A-1 Listen Review Of BNXN’s New EP ‘Bad Since ’97’

Posted on by Tela Wangeci

Since his 2018 debut, BNXN has continuously solidified his presence in Afropop, with radio-ready hits that have soundtracked our late night parties and hangouts. From “Testimony” to the Zlatan-assisted “Spiritual”, to the memorable “L’enu Remix,” with Burna Boy and his slew of other collaborations, the singer has seized every opportunity to showcase his undeniable skill and earmark himself as one to watch.

 

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Closing out 2021 in a heartfelt way, he released his debut EP ‘ Sorry I’m Late,’ which offered a rich throve of insight into the mind of the artist and his sweet melodies and laid-back delivery. The 7-track EP also found BNXN showcasing his versatility in composition and his knack for dropping dance floor-ready bangers with meaningful lyrics. The EP offered BNXN ample space to offer new variations on his usual sounds without erasing what we’ve come to love.

Still revelling in this stardom, BNXN is back with his sophomore EP ‘Bad Since ‘97.’ He began teasing its release, earlier this month on social media, by announcing producers such as Denzl, Sak Pase, and Ts Boy were on the EP. Now, the wait is over and BNXN has expanded his sonic tapestry with the help of seasoned Afropop veterans such as Wande Coal, Olamide, and Wizkid. Speaking with Apple Music, BNXN confirms that his sophomore album is different from ‘Sorry I’m Late,’ stating that there was more storytelling and maturity in the new drop. 

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

“BAD SINCE ‘97”

This is the EP’s titular track so I’m excited to get into this. Ouu–sounding good already. These are really intriguing sounds being fused together. I love how BNXN shows he’s capable of singing on any beat you give him. Here, he fuses Afropop and alternative R&B, while acknowledging his musical prowess with braggadocious lyrics such as “don’t compare me to nobody I dey spazz you know”. I think BNXN surprisingly challenges himself with deep percussive tones while reassuring listeners that this is his world and we are all living in it.

“BAD MAN WICKED”

From the second song, you already get the gist of the album, BNXN is getting self-conceited, and he is not apologetic about it. Speaking in the third person, he positions himself as a talented god ruling over a kingdom. He is aware of his mark in the industry and has enough audacity to place himself among the forerunners of Afropop. This is only the second joint but safe to say, I am in love with the production of the EP so far. Honestly, BNXN came for our necks, and he is stepping on them. This has to be one of my favourite numbers on the project

“MANY WAYS” FT. WIZKID

This is not the first time BNXN is collaborating with Wizkid so I’ve been looking forward to this since I saw the tracklist. The melody is on fire and subtle, compared to the previous tracks. Deviating from the braggadocious flow of the earlier tracks, BNXN explores love as he adores his muse’s emotional strength over him. Alongside Afropop royalty Wizkid, they sing with their seductive voices about light-hearted love and romance full of sweet promises. I am definitely revisiting this track.

“KENKELE” FT. WANDE COAL

Previously released in July, this track has already garnered considerable fan fare and racked up over a million streams on Spotify. Listening to it, within the context of the EP, you can feel the synergy between the two artists as the log drums compliment the song as a whole. This might not be my favourite song, but I will have to inject it into my system again. The adlibs make this song extra cool. 

“IN MY MIND”

It seems the album’s flow is getting slower and more composed as we near its end. The bass drums hit differently while BNXN’s strong writing ability shines brightest here. Painting himself as a Superman fan, he sings “I’m Superman and you’re my Louis Lane,” inviting his fans into his utopia where love is supreme. However, he paradoxically compares it to Superman’s and Louis Lane’s relationship with toxic aspects. 

“MODUPE” FT. OLAMIDE

According to African origin, Modupe is an expression of gratefulness to God, and you can feel BNXN’s sincerity from the agile production to his clear-cut voice. Olamide serves the first verse in his native language as BNXN mixes it with English. His ethos is clear in this song giving reason to why he is among Africa’s top artists as he sings “I put the full commitment in everything I do, And I stay consistent in everything I do.” BNXN pours out his emotions giving the song a reflective yet inspirational aspect of the production. 

“LOOSE EMOTIONS” 

The drums on this closer sound amazing. Of course, he had to wrap up the project with a fire Spellz production. This single is a sequel to BNXN’s “In My Mind”. In the latter, he compares his muse to Judas, however, “Loose Emotions” sees a brighter side of BNXN having moved on from the toxic love cycle. As he transitions from a grateful stance in “Modupe”,  he has a happier approach to life as he feels comfortable without his previous lover. I’m not particularly too keen on this but I guess we need more honest representations of men’s emotions so good one, BNXN.

FINAL THOUGHTS

On ‘Bad Since ’97,’ his sophomore EP, delivered less than a year since his debut tape, BNXN sheds off his old skin to make room for new. Here, he sounds more confident in his craft and capability, proving that his voice is not just an asset, as he has put his time and energy into the composition, delivery, and proper curation of the EP. As ‘Bad Since ‘97” kicks off, the hunger in BNXN’s voice is evident, as he sets out to silence the haters and oppositions over airy bass productions.

The procession of each song in the project shows his capability in encompassing vast human emotions with little but impactful words. As he tackles success, fear, love, and all the thoughts that go into existing, BNXN is telling his fans they have to believe in themselves and sprinkle a dash of dedication and determination into their craft.

