What’s Going On: Hoodlums Attack Nigeria’s Electoral Building, Tremor in Ghana & More

Posted on by Emmanuel Esomnofu

“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.

ARMED HOODLUMS ATTACK ELECTORAL OFFICE IN NIGERIA

On Monday morning, a number of armed hoodlums attacked the headquarters of the Independent Electoral Commission of Nigeria (INEC). The attack happened along Port Harcourt Road, a popular location in Imo state in the country’s southeastern region. According to eye-witness reports, the attackers were in a convoy of more than five vehicles, shooting sporadically as they drove into the neighborhood where the INEC office was located. They then set fire to some parts of the building, possibly with the intention to burn the permanent voters cards (PVCs) and other sensitive materials being stored there. The police however responded in good time, managing to protect a major part of the structure. 

“It happened,” says the Imo state police Public Relations Officer Chinenye Chijioke-Osuji. “You can come and see things for yourself. Not all the offices were attacked but one side was completely down. The Election and Political Party Monitoring Liaison building was attacked, and part of the main building”. 

EARTH TREMOR ROCKS PARTS OF GHANA 

Residents in the Ghanaian capital, Accra, were left agitated as parts of the city were hit by an earth tremor. Between 10am and 12pm, some social media users reported what they’d felt—a tremor, rocking, to varying degrees, the communities of Dansoman, Mataheko, Weija, Accra Central and Mallam. While the reactions on social media were understandably marked by tension, Ghanaian authorities have moved to assure people of their safety. 

Speaking to the Citi Prime News shortly afterwards, the Principal seismologist at the Ghana Geological Survey Authority (GGSA) Nicholas Opoku, assuaged fears of Ghanaian residents, even though there were bound to be other similar cases. “What we have been saying all this while is that Accra is situated in the earthquake-prone zones so from time to time we will be experiencing these major earthquakes until such a time that a major will happen”. True to his words, similar incidents were reported between 2018 and 2020.

GUINEA’S COUP LEADER TAKES STAND FOR FIRST TIME 

On September 28, 2009, security forces opened fire on unarmed protesters who moved against Moussa “Dadis” Camara and his ambition to run for president. Camara had successfully led a coup against the government of Guinea, seizing power a year earlier, and was going to solidify his position at the helm of the West African country’s affairs but was resisted by the people. After the rounds of direct gunshots led to the reported deaths of over 150 people and dozens of women raped at the stadium where they had gathered, Camara became public enemy. He survived an assassination attempt months later and fled to Burkina Faso where he lived in exile for over a decade before returning to stand trial in Guinea. 

He made his first court appearance yesterday, visibly nervous as he made a plea for his innocence. Human rights groups have reiterated the stand that Camara, being the commander in chief at the time of the massacre, must bear the brunt of responsibility. In his account Camara made an unsatisfactory comment of being asleep when the protesters were being murdered, while pointing fingers at former President Alpha Conde as being behind an assassination attempt on him. Of the eleven people accused, Camara is the ninth to stand trial. 

NEARLY R2 BILLION FOR SOUTH AFRICA’S APARTHEID REPARATIONS UNSPENT

The unfortunate events of apartheid in South Africa saw a mass degradation of human rights, which created some of the most racially-discriminated societies and organisations in modern state history. Till this day, its effects are still felt, the downwards trajectory suffered by black people still crippling the potential of generations yet to come. Over the past five years, a special account called The President’s Fund, which was established by the Promotion of National and Reconcillation Act of 1995, was mandated to make reparations to victims of the human rights abuses under apartheid. 

Yet, according to the people this fund is supposed to be disbursed to, they haven’t received anything near the set-aside amount. Since 2017, even though the Fund has received R531 Million in investment revenue, only R98 Million has been disbursed. As a result, for the past two months over 150 victims of apartheid have been sleeping outside the country’s Constitutional Court in Johannesburg as part of the Khulumani Galela Campaign. They want the reparations owed to them, they’ve told reporters, with the extent of their injuries ranging from the physical to the mental, as in the case of a woman whose husband was gunned down. 

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Best New Music: Kelechief & Amaarae’s intoxicating new single “Fine Wine”

Posted on by Nwanneamaka Igwe

Kelechief is playing the long game. As far back as the mid-2010s, the rap artist had been garnering attention his chops as a lyricist who deploys obvious technical brilliance in service of music reflecting his reality. After winning a Mountain Dew open call contest, he earned a $50,000 grant to make an album, the resulting project being 2016’s ‘Before the Quarter’, featuring standout tracks like “Play With My Hair” and “Immigrant Son,” detailing his life as a Nigerian born and raised in Atlanta, Georgia.

In the years since, Kelechief has released four projects, each one offering affecting insights into his growth as a person, and generally emphasising his preference for full-length projects as the medium for wholesome expression. While he’s always been upfront about his Nigerian upbringing, mostly within a first generation immigrant context, the last couple of years has seen him embrace that part of his identity even more, evident in the title and content of last year’s ‘Going Home’, and his travel to Nigeria in December 2021, which included a headline show and several live appearances.

In a few days, Kelechief will be releasing his newest album, ‘ATLagos’, a project he’s been teasing in the last few months with a torrent of freestyles and a couple of loose singles. Setting the album up, he’s joined by iconoclastic Ghanaian artist Amaarae on lead single “Fine Wine,” a collaborative choice that proves rewarding. Two years after her glittering debut album, ‘The Angel You Don’t Know’, stacked with standout tracks tracks like Santi and Kojey Radical-assisted “Jumping Ship” and “Celine,” Amaarae’s career has reached new heights. While “SAD GIRLZ LUV MONEY,” featuring fellow Ghanian musician Moliy, was already gaining traction across Africa, the Kali Uchis-assisted remix rocketed into stateside and global hit status, partly helped by TikTok virality.

Since then, Amaarae has sparingly put out new music, engaging with her fans through live performances on stages across the globe, from Koko London to Pitchfork Fest, as she works on a second studio album currently dubbed ‘Fountain Baby.’ It doesn’t mean she’s been radio silent, though. A bonafide feature-killer, she’s bared those seductive fangs on several occasions, including silvery bars on “Born Again” off Santi’s ‘Subaru Boys: Final Heaven’, a sensual showcase on Babyface’s “One Good Thing,” and brief yet indelible appearances on Blaqbonez’s “WHISTLE” and Stormzy’s “This Is What I Mean.”

 

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Amaarae is a song-elevating presence, which puts her high on a lot of artists’ feature list, but there’s a remarkable touch to how Kelechief creates the perfect environment for him and his guest to effortlessly thrive. Self-produced in collaboration with Zane and Steph Swanky, “Fine Wine” is a tantalising record drawing parallels with a love interest and the intoxicating highs of fine wine. The track’s alluring mellow keys lead into Kelechief’s enthralling vocals over the rhythmic percussion of the beat as he immediately confesses just how spell bound he is over his love interest: “Tispy, I might be/ Drunk of your lips I’m a lightweight.”

The mid-tempo track draws deeper as Kelechief’s melodic flow melts into the simple, ultra-effective and sweet-sounding hook. “It’s fine wine, fine wine, fine wine,” he repeats. Midway through the track, Amaarae’s mellifluous vocals and memorable adlibs, buzzing with its usual sensual energy, elevates the song to new heights. “When I’m around you I feel like I’m floating,” Amaarae whispers of her love interest, an all too familiar feeling elevated by the singer’s ethereal touch. Towards the backend of her outstanding verse, the singer switches to a patois-inflected flow, reminiscent of her iconic verse on Santi’s “Rapid Fire”, a nostalgia-based trick she doubles on by interpolating the hook of Santi’s “Sparky”—another ‘Mandy & The Jungle’ era classic.

Ahead of his upcoming album ‘ATLagos’, “Fine Wine” shows us the softer, more melodious side of the artist, contrasting his previously built discography around hard-hitting bars. Drawing us further into the project, anticipated to be a stellar combination of unique, Atlanta rap sensibilities and Afropop in Lagos, “Fine Wine” shows just how expansive Kelechief’s sonic landscape can be expanded.

Listen to “Fine Wine” below and presave ‘ATLagos’ here.

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NATIVE RESET ISSUE: Rema, Still Divine

Posted on by Tami Makinde

In three short years, the young boy that was once rapping out of the car window has become the young man on top of the world. Rema has scaled to the pinnacle of the music pyramid, and he’s done so seemingly without even breaking a sweat. Signing jointly to Jonzing World and the machine that is Mavin Records in 2019, he came on the scene young but confident boy, tipped as The Next Big Thing.

Not only has he lived up to the billing, but it’s fair to say he may have already surpassed the expectations the ever-sceptical Nigerian music industry had for him. Today, he sits atop the Billboard US Afrobeats Charts for a record 11th week, as a result of his borderline fanfic collaboration with Selena Gomez.

For NATIVE’s The Reset Issue cover, Rema is setting the record straight–he’s still Divine, the wunderkind from Benin who has bent Hip-Hop, Trap and Pop into his sonic orbit. “Everything that you hear is from my soul. I rarely have an external principle lead my spirit to create. I’m not boxed in. I can be on [any] genre and still sound like me. Afro-Rave is ME,” he declares triumphantly on our Ember 2022 Issue.

Full credits.

Photography: Richie Igunma

Art Direction: Gbenga Ayeblue

Styling: Pat Ada Eze

Production: Dawa Thompson

Make-Up: Ayopo Abiri

Photography Assistants: Toafiq Alade, Idowu Oe, Tunde Sunmi, Jeremiah Ogunsina

Art Assistants: David Abai, Busayo Adedeji

Styling Assistant: Freya

Production Manager: Ademola Eshinlokun

Production Assistants: Tega Akintola, Olaotan Collins, Moore Wright, Damilola Layiwola

Words by Seni Saraki

Read the full cover story here.

Songs Of The Day: New Music From King Perryy, Vigro Deep, Niinety9 & 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 King Perryy, Vigro Deep, Niinety9 and more. Lock in!

King Perryy – “Turkey Nla Remix” ft. Tekno 

Off the back of his most recent single release titled “Turkey Nla” which arrived only a few months ago, Afro-fusion artist King Perryy has now shared the Tekno-assisted remix for the record. The Amapiano-infused record makes the original track more enjoyable with catchy verses and memorable hooks alongside a feature from Afropop star, Tekno. The track sets the momentum for his highly anticipated EP titled ‘Continental Playlist’ with star-studded appearances from Tekno, Victony, Ria Sean, and 1da Banton.

Vigro Deep – “Shukushuku” ft. Senjay

South African DJ and producer Vigro Deep makes music that sees listeners at the base of their emotions. Last Friday, he shared his latest project titled ‘My House, My Rules,’ which featured the standout track, “Shukushuku.” The party-starting bop “Shukushuku,” finds him teaming up with Senjay for an instantly memorable anthem. In usual Vigro Deep fashion, he makes use of log drums, heavy kicks and ascending cymbals to create otherwordly melodies that provide the perfect backdrop for his collaborators. 

R2Bees – “Su Mo Mi”

Following their streak of releases this year, Ghanaian duo R2Bees have recently arrived with their most recent release titled “Su Mo Mi.” The uptempo Amapiano record sees the duo at their most experimental, as they explore more drums and heavy beats. Over the KillBeatz production, the artists sing in their native dialects about their attraction to their love interests.

ManLikeJoe – “Games” ft. Niinety9

Newcomer ManLikeJoe has recently shared his new single titled “Games.” On the new number, he taps Afropop singer Niinety9 to deliver a romantic number. Over the melodious Johnson IP produced-track, the pair serenade their respective love interests with lyrics such as “All day, all day I’m thinking about you/my way, my way baby you go come my way.” 

