NATIVE Exclusive: PsychoYP Continues His March Towards Rap Dominance With ‘YPSZN3’

Posted on by Uzoma Ihejirika

PsychoYP is one of Nigeria’s finest rappers. At age of 18, the Abuja-bred act started his career with 2016’s EP ‘Lost In The Sauce,’  showcasing a polished skill set of over Trap-flavoured beats that earned him a cult following. With 2018’s ‘YPSZN,’ the rapper, born Nicholas Ihua-Maduenyi, proved he was no fluke; he followed up that project with its sequel ‘YPSZN2,’ inviting heavy-hitters such as LADIPOE, Blaqbonez, BOJ and earning a nomination in the Best Rap Album category at the 2020 Headies. Last month, PsychoYP released ‘YPSZN3,’ which saw him dig deeper into his style, embellishing the tracks with musing about everyday life situations, whether concerning love or the Nigerian condition.

“To be honest, I just enjoy being in the studio,” PsychoYP explains to the NATIVE about his consistency with putting out projects and maintaining sonic quality. “From that first project [‘Lost In The Sauce’] till now, I learnt to engineer my stuff myself. I don’t even need nobody else in the studio.”

‘YPSZN3’ finds PsychoYP returning to work with music producers from ‘YPSZN’ and ‘YPSZN2’—Jaylon and Johnson IP—as well newcomers to the series: Jiggy YB, Likkle Dotz OTB, Malik Bawa, Princeton, Ramoni, R-Jay, Sphero Beatz, Tatchy, THK and Thrill Max. It features guest appearances from KiiWii, Swift, Odumodublvck, Alpha P, Azanti, Jeriq, Ycee, Zlatan and Barry Jhay, among others.

“There are some songs from 2019 [and] there are songs from 2020,” PsychoYP says about the process of recording the project. “But yeah, it’s just a compilation of some of my best work. So when I’m ready for [the] album, you will know I sat down somewhere to do this album. But these are like mixtapes, just crazy stuff that I do because I do record a lot.”

Throughout ‘YPSZN3,’ PsychoYP hops from Trap, Grime, Drill, Afropop to R&B, laying the songs with lyrical dexterity, infectious multi-layered flow and creative sensibilities. On the James Brown sampling “Drop That Shit,” he, KiiWii and Swift drop braggadocios lines; on “Bando Diaries,” he acquires an excellent verse from Odumodublvck; he pushes past his comfort zone on the Amapiano-influenced “Stronger” with Zlatan; on “My Country People, Haffa?” he, Jeriq and Reeplay tackle the Nigerian situation on “Commitment Issues,” he addresses his aversion to romance. PsychoYP’s favourite songs of the project include “Silent Mode,” “Relax,” “Put in Stone,” “Dangerous World” and “Scandalous.”

On his choice of features, PsychoYP states that it is all a matter of what the track demands. “I feel like sometimes when I record a song, I just finish it myself but sometimes I actually leave space just because I feel [the song] needs somebody,” he says. “I’d listen to the track a couple [of] times and know who exactly it needs. [And] most of these people are my people. I don’t really go far in thinking about who I need on a record. I just give it to one of my guys who I know can kill it. That’s how it works. Swift from Section Boyz on ‘Drop That Shit,’ I think he followed me back on one random day and he fucked with ‘Bando Diaries.’ And I was like, “Bro, let’s do some shit.” And I sent him two songs. He picked one and he sent back the verse immediately. It was crazy.

“And Jeriq. Me and Jeriq had ‘My Country People, Howfa?’ [It] was actually meant for me and Jeriq’s project but I just had to take it and put it on this [‘YPSZN3’] to tease niggas a bit for that project. And Barry Jhay as well. Barry Jhay just hit me up one random day on Instagram. I was like, “Bro, we have to work, man” but he’s not trying to work on any Nigerian stuff or any…he doesn’t want to speak Yoruba. I sent him the [track] and he was like, he fucks with it. He sent back his verse immediately.”

 

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‘YPSZN3’ was recorded across Lagos, Abuja, London, Birmingham and Manchester. In some cases, PsychoYP and the producers never met in the studio to record the project; instead, they shared beats online and turned them into hit songs from different locations. “Most of my producers like Malik Bawa, Johnson IP [and] Jaylon, all them guys. I started with them,” PsychoYP says. “These are people that they weren’t producing like this before. They were making good music and I could hear that so I took all these niggas and put them in a group chat and just told them to start working with themselves. And all of them just levelled up, bro.

“So these are still the same people I work with. The only new people I started working with on this project are Sphero Beatz and R-Jay. These are people in England but they fuck with my sound so much they send like 200 beats, bro. R-Jay sends like packs of beats every month.”

In August, PsychoYP was billed as a performing artist on Rema’s North American tour for ‘Rave & Roses,’ traversing from Houston, Dallas, Atlanta, Boston, Philadelphia, Silver Spring to New York. PsychoYP described those moments as “lit” and “crazy,” as he was happy to be in a country where his craft was valued and recognised as an art form. “Big shout out to Rema,” he adds.

PsychoYP belongs to Apex Village, the Abuja-based hip-hop collective and label that he heads. In 2019, he and his close-knit circle of friends and collaborators—Zilla Oaks, Ayüü, Kuddi is Dead, Marv OTM and Pablo Herbs—released their first project ‘Welcome to the Ville,’  which served as the group’s official introduction. “Apex Village is a collective of some of the most talented people I know. They’ve all made a lot of things so easy for me and I can only do the same for them,” PsychoYP told OkayAfrica. “It’s one thing to just be in a group of talented people and it’s another thing to be in a group of talented people where everyone can feed off everyone’s energy and give it back 100% in everything we do. I know there’s a lot of people who’d love to be in a setting like this.”

In 2020, Apex Village signed Nigerian singer Azanti; that year, Azanti and PsychoYP put out ‘YP & Azanti, Vol. 1,’ adding to the numerous collaborative projects under PsychoYP’s belt. “Firstly, it’s me giving someone the platform I know that they deserve,” PsychoYP says of his knack for collaboration. “And then if I fuck with someone that much to make that many songs with the person to the point that we have a project, that means that project might probably just drop. I just fuck with the fact that me and someone can churn out music quickly because I make music quickly.”

In recent years, conversations have risen about the state of Hip-Hop music in Nigeria, compared to the buoyance of the dominating Afrobeats genre. In Abuja, Nigeria’s capital city, a certain group of artists, to which PsychoYP belongs, have been responsible for injecting freshness into the country’s Rap scene with their brand of Drill music. PsychoYP is sure of his place in the conversations, saying that he believes Rap music can reclaim its glory days of nationwide appeal.

“That’s why I’m working this hard,” he says. “Wherever I take it [Hip Hop] to, that’s what is going to be. It’s not like some selfish P but I’m carrying niggas and putting niggas on and doing what niggas are supposed to be doing but they are not doing.” He adds that “it [Hip Hop] won’t be bigger than Afrobeats but it will be up there.”

PsychoYP has quietened talks that ‘YPSZN3’ is the final instalment of the series. “There’s still going to be ‘YPSZN4.’ But you’re going to get an album before ‘YPSZN4,’” he says. The series, which holds a special place in PsychoYP’s heart, is definitive of his journey as an artist. “It’s like my diary where you make so much music and, you know, you gotta just put out some shit and it’s not some random shit. And you are really rapping on some real shit,” he says. “And this is how I believe artists keep their own diaries. There are songs I wish were on the project but it’s a diary, you just have to know how you are compiling it and how you are putting it out and how you want people to receive it.”

While the countdown to his album begins, PsychoYP outlines some of his plans for the future. “[There are] a couple of videos from the project [‘YPSZN3’],” he says, “I have another artist I’m bringing out. [I’m also] doing a lot of business shit. I’m on my Jay-Z shit.”

Stream ‘YPSZN3’ below.

Featured image credits/NATIVE

Turntable Top 100: Odumodublvck Debuts On The Top 100 With “PICANTO”

Posted on by Nwanneamaka Igwe

For a third week, Young Jonn’s “Xtra Cool” retains the No.1 spot with over 2.82 million streams across platforms, 51.8 million in radio reach and 15.6 million in TV reach. It is followed by EMPIRE and  Kizz Daniel’s “Cough(ODO)” which dips to No.2 on the charts sfter four non-consecutive weeks at No.1. It becomes the first song to top both streaming and radio charts in a week without being No. 1 on the all-genre multi-metric aggregate chart.

Following the release of the highly anticipated sophomore compilation project ‘Chapter X’ by music industry powerhouse, Mavin Records to mark its 10-year anniversary in the game, the album’s promotional single “Won Da Mo,” climbs to the third spot on the charts this week.

Elsewhere on the top 5, Tiwa Savage and Asake’s “Loaded” slips to the No.4 spot while Ruger’s “Asiwaju” attains a new high at No.5, and is predicted to rise within the next week. It is followed by Ayra Starr’s “Rush” at No.6 and Asake’s “Joha” which falls to the seventh position this week.

Rounding out this week’s chart is BNXN who scores a new position on the top 10 spot. Still reeling from the release of his EP ‘Bad Since ’97’ with standout tracks like Wizkid-assisted “Many Ways” and a slew of successful shows, BNXN’s new single “Traboski” debuts at No.8 this week. The song tallied 1.90 million streams (No. 8 on streaming) and 22.6 million in radio reach (No. 20 on radio). It also serves as BNXN’s eighth top ten entry in Nigeria and first solo top ten since “Outside”

Next up is Wizkid and Ayra Starr’s “2 Sugar,” off ‘More Love, Less Ego’ which slips to No.9 this week and Bella Shmurda and Omah Lay’s “Philo” which slides up two positions from No.12 to No.10 this week.  Just shy of the Top 10, Zlatan and Young Jonn’s “Astalavista” debuts this week at No.15 while Oxlade and Mayorkun’s “Bad Boy” launches at No.25. Elsewhere on the charts, OdumoduBlvck’s “Picanto” makes it debut on the chart at No.97 becoming the first song from NATIVE Records to feature on the TurnTable Top 100.

Read a full breakdown of the charts here.

Featured Image Credits/BNXN

The Best Album Covers Of 2022, Ranked

Posted on by The Native

From a listener’s standpoint, there are two sides to the music streaming era coin: on-demand access and oversaturation. To access a wide range of music with a few taps at a device is an undeniable wonder, but this unbridled ease of access and the vastness of choices at our fingertips can get overwhelming, especially when you consider how much new music comes at us thick and fast. In this post-digital wonderland where every piece of music seeks attention, the value of cover arts and images as introductory first impressions is as invaluable as it’s ever been.

No matter how highly anticipated a body of work is, a project’s cover has the power to dampen expectations or further hype. For more obscure releases, a great cover can be the difference between a listener giving the music a chance or entirely skipping it. More than attracting pieces, great cover arts simultaneously preempt the sonic adventure in the music and serve as companion pieces that heighten the experience of listening to the music. In our inaugural list of the Best Cover Arts in music from the past year, The NATIVE’s editorial team combed through projects from across the African music landscape, considering aesthetic quality and value to the music.

Including a euphoric desert blues album, a raucous eco-punk affair, a spiritual jazz odyssey and more, here are the ten best project covers of 2022.

10. Asake – ‘Mr Money With the Vibe’

Sometimes, all you need is just the perfect reference image. After months establishing himself as the newest Afropop superstar on the block, on the back of a glorious EP packed with smash hits and a few blistering guest appearances, Asake’s first album needed to be an all-time debut project. Before its release, the set-up was perfect: A cover image that aptly imitated the eternal mugshot of Colombian drug lord, Pablo Escobar. The singer’s rap sheet is different, anointing himself the most sought after man in Nigerian pop for hijacking the charts. It was a statement that ‘Mr Money With the Vibe’ would consolidate on that feat, and it did, helped along by a cover that became iconic the moment it was unveiled.

Dennis Ade Peter

9. NATIVE Sound System – ‘NATIVEWORLD’

For its debut compilation album, ‘NATIVEWORLD’, NATIVE Sound System enlisted South African artist Sinalo Ngcaba to represent the sonic textures referenced from Nigeria’s weather seasons. With the background information of the seasons and colourful songs from the album cut from the cloth of Afropop, Sinalo reflected the rich sounds using oil pastels and Procreate. Her choice of bright colours stem from her aim to create an image that, like the project, was an instant mood pick up. She shared that the bright colours “evoke such emotion and usually, the brighter the colour, the brighter the mood you get from it.” With its door bearing title, Sinalo’s cover is a warm invitation to NATIVE Sound System’s expansive, tasteful selection and marriage of some of the best sounds emanating from these parts.

Nwanneamaka Igwe

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

When looking at album covers or art pieces in general, my eyes are immediately attracted to proper composition, otherworldly lighting and smooth textures. I don’t think any Album cover from this year better embodied the captivating nature of these features as Sampa The Great’s ‘As Above, So Below’. From the earth-tone grading and Sampa’s Lotus Position to the Ethereal atmosphere and the CGI-like composure, the entire cover is the perfect accompanying piece to the music, a self-reconnecting journey that, according to Pitchfork’s Stephen Kearse, “folds together zamrock, polyrhythmic percussion, and choral harmonies.” It’s clear that a lot of thought was put into creating this cover and that same attention to detail is littered all over the album.

Israel Ajayi

7. Moonchild Sanelly – ‘Phases’

Midway through the year, South African dance-fusion singer and rapper Moonchild Sanelly shared her splendid sophomore album, ‘Phases’. On her best project yet, Sanelly is vulnerable and ultra-confident, vivacious and reflective, asserting her person across multiple scenarios in certain terms and continuing to show herself as an irreverent advocate for African women to be who and what they want to be. All of that is represented on its cover, an assembly of four different versions of Sanelly. With each version donning different hairstyles and adorned with varying outfits, the four looks range from goth to exotic dancer, representing the album’s musical range, Sanelly’s own limitlessness as a creative person, and some of the people her music always speaks to and advocates for.

Wonu Osikoya

6. Teezee – ‘Arrested by Love’

For his first solo project in nearly a decade, ‘Arrested by Love’, Nigerian rap-fusion artist Teezee exudes uncontrollable joy, evidently borne from an assurance in himself as a pioneer, community leader, talented creative and, perhaps most importantly, father. For a project partly inspired by early to mid-2000s Nollywood classics, the cover is fitting for a Nollywood plot from that period—a transformation from devil to saint. Each version of Teezee on the cover is striking in character makeup, a wonderful feat of execution, with the middle portrait of the artist carrying his son adding affection bonus points. Add in the near-bizarro typography of its title and the cover for ‘Arrested by Love’ is a cinematic precursor to the album’s vaunted show of confidence.

Dennis Ade Peter

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

A strange being menacingly reaching its duplicated arms out takes up the cover of ‘N’Djila Wa Mudujimu’. It’s an unsettling image evoking an afro-futuristic Creature From the Black Lagoon. The darkness that swallows it up from the sides also serves this an eye-catchingly unnerving cover. Led by original founder Pisko Crane, and lead singer Lady Aicha, this iteration of the Congolese band Fulu Miziki, whose moniker roughly translates to “music from the garbage” because they repurpose trash to ‘make their instruments, put together a set of futuristic grooves on N’Djila Wa Mudujimu’, taking the folksy and Congolese pop sounds they grew up on and mutating them into giddy electro-punk bangers.