In 17 minutes, BNXN delivers a masterpiece peppered with memorable verses from Afropop veterans such as Wizkid, Olamide, and Wande Coal. If you had not gleaned from the project’s title already, ‘Bad Since ’97’ is a searing body of work which solidifies BNXN as a considerable talent, capable of offering existential and poetic self-reflections that’s catchy and instantly memorable.

Listen to ‘Bad Since ’97’ here:

Mavin Records Unveil New Artist, Bayanni with Debut Eponymous EP

Posted on by Emmanuel Esomnofu

Mavin Records have unveiled their newest signee, Bayanni. The 25-year-old musician has gone through the label’s acclaimed development program, and has now come through the ranks into his own. He follows in the Mavin tradition by releasing an eponymous EP today, a four-track capsule showcasing his unique hang on Afropop through his svelte vocals which have proven to be captivating over time.

 

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Formerly known as Zhenoboy, the artist follows Boy Spyce in being the second consecutive social media sensation signed by Mavin Records this year. Attentive partakers in Afropop circles would remember the artist’s face from his freestyles and covers, posted on the comment sections of superstars who he would now call colleagues and prospective collaborators.

Bayanni is the third of five boys, and was born in Alagbado, Lagos to parents who worked in education. He got into music through church and began playing instruments shortly after. Following his father’s lead, he graduated with a degree in accounting from the Obafemi Awolowo University (OAU), a tertiary institution revered for its budding music scene.

His debut eponymous EP toes that line from living against the odds to suddenly being on the map, learning from the best in the game. Even though he’d gotten a Davido cosign previously, this unveiling, or activation as the Mavins group like to call it, ranks very high on the artist’s best days. From the aspirational “Family” to more groovy cuts like “Body” and “Ta Ta Ta”, the artist relaxes on a new lease of life while being aware of the hardwork that is required to propel himself even higher within the modern pop industry. “So I carry my family for head, if dem never chop I must double hustle,” he sings on the evocative opener, admitting his motivation with unpretentious honesty.

Closer “Kala” flows with propulsive energy, the percussions colourful and teasing what is Bayanni’s most invested performance across the tape. Like previous debut EPs from Mavin acts, this introductory phase is supposed to sketch the potentials of the artist’s sonic pallette. There is no doubt that he’s in great company, and Bayanni has risen to the occasion as well by making his bow with this particular project.

Listen to ‘Bayanni’ below.

How Ruger is championing the hypnotic sound of Dancehall

Posted on by Emmanuel Esomnofu

There’s a video currently making rounds on social media; it’s of the Nigerian artist Ruger performing at a packed venue in Port Harcourt, the capital of Rivers State. He’s leaving the stage, the crowd roaring and his gait triumphant. Then suddenly, he turns back and the familiar, sunny bounce of “Girlfriend” fills the room, causing the audience to go even wilder. The artist then raises his shirt to flawlessly execute the waist-turning dance move he’s associated with the record on TikTok and other social channels. 

 

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That seconds-long clip highlights everything that makes Ruger a very unique artist in the African pop scene. With bold splashes of Dancehall, the 22-year-old artist has created truly big records while adapting a similarly energetic edge to his overall brand, not excluding stage performances. Right now, only a handful songs are circulating Nigeria with the vim of “Girlfriend”. It’s not yet a fixture on the charts but, in a way akin to “Buga,” it’s being championed in the streets and all sorts of public spaces, as Ruger sings a sweet tease about not sticking to one woman. 

Interestingly, the song is housed in a project titled ‘The Second Wave,’ which acts as a statement on Ruger’s evolution. He arrived like many before, snapped from the gift that is social media and chiseled into almost perfection by Jonzing World’s D’ Prince. The self-styled Omo Oba became highly revered after his discovery of Rema, proving that he had eyes and ears for not just singing talent, but characters with big personalities. On “One Shirt,” he united both proteges to sing of trying times, which from the onset, weaned Ruger towards that level of introspection. As an active artist, he’d blended his sex-alluding tracks such as “Take Banana” with comically-delivered lessons, as on “Oga Titus“. A way sort of, to diversify the thematic material.

Those were big shoes for Ruger to step into. He had undergone a year of artist development under Jonzing Records but the world of music, with its slippery field and charts system could easily leave one disillusioned. If he was nervous, it never showed in the music. On his eponymous single, his spritzy lyrics laced with Jamaican patois, and his lyrical dominance (“it’s crazy none of them ah can debate me”) earmark him as a rising star to watch. It was remarkable to witness as Ruger’s potency wasn’t solely rendered by the words he sung, but how he sung them. Each line was delivered in a zesty style modelled after the object of his moniker, bending syllables akin to the ways of great Dancehall purveyors.

That debut project was named ‘Pandemic,’ a title that could have easily been a PR disaster if the music wasn’t that good. Though the self-titled record aligned his values of ghetto-bred resilience, “Abu Dhabi” exposed his sweeter ways, a broad lyricist capable of pulling the heart’s strings as easily as the trigger of a gun. “Yekpa” and “Monalisa” were sweaty entries into the frenzied state of a party. The latter was especially vibrant, bursting with full drums as Ruger coerces the named maiden, in summary promising a good time and wanting to “deplete your ozone layer.” Lewd? Perhaps. Creative? Sure. 