Fasina – “Bad 4 Me”

Fasina makes sweet-sounding music that has earned him a loyal following of listeners. On his latest single, “Bad 4 Me,” the singer opens up about a toxic lover who he can’t get off his mind. Over twinkling keys and R&B-infused production with Afropop sensibilities, he sings “They say that you’re bad/all these boys do is cap cap cap,” as he lets her know the extent to which he’s willing to go for her.

Ronisia – “Probleme” ft. CKay

For the uninitiated listener, Ronisia was first introduced on CKay’s debut album ‘Sad Romance,’ when he featured the Cape Verde singer on the record “Lose You.” Now, Ronisia is here with her most recent offering titled “Probleme,” with a guest verse from CKay. The record finds the both artists reminding their muses about the hold they have over them. While Ronisia sings in her native dialect, her vocal texture combined with CKay’s give the record a special touch. 

Mr Eazi – “See Something” ft. Shatta Wale, DJ Neptune Medikal & Minz

Following the success of his hit single “Patek,” Mr Eazi teams up with Shatta Wale, DJ Neptune Medikal and Minz for another Amapiano-infused bop titled “See Something.” All the collaborators on the record bring their best to the record as they deliver stellar performances, colouring it with catchy and memorable verses that will surely get replay value this holiday season. 

SuperWozzy – “The Same” ft. PsychoYP 

Street pop rapper SuperWozzy taps Abuja based rapper PsychoYP for the brand new hippy record, “The Same.” On the Nakedbeatz-produced track, the artists are at his most braggadocious as they remind listeners of the work they put in to get to their current level. In usual PsychoYP style, he slides melodiously over the production while he delivers hard hitting bars.

 

Featured Image Credits/NATIVE

Everything We Know About Wizkid’s ‘More Love, Less Ego’ Africa Tour

Posted on by Damilola Animashaun

In 2020, during the seismic change caused by the COVID-19 pandemic, and the new normal that set in after, the music industry underwent similar changes of its own. With many of us confined to our homes and immediate family and friends, artists put their global tours and live performances on hold, bidding the time that we could all congregate in large gatherings and enjoy music in real-time. 

As artists and the music industry began settling into the temporary normal, virtual live shows tried to get more inventive. Travis Scott famously hosted a spectacular live event on the gaming platform Fortnite, Burna Boy performed at a show that allowed viewers watch in virtual reality mode, and Wizkid’s first post-Made in Lagos concert was made momentous by an intimate preamble offering a glimpse into his daily life. These examples pushed the boundaries of the norms with virtual performances, giving digital attendees an experience they can hold on to, as opposed to the straightforward stage exhibition.

This year, the influx of live shows has been astronomical. With the worst now seemingly behind us, artists made their return to stages and sets around the world including some of the big-ticket events around the world including Coachella, Rolling Loud, Wireless, Flytime Festival in Nigeria, and more. The welcome return of these shows cannot be overemphasised by listeners around the world, as we’ve seen a massive rush to purchase tickets to attend in person and witness artists grace the stage once more, to perform albums and songs that havee soundtracked the 2020 stay-at-home induced orders.

While the fans are undoubtedly excited to experience the music in new ways, it seems that there has been little change to the infrastructure around live shows and performances. Think Ticketmaster selling over two million tickets in pre-sales for international star, Taylor Swift, and having to forgo general ticket sales due to high demands and insufficient ticket inventory. Added to this, there is also the recent case of Puerto Rican musician, Bad Bunny, whose fans were left outside Estadio Azteca stadium in Mexico City, after being turned away due to their tickets being considered as fake or duplicated. Over in Africa, live shows have also suffered a similar fate with organisation. Recently, tragedy struck when 11 lives were lost during a stampede this year at Fally Ipupa’s show in the Democratic Republic of Congo. 

These infrastructural issues bring to light the rot which has always existed the heart of the entertainment industry—the prioritisation of capital over the real-time experience of the fans and listeners who attend these shows. In these parts, live shows have always been received with a sore thumb. Frequently, artists arrive hours after their scheduled performances and set times, leaving idle fans waiting with no appropriate communication for hours on end. For a while now, these discrepancies have largely been ignored by music lovers on the continent, who typically chuck it up to production issues or African time. However, this year, Afropop fans are speaking up and demanding better from the artists that they love.

Over the weekend, Afropop singer Wizkid was the latest African act to come under heat following his reported absence from his highly anticipated show in Accra, Ghana. According to reports on our timelines, Wizkid was scheduled to perform at the Accra Sports Stadium to a 40,000-capacity crowd of concertgoers. The night kicked off with a showcase of excellence from Gyakie, Efya, DarkoVibes, Joey B and more Ghanaian acts who got things going with riveting performances, while the palpable energy of MC Kojo Manuel engaged the restless crowd alongside performances from Afropop dancers.

As the night wore on, the crowd were anxious for its headliner and main attraction, however, things took a turn for the worst when Wizkid failed to grace the stage after hours and hours of wait time. At 4AM, disgruntled fans were captured leaving the venue, heartbroken and downcast at the lack of communication from Wizkid, his management and event organisers. Rightly so, fans left the venue and demanded that their tickets be refunded due to a no-show from the lead artist. One viral video includes a clip of popular Ghanaian influencer and Youtuber Mahalia Akatugba and a group of her friends, who share their disgruntled feelings about Starboy’s absence from the show. “If not you personally, the MC could have said two hours, a fucking go, at like 2 o’clock, chale, Wizkid, e no dey come,” retorts one of the girls in the video, as the group exclaim at the late hour in which a message from the organisers came. They also called for Wizkid to be cancelled, while exclaiming that such an occurrence would not have happened in Lagos, yet alone, in Manchester or New York. 

According to an official statement from LiveHub Entertainment, which was released on the company’s Instagram account, Wizkid breached his contractual obligations by failing to show up to the venue in Accra. However, Wizkid’s public apology hinted at a different reason for his absence. According to the singer, security alerts and production issues barred him from putting on a high-quality show that the fans deserved and as such, another show would be organised in Ghana for the fans who were left waiting for several hours at the venue.

While the details of the security threat is still unknown, Ghanaian journalist and TV presenter Olele Salvador shares details on how Wizkid’s absence was communicated to the crowd: “I personally don’t recall hearing or seeing the organisers make a formal announcement to inform the crowd of about the no-show situation. I learned Wizkid wasn’t going to show up by a tip off from a source close to Wizkid’s camp alleging that the Starboy had been informed by some persons not to show up due to low turnout.” 

As a result, while many appreciate Wizkid’s apology shared via social media, Olele believes the reason for the no-show to be bogus. It doesn’t help that barely hours after the incident and apology, Wizkid once again missed another show for his ‘More Love, Less Ego’ Africa tour—this time in Abidjan, Côte d’Ivoire. Meanwhile, he is seen via his social media landing in Cotonou, Benin without any explanation. Coupled with that, several videos have been circulating with Wizkid performing there, forfeiting the show in Abidjan. This raises questions regarding the validity of Wizkid’s reasons for his absence in Ghana shared via his apology. 

“I may not be privy to what type of production and security/safety that comes with booking Wizkid but when I saw what was provided in Cotonou where he performed 24 hours after, there was absolutely no difference. Perhaps the only difference was a seemingly larger crowd for the concert in Benin,” Olele shares. Reports are that there were about 5,000 concertgoers at the Accra Stadium, which tallies to just over 10% of the venue’s capacity, but low turnout shouldn’t be an excuse in a country currently dealing with runaway inflation numbers and a crisis with cost of living.

As Nigerian Pop heavyweights like Wizkid continue to redefine the status quo and sling the ropes of the burgeoning music scene beyond its borders, the importance of a near spotless reputation cannot be overemphasised. When, for whatever reason, things do not go as planned, full transparency and accountability are essential in ensuring the fans of the star do not feel slighted. Especially considering that the safety of many concert goers, as well as their money is at stake, negligence is unacceptable and at some point, apologies are just not going to cut it.

[Featured Image Credits/The NATIVE]

Editors note: We have reached out to Wizkid’s team for a comment and this post will be updated regularly with new updates.

Written by Tami Makinde and Nwanneamaka Igwe.

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NATIVE Exclusive: Thando Skwatsha Addresses Personal & Universal Themes on Debut Album ‘iimini nentsuku’

Posted on by Uzoma Ihejirika

Thando Skwatsha’s music is soul-stirring. It combines heartfelt melodies and his powerful vocals, which were strengthened through years as a lead choral singer. Skwatsha, who grew up in Gugulethu, Cape Town, infuses his African heritage into his music, creating a blend of modern and past sounds. In 2018, Skwatsha met South African music producer Milan Rendall, after a friend had told him of a producer who needed the assistance of a vocalist. Since then, Skwatsha and Rendall have forged a deep connection and in 2020, they released the project ‘Love Is.’

Last month, Skwatsha shared his debut album ‘iimini nentsuku,’ which means “days and nights.” The Rendall-produced and emPawa Africa-supported project is Skwatsha’s first time singing in his mother tongue isiXhosa, well as in isiZulu and English. From songs like “ngyazfela” that deal with love to songs like “iskhalo sabantwana” that preach hope, Skwatsha’s ‘iimini nentsuku’ is a documentation of situations that remind us of our humanity.

Skwatsha, who is also a stage performer and actor, speaks with the NATIVE about his upbringing, creative process and aspirations for his career.

NATIVE: What was life for you like growing up?

Thando: Okay, so I grew up in a family of four with my mother, my father and my younger brother. He’s four years younger than me. I lived at home for the first 12 years of my life, after which I went to boarding school because I enrolled at a music school in South Africa. And that is where my journey with music started professionally. Because at the school that I attended, I was enabled and equipped with the necessary tools that allowed me to be able to present myself and be musically enrolled in the way that I am today.

So I went to a boys’ school in Cape Town, [and] then I had to move because the way that happened how I went to music school was that my mom, who organised the audition, didn’t actually know that it was a school, she thought it was just a choir and something that I could do on the side. And at the end of the audition, they told us that I had passed the audition and now I need to move schools. So that was a big change. But I grew up as quite an exciting child, meaning basically, I was quite hyperactive. Very bubbly, and loving, quite warm. I was very much what I think people would label as a happy child, in terms of that I was always enthusiastic about everything and anything and forever cracking jokes.

Life was pleasant, thankfully, and I’m fortunate enough to be able to say that. I didn’t really struggle for anything. You know, we grew up in Guguletu, which is a location in Cape Town. But that really didn’t change anything. My parents worked really, really hard in order to make sure that we never lacked anything, so we never really actually did. And then I went to school, I finished school; I matriculated grade 12 at the age of 18 at boarding school, which I continued, and I moved back to Cape Town where I enrolled in university, and then I am where I am now.

NATIVE: You’re multi-talented and do a lot, from music, film and theatre. At what point did you discover your passion for performing arts?

Thando: It was more of a process, of me just, you know, really starting to do things that I really liked at school such as performing in plays and being on stage, joining the choir, and then being drawn to do things naturally. And then realising that actually, you know, I’ve got a bit of a talent and a gift that I can use. And then eventually, where I am now in being conscious of that usage and actually deciding that “Look, I’m going to use this gift now in this particular way, this is what I want to be doing for the rest of my life.” So it was really a growing and learning process for me and the arts to grow and learn together. But it originally started as just pure enjoyment, because it was something that I love to do.

And part of that learning process was discovering that look, it’s not just the choir that I enjoy being a part of, I also love being on stage as an actor in the theatre. And on top of that, I also love joining the dance troupe, you know, for example. So it really was a learning process.

NATIVE: And during this period where you were discovering your passions for these different art forms? How was the support from your family?

