A 1-Listen Review Of A-Reece’s Latest EP ‘Deadlines: Free P2’

A-Reece is far from what you would call an average rapper. Being a veteran in the industry and growing in the footsteps of rap royalty Jay Jody, he has honed his craft by writing witty lyrics and serving antithesis punchlines. Over the last decade, A-Reece has left an imprint on Hip-Hop books: winning lyricist of the year in 2019 at the South Africa Hip Hop Awards and releasing commemorable projects. 

Despite Soundcloud being pejorative, A-Reece utilises the platform to drop singles that have allowed him to diversify his sound—developing into fully elaborative flows, dense rhyme schemes, and occasionally veering off from hardcore hip-hop to the romantic veil of R&B. Releasing his sixth full-length project in April: The Burning Tree that received massive success, the prolific rapper has been on a roll promoting his singles and featuring in collaborations. 

Releasing the prelude to ‘And I’m Only 21’, the Revenge Club Records co-founder has always kept a tradition of releasing projects on 21 October. In August, he teased his fans with a tweet hinting at the release of a new project. Today, his latest footstep is the release of his newest EP ‘Deadlines: Free P2.’ The EP packs a stellar line-up while all the songs are less than a year old: meaning this is new A-Reece. His previous mixtape ‘Today’s Tragedy, Tomorrow’s Memory was a jubilant masterpiece, so my expectations are high. Let’s get into the music.

 

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“BAD GUY”

The project kicks off with an ominous opening. The percussive beat is an A-Reece signature. As usual, his knack for storytelling shines through the song. This whole song is a compilation of ice-cold bars from the start. He even takes a moment to remind you his mixtape was nominated for the 2021 South African Hip Hop Award while reminding his day ones about leaving his Ambitiouz entertainment: “came out the label, thought I wouldn’t make it.” This song is too good and it’s just the intro!

“DEATH (Feat. QUENTIN MILLER)”

With the evocative horns and the bouncy backdrop, the aura here reminds me of a Nipsey Hussle song, and the Quentin Miller collaboration is nothing short of exquisite. The two artists complement each other’s verses giving a solid delivery. The message and production of this song are on par. The beat is nostalgic and sad while the artists talk about betrayal from friends and messing up in life.

“INTENTIONS (w/ MARCUS HARVEY)”

Before I even play this song, I can’t fail to emphasize, an A-Reece and Marcus Harvey collaboration is one of the wonders of SA rap. (see: “Dreams”.) This beat is sitting between Soul and Hip-Hop. We are seeing a softer side of A-Reece as he is vulnerable while confessing to his muse. You don’t need to be a hip-hop head to listen to this song.  I love this song mainly because he’s worshipping his lady, not the predictable misogyny in rap songs. This is going to be a fan favourite among ladies.

“SOMETHING TO FIGHT (Feat. JAY JODY & DJ MAPHORISA)”

The torch bearers of the SA New music generation in one song, this is going to be good and you can immediately tell from the beat switch. I have so many questions in my mind in less than ten seconds. This song is so beautiful. The background harmony, the Amapiano beat, and the rhythmic flow is angelic. I don’t know how they managed to roll hip hop on Amapiano but this is giving eargasms. The artists know when to switch to their native language making it sound like a product from South Africa. I want to listen to this song in a red room on the dancefloor with my friends.

“DIFFERENT THINGS (Feat. YOLOPHONIK)”

The guitar strings make the song sound like an Indie track. With a fast-paced rapping over looping piano keys, this feels like a song you’ll enjoy with your crush or a lover.

“BIGGER THAN ME (Feat. EMTEE)”

Now, this is a legendary collaboration. It’s two demigods on one song and as sure as hell this is not disappointing, even the title is cool. Starting off with a sample questioning religion, the song focuses on reflection and their growth as artists: “back when I had to develop a niche, perfoming on stage for free”.  Appreciating their energy and everyone around them this song is different as they acknowledge their growth.

“GODLIKE”

The outro is slower and more composed, signifying the closing of the album. Signifying his role in music is not for entertainment but mainly to pass a message “when God made me he created a leader/been a legend since the day of a fetus.” This line reminds me of Wu Tang’s leader RZA when speaking about his music.

FINAL THOUGHTS

Deadlines: Free P2’  is nothing short of what I expected. It’s alluring and sentimental while still being hardcore and braggadocious. The songs unfold like a collage as A-Reece takes you through various sound-beds and is joined by a diverse, stunning line-up of supporting acts. The project’s curation is meticulous as it opens and closes with A-Reece’s acknowledgment of being one of the best in Hip Hop, with some healthy amount of experimentation folded between the opener and closer.

The balance of the songs, from Amapiano-infused and R&B-tinged cuts to the new school boom bap he’s mastered over the years, tells you A-Reece is adept at servicing his the day ones who know his niche and also willing to create for fans who will discover him. This project is a perfect set-up for the rapper’s highly anticipated ‘P2’, the sequel to his revered debut album, ‘Paradise’. It’s a statement to expect the familiar and the unfamiliar going forward. All in All, A-Reece is a fountain of talent and, while ‘Deadlines: Free P2’ is not a high profile release, this brief project shows that the rapper is always sure to put his best foot forward.

Listen to Deadlines: Free P2’ here.


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Essentials: Young Jonn’s ‘Love Is Not Enough (Vol. 2)’ Is An Update of His Exploration of Love

In March, Young Jonn released his body of work as a singer after signing with Chocolate City. The five-track EP ‘Love Is Not Enough’ is a collection of Afrofusion tracks that address matters of the heart. Off that project, “Dada” blew up, raising his profile in the catalogue of Nigerian producers turned artists: Maleek Berry, Kiddominant, Killertunes and Pheelz. Alongside showcasing his artist chops, he also produced some of the songs on that EP while inviting other producers to shape his sound.

Seven months later, Young Jonn returns with ‘Love Is Not Enough (Vol. 2),’ which he tags on Apple Music as “a further exploration of love’s highs and heartaches.” One song longer than the previous EP, Young Jonn uses the new project to push his brand of love-themed Afro-fusion music. Weeks after the release of ‘Love Is Not Enough,’ Young Jonn tapped Nigerian superstar Davido for the remix of “Dada,” where the latter brings his 30BG-tuned interpretation of love, singing, “I no dey fear billing.” On ‘Love Is Not Enough (Vol. 2),’ this track finds a new home.

During his days as a music producer under Olamide’s YBNL, Young Jonn was responsible for a good number of hit songs in Nigeria. From Olamide’s “Story for the Gods” and “Bobo” to Lil Kesh’s “Shoki” and “Efejoku” to Kizz Daniel’s “Mama,” Young Jonn’s handprints on contemporary Nigerian music are indelible. Despite his successes, he has fearlessly begun a new journey, eager to prove himself as a competent artist. Recently, he scored his first my first solo No.1 record with “Xtra Cool” on Apple Music’s Top 100 songs in Nigeria.

Released last month, “Xtra Cool” also finds its way into ‘Love Is Not Enough (Vol. 2).’ Over Reward Beatz’s upbeat production, which infuses elements of Amapiano, Young Jonn spills his feelings toward a lover. “You know I love you but I’m always on the road,” he sings. Despite his busy schedule, he acknowledges that his woman has a special place in his life. For him, distance doesn’t reduce his affection for her as he sings, “Omo, your ringing tone no wan comot for my head.”

“Xtra Cool” isn’t the only previously released song to reappear on the new project. “Normally” and “Next To You” featuring American R&B singer Vedo make a comeback from the first EP. The only explanation for this could be that Young Jonn feels those tracks deserve longer shelf life. The Afrobeats and Amapiano perfection that Young Jonn, MagicSticks and Niphkeys achieve on “Normally” is ever-present. It is the same on “Next To You” as Young Jonn pushes the track into Amapiano territory as Vedo provides a soothing verse.

“Sokoto” and “If You Leave” are the newest songs on the EP. The former revolves between the romantic and the sensual as Young Jonn praises a lover. “I wanna take a good look at you/Wanna love you times two/Ah every likkle thing you do/Make me wanna dey your body like tattoo,” he sings. Using the popular Nigerian play on words of Sokoto (a state in the country) and shokoto (a Yoruba word for trousers), he sings about needing no one else besides his lover because she has everything he wants. Producer Sochee offers Young Jonn a mid-tempo vibe for him to float in and out.

 

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Young Jonn and Reward Beatz seek inspiration from South Africa’s House music on “If You Leave” as the heavy bass drums merge seamlessly into the log drums of Amapiano. On the song, Young Jonn pleads with a lover not to ever leave his side. “I don’t believe in love but I dey gbadu your company,” he sings, highlighting his vulnerability as he reckons to lose her might mean the end of his hope of finding love again. It is an honest interpretation of some of the complexities that accompany romantic attachments.

‘Love Is Not Enough (Vol. 2)’ is another step in the right direction for Young Jonn. With the success of his previous EP, this new one is a sign that he has cracked a working formula. Coupled with the backing of Chocolate City and his astounding talent as a producer, Young Jonn—the singer—will continue to reap benefits as he adds his voice to the rising chorus of Afropop stars.

Listen to ‘Love Is Not Enough (Vol. 2)’ below.

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Moliy’s raw lyricism and lush vocals shine through on new EP ‘Honey Doom’

Moliy’s star power shines bright. Over the years, her short but sweet brings the warm warmth of lush soundscapes and dreamy vocals to Ghana’s pop scene alongside stars such as Amaarae. Just last year, both artists teamed up for the electrifying “SAD GURLZ LUV MONEY,” a hit single off Amaarae’s debut album ‘The Angel You Don’t Know.’ Moliy’s star power stretched beyond global audiences as the track’s remix, featuring Kali Uchis, peaked on several global charts including No.1 on the Most Shazamed Songs chart.

Since then, Moliy has continued to reaffirm herself as a defining force in Afropop with her dreamy, ethereal vocals and enchanting beats on stellar tracks like “Love Doc” and her three track EP, ‘Mahogany St’. Joined by Mellissa, she delivers her cutthroat vocals on “In a Loop” off Boj’s recently released ‘Gbagada Express’. Moliy shows no signs of slowing down, and now she’s delivered her latest offering and her second project this year, Honey Doom.’

 

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The 8-track project features a number of compelling acts including Mellissa and DJ Radix on the outro “Human” as well as Moonchild Sanelly on the sensual promotional single “Hard.” The project also brags of production, performance and writing credits from superstar producers such as Juls and P.Priime. Keeping in line with her ethereal vocals, ‘Honey Doom’ features Moliy’s soft and airy vocals as well as her relatable penmanship that is informed by her femininity and creative independence.

Her lyrics encapsulate rawness and vulnerability of being a young African woman as she unpacks her emotions towards love and relationships, addressing the toxicity that comes along with it. From tracks such as “Freak”, where Moliy finds her confidence and re-establishes strict boundaries to her former love interest to the P.Priime-produced “Prisoner”, a slow paced rhythmic track in which she boldly expresses her raw, transcendental attraction for her love interest. 

With every new release, Moliy’s star only seems to be shining brighter and brighter. The Ghanaian singer continues to perfectly capture relatable realities of youth, love, relationships and self discovery through her mellifluous vocals, making a lasting imprint on her listeners. With a charisma that permeates off the screen, Moliy is a recurrent face we can expect to see reinventing the sounds from this side.

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ICYMI: OUR FIRST IMPRESSIONS OF AYRA STARR’S DELUXE OF ’19 & DANGEROUS’

AV Club: Kayode Kasum’s ‘Soólè’ Employs Exaggerated Comedy To Make Poignant Social Commentary

In the later parts of 2021, Nigerian movie and music video director, Kayode Kasum, released ‘Soólè’, a poignant social commentary which adds to the slew of productions under his belt such as ‘Quam’s Money’ and ‘Fate of Alakada.’ The title, which loosely translates to “cheap bus” or “cheap ride,” is a popular means of transportation in Nigeria used to commute long journeys by road. Only a week after its release on October 14, 2022, the movie shot up to claim the number one spot on Netflix Naija.