Ruger comes from a generation of clever songwriters with enviable wordplay, blending their real messages behind the assurance of a metaphor. It’s a particular talent of Ruger to know how to switch in-between, when to openly state what is and when to utilise an imagery, to evoke a moment in time. Those characteristics abound in “Bounce,” the longest lasting hit off ‘Pandemic’ and the biggest emblem of his first wave. It wasn’t the immediate catch off the six-track EP but when it did, those sunny progression of its early notes couldn’t leave one’s ears.

Whether at an outdoor party or in a market, “Bounce” easily slotted in. Its leap into the Apple Music Top 100 in sometime in June 2021 was visibly emotional for the artist who tweeted a note of appreciation to  his fans, D’ Prince, his Jonzing World team, and to producer Kukbeatz, “for helping me produce the HARDEST project out now.” That alliance between producer and artist has birthed two acclaimed projects, fitting everything within a cohesive whole yet colouring the individual songs with unique sounds. It’s a marvel of artistry which hasn’t been given its deserved acknowledgement until now.

Kukbeatz’s cockcrow signature sound has been a consistent feature of Ruger’s hits. On the Dancehall-leaning records (“Bounce” “Ruger”), he’s adept at looping bright keys which jump around solid bass. Following Ruger’s knowledge of indigenous music, disruptive drum patterns are borrowed from Fuji for records cut for an Afropop classification (“Yekpa” “Monalisa”). So far, “Snapchat” portends his finest entry into the lush plains of R&B, painting sensual pictures and with a really good hang of his tone, working that to chilling effect over the song’s three-minute runtime.

Ruger’s second wave began with the release of “Dior” last year November. Inspiring covers among other things, it was readily soaked into the folds of popular culture and set a course for Ruger’s global aspirations. With themes of opulence embedded within that catchy line, “Bad man looking good in Dior,” the effortlessly fun vibe sped up its acclaim. 

On the back of the record’s chart success, Ruger released the visuals earlier this year and has toured massively ever since. His travels on the road have revealed him as an energetic performer, eager to embody the sensual direction of his music much to the pleasure of female fans. He’s been sexually harassed, severally, and has refused to comment in interviews. In all, Ruger’s been in our faces, but it’s credit to him that music is always connected to the reason why.

The well-publicised “clash” which coalesced in a thankfully short-lived show-off between BNXN and Ruger started with someone raising a slight at Ruger by comparing him to the artist previously known as Buju. Looking closely at Ruger’s take on what stands him out–multiple hit songs, no features, stagecraft–he’s not far from the truth. He’s perhaps tired of the underrated tag, casted with the image of a second-tier player. You get the sense this is what the second wave is about: to solidify his name in such discussions, to command respect by being a dope writer and an even better performer.

Musically, he’s been able to place that never-ending search for artistic excellence in perspective. On project opener “Champion,” he’s set by ominous keys and scenic chords as he charts the pain of his come-up while acknowledging recent wins. “I be the only Ruger, nobody fit take my place,” he sings assuredly. His well-narrated experience of being a phone repairer at Computer Village enters the autobiographical record, extending the triumphant edge of “Bow” into a more informed check at the popstar material he’s cut from. 

Even a lesser acclaimed record like “Useless” still burns with Ruger’s passionate artistry. Artists usually claim to have no bad songs, but with Ruger that’s stating the obvious. A deluxe version of the EP saw Ruger include three songs, namely, “Girlfriend,” “Wewe” and “Warning”. The first two are engrossed in the everyday affairs of love and sensual existence, heavy on the sharply-delivered innuendos Ruger has dazzled with over the past year. 

Personally, I return to “Warning” more than any other record in Ruger’s discography. Part of the reason is because of his recognition of musical lineage, which is obvious in the shout-outs he gives to Nigerian musicians Burna Boy, who brought him out last year at the O2 Arena, Wizkid, D’ Prince, D’Banj, 2Baba, the late Sound Sultan, and his elder brother Baba Dee. 

Ruger is a student of the game, and it’s a record that also reminds you how assured he is for one so young. The debut albums of Wizkid and Burna Boy were released around ten years ago, which means Ruger’s formation and evolution all happened within last decade. With the mentions of Marley and Dube, he notes an underlying love for Reggae. There’s a shared ancestry between both continents, and crystallised through Reggae’s entry into Africa starting from the seventies. Sonny Okosun’s 1978 record “Fire In Soweto“ was one of the early African songs with a recognisable Reggae element, and in latter years musicians like Ras Kimono, Majek Fashek and Evi Edna-Ogoli did great things with the genre. In the late eighties and nineties, Dancehall struck off from that success with a less moral perspective on life. Of the many, Blackky’s “Rosie“ has become the quintessential record of that period.

In someway, Ruger’s sound harkens back to that era. In style, the sound of contemporary Afropop is audibly influenced by Dancehall and we’ve had musicians try to infuse its distinct feel into the Nigerian mainstream to different results, from Shank to General Pype, Endia, Ketchup, and Cynthia Morgan. Even ahead of his protege Patoranking, the Bayelsa-born Timaya has arguably been the most successful in this category, parlaying years of continental dominance into an early crossover in the mid 2010’s, collaborating to potent effect on records with Caribbean music icons such as Sean Paul and Machel Montano. 