Thando: Amazing, it was really, really good. I’m really, really fortunate enough to be blessed with parents and family that really are supportive of what I do. I have a lot of friends, immediate friends who even come and ask me like, “Mate, how did you do that? I have this thing, I want to do this. But my mom says this, or my dad says this, and I can’t do this.” Honestly, it was really easy for me, because I just came out like “Dad and Mom, this is what I want to do” and they really never gave me a hard time about it. And they were really like, “Yeah, if that’s what you want to do, you’re more than welcome to do it.” In fact, they encouraged me to do it. So I’m really fortunate to be in that position.

NATIVE: You were a lead choral singer. How has that shaped you as an artist?

Thando: Being a classically trained musician and starting in choral music especially has shaped my musicianship skills in a way that I actually struggle to articulate because of how big the impact it has had, on not only my musical journey but my artistic journey in general. I think it is very important basics that are not required, but really do serve the artist well, if equipped to be starting in a choir and you want to break [through] as a solo singer. There are certain things that you learn, not only from the conductor or the music teacher in front of you but from your fellow choristers singing with you about yourself [and] about music in general.

When I left music school, I look back [as I have gotten into the rest of society] and I’m like, “I’m actually a bit ahead musically than other people” because, at music school, we were 12, 13, 14 years old doing university level stuff because of how intense the program was. And it really put me that much ahead and made me that much different from the artists next to me, who perhaps didn’t get the training that I did.

NATIVE: In your interview with emPawa Africa, you spoke about not planning to be a recording artist and how it happened out of a stroke of luck. Was music just a thing of passion at that time?

Thando: I think it would be a lie for me to say I joined the music to not make a career out of it for the arts because that was the goal from [the] get-go, like I really wanted to keep doing this for as long as I possibly can from as young as I can remember. I didn’t plan on becoming a recording artist, though. I must tell you that. That happened through my relationship and meeting my manager/producer Milan and that also was [due] me just doing my thing. But it was always the intention to be able to get to a position in my career where I am able to do this for as long as I want to, without having to struggle for it.

NATIVE: A lot of your songs touch on the human condition and situations of life. What is it about making that kind of music that appeals to you as an artist?

Thando: So I write a lot about love in general. But I think what makes this upcoming stage of my music career so exciting and unique is the fact that I play a lot with imagination, and bringing it back to the human condition, I think, every human being can relate [to] being or having an imagination of sorts. And that’s really what my music [is] now. I’m singing in a different language, which I’ve never sung in before, in the way that I’m seeing right now. And the melodies are amazing, [including] the beats and the harmonies.

I heard a review from a friend of mine, who was listening to my songs and he was like, “It sounds like I’m in a movie.” And really, that’s the imagination aspect that I’ve been playing on. So I think that’s what makes my music quite relatable on top of the experience of personal life in general. But the imagination aspect is quite powerful.

NATIVE: What prompted you to sing your mother tongue on this project?

Thando: Everyone asks this question and there’s no direct answer. We [Thando and Milan] were in the studio and we stay in the studio for hours and hours, man, and we play around a lot. A lot of the work that I do is based [on] us wanting to create something and seeing how it goes. It’s intentional in the fact that we want to make music and we want it to go somewhere, but we don’t know exactly where it’s gonna go, if it can go anywhere at all. So when I got into the studio, I heard a couple of beats and I was very, very happy with them and I just started singing. And what was natural for me at the time was that I just tried out singing in my mother tongue, which was something that I’d never done before, which was very scary.

So we did it once with the first song that was released from the album “isaziso” and it came out quite beautifully, I think. And then we just did it again or we did it again or we just kept on doing it and each and every day became a different day in the studio with a different beat and seeing what the feeling of that beat is and then translating it into text. My artistic journey really revolves around, in the studio especially when recording music as a singer, it revolves around me hearing the beats and discovering the melody first and then coming back and writing the text.

NATIVE: You spoke about how singing in your mother tongue was scary at first for you. Could you describe the process of recording this project, from start to finish?

Thando: Yeah, like I said, it was a bit scary at the beginning, because I didn’t listen to the entire project until about a year after we started the whole process. I remember at the end of one of the sessions, my producer looked at me like, “That’s an album.” And then I was like, wait, I wrote every single song on here and I never thought that before. So the whole process was very revealing to me. And like I said, at first, I was a bit scared; the scaredness didn’t really come from fear, it came from nerves, as to like, you know, the first time doing something, like, “Look, I don’t know if I’m doing it right.” You know what I mean?  That feeling of the unknown really hit hard in the beginning. And then after hearing the entire project, or at least, after hearing a couple of songs on the project, I felt very confident and comfortable enough to be able to say, “Look, I think we’ve got at least something going here.”

NATIVE: On this project, you sing about your childhood, connecting the dots to your hometown and evoking emotions that pull the listener into your own world. Why was it important to interrogate the past?

Thando: The few songs that are really speaking about the past, which is only like one or two, it’s just me speaking about my childhood experiences and wanting to connect more with my inner child. The rest of the album was really—and we’re speaking past tense now because it was about four years ago—the rest of the album was really created in that moment of what I was feeling [at] that time. You know, whatever I was going through [at] that time in my life; there was heartbreak [and] there was, there was an artist part of me that I was wanting to still discover, and that’s where the imagination and the storytelling comes from. And then the one [song] that connected with my inner child are really the ones that I was just trying to make a full circle, in my healing as a person.

NATIVE: You worked with Milan Rendall on this project and you guys have worked extensively. How has that relationship evolved?

Thando: Our relationship has evolved in a manner that, once again, is quite difficult to articulate, because Milan is my brother today. But, you know, four years ago, I didn’t know who he was. And he and I are really, really tight. And what really knits us together is the fact that we formed a really, really close bond and friendship first, that is also enhanced by the music that we both have a passion about and, you know, things that we care about that; naturally, music drew us together. And then I found out that “Hey, this guy is actually kind of cool.” I actually enjoy this guy’s presence, like I like this guy, you know, and he felt the same. So it developed into something quite strong and close-knitted. So I’m forever grateful for that. And the music that we make on top of that and how far it’s already come is just like a cherry on top. Because go into the studio and make music because it’s fun, like, we make music for fun.

NATIVE: What was the best thing about working with Milan on this project?

Thando: The best thing about working with Milan on this project was his wisdom, his constant confidence in me, which sometimes comes more from him than it does from myself because of how much he sees and believes in me, and I think that was showcased more than ever during this project.

NATIVE: Was there any track on this album that was emotionally tasking to make?

Thando: Yes, of course, there were a lot of really emotionally tasking tracks that I worked on this album. You know, it’s never nice reliving hurt or things that didn’t serve you well. But I had to dig deep down as an artist and really overcome that, in order to be able to tell and sort of be stronger for the next person. And there were a couple of tracks, you know, “thandolwami,” “ngyazfela,” all of those love songs. And there’s even the one where I speak about heartbreak, but I speak about it next to a beat that is like pumping that you’d hear in the club, so it’s like a happy heartbreak song.

You know, just reliving all of those emotions is never an easy task. So I really find it quite challenging. And I’m really glad I overcame it in that manner.

NATIVE: Has that reinforced your belief as an artist to dig deeper? Or will you be more careful next time?

Thando: No, no, it showed me a few things. And one of those things is that, yes, it’s good to dig deeper, as much as it might be a scary thing to do, something that you don’t necessarily want. Digging deeper is where the magic stems from and how you become stronger and grow as a person as well. Because coming [face to face] with those deep emotions is necessary. Whether you do it in the forms of therapy—or, I choose to sing about it. But you know, it’s really, really messy and has really shown me that “Look, keep going. Keep going deeper and discover more, because there’s so much more.” This is only the first album; there’s so much more than I could dig deep upon as an artist.

NATIVE: Let’s talk about your work in film and theatre. Is there a satisfaction that film and theatre give you that music doesn’t give you?

Thando: No. All of my three babies, which I call them—music, acting and dance—none of them gives me a feeling that is higher than the other. It’s all just really, really good sense of dopamine because it’s all just expressive in different ways. It’s all using the body. It’s all telling a story in a certain way. And all of those things really make me feel the same way. No one gives me a higher power than the other.

NATIVE: You have a deal with emPawa Africa and you have shared your admiration for the outfit. What was it about emPawa Africa that made you want to work with them?

Thando: It really boiled down to my creator process not being hindered on, such as me not having someone who’s going to dictate how I make my music and where it comes from. The fact that I’m still retaining full ownership of my music was also a big factor. And a very big factor was the fact that emPawa aspires to empower young, independent African artists from Africa. So all of those things were really, really attractive to me. And I found it to be, I think, the best fitting home.

NATIVE: What do you hope your deal with emPawa Africa does for your music?

Thando: I hope my music is experienced in the best way possible. I hope people allow the music to take [them] on a journey. And I hope people let go and listen freely and simply just enjoy it.

NATIVE: What do you hope audiences take out from that project?

Thando: I’m feeling very confident about my project. You know, this process started four years ago and I’ve been waiting, waiting, waiting; there was a stage I didn’t know [if] this project was going to come out at all. But looking back on it now, I’m really confident [about] the art that I created; I think music is a blessing and being able to make music is such a huge blessing because it makes me feel things that sometimes I can’t explain, and I’m sure for the listener as well it does the same; music is a feeling, it’s a journey. And that’s what I hope my listeners aspire to when they listen to the album, in that they really take it in and allow the music to take them on a course.

Stream ‘iimini nentsuku’ below.

Featured image credits/NATIVE

The Best R&B Projects of 2022, Ranked

Posted on by The Native

Fusion has always lain at the heart of African music, but never so more than now. Each day new subgenres are tested for their quality and relevance, even though emerging from relative unfamiliarity onto the stage of mainstream attention has been a landmark of the truly great. Alongside the sonic experiments found in the year-long influential amapiano and African drill for instance, the presence of R&B continues to create enviable lores of its faithful practitioners while soundtracking the greater conversation of love in the modern era, imbibing a soulful sensitivity than the hyperrealist pomp of Afropop allows.

Repurposing narratives possessed with unarguable emotional weight, 2022 has seen the release of many accomplished projects whose tapestry are audibly inspired by the swirling, plush and sometimes experimental sonics we associate with R&B. From the glorious live-centric vision of Ria Boss’ ‘Remember’ to the electronic-lined admissions of mental health in Yinka Bernie’s ‘Something New,’ the projects on this list are thematically varied and musically vibrant, revealing a curiosity to probe the mutations being carried out in African music.

15. Blxckie – ‘4LUV’

With ‘4LUV’, Blxckie introduces a softer-hued edge to his rap-dominated catalogue. Sidestepping any rap messiah pressures, Blxckie continues to showcase an artistic sensitivity that propels his music to unpredictable highs. Here he fuses rap-originated quips and evocative melodies which harkens to his early experience with soul and deep house classics. “umoya” employs twinkling Rhodes keys and stuffed pads to create its pensive atmosphere, with Blxckie delivering an affectionate performance in isiZulu. Elsewhere he’s similarly versatile: making a case for a lover’s supposed intimacy, “cry” exists as a stark contrast to the A-Reece-assisted “sneaky” on its deluxe drop, which dubs their silky rap performances with the gloss of late night revelries. Without ceding the record’s sonic currency, ‘4LUV’ translates the potential of imperfect relationships into contemplative pieces.

Emmanuel Esomnofu

14. Halo Yagami – ‘You Can’t Replace the Sun’

On his debut album, ‘You Can’t Replace the Sun’, released eight months after his EP ‘Usiba’, South African artist Halo Yagami curates an atmosphere so soothing and mesmerising, you’d want to stay there and grow roots. Defying straightforward classification, with musical cues from Maskandi to mid-tempo Afropop, the stylistic trademarks are indelible on ‘You Can’t Replace the Sun’ and it’s all anchored by a golden voice with a rustic tinge and a soulful verve. Sincere in its intention, Yagami urges listeners to return their attention to the seemingly small things that really matter – love, romance and human connection – expressing feelings unabashedly (“Cuddles” and “Miss My Baby”) and dealing out lived-in declarations of hope (“Nyamazane” and “Tolikela”). ‘You Can’t Replace the Sun’ is Halo Yagami’s reminder to the world that the big, helpful feelings live in the small, often neglected moments.