Kasum gathered a star studded cast including Sola Sobowale, Lateef Adedimeji, Adedunni Ade, Femi Jacobs and a plethora of other notable names, as they embarked on a rollercoaster road trip to Enugu, a state in the Eastern part of Nigeria. Through the course of the film, we are introduced to a diverse group of characters with stark dissimilar backgrounds and morals, all which come to a head in the film’s climax.

As they journey to their final stop, the inevitable clashes between these characters creates several bumps in the road, necessitating several stops and the discovery that some passengers had an agenda beyond reaching their final destination. Amid the fast-paced plot and elaborate character portrayals, ‘Soólè’ combines relevant social commentary about the state of the country, and its regressing inter-state travel networks.

 

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Audiences are first introduced to a reverend sister, Veronica, who boards a bus to Enugu to source funds for an orphanage. Unlike most religious leaders in Nigeria, Veronica is a lot less judgemental and hypocritical. She engages a fellow passenger and seat partner, Justina, in conversations on modesty expressing her thoughts on the virtue being overrated. She starkly contrasts another religious character, Pastor Oko who upon boarding the bus, forces a praise and worship session on all the passengers. This was followed up by an encouragement for them to offer their money to God through him–a familiar tactic for fraudulent men of the cloth. Unsurprisingly, the majority of passengers obliged, which speaks directly to the blind religious followership Nigerians often have to anyone who holds a Bible and speaks with supposed authority. 

We gain more perspective into Pastor Oko’s character, as he refuses to donate to Justina who had lost five hundred thousand Naira worth of goods after a raid. While other sympathetic passengers offered up money according to their capabilities, he declined to donate to her cause, claiming that he must know the content of the stolen property first. Here, Kasum adeptly sheds light on blind religious followership among Nigerians as well as the sheer hypocrisy and judgemental attitude some religious leaders have on their followers. 

The most engaging aspect of the plot in ‘Soòlè’ is the way in which Kasum allows viewers to see themselves or someone they know in the characters who board the bus. For instance, other than the religious fanatics, Kasum also incorporates poignant commentary about respectability politics which play out in everyday interactions between the old and the young. Here, John, played by Lateef Adedimeji, attempting to alight the bus against the wishes of the other passengers. While conversing with the driver the other passengers began questioning his motives and that spurred a negative reaction from him. Ifebuchi, one of the older passengers proceeded to insult him, referring to him as a “Bastard African” with no respect for his elders. To this, he responded “What respect are you looking for? Your respect was lost years ago” 

‘Soólè’ also touched on the theme of insecurity, one which couldn’t be more relevant in these times, with the ever-increasing rate of robberies and kidnappings on major road networks in Nigeria. In the film, all passengers are enroute a journey to Enugu and while they make their way in the bus, they encounter many horrors that have been experienced by Nigerians living in the country. While most Igbo families dwelling in Lagos and other parts are notorious for going back home towards the end of the year, the reality remains that the security conditions rid passengers of a hitch-free journey. 

It was hard to miss the general tone of desperation, masking as perseverance in the face of danger, which shone through the film and all its main characters. Through all the dangerous obstacles, all characters relentlessly worked to have their money intact in order to leave the bus unscathed in the end. Money becomes a currency through which the passengers alight the bus bargain for their freedom, and get themselves out of tight situations. For instance, in a dire attempt to survive in the tumultuous country that is Nigeria, a man left his pregnant wife stranded so as to get his share of the money. In addition, some captives expressed their desire to stay in the baby factory if it meant them getting their money. 

Overall, ‘Soólè’ acts as a satirical comedy, holding up a mirror not just the current issues plaguing our society and country today, but also some flawed yet normalised behavioural traits that are continuously perpetuated by many Nigerians.

Watch ‘Soólè’ on Netflix Naija.


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Our First Impressions of Ayra Starr’s Deluxe of ‘19 & Dangerous’

Ayra Starr’s moment in the sun turned into a very promising career. Her magnetism exceeds her obvious stunning looks, and rather includes the singer’s refreshing willingness to explore her femininity and youth from several viewpoints. On her classic debut album ‘19 & Dangerous,’ she combined lyrical awareness with astounding vocal range. Whether on stripped, soulful records or colourful bops, the singer was able to reflect her personality honestly and intimately.

Records such as “Bloody Samaritan” and “Beggie Beggie” became anthems of a generation recognising their shortcomings as easily as they championed stories of triumph. Ayra’s crucial ability to switch when desired is essential to her ongoing success at the zenith of African pop music. Her most recent single “Rush” is currently the number-one song in the country, possessing Ayra’s characteristic vibrant energy which has enabled its transcendence beyond age and social class strata. 

Extending her grasp on the scene, Ayra Starr’s deluxe version of ‘19 & Dangerous’ is now released. She calls up more voices to enliven her vision and goes a relatively novel path by structuring the new records in between, updating the original’s ethos with a daring edge. Considering how gracefully she’s ascended in her skills and stardom over the past year, a lot of takes have immediately followed the project’s release. Within The NATIVE editorial team, we have also collected our early thoughts on the project from Mavin Records’ glittering Starr. 

HOW DID THE ORIGINAL ‘19 & DANGEROUS’ GROW ON YOU? 

Tami: I’ve always always enjoyed Ayra Starr’s formidable output. Right from her debut eponymous EP which featured “Away,” I’ve always known it was only a matter of time before she completely found her footing in the game. ’19 & Dangerous,’ is testament to Ayra finding her voice and her vision as an artist in her own right. For me, it is her vulnerability, fluidity, and adept songwriting that stole the show.

Nwanneamaka: Despite being a fan of her self-titled debut EP, I didn’t hop on ‘19 & Dangerous’ immediately after it was released. It took me hearing “Fashion Killer” in a car ride to finally listen to the project a couple of months after its release. After listening a couple of times, some tracks like “Bloody Samaritan” and “Amin” stood out but “Fashion Killer” remained my favourite. 

Tela: I have always been a big fan of Ayra. Her voice and writing skills have always stood out since her breakout. It was a little bit surprising hearing ‘19 & Dangerous’ since it was a bit different from her R&B catalogue. Despite this, she stepped out of her comfort zone giving us a timeless capsule. I immediately fell in love with the project after hearing “Bloody Samaritan” and can we just take a minute to appreciate “Bridgertn.” 

DID YOU EXPECT A DELUXE OF THE ALBUM?

Daniel: I didn’t see this one coming. Was expecting a new R&B-focused project after the “Skinny Girl Anthem” snippet. But yes I’ll take this! 

Emmanuel: Honestly, I thought Ayra would take the single route to establishing dominance, especially because ‘19 & Dangerous’ did so well. The machinery behind popular music has fashioned many ways to keep the artist in discussions without necessarily putting out new music, but Ayra’s deluxe proves that she’s in her bag. She extends the idea because she’s able to, and a year after the release of the OG album, proves herself all over again. 

WHAT’S YOUR BEST SONG ON THE DELUXE?

Uzoma: “Fashion Killer” is still a bop for me and there is the soul-stirring “Toxic” and “Snitch” with Fousheé. Out of the additions to the deluxe, “Skinny Girl Anthem” with KayyKilo is a standout track for me. Don Jazzy had hinted about the song in his interview with Toolz and Gbemi but he didn’t reveal it was Ayra Starr’s. “Skinny Girl Anthem” embodies Ayra Starr’s fearlessness about her lifestyle and sensuality. Her and KayyKilo’s sassiness on this track is a delightful recipe and the beat by London has a 90s feel that is so calming.

Dennis: I’m still going with “Fashion Killer” because I firmly believe it’s the perfect encapsulation of what makes her a star, both persona-wise and in relation to her songcraft. It’s a shame that there’s no equally stunning video to accompany it. Of the new additions, though, I’ll go with the Lojay reunion on “Running.” They just sound so damn good together, and the way they play off each other in terms of the thematic narrative makes me hope they can do a joint full-length project that reflects and ruminates on the grizzled nature of modern romance.

Moore: The best song to me is definitely “Rush.” It’s a song that represents the career stage that Ayra is in right now, where she’s received enough success that the inevitable hate is beginning to roll in. Ayra sings about ignoring the naysayers, but with a slightly sombre tone that may betray the growing pains that come with such a career regardless. It’s a song that, while very specific to Ayra’s journey, is still relatable to those dealing with difficulties as they try to make it in life and the complicated feelings that come with it.

WHAT FEATURE IMPRESSED YOU THE MOST? 

Emmanuel: Every feature did well, but I have a slight Zino bias. He absolutely shakes things up on the “Lonely Refix,” colluding with Ms. Starr to create new life from the already existing. In terms of chemistry, Lojay and Kelly Rowland are no doubt closer to Ayra’s R&B sensibilities but Zino—Zino knows perfectly how to embed emotional turmoil into otherwise party bops. “Running” featured a great verse from Lojay, too, and after NATIVE Sound System’s “Runaway,” it’s audible how well he speaks Ayra’s musical language. 

Uzoma: It’s Zinoleesky on “Lonely Refix.” Niphkeys, his trusted producer friend, combines well with Louddaaa to create a space for him in Ayra’s world. In this story about unrequited love, Zinolessky views loneliness from the perspective of distance from a loved one. His smooth vocals give life to his emotions as he shifts from romantic to erotic. It’s another win for the singer. 

Daniel: Ayra x Miss Kelly! It was the ultimate feature, Kelly Rowland came into Bloody Samaritan with amazing vocals like it was made for her. It just goes to show the trajectory Ayra is on. She’s a superstar.

WHICH OF THE NEW SONGS HAVE UNDENIABLE COMMERCIAL POTENTIAL?

Maria: I will say “Blood Samaritan (Remix).” “Bloody Samaritan” was already a certified hit before the remix, and it’s certain that Kelly Rowland’s immense success will surely rub off  and boost it to a wider audience.

Tela: It has to be “Skinny Girl Anthem.” The production is exquisite while the rhythm is super catchy. I can already see the TikTok dances and Instagram captions. I am sure so many people will use the song snippet in their Instagram stories – I for sure will quote a couple of lyrics. 

Moore: I think the song with the most commercial potential is definitely “Lonely Refix.” The Zinoleesky fans are already going to majorly contribute to the streams this song gets. The song’s lyrics are filled with a yearning that will certainly connect with its audience. The upbeat tempo also makes it a song that will be very popular at clubs during the December period. It’ll be hard for a listener to not find something to enjoy about it.

WHAT IS YOUR OVERALL IMPRESSION OF THE PROJECT? 

Nwanneamaka: Interesting collaborations. Lojay, Zinoleesky and Kelly Rowland have very different sounds but Ayra seems to blend effortlessly with them. I’m loving it so far, but “Rush” does it for me. 

Israel: It is an extremely well-put-together Project and Ayra consistently proves why she continues to blaze the trail of African Pop music. It makes me very excited for what else she has in her arsenal of bangers and I can’t wait to see what she does next.

Uzoma: This deluxe project reinforces everything we know about Ayra Starr: she is a budding artist with immense talent and versatility. Also, the sequencing style of placing new tracks in the middle of old ones works a treat. It gives the project a refreshing feel, like an old story you fall in love with again because of its new characters. 

Dennis: Unchanged from how I felt about its original version. ‘19 & Dangerous’ was a resounding statement the moment it came out, a wonderful showcase of skill and poise from a singer eager to prove that the initial hype that came with being introduced by a star-making label was even underselling her. Thankfully, this deluxe doesn’t come across as an indulgent flex; if anything, it frames the sterling ascent of a generational talent and it’s a reiteration that Ayra Starr will continue to play by her own rules as she grows forwards.

