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

Posted on by Nwanneamaka Igwe

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

11 CONCERT ATTENDANTS KILLED IN A STAMPEDE IN DR CONGO

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

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

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

LAGOS COMMERCIAL BUS DRIVERS COMMENCE 7 DAY STRIKE

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

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

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

PAKISTANI JOURNALIST KILLED BY KENYAN POLICE ON MISTAKEN IDENTITY

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

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

CAR BOMBS KILL 100 PEOPLE NEAR THE EDUCATION MINISTRY IN SOMALIA

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

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

Featured Image Credits/The New York Times

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

Posted on by Wonu Osikoya

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

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

GuiltyBeatz – “Little Bit” ft. Joey B

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

Lil Kesh – “Talk & Do”

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

Majeeed – “Stop Nonsense”

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

RnB Princess – “Perfect Girl” ft. MisterKay

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

Teffy – “Special Love”

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

Spy Shitta – “Migraine” 

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

Etienne – “RomCom” ft, Moyoswrld & Ictooicy

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

Featured Image Credits/NATIVE

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

Posted on by Wonu Osikoya

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

 

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

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

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

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

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

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

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

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

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

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

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

What were the major resources used in starting up?

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

How do your pieces come to life?

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

What has been your biggest challenge on this journey?

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

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

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

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

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

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

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

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

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

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

Has the vision for Wmnswear changed significantly over time? 

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

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

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

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

When is the new collection dropping? 

Elizabeth: The collection goes live on October 30th.

Featured Image Credits/NATIVE

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

Posted on by Emmanuel Esomnofu

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

 

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

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

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

 

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

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

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

 

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

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

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

uNder: Best New Artists (October, 2022)

Posted on by Damilola Animashaun

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

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

808vic

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

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

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

Uzoma Iherijika

Khanyisa

uNder

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

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

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

Nwanneamaka Igwe

Yimeeka

uNder

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

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

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

Nwanneamaka

ODUMODUBLVCK

uNder

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

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

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

Emmanuel Esomnofu

BAABA J

uNder

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

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

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

Emmanuel

Mr LU*

uNder

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

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

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

Tela Wangeci

4IAM

uNder

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

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

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

Tela

Featured image credits/

ICYMI: Read more about our September uNder album, YKB

Introducing The Blacklist West Africa, in partnership with Guap Mag

Posted on by Damilola Animashaun

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

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

 

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

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

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

Ayomide Dokunmu (@ayomidedokunmu)

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

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

Oluwatomisin Akinwunmi (@tomisin_akins)

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

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

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

 

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Benewaah Boateng

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

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

 

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Matthew Blaise (@matthew.blaise)

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

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

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

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

Nuits Balnéaires (@nuits_balneaires)

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

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

 

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Oyinkan Dada (@oyinkandada)

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

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

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

 

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Eniola Korty (@korty_eo)

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

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

 

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Iretidayo Zacchaeus (@iretizee99)

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

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

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

 

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Laila Johnson-Salami (@lailajohnsonsalami)

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

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

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

Daniel Obasi (@iamdianielobasi)

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

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

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

 

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Nora Awolowo (@noraawolowo)

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

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

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

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

 

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Joey Lit (@joey_lit)

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

 

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

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

Posted on by Emmanuel Esomnofu

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

 

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

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

 

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

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

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

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

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

Posted on by Damilola Animashaun

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

 

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

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

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

Best Song

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

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

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

Standout Production

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

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

Best Guest Verse

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

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

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

Biggest Skip

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

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

Daniel: None at the moment. 

Biggest Potential Hit

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

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

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

Overall First Impression

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

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

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

Featured Image Credits/The NATIVE

Blxckie Shares His New EP, ‘THE4MULA’

Posted on by Uzoma Ihejirika

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

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

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

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

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

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

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

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

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

Stream ‘THE4MULA’ below.

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

Posted on by Nwanneamaka Igwe

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

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

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

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

 

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

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

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

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

Featured Image Credits/NATIVE

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

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

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

Posted on by Emmanuel Esomnofu

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

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

PSYCHO YP – “STRONGER” FT. ZLATAN

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

YEMI ALADE – “BADDIE”

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

CRUEL SANTINO FT. LOLA – “OMOGE WA JO”

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

JOHNNY DRILLE – “JUMOKE”

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

CINA SOUL & CAMIDOH – “WAITING”

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

THE KAZEZ FT. OLADAPO – “STALLION”

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

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

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

PHYNO – “BBO (BAD BXTCHES ONLY)”

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

BLOODY CIVILIAN – “HOW TO KILL A MAN”

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

ROWLENE & WURLD – “ONLY”

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

NAKHANE – “DO YOU WELL” FT. PERFUME GENIUS

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

ROYAL EZENWA – “BALANCI”

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

SHINE TTW – “NO RELIGION”

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

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

Posted on by Dennis Ade Peter

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

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

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

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

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

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

NATIVE: Do you have a formal background in drawing?

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

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

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

What was the motivation behind that transition?

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

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

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

 

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What was your first music industry-related gig?

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

Is that how you connected with Kirani Ayat?

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

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

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

Were you able to sit with the music as well?

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

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

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

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

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

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

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

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

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

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

Posted on by Nwanneamaka Igwe

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

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

 

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

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

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

Featured Image Credits/NATIVE

A 1-Listen Review Of Bella Shmurda’s Debut Album ‘Hypertension’

Posted on by Uzoma Ihejirika

Bella Shmurda’s breakthrough came in 2019 with the Olamide-assisted remix of his single “Vision 2020.” The song captured an energy buoyed by the hunger to succeed and anger at a government’s failure to act to build a stable system for everyone to make it out of lack. A disciple of Nigeria’s street-pop scene, Bella poured his desires and aspirations into his well-received debut EP ‘High Tension.’ In one year, Bella Shmurda moved from a newbie to a promising star with an assemblage of impressive singles and guest appearances.

In 2021, he released ‘High Tension 2.0,’ the follow-up to his debut effort. The project marked a shift in Bella’s career; it bore the evidence of a change of fortunes: where ‘High Tension’ questioned the possibility of his dreams, ‘High Tension 2.0’ affirmed his new status while he worried about the pressures that came with his good fortunes. But Bella, while he struggled with label woes, kept his mind on the music.