Uzoma Ihejirika

13. WurlD – ‘My WorlD With U’

It takes an abundance of talent and a remarkable sense of purpose to deliver three excellently executed and well-received projects in just over a year, with one of them being a near-classic collaboration with one of the most revered producers in Afropop. For his official debut album, Nigerian singer WurlD strengthens his standing as the quintessential soul singer with an incredibly diverse music project. A moving portrait with a lived-in premise, ‘My WorlD With U’ traces the path to wholesome personal growth through a romance-themed framing. That path is littered with colourful and groovy musical choices, from House and Electronic pop inflections to a Fuji-meets-Salsa standout and a wonderful Sarz reunion. Even as it’s slightly flawed due to its sprawl, there’s a cumulatively riveting allure from the gorgeous intensity of WurlD’s voice and the affecting candour of his writing.

Dennis Ade Peter

12. Maya Amolo – ‘Asali’

Maya Amolo turned her angst at the difficulties of modern dating into atmospheric tunes on her remarkable debut EP, ‘Leave Me At the Pregame’. Two years later, following a much needed break, the singer returned with ‘Asali’ , a debut album carrying a more wholesome perspective. Leaving the sourness behind, Maya’s personality here is more mature and happier as she focuses on the honeyed experience of embracing love while accepting that love isn’t linear, whether that’s in platonic relations or more intimate ones with dizzying infatuation at their core. Expanding her musical choices, ‘Asali’ features airy songs with an ambient mood and cuts with gentle, shoulder-rolling grooves, like the SirBastien-produced title track, where Maya sings in Kiswahili—a lyrically novel approach that makes her sound more lustrous and deepens her identity as a Kenyan R&B songbird.

Tela Wangeci

11. Nanette – ‘Bad Weather’

After months of teasing the possibilities of being a vital voice in South Africa’s booming new age R&B scene, Nanette eclipsed the potentials she flashed in fringe feature roles with ‘Bad Weather’, a striking debut EP that evokes an impenetrable inner toughness. Translating the direct writing style she’d already shown—like on her standout appearance on lordkez’s “handmedowns”—into a full project, Nanette calls out “mama’s boys”, embraces the consequences of her less-than-deal choices, ponders life with a melancholic flair and ultimately offers herself some grace. Drawing from Neo-soul and contemporary R&B, the production choices amplify the detail-oriented tilt of Nanette’s writing and the consistent beauty of her vocal performance.

Wonu Osikoya

10. Jinku – ‘Oasis Park III’

For the third and longest instalment of his ‘Oasis Park’ series, Jinku recounts a tale of two cities—looking back to his roots in Nairobi while forging on to his new and uncertain future in Stockholm, Sweden. The entire project exerts the feeling of becoming and embracing change, which is in line with its synopsis, soundtracking Jinku’s final two weeks in Kenya and his first-ever winter in Sweden. To represent this unsettled period in his life, Jinku employs talented hands from back home, and his new life in Sweden, bringing together a talented spate of artists including Wendy Kay, Swahili Papi, Lina Hansson and more, into his orbit. “Looking for peace/Still searching for peace…I be feeling like Malcolm in the middle these days,” frequent collaborator DEZ sings on opener “Tena”, an introspective tone-setter for ‘Oasis Park III’ that also embodies Jinku’s focus on the album.

Tami Makinde

9. CKay – ‘Sad Romance’

CKay describes his music as ‘Emo-Afrobeats’ but there’s an obvious R&B nature to the scope and sound of ‘Sad Romance’. His first project since becoming an international star, the debut album is a clean execution of the singer’s take on the side of modern male R&B where solipsism is king, as he tells a love story from an unapologetic and blameless standpoint. Think “you cheated, I cheated too” or “leave me alone”, titles that instantly give away the tone of the project. The language is direct and the music is eclectic, incorporating mid-tempo Nigerian pop percussion, Amapiano influences on all-star standout “WATAWI”, and a lot of guitar riffs that recall 2000s R&B. Taking on the role of a protagonist in his narration—like many often do despite wrongdoing—CKay shows, with his indubitably plush and dulcet vocals, that it’s OK to engage with your pernicious side once in a while.

Nwanneamaka Igwe

8. Njeri – ‘D.R.U.G.S (Dear.Romance.U.Got.Sweet)’

In an interview with The NATIVE only a few months ago, Njeri shared that everything on ‘D.R.U.G.S’ is seamless, especially the music, and I have to agree. When the Kenyan singer and songwriter released the body of work in May, it was evident that Kenya’s growing R&B scene had a special talent in its vanguard. On ‘D.R.U.G.S,’ Njeri combines stellar writing abilities with eclectic vocal strength, to create the near perfect album. The artist serenades listeners with enchanting songs that have emotional honesty at its core, urging listeners to join in and be just as vulnerable as herself. ‘D.R.U.G.S’ sees the singer cycle through the high of romance, the complications that can lead to heartbreak and, eventually, a willingness to go through the finding new love and wholesomely fanning its flames. The optimism of its closer, “Love Again”, feels earned.

Wonu Osikoya

7. Jinku & Karun – ‘Passenger 555’

Karun’s voice keeps getting better. In June, she teamed up with Kenyan electronic producer Jinku for ‘Passenger 555’, a sublime partnership resulting in some of the most engaging music in either artists’ catalogue. A simultaneous two-way listen, the album moves through the motions of a failing relationship in its front-to-back order, while the reverse order sees a relationship fight its way into a wholesome rebound. Karun’s writing intentionally focuses on expressing emotions over sharing details, allowing listeners the licence to build the project’s characters however they want. Jinku constructs a soundscape of downtempo house and ambient R&B around Karun’s fluttering voice, wrapping listeners in a spacey bubble where time is suspended and all that matters are the characters they envision from the music.

Dennis Ade Peter

6. Sha Sha – ‘I’m Alive’

Even as she’s regularly touted as the Queen of Amapiano, it’s always been obvious that the base of Sha Sha’s artistry is that porcelain voice with breathy overtones. It just happened that the Zimbabwean singer found continental success and global interest with her ability to whip repetitive lines into siren chants. On ‘I’m Alive’, Sha Sha splits her debut LP into two slightly unequal halves, opening with silky and adequately thumping amapiano tunes, and a run of smoother tunes making up the back half of the project, but it’s the balmy melodies she consistently corrals that places the album in firmly soulful terrain. In the process of affirming her personal strength, through songs that delve into the complicated intricacies of modern romance, Sha Sha leans into her breathtaking range, reinterpreting a Sade classic over a gently smouldering ‘Piano beat and exuding joy on the closer, “Holiday”, while a piano melody reminiscent of ‘90s R&B creeps alongside.

Dennis Ade Peter

5. Dami Oniru – ‘Matter of Time’

When Dami Oniru released her early 2019 debut EP, ‘Bri’s Lounge’, it felt like a joyful exhale. After a few years hovering around as a promising R&B act with a few singles and several features, the singer turned up with a largely lovestruck EP, her voice radiantly snapping over groovy percussion and soulful melodies. After a hiatus, Dami Oniru returned with her sophomore EP, ‘Matter of Time’, a worthwhile representation of her growth as an artist.

From their cover arts, it’s telling that ‘Matter of Time’ is a direct sequel to its predecessor, more as a juxtaposition than a straightforward companion piece. Where she basked in the tingly feeling of attraction and asked for reciprocity on her debut, this project sees Dami Oniru grapple with the disappointment of being let down. There’s resentment but there’s no whining; in fact, it leads to a project laced with profound and playful moments of self-assurance, as she alternately broods and luxuriates in a sonic canvas that skates across atmospheric R&B, ‘80s New Wave inflections and UK Garage influences.

Wonu Osikoya

4. Manana – ‘but could the moments in between’

A glittering sensitivity remains the hallmark of Manana’s music. Released this year, ‘but could the moments in between’ extends its ethos of charting young love through the epic prism and acoustic-laden soundscape of R&B. Manana’s formal training as a musician informs his flawless pacing and weight, buttering the seams of this eight-track EP with electric layering and the serenade of his warm vocals. Through its 22 minutes runtime, the vulnerable writing finds perfect alliance with its nearby influences of neo-soul and Dance, endowing the project with undeniable replay value.

“Pulchritudinous” counts among the most beautiful songs released all year, each lyric charged with poetic intent while the music stirs with celestial arrangement. A similar tone permeates “But you first”, a sentimental ballad that echoes Frank Ocean and Moses Sumney. African musicians are cutting timeless gems from the golden quality of R&B and Manana’s second project in a planned trilogy highlights his unwavering focus as an A-level purveyor of his generation.

Emmanuel Esomnofu

3. Venom & Shishiliza – ‘LOVE IS PAIN’

As a greatly malleable sound, it helps that there’s no shortage of inventors and visionary curators in Amapiano. Late last year, Venom and Shishiliza showed their hand at being inventive curators with “Sho Boy”, a star-studded ‘Piano-meets-rap slapper. To start off this year, they put together the instant classic “Sondela”, a gorgeous love song that brought together Raspy’s dulcet singing, Blxckie’s near-spiritual melodic mutters, Tshego’s impassioned croon, a vigorous and emotive rap verse from the late Riky Rick, and Yumbs’ soulful, incredibly smooth ‘Piano-indented production.

Their attendant debut album, ‘LOVE IS PAIN’, chooses an emotionally stirring direction over slaps but it’s one glorious haymaker for the creativity that drives South Africa’s Amapiano, contemporary R&B and rap scenes. Packed with a litany of featured star artists and a myriad of producers behind the boards, the album is an exhortation on the commitment that is required of love, with a rotating cast that share perspectives on romance, relations between friends and even divine love. The standout appearances are innumerable, as is the overall wondrousness of the album’s palette. Many might be hesitant to call this an R&B project, but there aren’t many that have its stunning level of rhythm, blues, heart and soul.

Dennis Ade Peter

2. Yinka Bernie – ‘Something New’

There are very few African artists who can brag of an intricately self-produced project, robust with remarkable storytelling and stark vulnerability. In five songs and barely 13 minutes, that’s what Yinka Bernie achieves with ‘Something New’, his first solo multi-song release in well over three years. As much as it’s a nod to the 5-year gap between this sophomore EP and his debut project, ‘19 & Over’, the title undersells the music’s deeply emotional core.

The dazzling product of a polymath, one with a clear understanding of the synergy between what he wants to say and how he wants it to be heard, ‘Something New’ works through some of the most intimate parts of the human condition with a moving tenderness. Sung in his richly textured and deceptively agile baritone voice, over gently percolating percussion and sombre yet gleaming piano melodies, each line on each song embraces raw emotions without navel-gazing, a deeply relatable batch of songs without a contrived second. Two-year old lead single, “It’s Okay to Cry” with Joyce Olong, remains a resonant standout: “Look, it’s okay to feel lost inside, Man it’s okay to cry/ It’s okay to feel numb inside, Man it’s okay to cry.” Chills.

Nwanneamaka Igwe

1. Ria Boss – ‘Remember’

Ghanaian-Burkinabe R&B/Neo soul singer and songwriter Ria Boss had already begun work on her debut album ‘Remember’ before she lost her grandmother last year. She recounted that it was the grief that shook the project out of her. Seeking an outlet for the pain and sadness she felt, she proceeded to record ‘Remember’ as a live album, with the help of music director Emmanuel Nii Quaye Aryee, Ghanianan band The Musical Lunatics and a couple of music producers.

