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. 

 

View this post on Instagram

 

A post shared by EMPIRE (@empire)

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. 

 

View this post on Instagram

 

A post shared by Wande Coal (@wandecoal)

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. 

Featured image credits/

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.

 

View this post on Instagram

 

A post shared by Emeka The Stallion 🐎 (@blaqbonez)

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.

Featured image credits/

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”. 

 

View this post on Instagram

 

A post shared by BIG WIZ🦅 (@wizkidayo)

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.

 

View this post on Instagram

 

A post shared by ANDAM ™ (@jesse_hova)

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’

 

View this post on Instagram

 

A post shared by badgalriri (@badgalriri)

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.

 

View this post on Instagram

 

A post shared by Yxng alhaji💐 (@bella_shmurda)

“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.”

 

View this post on Instagram

 

A post shared by Bellah (@ibebellah)

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.

 

View this post on Instagram

 

A post shared by Bellah (@ibebellah)

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.

 

View this post on Instagram

 

A post shared by Bellah (@ibebellah)

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.

 

View this post on Instagram

 

A post shared by Netflix South Africa (@netflixsa)

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. 

 

View this post on Instagram

 

A post shared by Victor Ekpuk (@victorekpuk)

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.

 

View this post on Instagram

 

A post shared by Victor Ekpuk (@victorekpuk)

Featured image credits/NATIVE 

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.

 

View this post on Instagram

 

A post shared by Tia Adeola (@tiaadeola)

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. 

 

View this post on Instagram

 

A post shared by LUL’LASTUDIO (@lullastudio)

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.

 

View this post on Instagram

 

A post shared by DYELAB (@dye_lab)

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.

 

View this post on Instagram

 

A post shared by KADIJU (@kadijuofficial)

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.

 

View this post on Instagram

 

A post shared by House of AKACHI (@houseofakachi)

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.

 

View this post on Instagram

 

A post shared by MUNKUS™ (@munkus_)

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

TurnTable Top 100: Kizz Daniel & EMPIRE’s “Cough (ODO)” debuts at No.1

Posted on by Tela Wangeci

Kizz Daniel has done it again. Following the release of his record-breaking “Buga (Lo Lo Lo)” earlier this year, the EMPIRE artist has now released new single “Cough (Odo)” which debuts at No.1 on the TurnTable Top 100 this week. “Cough (Odo)” garnered 10.5 million streams and 70.2 million on radio plays, holding the largest streaming week tally in Nigeria in a week.

It usurps the previous record held by Asake’s “Terminator” which tallied 6.83 million streams and 55.9 million in radio reach in its debut week. “Cough Odo” makes history as the second song ever to debut at No. 1 on every available platform in Nigeria and also the first song without the mention of its title in the lyrics. 

After three weeks of reigning the charts, Ayra Starr’s “Rush” slides to No.2 following the release of the deluxe edition of ’19 & Dangerous,’ her 2021 debut album. Young Jonn’s “Xtra Cool” retains its No.3 for the second week after the release of his album ‘Love Isn’t Enough Vol 2’. Following closely at No.4 is Asake’s “Joha” which drops down from its previously held two-week dominance at No.2. 

Ahead of ‘Young Preacher’ release, Blaqbonez & JAE5’s “Back in Uni”  takes a significant leap from No.10 to No.5 with 46.3 million in radio play. “Back To Uni” is JAE5’s top charting song in Nigeria as an artist and second charting as a producer after “It’s Plenty” which peaked at No.3. Elsewhere on the charts, “Electricity” by Pheelz and Davido moves down to No.6 this week.

It is followed by Asake’s “Terminator” at No. 7 and Bella Shmurda and Omah Lay’s “Philo” retains its No.8 postion. The song might make an unexpected comeback ahead of the release of Bella Shmurda’s project ‘Hypertension’ tomorrow.  Asake’s “Organise” drops to No.9 this week and is followed by previous chart topper, “Bandana” by Fireboy DML and Asake at No.10. Outside the top ten, Johnny Drille’s “How Are You (My Friend)” debuts at No.33 and T.I Blaze’s “LOCK UP” debuts at No.42 on the charts this week.

