The Qatar 2022 World Cup is riddled with controversy

Posted on by Dennis Ade Peter

Football is a global sport, and no other event represents that as best as the FIFA Men’s World Cup. Held every four years, the competition features the teams of 32 countries from across every continent, with billions of people watching matches in real time and generally following the outcome and advancement of the games. This year’s edition of the World Cup is being held in Qatar and it marks the first time that the event is being hosted in Arab territory, but what should be a landmark achievement has been wrapped in controversy since the host nation was announced over a decade ago.

In 2010, the World Cup was hosted for the first time ever in Africa, with South Africa serving as the host nation. In a vividly festive edition of the tournament, South Africa lived up to its billing as the rainbow nation, putting on a hosting showcase of pomp and vuvuzelas. Perhaps the only controversy attached to the games were the official balls—the Jabulani—which were mainly subject to criticism for their flight pattern. Besides that, that World Cup has been generally reviewed positively for bringing a distinctly African flavour to the global game.

Perhaps in the afterglow of the World Cup being held in previously uncharted territory, Football’s global governing body FIFA elected to award the hosting rights for the 2022 edition to Qatar. At the time of its announcement in early December 2010, the news was received a big shock. After its massive hosting success in 1994, and with a bid many considered to be the strongest, the U.S. was expected by many to be elected as host in a bidding pool that also included Japan, Australia and Korea.

Almost immediately, Qatar’s win to host the World Cup was met with a litany of criticisms, with the easiest critique being the country’s lack of a strong cultural connection to Football—Qatar is just playing in its first world cup and has never been a emergent or dominant force in Asian confederation footballing competitions. There were concerns about the country’s readiness to host a world cup, with its torrid weather conditions and a serious dearth of world class stadiums, even though the local organising committee and the Qatari government pledged to build an ample amount of stadiums fitting for the World Cup.

Away from just the pitch, there were issues with alleged discrimination against women and gender-based violence, as well as state-backed homophobia. That’s not even mentioning the complaints of an allegedly racist society. So, how would a country with human rights issues play host to players and fans from many countries of different races and sexual orientations? For those on the other side of the critics, there are cynics who deem these issues as first world concerns that seem extricable from the round leather game, which should be the main focus.

If you’ve been following the development of Qatar’s preparation to host this year’s world cup, it’s extremely easy to not only understand but also agree with the criticisms that were initially levelled against the country’s bid to host the world. One of the allegations that quickly surfaced after the 2010 announcement was that of corruption, that the Qatari bidding committee had done more than lobby, and flat out offered bribes to voting members of FIFA’s executive council, which is responsible for electing World Cup hosts. If you watch the recent Netflix documentary series, ‘FIFA Uncovered’, those allegations don’t just hold water, they seem very true.

Over the last decade, FIFA has been dealing with increased scrutiny into the dealings of the body, with allegations of corruption hovering around for decades. Part of ‘FIFA Uncovered’ includes substantial attention to the racketeering, wired fraud and money laundering charges brought against top level FIFA officials by the U.S. government, after extensive investigation by the FBI. The documentary highlights trails and collects anecdotes as evidence of deep rooted corruption in FIFA, which seemingly played a huge role in Qatar winning the hosting rights of the world cup.

In one of the anecdotes, former Qatari bidding committee member and FIFA whistleblower Phaedra Almajid recounts being in a meeting that involved paying off $1.5 million bribes to the three African members of the FIFA executive committee. The doc also draws alleged connections from multi-billion dollar deals between a few countries and Qatar as bribes for World Cup hosting votes, including a fighter jets deal with France that includes auspicious appearances from French football Legend and former UEFA president Michel Platini. Even as recently as a few days to Last Sunday’s opening match against Ecuador, there were allegations that Qatari officials had bribed their opponents to lose, a claim you’d probably take with a few pinches of salt if you saw the Netflix docuseries.

In that opening match, Ecuador won by two unanswered goals, handing Qatar a loss in their first ever world cup game and making them the first host in World Cup history to lose their opening match. During that match, Ecuadorian fans were heard chanting “we want beer,” in response to the Qatari government outrightly banning the sale of alcoholic beverages in and around stadiums during the world cup, an announcement that was made two days before the start of the world cup. Previously, it was expected that there would be alcohol zones in all the stadiums, but the host nation folded and fell back to its deeply conservative, Islam-based ideals despite playing host to a secular competition.

“Well, this is awkward…”, a since-deleted tweet from the Budweiser Twitter account read when the no alcohol news was announced. It’s reported that Budweiser had paid $75 million to be the official beer of the world cup and to serve as the sponsor of the ‘Man of the Match’ award given out every match. With this strict alcohol policy – alcohol will only be sold in one location in Doha, Qatar and only corporate spectators who’ve paid about $19,000 for seats will be able to access alcohol in the stadiums—it shows the lack of malleability and tolerance that should be expected of countries hosting a global sports event.

Apart from the fact that beer and other alcoholic beverages are a big part of camaraderie in football, it highlights the seeming organisational power imbalance between Qatar and FIFA that, even though the latter received sponsorship money from a beer brand, the host is barely willing to compromise. It’s a cliche saying that the World Cup is meant to be a unifying event in an increasingly divisive world, but there’s really nothing unifying about a host country lording their ideals over travelling participants due to religious beliefs that many of these visitors don’t hold sacred.

It’s important to note that the religious beliefs of a community deserve to be respected, but in situations like these, it’s also important to create a conducive atmosphere for those that aren’t beholden to those inherent values. Boundaries should be set, like the expectations of alcohol zones in this case, which would foster a sense of accommodation to everyone, but that doesn’t seem like a priority to Qatar. I don’t think anyone would’ve said they didn’t see all of this coming, with the corruption allegations, the claims that migrant workers who helped build the stadiums worked under subpar condition and led to thousands of them dying, and even the schedule was changed from its usual summertime run over the course of a month-plus to a winter run in the span of just under a month, affecting footballers who already have a gruelling in-season schedule with their football clubs.

In all of this, the main accomplice is FIFA, as it continues to cater to these intolerant ideals and defend the decision of this World Cup’s host country. Current FIFA president Gianni Infantino has not only consistently reiterated his support for Qatar since being elected in 2018, he’s demanded that all criticisms be addressed towards him because this is a FIFA competition, even defending the strict alcohol rules.

The most controversial issue at this world cup so far is Qatar’s homophobic, anti-LGBTQ+ stance. It’s been a point of criticism since the country was elected host in 2010, but many hoped that the Islamic nation would be tolerant, at least, of queer people by 2022. Well, that hasn’t happened. Queer people in Qatar are not only marginalised, they are actively hunted and persecuted, with the backing of this state-sanctioned queerphobia being based on religious ideals. With far more liberal countries participating in the world cup, this discrimination has been amplified, especially since the world cup—and football in general—has often taken a unifying stance against any form of persecution, even if its picture-esque activism.

Vehemently rebuking the World Cup it’s hosting as a platform for outward LGBTQ+ support, Qatar has clamped down on any symbols that opposes its stance, and it’s doing so with the help of FIFA. Before the world cup kicked off, several countries were ready to pay sanction fees that came with their captains wearing armbands with rainbow-imprinted designs, which have the inscription “One Love” written on them. At global level footballing competitions, captains are only allowed to wear armbands with specific messages selected by FIFA, and a deviation attracts a sanction. At this world cup, though, countries won’t only be sanctioned for wearing armbands supporting the queer community, the captains would also be issued yellow cards at the start of the game, putting the ability of these players to play the entire 90 minutes of the match in grave danger.

The threat of the yellow card sanctions ultimately made these countries cool off on their planned decision, and even with FIFA allowing the armband with the “No Discrimination” tag to be worn throughout the competition as a compromise, it feels like a missed moment. It’s proved even more divisive because there’s a sect of football fans who aren’t supportive of mixing football with sociopolitical messaging and issues, with many of them being tacit and active supporters of Qatar’s queerphobic stance.

Over the last few days, I’ve seen tweets stating that the western countries participating in this World Cup, as well as critics in general, are trying to force their ideals down the throats of a sovereign nation. An operative word in all of this “culture”, with many claiming that Qatar’s stance is an act of cultural protection. Before I term it nonsensical, it bears noting that homophobia and queerphobia are human rights issues that supersede “culture”. Perhaps it would be much easier to grasp the bias behind this defence if queer people are nonexistent in Qatar, but they do exist and they’re being persecuted for who they are and who they love.

It’s beyond sad that, in 2022, queerphobia is still a thing. You could say it’s a reflection of respective societies and their “values”, but the fact that a global event is being held in a country that alienates a significant population of the world is downright abhorrent. Again, it’s a reflection of the entire mess that is this world cup, an abhorrent culmination of “values” that’s being propped up by one of the most unholy alliances in football history.

NIGERIA’S PARTICIPATION IN THE OLYMPICS WAS A SOBERING REMINDER OF ITS NEGLIGENT SPORTS ADMINISTRATION

A 1-Listen Review of Somadina’s Debut EP, ‘Heart Of The Heavenly Undeniable’

Posted on by Emmanuel Esomnofu

Somadina has always been a special artist. Before the Nigerian-born Netherlands-bred musician was ten, she’d already composed songs, inspired by her experience with playing classical music. Her childhood and teenage years were spent in several countries of the world, imbibing a global mindset in the youngster who had gotten hip to R&B through the parental influence of her father. 

During the nascent stages of Alte influence across parts of West Africa, Somadina emerged with the perfect blend of eclectic musicianship, sociopolitical awareness, and the idea of what she wanted her aesthetic to look like—that is, influenced by Old Nollywood fashion and punk flagrance. Those sprawling representations are polished by the music’s enthralling, energetic quality, which has grown even more pointedly away from the dreamy-eyed songwriting Somadina was known for in her early career. 

