Our Reactions To The Nominations For The 65th Grammy Awards

Posted on by Damilola Animashaun

Last night, the Recording Academy announced the 2023 GRAMMY nominations. Across 91 categories—that includes latest additions Songwriter Of The Year, Non-Classical, Best Alternative Music Performance, Best Americana Performance, Best Score Soundtrack For Video Games And Other Interactive Media, Best Spoken Word Poetry Album and Best Song For Social Change (this didn’t feature any nominations, though)—the list sheds light on the music taking center stage in the US and, in extension, the world.

There were some names whose projects and songs we didn’t expect to see that snuck into the list via features. Earlier in the year, Drake, The Weeknd and Silk Sonic (Bruno Mars & Anderson .Paak) revealed that they would not be submitting their respective projects (‘Honestly, Nevermind,’ ‘Dawn FM’ and ‘An Evening with Silk Sonic’) to the Grammys. Drake snagged two nominations for Best Melodic Rap Performance on Future’s “WAIT FOR U” and Best Rap Song on Jack Harlow’s “Churchill Downs,” as well as Future’s “WAIT FOR U,” while Anderson .Paak got one nomination for Best R&B Performance on Mary J. Blige’s “Here With Me.”

Veteran super group ABBA demolished any notion of being out of sync with contemporary music. ‘Voyage,’ their ninth studio album and first project in forty years, snagged Album Of The Year and Best Pop Vocal Album nominations, while “Don’t Shut Me Down,” one of the lead singles of ‘Voyage,’ earned them Record Of The Year and Best Pop Duo/Group Performance nominations. Beyoncé landed nine nominations, the most of any other person in contention across the categories, followed by Kendrick Lamar with eight nominations, while Adele and Brandi Carlile got seven nominations. Bad Bunny made history with his fourth studio album ‘Un Verano Sin Ti’ becoming the first Spanish-language album to earn a Grammy nomination for Album of the Year.

Elsewhere, Afropop’s steady climb up the ladder was shown as Burna Boy’s “Last Last” and the album ‘Love, Damini’ earned him two nominations for Best Global Music Performance and Best Global Music Album respectively. In both categories, though, he faces competition from fellow African compatriots Rocky Dawuni’s Blvk H3ro-assisted “Neva Bow Down,” Matt B’s Eddy Kenzo-assisted “Gimme Love” (making Eddy Kenzo the first Ugandan artist to earn a Grammy nomination), Wouter Kellerman, Zakes Bantwini & Nomcebo Zikode’s “Bayethe” and Angélique Kidjo’s collaborative album with Ibrahim Maalouf ‘Queen of Sheba.’ Alternative music sensation Tems’ dominance continues as her appearance on Future’s “WAIT FOR U” alongside Drake earns her two nominations in Best Melodic Rap Performance and Best Rap Song.

Amid the hypes and debates, the NATIVE team share our reactions to the nominations for the 65th Grammy Awards, which is set to hold in Los Angeles on February 5, 2023.

Best New Artist

Anitta

Omar Apollo

DOMi & JD Beck

Muni Long

Samara Joy

Latto

Måneskin

Tobe Nwigwe

Molly Tuttle

Wet Leg

For a category famed for launching the careers of hitherto up-and-comers such as Sade, John Legend, Adele, Bon Iver, Sam Smith, Dua Lipa and Billie Eilish, among others, every year, millions of music lovers keep their eyes peeled for who would emerge as the Grammys’ Best New Artist. Last year, American singer Olivia Rodrigo stormed the Grammy Awards, bagging several nominations and taking home the award for Best New Artist along wins for Best Pop Vocal Album and Best Pop Solo Performance.

This year, the Recording Academy cast its net for the following names: Anitta, Omar Apollo, DOMi & JD Beck, Muni Long, Samara Joy, Latto, Måneskin, Tobe Nwigwe, Molly Tuttle and Wet Leg. Among these names are both old (and not-so-old) hands and newcomers. The latter includes Brazilian singer Anitta and American singer-songwriter Muni Long. Anitta, who began making music in 2010, is a star in her home country; Muni Long has been writing for other artists and putting out music under her government name Priscilla Renea since 2009. The youngest (career-wise) in this category are Jazz duo DOMi & JD Beck who released their debut album this year.

In my estimation, the strongest contenders in this category are Omar Apollo, Muni Long and Wet Leg. My instinct, though, tells me to place my bet on Omar Apollo and Wet Leg. Omar Apollo is a powerful vocalist whose songs drip with sincerity and depth, and there is a youthful verve about Wet Leg’s music that makes me believe that they might be future Grammy babies. Whatever the case might be, the influence of the names on this list will be felt. While many have brought attention to Tems’ absence from this main category, it is worth noting that Tems cannot be nominated in this category for next year’s award ceremony as she was nominated for two awards last year: including Wizkid’s “Essence” which was nominated in the Best Global Music Performance category. A previous nomination is an automatic disqualifier in this category (assuming the artist had released enough tracks to be eligible in a previous year).

Uzoma Iherijika

Best Global Music Performance

Arooj Aftab & Anoushka Shankar – “Udhero Na”

Matt B & Eddy Kenzo – “Gimme Love”

Burna Boy – “Last Last”

Rocky Dawuni Featuring Blvk H3ro – “Neva Bow Down”

Wouter Kellerman, Zakes Bantwini & Nomcebo Zikode – “Bayethe”

Earlier this year, Pakistani singer and composer Arooj Aftab won the inaugural Grammy for this category, with her moving, Hindustani folk-meets-Jazz opus, “Mohabbat”, beating out two Angelique Kidjo songs, Afrobeat scion Femi Kuti’s “Pà Pá Pà”, as well as Nigerian singers Wizkid and Tems’ 2021 summer superhit, “Essence.” At the next Grammys’, Aftab is back in contention for the same award, this time for “Udhero Na”, which features British-Indian sitarist, composer and now 9-time Grammy nominated Anoushka Shankar – including this nod and another in the Best Global Music Album category.

The 65th edition nominees in these categories have two prominent running themes: It’s packed with Grammy nominees and winners, and it’s mainly filled with songs by African artists. Arooj’s nod is the only one that defies the later theme, and for the former, American singer Matt B and Ugandan singer Eddy Kenzo are first time nominees for their Dancehall-tinged “Gimme Love.”

Ghanaian roots reggae singer Rocky Dawuni, who was nominated for Best Global Music Album last year and was nominated for Best Reggae album in 2015, is here for his socially conscious, dub reggae song with Jamaican singer Blvk H3ro, “Neva Bow Down”. South African flutist Wouter Kellerman, who is a one-time Grammy award winner and now 4-time nominee, gets a nod for “Bayethe”, his dance-inflected folk-pop song with South African artists Nomcebo Zikode and Zakes Bantwini, both first time nominees. The nominees list is rounded out by Nigerian pop superstar and one-time Grammy winner Burna Boy, with summer ‘22 smash “Last Last.”

With the precedent from last year, the criteria for nominees and the eventual winner amorphous – if unclear to most. I can’t tell if it’s based on feeling, technical brilliance, perception, or a mix of these and other things, so it’s difficult to know where the compass is facing. That’s what happens when it’s a category that lumps together songs mostly from non-American artists across the world without any regard for sonic specificity. For now, my spidey sense is tingling towards consecutive Arooj Aftab wins because, apart from familiarity points for her and Anoushka Shanka, “Udhero Na” is actually really gorgeous and might just be the best song, based on my feel, in this category. If not, I’m rooting for Burna Boy’s best song in a few years.

Dennis Ade-Peter

Best Global Album

Berklee Indian Ensemble – ‘Shuruaat’

Burna Boy – ‘Love, Damini’

Angélique Kidjo & Ibrahim Maalouf – ‘Queen Of Sheba’

Anoushka Shankar, Metropole Orkest & Jules Buckley Featuring Manu Delago – ‘Between Us… (Live)’

Masa Takumi – ‘Sakura’

Since reinventing from ‘Best World Music Album’ to ‘Best Global Music Album’, the Recording Academy has, with a range of entries over the years, represented the diverse sounds emanating from across the globe. While Angelique Kidjo remains a recurrent winner in this category, the hope for other strong acts has peaked since the nomination and win for Nigerian trailblazer Burna Boy, for ‘Twice as Tall.’ However, considering the home base and astronomical global reach of last year’s nod, ‘Made In Lagos’ by Wizkid, it was a shock to all when the Afropop veteran did not emerge as the winner. Angelique Kidjo won with her 2021 release ‘Mother Nature,’ becoming a 4-time winner and an indisputable shoo-in for the Global Music categories.

This year, the ‘Best Global Music Album’ category returns with Burna Boy’s ‘Love, Damini’, making it the artist’s 3rd nomination following 2019’s ‘African Giant’ nomination and 2020’s ‘Twice As Tall’ win. Her 5th nomination in this category, Angelique Kidjo returns with ‘Queen of Sheba,’ enlisting French-Lebanese composer and trumpeter, Ibrahim Maalouf for his outstanding work in jazz, making it his first nomination. In the same vein of spotlighting global talents, Masa Takumi, a Japanese multi-instrumentalist and composer alongside Berklee Indian Ensemble received their first nominations for ‘Sakura’ and ‘Shuruaat’ respectively amongst others.

Considering the exceptional year we’ve had in South African music, factoring in elements such as sound production and masterful lyricism which transcends language barriers, I partly expected one of the standout projects from these parts to make an appearance on the list. However, I am still not surprised that the Grammy’s missed out on this opportunity. For me, Kabza De Small’s ‘KOA II Part 1’ and Prince Kaybee’s ‘Gemini’ for example would have formed solid entries. This category is tricky because ‘global’ seems to encompass anywhere that’s not American or Europe and the slew of exceptional sounds from the rest of the world are left fighting for five spots. While it would not come as a surprise if Angelique Kidjo snags another win, I am rooting for Burna Boy to add a second win under his belt. “Different Size”, “Science”, “Vanilla” and of course crowd favourite, “Last Last”, are some personal ‘Love, Damini’ standouts that qualify him for the title.

Nwanneamaka Igwe

Best Rap Album

DJ Khaled – ‘GOD DID’

Future – ‘I Never Liked You’

Jack Harlow – ‘Come Home The Kids Miss You’

Kendrick Lamar – ‘Mr. Morale & The Big Steppers’

Pusha T – ‘It’s Almost Dry’ 

Soon after the Recording Academy announced its Best Rap Album contenders, rap fans worldwide expressed their disappointment as once again, the academy failed to represent the truth breadth and depth of contemporary Hip-Hop/Rap. While there are definitely strong contenders in this year’s nominations, many Rap fans and artists around the world, from Denzel Curry to music journalist, Nicolas Tyrell-Scott have spoken out about the exclusion of non-commercial acts this year. The reactions aren’t the least bit surprising. The Grammys have a checkered relationship with Rap, from not airing their major rap categories on the official Grammy broadcast to infamous snubs like Macklemore over Kendrick and confusion over the actual parameters of that category came to a head with the recent showdown between Nicki Minaj and Latto.

In my opinion, only two albums: ‘It’s Almost Dry’ and ‘Mr. Morale & The Big Steppers’ deserved to be in this category. Dj Khaled’s ‘GOD DID’ used the producer’s age-old formula of lumping many high-profile names together to create a gargantuan album helmed by his friends. It’s clear that Khaled benefitted from having names such as Jay-Z on “GOD DID” as the verse earned Khaled not only a Best Rap Album nod but also one for Song Of The Year. While Future’s ‘I Never Liked You,’, Kendrick’s ‘Mr Morale & The Big Steppers,’ his first release in five years and Pusha T’s ‘Almost Dry,’ are welcome nominations on the list this year, the Grammy’s once again missed out on a real opportunity to showcase the rappers that are forming their own creative footprints and bypassing industry gatekeepers. For example, this year, Kid Cudi released his multidimensional ‘Entergalatic,’ a commingling of cinema and music which touched on themes such as love, growth, becoming and more.

How would my list look if I was an Academy member? First and foremost, Conway and The Machine’s ‘God Don’t Make Mistakes’ would be a contender. This is an honest album with no unnecessary chorus or baby rhymes as Conway paints the real picture of his realities, and breaking stereotypes while at it, as the 42-year-old is making a re-debut. JID’s ‘The Forever Story’ would also be top of my list. Although it was a late release, arriving only a month before the end of the eligibility period for this year’s award, it is undeniable he is a fountain of talent as the project revealed his consistent growth through the years. On the album, JID acts as a bridge between his upbringing and the life he now lives, purposefully decorating the album with relevant features and powerfully poetic lyrics that serve to visualises his past and present. At the end of the day, I do agree with Denzel Curry, The Academy base their rap nominations on an artist’s net worth instead of talent and impact on the industry.

Tela Wangeci

Album Of The Year

ABBA – ‘Voyage’

Adele – ‘30’

Bad Bunny – ‘Un Verano Sin Ti’

Beyoncé – ‘RENAISSANCE’

Mary J. Blige – ‘Good Morning Gorgeous (Deluxe)’

Brandi Carlile – ‘In These Silent Days’

Coldplay – ‘Music Of The Spheres’

Kendrick Lamar – ‘Mr. Morale & The Big Steppers’

Lizzo – ‘Special’

Harry Styles – ‘Harry’s House’

Album Of The Year will always be an important category in the Grammys award history–bestowed only to the best of the crop since 1959. Past winners have included Kacey Musgraves, Bruno Mars, Adele, Beck, Taylor Swift, Daft Punk and Mumford & Sons, with last year’s win going to Jon Batiste for his album, ‘We Are,’ a legendary moment that was celebrated as the artist became the first Black artist in 14 years to win album of the year. Before him, Outkast had been the only Black performers younger than 65 to win the award in this millennium, for their 2003 double album, ‘Speakerboxxx/The Love Below.’