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Songs Of The Day: New Music From Fave, Reekado Banks, Teni & More

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 Young Jonn, Teni, Krizbeatz, Iyanya and more. Lock in!

FAVE – “SCATTA SCATTA”

When Fave shared a snippet of this record weeks ago, a lot of people couldn’t contain their excitement. Her last project showing on ‘Riddim 5’ had cemented the singer’s standing as a most promising artist, and afterwards Fave has lit up some features with her glittering artistry. Much like the title suggests, “Scatta Scatta” evokes a scene she’s barely painted before, one coloured by urgency and dance. Still, Fave’s proficiency shines through, warm vocals floating over production flecked with elements of R&B and Amapiano.

REEKADO BANKS – “JEUN TO DA”

Somehow Reekado Banks always seems to have the zeitgeist on his side whenever he releases a new song. “Oluwa Ni” and “Ozumba Mbadiwe” will forever be remembered for speaking to a moment in time, both in sound and lyrical content. The talented superstar again makes a broad stroke in his new single, embodying the role of a street preacher whose own life makes up his message. As the year winds down people are contemplating their wins and losses, weighing their role in the outcome. “Jeun To Da” grooves on a colourful beat to pass the timely words, “You don try, me sef dun try” and afterwards, reaffirming those with, “You no lazy if you taya”.

BABYFACE – “ONE GOOD THING” ft. Amaarae

Veteran singer-songwriter and producer Kenneth ‘Babyface‘ Edmonds has teamed up with some leading ladies in R&B for a new project titled ‘Girls Night Out.’ Described as a “a sonic journey through love, heartbreak and all of the emotions in between,” the new album features people such as Ghanaian singer, Amaarae who features on standout single, “One Good Thing,” which showcases her undeniable versatility and incisive vision.

TENI – “TROUBLE”

Over the course of the year, Berlin-based COLORS have popularised their brand across emerging markets outside of Europe. A brief residency in Lagos spurred artist performances, and afterwards they have continued to touch base with the country’s swathe of music talents. The magnetic allure of Teni is the latest to colour things, the singer presenting a sexy record which bops with a certain ring and edge. She’s very forward with her desires, explicitly painting a heated scene with a love interest. “I knew you were trouble when I saw you,” she sings on the hook, bold in her abandon and without a tinge of regret. Energetic, sensual, alluring – this feels fresh, even for Teni.

PUPPATIYA – “DISTANCE”

Warm lyrics of serenade colour this record with its energy. Lots of singers have engaged the theme of emotional displacement but Puppatiya more than evokes the subject – his tonal hue and chosen production echoes what he’s feeling, inflecting the record with a certain gravitas.

 YOUNG JONN – “SOKOTO”

Everyday more Nigerian producers are stepping out from behind the boards to showcase their skills as musicians. Young Jonn has been one of the more remarkable stories of that sort, largely because he was very accomplished as a producer, and has quickly proved his ability to sing. Earlier today the Chocolate City act released the second volume of his ‘Love Is Not Enough’ tape which had produced the hit record “Dada”. The new tape continues on his direction of story-led, sugary-produced songs and “Sokoto” is an obvious standout. A love interest plays the subject of Jonn’s inspired singing, unfurling affectionate, sensual lyrics with assured calm.

AFRICAINE – “HOW FAR”

Warm melodies are the favourite of many around the world, and upon hearing “How Far,” the new single from Africaine, one shares a feeling of poignant intimacy. The US-based singer is audibly influenced by the evocative turns of classical R&B, but she also possesses a candour that’s recognisably Nigerian. The new affair benefits from that fusion, baring the musician’s sensitive wisdom with a soulful ease of expression. “Baby, how far? How you dey?” she asks in the hook, and afterwards admitting, “you got me tripping on a Saturday”.

KRIZBEATZ  – “ABENA” FT. 1DA BANTON & MBOSSO

Gearing up for the release of a new project, ‘King of the New Wave’, revered producer Krizbeatz is embodying the statement of that title in his singles. The trademark percussions of Kriz has been known to embrace a pan-African vision, and it’s an ethos he stands by on “Abena”. The new record combines the distinct vocal qualities of Nigerian musician 1Da Banton and Mbosso, a soulful Tanzanian act. With serenading lyrics steered towards a lover’s attention, Krizbeatz’s bubbly production is the essential colour which conveys a perfect picture.

TOBI AJ – “BREAK YOUR BACK”

Twinkling keys, Afro Swing-esque percussions and Tobi aj’s authoritative flow – these are the qualities which provides the unique energy of “Break Your Back,” Tobi aj’s latest record. Listening to it brings that hypnotic energy to the fore as well, a sincere urge to engage one’s primal sense of dance.

 

IYANYA  – “MILLA” FT. YUNG ALPHA

For those in the know, Iyanya has roots in the tender soundscape of R&B. He after all won the debut season of the MTN Project Fame, and has a career that’s had its peaks and valleys, but it’s credit to his resilience he’s still here, releasing solid music over a decade after his entry. His latest project ‘The 6th Wave’ recognises his OG status, but Iyanya is still experimenting with the sound. “Milla” is a stirring standout, casting a sombre, dark mood with its production even as Iyanya and his guest coolly narrate accounts of a woman in search of thrill, a tinge of fatalism rolling off their reserved flow.

GUCHI – “I SWEAR” FT. YEMI ALADE

With luminous vocals and an accomplished flair for the dramatic, Guchi has become one of Afropop’s most exciting stars. The Nigerian musician became known all over the continent after “Jennifer” and “Benzema” went through the roof, introducing her Highlife-tinged sound to would-be fans. She’s particularly excelled across East Africa, establishing the pan-African awareness musicians like J Martins and Yemi Alade are revered for. “I Swear” sees her join forces with the latter, playing close to the ebbs of Nigerian Pop in their love-affirming duet. Guchi is even more direct in her songwriting, teasing a love interest with the unfazed agency she’s owned since showing up on the scene.

NINIOLA – “FUKU”

Among the first Nigerians to explore South African Dance genres, the inimitable Niniola delves into the hynotic groove of Amapiano for her latest effort. “Fuku” bears her signature sensual edge, her vocals essentially portending a part of the production as well. Though her lyrics are almost entirely delivered in Yoruba, there’s no disruption for non-language listeners as she sways and breaks, making the performance doubly thrilling with her vocal dynamism.

VECTOR – “INSOMNIA” FT. CRACKA MALLO

Just yesterday, the country remembered the lives of the many who were killed during the End SARS protests in 2020. Around the same time, Vector released “Insomnia,” a stirring record which reflects his emotions about protests about police brutality, especially considering he grew in the police barracks and his father being a policeman. His lyricism is pointed and urgent, reporting as much as it reveals. The visuals by Olu The Wave also retains the gritty, reportorial feel by pairing poignant live footage with scenes of Vector and a group of young men in militia outfit, eyes stained by experience.

ARTWORK SOUNDS – “INKULULEKO” FT. RUSSELL ZUMA & COCO SA

Revered duo Artwork Sounds have carved a unique niche with their layered Dance records. On their latest record, they join forces with eclectic vocalist Russell Zuma and DJ Coco SA, all working to embed an irresistible Deep House groove on the seven-minutes record. Zuma’s vocals are soulfully engaged with the glittering synths and bass stabs which reside at the production’s core, while Coco’s additional touches coats the record in a party-starting feel.

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#EndSARS Anniversary: Two years later, Young Nigerians are moving forward without forgetting

After the events of October 2020, that month now carries, for many Nigerians—especially the youth—a reverence in line with other globally celebrated touchpoints such as Black History Month and Pride Month. That month, Nigerian youth, fed up with the decades-old mistreatments from law enforcement officials, spoke to power with a resounding voice. They shunned the structure of silence that pervades every aspect of the country’s fabric. Their voices echoed beyond the shores of Nigeria and into the global space, demanding and gaining the world’s ears and heart. In the end, many of those voices lost their lives. Yet, their voices remain loud.

The tragedy at the Lekki Toll Gate in Lagos left the entire nation in a sober mood. For young Nigerians, who were the main players in the #EndSARS protests, it was a callous reminder that the government, made up of men and women elected into office by their votes, did not care about their lives, their pains and their future. That DJ Switch, who was one of those that live-streamed the unfortunate shooting, is now a fugitive for recording the truth remains deeply worrying. That message was further driven home by the propaganda of the army and the government—both refusing to acknowledge their involvement in the killing of peaceful protesters.

From Chijioke Iloanya to Pelumi Onifade, many families who lost loved ones to the police and its offshoot the Special Anti-Robbery Squad (SARS) are yet to get justice. Some youths arrested during the protests are still in detention and others are either in or out of hospitals while battling the aftermath of the protests. Some people have their livelihoods stagnated as their bank accounts remain frozen. Still, the country is unsafe for the youths, as extortion, torture and extrajudicial killings by the police persist.

There is some positivity, though. The #EndSARS protests brought to the limelight people, most especially Nigerian women who, for years, have battled a patriarchal system that demands they swallow their voices. From members of the Feminist Coalition to Rinu Oduala to Aisha Yesufu, these women took to the forefront, leading crowds on the streets and employing social media in the mobilization and dissemination of information. On the other hand, LGBTQ+ rights activists such as Matthew Blaise refused to let hate hinder them from adding their voice to the protests, birthing the hashtag #QueerLivesMatter, an important reminder that the responsibility to redeem the country lies at the feet of everyone, whether queer or straight. Nigerian celebrities weren’t left out, too; they lent their support on the streets and in the music studio.

In June 2021, eight months after the #EndSARS protests, the Nigerian government banned Twitter. The ban on the social media platform was centred on the belief that it gave the Nigerian people a too-loud boldness. Social media, in these times, has proved an efficient tool to checkmate the government’s excesses. Even after the ban, many Nigerian youths stuck to Twitter, ignoring both the government’s alternative of the India-owned Koo and the threats of arrest to anyone with the platform active on their phone. The ban was lifted seven months later in January 2022 but again, the government had passed a message that Nigerians understood: they care more about silencing the people than addressing important issues.

In May, members of the LGBTQ+ community marched into the streets of Abuja, Nigeria’s capital city, to peacefully protest a bill by lawmakers in Nigeria’s lower house of parliament, which sought to criminalize cross-dressing. Although it was a low-key affair, it demonstrated a boldness that young Nigerians have come to embrace. “Nigeria never listens to its citizens but I am hopeful that this protest is seen by many and motivates them to join this fight,” one of the protesters told The Rustin Times. “The bill affects us all whether you are queer or not. If you let the government take away our rights today, tomorrow they will come for yours.”

This month, Nigeria celebrated its 62nd Independence anniversary. But there wasn’t much of a celebration happening. Most Nigerians are knee-deep in the campaign craze for next year’s general elections. As the candidates prepare their manifestos, Nigerians are at the point where their demand for the best leadership is at an all-time high. Many Nigerians have taken to social media to urge people to vote while also drumming up support for their preferred candidates.

At the moment, the Nigerian government gives the citizens few joys, if any; insecurity is on the rise across the country and most recently, many Nigerians have lost lives and properties in the floods. On social media, “Japa” is the ever-ringing buzzword for the dream of relocating out of Nigeria permanently. While leaving the country for another where one’s dreams can be easily actualized is a good thing, the long-term implications on the country are not great: aside from the obvious brain drain, it raises the question: What kind of future lies in wait for the Nigerian who can’t afford to leave?

The areas where Nigerians earn a sense of pride are mostly in music, arts and sports. Stars like Tems, Asake, Oxlade and Pheelz are making Nigerian pop—aka Afrobeats—the go-to sound around the world. Digital and visual artists like Osinachi and Anthony Azekwoh are creating beautiful collages of colours and history while sportswomen like Tobi Amusan are laying remarkable foundations for the future. These individuals, despite the glaring lack in the country, are taking up the responsibility to create paths for themselves and their careers. It is a strength we know too well because we have been forced to not expect even the most basic support from our government.

