside the mainstream. Her debut “Black or White” is poignantly reminiscent of the civil rights agitations which happened worldwide that year. The artist’s wisdom is revealed early on, as she sings over swinging, melancholic guitars, “Lately I’ve been seeing people dying on the streets, cops be killing/ Social media sign petitions, nothing changes for us.” It would later feature in her debut project, ‘Lumumba St.’ which introduced her scintillating range to the notice of listeners within Ghana and beyond.

On five records, Baaba explored emotions which ranged from poetic affirmations of one’s love (“Intro”) to possessive admiration (“Forever”) and diaristic storytelling captured over sun-soaked basslines and flutes (“Play Along”). The project closer “Tomboy” sees Baaba claim the titled tag that’s often meant to be derogatory, shedding layers of her quirky nature. “I’m aware I pull both sexes well that ain’t really on me,” she sings over Trap production, quite reminiscent of Ayra Starr’s “Bridgerton.” This year, Baaba J has released “Outside,” a song that continues her unique blend of groove and melancholy, singing, “Don’t know why I’m outside…don’t know why I try,” putting words on an emotion many young people feel but cannot possibly express without crashing into the wall of memories.

Emmanuel

Mr LU*

uNder

For Kenya’s Mr LU*, improving his skills as an artist is a great source of pride and it’s a unique combination of skill, attitude and impeccable work ethic that has enabled him to build a repertoire of genre-defying music. “My music is experimental,” Mr LU* shares with the NATIVE. “I don’t want to fit in a box.” Over the years, the singer and producer has created an impressive catalogue of alternative records, each furthering his global ambitions and woven through poignant and relatable tales for young adults.

Starting out his early career days under the moniker Slinky, he found his feet in music production which he has studied earnestly since 2015. A true student of the game, Mr LU* found his feet in the scene during the haydays of Soundcloud, which he used as a direct-to-listener medium to push out his music to his growing audience. It was not until 2018 that MR LU* decided to release his debut EP ‘BeforeSummerEnds.’ The instrumental EP catapulted him to new heights with his futuristic, ubiquitous production that set him apart from his peers. From the lo-fi basslines in “SummerFling” which takes listeners through a short fling during the summer to the relatable vulnerability on “NewTing”, Mr LU* is always shifting the needle on his creative output.

While he now has a steady string of singles and 3 albums to his name, Mr LU*’s breakout didn’t come until the release of “Tropkos Riddim” in 2018. On the track, Mr LU* showed his penchant for genre-mashing as he delved into the much-loved Gengeton with ease. His raw voice compliments his production techniques in his latest project ‘Kazi Kwa Vijana’ which was released earlier this year. With songs such as “Nakujali” featuring King Kerby and Mars Maasai, Mr LU* shows his growth over the years as he offers a deeper emotional palette on his newer releases. 2022 has been a busy year for Mr LU* and already, he’s co-produced Maya Amolo’s “Can’t Get Enough” and “Foundry” featuring Lanzi, while also releasing his solo material. Whether you’re a fan of Chevy Kev or Mars Maasai, it’s worth diving into Mr LU*’s expansive catalogue which proves why he deserves to be featured on our uNder list this month.

Tela Wangeci

4IAM

uNder

These days, music groups are far and few between. However, this does little to dishearten South African girl group, 41AM, which is pronounced as For I Am. Formed in 2021, the group was created by HitChat Entertainment in a bid to allow talented but disadvantaged South African talents to flourish. The musical girl gang is composed of 5 formidable singers and songwriters including Doli, PHX, Annie, Grace and Giselle who have one clear message: “seek to achieve your dreams, no matter where you come from.”

With a shared love for K-pop (Korean Pop), 4IAM decided to take an unconventional approach to their music and fashioned their own unique sound, T-pop which is popularly known as township pop. The effortlessly talented group draws on pop culture, dance and international pop productions to create a completely unique listening experience. The group made their debut in 2021 with “Legends,” offering the perfect mix of South African-helmed sounds, Amapiano, Pop, Kwaito‎, House and Hip-Hop. The track’s catchy production provided the perfect backdrop for the girls to share their message of hope, reminding everyone they are a hero in their own story.

Two years later, 4IAM released the standout number “Think About You” which instantaneously drew listeners in with its catchy sing-along chorus. Elsewhere in their short but sweet catalogue, 4IAM shared the airy single, “On Top,” which sounds like a late night conversation with your girl squad. Utilising lush airy soundscapes, percussive bass drums and crescending trumpets, which herald back to the halcyon days of ‘90s R&B, the group provides the perfect blend of undulating vocals. Another strong single in their repertoire is 2022’s “Level Up” where the quintet pull together kiss-offs and spilled tea about their haters and exes with smooth precision. There’s also a clear elevation in 4IAM’s output as gleaned from their most recent release, “Mthebelele,” and the lead single off their forthcoming album. Over syrupy synth production, the girls sing about staying humble and acknowledging your own self-worth and power. What’s coming next for the uNder stars? “We want people to understand our relationship of 4IAM as a group and individually. We also want people to understand they are unique in their own way. Just be you and people will like you for who you are.”

Tela

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ICYMI: Read more about our September uNder album, YKB

Introducing The Blacklist West Africa, in partnership with Guap Mag

Posted on by Damilola Animashaun

In 2018, the Blacklist was founded by GUAP Magazine, to recognise the impact of young Black professionals across the board. In 2021, The Blacklist saw the first ever inclusion of some international honorary Blacklister’s from around the globe, including nominations from creative and professional communities from Canada to Nigeria.

Following the release of the Blacklist 2022, in celebration of Black History Month in the UK, this year, we’re doing things a little different. Introducing the first-ever fully international list – The BLACKLIST West Africa 2022, in partnership with Guap and the NATIVE Magazine.

 

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Due to the wealth of talent on the continent, particularly in West Africa, the first-ever Blacklist West Africa aims to celebrate creative and professional talent from the continent at a pivotal time for the culture coming out of the scene. West Africa is made up of 16 countries, this year’s list shines a light on 3 of those countries. As we move forward we aim to keep connecting with professionals who can contribute to our visibility until we are inclusive of all of West Africa.

The BLACKLIST isn’t about popularity or association – it’s about impact and innovation. We aim to show that young professionals in the current generations exist diversely and are moving with admirable pace.

Without further ado, here is the first-ever Blacklist West Africa.

Ayomide Dokunmu (@ayomidedokunmu)

Ayomide Dokunmu is the founder of Femme Digital, the mother brand to Femme Africa, FEMME MAG & Femme Fest. After graduating magna cum laude from St John’s University, NY with a degree in Communications arts and a minor in business administration, she moved back to her hometown Lagos, Nigeria to pursue a career in its fast-growing entertainment industry. In December 2018, she successfully curated an all-female multi-genre musical concert known as “Femme: The showcase” with performances from Tems, Jazz Atta, Deborah prest, and more. Since then, Femme has served as a platform to amplify female talent.