‘Remember’ is a moving collage of being lovestruck and lovelorn, of grief and memory, a declaration of the singer’s determination to live without the restrictions hoisted on women by society. Across the eleven tracks, she’s supported by a few guests and backed by a live band with tight technical chops and a loose feel. Ria Boss, armed with formidable vocals, spills excitement, ponders uncertainty and embraces personal joy, darting from sexually intense moments on “Somali Rose” to the giddy exuberance of the T’neeya-assisted “Damn” to the tender feelings brimming on “Kisses Under the Moon.” Recorded in one take, ‘Remember’ is a masterful and assured performance from a vocalist in touch with all of life’s complications and pleasantries.

Uzoma Ihejirika

Written by Tami Makinde, Emmanuel Esomnofu, Nwanneamaka Igwe, Wonu Osikoya, Tela Wangeci, Uzoma Ihejirika & Dennis Ade Peter.

ICYMI: THE BEST ALBUM COVERS OF 2022, RANKED

A 1-Listen Review Of Ajebo Hustlers’ New EP ‘Bad Boy Etiquette 101’

Posted on by Uzoma Ihejirika

Ajebo Hustlers are one of Nigeria’s most impressive music duos. Consisting of rapper Knowledge and singer Piego, the group’s style is a refreshing blend of catchy Afro-pop melodies and observations about everyday living, both spiced with slang from their home city of Port Harcourt. “Barawo,” their 2020 single that was one of the tracks that underlined the youth-led #EndSARS protests in Nigeria, gave Ajebo Hustlers their first taste of mainstream success, while also securing them a guest verse from Davido on the remix of “Barawo.”

Ajebo Hustlers enjoyed further success with the Omah Lay-assisted “Pronto,” establishing their range to address both pressing societal/political concerns and the matter of intense lovemaking. They solidified their place with the 2021 debut album ‘Kpos Lifestyle, Vol. 1,’ which contained more of their arresting thoughts and tunes. Since then, Ajebo Hustlers haven’t slowed down; from “Loyalty” to “Caress” to the Fave-featuring “In Love,” they have serenaded fans with amazing music.

At the moment, Ajebo Hustlers’ new EP ‘Bad Boy Etiquette 101’ is out. Heralded with the Mayorkun-assisted “No Love (18 Plus),” I’d hope it reaches the high standards of ‘Kpos Lifestyle, Vol. 1.’ Now, it’s time to give it a listen.

 

 

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“DREAMS”

From this first sonic effect I hear, I can tell this one has a sombre tone to it. I’m right. Piego is setting the stage as he sings about his aspirations and his passion to achieve his goals. “You see dis music I dey sing/It is my only calling.” I felt that. Knowledge comes in next with the rap lines. “I wan cash out sotey na me go tap out/Drunk in success until I pass out.” Me too, Knowledge, me too. For a Niphkeys production (whose works with Zinoleesky are usually up-tempo songs), this is a chill song. But with a strong message.

 “IN LOVE” FT. FAVE

One of Ajebo Hustlers’ previously released singles. The lyrics “E be you/I thought I was shy but/Since I fell in love/I dey talk die now” from Fave are very relatable; I understand that feeling of love for a person the loosening tongue.  As usual, Ajebo Hustlers do a good job on a track that still holds its charm seven months after its initial release.

 “KISSES”

I like the guitar strings playing; they have a nice feeling to them. Piego begins to sing about not being able to remain himself after an argument or fight with a loved one. “I don’t wanna love no more/I don’t want your kisses on my lips/ I don’t wanna love no more/ I don’t want my hands up on your hips,” he sings on the chorus. This seems to be a song about not wanting to love but it feels to me like it is a temporary desire. Knowledge’s verse basically swings to the side of not wanting to be with a disloyal partner. Okay, Piego’s verse post-chorus confirms that this is a song about the pain caused by a lover and avoiding love to escape the pain. A superb and relatable song.

 “NO LOVE (18 PLUS)” FT. Mayorkun 

Amapiano rhythms! “You know it’s a cold world/And no one gets no love,” Ajebo Hustlers sing. Piego sings about a woman who has journeyed the wrong path and has endured life’s harshness. This song definitely has sexual undertones but the way Piego sings his verse evokes sadness. You just feel that the woman Piego is singing about has held on to her negative beliefs due to familial/societal dysfunctions. Mayorkun’s verse is basically playboy stuff. Knowledge follows the same path as Mayorkun. Clemzy’s lively beat is a good cover for the strong emotions in Piego’s singing.

“NO PEACE (VIOLENCE)”

The sound of a car engine revving. The beat sounds like a cross between Amapiano and Gqom. “I’m incapable of love/I’ve been burnt so many times so it’s hard for me to give trust,” Piego sings. Okay, I think I’m getting the general message of this project: fuck love and focus on the money. Can you blame Ajebo Hustlers, though? It is what it is. Okay, Piego’s chorus has turned this song in a different direction. This is a sex song.

 “LOYALTY”

This is still one of my favourite Ajebo Hustlers songs. Amazing production. Amazing lyricism. What’s there to hate? In line with the thematic thread of the project, Ajebo Hustlers position themselves as afraid of vulnerability but songs like “In Love” and “Loyalty” prove that they are big fans of love. They, like Piego sings, just want a partner who “just wants my loyalty.”

“BURN MY CABLE”

These opening strings are giving Highlife vibes. Wow, that beat drop came in unexpectedly. This is an interesting mix of Highlife and Trap and Drill, I think. Piego, though. “See my barney dey cock block me” is hilarious. Knowledge’s verse proves that their lovers are right; they want to be irresponsible guys but the women are saying no. But really, music producer Orlandoh is the star of this track. He gave Ajebo Hustlers a new direction and they delivered!

FINAL THOUGHTS

This project has much strength. Like with ‘Kpos Lifestyle, Vol. 1,’ Ajebo Hustlers keeping the tracklist lean works for them; it means we are sure it’s their best efforts on display. That is not different here. The seven tracks on ‘Bad Boy Etiquette 101’ is a continuation of Ajebo Hustlers’ refined style of balancing the serious stuff with the ones that inspire fun.

‘Bad Boy Etiquette 101’ shuffles from ambition to longing to romance to sexual daring. Like ‘Kpos Lifestyle, Vol. 1,’ it is a blueprint of their ideals and beliefs; they show parts of themselves: the things they love, want, dislike or are scared of. While I don’t feel it will cause a massive shift in their career, it is enough as a delicious meal for fans to munch and brood upon.

Stream ‘Bad Boy Etiquette 101’ below.

Featured image credits/

Songs Of The Day: New Music From Burna Boy, Pappy Kojo, Smada & 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 Smada, Erigga, Kelechief, Ejoya and more. Lock in!

BURNA BOY – “THE BLACK RIVER (WHISKEY DOCUMENTARY)”

On his ‘Love Damini‘ project, the Afrofusion superstar Burna Boy included “Whiskey”, a riveting record about the dangers of environmental pollution in his native Port Harcourt. Poignant as it was revealing, the song was indicative of Burna Boy’s long-shared desire to blend sociopolitical messages into unmissable bops. Now released, an accompanying documentary of 16minutes delves into this phenomena, speaking with health professionals as well as everyday residents of PH City who’ve been exposed to this carbon pollution. It’s full of stark imagery which complements the song’s enduring message, again etching Burna into the larger narrative of his people.

SMADA – “YE ANTHEM (MELLOW & SLEAZY and DJ YK MULE REMIX)”

Exactly a week ago, multifaceted Nigerian creative Smada released his debut record “Ye Anthem” under the newly-founded NATIVE Records. With sharp electronic influences, the record was an eccentric appraisal of a lady’s captivating ways, the artist utilising fun-streaked lyricism to espouse on that familiar feeling. On this remix with the acclaimed producer duo Mellow & Sleazy and electro pop savant DJ YK Mule, the fun is established in more sprawling ways, the synths swapped for crowded Amapiano-dented drums. Smada’s delivery is as affectionate as ever, flowing over the beat remarkably and effectively.

 

VECTOR FT. LADIPOE – “CLOWNS”

Concerning the recent discussions of rap quality in the country, it’s quite fitting Vector and LADIPOE are releasing the visuals to this joint now. “Clowns” is a cheeky rebuttal to seekers of beef, both rappers employing relatable puns to demonstrate their mastery. The visuals capture the minimalist energy of the record, a black-and-white montage expressing pure rap chemistry.

KELECHIEF FT. AMARAAE – “FINE WINE”

Known for going viral with technical, relatable raps on social media, Kelechief is primed to release a new album. To accelerate the journey, the US-bred Nigerian rapper has shared a new single with the scintillating Amaarae. “Fine Wine” is a sensual record which compares the goodness of a lover to the intoxicating highs of wine. Kelechief’s warm vocalisations meet the breezy allure of Amaarae impeccably, resulting in an enchanting ode to love.

ZAGA – “OHEMA”

A mellow base sets the direction for “Ohema”, the new single from South African-based Nigerian singer Zaga. It is produced by Young C Beats, warm percussions portending the perfect soundscape for Zaga’s affectionate singing to emerge. Much like the Ghanaian term it is named after, there’s a brooding sense of tenderness permeating the three minutes of this record. “Ohema, girl make you calm down,” he sings in the chorus, “when the money, we go run town”.

PAPPY KOJO FT. LARRUSO – “FRASS”

Ghanaian rapper Pappy Kojo knows his way around a slow paced beat and “Frass” sees him staking out in that direction again. His laidback approach brings an intimate house energy to the record, with the feature of Larusso introducing a spritzy Dancehall edge in its latter parts. Ultimately it’s a groovy bop, a result of two talented artists making way for their distinct skills to shine.

KOLD AF – “WASTED”

For a while now, the gospel of Kold AF has been circulating my timeline, an apparent release in the works. Today, the musician makes her entry into the space of Nigerian music. With her project ‘Kold SZN’ she introduces her skillset in very exciting ways. Svelte vocals and aware songwriting finds the crucial balance of capable production, qualities which are instantly bare on “Wasted”. Lush percussions and brooding elements contribute to the song’s tension, while Kold AF sings about being caught in the excesses of debauchery. So confident is she, that in its latter parts the beat switches and she maintains her impressive tempo, seamlessly going from confessional R&B diva to sensually exciting Ragga purveyor.

ERIGGA – “THE GOAT”

In September, veteran rapper Erigga released his third album ‘The Lost Boy’. It was a project which solidified the rapper’s tendency to line heartfelt stories alongside brazen takes on social issues. He’s now shared a deluxe of the well-received project, including four new records to extend the LP’s ethos. Though the songs were largely enjoyable, “The GOAT” is a stirring standout: humour-laced bars provides the rapper ample space to proclaim his legacy while taking clean shots at detractors, pulling in stories from his life to supply narrative sheen.

WILLIAM LAST KRM – “PEKA PEKA”

Carried on the heels of a TikTok challenge, “Peka Peka” is carving its place in the world. With eccentric percussions taken from the soundscapes of Amapiano and Gqom, the record captures an hypnotising party groove. The Botswana music star curates an expansive-sounding record wrapped with urgent movements, and going into a weekend, there’s no doubt many will be jamming to its jumpy rhythms, for a long time most likely.

BOY M.A – “WTD (WHAT TO DO)”

Port Harcourt-bred musician Boy M.A wields the stylistic quirks familiar among acts from the region. His latest single “WTD” bares these qualities, his excitable vocals floating over bubbly production. A lady’s affectation inspires his teary delivery, pleading and promising the world for her acceptance. The language is surely catchy, but M.A’s utilisation of background lulls infuses a layered edge to the record.