Underlined by its sci-fi tone, nodding at something set in the distant future or even otherworldly, the image on the cover excellently captures the band’s preference for using things from the past to make forward-facing art. With a gorgeously textured costume made out of repurposed material, the cover represents the slightly off beat tone of the album.

Moore Wright

4. Etran de L’Air – ‘Agadez’

While matching the festive, colourful palette of the album it visualises, there’s also a dedication to realism that makes the cover for Etran de L’Air’s ‘Agadez’ stand out. Occupying a vast breadth of the landscape is the desert sand, which speaks to the acclaimed position of this band in the Saharan rock tradition. Honing their skills by playing at weddings and other events in Agadez, the album pays electric homage to the influence of the small, historical town located in Niger Republic.

There’s a packed atmosphere reflected by the Dewey Saunders cover which centralises three Etran de L’Air members. On view is the dome of a 14th century mosque, rows of animated fabrics and eco life, a motorcycle which embodies the album’s transient quality. Even the colourful kaftans worn by the members foreshadow the tactful breeziness of the songs. Considering their tough early days which sparked creative improvisation, there are few covers out this year which captures the musicians’ trajectory with such coolness, intensity and deliberation. 

Emmanuel Esomnofu

3. Maison2500 – ‘Maseverse!’

Maison2500 opened the year with the January release of ‘BUFFCORE,’ an 11-track mixtape to prepare listeners for their anticipated sophomore album, ‘Maseverse!’, which eventually arrived in July. A sprawling 22-track project, ‘Maseverse!’ is as indulgent as Maison2500 has ever been, amping up the menacing and trippy appeal of their unique blend of psychedelic trap soundscapes and serrated delivery cadence. On its eye-holding cover, Maison is somewhere between floating and falling within a picturesque scenery, where there’s lush greenery, bright colours and otherworldly creatures. Just like the music, it’s confounding in the way it lures you in and throws you around for a spin.

Wonu Osikoya

2. Nduduzo Makhatini – ‘In the Spirit of Ntu’

The first release on the Africa imprint of the iconic Jazz label, Blue Note, had to be incredibly special—and it is. Nduduzo Makhatini’s ‘In the Spirit of Ntu’ is a titanic feat of spiritual jazz, an exploration of Ubuntu as the connecting life force between everything with an animate essence. It’s a complex concept that Makhatini and his band of young South African jazz luminaries dig into and present with considered grace and immersive intensity, an excellence that shows in the image of the sculpture that graces its cover. Exuding rustic wisdom, the face on ‘In the Spirit of Ntu’ is magnetic, a stimulating work of art that looks like it’s handing down answers and codes without uttering a single word.

Dennis Ade Peter

1. Cruel Santino – ‘Subaru Boys: FINAL HEAVEN’

A pristine combination of Cruel Santino’s passion for gaming and anime, the cover for ‘Subaru Boys: FINAL HEAVEN,’ illustrated by Upson Martin, is a perfect representation of creative sensibilities that can easily be tied to Santi’s constant auteur-level artistry. The album itself is a blend of dreamy vocal and music melodies, livewire guest raps, propulsive and occasionally off-kilter beats, with near-clear lyrics—by Santi standards—about rebounding from heartbreak and conquering demons. To the latter thematic point, the mission Santi sets out on with ‘Subaru Boys’ is sublimely reflected in its striking, visually stirring and absorbing cover art.

“The best way to explain this thing is something like, you know how, when you’re going to war, you have your squad with you and everyone is ride or die, you guys kill for each other, and you all love each other to death,” Upson shared with The NATIVE earlier this year. Packed with characters all exhibiting their own poses, it’s a nod to the communal energy that fuels the album. In a design style reminiscent of the popular anime video game, ‘Final Fantasy’, the cover for ‘Subaru Boys’ reiterates Cruel Santino’s commitment to full-length expression, strengthened by his commitment to opening up his seemingly inscrutable music universe with phenomenally executed visual art.

Nwanneamaka Igwe

Written by Emmanuel Esomnofu, Nwanneamaka Igwe, Wonu Osikoya, Israel Ajayi, Moore Wright, Uzoma Ihejirika & Dennis Ade Peter.

NCVRD: HOW UPSON MARTIN CREATED CRUEL SANTINO’S SUBARU WORLD

Odumodublvck’s new video for “Picanto” is a showcase of his artistic candour

Posted on by Nwanneamaka Igwe

Odumodublvck knows the power of transforming opportunity into record-breaking hits. Since his debut on the Rap scene in 2017, the rapper has consistently churned out hard-hitting tracks at breakneck pace, showcasing a work-rate that would go on to define his sharp ascent to be one of the most exciting artists to come out of Abuja in a decade.

This hard work and determination landed him the attention of Nigeria and UK-based NATIVE Records, the first-ever African record label to enter an exclusive joint venture deal with Def Jam Recordings. Following this landmark announcement, the heavily-sought after artist released “Picanto,” which taps into his unique Okporoko Rhythms: a form of Hip-Hop that takes influences from Grime, Fela Kuti’s Afrobeat, and Progressive R&B.

“Picanto” is an emotive debut single on the label, featuring Nigerian Street-Rap legend pioneer Zlatan & Ecko Miles. The brooding track details the real-life struggles of a modern day young Nigerian hustler and debuted at #97 on the TurnTable Top 100. Now, to further expand the world around the new single, Odumodublvck has shared the Moe Musa-directed video for “Picanto.”

Arriving yesterday, the lush video feature clips of the rapper commanding the streets with ease in one shot, and in the next, walking into a car dealership with a wad full of cash alongside Zlatan and Ecko Miles. As he chants “they know I came in a picanto/hundred men dey my dormot,” viewers can see the rapper visualise his experiences against the backdrop of the bustling Nigerian streets.

With his sights now set on global domination, the new video for “Picanto” reveals Odumodublvck’s love for his community and his determination to carry his close-knit group of friends along with him to superstardom. Odumodublvck continues to showcase his artistic candour with vivid strokes of colour, as he details intimate moments of his life through the lens of introspection.

Featured image credits/Odumodublvck

Best New Music: Crayon, Johnny Drille & Magixx Showcase Luminous Range on “Losing You”

Posted on by Emmanuel Esomnofu

‘Chapter X’ is everything a pop dynasty needs: its title is a fitting allusion to Mavin Records’ ten years in existence, it has great contributions from the entire team, and most crucially it seemed to open up new possibilities for the label in terms of how its sonic philosophy was established. Just like Motown and Bad Boy Records had done during distinct eras in the American pop scene, the hypnotic, percussion-based direction of Don Jazzy and his team demonstrated a continued zeal to remain at the zenith of conversations regarding Nigerian pop. 

While the album had obvious records with hit potential such as “Amina” and “Won Le Le”, it is track seven which holds up a tender light to the blazing efforts of the crew. Emo-related themes have made a brazen entry into the centre of pop music, and among the reasons for that brand of existentialism, the failings of a romantic affair ranks high. “Losing You” affords the otherwise hyperrealist pomp to settle, and gives the trio of Johnny Drille, Crayon and Magixx ample space to conjure a lovelorn record while showcasing the merits of their vocal ability. 

 

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In the record’s opening moments, there’s a bare feeling permeating through the Andre Vibez production. Shiny keys and a faint touch of percussion work to create the soundscape, a novel touch in a project full of more-realised sonic choices. It’s however the perfect terrain for the artists’ sensitivity to emerge, and here it’s Johnny Drille who kicks things off. Known for his exuberance and piety in matters of love, he unfurls affectionate lyrics about feeling hard done by a woman he’s in love with. He’s obviously in character, but the emotion doesn’t relay distance as much as it does loneliness, evoking the image of someone sitting by the window and gazing downwards, melancholy being the dominant atmosphere. 

Johnny’s increasingly aware grasp of linguistic nuances are also present, as he starts off his verse with “You see the numbers don’t lie, I’ve dedicated my time” and as he moves further into the dark sea of unrequited love, laments in the most heartbreaking way, “I fit to mental wallahi, abi to love sef na crime?/ Shey until I fall down and die, you’re my moonlight in the night”. The sentimental poetry is retained in the hook as the singer bemoans the lack of affectation he’s been getting recently from his lover, the line which carries the most tension being, “But you don’t look at me, the way you used to baby.” 

 

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A post shared by John Ighodaro (@johnnydrille)

It’s usually said that the eyes don’t lie. That simplicity perhaps doesn’t adequately describe the shifting nuances with lovers, but it’s the gift of music to render an enduring touch to any subject, if done right. On his part, Crayon’s sunny disposition works to lighten the melancholy of Johnny’s verse, as he tries to paint naysayers as enemies who’d do anything to end their relationship. “Me I no go let dem o,” he sings twice for emphasis, and afterwards, asking, “Wetin be the problem, me I go work am o”. When the chorus comes in, there’s a newer intensity which lights up its seams, achieved through the multiplicity of vocals. 

Magixx makes the song come fully alive while striking out the final note, a skill that’s made possible by the remarkable depth in his vocals. A mix between Johnny Drille’s cool husk and Crayon’s warm lulls, Magixx is instantly present. The odd metaphor familiar amongst the more inventive Afropop writers is present here (“My girl, my eye don clean like promo”), the humour-laced admission which usually follows up (“I been dey doubt you before like a promo”) and some lines afterwards, takes a deep breather as he admits of not being able to explain his feelings, a vulnerable position which highlights the charm of this record. 

In all, the chemistry here is distinct and audibly increases the listening quality. Cut from the familiar terrain of R&B, “Losing You” manages its Nigerian context without losing sight of broader influences. Hearing it play outside a street in Manchester wouldn’t sound of place, just as much as listening to it from a radio on a quiet Lagos evening wouldn’t. Possessing beauty and design in equal measure, it’s a standout of ‘Chapter X’ and a thrilling showcase of the range Mavins currently boasts. A super squad in many ways than one. 

This Town In Liberia Is Sparking A Tourism Renaissance Through Its Surfing Community

Posted on by Dounard Bondo

Dounard Bondo is a writer based in Liberia. His writing usually covers politics, policies, human rights and entertainment in Africa. Dounard has bylines in BBC, Euronews, Quartz, and others. He also writes short stories.

It’s 5pm on a cool Saturday evening in Robertsport, Liberia, a serene coastal town in the country known for its pristine beaches and crashing waves. Cyrus, 15, a young local surfer in the area has been swimming in the water since without taking any breaks. “I love surfing because it’s sweet,” he shares with the NATIVE when he finally emerges. “I like being in the water and on the waves, it can make me feel good. I just learnt how to surf last year, but I will become the best surfer.”

Known for its good waves, sandy white beaches, serene landscape and wonderful people, Robertsport has become a home for Cyrus and many other local surfers in the area, who have settled in search of new means. Robertsport, which is a three hours’ drive from Monrovia, Liberia’s capital city, has blossomed into the prime surfing destination in the country that attracts both local and international tourists.

While Robertsport now boasts of trained and skilled surfers, its history with the water sport dates back to the early 2000’s when expatriates visiting the country introduced the sport, after the end of the country’s 12-year civil war. Since then, interest for the aquatic sport has grown exponentially and has seen the emergence of more surfers who dominate the sport locally. According to those in Robertsport, the number of confirmed surfers has grown from 60 surfers in 2013 to over 200 surfers in 2022.

A new surfing ecosystem.

Surfing and surf tourism has seen the birth of a budding business ecosystem. Originally, Robertsport paled in comparison to bigger cities such as Monrovia when it came to tourism and tourist investment in the early 2000’s. However, the times began changing when a new community of surfers found their home along the beach front. Now the coastal town is racking in travellers from around the world largely due to the growth of surfing in the area.

For Momo Kiazolu, an employee of Nana’s Lodge, a popular beachfront guesthouse in Robertsport, surfing is the key factor in bringing customers to their business. “Surfing has great impact on Nana’s lodge. Our customers are usually surfers and tourists who come to Nana’s lodge because of the surfing. Even if they just come to watch on the beach and not spend the night, they still patronise us by buying from the bar,” he shares with the NATIVE.

As a result of this, local business makers in Robertsport are witnessing an uptick in their business sales. This is reiterated by Ma Martha, a local trader whose fresh catch routinely attracts customers from far and wide. “Plenty people come to watch the children surfing in the water. When they are leaving, they buy goods from us because it is cheaper here than in Monrovia. The surfing helps us get more customers,” she says.

A community-centred programme.

What was once a local attraction has now evolved into a community-shared effort. Leading the charge are local surf organisations such as the Robertsport Surf Club, which is witnessing significant impact in the Robertsport community by promoting education and skills development among surfers.

Through the Robertsport Surf Club, a community has been formed which deeply cares for the safety and maintenance of the local beaches, as surfers are known to organise cleaning outreaches and programmes that preserve the community. Additionally, the surf club organises surfing competitions with cash prizes and eye-catching offers, as well as provides scholarships for five young surfers at the primary school level of education.

In addition, Robertsport Surf Club is also concerned with the mental wellbeing of its players. The surf club runs “surf therapy program” that brings together young surfers in a safe space, teaching them values of love, community and leadership through activities which include surfing and meditation. Speaking on the surf therapy program, Prince Kanneh who is himself a senior surfer and tutor says “I like the program because we teach the kids to do away with pride or causing troubles, so they learn from us. Apart from the kids, the program has also helped me to be a better person because I have to live what I am teaching them.”

Ma Martha, who provides food to guests in the market and whose son is also a surfer agrees with this statement. She shares “My child is a surfer, by the time he comes back from school, he will eat, do his assignment and go straight to the beach. He would not come back till 6 in the evening. And by that time, he is too tired to get into any problem or to be on the streets causing trouble.”

Now, Robertsport Surf Club is expanding its reach by providing shelter for local surfers. In collaboration with Universal Outreach Foundation (UOF) – a humanitarian organisation that works with the surfers, the club has built a surf house, located right by the fisherman’s break on the beach, and now has plans to expand their programmes.

These local strides are not going unnoticed by the Liberian government. Recently, surfing has also brought the attention of the government who plan to invest as a way to boost tourism in the country. In July this year, the government announced plans to implement part of its Tourism Development Project in Robertsport. When implemented, the project seeks to develop tourist reception facilities at the Robertsport beach-front and develop a tourism marketing strategy, focusing on Robertsport as a surf tourism destination.

Current challenges.

Despite its present impact on the town, surfing in Robertsport is not without its challenges. While it’s no secret that there are no certainties in surfing, a sport dependent on the whims of the ocean, there is also a dearth of funding for local surfers and organisations, For self-employed workers like Prince Kanneh who tutors young surfers, the challenges are endless. “It’s not easy to be surfer, it takes your time and energy. And there is no pay, even though most of us we are self-employed”, he shares with the NATIVE. “You go to surf sometimes and there is no food and water, but we keep going because we love the sport. I am a fisherman, when there is no wave, I go in my canoe to fish. But one day, I would make it and money would come.” he adds.