Ayomide told us “This might sound cliche, but I am inspired by women and how amazingly multifaceted we are” It’s through this inspiration that led Ayomide to create a community of diverse women looking for platforms that resonate with them. “My major aim for my career is to reach as many women as possible and create a long-lasting impact. I want younger women to grow up in a world where they can do whatever they put their minds to and feel safe whilst doing it because as we all know, the world can be a very cruel place to women.”

Oluwatomisin Akinwunmi (@tomisin_akins)

Oluwatomisin Akinwunmi Aka Tomisin is the CEO and Founder of Lucid Lemons Limited, a creative agency that serves as a springboard for creative talent found here in Nigeria and Nigerians across the world, demonstrated by the successes we have had in the past 7 years.

Lucid Lemons provides creative individuals with opportunities for work and resources to further their ambitions, these resources include hosting our own live events and festivals (pre-Covid). As well as the aforementioned Tomisin is the COO, product designer, graphic artist, video editor, creative director and more of a social enterprise known as the DashMe Foundation.

Tomisin told us “I am passionate about empowering creatives in my community and especially providing a platform for the women in the industry and those that want to get into the industry. I want to grow Lucid Lemons as a platform for undiscovered and upcoming African talent to have a stepping stone to success. Creating more opportunities for growth, for women and for budding talent to shine. Lucid Lemons is the place for discovery and development”

 

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Benewaah Boateng

Benewaah Boateng is a music enthusiast dedicated to discovering and amplifying emerging and alternative African Music. After dabbling in Advertising, where she worked with advertising giants Ogilvy and Publicis in Ghana, she entered into the world of music by sharing her passion through music discovery website Harmattan Rain.

This small push towards her passion snowballed into a position at Universal Music Group in Nigeria, Apple Music and now Spotify. In early 2021, she merged her love for music, marketing and strategy into co-founding music marketing agency rain. Labs.
“I’m inspired by the intersection of creativity and technology, I love seeing people create things that years ago weren’t deemed possible. I’m also very inspired by nature. I love the national geographic channel. Everything in nature is in sync and works together perfectly. That kind of synergy in any situation is enviable. My aim for the future is to elevate creators. To be part of creating an ecosystem that ensures creators (wether they are musicians, artists, gamers etc) are compensated fairly and adequately regardless of tehir location, ethnicity or sex.”

 

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Matthew Blaise (@matthew.blaise)

Matthew ‘Blaise’ Nwozaku is a non-binary, openly gay activist in Nigeria. They’ve dedicated their life and work to confronting the violence towards gender non-conforming persons & Queer people in Nigeria by creating safe spaces for the LGBTQI+ community, advocating for Queer rights through online and in-person events, and mobilising actions.

Matthew is the co-founder of The Oasis Project and the founder of the Queer and Trans Emergency Fund. Their work has brought much needed visibility to the plight of queer Africans. They are a recipient of the MTV EMAs Generation Change award and they’ve been nominated and awarded; The Future Awards Africa; SOGIESC activist of 2020 by TIERS ; DAZED 100 Changemakers; Women Deliver Young leadership Program.

They are also the convener of ‘Queering Christmas’, an annual celebration of Queer resilience and rebellion in Nigeria. During the #ENDSARS protests, They mobilised and used their voice in a declaration that saw millions of views. Their message of queer liberation and Intersectionality reached a global audience, far and wide. As a result of this widely publicised demonstration, they’ve been featured in Vogue, Ze.tt, ZDFheute, Out Magazine, PinkNews, Time ,Bloomberg, Channel4News, among other notable global media outlets and publications.

“I am greatly inspired by the resilience of young queer Nigerians and those before them, who fought and who are still fighting for the liberation of queer and trans people in this anti-queer country. I am also greatly inspired by a childhood I never got to live as a queer child due to homophobic and transphobic violence. The rage from my sad childhood memories fuels my activism fire. The aim for my work as an activist is that all my initiatives gets to outlive me and be very beneficial to not just queer people in Nigeria but every part of the world”.

Nuits Balnéaires (@nuits_balneaires)

Born in Abidjan in 1994, Nuits Balnéaires is an Ivorian visual artist, photographer, film director and poet based in Grand-Bassam. His work is intimately rooted in tradition, culture, imagination and aims to understand the mechanisms that led to the civilisations living along the current Gulf of Guinea region, while also exploring its geographical borders inherited from the colonial era. He wants us to envision another multi-dimensional world, filled with poetry, light, beauty, ritual, and spirituality. His latest series “The Power of Alliances” is the outcome of a one-year visual journalism fellowship with the World Press Photo Foundation. This work has been exhibited at ArtXLagos, at the 1-54 Contemporary art fair in Paris Christie’s, and as part of Dada Gallery’s Black History Month exhibit, earning him a full spread in The Guardian.

“Stimulating introspection about existential questions is what I try to foster with my work, to heal our individual and community lives. I’m perpetually looking for any knowledge that can further root me spiritually. Every work I create is part of this process. A few years ago, I moved from Abidjan to the small seaside creative haven of Grand-Bassam. That transformed my perception of family, but also my spiritual journey and personal identity. I’m surrounded by people who are very community-oriented and keep me grounded. My studio is a space where culture, art, craft and the local youth converge, to reflect and answer the questions and challenges we face today. I aim to see more spotlight, oriented on the gifted and effervescent Ivorian art scene”.

 

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Oyinkan Dada (@oyinkandada)

Oyinkansola Dada is the Lagos-born, London-based founder of DADA Gallery and DADA Magazine. The gallery’s mission is to introduce the most exciting contemporary Black artists to international audiences. Since inception, it has curated experiences across Francophone Africa, Anglophone Africa and Europe. Its roster consists of Black artists whose work sidesteps the traditional and tackles divisive themes of immigration, sexuality, gender and more. In October 2022, she released DADA Magazine, an art magazine founded on the ethos of DADA Gallery, targeted at the new generation of Black artists and art enthusiasts.

Dada comes from a non-art background. By studying International Politics at King’s College London and working as a solicitor in London, she is able to offer both creative and ancillary support to her artists. She has been profiled for her work by Financial Times, The Face and Okay Africa, amongst others.

“I am inspired by artists and creatives around me and the incredible work that they do. My mission is to find ways to amplify their vision and help them reach their potential. I am also driven by the new generation of art enthusiasts who need a steer in the right direction in order to understand the art world around them. For me, it is really important that a community is being built, allowing for a melting pot of ideas and creating more visibility for Black art.”