 

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Having built her fanbase, collaborated with influential figures in the alternative scene (Odunsi, Lady Donli, Ogranya, etc.), and stoked the flames for a project which depicts her artistic growth, Somadina has now released her debut EP ‘Heart Of The Heavenly Undeniable (HOTHU)’. Across eleven tracks the project features Odunsi, The Cavemen, Zamir, Chi Virgo and LOla, all of which are familiar names that (expectedly) would enrich the sonic tapestry. 

In Usual 1-Listen Review Fashion, All Reactions Are In Real-Time While The Music Plays. No Pauses, Rewinds, Fast-Forwards, Or Skip.

“TIME 2 TIME”

Synth pads starting out this one, the slow rubble of country-like drums underneath. Somadina’s singing now—there’s a really epic sheen to her vocals, as though positioned in an elevated space. The drums are completely present now; bold drums which carry her strong voice with swinging intent. It’s a very atmospheric opener, with little to no responsibility placed on the writing, rather it’s the glorious mash of cinematic synths and reggaeton-inspired drum playing that lulls you in. Given the sonic choice, there’s every chance that ‘HOTHU’ will play out through the synergy of its sound rather than its thematic spectrum. But that’s all speculation—let’s get into track two. 

“Y I WANT U”

The pace has decidedly increased with this one. Early into her verse, Somadina references “the psychedelic feeling” and it’s audible so far: these records are cut from the glossy feel of rock-inspired sonics, not quite unlike what Santi curated on ‘Subaru Boys’. Somadina’s take however cues in more soulful and R&B influences, resulting in sections like these where she sounds really intimate, lulling her desires into being. What’s THIS electric rap cadence? She is constructing images with these songs—I see the vision. Like, imagine a dancefloor swirling with strobe lights and black bodies, hair swinging and sweat dripping—imagine the music that’s most likely to be played in such a setting, and you get “Y I Want U”. It’s two for two so far; a really strong start to the album. 

“EVERYBODY BLEEDS”

Rock-inspired guitars to start out this one. Actually more soft punk than rock, a sound listeners of twentyone pilots would relate to. If you peep it, there’s also a reggae-esque bounce to these progressions. Okay, Somadina’s singing now—it’s more audible than she’s let on so far. The ache of heartbreak is the subject matter here. The lyrics are very cutting, poetic, and raw. “Speeding off a speakerphone” is a very unique metaphor, and she’s building off its brilliance in this hook and chorus. “Tell me I’m okay now,” she yells with painful intensity. I’m in my feelings over here, man. WHAT A RECORD. Even with the obvious angst she still maintains the triumph of self-confidence (“I won’t second guess my pride”). Me too, Somadina, me too. 

“IMAGINE GIVING A FVCK (FT. CHI VIRGO)” 

Self-confidence from the previous track becomes full-out rebuttal here. The mood is really explosive, quite in-sync with the refusal that lies at its heart. Reinvigorating her rapping, the song’s intensity is balanced with lyrical clarity in these middle parts. It’s funny, I get the sense she’s spitting affirmative lines but I might need a revisit to really grasp their weight. Background yells and raspy, energetic singing sets this one apart; a beat switch here—more guitars, more yelling of the “I don’t really give a fuck” refrain. The track’s over—it’s a short song after all, but how thickly its layers run. 

“WDYWFM (FT. LOLA)”

Ladies and gentlemen, it’s an honour to announce I decoded the abbreviated title (what do you want from me?) before this song went underway. Three added points on my Gen-Z membership card LOL. The sound of a car crash had started off this one, and the song continues in that mood of abandonment. Really loud guitars and drums here—it’s a pleasant surprise to hear Somadina going all out rock on this project. The confidence is palpable. This song reminds me of Shamir, a psychedelia-influenced artist whose “Diet” is one of my favourite records ever. A brooding closer to the record, the guitars are swept away, the dreamy twinkle of piano chords enter, Somadina’s vocals serenade. It’s a rather fine depiction of mood extremes. 

“I SAW AN ANGEL ON THE ROOF & WEPT” 

As you can probably tell, I’ve really enjoyed the titles on this project. Their hipster, poetic attitude is mirrored in the music, and that has been a thrill so far. When I saw the tracklist for this album, I was most piqued by this one. The narrative harmony is only bettered by its shock value, which comes as a result of the location of the roof and the outcome of weeping. Why tears? Sombre piano notes to begin the record reveals an emotion of longing. “Red tide, burning in your eyes/ He got new curls, falling out da skies,” is such a descriptive couplet, but the record doesn’t continue with such language. Rather, a melange of ahs and tell me says runs the time out. Would have loved to hear Somadina keep up the angel metaphor throughout though; would have made a more complete record. 

“CRZY GIRL”

From the first beat drop, there’s something in here that leans towards more conventional pop music. Like it could be a Beyonce record in an alternative universe. I really like this refrain of “so crazy, so crazy”, but the drums sound a little tired. In any ways, I’ve heard better variations of this record on the album; not really crazy about this one. I appreciate the mood though—it’s self-affirmative, the kind that could soundtrack a social media trend if Somadina is into those things.

“DREAMS”

A song titled “Dreams” has a good chance of being great. Since the beginning of time, haven’t we tried to understand its mystery and endlessness? The tempo here is unique; arranged in a less obvious way, the drum patterns create a relaxed atmosphere which is charged by the synths underneath. Somadina’s voice works as an instrument here, cutting in-between the sharp metres of sound to create a surrealist image in the listener’s mind. I will surely be revisiting this one. What’s that closing voice over about lyrics coming from heaven? It’s quite the plot twist.

“DIRTY LINE (FT. ZAMIR)” 

Vocoder-inflected refrains of “Dance” makes the intent of this record known early into its runtime. The mood is more electronic than rock, bursting with a myriad of synths which succeed in stuffing the record. Perhaps in the appropriate setting I might appreciate this one better, but right now, it’s not quite hitting. A regrettable skip, cos I really had high expectations for this collaboration. 

“SMALL PARADISE (FT. THE CAVEMEN)” 

Considering the path Somadino has so far charted on this project, it’s exciting to hear how this would pan out. An evocative guitar twang, tension building through the repeated notes and the Igbo-inflected vocals of Benjamin (one half of The Cavemen) being utilised as a sort of instrument, almost as though sampled. The chords are yet being repeated, setting the anticipation for a beat drop very high. Delicate, dreamy, dance-worthy, the absence of sung vocals have so far been felt minimally. It’s an unconventional choice but it’s working. Everything drops: the last half-minute of “Small Paradise” is backended by lush, languid guitar-playing and Benjamin’s signature adlibs. On first listen, it’s not what I expected but I’ll surely be revisiting. 

“CITRUS TEARS”

We’ve come to the end of the album. Chill guitars form the soundscape of this one, and Somadina’s gently singing. Her tone and lyrics sound as though she’s come from a really far journey, and now has the chance of letting all the weight fall. She’s addressing an ex-lover or detractor; her lyrics open themselves to interpretation, but you can tell she’s feeling it deeply. That intimate perspective enlivens the writing, with lines like “lost in the streets, but I won’t be defeated” underscoring her resolve to forge on. Very affirmative, and she’s bringing out her soul more tenderly than she’s done all album long. The past few records have slowed down, now that I think of it. “Imma be the bullet shooting you down” is such a poignant image, and while I’ll surely revisit this record to understand her perspective better, that line more than sums the overall mood of the record. A voice-over from someone who loves her music closes out the album, a fine touch to its epistolary gaze. 

FINAL THOUGHTS 

Many adjectives spring to mind after hearing ‘Heart Of The Heavenly Undeniable’ but the most consistent is “assured.” Somadina’s debut is audibly influenced by the sprawling inconsistencies that make up life, and it’s testament to her artistry how she captures the angst so well. Lined with an assortment of colourful, grungy guitars, she comes full circle from the artistic evolution she embarked on after releasing the more grief-centred ‘Five Stages’, which was later deleted from streaming platforms because the artist didn’t think it properly represented her then-changing sound and ethos. 

Somadina now fancies the visceral interpretation of similar moments, purposefully translating pain into bold records which allows one the space to shout. As a Nigerian woman, it’s common for respectability politics to be constantly required, to be quiet and humble in order to gain the world’s approval. Somadina doesn’t care for such trivialities—she rather delves into the edgy depths of her mind to create an album that’s at once unique and relatable. It’s so finely wrought that even when beauty eventually surfaces, there’s no fantastical depiction of its nature—it’s rightly recognised as something that’s always been there, seeking the right grasp to force it into reality. 

Stream ‘HOTHU’ below.

Featured image credits/ChukwukaNwobi

Songs Of The Day: New Music From Odumodublvck, Alpha P, Somadina & More

Posted on by Nwanneamaka Igwe

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

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

ODUMODUBLVCK – “PICANTO”

Fresh off the announcement of a joint venture deal with Def Jam Recordings, NATIVE Records has signed Abuja-based rapper, OdumoduBlvck, the heavily sought after artist who has spent the last 18 months drumming up a buzz that has seen him anointed as one of the most seminal voices out of the nation’s capital in more than a decade. Arriving yesterday, “Picanto”, an emotive debut single on the label, featuring Nigerian Street-Rap legend pioneer Zlatan & Ecko Miles, respectively. The brooding, haunting single details the real-life struggles of a modern day young Nigerian hustler. The trio offer a cross between Drill and Hip-hop as their verses effortlessness flow into one another, delivering some catchy bars and memorable one-liners.

ALPHA P – “VERONICA”

Following his stellar performance on DJ Tunez’ “Majo” assisted by Wizkid, and Tay Iwar, Alpha P leads us into the festive season with his new single “Veronica.” On the BlaiseBeatz-produced track, he enlists the help of Afropop singer, AV to deliver a romantic-tinged track couched in vibrant drum patterns and anthemic horns. The new track is set to feature on Alpha P’s new project, which is due for release next year.

KILLERTUNES & SUTÉ IWAR – “ALL MY DAYS”

Following the release of singles “WYD” and “OH NO,” superstar producer Killertunes lends his performance and producer prowess on his third single for the year, “All My Days.” On this slow-tempo number, he enlists Suté Iwar lush vocals over some  piano keys as the pair sing praises to their love interest saying, “In all my days o, I never see this type of waist o.” Assisting their mellifluous vocals is a stunning saxophone solo, midway through the track.