 

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So far, Ruger has collaborated with Dancehall and Reggae artist, Projexx on the remix of “Sidepiece” while his growing profile indicates he’ll be getting a much bigger act on a record soon. In interviews, he’s been quick to show love for Popcaan and Gyptian (whose “Whine Slow“ is Ruger’s favourite song ever), while he could also orchestrate a crossover with an R&B leaning act. There’s a lot of potentially great ways Ruger can go with his career and for that he deserves a lot more respect whenever the next conversation comes up.  As gleaned from “Bounce” and now “Girlfriend,” Ruger has the potential to become Africa’s biggest musical export to the Caribbean. 

Songs Of The Day: New Music From Tanasha Donna, 9ice, Runda and More

Posted on by Wonu Osikoya

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, tonnes of 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 releases from Tanasha Donna, Deto Black, Runda, 9ice and more. Dig in.

Tanasha Donna – “Karma” ft Barak Jacuzzi

Kenyan singer and songwriter Tanasha Donna is here with new single “Karma,” which features a guest verse from Barak Jacuzzi. The record sees the rapper spitting disrespectful lyrics over the song’s bouncy production. She sings lyrics such as “why you all up in my face, all in my business copy and paste/bitch i’m a star, you’re riding my wave,” to her opps and haters. 

Deto Black – “Bad S.L.U.T” ft. Mowalola 

Last week, Deto Black and Mowalola shared a new infectious single titled, “Bad S.L.U.T,” a braggadocious number that found them talking smack to the haters. Now, the pair have updated the track with a new video that finds both artists making the most important vow of all. The Chukwaka Nwobi-directed video features clips of Deto Black and Mowalola tying the knot, to the horror of a stunned Nigerian crowd. 

Runda – “No One”

On Nigerian singer and songwriter Runda’s new record “No One,” he explores the possibilities of love and romance with the woman of his dreams. Over the melodious production of the record, the artist sings “No one no one no one, no one fit to love you like I do/All i want is you, have sex girl let’s do,” expressing the hold she has over him and his life.

9ice – “Aye Labowo”

After his brief hiatus from releasing any solo music, veteran singer 9ice made his return to the music scene back in 2020 with the release of ‘Fear Of God,’ a 9-track album. This year, he’s also released a slew of singles including “Igabadun” and “Strong Thing.” The singer now arrives with a new mid tempo record titled “Aye Labowo,” a track which sees the artist chanting prayers to his maker in his Yoruba dialect. 

Borelson – “411” ft. Omaremii & Moncliche

Gabonese-Congolese Afrofusion artist and rapper, Borelson has  teamed up with Nigerian artist-producer Omaremii and Congolese Afropop artist Moncliche to deliver the infectious new record “411.” The catchy record is a summer bop that delivers a glorious melting pot of sounds, driven by Rap, R&B and Afropop. 

Tha Boy Myles – “Shawty” ft. Skiibii

For the record “Shawty,” newcomer Tha Boy Myles teams up with Skiibii to deliver a romantic number which finds them singing to their love interests about the things he’ll want to do to prove his love for her. Over the Niphkeys production, Tha Boy Myles sings sweet words such as “my baby, how much be money wey I no get for you/how much be motor wey I no fit buy for you.”

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Hot Takes: Sad Boys Club, Adichie & FN Meka, the AI-Powered Rapper

Posted on by Uzoma Ihejirika

At every moment of our lives, something is taking place to shift the course of the future, whether pleasant or not. There is no debating that fact. All around us, the wheels of the world keep turning (even faster than before), leading many of us back to old routines, as we course towards the end of the year. In Nigeria, summer for us means rainy days, cloudy skies and tumultuous winds, and with the new year only months away, anticipation is rife for the general elections next year.

Last week, I joined the NATIVE, ready and eager to take on the task of spotlighting our culture, sounds, music, fashion and more from this side to the world watching. This week, I’ll be taking the reins on my first-ever Hot Takes (!!!) uncover my listening and visual pleasures, the Adichie-backed wins at the NBA conference and an interesting occurrence where music meets technology meets gaming. Enjoy.

What I’m listening to

I find myself returning to Omah Lay’s ‘Boy Alone’ and several tracks on Rema’s ‘Rave & Roses.’ Since Omah Lay’s breakout in 2020 with his well-received EPs ‘Get Layd’ and ‘What Have We Done,’ I have remained a fan of his moody bad boy music.

The singles that followed those EPs—“Understand,” the Justin Bieber-assisted “Attention,” and “Woman”—were great but nothing prepared me for the utter beauty that is ‘Boy Alone.’ It is wholesome sad-boy-with-sprinkles-of ashawo vibes but Omah Lay’s vulnerability and honesty are irresistible. “soso” is a personal favourite as every track gets to me, pulling me deeper into the singer’s world.

On the other hand, Rema’s ‘Rave & Roses’ on the first listen didn’t blow me away. I had anticipated the album as I felt it would be the artist’s crowning glory since his debut in 2019 but it left me feeling that something was missing. Although I recognised the intricate world that music producer London built for Rema, I felt the singer was still in search of something in music that seems to elude him. Lyricism, perhaps? I don’t know.

But on several listens, tracks such as “Dirty,” “Calm Down,” “Soundgasm,” “Time N Affection,” “Jo,” “FYN” and “Runaway” have stood out for me, and I am in awe of how Rema utilises his vocals around the instrumentals and produces melody after melody.