The Grammys have historically been out of touch in recognising Black artists in the major award categories so it’s amazing this year to see nominations going to Kendrick Lamar, Lizzo, Mary J. Blige and even Beyoncé who recently released her dance-inspired album ‘RENAISSANCE.’ Also among the nominees are Puerto Rican rapper, Bad Bunny who has quite literally taken the Western world by storm and deserves to be nominated alongside typical contenders such as Harry Styles, Adele and ABBA. With the recent expansion of the category last year, this time around, there’s more room for the Grammy’s to display their knowledge of the musical landscape in review, offering up 10 solid nominations.

While this year’s nods are definitely well deserved, I can’t help wishful thinking that a female rapper could have been recognised in the album of the year category, once again. Women such as Latto, Yung Baby Tate, and more, released albums this year and could have received nominations for their expansion of the Rap genre, and their pop-culture influence. The Grammys wants us to believe that sales aren’t the metric for Grammy success but we’ve seen the Academy play into a popularity contest time and time again. This has proven to fall short of fully representing today’s diverse sonic landscape. Despite this, this year’s nominations are definitely a step up from last year and I, for one, am just happy to see more women deservingly earn their flowers (Mary J.Blige!!). Personally, I hope to see an album like ‘Renaissance’ or ‘Mr Morale & The Big Steppers’ take home the award, as these were two extremely solid projects by artists who have been in the game for a very long time and are still constantly perfecting their craft.

Wonu Osikoya

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TurnTable Top 100: Young Jonn scores his first No. 1 with “Xtra Cool”

Posted on by Dennis Ade Peter

Young Jonn has one of the most inspiring narratives in Nigerian pop in recent times. After nearly a decade of holding back on his abilities in front of the mic, mainly focusing on his prowess as a hit-making producer, the artist has embraced being a star singer and it’s proving to be a fruitful move. Last month, Young Jonn released his second EP in six months, ‘Love Is Not Enough, Vol. 2’, headlined by its late September lead single, “Xtra Cool”, which has steadily grown into smash hit status.

After two weeks in the No. 2 spot of the TurnTable Top 100 chart, “Xtra Cool” has finally overtaken Kizz Daniel’s “Cough (Odo)” to reach the top of the chart. Not only is it a new peak, it’s the first No. 1 song for the Chocolate City-signed Young Jonn. With the latest Kizz Daniel smash dipping to No. 2, Ayra Starr’s former No. 1 song, “Rush”, taking a step down to the fourth spot, and Asake’s “Joha” holding for another week at No. 5, the only new entry into the top five this week is Tiwa Savage and Asake’s delightfully irreverent and uber-infectious “Loaded”. Teased by Asake a few weeks back, the highly anticipated song tallied 3.27 million streams and 41.4 million in airplay reach, on the way to its top five debut.

The rest of the top ten is filled with familiar songs from the last edition of the TurnTable Top 100. Bella Shmurda and Omah Lay’s “Philo” stays at No. 6, so does Pheelz and Davido’s “Electricity” at No. 7. After opening in the fourth spot, Wizkid’s “Money & Love” drops to No. 8, but could see a boost following the Friday release of the singer’s new album, ‘More Love, Less Ego’. Johnny Drille’s “How Are You” moves a spot down to No. 9 this week, while Blaqbonez and Jae5’s “Back in Uni” rounds out this week’s top ten just as it did last week.

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

BEST NEW MUSIC: SHALOM DUBAS REFLECTS ON LIFE’S UNCERTAINTY WITH “GOLD.”

Songs Of The Day: New Music From Lojay, Adomaa, Ruger & 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 Lojay, Ruger, Adomaa, and more. Lock in!

LOJAY – “CANADA” DJ MAPHORISA & KABZA DE SMALL

Fresh from his UK visit, which included guest performances at Show Dem Camp’s Palmwine Festival alongside the scene’s biggest players such as Tems, Boj, Ladipoe, Amaarae, and Tay Iwar, Lojay strikes once again with new single “Canada“. The infectious percussions pave way for Lojay’s dexterous storytelling and unique voice teaming up with Amapiano heavyweights Dj Maphorisa and Kabza De Small’s stealth production. Speaking about the collaboration, Lojay states, “Maphorisa and Kabza are African music legends and have been for a long time, so getting the chance to work with them was nothing short of an honour.” The single which is a reflection of Lagos and its social life is a dancefloor number demanding nothing but eclectic dance moves with the catchy refrain as he sings “..canada nada nada..” while serenading his muse.

ADOMAA – “SMOKES & MIRRORS” 

Ghanaian songstress Adomaa is an artist who continues to exude vocal superiority. Today she released her second installment in her triptych: an audiovisual, theatrical selection of heartfelt tracks that waves cinematic smoke around Adomaa’s delicate, vulnerable and soulful lyrics dubbed ‘Becoming Adomaa’. It’s a seven-track installment that sees her tell the multi-faceted story of rebirth and perseverance in the face of challenges. The standout track “Smokes & Mirrors” has the singer questioning her appearance, not only to the public but to her conscience as she sings “..mirror mirror//I’ve been wondering what you see when you see me..” The crisp guitar production accompanies her silky vocals as she passes a sentimental message of the existential crisis we all experience.

RUGER – “RED FLAGS”

Rising Afropop singer Ruger has had a strong run in 2022. After releasing the deluxe version of ‘The Second Wave‘ he is continuously reaffirming his position in the canon Nigerian dancehall music and today he has released another potential smash hit, “Red Flags.” Produced by TSB and Adam Lunn, the singer sends a message to his muse who ignored his red flags reminding her of his incapability to change to her liking reflecting most relationships in our generation.

FANCY FINGERS – “FOLLOW” (Feat. India Arie)

Love is beautiful and nothing says it better than a romantic gesture of eternal promises. Veteran Kenyan singer Fancy Fingers and member of the boy band Sauti Sol features American singer India Arie on his latest offering “Follow.” The dainty love song with delicately arranged sonic sees Fancy Fingers adore his muse promising eternal love no matter the situation—”..you are now my future ever since..” Boasting folk-pop production with log drum tinges, the visuals contain actual shots from Fancy Fingers’ wedding in 2018, as he trades romantic lyrics with India Arie of the type of joyous and committed love many of us dream of.

OTILE BROWN & THE BEN – “KOLO KOLO”

Otile Brown has indefinitely made his mark in the East African pop market. His vast catalogue of timeless hits forerun his name in numerous conversations. In his new song, he teams up with Rwandan artist The Ben for “Kolo Kolo”, an undeniable infectious pop anthem. Produced by Rwandan producer Ayo RASH, the single has the artists dabbling in English, Swahili, and Rwandese as they over slow-paced instrumentals that match the song’s irresistible romantic setting.

KONTAWA – “CHAMPION” (Feat. Ney Wamitego)

When it comes to releasing soulful Bongo numbers, Tanzania reigns supreme and “Champion” is another great example. Teaming up with Wamitego, Tanzanian artist Kontawa releases this reflective number that highlights daily social life all around the world. With the hopes of making out of the hood, the two artists narrate the different challenges they have experienced before getting where they are terming at the end of the day they overcame everything making them the winners. The detailed production is purposeful to provide a nostalgic yet hopeful moment for the listeners.

Cheque – “Dangerous” (Feat. Ayra Starr)

Over a year since his warmly received debut album, ‘Bravo’, Superboy Cheque returns with the music video for one of the projects standout songs, “Dangerous”. Assisted by Nigerian pop superstar Ayra Starr, the two trade melodies in a romantic narrative. In its new video, the pair feature in a glossy production with symbolic elements and colourful, eye-catching outfits.

ICYMI: IDENTIFY: ROWLENE IS BACK, FOR GOOD THIS TIME

For The Girls: YTboutthataction Is As Real As It Gets

Posted on by Nwanneamaka Igwe

It’s been nearly two years since the fresh-faced Nigerian rapper YTboutthataction made her debut on the scene. Armed with a small but mighty catalogue that divulges her reality and experiences as a young Black woman, YT has spent the past two years affirming herself as a fresh, promising act emanating from these parts. Born Adetutu Aderogba, YTboutthataction–also referred to as YT–the budding rapper continues to fashion herself into her own type of rap star, easing into her career by showcasing her enviable wordplay.

With her distinctive vocals and punchy lyrics, she’s been able to garner a sizeable following of listeners and set herself apart as the poster girl for saying things we don’t want to say outright. In 2021, she released her debut EP ‘Sage Mode,’ a dizzying collection of 4 tracks which find her waxing unapologetic truths and delivering hedonistic street-talking. That same year, she followed up with her sophomore EP, ‘It’s Not Me, It’s You,’ a 5-tracker packed with a string of feel-good flexes.

While lumping her under the ‘rap girls’ may be tempting to some, YTboutthataction is a multi-genre artist producing a stretch of records including Pop, R&B and Rap. Channeling a range of emotions with her captivating and profound penmanship, she touches on subjects ranging from sexual freedom to mental health. Standout tracks such as “geeked up!” from her debut EP, ‘SAGE MODE’ and “sleepless nights” off ‘it’s not me, it’s you’ serve as perfect examples of her no-holds-barred approach to songwriting. In such a short time, she has successfully created tracks that make her audiences feel seen and heard in their experiences. Take “Pill Head” for instance, a menacing track biting back at the all too relatable interactions from judgemental, antagonising African aunties.

For her latest release, “24”, YTboutthataction captures a coming of age story as she looks back on her years, the experiences gathered and lessons learnt. A sonic blend of her sharp lyricism, tuneful hooks and hype beats, “24” tells a story of self-discovery and self-acceptance. The single is set to feature on her upcoming project due for release very soon. Ahead of this, YT sits down with the NATIVE to talk about where it all started, from her debut to how her eccentric moniker came about. Alongside her new single, she also gets real about her journey this far and what we can expect from her in the future and more.

 

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Our conversation, which follows below, has been lightly edited for clarity. 

NATIVE: Let’s go back to where it all started. You officially came into the scene last year, what was your introduction to music prior to this? 

YT: Prior to last year, I’ve always been a music connoisseur. I’ve always been the person that people come to for playlists. I was the person on the AUX. So I’ve always been interested and had an ear for music but I never really thought about making music until 2020. With COVID and a lot of spare time, Tblu, one of my female friends who makes music, played one of her songs for me. She’s been making music for a long time but this time was different. This was July, 2020 and I thought, I want to see if I can do this. I wrote my music and recorded in my voice notes. I was also trying to get in studios but it’s very hard as a woman, especially as a Black woman. People aren’t really willing to give you access because they don’t know what you’re working with. 7 months later, I got studio access and I made my first song “Sage Mode”. I didn’t think anything of it. I just wanted to put it on Apple Music so I could listen. I didn’t think it would have the reaction that it did. It was a very nice surprise and I definitely did not have any foresight. 

NATIVE: Shoutout to Tblu for that. I think it’s really good having people in your space that could motivate you unconsciously. It’s super important. 

YT: Literally! If I did not have the community of people around me right now, I don’t even think I would’ve put out any music. Having that support and people around you that are doing the same thing as you is amazing. I don’t think I could’ve done it by myself. It’s very nice to have that community. 100 percent.

NATIVE: Who or what would you say inspires your music?

YT: The main driving force for my music is what I’m feeling at the time. When it comes to the lyrical content, it’s just how I’m feeling. Music is an outlet. I journal as well and when I was younger, I used to write books and my dad would get published. I’ve always been a writer. Music was just a new mode of getting my writing out. My feelings inspire me. In terms off my sound and my cadence, I didn’t realise until after I dropped and people were telling me I sound like Sahbabii. I was subconsciously studying him as I was listening. I guess I’m his student. The fact that I grew up in Lagos as well as London, I feel like I’ve had a blend of cultures. Anime as well. My friends, family, people around me, experiences and so on. My last project was called “Boolean Logic” which is a programming language. I do AI as well so I’m inspired by science and math.

NATIVE: Tell me more about the journey to establishing YT. Let’s start with the name, how did that come about YTboutthataction? 

YT: I actually had a private story from 2018 that was called ‘Young Toottss boutthataction’ and that was just following my journey. 2018, I was in second year of uni and I was just doing whatever. The name stuck but only people on my private story knew that was my name. When I decided that I was going to make music, I was always going to be Young Toottss but I thought, I’m not gonna be young forever.

NATIVE: Moreover, there’s a lot of Yung’s out right now.

YT: Exactly. I can’t call myself young, like, I’m turning 24 tomorrow. I’m not young anymore. I still want to keep YT but not Young Toottss. There’s so many Yung’s like you said. So I did a poll on a private Twitter account, and it was honestly a split vote between Young Toottss and YTboutthataction but ultimately I knew I’d pick something that’s different. Even if it’s a mouthful, they will catch on. That’s why in my first EP, I made sure I pronounced the name so there’s no mixup.

 

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A post shared by YT!👾👽🐸 (@ytboutthataction)

NATIVE: Talk me through ‘SAGE MODE’. What was the creative process for the debut project like and how did you feel releasing that? 

YT: My creative process is very random and sporadic. I signed a distribution deal in June and I didn’t know that you have to basically upload your music four weeks prior. This song that I am dropping tomorrow I thought of the concept, wrote and made it 2 weeks ago. The reason I did this was because I liked the sporadic nature. I was just going with my gut and my feelings. With “Sage Mode”, some guy had just annoyed me and I was pissed off in a way that I needed to make a song about it. Like this is not journal/ranting-to-your-friends angry. First line of “Sage Mode” was “Boy don’t approach me if you scared/When it comes to YT you gotta get prepared”. When I recorded it on my voice memos, I had COVID and I planned to record it whenever I got into a studio.  I knew it was the one but when I released, I thought just my friends would roll with it. I didn’t think it would have a wide reach. The response was surreal.

NATIVE: You’ve been consistent with the release of with two EP’s out last year and some singles. What would you say you’ve learnt in your time so far?