A continuation of the electricity-themed projects, Bella has been teasing his debut album ‘Hypertension’ for a while. This is Bella’s way of saying he is operating at his highest form. He gave listeners a taste of the project with “New Born Fela” and the Omah Lay-featuring “Philo.” Now, the 15-track album ‘Hypertension’ is here. Time to give it a spin.

 

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“NEW BORN FELA”

Confession time: When “New Born Fela” initially dropped in August, I wasn’t feeling it. It was no fault of Bella but I just couldn’t connect with the direction I sensed Bella might be heading for the album.  Since then, I haven’t given it another listen. But listening to it now, it’s making sense. This is Bella’s manifesto; he is backing himself on the new journey he is embarking on. And I absolutely love the use of the saxophone on this.

“ASE”

A smooth transition from “New Born Fela.” The saxophone is still playing. Now, the rhythm has shifted to a drums-and-percussion-driven one. The saxophone still plays underneath the drums and percussion, though. This is a prayer-filled track from Bella to his loved ones and the listeners.

“CONTRABAND”

Sonically, this one has no flourishes. It moves away from the lavish instrumentation on the previous tracks. Bella moves from singing to a lover to kicking against bad energy from detractors. Mellow vibe but is still a good one.

“LOOSE IT (FEAT. SIMI)”

A mid-tempo romantic tune on ‘Hypertension.’ I love Bella’s flow at the tail end of his first verse where he uses the words “Baby flamingo,” “Nintendo,” “Telemundo,” “Ata rodo” and “Commando.” Simi does a good job with her verse. She and Bella are feeding off each other energy on this track.

“OH OH OH”

It is a Dancehall vibe. “Pass me the kpoli make I feel alright/Make nobody come stress me tonight,” Bella sings. Here, he is in a playful mode; this is just an easygoing track to vibe to. There is a saxophone solo in the middle of the song. So far, I appreciate the attention to production on this project.

“CONVERSE (FEAT. PHYNO)”

Instantly, the beat demands you to dance. Wait, what language is Bella singing? Igbo? LOL. Appreciate the effort but please don’t beat up the language if you can’t speak it well. Amid the jolly mode, Bella drops some introspection, singing, “Latеly/I’ve been on my toes I’m working (Daily)/Daily (Daily)/Many friends dem dey for jail (Jail).” It is a southeastern affair as Phyno adds his Igbo raps to the love tune; a great choice for this track, indeed.

“FIRE”

Interesting production from Jimohsoundz. This track has a Dancehall rhythm to it but traditional African drums are playing underneath the beat. Bella gives a list of exotic activities he and his love interest can partake in. But he still has time for his haters as he sings, “Thunder fire busy body, talking my matter busy body.” Again, shout out to Jimohsoundz. His production is a standout feature here.

“LAGOS CITY”

Groovy guitar chords, followed by the saxophone. I like the beat, another Jimohsoundz production. “Many people dey for Lagos/Many car wey no be Lexus/Many fish wey No be Titus,” Bella sings. This is his ode to Lagos.

“LEVEL UP”

The emotion in Bella’s singing recalls “Ginger Me” from ‘High Tension.’  Here, he is praying for elevation so he can provide a good life for his family. Bella shows that despite his star status, there is still more for him to achieve.

“PHILO (FEAT. OMAH LAY)”

My jam! This track got me hyped for ‘Hypertension.’ I never knew a collaboration between Bella Shmurda and Omah Lay would sound really good. Omah Lay is clearly in his ‘Boy Alone’ zone and he delivers a short yet excellent verse. Also, KrizBeatz’s production is a sonic delight.

“NAKUPENDA (FEAT. L.A.X., NOT3S & BACKROAD GEE)”

British artists Not3s and BackRoad Gee bring their distinct styles to this intercontinental collaboration. Together with the Nigerian artists Bella and L.A.X., they flow well on ATG’s bouncy beat. Not much lyrically, though. Just something to bob heads to.

“NO OTHER (FEAT. VICTONY)”

I like the beat already. Dancehall stuff happening here. Quite funny when Bella tells his lover he wants “no other girl just my mother.” A short verse from Victony but it adds colour to the track, and his vocals are so enjoyable. KrizBeatz does another magic with the instruments enmeshed into one another. Excellent song with great potential to be a hit.

“MAN OF THE YEAR”

The mood is solemn. The percussion and drums are mid-tempo. “Mother selling pikin and the father marry daughter/Just for the money and the boy kill hin papa/Little children hawking and the government buy the water/Fake life fake news, who dey talk the matter?” Bella sings. Philosophical Bella is back; reminds me of “World.”

“ADDICTED”

Do not let Magik’s bouncy production deceive you. There is a dark theme here. Bella sings about indulging in drugs, alcohol and wild lifestyles. “Maami I’m addicted,” he sings. There is no plea for restitution though. “Nonstop, it’s the life that we chose,” he adds.

“SO COLD (FEAT. POPCAAN)”

The oldest track on the album. It follows the vulnerability of “Addicted.” Bella and Popcaan sing about the harsh realities in their lives, in Nigeria and Jamaica respectively. They share the pains caused by ineffective governments and the desire to create a habitable space in these realities. “Ain’t givin’ up the fight ‘til it’s over, yeah,” Popcaan sings. The grind for a better life goes on.

FINAL THOUGHTS

‘Hypertension’ proves that Bella Shmurda has matured as an artist, most especially with the production. The instrumentation on most of the tracks is intricate and the producers do a good job of offering Bella a sonic template that matches his ambitions. They are the stars of this album.

Thematically, there is no cohesion here. It feels more like a playlist that Bella uses to display his skills as an artist. He moves from braggadocio to romance to vulnerability but the songs would have hit harder if a thread connected them. Bella’s last project that had that cohesion was ‘High Tension.’ I came off that project realising that I had just listened to the aches and joys of an artist hungry for success. Such a connection can’t be found on ‘Hypertension.’

Still, I’m impressed by Bella’s effort. Hopefully, with time and experience, he will deliver a classic album.

Listen to ‘Hypertension’ here.

Featured image credits/NATIVE

Songs Of The Day: New Music from Psycho YP, Zlatan, Candy Bleakz & 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 Bella Shmurda, Candy Bleakz, PsychoYP and more. Lock in!

Bella Shmurda – “No Other” ft. Victony

Street pop heavyweight, Bella Shmurda shares his 15-track debut album ‘Hypertension’ following the release of hit single “Philo” featuring Omah Lay. This counts as his first project since his 2021 release, ‘High Tension 2.0’ in collaboration with Dagbana Republik which features standout tracks like “Party Next Door” and “Far Away”. Closing out the new album is the Victony-assisted “No Other” which features rousing vocals on a mid-tempo melodious track. Produced by Krizbeatz, Bella serenades his love interest on the tuneful hook with lyrics such as “I only want you girl no other/No other girl just my mother.”