You can read the full breakdown of the charts here

Why R&B Deserves More Recognition In Nigerian Pop Conversations

Posted on by Emmanuel Esomnofu

The tree of African-birthed music has many offshoot branches, of which R&B is one of the strongest. As an art form, it’s also perhaps the most underrated among genres created by Black people—wielding neither the sonic flamboyance of Jazz or the lyrical ingenuity of Rap, the rhythm and blues is true to the natural zeal to sing one’s joys and pains into existence. A miracle of popular music, R&B’s embodiment of vocal strength and melodies as a portal to great emotions have been channelled and tweaked over the decades, and Nigeria hasn’t been missing from this conversation. 

Over the past three years, there’s been a consistent movement of R&B-influenced acts into the centre of the country’s mainstream pop scene. To chart that progression would necessarily summon the history of our music, but this is the truth: R&B has long resided in the shimmering glare of mainstream attention, but very sparingly has its notable practitioners been spread across eras. Presently, there’s a lot more musicians audibly influenced by the sensibilities of the genre, even though the focus on “Afrobeats” have led to some obscuring of their skillset and the musical roots that informs them.

 

View this post on Instagram

 

A post shared by Fireboy DML (@fireboydml)

Just as Western Hip-Hop/Rap spurned imitations from early pioneers of the Afropop genre, so also did R&B influence an entire generation of hitmakers from 2Baba who endlessly shared his affection for women to soul-singer Asa to P-Square, Chidinma, Omawunmi, Simi, Flavour, Praiz, Nonso Amadi and many more. Perhaps the biggest primer for R&B’s re-entry into cultural dominance can be traced to YBNL/Empire’s Fireboy DML. Though many listeners got to know him from “Jealous,” the groundwork for the record’s success was accumulated during the YBNL Compilation tape. Before the pandemic came into sight, before the sound of Nigerian pop slowed considerably, Olamide was strengthening the foundations of his house. The compilation project was the first he’d put together as a label, and the space afforded to Fireboy DML proved that he heard something in his artistry. 

Anyone who heard that project could bear witness to that something. From the impeccably-sung notes of “Fire Down” to the sombre reflections in “I’ll Be Fine” and “Finally,” a riveting duet with Temmie Ovwasa, the youngster clearly had the structures of tradition going for him. He became a quintessential old soul in the style of Leon Bridges, connecting the experiences of his generation to the sounds of his foundational years. He tried to etch that awareness into his chosen descriptor, referring to his music as Afro Life which—even though it technically isn’t a genre—has the sort of quirky balance you’d expect from a musician who reveals himself as moulded by the sensibilities of an earlier time. 

Those qualities emerged wholly in ‘Laughter, Tears & Goosebumps’, an album that’s largely referred to as classic. If Nigerian pop thrives off hyper-masculinity and the sexualisation of women, the ethos of R&B prefers a less-brazen and more respectful path to highs of a sensual nature. “Need You” was expository of the album’s sensitivity, constructed on warm guitar notes which paved the way for honest, lamba-streaked appraisals of his love interest. The rest of the album runs on that gamut, only colouring the production with more pomp which spawned hit records “Vibration” and “Scatter”. 

As initial buzz around ‘LTG’ progressed, it was the slow burning R&B records which took the centre stage. “Energy” and “Like I Do” were particularly invigorating, especially the latter which was produced by P Priime and features among the artist’s most exhilarating performances. Cooing, ad libbing, and really singing, it was reminiscent of Styl Plus’ prime years, a golden era in the sprawling field of  Nigerian music.

In the years since Fireboy DML has diversified his output, releasing the eclectic, disco-influenced ‘Apollo’ and ‘Playboy,’ his most conventionally pop album. Other artists however carry the same ethos into their music—the pandemic was perhaps influential in that boom, but throughout that year and afterwards there’s been a recognition of one’s softer parts, especially in subjects of romance. Unlike Fireboy DML however, some of these musicians embrace a post-R&B sensibility—theirs are suffused in external influences, with the production often setting the mood as opposed to singing the emotions into existence. 