What I’m watching

I have been watching the 1994 British dark comedy crime film ‘Shallow Grave.’ It is British director Danny Boyle’s feature directorial debut. The film is about three roommates who find a suitcase of money belonging to a dead new roommate and the conflicts that arise from their decisions.

I am yet to complete the film but it is an interesting watch so far. I am familiar with some of Boyle’s other works such as ‘Trainspotting’ (1996), ‘T2 Trainspotting’ (2017), ‘Slumdog Millionaire’ (2008), ‘127 Hours’ (2010) and ‘Steve Jobs’ (2015), so it is interesting seeing how his career kicked off feature film-wise.

Adichie’s words at the NBA Conference

On Monday, August 22, 2022, the Nigerian Bar Association (NBA) held the opening ceremony for the 62nd edition of its Annual General Conference at Eko Hotels & Suites. The eight-day conference, which started on August 19 and ends on August 26, will feature panel discussions, speeches, training and male and female inter-branch football competitions.

Nigerian author Chimamanda Ngozi Adichie was a keynote speaker and during her speech, she decried the fact the country lacks true leaders. She also made a case for “troublemakers,” as they are the people she believes will fight injustice and tyranny. Several politicians vying for roles in the 2023 general elections were in attendance.

Adichie, an widely known feminist, also raised concerns about the disparity in prize money for the winners of the male and female football competitions: the male team will win 500,000 Naira while the female team will win 200,000 Naira. Soon after, several personalities contributed to the prize money for the female teams, increasing it to a sum of Four Million Naira.

While some people have praised Adichie for calling out the disparity, other people have hinted at an “unfair treatment” of the men. I say that if the NBA had been fair in the first place, Adichie wouldn’t need to have pointed out the difference in prize money. Considering the exploits of the women of Team Nigeria at the 22nd Commonwealth Games, it is a shame that the NBA didn’t read the memo that women should not play second fiddle as it concerns talent and opportunity.

Rap’s AI experiment gone wrong

The wave of technological advances sweeping the world is unstoppable, and the music industry isn’t left out. Last week, American record label Capitol Records signed FN Meka, a virtual rapper powered by artificial intelligence (AI). FN Meka is the creation of Anthony Martini and Brandon Le, who are co-founders of Factory New, a virtual record label.

FN Meka has a huge following on social media with 10 million followers and over a billion views on TikTok. “Florida Water,” his debut single under Capitol Records, features American rapper Gunna and professional Fortnite player Clix. “Florida Water” is a Trap song about flaunting wealth and a luxurious lifestyle. I couldn’t figure out which part of the song was FN Meka’s but it felt like I was listening to a conventional American Trap song.

Yesterday, news came out that Capitol Records dropped FN Meka from the label and issued an apology after an activist group released a statement condemning the mannerisms of the digital rapper, which they say is a copycat of thousands of black artists such as Gunna (who is in jail because on RICO charges). This development also comes after an old Instagram post of FN Meka resurfaced that showed him making light of police brutality and incarceration.

Initially, before the new information, I didn’t find anything wrong with FN Meka and virtual rap. Throughout the years, as Trap music gained more steam, rap purists have concerns about it signalling the death of “real rap,” rap is pure lyricism and technicality. Still, the genre lives. I don’t think virtual rappers will knock human rappers off the scene. I believe this is simply an effect of technology, as evidenced in other industries such as healthcare, transportation, finance, etc. But following recent developments, Capitol Records have done the right thing. While it’s entirely outrageous to co-sign a racist AI rapper in any way, I feel this won’t stop Capitol or another label from signing a digital rapper in the near future. It’s scary times.

We Spoke To A Few Young Nigerians About The Increase In Mobile Data Prices

Posted on by Wonu Osikoya

It’s no secret that mobile networks in Africa are vastly unreliable. Ever so often, Africans complain about the alarming data prices and fickle network connectivity in the country which leaves many unable to access basic Internet services and social media platforms. According to Tech Cabal, as at December 2017, internet penetration in Africa was at 35%, which is lower than the 54% world average.

Although this number has been growing for the past five years, data costs are still relatively high in many African cities. This year alone, Nigeria ranked as one of the top 5 countries in Africa with the highest data costs, with $0.61 as their respective prices for 1GB. Due to the shift away from traditional calls and the rise of social media and telecommunication apps, Nigerian telecom companies are diversifying quickly to mobile data plans to offset the decline in voice revenue.

According to reports, mobile Internet subscribers in Nigeria has increased from 64.1 million in January 2014 to 128.4 million in January 2020. Earlier in the year, the Association of Licensed Telecommunications Operators of Nigeria (ALTON) disclosed that it will be implementing a proposed 5% tax on voice calls, mobile data and text messages to tackle a mounting fiscal crisis.

The announcement did not say when collections of the levy, which is in addition to a 7.5% value-added tax on calls and data, will begin. However, the impending rise has not been favourable to Nigerians who are already reeling from inflating prices in food stuffs, fuel prices, and more. The spike in data prices continues to particularly affect young Nigerians, who are now spending more time at home due to the rise of remote work since the COVID-19 pandemic.