Mr Eazi – “Patek (Remix)” ft. Falz, Major league DJz and Dj Tarico

Just weeks ago, Mr Eazi released “Patek” and “Patek(Extended)”, enlisting Joey B and stellar production credits from DJ Tarico, more popularly known for “Yaba Buluku(remix)” featuring Burna Boy, Preck and Nelson Tivane. For the track’s remix, Mr Eazi brought on industry heavyweights, Falz and Major League DJz, elevating the track to new heights. The track which creates a perfect blend of Afropop and Amapiano while retaining the tracks enthralling instrumentals paired with a Falz’s witty lyricism. “Write to the rhythm and finish like shakespeare”, Falz sings as he reminds us of his masterful penmanship. 

Rema – “Dirty”

Clips of Rema on his ‘Raves and Roses’ tour have been making several rounds across social media platforms. Physically present or watching from the comfort of your bedroom, Rema’s star power and ability to connect with his audiences is undeniable. For his recent release, Rema takes us to the beach in the visuals for “Dirty” the third track of his debut album, ‘Raves and Roses’. The tracks sexual theme easily translates into its visuals, as Rema and his love interest don’t shy away from physical intimacy on this melodious number.

Candybleakz – “Dragon Anthem”

Fresh Meat (now known as uNder) alumni, Candy Bleakz is out with another track following the release of her 6 track EP, ‘Fire’ and a slew of singles including “Tinuku” and “No Pressure” assisted by Rexxie. On new single, “Dragon Anthem”, Candy Bleakz who often refers to herself as a dragon brings her usual fire energy to the empowering track. She sings empowering affirmations over the bouncy number with a befitting video where she’s surrounded by several beautiful women.

PsychoYP – “Stronger” ft. Zlatan

From BackRoad Gee’s “Under Attack(Africa Remix)” and “IC3” to his 2-track EP, ‘MIDLIFE CRISIS/WYDTM’ and a couple of singles, Abuja-based rapper PsychoYP has been stacking up a steady string of releases this year in his usual prolific manner. For his latest release, he enlists fellow Nigerian Rapper, Zlatan, to deliver his fierce flow on the track accompanied with his infamous adlibs. The pair go back and forth on the groovy, Amapiano infused beat, delivering hard-hitting bars about getting their shit popping.

Davolee & Zlatan – “West African Time”

Zlatan also features on new single, “West African Time” which enlists Nigerian singer-rapper, Davolee. This acts as a fellow up to tracks he dropped through the year including “Festival of Barz”, “Choose Your Hard” and “Bank Alert”. On “West African Time”, the duo deliver memorable lyrics to accompany the urgent and catchy beat.

Arkxd – “No Hook”

Arkxd is blazing a unique path with his trap bops. Slick metaphors and a gruff-inflected delivery are some of his standout qualities, and on new singlem “No Hook” he bares them for the world to see. This standout cut features on the artist’s latest project, ‘Failure Got Tired of Me’, and sounds cut from the lush perimeters of a Pop Smoke record. True to its title, Arkxd unfurls bar after bar, riding the production with graceful balance.

Featured Image Credits/NATIVE & Instagram:PsychoYP

For The Girls: Bellah Finds Strength In Vulnerability On New Album, ‘Adultsville’

Posted on by Uzoma Ihejirika

For British-Nigerian singer, Bellah, music has always been a big part of her life right from an early age. As a child, her mother put her in musical theatre and drama school. At 17, she attended a Beyoncé concert, which further strengthened her resolve to be an artist. After she performed Beyoncé’s “Flawless” at her school’s talent show, she was invited to perform the song at a local festival, and at the festival, she found a management team and began artist development, which lasted for five years. “I have always, always wanted to be a creative doing musical things,” she tells NATIVE. “If I wasn’t like an artist, I’d probably do West End [theatre] and be like an actor. If I wasn’t doing that, I’d probably be dancing. I always knew I wanted to be a performer in some aspect.”

 

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In 2019, the North London-born artist, whose real name is Isobel Akpobire, released her debut EP ‘Last Train Home.’ She followed it up with 2020’s ‘The Art of Conversation.’ Initially drawing inspiration from her earliest musical influences—Stevie Wonder, Luther Vandross, Brandy, ABBA, Lauryn Hill, Destiny’s Child and Norah Jones—she began to add more names as she grew older: Kehlani, SZA, Daniel Caesar and H.E.R. Her big break came last year with her performance on COLORS with the Afropop-influenced “Evil Eye,” which has racked one million views.

Afterwards, Bellah began work on her latest EP ‘Adultsville.’ Executive produced by Grammy-winning songwriter and music producer Ari PenSmith, the EP deviates from the Pop leanings of Bellah’s previous works and leans into her love for alt-R&B. The project is an introspective coming-of-age story of Bellah’s transition into adulthood and the personal and familial tensions that accompany that transition. It also explores body image, insecurities, and social pressures. “There are so many underlying issues when you listen to the songs that so many people will relate to. And I’m glad because someone had to talk about it,” Bellah says.

Following the release of her new project, ‘Adultsville,’ she speaks with NATIVE about her career, ‘Adultsville’ and her place in the UK’s music scene as a Black woman.

The interview which follow below have been slightly edited for clarity.

 

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NATIVE: How was growing up like for you?

BELLAH: It was just me and my mom. I’m an only child. My mom is a single mother and I have got sickle cell. So it was not weird; it was intense because it was just us, and obviously complications with having a child with an illness. It was up and down but the love I have received from my mom is second to none and I wouldn’t trade it for the world. Everyone would look at it like a series of unfortunate events but I’d change it for the world.

NATIVE: Did you listen to a lot of music growing up?

Yeah. So my mom grew up in London and went back to Nigeria and came back to London. My uncles were born in Nigeria and then they came to London. So when they came, obviously, they were young fly guys, and they were listening to all the latest R&B and Hip-Hop and all of that; that was always playing in the house when I was younger. MTV was always on. It was always part of the routine in the house. We used to have loads of parties. Growing up, I remember lots of barbecues, so I was in the mix.

NATIVE: Was there any point your mom wanted you to change direction?