Since October 2020, one thing is clear: Nigerians will no longer just do what they are told. Dubbed the Soro Soke Generation, young Nigerians are choosing the path less travelled because the ones we have used have yielded no good results. We will continue to speak and demand better because we know that is our right. Whether the Nigerian government understands this or chooses to ignore it, Nigerian youths are no more pushovers and our voice and exploits will respond for generations to come.


ICYMI: A YEAR ON FROM THE END SARS PROTESTS, NOT MUCH HAS CHANGED

Young Nigerians share past experiences and current feelings on Police Brutality & EndSARS

Two years ago, many young Nigerians lost their last shred of innocence and faith, with regards to how far the Nigerian government would be willing to go to assert its authority. For over two weeks in October 2020, millions of youth across the country gathered in protest grounds to demand an end to police brutality, the contact point being the atrocious acts of the Special Anti-Robbery Squad (SARS) unit of the Nigerian police force.

In response, the Nigerian police force responded with more police brutality, and the Nigerian government dragged its feet on making meaningful change, even in the face of millions demanding for their right to live a life free of cruel treatment from the men and women meant to serve and protect them. The heartbreaking culmination was the killing of unarmed protesters at the Lekki toll gate by soldiers of the Nigerian army and officers of the Nigerian police on the evening of October 20, 2020. The perpetrating parties have vehemently denied any wrongdoing, even going as far as feigning ignorance, even in the face of damning evidence and the simple fact that hundreds of thousands across Nigeria and in the world witnessed the sad event in real time.

Refusing to allow any form of erasure, young Nigerians are still keeping the memories of the Lekki massacre, and the entire #EndSARS civil rights movement, hallowed – a big smudge on the country’s conscience that shouldn’t be wiped off. In commemoration of its second anniversary, many have gathered at the grounds for a procession and peaceful remembrance of the victims of the massacre. (As usual, the Nigerian police is being a nuisance to unarmed civilians). In solidarity, the young Nigerians that make up the editorial staff at The NATIVE share their past experiences and current feelings on the endemic Police Brutality in Nigeria.

 

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Life Before The Protests

What’s your perception of the Nigerian police force?

Dennis: Since the day I saw a policeman harass my mum for a bribe, I’ve firmly believed the Nigerian police force is not here to protect and serve. I mean, I’ve always looked at their officers funny, especially because their uniforms never looked good on them and the way they were portrayed as bullies in home video films. That experience with my mum, witnessed from the front passenger seat at the age of 12, made me extremely distrusting of those men and women in black. My own two experiences with them as a young adult consistently make me look at the force with disgust.

Nwanneamaka: Growing up, I used to see ‘Police is your friend’ signs slapped across almost any imaginable surface you’re likely to run into the police. Long before I became aware of the violence and fear they inflict on citizens, I never believed it. I have always associated them with collecting bribes and random, unnecessary stop checks. Years down the line and prior to the protests they profiled, extorted and harmed innocent Nigerians. Just when you thought it couldn’t get worse, the violence significantly increases during the protests. We lost so many innocent lives two years ago today, may their souls rest in peace. After everything, Nigerians are still profiled and extorted by the police today. I have nothing good to say about the Nigerian police force and it would take a lot to change that.

Have you ever been unlawfully arrested or harassed by Law Enforcement/SARS?

Emmanuel: Somehow, I’ve been quite lucky with the arrests, because I came of age in a place where it was very normal to be arrested just for being young and looking a kind of way. I’ve however been chased one 2020 night, just before the End SARS protests escalated. I remember there was a curfew then and I was returning late at night from a birthday party with a friend. One moment we’re walking, the next two men were relentlessly chasing us through the streets. Luckily we escaped—-it would have been a very long night otherwise. 

Israel: Yes I have. I was in an uber with a Friend of Mine and we got stopped at a Police Checkpoint, one of the Officers proceeded to ask for our ID’s and I didn’t have one but my friend did. So I and my Friend were asked to step out of the vehicle but I told the officer that he didn’t need to do that since she had ID then the officer looked at me violently and cocked his gun then dragged me to a corner and asked for my Phone which i presented to him and started going through all my apps, messages etc. he was only able to find art & photography content so he let me go but only after i was able to log in to my student portal.

How did that experience affect your mental health and daily activities?

Emmanuel: For a while I was wary of unfamiliar bodies coming towards me. I’m a big-sized guy and people never noticed but sudden movements throw me off, especially if I didn’t see it coming. 

Israel: It impacted me negatively because after that experience I was always on edge anytime I left my house and I didn’t know if I was going to make it back home. It also made me obsessed with carrying Identification literally everywhere.

Did you want SARS to be disbanded?

Maria: Of course. They have caused and are causing so much damage. It’s nothing short of insane for a supposed Anti-Robbery squad to be THE robbers. 

Emmanuel: There was absolutely no reason for their madness during its height. Robbery was everywhere and they were nowhere.  

Nwanneamaka: 100 percent. They have caused and are still causing irreparable damage. It’s jarring. 

 

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Life During The Protests

Did you join any of the EndSARS protests in 2020? 

Wonu: I didn’t go out to protest but I was protesting heavily through social media and I made sure I supported in whatever way I could, financially. It was so beautiful to see people my age go out to vote and that has kept me very inspired even till this day. The EndSARS period helped me fully understand the power of social media and also the power of having one voice. 

Daniel: I didn’t go out during the protests, but was heavily involved online. It was a really emotional period for me and it fueled my anxiety and paranoia. I was moved to finally see my generation stand up for something and stand their ground. .

Dennis: Yeah, I did. It was supposed to be a one time thing, partly for journalistic curiosity, but I went out a few more times because of how bracing it was to see Nigerian youth rally around a cause with burning passion.

What was your experience at these protests?

Daniel: It wasn’t pleasant! Though I wasn’t at any of the protest grounds, the images and videos were triggering. Completely changed how I interacted with Twitter, I am still traumatized. 

Dennis: Better than many, I think. I wasn’t on the grounds at any time when there were hoodlums attacking peaceful protesters, so it was mostly impassioned chanting and camaraderie with friends I went with and new friends I made there. Thinking about it, we really did think we were going to change this one thing by being as loud as we can.

Were you Inspired or deterred by the protests?

Maria: I was deeply inspired by the protests. The sheer bravery of everyone online and in person was astounding. The camaraderie will forever be one of the greatest shows of strength and patriotism in history.

Israel: I was extremely Inspired by the protests and I was planning on leaving school to join in on them but that would have meant my expulsion so I ultimately reconsidered. Although certain members of society would have you believe that the protests were just an excuse for Young People to destroy property, I had never seen so many Young Nigerians united under a single cause and even if it took our shared trauma to bring us together, I’m really glad it happened.

Emmanuel: Till this day, the heroes of End SARS remain my biggest models for strength and rebellion. We all know how cruel Nigerian governance can be, and to come out in such massive numbers to make their voices heard—that’s sheer indestructibility. We can’t be reduced to mere objects for political chess moves, we’re humans and full of heart. The events of October 2020 reaffirmed that belief in our humanity. 

Did you believe young Nigerians were on the verge of making progress through those protests?

Nwanneamaka: I don’t think we were on the verge of making progress, I think we actually made significant progress. Considering all that was achieved was pretty much planned on the spot and as the days went by, it was very well organized. We got global attention with the #EndSars on twitter and federal government attention with the 5for5 demands, even though not much was done with that. We made great strides but we’re still in Nigeria so the progress was stunted. 

Uzoma: Despite the sad ending of the protests in Lagos, I believe progress was made. The fact that young Nigerians, both in the streets and on social media platforms, spoke unanimously is progress. It has made our political leaders sit up. Now, they are aware that young people won’t hesitate to call them out if they act funny. We might not be at the level of hugely influencing policies and laws yet but the fact that our leaders know we are now paying attention is a step in the right direction.

Wonu: I don’t think it’s fair to say we were on the verge. I believe we made real progress with the protests, we made a point and it was loud and clear. I’ll always respect those who went out to protest because looking back at it now, it really was not easy. I think we made a point with the protests and the Government definitely felt the heat, to me that’s exactly why what happened at the tollgate on the night of October 20th, 2020 actually happened. Rest In Peace to those brave soldiers we lost.

Life After The Protests

What was your initial reaction to events that transpired at the Tollgate Massacre?

Dammy: I was in shock because I did not think it was going to get to that point. I remember seeing the announcements of the curfew on twitter and how people refused to listen to the government and I just thought it was going to be like the other protest days but never in a million years would I have thought that army officers would shoot at unarmed citizens who are protesting for their rights. It was a worrisome evening because the updates on what was going on was rather slow and we could only get so much information from an Instagram live and the strong message from the Nigerian flag that had blood splattered all over it.

Moore: I was horrified when I first heard what was going on. This came after the truly impressive efforts of the Nigerian public coming out to protest abusive officers. It felt like the bubble of hope that had begun to build had burst. People at the scene gave frequent updates, so I felt helpless watching the situation slowly escalate online. That feeling of helplessness lasted for a long time after the event and still remains when thinking about how little has truly changed since the massacre.

Did that Night Affect your life in any way? (If yes, how?)

Uzoma: The events of that night were shocking to me. For years, the Nigerian government has shown they don’t care about the lives of the citizens but I didn’t expect an action so brazen. It made me question if there’s any value attached to my life as a young Nigerian. I thought about how quickly dreams and aspirations can be extinguished. I wasn’t feeling great.

Emmanuel: I wrote a personal essay, and somewhere in it, I recall the events of that night from my end. I was many miles away from Lekki, but what was even more jarring was the network issues that night. Everything was slow, and deliberately so. Considering what happened and the policing of social media afterwards, banning Twitter, it made me aware of how cruelly the wielders of power can seek to take agency from us. My black body never felt completely safe afterwards.

Did your Perspective on the Nigerian Government change after that night?

Israel: Oh yes it most certainly did. Before the Massacre i had seen so many stories and done a lot of deep dives into the sheer terror inflicted by the people that called themselves ‘Officers of the Law’ and how the Government did nothing but turn a blind eye, an attitude that they carried through the events succeeding the massacre and till today. I already wasn’t a fan of the Nigerian Government but that night showed me that we don’t really have a Government just Power Peddlers Preying on the People of this Nation.

Wonu: Yes, it made me more convinced that the Nigerian government genuinely does not care for its people and even till now, I don’t think much has changed, I mean look at the flood in cities across the country, and nobody’s saying anything about that. 

Moore: Yes, my perspective definitely changed. I’ve never had a high opinion on the Nigerian government, but any respect that I had went out the window. For such cruelty to take place in public, with such a minimal response from the government has shown me that they do not place any real value on Nigerian citizens.

 

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Two years later, how’re you feeling about that night?

Emmanuel: I’m feeling everything. I feel deep pain for the massacre, and even deeper pain for the many who have similarly been killed and displaced all over the country, whose stories aren’t reported. When you consider that it took Timaya’s “Dem Mama” for many members of my generation to learn about the Odi Massacre in 1999, you just wonder how many relevant events are yet blocked from our view. For the Lekki heroes, you have my heart. I wouldn’t be here without you. 

Wonu: I’m still very scarred, that’s just it. I’m in ubers and I’m battling anxiety because I’m still scared something will happen. My anxiety has become ten times worse since that night, I don’t feel safe and I don’t think there’s any feeling worse than that feeling of being unsafe as a black woman. 

Uzoma: The shootings at the Lekki Toll Gate will forever be an indictment of the government and its arms. Since then, no one in the government has accepted any wrongdoing or made any move to clear the air. They are still using a wall of silence and propaganda to fend off any criticisms. But that night cannot be erased; it will always stand as judgment and spur more of those moments.