 

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Eniola Korty (@korty_eo)

Eniola Korty Olanrewaju popularly known as Korty EO is an Indie Filmmaker and YouTuber from Nigeria. Her videos are character and experience driven. Korty gained recognition towards the end of 2020, when she told the story of how she quit her job to start a Youtube channel. Since then, her channel has grown by 1000%. In less than 2 years, she had gained over 200,000 subscribers, the fastest any Nigerian YouTuber has grown within this timeframe.

“I’m inspired by the personal experiences and the experiences of people around me, I want to tell these stories in ways that give people some sense of hope. I believe hope is very important to move through life swiftly. Honestly I just want to get more young people to do whatever they want to do by watching me do what I want to do without fear or doubt. There’s a lot of African creative geniuses around the world who are not sure how to start or navigate their careers and I just want to create a platform that gives them more confidence to do whatever they want – and I’m going to do it.”

 

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Iretidayo Zacchaeus (@iretizee99)

Ireti Zaccheaus is a young pioneer, she is the founder of Street Souk, West Africa’s first and biggest streetwear convention which she started five years ago. Over the years Street Souk had grown to be one of the biggest and most sought after events in Nigeria. Street Souk has collaborated with some of the biggest streetwear brands in the world such as Off-White & Daily Paper. At only 23 Ireti is pioneering a movement and building bridges between the African and Global streetwear community.

With years working in Nigeria’s entertainment industry, Ireti’s interests culminated in the launch of Street Souk in 2018, with its sophomore edition following in 2019. Ireti divides her time between her hometown of Lagos, and London. An alumni of the University of Manchester and Cass Business School. Ireti’s deep immersion in pop culture spans from sports, to music, but her passion remains streetwear and its unique culture in Nigeria and around the world. Ireti is also a creative and brand consultant currently holding the role as community manager at Metallic inc where she has worked with brands like Nike, Jordan , Moncler, Diesel, Meta and Apple.

“I’m inspired by my friends and family; sounds very cliche but honestly there is so much greatness around me and it keeps me aspiring to be better. I’m currently inspired by the people around me. I’m inspired by my country Nigeria as well as seeing people hustle and just keep going regardless of their situation and what life throws at them inspires me. My aims for career is to be the number one streetwear convention in the world and to finish off the mission i started at street souk which is to export African streetwear to the rest of the world and be the driving force behind uniting the African streetwear community and to continue providing a platform for upcoming streetwear brands on the continent to grow.”

 

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Laila Johnson-Salami (@lailajohnsonsalami)

Laila Johnson-Salami is a Nigerian Journalist changing and challenging narratives one conversation at a time. She is a Politics and International Relations Graduate from the University of Westminster, who is passionate about women’s rights, human development and the environment. Currently, Laila is a Correspondent at ARISE News, reporting on the environment and international affairs. She produces and presents ‘Go Wild’ in partnership with international NGO WildAid; a first of its kind wildlife focused show on national news in Nigeria. Laila also reports on healthcare and
Politics.

Laila has contributed to the Commonwealth Youth Council since 2016 and the Financial Times since 2018. Previously, she worked with Nigeria Info FM and Wazobia Max TV. Her dedication to women’s rights led her to become a Founding Member of the Feminist Coalition, an organisation championing equality for Nigerian women. She is also a podcaster, producing her own podcast (The Broken Record Podcast) and co-hosting a new podcast with German international broadcaster, Deutsche Welle (DW), called African Roots.

In 2022, Laila won an award granted by the United Nations Development Program (UNDP) in partnership with the European Union Delegation, the British High Commission and the Embassies of France, Germany and the United States of America in Nigeria. She received the award for the category of Media and Journalism, being described by the awards committee as “A rising star in media and journalism who is changing the narrative around gender equality, youth empowerment, climate action and social inclusion, one conversation at a time.”

Daniel Obasi (@iamdianielobasi)

Daniel Obasi is a Nigerian art director, stylist and photographer whose work is deeply aligned with advancing the scope of African narratives visually. He was born in Aba, Abia State but raised in Lagos. While Daniel majored in Language in university, Daniel developed an interest in the world of fashion, and became intrigued by how the society around him perceived gender roles and masculinity. He went on to spend some time working as a fashion intern for Ours Magazine and worked as a stylist with several notable Nigerian luxury brands.

Daniel has been drawn to fantasy and alternate realities since his childhood. In 2017, Daniel made his first major film and editorial work, “Illegal Project” on gender non-conforming expressions in an African setting. The project went on to launch his budding career as a Nigerian Artist who questions and challenges societal norms on sexuality, masculinity and gender roles.

In 2020, Daniel worked as a stylist on the film “Black is King” by Beyoncé. In 2021, Daniel styled and directed “Keere O”, a noir-inspired fashion film for Lisa Folawiyo, which celebrates the different facets of femininity and features an alluring soundtrack which was produced by Daniel himself. In 2022, Daniel Published his first photo book in collaboration with Louis Vuitton titled “Beautiful Resistance”. Daniel is published in a myriad of publications including Vogue US, Architectural Digest, Rollingstone
UK ,Financial Times, Okay Africa, ID Magazine, Hunger Magazine, Maire Claire SA, Atmos Magazine, Boy Brother Friend, Dazed, amongst others.

 

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Nora Awolowo (@noraawolowo)

Nora Awolowo is a Nigerian photographer, cinematographer, filmmaker and visual Storyteller. She’s a renown creative widely acclaimed for her unique Storytelling skills that brings ideas to life and gives colour and depth to otherwise bland ideas that allow people to connect with the message in a deeper, more meaningful way.

Nora started out as a creative photographer using mobile phones to capture beautiful portraits. Over the years, Nora has grown and built her brand as a reputable filmmaker and Visual Storyteller. Nora recently directed the first FIFA original documentary that focuses on Nigeria Debut into the world cup in 1994, and worked on Dr Sid’s directorial debut as the Director Of Photography for THE ORDER OF THINGS. The short films and documentaries produced by Nora and her team at Rixel Studios have been screened at international film festivals.

She has worked on several high-profile projects with reputable brands like Netflix, Nat Geo, Tecno, Sterling Bank, Zero Degrees, Duplo, Mastercard Foundation, Chipper Cash, Leadway Pensure, Zebra Stripes Network, Action Aid International, Visa Nigeria, GitHub, and other topnotch organizations.