YT: The one thing I would say is don’t overthink it and don’t stress about what you think would be the reception. 9/10 times you can’t predict it. Ultimately, all that matters is if you like it. I used to send people my unreleased music before but I’ve stopped doing that. Before I released “Sage Mode” there was someone I sent it to and he told me it was too long. People only criticise your music when they feel like they have the power. It sucks the fun out of it and people don’t always have the same vision as you. If you’re critiquing the technical aspects, that’s ok but not the art of it like the length.

NATIVE: You would have reasons for making decisions that you made. It was intentional so that sort of feedback may throw you off. 

YT: Exactly. It almost threw me off. My opinion matters the most to me. It doesn’t matter what they say, I would still release. I believe whatever I create is good.

NATIVE: If anything, everyone has their own niche. You would always find someone that will like it regardless.

YT: Exactly and that’s one thing I learnt. You can’t please everybody and I’m not trying to. I do this for fun and that’s always going to be the main premise.

NATIVE: Describe an average YT listener to me, what would you say they’re like?

YT: I love my listeners. It’s always the free-spirited and open minded people. They’re always confident and fashionable women. I even have a demographic of teenage boys that listen to me and that was the biggest shock to me.

 

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NATIVE: Talk to me about “24”, your most recent drop and on your birthday as well. What’s special about this particular record? 

YT: I guess every year is a year of awakening so I’m excited for 24 but this my year of 23, I feel like I have learnt so much more than I have in any other year. 23 was an eye opener to me for sure. I became closer to my values and principles. I finally aligned myself with what I truly believe at my very core. It’s a song that reflects on every year I’ve had. It talks about what I expected from life and now the reality of it. It’s a letter to myself. At the end, it switches to my younger self, talking to me now. It’s a very reflective and poetic piece. The song is still very hype though. I’m dropping on my birthday as a present to myself as well.

NATIVE: What does success look like to you on a larger scale? 

YT: I want to able to earn a living off my music and people to be impacted by it. I’m actually helping people. I have a deep connection with my favourite artists. I feel like music is a very powerful way to connect to people. I want people to feel the way my favourite artists make me feel. Knowing that people that listen to YTboutthataction know they are in for an experience is the best thing. I’m very happy and proud with where I am right now but onwards and upwards from here.

NATIVE: What more can we expect from YTboutthataction? 

YT: Get ready for the most random sounds you’ve ever heard but in a good way. I’ve experienced all sorts of things in different places and sometimes they come together in the most bizarre ways. Be prepared for amazing visuals and amazing music. Be prepared to hear things that you’ve never heard before.

Listent to “24” here.

Featured Image Credits/NATIVE

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

ICYMI: STREETWEAR IS ON THE RISE IN AFRICA BUT INDUSTRY-WIDE SUPPORT IS SLOW TO HAPPEN

What’s Going On: Nigerian Tiktokers Arrested, Sudan State of Emergency & More

Posted on by Tela Wangeci

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

NIGERIAN TIKTOKERS PUBLICLY PUNISHED FOR DEFAMING NIGERIAN GOVERNOR

Two Nigerian skit makers have been found guilty of mocking and defaming Kano State governor Dr. Abdullahi Umar Gadunje on their TikTok and Facebook pages. Nazifi Muhammad Bala 23 and Mubarak Isa Muhammad 26 were arraigned on Friday at Kano State Magistrate Court where they were accused of tarnishing the governor’s name and position and inciting public disturbance following a skit they had created.

“The man Ganduje is not trusted by the people of Kano and is someone who can use his eye to see any parcel of land he will sell,” the duo said in their TikTok video. “He is a husband to an influential woman and a father to an Arabian. He is also from Kano State. The qualities of this Ganduje are as follows: He is a governor that loves to sleep,” they added.

According to a Kano State Judiciary Spokesperson, the duo didn’t ask for a lawyer and immediately pleaded guilty.  Kano Court Magistrate Aminu Gabari then ruled that the convicts would each receive 20 public whippings to serve as a punishment for defaming the governor. They were also subjected to a fine of N10,000 each for public disturbance and ordered to sweep the Kano Magistrate court complex for a month. In addition, they would immediately apologize to Governor Gadunje through their social media platforms. The director of Amnesty International Nigeria, Mr. Osai Ojigho condemned the ruling stating satirizing those in authority is not a crime, and bashed the Nigerian authorities for holding the two tiktokers in remand for a week without a trial. 

KENYA AND SOUTH AFRICA AGREE ON MUTUAL VISA-FREE TRAVEL FROM 2023 JANUARY

South Africa has removed visa requirements for any Kenyan traveling to South Africa for a  maximum of 90days from January 2023. South African president, Mr. Ramaphosa was in Kenya for a two-day official visit to boost bilateral trade when he came into agreement with Kenya’s president Mr. William Ruto. South Africans have enjoyed the privilege of visiting Kenya without a visa since 2017 while Kenyans have often complained of the hurdles faced when traveling to South Africa including the long visa processing period which currently takes at least five days. 

This move from the two governments comes in an attempt to promote trade and investment. Furthermore, the two countries signed cooperation agreements in correctional services; housing, and human settlement; the Kenyan School of Government and the National School of Government, and an audio-visual co-production agreement. 

President Ramaphosa further emphasized that both South Africa and Kenya were leading economies in their regions. “Kenya is the leading Economy in East Africa, and so is South Africa in Southern Africa. We have demonstrated a firm commitment to sustainably increase trade volumes and foster greater investments in each other’s economy,” Ramaphosa said. Ruto stressed that specific barriers of trade between the two countries had to be removed to upscale trade volumes between Kenya and South Africa: “President Ramaphosa and I have also agreed to develop a sustainable mechanism to identify, monitor and resolve non-tariff barriers that limit the trade potential between our two countries.” 

STATE OF EMERGENCY DECLARED IN SUDAN AFTER TRIBAL CONFLICT

Sudan’s Central Darfur state has declared a state of emergency after gunmen opened fire on mediators who were settling an inter-communal dispute, killing 24 people. The conflict broke out last week between the Arab tribes of Misseriya and Aulad Rached. A Misseriya tribal leader said it started with a stolen moped. On Sunday evening Central Darfur Governor Saad Adam Babiker held an emergency security meeting of the state security committee and issued an order declaring a state of emergency in all parts of Central Darfur for one month. According to locals, the mediators were accused of being biased, sparking anger from the other community. The attack killed at least 24 people and left 41 others wounded.

Last week, the governor of Blue Nile state, Ahmed Al Omda Badi, issued an emergency order also banning all public gatherings, events, and unlicensed activities. Badi acted after communal clashes that killed more than 200 people. The order prohibits blocking public roads, encroaching on public and private property, and circulating content that calls for discrimination among citizens on an ethnic basis, among other activities. Inter-communal conflicts have been on the rise in Sudan since the military coup by army chief General Abdel Fattah al-Burhane in October 2021.

IVORY COAST TO HOST THE AFRICAN CUP OF NATIONS IN 2024

The Officials from the Ivory Coast government have signed a formal hosting agreement for the 2023 Africa Cup of Nations with the Confederation of African Football on Friday. Six stadia in five cities—Abidjan, Bouake, Korhogo, San-Pedro, and the capital Yamoussoukro—will host the 24-team finals, which will be held in January and February 2024. The African Cup of Nations was initially scheduled for June/July 2023 but due to the rainy season in Ivory Coast, it was pushed to 2024. The CAF president Mr. Motsepe stated, “We don’t want to run the risk of having a competition that’s going to be washed out. It’s not good for African football, for our image and we have to work on that basis.”

This is not the first time the CAF has moved the finals to a different year. In 2017, CAF announced its decision to move the finals to a summer slot to appease European clubs reluctant to release African players during their domestic seasons, but so far only the 2019 tournament has been played in the traditional off-season. 

Meanwhile, Caf is also looking for new hosts of the 2025 Nations Cup after stripping Guinea of hosting rights last month because of a lack of suitably advancing infrastructure and facilities. Guinea had nearly a decade to prepare for the finals, having originally been named as host of the 2023 Nations Cup in 2014, before then being asked to host in 2025 instead The political situation in Guinea, which has been under military rule since a coup last year, had led to concerns over security and organization for its Nations Cup hosting. Motsepe said he visited Conakry out of respect to discuss with local authorities how Guinea can improve its infrastructure to a level whereby it can host major events in the future. “This will enable Guinea to bid for the African Nations Championship (Chan) which will take place after the Chan in 2023, in light of the decision not to proceed with the 2025 Nations Cup in Guinea,” Motsepe was quoted as saying in a CAF statement.

ICYMI: THE IMPORTANCE OF CRITICAL REPORTING TO NIGERIA’S BURGEONING TECH ECOSYSTEM

Songs Of The Day: New Music From DBN Gogo, Timaya, Patoranking & 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 DBN Gogo, Timaya, ShineTTW, and more. Lock in!

DBN Gogo – “Uyathandeka” ft. Stixx, BoiBizza & MaWhoo

Fresh off the Art X Live stage, South African record producer and DJ, DBN Gogo is gearing up for the release of her new album, ‘What’s Real’ next month. Ahead of this, she’s teasing its release with new single, “Uyanthandeka,” which finds her teaming up with South African heavyweights Stixx, BoiBizza and MaWhoo for a new Amapiano-tinged number. The catchy new release finds all three artists trading romantic lyrics over a propulsive beat that all but demands you stop and dance.

Timaya – “Sweet Us” 

Veteran singer and songwriter Timaya is back and better. Following the release of 2020’s ‘Gratitude,’ it seems that the singer is ready to open his book for the year officially. For his first official release this year, Timaya shares the braggadocious new track titled “Sweet Us.” Produced by Michon, the new record finds the singer sending a note to his opps about how well he’s been doing. Over the catchy production, he sings “As e dey sweet us, e dey pain them/as e dey pain them, e dey sweet us,” in reference to his opps. 

evrYwhr, Patoranking – “Roll On Me”

Grammy award-winning singer and songwriter, evrYwhr, features Nigerian superstar, Patoranking for the new record titled “Roll On Me.” Produced by Trakmatik, Swanky, Hvstle, the smooth, almost ethereal love song boasts a sexy sound rooted in Afrobeats and Caribbean music with sonics that travels across the borders. Speaking about the new collaboration, evrYwhr states: “”It was important that I recorded “Roll On Me” with Patoranking in Nigeria to immerse myself in the afrobeat rhythms and culture. While there, I fell in love with the music, food, and fashion.”

Krizbeatz – “NFY (Not For You)” ft. Seyi Vibez & Jamopyper 

Krizbeats is an infectious beats smith. After lending his delectable production to many other artists in the Afropop scene for the past few years, he’s now adding a new feather to his cap by sharing his new EP, ‘King of New School’ which appropriately captures his role as a purveyor of the vibrant percussive sound that’s made a return to mainstream domination in recent years. Standout single, “NFY” translates that vision melodically, featuring the street-hop duo of Jamopyper and Seyi Vibez. Over deletable keys and Afropop drums, the artists colour the record with sweet words for their respective lovers.

Yinka – “Two Weeks”

For the past few years, Olayinka Ehi has become a force to be reckoned with in the music scene. Her forceful voice floats scenically over slow-paced instrumentals, offering up smooth, laid back vibes to her growing population of listeners. Now, with a renewed sense of vision, Olayinka re-emerges as Yinka with new single, “Two Weeks.” The new romantic number soundtracks the early stages of a new crush or budding relationship as Yinka sings, “It feels like a lifetime with you/But it’s only been two weeks.”

Toyboi – “Toy Story” ft. Efya

Ghanaian singer, songwriter and rapper, Toyboi returns with a new offering: his debut 4-track EP titled ‘Toy’s Story.’ On the standout record “Toy Story” which features Ghanaian singer Efya, the artist tells the story of his life and everything leading up to his current standing. “I no fit tell you all the things I dey see/but I fit tell you all the things I dey dream,” he spits, painting a picture that visualises his experiences on the streets of his home country.

Boochi – “My Way” 

Talented producer and musician Boochi has only recently released his debut project, but the youngster is obviously onto bigger things. An indication reveals itself through the EP’s title, ‘FAME’ which is an acronym for From Another Man’s Perspective. “My Way” is a standout of the record, a breezy listen which builds on the exhilarating mood of Boochi’s vocals gently lapping against the production. By the record’s end you feel some sense of his frustration, the sharpness of his turmoil that’s enabled him to contribute a short but significant part of our understanding concerning the human condition. 

DJ Yo, Goya Menor – “Cleopatra” ft. Alex Price

After soundtracking last summer with his infectious single, Nigerian artist Goya Menor arrives with the new track titled “Cleopatra” featuring DJ Yo and Alex Price. The new single lends its production from Amapiano-inflected drums while also blending Pop and Dancehall elements to create a romantic track that deserves to be on your playlists.

Dusten Truce – “KEEP IT KEWT”

Following the release of his new single, Nigerian rapper, singer and songwriter, Dusten Truce shares the accompanying video for “KEEP IT KEWT,” which is plucked from his album, ‘Smoke Break.’ The befitting video features Dusten performing the song’s catchy verses while mimicking the direct-to-consumer layout of social media apps such as TikTok, which is set against the backdrop of Lagos City and its buzzing inhabitants.

Featured Image Credits/NATIVE

Identify: Rowlene is back, for good this time

Posted on by Nwanneamaka Igwe

It still comes as a shock to Rowlene when she realises just how long she has been making music in the South African scene. Long before her debut in 2015 with the “Imposter”, Rowlene has always shared a special connection with music. From lending her vocals to the school and church choir during her childhood, Rowlene’s once minimally explored attachment to music soon developed into a burning passion, revealing new rhythmic dimensions with every step of her journey. Now, with many years spent learning and studying the game, Rowlene has nurtured herself into the all-rounder she is today: “That’s ten years of tripping, falling and getting up,” she shares with the NATIVE. 