Access to surfing gear is also a mounting challenge. Local surfers in the area detail challenges with their access to good and reliable surf boards, as surfers largely depend on donations to get boards. Liberia’s low average disposable income also means that people simply aren’t spending their extra money on surfing gear as 2021 world bank data states that Liberia’s Gross national income per capita stands at 620 USD.

According to Kent Bubbs, the director of Universal Outreach Foundation (UOF), the durability of these surf boards means they have to be replaced frequently. He shares “We partnered with an organisation called Provide The Slide. While they have been amazing with providing surf boards, like all things, surfboards can break, so boards have remained a challenge.”

To address this, the Robertsport surf club is rolling out programmes which will help create income for surfers. Currently, the surf club has built a restaurant which will employ local surfers in the area and those from low-income backgrounds. The club also plans to roll out tourism packages which will involve all-inclusive deals on camping, surf lessons and board repair. Even these ongoing efforts are not enough, the surf club has also bought a canoe which can be leased for fishing or for tourists who want to go sightseeing.

However, Bubbs states that some of the challenges would be overcome by more government action. “Surf tourism is not as supported by the government. The country still doesn’t have visa on arrival. These are challenges on the tourism level. Visa on arrival is probably the biggest challenge because it is difficult to get here.”

Despite these obstacles, for many surfers like Cyrus, surfing has also become an avenue to chase their dreams beyond the shores of Robertsport. “I am focusing on winning the upcoming competition so I can get the money. I also want them to recognise me as a top surfer. After that, I want to be president or a senator when I get big. I will make it, and I will come back and help all the surfers and all the people in Robertsport,” he says.

For now, though, life in Robertsport centres on this beautiful game which has brought a new lease of life to the coastal town.

You can donate to the Robertsport Surf Club here.

Featured image credits/

Songs Of The Day: New Music From AV, Kah-Lo, Pheelz & 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 AV, Kah-Lo, Pheelz, Savage and more. Lock in!

AV – “Thug Love”

After blazing the scene with his hit single, “Big Thug Boys” last year, Afropop singer AV returns with his debut EP ‘Thug Love.’ The EP consists of romantic tracks and features Victony and KTIZO. On the standout record “Thug Love,” AV professes his love to his muse and shares his plans for her over the mid-paced Kulboy production. He opens the record chanting the lyrics “Baby girl 24/7 I’m booked but I make time for you/My girl, you’re very special,” he confesses to his muse. 

Kah-Lo – “It Girl” ft. Karma Fields & Associanu

On “It Girl,” Nigerian-born American-based singer and songwriter is at her most braggadocious. Over the futuristic production, she hypes herself up and talks about what makes her special. While she teams up with Karma Fields and Assoccianu, she doesn’t hesitate from taking the lead. Opening the track, she chants “Let me tell you a story about a girl, she walked around like she ran the world/She walked around like she knew everything, and wouldn’t back down till you kissed her ring.” 

Pheelz – “Ballin”

Following a phenomenal year which saw the release of standout tracks such as Davido-assisted “Electricity” and “Finesse” with BNXN fka Buju, Pheelz returns with new single, “Ballin.” On the mid-tempo self-produced track, the singer speaks about his recent achievements, attaining greater heights and enjoying life to the fullest. A catchy tune in time for the detty December period.

Savage – “Your Waist” ft. PsychoYP & King Perryy

Savage, PsychoYP and King Perryy make a stellar one-time boy band on new single, “Your Waist.” The new track finds all three artists speaking to their respective love interests and highlighting their importance and great physique. Over the melodious production of the track, King Perryy sings “And the way you move your waist, dey make me craze/Sisi see your waist o,” speaking to the attractiveness of his muse.

MayorKun – “Oshey Boys”

Mayorkun is known for his party-starting bops and the record “Oshey Boys” continues in this line of releases. Produced by Magicsticks, the new track finds the artist speaking about unapologetically staying true to himself and not paying attention to naysayers. Over an Amapiano-infused production, he sings standout lyrics such as “oh my god, I am impressed, you’re heaven sent/do better, correct yourself/before you collect.” 

Titose – “Cracks Of You”

Dealing with the loss of a long-term partner is brutal for anyone going through heartbreak. On her latest single, “Cracks of You,” uNder alum, Titose conjures the image of heartbreak adeptly through powerful lyrics such as “I’m trying to get to the deepest thinking/How I can get to the cracks of you/Hoping you love me too,” expressing the hold her love interest has over her.

Zoro – “Naira To Pounds” ft. Falz 

There have been a lot of conversations about the state of Rap music in Nigeria this year. On their latest record “Naira to Pounds,” Nigerian rappers Zoro and Falz trade bars about getting their shit popping and earning copious amounts of money. “Call aboki, change naira to pounds,” they chant over the song’s infectious hook, laying claim to their wealthy status and flexing their ability to deal in foreign currency.

Reekado Banks – “Holla Me”

Only a few weeks ago, singer and songwriter Reekado Banks arrived with the new dance-ready bop titled “Holla Me.” Over the weekend, to further amplify the track, the singer returned with a new Dammy Twitch-directed video. The lush visuals perfectly encapsulate the themes of the record including making money and spending on his love interest.

Featured Image Credits/NATIVE

What’s Going On: Burkina Faso suspends France Radio, Kaduna-Abuja rail resumes operations & More

Posted on by Tela Wangeci

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

BURKINA FASO MILITARY GOVERNMENT SUSPENDS BROADCAST OF FRANCE RADIO RFI

Burkina Faso’s military government has suspended the broadcast of France’s Radio France Internationale (RFI). The outlet, widely listened to in many West African countries, is accused of false reports and giving a voice to armed groups. At the beginning of the week, the Al-Qaeda-affiliated Support Group for Islam and Muslims (GSIM) threatened in a video to attack villages defended by the pro-government VDP militia in Burkina Faso. The VDP are civilian volunteers given two weeks’ military training to work alongside the army carrying out surveillance. In a statement released by the government spokesman Jean Emmanuel Ouedraogo, Radio France International (RFI) had contributed to a desperate maneuver of terrorist groups to dissuade thousands of Burkinabe citizens mobilized for the defense of the country.

In addition, the government criticized the station for saying Burkina Faso’s President Captain Ibrahim Traore, had said there was an attempted coup against him. RFI’s management, in a statement late Saturday, said it “deeply deplores this decision and protests against the totally unfounded accusations calling into question the professionalism of its stations”. Adding that the suspension was not legal as it was made without prior notice or implementation of procedures from Burkina Faso’s communications regulator. This is the second West African country after Mali to take the French broadcaster of the airwaves this year.

FLOODS IN SOUTH AFRICA KILL AT LEAST 14 PEOPLE

14 people were killed and three people are missing after a flash flood swept away church congregants. The churchgoers were conducting a baptism ceremony on Saturday when they were swept away by the strongly flowing Jukskei River. The Johannesburg Emergency Services believes that about 33 people were at the river when the incident occurred. Fifteen of them are believed to have been swept away due to heavy currents experienced during a storm.

Robert Mulaudzi, spokesman for the City of Johannesburg Emergency Management Services stated officials warned residents about the dangers of conducting the rituals along the river. “We have been receiving a lot of rain on the city of Johannesburg in the last three months, and most of the river streams are now full,” Mulaudzi said during a news briefing. The search for the missing bodies is still ongoing with help from the fire department, government and emergency services.

NIGERIAN TRAIN SERVICE REOPENS AFTER MARCH ATTACK

Two months after Nigerian authorities announced the potential return of services on the Abuja-Kaduna railway line, movement has returned to the route. The services were suspended after an armed gang attacked a moving passenger train with 360 passengers on 28th March. They blew up the rail track killing at least eight passengers and abducting more than 60 people. The railway line which is a vital link between Abuja and Kaduna is set to open on Monday. Transportation Minister Mu’azu Sambo said that adequate security had been put in place to ensure the safety of passengers.

The Nigeria Railway Corporation is introducing new security measures, including surveillance devices to monitor the tracks and the trains.  Passengers will also have to provide their national identification numbers. It also says the purchase of tickets by proxy is only limited to minors and a specified number of adult passengers. Last week the transport minister Muazu Sambo carried out a test run from Kaduna. The train resumes with only two services. The announcement by the Managing Director of the NRC, Mr. Fidet Okhiria, said the first train departed Rigasa train station in Kaduna State to Abuja by 8:00 in the morning while from Abuja, the first train departed Idu train station to Kaduna State by 9:45 in the morning.

KENYA’S OPPOSITION PARTY PLANS MASS DEMONSTRATION

On Sunday, Azimio La Umoja leader Raila Odinga said they will hold countrywide rallies to seek opinions from the public on the petition to remove four commissioners from the Independent Electoral and Boundaries Commission (IEBC). He said December 7 will mark the start of a series of consultations on the state of the nation. The opposition leader has been at stale ends with the country’s president Mr. William Ruto since he outdid him in the general elections carried out in August. Speaking in Kisumu, the ODM leader said the rallies will begin in major cities and spread out to other towns. Mr. Odinga repeated his calls for rallies to resist the capture and emasculation of key institutions, accusing President William Ruto’s government of mutilating the Constitution. T

The rallies are also intended to show support for four top officials of IEBC who are facing removal through a tribunal formed by the President. Since then, two out of the four commissioners have resigned. Leaders who attended the Tuesday Azimio Parliamentary Group meeting stated that the call for mass action was proving divisive as it does not capture the aspirations of the people to join them on the streets. Raila, on Sunday, promised that during the rallies, he will make a revelation on what transpired during the election. However, the Head of State said his administration will not block the Azimio leader from going to the streets, so long as the demonstrations do not degenerate into the destruction of property. He gave instructions to Interior CS Kithure Kindiki to provide security during the demonstrations.

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New Music Friday: New Project Recommendations From Kwesta & Kabza De Small, Yemi Alade & More

Posted on by Damilola Animashaun

2022 has been a year full of eccentric releases from star-studded and underground artists. While it has been a rollercoaster, artists have worked overtime to ensure splendid music is continuously rolled out to their fanbase continuing the thrilling narrative of Afro-Pop to the world. Whether it’s the raging Amapiano synths or the sultry R&B numbers there are times an album is so perfect, so great from start to finish that simply listening to the few tracks that made the radio is a complete disservice. There are albums where every song could be a single. While our Songs of the Day column highlights some of the hottest new releases through the week, New Music Friday gives you the perfect album recommendations to get you through. Whether you pledge your allegiance to Spotify or Apple Music, here are the albums you have to listen to this weekend.

Yemi Alade – ‘African Baddie’

Mama Africa, Yemi Alade has been on a streak of single releases. Last month, she released “Baddie” as the promotional record for her next album. Arriving today is her most recent body of work, ‘African Baddie’. The album features artists such as Phyno, Zlatan, Spice, Lemar and more and sees the artist focusing on matters that include leveling up, being a newer and more refined version of herself. The project cuts across many different genres including afropop, reggae, dancehall and amapiano. In usual Yemi Alade style, she plays with many different sounds and sonics and ties it all together with stellar production. 

M.anifest – ‘Madina to the Universe: The E.P.ilogue’

In late 2021, revered Ghanaian MC M.anifest flossed his lyrical mastery over a selection of polished beats. ‘Madina To The Universe’ bore the indication of a musician engaging fresh sounds and finding new ways to sketch their trajectory. More than a year later he’s now following up with an epilogue, not surprising given the authorial verve his catalogue embodies. The mood is similarly thoughtful and boisterous, checking off incredible subject material while moving a narrative with its production. M.anifest is joined by four guests on six songs, one of those being Nigerian rap savant M.I Abaga.

‘EMPIRE Presents: Where We Come From, Vol. 1’

In 2020, American distribution company and record label EMPIRE made clear their intentions in staking a place in Africa’s music market when they signed with various acts on the continent and engineering the release and distribution of Fireboy DML’s “Peru” remixes with Ed Sheeran, 21 Savage and Blxst, KiDi’s “Touch It” remix with Tyga, Olamide’s ‘Carpe Diem’, Wande Coal’s ‘Realms’ and Kizz Daniel’s ‘King of Love’. In February, EMPIRE opened its Africa division in Lagos, with its operations including music markets in Nigeria, Ghana, South Africa and Ivory Coast.

In March, EMPIRE gathered its African signees at a writing camp in San Fransico and the result of that expedition is the 15-track compilation project ‘Where We Come From, Vol. 01.’ Preceded by Kizz Daniel’s “Cough (Odo)” and Wande Coal’s “Umbrella,” the project features other acts like Olamide, Asake, Tiwa Savage, BNXN, Bad Boy Timz, Black Sherif, Fireboy DML and Yaw Tog, among others. It is a showcase of the label’s growing impact on sub-Saharan markets and the musical qualities in their arsenal.

Kwesta & Kabza De Small – ‘Speak N Vrostaan’

Kwesta’s reverence for Kwaito is well-documented. From “Ngud’’” to “Spirit”, a lot of his biggest and best songs carry clear influences from the most important genre in urban South African music. Kwaito itself remains an eternal source of inspiration, most notably as an integral part of the most popular SA Dance subgenre at the moment, Amapiano. With all this context, it makes sense that Kwesta has teamed up with ‘Piano superproducer Kabza De Small for a new joint project, ‘Speak N Vrostaan’. Tagged as a Kwaito project on Apple Music, the album balances Kwaito sonic with Amapiano infusions and rap’s vocal cadences, with Kwesta’s deadpan drawl anchoring its themes, alongside features from Sizwe Alakine, Toss, Young Stunna, DJ Tira and more.

Breeder LW – ‘Vibes & Ting’

Breeder LW has been operating as one of the most dynamic rap artists in Kenya for the last few years. A young OG, he’s earned a reputation for being a potent mic scorcher and a hit-making artist. Today sees the release of his third studio album, ‘Vibes & Ting’, his first project release since the well-received ‘Bazenga Mentality’ consolidated his star power. Unlike the semi-sprawl of his last album, ‘Vibes & Ting’ is far more succinct and features much fewer guests, with eight songs clocking in at less than the half hour mark, and just two appearances from Maandy and Masauti.

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Our First Impressions of Mavin Records’ ‘Chapter X’

Posted on by Damilola Animashaun

Ten years ago, after the massive success of their co-owned record label Mo’ Hits Records, Don Jazzy and D’banj parted ways and the former announced a shiny new outfit Mavin Records. The announcement was solidified with ‘Solar Plexus,’ a compilation album that featured in-house acts such as Tiwa Savage, Wande Coal, Dr SID and D’Prince. As the label grew, it opened its doors to more names—DJ Big N, Korede Bello, Di’Ja, Reekado Banks, DNA Twins, Johnny Drille, LADIPOE and Iyanya—while upholding its tradition of delightful songs that have coloured both Nigeria and Africa’s music landscape.