An important figure in that conversation is melvitto, whose 2019 project ‘The Night Is Young’ showcased his ability to craft eccentric beats attuned to the R&B sensibilities of his guests. Gabzy and Oxlade were standout performers, shedding layers of intimacy on “In Fact” and “Wait For You” respectively. They have both worked with the producer afterwards, especially Gabzy who embodies the experimentation the genre has found in the hands of musicians who operate just outside the glimmer of popular music. Yinka Bernie, WhoIsAkin, to an extent Odunsi (The Engine), Tay Iwar, Ric Hassani, Majesty Lynn, Ria Sean and Azanti all have enviable projects between themselves, using their experiences of masculinity and heterosexual romance to express poignant emotions. 

Hassani’s “Thunder Fire You” was an internet sensation at some point—many thought its mix of harsh language and tender singing was funny, but that was really demonstrative of Nigerian-esque stories and how beautifully R&B carried them. “2:25” was an important part of Whoisakin’s ‘Full Moon Weekends,’ relaying bad boy lyrics with a cool tenderness, and in the second verse he actually sings, “2000 R&B typa love is what I want”. Bernie’s ‘Something New’ is emotionally charged with images of mental awareness, while Tay’s ascension to the zenith of pop spaces has been hinged on his mastery of the genre, an ability to relate timeless tension with unparalleled ease and complexity.

Similarly, African women are tapping into a modern take on the R&B coming out of Nigeria. The trio of Tems, Ayra Starr and Fave all lean towards R&B, even though they’re like Fireboy DML in that colourful pop-esque beats have been purposefully employed in their oeuvre as well. Their deep cuts are often tied to their purist selves however, with records like “Higher”, “Beggie Beggie” and “N.B.U” demonstrating that quality. Like their male counterparts, details of troubled romance are etched into the records but with an even more powerful edge of their own agency. 

Outside the popular names, there’s a bevvy of women musicians who are stylishly wielding the fizzy allure of R&B as well. Too many to mention all, the figures of Tomi Agape, Joyce Olong, Ria Sean, Tomi Owo, Olayinka Ehi and Falana have captured stirringly the realities and imagination of women with an acquired cosmopolitan taste, presenting their lifestyles as only normal and not an archetypal representation of Nollywood’s city lady—those who, having come from rural backgrounds, quickly get exposed to the intricate, sensual details of urban life and lose their morals along the way. 

The R&B buzz has entered the radar of even legacy artists like Tiwa Savage and Simi who have released stripped, soul-baring projects in recent times. ‘To Be Honest’ was the latter’s immersion into the vulnerable, witty direction her seminal ‘Simisola’ embarked on. Simi’s childbirth was then in the recent past, and from its experience the famed songwriter cut stories with a personal edge, exploring responsibility, celebrity, friendship and similar fields of interest. On the other hand, ‘Water & Garri’ had an authentic core which placed the five-song EP within year-best conversations. “Work Fada” took ominous, soulful chants reminiscent of orisha worshippers into a treatise on productivity and the demands of capitalism, while Tay Iwar and American R&B icon Brandy respectively coloured “Special Kinda” and “Somebody’s Son” with their trademark flourishes. 

While the folksy duet with Nigeria’s alt-pop prince is my personal favourite off the tape, the Brandy collaboration is unarguably the more transcendental hit record. And like some of Ms. Savage’s finest hits, it connects a vibe that’s unapologetically international (read: R&B inspired) with sunny Afro-inspired rhythms and her vibrant fusion of English and its Nigerian Pidgin equivalent. 

In recent times, there’s been a conversation about the standing of R&B globally. Especially in the US, observers have pointed out that the genre isn’t influencing and dominating popular music as it once did. Following the continued ascension of the pop scenes across Latin America, Korea and Africa, the 1940s-birthed R&B is possibly the oldest genre still circulating the perimeters of popular fandom. 

Afropop’s recent embracing of its R&B roots speaks rather to an increasing demand for specificity—in truer terms, R&B has always resided here. Sharing the Black American affiliation with Gospel, it’s been a sonic touchstone for as long as would-be musicians began engaging with church singing programs. Nigeria’s relationship with the genre is especially poignant, stretching to the country’s mass cultural importation which began in the nineties. On TV’s, radio, and public events, the choice music was either Hip-Hop or R&B. However, the younger generation and the artists gravitated towards Rap while older generations, more conservative in their outlook, embraced the smooth swag of R&B.