YCEE – “AZUL ’22” ft COSTA TITCH, PHANTOM STEEZE, MA GANG OFFICIAL

For his first single this year, YCEE taps into South African production heavyweights Sibusiso Johannes Mnyakeni, Sebuti Alec Mohalanyane and Thando Tshabalala on the catchy Amapiano number, “Azul ’22”. Inspired the popular phrase in Nigerian clubbing culture , “who order Azul?”, YCEE croons over a high-tempo beat “2022, who order Azul?/ Is it you or you or you?”

THANDO SKWATSHA – “THANDOLWAMI”

Emerging South African singer-songwriter taps into the homegrown sounds to deliver a beautiful R&B debut album, ‘iimimi nentsuku’ written in his traditional languages isiXhosa and isiZulu. The 12- track project showcases Thando’s passionate lyricism with a blend of house, Afropop and electronic music sensibilities. On one of the introductory tracks on the project, “thandolwami”, Thando reflects on a past relationship in form a glorious ballad.

T’NEEYA – “MONSTA ALTA”

Earlier this year, German-Cameroonian singer hooked audiences with her distinct vocals on “Coming”, reaffirming her place amongst the R&B/Soul talents coming out of Africa. For her latest release, T’Neeya has shared an enthralling 2-track project ‘Monsta Alta’, T’neeya’s fierce and feminine alter ago comes out as she unapologetically expresses her standards and expectations from anyone coming into her life. On the titular track “Monsta Alta,” T’neeya blends Afropop and 90’s R&B influences to produce a commingling of sounds that is equal parts soul and funk, as she performers her verses in English, Pidgin and French.

MOH GREEN – “JO” ft. 1DA BANTON & FRENCH MONTANA

French-Algerian DJ and producer, Moh Green enlists 1Da Banton for his compelling new single “JO”, the lead promotional single for his upcoming EP, ‘Just Now’. More popular for his infectious singles “Ca Ta Va Bien” and “Omri – Remix”, “JO” is Moh Green’s second release for the year, following “Comme Ça” which featured Thomas Mendjy and Elams. “JO” which translates to dance in Yoruba is a groovy number featuring lush drums and intoxicating flute arrangements sure to get any listener on their feet. With performances from Nigerian and Morrocan artists, 1Da Banton and French Montana, “JO” offers a diverse fusion of cultures on an afro-influenced dance track.

Featured Image Credits/The NATIVE

NATIVE Premiere: Soundz Wants To Have Your “Attention”

Posted on by Wonu Osikoya

In 2020, two years after his debut, Nigerian singer and songwriter Soundz rose from relative obscurity to instant ubiquity with a string of sweet-sounding releases which peeled back layers to his artistry. Since then, he has teamed up with the likes of YKB, Teni, D-Tac and more to create magical records such as “Morenike,” off the Ejoya Class of ‘21 album.

 

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Earlier this year, he released his debut solo EP ‘In The Rough,’ which garnered the attention of more listeners across the country, and showcased his charismatic presence. The 6-tracker featured records such as “Pressure” and “Attention,” which have been confident, boastful and fit to spark up any party. Since its release, the latter went viral on TikTok, racking up over 20 million views, 400,000 unique videos on TikTok and 400,000 Shazam searches.

“Attention” is a catchy track by every metric. The uptempo romantic record sees the artist speaking directly to his muse, letting her know the lengths which he’s willing to go for her. He opens the record chanting “Shopping ati baby girl lifestyle, Fendi go tire you baby/You know say me go love you tire,” over the euphonious production of the track. Arriving today, to further amplify the track, the singer has arrived with refreshing new video for the record. Directed by Pink, a fast-rising female video director, the video which was shot in the heart of Lagos, Nigeria, sees the singer and his muse in a colourful and vibrant spot as he performs the record and assures her of his love for her.

Short but indeed sweet, Soundz’ newest record is a promising offering for the Afropop newcomer, who is doing his bit to ensure the long-lasting future of the sound. Ahead of the video’s official release, we spoke with Soundz about the success of the viral hit, the inspiration behind the record as well as the video and more.

His answers, which follow below, have been lightly edited for clarity.

NATIVE: What was the inspiration behind this record?

Soundz: I wanted to sing about how far I go could go to get the attention of someone I fancy and I believe I told a story to resonates with many listeners across the world.

What were you trying to portray with the video?

I was telling a story of a guy trying to prove himself worthy of his lady’s attention regardless of how heated things get.

Were you able to bring this to life? 

Yes, I was. With the help of the video director, Pink, I believe we created magic together and everyone else who worked on this video brought their A-game and everything worked out perfectly.

What were some of your major highlights while shooting the music video?

The set and casts help bring the story to life and then there was the fight scene, it was all a new and fun and different experience for me and I’m sure those memories will remain with me forever

What do you want listeners and viewers to take away from this track alongside the video?

Basically the message I was trying to pass is to go after whoever or whatever it is that you love regardless of the obstacles or challenges

Get an exclusive first look at the video for “Attention” here.

Featured Image Credits/Courtesy of the artist

TurnTable Top 100: Wizkid And Ayra Starr Debut At No.5 With “2 Sugar”

Posted on by Nwanneamaka Igwe

After years of racking production credits on standout street anthems like Naira Marley’s “Mafo” and Olamide’s “Bobo”, Young Jonn’s moment in front of the mic pays off as he spends another week at No.1 with “Xtra Cool”. The lead single off the artists extended play, ‘Love Is Not Enough, Vol.2’, tallied 4.15 million streams and 62.7 million in radio reach. Similar to last week, “Cough (Odo)” by Kizz Daniel and EMPIRE remains on No.2 after spending three consecutive weeks on No.1. After debuting just days after the release, Asake and Tiwa Savage’s highly anticipated track, “Loaded” stays at No.3.

Ayra Starr’s “Rush,” former 3 time No.1 spot holder spends its 5th week on the chart, occupying No.4 this week. Debuting on the No.5 spot is the Ayra Starr-assisted “2 Sugar”, a standout out track off Wizkid’s 5th Studio album, ‘More Love, Less Ego’. This makes it Ayra Starr’s sixth entry into the charts and Wizkid’s tenth milestone entry. Ayra Starr extends her record for most top ten entries into the Turntable top 100 with seven entries by a female artist. Asake’s “Joha” slips from the 6th to 5th position after peaking a No.2. Mavins Records’ “Won Da Mo” with its all star cast occupies the No.7, skipping ahead 47 spaces from last week. The track alongside “Overdose” serve as promotional singles off the record label’s upcoming album, slated for release 2nd December.

Second promotional single, “Money & Love” off Wizkid’s ‘More Love, Less Ego’ holds the No.8 spot. Seyi Vibez’s “Chance (Na Ham)” off his recently released album ‘Billion Dollar Baby’ leaps into the Top 10 occupying the No.9 spot. This will be Seyi Vibez’s second entry off the album, following “Billion Dollar” which debuted and peaked at No.10 earlier in the year. Finally at No.10 is Bella Shmurda and Omah Lay’s “Philo” falling from its previously held No.6 spot.

Review all the tracks on this weeks Turntable Top 100 here.

Featured image credits/Wizkid

Songs Of The Day: New Music From Tim Lyre, Wande Coal, Minz & 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 Tim Lyre, Wande Coal, Minz and more. Dig in!

Tim Lyre – “Confess”

Tim Lyre is making honest and timeless music. For his first official release since his album, ‘Worry <‘ Tim Lyre has arrived with the new R&B number titled “Confess.” The Mytee Menko-produced number blends laid back R&B elements with light elements of afropop. Over the smooth sounding production of the track, Tim Lyre sings “So many things that I want to confess/I just need a way to get it off my chest,” letting listeners know his simplest form of expression is through music. 

Minz – “Wo Wo”

Minz is known for his stellar melodies and his distinct vocal performance and he displays the same effort on the new mid paced record, “Wo Wo.”  Co-produced by Jeune Lio and Mike Bgrz, the artist opens the record chanting the lyrics “Too many things I dey think wo wo/but I no dey talk anything wo wo,” while he glides over the euphonious production of the track.

DJ Tunez – “Flex” ft. Wande Coal”

On the record “Flex” produced by Magicsticks, veteran singer and songwriter Wande Coal is at his most relaxed and laid back. He sings in his Yoruba dialect about showing off his achievements, attaining all he has been able to gain and now, living his best life. 

Pandamonae – “Ta Le Leyi”

Following the release of his debut EP ‘Dawn & Dusk,” newcomer Pandamonae is here with the new romantic pop number, “Ta Le Leyi.” The dance-ready number finds the artist singing standout lyrics such as “You’re my blessing and I swear this love e no go ever crash/You know we’re destined to be and you know you shine like a star” to his muse.

Kayode – “Superstar”

On the record “Superstar,” singer and songwriter Kayode is seen at his most braggadocious as he sings about his achievements so far. On the chorus of the Godomar-production, he sings “Trying so hard I be superstar, the niggas that be hating they be high man.” 

Shatta Wale – “H.G.P”

Ghanaian veteran singer and rapper Shatta Wale has arrived with the new dancehall bop “H.G.P (Hustle Go Pay.)” On the record, he reminisces about his journey so far and emphasises heavily on focusing on what works for you as well as the power of consistency. 

Novemba – “Vibe (On My Mind)”

For his most recent offering, singer Novemba is here with his debut EP ‘Escapade.’ The 6-tracker features production credit from Latif, Beats by Mayor, Retro5 and more. On the standout record “Vibe,” he sings romantic lyrics to his muse as he explains how she makes him feel. 

Featured Image Credits/NATIVE

Best New Music: Master KG & Joeboy Make A Glorious Pair On New Single, “Laleyi”

Posted on by Emmanuel Esomnofu

Every last quarter of the year is always an interesting time for Afropop. Having met the needs of their international fanbase, selling out tours and performing at festivals almost all year round, the final three months lead unmistakably geared towards home. The music then channels the boisterous spirit of the forthcoming period of festivity, pulling all the most conventional stops to ensure a bonafide hit song is created. 