 

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Following the artist’s debut in 2015, a comprehensive introduction to Rowlene’s talent is her debut EP ‘The Evolution of a Robot,’ a release that firmly planted her on the map and had audiences and music-makers alike, keen to explore whichever soundscapes Rowlene traverses next. She followed this up with a number promising singles including “Swang,“ “Won’t Get Better” and “Boy Bye.” However, it wasn’t until her stellar collaboration with Nasty C that the artist started garnering significant attention in South Africa and beyond. While she tapped into his multi-layered flow on “143”, their breakout track was “S.M.A (Send Me Away)” off Nasty C’s emotionally driven sophomore album, ‘Strings and Blings’. The duo delivers a poignant performance, solidifying the track as one of the most soul-stirring numbers on the project. Reminiscent of Eminem and Rihanna’s “Love The Way You Lie”, the pair on “S.M.A (Send Me Away)” tell a tale of a love story damaged beyond repair. Rowlene shares that she and Nasty C have maintained a long lasting relationship, “With Nasty C, we’re actually like family now.”

For Rowlene, making music is a spiritual excursion into her mind and her soul. As such, Rowlene is incredibly selective of the artists and producer she invites into her world. She shares candidly, “Music is such a spiritual thing to me and I don’t just work with people if I don’t feel like we could potentially hit it off. I want to be able to believe in them, believe in their process and believe in what they stand for.” While taking qualities such as their masterful production, sonic abilities and skilled penmanship into consideration, Rowlene majorly prioritises the artist’s creative morals and the methods used during their sonic process.

For that reason, a number of Rowlene’s collaborations have been strictly natural pairings with people she met through a mutual connection or friends she’s known for a while, of which Nasty C falls into the former category. When I ask which of her longtime friends she’s made music with, Rowlene shares that it’s only recently that she had the pleasure of working with close friends on her new project. “Oxlade and I have been friends for so long. He introduced me to everyone else that’s on the project. It happened within 2 to 3 days,” she shares.

Rowlene has always brought this level of meticulousness to her craft and she continues to toe this line on her new project. After two years without releasing any new projects, with the exception of a couple of singles, Rowlene is back utilising her mellifluous vocals and raw penmanship to bare her honest emotions as always. She enlists weighty names in soul, R&B and Rap from Nigeria such as WurlD, Oxlade, Blaqbonez, who bring their sweet-sounding voices to her sonic world without obscuring her singular vision. Rowlene shares about the project, “Frequency has so many definitions, from science to math it is a significant observation that always hints to ‘more’. This project follows exactly that notion. Each song represents a twist or turn in the journey we call finding love and sometimes ourselves. One’s cycle can never be compared to another’s yet – when you’ve matched the energies, when you’ve synchronised with someone – magic happens.”

‘Frequency’ is a true reflection of the lessons learnt and the growth experienced by the artist both in her personal life and career over the years. Standout tracks such as WurlD-assisted promotional single “Only,” which are evident of Rowlene matured lyricism, perfectly validate the artists ability to produce timeless numbers.

Early tracks such as “S.M.A (Send Me Away)” echo the pitter-patter of new tracks such as “Pretentious” and “Neverland” with Oxlade, but feel looser in its delivery of stark vulnerability. Elsewhere on the Blaqbonez-assisted “Pretentious,” Rowlene accepts her involvement in a toxic situation that turned out to be bad for her, sharing that “if this was five years ago, I’d still be in this situation.” 

On “Frequency,” the extended play’s intro track, Rowlene crafts a relatable story about love, honesty and reconciliation within friendship. For the rest of the project, Rowlene continues to offer up a string of feel-good flexes and affirmations over bright keyboard sounds and glossy synths. Given how much growth Rowlene has undergone since her debut on the scene, it’s only fitting that she has approached this new project with a unique mixture of vulnerability and levity. After working through feelings of inadequacy and imposter syndrome, she’s now fashioning herself into her own kind of superstar. Now, more affirmed in herself than ever, Rowlene shares, “I can confidently walk into or out of a room without feeling guilty or feeling like I shouldn’t be there. I have defined my space.” 

Reminiscing on when she created ‘Frequency’, Rowlene shares that the project nearly suffered from delays. She had no intentions of releasing music until 2023, which would make it two years since she released a full body of work. However, after recording what would become ‘Frequency’ in London during March of this year, Rowlene would share the newly minted tracks with her closest friends via a Soundcloud link. It was their encouragement which eventually led her to release ‘Frequency,’ as she shares “It was just having people say the right things at the right time. I just thought [to myself], this is what I want, and this is how I want to do it. But [my friends] were actually making so much sense, so I figured, what am I waiting for? I’m only going to make more music and I’m always going to feel like the next song is better than the last.” 

‘Frequency’ which is now out in the world, marks a full circle moment for the artist who has spent the better part of the decade, carving her vision as a rising artist with polished production and emotion-baring writing. Now, with a renewed sense of confidence and refined vision in her abilities, Rowlene is approaching this phase in her career without the rose-tinted glasses of her earlier days. The entire project exerts the feeling of one who is certain about their next steps, without any sway from outside forces. Rowlene herself echoes this sentiment, sharing “I’m back and I’m not going anywhere.”

Ultimately, ‘Frequency’ is a representation of a new beginning from Rowlene as she continues to explore the depths of her emotions and cast ideas about where she’s about to go sonically and professionally. This drive to keep pushing the boundaries and keep extending herself is borne out of her desire to provide for her core support system, and those who’ve been influential to her career along the way. ” I didn’t really come from anything, so that’s the one thing I really want to change. I’m the first one in my entire family to even travel overseas or get on a plane. I really want to make my family proud. Until then, I can’t really throw the ladder down.”

Listen to ‘Frequency’ here.

Featured image credits/NATIVE

Best New Music: Shalom Dubas Reflects On Life’s Uncertainty With New Single, “Gold.”

Posted on by Emmanuel Esomnofu

Shalom Dubas has lived a life marked by movement. Born to Nigerian parents in Seattle, US, she later moved to Florida where she found the serenity necessary to create art. In recent years, Dubas has increasingly embraced her Nigerian roots, using collaborations with artists like Toyin Ores and Tim Lyre to construct an enviable bridge between the sounds of her diverse sensibilities. Slick wordplay and ability to frame complex narratives about life and relationships has long been a glittering part of her skillset as an MC, but Dubas wields even more prospect as a music-maker. 

A number of Nigerians got to immerse themselves in her craft when she contributed one of the best verses on Show Dem Camp’s ‘Clone Wars 5: The Algorhythm’. Showing up alongside such accomplished purveyors of rap isn’t a small feat, but Dubas took the moment with the assurance of one who has prepared all their lives for it. Every word she rapped was perfectly in-sync with the beat’s count, each metaphor beautifully tied to the project’s established vision of cheeky but poignant sociopolitical commentary. Her hook also provided the record’s title, reiterating the high level of artistic promise Dubas has shown over the years.

 

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Having made the return home to Lagos and recorded these wins, Shalom Dubas has had a relatively lowkey 2022. Up until September, she didn’t put out new music rather opting to release two in quick succession. “Don’t Leave” came towards the end of that month, an emotive record suffused in Dubas’ signature flourishes. With luscious keys and Trap-esque drums inspiring the weary gaze she adopts, the song’s sensitivity was in alignment with the ethos she’s embodied. It’s ultimately an affirmative record which recognises her need for self-love as a remedy for the gaping hole one feels when familiar moments and people become distant, and the heart grapples for some security. 

“Gold.” draws from those same inspirations. Released over the weekend, it’s a rather punchy immersion into the MC side of Dubas. The listener barely gets a feel of the lush guitar progression before the artist launches into an introspective groove, unfurling intricate rhymes with the fierceful grace of a panther’s attack. Her lyrics aren’t trained on a specific theme; rather she embraces a freestyle-like dance around subjects, employing her technical strengths to combine their distinct colours. 

Starting off with the admission that Shalom Dubas has “no material to write about,” she goes on to state the high standards by which she holds herself. Autobiographical details such as her age (twenty four, by the way) are used to set up an hazy path to more external imagery and by the time she settles into the verse, the POV changes shape. She’s then charting the progression of a relationship rocked by the demands of conventionality, adapting the fluidity of her stateside cadence to form internal rhymes which sweetly laps up against the elegant strings. 

The weight of relationship is again considered, the bridge and subsequent parts folding with the sensitivity Dubas has always shown when she sings. “Please don’t leave, don’t do that thing where you disappear,” she pleads with intimate longing, before unpacking more details of her person on the second verse. She’s even fiercer then, hitting precisely a number of subject points before returning to singing in the song’s closing parts. Reminiscent of Lauryn Hill, “Gold.” also showcases the side of Dubas that got into songwriting by listening to 2Face Idibia. 

Guitars have also been an essential part of her artistry after learning to play them years before she went professional. “Gold.” sees her then in familiar territory, saying a lot in such little time. When artists say that much, there’s usually a project around the corner and with Shalom’s slow output much this year, this record is surely a golden way to keep fans in the loop with the details of her expansive mind. 

Featured image credits/Instagram: Shalom Dubas

ICYMI: Our First Impressions of Wizkid’s ‘More Love, Less Ego’

A 1-Listen Review Of Vector’s New Album ‘Teslim’

Posted on by Uzoma Ihejirika

Much like Dr. Dre’s ‘Detox,’ Vector has teased this album, generating hype for it while sating appetites with his 2016 album ‘Lafíaji,’ the 2019 EP ‘VIBES BEFORE TESLIM: The Journey To Self Discovery’ and 2020’s ‘The African Mind’ and ‘Crossroads,’ the collaborative project with Masterkraft. Unlike Dr. Dre, though, Vector has finally unlocked the album titled ‘Teslim (The Energy Still Lives in Me).’

“I thought I had an idea of what my album was going to be, then suddenly your dad passes on and you then start to understand that life is vain, you start to reevaluate the meaning of things you do,” Vector told Apple Music. “I started to reevaluate what I wanted my music to be like, what I wanted the message to carry, and how I wanted my music [to be]. I was also considering things–if life is a fleeting thing that we all can’t hold on to, how then is it easy for us to be distracted by things that we really don’t care about?”

From the 2Baba-featuring “Get Down,” “Popular,” “Follow Me Dey Go,” “King Kong” (and its remix) to the GoodGirl LA-assisted “Early Momo,” Vector has proven himself a competent rapper and artist. His punchline style has undergone refinement while still making space for occasional spats with fellow rappers, most notably M.I Abaga. ‘Teslim’ is the product of years of work, with production assistance from Major Bangz, Mr Kleb, The Beatsmith, Cracker Mallo, Egar Boi and Kel-P, among others. Let’s get into it.

 

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“TESLIM INTRODUCTION”

A radio presenter named BB Ray introduces us to Vector. “So Vector, with all the trials and the glows, what have you realised so far?” she asks. Vector begins to rap – about baby mama drama and haters. Love the beat, especially the cooing voice loop (is that a sample?). BB Ray comes on again, this time asking Vector to elaborate on a point. She serves glue on this track. There’s a verve in Vector’s delivery that makes this tune brilliant.

“I NEED YOU” FT. ICHABA & MILARE

What grabs my attention immediately is Major Bangz’s hard-hitting production; it evokes celebration. This track is a letter from Vector to his daughter. “Look your grandpa left but he’s a part of me/Which is a part of you, which is part of everything you do,” he raps. A great track.

“WHY ME”

We are in Afrobeats territory. Vector is firing off warnings at his detractors, reminding them that he is inevitable. “Enemies dey tell me dem be nightmares/I just laugh/I don’t sleep that much,” he raps.

“YOU DON’T KNOW” FT. ERIGGA

I’m getting smooth vibes as this begins. It’s a punchline fest on Vector’s verse. “When God bless you e go simple like ABC/You buy things, leave change/Dis no be APC,” he raps. The chorus of “You don’t know/You don’t know” recalls the comedic brilliance of Ghanaian taxi driver-turned-social-media-sensation Patrick Mensah. Warri disciple Erigga is his usual motivational self, choosing to inspire listeners with his success and urging them to chase their dreams.

“INSOMNIA” FT. CRACKER MALLO

One of the previously released tracks on the album. Nigerian music producer lays his vocals on this one, while also producing. Vector addresses dark themes like the building collapses and #EndSARS killings. Cracker Mallo’s hook drives the point of the song home with its melancholic tone.

“MERCY” FT. SEYI VIBEZ

Vector decides to handle the hook on this one. He prays to the Almighty for protection and guidance. Seyi Vibez joins in the prayer-filled session.

“SOKI SOMBOLO”

This one has a nice bounce to it, with the guitar chords anchoring it. Like in “Mercy,” Vector is in prayer mode while also expressing gratitude for the ease in his life. “See my old mens tryna Nipsey me/But I ain’t feel blue about this, know what I mean?/Nipsey in the sky, he never falling again,” he raps. The vocals of children enter the fray, singing the chorus alongside Vector, as the track reaches the end.

“GREED: JAYSON GRAHAM CALL (CLOWNS SKIT)”

Vector records a call with Jayson Graham (I imagine) who speaks about fear and how it limits the largeness of the heart of a person.

“CLOWNS” FT. LADIPOE

GMK’s beat is a winner on this Rap tune. The bass is heavy, and the kicks and snares are the right sonic environment for Vector and LADIPOE both make observations about the world. From the crumbling economy to the rush for wealth, they assert that in the end, we are clowns, fooling ourselves. “Being content versus pitching your tent with the greedy/It’s all the genes,” Vector raps. LADIPOE also shows out with his punchlines: “No mentors, many many millionaires/They can’t show us the design because behind every fortune, there’s usually a crime.”

“BIG FLEXA” FT. AO – MACHINE

This is my first time hearing AO – MACHINE on any song. His baritone gives heft to the way he calls names of people who are big flexas. This track is just simply braggadocios raps from Vector and AO – MACHINE.

“WHAT’S THAT II” (FT. NASTY C)

Six years ago, Vector’s “What’s That” featured on ‘Lafíaji.’  He returns with a follow-up track featuring South African rapper Nasty C. The song deviates from the upbeat tempo of the prequel (settling for a mid-tempo rhythm) but it follows the same thematic path of playfully making observations about life and women. Vector and Nasty C show great chemistry on the track, feeding off each other’s energy.