“Visual Storytelling is one of the most powerful ways to put bland ideas into the world today. I want to use visual storytelling as a tool to inspire the world and make impacts. My dream is to intentionally get better at what I do, work on global projects, and be one of the best Cinematographers to come out of Nigeria and Africa. As a woman, there are no rules, it is possible!“

 

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Joey Lit (@joey_lit)

Jonathan Coffie, popularly known as Joey Lit, was born on August 28,1995 in Tema, Ghana. As the Co-founder, Designer and Artistic Director of Free The Youth, he has built the brand to become one of the biggest streetwear labels in West Africa. From 2014-2018 Joey went to school for Electrical Engineering and later worked for the military for his national service. While in school he began to dabble in fashion design, styling and creative direction before working as a creative full time and using the power of his brand and digital community. With his style, authenticity and creativity, Joey Lit has worked with numerous organisations and brands across the world including Virgil Abloh, Nike, Facebook, Sony Music and United Nation, Wizkid amongst others. Through fashion and design, Joey’s mission is to create a space for young African creatives globally.

 

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ICYMI: Read our latest digital cover story, ‘Project Runaway’

Wande Coal & EMPIRE Share New Love-Tinged Video For “Umbrella”

Posted on by Emmanuel Esomnofu

EMPIRE has been consolidating on their wins, and rightly so. Over the past year the record label has worked with some of the biggest artists across the continent, establishing their name within discussions about Afropop and its influential stakeholders. Some weeks back, word about a compilation album from the San Francisco-based label went out. ‘Where We Come From’ got a great set-up when Kizz Daniel released the effervescent “Cough (Odo)” a fortnight ago to credible reception as it went number one on all streaming platforms. 

 

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Wande Coal is now set to extend the run of the project with a new single. Asides recently being in the news for getting his classic ‘Mushin 2 MoHits’ on streaming platforms, it’s been a while since the musician released solo music. All year through he’s collaborated with Olamide (“Hate Me”), BNXN (“Kenkele”) and Vector (“Mama Maradona”), his electric vocals typically forming the songs’ catchiest parts. “Umbrella” grants Wande Coal the luxury of space, and his magnetism doesn’t fail to leave an impression. 

Vibrant, colourful percussions lend a visceral feel to the production, and Wande Coal delivers sweet notes all through the three minutes run-time. Way back from the unforgettable “Ololufe,” he’s proven himself to be a master of love affirmations. Cooing assurances with a signature playful lilt, the veteran emerges with a record that oozes the timeless emotion of sacrifice “Umbrella is meant to celebrate love and how protective, special, and full of life it makes you feel,” he said, describing the song’s vision. The record is co-written by Grammy-nominated producer Sak Pase alongside additional contributions from Sean Kingston. 

 

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The Austin McCracken-directed visuals retain the song’s warm vibe, playing out in a number of scenes which are traditionally known for their lovely intimacy. In the opening scene Wande Coal plays on the piano as a wedding proceeds, the beautiful bridesmaids forming a lively backdrop. Guests and other relevant figures in the wedding contribute to the movement, while Wande Coal also showcases the famous dance steps that got him onto the radar of MoHits those many years ago. “If you say make I stay for love for oh, I go stay for love oh,” he repeatedly sings on the catchy chorus, embellishing the song’s later parts with signature adlibs. 

“It was an honour to sign Wande Coal,” said EMPIRE’s Vice President of A&R Tina Davies. “As a forefather of the Afro Fusion genre we wanted to make sure we highlighted him on this project. Outside of being an amazing person, he approaches this record from a pure place of love”. 

Wande Coal surely belongs in the pantheon of Afropop greats and this release only stokes more excitement for what EMPIRE has coming. Earlier revealing the album had been recorded in their San Francisco headquarter after The New Africa showcase which happened earlier this year. “Umbrella” taps from this communion of artists and sounds, and carried beautifully by its attendant visual, continues the phenomenal run-up of EMPIRE to their now highly anticipated compilation album. 

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ICYMI: How Jesse Jay created the visual world around Kirani Ayat’s ‘Aisha Sun’

Our First Impressions Of Blaqbonez’ New Album, ‘Young Preacher’

Posted on by Damilola Animashaun

In the Nigerian music ecosystem, Blaqbonez occupies a coveted position. Toeing the same lines created by M.I Abaga, one of Africa’s finest rappers, Blaqbonez has managed to find a balance between critical acclaim and commercial success. The Nigerian music scene is currently pop-dominated, and one of the genres that have been relegated to the background is Hip-Hop, once a great musical export from our earliest musical history. Nowadays, some Nigerian rappers have found a way to get a piece of the national pie: by fashioning radio-friendly rap songs. It is in that space that artists like Blaqbonez have built a home.

 

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Earlier in the year, Blaqbonez hosted an anti-love crusade titled ‘Breaking The Yoke of Love’ to support the debut LP. For months now, he has teased the release of his sophomore album ‘Young Preacher,’ and has backed this up with many different forms of promotion. Earlier this month, Blaqbonez got the world talking with the official music video for “Back in Uni,” the lead single off his forthcoming sophomore album ‘Young Preacher.’

The “Back in Uni” video, which serves as Blaqbonez’s debut as a video director, was born after his funny exchange with renowned Nigerian music video director and cinematographer TG Omori. Teaming up with Abdulrasaq Babalola, Blaqbonez recreated snapshots from music videos of popular Nigerian artists—Ayra Starr, Ruger, BNXN and Oxlade, among others. The video, which has three million views, exhibited Blaqbonez’s nascent talent as a director and raised anticipation for ‘Young Preacher.’

Now that Blaq has the attention of listeners, his most recent LP ‘Young Preacher’ arrives today. In our typical fashion, we share our thoughts on the album, from best song to stand out production, biggest potential hit, biggest skip and more. Tap in. 

Best Song

Emmanuel: There are two kinds of Blaqbonez on this album: one is the Drake-influenced spitter, a chronicler of late night emotions and wild moments. The other is more pop-oriented, moving by the ebbs of what’s happening in the mainstream. I find out that on this album, the former carries its story more wholesomely. “I’D BE WAITING” this happens to be my favourite now, combining lived-in honesty with Blaq’s effortless swag as a rapper. Cue in the Asa sample and you have a wonderful closer, quite easily the most important song on the project. 

Dennis: For now, I’ll go with “Whistle”. I really like Lojay’s hook, and I think it’s a summation of what Blaqbonez is trying to achieve with this album: Hedonism backed by cynicism. It’s not exactly “Bling”, but I can see the appeal as a colourful pop-rap song.

Moore: It’s hard to pick just one song, but I’d have to say the opening track, “Young Preacher”. The song has an undeniably 90s influence that brings up a pleasant sense of nostalgia. The backing vocals along with the instrumentals give the song a spiritual quality that suits the name of the song, and makes this a strong opening for the album.

Standout Production

Wonu: The most distinct production on this album for me will be the interlude, “She Like Igbo.” I’ve said this countless times, Ozedikus is a genius. His production will always standout and shine whether it’s in an interlude or not. The record fuses sounds from the ‘90’s and blends in such a way that allows Blaqbonez to slide over the production with his bars.