There is still a long way to go for telecoms networks in one of Africa’s most populous nations. Nigeria’s telecoms industry is still in its infancy, as it was run and regulated by the country’s government for a very long time. Now, that private players such as MTN, Airtel and more, continue to grow and develop around the country, many local users are turning their attention to the network providers to redress the problem and provide them their money’s worth. As such, we spoke to a number of young Nigerians about their mobile network providers, their monthly consumption of data and how they plan to manage the extortionate costs.

MOJI (20)

What telecom network provider do you use and how much data do you use in a week/month?

I use Glo and I use about N10,000 a week.

Have you noticed an increase in data consumption?

Yes I have, it’s so bad.

How has this affected you and now how do you manage your data?

It has really affected me because funds are really tight, so I’ll have to manage the way I use my data to reduce the way I buy data. I always have to sacrifice some apps and even with that, I don’t still see much difference. I thought to switch to another network but I’m not sure if this will make any difference as a lot of people are making the same complains.

MOREWA (24)

What telecom network provider do you use and how much data do you use in a week/month?

About 24GB per month.

Have you noticed an increase in data consumption?

Yes.

How has this affected you and now how do you manage your data?

Well, I now spend more on data and end up using money I want to use for other things, to buy data. As a student who lives off an allowance I try not to go on social media apps like Instagram and TikTok unless I need to. Mindless scrolling is what consumes a lot of data. Also switching from LTE to 3G which can be frustrating but at least I’ll spend less.

AMAKA (22)

What telecom network provider do you use and how much data do you use in a week/month?

MTN and I use 50GB for two weeks plus.

Have you noticed an increase in data consumption?

Well, they scrapped the cheaper data options so, yes.

How has this affected you and now how do you manage your data?

My university is online, so most of the work I do requires using cellular data. I’ve been in an exam before and my data finished and I had bought 50GB just 4 days before that exam. I had to switch to Swift Mifi modem which has been working really well for me, and now I only buy a bit of data because it’s not even worth it anymore.

CHIOMA (21)

What telecom network provider do you use and how much data do you use in a week/month?

MTN N5,000 per week 

Have you noticed an increase in data consumption?

Yes, I have.

How has this affected you and now how do you manage your data?

I switched to Mifi because the data attainable for a lower price is more durable than on a mobile phone and I’ve noticed that it lasts longer. 

ZION (23)

What telecom network provider do you use and how much data do you use in a week/month?

MTN N6,000 50GB.

Have you noticed an increase in data consumption?

Yes, I have.

How has this affected you and now how do you manage your data?

N6,000 for 50GB doesn’t last up to a week, so imagine spending N12,000 every 3 days. It’s a lot of money for a minimum wage earner. I use an iPhone so I switch off cellular data for most of my apps except Whatsapp which is what I use often.

ARIKE (25)

What telecom network provider do you use and how much data do you use in a week/month?

I use MTN and typically purchase N1,500 6GB.

Have you noticed an increase in data consumption?

Yes, I have.

How has this affected you and now, how do you manage your data?

It’s not cost effective for me because now I spend about N5,000 for more data and it still doesn’t last for a long time. I don’t use TikTok as much as I want to anymore and I have to cut down on my data usage. This iPhone limit app has also helped me control how I use data nowadays.

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Best New Music: M.I Abaga taps Olamide & Nas for the meditative single, “Bigger”

Posted on by Uzoma Ihejirika

Last Friday, Nigerian rapper, music producer and entrepreneur M.I Abaga released his eleventh project and fifth studio album ‘The Guy’. The album’s title sets the stage for the rapper’s reinvention after an immensely successful 15-year old career that has produced a rich discography, numerous awards and recognition as Nigeria’s most revered rap artist. Abaga’s state of mind on the 12-track project is both relaxed and contemplative, assuredly basking in the longevity of his career and looking to the future with purpose.

A track that quickly caught the eyes and ears of many music lovers is early album highlight “Bigger”, which features American hip-hop legend Nas and Nigerian rap great and prolific hit-maker, Olamide. It is understandable if this M.I Abaga and Nas combo is said to have been nine years in the making, considering the lawsuit-tied history between both artists. Finally, Abaga gets his Nas feature and it’s worth the wait, largely because it’s far more sentient and personally refreshing than the boilerplate, politically charged effort many envisaged it would be—due to the alleged touchpoints of the seemingly scrapped lawsuit.

 

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Produced by M.I Abaga and the late Nigerian music producer BeatsByJayy, “Bigger” is a meditative, mid-tempo number with gentle piano chords and a bounce that’s very Nigerian, even though it evokes the trademark boom bap knock. On the song, M.I, Olamide and Nas express gratefulness for the success that they have acquired in their careers and a desire to conquer more challenges. “…this is history right here,” Abaga says in the intro of the song, fully aware of the cultural moment about to unfold, the rare trans-Atlantic collab in Nigerian rap. He delves into his verse with sharp, witty writing as he makes a case for himself being unstoppable. He recognizes his place as an elder statesman on the Nigerian rap scene when he raps, “This is for the kid within listening/People who have talent, have discipline/My vision it gets bigger with time/If I ever rest, shit/I give you mountains to climb.”

In his verse, Nas unfurls gem-like lyrics brimming with stunning metaphors; he reveals sneak peeks of a flamboyant lifestyle that hasn’t dulled the hustle in him to seek new challenges and make an impact with a mic. “I’m an alligator salivating at your heart/Leaving teeth marks in your soul Alucard,” he raps. His most recent releases—2020’s Grammy-winning ‘King’s Disease’, its well-received sequel and ‘Magic’ from last year—are evidence of Nas’ constant strive for excellence, and there’s extra gravity to “Bigger” that he’s in fine form, making a wondrous appearance that adds to the tone set by M.I Abaga on his opening verse.