Mama Maradona (Ft. Wande Coal)

Trap vibes. Vector doesn’t waste time in stating his disinterest in longtime commitment. “You wey dey think say I’m good for your daughter, shior, me wey no good for myself,” he raps. Wande Coal buys into his message, singing, “Don’t even talk to me, I’m not the one you need/This your daughter, keep your daughter.”

 “MAMI WOTA” (IYEMOJA) FT. SEUN KUTI

On this mid-tempo love track, Vector and Afrobeat disciple Seun Kuti barely praise the women in their lives. “Somebody pray for me/she got ahold of me/Somebody daughter/Mami wota eh,” Seun Kuti sings on the chorus. Mr Kleb’s production benefits from sprinkles of Kuti’s saxophone playing.

“EARLY MOMO” FT. GOODGIRL LA

A certified jam. Still sounds fresh as it did when it was released last year. Vector and GoodGirl LA show remarkable chemistry on this sex-tinged romantic tune. Another impressive production from Mr Kleb.

“FEFE (FERRARI)” FT. SHADO CHRIS

Ivorian singer Shado Chris colours the Trap-influenced tune as Vector employs impressive flows to brag about his successes. I don’t understand the words Shado Chris is singing but with the way he is flowing on the chorus, I’m sure it’s fire.

“MY NAME (CHORAL VERSION)”

First released in April as a single, Vector and his choir deliver a soothing performance about being under the guidance of a supreme being. “You show me the way/When I am astray ay ay/When I feel lost/I learn all the way,” he sings. It is a fitting closer. For the official music video, the song is set to an Amapiano-influenced beat.

 FINAL THOUGHTS

‘Teslim’ made for an enjoyable listening experience. One of the criticisms levelled upon Vector’s projects is their playlist-type feel and that they never reach their full potential. The songs on ‘Teslim’ tell a story of an artist tending his strengths and slicing off some of his weaknesses. At 16 tracks, it is a lengthy project and although it still carries that playlist aura, it is a more pleasant trip. Vector is a veteran in the game but he is yet to achieve a magnum opus. This might mean a good thing, though, as it means there is an opportunity to push himself up the ladder more. For now, ‘Teslim’ will do while we wait for his next offering.

Stream ‘Teslim’ here.

Featured image credits/NATIVE

Songs Of The Day: New Music From Black Sherif, The Cavemen, Maleek Berry & 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 Black Sherif, Larry Gaaga, The Cavemen, and more. Lock in!

Larry Gaaga & Black Sherif – “Letter From Overseas”

Vulnerability is a major part of Black Sherif’s music and on the new Larry Gaaga-assisted record “Letter From Overseas,” the rapper displays this once again with bleeding sincerity. Over the up-tempo production, he spits a blazing soliloquy about his current mental state, transposing in his own way, a letter he would write a letter to a loved one from his home base in Ghana. On the chorus, he chants “this is my letter from overseas, I am doing good/Just pray for me and I’ll keep it moving,” his vocal pitch almost identical with his speaking voice.

The Cavemen – “Adaugo”

The Cavemen are preaching the message of community and Highlife. After rounding up 2021 ‘Love And Highlife,’ the music making duo opened the year by contributing their smooth and assuring timbre on a number of Afropop records including “Kokose” with Toyin Ores and bagging a feature on Johnny Drille’s ‘Home EP.’ Now, the Highlife duo have returned with their second official single of the year titled, “Adaugo.” The record sees the duo at their most relaxed as the drums and claps on her production sets a fine pace for the record. The romantic new track finds them imploring with a lover for her steadfast commitment and love: “If I say let’s go, tell me would you go, Adaugo,” they chant over the catchy chorus.

Maleek Berry – “My Way”

In 2016, Maleek Berry made his mark on the scene when he released his debut EP, ‘Last Daze Of Summer’ which captivated audiences for its amped-up jams and romantic numbers. Now, making his return to the scene after taking a 2-year hiatus from releasing any solo material, the South London singer and record producer is here with new uptempo romantic tune “My Way.” Latching on to the percussion-led sonics of Afropop, the new record finds Maleek Berry directly addressing a lover who he wishes to show his commitment. Sampling a classic R&B number “If You Had My Love,” by Jennifer Lopez, the romantic number provuides Maleek Berry the ample space to fire off his romantic intentions with lyrics such as “Shawty swing my way, and maybe we’ll fly away/I don’t have plans to lose you baby.” 

ShineTTW – “Designer”

Newcomer ShineTTW made his debut on the scene with the sweet-sounding “No Religion” which garnered him the attention of fans and audiences. Now, the singer has followed this up with his sophomore release titled “Designer.” Over the masterful production from Spellz production, ShineTTW sings about enjoying the life of a superstar to the fullest and enjoying his new levels of recognition. 

Bella Alubo – “Another Level”

After her iconic appearance on “G.O.A.T.” featuring Ty Dollar $ign and Notorious BIG, Bella Alubo returns with another R&B infused record, “Another Level.” On the track, she sings candidly about her journey in the music scene, tracing the trajectory of her career from its inception to its current stage, where she’s enjoying the reward of years of hardwork. Over the sweet-sounding production of the track, she sings “dancing queen in her dreams, counting greens seven rings.” 

Tha Boy Myles – “Roma”

On his latest release, “Roma,” Tha Boy Myles is at his most playful and romantic with his muse. Over the melodious production of the track, he teases his love interest with sweet words of affirmation and assurance as he chants “If na money, I go spend am dey go/baby ka ma roma roma.” 

Rowlene – “Frequency” 

South African R&B singer Rowlene has arrived with a new EP titled, ‘Frequency.’ The body of work features guest verses from Oxlade and Blaqbonez and cuts across matters such as love, romance and more. On the standout record “Frequency,” she chants “Don’t matter the distance or the time/You know what’s going through my mind, I know with you my heart is safe,” expressing her deepest feelings to a love interest. 

Shalom Dubas – “Gold”

Since her debut in 2017, Shalom Dubas has been folding genres such as R&B and Hip-hop into her own unique mixture. Following the release of “Don’t Leave” earlier this year, she returns with her most recent offering, “Gold.” On the Toyin Ores production, Shalom  raps about her current phase of life, her struggles and facing them, while figuring out the woman she’s becoming. “I’m 24 and still trying to figure this shit out/I seen a lot of prideful people never fall, I’m pissed,” she raps in the opening seconds of the track, boldly telling her story as it is.

Ugoccie – “Loud” ft. Niniola

After bagging a nomination for the 2022 Rookie Of The Year Award at the Headies, Ugoccie has been on a mission to push the envelope further. Earlier in the year, Ugoccie arrived with the hit record “Hookup (Onome)” and now, she’s returned with the new exciting tune “Loud.” Produced by Endeetonez, “Loud” is a catchy new track that finds Ugoccie teaming up with Niniola to deliver a powerful anthem which showcases their sonorous vocals. “Loud” is set to feature as one of the promotional tracks off her new EP which is currently in the works.

Khaid – “Amala” ft. Zlatan & Rexxie

Following the release of his debut EP ‘Diversity,’ earlier this year, afro-trap singer and uNder Khaid has teamed up with Zlatan and Rexxie for a catchy new track titled “Amala.” Produced by Rexxie, the new track contains audible influences from Amapiano’s dusty log drums and features catchy and relatable lyrics from Khaid and Zlatan who also infuse their noteworthy chemistry into the song’s accompanying visualiser.

Featured Image Credits/The NATIVE

Our First Impressions of Wizkid’s ‘More Love, Less Ego’

Posted on by Damilola Animashaun

Another Wizkid season is upon us. Two years after the release of his critically acclaimed album, ‘Made In Lagos’ and one year from its deluxe edition, the Nigerian singer has released its follow-up and his 5th studio album titled ‘More Love, Less Ego.’ For OG Wizkid listeners, this moment is particularly ineffable given that the singer has a track record to tease the release of projects in the past, only to have these promises fade just as quick as they arrived. 

Now, it seems the past is all behind us and a new era of Wizkid is here once again. Continuing in his penchant for pushing the boundaries of his artistry, Wizkid makes a departure from the amped-up party jams that soundtracked most of his early career days including 2011’s ‘Superstar’ and 2014’s ‘Ayo.’ Speaking about the new album, Wizkid recently told the Guardian that “Everyone fights with their ego and that’s where I’m at. I’m still trying to shed my ego, like everyone else,” a sentiment he aptly puts forward through buttery smooth vocals and noteworthy chemistry with his collaborators.

Months before the album’s release, Wizkid shared a delightful Amapiano-influenced track, “Bad To Me”, which was produced by Soso and P2J and showcased the artists infectious vocals and stellar penmanship with catchy lyrics such as “casmigos for my amigos.” He followed this up with “Money and Love” which served as the second promotional single off ‘More Love, Less Ego’ which showcased where the singer was willing to go sonically on the new project. Now, with its official arrival today, a week from its expected date, ‘More Love, Less Ego,’ still sounds pristine and does not suffer from any deals. Across the 13 tracks, Wizkid enlists a couple of new collaborators – Don Toliver, Ayra Starr, Skillibeng and more, alongside Skepta, and brings them into his colourful world where ego takes a back seat to the pursuit of love and genuine human connections.

 

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BEST SONG 

Wonu: I think I’m still very much drawn to “Bad To Me.” The record just simply does it for me, it’s a fine balance between laid back and good music and that’s what I appreciate the most about it. Close second will probably be “Frames.” I’m very drawn to the tempo of the record, so this particular one stands out. 

Dennis: I really like “Special”, partly because it’s way different from what I was expecting. Because of Don Toliver, I was expecting big 808s and dreamy piano chords, but when Juls’ solemn and seductive guitars breezed into my ears, it hit really different. Don Toliver toned down the vocal theatrics he’s known for in favour of a more controlled but infectious hook, and Wizkid is just being his casually confident self – these are the perfect fit for this song. “Special” might not be the one that gets the single treatment, but it will be a fan favourite deep cut.

Moore: To me, “2 Sugar” is definitely the best song on this project. It’s very easy to be biased towards this track due to the presence of Ayra Starr’s enrapturing vocals. Wizkid and Ayra Starr make a stellar combo, with their verses blending seamlessly into each other’s. It’s definitely a song that will be played on repeat for the foreseeable future.

BEST GUEST APPEARANCE

Nwanneamaka: Wizkid and Skepta is always going to be a good idea. I can go on and on about the stand out tracks they’ve delivered to us, from the forever jam “Bad Energy(Stay Far Away)” to “Longtime” from ‘Made in Lagos’. Seeing Skepta on the tracklist, alongside Naira Marley -who has been quiet for a bit now- certainly piqued my interest. Unsurprisingly, they did not disappoint. Of course, Naira introduced “Wow” with his unapologetically sensual lyrics, followed by Wizkid’s infectious vocals and quickly assisted by Skepta’s hard-hitting flow. The best tag team you could envision. 

Tami: I’ve been really excited for the guest features on Wizkid’s new album since he began teasing it earlier this year. In true Wizkid fashion, no collaboration or feature is out of place as everyone invited into his sonic world is capable of holding their own, while never obscuring his own vision. I’m really enjoying the Ayra Starr-featuring “2 Sugar,” which is packed with saccharine sweet melodies that will ensure it’s reliably in rotation at functions. More than this, Ayra’s feature on this album is a testament to Wizkid’s decade-spanning career which has provided the platform for younger artists to showcase their skills with the world. It was Tems and Tay Iwar on 2020’s ‘Made In Lagos,’ and now, two years later, Wizkid returns to pass the baton to a new generation through Mavin’s pop princess, Ayra Starr. This is a huge moment for her, and after the year she’s had with the release of the deluxe edition of ‘19 & Dangerous,’ her debut album, it’s clear that there’s no stopping a celestial being.

STANDOUT PRODUCTION

Dennis: I think I’ll go with the lead single, “Bad to Me”. The way P2J folds ‘Piano into the sultry, recognisable Wizkid aesthetic is genius. Wiz just sounds like he’s having the time of his life throughout the whole song, plus the arrangement – crowd vocals on the hook and all the small tricks – is masterful stuff.

Uzoma: There is a lot of interesting stuff on the album production-wise but I’d settle for these two: “Bad To Me” and “Special.” “Bad To Me” is a bop with its intriguing Amapiano rhythms. Juls’ signature Highlife on “Special” is a welcome diversion from the other slick, Pop-leaning productions. And that Don Toliver managed to flow effortlessly on the track makes the track one of the album’s standout tracks.

BIGGEST POTENTIAL HIT

Nwanneamaka: A lot of hype was generated around the track with Ayra Starr around the time of his Apple Music live event in London and listening to the project now, I understand why. Ayra has been having a well deserved moment with her recently released “Rush” and she reaffirms herself as a standout vocalist on “2 Sugar” produced by P2J. The pair seamlessly croon back and forth on the enthralling beat, making the track a memorable number off the project. I would not be mad if “2 Sugar” gets an “Essence” moment. 

Moore: I’d have to say that the biggest potential hit is “Wow”. This track has a wonderfully engrossing beat that would easily draw any listener in immediately. Having two heavyweights in Skepta and Naira Marley also puts it at a major advantage. The presence of Skepta in particular makes it likely for the song to connect with British audiences.

BIGGEST SKIP

Tami: I’m not too surprised that there are tracks that I’d rather skip on this album. Wizkid is great at party-starting hits and romantic anthems with Afropop sensibilities, but he’s also the king of sleeper hits which have the propensity to grow more engaging and riveting with time. Obvious example being “Essence” with Tems which exponentially blew up a year after its official October 2020 release, leading to Grammy nods and a remix with Justin Bieber. Currently, the first and third track on ‘More Love, Less Ego’ are getting skips from me. This is not because “Money & Love” and “Bad To Me” are bad songs, they were just two of the album’s promotional singles, so I’m more than happy to skip past them to get into the new tracks we’ve just been gifted by Wiz. “Money & Love,” is taking a while to grow on me, but it’s got incredible and otherworldly production from P2J himself. Then there’s also “Deep,” which is full of sexual romp but lacks any tangible lyricism.