Master KG is familiar with flowing alongside such ebbs of creativity. Around this time four years ago, the Zanda Zakuza-assisted “Skeleton Move” began catching on among listeners from other African countries. Though its message of homecoming appealed to a pan-African sensibility, the music was similarly brilliant, bursting with the electro House influences the 26-year-old producer has embodied throughout his career. In 2020, “Jerusalema” achieved stellar heights of ubiquity and earned Master KG a remix with Burna Boy, thereby oiling the wheels of prospective collaborations with Nigerian musicians. 

 

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On “Laleyi,” the hit-making prowess of Joeboy is called upon to construct the latest lore of KG’s. Quite early into the song, the listener gets a sense of the sonic direction as distinct Amapiano drums create a heaving, yet exhilarating mood. Matched with spacey keys and snares which builds an additional layer beneath the more recognisable percussions, there’s a stuffing of the production which somehow doesn’t obscure the sunny potential of Joeboy’s vocals. 

Coming from the success of “Contour,” it’s been a redemptive year for the musician who was often levelled with the accusation he’s gone off the radar amongst the scene-shifting works of his peers. And yet for those who understand the uniqueness of Joeboy’s takes on Afropop, there was seldom a time when the musician was that far from a hit record. He’s provided the perfect soundscape by his eminent South African collaborator, and the freedom he was granted with songwriting audibly influences the record’s fun-seeking direction. 

Right from his breakout single “Baby,” the music of Joeboy has long probed the relationship between romance and community, often trying to tease a deeper connection with a love interest. Even with more festive flourishes lining its seams, “Laleyi” maintains this sensitive edge, although with a sharper twist of moving along with their sensual desires. “I want to do what you want tonight,” he sings in the opening lyric, and then following up with, “You want me as bad as I want you, don’t lie,” effectively cashing in on the bad boy image young Afropop artists are increasingly being known to project. 

The record continues to build on that intensity, and just before the chorus Joeboy reiterates his need for a good vibe. It’s a quintessential Afropop subject matter, but there’s such mastery from both Master KG and Joeboy that one easily forgets they’ve heard many records cut from a similar ilk. In terms of sonic choices, the pairing of melancholic keys and Amapiano drums, and then the crowd vocals which lines the record’s latter parts, bears on an influence that has been rife in Nigerian Pop throughout 2022. Its falsetto-delivered post-chorus of “I no fit to wait o, Baby don’t be late o” has shades of prime Wande Coal, establishing an exhilarating sense of breeziness which further polishes the record’s brilliance. 

With December only some days away, it’s surely fitting to get a certified banger from two ingenious musicians from sub Saharan Africa’s most successful music industries. Combining their distinct strengths on its promotional run would no doubt prove an interesting endeavour, but there should be no shortage of popular love given the quality on display.

NATIVE Exclusive: Sampa the Great came back home and she’s freer than ever

Posted on by Dennis Ade Peter

“Thank God for rap, I would say it got me a plaque/but what’s better than that/the fact it brought me back home” – Kendrick Lamar, “Momma”

 

Sampa Tembo grew up in a home that encouraged her to be expressive. On one occasion, when she was about 7-years old, her parents were discussing politics with some of their friends, and in the middle of that conversation, her mum and dad turned to Sampa and her sister to ask, “What do you think?” In many African societies, deference to older people is sacrosanct and that often means the opinions of young people in wider discuss aren’t sought after and are much less respected.

With far more liberal parents than the archetypal African mum and dad, a young Sampa’s opinions mattered, at least in the four walls of their home, and that sort of autonomy came with its freeing effects. “That just creates this confidence in a kid that, ‘Oh, so my voice actually matters,’” the Zambia-born, Botswana-raised rap artist known as Sampa the Great tells me over a Zoom call. “You so easily feel that you can express yourself and give your thoughts of what the world is.”

Naturally, that translated into boundless curiosity, because that unfettered license to express yourself from a very young age helped her yearning for knowledge. The way Sampa tells it, up till age ten, her curiosity meant that she’d ask “any and every question,” which in turn made her loudly share her thoughts and even tell stories whenever she could. “From age eleven, the world was the world,” she says with a tinge of exasperation in her voice. “You just start learning about the world, the pressures of what people think, it influences you and sort of changes you till you get to the point—that I guess I did—that you look back on that younger self.”

 

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In September, Sampa the Great released her sophomore album, ‘As Above, So Below’, which she says was created through a process of healing and reconnecting with that younger self that was unapologetically curious and joyfully expressive. Like a lot of music in the last few years, that process was catalysed by the coronavirus pandemic that ground the world to a near halt for over a year, starting from the early weeks of 2020.

Entering that year, Sampa had established her bonafides as an indie rap star with the fall 2019 release of her debut album, ‘The Return’, a sprawling expression of identity from an artist with a complex path towards stardom over the course of that decade. In her late teens, Sampa moved to California for a few years to study Music for Visual Media, then unto Sydney in 2013 to complete a degree in Audio Engineering. It was in these years in Australia that she would start actively taking steps towards being a rap artist, a dream she’d been tentatively nurturing for years.

Oceans away from the countries where she was born and raised, it didn’t take Sampa the Great too much time to get going. In October 2015, she issued her first mixtape, ‘The Great Mixtape’, an encapsulation of her precocious abilities at stringing together engrossing raps, as she loudly figured out her purpose as an artist and exhibited a keenness for processing the world around her. Backed by layered and experimental choices with jazzy textures and soulful flourishes, the music drew attention to Sampa’s lyricism and growing songwriting chops.

With a growing reputation, she kept the momentum going in 2017 with an EP and her second mixtape, ‘HERoes Act 2’ and ‘Birds and the Bee9’. Facilitated by the Red Bull Sound Select program, the EP featured British Soul singer Estelle on all three tracks, and was helmed by Grammy-winning American producer Rakhi. By her second mixtape, it was obvious that the facets of her artistry had coalesced into a more intriguing whole, as she advocated for her individuality while displaying a sharper ability to tap into communally affecting subjects. ‘Birds and the Bee9’ would go on to win the 2017 Australian Music Prize, an achievement that was indicative of the rap artist’s wondrous talent and ascendant star power.

During this period of her ascent, Sampa the Great was mainly viewed as a representative of rap music from Australia. Despite having spent the majority of her life on another continent, taking those early career steps in a country where she initially just went for Uni had become a definitive narrative. Taking a generally pro-Black stance in her music and joining a vanguard of Black artists in Australia gaining wider local prominence and international recognition—alongside acts like Sensible J, Kaiit, REMI and more—Sampa quickly became an avatar for excellence in Black creative expression.

As proud as she was of being adored by and connected to African-Australians, Sampa was deeply uncomfortable with solely being described as an Australian hip-hop act. Being Zambian and growing up in Botswana mattered to her, and the urge to properly reconcile all these moving parts of her life’s experiences and fully assert these complexities, in the midst of growing international stardom, played a huge role in her debut album. For Sampa the Great, ‘The Return’ was a timely declaration of everything she is, with a reverent acknowledgement of her roots and a loud meditation on being better attuned with herself, championing all things pro-Black and even reckoning with the industry where she grew into an emergent star.

In the video for “OMG”, Sampa’s parents make cameo appearances, as well as the school she attended in Botswana. The wonderful set of visuals for career-elevating single, “Final Form”, features Nyau dancers and colourful Afrocentric outfits as Sampa struts and streaks across select locations in Zambia. On one of the record’s punchier cuts, the Krown-assisted “Time’s Up”, she chucks both middle fingers at the Australian Recording Industry Association (ARIA), as a response to her speech on diversity and inclusion being cut off the televised part of the 2019 ARIA Music Awards, while accepting her win for Best Hip Hop Release for “Final Form”.

“I just feel like my experiences in Australia, as dope as it was to have my first shows there and dropping projects that connected me with the world, it was really a hard journey being a black artist in a country where the industry doesn’t look like you,” Sampa tells me. That she also had to “be an ambassador for my community” also had its wearying effect. “I wasn’t raised in Australia but I had to make sure, whenever I’m expressing myself, it was perfect because we’re ‘the first of,’” she says of that added pressure.

With the responsibility—some of it self-inflicted—of expressing for herself and on behalf of many more people, Sampa explains that the music became very goal-oriented. “That sort of stripped away the joy of creating,” she says with a tone radiating clarity. “Anything that’s too planned or too strict, it stifles a bit of the excitement of being spontaneous, because that’s also what art is about. I feel like once I came back home and released the pressure of representing anyone but myself, I started to reignite that excitement of making music just to create.”

During the first wave of the Covid-19 pandemic, Sampa the Great didn’t want to make music. In fact, coming back home wasn’t some personal mission to distil soul-searching into bars. “It was definitely a ‘whatever happens, happens’ thing,” she says with a quick laugh. With everything shutting down, the uncertainty of what would happening next and Australia beginning to seal its border to contain the virus, Sampa and her sister decided to head back home to check on their parents and stay in more familiar terrains.

After initially not getting into Zambia on first attempt, their eventual entry into the country after multiple tries put the artist in a contemplative mood, partly fuelled by nostalgia. “What came with being back is, I’m actually in the place where I dreamt of being an artist,” she recalls.

“It’s weird because my career started outside of my home, so it’s always been Sampa the Great but she’s that side. To be back home and be Sampa the Great at home, as weird as it sounds, felt very complete.”

Even though there was a plan to eventually move back home further down the line of her career, it became increasingly clear to the rap artist that this situation was actually timely. As she settled back in and started figuring out some personal and artistic stuff, it didn’t take long for her to start connecting with potential collaborators like Mag44, the revered Zambian rap artist and producer—“His career started before mine ever was ever put into fruition,” Sampa says—and singer Tio Nason. In her late August 2020 live set for the Black August series of virtual shows, Mag44 opens proceedings with a quick exhortation and a rap verse, and an unreleased, thumping rap song with Tio Nason is premiered during the course of the set.