On his part, Olamide’s chorus, delivered in both Pidgin English and Yoruba, firmly roots “Bigger” in the Nigerian context, reminding listeners that Nas’ presence isn’t a mere act of teasing the attention of western audiences but an avenue for creators divided by geography to unite on a sonic field. A master in the game with a record label responsible for the blooming of the careers of many artists, most recently the irresistible Asake, Olamide uses the chorus as a bittersweet tale of the pressures and pleasures associated with fame. It has a moving effect similar to what Bella Shmurda did on Olamide’s “Triumphant” from 2020’s ‘Carpe Diem’.

The choice of Nas and Olamide as features for “Bigger” is a masterstroke from M.I Abaga. It enforces the notion that, for many big names, success isn’t the end of a journey but the beginning of another one. M.I shows that real success is consistently conquering the fears that stand at the gate of every new beginning.

Listen to “Bigger” below.

ICYMI: READ OUR TAKEAWAYS FROM M.I ABAGA’S ‘THE GUY’

TurnTable Top 100: Tiwa Savage And Zinoleesky’s “Jaiye Foreign” Debuts On The Top Ten

Posted on by Cynthia Tigiri

Fireboy DML and Asake’s “Bandana” continues its leading streak as it spends a fifth week atop the charts. This week, the catchy single by the YBNL collaborators reached a new peak as it earns its fifth consecutive week at No.1 on the Turntable Top 100.

The track tallied a record 67.7 million impressions in radio reach and 4.48 million streams (it is also the No.1 song on streaming this week, moving up 0.1% on the chart). This earns Fireboy DML a new record as it becomes his longest staying single at No.1 on the charts, surpassing “Peru” which spent four weeks at No.1. This is also Asake’s first single to stay this long on the top chart for consecutive weeks.

For a third week, newcomers Carterefe and Berri-Tega’s “Machala” holds at No.2 on the chart, closely followed by Burna Boy’s “It’s Plenty.” Both tracks are followed by another Burna Boy number, “Common Person” at No.4 for another week. Rounding out the Top five this week is Crayon’s “Ijo (Laba Laba)” which rises from its previous position at No.9. The track earned 68.5 airplay impression and is currently the biggest song on Nigerian airwaves ( radio & TV respectively despite coming at No.3 spot on both charts).

At No.6 this week, we have Asake’s “Peace Be Unto You (PBUY),” while Kizz Daniel’s “Buga ( Lo Lo Lo)” is at No.7 on the charts. Tiwa Savage and Zinoleesky’s “Jaiye Foreign” makes its debut on the Top 100 at No.8 this week. The track gained 43.5 million impression reach on radio (landing the No.6 spot on the radio charts this week) and 1.71 million streams (coming in at No.9 on the streaming charts). Rounding up the Top Ten this week is Ruger’s “Girlfriend,” which ascends from the 11th spot to No.9 this week while Burna Boy and Ed Sheeran’s “For My Hand” falls from the 5th spot to No.10 on the charts.

Moving away from the Top Ten, we have Peruzzi’s “Hypertension,” which debut at No.43 on the charts while L.A.X’s “Para” launches at No.62 on the Top 100.

Read a full breakdown of the charts here.

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Mo Abudu Is Set To Make Her Directorial Debut With Two Short Films

Posted on by Wonu Osikoya

Mo Abudu is the name on everyone’s lips in the film industry. The ace entertainment entrepreneur through her film company, Ebony Life Studios has orchestrated some of the most memorable Nigerian cinema in the past few years including ‘Fifty,’ ‘The Wedding Party,’ and more.

Now, following the announcement of her collaboration with Netflix Naija on forthcoming film, ‘Elesin Oba,’ which will premiere at the Toronto International Film Festival, Abudu is set to make her directorial debut with two short films, ‘Her Perfect Life’ and ‘Iyawo Mi (My Wife).’

 

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The filmmaker is about to embark on a new journey in her career this month. According to a press release, Abudu will direct two short films, and be in charge of the entire filmmaking process for the very first time. This will mark Abudu’s first full-length feature since 2015’s ‘Fifty’, where she guided the storytelling process as an executive producer, but always sought experienced directors to helm each project. 

Her upcoming short films will find Abudu toeing new storylines. ‘Her Perfect Life’  is about 39-year old Onajite Johnson-Ibrahim who seems to have the perfect life, happily married with beautiful children but still wants to end it all. The film stars Pearl Thusi and Joseph Benjamin. It will also feature appearances from Omawunmi Dada, Uzo Osimpka, Christian Paul and Mary Lazarus. The cast for ‘Iyawo Mi (My Wife)’ includes Adedimeji Lateef, Bolaji Ogunmola, Segun Arinze and Jude Chukwuka.

‘Iyawo Mi (My Wife) is about Kunle and his wife Eniola, who has gone mad and wants to kill everyone. Kunle takes matters into his own hands and this results to tragic consequences. Both films will be executively produced and directed by Mo Abudu and Heidi Uys as Supervising Producer. These two projects are supported by The British High Commission and the French Embassy in Lagos, Nigeria.