Israel: “Pressure” is probably the biggest skip. I wasn’t really impressed with most of the track but it has potential. It isn’t a big step up from his last Album and I’m honestly not surprised that Wizkid didn’t grow as much as I thought he would.

OVERALL FIRST IMPRESSION

Dennis: ‘More Love, Less Ego’ is Wizkid in cruise control. He started iterating this current form of his sound, one where the ambience is incense with good vibes and colourful musical choices, five years ago with ‘Sounds from the Other Side’, and it’s obvious he’s mastered it to the T. The result is a project that is far less inventive than anything he’s done, and less striking than his last album. Those are negatives, but the outweighing positive is that Wizkid is supremely reliable. He knows the beats that fit, his conviction in being the ambassador for eros love in Afropop is unshaken, and the melodies are as wondrous as ever. Everything Wizkid does ends up growing on most listeners, so while I don’t think ‘More Love, Less Ego’ will be deemed a classic like ‘MIL’, it will most likely become another revered project in the Wizkid canon.

Wonu: Wizkid is clear. ‘MLLE’ is a continuation of ‘Made In Lagos.’ and this just goes to show that Wizkid has found what truly is his sound. The singer is at his most comfortable yet again and while the body of work is very production driven, he simply still finds a way to slide on the production and show off his talent. ‘More Love, Less Ego’ is Wizkid letting listeners know he’s making the music he believes he should be making. 

Uzoma: Sonically and thematically, ‘More Love, Less Ego’ is a continuation of Wizkid’s previous LP ‘Made in Lagos.’ Wizkid has found his sweet spot: slick Afro-fusion music revolving around gratitude, family and love. At this point, you get the sense that Wizkid has nothing to prove; he is just here to make the music he wants to make. Will there be an “Essence” moment from ‘More Love, Less Ego’ ? Time will tell. 

Listen to ‘More Love, Less Ego‘ here.

Featured Image Credits/The NATIVE

Sarkodie shares feature-packed eighth LP, ‘JAMZ’

Posted on by Dennis Ade Peter

Sarkodie is African rap royalty. Over the course of his magnificent career, the veteran Ghanaian rapper has become increasingly synonymous with greatness, turning out new projects at a frequent clip, making guest appearances on songs by both veteran peers and fresh-faced colleagues at a furious pace, and always rapping at a high level. With all of his accomplishments and the godly reverence he’s afforded, Sarkodie continues to add to his legacy rather than rest on his laurels.

 

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Just over a year after the release of his well-received seventh studio album, ‘No Pressure’, the rapper is back with his eighth LP, ‘JAMZ’. Where last year’s project saw Sarkodie split his focus between sturdy, hyper-lyrical bangers and sunny mid-tempo bops, authoritatively reiterating his status as one of the most dynamic rap artists Africa has ever seen, this new project is mostly tilted towards soundtracking feel-good moments. “I’m in a space where I’m enjoying life, family and spending time with people I cherish, so the tone of the music reflects that,” he shared in the album’s apple music liner notes.

In late September, Sarkodie shared the King Promise-assisted “Labadi”, a buoyant ode to the coastal town in Accra popular for its beach. The single pointed at the direction for ‘JAMZ’, which was made even bolder by the array of guests on the album. While Sarkodie has always been uber-collaborative across albums, this album, like 2019’s ‘Black Love’, features quite the number of singers with a reputation for killing melodic hooks, including Cina Soul, Lojay, Kranium, Black Sherif, Joeboy, and more.

Working with close collaborator MOG, as well renowned producers Coublon, Masterkraft, Guiltybeatz and TSB, the music on ‘JAMZ’ appropriately leans towards current West African Pop trends, from mid-tempo Highlife-pop to Amapiano-influenced cuts. With this direction, Sarkodie again proves his prowess as a rap artist capable of making pop music with wide appeal.

Listen to ‘JAMZ’ here.

ICYMI: REVISITING SARKODIE’S THIRD ALBUM, ‘SARKOLOGY’

Listen To Efe Oraka’s New Single “No More”

Posted on by Wonu Osikoya

Since her debut, Abuja based singer, songwriter and producer Efe Oraka has been making beautifully produced music as one of the most magnetic voices to arrive from the scene. With her hit record “Wonderland,” and her collection of reflective songs for young adults, the singer has successfully carved a lane for herself and garnered a loyal audience and music-makers alike, who are keen to explore whichever soundscapes Efe Oraka traverses next.

 

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In 2020, the singer arrived with the 7-track EP titled ‘Magic,’ to round up a very tumultuous year shaped by the COVID-19 pandemic. In a bid to bring aural healing to her fans and listeners, the EP cut across different soundscapes, tied all together by her artistic fortitude and that of her collaborators such as M.I Abaga, DOZ and Sir Bastien.  

This year, after taking a 2-year hiatus from releasing any music, Efe Oraka arrived with the record “Damn, Daniel,” a slow paced number which further showcased her soulful sounds and R&B influences. Now, the singer makes her return with her second official release this year titled, “No More.” The earworm track which sees the artist drawing boundaries in a relationship with an unrequited lover. Coming to the realisation that her lover is taking her for granted, Efe Oraka sings positive affirmations about finding the strength within and standing ones ground. With powerful lyrics such as “When you’re running helter-skelter, you’ll be knocking on my door, you’ll need shelter/But I’ll never let you in no more, no more,” Efe Oraka captures perfectly the rush of conflicting emotions.

With the new track “No More,” it is clear that Efe Oraka is always getting better. Armed with silk croons and alluring melodies, the artist is shaping herself into her own kind of star. With news of a new project on the horizon any time soon, Efe Oraka delivers “No Time,” to whet fans appetite as she ushers in her new era. We’re loving it!

Listen to “No More” below.

Featured Image Credits/EfeOraka

Asake tops debut edition of the TurnTable Top 50 Album chart

Posted on by Dennis Ade Peter

In the two-plus years since the beginning of its operations, TurnTable has purposefully expanded its purview in a bid to authoritatively reflect the reality of music consumption in Nigeria. The chart publication has done this by striking important partnerships with key stakeholders from labels to streamers and distributors, increasing the number of component charts, broadening the scope of its cumulative charts, and introducing new charts to better aggregate and present music data within the country.

In its latest move, TurnTable announced the launch of the TurnTable Top 50 Album chart earlier this week. It’s the last of the three standard music charts, alongside the singles chart (TurnTable Top 100) and the artist performance chart (Artist Top 100). In the last couple of years, Nigerian music has seen a renaissance in the prominence of albums, EPs and other forms of multi-song projects, with event releases happening at a remarkable pace. TurnTable’s new album chart will help to quantify project-listening culture in Nigeria, giving better insight into what Nigerians are listening to. Also, with the ongoing Number One Award initiative, there will also be bragging rights attached to projects reaching the top of the pack.

The TurnTable Top 50 Album chart employs a weighted system similar to the existing Top Streaming Songs chart, with a point-per-play system that assigns values to streams on different streaming platforms. Paid streams will be weighted as one point per play value, freemium streams will be weighted as 0.75 point per play, ad-supported video streams from YouTube will be weighted 0.66 point per play while ad-supported streams will be weighted 0.5 point per play. The chart will employ a single tier for on-demand audio streams, equating 1,500 streams as one album unit, and video streams will also contribute to the Top 50 Albums Chart.

For the debut week of the TurnTable Top 50 Album chart, tracking activity from October 28 to November 3, Asake’s mammoth debut album, ‘Mr Money With The Vibe’, leads the pack with 10,000 units, equalling 15 million on-demand streams. Bella Shmurda’s recent debut album, ‘Hypertension’, starts at No. 2 with 6,732 units, followed by Burna Boy’s ‘Love, Damini’, which logged 4,410 units. Rounding out the top five are two Chocolate City releases: Young Jonn’s ‘Love Is Not Enough’ at No. 4 with 3,681 units, and Blaqbonez’s ‘Young Preacher’ at No. 5 with 3,337 units.

From only two days of tracking activity, Seyi Vibez’s debut album, ‘Billion Dollar Baby’, debuts at No. 6 with 3,151 units, and the ongoing success of pre-released smash hit “+234” and album favourite “Chance (Na Ham)” gives it a real chance to snag the top spot in the next week’s chart edition. Mavin superstar Ayra Starr comes in at No. 7 with the recent deluxe edition of her debut album, ‘19 & Dangerous’, followed by Ghanaian rap artist Black Sherif’s ‘The Villain I Never Was’. Rounding out the top ten are Fireboy DML’s ‘Playboy’, which earns the No. 9 spot with 2,214 units, while Omah Lay’s ‘Boy Alone’ ranks No. 10 with 1,796 units.

You can go through the full TurnTable Top 50 Album chart here.

ESSENTIALS: ‘BILLION DOLLAR BABY’ PAIRS SEYI VIBEZ’S ASPIRATIONS WITH VIBRANT MUSIC

Essentials: Seyi Vibez’ Debut Album ‘Billion Dollar Baby’ Pairs His Aspirations with Vibrant Music

Posted on by Uzoma Ihejirika

Seyi Vibez comes from a long line of Nigerian street-pop artists using their music to document their realities, anguish and victories. He got his breakthrough in 2020 with the single “God Sent,” which earned him attention and a loyal following. Since then, Vibez has been consistent with putting out music and reaching new listeners in places as far-reaching as Nairobi, Cairo and the US. On Audiomack, his total plays stand at 239 million. Last year, the indie act released his debut EP ‘NSNV,’ featuring music stars Teni and Reekado Banks and sharpening his vibrant brand of Hip-Hop, Fuji, and Afropop fusion.

One year after ‘NSNV,’ Seyi Vibez’s debut album ‘Billion Dollar Baby’ is out in the world. He keeps things short and sweet with just 11 tracks while serving as co-executive producer on the project. In an interview with Audiomack World, Seyi Vibez revealed that he was dropped from a label when he was 17.  “I just took it as one of those challenges I’d have to face in my career as a young artist,” he said. “I told my parents about the situation, and they were really helpful because, outside them, there wasn’t a support system at the time. I went back to the studio and worked on improving myself because I knew there was work to be done.”

One of the characteristics of street-pop artists is that they never fail to let their religious sensibilities guide them. For many of them who grew up in underprivileged areas, music, aside from an expression of talent, is their ticket out of poverty. On “God Sent,” Seyi Vibez, sang, “No rich papa and no rich mama/Sometimes I wonder why I come this life/Maybe na me God send to make things right/For my family with my melody.” Like other street-pop artists, Seyi Vibez sends supplications to a higher power for protection and blessings throughout ‘Billion Dollar Baby.’

On “Saro,” which pays subtle obeisance to the character played by Kunle Remi in Kunle Afolayan’s film Aníkúlápó, prays that the whole world hears his story. Over the saxophone-and-violins-led track, sings that his career is the product of hard work and perseverance. “I no fit hear the haters talk/‘Cause I’m writin’ songs all night long/Say the young G gettin’ to lit/Never let the fame get into me/I refused to be a failure (Stubborn)/Shebi oluwa na my saviour?” he sings on “BD Baby.”

Nigerian music producer TBM is responsible for seven tracks on ‘Billion Dollar Baby,’ a project where the production level is at the same level as Seyi Vibez’s vocal excellence. One of TBM’s most intriguing productions on the album is “Chance (Na Ham)” as he mixes Amapiano rhythms with Vibez’s Fuji-inflected delivery. “Chance (chance)/Tell them, tell them make dem give me chance (chance)/‘Cause if na jazz (jazz), e go cast (cast),” Vibez sings, declaring his belief that his music is here to stay. Another feature that makes the track irresistible—as well as other tracks on the project—is the crowd vocals, which give the feeling of a community tapping into Vibez’s declaration.

On “Billion Dollar,” TBM keeps the Amapiano rhythm on the mellow side as Seyi Vibez sings about wanting a billion dollars from his sweat. “Where money dey I go dey there (eh I go dey there)/No ask me why I no sign to label/Omi o lota oo/Water e no get enemy/Any weapon against me no fit prosper (Amen),” Seyi Vibez sings on “Bullion Van,” as TBM taps into Amapiano and crowd vocals. The track is hypnotic with Vibez’s vocals floating seamlessly with the beat.

Elsewhere, Seyi Vibez unfurls his romantic leanings. On the Simi-assisted “Darling,” he and the Nigerian songstress merge for a ballad dedicated to their lovers. He reproduces that affection on “Ife,” which samples Sola Allyson’s “Eji Òwúrọ̀,” as reassures a lover that being away from her because of work hasn’t affected his feelings towards her.  On the QueBeat-produced mid-tempo “Gangsta,” he sings, “Never met a girl like you for my life/Say, I no fit lie, I dey kill for your body/Make dem dey try, dem no fit off our light.”

Seyi Vibez returns to his love for enjoyment on “+234,” singing about his ability to “chop life on the low,” and drive expensive cars. On “Ten,” he and Mayorkun jeer at detractors while expressing gratitude for the successes they enjoy. “Even when money no dey, make you give thanks to Almighty/In every situation (in every situation, yeah),” Mayorkun sings. On the album closer “Bank Of America,” produced by Rexxie, it’s a full-blown party as Seyi Vibez celebrates his victories on the Amapiano-influenced tune.

From previous releases, Seyi Vibez has demonstrated that he is an amazing singer capable of moulding relatable stories; on ‘Billion Dollar Baby,’ though, what he makes clear is his ability to produce a fat-free, cohesive album that is a delight from the start to finish. Full credit should also go to the producers—TMB, ENTA, Fresh VDM, QueBeat and Rexxie—who give Seyi Vibez an amazing collection of beats to display his talent.