ICYMI: THE FIGHT AGAINST OPRESSION IN NIGERIA DOES NOT EXCLUDE THE LGBT COMMUNITY

A New Documentary From With Chude Investigates End SARS

Two years ago, young Nigerians nationwide were engaged in the most forceful fight of their lives. For years on end, the Special Anti-Robbery Squad which was created in 1992 harassed, arrested, defrauded and killed several Nigerians extrajudicially, flouting law and regard for human life in broad daylight. At the onset of a pandemic in 2020 the relationship between the country’s police and her young citizens fractured consistently, as reports of harassment broke out each day. By October, the End SARS protests had broken out in several parts of the country.

Till this day, the events of that month remain alive. Many Nigerians were directly affected and bear the wounds—literally and otherwise. Loved ones were lost and several others went missing, the sinister activities of errant policemen were exposed, and the administration’s disregard for human life was blatantly exposed. Even with overwhelming evidence, public officials have sometimes tried to underplay the gravity of what happened, what we all saw happen.

 

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On YouTube, With Chude does important community-centered work and on his latest documentary he investigates the End SARS protests. ‘The Most Evil Policemen in Africa’ is a robust depiction of what the protests meant and how it forever changed the lives of many people. Speaking to families and friends of affected individuals, he collects a wide range of memories from across the country. The title phrase ‘I killed your son, and there is nothing you can do about it,” was uttered by CSP James Nwafor, a monstrous, bloodthirsty police officer who headed a station at Awkuzu, Anambra state.

Also featured in the documentary were activists and media personalities, who engaged the local and international audience and helped coordinate funds and legal support. Falz, Rinu Oduala, Mr. Macaroni and many others shared their perspectives from those heated weeks. With its dedication to fact-checking and personal narratives, no doubt this is an essential watch towards understanding that historic moment in the lives of Nigerians. 

Watch the documentary here.


ICYMI: THE FIGHT TO #ENDSARS IS REALLY A FIGHT TO FIX THE NIGERIAN SYSTEM

Songs Of The Day: New Music From Moliy, Wizkid, Spinall & More

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 Moliy, Mr Eazi, Reekado Banks, Dami Oniru and more. Lock In!

Moliy – “Together” ft. Juls

Since releasing her debut EP ‘Wondagirl’ back in 2020, Ghanaian singer Moliy has continued to expand the levels of her artistry with new and powerful releases including her feature on Amaare’s “Sad Girlz Luv Money” and “Love Doc,” and BOJ’s “In A Loop” with Melissa. This was followed by the promotional single, “Hard” off Moliy’s just released EP, ‘Honey Doom’, which features a dazzling collection of songs which showcase her sultry vocals. For the EP’s intro song, “Together” Moliy enlists Ghanaian producer Juls on a mid-tempo number where she serenades her love interest over a teetering percussion beat.

WIZKID – “Bad To Me”

Wizkid is the gift that keeps on giving. The Afropop crooner is set to release his new album ‘More Love Less Ego,’ the charming follow-up to his award winning ‘Made In Lagos,’ and has shared the P2J-produced “Bad To Me” ahead of its official release. Now, Wizkid is back with a colourful video to accompany the memorable hook he’s got us all singing, “Casamigos, for my Amigos”. The new video is a lush watch which features clips of Wizkid playing up his usual cool charm, as he takes us behind the scenes of a typical Starboy experience.

Spinall – “Top Mama” ft. Reekado Banks, Ntosh Gazi and Phyno

Spinall is best known for connecting talented artists. This year alone, he’s worked with the likes of Summer Walker, DJ Snake and Ayanna assisted track, “Power(Remember Who You Are)”. Now he’s returned with an all star lineup for his recently released Amapiano-infused track, “Top Mama”, which is accompanied by a colourful new video. Reekado Banks’ raspy vocals colour the track’s intoxicating beat with the assistance of Ntosh Gazi’s catchy adlibs, as he sings “Top boy rolling with the top mama/Boy rolling with the top.” In his usual fashion, Phyno chimes in and showcases his impressive vocal abilities while delivering a killer verse in English and Igbo.

Dami Oniru – “Soft Life”

Dami Oniru is back. Last week, the singer returned to the scene with the smooth sounding, “Soft Life,” a track about not taking oneself too seriously and living a stress-free life. Now, she’s followed this up with a befitting new video which reflects the song’s easygoing ethos. Featuring cameos from talented young woman across the music industry, the video ties together Dami Oniru’s penchant for delivering powerful messages and timeless videos.

Mannywellz – “Jooce” 

“Skedaddle”, “Di Do & No Closure” and “Closure” are just a few of the tracks Mannywellz has under his belt this year alone. Now the BET next up 2022 artist dropped has shared a new track titled “Jooce” which comes accompanied with a befitting music video. On the new single, Mannywellz reaffirms himself and his capabilities with empowering lyrics such as “You got the jooce, you got the jooce/There’s nothing that you need to prove.”

Swagz.i – “I Don’t Know”

For his latest offering, Swagz.i has released his debut EP ‘Diamonds in Broken Hearts’ which features five solo tracks from the singer. The project falls in line with his love themed previously released singles “Heartbreak Semester” and “Enough for You.” On the intro track and standout number, “I Don’t Know”, Swagz.i skillful swaps between Yoruba and English to tell his love interest to prove his devotion to a lover as he sings, “I don’t know what you think this is, I don’t know, I don’t know/No this is not Romeo and Juliet.” 

Rowlene – “Would You Like That”

South African R&B singer Rowlene returns with a new single titled “Would You Like That.” The song see’s Rowlene express her power through demanding, enticing and suggestive language – sexual prowess at its peak with lyrics such as “feeling touches when you lonely/body language got you hypnotised.” The single will feature on her forthcoming EP titled ‘Frequency’ which is due for release on November 11. The new EP ends a 2 year hiatus for Rowlene following the success of her 2020 Album ’11:11.’

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Hot Takes: Abike Dabiri-Erewa’s Vexations & the Premiere of ‘Black Panther’ in Nigeria

Detty December is drawing closer. It is that time of the year when food, drinks and parties overflow. For artists and music lovers, it is the part of the year they come together to enjoy great sounds and vibes. Nigerian artist Kizz Daniel seems to have his eyes set on that period with his latest single “Cough (Odo),” a sweet iteration of some of his previous hits. On the other side, several areas in Nigeria are battling with flooding, with people losing their lives, being forced out of their homes or losing their properties.

Overseas, Kanye West is getting deserved backlash for his antics and insensitive comments about George Floyd. For this week’s Hot Takes, I write about Black Sherif’s album ‘The Villian I Never Was,’ Abike Dabiri-Erewa’s Twitter storm and the coming of Black Panther to Nigeria.

WHAT I’M LISTENING TO

I have Black Sherif’s ‘The Villian I Never Was’ on repeat. After “First Sermon,” “Second Sermon,” and “Kwaku the Traveller,” “Soja” confirmed to me that Black Sherif is the real deal. I went into his album hopeful yet unsure of what to expect. Was I disappointed? No. This album is a masterpiece. What appeals to me the most about the project is Black Sherif’s incredible understanding of his artistry; he is a man who is still figuring out his way in the world and is so unafraid to put his life on wax and wrap in brilliant music.

My favourite tracks on the project keep changing but at the moment, I’m heavily bumping “The Homeless Song,” “45,” “Soja,” “Sad Boys Don’t Fold,” “Konogo Zongo,” “Wasteman,” “Toxic Love City,” “Don’t Forget Me” and “Oh Paradise.” I have a review forthcoming where I give further thoughts on the album. Look out for that. What is inarguable, though, is that Black Sherif’s album will stand the test of time and set him up for greater things.

ON RESPONSIBILITY & ABIKE DABIRI-EREWA’S VEXATIONS

Earlier this week, news broke that Nigerian students were involved in a clash with their Indian counterparts at GD Goenka University. According to The Times of India, the brawl started on Friday during a practice match scheduled for an upcoming football tournament. Both teams had a mix of Indian and Nigerian students. The Indian students claim that fight started when it was time for substitution and the Nigerian players refused to be substituted. On the other hand, the Nigerian students say that wasn’t the cause of the fight; they say that the fight started on Saturday after outsiders, numbering 40, came with the Indian students to assault them.

Reacting to the news on Twitter, Abike Dabiri-Erewa, the Chairman of the Nigerians in Diaspora Commission (NIDCOM), said that the situation had been resolved and the students were in the custody of Nigeria’s High Commission in India. Among the sea of comments under her tweet, a particular one rubbed up NIDCOM’s boss the wrong way: the comment tagged her words as “eye service,” while using other unsavoury words; this comment was supporting the stance of another that said NIDCOM wasn’t doing enough to protect Nigerians living outside the country.

Dabiri-Erewa was quick to shut down the comment with harsh words of her own. Her rebuttal has drawn criticism from Nigerians, most especially the former minister of education Oby Ezekwesili who called for her to delete the tweet. Dabiri-Erewa, though, has stood her ground, insisting that the tweet will remain and that she will not allow trolls to bully her.

While it is understandable that even political officials are humans, there is still a sense of responsibility that a person in Dabiri-Erewa’s shoes must possess. Internet trolls will always be present but in this case, responding to the tweet in equally an uncouth manner was ill-advised. The truth is that the Nigerian government has not done enough to protect the interests of its citizens living in other countries; with the situation of things, the Nigerian people believe that most government officials are in their positions to serve only serve themselves and not the citizenry. For Dabiri-Erewa and others in her shoes, a moment like this calls for more reflection and a pledge to serve the Nigerian people.

 

Here we go again with this YE guy

(Written by Dennis Ade Peter)

In a better world, Kanye West would’ve been cancelled a couple of years ago. Well, maybe cancel is such an extreme word, and the nuances are still as iffy its effectiveness. But still, my point stands: Kanye needs to stop being such a big fixture in pop culture—at best, he should be a totem of derision. For the better part of the last half-a-decade, the revered producer/rap artist and billionaire fashion guy has made it a point of duty to spew vile takes and embellish himself through deeply annoying antics.

Remember when he said slavery was a choice? Remember when he recently wore a “White Lives Matter” shirt and went after a respected black fashion journalist? Well, from the stables come the declaration that George Floyd died of Fentanyl overdose, not the knee of a racist cop crushing his windpipe till he lost his breath. Kanye made the statement during a now-deleted episode of the Drink Champs show, rambling for about 3 hours about a bunch of stuff that ranged from unfounded theories like the George Floyd one to anti-Semitic nonsense. Over the last few weeks, the man has been spewing vitriolic nonsense in interviews and across his social media pages, which has led to him being restricted and banned on Twitter and Instagram, respectively. Somehow, he’s still getting his nonsense views off because there are several news outlets and platforms still eager to put a camera in his face.

Like I said, Kanye West would be the epitome of cancelled in a better world, but there’s obviously still millions not only drinking his bullshit juice, but still finding ways of exonerating his trash ass behaviour and nonsense comments. Someone told me it’s because of the attachment to his music. Personally, I don’t think Kanye has made great music since his 2016 album, and his antics turn me off from even rushing to his more recent projects. Even when I listen, I can acknowledge the quality of the sound, but that’s about it—he’s not saying anything resonant, even on albums dedicated to his mother. There’s no defence for his antics and most people know it, but those in support want to believe he’s just a troubled genius.

Troubled people know to seek help. Kanye isn’t seeking help, so those trying to cop pleas for him are just enabling the petulant behaviour of an asshole that needs to be cancelled.

Black Panther Comes to Nigeria

The Walt Disney Company, in association with the Africa International Film Festival (AFRIFF) and FilmOne Entertainment, has announced that Nigeria will host the official African premiere of Marvel Studios’ Black Panther: Wakanda Forever. The American superhero film, which premieres in November, is a follow-up to 2018’s Black Panther.