Uzoma: It’s the shortest track on the album but I love what Ozedikus did on “SHE LIKE IGBO [INTERLUDE].” For me, the production stirs nostalgia. I think it’s a blend of both modern and 90s sounds. The beat builds up slowly and by the time it reaches a crescendo, all the instruments—from the drums to the saxophone—come alive. And the saxophone solo is excellent.

Best Guest Verse

Uzoma: Lojay’s hook on “WHISTLE” is one of the best guest performances on ‘Young Preacher.’ I like the way he wraps his vocals around the production and gets you bobbing your head to the song. On “RING RING,” I love Tay Iwar’s deft flow; he continuously shows that he can feel at home on any track with any artist.

Emmanuel: You go into a song with Lojay, you know he’s bringing out an arsenal of sleek writing. He’s admittedly the best feature on the project, delivering a hook that has all the qualities of a classic. I was positively impressed by Tay Iwar’s verse on “RING RING” as well, where he efficiently folded his soulful vocals into the Trap direction of the record. It’s a fine example of an artist stretching themselves, and Mr. Iwar has been seldom found lacking when he gets on features. 

Moore: It’s pretty hard to have both Amaarae and Lojay feature on a song and not choose it, so I definitely have to say “Whistle” has the best guest verse. Amaarae’s ethereal voice and Lojay’s smooth vocals contribute to this feel good track, elevating it to be a truly memorable listening experience.

Biggest Skip

Dennis: None right now, which isn’t necessarily a good thing because I’m not all in on this album yet. But considering how much better I thought of ‘Sex > Love’ over the following months, the trend points at positive approval.

Moore: The biggest skip for me will definitely have to be “Loyalty”. After so many high energy songs, this song feels like a bit of a slump. It’s also too many things at once to make for a comfortable listening experience. It’s far too low key to be played at a party, but too intense to be listened to in a more laid back setting. While not a bad song by any means, it’s the one I’m least likely to replay.

Daniel: None at the moment. 

Biggest Potential Hit

Wonu: The biggest potential hit will most likely be “Whistle” with Lojay and Amaarae, the way Lojay opens this record and positions his voice on this beat is everything. The collaboration is one I certainly did not see coming but I’m impressed by. Amaarae also holds down the track with her sultry vocals and allows herself to shine regardless. Blaqbonez ties the whole song together as he delivers a melodic rap verse in between. This particular track is most certainly going to be spun by many different people. 

Daniel:‘WHISTLE has the biggest chance of being a straight hit. Lojay has shown time and time again that he won’t come on a feature to take the back sit. On ’ Lojay took center stage on the hook of the track giving it a soothing rhythm. Amaarae had a good showing out on the track. Blending this with Blaq flows, ultimately this track has the potential to be the standout hit. 

Nwanneamaka: Huge fan of Amaarae so maybe there’s some bias but I’d have to say “Whistle”. Lojay leading the track draws your attention immediately and is accompanied by Blaqbonez’ sick flow. I’m anticipating Amaarae’s mellifluous vocals though and they certainly surpass my expectations. Her verse is a standout on the track. 

Overall First Impression

Dennis: I’ve been ambiguous about almost every Blaqbonez project I’ve ever heard on first listen. It’s the same with ‘Young Preacher’, but it’s not because the music isn’t good. In fact, I’m going out to say this album is better than last year’s debut LP, but I’m one of those people who believe Blaqbonez is hiding some depth behind the veneer of being young, successful and sex-crazed. And I’m not talking about bleeding introspection or mazy themes, it’s more about nuance and specifics in how he presents and explores his chosen themes. The one thing that’s sure is I will run this album back again, because the music sounds good – and maybe I’ll take Blaq as he wants to be accepted.

Nwanneamaka: I’ve never really been a listener of Blaqbonez with the exception of his one song with Amaarae and Buju, “Bling” and some other tracks off ‘Sex Over Love’ but with this new album my perceptions of the artist are taking another direction. On a first listen, I was pleasantly surprised by a number of tracks like “Whistle” and “Star Life” with its subtle amapiano infusions. I’m sure I’d have more favourites as time passes. 

Emmanuel: The ever-rising profile of Blaqbonez has been inspiring to watch. In his ambition for pop success, he’s pulled all the stops, from dropping conceptual projects to planning out elaborate roll-out plans and concerts, and on ‘Young Preacher’ he just stops and takes it all in. It’s a well-crafted project, featuring some great highs which cumulates in that powerful closer. The album does sound like a grower though, and it’ll be interesting to observe which songs really pick on from here. As a continuation of Blaq’s hedonistic, story-laced direction, no doubt it’s a success, with even more cohesion than its predecessor.

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Blxckie Shares His New EP, ‘THE4MULA’

Posted on by Uzoma Ihejirika

Earlier in the year, South African artist Blxckie dipped his feet into R&B/Soul with his EP ‘4LUV,’ purging his emotions about love and its all-encompassing power. The project showed a different side of the Durban-born artist as he chose to sing over smooth beats, a contrast to the Trap bangers like the Lucasraps-assisted “Big Time Sh’lappa.” Since releasing his debut album ‘B4NOW’ last year, Blxckie has risen to one of the exciting Hip-Hop voices on the African continent.

“I’m a student of the game, so I always see myself as being at the right place at the right time,” Blxckie told Hype Magazine. “I have no competition ’cause I studied enough to find a gap that I can only fit into and I can only do the things I do on songs or just as a character in general. I guess, over the years the platform I have and the number of people I’m talking to gets a little bigger, so I have to adjust to that, I’m also always looking to improve my skills as an artist, so I explore different techniques and learn things often just to impress myself.”

‘THE4MULA’ is his latest project. It marks a return to the Trap-leaning productions and braggadocious raps that Blxckie has been known for. Behind the boards are some of his trusted collaborators like Swervo and Herc Cut The Lights. He told DRUM that he began work on ‘THE4MULA’ three months ago and that the project “outlines the moves he made and the type of music that started his journey.”

The project starts on a high note with “plug call (freestyle)” as Blxckie brags about his success and the lavish lifestyle he enjoys. “Hip from beginnin’, I’m the lieutenant/Came with the paint, changin’ the image,” he raps. He carries that energy into the hard-hitting “ronda,” as he raps, “Fuck it, I’m searchin’ my name on the browser/It say I’m great and I’m breakin’ the boundaries, ayy.”

On “​werrkk,” Blxckie and fellow South African artist Willy Cardiac keep the energy as they drop bars about the prosperous lives they lead. “​khuphuka,” which was released as a single in May, makes an appearance on ‘THE4MULA.’ Over production by Loud Haileer, Christer, Herc Cut The Lights and London Rhodes Co., Blxckie boasts about the smart decisions he has made to advance his career.