“‘Billion Dollar Baby’” is my story and it is my reality; because we all truly deserve the good life,” Seyi Vibez wrote about the project and it is exactly that: a manifesto, buoyed by diligence, to seek and acquire many of life’s pleasures.

Stream ‘Billion Dollar Baby’ below.

Featured image credits/IsraelAjayi

Hot Takes: The Mysterious Case Of Chad Boswick, African Bad Gyal & More

Posted on by Tami Makinde

It feels like forever since I was last on the hot seat. In the time since my last hot take, the wheels of pop culture have been turning and I’ve sat in awe as Wonu dished on the reactions to the National Honours Awards, Uzoma on the Carter-Efe and Berri-Tiga saga, and Nwanneamaka on Fola Francis calling out Lagos Fashion Week.

It’s November in Lagos and the city is abuzz with events and social gatherings. This weekend saw the seventh edition of Art X take place at Federal Palace Hotel in Lagos, alongside the official African premiere for ‘Black Panther: Wakanda Forever.’ With the film’s official release only a few days away, I’ll be serving some hot takes on the fashion at the premiere, Tiwa Savage’s new single with Asake where she reclaims her agency and more.

What I’m listening to

The endless slew of new music being released is overwhelming for a neurodiverse person like myself working in journalism. So, to stay grounded throughout the week, I’m always shuffling through old albums that hear me at my most base emotions. This week, alongside listening to the beautifully produced ‘Black Panther: Wakanda Forever – Music From And Inspired By,’ I’ve also been revisiting a lot of old favourites from Takeoff’s ‘The Last Rocket’ (May He Rest In Peace) to Mario’s “Let Me Love You” and SZA and Chance the Rapper’s “Child’s Play.” Another project that’s on my current rotation is Tems’ ‘For Broken Ears’ and Somadina’s forthcoming project, ‘Heart Of The Heavenly Undeniable (H.O.T.H.U).’

What I’m watching

While I wait for new episodes of ‘Abott Elementary’ to come out weekly (If you don’t watch anything else, watch the Halloween episode), I’m watching ‘Archer’ on Netflix at the moment as well as the new season of ‘American Horror Story.’ While this new season reimagines the homophobia of America in the ’80s and ’90s through the lens of a serial killer and inept police, I’m particularly because the lead reporter works at a publication called the Native – not to be confused with the NATIVE.

The Mysterious Case of Chad Boswick

Over the weekend, the official African premiere for ‘Black Panther: Wakanda Forever,’ was held in Lagos, Nigeria following runs in London and Los Angeles. The night featured a press red carpet with the cast of the new Ryan Coogler-directed movie including Lupita Nyong’o, Letitia Wright, Winston Duke, Dania Gurira, and Tenoch Huerta. In an elaborate fashion, Marvel created an immersive red carpet experience that sectioned off several roads leading to the Filmhouse IMAX where attendees were invited to attend in their best afrofuturistic attire.

I’ve been looking forward to the fashion at the premiere since Marvel, AFRIFF and Film One Entertainment announced that Lagos would be home to the official African premiere. Just as the first ‘Black Panther’ film, the sartorial choices this year did not disappoint as Lagos’ brightest and most talented entertainers brought Wakanda alive on the night in question. While the watching the film before its official release was great, the fashion at the premiere was even more interesting. Getting a first hand look at all the elaborate, beautifully produced and even the kooky outfits was the highlight of my night and I’m not surprised to see that social media has responded in the same way.

Yesterday, shortly after clips of the premiere night hit social media, many young Africans marvelled at the donned by celebrities which were markedly more flamboyant than the OG cast which flew in for the premiere. Taking Afrofuturistic quite literally, many attendees wowed in their outfits but one outfit in particular has been getting all the rave–and all for the wrong reasons. Ex Big Brother Naija housemate, Hermes generated quite the buzz after videos and photos of his outfit were shared on social media. The outfit which was created by Tiannah Empire, the fashion outfit owned by Tiannah, was an elaborate recreation of the Doro Milaje’s outfit attached with a black cape that contained the wrong text – “Chad Boswick” – instead of Chadwick Boseman.

The issue isn’t that the outfits were elaborate, but that a moment that could have honoured the late actor was instead reduced to a laughing stock due to the failure to pay attention to the finer detail. While this could have been a moment for Tiannah Empire to commiserate the loss of a great actor through her work (however elaborate), the focus was instead on the name error which resurfaced conversations about lackadaisical content or work attitudes from Nigerians. Of course, anyone can make a mistake but what was striking that none one person in the room could speak up and say there was an error. For a film which deeply grapples with the loss of Chadwick Boseman, the least we could is get his name right. Say it again: CHADWICK BOSEMAN, May He Rest In Peace.

African Bad Gyal

Check the annals of Afropop history, Tiwa Savage is Africa’s Number 1 Bad Gyal. For as long as I can remember, Tiwa Savage has always operated with her back against the world–as one of the most visible women in Afropop, she’s given limited spaces to occupy in a male-dominated industry that seeks to put her into stringent categories. For most of her career, she’s mostly ignored the noise and focused on improving her craft while doubling down on her prerogative to do whatever she wants, but these attacks reached fever pitch when she became a mother, with a good number of society using this milestone as a reason to dim the singer’s agency.

You can’t tame a savage, they say and Tiwa has been no different. She’s constantly bit back against all the criticism and shown the entire world that Black African women are allowed to occupy different spaces, at once and all at the same time. Her last album ‘Celia’ found Savage performing at her best, with audacious anthems that weaponises misogyny, and showcases the singer, free in her sexual impulses, driven in her pursuit of the life, and resilient to the many misogynistic barriers standing in her way.

In the past, Savage has publicly denouncing feminism on numerous occasions. Well recently, Tiwa Savage has been outspoken when it comes to women’s issues in Nigeria, and it looks like she’s backing that up in her recent string of releases including “Koroba,” the Stefflon Don and Dice Ailes-assisted “Bombay,” “Tales By Moonlight” with Amaarae and the recently released Asake-featuring “Loaded.” Released today, the new track was Tiwa Savage’s audacious return to the scene since her last single, “Koo Koo Fun” with Major Lazer, Diplo, DJ Maphorisa and Major League Djz.

Catchy and ear-worm as it may be, Tiwa Savage also uses the track as an opportunity to set the record straight: “Sex tape, o le ba ye mi je/igbadun kekere yen/who never fuck, hands in the air,” a remarkably pointed lyric that calls out misogyny and male bravado in one breath while reclaiming her agency in another. For those not in the know, earlier this year, Savage was the victim of revenge porn when an alleged video recounting a private sexual encounter surfaced on the Internet. I love that she’s speaking so boldly about sex, which is at the end of the day, not a big deal and something all consenting adults experience throughout their lives. What is a big deal is the sharing and dissemination of revenge porn, it’s age-old to think a little nude is going to stop any woman in 2022. I also love that she utilised one of the biggest moments in Afropop history this year, by co-opting Black Sherif’s “Who never fuck up, hands in the air.” Try again patriarchy!

Featured image credits/

Songs Of The Day: New Music From Nissi, Mavin All Stars, Tiwa Savage & 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 Nissi, Mavins All Stars, Asake, Focalistic, and more. Lock in!

NISSI – “OVERTHINKING” 

In her latest offering, Nissi pairs sun-soaked melodies and Highlife in “Overthinking.” Known for her bold voice and constant desire to outdo her abilities, the artist’s new single serves as a reintroduction to who she is after self-reflection and learning overthinking is one of her character traits. Produced by Jay Weathers, an East London-born producer, Nissi shows off her sonic palette as she engages with feelings that resonate with everyone. Showing her mastery of composition throughout the song, Nissi reminds everyone that overthinking is just extra time you spend in your head.

MAVIN ALL STAR – “WON DA MO”

The Mavin team has had a prosperous year.  Today the label released “Won Da Mi,”  a musical capsule that featured all of the label’s artists. The eclectic beat has the stars reminding everyone they know they are set apart from every artist in the industry. The balance between the native language and Ladipoe’s English makes this song an undeniable masterpiece: with Ayra Starr’s vocals balancing the male domination. 

TIWA SAVAGE, ASAKE – “LOADED” 

Two generational talents on one beat is a guaranteed smash hit, and “Loaded” is all exactly that. Several months after the release of his debut album ‘Mr. Money With The Vibe’, Asake lends his hit making prowess to Tiwa Savage on the pair’s new collaboration, “Loaded.” Produced by Magicsticks and accompanying visuals directed by TG Omori, the new single shows the pair’s keen fashion sense while addressing the haters who think they can stand in their way. Asake reasserts his dominance on the scene this year, while Tiwa Savage reclaims her agency after she was a vicitim of revenge porn last year. She quotes with a play on an iconic line from Black Sherif’s “Kwaku the Traveller” saying, “Who never fuck hands in the air.”

FOCALISTIC & KABZA DE SMALL – “TABELA HAPE” FT. MELLOW & SLEAZY, M.J, AND MYSTRO

Throughout the year, Focalistic has dedicated his time to relentless releases of superb Amapiano singles and features. Announcing the release of his 3rd studio album ‘Ghetto Gospel’ with the release of the Amapiano laced  “Tabela Hape,” Focalistic has his fans on the edge as they anticipate its release on the 18th November. On the new track, Focalistic pairs his signature airy synths and well-arranged shakers, while enlisting the help of Amapiano legend Kabza De Small, Mellow & Sleazy, M.J, and Mystro for a distinct party anthem. 

MATATA & SAUTI SOL – “OVERSIZED T-SHIRT”

Two Kenyan pop groups join forces to create an ode to all ladies. The upbeat melodic production provides the perfect sonic backdrop for the artists to sing about their heart desries. They express their love for their muse, “girl  I think you look good in my oversized t-shirt//Now they wish they were you in my oversized t-shirt,” leaving a long-lasting impression of the hit single from Matata’s debut album  ‘Super Morio.’

TYLA – “TO LAST”

South African songbird, Tyla is making waves in the industry. After her hit single, “Getting Late” with producer, Kooldrink last year, and her single “Overdue” with DJ Lag which featured in the last season of ‘Blood & Water,’ the singer returns with “To Last.” Despite being her first release of 2022, Tyla blends her Amapiano groove with ready-to-dance production. Characterized by synths, airy pads, and: wide and percussive basslines her latest single finds her spurring love-lorn confessional lyrics as she reminisces her first heartbreak “..you never gave us a chance it’s like you never wanted it to last..” The warm percussions provide a lush canvas for her honeyed vocals.

Featured image credits/

NATIVE Exclusive: Duke Amayo Is Coming Home

Posted on by Emmanuel Esomnofu

Home can mean many things. For Abraham “Duke” Amayo, who has travelled for decades and learnt the details of several art forms, Lagos is home. The ex-Antibalas co-founder and frontman made a return to the city this past October, partly to pay homage to his musical hero Fela Kuti during the heralded Felabration, and also to kickstart a solo career. With an inscription of “Black President,” the legendary artist’s raised fists are emblazoned boldly on Amayo’s black polo, right at the middle. 

“I’ve been coming back over the years, periodically,” he tells The NATIVE some moments into the conversation, although “without any real mission”. Amayo’s early impact in Lagos came when he brought a Green Team from New York, raising funds by winning a competition which saw them design a rainwater collection system at his mother’s house. That was part of his reconnection to roots, having left the city when he was seventeen. This year, being at the Felabration was particularly spiritual because Amayo had just exited Antibalas, the iconic Grammy Award-nominated band shortly after the death of Fela in 1997. 

 

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The band already existed some months before Amayo joined in early 1999, and afterwards, the process of coming together was very organic. “I feel like Fela’s music just rose and expanded,” says Amayo. The 2000’s saw the band explore the dense, incandescent sound of Afrobeat, releasing four albums in seven years.  Each album consistently propelled the band’s vision, incorporating their own designs to the ethos of Fela’s music. When their third album ‘Who Is This America?’ appeared in 2004, the music of Antibalas had taken compact form. Their several instruments, the messaging, and the tone of the messaging was beautifully allied, and Amayo stood as an exemplary figurehead of this synergy. Complementing his sonic contributions was his singing or, as described in a Pitchfork review, “compelling lyrical fomentations”. 

At the time, Antibalas shared members back and forth with The Dap-Kings, the Funk/Soul band who had created a timeless legacy alongside Sharon Jones. That musical alliance inspired Amayo, who founded the offshoot Fu-Arkist-Ra, a year after joining Antibalas. “I wanted to compose music that was very forward,” he says. “Music that brought together the ideology in kung fu and the sound of Afrobeat. That was where I was experimenting, I was trying different rhythms – it’s very subtle in terms of when someone says ‘hey, what’s the kung fu in this music?’ When you hear it, if you’re spiritual and have some sort of connection to the universe, you feel it”. 

Amayo nurtured this fusion over the years, and before 2020 had the intent to move on from Antibalas. The band was well into its third generation of musicians, and the Nigerian was among its longstanding purveyors. His vision was urgent—he needed to hear those movements of the ancient body come into life.  Within every step, chaotic or composed, life was unravelling and the grace of music mirrored the tussle of reality. During the pandemic Amayo welcomed a baby boy, he tells me with the widest grin, naming him Olokun, after the Yoruba goddess of the sea. “Naming him Olokun was part of my process of working my way back in a more deeply spiritual way. My daughter was also named after Oshun, because it is always my intention to pay homage to our culture”. 

His son’s birth preceded his visit to Edo State, where his mother is from, and where an old friend presides over a traditional healing house. Reconnecting with that spiritual source burnished his soul. ‘Fu Chronicles’ was created shortly after, born from Amayo’s established tradition of creating music inspired by Afro spirituals and kung fu philosophy. He was moving on and so was the perfect time to release that body of work. 

“They are all my compositions, my illustrations, concepts—that was kind of, like, goodbye and hello,” says Amayo. “It was goodbye to my crew at Antibalas and hello to my Naija folks. Just like a new journey, you know, I really want to dig into our culture. ‘Cos our culture is on a platform; everyone is listening to our culture, Afrobeats obviously is on the forefront. You know how the times are, all these things start, but can we sustain it? Part of my work is to make sure we can sustain our culture at a very high level”. 