This is a lovely development. The premiere for the sequel happened in America and bringing this year’s premiere to Nigeria is a fantastic opportunity to connect with fans in the country. Interestingly, there was an African premiere in South Africa for Gina Prince-Bythewood’s action flick The Woman King, which members of the cast Thuso Mbedu and John Boyega attended. It makes me wonder if some of the stars in Black Panther: Wakanda Forever will show up for the premiere; if so, that would be great. If not, get ready to see some outrageous outfits to the premiere event by a who’s who of Nollywood and Nigeria’s socialite scene.


2023 OSCARS: NIGERIA GETS SECOND CHANCE AT INTERNATIONAL FEATURE FILM SUBMISSIONS

Nigeria will host the official ‘Black Panther 2: Wakanda Forever’ African Premiere

A few months ago, Marvel Studios unveiled the first trailer for ‘Black Panther 2: Wakanda Forever’ featuring a soundtrack cover of Bob Marley’s “No Woman, No Cry” performed by BET-award winning singer and songwriter, Tems. This news was accompanied by Ghanaian superstar, Amaarae featuring on the second track,“A Body, A Coffin” off ‘Black Panther: Wakanda Forever Prologue’ the EP.

Now, with only a few weeks left to the film’s official premiere, Walt Disney Company in association with Africa International Film Festival (AFRIFF) and FilmOne Entertainment announced that Nigeria will host the official African premiere of ‘Black Panther 2: Wakanda Forever.’

 

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Announced yesterday, Film One Entertainment, the production behemoth behind blockbuster titles such as  ‘Juju Stories’, ‘Oloture’, ‘Chief Daddy’ and many more titles, confirmed that the African premiere will be held in Lagos, Nigeria. Moses Babatope and Kene Okwuosa, co-founders of Film One Entertainment, shared in a statement, “Being instrumental to the release of ‘Black Panther 2: Wakanda Forever’ in West Africa is a proud achievement and a milestone for us and the entire FilmOne team, it will be celebrated for a long time. We are excited and fully committed to working with The Walt Disney Company to deliver a grand African premiere, even as we channel all our arsenal towards realising a momentous box-office performance for the title”.

AFRIFF founder, Chioma Ude also stated, “We are excited and proud to be part of the premiere of this milestone film here in Africa. This is huge for the continent of Africa as it symbolises to us further bridging the gaps between the global film industries.”

‘Black Panther 2: Wakanda Forever,’ will see director, Ryan Coogler return to the front seat, alongside co-producers, Kevin Feige and Nate Moore. According to the synopsis, the new film follows the aftermath of the death of T’Challa played by late Chadwick Boseman where Queen Ramonda, Shuri, M’Baku Okoye and the Dora Milaje fight to protect their nation from the intervening powers of Namor, the king of an hidden sea nation. ‘Black Panther 2: Wakanda Forever’ will be available in cinemas globally from  November 11, 2022.

Listen to ‘Black Panther 2: Wakanda Forever Prologue- EP’ here. 

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Essentials: Yimeeka Bares Her Soul on Debut EP, ‘Alter Ego’

Emotions are a difficult field to navigate, and music carries beautifully the density of that tension. In the realm of Afropop, women musicians have often relayed that sensitivity with all the confusion and angst the emotion possesses. It is against this backdrop Yimeeka bases her explorations on ‘Alter Ego,’ the singer’s debut project which combines a wise understanding of ambient R&B with her youthful zeal towards collaboration. 

 

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Weeks before the EP’s release, a collaboration with Pheelz revealed the soulful tendencies of Yimeeka the producer and a new face on the scene. Solely featuring vocals from the uber-talented musician, “Smooth Criminal” delivered every bit on its title. Its laid-back rhythm was polished with ominous keys and vocoder-inflected bits, providing a mellow soundscape for Pheelz’s honest songwriting to shine through. What emerges is a bit of a cross between Wande Coal and Tay Iwar, but upon further listening the record shines with subtle originality. 

Housed in ‘Alter Ego,’ the familiar number three track listing allows denser accounts of life and romance build on either side of it. In the earlier parts, one gets quickly used to the voice of D1wav who appears on Alter Egoand Influential”. On the former he operates well within the Afropop tradition, inflecting his tales of struggle with an haughty awareness. The swag of its pre-hook is quite reminiscent of Mayorkun on The Best,” but as an instrument, the vocals are very striking. “Influential” brings those qualities better into display, with tightly-written lyrics evoking familiar bad boy imagery. “Be like you wan dey doubt me, If I choose you, trust my scouting,” he references in football terms that would surely elicit a chuckle from viewers of the sport. 

The project’s other half is immersed deeper into soul. “Here With You” is affectionately sung by Joyce Olong, in a style that calls up lovely memories while being appreciative of what’s in front of us. It’s a poignant centrepiece of the EP, kind of mirroring Yimeeka’s personal life and how she’s been involved in other commercial, more lucrative pursuits (including co-founding a start-up) and still chooses, right now, to be caught in the spiritual web of creating music. Even though Olong’s ruminations strike closer to  the romantic, there’s a philosophic edge to her folkloric simplicity that unfurls fresh layers to the record. 

A spoken word interlude from Yimeeka slows down the tension. Over sombre notes perfect for an Anglican church service, the multi-hypenate creative tells stories of her journey. An introverted nature is revealed from the existentialist direction of  her questions, which deftly moves from her love for words to the limitations of words when it  comes to love. Calmly delivered, she ends with the chilling observation, “Love is everywhere, and always here. And if tomorrow ever comes and started without me, love will still be present so why shouldn’t I love regardless?”

On the project’s final duo of songs, Yimeeka emerges onto the stage. As coolly as her production, her singing on Memories conveys the timeless emotion of missing an ex-lover. “Place your eyes on me, please don’t disappear/ You are not for me,” she sings in roundabout ways to reflect the inner turmoil of her character. By the time the cooing chorus comes on, the distraught hue of the record is obvious. Fade Awaycontinues in Yimeeka’s preferred style of a slow burn, and just some seconds short of two-minutes, constructs a vignette-type closer in a way reminiscent of Purple Song

Emerging into the scene with a tape as accomplished as ‘Alter Ego’ speaks to Yimeeka’s talent. With Asake leading the dominance of energetic drums on the soundscape of Nigerian Pop, alternative leaning acts have been the biggest drivers for versatility. On that note, this sounds like few things you’ve listened to in the past. R&B serves up a rich sonic pallete, while Yimeeka’s auteur-esque production dazzles all through the seven songs. With the additional genius of incorporating diverse voices, the feeling of bumping this tape is far greater than any other collection of random songs would. A proper introduction, this one. 

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What’s Going On: Death Toll Rises in Nigeria’s Floods, Electricity Problems in South Africa & More

“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.


FLOOD: DEATH TOLL RISES IN NIGERIA

The death toll from floods in Nigeria has increased to 603. Since last month, the flooding in coastal areas in the country has worsened as local authorities continue to provide relief to hundreds of thousands of people being evacuated from their submerged homes.

Authorities have laid the fault of the disaster on the release of excess water from the Lagdo Dam in neighbouring Cameroon and on unusual rainfalls. So far, many states from Kogi to Benue, Taraba, Jigawa and Anambra have been affected by these floods.

“President [Muhammadu Buhari] has approved the release to [National Emergency Management Agency] of 12,000 metric tonnes of food items from the National Strategic Reserve, for distribution to communities affected by flooding, across the country. NEMA has since commenced transportation of these items to the States,” the presidency revealed in a tweet on Sunday.

INFLATION RATE: NIGERIA TAKE WORST HIT IN 17 YEARS

Nigeria’s inflation rate has risen to 20.77 per cent, compared to the 20.52 per cent recorded in August, the National Bureau of Statistics (NBS) has revealed in its Consumer Price Index (CPI) report for September released on Monday. The NBS liken the surge to an effect of the disruption in the supply of food products, the increase in import cost due to the persistent currency depreciation and a general increase in the cost of production.

The latest inflation rate is the highest since September 2005. “In September 2022, on a year–on-year basis, the headline inflation rate was 20.77%,” the report read. “This was 4.14% points higher compared to the rate recorded in September 2021, which was (16.63%). This indicates that in the month of September 2022 the general price level was 4.14% higher relative to September 2021.”

On a month-on-month basis, the Headline inflation rate in September 2022 was 1.36%, this was 0.41% lower than the rate recorded in August 2022 (1.77%). This means that in the month of September 2022, the headline inflation rate (month–on–month basis) declined by 0.41%, relative to August 2022,” the report added.

RAMAPHOSA SHELVES ELECTRICITY AND WATER BENEFITS FOR MINISTERS

Following a public outcry, South Africa’s president Cyril Ramaphosa has scrapped his latest amendments to the Ministerial Handbook, which offers government ministers and their deputies several new benefits that include the free provision of electricity and water. South Africans considered the president’s decision as insensitive as the country is plagued with daily power outages and the rising cost of living.

“The President has listened. The President appreciates the public outcry in the context of socio-economic pressures South Africans are facing,” Vincent Magwenya, the president’s spokesperson told the media on Monday. “We can take heart in the fact that the President has ordered the withdrawal of this. The President is heartened by the fact that we have an active citizenry, that, on an ongoing basis, participates in our democratic processes [and] sometimes, vehemently so, disagrees with decisions of government.”

Since June, South Africa’s power sector has taken a hit, due to ageing and poorly maintained facilities. According to Eskom, the energy company managing South Africa’s power, On a scale of eight possible levels of intensity, the country has reached the sixth critical stage out of eight possible levels of intensity. Eskom’s CEO, Andre de Ruyter, had urged the citizens to use electricity sparingly by turning off lights in offices at night, avoid running swimming pool pumps and water heaters at peak hours.

UGANDA’S PRESIDENT BANS SON FROM COMMENTING ON POLITICS

Uganda’s president Yoweri Museveni has said that his son, General Muhoozi Kainerugaba, will cease to comment on government affairs on Twitter. This is in response to the social media outcry that trailed Kainerugaba’s comments two weeks ago when he tweeted about invading neighbouring Kenya and conquering its capital, Nairobi.

“He will leave Twitter. We have this discussion. Twitter is not a problem. The problem is what you are tweeting about,” President Museveni told the media on Monday. “Talking about other countries and partisan politics of Uganda is something he should not do and he will not do it.”

As a consequence of his tirade, the 48-year-old Kainerugaba was taken off his position as head of Uganda’s ground forces, the army’s largest component. He also tendered an apology on Twitter to Kenya’s president William Ruto, writing that “If I made a mistake anywhere, I ask him to forgive me as his young brother.”

Kainerugaba’s outspokenness on social media is well known. From supporting Russia’s invasion of Ukraine to supporting Tigrayan rebels in northern Ethiopia, his tweets have raised eyebrows. In Uganda, Museveni, who is the country’s longest-serving president, has been accused of grooming his son to take over power from him. Kainerugaba has not been shy about his ambitions to become president. In May, he invited his Twitter followers to indicate their position on him running for president in 2026.

KARIM BENZEMA WINS 2022 BALLON D’OR

French international Karim Benzema has won the 2022 Ballon d’Or. This is the first time in his career that he is winning the prestigious award. The annual football award, which was held yesterday in Paris, honours a player deemed to have performed the best over the previous year, based on voting by football journalists.

“There is no age to win the #BallondOr. Sometimes player get better in their 30s and this is all down to taking care of yourself,” said the 34-year-old footballer. “This is a childhood dream. I never gave up. I always kept the joy of playing football. I’m really proud of my journey. This is the people’s Ballon d’Or.”