Hundred per cent support always. She’s never suggested I do anything else and that’s because she saw how passionate I was about it. I wasn’t like, “Oh, yeah. I think I’m good at singing, maybe I should try it.” It was like, “I’m gonna sing and this is what’s gonna happen. Full stop. Done.” I [didn’t] have a backup plan. I dropped out of uni and pursued it. She’s been backing me 100% all the way.

NATIVE: How was the period of artist development like for you?

It was intense, I would say. It was challenging. It was all the feelings. I was excited because I was getting into new spaces, meeting new people: artists, producers [and] being in the recording studio for the first time. But obviously, you have to really look at the work you have to do, which is writing songs, learning how to write a song, even that is a lot of things. What else? It was just intense. Yeah, I’m really glad for artist development because my first song that I ever wrote and my last song…My first song will never see the light of day. But at the time, I thought, “Wow. Just [wrote] a song. Let me put it out right now.” Do you get what I mean? So I’m really glad [about] my development. I’m so happy, so I don’t go out there and embarrass myself.

NATIVE: What is your creation process?

I love to have conversations and I love to have good food. That’s all. Good food and conversations make the best songs. I always say that because the best songs to me are the most relatable ones. And so if I can make a song out of the conversation we just had, then I’m on the right track. So yes, that’s the process. When people are comfortable and ready to just share experiences, then yeah. That’s the best way for me to make a song.

NATIVE: Do you write your lyrics first or do you listen to the beat before writing?

I like to listen to the music first. I think I’m a melody-driven type of person. I’ll have a concept of the song I want to do but I have no lyrics yet, just thinking about what I wanna do. Then once I hear the beat that inspires me because we are a melody-driven society. People love to hear instruments. They love to hear [a] melody and so it’s just a bonus if you get amazing lyrics on top but yeah, I listen to the beat first.

NATIVE: Tell us about the moment leading up to the release of “Evil Eye” earlier this year on COLORS. What did that mean for you?

It’s crazy because I have always wanted to do a COLORS but I did think it was a distant achievement. So when I found out that was going to happen, I was so excited and I thought I was going to do it for one of the songs I had on my previous project, like an R&B song. I didn’t know they had heard “Evil Eye” and they were like, “Please come on the show and do ‘Evil Eye.’ We are begging you.” So yeah, leading up to it, I was excited but I didn’t know what was gonna happen. I was still wondering, “Wow, this is actually gonna happen.” And even when I did it, I hadn’t finished “Evil Eye” four days before the actual moment.

So I performed a brand new song. The same way it’s brand new to everybody is the same way it is brand new to me as well. Obviously, you do it and then a couple of months pass and then they tell you, “It’s coming out. Here’s the video.” Honestly, I didn’t know what was gonna happen. Then it came out and it did what it did. It opened so many doors for me, so many opportunities. I got into the rooms of so many amazing creatives after that. I’m grateful to COLORS. I’m grateful [for] that moment for helping me along in my career.

NATIVE: You’ve also been busy this year with live performances. How has it been returning to the stage and supporting Tems on her show?

Oh, it was incredible. When we were allowed to be out and perform again, I didn’t realise how much I missed performing, and opening for Tems was amazing. She’s an amazing talent. And her team is just so special. What they [Tems’ management] are doing is incredible and they recognise that what we are also doing is incredible and they wanted to align themselves with me and my brand, which I thought was a really incredible compliment. So yeah, doing those shows was fun, incredible and amazing. I can’t even say any more good words about Tems and her team.

NATIVE: How does ‘Adultsville’ differ from your other bodies of work?

It’s grown-up. It’s more mature, it’s more evolved. The R&B is really R&Bing. I just think it’s a really good body of work. It’s my best year, I would say and I say that because I took time and I focused. I had intentions for this project. The projects that I have put out before, not that they weren’t intentional but they had never been as intentional as this. And I enjoyed working on the body of work that was as intentional as this. [On] the American side of things, they are really picking up on it as well. That’s essentially what I want to be: an international artist. I feel like it’s a little bit of my crossover project. It was hard making this project because it’s vulnerable, it’s raw, it’s honest but I’m so glad that I did. And I’m so glad that we are here.

NATIVE: The EP focuses on daily issues we experience mainly as women, from loving someone to being in toxic love situations and finally finding the strength to leave. How were you able to channel all these raw emotions into ‘Adultsville’?

For me, I feel like music is my outlet. I don’t talk [a lot] in real life, I don’t actually say things to people in real life. So music is just, for me, the best way to express all the emotions that I feel, that I have ever felt. And so it’s easier for me to write an honest song than to write an honest conversation.

NATIVE: Why so?

I think difficult conversations are really awkward. So, when you are able to [make] your feelings concise without anyone interrupting you into a song in a digestible manner, you know. You’re listening to music, you are not going to get angry at a song, that’s weird, you know. Music is already emotional as well and so I think it intensifies what you are saying ten times. Sometimes, even conversation can’t really convey what it is that you are trying to say. I think songs, for me, are my favourite way to show emotion.

NATIVE: What does the EP’s title mean to you?

I wanted it to personify this weird time in my life…this transformative time. At the beginning of the project, I said, “I have just got evicted from my youth” because I genuinely feel like no one prepares you for really being an independent person. There’s no preparation in the world that’s good enough for this period. And so I wanted to just make that a place for people to exist in and that’s what ‘Adultsville’ is for me.

 

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NATIVE: Now that you have dropped the EP, do any of the records resonate with you more, in comparison to when you were recording them?

Yeah, the title track. Sometimes, I need to really sing “Evil Eye” when I’m scared, anxious or worried and just remember what I was saying about myself, about my situation. Every day, the song that relates to me the most changes, honestly, because every day is always something.

NATIVE: What was it like working with Ari PenSmith?

Ari is one of the greatest songwriters that have ever come out of this country. He just knows music, man. He knows ball. And not only does he know it, he loves it. He’s been in the game for a very long time and you can see he hasn’t lost his love for it. He’s in love with music, I think, more now [than] he ever has been. It’s amazing to work with someone who just loves music the way he does. It’s refreshing to see someone as inspired as him. Sometimes, he will call me at 2am, “Hey, I have got an idea for a song,” and I’m like “God. Do you not sleep? Are we not sleeping? Is this not what we do?” But honestly, he’s one of the greatest people I have ever worked with.

NATIVE: In some of your music videos and on the cover of ‘Adultsville,’ there are dark-streaked tears on your cheeks. Does that carry meaning?