As a boy, Amayo loved illustrating. He could draw life-like images and before ten was being commissioned to create portraits. This was in Ghana. His mother had moved him and his siblings there during the heat of the Nigeria-Biafra Civil War, and Amayo settled in a neighbourhood called Railway Quarters. Mandatory communal activities introduced him to drumming and fighting in the martial arts tradition, which made his years in the country very influential on his current explorations. 

The prodigious artist belonged to a large family in Surulere, Lagos. His father was the first postmaster in the country, and had eight wives to show for his prosperity. Amayo’s mother was the beloved one, and together they eloped to London where they bore him. At an early age Amayo knew the potential of community, forming a Jackson 5-esque band with his half siblings. “I was either five or six at that time. At that age, everybody was trying to be Michael Jackson — I was one of them,” he reveals. “I had already developed my dancing skills and, you know, Michael Jackson was mimicking James Brown”. 

When James Brown visited Nigeria in 1970, Amayo snuck out of the house to the host stadium in Marina, Lagos. Trees clustered around a section of the stadium’s fence, and climbing one of them Amayo caught sight of The Godfather of Funk. “My whole mind was expanded,” he says with a sudden flush of enthusiasm. A revered football player, his uncle Anthony took him to the Afrikan Shrine where he saw Fela perform. Then he would entertain with his dancing skills, which accelerated his acceptance within the community. The Shrine was close to his mother’s house, and whenever he returned from boarding school holidays he’d branch into it, spending a few days before returning home. 

“I’ve always had this personality of going, moving on, ascending,” he tells me, working his hands to demonstrate movement. He attributes this to his practice of martial arts’ which continued when Amayo moved to the US as he became a senior master at the Jow Ga kung fu School. He makes a point about Yin and Yang, the purpose of equilibrium which flows through his work. “This is where me I dey draw my inspiration from and then I would layer in all these rhythms,” he affirms. “And when I think of rhythms, I’m thinking of Lagos, the breath of Lagos—that na Afrobeat, you know? If you can be an invisible presence and move through space. If you move through Lagos, all those rhythms of resistance; people are always resisting, connecting, breaking up, shouting, for me it creates a certain type of vibration”. 

Not many people are able to escape their true purpose in life. Amayo’s multi-hyphenate creativity kept shifting through forms—illustrating, designing, fashion—but music remained a constant feature of his lifestyle. Across three decades as part of Antibalas, he took those many components into their well-received projects and live performances, which Amayo always starts with a kung fu dance, echoing the spirit of the music that’s about to be played.

When the Recording Academy recognised ‘Fu Chronicles’ in its World Music Album (won by Burna Boy’s ‘Twice As Tall’), that was also part of something larger for Amayo. His wife,  a manifestation coach, was involved in the album’s creation and being on the esteemed platform was actually planned towards. Per musical vision, the farewell project was a connecting bridge to Amayo’s forthcoming music. “You will feel the journey of my compositions,” he says. Titled ‘The Lion Awakes,’ the debut solo project from Amayo is expected later this year. It is a trilogy, and continues his lifelong immersion into kung fu—this time though, the musical connection emerges through the Lion Dance, which is a customary event among followers of Chinese spirituality. 

Amayo’s project was accompanied with mythological world building, shifting the boundaries of its typical geography to include Nigeria. “The lion landed in Freedom Park,” he says, explaining the journey. “When he landed, he separated. His head was in Freedom Park and his body was at the Shrine. In my story, in terms of how I express the actual story, the Lion resides in heaven, was mischievous, and Jade Emperor who rules the heavens chopped his head off. Because the Lion is immortal but it can learn lessons. So, I placed that inside Africa. When he tossed it down to earth, where did he land? Right here in Africa. That’s where my story starts—as the Lion lands in Africa, he starts to get Africanised. He starts to learn about the beginning of things, and meets a Babalawo who teaches the Lion about African culture. So that’s where I’m building all my stories from musically. The music is telling it, I’m acting it out, the martial arts is happening in there, so eventually you see all that actualised as a theatrical movement”. 

 

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Amayo already has ideas written for the next two records, which is something he likes doing — linking a narrative chain around his projects. “I’m really open at this time,” he says about working with Nigerian musicians and producers. “I would like to represent most of my Nigerian musical connections”. Listeners of Antibalas know, however, that Amayo has always reflected those qualities. Often singing in Yoruba and Edo lingua, he brought the orisha world of Fela into their music. He joined the band to fulfil these spiritual functions, to infuse culture and language while his bandmates echoed the flamboyance of the legendary musician. 

“I intentionally became part of that because I didn’t want anyone to bastardise our culture,” says Amayo. “I don’t want anybody to put accent inside where accent no suppose to dey. That was important for me. So my role in the band was to authenticate. I was an authenticator, a catalyst, a person that pushed to go deeper into Fela’s language. In that sense, we influenced so many other bands, because of our mission, everyone was forced to go and listen to Fela. Our intention was to play it as best as Fela can play it”. 

These days, Amayo has his mind set on ownership. From working in the corporate world to leading an iconic band, he’s come a long way and knows the power of Black people resides in creating their own platforms and sustaining them. “I’m building a place in Atlanta that will bring all of this together,” he says, “where we can really present our culture at a very high level, so we have a place. Dem no dey give us our dues, so therefore, we have to create that. So na ownership level we wan’ enter now.” 

Netflix & Inkblot Productions Announce New Coming-Of-Age Series, ‘Far From Home’

Posted on by Uzoma Ihejirika

Netflix, the renowned streaming entertainment service, has announced the launch date of its first Nigerian Young Adult show ‘Far From Home.’ Produced in partnership with the renowned Inkblot Productions, the five-part series, which concluded principal photography earlier this year, is set for a global premiere exclusively on Netflix on December 16, 2022.

 

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Far From Home follows the story of Ishaya (Mike Afolarin), a charismatic teenager and talented artist from a poor family whose dreams suddenly appear within reach when a prestigious scholarship to the most exclusive school in the country catapults him into the affluent world of Nigeria’s elite. All the while, a huge secret threatens Ishaya’s newfound status and, ultimately, his family’s safety. The trio of Catherine Stewart, Kayode Kasum and Kenneth Gyang directed the series.

Far From Home features up-and-coming talents such as Mike Afolarin, Elma Mbadiwe, Genoveva Umeh, Gbubemi Ejeye, Olumide Oworu and Natse Jemide. It also has the presence of well-known talents the likes of Funke Akindele, Richard Mofe-Damijo, Adesua Etomi-Wellington, Bolanle Ninalowo, Bucci Franklin, Bimbo Akintola, Linda Ejiofor, Chioma Akpotha, Femi Branch, Carol King and Ufuoma Mcdermott.

Inkblot Productions is behind several Nollywood flicks such as The Wedding Party (1 & 2), The Set Up (1 & 2), Up North, Quam’s Money and The Perfect Arrangement. “We’re excited to be partnering with Netflix to create this special show on a global scale for and about young Nigerians,” co-creator of Far From Home and founder of Inkblot Productions Chinaza Onuzo says. “Working with such an amazing cast and crew to tell this unique story about making your way in the world and chasing your dreams no matter your status in life is such a privilege and honour.”

The acclaimed Nigerian scriptwriter Dami Elebe (The Men’s Club, Skinny Girl In Transit, & Rumour Has It) served as the series head writer, with Chinaza Onuzo, Erika Klopper, Zulumoke Oyibo and Damola Ademola as executive producers.

Watch the announcement video for ‘Far From Home’ and get an exclusive first look at the cast below.

Featured image credits/Netflix

Turntable Top 100: Wizkid’s “Money & Love” Debuts On The Top Five

Posted on by Nwanneamaka Igwe

Kizz Daniel continues to break records with his recently released track with Empire Records, “Cough (Odo).” Tallying 5.29 million streams and 79.4 million in radio reach, “Cough (Odo)” spends its third consecutive week on the number one spot, and joins the ranks of Omah Lay as one of the artists with the most cumulative weeks on the No.1 spot in Nigeria. Both spent a total of 18 weeks and for Kizz Daniel, it is spread across 4 tracks: “Lie” (7 weeks), “Pour Me Water” (1 week), “Buga” (7 weeks) and “Cough(Odo)” (3 weeks).

Similar to last week, Young Jonn’s “Xtra Cool” is at No.2 and Ayra Starr’s “Rush,” a former chart topper stays at No.3 on the charts. The second promotional single from Wizkid’s 5th Studio album ‘More Love, Less Ego’, “Money and Love” debuts at No.4, days to the album’s official release. This follows the first entry, “Bad to Me” which peaked at No.3 earlier on the charts. “Money and Love” becomes Wizkid’s ninth top ten entry on the chart. Rounding up the top 5 is Asake’s “Joha” off his debut album, ‘Mr Money With The Vibe.’

Elsewhere on the charts, Bella Shmurda and Omah Lay’s “Philo” slips from the 5th spot, landing at No.6 this week. Also, “Electricity” by Pheelz and Davido slides down one spot to the the No.7 while Johnny Drille’s “How Are You (My Friend)” makes its top ten debut at No.8 after spending last week at No.14. This counts as Johnny Drille’s first top ten entry on the Turntable Top 100. Rounding up this week’s top ten is “Soweto” by Tempoe and Victony, returning to its No.9 peak spot and Blaqbonez & JAE5’s “Back In Uni” which slides down 3 spots, occupying the No. 10 position this week.

This week, Mavins Records new single “My Friend” also tallied 60.4 million in radio reach and 1.42 million across streaming platforms. All seven artists on the track have recorded at least one entry on the Turntable Top 100 chart, making that a first for any Nigerian Record Label. Just outside the Top 10, Rihanna’s “Lift Me Up” peaks at the No.16 while Poco Lee and Hotkid’s “Otilo (Izz Gone)” launches at No.20.

Read a full breakdown of the charts here.

Featured image credits/Wizmag

Best New Music: Dami Oniru’s “Emotions” Makes A Compelling Case For Self-Love

Posted on by Uzoma Ihejirika

In 2019, Nigerian singer/producer Dami Oniru put out her debut EP ‘Bri’s Lounge.’ The project, which has accumulated more than 2.9 million streams and was produced by her close friend and collaborator Remy Baggins, placed Oniru in the spotlight as a talented artist carving her niche in the R&B/Soul spaces. In June, she performed “Runnin’,” one of the tracks off ‘Bri’s Lounge’ on Global Spin, the Grammy’s performance series. In an interview with Unorthodox Review, she revealed her thought process behind the EP. “With Bri’s Lounge, I wanted to do something different from what people will say my norm was, although I’ve kinda always experimented with sounds but I really wanted to take that further and do like a pure R&B project cause that’s what I grew up listening to and I love R&B.”

Since ‘Bri’s Lounge,’ Oniru’s musical offerings have been sparse but in 2020, she released the single “Nowhere To Run,” which she co-produced with Remy Baggins. Speaking with the NATIVE, she revealed that “the song is about forgetting who you are at some point, and eventually working through things and rediscovering your power and your strength in your weakness and just remembering that whatever the situation you are going to get through it.” This year, she featured on Nigerian singer WurlD’s “THESE DAYS LOVE DON’T CHANGE,” off the latter’s album ‘My WorlD With U.’

A few days ago, Dami Oniru made a comeback with her sophomore EP ‘Matter of Time.’ The six-track project continues the remarkable connection she and Remy Baggins share. She promoted the EP with the lead single “Soft Life,” where she displayed her versatility on Baggins’ upbeat production, singing about the power of money to erase every tension in her life. Amid the tracks that touch on different aspects of love and self, which Oniru tackles with impressive vulnerability, one record stands out: “Emotions.”

On “Emotions,” Dami Oniru is a lover in an ailing relationship. According to her, the relationship started on rocky grounds because it didn’t get the blessings of her closest pals. That, in turn, made her determined to make the relationship work. “I call your name, you no reply me)/They told me that you’d leave me hanging /My girls told me to set some boundaries /I’m begging you, no fall my hand please,” she sings. But it is difficult to escape the dread when the person you are in love with doesn’t put in the required effort.

Elsewhere, she reveals that her lover’s lack of effort comes from personal demons he is dealing with when she sings, “I feel like a genie trapped in a bottle/I grant your wishes, take away the sorrow/Just promise you’d stay until tomorrow.” Regardless of her willingness to help her lover, she is hurt by his actions (and inactions), singing, “You decided/That’s fine, yeah/Total silence/I don’t like it.”

On the production side, Remy Baggins’s artful manipulation renders a soulful soundscape for Oniru’s tale of heartbreak. The beat mixes well with Oniru’s sultry vocals, making clear the raw pain in her tone. Speaking with Culture Custodian, Oniru spoke about the working relationship she shares with Baggins. “…I consider Remy to be a musical genius and I’ve told him this. Sometimes I want to cut his head open and look inside like how does he come up with all these sounds?” she said. “I think chemistry is important in the studio and that’s what some artists miss out, they just get into the studio with anybody without building at least some sort of relationship. It doesn’t have to be a deep friendship but you have to vibe.”

Finally, Oniru accepts her sad situation on “Emotions.” “Heart on my sleeve/No need to pretend,” she sings. She realizes that it is unfair to put herself through misery and that it is not her responsibility to heal her lover. She casts away the disappointment that her friends might be feeling toward her (since they warned her earlier), deciding that she saves herself rather than continue on the wrong path. “Boy, you know I’m not your saviour,” she sings.

Dami Oniru’s “Emotions” is further proof of her gift to convey strong feelings in her songs yet to make the tune a sonic treat. She makes a case for self-love, most especially when the people we love bring us the greatest pain.

Listen to “Emotions” below.

Stream ‘Matter of Time’ here.

Featured image credits/DeedsArt

ICYMI: Exploring the prospects of Wizkid’s forthcoming album, ‘More Love, Less Ego’