In September, Blxckie was nominated in the Best International Flow category at the 2022 BET Hip-Hop Awards alongside Ghana’s Black Sherif, UK’s Central Cee and Zimbabwe’s Nadia Nakai, among others. A month prior, his album ‘B4NOW’ won the Best Hip Hop Album award at the 2022 South African Music Awards. Blxckie’s win was special in the South African Hip-Hop community because ‘B4NOW’ was released during the COVID-19 pandemic.

“Lyrically I don’t even gotta do much, I talk ‘bout my day and that shit turn out litty,” Blxckie raps on “abdullah flow freestyle (Redbull 64 Bars).” The track is a fest of impressive flows and the beat switches make it one of the memorable tunes on ‘THE4MULA.’ On the Crxigcreates-produced “investigate,” Blxckie invites South African rappers K1llbrady & SCUMIE to beat their chests and mock their detractors. “I don’t need to say much, the money talk fluent/All I know is get money, you’d think I was stupid,” K1llbrady raps.

The braggadocious raps continue on “sss” and “together,” with Blxckie showing his vocal dexterity. The project ends with “kwenzekile,” which features Madumane (DJ Maphorisa’s alter ego) and Chang Cello. Released in 2021, the track differs from the other tracks on the project with its Amapiano rhythm. On it, Blxckie expresses gratitude for the successes he has achieved in his career.

“I feel like my versatility has become a challenge for myself and listeners, not a bad one really but just something to think about and tackle on my musical journey,” Blxckie told DRUM. “This project is just another way to reel everything back to the basics and refresh the listener’s mind as to what got me here.” ‘THE4MULA’ shows that the 22-year-old artist believes his to have to blueprint to take South Africa’s rap scene to another level, as he infuses his skills with masterful productions.

Stream ‘THE4MULA’ below.

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Listen to “Money & Love,” the new single off Wizkid’s album ‘More Love, Less Ego’

Posted on by Nwanneamaka Igwe

Wizkid is only getting better and better. Since the release of ‘Made In Lagos’, Wizkid has soared to greater heights off the back of the album which featured some of his career best singles. Shortly after its release, ‘Made In Lagos’ began to push some serious weight in the music world, particularly in the US where the Tems-assisted “Essence” penetrated the Billboard Hot 100 charts and landed both artists a Grammy nod.

Following the astronomical success of the “Essence”, Wizkid then announced an official remix with Justin Bieber alongside a deluxe version of the project. ‘Made In Lagos:Deluxe Edition’ featured standout tracks like BNXN assisted “Mood” as well as stunning solo performances on “Anoti” and “Steady”. Months later, he followed these with a slew of colourful videos for the more popular tracks on the project including the Tay Iwar and Project-assisted “True Love,” further expanding the world around his magnum opus.

Now, Wizkid is ready to bring the world around his new album, ‘More Love, Less Ego’ into full view. While teasing the new album release, Wizkid has kept fans appetites intrigued each step of the way, with collaborations and videos that have further served to lay the groundwork for its eventual release.

Months back, he shared the Soso and P2J-produced “Bad To Me,” a delightful track with romantic lyrics that proved Wizkid’s penchant for experiementation. With audible influence from Amapiano, Wizkid weaved together a soulful banger with warm, serenading verses in the intro “This kind of body don dey cause a migraine / Lady, girl your body bad to me” and iconic lines like “casamigos, for my amigos”. 

 

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Just days after sharing the colourful new video for “Bad to Me”, Wizkid has hit back with a new single titled “Money & Love,” the second promotional single off the forthcoming ‘More Love, Less Ego’ which is due for release next week Friday. Produced by P2J, the track reintroduces us to Wizkid’s suave, confident side as he praises himself while serenading his love interest.

Wizkid’s melodious vocals rides the wave of the groovy beat as he croons on the catchy hook, “My pocket full of money o, my heart full of loving o/ Nobody better for the dance I know, Fine lady she day bounce along.” With these tracks, we can expect more tunes preaching of love, accompanied with Wizkid’s subtle sexual innuendos.

The Afropop sensation has set the bar high for what we can expect from the project, and with his fifth studio album, ‘More Love, Less Ego,’ which is only a week away. Slated for release on November 4, the album will feature a talented spate of local and international artists including Ayra Starr, Buju Banton, Lauryn Hill, Don Toliver, Travis Scott, Naira Marley and more. At this stage, it is clear that Wizkid is ready to push the envelope on his music once again, and reaffirm his place once more in the Afropop canon.

Listen to “Money & Love” below and pre-save ‘More Love, Less Ego’ here.

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

ICYMI: WHY R&B DESERVES MORE RECOGNITION IN NIGERIAN POP CONVERSATION

Songs Of The Day: New Music From Phyno, Rowlene, Johnny Drille & More

Posted on by Emmanuel Esomnofu

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

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

PSYCHO YP – “STRONGER” FT. ZLATAN

Collaborations offers fitting in-roads to explore fresh sounds and Psycho YP knows this all too well. The revered Abuja-based rapper has embodied that ethos all through his career, and his latest single toes a similar path. “Stronger” is a colourful bop with energetic performer Zlatan, and alongside his visceral delivery and humorous adlibs, YP’s cool flow provides a fitting antithesis which embeds an array of vibes on the record.

YEMI ALADE – “BADDIE”

For those who’ve noticed, Nigerian singer Yemi Alade has been extending her relevant genres all year long. Where she’s typically delivered dance-ready bops on heavily percussive backdrops, she’s now leaning into Caribbean sonics. Earlier this year, her collaboration with Dancehall legend Spice gave an indication of that new direction and she sticks to it on her latest record. “Baddie” demonstrates Yemi’s endearing hang on the genre, exciting with Patois-dented flows layered over the zesty, synth-heavy beat. Quite peaked to hear the project that results from this fine run of electric records.

CRUEL SANTINO FT. LOLA – “OMOGE WA JO”

As part of Spotify’s Singles Cover, the enigmatic Cruel Santino unveils a new record. His first since the immersive, intergalactic ‘Subaru Boys,’ the attendant psychedelia follows through on “Omoge Wa Jo”. Electric movements are employed by Santi as he flits between subjects with a deliberately distracted air, using one liners and softly-sung refrains to fill in the spaces created by the bouncy alt-rock drums and Disco-esque keys. Lola’s svelte vocals colour the song’s latter parts, while the visuals perfectly translates its playful and upbeat direction.