Oh yeah, I was saying yesterday that you have to cry sometimes; crying about adulthood, being an adult, crying about where you are but I was like “Let’s make it pretty. Let’s make it fashion.” Depression but make it fashion.

NATIVE: Talking about fashion, what informs your fashion sense?

I really like being creative. I love pushing the bar and elevating [it]. I have an amazing stylist [and] we always try and be a little quirky, a little different. Obviously, we want to give pretty black girl at all times but we do wanna give fashion. We want to give avant-garde artist, especially in the UK, [because] we don’t really have a culture of pushing fashion or pushing the bar or being extravagant or being out there. So we try and do that ourselves.

NATIVE: How did your collaboration with Show Dem Camp come about?

Show Dem Camp is part of Tems’ management team. We met prior and I had a session with them and it was so fun. And just knew that the whole concept of wishing people well is funny to me because someone has to be lying here. You have been hurt, you have been crying, you have been down bad; sometimes, you don’t wish people well, you know. So people don’t wanna appear as [having] bad vibes but I’d rather you openly say that you are bad vibes than hide behind what you are trying to…I’d rather you be honest. And I think that’s where that song came from. It was a fun session.

NATIVE: Are there collaborations you are looking forward to?

Yeah, I want to work with so many people, so many R&B girls that I want to work with. There’s also so many Afrobeats women and men that I wanna work with; I just want to see what the future holds basically. I want to see who I come into contact with because I’m open to working with anyone that’s fire, just dope.

NATIVE: Are there any artists in Nigeria whose works you admire?

There’s this girl and I don’t think she has put out music yet but she’s called Firefly. She’s incredible; she’s got an incredible voice. I think Nonso Amadi is fire. Talent in Nigeria is just endless and boundless. They’re just incredible. So yeah, those are the two that off the top of my head that I’m really looking forward to seeing their journey.

NATIVE: Have you faced any particular hurdles to get to this point in your career?

I have experienced challenges. Me doing R&B in the UK is a challenge in itself; it’s hard, I’m basically making music in a market that doesn’t want to hear the music that I’m making. So it’s God that is getting me through all of this. I have to just deal with internal battles; obviously, the basic common ones: she is a dark skin girl trying do…So yeah, it’s all a lot. But again, there are obvious obstacles [and] because they are so obvious and so big, I can’t do anything about it, you know. So I just go, I just continue and see what I can do in the midst of the rubbish.

NATIVE: What are some of the lessons you’ve learnt about staying true to yourself in the industry?

Being authentically yourself is your golden ticket to anywhere. I think that encompasses everything. Obviously, don’t give up because you are closer to whatever breakthrough than you think you are. Honestly, it’s hard work but it’s the work that you asked for. I have come to realise that a lot of the things I have gone through, I have actually asked for it but I just didn’t know it was going to look like this. When you are younger and you are praying for something and God is giving it to you, and you are like “Ahn ahn. This is not what I was wanting. Thank you.” But you got exactly what you are getting, what you prayed for, it just looks a lot different or there was a lot of added stuff that you didn’t know about. So yeah, I think those are the lessons: being authentically yourself, not giving up and not being frightened or swayed by the obstacles that come with what you prayed for.

NATIVE: What is something you want to tell your listeners?

I love them and they should keep streaming ‘Adultsville.’ I’m gonna be releasing some fire shit next year and it’s gonna be fun. But they should continue streaming.

Stream ‘Adultsville’ below.

Featured image credits/NATIVE

ICYMI: ‘Blood & Water’ Returns To Netflix For A New Season

‘Blood and Water’ Returns to Netflix for a third season

Posted on by Nwanneamaka Igwe

After a whole year-long wait, the ultimate South African teen drama ‘Blood & Water’ is returning to our screen on November 25th. Set in South Africa, ‘Blood & Water’ follows Puleng Khumalo, a 16-year old girl who’s been living with the ghost of Phume, her older sister who’s been missing since birth. It’s a main plot that’s interesting, as it is rooted in Puleng’s somewhat newfound curiosity and several events from the past that keep on haunting the present, both of which form a formidable anchor as the show moves forward.

 

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Since the season one premier during the 2020 COVID-19 lockdown, Neflix’s ‘Blood and Water’ has captured the attention of audiences in South Africa and beyond with its gripping, suspenseful story and mysterious plot line. A combination of comedy, romance and mystery, the series follows the lives of high school kids from the perspective of Puleng, played by Ama Qamata, as she challenges the status quo and institutions standing in the way of her truth. The show tackles a number of issues prevalent in society including the child-kidnapping syndicate, drug deals, teacher-student relationships, competition, paternity tests and more.

‘Blood and Water‘ offers a refreshing take on drama productions emanating from the film industries in these parts. More often than not, young adults are marely used as an adjunct to the film, with major emphasis on the older characters. On ‘Blood & Water,’ the reverse is the case because the show gathers a cast of young South African actors, capturing the all familiar teenage angst without leaving out all the exciting drama and plot twists.

For its third season, we’re back at Parkhurst High in what promises to be an enthralling drama-filled plot. This new chapter features the original cast including Puleng played Ama Qamata, Fikile played by Khosi Ngema, Wendy played by Natasha Thahane, Karabo played Thabang Mobala and more. As gleaned from the recently released trailer, some new faces will also be added to the mix, stirring the never ending drama in Parkhurst High. Stay tuned.

Watch the official trailer of ‘Blood & Water’ below.


Featured Image Credits/NATIVE

Essentials: Iyanya’s New Album ‘The 6th Wave’ Reinforces His Star Power

Posted on by Uzoma Ihejirika

Throughout his career, Iyanya has had a fair share of successes and difficulties. After winning the inaugural season of MTN Project Fame West Africa in 2008 and putting out his R&B-leaning debut album ‘My Story’ the following year, he embraced his Afropop tendencies on his 2013 sophomore album ‘Desire,’ which spawned the hit records “Ur Waist,” “Kukere” and the Wizkid-featuring “Sexy Mama.”  At one point, he was something of a sex symbol with his steamy songs and chiselled physique.

A bitter split with Made Men Music Group’s CEO Ubi Franklin threatened to truncate Iyanya’s career but he held his ground, signing with Mavin Records and releasing ‘Signature’ EP in 2017. Iyanya and Ubi Franklin have resolved their differences and he is back with Made Men Music Group. Before that, he kept on releasing singles after singles and 2020’s ‘For Your Love’ EP.