With her creative juices flowing, Sampa the Great decided to get to work on her sophomore album. “Relocating back here, this being the place I dreamt of being an artist and even just reflecting on the younger version of myself, was exciting enough to make me want to make a project,” she explains. Away from any external pressures of being an ambassador, Sampa rekindled her fire for creating without any broader agendas.

‘As Above, So Below’ is the most selfish body of work in the rap artist’s catalogue—purposely and purposefully so. Across her career, Sampa the Great has had to consistently make grand declarations, from showcasing her potential in a flattering light at the start of her career, to being brazenly pro-Black in a very white industry, and making sure to establish her identity with her debut album. As apt as all of those were at each point in time, they’ve paved the way for Sampa to express herself in her most self-assured mode yet.

“I can be hard/I can be soft/I can be everything under the stars,” she proclaims on the cinematic opening song, “Shadows”. It’s an encapsulation of the sense of freedom that permeates the album, even as Sampa interrogates the multiple factors that negatively affects artistic autonomy. Even the album’s musical choices, extensively helmed in collaboration with executive producer Mag44 and contributors like Solomon Moyo, Powers Pleasant and Sampa herself, reflects the rap artist’s reinvigorated freedom. Describing the album’s sound as Hybrid Music, it emboldens the Afrocentric shades in the Soul and Funk-indebted palette of her last album, adding parochial Zambian and Southern African sonic elements on more than a few of its songs.

On the contemporary rap lead single, “Lane”, she rails against the idea of artistic boxes in general, with American rap artist Denzel Curry chipping in a fiery guest verse. In its accompanying video, there are scenes of Sampa and a younger version of herself mirroring the other’s movements, but with a palpable tension between them, a symbolic representation of how our younger selves thought very little of external pressures and did things for the sake of sheer curiosity.

“[This album is] for the inner child that is a huge spark in all of us,” Sampa the Great says. “It’s for those people who are going through healing their inner child, because that’s definitely what I was going through with making this project.” That process produces some of the most irreverent and wickedly confident lyricism in her career, from the visceral romp of the Kojey Radical-assisted “IDGAF” and rapping “I was only humble from the stress” on the infectious, Amapiano-tinged “Tilibobo”, to a nuanced denouncement of the baggage that comes with fame on the grungy highlight, “Can I Live”.

The latter track features vocals from Emmanuel “Jagari” Chanda, lead vocalist and co-founder of the iconic Zambian rock band WITCH, known for helping pioneer the Zamrock genre and movement that blended Kalindula and other strains of Zambian folk music with psychedelic rock influences into an ingenious sound and local Phenom in the 1970s. On pre-release single, “Never Forget”, Sampa the Great and her collaborators lean into Zamrock for a resounding statement on ancestral greatness. In addition to the Afrofuturism motifs, there are performance clips of Zamrock bands from the ‘70s and archival footage in the song’s video.

“There was a lot of rediscovering that happened during the process of this album and “Never Forget” is a product of that,” Sampa tells me well over an hour through our chat. “It’s a huge song to us, just culturally, outside of me alone as an artist an individual, especially since the reactions since it was released. People are tagging me and their grandma is watching and saying things like, ‘I know that nurse in that video,’ ‘I remember when the president said this.’ We were just doing this artistically but we’re pulling out memories and feelings of what our country has been through, and even just having a new president now that was voted in by the youth of Zambia after a long dictatorship, and us feeling like a wave of change is happening.”

Since I spoke to Sampa the Great, “Never Forget” has served as the soundtrack to the trailer for Marvel’s new superhero blockbuster film, ‘Black Panther: Wakanda Forever’, adding significant prestige to a song with already momentous heft. She’s also released the video for ‘As Above, So Below’ final track, “Let Me Be Great” with African music royalty Angelique Kidjo, its afro-futurist bent paying homage to the video for “Agolo”, the 1994 smash hit by Ms. Kidjo. As an emphatic closer, Sampa’s raps ring out like edicts over Mag44’s horn-laced beat—“I’m Sammy, I’m Tembo, I’m Eve, I’m Sampa, I’m Great.”

“What you feel and are inside is what you manifest on the outside,” Sampa says, her voice still radiating that clarity. “If your journey of your love for self is not at its highest, that would reflect and manifest outwardly. For someone who’s felt like they’ve always had to represent someone else and be an ambassador for someone else, I wasn’t really being true to representing and expressing myself.”

Rap made Sampa the Great a star in a country she wasn’t born or raised in, helping to introduce her to the rest of the world and also inadvertently tacking on some unwieldy responsibilities. Coming back home helped refocus her passion and purpose, and now she’s being true to representing and expressing herself.

Stream ‘As Above, As Below’ here.

FOR THE GIRLS: YTBOUTTHATACTION IS AS REAL AS IT GETS

New Music Friday: New Project recommendations from Focalistic, Ria Sean & more

Posted on by Nwanneamaka Igwe

For any music enthusiast, Friday is your favourite day of the week and understandably so, because no other sees such a high volume of releases. As we close out of yet another eventful year in Afropop, our favourite talents continue raising the stakes with a massive stack of innovative, tasteful numbers. From the incessant force that is Nigerian street pop to the intoxicating sounds emanating from South Africa’s dance scene and much more, we are witnessing an expansive pool of output from the music landscape in these parts. While our Songs of the Day column highlights the some of the hottest new releases through the week, here is a list of new projects out today that you should be listening to.

FOCALISTIC – ‘GHETTO GOSPEL’

Focalistic, born Lethabo Sebetso, with a slew of releases under his belt can be considered an Amapiano heavyweight redefining the sounds emerging from those parts. If his hit song “Ke Star” later remixed with Davido doesn’t ring a bell, Ckay and Davido assisted “WATAWI” and “Champion Sound” with Davido certainly will. This year alone, Focalistic has released a over ten singles with some standouts including “Zula Zula (Hub Way)” with uNder alumni Khanyisa, Acutedose and Villosoul, “Banyana Ke Bafana” and “Your Body” with Musa Keys and Cyfred.

In the later parts of last month, he released “Tabela Hape”, lead promotional single for his highly anticipated his 5th studio album, ‘Ghetto Gospel.’ The mid-tempo bass infused track, featuring Kabza de Small, Mellow and Sleazy, Myztro and M.J was just the preparation we needed for the project. For ‘Ghetto Gospel’, Focalistic enlists some of South Africa’s best on the 15th track project. The all star cast includes inventive producer duo Mellow and Sleazy on seven of the fifteen tracks. With Pabi Cooper on “Tsela Tse Nyane”, superstar DJ DBN Gogo on “Timana” and a plethora of others the project presents as a promising one sure to deliver electrifying productions and catchy hooks that transcend language barriers.

 

RIA SEAN – ‘LOVE STATION’

Despite being fairly new to the scene and formerly signed to one of Nigeria’s premier labels, Aristokrat Records, Ria Sean continues to forge a name for herself as an artist with unique contributions to Afropop. Since the singer-songwriter released her debut EP, ‘FLUID’—a delectable collection of self-assured songs—Ria has continued to reaffirm herself and taken her spot as a one of the artists speaking their truth and disrupting the status quo. With a few releases this year including “Punani” featuring Coyote Jo Bastard, “Thai food” and a feature on “NGANDA” off Théodore’s ‘ASWAD’, Ria Sean is out with another EP titled ‘Love Station’.

Late September, she drew us further into the world of the project with the release of the promotional single “Uptown Girl” which serves as the second track on the project. ‘Love Station,’ six track EP features Yseult and Mavins Record starlet Ayra Starr. In her wonted R&B path, the project features a series of soft drums and evocative strings paired with Ria’s mellifluous vocals delivered as sleek as usual.

T.I BLAZE – ‘EL MAJOR’

Street pop singer and songwriter, T.I Blaze, has showed no signs of slowing down since his debut EP, ‘The Fresh Prince of Lagos’ featuring standout track “Sometimes” and a remix version like YBNL label boss, Olamide. The six track EP also featuring Barry Jhay, Blzckie and Rasaqi NFG. After some standout releases his year, including Rexxie-assisted “Overload (Kala)” and an appearance on Steve Adeoye’s “Ali (Remix)” with Portable, T.I Blaze began prepping for the release of his debut album ‘El Major’, encapsulating his career and wins over the last year.

From “Kilo”, which featured Skiibii, to a slew of singles including “Lock Up”, “My Life” and “Good Life”, T.I blaze continues to show his unique perspective within Nigerian street-pop as he regularly employs pidgin, Yoruba and English to deliver his memorable bars. He taps into fellow Street-pop heavyweight, Bella Shmurda on “Alone” as the pair reflect on the cloistered nature of man. On “Frenemies” a mashup of friends and enemies, T.I reflects on some failed friendships that ended as a result of the betrayal while expressing the value of meaningful friendships and keeping a tight circle on “Benefit”. Other appearances on the album include Fave, BackRoad Gee, Camidoh and LADIPOE.

AZANTI – ‘HEART PARTS & NOSTALGIA’

Since stellar debut collaboration with PsychoYP on ‘YP & Azanti, Vol.1’, an expressive project that boasts of a infectious blend of sweet sounding R&B and Afropop numbers, Azanti continues to standout as a genre bender stretching the limits of his sound. In 2021, he released his debut, taking centre stage on the self-titled EP featuring 8 tracks. His unmistakable voice left a lasting impact on listeners with his sweet-sounding delivery on a collection go love songs. Following this, he delivered a memorable intro verse on high tempo Amapiano influenced track “Be My Luv” with Mut4y and DJ Tunez.

Azanti continues to cruise on greater heights with his debut album, ‘Heart Parts & Nostalgia’. He taps into Odeal and The Cavemen for “TWiST & TUrN” and “jULie”, respectively. After signing with Def Jam Records, the Abuja-based singer released “Getting Hot”, an instantly memorable track accompanied by his melodious vocals and over the sunny beat. The 11 track project serves as a solid entry fuelled by assertive storytelling showcasing the artists skilled penmanship. Azanti’s smooth vocals and catchy hooks coupled with his eccentric production brings a fresh approach to the scene, drawing him nearer the superstar status he is capable of achieving.