As Afrobeats bulldozes its way to global reckoning, Mavin Records have ensured that they are visible in the race, with their music academy churning out present and future superstars in Rema, Crayon, Ayra Starr, Magixx, Boy Spyce and Bayanni.  They have also gone a step further to expand their roster of music producers and songwriters, ensuring that creatives in pivotal areas of the music industry hone their artistry.

In commemoration of a decade’s worth of dedication and achievements, Mavin Records have put together its sophomore project ‘Chapter X.’ The lead singles “Overloading (OVERDOSE)” and “Won Da Mo” portends a communal connection to the album, following in the tradition of 2014’s “Adaobi” and “DOROBUCCI,” 2015’s “JantaManta” and 2019’s “All Is In Order.”

In our usual manner, the NATIVE editorial team drops their initial thoughts on ‘Chapter X,’ from the best song to the standout verse to the standout production.

BEST SONG

Uzoma: There are a lot of good songs on this project but “Alle,” “Amina” and “Losing You” stand out for me. Those will be my choices for various reasons: I love Rema’s chorus on “Alle,” love Andre Vibez’s production on “Amina” and the emotional honesty of Johnny Drille, Magixx and Crayon on “Losing You.”

Tami: On first listen, my best song is currently “Amina,” its a really fun and enjoyable listen. The romantic track opens up with dusty Amapiano-inspired log drums and features some of my best talent from the Mavin powerhouse: Rema and Ayra Starr  You can almost hear the excitement in the air as all the artists trade verses about their love interest. While Rema is the obvious standout, Ayra also makes this record an enjoyable listen with lyrics such as “Big vibes, big cheques and I kon knickers/I wear my Jimmy Choo, drink booze with my goons and sip on liquor.”

STANDOUT VERSE

Emmanuel: A good collaborative project usually has many stellar verses and ‘Chapter X’ is no different. The Mavin line-up plays over bright pop beats for most parts, and the approaches were distinct even when the voices were somewhat too similar. Rema, Ladipoe and Boy Spyce are excited on almost every verse they got on, but it’s Don Jazzy’s vulnerable sprawl on “Ogini Na Fio” which takes the crown for me. That voice carries two-decades worth of history, yet passionate and distinct as ever, a stamp of modern Nigerian music. Fitting also, that the record had the Igbo-inflected qualities of the OG Mavin crew. 

Dennis: It’s not a verse, but the way Don Jazzy harmonises with Crayon on “Won Le Le” is my favourite contribution on this tape. As far as verses go, Ladipoe’s opening verse on the same song is absolutely outstanding. It is a prime showcase of how well he works quips and plays around schemes to create memorable lifelines. There are a lot of wonderful boastful verses in his catalogue, but the technical intricacy and gentle poise in this one are something to behold. Also, honourable mention to Boy Spyce’s verse on “Overloading”, because the emotional beauty of the verse just hit me while listening to the song within the context of this album.

STANDOUT PRODUCTION

Uzoma: Andre Vibez’s works on “Won Da Mo” and “Amina” are the most interesting. “Won Da Mo” isn’t my favourite song because I felt a lot was happening but on a production level, it is hard to deny Vibez’s astute fusion of sounds, from Rock to Amapiano. For “Amina,” immediately the track begins and the rolling drums come in, you just want to dance.

Daniel: Andre Vibez was in his bag on this project. “Won Da Mo” and “Amina” are standout productions for me. On ‘Won Da Mo,’  it’s a combination of rock guitars and rhythmic percussions that get you moving before any vocals come in, perfection. On ‘Amina’ Andre shows versatility leaning into simple Amapiano chords and percussion. 

Wonu: The standout production on this project for me would have to be Andre Vibez on “Amina.” The production on this particular record is everything. The kicks and the snares on the record come together so melodiously and every contributor on the record brought their best foot forward, carrying the record as it should be carried.

BIGGEST POTENTIAL HIT

Uzoma: I believe that would be “Amina.” Coupled with Andre Vibez’s solid production, Rema is in familiar territory, utilizing his smooth flows and sweet-nothings lyrics to full effect. Ayra Starr, Bayanni and Crayon also bring their A-game, while spicing things up for an irresistible jam.

Dennis: I’m not so great at predicting hit songs when there are so many choices to pick from, but I’ll go for “Won Le Le” because it’s the one that stood out to me the most. It just slaps, and I think millions of people will agree if it gets the single treatment.

Emmanuel: In the ideal world, “Won Le Le” is the obvious hit song. There’s an instantly sunny vibe you get from the song – it sounds like something you’ve heard somewhere, but the polished verses on showcase would probably best those you’re thinking about. Right from the opening Ladipoe verse to the middle section which is packed with energetic, affirmative verses, a classic chorus seals the deal. Then you have the ever-affecting Jazzy vocals stuffing its triumphant direction, and everything works. Everything works. 

OVERALL FIRST IMPRESSION

Emmanuel: I was very impressed with the ‘Chapter X’ project. For a pop dynasty that’s operated for the better part of two decades, it’s a virtuosic skill how every era has its distinct qualities. The music here is very high-tempo, perhaps more than Mavins have ever explored in the past. But the artists, plucked from vintage trees of contemporary music hubs, are accomplished in their direction and eager to make way for each other. An excellent replay value is the result of that chemistry, each record brimming with camaraderie. It’s clearly one of the better compilation projects released in recent years – sung and structured with real intent, there’s no limit to what this class of Mavins can achieve.

Wonu: 10 years of Mavins? Wow. It seems like just yesterday when the Mavins started and they’ve already done 10 years in the game, consistent 10 years. ‘Chapter X’ has solidified the empire Mavin Records is building. The project showcases all the artists’ strengths individually. While the project is concise and runs across 10 tracks, every part of the project from production to songwriting is well put together.  With every new compilation project, the Mavins never fail to bring their best foot forward. I’ve been able to listen to this album twice and over the weekend I’ll give it another listen, but for now, the album is extremely outstandouting.

Stream ‘Chapter X’ below.

Songs Of The Day: New Music From Smada, Nasty C, Flavour & 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 Flavour, DJ Tunez, Zoro, Tim Lyre and more. Lock in!

SMADA FT. KING PERRYY & TOYE – “YE ANTHEM”

Some days ago, Lagos-based artist Smada was announced as the second artist to sign under the NATIVE Records roster. He’d done so on the back of a social media campaign that was fun as it was revelatory, sketching the versatile act as an intentional creative. He releases his debut record with the Def Jam Recordings partners, and he’s done so in fine style. Bursting with colourful synth loops and pensive chord progressions, “Ye Anthem” tells the story of a young man trying to please their love interest. Affectionate, urgent lyrics prove to be Smada’s forte here, and his guests are similarly affecting. The Prince Akpa visuals poignantly captures its effervescent vibe, featuring Smada in a party setting and more intimate scenes, getting acquainted with beautiful models.

NASTY C – “NO BIG DEAL”

Over the years Nasty C has cut a reputation for being a rapper unafraid to bare his demons in full view of the public. When he’s not crafting boisterous rap bangers he’s usually charting a poet’s course, evoking stories from personal life with a fine grasp of language. “No Big Deal” is perhaps the most blunt of his introspective records yet; there’s no no glossy metaphor or hidden agenda as he coasts over a soulful beat with tribal drums, speaking to his relationships with the rappers Sarkodie and A-Reece. Knowing the weight of such conversations, Nasty’s gaze is frank and almost sleepy-eyed, giving the impression he’s ready to make peace before he even raps the words.

FLAVOUR – “GAME CHANGER (DIKE)”

Onwa December is here and Flavour is again soundtracking this colourful period across Nigerian societies. Known for his bold, triumphant, culture-soaked takes on the genre of Igbo Highlife, the continental renown of Flavour cuts across generations and changes in style. “Game Changer” bares the musician’s signature flourishes, featuring vivid Ogene drums and the authoritative vocals of Flavour. Backed by a medley of background vocals, the song oozes pure strength and domination, two qualities a lot of people would want to possess as we run the last lap of 2022.

DJ TUNEZ & AMEXIN – “LAMBO”

A glossy finish instantly stands out on the production of “Lambo”. It’s that groovy-yet-glossy feel which pulls you in, the intricate designs of its percussion. Even before Amexin begins to sing there’s that immersive quality and it’s a cheat code to have a musician as talented as the youngster spaz over such accomplished beatmaking. Possessing vibrant, lithe vocals which sounds like a cross between Rema and Wande Coal, Amexin executes in good stride, while Tunez stays in the background to keep everything moving.

ST. SEII – “WOODTALK”

St. Seii has continued to cut a unique path for himself in the music scene. Asides the breezy quality of his music, part of his acclaim comes from his youthful swag and how he’s able to blend that into his sonic efforts. Earlier today he debut the 2-pack ‘La Saint’, and a standout is this Ragga-inflected opener which swirls with sensual intent. Reminiscent of the Caribbean classics, Seii curated a fun record with great potential.

JULS & VHOOR – “TABOM RIDDIM”

“Tabom Riddim” is a lush collaboration between two master producers. Juls is no doubt more familiar to African audiences, but VHOOR holds his own distinction in the folk sounds of his native Brazil. The connecting facet is the Latin qualities of Juls’ palmwine tapestry, and this joint sees them exploring that path further. Backended with a wealth of percussions, there’s an essential slice through its heart, creating leanness which works to amplify the surrounding elements. From horns to Spanish guitars and birdsong, the atmosphere created is relaxed and pensive in the same breath, an accumulation of tonal extremes only savants can achieve.

TENA TEMPO & TIM LYRE – “ON MY WAY”

Frequent collaborators Tena Tempo and Tim Lyre have created a number of distinctive records together, and “On My Way” belongs to the top-class of those. An electrifying beat sets the psychedelic direction of the musicians, speeding up with the intensity of a car driving. Then you remember after all the love interest’s on their way, a familiar feeling of intense longing the duo translate well. From Tena’s affectionate singing to the breezy rap verses of Lyre’s, the chemistry on wax is undeniable.

ZORO & FALZ – “NAIRA TO POUNDS”

Since the seminal ‘2Kings’ from Phyno and Olamide, we haven’t had many pop-facing rappers join forces on a project. Weeks ago Zoro and Falz ignited that distinct fire in rap lovers, teasing a forthcoming release. Shared today, “Naira To Pounds” is the first single off that effort and it’s quite an impressive one. Going back and forth over a Drill-inflected beat, the rappers showcase their distinct strengths and seamless chemistry. They employ different perspectives to offer implicit commentary on trending sociopolitical issues while painting a gripping image of their celebrity lifestyles.

SUPERCOOLCATS, ICE PRINCE, SKAA – “CARTEL”

It’s been a minute since we got new Ice Prince music and how fitting he’s doing it with family. Primarily released as an effort of the Supercoolcats collective, “Cartel” takes the impressionist pop-rap direction the iconic rapper has mastered. He preaches the strength of communion with references to his life and career, but it’s the lesser-known Skaa who leaves a stronger impression here. His winding verse pulls all the stops, from its technical strength to his deep bag of imagery. Ice Princes comes on after to polish the record with a useful bit of name-calling, coating the song with riveting superstar quality.

NCVRD: How Kemka Ajoku, Ariane Kayla & Afnan Yassin Created Blaqbonez’s ‘Young Preacher’

Posted on by Uzoma Ihejirika

In October, Blaqbonez’s highly anticipated sophomore album ‘Young Preacher’ arrived off the back of the impressive lead single “Back in Uni” and its music video that shook the internet. The album cover featured a calm-faced Blaqbonez flanked by two women, their body language eliciting subservience to the aura of the Nigerian artist. The team members behind the album cover—Kemka Ajoku (photographer), Ariane Kayla (creative director) and Afnan Yassin (stylist)—had four days to put the shoot together in London before Blaqbonez’s trip back to Lagos. They describe the whole process as intense yet rewarding.

“My favourite thing about him [Blaqbonez] is he is so open-minded. But like, I mean this in the most extreme way,” Ariane Kayla remembers. “He gave us a space to create. And for me, that was the best thing like he just let you do whatever you wanted. And he trusted the vision to the tee. He didn’t question anything we were trying to do. We could have been like, ‘Could you jump off this cliff?’ And he’d be like, ‘Sure,’ and he wouldn’t say why. He was just down with whatever. That was my favourite part.”

Kemka Ajoku is a fashion, portraiture and fine art photographer. Born and raised in London to Nigerian parents, Ajoku’s journey with photography began as a child when he got a camera, “a really cheap one” for Christmas. He took pictures of his family members during special occasions, capturing the moments they shared. In secondary school, he had an iPod Touch, which he used to take pictures of his friends and his surroundings: the way a tree looks, the way the road is quite busy, etc. At parties, he would introduce himself and people would recognize him with his works on Instagram. “Back then it was only black and white pictures I would post, I know why but I just found that quite interesting,” Ajoku recalls.

A behind-the-scenes photo of the shoot. Image Credit: Instagram/@bruta1ism

In 2015, Ajoku moved to Nigeria for his undergraduate degree. “I was sceptical about it at first but later decided it’d be a new challenge to take on, with most Nigerians travelling abroad for higher education, and not the other way around,” he told i-D. He spent five years studying mechanical engineering at Covenant University. Two years into his studies, he became friends with a friend of his roommate who he showed his collections of photos. The friend liked Ajoku’s photos and encouraged him to pursue photography professionally. From then, Ajoku would spend his days downloading tutorial videos about photography on YouTube and watching them when he retired back to his hostel room at the end of the day. “And then [in] 2018 I was like, you know what my solution is no more trees, no more nature pictures. I’m gonna actually start learning to shoot with people and understand how to work with people,” Ajoku says.

Ajoku’s disposition while studying mechanical engineering at the university was feelings of boredom and being stuck in limbo. Since he had stumbled on his love for photography as a child, he hadn’t considered it a career path then; he had some interest in engineering and believed it a good entry point with the hope that he might find something he loved about it. He soon discovered that he didn’t find joy in the course, like most of his classmates. “I just knew that, ‘Omo, I’m in trouble because I’m not enjoying this. I don’t think I can do this for the rest of my life,’” he says. “Like between then and the end of second year, I was very much in limbo. Like I just disconnected from the degree. I didn’t really have any hobbies apart from playing football and stuff, so I was just very much bored and lost in that space.”

Most of Ajoku’s works—like My Brother’s Keeper, Finding Common Ground and We’re All Workers—document Black lives in Nigeria and the UK, interrogating family, community and the hustle to eke out a living. For Ajoku, being a Nigerian that was born and raised in London and returned to Nigeria for his university degree has enabled him to tap from the influences around him and given him a deeper understanding of his person. He says he will continue to highlight Black people how he wants them to be seen—in a positive light.