By the 2000’s, R&B was arguably one of the most played genre in the country. Titans had emerged everywhere: 2Face, even though with more amorphous influences, had the genre as a major tool in his arsenal; his fellow ex-Plantashun Boy Faze displayed masterful artistry on his sophomore ‘Independent’; the ever-thrilling Styl Plus delivered classic records like “Olufunmi” and “Imagine That”. The new decade also saw the formation and dominance of Kush, the iconic women-led group whose accomplished R&B sound was striking on their classic album ‘The Experience,’ paired with effervescent writing which leaned on gospel themes. 

You also have to recognise P-Square, for being pioneers who made R&B sound grand without losing its emotional resonance. From “Omoge Mi“ to “Am I Still That Special Man,” the duo’s lyrical  sensitivity was barely hidden. Another purposeful deployment came on Paul Play’s “Angel Of My Life,” which soundtracked the semi-righteous mode of Nigerian romance at that point in the 2000s. That’s the terrain Flavour and Chike often vaunt into, folding the sweet-talking techniques of Highlife into bluesy and evocative records—“Gollibe” and “Hard To Find” are highlights of this sub-category. Elsewhere, across the country’s north and southern parts the likes of Bez Idakula and Johnny Drille infuse a folkloric edge to their Western-styled sonics, and as such their records might sometimes be classified as R&B as much as Rock, owing to the deeply layered fusion it possesses.

In the mid 2010’s, Darey Art Alade and Banky W were cleanly-cut purveyors of the sound, offering distinct versions of R&B but with unmistakable reliance on their vocal strengths. While the latter stayed largely purist, the Empire Mates Entertainment co-founder had eyes keenly fixed on expanding his reach as a pop star. 

Somewhere in their middle, you’ll find Wande Coal—the highly revered musician who’s an inspiration for many names in this piece. From Firebo DMLy to Tay, a mention of Wande’s influence has never been far away. What was this Black Diamond cut from? That was the question of everyone as he ripped maximalist beats with the same ease with which he flowed over slow production, inventing melodies from an ethereal stratosphere only he had access to. His vocals were very accomplished in the R&B style, yes, but Wande’s versatility was enviable even among the biggest figures associated with the genre. Who else could deliver “Who Born The Maga” and “Ololufe” in the same album?

Oxlade is the most obvious progeny of Wande Coal, and he hasn’t been impatient to play down the influence. From vocal techniques to Yoruba-stewed songwriting, the musician represents the shining light of R&B on the Nigerian mainstream. It took mere seconds on his debut project ‘Oxygene’ for him to demonstrate his affiliations (“O2”) and later on, toeing the vulnerably hurt path with “WEAKNESS”. Many are of the opinion the musician needs to expressively explore his R&B roots on a project, but he’s continued however to impress with succinct projects and singles. “KU LO SA” has been one of the year’s biggest releases, taking off on TikTok while Usher recently brought Oxlade out at the Global Citizen Festival which was held recently in Accra. Considering how often the dance-ready songs of P-Square were compared to Usher, it bears on the position of Afropop today that he’s bringing Oxlade to his stage and dancing the routine with him. 

Also deserving of R&B platitudes is Chike, whose execution plays more to melancholy and theatric constructions. He’s a famed storyteller, using his duo of critically-acclaimed albums ‘Boo of the Booless’ and ‘The Brother’s Keeper’ to peruse love and its potential for catharsis, pain, and eventual destruction. On the 2022-released album, records like “Enough” and “Nothing Less, Nothing More” were suffused with great emotional depth carried by Chike’s powerful singing. Sparse touches of percussion and sombre piano notes formed a thin layer of sound underneath his vocals, which was strikingly reminiscent of the practices of the singing talent shows he passed through on his way to pop superstardom. 

In the aftermath of Afropop’s boom in global markets, R&B offers the scene a way to diversify their positioning. Rather than colour everyone with mainstream connections, the deliberate invocation of the genre can point an essential finger to the ebbs of musical history across several African countries. No two countries interpret R&B the same way, because the modes of daily lifestyle audibly influences the music that’s being created. And while ‘blues’ might be evoked with a strong note, it takes far more immersion to strike the appropriate rhythm. 