Iyanya made an inspired comeback early this year with the Ayra Starr-assisted “Call.” Produced by 1da Banton, the mid-tempo number was evidence that Iyanya has one of the best vocals in the country. That evidence began clear months later when he released the Reward Beatz-produced “Like,” which featured Davido and Kizz Daniel. On his sixth body of work aptly titled ‘The 6th Wave,’ both “Call” and “Like” find a home on the eight-track offering with A&R work by Ubi Franklin and executive production by Iyanya.

On “Call,” Iyanya seeks forgiveness from a lover as he sings, “After I chop one, I take off/I don miss a good thing, na make up/That thing wey happen na set up/That thing wey lead to the break up/And if you don’t mind, let’s kiss and make up.” On her part, Ayra Starr takes on the role of the nagging partner who refuses to come to terms with her lover’s non-commitment. On “My Lady,” Iyanya has nothing but praise for his love interest as he expresses his commitment to her, singing, “I dey your bus stop/I no fit japa/You be my last card.”

Nigerian artist and music producer Shugavybz takes the larger portion of the production credit on ‘The 6th Wave.’ Out of the eight tracks, he produced four, leaving the rest for 1da Banton, Niphkeys, Yung Alpha and Reward Beatz. On “Sweet Argentina,” he fuses a Highlife rhythm for Iyanya and Ghanaian artist Kuami Eugene who shower praise on their sweethearts. He provides an infectious bounce on the 5ive Rings-featuring “Zone” as Iyanya goes full-on sensual. In his verse, the UK artist offers succour to a woman wounded in a past relationship. “Your ex nigga nah he ain’t fooling me/I don’t know how you dealt with his foolery/He never held you down and now you deeping it huh/I just brought to life the things he didn’t see in you huh,” he raps.

On the Niphkeys-produced “Scam,” Iyanya promise a lover not to take her affection for granted. In his verses, he employs humour and a reference to Oxlade’s “Ku Lo Sa” to paint his picture of commitment. On “Milla,” he and Yung Alpha, who produced the track, lament about the women in their life wanting only money from them. Yung Alpha’s Dancehall influences are on display from the production to his style of delivery.

The trio of Iyanya, Davido and Kizz Daniel shine on the up-tempo “Like.” Iyanya and Davido’s verses are enjoyable but it is Kizz Daniel’s chorus that burnishes the track. The “Buga” crooner shows his mastery of heartfelt ballads, since the days of “Mama” and most recently “Cough (Odo).” On “One Side,” the last pre-released track on the project, Iyanya brings sensual energy to the love tune. “Your body must to kill a man, I no mind to be one of them/Kolombi your body na im I wan do make my mind de rest (oh no)/E better make I de with you cos these olosho don dey cost/Baby turn around make I come on top,” he sings.

‘The 6th Wave’ is the beginning of a new phase for Iyanya. There is a freshness to his recent outputs, demonstrating a desire to return to the upper echelon of Nigerian music. With his beef with Ubi Franklin squashed, it is an exciting time for Iyanya’s fans. With this project, the singer proves that he hasn’t lost his magic touch and just needs the right push to return to where he belongs: on the charts and in the hearts of music lovers.

Stream ‘The 6th Wave’ below.

Featured image credits/Spotify

ICYMI: Victor Ekpuk is inspiring a generation of multi-visual artists

NATIVE Exclusive: Victor Ekpuk Is Inspiring A Generation of Multi-Visual Artists

Posted on by Emmanuel Esomnofu

Last Friday, the annual Design Week Lagos played host to Victor Ekpuk. The renowned multi-visual artist led a very interactive and immersive session, intimating the audience on his culture-inspired practices. Walking into the hall, one’s attention was quickly drawn to the pieces of Ekpuk displayed on the projector’s screen, epic and colourful, created with intricate Nsibidi expressions which were fashioned into the coherent theme, depending on how intimately one connects with its language. 

 

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In a career that spans three decades, Victor Ekpuk has gone from an alumni of Fine Art at the Obafemi Awolowo University into a global art figure. He has held several exhibitions—New York, Paris, Cuba, Senegal, etc.—and has been commissioned to create monumental pieces for prestigious organisations like The World Bank, the Memphis Brooks Museum, Arab Bank Corporation and many others. Ekpuk’s signature technique has also adorned re-issued copies of Chinua Achebe’s great works of fiction, including ‘Things Fall Apart’ and ‘Arrow of God’. 

In the aftermath of 2020’s global lockdowns, Victor Ekpuk expanded his mediums of expression, using digital art and VR presentations to reimagine his works. That was demonstrative of Ekpuk’s vision to link the past and the future—even though his descendant Ekpo society of Akwa-Ibom are custodians of the Nsibidi, his willingness to explore new terrain ensures that representations of the culture would always be kept alive, even far away from its origin in southern Nigeria. 

Following his presentation at Design Week Lagos, The NATIVE engaged Victor Ekpuk in an exclusive interview. His words which follow below have been edited for clarity. 

NATIVE: What were the roots for you in what you do presently?

VICTOR Ekpuk: I’ve always been an artist even before I could read and write. I’ve always known how to represent things around me; while my mates were playing football, I was busy drawing on the sand outside of my house. It was the only thing I was really good at, so it wasn’t no surprise to anybody that I’ll go to college to study Fine Art. My mother encouraged me to pursue it, when she saw that I had the talent. When I was in Primary 2, I won a division wide competition for Art. 

NATIVE: How did you start off professionally?

That should be when I left the University of Ife in 1989 or something like that. I started working at the Daily Times as a cartoonist and illustrator. If you go back to the newspaper’s archives, you will see my work. I believe that I am an artist, I can do all things. So I don’t set those limits for myself about what this is and what is that—I can draw and I can interpret others. That was another facet of my imagination which I engaged at the time, it was something that I enjoyed doing, it was my opportunity to talk back at the government of Nigeria and I did that everyday. 

NATIVE: When did you have a big break as an artist?

While I was working at the Daily Times, I also had a studio in my house. So I was painting; I’ll go to work at the Daily Times, I’d come back home and paint. I was showing in galleries in Lagos, and I was doing international exhibitions while that was going on. I guess the first time the Smithsonian National Museum of African American History and Culture was in 1998 or thereabout. 

NATIVE: What was the nineties art scene like? 