Like Ajoku, longtime friends Ariane Kayla and Afnan Yassin (also known as Pima) live in London. They both fell in love with their respective passions—creative directing and fashion styling—out of sheer coincidence While out with friends, Yassin, originally from Somalia, would choose everyone’s clothing styles and Kayla, who is currently a law student, would oversee everything. “I’m not really someone who’s into brands, I just really love clothes,” Yassin says. “[During the pandemic], I was just missing having places to go and wear outfits. So I actually just started making collages on Instagram. And people were messaging me asking if I was a stylist and I’d be like, ‘No, sorry.’ And they’d be like, ‘That’s like a crime, these outfits have to be like realized.’” Those comments encouraged Yassin to apply for art school, rather than law school, which she had intended to attend.

A behind-the-scenes photo of the shoot. Image Credit: Instagram/@bruta1ism

“Creative directing is one of the things that I always knew how to do, but I didn’t know what I was doing. It wasn’t until I had a conversation with Pima this year and she really made me understand what it was and what it entailed that I realised it is actually what I’ve been doing all along,” Kayla says. “Because I’ve always been the person to connect people with people and then come up with concepts for things. But I didn’t actually know that that’s what I was doing. I just thought, ‘Well, you’re creative,’ but I didn’t know where I fit in. And so discovering that was a huge blessing.”

When the opportunity to put together a photo shoot for the album cover for Blaqbonez’s ‘Young Preacher’ came along, and Blaqbonez stated he wanted a clean cover with not too many edits, Kemka Ajoku was the name that popped up in Kayla’s mind. For the entirety of the photo shoot, Ajoku, Kayla and Yassin hadn’t listened to the album. The trio had a shared idea of how they wanted to approach the album cover, though: a way that didn’t lean into blasphemy or that would cause a backlash. Ajoku, who shot the cover for LADIPOE’S EP ‘Providence’ last year, sought inspiration from the Speaker’s Corner, a long-held practice in the UK where a man would stand on an elevated platform in a park and address a crowd on topics ranging from politics to the economy.

A behind-the-scenes photo of the shoot. Image Credit: Instagram/@bruta1ism

“The idea originally was to have Blaqbonez stand on some sort of platform where he’s talking to people who are at his Speaker’s Corner to give [the project] the idea of the young preacher,” Ajoku says. “Once we had that idea, we fed around it. So we were now like, ‘Okay, we have two models. We can use them as his congregation, but how do we play around that where Blaqbonez is an artist whose works talk about women and love and sex? How can we do it so that he’s still shown as a young preacher, but not in [a] way that is disrespectful to the idea of preachers?’

“So what we tried to do was have him [in] an educational role, teaching people around him. He has a book in his hand, which is supposed to be some sort of guide or way of him preaching to the two girls—Are they his girlfriends? Are they his congregation? Are they his followers? Who are they? So it’s a bit of an eeriness about that. And once we had a location in mind, I wanted it to be indoors simply because I didn’t want to work with the unpredictability of UK weather and at the same time [I wanted it] to feel intimate [and] cosy. So, anybody who’s listening to his music and looking at the cover, I want them to have that feeling.”

For wardrobe choice, Yassin settled for cream and “innocent” colours. She styled him with a bishop’s shirt, plain trousers and accessories from Vivienne Westwood, an English designer whose works collect inspiration from Christianity. “‘Young Preacher’ felt like he was still learning, still youthful,” says Yassin of her choices. “Like he still had a lot of demons to fight before he [reaches] his full potential.” Kayla adds that Yassin’s styling for the project was brilliant.

“Once the images were worked on, I had a meeting with him and his team. They gave me feedback; they liked [them but] wanted a few tweaks with colour grade and everything,” says Ajoku. “And then when that was done, I didn’t hear from them for a couple of weeks. And I remember Kayla and I were stressing because we didn’t hear anything from them, so we didn’t know whether they scrapped the idea or whether they decided to do something else in Lagos. At the same time, this was when his ‘Back in Uni’ video dropped and he was busy pushing that. Then I remember one Saturday morning, he just drops the album cover on his Instagram.”

A behind-the-scenes photo of the shoot. Image Credit: Instagram/@bruta1ism

Kayla admits she was nervous before Blaqbonez revealed the album cover. “I didn’t think people were gonna like it, and when it did come out and I saw how it was so well received, I think I even burst into tears,” she says. “Everything felt so worth it in the end. I think I even sent her [Yassin] a message immediately. I was like, ‘Thank you for everything.’ All of that felt really, really good and it made me very optimistic for the future.”

For Ajoku, Kayla and Yassin, the future looks promising. Kayla, a huge music lover, sees herself staying on the music side of creative directing: producing shows, working with artists on photo shoots and helping their rollout, etc. Yassin, who has worked on two music videos for Nigerian act Cruel Santino, hopes to work on editorial shoots with “all types of artists including music artists.” Both state that they would also want to continue working with each other.

“I really want to tap into the fashion space a lot more. I feel like fashion photography is a completely different skill,” Ajoku says. “[It’s] a different sub-genre to photography that you have to learn. You also have to respect the rules of photography in that space because a lot of the work is very commercially driven, so it’s finding ways to sell the clothes while also staying true to your artistic practice. So one thing I’m looking at doing more is working with a lot of clothing lines and fashion brands both here [the UK] and in Nigeria to kind of tap into that space a bit more.

“I’ll look into [working] with a lot more Nigerian musicians and British musicians that I feel like I understand and gravitate to their sound and their story as an artist, working a lot more in editorial spaces with magazines and just kind of finding a sweet spot between both Nigeria and the UK and finding a way that I can balance the two so that I’m working in both spaces quite comfortably.”

Stream ‘Young Preacher’ below.

Featured image credits/

uNder Spotlight: 808vic is Creating Emotive Bedroom Pop Ballads

Posted on by Uzoma Ihejirika

Since marking his debut in 2019 with two EPs ‘Floppy Files’ and ‘Wav’s for the Summer,’  the Nigeria-born, London-based bedroom pop artist 808vic has remained consistent with his output while letting go of the lo-fi nature of those projects for the polished sheen of 2021’s ‘lived to love’ and 2022’s ‘Vic’s Odyssey.’ Yet, the connecting thread at the heart of each of his projects is the emotional core 808vic injects: snapshots about love, romance, loss and growth.

In October’s edition of the uNder column, 808vic earned a spot on the list among other rising musical talents. He revealed that music “helped bring me out of tough times, provide clarity and inspire me.” Since then he has released his second music video for “luvsik!” off ‘Vic’s Odyssey.’ In the video, he and his lover and collaborator Ria of Mars reprised their real-life romantic chemistry for the bubbly tune. “Ria is a powerhouse,” he tells the NATIVE.

We caught up with 808vic for a deep dive into his life pre-London, his musical journey and his plans for the future.

 

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A post shared by 808vic (@vicisinsoup)

NATIVE: What was life like in Nigeria for you before you moved to London?

I grew up in Ketu, Lagos. It was a regular life [with the] hustle and bustle of Lagos, in how you see waking up early at like 5:30 [in the morning] to go to school because of traffic, just the regular stuff. I spent a year in CKC [Christ the King College] in Abuja when I first started secondary school. I didn’t like it; I was getting too sick and losing weight. I was in boarding school as well. When my mom came over for one of the visiting days, she was like, “Nah. Find another school.” So I went back to Lagos.

NATIVE: Was there an initial difficulty with adjusting to London when you moved there permanently?

808vic: No, no, not really. It was different for sure. Because, again, you’re kind of immersing yourself in a new culture, a new way of doing things, a new way of life. There is constant electricity [unlike] the normal things that you plan for in Naij, where you kind of anticipate the worst before doing anything. There was a change in that way. At the same time, it’s a different culture, like it’s more of a melting pot of different ethnicities and races, whereas, in Nigeria, most people are black. It was different but it wasn’t hard to adapt to; I think a lot of the media we consume [in Nigeria] is very westernised.

NATIVE: So it was easier to adjust, right?

808vic: Yeah. I mean, I was watching Zack and Cody [from The Suite Life of Zack & Cody] when I was small. You catch on to all these cues and stuff. And then it’s just about getting used to them.

NATIVE: I know you started music officially in London. Were you ever aware of your passion for it while in Nigeria or was it when you got to London that you realised you wanted to make music?

808vic: I’d already been doing it [music before London]. I was in the choir in Naij and my uncle played the keyboard. So I already learned how to play the keyboard a little but in terms of actually pursuing music as a thing that I would want to do. Yeah, that didn’t really click until I came over here [London]. I always thought about it as something I did rather than something I would like to fully invest myself into at some point. But I think as I started doing more things and seeing how there was an actual potential pathway, it just clicked.

NATIVE: What was it about making beats that appealed to you?

808vic: To be honest, I think I didn’t trust my voice and my songwriting and my ability to deliver anyways. I used to sing when I was younger, I was in choir right but then at some point, I think I lost some of my ability to sing or rap or just perform generally so I just kind of entered this shell of just producing. And to be honest, I like producing so it wasn’t as if I was consciously feeling like I was hiding. But I reflect and think about it, it was probably that but then I love constructing music. At some point when I was in SS3, I was the only person doing music in my school, like for my year so it was only me that wrote music for my WAEC. I love the theory behind music, so that was always there, but I think that I avoided putting my voice on things for so long because I didn’t really fully trust that I could do it.

NATIVE: Who were your musical inspirations?

808vic: I think because I started as a producer, I have inspiration in that sense and also in terms of writing music. I remember when I first started producing, I was listening to a lot of LeMav, a lot of WIZE it was very kind of electronic. When I first heard his [LeMav] SoundCloud, I was like “Whoa.” I literally went through his whole SoundCloud discography. There are a lot of people in a production sense, as well as Phoelix, if you know him, I think he’s from Chicago, Monte Booker as well. And then in terms of writing, I really enjoy listening to Noname, Smino, Saba, Joji and Anderson .Paak.

NATIVE: Run me through how you went about recording your earliest projects ‘Floppy Files’ and ‘Wav’s for the Summer.’

808vic: It was fun. ‘Floppy Files’ especially because that was the first time I fully decided to put out my own original music and where I would be on vocals, I’d be mixing, I’d be working on everything. That project is really special to me. So I think I started thinking about making some type of project that would just be centred [on] me and my family, [and] people that I had access to really make music with. It was a really fun time, from buying my first mic and sound card to figuring out the whole process, because I started making some of the beats on my own in London. And then when I went back to Naij for the summer, I tried to get my siblings—Burgundy and Joshua—in the room, [and] record what I could record. Some things I didn’t record, I had to figure out how to send it over email and all of that. But it was fun writing that project. But I think after I dropped ‘Floppy Files’ and it was what it was, I learned so much in creating ‘Wav’s for the Summer’ because they both dropped in the same year. But I felt like I grew a lot between the two. Sometimes when I listen back to it, and I’m like, “Oh, this dropped literally six months before,” it’s hard to visualise. But it was very fun working through the whole process because I produced all of them myself. I mixed them myself even though some of the mixes, [I look] back and I’m like, “Hmm. The choices.” But it was very fun to work on those projects, honestly.

NATIVE: Your older brother Burgundy was ever-present on those projects. What was it like gaining his co-sign at that point?

808vic: It was incredible. A lot of the early music I listened to was shaped by him, like a looking-up-to-your-older-brother type [of] thing. My introduction to the Alté scene was through him; I came back to Naij in [the] summer [of] ‘16 and the guy was putting me on to Mafeni and Lady Donli and to Odunsi and all these guys that I had never heard of. I couldn’t even conceptualise the music that they were making and he was putting me on to all of these. And in terms of the ability to write music, the guy is one of my favourite people, he’s one of the best people around, to be honest. So when I first started producing, he was like, “Oh, make a beat”; I knew then I wasn’t that good, but just the fact that he was willing to even jump on it. And then after that when I was trying to do my own music, he was willing to lend his own art and his own writing and advice. It was incredible. He’s shaped a lot of how I think about music and on top of that, he is very good at music himself. So yeah, it’s very good to have support like that around you.

NATIVE: Does he still do music?

808vic: Yeah, he does. He’s working on a project. I keep telling him to put stuff out. It’s the plight of an artist – you always second-guess yourself. I want to force him to drop something because he has so much cooking. I’ve listened to so much unreleased [music] and I’m like, “All of this stuff. If you put it out, it slaps.” So hopefully soon he will have something coming out that can show everybody what he’s about because he’s very superb, honestly. All the songs that he is on, on my projects, they end up becoming his songs.

NATIVE: Apart from collaborations with your brothers, you have also worked with other acts, sometimes even acts based in Nigeria. How do you decide who you want to feature on your projects or whose projects you’d like to feature on?

808vic: Honestly, if I like somebody’s music, I will try my best to be involved in it. I’ve managed to work with a lot—not a lot, to be honest, I realise now that I’ve worked with a small circle—but the people I’ve worked with, I really have faith in their music and I genuinely enjoy their music as a listener. So it makes reaching out to them a lot easier or if they reach out to me it makes it easy to be like, “Oh, yeah, for sure. I’m going to hop on that.” I’m grateful for that. So with [Cozy] Kiyo and Ictooicy, and Aussie Maze as well, all those guys I genuinely listen to their music outside of the songs we have been on together. So it makes things easy.

NATIVE: From your ‘lived to love’ EP, there’s a noticeable difference in your music. It has become more expansive and polished. What did this change come about?

808vic: When I made ‘Wav’s for the Summer,’ I was still figuring a lot of stuff out. Like in terms of techniques of how I dealt with music, like how I wrote and all of that. But in ‘lived to love,’ I think I grew more; there was a big gap between it and ‘Floppy Files’ and ‘Wav’s for the Summer.’ I think in that time I grew a lot as a person. I listen to a lot more music. So I expanded myself as an individual. I think that contributed to how I constructed that project. And the themes I explored and the ways I explored those teams. Yeah, I think that’s what it was, honestly, I think it was just giving myself time to actually grow as an individual and experience things. That’s really what contributed to that.

NATIVE: Talk to me about the song “21” on ‘lived to love.’ Were there any burdens that track took off your shoulders after recording it?

808vic: For sure. I think, low-key, it’s kind of a sleeper. I wanted to just talk on that project because 2020 was a very real year. I think the world as a whole reached a threshold [and] things broke. We had the BLM Movement go worldwide [and] EndSars happened in October. There were a lot of structures that had been upheld for a long time that I think a lot of people in the global consciousness started being aware of. So I wanted to speak to that growth I felt. And I also met the person that is the love of my life.

There were a lot of moments that I grew from in 2020 and I wanted to unwrap them and present them in a song format. It was a real year. When I finished recording and mixing it, I felt accomplished with myself because the way it sounded and everything I said in there was exactly how I wanted to say it. I think it’s a sleeper; it’s a very good song. I don’t listen to [it] that much, but when I do, I feel good.

NATIVE: Is there any difference between how you create music now and how you created music in the past?

808vic: You know, when you’re figuring stuff out, you tend to sometimes waste time just trying to do the simplest things and that can take away from how much you end up doing. But now I think I have more clarity. When I opened up FL Studio, I feel like I know where I’m going. Obviously, there are still [those] times when I need to open up a piano and jam stuff together and see what happens. But I think in terms of decision-making, I’m a lot clearer and my writing has gotten a lot more clearer as well. I think it’s just a thing of experience. When you produce your own music, it’s a thing about putting in hours. I don’t think there’s any talent to do with it. It’s just about knowing your workspace and enhancing that to work for how you want to create. I think now I’ve gotten that down, so it makes things a lot easier.