Experimentation has however been in full bloom, with artists embodying the post-R&B ethos championed by Canadian musicians like Drake and Bryson Tiller. The poignant records of Nonso Amadi is created from this perspective which deftly shifts between R&B and ambient music and Rap. Listen to records like “Do Not Disturb”  and “temptations,” you’ll see Omah Lay falls under this category while CKay’s “you” also encapsulates the breezy potentials of R&B when paired with the raw energy of Amapiano drum patterns. 

All this points to the vivacity and ever-expanding relevance of R&B. Whether it’s eventually recognised by the creators for its utility and candour remains to be seen, but there’s no doubt R&B has deftly reclaimed its influence close to the centre of mainstream Afropop. From 2019 till now, fewer genres have been consistently adapted while remaining timelessly potent. If you aren’t convinced of that status, a closer listen to the newly-released songs should sufficiently convince you because R&B is alive and well. 

Featured image credits/NATIVE

ICYMI: Burna Boy, Naira Marley & the case for national identity

Lebo Mathosa’s legacy receives a fitting addition with remix EP, ‘Forever’

Posted on by Dennis Ade Peter

To describe the legacy of South African singer Lebo Mathosa as iconic is well beyond fitting. In just over a decade of activity, from the mid-90s to the mid-2000s, Mathosa went from being an integral part of the seminal, highly revered Kwaito-fusion group Boom Shaka, to emerging as a bonafide, boundary-pushing solo superstar. At the time of her passing in 2006, at just age 29, Lebo Mathosa was easily one of the most celebrated artists in the contemporary landscape of South African music, lauded for her artistry and discussed for her outwardly assured persona and occasional antics.

In the years since her passing, the life and legacy of Lebo Mathosa continues to be honoured with reverence and nuance, which is not often the case for many iconic artists. It speaks to the singer’s undying influence and the incredibly remarkable life she led. In 2019, BET aired ‘Dream: The Lebo Mathosa Story’, a biopic series portraying Mathosa’s trajectory as a solo act and the complexities that made her who she was. That same year, there was ‘Incomplete Without’, the third posthumous compilation project featuring some of the best and greatest songs from her wondrous, solo three-album run.

Announced earlier this year, the singer’s fourth posthumous project, ‘Forever’, was released last Friday. Unlike its predecessors, this new project predominantly includes remixes to arguably the three biggest Lebo Mathosa songs—“Au Dede” and “I Love Music” off 2004’s ‘Drama Queen’, and “Brand New Day” from 2006’s ‘Lioness’. Released under the auspices of Universal Music South Africa, the curators tap several producers across the ever-colourful spectrum of South African Dance music, giving them creative license to put a modern spin on these classic songs.

‘Forever’ is something of a reverential portal into an alternate timeline, showing what Lebo Mathosa would probably sound like if she adapted to these present times and leaned into the prominent stylings of dance music like Amapiano and Tech House. It’s not a farfetched idea, seeing how she seamlessly expanded her palette over time and transitioned from the Kwaito-indented direction of her 2000 solo debut LP, ‘Dream’, to the dance-pop sound of her latter work, which folded in influences from R&B, Soul, Funk and more. With ‘Forever’, the singer’s siren voice is retooled to fit into music choices as modish as throbbing Amapiano and as left-field as glitch-inflected deep house.

Of the five remix tracks, “Au Dede” receives the special treatment of three remixes from three different producers who put their own unique touch on the song: Karyendasoul’s version plays into his fluid Tech House lane, Josiah De Disciple curates a dancefloor ready ‘Piano rhythm with folk flourishes, and North the Jap’s ability to turn out off-kilter dub grooves comes to the fore on his own remix. In their own varying ways, all three remixes are great reiteration of the song’s dance-ready tilt.

“Brand New Day” is remixed by Sam Deep, and it caters to his preferences of making Amapiano that emboldens the subgenre’s connection to deep house, which feels apt considering the song’s personal lyricism. On BlaQRhythm’s remix of “I Love Music”, his adeptness at inventively manipulating tribal house elements colours the joy with which Lebo Mathosa performs the song.

In these remixes, the producers on ‘Forever’ showcase their own individuality while clearly paying homage to the voice responsible for the magnetic essence of these songs. Rounding the project out, remastered versions of the original songs are included, and they embellish what the remixes already highlight: The Lebo Mathosa legacy is built on a foundation of timeless music.