EJOYA FT. THE KAZEZ, OLADAPO & GODOMAR – “AJOKE”

After months of teasing the 2022 version of their yearly compilation albums, Ejoya has finally released it. Perhaps the most anticipated project among connoisseurs of new school Afropop, the project more than delivers on its promise. It boasts a stellar line-up of established and rising artists, their strengths meeting over eclectic, assured production. A stirring highlight of the project is “Ajoke,” a warm, sensitive record lined with pleasant vocals which flow into the ears with the creaminess of milk. The titular lady is presented in variant ways by the artists, but their songwriting is delicate and thoughtful all the same, with references to artists like Sarkodie and Asake etching a pop culture lean to the record. Cue in the polished, string-suffused production and you have sonic gold, a fine demonstration of the mastery Ejoya achieves throughout the album.

Listen to Teezee and Cruel Santino’s infectious new track, “Manhattan”

Posted on by Nwanneamaka Igwe

The first quarter of the year saw the release of two new projects – both a combination of different sounds and genres – from two of the prominent faces in the alternative music scene in the country. ‘Arrested By Love,’ Teezee’s first release in almost a decade reintroduced us to the artist as he explored his newly found soundscape, with the assistance of some close friends and collaborators such as Davido, Lancey Foux, Backroad Gee and more.

Just weeks after, Cruel Santino released his sophomore album, ‘Subaru Boys: FINAL HEAVEN,’ a project filled with glittery productions and eccentric vocal range that showcased the artist’s versatility. Other than these, the two have been fairly quiet through the year with the exception of L0la-assisted “Omoge Wa Jo,” a remake of Sauce Kid’s hit single which was powered by Spotify.

 

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Closing out the year, the pair join forces on a new track, “Manhattan,” under Nigeria and UK-based record label, NATIVE Records. Produced by GMK, the new track serves as Teezee’s first release since ‘Arrested By Love,’ earlier this year. The buttery smooth record, which was first teased on TikTok a few months back opens up with Cruel Santino who immediately draws listeners in with his infectious vocals and eccentric ad-libs, layered over the track’s groovy beat.

In the pair’s usual fashion of love-themed lyrics, Teezee and Santi direct their attention to their love interest, serenading her with sweet-sounding low cadence vocals on the track’s mid-tempo instrumentals. “I will do anything for your love, girl I want to see” Santi croons in the intro, expressing his desire fly across the world to be share the same space. Shortly after, Teezee’s rhythmic flow takes over the track as his sonorous vocals further explaining that distance is no issues. The duo go back and forth for the rest of the track, showcasing sonic dexterity as they detail their dedication to their muse.

With “Manhattan,” Teeezee and Cruel Santino share an enjoyable and fun release right before the detty December period, while also presenting a snapshot of their trademark soundscapes and their penchant for genre-mashing which they still approach with equal parts curiosity and confidence. Add this to your playlist this weekend.


Featured Image Credits/Teezee

Hot Takes: KU LO SA Remix, SpotifyKe Brunch , Love Island Returns & More

Posted on by Tela Wangeci

The year is finally coming to a close and there is no better way to kick off Detty December than to recap the events in pop culture before everything goes gung-ho. As the month is filled with festivities, the celebration is in the air. The month has already started with Morocco breaking the glass ceiling for African football at the World Cup 2022. Morocco being the first Arab country to reach the quarter-finals is a big deal, but I secretly hope for France to win once again.

This week I will be dishing out my Hot Takes on the Spotify KE wrapped event and the massive backlash on influencer culture, because I refuse to believe they ignored inviting artists and chose to handpick influencers. There’s also Love Island South Africa’s comeback which, after last year’s mess, I hope we are going to see a better representation and reflection of a country that is majority black people.

WHAT I AM LISTENING TO

One thing with Kenyan artists is, they are going to release a truckload of music towards the end of the year. 2022 is no different. I guess it’s the partying mood that characterises December. Kenya’s rap trinity Wakadinali recently released the third installation of their ‘Ndani Ya Cockpit’ series. Living up to their name as Kenya’s greatest rap group the project has me in a chokehold. ‘Ndani Ya Cockpit 3: All Grown Up’  is a testament to their effect in Kenya’s Hip Hop industry for more than a decade. Once considered the stars of underground hip-hop, the album features frequent collaborators: Wangechi, HR The Messenger, and long-time producer Ares66.

My favourite part about the project, apart from their unique Hip Hop sound and approach to Drill with songs such as “Balalu,” is how they provide a platform for upcoming underground stars while still working with rap veterans. Unfortunately, some rap fans were disappointed with the third installation of the tape as compared to the previous releases. While some debate on the context of their songs, I highly insist the group can’t sound the same as they did five years ago. They literally have nothing to prove anymore, they are the cardinals of Hip Hop and that’s on period.

WHAT I AM WATCHING

As usual, I am dabbling between a million K-Dramas, animations, animes, and YouTube shows. What’s currently been grabbing my grabbing my attention is Netflix’s adult animation ‘Inside Job.’ If you love animations, then this should be on your watchlist. Circling around the life of socially awkward Reagan working at Cognito.Inc who also happens to be a genius, the show brings to life controversial conspiracy theories that are often debated in real life. The gist of the show has to be her dysfunctional workmates who are either doing drugs, getting in trouble, or placing a bet on Reagan’s love life. As much as it’s animated, you still get grounded in reality. Apart from that, I am rewatching the British version of ‘Skins’ and ‘Shameless’

SPOTIFY KENYA RECEIVES BACKLASH FOR SPOTIFY KE WRAPPED INVITEES

While Kenya’s music industry has been struggling for popularity within the region, Spotify’s entrance into East Africa’s ecosystem might have improved consumption of local content but it doesn’t change the fact Kenyan artists still struggle for recognition. Over the weekend, the streaming platform held the #SpotifyWrappedKe brunch that was meant to celebrate the artists’ work over the year looking back at what songs, artists, albums, and playlists people listened to throughout the year. Sauti Sol, Wakadinali and Buruklyn Boyz boasted accumulating the most streams in 2022. The event was well attended with the theme being dress as your favourite artists. While the brunch was adorned with appearances from A-List artists, it didn’t take time to notice that more influencers rather than artists were in attendance.

The brunch was filled with pomp and artistic aesthetic, it was soon revealed that artists and fans weren’t pleased with the guest list, sparking a debate on Twitter. While most questioned the necessity of inviting influencers, artists echoed the constant ignorance from the platforms in terms of streaming revenue and support as compared to platforms such as Mdundo and Boomplay. It got to the point where fans demanded a boycott of using Spotify. Firstly, needless to say, Spotify Kenya has offered continuous support in the country as compared to other streaming platforms. Compared to previous years there was a 184 percent year-on-year increase in consumption of local music from 2022, an encouraging figure that shows that Kenyans do stream local music. Apart from that Spotify launched various programs such as RADAR and Equal which have seen Kenyan artists: Buruklyn Boyz, Nikita Kering’ and Ssaru grace the coveted covers.

I think what Kenyans should mostly concentrate on is the long-term effect the streaming platform is willing to offer and the continuous support it has offered in pushing Kenyan artists internationally. It is tiring to engage in conversations without prior knowledge of what goes on in the industry and highlight minute problems without offering any solutions. Inviting influencers to the brunch was an incredible marketing move expanding the platform to the creators and their fans and building an ecosystem between artists, creators, and listeners. In any case, let’s be honest, most people hear some songs from the influencers’ TikTok, Reels, and vlogs.

LOVE ISLAND RETURNS

It might seem that Love Island 2022 just ended but Season 9 is weeks away with the premier date being set for 16th January. The announcement which was made on Twitter sparked excitement with its fans eagerly awaiting for the contestants rebeal. Hosted by celebrated entertainment journalist Maya Jama, who is replacing long-time host Laura Whitmore, the series will take place in South Africa and we are ready for new bombshells. The raunchy singletons will be headed to a brand-new villa in heart of the Franschhoek wine valley. This is the second winter series after Paige Turley and Finley Tap won. This year fans will have a double cup enjoyment as there will be two seasons of the show.

While the show is a fan favourite, it received major backlash back in 2021 after failing to represent the diversity of South Africa by selecting too few black contestants. The opening line-up featured just one Black female contestant and only two other Black men. In a country that is 80 percent black, the cast was a disappointment. The winter series has not aired for three years so we definitely expect more improvement in terms of race romance, bromances, and everything.

In this day and age skin colour has become a bigger pandemic than it was before with beauty standards being judged not only online but also in our day-to-day activities. As the show is highly acclaimed, we only hope the directors realise that it is a mirror of the society we live in and the prejudice black people undergo in the entertainment sector and other fields. While the issue might look minute, it is a very big problem especially since South Africa has a tragic history of racism and xenophobia.

NOT CAMILLA CABELLO ON “KU LO SA” remix…HERE WE GO AGAIN

(Written by Nwanneamaka Igwe)

In recent years, the proliferation of Nigerian pop—or Afrobeats, for international purposes—has been unimaginable. With every release, its key players are incessantly redefining the status quo and peeling off all labels as a significant number of tracks garner attention and generate a followership beyond home base. In the usual American fashion of tapping into what’s hot, a slew of big names in the music industry, now more than ever, are seen featuring on the biggest songs emanating from these parts.

From the African perspective, these collaborations push their songs to an audience they may not have imagined reaching. This should enable them to gather even higher streaming numbers and from the business perspective, there is no harm in the move. While a part of me understands that, we have to at least draw the line somewhere. Off the top of my head, the most significant collaboration was from Justin Bieber on the Tems-assisted “Essence” off Wizkid’s ‘Made In Lagos.’ I, like a number of people, was not a fan of that feature. The original song was perfect as is but the feature undeniably drew more attention to the original, so I guess that could slide.

That single decision from Wizkid widened the floodgates we cannot seem to close. Before anyone realised what was going on, Ed Sheeran was on the remix of Fireboy DML’s “Peru.” Like the aforementioned case, the original -going off the numbers I’m seeing on my Spotify’s stats- still did better than the remix. However, we also got Selena Gomez on Rema’s “Calm Down” and Ed Sheeran once again on “For My Hand” off Burna Boy’s ‘Love, Damini’—which is not a remix, but still.

While I’m not a fan of the current pandemic of international features on Afropop hits and I personally do not engage with these songs, I guess I can let it slide? What I cannot stand is a feature from a musician who’s openly shared racist expressions on “KU LO SA,” undeniably the song of the summer 2022 in these parts. Scrolling through my timeline this morning and seeing that video, I had hoped I was dreaming. Unfortunately, that is not the case. Aside from the fact that these sonic pairings are unimpressive, a racist like Camilla Cabello on “KU LO SA” remix—slated for release this Friday—is jarring to say the least. Coming from the currently dissolved pop group, Fifth Harmony, her former bandmate, Normani, shared from personal experience that Camilla was a racist after some racist slurs and derogatory memes resurfaced.

Added to this, Camilla is not necessarily topping any charts in recent times so why would Oxlade tap her, of all people, for this remix remains a mystery. If the intention was to enable the track crossover to Camilla’s audience, I question the decision because I strongly believe you are who you listen to. Goes without saying that her audience should not be the target. The conversation is exhausting because it’s like we’re just letting ANYONE into our home and it’s not a pleasant sight/sound.

Featured Image Credits/The NATIVE

ICYMI: ASAKE’S TIME

The Rap Report: 4 Takeaways From Nigeria’s Hip-Hop/Rap Scene

Posted on by The Native

A lot has been said about Hip-Hop/Rap in Nigeria this decade. Whether it’s the wholesale adaptation of Western Hip-Hop sensibilities which have been played back through a Nigerian filter or the rise of indigenous rappers who are maligned by their peers for not matching up to pure rap, the embers of polarising discussion are always being stoked by Hip-Hop/Rap fans and industry players alike.