NATIVE: Your partner Ria of Mars is a big part of your current process as an artist, helping with the music videos and general creative direction. Can you speak about her influence?

808vic: Ria is a powerhouse. If you go to my Instagram and try and trace back how I used to release music, it was very much like, “Oh, I have a song.” Gbam! “That’s the song. Take. Do what you want to do.” That was literally the release process and I’m done for the year. I’ll see you when I see you. Since meeting Ria, the decisions we’ve made together, mostly from Ria, have enhanced how my music lives. The mediums I can actually send across a message from have evolved; it wasn’t just me posting a cover that I made on Snapchat that I sourced from something. But Ria is so creative, hearing something and deciding, “Okay, this is a route that we can go with this song, what do you think?” And then we have a talk about it, narrow it down, cut down ideas, bring up some more [ideas] and it’s just a better process.

And I think a lot of times people have connected with the music solely because they’ve seen something that they like before even hearing [the song]. So it’s enhanced the whole way I released music; I feel like, through working with Ria, there’s an expectation when I want to release new music. There’s an expectation that there’s something visually striking that will come alongside it.

NATIVE: You have shared music videos for your songs. What was it like being on set?

808vic: It’s fun. Obviously, when we’re doing those music videos, I’m not as involved because I’m not creating the set, I’m not directing [and] I’m not doing anything. I literally just show up. If I have to learn a dance, I learn a dance. If I have to make a turn on cue [and] all those things, sure, I do that. It’s a little laidback for me so I just enjoy it. During the first music video that we did for “lived to love,” I remember day one was frightening because when I send my unreleased stuff to people [and] hear that somebody else was in the room when that person was listening to it, my brain starts going crazy.

So being in a room where, on a normal, these people will never have heard this song but now everybody has to hear the song and everybody’s hearing the song, it was frightening. You have to get free of your inhibitions to really let the vision of the director shine because then it’s not really about your art anymore, even though your art is playing a part. It’s about letting this director or directors do their own thing and giving up a bit of your control. You have to trust a lot more and honestly by day two, I was more comfortable. So I literally just had to fight those feelings for day one and by day two, you understand that everybody that is here is equally as talented and understands their craft. Whether they’re using a hammer and nail to do a set or they’re setting the focus on the camera or the ones hitting playback on music. Everybody’s working together to create this art piece and it’s really amazing to see everybody just do their thing.

NATIVE: Your earliest works were copyrighted to you (Victory Obot); now, your works are under “we are in soup.” Is that a label?

808vic: That’s a good catch. It’s nothing at the moment. I just didn’t want it to keep being my government name. I’m still independent. I might end up making something with that, maybe a label or collective, who knows.

NATIVE: such an interesting choice, though. Why did you choose that?

808vic: So basically, all of my accounts [on social media] were “VictoryObot1.” And Ria was not having it. Ria mentioned many times [that] it didn’t really do anything. So I stayed up late trying to figure out what the new name would be across my socials and I ran through a lot of different options and tried to come up with something cool. And then I just landed on Victory is in Soup because, as a Nigerian, you understand the sentiments, but if you don’t understand what that means, I guess it’s just a random thing. It makes sense, now that we have created this fake show called The Soup. It’s just very quirky.

NATIVE: You released the two-song pack ‘Vic’s Odyssey’ in September. Is there an album in the works?

808vic: Yeah, I’m working on an album. I have no I don’t have any ETA (Estimated Time of Arrival) on it because I want to really to—you know how you noticed that jump from ‘Floppy Files’ to ‘Wav’s for the Summer’ to ‘lived to love’?; you could see the progression—I want to have that progression be evident again because I believe that if I release this next project and that’s the last thing I ever release, I want to be comfortable with that. Do you know what I mean? The thing I’m working on is very conceptual. When you try to do stuff that is conceptual, if you don’t do it right, it just falls on its face. I want to just make sure I’m doing everything correctly and that it hopefully connects with people.

NATIVE: So how far are you into the album?

808vic: Still writing and recording. I have pieces but it’s nowhere near it needs to be. I can’t even give you a percentage on it but when it comes out, I’ll be proud of that.

NATIVE: Any plans of signing to a label or are you remaining an indie artist for now?

808vic: For now, yeah. This indie life can be difficult. Basically, anything I make in music goes straight back into music because that’s just how it has to be. And I’m also still working at a full-time job, so it is difficult. You reach some recent days and you’re just like, “Bruh. Omo, won’t it be easier to just sell out?” and at least I’ll get some other problems but at least I’ll be free of the current ones. But yeah, I think I’m still comfortable for now. The things I’ve managed to do to this point have almost given me a reason to be comfortable in it because when I was starting, it was Chance the Rapper and Saba that were giving me the validation to be like, “Okay you can avoid the vultures and try and just do it yourself.” It is possible; you have the internet now, [and] you can release music. Somebody can wake up today and just decide to release a song on streaming platforms and they’ll be able to do it. Obviously, things might change;  these days I’m being a bit less idealistic in how I thought about these things. Now I think I’m more understanding that it’s situations. You just have to make sure that it’s a good deal and that you are not screwing yourself over.

NATIVE: When you make music, what impact do you hope it leaves on the listeners?

808vic: I don’t know. I want people to just connect with it, honestly, in whatever way they need because I’ve listened to music where the same song one day feels vastly different from how I received it another day, even though it’s the same words and the same beat, but sometimes you are just in a different frame of mind so you receive it differently and it’s still as impactful.

I just want people to really connect with [my music] and [my music] help them out when they need it. I have gotten some messages especially on “lived to love” because that’s my biggest song so far and people tell me that the song acts as a therapy for them. That kind of thing is incredible to me because that’s what music and art can be for people. I want my music to be able to help people cope because the world is chaotic.

Hot Takes: Ayra Claps Back, #BalenciagaGate, Qatar World Cup & More

Posted on by Damilola Animashaun

We’re only a day away from the last month of the year–and boy, has this year flown by. December, the hottest month on the calendar is here once again and we’re already excited for the milieu of events on the roster. Not only is it a time for friends and family across the world to reconnect, but it’s also a time to rest and reset from the past year.

While we await more concert and event dates, the wheels of pop culture are ever-turning and we’re excited to dig into this week’s topics. In a special edition this week, our resident NATIVE hot girls, Nwanneamaka and Wonu join forces to voice their opinions on some of the most relevant topics in pop culture today.

On the deck for discussion today is Balenciaga, back again for the their distasteful ad campaigns. It is still hard to believe that in recent times popular fashion brands like Balenciaga are as tone deaf and insensitive as they are. Then, we dive deep into people policing women’s bodies in 2022. Quite frankly, we are over it. Get us out of here!

WHAT I’M LISTENING TO

I’m currently listening to one of my favourite R&B artists right now, Aleksa Safiya. I had the opportunity to go back into the archives and listen to some of her projects and right now, I’m stuck on her previously released EP titled ‘Miss Me When I’m Gone.’ It’s her most vulnerable project to date as she focuses on matters such as self-awareness, growth, love, heartbreak and evolving as an artist. Records such as “Insecure,” “Sticky Situation” and “Different” describe the singer’s current state of mind. Other than this, I’m listening to ‘Billion Dollar Baby’ by Seyi Vibez. The street pop artist released his debut album only a few weeks ago and in a short period of time, records like “Chance” and “Bullion Van” have simply become fan favourites.

Wonu

WHAT I’M WATCHING

Last time I was on the hot seat, I mentioned that I would get into season two of HBO’s ‘The White Lotus’ after its incredible debut season. I have and unsurprisingly it doesn’t disappoint. They’re back with an even more obscure score and a very interesting plot structure that’s not necessarily edge-of-your-seat but incredibly engaging. Seeing as I’m always watching multiple things at once, I had to lock in to ‘Blood and Water’ on Netflix. Only one episode in and not much has changed, Puleng is back with all her drama and Wade is just as annoying as ever. However, I would say the show has shifted from the high school/teen drama to full blown crime and investigation series but I’m here for it. I’ve also seen significant conversation around ‘Wednesday’ starring Jenna Ortega. That has been added to my watch list.

Nwanneamaka

AYRA STARR WILL SEE YOU NOW

Last Week, Meta brought together the worlds of music, fashion, comedy and art for an immersive experience dubbed as Flex Naija, a mixed reality showcase which pulled together vibrant works from NFT artists and collectors. The night was well attended by Lagos’ most audacious influencers and entrepreneurs and also featured star-studded appearances from Teni the Entertainer, Cruel Santino and Ayra Starr.

While their performances ranked as one of the highlights of the night, it was soon revealed that fans were unhappy with Ayra Starr’s sartorial choice at the event… like anyone asked. Many took to social media to express their displeasure at her outfit choice, going as far as to berate the artist for setting a bad example for a younger listeners. Firstly, no woman should have to explain her wardrobe in 2022, especially a young woman who is rapidly ascending the ranks in the Afropop scene, and continues to spin auditory gold.

In our patriachial society, women can never win the blame game. Whether we’re viewed as sinners or saints, we’re given limited spaces to occupy and are forced to dim down sides of ourselves in order to remain easily digestible for the general public. Women in entertainment are given even smaller spaces to occupy, and we’ve seen this happen time and time again. If it’s not Tiwa Savage getting the long end of the stick for her own body, it’s Teni the Entertainer facing ridicule for her recent weight loss–and quite frankly, we’re over the policing.

What I think should be debunked is the idea that these women weaponise sex or their sex appeal to sell their music. One would think in 2022, we had outgrown these backwards practices and thought processes. It is incredibly exhausting engaging in these fruitless conversations and I particularly love Ayra’s response to the conversation. Ayra came unto the scene already telling us exactly who she is–’19 & Dangerous,’ and now, she’s only going to grow more into herself and I, for one, am here for it.

Nwanneamaka 

#BALENCIAGAGATE 

As early as 2014, Balenciaga has rolled out with one distasteful campaign or the other. After multiple apologies over the years, it seems that the luxury brand is still yet to learn its lesson. Over the past week, Balenciaga has emerged in the headlines once again for their blatant predatory behaviour and child abuse content on their platform. In their recently holiday campaign, which has now been pulled from the internet, Balenciaga features two little girls holding stuffed animals and donned in BDSM wear.

The campaign also featured engaged props unfit for children including alcoholic glass wear. As if this isn’t horrid enough, in one of the campaign images, the brand also included a very poorly hidden document which later revealed to be an excerpt from the US Supreme Court opinion in United States v. Williams which upheld part of a federal law in child pornography. The grotesque document explained that while child pornography is illegal, the production and distribution of sexually graphic images of children is allowed so long as it is not obscene. This is literally insane.

As expected, the brand tendered an insincere apology claiming that matters relating to the production and exchange of child pornography are taken seriously in their internal structure. Balenciaga also promised to take legal action against the parties involved in the set creation and those also involved in the dissemination of allegedly unapproved items for their Spring 23 campaign photoshoot. I’m not buying this apology one bit because this is not just a gross oversight, but plain wrong. For a brand as established as Balenciaga, it would be naive of anyone to believe that the campaign didn’t go through several levels of scrutiny and editing before it was finally released to the public. Negligence or ignorance in a matter as sensitive as this simply does not suffice as a tangible excuse. While several consumers of the brand have taken to social media to express their disgust and discard their purchased items from the brand, the individual creatives behind these campaigns need to be brought to justice.

Nwanneamaka 

Chimamanda doubles down on transphobia

For many young African women like myself, Nigerian author Chimamanda Ngozi Adichie was an exemplerary figure to look up to in our patriarchal society. While growing up, we wondered and amused at her impressive writing which she used to craft worlds with strong Black African female leads that many of us were unused to at the time. With some of her widely read books like ‘Purple Hibiscus’, ‘Americanah’ and ‘Half Of A Yellow Sun’, Chimamanda can be described as a voice or idol to young African women. 

However, as we’ve grown up and formed our own ideologies and beliefs, it seems that our hero has now morphed into a villian with little awareness of the harm she perpetuates in her position. Over the past few years, Chimamanda has come under fire for the transphobic statements made in a 2016 interview with British Channel 4 TV on feminism and gender. When asked if she believed transwomen to be women, CNA had responded in the negative, sharing that transwomen were transwomen. While we’ve previously spoken about our displeasure at CNA’s statements on hot takes before–please stop asking TERFs about trans rights–it seems that CNA is once again under fire for statements made regarding the trans community.

In a recent article in the Guardian, CNA has once again doubled down on her transphobia with alarming statements that are truly disappointing for someone who once inspired many young women. While the article is centred on CNA’s hard-hitting Reith Lecture and features an excerpt from her speech, it also unpacks a rather alarming interview between CNA and writer, Zoe Williams where CNA boldly proclaims “I believe literature is in peril.” Of course, any mention of free speech would solicit questions about CNA’s previous transphobic statements and Williams does not shy away from prodding CNA about this during their time together.

CNA speaks on how her opinions on gender and rights pertaining to trans women have over the years been tagged transphobic even when she believes she’s not. She cites an example with “So somebody who looks like my brother – he says, ‘I’m a woman’, and walks into the women’s bathroom, and a woman goes, ‘You’re not supposed to be here’, and she’s transphobic?” I hate to break it to you, but yes. CNA goes on to state, “Now this whole trans thing, I did not know I was walking into anything. I thought I had said something self-evident. So I think I just experienced a sadness. I felt, ‘I’m on your side. We’re a tribe. Why am I a controversial figure?’”

It’s alarming that CNA can’t see the irony in her own line of questioning. You’re the controversial figure because you have assumed the role of an oppressor and denied the lived experience of a woman because her reality is different from yours. It’s not only upsetting to see your heroes in real-time become the villian, but it’s also ignorant and extremely harmful for someone in CNA’s position of authority to deny the experiences of a marginalised group of women. At this point, I’m literally begging everyone–writers, publicists, managers, publications, please stop asking TERFs to defend the rights of the very people they seek to erase. 

LGBTQ+ Protester With Rainbow Flag Disrupts Match In Qatar

On Monday during the Portugal vs Uruguay match, a man disrupted the match, entering the pitch with a rainbow flag in a show of support for the LGBTQ+ community during the World Cup in the controversial host nation, Qatar. Disruptions by unknown individuals are a common occurrence during football games. However, this particular incident was rather sensitive due to the controversy surrounding Qatar, the Islamic, conservative host of this year’s World Cup tournament.

Since the World Cup kicked off, the Middle-Eastern country has been at the forefront of controversy. Alcoholic drinks were banned at the stadiums on the eve of the tournament as well as the OneLove armbands which the captains of several nations were planning to wear as a way to show support for the LGBTQ+ community. However, Qatar has stressed that guests attending the World Cup should respect the host country’s traditions. Although it is great and inspiring to see someone make such a bold and courageous move, I believe that it is important to respect the host country’s traditions and beliefs. The safety of queer fans and players is beyond important and as a people, we ourselves should not take these things for granted. 