JOHNNY DRILLE – “JUMOKE”

Tender folk-inspired music formed the first phase of Johnny Drille’s music, but the Edo-bred musician and producer has entered broader plains in recent times. Last year’s debut album ‘Before We Fall Asleep’ was indicative of his growth, combining an array of genres which set an amorphous path for him going forward. On his new EP ‘Home,’ the honey-toned artist captured pop sensibilities in a way he’s seldom done before, placing collaborations with The Cavemen, Phyno, Don Jazzy and Adekunle Gold side-by-side with his alternative roots. “Jumoke” is the most pop-leaning record on the tape, bursting with colourful drums and some of JD’s most catchy affirmations yet.

CINA SOUL & CAMIDOH – “WAITING”

For years now, Cina Soul has been one of the more ingenious artists operating in the Ghanaian music scene. Blending folk and R&B, she’s emerged with a sound as old as it is new, building its own rhythms and capturing lovers of a certain vibe. Camidoh shares the same qualities, even if he’s more pop-attuned than Soul. On “Waiting” however, both artists combine for a refreshing duet. The tension of being disillusioned in a relationship provides the emotion to their vocals, which the luminous production gracefully carries.

THE KAZEZ FT. OLADAPO – “STALLION”

uNder alums The Kazez have just shared a new release titled ‘2nd Pair.’ Of the two songs, the Oladapo-assisted “Stallion”  has more hit potential, carrying on the vibrant movements of Amapiano-tinged production and the musicians’ accomplished singing. With a cache of bad boy lyrics folded into the sultry nuances of the Yoruba language, the record has the sort of energy you’d want to come across going into a new weekend. Plus there’s an assortment of spiritual-esque chants forming the backdrop, imbibing several layers on the record.

RITON, MAJOR LEAGUE DJZ & KING PROMISE FT. CLEMENTINE DOUGLAS – “CHALÉ”

2022 has seen Dance music enter more purposefully into global music conversations, and another groundbreaking moment has been put in front of us. On this stacked record, revered UK Dance producer Riton and Amapiano stalwarts Major League Djz provide the magnetic production for King Promise and Clementine Douglas to shine over. “Chale” captures the communal energy that makes Dance so enjoyable across cultures, bouncing with summery groove amplified by the chants on the chorus.

PHYNO – “BBO (BAD BXTCHES ONLY)”

While Phyno is more revered for his rap skills, the Enugu-bred musician has also delivered some of the most striking anthems Afropop has ever heard. From “Alobam” to “Kush Music” and “Highway,” he’s mastered the art of pulling an entire demography into his sonic world. His latest release plays to the sped-up Amapiano direction of the Kaywise collaboration, but this time Phyno goes the solo route. “BBO” sees him in stellar, razor-sharp form, unfurling innuendos with the cheeky Igbo expressions he’s known for. A well-crafted hook with a fine supply of crowd vocals also hints at this record becoming a very big hit song, especially in Nigeria’s southeast and internationally.

BLOODY CIVILIAN – “HOW TO KILL A MAN”

In the past few years, we have seen more musicians from this side embrace the auteur role in their music. They produce, sing/rap, and control their visual interpretation. Abuja-bred Bloody Civilian is cut from this ilk, and it’s audible in her music. “How To Kill A Man” is her debut single, and goes the eccentric path with full drums and edgy lyricism, quite emo in her direction. It’s however refreshing how lived-in her songwriting is, subverting the title and complementing the bold flourishes of the sound.

ROWLENE & WURLD – “ONLY”

Talented South African singer Rowlene embodies the bubbling influence of R&B in its music scene. Having delivered on several hit records and deep cuts over the years, her name is pretty much synonymous with luscious, evocative soul-stringing music. “Only” reinforces those abilities, but this time she’s joined by a similarly soulful musician in the person of WurlD. Together they wrap warm melodies around the slow burn of its production as they promise unending faithfulness to a lover.

NAKHANE – “DO YOU WELL” FT. PERFUME GENIUS

Queer manifestations and discourses of sexuality has provided the music of Nakhane with eclectic pomp. With varying psychedelia influences, their songs have the ability to suck you into an immersive, sweaty world. “Do You Well” combines those qualities with the famed art pop style of Perfume Genius, emerging with a brilliant, effervescent record that wields the life-spinning force of an epic. “Stay in the light, so I can see your face,” they repeatedly sing over disco-tinged bursts, following a dramatic sequence that is beautifully reflected by the poignant visuals.

ROYAL EZENWA – “BALANCI”

Otherwise known as the Prince of Anambra, the music of Royal Ezenwa combines vibrant nearby influences and those from around the world, emerging with a distinct take on his Afro Fusion sound. His latest project is titled after himself and features exciting Afropop talents BNXN, Oxlade and Boy Turn3r. On this mid-tempo standout, Ezenwa however goes the solo route. “Balanci” toes the contemporary path, combining colourful percussions with the lamba-streaked lyrics of Ezenwa. If you’re a fan of that tropical ‘Made in Lagos’ vibe, you’ll want to check this out.

SHINE TTW – “NO RELIGION”

Produced by the accomplished duo of Spax and TUC, “No Religion” brings to life the urgent, introspective thoughts of ShineTTW. The set mood is ambient but with splashes of groove that doesn’t fully come alive, but rather brings another layer to the record. On his part, the musician evokes vivid images of a gritty reality, connecting the personal travails in his trajectory with the larger motions of a community. “I’m in the land of no religion,” he sings admittedly in the hook, hoping that his sins are forgiven.

NCVRD: How Jesse Jay created the visual world around Kirani Ayat’s ‘Aisha’s Sun’

Posted on by Dennis Ade Peter

In mid-September, Ghanaian rap artist Kirani Ayat finally released his long-delayed debut album, ‘Aisha’s Sun’. For a project that had been nearly half-a-decade in the making, and almost entirely scrapped for its current version, it came with the stakes of being a resounding statement, especially for an artist that had spent the more recent years of his career trying to move past the idea of what could have been.

‘Aisha’s Sun’ is one of the most inventive and self-assured rap albums from this side of the world in 2022. Leaning heavily into his Hausa heritage, tapping the distinct twang of its folk music and wholly embracing a culture shared across multiple countries in West Africa, Kirani Ayat presents himself as a man with his own identity, furnished by the support of his family, buoyed by the lessons he’s picked up in the years, and confident that he’s walking the path meant for him. Even if you don’t understand Hausa, the language he predominantly raps and sings in, the qualities of the album are palpable.

Just like the eyes are the window to the soul, the window to the soul of ‘Aisha’s Sun’ is its wonderful cover art. Vivid and smouldering, it aptly pre-empts the intensity of the album, as well as the rustic overtones that guide the project, both musically and parochially—via Kirani’s undying love for his hometown of Madina. “Everything done on this cover was deliberate,” cover art illustrator and designer Jesse Jay tells me over a Google Meet call, going on to breakdown the importance of the elements that make up the cover.