The art scene in the nineties was vibrant, but mostly expatriates were buying our works. But I’m happy to see now that Nigerians are also consuming their own culture and buying works from Nigerian artists. ‘Cos we were mostly selling to only oyibo expatriates; there weren’t a few galleries, but now the whole place is exploding with so much culture. We have Design Week, we have Fashion Week, we have ArtX. Lagos is becoming a really important centre and it’s encouraging a lot of young artists and designers to come out and have their work seen, which is really great. 

NATIVE: Your works are sometimes rooted in Afro-spiritual symbolism. What are your origins in this field and how do you interpret its vision?

From my culture—I investigate my own culture. I’m interested in the history and culture of my people. So I found [Nsibidi] to be a form that really informs my work in a way that it attracts ideas. That was a platform from which my own ideas kicked off. 

I see the yearning for people to go back to their cultural roots and be proud of it because for a long time, Westerners have always come and taken it. So it’s a good thing we’re focusing now, which was the point of my workshop today, to encourage young artists and young designers to look within what they have and be inspired by it. 

NATIVE: What do you consider the importance of Design Week in bringing art communities together, especially having figures like yourself who connect Nigerian art with happenings in the diaspora? 

I think it’s very important, because it is a program for which its time has come. In terms of encouraging young artists or bringing the awareness that there is culture we’re proud of, and bringing the awareness of using designers that are available to encourage them to create and people would begin to consume what is created here. Cos I’m seeing a lot of these designers that are showcasing here have their factories here in Nigeria but some Nigerians don’t know that, they think they always have to import from Turkey. 

I was reviewing some of the questions that were coming in, that there’s a difference between art and design. There’s a disconnect between that and what is really happening. For a long time we didn’t see ourselves as creators. But when you begin to let people know that, let them see the obvious that is right in front of them. That’s what we’re talking about. When you look at a mask, what do you see? Do you see design? Do you see an artist who was very creative to create this beautiful piece, or do you see something else? 

NATIVE: What is your opinion of the young undergraduates that were here today? What do you think they need to advance further in their creative careers? 

I think they need to attend more conferences and things like these, to be inspired. They need to read, pick up more on their reading actually because there’s a lot that is floating on the internet, so much knowledge, depends on what you’re looking and what you’re reading. The internet has liberated a lot of things, you don’t necessarily need to have [physical] books anymore. Okay, so, traditional designs or you want to see Yoruba stools, you’ll see so much. The young woman was asking me, ‘I’ve never seen Nsibidi’. Look at the internet. They need to have dialogues like this, with the other professionals who are doing things. I’m happy that I was here today to at least impart my own knowledge and leave the people do what they’ll like to do with it.

 

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Lagos Fashion Week returns with some of the best innovators in African fashion

Posted on by Nwanneamaka Igwe

Heineken Lagos Fashion Week is undoubtedly one of the most highly anticipated events in the social calendar. This week, the hot ticket event will reopen its doors to some of the most innovative designers in African fashion. For 11 years, LFW has shone a bright light on the best designers across the continent, and set them on the path for global success. This season, the theme of Collaboration, Co-creation and Community takes centre stage as the show commits to stirring up discussions about sustainability. 

This year’s iteration will be held across four days from the 26th of October up until Sunday the 30th at the Federal Palace Hotel in Victoria Island. Gracing the stage this will are contemporary fashion brands such as Tia Adeola, who recently debuted her 2023 Spring collection at New York Fashion Week to new designers such as LUL’LASTUDIO, older players such as Ugo Monye and cult brands such as Dye Lab.

The theme of sustainability in the fashion industry remains a core aspect of this years show with designers like HOUSE OF AKACHI, Olisa Kenya, Sahrzad Design, and many others presenting outstanding collections. Also set to showcase the wealth of talent across the African continent, SA collectives is slated to present a group of South African Designers including Thando Ntuli’s MUNKUS, Mzukisi Mbane’s Imprint and Ezekhetho by Mpumelelo Dhlamini.

Ahead of tomorrow’s kickoff event, we take a deeper dive into some of the designers set to grace the runaway throughout the week. From Tia Adeola to Kadiju, here’s what’s in store this fashion season.

TIA ADEOLA

Tia Adeola began her eponymous brand at 18 years old and already, she has staked up a talented roster of clients such as SZA, Cara Delevinge, Gigi Hadid and more, who have donned her renaissance-inspired designs. Earlier this year, she released a collection of renaissance inspired silhouettes with her signature ruffles and sheer fabrics, housing messages directed at the Special Anti-Robbery Squad (SARS). A poignant graphic on one of the slip dresses of the collection read “Sorrow. Tears. Blood”. With every passing collection, Tia Adeola continues to break the mould for her peers and generations to come.

 

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LUL’LA STUDIO

Fresh off Paris Fashion Week with their SS23 (LUL)LESSNESS collection, LUL’LASTUDIO is slated to showcase a new collection on the last day of fashion week. Founded by Lu Adesola in Lagos, Nigeria, LUL’LASTUDIO offers a fresh perspective on unique prints inspired by the designer’s cultural and artistic background. Barely a year since its inception, the brand has already established itself as a force to be reckoned with, and stands out for its use of international and locally sourced fabrics, including aso oke and other recognisable prints. 

 

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DYELAB

DYELAB is Lagos-based brand with the cult following to match. Fusing the ideals of extreme comfort and style with their versatile range of loungewear, the brand has been a go-to for many local buyers prioritising leisurewear. The brand’s popular agbada’s which are sold in various colours and prints have been donned by everyone from Teezee to Eniola Hu. DYELAB was founded by Rukky Ladoja and employs a variety of dyeing techniques to create a collection of products that provide practical and artisanal sensibilities. Besides their hand-dyed colourful kaftans, they collection also includes culottes, totebags, jumpsuits and much more.

 

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KADIJU

Kadiju is a womenswear clothing brand in Lagos, pushing out ready-to-wear designs through deliberate and conscious production techniques. Founded by Oyindamola Aleshinloye, Kadiju marries complexity and sophistication with their brightly coloured fabrics and voluminous silhouettes. The brand’s maximalist works are driven by its desire to redefine ideas of sartorial beauty for African women.

 

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HOUSE OF AKACHI

Just last year, AKACHI was established by Nigerian-American designer Nneji Akunne as a fashion house dealing with a variety of leather goods, accessories, clothing and perfumes. The brands ethos centres around meticulously hand crafted pieces, sourced from vintage and recyclable fabrics, in an attempt to reduce textile waste in our environment. The brand also creates a nexus between core traditional values and new technologies to produce one of a kind pieces in limited quantities.