Featured Image Credits/The NATIVE

Words by Wonu Osikoya and Nwanneamaka Igwe. 

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

Essentials: Ukweli & Xenia Manasseh Explore Minimalist Grooves On New EP, ‘Maybe’

Posted on by Emmanuel Esomnofu

When Xenia Manasseh began making waves in Kenyan music circles three years ago, her voice was rightly recognised as important. ‘Falling’ demonstrated her ability to conjure emotive tales with stunning relatability, but it also carried the worldviews of the then-23 year old. Situated primarily among those views is the ethos of collaboration, which has continued to influence the artist’s trajectory in beautiful and unpredictable ways. 

On her latest project ‘Maybe’ she works with the DJ and Producer Ukweli, who makes up one-fifth of the revolutionary East African collective EA Wave. They’re both familiar with each other’s craft, having worked intermittently since the neo-soul minimalism of “My Pride” debuted some two years ago. Ukweli’s screeching vocal samples, relaxed drums and ethereal keys had set the tone for Xenia, whose vulnerable lyricism was clearly conveyed by her emotive range. On ‘Maybe,’ those sonic experiments are traded for more assured choices. Quite poignantly, Ukweli retains the brooding elements while Xenia croons from her R&B perspective, colouring the records with the unmissable trajectory of romantic turmoil. 

 

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A post shared by Xenia [Zee-ni-a] (@xeniamanasseh)

“Etoile” introduces the feathery touch that runs through the EP’s five songs, bare except for Xenia’s glittering vocals and the intermittent knock of reverberating drums. Splashes of exciting horn playing sets up an interlude-esque space between the first and second verses, while the song’s backend is stuffed with lush vocalising. The titular “Maybe” plunges the listener deeper into the world carefully curated by Ukweli and Xenia, their chemistry never failing to shimmer with understated brilliance. “Never thought love would find me,” sings Xenia in the song’s most admitting lyric, and later on painting the image of being a distant lover even though she’d rather be by his side. 

It is such instances of pristine songwriting which supplies the global superstars on Xenia’s songwriting CV: Burna Boy (for vocal contribution on “Time Flies”), Tay Iwar and American musician Teyana Taylor, among others. A student of Music Business and Management, she’s an all-round entertainer. In Xenia’s young days, she picked up instruments like the piano, drums, guitar and bass, an understanding of sound which audibly influences her beat selection. 

“Lost” is a stellar showcase of these intricacies, starting out with soulful synths before morphing into a slightly minimalist Trap-tinged record. Following the direction of her co-creator, Xenia elevates the pace of her flow, at times sleekly coming across with a rapper’s cadence and other times, relaying an effervescent Ragga-inspired flow that’s faintly reminiscent of Tems’ early music. 

While staying in the background, Ukweli’s contribution to the tape is characteristically masterful. Rather than unfurling a packed bag of tricks, he strips his synths and keys so Ms. Manasseh’s voice can emerge more purposefully. No other song on the EP demonstrates this better than “Circadian Riddim,” the emotive closer which draws from Xenia’s favoured genre of neo-soul. Bouncing with a cool gravitas, the drums possess a dusty boom bap texture while there are intricate designs within their spaces—as you’d expect, Xenia thrives on the set soundscape, taking her voice into exciting tones while maintaining narrative clarity. 

‘Maybe’ is a record that highlights the project’s sharp, succinct quality and, ending with a lush performance of Ukweli’s trumpet playing, a sense of the epic lingers long after the last note is played. 

NATIVE Exclusive: The Many Faces & Voices of Dwin, The Stoic

Posted on by Emmanuel Esomnofu

Edwin Madu loved the sharp quality of fiction in his early years. He had grown up reading a wide range of books that could have been available to any middle class kid in Nigeria. Starting to construct narratives of his own, that interest only expanded as he wrote his first song in 2007. “The song was very corny and it was written by a twelve year old, so I mean, that’s to be expected,” he said when The NATIVE caught up with him some weeks ago. 

Though he began as a youngster with little to no leanings on technique, his skills improved with time. To capture the approaching shape of his work, Edwin sought a fitting sobriquet just before the release of his first record: inspiration came from a song by British folk rock band Mumford and Sons’, a line on “Reminder” which goes, “So I watch the world tear us apart, a stoic mind and a bleeding heart…”  Taking off the first letter of his name, he became Dwin, The Stoic, foreshadowing the epic scales his music would evoke in stripped sonics and honest, heartbreaking lyricism. 

 

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A post shared by Dwin, The Stoic (@dwinthestoic)

Making an instant impact, ‘Heavy Heart’ was the artist’s first album. It was released in 2018 but Dwin had created its second single “Stay With Me” about two years prior. 3rty, a musician and close friend of Dwin, helped him secure a recording session Both artists had created “The Lonely” while in university, and 3rty continued to support his reclusive friend with studio resources or technical assistance whenever the need arose. 

The truth is, Dwin wasn’t quite sure of his music back then. He had a thousand other things going for him. “I was writing short stories, I was getting published and that was my life,” he says. “I was creating content, documentaries, all that stuff. The end of 2016 was when I now—NYSC was done, and the parents were like ‘Hey, you probably need to get a job’. And so I did, I got an office job, working as a tech consultant and this job takes me—I travel a bit. So there’s Ghana, Guinea, but a lot of the writing for ‘Heavy Heart’ happened in Ghana, during one of these work trips”. 

Listening to ‘Heavy Heart’ feels like a memory, a peek into the experiences of one who knows the pointed edge of life’s dagger. Dwin’s subject matter ranged from existential queries (“Are You The One?”) to unpacking weighty romantic issues (“Happy Song” “Take Flight”), and his writing, clear as a prism glass and sharp as splintered bottles, did great justice to their sensitivity. “End Of An Era” is an ode to his departed sister while some others took account of old loves. Most of the other songs were fictional. He attributes their intimate sense of realism to his background as a creative writer – a quite obvious influence. “I have seen the worst of life, I have walked so many miles,” he writes in the hook of a personal favourite “The Lonely”, and then brings down the realisation that’s led to the earlier couplet: “Even when you hold my hand, I still feel left alone”. 

Possessed with husky vocals that plays near the extremes of tonal range, Dwin, The Stoic is first and foremost a fine singer. His influences include Jim Reeves (“the way he sings and how emotive he was”), The Beatles (“just because they were fucking great and my father played them a lot”), and Paul Simon & Garfunkel and Louis Armstrong (“words were important to them”)—all maestros of the ballad form. Being a DJ, his father’s collection also included the guitar-soaked records of Highlife veterans Oriental Brothers and Oliver De Coque. 

This amorphous background influences Dwin’s experimental foray in recent times. “I have a salsa song I’m working on and a lot of that [comes from listening to Spanish-speaking] acts like Natalie Lafourcade,” he tells me. “I’ve looked at music and just kind of seen it as a beautiful thing that can be attempted in very many ways and even now the conversation of genre for me, it’s gotten very hard. Cos the EP is not out yet but when people say shit like ‘genre bending’, this is one of them”. 

Last month at the Lagos-held ArtX festival, Dwin faced the difficult situation of revealing his genre of music to a prospective new listener. “What do I say to you?” he muses now, pondering the wealth of fusion in his work. “Pop? Alternative? Nothing seems to be all-encompassing enough”. 

With only two singles released in 2021, Dwin had a more productive output this year, his records produced by Rhaffy who’s come to be a frequent collaborator. The 3-pack project ‘Gkw/Winning Bread’ was released in June while “Rise” came out last month. Along with the recently-released “Without Your Love” they all demonstrate Dwin’s continued mastery of intense ballads, but with his forthcoming projects—first a collaborative EP with Rhaffy titled ‘Love Lane’, then his sophomore album—he’s evolving towards sonic unpredictability. “The song ‘Allez’ is a song where we use a primarily Indian drum pattern, but a lot of the chorus is written in French,” he says. “There’s also an amapiano song on this same EP called ‘Don’t Wait Up’”. 

The more we talk, the more obvious is Dwin’s sense of renewed purpose in music. He hasn’t always given his time to this love, with other interests—media and tech primarily—moving higher on the interests list. Being an independent musician requires an hands-on approach to one’s finances and Dwin has been anything if not active. His many talents take him across several communities in the Lagos and African art scene, and I wanted to know how. Where did he learn to apply his writing skills to the demands of communication across corporate media? 

“I’d say I was quite lucky with that,” he tells me. “If I had left university in 2015 and just not gotten some of the opportunities I did, or certain things didn’t happen afterwards, I wouldn’t know that the world of creating was where you could make money. It was a world I always admired but never quite looked into as a place to exist and make money. What set off a chain of events was Chimamanda’s workshop in 2015. I had wanted to apply and it was on the last day of submission I actually remembered it. I had been working on a short story and I took the first 800 words—cos that’s what they asked for—and just pasted it”. 

This was in the middle of his final year and Edwin had forgotten his submission for the prestigious Purple Hibiscus creative workshop. On the announcement day after much anxious waiting he got mail past midnight saying he had got in, one among the twenty writers from hundreds around the continent. Being part of that multi-storytelling community for the next ten days broadened Dwin’s gaze. “With that came exposure to the literary community,” he says, partaking at the Ake Festival soon after and working at the African Artists Foundation (AAF). “My entry into the arts was something easily that could not have happened. After graduating with a Computer Science degree, I could have just gone to get a job in tech or something like that but that made it so I was like, ‘okay, tech would have to wait for a bit’. This is exciting”. 

Morphing from the tender intensity of ‘Heavy Heart,’ the many voices of Dwin have found purpose in the world’s vast nature. He’s also a member of The Ignis Brothers, alongside vocalist Ruth Zakari and multi-instrumentalist Lamide Aranmolate. In 2020, the indie-folk band released their debut album, ‘The Cost of Our Lives,’ which furthered the existentialist leanings of Dwin’s own work, although this time with the varied sensibilities of his bandmates. 

Writing songs for other artists has also featured in Dwin’s industry exploits—earlier in conversation, he told me his debut album was supposed to be a songwriter’s CV, only it became that and more. He’s earned the praise of stellar writers like Simi and co-wrote a standout record from Adekunle Gold’s ‘Afro Pop Vol. 1’ (“Exclusive”). 

“It’s been interesting,” he says when I ask about his journey as a songwriter in the Afropop scene. “I want to do more of that; this is now my avenue to just put it out there. I really want to write for artists or at least, just give some of these songs I have. I think they’re great songs and if you give it to a talented artist, they’re going to be beautiful. Working with Adekunle was great; we worked on a couple other songs that hopefully would come out at some point. The way the industry works, who knows? I’d also written for Jessica Bongos, written for an artist called Emilomo, which was a Christian song funny enough, but that’s another conversation for another day. I’ve written for Ibejii as well, a lot of his earlier projects, so I would say I want to do more of these collaborations”. 

There is a lot happening for Dwin and moving his music to the center stage rewards an important motivation for him. “I want to enter a new space,” he affirms. “I think I bring something very new to the Nigerian soundscape but I also know I’ve always just played sort of in the fringes, and not so much in the pop scene. And I think that I make sounds that would work for the general populace; I don’t think a song like “Streets” is not—[the song] does very well on radio, from here to Ghana, with my streams and the data I have, cities like Amsterdam. I know the sound—whether there’s ballads or the faster stuff—will work. Now I’m taking more important business decisions to make sure all that is achieved”. 

Songs Of The Day: New Music From Tomi Agape, EMPIRE, Maleek Berry & More

Posted on by Nwanneamaka Igwe

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 Tomi Agape, Pheelz, Maleek Berry and more. Lock In! 

EMPIRE, FIREBOY DML & NAVY KENZO – “HOLD ON”

Following the announcement of their debut compilation album, ‘Where We Come From, Vol.1,’ EMPIRE has topped several charts with the release of “Cough(Odo)” with Kizz Daniel and Tiwa Savage and Asake’s “Loaded.” Featuring some of the best Afropop acts including Wande Coal, Bad Boy Timz, Olamide and more, the 15-track compilation album offers a fresh contribution to the sounds from these parts. A standout from the recently released project is “Hold On” which taps into Fireboy DML who recently celebrated 3 years since his iconic debut ‘Laughter, Tears and Goosebumps’ and Navy Kenzo. Fireboy’s captivating vocals which instantly introduce the tracks thumping beat are quickly followed by Navy’s infectious flow. Fireboy’s dulcet vocals steal the tuneful hook as he sings, “So long, baby girl its been so lonely/Hold on, baby girl you’ve got a hold on me.”

TOMI AGAPE – “DEEP END”

Aside some features alongside “In the Night” PsychoYP-aided “Maria” in 2021, Tomi Agape has had quite a quiet couple of months since her 2020 EP, ‘Never Gunna Be the Same’ which featured standouts like “London” and “Better.” Now, the London-based singer returns with the N2theA-produced “Deep End,” which is a melodious rendition over a mid-tempo base infused beat. Her vulnerable songwriting shines through on this colourful production with light saxophone chords. She doesn’t shy away from expressing her raw emotions as she croons on the hook, “This is us, this is all of me/loving you, loving me.”

BLAQ JERZEE & DIAMOND PLATNUMZ – “SUPERWOMAN”

Barely two weeks ago, Blaq Jerzee came out with his first solo track of the year “Chele,” to join his 2022 releases “Bags” and “Dangerous” assisted by Phyno and Jazzer’s Karis respectively. For his most recent release, the Nigerian producer taps into Tanzanian musician and undeniably one of Africa’s biggest artist, Diamond Platnumz for his new single “Superwoman.” The track’s high-tempo groovy beat showcases the pair’s catchy lyricism as they express their longing for their love interest despite understanding that she’s trouble.

PHEELZ & FRENCH MONTANA – “FINESSE”

Cementing himself as one of the most exciting acts to cross over into a global audience with the astronomical success of BNXN-assisted “Finesse,” Nigerian producer, singer and songwriter, Pheelz, offers a new mix to the smash hit now featuring French Montana. This follows after Davido-assisted “Electricity” which also garnered significant attention from global audiences. For its remix, Pheelz retains the tracks indelible production but this time introduced by French Montana’s instantly recognisable flow–a testament to the artist’s versatility.

SMALL DOCTOR & BELLA SHMURDA – “SHAKA”

Still riding the waves of standout single “Philo” off his recently released album ‘Hypertension,’ Bella Shmurda joins Small Doctor for his third track this year. Adding to the slew of street pop anthems emanating from these parts, “Shaka” is another catchy number capturing the zeal and relentless drive easily reconcilable with the streets and its artists. The track opens up saying “If I no make am wo kingba/ If I no do wetin no pay me oh.” The pair, over a catchy mid-tempo beat sprinkled with Amapiano influences, the pair fluently go back and forth in Yoruba and English as they chant on the hook “Plenty dollars shaka (Shakabula Shaka)/Plenty plenty pounds shaka (Shakabula Shaka).”