You can listen to ‘Forever’ here.

SOUNDS FROM THIS SIDE: AMAPIANO

Songs Of The Day: New Music from Victony, Azanti, Zlatan & More

Posted on by Uzoma Ihejirika

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 Victony, Liya, Azanti, Ladé and more. Lock in!

VICTONY & TEMPOE – “SOWETO”

Nigerian artist has unveiled the official music video for “Soweto” off his ‘Outlaw’ EP. The Jyde Ajala-directed video is a fest of colours and captivating dance moves that fit the aura of the track. The video also features guest appearances from Nigerian music producer Tempoe.

LIYA – “IZZ GOING (SKALALA)”

DMW’s frontline female act Liya unveils her first single of the year “Izz Going (Skalala).” The Kdreamkillit-produced track treads the same path as last year’s “Melo”; here, Liya is in playful mode as she sings of doing things her way and having fun.

AZANTI – “LATE4DINNER”

Apex Village’s Azanti follows up his earlier record “Gettin’ Hot” with an infectious new cut “late4dinner.” Produced by London, the track is a romantic tune wherein Azanti airs his desire to jump past obstacles and be with his lover. “Tellin’ you I’m drunk but you want me to drive/You must be ready for my love tonight,” he sings.

LADÉ – “ALL THE WAY”

Off the success of her viral hit “Adulthood,” indie Nigerian singer Ladé has kept her foot on the pedal. Her latest single “All the Way,” produced by Aykbeats, is her letter to men seeking romantic relationships with women. “No need for shalaye/Money na the language /If you want a woman, you go all the way,” she sings over the Amapiano beat.

DAVOLEE & ZLATAN – “WAT (WEST AFRICA TIME)”

On this mellow, Amapiano-tinged track, Davolee and Zlatan reject the shackles the poverty as they affirm their desire to work hard and make money. Davolee, who started as a hardcore rapper has evolved over the years, adding singing to his repertoire. “My papa no too get/And I go buy the jet/You see, I’m just so confident,” he sings.

YINOLUU – “CONSTELLATIONS”

On his seventh single of the year, Nigerian music producer Yinoluu creates a chill vibe on the R&B/Soul-tinged “Constellations.” He sprinkles guitar chords onto kicking bass while also inserting chopped vocals; the result is an alluring blend soundscape that you can’t help but sway to.

ICEZY – “HOLY WATER”

Born Isaac Akanno, up-and-coming Nigerian singer Icezy dedicates his latest single “Holy Water” to his love muse. With silky vocals, the Afropop artist serenades his lover with praise about her body and their connection. Produced by Dokashot, “Holy Water” features a seductive, slow-whine groove backed by guitar and piano chords.

Featured image credits/

Best New Music: Ayra Starr’s “Skinny Girl Anthem” Is A Self-Affirming Number

Posted on by Nwanneamaka Igwe

Ayra Starr is the moment. Looking back at her debut eponymous EP and the well-rounded glimpse into her colourful world ‘19 and Dangerous’, Ayra Starr’s consistency and dedication is unquestionable. Coursing through relatable topics about love, life and familial relationships, Mavins pop princess represents everything Afropop needs right now, as she meets the demand for vulnerable and fluid songwriting.  She creates a balance with each release, eliciting different sides of herself and delivering everything from self-affirming anthems to vulnerable tracks. 

Leading up to the release of her debut album’s deluxe ‘19 & Dangerous (Deluxe)’, Ayra Starr released the promotional single “Rush” which has rocked airwaves, landing the artist three consecutive weeks at No.1 on the TurnTable Top 100. She also affirms herself as the voice of this generation, scoring a record breaking title as the first female artist with two No.1 entries for “Bloody Samaritan” and “Rush”. 

The Mavin pop princess followed this up with the surprise release of “Bloody Samaritan Remix” with none other than Kelly Rowland whose awe-inspiring verse bolstered the single to new heights. With news of her deluxe album on the horizon, “Rush” and its successor, “Bloody Samaritan Remix” placed the spotlight firmly on Ayra Starr who is tapping into a modern take on the R&B and Afropop coming out of Nigeria.