Karim Benzema was not the only winner at the event. Spanish and FC Barcelona player Alexia Putellas won the Women’s Ballon d’Or, a back-to-back success after winning the award last year. FC Barcelona’s Spanish starlet Gavi won the Kopa Trophy for best performing player under the age of 21, while Belgian and Real Madrid goalkeeper Thibaut Courtois took home the Yashin Trophy.

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See The Reactions To The American Music Awards & Its New Afrobeats Category

A lot has been said about the Afrobeats to the World movement. For musicians and their fan bases, rubbing shoulders with global music figures holds a very tantalising prospect. For others, mostly business professionals in the industry, they had considerably lesser faith about the Westernisation of Afrobeats, especially considering how the term wasn’t designed with the intricacies of African music in mind. 

That growing desire to include Afrobeats in global selling points reached a new high last week when the American Music Awards announced a new category for Afrobeats in the forthcoming award ceremony. The conversation was rather concise, because it was only a few weeks ago, at the Ghana-held Global Citizens Festival when the Recording Academy CEO, Harvey Mason Jr. revealed that the festival was consulting with relevant parties about the Grammys’ plan to carve out an Afrobeats category.

It seems that the American Music Awards has put this in place first, ahead of their next iteration next month. Among the nominations this year includes a talented spate of Afropop artists such as Wizkid, Burna Boy, Tems, CKay and Fireboy DML who were recognised by AMA under the “Favourite Afrobeats Artists,” category, which has inevitably spurred a lot of conversation over the past few days.

Let’s get into them, shall we?

Obviously, the AMA establishing an Afrobeats category is considered a good thing by many, but should an all-Nigerian representation be the typical? There’s no doubt the West African country is making perhaps the finest Afropop music right now, but what happens when the needle shift, and somewhere else (maybe not even in Africa) takes the flag? I don’t know much about the politics of geography, but I do know it’s barely right to focus solely at the zenith of a mountain without recognising the similarly important contributions of smaller influences which surround it.

All five artists recognised in the newly-helmed category are equally brilliant and talented in their own regard, however can it be said that they represent the vast terrain of Afrobeats as it is now known. Many fear that the new category will fall victim to the one-size fits all approach that is taken for “World Music.” It’s quite telling that media personalities in the diaspora are picking up on how the Nigerian dominance is essentially leading to the gentrification of African music – soon, we might be thinking that anything that doesn’t sound Nigerian isn’t “proper” Afrobeats.

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Turntable Top 100: Ayra Starr’s “Rush” Remains On Top

Ahead of the release of ’19 & Dangerous’ deluxe edition, Ayra Starr’s “Rush” shows no signs of slowing down. This week, the singers most recent release tops the TurnTable Top 100 in Nigeria for its third consecutive week. The track tallied 47.2 million in radio reach, 67.8 million in radio reach and also attained a new peak of No.2 on both television and radio charts. 

Asake’s “Joha” retains the No.2 spot, solidifying his position as the first artist to have several entries reach Top 2 in the country. This is followed by Young Jonn’s “Xtra Cool” which moves up 10 spots and debuts at No.3 this week. The track retains its No.1 spot on radio for the second week and also tallied 55.3 million in radio reach and peaked at No.7 on streaming platforms with 2.34 million streams. “Xtra Cool” is Young Jonn’s second top ten entry and the artists’ highest charting single, surpassing “Dada (Remix)” featuring Davido.

Following closely at No.4 is Pheelz and Davido’s “Electricity,” and Fireboy DML and Asake’s “Bandana” at No.5 this week. Elsewhere on the charts, Asake also holds down the 6th and 7th spots consecutively with former No. 1 tracks, “Organise” and “Terminator”. Next up is “Philo” by Bella Shmurda and Omah Lay which slides up to No.7 from its previously held No.8. 

To conclude the top ten for this week, Victony & Tempoe’s “Soweto” debuts at No.9, tallying 1.5 million streams. This places it at No.16 on streaming platforms. With 49.6 million in radio reach, “Soweto” also records Victony’s highest charting single as a lead recording artist, surpassing the No.10 peak of “Kolomental” on the TurnTable Top 50 chart. Rounding up the top ten is Blaqbonez and JAE5’s “Back in Uni” which debuts at No.10 with 1.69 million streams and 32 million in radio reach. 

Sitting just below the top 10 is Oxlade’s “Ku Lo Sa – A COLOURS Show” which peaked at No.9 previously, and Asake’s “Dull,” the intro track off ‘Mr Money With The Vibe’ right now, which falls from its previously held spot at No.8 from the previous week.

Featured Image credits/ Instagram: AyraStarr

Somadina Updates “Rolling Loud” With A Remix EP

In 2018, when Nigerian singer Somadina arrived on the music scene with her official release, the anti-love anthem “IHY,” she instantly gained the attention of fans and listeners with her rapid-fire verses and melodramatic chorus. That year was a pivotal time in the Nigerian pop canon as a new vanguard of Afropop hitmakers were arising from the margins, bypassing industry gatekeepers and making relatable music that was impossible to ignore.

 

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Since her debut, Somadina continues to expand the boundaries of her artistry, taking on new challenges, touring Europe alongside friends like Odunsi The Engine and served up more genre-mashing tunes that have become the go-to for women who look, talk and sound like her. Just last year, she teamed up with Nigerian rapper and uNder (previously Fresh Meat) alum, SGaWD for the girls anthem “Pop Shit” and released “SuperSoma,” a catchy track that offered a deeper emotional palette than ever before.

This year, Somadina hasn’t slowed down her output. Already, she’s released “Rolling Loud,” an upbeat track with fusionist production which highlights that Somadina is surer in both her talent and what matters most to her. Now, the singer has updated this new track with a befitting remix EP which expands the worldview around her music.

The remix pack features 6 remixes from DJ’s across the world, who bring their special touch to the project including the VAN-produced remix, TMSKDJ dance remix, TNKMUSIQ-produced amapiano remix, Blinky Bill & ManCh!ld remix and the Pops-helmed remix. Executively produced by Chin Okeke and mixed and mastered by the talented GMK, the remix EP furthers Somadina’s global ambitions and offers a clear indicator of an artist with a lot more to say.

Listen to ‘Rolling Loud (Remixes EP)’ here.

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Review: Black Sherif’s ‘The Villain I Never Was’

The current Black Sherif dominating global airwaves and the pre-fame Black Sherif who, nestled in the belly of Konogo, was seeking an audience with freestyles share a similarity: vulnerability. It’s a resonant ability to engage in a catharsis that pulls his listeners closer to himself. Take his three-year-old freestyle “Motivation” for instance. In the video, a 17-year-old Black Sherif, seated on cement blocks, is staring at the camera as he lays his vocals over a Highlife-influenced Pop beat filtering from an unseen speaker. In the freestyle, Black Sherif is pleading with the government and those fortunate enough to have better odds at life, to show consideration for the plight of citizens in the poor Ghanaian communities.

If you no get money/Abeg give us motivation/Show me love and hold me down/That be all I dey want from you,” he sings. Black Sherif’s use of “us” is deliberate; he marks himself as one with the people, as one who understands their realities, pains and joys. He considers himself a voice for his people. “I feel like I am touching on spots that people used to not touch and I am being as raw and real as I can be,” the Ghanaian singer told GRM Daily. “I am being the voice of that boy outside, because I am from there, I am from the Zongo (ghetto).”

Raised by a large network of family relatives in Konogo in the Ashanti region of Ghana, Black Sherif, born Mohammed Ismail Sherif, chose a life on the streets, buoyed by a determination to carve his path and harken to the call of his destiny. His travails and experiences are the fertile soil that Blacko—as he is affectionately referred to by fans—feeds his words. His breakout singles “First Sermon” and “Second Sermon,” both odes to street life, capture Black Sherif’s energetic delivery and firebrand lyricism. On his debut album ‘The Villain I Never Was’, which shuffles past the previously planned ‘Road To The Tape’ EP, Black Sherif makes a personal catalogue of his journey and that of the people he holds close to his heart. 

Before the grittiness of “First Sermon” and “Second Sermon,” there was the softness of “Cry for Me,” Black Sherif’s debut single. His Highlife influences colour the tone of his delivery and the mellow rhythm of the track. It was also the opening chapter of Black Sherif’s common-person personality. Although “Cry for Me” showed that Blacko was a talented singer, it was “Money” that brought him recognition in his home country. This time, Black Sherif took his Highlife style of delivery and layered it over a Hip-Hop beat as he sang about his desire to escape poverty. On the remix, which features Ghanaian acts AMG Armani and Tulenkey, the latter makes a pronouncement, “Sherif, you go make am/E be time.”  Less than a year later, “First Sermon” and “Second Sermon” were released and now, Black Sherif’s ghetto gospel is gaining massive appeal around the world.

I’m at my down-est in life/And I’ll be homeless for a while/I know it’s unbelievable/Cause I had a home a few days ago,” Black Sherif reveals on the album’s opening track “The Homeless Song.” It is a striking revelation because no one could have imagined a homeless Black Sherif amid the acclaim trailing his music. But it is an example of the honesty Blacko has embraced all through his career. Ever the optimist, he reiterates that although he might fall, he will always get back on his feet, channelling the emotions from “45,” where he sings, “If I fail, I needed that/I’ll come back stronger.”

Defiant is one word to describe Black Sherif’s attitude in his music. Whether he is narrating personal pains on Kwaku The Traveller” or collective trauma on “Soja,” Black Sherif informs the listener that he refuses to back away and settle for less. On the former, which was released in March, he owns his mistakes with the quotable—“Of course I fucked up/Who never fuck up hands in the air, no hands?” On the latter, where he recognises that he is not the only person in the world with struggles, he calls on listeners not to let the darkness of life overwhelm them. “No, I go dey run my race/I’m gonna keep my pace/Cause I really have no one to blame when I fall again/I can’t stand this pain/I can’t watch me fail,” he raps on Kwaku The Traveller.”

That defiance even shows up when Blacko is having a great time. As he celebrates his victories on “Oil In My Head,” he chips, Man don’t stay down when man fall/I get up and come for more.” On the equally jubilant “We Up,” he sings, “On God I trust no man/I lost few mandem to the game I was close to my grave I fell in a trap/But you know man don’t stay down.” It is a trait that Black Sherif honed while in the Zongo settlements in Konongo, one of the roughest areas in Ghana.

Since the days when Nigeria and Ghana began sharing cultural influences through music and other forms, there have been conversations about both country’s music industries and Nigeria’s dominance in the African music scene. From the issue of Nigerian songs topping music charts in Ghana to the most recent Global Citizen Festival, where headliner Usher called three Nigerian acts (Oxlade, Tiwa Savage and Pheelz) to the stage during his performance, Nigerians and Ghanaians are engaged in constant battle. In the media tour for “Kwaku The Traveller,” Black Sherif favoured collaboration. He visited media houses in Lagos and was featured on shows of Nigerian content creators, helping “Kwaku The Traveller” become the first Ghanaian song to debut at number one on the TurnTable Top 50 Chart.

“I don’t smile when I take pictures most of the time,” Black Sherif told OkayAfrica. “We are sad boys because there is nothing to laugh about.” The melancholy in his music is in alliance with the current crop of melancholy-driven sound permeating the African music space. Last year, Black Sherif released “Ankonam,” whose title translates as a loner; on the track, he evokes a sobering mood about sadness. On ‘The Villian I Never Was,’ he makes a tribute to the disciples of melancholy with “Sad Boys Don’t Fold.” Contrary to the solemnness of “Ankonam,” the energy on “Sad Boys Don’t Fold” is upbeat as Black Sherif paints himself as “the man who’s always been sad and ballin’ every day.”

He brings that melancholy to “Oh Paradise,” as it contends with the song’s bright horn blasts. Dedicated to his late girlfriend who passed away in 2017, Black Sherif revives memories of their time together and expresses frustrations at the good times that they never shared. “Sleep well my lover/I will be fine my lover/And my love for you’ll be forever,” he sings. Delivered mostly in his native Twi, he consoles himself with the belief that she is in heaven and begs her to ask for blessings on his behalf.