While these first attempts at Hip-Hop in Nigeria included parodying as a feature and ultimately served as the foundation for Nigerian pop, Nigerian rap has become decidedly more refined since the new generation of rappers like Naira Marley, Rema, Maison2500, PsychoYP, Blaqbonez and others emerged with their impressive and distinct narratives.

This year alone, the scene has been buzzing with conversation and diss tracks as the coveted spot for ‘Best Rapper’ is debated once again. There’s nothing necessarily new about these conversations, Rap fans tend to periodically get into argument with other fans about the state of the industry and the key players making great strides in the industry. However, these conversations have developed very little beyond sensationalism.

Recently, Afropop singer Wizkid sent the timeline into a state of panic when a recent interview with 10 Magazine began making rounds on social media. When asked about the comparison between Afropop and other genres; the Grammy award-winning star shares: “I don’t listen to rap – that shit is boring to me,” he continues. “It’s dead now, it’s tired. These guys do the same shit, rap on the same beats, same flows,” he says, before pressing me to mention someone in rap that’s exciting me currently, to which I draw a blank when put on the spot.”

While it’s clear that Wizkid is not referring to Nigerian Rap music, and is instead speaking about how Afropop has taken a big chunk of real estate from Hip-Hop/Rap in the UK and USA, because of the dynamism of the genre. This statement has gone on to spur a number of offshoot conversations from Nigerian rappers who were disappointed at the veteran for putting down the genre and its frontrunners, despite their best efforts to garner the attention of mainstream audiences.

No one wins when the family feuds and this current iteration of the Nigerian Rap conversation is particularly enlightening because it shines a light on the alienation of a large selection of amazing and alternative Rap acts who have been flagbearers for the movement in their own right. From indigenous rappers such as Olamide, Phyno, and more, who have been able to adeptly blend Hip-Hop/Rap with distinct Afropop elements to genre-mashing leaders of the new school such as Rema, Cruel Santino, Prettyboy D-O, Psycho YP, Zilla Oaks and more, who are a revolving door of genres and sounds, all unified by their artistic fortitude. It’s a pivotal moment for the Nigerian Rap community and the road to the ubiquity of the genre still looms without much forward motion.

To that end, the NATIVE team have come together to share our biggest takeaways from the ongoing conversation, including our thoughts for the future of the genre and its community of fans and listeners. From the need for an innate culture around the music to the apparent pressure of going mainstream, here are our takeaways below. We’re keen to know your thought as well–tweet at us.

Culture and Impact: Can the rap community please stand up?

What does it mean to create a culture around Hip-Hop/Rap music? For anyone who knows their salt, the annals of Hip-Hop/Rap music began from the deepest part of New York City, USA in the early 1970’s where block parties reigned supreme. DJs began isolating the percussion breaks of funk, soul, and disco songs and extending them. Before long, it became common for the MCs (or rappers, as they soon became known) to talk and rhyme over and in sync with the music.

Then by the ’80s and ’90s, the world saw the rise of the East Coast/West Coast hip hop beef, with Biggie and Tupac Shakur representing their respective coasts and cultures. A lot of these rappers were coming up because of their aim to soundtrack the violence that shaped the lifestyle and environment these rappers grew up in. Alongside the music, the culture was also growing through fashion, music videos, sponsorships and product placements. By the 2000’s, it was certified: Hip-Hop/Rap was all the rave and Black rappers were at the forefront of this movement.

In much the same way as Hip-Hop/Rap developed and grew out of New York, and soon became one of the most ubiquitous genres of music in America, so also can we learn lessons from Hip-Hop/Rap’s rise in an African context. For instance, when tracing back to the roots of Hip-Hop/Rap in Nigeria, we can see that back then, many rappers were adopting the sounds and lyrics of ‘90s America without considering how they would fare within a Nigerian context. The effect of this is been felt far and wide in our country today. Many rappers have been unable to connect to their audiences because there is little community and togetherness around the genre. Back in the days, it was common to see stars such as Ruggedman and Da Grin and more, command the attention of young audiences due to their penchant for bearing the flags of the places and people that raised them. In today’s context, there’s very little being done to create and sustain a community or culture of Rap lovers. While we’ve seen the rise of indigenous rappers such as Olamide, Reminisce, Phyno and more, who have ostensibly worn their locales with pride, this has not always been the case for their predecessors.

Other than the famous Hennessy cyphers and rap battles, little has been done to foster a connection between artists and listeners. Recently, there have been steps taken by rappers such as M.I and A-Q who recently created ‘The Hip-Hop Event,’ a community of Rap fans committed to gathering to further the genre or Abuja-based rappers such as Psycho YP and Zilla Oaks, who continue to work with a new generation of fans through their Apex Village imprint. In other to keep the flag flying, it’s pertinent that Nigerian rappers spend less time cooking up tasteless beefs, and more time focusing and honing their reach through the power of community and culture.

Wonu Osikoya

We Need To Pay More Attention To Indigenous Rappers

The story of Nigerian rap isn’t complete without the contributions of indigenous rappers to the genre’s growth and development. Whereas the media and listeners have been accustomed to parse Hip-Hop through the prism of English-speaking rappers, there’s been more wholesome development from the purveyors of the street life, who present Nigeria as it is and not as an extension of America’s rap expression. From Nigga Raw down to I.D Cabasa, El Dee, Dagrin and Olamide, these rappers soak an incredible amount of everyday life into their stories while retaining textures from broader indigenous genres such as Highlife and Fuji. Asides making the music more relatable, this works as a form of cultural documentation, placing Rap music side by side with pop music which knows better than isolating the inherent richness in these cultures. 

It’s thereby detrimental when indigenous rappers are left out of such conversations. Recent times have seen the likes of Zlatan, Naira Marley, Zoro and Magnito among others, create some of the most interesting rap music we’ve heard. Even the phenomenon that is Asake owes a lot to this movement, as you’ll frequently hear him unfurling lyrics with the verbal dexterity of a rap artist. It brings to mind Chimamanda’s storied warning about the dangers of a single story, and if posterity serves right, the ongoing conversation will suffer from a similar dearth of nuance. 

Emmanuel Esomnofu

Relatability Of The Music

A significant element that adds to the value of music, beyond its composition, is the level of relatability of the music. More often than not, this manifests in form the sounds used to piece together the tracks instrumental but most especially the language and lyrics used to communicate messages. Like any art form, but most especially music being the most widely consumable medium, the art is more likely to leave a lasting impression if it draws from a common reality or speaks of a message the listeners can understand and Rap is no exception. By extension, it enables listeners to see themselves in the artists, making support, promotion and collaboration, among artists alike, much more seamless.

It’s easy to see why tracks such as Burna Boy’s “Last Last” can travel as widely as it did. In addition to the stellar composition of chords on the tuneful track, is how common the message of heartbreak is to a world-wide audience. Not to mention that the track was majorly sung in Pidgin. In the context of Hip-Hop/Rap, relatability is an underrated skill which isn’t factored into the music we’re getting. For instance, one of the most commercial Rap tracks “Joor Oh,” which features Jah Bless, Ice Prince, Reminisce, Durella, ElDee and is produced by Sarz takes listeners through a battle rap event, where each rapper spits bars that instantly have the crowd going wild. From Ice Prince sprinkling his bars with references to bus conductors, the bleaching cream epidemic and Yahoo boys, the music is instantly relatable to anyone from Nigeria, who can visualise the experiences being talked about.

For many Hip-Hop artists in Nigeria, however, audiences struggle to understand the meaning behind their messages. It sometimes seems like the focus is on putting out a couple of catchy one-liners, sacrificing lyrical depth and a core message for cheap rhymes. Their verses also lack a clear  storyline, leaving their lyrical dexterity -which is not always present- to bear the weight of the track’s enjoyment. Coupled with disconnected storytelling, a large number of Nigerian rappers major in English rap and prioritise a level of foreign sophistication a majority of Nigerian listeners are detached from. 

Without a connection, it is impossible for Nigerian rap to go mainstream let alone cross over locally yet alone, to a global audience. In order to garner a wider audience and ensure long-lasting influence, a balance of good lyricism, relatable storytelling and clever delivery must be in place. 

Nwanneamaka Igwe

Pressure Of Rap Becoming Mainstream

In an industry that is ruthlessly dedicated in discovering the hot new thing, it’s easy for things to come in and out of fashion. Rappers are often viewed as the urban voice of the youth, not only in Nigeria but around the world. From telling stories of the oppressed in the society, Rap has evolved from being braggadocious talk to its own unique art form that is punctured with real stories of hustling and suffering. 

In 2018, Hip-Hop/Rap was heralded as the biggest genre by publications such as Business Insider, Complex, Okay Player and more, surpassing genres such as Rock and Pop which once commanded the lion share of audience attention. In the 2017 report by Nielsen, it was stated that the growth in popularity of the Hip-Hop/R&B genre was “powered by a 72% increase in on-demand audio streaming” in the genre.

Within a Nigerian context, ascertaining the growth of Hip-Hop/Rap proves even more difficult given that we don’t have a verifiable chart system. On that note, TurnTable Chart has emerged to redress these issues by presenting a cumulative breakdown of music consumption in Nigeria. Over the past two years since its birth, TurnTable Chart has published the TurnTable Top 100 and other charts including Top Albums, that aggregates the most popular songs and releases in the country across freemium streaming, radio airplay, and TV airplay.

Purveying the charts, it’s easy to see that the lion share of music consumption in Nigeria revolves around mainstream Nigerian pop music, with other genres taking residency in the lower degrees of the chart. Currently, there is little representation of Rap music on the charts, safe for recent releases such as Black Sherif’s “Soja” at No. 67 and Odumodublvck’s “Picanto” at No. 87, which have bent Hip-Hop, Pop and more into their orbit.

For me, I think the constant pressure of Nigerian Rap to become mainstream takes away the authenticity of the culture. If you rap beyond the ineptitude topics of sex, money and fame, you garner very little attention without a well-established cult following. There are a number of Nigerian artists making Rap music today that is unheard of in any other part of the world, yet they receive very little support because listeners are waiting on big-feature co-signs before exploring newer acts. This is working to our detriment because we’re not allowing the genre to take its own shape and form its own trajectory but are focused on melding it into Western mainstream ideals. There’s little value in doing this, as Rap is a fairly young genre in Nigeria, and deserves the space to grow and develop its own culture and style. I’m a firm believer that Rap should be allowed to take its own course instead of comparing its success with other genres and trying to garner massive attention from the fans while conveying relevance. 

Tela Wangeci

Featured image credits/NATIVE

ICYMI: Here’s a list of winners from the South African Hip-Hop Awards

Kamaru Usman’s ‘Face Off Fight Night’ Returns This December

Posted on by Uzoma Ihejirika

The African Knockout (AKO), producers of the African Knockout (AKO) TV show currently showing on Netflix, are back with the third edition of their mixed martial arts event series Face Off Fight Night. This year, the event will feature 22 fighters from 6 African countries.

AKO promotion, owned by Nigerian-born American UFC legend and world champion Kamaru “The Nigerian Nightmare” Usman, aims at promoting the sport of MMA into one of the major sports in Africa by providing a platform for young talents on the global stage and giving MMA fans a new and unique experience of watching professional MMA fights live.

 

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In the first edition of Face Off Fight Night, Ndidi Alonu was crowned winner, while Daniel Emeka Eze and Segun Ogunnoiki were first and second runners up respectively. In the second edition, there were two middleweight fights and Daniel Emeka, via unanimous decision won over Cherif Drame while Segun Ogunnoiki won via 2nd Round TKO over Ayivor Mawuko.

For the third season of the Face Off Fight Night series, Nigeria’s Segun “Machine Gun Shegz” Ogunnoiki, owner of the most finishes in AKO history, will make his main event debut when he faces a Beninese veteran Cherif Drame, who is currently on a winning streak. This season’s event also brings an interesting addition with the first-ever women’s MMA fights in Nigeria. Pamilerin Akintayo will slug it out with Juliet Chukwu, while Jane Osigwe will seek to make history when she takes on her energetic opponent Kengni Reine Kevine from Cameroon.