Across the ’19 & Dangerous Deluxe,’ Ayra breathes new life into her album with new tracks that feature Zinoleesky, Lojay, Kelly Rowland and more, and unfiltered confidence oozing with each new update. However, it’s the previously teased Kayykilo-assisted “Skinny Girl Anthem” that stands out for being brassy, anthemic and instantly memorable. The track opens up with a slow rhythmic beat and a confident Ayra blatantly expressing her ability to “steal your man” without much effort due to her irresistible charisma. In typical Arya fashion, she does not shy away from expressing her sensuality through her sharp twitter lyricism and lush vocals. “I ain’t got no ass and no titties but I’ll steal your man with my kitty/Just a look and he’s with me,” she sings, armed to the teeth with affirmations for women who look like her.

The track shows two sides to Ayra as she enlists her mellifluous vocals and quick-witted bars to deliver a message of showing up with unbridled confidence regardless of the acceptable body standards for Black women. As she continues to affirm herself and others like her, the track picks up becoming more urgent with its delivery as Ayra briefly speaks about her irresistible charm and her ability to have anyone she wants under her spell.

With her current trajectory in mind, it’s not hard to visualise these affirming lyrics from the singer. With each lyric, she’s pushing the envelope and delivering a self-determined showcase which puts women on top and calls out her demands: “Hypnotise the men in my city/We don’t see the red light we going 150.” While the track is clearly an anthem for the “skinny girls,” Ayra Starr also takes things a step further to ensure she expresses her love and respect for all body types, reinforcing that the power lays in the hands of the women. 

Kayykilo brings her fiery side, elevating the boldness and assertiveness of the track with equally affecting lyrics. Her verse stands out for its instantly quotable lyrics while simultaneously matching the energy of Ayra’s smooth vocals. With lyrics such as “I’m number 1 never number 2 and not 3rd, nigga/Cold bitch better go get you a fur, nigga,” Kayykilo continues with a string of self-proclaimed accolades followed by Ayra closing out with the catchy hook. 

With every new release, Ayra Starr continues to etch her name into the path created by artists of her ilk, while simultaneously making a lane for herself. She is constantly edging out the competition and proving she’s worth all the talk, with “Skinny Girl Anthem” serving as further proof that she’s going to be around for a very long time.

Featured Image Credits/Instagram:scrdofme

uNder Spotlight: YKB Is Focused On Authentic Storytelling

Posted on by Wonu Osikoya

If you’re a fan of music discovery, the chances are likely that you’ve probably come across YusufKanbai’s music on the Internet. Popularly known to fans as YKB, the singer has been climbing an upward trajectory and witnessing organic growth since his debut in 2019 when he began showcasing a unique mixture of versatility, dexterity and style. Since then, improving his skills have been a great source of pride as he wields powerful tales of underdog stories and positive affirmations.

 

View this post on Instagram

 

A post shared by YKB 🤎 (@ykbonly)

For those who’ve been ardently following him since before his name change from YusufKanbai to YKB, the singer was already dabbling with the creative industry well before his foray into music. Initially starting off his career in photography, YKB was more interested in documenting the culture from behind the camera lenses: “Photography became a job for me because I was solely doing it for money. I’m a creator and I like to tell stories because as an artist, my job is to translate feelings into tangible things that people can digest, so I decided to look for another medium,”he shares with the NATIVE, a few days after the blockbuster release of his video for new single, “San Siro.”

Now, YKB is learning how to be his own kind of pop star from scratch. Born and raised in Ketu, Lagos, the singer and songwriter is cutting through the noise with a firm narrative, smooth sounding delivery, and no gimmicks, making him an absolute breath of fresh air in today’s industry. The singer fuses Afropop, R&B, Trap music and Hip-Hop together to create a unique blend of Afrofusion that showcases him as an undeniable talent with an incisive vision. Although he refuses to the tied down to any stringent labels or genre categories, YKB always shows up as a burgeoning talent with undeniable versatility.

Speaking about his new release, “San Siro” which is slated to appear on his forthcoming EP, YKB shares that the song was written with a muse in mind. “I wrote the song “San Siro” to impress a girl who likes storytelling so before I put out the record, I had already won because she was impressed,” he shares with the NATIVE. As YKB prepares for the release of his new project and continues to widen his world view, his presence is especially critical right now in the Nigerian pop scene and the singer knows this more than anyone. He says:

“I want my music to be what you’d play for your grandkids to let them know what you used to listen to when you were younger.”