SONGS OF THE DAY: NEW MUSIC FROM LADY DONLI, AJEBUTTER 22, MASTER KG & MORE

Songs of the Day: New Music From Lady Donli, Ajebutter 22, Master KG & More

Posted on by Emmanuel Esomnofu

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

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

LADY DONLI – “HELLO LADY”

Having announced the coming of her sophomore album in 2023, Lady Donli has shared a new record. “Hello Lady” features the musician’s luscious vocals layered effervescently over bubbly production. Since ‘Enjoy Your Life,’ Donli has always echoed the ethos of living one’s life to the fullest and it’s no surprise she delves into that headspace again, gleefully recognising the beauty of existence. With shiny synths colouring her vocals, she pulls her hair down to create an essential feel-good record.

 

AJEBUTTER 22 FT. AJEBO HUSTLERS – “ENJOYMENT”

Finally, the Ajebos of Nigerian music have collaborated to give us a solid jam. As you would expect, the record embraces the slow tease Ajebutter 22 has mastered, bringing his guests into the sonic world with graceful flair. A lover’s warmth propels their distinct takes on the record, as they promise to blind her eye with enjoyment. It’s a stripped, sensual song which glitters with the finely wrought mastery of the associated artists, and given the quality of their synergy, there’s no reason why this shouldn’t become more popular in the coming weeks.

NAKHANE – “MY MA WAS GOOD”

Primed to release their EP ‘Leading Lines’ in December, the multidisciplinary South African artist Nakhane has premiered a new single. As the title suggests, “My Ma Was Good” unpacks the weight of family dynamics over its five minute run-time. Nakhane’s poetic lyrics are framed with vignette-esque purpose, gently unfurling layers to their storytelling even as glittering Disco elements and a sombre piano build around them. Ultimately, the record’s epic vision is brilliantly executed with dedication and sexiness, dripping with the colourful energy Nakhane has embodied for the better part of their career.

ESPACIO DIOS FT. MAGLERA DOE BOY – “PELO”

Ominous flutes begin the progression in “Pelo,” the new song from South African musician Espacio Dios. The mood switches almost immediately afterwards, with soft-knocking percussions soaking the record’s spaces with sufficient tension. “I need some company,” sings Dios in his opening lyric, and afterwards sketching the situation of obvious romantic palaver. It’s his vocals which makes the record a stellar listen however, highly emotive and delivered in the ever-thrilling isiZulu. Maglera’s verse is well done too, introducing the verve of rap into the established soul.

ENNY FT. UNKNOWN T – “CHAMPAGNE PROBLEMS (REMIX)”

British-Nigerian rapper Enny has excited over the course of the year, both on features and on her own records. “Champagne Problems” has been a particular highlight, showcasing the rapper’s ability to spit quotable bars while maintaining sonic pleasurability, revealing a fine understanding of her vocals and language. On this remix, she goes back and forth with the ever-reliant Unknown T, brazenly colouring their verses with an affirmative energy which also supplies vivid imagery. A stellar collaboration, this one.

DAP THE CONTRACT FT. ELENA PINDERHUGHES – “DANCING IN THE RAIN”

Famed as one of the more consistent rappers from this side, DAP The Contract has had a reflective year. His new record bares that mind state, even if the bold percussions and upbeat tempo line its seams with an head-bopping vibe. Ditching his usual rap expression for more melodious phrases and adlibs, the song emerges fully-formed, further exciting with the entry of feature, the American musician Elena Pinderhughes. Together they sing about choosing to love enemies, obviously toeing the peace and light lane.

T’NEEYA – “MONSTA ALTA”

German-Cameroonian artist T’Neeya has long demonstrated her knack for R&B-suffused Afropop, creating an enviable catalogue that’s made her one of the most promising talents in the scene. Currently resident in Accra, she’s growing more purposefully into her artistry. “Monsta Alta” builds on her ethos of soul-baring records, constructing a poignant narrative of a relationship where she’s comfortable. Romantic tension is a foundational subject matter of R&B, but so are dreamy-eyed expressions of love, and T’Neeya stirringly delivers on the latter.

MASTER KG & JOEBOY – “LALEYI”

Amapiano might slowly be dredging itself from the Nigerian music scene, but when you have Master KG behind the chops it’s always a memorable experience. Even with its recognisable drum patterns, the soulful tendencies of the South African musician comes to the fore. Providing vocals is Joeboy, who’s been having a good year thus far. His signature subject of youthful love enriches his singing with head-bopping melancholy, while he applies a falsetto in certain sections of the record. With a supply of crowd vocals, the massive hit potential of “Laleyi” should be quite obvious to anyone who listens.

 

EUGY FT. LADIPOE & MALEEK BERRY – “MEDICINE”

Ghanaian-British musician Eugy is known for his soulful R&B-inspired songs, although in recent times he’s been noticeably absent from conversations about Afropop. “Medicine” is the perfect song for a comeback, uniting with frequent collaborator Maleek Berry and the rapper Ladipoe. Over soft, breezy production, he mints an unforgettable hook which teases similarly memorable verses from his guests. “She call me the love doctor/ Take position, yeah me get your medicine,” he sings, deftly underlining the record’s venereal intent.

 

DETAILMADEIT – “WORLD CLASS”

In recent times the Abuja-based rapper Detailmadeit has been experimenting with his singing. “World Class” is the latest in this phase of evolution, and he seems to be getting more in-tune with it. Over mellow drums and looping keys he sings gently about the demands of a love interest, while holding up his own ability to fit those standards.

Teni Taps Mayorkun, Costa Titch & Ch’occo for New Single, “Maitama”

Posted on by Wonu Osikoya

Last year, after a string of mainstream hits such as “Case” and “Billionaire,” Afropop singer, Teni released her stunning debut album ‘WONDALAND.’ The carnival themed album packed a punch, as it spoke volumes to Teni’s undeniable growth since her debut on the scene with “Askamaya.” In the four years since she lent her songwriting prowess to Davido’s “Like Dat”, Teni has morphed from supremely talented upstart to unavoidable pop fixture – as her astonishing run in 2018 proved. Now, the singer is ready to transition to her next level.

 

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This year, while her resplendent voice has been undeniably missing from the scene, the singer has been candid with her ongoing trajectory, by drawing listeners into her technicolour world through her style choices and appearance on social media. While Teni has always redefined the style of the quintessential pop star, this year, she’s doubled down on showing off her eye-catching sartorial choices to her 4.9million Instagram followers. She’s redefining conventional ideas of sexiness, which shows that things are evolving past unwritten rules, and Teni is breaking down the doors by just being.

Earlier in the year, the singer arrived with her sparkling two-song pack ‘Little & Legendary’ which solidified the artist’s position in the scene as a reliable voice in Nigerian music canon. Now, the singer is closing out the year in a grand way. Arriving today is the new melodic Amapiano-infused single titled  “Maitama” which features Nigerian pop sensation, Mayorkun and South African artists, Costa Titch and Ch’cco.

The dance-ready number draws influences from dusty log Amapiano-inflected log drums and fuses it seamlessly with Afropop sensibilities, creating a catchy commingling of sounds. Her melodies sit well with the deft production of the Jaysynths-produced track, affording all four artists ample space to showcase their diverse skills on the beat. Teni opens the track chanting the lyrics “Ori mi wu/oh, ori mi wu” with a stellar vocal performance. The lyrics which translate to “My head is swelling,” and sees the artist gassing herself up. She sets the tone for her collaborators who deftly trade their catchy verses and make the song more memorable.

Speaking about the new single, Teni shares:

“’Maitama” is very personal to me, as I wrote it from a space that I was in. I know I won’t have everything in life figured out but eventually it will all fall into place and something great will happen, one way or another I know I’m not stopping, I’m just going to keep on pushing. This track is about me having fun in both good and bad times and expressing myself.”

With this new record “Maitama,” Teni is setting the tone for her sophomore album. It is clear with time away from the scene, Teni has connected back to her passion, and is ready to usher in her new era which is coated in sweet-sounding music and delicious fashion choices.

Listen to “Maitama” here.

Featured Image Credits/Courtesy of the artist

The Shuffle: “E Ma S’eka” proves Bola Johnson deserves more reverence in the Nigerian music canon

Posted on by Dennis Ade Peter

There’s a very strong argument for the 1970’s as the golden era of Nigerian music. That was the decade of Afrobeat and Festac, of Funk, Rock, Juju and international major label investments. Due to the dearth of proper documentation—and, to an extent, lack of interest from younger generations—it’s difficult to fully gauge abundance, widespread national success and international crossover, but there seems to be an enduring, eternal quality to the music from that period.

Last month, American singer and rapper Smino released “90 Proof”, the lead single to his new album from earlier this month, ‘Luv 4 Rent’. Featuring a guest appearance from American rap superstar J. Cole, Smino expresses the adjustment that happens when someone finds wholesome romantic love after a long period of flings and toxic trysts. Before the ever-thrilling twang of the singer’s southern drawl comes in, the first thing you hear on the song is a slowed and reverbed interpolation of “E Ma S’eka” by Nigerian singer and bandleader, Bola Johnson.

Compared to a lot of the leading names in ‘70s Nigerian music—Fela Kuti, King Sunny Ade, Ebenezer Obey, Lijadu Sisters—Bola Johnson might be considered a minor figure, but that’s mainly reflective of the dearth of cultural documentation. Johnson is a bonafide entertainment polymath, as well as a comedian, actor, writer, broadcaster and footballer. (He passed away in April 2014.) After a stint playing maracas and, eventually, the trumpet in a highlife band led by Eric Akaeze, Johnson found his own band, the Easy Life Top Beats, named after the hotel where they played in Mokola, Ibadan.