Before he got to illustrating, Jesse sat with Kirani Ayat, who gave him an in-depth view into his music journey and how it tied into ‘Aisha’s Sun’, creating a well of inspiration for the artist to draw from. Before that, the two had never met, only connecting through the production company Jesse works with, North Production.

A self-taught artist, Jesse Jay started off his art journey by doodling like many young kids, eventually using the internet as the tool to further his skill. “I just knew I loved art,” he tells me. Transitioning from portraiture to concept-fuelled work fairly recently, this cover for ‘Aisha’s Sun’ shows that his “blend of abstract and realism” is clearly driven by both his ability to create imaginatively and synthesise relevant information.

Our conversation with Jess Jay follows below and has been lightly edited for clarity.

NATIVE: Do you have a formal background in drawing?

Jesse Jay: No, I never went to art school or anything like that. I just knew I loved art. I always had screen savers of people’s art on my phone, I read a few articles on how to draw, how to paint, and started practicing. I mean, I did little sketches as a kid, like those chairs and tables that we did when we were younger. Then I progressed to drawing more complex stuff, like human beings, in a very minimal way. That’s how I evolved.

Can you remember your first commission when you started taking illustrating more serious?

My first commission was basically portraits of a few people. I just really transitioned into drawing concept illustration. The portrait work was like five years.

What was the motivation behind that transition?

For me, I’ve always loved to create illustrations that cannot be exactly mimicked on camera. I always like to have a blend of abstract and realism, so I can work with different colours, different textures and strokes.

For a self-taught artist, how did you know you were evolving on the right part?

Basically, I follow other artists who are really good and clearly have a lot of experience and skill. Like I said, I read articles and I watch videos, and I also practice a lot. That’s how I know I’m learning.

 

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What was your first music industry-related gig?

I did a cover art, just something I was playing with—it wasn’t commissioned. It was for a song by Medikal and Joey B, “Green Tea”, like two or three years ago. That was the beginning of my concept art journey with relation to music, it was more like an experimental process for me. It had some buzz, got some followers and recommendations here and there. Right now, I work with a team, North Productions, and that was a part of the process for me.

Is that how you connected with Kirani Ayat?

Yeah. I’d never met him, it was my boss at North Productions that introduced me to Kirani and gave me the opportunity to work on the cover art.

What was the process like for ‘Aisha’s Sun’?

It was a fun and interesting project. I enjoyed every bit of it, because it was more like him describing his story, what went on with his music career. Apparently, Kirani Ayat was living with his grandma, but his mum wasn’t supportive of his career as an artist, and his grandma later got influenced by his mum, so she also didn’t like the fact that he was in the music industry. Years after, they finally gave him that support and blessing for his music career, and they backed him spiritually with prayers.  That was one of the things he described as a background for the cover, and we just went from there.

Were you able to sit with the music as well?

After he described the whole story, he shared a links to some of the project, because he was still wrapping things up. I listened to some of it, not the entire album, and it also really helped with inspiration.

The best way I can describe the cover is vivid. What were the intentions behind creating the cover?

Everything done on this cover was deliberate. I started off with the background. Kirani comes from the northern part of Ghana, it has lots of red dirt on the ground, so I was inspired by that and you can see it on the cover. Instead of a blue sky, I wanted to exaggerate so I made it a red sky and it matches the sort of dusty environment around him. The sun behind him is his grandma and mum. ‘Aisha’s Sun’ is a homophone of the word son, so if you are a sun, that means your parent or whoever is taking care of you is a sun. The sun depicts energy, it depicts life, it depicts family as a circle, and it depicts positivity and confidence.

Then there’s the little circle on his neck with chalk which flows into these wavey strokes, and that’s a representation of his sound. There’s a red scarf on his neck depicting bloodlines. If you look closely, the road is more like a triangle, a pointing arrow. There are huts on the sides, just like a depiction of community and to give some symmetry, and the cable in the back depicts the township.

Were you also responsible for the text selection, because that’s really eye-catching?

Yeah, it’s actually custom made for the album. It was done from scratch by me.

Did you have to go through multiple sketches of these parts for the cover?

Nah, it was just one take. We had a lot of references to go through—mostly pictures of Kirani—and the story he also provided was inspirational. The whole idea was to create some earthy and something traditional, because of the sound. With him shirtless on the cover also, it just fit that direction.

NCVRD: HOW SINALO NGCABA CREATED NATIVE SOUND SYSTEM’S ‘NATIVEWORLD’

Tems scores co-writer credits on Rihanna’s “Lift Me Up”, a new single off the ‘Black Panther 2’ soundtrack

Posted on by Nwanneamaka Igwe

6 years since her critically acclaimed album ‘ANTI’, Rihanna has taken a much needed hiatus from releasing any solo music as she delves into a plethora of business ventures. With the exception of “BELIEVE IT” off PartyNextDoor’s ‘PARTYMOBILE’, Rihanna has steered away from the scene, dodging album enquires from interviews and her social media comments section. From Fenty Beauty, Fenty Skin and Savage x Fenty and recently Fenty Eau de Parfum and Savage x Fenty sport, Rihanna has proven to be a cultural icon far beyond the music industry.

Finally, the music and business mogul is making her come back to the scene with a single for ‘Black Panther 2: Wakanda Forever’. “Lift Me Up”, the lead promotional single for the highly anticipated film, features writing credits from BET award winning singer and songwriter, Tems. She is assisted by Rihanna, the film’s director, Ryan Coogler and Ludwig Görransson, Swedish composer and record producer for the ‘Black Panther:Wakanda Forever’. The track serves as a tribute to the life and legacy lived by the late Chadwick Boseman who played T’Challa in ‘Black Panther: Wakanda Forever’

 

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Speaking about “Lift Me Up”, Tems says “After speaking with Ryan and hearing his direction for the film and the song, I wanted to write something that portrays a warm embrace from all the people that I have lost in my life. I tried to imagine what it would feel like if I could sing to them now and express how much I miss them.” On working with Rihanna, Tems shares “Rihanna has been an amazing inspiration to me so hearing her convey this song is a great honour”

The news of Tems’ collaboration, out October 28th, comes shortly after Nigeria was set to host the African premiere of ‘Black Panther 2: Wakanda Forever’ in Lagos and months after the release of the movie’s trailer which featured a cover of Bob Marley’s “No Woman, No Cry” by Tems. The track which was also accompanied by “A Body, A Coffin” performed by Ghanaian sensation, Amaarae.

Ahead of its release November 11, 2022, watch ‘Black Panther 2: Wakanda Forever’ trailer here.

Featured Image Credits/NATIVE