MALEEK BERRY – “OLE GAN”

Maleek Berry made a comeback on the scene this month with his solo performance on “My Way” off his forthcoming project. Not long after, he reaffirmed himself with his diverting performance on Eugy’s “Medicine” which also enlisted Mavins signee, LADIPOE, leaving us itching for the long awaited comeback. Drawing us further into the world of his album, Maleek has now released new single “Ole Gan,” an instantly catchy number with the distinct log drums of the Amapiano sounds rocking our airwaves at the moment. On this track, he expresses his longing as he expresses his willingness to go the extra mile for his love interest.

SKALES – “KONIBAJE”

Following the death of his beloved mother, Afropop singer Skales is immortalising her memory through his latest release. Titled “Konibaje,” which is Yoruba for “It won’t be bad,” Skales delivers a hopeful and resilient track about keeping the memory of our loved ones alive. Produced by longtime collaborator Jay Pizzle (Kizz Daniel, Patoranking, Olamide), Konibaje’ is an infectious dance floor filler laced with thumping drums and catchy synth arrangements, as we have come to expect from Skales.

JOYA MOOI – “TEARS”

Off her forthcoming debut album, ‘What’s Around The Corner,’ Joya is back with her raw lyricisms and signature heavenly vocals on “Tears.” The soulful R&B track which blends loose-limbed Jazz sensibilities and Hip-Hop, showcases Joya’s luscious vocals on the reflective number that discusses accepting life with all the negatives. Produced by Sim Fane and SIROJ, she sings about embracing ones journey with all the failures, dramatic fullstops and resets. “Tears” offers a refreshing sound of modern R&B with sharp lyricisms urging listeners to reflect.

ESPACIO DIOS & MAGLERA DOE BOY – “PELO”

Espacio enlists ‘Diaspora’ rapper, Maglera Doe Boy on his first single of the year since his triple release – “Deliverance,” “The Knowing” and “Thlali”– in the later parts of last year. “Pelo” features the South African musician expressing his hopes for love on this mid-tempo track, stating plainly to his love interest that he is vulnerable and ready to love. Maglera Doe Boy’s sweet-sounding vocals compliment the tracks dazzling production drawing influences from Setswana and SeSotho.

T6LU – “BIG BAD BLU”

Making her 2021 debut into the scene with a feature on DEELA’s “FIT,” Tblu’s memorable lyrics and rhythmic flow over the striking bass-infused beat left listeners wanting more. She also featured on Brazy’s “ARI” – also assisted by DEELA- and the trio, joined by L0la collaborated on “Fuk on Me.” For her debut solo single, “Big Bad Blu,” T6lu -pronounced T blue- is back with her low cadence vocals on the bass-heavy produced. A eulogy in its own right, T6lu praises herself as she croons on the “Big bad blu, who?, who the fuck is T6lu?/ You bitches wish you knew, can’t hang with my crew.” 

Featured Image Credits/The NATIVE

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

ICYMI: ASAKE’S TIME

NATIVE RESET ISSUE: Asake, Undisputed

Posted on by Damilola Animashaun

Each year, Nigerian pop welcomes several ascendant stars into the mainstream. In the early days of 2022, Asake burst unto the scene with the Olamide-assisted “Omo Ope,” a delightfully hedonistic slapper that quickly set the course for his marquee year. Since that release, Asake has continued to notch musical successes as he rapidly ascends through the ranks and harnesses his powers fully.

For the first of our NATIVE RESEST ISSUE covers, we spoke to Asake, the man of the moment about his life before he became the King of Sounds and Blues. Here, the YBNL and EMPIRE star talks candidly about his days stomping around Obafemi Awolowo University in Ile-Ife where he first realised his musical ambitions to his relationship with label boss and mentor, Olamide and his infectious sound which has taken the world by storm off the back of his commanding and charismatic presence.

With weighty strides that have changed the course of Afropop music as we know it today, Asake is the undisputed champion of 2022. “I won’t lie, it’s been stressful, but it’s what I’ve been praying for. I no sabi give up,” he reveals, as he talks about his how his ascension to household name feels long overdue.

Full Credits

Word by Dennis Ade-Peter

Editor-In-Chief: Seni Saraki

Head of Content Strategy: Damilola Animashaun

Managing Editor: Tami Makinde

Deputy Print Editor: Adewojumi Aderemi

Photography & Creative Direction: Manny Jefferson

Art Direction & Production Design: Desola Falomo

Styling: Momo Hassan-Odukale

Make-Up: Onome Ezekiel

Production: Jimi Adesanya & Leke Alabi-Isama for JM Films

Motion Director: Director K

Videography: Omowunmi Ogundipe, Muhhammad Atta-Ahmed, Henry Young, Idris Shokanbi, Tunde Anjorin

Lighting: Stanley Ibegbu

Sound: Sunday Adesugba

Production Assistants: Yusuf Adedoyin, Benjamin Edem

Read Asake’s Time here.

Featured image credits/MannyJefferson

EXCLUSIVE: Lagos-based artist Smada signs to NATIVE Records

Posted on by Damilola Animashaun

Rising Lagos-based artist Smada, sent the entire Internet into a frenzy when posters and merch with the words “Where is Smada?” began popping up around the city this past month. While some fans surmised this was a PR tactic, created to roll out new music, the online campaign got people talking about the artist who has spent the past two years, building a solid fan base of Gen Z listeners. Ever in tune with social media and his fan base, the viral campaign certainly served to further his ability to command conversations and remain an ubiquitous new name on the scene.

Following the announcement of their exclusive worldwide joint venture partnership with Def Jam Recordings, the first-ever by Def Jam with an African company, Nigerian and UK-based NATIVE Records have today unveiled their second signing–Smada, the heavily sought after viral star from Lagos, Nigeria.

It’s nearly impossible to have avoided Smada over the last 12 months – the rising star’s face practically unavoidable on social media, especially on TikTok, where his videos have amassed close to 2 million likes, with many soundtracked by snippets of his unreleased songs. This rapid rise, propped up by an organic community of followers turned fans, has seen Smada emerge as one of the most exciting voices out of the country’s burgeoning music scene. His debut EP, ‘Super Smada’ rocketed to #1 on iTunes, while his single “Family” peaked in the Top 100 songs on Apple Music – all while he was still a student at the University of Lagos.

Smada has spent the past few months fine-tuning his delivery and working on new material, the first of which is the much-anticipated single “Ye Anthem”, which Smada has been teasing on his TikTok for the last few months. The snippet alone has already been used over 200 times on the platform, and amassed hundreds of thousands of views.

With a firm grasp on trends and Internet parlance, Smada continues to ascend the ranks and present a refreshingly unfiltered evolution in Afropop. Now, with a record deal inked with one of the most exciting labels out of Africa, NATIVE Records, Smada has his sights set on what’s really important: the music.

Speaking about the new deal, he shares:

“Signing to NATIVE Records and working with my team is a new journey for me. NATIVE is family so I feel very much at home. A lot of things have changed, but nothing really changed. I can’t wait to see what we come up with and what we achieve. Big up to everyone, this is about to be crazy.”

Co-president of NATIVE Records, Teezee also shares:

“We’re super excited to sign Super Smada to the NATIVE Records team. He’s a very versatile, Gen Z Afrofusion artist and he has the potential to become one of the leaders of the next generation of artists and leaders coming out of the country. Super Smada let’s go.”

Featured image credits/

TurnTable Top 100: Mavin’s “Won Da Mo” climbs into the top five

Posted on by Dennis Ade Peter

In the decade-plus since its formation, Mavin Records has evolved from a crew of stars led by a Svengali, into arguably the most well-oiled machine and label operations company in this part of the world. In celebration of its tenth anniversary, Mavin is gearing up for the release of its second compilation project, ‘Chapter X’, and the album’s recent lead single “Won Da Mo” is growing into a bonafide hit. On this week’s edition of the TurnTable Top 100 chart, it climbs to a new No. 4 peak – three spots up from last week – with 2.04 million streams and 48.9 million in radio reach.

With ‘Chapter X’ due for release later this week, “Won Da Mo” is loading up to contend for the top spot, but it will face stiff competition from the current No. 1 song on the chart, “Cough (Odo)” by Kizz Daniel and EMPIRE. Also dropping this week is ‘EMPIRE Presents: Where We Come From, Vol. 01’, the first compilation project by the distribution and label services company featuring many of its affiliated African artists. After being shut out for the last two weeks by Young Jonn’s “Xtra Cool”, Kizz Daniel’s latest smash hit returns to the No. 1 spot, making him the artist with the most cumulative weeks at No. 1 (19 weeks), a streak that could be extended by the imminent drop of the EMPIRE compilation.

“Xtra Cool” drops to No. 2, continuing its remarkable top ten run on the TurnTable Top 100, and it’s closely followed by Tiwa Savage and Asake’s lavish, irreverent banger, “Loaded”, which holds at No. 3 for another week. Ayra Starr rounds out this week’s top five with “Rush”, dropping one place from its previous position. Both Asake and Ayra make one more appearance on this week’s top ten, with the former’s “Joha” holding at No. 6 for another week, and Wizkid’s “2 Sugar” with the latter slips three spots from its previous peak to No. 8 this week.

An alleged shot at Mavin and following a reignition of his tiff with BNXN, which led to a conversation about streaming farms in Nigerian music, Ruger’s “Asiwaju” moves up 63 spots to a new No. 7 peak position on this week’s TurnTable Top 100. With the controversy and debate raging on, Ruger’s new single will very likely be in contention for higher spots in the top ten in subsequent weeks. Rounding out this week’s top ten, Johnny Drille’s “How Are You (My Friend)” makes a return to the chart’s top fifth at No. 9 this week, and it’s followed by Pheelz and Davido’s “Electricity”, which moves twelve spots up from last week.

You can go through all the songs on this week’s TurnTable Top 100 here.

EXPLAINED: NIGERIAN MUSIC HAS A STREAMING FARM PROBLEM

Songs Of The Day: New Music From Busiswa, Reekado Banks, J.Derobie & 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 Reekado Banks, SOLIS, Karun, Laime and more. Lock In! 

Busiswa – “Asambe” ft. DJ Khao and Kaybee

Following her singing and songwriting appearance on two tracks off the ‘Black Panther: Wakanda Forever – Music From And Inspired By,’ South African singer Busiswa returns wuth a new groovy single titled “Asambe” which features DJ Khao and Kaybee. Produced by DJ Khao, the new number provides a delectable blend of Amapiano, infused with Gqom, and House which provides the perfect backdrop for Busiswa to fire off empowering and affirming lyrics such as “I’m a badie, I’m a queen, I’m fucken star, if you won’t believe me you won’t go far these days.”

Reekado Banks – “Holla Me”

Following the success of his 2021 hit single “Ozumba Mbadiwe,” singer and songwriter Reekado Banks makes his return with his first official release of the year titled “Holla Me.” The Horlargold production finds the artist hyping himself up while he speaks to his muse. Over the Amapiano-infused production, he chants “Oh baby, hop in the car Shey na wire abi make I do transfer?/Mm, omo, kos’ewu rara, owo nbe ninu shaka, billi’-billi* dollars,” with his melodic vocals. 

SOLIS – “Abeg” ft. Karun, Amindi

It’s SOLIS season once again and we’re excited for the new era. Arriving last week, SOLIS has now shared the remix to “Abeg,” one of the standout cuts off her recent EP, ‘Stairway to Heaven.’ The new remix reunites SOLIS with American singer, Amindi while bringing on the lush sounds of Kenyan singer, Karun into the mix. The sultry and solemn number sees a wholesome combination of vocals from all collaborators on the record. The production ties it all together and gives the record a clean and ethereal finish.

Mohbad – “Tiff”

Since his exit from Marlian Music, we’ve all been wanting to know Mohbad’s next move. Well, the wait is over. Mohbad has now shared new single, “Tiff” which serves as his first release as an independent artist. The record which was first teased on social media, now makes for an even more enjoyable listen as it finds the artist speaking about his struggles these past few years. Over catchy production from Larry Lanes, Mohbad paints a picture of his experiences while showcasing how he can rise up as a better version of himself. 

Ladè – “Lova” ft Crayon 

Following the success of her standout single, “Adulthood Anthem,” Afropop singer Lade has now shared her sophomore EP ‘Merchant Of Melodies.’ The body of work sees the artist showcasing melodies across a brisk 5-track run. On the Crayon-assisted standout record “LOVA,” both artists sing to their respective muses and express their most honest feelings to their love interests. 

Laime – “Ordinary Love”

After taking a brief hiatus from releasing music, Laime is here with his most recent party starting banger titled “Ordinary Love.” The amapiano-infused romantic number sees the artist making advances towards his love interest. Over the Dami Ore-production, Laime sings “Ordinary love, you know I’m different.” 

MTG 9Boy – “Choke”

After taking a 2-year hiatus from releasing any musical material, Nigerian-born, American based artist is here with the new mid tempo number titled “Choke.” The record sees him at his most braggadocious as he hypes himself up and spits bars about getting his shit popping. He chants the lyrics “I’m steady dripping in my steezy clothes/You see my steeze e dey choke,” which serve to boost his own self-confidence.

Barry Jhay – “Destiny”

Singer and songwriter Barry Jhay is back with another street pop record titled “Destiny.” The record sees the artist showing appreciation to his maker for how far he has come and where he sees himself in the near future. Over the production, he chants “I know where I’m coming from, I know where I’m going to/So why should I be lacking? That one no dey my dictionary.” 

Ronehi – “Blessing” ft. Tim Lyre 

Ronehi and Tim Lyre are a musical pairing made in heaven. After teaming up countless times for records such as the MOJO-assisted “General” and “Organic” with Tena Tempo, the pair reunite on new single “Blessing.” The mid tempo record sees the both artists counting their blessings and showing gratitude to their maker for how far they have come in their lives.

J.Derobie – “Adwoa” ft. Joeboy

J.Derobie is making sweet-sounding Hiplife music that soundtracks his romantic life. On new single “Adwoa,” the Ghanaian singer teams up with fellow emPawa artist, Joeboy for a romantic new track that praises and adulates their love interest. With lyrics such as “Adwoa, you dey maya dey go/everytime you hold me, do it like that,” J.Derobie sets his romantic intentions while bringing his new project ‘Grains From Love and Reality’ one song closer.

Sauti Sol – “Lil Mama”

Sauti Sol are making some of the most exciting music out of East Africa. For their new single, “Lil Mama,” the group address their runaway love interest who keeps them in the dark about her real romantic intentions. “How long should I wait for your love, Lil Mama,” they chant over the song’s hook, imploring their love interest to take a chance on their romance.

Tyla – “To Last Remix” ft. DJ Maphorisa, Young Stunna

Earlier this month, South African singer Tyla shared her new Kooldrink-produced single titled “To Last,” an honest and romantic track that showcased her mellifluous vocals. For the song’s official remix, Tyla delivers an Amapiano-inflected update by featuring talented collaborators, DJ Maphorisa and Young Stunna who make the song more memorable with their ethereal touch.

Featured Image Credits/NATIVE