 

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Since he entered the music industry, Black Sherif has never hidden his admiration for the Asakaa Boys, the Ghanaian Hip-Hop group who, in 2020, bolstered the rise of Drill in their home country. Borrowing from the Chicago-originated sound, which was adopted and evolved in the UK, then commercially elevated by the late American rapper Pop Smoke, the Asakaa Boys—made up of O’Kenneth, Jay Bahd, Kawabanga, Cedi City Boy, Reggie, Kwaku DMC, Sean Lifer, Rabby Jones and Braa Benk—spun their unique experiences on the sound’s characteristic hard baseline and inspired a new generation of artists. Black Sherif and fellow Ghanaian artist Yaw Tog are some of the popular names on Ghana’s Drill scene.

On ‘The Villian I Never Was’, Black Sherif utilises Drill for “Sad Boys Don’t Fold,”Konongo Zongo,” “Wasteman,” “Oh Paradise” and the Burna Boy-featuring “Second Sermon (Remix).” A self-acclaimed street preacher, Black Sherif pays homage to his roots on “Konongo Zongo,” as he revisits tough decisions he made in the past. He remains on the streets of Konogo and offers a peek into the life of one of its inhabitants on “Wasteman,” giving details about the pressures that many youths in improvised communities face. On “Second Sermon (Remix),” which was released last year and helped Black Sherif’s rise, Nigerian artist Burna Boy gives colour to the certified street banger.

There are not a lot of love songs in Black Sherif’s discography. Before ‘The Villian I Never Was,’ there was only 2020’s “Mariana.” On the album, there are three: Toxic Love City,” “Don’t Forget Me” and “Oh Paradise.” Like “Oh Paradise,” there is a dark streak to Toxic Love City.” On the song, Black Sherif admits his unwillingness to let go of a romantic partner who brings out the worst in him. He wants to leave but he is unsure if someone else will accept him. Between a known evil and an unknown good, he chooses the former. The vibe on the Reggae-influenced “Don’t Forget Me” is healthier, though. He opens up to his loved one, requesting that they spend time together before he inevitably leaves and goes into the world to hustle.

On the production side of ‘The Villain I Never Was,’ Black Sherif sticks with Ghanaian Stallion (“Second Sermon (Remix)”) and Joker nharnah (“The Homeless Song,” “Soja,” “Prey Da Youngsta,” “Konongo Zongo,” “Toxic Love City” and “Kwaku the Traveller”). He also makes space for new collaborators—London (“We Up” and “Don’t Forget Me”), Samsney (“Oh Paradise”), JAE5 (“45”), WhYJay & LiTek (“Oil in my Head” and “Wasteman”), AoD and RNDM (“Oil in my Head”) and Zaylor & Dystinkt Beats (“Sad Boys Don’t Fold”). These producers, diverse in style, cook a potpourri of sounds that offer magnificent uniformity on several listens.

While the production list is crowded, the guest list is not. It is a Black Sherif show, with only Burna Boy disrupting the flow, right at the end. The track list shares the individuality of Omah Lay’s ‘Boy Alone,’ another debut album from the African continent that does not have a crowded guest list. The album’s cover art, which bears similarity to Eminem’s ‘The Eminem Show’, places Black Sherif firmly in the spotlight. ‘The Villain I Never Was’ is Blacko’s diary, where he pens his pains and aspirations and victories. Although he might make mistakes, he is willing to own them while he creates his world. He is unafraid to become the hero of his life.

Stream ‘The Villain I Never Was’ below.

Featured image credits/NATIVE


ICYMI: READ OUR REVIEW OF OMAH LAY’S ‘BOY ALONE’

Songs Of The Day: New Music From TI Blaze, Mr Eazi, Ninety & More

We’re more than halfway through 2022, 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. This Friday, enjoy new music from T.I Blaze, Mr Eazi, Small Doctor and more. Dig In!

TI Blaze – “Lock Up”

Street pop singer and songwriter TI Blaze is here with his most recent release and bubbly new single “Lock Up.” Over the Niphkeys production, he reminisces on the tough roads he has traversed so far while choosing to focus on the positive side of life. Over instantly memorable production, he sings lyrics “Livin my life to the fullest, living my life with no regrets/Someone pass me my cigarettes,” which paint a vivid image of his past reality.

Small Doctor – “See Me” ft. Mr Eazi 

Street pop singer Small Doctor teams up with “Patek” crooner, Mr Eazi for a new upbeat record titled “See Me.” The Amapiano-infused number sees Small Doctor speaking about his current standing in the game as one of Afropop’s most enjoyable hit makers. Over the Krizbeatz-produced beat, he sings “when they see me coming warning, yawa go dey/that’s why dem haters wanlo kajo bi ti eja kote,” letting his opps know he’s not to be messed with. Mr Eazi makes the song more memorable with his catchy lyrics and relatable lyrics.

Doski – “Next Level” ft. Zinoleesky

Newcomer Doski collaborates with Afropop star and Marlian Music’s Zinoleesky for the new offering, “Next Level.” The uplifting number finds both artists offering encouragement to listeners as they implore us to focus on the positive aspects of life rather than fixating on what is yet to come. Zinoleesky opens the record with memorable lyrics such as “wetin my mama go chop, wetin my mama go chop, all I’m looking for/ I have to work hard,” which serve to remind us where he is coming from.

Bryan The Mensah – “Problem No Dey Finish” ft. Medikal

On his latest release “Problem No Dey Finish,” Ghanaian rapper Bryan The Mensah speaks directly to his listeners about the never-ending struggles of life as a young adult. For its fitting remix, he taps fellow Ghanaian star, Medikal for a catchy update to an already memorable track. Over the infectious production, Medikal sings lyrics such as “I for sell my house but God is in control, I’m still making money everyday,” which speak about the realities of Ghana’s current economic crisis.

Ninety – “Smoke And Chill”

Following the release of his debut album ‘Rare Gem’ earlier this year, Nigerian artist, Ninety returns with the new laid back and trippy tune titled “Smoke And Chill.” Over the song’s euphoric production, he sings “I just wan smoke and chill for this life of dey where I don’t even know what’s real,” letting listeners in on his current state of mind.

Lyta – “Country Boy”

For his first official single of the year, street pop singer songwriter and producer Lyta arrives with the new mid tempo number titled “Country Boy.” Over the song’s melodious production, he sings lyrics such as “music be the only thing that I know, anytime I sing I feel at home/badman ready badman ready to takeover the world,” letting the world know the intricacies of his journey to superstardom.

Featured Image Credits/The NATIVE

Art X Lagos Returns For Its Seventh Edition Next Month

Seven years since its inception, ART X Lagos, the premiere Nigerian Art Fair continues to successfully pioneer and drive evolving conversations around the innovative contemporary art across Africa, while establishing a hub for talents across the globe to tell their stories, as well as showcase their talent.

Every November, the fair gathers a plethora of curators, collectors, art connoisseurs and art lovers at The Federal Palace in Victoria Island, Lagos and since the 2020 COVID-19 outbreak, now holds an extended exhibition on their online platform. 

 

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Last year, ART X Lagos gathered thirty leading international galleries, fifteen of which were present at the physical fair and fifteen others exhibited their works online. All together, last year’s edition showcased 120 artists from over thirty countries including South Africa, Morocco, Angola, Egypt and more were involved in the showcase. The fair’s packed calendar of events also includes the ART X Live! which have seen performances from breakout artists such as Lojay, Aylo and Dami Oniru and ART X Talks which explores a range of topics regarding the state and growth of African Contemporary art.

This year, the artists on display will emerge from an exciting and diverse group of thirty-one galleries from across the world including DADA Gallery (London, UK), Art Pantheon Gallery (Lagos, Nigeria), Gallery 1957 (Accra, Ghana), Stevenson (Cape Town, South Africa), Afikaris (Paris, France), Galerie Atiss Dakar (Dakar, Senegal) and many others.

The works of artists such as John Madu, Raji Mohammed Babatunde, Damilola Onosowobo, Alioune Diouf and photographs from archives of the Iconic Ghanian photographer, James Barnor are also confirmed to be displayed at the upcoming exhibition. In addition, for the first time this year, the Access Bank ART X Prize has expanded to include two winners, one Nigerian and the other, from the rest of Africa or the diaspora at large.

 

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With only a few weeks left till this year’s edition, more details and information from the exhibition can be expected in the coming weeks. In the meantime, the exhibition is slated to hold in its usual location, The Federal Palace in Victoria Island, Lagos from 4th-6th November with over 120 promising artists showcasing their burgeoning talents.

Tickets can be purchased on their online platform artxlagos.com/tickets 

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Best New Music: Kizz Daniel’s “Cough (Odo)” Reinforces His Hitmaking Genius

Kizz Daniel’s claim to the Afropop pantheon of greats has been eagerly dissected in recent months. For some, his consistent display of his hit-making prowess elevates him there. Others have faulted his seemingly edgy brand, a construction in need of the neat finishes acclaimed superstars have possessed all through their career. What does the man in the middle think? Well, he’s focused on nothing but hits and more hits. First with the widely accepted song of the year “Buga” and last weekend, just in time for the festive period, another hit-sounding record in the form of “Cough (Odo).” 

 

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For a while the musician had employed the promotional tactic of snippets, teasing the record with a dance routine created by Poco Lee. As the days pulled closer, we got to learn the record subtitled “Cough(Odo)” was actually part of a bigger project; from EMPIRE and YBNL. Since entering the African music market in February 2022, the independent company which offers label, publishing and distribution services, have worked alongside some of the biggest names in Afropop. Kizz Daniel’s single is the first one off ‘Where We Come From (Vol. 1),’ a compilation album which was recorded at EMPIRE’s San Francisco headquarters. 

In sync with the festival-themed project, Kizz Daniel’s record pulls many signature flourishes. Right from when the beat drops, you know instantly you’re hearing a bop. The Blaise Beatz production contains the shimmering groove he’s become known for, bursting with sunny synths and upbeat percussions. In the sprawling canvas of Kizz Daniel hits, “Pour Me Water” stands as the obvious precursor to “Odo”. But where that record utilises the bright production to counterbalance the theme of heartbreak, the newer record sees Kizz Daniel lean into the colourful possibilities that comes with being in love. 

For those in the know, women play a huge role in deciding who gets to blow. From the Motown era till the golden age of nineties R&B, romantic sentiments—often sung by men, directed towards women—formed an important part of popular music. Nigerian pop space isn’t so different, with an affirmative love record (African Queen) establishing the standard for the 2000s. Because Kizz Daniel’s artistry is audibly influenced by that period in time, he does reflect its unique brand of effervescent desire. 

“Odo” has all the saccharine qualities of a hit record. Kizz Daniel’s vocals is remarkably immersed in his world, promising to love a woman right by engaging with her own desires. In Afropop where accounts of toxicity are sweetly embedded into records, an A-list musician cooing, “I want to carry my love away, to a place she loves,” is definitely going to stand out. Kizz Daniel has more than just an outlier perspective going for him though, he’s a concise songwriter who leaves poignant images in a listener’s mind. Landing softly on a sofa floor was remarkably and humorously discussed, and here it’s “Enter bathroom, fresh up” that’s repeatedly sung in the style of a catchphrase. 

On TikTok already, the song has been catching on as people engage its waist-swerving dance move. From kids to mothers and young women, it’s attracting an audience not quite different from that of “Buga”. All of which confirms Kizz Daniel as a genius hitmaker. The year’s still got some laps to run but there’s no reason why “Odo” shouldn’t feature in those famous street raves or club gatherings. No doubt—it’s two hits from two released songs this year for Vado. That’s truly special.