 

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MUNKUS

MUNKUS is a South African luxury brand showcasing this year as part of the SA Collectives. Through distinct prints, patterns and colours, the brand tells a story that is unique for each wearer and channels a youthful experience fit for any occasion. Rooted in novelty and quality, MUNKUS aims to remind its wearer of their roots and connect them to their humble beginnings with a series of classic silhouettes inspired by South African fashion in the late 80’s and 90’s.

 

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Featured Image Credits/NATIVE

What’s Going On: President Buhari’s 90-Day Flooding Plan, Kampala’s Surge In Ebola Cases & More

Posted on by Emmanuel Esomnofu

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

NIGERIA’S PRESIDENT BUHARI GIVES MINISTER 90 DAYS TO PRODUCE FLOOD PREVENTION PLAN

Since June, several states in Nigeria have suffered heavy flooding, leading to massive loss of lives and properties. Although the Nigerian government has been slow to act against the heavy torrent, social media and other news platforms have regularly carried these swathes of unfortunate events, partly caused by heavy rainfall and the overflowing of the Lagbo dam from the neighbouring country of Cameroon. 

Across the country, more than thirty states have experienced varying degrees of flood leading many to question the dedication of the present administration in regards to safeguarding its citizens, especially as environmental bodies had warned earlier in the year of severe rainfall throughout 2022. In a very late response, the President Muhammadu Buhari has directed the Minister of Water Resources Suleiman Adamu to lead the Ministries of Environment and Transportation in developing a Comprehensive Plan of Action within ninety days. 

This comes after the President’s vague order for governmental agencies dealing with the flood in Bayelsa, which is the most severely affected state in the country after 700,000 people have been displaced in over 300 communities. Corporate bodies and individuals have donated relief to the state, while residents continue to call on the President to personally visit these places to assess the situation.

Recently, on Monday, the Lagos State government issued new updates on the flood warnings to all waterfront residents of highbrow Ikoyi, Victoria Island, Lekki and coastal areas of Epe and Badagry to be wary of backflow due to high tide in the Lagos Lagoon. Tunji Bello, the State Commissioner for the Environment and Water Resources, also shared that the earlier flood advisory issued by the State to the effect that all those on the banks of Ogun River, particularly residents of Ketu, Alapere, Agric, Owode Onirin, Ajegunle, Alagbole, Kara, Isheri Olowora, Araromi, Otun Orisha community, Agiliti, Maidan, Mile 12, Odo Ogun, Owode Elede, Agboyi I, Agboyi II, Agboyi II and Agboyi III remain vigilant at this period.

NINE DEAD AS ISLAMISTS ATTACK SOMALIAN HOTEL

Over fifty people were affected in a devastating attack by islamist terrorism group Al-Shabaab. According to reports the attack on the Somalian hotel started around 12:45 local time and lasted close to six hours after three attackers inside the hotel were shot dead by Jubaland state security forces. Nine people were confirmed dead and 47 injured, including students who were leaving a nearby school at the time of attack. 

The hotel attack was the Shebab’s latest in a few months, after previously hitting the capital Mogadishu and central Somalia. It was carried out by four men including a suicide bomber: he had arrived at the hotel in a car which he blew himself in, before three gunmen proceeded into the building. Al-Shabaab has claimed responsibility for the attack, saying they were targeting a hotel where members of the administration gathered. 

President Hassan Sheikh Mohamoud has declared an all-out war against the group, who have intensified their operations in the country in recent months. That was the guarantee in late August when a 30-hour attack on a hotel left at least 21 people dead and 117 injured. The President called for residents to stay away from areas controlled by Islamists as the security forces and local militias launch operations in the centre of the country. Some areas were reclaimed as a result, but overall the situation is very bleak. Somalia is also threatened by a looming famine, caused by the worst drought the country has seen in forty years. 

REPORTED RISE IN KAMPALA’S EBOLA CASES 

Health authorities in Uganda have announced that at least 15 people had contacted the Ebola virus in the capital, Kampala. The capital is now the sixth district in the country to confirm the virus’ presence, after the district of Mubende first identified an outbreak. 

Residents have bemoaned the outbreak, quite scared for what the future holds. It’s especially tough on health workers who must respond quickly and professionally to suspected cases, while there’s a possibility of lockdowns to prevent further outbreak. With the Covid-19 pandemic still a present worry, Uganda fully resumed regular social and professional activities not long ago. Obviously it’s a terrible situation for the economy, with many countries around the world still finding their feet. 

The good news for Uganda is that they’ve handled previous similar cases brilliantly. Strict measures taken during the pandemic averted a high rate of casualties. “With the experience we have had as Uganda in managing Ebola outbreaks, we have put on all that it takes including restricted movements in the epicentre to ensure that this current outbreak is controlled,” said Emmanuel Ainebyoona, the senior communications officer at the Ugandan Ministry of Health. “The cases we are seeing for instance here in Kampala are listed contacts to cases confirmed in Kassanda and Mubende so that shows that we are on top of [the situation]”. 

LAGOS BUS DRIVERS THREATEN BOYCOTT OVER EXTORTIONS 

A boycott of roads has been threatened by drivers in Lagos state. Their statement was made through the registered Joint Drivers Welfare Association of Nigeria. Across the state, complaints of extortion and harassment of drivers by motor park employees and garage management have led JDWAN to call for seven days mass protest and total boycott, starting from October 31, 2022. 

The association asked the government to intervene, mentioning the areas of alleged extortions: Agric Bus Stop, Badagry, Ikorodu, Ikeja, Mile 2, Seme, and many parts of the state, saying they paid as high as N5000 and N7100 at some places. JDWAN’s National Leader, Chairman, Secretary and Assistant Secretary; Akintade Abiodun, Opeyemi Suleiman, Ajimatanarareje Feyisayo, and Taofeek Hassan respectively, signed the statement letter made available to PUNCH Nigeria. 

“On a daily basis,” part of the statement read, “we lose half our income to motor park boys; we pay exorbitant charges in the garages and at every bus stop where we drop off passengers; whether we pick up passengers or not, we pay morning, afternoon and night. Some routes have 25 bus stops which also serve as illegal tax collection avenues”. The statement also listed a number of demands, and in the case where they aren’t met, “will attract more protest and total boycott. JDWAN is resolute in pursuing justice by all legitimate and peaceful means available”. 

Featured image credits/CNN