View this post on Instagram

 

A post shared by YKB 🤎 (@ykbonly)

After landing himself a spot on the NATIVE’s best new artists selection of September uNder, we catch up with YKB to discuss his journey so far, his creation process of making music as well as his passion for storytelling. 

His words which follow below have been lightly edited for clarity.

NATIVE: Can you tell me a bit about yourself? What was growing up like for you?

YKB: The highlight of growing up for me was getting to experience two different environments simultaneously. I was raised by two mums, my biological mum and my elder sister which I view as my mum as well. I was exposed to a lot of Fuji music through my biological mum and every weekend I would go to my other mum’s house in Surulere, and that part of my childhood has moulded who I am today. 

Will you say growing up in Ketu has had any sort of influence on your music?

Yes I believe growing up in Ketu has made an impact on my outlook on life.

You’ve always been invested in telling stories in one way or the other. You started off as a photographer and you excelled in that before moving into music. What made you make that transition?

Well photography became a job for me because I was solely doing it for money. I’m a creator and I like to tell stories because as an artist, my job is to translate feelings into tangible things that people can digest, so I decided to look for another medium that was interesting and I’ve always wanted to be a musician. 

Do you still take pictures?

Yes, I do but just for my friends but nothing professional anymore. 

When you introduced yourself to the music scene, you went by a different moniker, YusufKanbai. What made you change names?

I changed names because YusufKanbai was a mouth-full. There’s an Anime called “Bankai” and people would call me that instead of Kanbai, some Yoruba people would even call me “Kanbi,” so I just decided to make it easy for everyone to pronounce my name “YKB.”

When you rebranded as YKB, will you say your art changed in any way or what was the idea behind the entire rebrand?

My art changed unintentionally because I was going through phases, so it was just a coincidence. 

What would you say you did differently compared to now?

In terms of my process, I believe I pay more attention to the quality of my work now, more than before. The quality of your work determines how long it’s going to be played by people, so right now, I’m very focused on longevity and being remembered for as long as possible.

 

View this post on Instagram

 

A post shared by YKB 🤎 (@ykbonly)

Now let’s talk about your music itself. Why do you make music? What drives you to make music?

I make music to project, hoping that there will be receivers. We’re all human beings and we all have universal truths. If you can tap into that frequency then that’s for you.

The name of your previous project ‘Before I Blow’ is interesting. What were some of the things you were dealing with at the time that inspired this title? 

When I was making ‘Before I Blow,’ it was at a time where I just felt like everything was moving slowly. I had made songs which were yet to be released, so I was waiting for things to happen. I was waiting for an advance, looking for money to promote my music and so on, so I just decided to name the project ‘Before I Blow.’ At the end of the day, I can look back at everything and feel accomplished after all our hard work.

Can you describe the music you make to me? 

I don’t think I can describe the music I make because I let my music flow. I don’t even attach a name to it until after I’m done or I’ve gone far, so I don’t interrupt the direction of the theme.

Your sound is a bit unique especially with how simple your production can be. Do you contribute heavily to the production process or do you produce yourself?

Whenever I make something I always think about how I can improve on it or make it better. Like I said earlier on, the quality of my work is my priority. If you notice, there are three producers on the song, “San Siro.” Finito made the beat, then I wrote the song and after that, I took it to a certain producer named Fuwon for additional touches. After he was done, I took it to Dave October to analyse the quality of the song. I even had to record a bunch of harmonies with the song just to test it, that’s why the song is so heavy and full. 

What would you like your music to mean to people?

I want my music to be what you’d play for your grandkids to let them know what you used to listen to when you were younger, that’s how powerful and meaningful I want my music to be.

What’s next for YKB personally and professionally?

Right now, I’m just trying to make more good records. Like I said, to be remembered you have to do something differently, so I’m really looking to stretch the envelope as far as possible while remaining original to my story. Everything I’ve put out, even the video, I wrote the treatment for it. I just want to make that connection by putting out real content with authentic stories.

Featured Image Credits/The NATIVE