In another fight, knockout artist Daniel Emeka Eze (“The Big Shark Emeka”) gets a chance for redemption when he takes on Face Off Fight Night season 1 winner Ndidi Alonu; also, the currently undefeated Melvin “Nicotine” Ugochukwu will take on AKO debutant Johnson Dennis, and Emmanuel Benard Eweh puts his undefeated record on the line when he welcomes his DR Congo opponent, Josias Musasa.

 

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The Face Off Fight Night season 3 will be broadcast on SuperSport 2 on GOtv and SuperSport Variety 4 on DStv. It will also stream live for the international audience on the “The AKO Show” YouTube channel.

Date: Thursday, December 29, 2022 (Red Carpet at 6 PM)

Venue: Landmark Event Centre, Plot 2 & 3, Water Corporation Dr, Victoria Island, Lagos Nigeria.

Tickets are available here.

Featured image credits/NATIVE

ICYMI: The Best Album Covers of 2022, Ranked

Here’s A List of The Winners From The 2022 South African Hip-Hop Awards

Posted on by Emmanuel Esomnofu

Last month, nominations for this year’s edition of the South African Hip Hop Awards—one of the most prestigious genre awards in the continent—were unveiled. Whereas previous years have tilted on the side of great shocks and tactful omissions, 2022’s nominations list was largely devoid of such choices. For his contributions in societal change, the revered rapper Khuli Chana was to be the recipient of the Ubuntu Activism award. 

The biggest news was by far the historic domination of Blxckie in the nominations list, receiving a total of thirteen entries, including the MVP award and multiple spots in the Song of the Year category. Veterans such as K.O, Cassper Nyovest, Big Zulu and AKA were also in the running, portending a cross-generational line-up which highlights the several facets of South African Hip Hop. Acclaimed upstarts like Tyson Sybatelli, NATIVE Fresh Meat alum Money Badoo, and Thato Saul were also considered, while brands and international supporters were also included as well, setting up the December 6th event for musical greatness.

Well, all has been decided and the winners announced in a glamorous awards event which was held yesterday at the Gold Reef City Casino. In its eleventh edition, the presence of A-list artists was expected and that happened. Taking home some of the biggest awards was K.O, who bagged Best Song of the Year, Best Video of the Year and Best Collab of the Year, though there was no shortage of other deserving winners in other categories. Here’s a full list of the winners.

BEST DIGITAL SALES

Blxckie (Winner)

SONG OF THE YEAR

Blxckie ft A-Reece – “Sneaky”

Blxckie ft Madumane & Chang Cello – “Kwenzekile”

DJ Sliqe ft. Emtee, 25K and Flow Jones Jr – “Sta soft”

K.O ft. Young Stunna & Blxckie – “Sete” (Winner)

Loki Ft Blxckie – “Shoda Ngami”

Majorsteez ft Cassper Nyovest – “Asbonge”

Mashbeatz ft Thato Saul & Maglera Doe Boy – “Never ride”

Venom x Shishiliza ft. Yumbs, Raspy, Blxckie, Riky Rick, Tshego – “Sondela”

Yanga Chief ft. Blxckie, 25K – “Ntoni na”

Roiii – “Lavida Loca”

ALBUM OF THE YEAR

Lucasraps – ‘031 To the World 2.0’

Maglera Doe Boy – ‘Diaspora’

Thato Saul – ‘Life is Gangsta’ (Winner)

Tyson Sybaleti – ‘Home’

Zoocci Coke dope – ‘Anxiety +’

PRODUCER OF THE YEAR

Lunatik Beatz (Winner)

BEST VIDEO

ARMSDEAL – For Priddy Ugly’s “30 Minutes To Soweto”

SHALA THE UNICORN – For Nadia Nakai’s “Kreatures”

TED MAGERMAN – For K.O, Blxckie & Young Stunna’s “Sete” (Winner)

TREVOR GOLDIN – For Phantom Steeze’s “Zonke (Remix)”

ARMSDEAL – For Priddy Ugly’s “Por Favor”

MIXTAPE OF THE YEAR

A-Reece – ‘The Burning Tree’

A-Reece, Jay Jody & Blue Tape – ‘Heaven Can Wait – The Narrow Door Vol.1’

Priddy Ugly – ‘Mud’

Skhandaworld – ‘Welcome to the Planet’ (Winner)

Touchline – ‘S.O.O.N 2 (A Better Year)’

BEST MALE

Lucasraps

Thato Saul

Tyson Sybateli

Maglera Doe Boy (Winner)

Zoocci Coke Dope

BEST FEMALE

Trusted SLK

Gigi Lamayne (Winner)

Money Badoo

Indigo Stella

XXC Legacy

DJ OF THE YEAR

Dj Switch

Dj Zan D

DJ PH (Winner)

Dj Venom

Ms Cosmo

BEST COLLABO

Blxckie ft Madumane & Chang Cello – “Kwenzekile”

K.O ft.Young Stunna & Blxckie – “Sete” (Winner)

Majorsteez ft Cassper Nyovest – “Asbonge”

MashBeatz ft. Thato Saul & Maglera Doe Boy – “Never Ride”

Venom & Shishiliza ft. Yumbs, Raspy, Blxckie, Riky Rick, Tshego – “Sondela”

LYRICIST OF THE YEAR

Zulu Mecca

Priddy Ugly (Winner)

A-Reece

Tyson Sybateli

PDotO

MVP/HUSTLER OF THE YEAR

AKA

K.O

Big Zulu

Cassper Nyovest

Blxckie (Winner)

BEST LOCAL BRAND

SkhandaWorld

Root Of Fame

Butanwear

Cotton Fest (Winner)

Swank

BEST INTERNATIONAL BRAND

Power Play

Sportscene

Puma

Russian Bear Vodka

Converse (Winner)

BEST REMIX

DJ PH ft. Makwa, Blaklez, Reason, Zakwe, Loki., Trevor, Blxckie, Cassper Nyovest, Roii, Lady Du, Saso, Stino Le Thwenny, Touchline, Kid X & 2lee Stark – “Serious (Remix)”

Loki ft. Blxckie & Sir Trill – “Shoda Ngami (Remix)”

Major Steeze Ft. Emtee, Moozlie, TOSS, Seekay, Roiii & Horid the Messiah – “Asbonge (Remix)”

MashBeatz ft. Sjava, 25k, Lucas Raps, Wordz, Thato Saul, Maglera Doe Boy, Saudi, Buzzi Lee, Roiii, YoungstaCPT & Anzo – “Never Ride (Remix)” (Winner)

Phantom Steeze Ft Sjava, AKA, Nadia Nakai, Robot Boii, Buzzi Lee & Mustbedubz – “Zonke (Remix)”

HONORARY AWARD PRESENTED BY HENNESSY

Wandile Nzimande & SecHaba Mogale (Winner)

BEST RADIO SHOW

Ligwalagwala – The Hip Hop Parliament

You FM – Hip Hop With Towdeemac

Ukhozi fm – Namba Namba 2.0 – (Winner)

Good Hope Fm – the Ready D Show

Thobela – Hip Hop Ka Moshate

Tru FM – The Urban Exchange

Motsweding – FM Rap Saga

Gagazi fm – Hip Hop Music Sessions

Yfm – Three Way

Inanda FM – The Hood Up

UBUNTU ACTIVISM AWARD

Khuli Chana (Winner)

BEST INTERNATIONAL ACT

Sarkodie – (Ghana)

Central Cee (UK)

Joey Badass – (USA)

Kendrick Lamar (USA) (Winner)

DAX – (Canada)

Ruff Kid (Zambia)

ICYMI: THE BEST ALBUM COVERS OF 2022, RANKED

Songs Of The Day: New Music From mau from nowhere, M.anifest, Smada & More

Posted on by Tela Wangeci

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 Mau From Nowhere, M.anifest, Skales, Msaki x Tubatsi, Wakadinali, and more. Lock in!

MAU FROM NOWHERE – “GHOST”

uNder alum, mau from nowhere has shared a new single titled, “Ghost“. The pensive number echoes the tribulations of life especially after experiencing a debilitating breakup. The heavy drums and honest lyrics paint a picture that visualises Mau’s experiences as he becomes a ghost of his former self. He tells poignant and intimate stories about feeling hollow and empty around loved ones.

M.ANIFEST – “TOO BAD” FT. M.I ABAGA

A year after his critically acclaimed ‘Madina To The Universe’ album, award-winning Ghanaian rapper, M.ANIFEST unveiled its innovative follow-up ‘Madina to the Universe: The E.P.ilogue.’ On the stand-out single, “Too Bad,” he brings his captivating lyricism and rich global sounds to the forefront once again. On the record, both rappers wax lyrical about coming a long way and being guided on their journey before trading verses about their longevity in Africa’s rap game and how they have a lot more to give.

HOMERUN HITZ – “PEACE OF MIND” FT. STAINLESS AND NAIDA

Love is a beautiful concept. Whether it’s love gained at first sight or blossomed gradually from platonic to intimacy. In his latest offering, Homerun Hitz offers an Afrofusion tune titled “Peace Of Mind,” where he sings about the beauty of love. Over glittering keys, he sings to his muse after falling in love with her at a glance. Featuring Stainless and Naida, the romantic number packs a rapid fire verse and melodramatic chorus.

ST.SEII – “LA SAINT”

It has been less than three years since St. Seii began making music but he’s already making moves that will certainly etch his name in the heart of Afropop listeners. With each release, he peels back layers of professionalism and true craftsmanship that makes him stand out from his peers. After releasing his sophomore EP ‘BITTERSWEET,‘ he’s returned with two-pack single ‘La Saint,’ a heartfelt dedication to the women around him. On the mellow yet percussive number, “Woodtalk” he puts his affection for women on full display as he talks freely about how they make him feel.

SMADA – “YE ANTHEM (DJ YK MULE REMIX)

Smada is no stranger to stoking the ember of online conversation. Following the release of his highly anticipated new single, “YE ANTHEM” featuring Toyé and King Perryy, the NATIVE Records artist has now shared the official dance remix for the new track. Featuring DJ YK Mule, the popular street-hop DJ, Smada breathes new life to record by switching up its tempo and delivering an enjoyable and danceable record. With a dance-infused instrumental, Smada once again proves his penchant for staying on pulse with the times.

KINOTI – “S.O.K.O” FT. MODEST CHABARI

Over the weekend, rising Kenyan artist Kinoti released his sophomore EP titiled ‘Green Room.’  The stand-out single “S.O.K.O”  finds Kinoti and Modest Chabari singing over plucked guitar strings, as they praise their muse by serenading them with sweet words and worshipping their existence. “S.O.K.O” translates to market which is Kenyan slang for being single.

MSAKI X TUBATSI – “SUBALEKA”

On their new single, “Subaleka,” Tubatsi Mpho Moloi and Msaki issue an invitation to the listener and lover to journey to another place – where hearts, experiences, and sounds meet, shift and evolve. Experimental, playful, and complex, “Subaleka” introduces a merging of voices and instruments, in sparse, yet lush atmospherics.

The new track arrives alongside a video shot by up & coming South African director, Sanaa, who spends his free time in between commercial projects creating short films shot in Johannesburg’s Townships on his iPhone. Speaking about the “Subaleka” video, Sanaa – whose clips capture the quotidian of the present-day South African experience with candor and warmth – shares; “I tried to show an honest description of South Africa through a chant that adopts the spirit of closure. This film has recurring themes of love, passion, freedom, and travel.”

Featured image credits/NATIVE

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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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.

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