Along with his band, Bola Johnson played a wide range of music that spanned across Highlife, Funk, Afrobeat and Soul, all tied together by his eye for humour-tinged social observation and Yoruba Folk-influenced storytelling. As someone who didn’t live through the ‘70s, and who found out about the singer a few years back through “Ezuku Buku” off the compilation, ‘Nigeria 70 – Lagos Jump’, I can’t definitively say what his biggest musical moments were—“Sisi Eko” has over 140K views on a channel on YouTube, so that might be a good shout. “E Ma S’eka” features on another compilation, ‘Nigeria 70 – Sweet Times: Afro-Funk, Highlife & Juju from 1970s Lagos’, a possible moment of first access for “90 Proof” producers, Monte Booker and Groove.

A breezy Yoruba Highlife tune, “E Ma S’eka” is a gentle admonition preaching kindness and graciousness regardless of being treated otherwise by those around us. The rustic lilt of Bola Johnson’s glides comfortably over languid drums and the groovy patter of hand percussion, with a prominent lead guitar melody adding colour to the arrangement. On “90 Proof”, that guitar melody is slowed, dropped a tone and filtered through dreamy effects, refitting it to the earth-toned 808 drums without obscuring its original sample’s essence.

Whether it’s a universe-aided coincidence or not, the subject of “90 Proof” is in conversation with “E Ma S’eka”, with Smino’s dedication to new love, despite just “getting used to being loved…the right way”, heeding the Bola Johnson’s advice to not retaliate or transfer aggression. Similar to Tyler, the Creator sampling Nigerian singer Bibi Mascel’s 1982 disco song, “Special Lady”, for IGOR standout “I THINK”, Smino takes musical and thematic cues from a Nigerian song in a way that serves as another reminder of Nigerian music’s precious past.

Ideally, it would’ve been great if this example of sampling happened through the work of a contemporary Nigerian artist, but there hasn’t been many attempts to resurrect the work of many past Nigerian artists beyond Fela, King Suny Ade and a few select names. It’s cause to wonder if the musical side of our cultural past is being better revered by artists and listeners far away from its point of creation. It’s a nuanced discussion that deserves to be unpacked, but on this particular page, it’s a celebration of Bola Johnson, another Nigerian music hero with a profile and catalogue that could use more reverence at home.

ICYMI: HOW DA TRYBE LEFT A REVERENTIAL NIGERIAN MUSIC MOMENT WITH “OYA”

Blxckie Leads The South African Hip Hop Awards With 13 Nominations

Posted on by Tela Wangeci

Since 2012 the South African Hip Hop Awards have been a compass in directing the sounds and conversations taking place within the country’s ever-bustling Hip Hop scene. Like any award ceremony, nominations and wins have been met with counterpoints from audiences and rap artists themselves, often from a general feeling that an artist, song or album has been snubbed. For example, last year saw wunderkind and late 2020-’21 breakout star Blxckie snubbed for Song of the Year and Album of the year, despite releasing a monumental debut album, ‘B4NOW’, which included the Nasty C-assisted hit song, “YE×4″. It brought criticism to the organising body and proved that, no matter how hard they try, awards can’t please everyone.

The awards will return this year in late December, with nominees and honorary awardees announced a few days ago. On the latter note, the Ubuntu Activism award will be awarded to Khuli Chana. The award is given to those with efforts to promote, direct, or intervene in social, economic, or environmental reform with the desire to make changes in society. The rapper set up the Khuli Chana Foundation which focuses on improving the educational system in the country. The other honorary award belongs Loxion Kulca who will be honoured for their lifetime achievements in South African Hip Hop.

In the competitive categories, Blxckie broke history by receiving six nods out of the ten spots in the Song of the Year category, including two headline songs—the A-Reece-assisted “Sneaky” and “Kwenzekile” with Madumane and Chang Cello. He also dominated the nominations with a total of thirteen entries including the coveted MVP award. The award which was previously held by the late Ricky Rick goes to artists with a significant impact in the past year. This category holds great pressure, as he’s competing against industry veterans including AKA, Big Zulu, Cassper Nyovest, and K.O.

2022 has seen the rapper reach a higher zenith, following the release of his sophomore album ‘4LUV’. The soulful R&B tape established him as a multi-hyphenate artist, and lead single “Umoya” debuted at #1 on iTunes in South Africa. In less than a year since his debut, Blxckie has gone from a breakout star to an ubiquitous voice in South African Hip Hop.

Album of the year, a category Blxckie doesn’t have a nomination in, boasts a strong line-up that includes Maglera Doe Boy’s ‘Diaspora’, Thato Saul’s ‘Life is Gangsta’, Tyson Sybatelli’s ‘Home’, Lucasrap’s ‘031 to the World 2.0’, and Zooci Coke Dope’s ‘Anxiety+’. All five artists are also the nominees in the Best Male category. Trusted SLK, Gigi Lamayne, XXC Legacy, Indigo Stella, and NATIVE Fresh meat Money Badoo are nominees in the Best Female category. Money Badoo is also nominated for Freshman of the year alongside Lucasraps, Thato Saul, Tyson Sybatelli and ZuluMecca.

Seeing as this is a hip-hop award event, a much-coveted category is Lyricist of the Year. This year’s nominees include ZuluMecca, PDotO, Priddy Ugly, Tyson Sybatelli and A-Reece. Posthumously, departed SA rap veteran Riky Rick is nominated for Song of the Year and Best Collabo for his contributions to Venom & Shishiliza’s Amapiano-tinged smash hit, “Sondela”. Cotton Fest, the brand Riky Rick co-found, is up for Best Local Brand alongside SkhandaWorld, Root of Fame, Butanwear and S.W.A.N.K.

With the theme “Hip-Hop Kult-ure”, this years edition of the South African Hip Hop Awards will be held on December 6th. You can go through the full nomination list here.

Featured image credits/Bubblegumclub

ICYMI: READ OUR REACTIONS TO THE NOMINATIONS FOR THE 65TH GRAMMY AWARDS

Essentials: Krizbeatz’s EP ‘King of New Wave’ Offers Fascinating Melodies

Posted on by Uzoma Ihejirika

Following the overwhelming success of Tekno’s 2016 single “Pana,” which he produced, Krizbeatz cemented his place as one of the exciting music producers on the African continent. The following year, he released his debut album ‘Adm (Afro Dance Music),’ rallying an envious list of heavyweights such as Davido, Tekno, Yemi Alade, Mayorkun and Sauti Sol, among others. “In order to get global acceptance of my sound, I sort of created a new African music sub-genre called ‘Afro Dance Music.’ It’s the fusion of Afrobeats and Electronic Dance Music,” he told OkayAfrica.

In 2020, Krizbeatz put his sophomore project ‘African Time,’ which brimmed with stars the likes of Mr Eazi, Teni, Falz, Diamond Platnumz and many more. With a decade of experience in the music industry, Krizbeatz has orchestrated tunes for a wide range of artists, from Fave to BOJ to Bella Shmurda’s Omah Lay-assisted “Philo.” He has returned a new project titled ‘King of New Wave.’ Entirely produced by Krizbeatz, the six-track EP furthers his Pan-African sensibilities and musical mastery.

Embedded the project’s midsection is “King of New Wave (Interlude),” a spoken word track that states Krizbeatz’s intentions for the project. “Music transports my soul/It stretches deep and deeper/Through dark holes/Sometimes I get lost in it/Just to find myself again,” he begins with an introspective bent. Then he swings into boastful: “I am the sound/You hear me even when it’s dark/I got the wave/I’ll make sweet love to your ears that tingles your soul/I remain the king of new wave/I’ll adjust my crown/Follow me through my journey to newness.”

The EP opens with the brilliant “Abena” as Nigerian singer 1da Banton and Tanzanian singer Mbosso urge their love interests not to ignore their romantic outpourings. “Shey na crime to be your friend?/Tell what be my offence/You go soon turn me to psycho/Cause I done dey lose my mind oh/And I no fit to pretend,” 1da Banton sings. Krizbeatz’s production is intriguing factor in this tune; the guitar chords marry the horns and drums, resulting in a song with irresistible melodies.

On mid-tempo “Time & Place,” Nigerian acts Terri and Victony serenade their love interests with sweet words and promises of affection. “Girl, I go wait your body for days/No territory, go kolobe my base/No anybody go fit to hold your waist/No Teletubbies, me no come here to play,” Victony sings. Both singers with tender vocals, Terri and Victony succeed in Krizbeatz’s world of smooth-flowing instrumentals.

The tempo speeds up on “Wild Party” as Nigerian act Bella Shmurda and Tanzanian musician Rayvanny declare their interest in partying and having a good time. “We can turn up on a Friday/Chilling with Laide/Burning on the highway/Pass me the high grade/Make I feel high rate,” Bella Shmurda sings. Krizbeatz sets the track in Amapiano territory with the log drums setting the mood for happy times.

On “NFY (Not For You),” Krizbeatz calls on street pop adherents Jamopyper and Seyi Vibez to deliver a prayerful-cum-romantic cut. Jamopyper and Seyi Vibez show their good intentions for their lovers by declaring they won’t have any negative experiences on their watch. “Suffer gon (It’s not for you)/Wash and wear (It’s not for you)/RIP (It’s not for you),” Jamopyper sings.

It’s not an all-male affair on ‘King of New Wave.’ Nigerian acts Ladé and Raybekah take shots at their unserious suitors on “Time Waster.” It’s the track with the greatest emotional heft track on the EP. “Cause when I love, it’s for real/Sweet me tigaligali/And if you never ready to love me, let me know,” Ladé sings, showcasing her impressive vocal range. Raybekah adds her vocals to Ladé’s as both singers flit through Krizbeatz’s Amapiano-influenced production.

Overall, Krizbeatz’s ‘King of New Wave’ is an enjoyable sample of the music producer’s works, as he reminds listeners that he does not intend to slow down. His productions are getting better and tastier like fine wine.

Stream ‘King of New Wave’ here.

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Review: BlaqBonez’ ‘Young Preacher’

Blaqbonez’s interest in religious allegory isn’t going away anytime soon. After releasing his debut album ‘Sex Over Love’ in 2021, the artist underwent a promotional run which further explored the sex-crazed, hedonist themes of the album in the humorous style he’s so far mastered. His Lagos-held concert ‘Breaking The Yoke of Love’ was billed as an anti-love gathering, presenting Blaqbonez and his supporting cast as preachers disillusioned no longer by the fleeting promise of romantic affiliations.

 

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When the album’s run expectedly slowed during the year, Blaqbonez did not let off any steam and began oiling the wheels of his sophomore LP. Quite masterfully, the premise of a ‘Young Preacher’ was embedded already in the former’s narrative—through that concert, of course, but also stretching far back in time, to the image Blaqbonez has fashioned since embracing pop star ethos on ‘Bad Boy Blaq,’ the project which spawned his breakout hit “Mamiwota.” Of the new album, ingenious promotional tactics were similarly employed, including Blaqbonez’s intent to enter the all-round creator mode with self-directed visuals for “BACK IN UNI,” the JAE5-produced record.

Days before the song’s official premiere, the ever-developing artistry of Blaqbonez went on flagrant display. Steered by the sonic direction of the revered British-Ghanaian producer JAE5, his vocals swung with exhilarating confidence, pulling the cheeky admissions of Blaqbonez into the Afro Swing-tinged beat. It was heavily embedded within innuendo, relating stories of supposedly broken hearts with aphoristic one liners such as “Big bank takes little bank, it’s the law of the jungle” and “These streets no send your mental health, shey you no dey see am for internet?”

The direction was clearly charted. ‘Young Preacher’ unsurprisingly draws on these ideals, albeit with more eclectic sonic inspiration lining its seams. Curating the motions of youthful existence has long been a mission of Blaqbonez but in recent years, he’s leaned further into an identifiable Nigerian expression. Through his colourful use of contemporary language and local sounds, he’s cut an authentic figure of himself, bolstering the reasons why his latest album was anticipated with genuine buzz.

On The NATIVE’s first impressions, I noted how ‘Young Preacher’ displayed the twin prowess of Blaqbonez — his ability to rap his chest off while retaining a softer-hued edge, testing the limits of his singing by taking the chorus and hook of most songs. It’s a developing flair Blaqbonez proves to credible results, featuring accomplished African musicians and having them turn in just verses that never fully obscure his singular and precise vision. Barely two tracks into the project, he opens this bag of tricks. Bravado meets vulnerability on “YOUNG PREACHER,” the titular track which soars with sharp synths and a soulful sample. Offering insights on his familial upbringing (“If I have a kid, he’ll be a real ass nigga/ Cos Imma raise that nigga, I ain’t gon dip like my daddy”), Blaqbonez paints a riveting picture of why he is the man he is today, a sort of Drake-esque admission that would otherwise be viewed as a shortcoming, but is rather upheld among one’s life-changing periods. He gets candid about his strained relationship with his paternal figure in his life, while promising to break the cycle for his unborn kids, a sobering acknowledgement that speaks volumes to his artistic growth over the years.

In contrast to previous tapes, there’s a recognisable need for Blaqbonez to honestly present his ethos. Fictional verve would have been a highlight of his days as a battle MC, but as a pop star there’s an undeniable prospect for intimacy. Considering his rising profile, it wasn’t bound to be long before listeners began demanding stories close to his life, and ‘YOUNG PREACHER’ does considerably well in that regard. Following up on the opener, “HOT BOY” checks in another affecting lyric about his father in its second verse, but as the track goes on, even then the rapper can’t keep his eyes off the lust.

Indeed, these sharply-drawn vignettes take up the majority of the album’s subject matter. Several records attempt a definition of the kind of preacher Blaqbonez is: one who is immensely knowledgeable in the ways of women, who knows the temptations of intimacy but revels in the edginess of being a disappearing act. “FASHIONNOVA” captures that thrill well enough, starting off with the stirring imagery of someone calling Blaqbonez who’d been in Quilox with his guys some hours before, living off debauchery. The verse ends with a foreshadowing of his activity, supposedly being spent with a “girl with the greatest whine”. In the second verse, he’s in bed with a clingy girl and still tries to “preach” to her why he isn’t available. “All of my girls get love equally,” he says twice for emphasis, before the catchy hook sweeps away the tension with exhilarating lightness.

“BACK IN UNI” and “LOYALTY” flip different sides of the same coin, whil both serving to further extend the album’s arc. Where the former evokes Blaqbonez’s relative youth through its setting across Lekki and the halcyon days of university, the latter shapes up more pensively, again evading the intimate arms of those who seek to establish a deeper connection. However, both tracks share an apparent sensitivity, there’s an admission that Blaq sees the error of pursuing solely physical connections. Phrases such as “did her dirty” ring throughout both tracks, despite being reneged only three songs later, as Blaqbonez reiterates his inability to admit he wants his muse desperately because “if I did, if I told you that we gon end in a relationship.” What’s so bad about a relationship, the listener might at this point ask, but Blaqbonez doesn’t offer much by way of psychological evaluation. To get deeper into his mind then, one must assume that the stories possess risque natures and maintain narrative intensity—a punchy take on a hot button topic rather than an immersive dive into his own mind.

Even when his guests explore the softer plains of romantic coexistence, the vision of Blaqbonez is intense and unrelenting. “WHISTLE” begins with the sleek pen of Lojay detailing the feeling of missing someone. “Cause streets na cruise, so na your leash I choose,” he sings on the chorus, employing his svelte vocals to remarkable effect. It’s one of the highlights on this album, which is saying something considering one strongly Amaarae and Blaqbonez delivered on their verses. Tekno wields such influence on “ESS MAMA”—with the drum patterns reminiscent of his upbeat sound, Blaqbonez’s input can be summarised with the simplistic, humorous admission: “Me no get time to waste mama, me no want complicate mama/ If you get yansh make you shake mama.”

Completing a trio of Highlife-tinged records are “SHE LIKE IGBO” and “STAR LIFE.” The former takes the mode of an interlude which ends in a funny exchange with one of Blaqbonez’s women. Among the rare moments when the artist admits the shortcomings of his ways, the latter speaks on the thrills of celebrity and the gnawing feeling of loneliness. It’s perhaps nihilistic to think, but a holistic understanding of the world comes with understanding the fact no person’s happiness is complete—there’s almost always some aspect of their life that’s lean, and it’s a masterstroke of this album that Blaqbonez cues in that realisation.

There’s obviously a thematic thread running through ‘YOUNG PREACHER’ but the highs come mostly as a result of Blaqbonez’s pop-centric vision. He invites the expertise of producers such as Masterkraft, Chopstix, Jae 5, Blaise Beatz, Ozedikus and Telz, who are all recruited alongside prospective luminaries like BMH, Ramoni, 10Ten and Joffstar, to line similarly important records with their beatmaking prowess. The latter trio combine for the emotive closer “I’D BE WAITING” which samples Asa’s classic track “360,” providing Blaqbonez ample space to reminisce on his come-up. It’s a masterful effort, but it’s evoked impressively in different parts of the album: the titular opener flips Styl Plus’ “Runaway” while “LOYALTY” co-opts the oh-oh-oh melody in Paul Play’s “Forever.” Contrary to widespread belief, musical creativity does not emanate from thin air and the hallmark of some of the most creative artists lies in their ability to meticulously pull from a range of influences, while staying true to the hallmarks of their own artistry. With just over twenty years of existence, contemporary Afropop is still in its development stages, and it is continuously shedding its hip-hop parody look for a more rounded and fitting identity as a genre with distinctly African music influences. By sampling these classic R&B records on his new album, Blaqbonez sets himsel apart as a deliberate curator and shows that an increase in sampling will only strengthen Afropop’s identity, ensuring that the music is always rooted to its origins.

 

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Vocally, Blaqbonez is also very experiential as well. Blaqbonez’s artistic interests are wide-ranging and the album brings those qualities stirringly to the fore. On the Trap cut “FAKE NIKES,” his tonal measure contributes to the record’s late night appeal, and the feature choices of South African rapper Blxckie and Nigerian rapper Cheque, colouring even more eccentricity in their raised middle finger against the trappings of capitalism. The second part of “HOT BOY” and “WHISTLE” reveals that Blaqbonez has been listening to more Afroswing, his bouncy flow in the former quite reminiscent of J Hus. “FASHIONNOVA” and “STAR LIFE” adopts the trendy elements of crowd vocals and Amapiano-coloured sections, but even then Blaqbonez is unique with his approach. Featuring the accomplished singers Takura and Sauti Sol’s Bien, he continues in his great singing form, manipulating space to fit purposeful rhymes which espouse the record’s direction of desiring someone who isn’t with you in the moment.

For many listeners who followed Blaqbonez during his early days, it was obvious he’d always been a rare type of artist. Heavily convictive but open to self-development, Blaqbonez has continued to approach his craft with ears grounded on the ebbs of popular culture. It wasn’t always so, as he began with the usual battle MC route, dissing anyone and everyone in sight. But as he expressed in “No Longer Stupid,” a point came when he embraced that there was perhaps a better utilisation of his witty lyricism. From the sonic choices down to his language, he’s utilised projects like ‘Bad Boy Blaq’ and ‘Mr. Boombastic’ in exploring the best way to situate his eccentricity in the larger conversation of Afropop.

‘YOUNG PREACHER’ is unarguably the most cohesive of his projects yet, embodying a pristine musicianship which doesn’t underplay his skills as a rapper as much as it highlights them. Just as JAY-Z reckons he could sell water to a whale, on this album Blaqbonez could sell his preachings of no love to an unbeliever. He’s very convincing, and it does help that the music is great as well. It’s remarkable how far he’s come—here are thirteen songs which fittingly captures where Blaqbonez is right now, in 2022. It’s an enticing prospect to ponder on what subsequent years would sound like.

Stream ‘Young Preacher’ below.

Featured image credits/NATIVE

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

Featured image credits/

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.

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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.

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

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.

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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