In a press statement, Abudu shared: 

“I  believe in learning and understanding any major assignment I undertake. Directing is an art form that takes years to master, so I’m beginning with baby steps. I have written two short films that I will be directing – ‘Her Perfect Life’ and ‘Iyawo Mi (My Wife),’ a predominantly Yoruba language film.”

“Although these stories are fictional, they highlight the mental health challenges, hardly spoken about in Nigerian society, that many people deal with all over the world. Mental health issues can affect anyone, regardless of age, race, income or social class, and they are on the increase.”

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uNder spotlight: The Soulful Message of Wendy Kay

Posted on by Emmanuel Esomnofu

uNder is our monthly column committed to spotlighting the Best New Artists from around our musically diverse continent. Each month, we’ll be taking a step further to highlight the artists featured on uNder by offering in-depth interviews and exclusives about their music, their journey’s and their plans for taking their sound from this side to the world watching.

When Wendy Kay graduated from high school, she wanted to act in musical plays. “Broadways, musical plays,” she describes them. She was only two plays in when someone suggested she join a one-year artist development program called Sauti Academy, to sharpen her singing and songwriting. “I was like, ‘okay, fine,’ I mean it’s free so let me go and learn something,” she said to the NATIVE last week.

That same year, in 2012, Wendy Kay was introduced into a community of like minds. Through the programme, she rubbed shoulders with many rising talents—some of them household names in Kenya now. During her time in artist development, she realised many people had enrolled to better their own qualities, and that healthy push of competition worked to reinforce her self-confidence. “I just found myself going through with the music and I’ve never stopped since then,” she says. 

Born Wendy Kemunto, the artist makes music that is laser-focused on uncovering her true self. The lucid wisdom in her songs recalls the music of her earlier years: R&B, Lingala, African traditional choir music, Jazz—“All that mixture,” she says with a light chuckle. Those were however cut from the tastes of elder family members which inspired her early foray into music. Now, Wendy has fashioned a sound that is decisively personal, minimal, and updated with contemporary stories. 

While Wendy Kay finished university, Wendy performed with live bands, getting some money while finessing her artistry. “I was mostly doing covers,” she explained, “because at that time I was very shy. I wasn’t confident in playing the songs that I’d made. But I used to do cover songs with different bands, so we’d sing Rock, we’d sing Reggae, we sang Country, we sang Indian, so we were singing everything. That has really helped my vocals; it really helped me a lot.

Sometime in 2017, she got into Coke Studio as a backup vocalist. “It was actually life-changing,” she says of the experience. “I never thought I’d make it to Coke Studio but I got the chance; I met so many amazing musicians and got to work with them. I got to see them in their element. It even developed my work ethic because we used to do so much work in short periods of time. People don’t really see the behind the scenes, but there’s a lot that goes into the production”. 

Wendy Kay released her first single just before the end of Coke Studio’s own premier season, which gave her the reaffirmation that she didn’t want to be just behind the scenes. Her debut record “Made In Kenya” was created alongside Joe Motoriah and CS in-house producer Young DLC. She got to perform that on the show’s main stage as well, a crowning end to her time on the Coke Studio show. “It was one of the best days of my life,” she says now with exhilarating fondness. 

As you’ll glean see from the song’s Youtube page, Kemunto used to be Wendy Kay’s artist’s name. Before then, it was Miss Kemunto. After that, Wendy Kemunto and, finally, Wendy Kay. So in some sense this particular artist we see today has been constantly evolving, and this portends her most mature version of herself yet. Much of the music released under her earlier aliases aren’t available on streaming platforms except SoundCloud.

“I am very much independent,” the artist responds when I ask if she’s signed to a record label. “I am basically my everything.”  Wendy Kay, however reveals she just inked a distribution deal with Platoon. Kay’s independence pours into the music, the reason why her two projects are titled ‘My Way’ and ‘My Way: Volume II’. The first was an EP released in 2020, and showcased the bold and evocative voice of Kay through the prism of colourful Kenya-influenced sonics. Standouts were the affirmative “My Way” and the ethereal swing of “Samahani,” which apologises to a departed lover. “Why didn’t I treat you better?” asks Wendy in the chorus of the song, while Rigga delivers a stark verse about the nature of the world, asking “why do smart people do stupid things?” 

Earlier this year, in May, the uNder alum released her debut album, continuing the ‘My Way’ title. It contains twelve tracks, with features from Njerae, Steph, Reign SA, MR. LU and Scar Mkadilani, who appears on two tracks, “My Way (Remix)” and “Safe Space.” The soundscape is even more colourful than its predecessor, but here, those flagrant bursts are handled more masterfully. Wendy Kay’s singing has developed admirably as well, her vocals expressing several moods–nostalgic, regretting, groovy, heartbroken–throughout the album’s 37 minutes runtime. 

Whether crooning sweetly about adult-rated desires on “Fantasies” or raising a fist to Kenya’s political struggles on “Pewa,” Wendy Kay excels in her mode of expression. “This album took three years,” she says. “It was such a process; so many songs didn’t get on the album, I was going back and forth. And then again, you know, this was my first time handling a whole album on my own—like where do I even begin, following up on different people, pushing, planning–so honestly it was a lot, but I learnt so much about myself. And I was like, after this album, I’m definitely going to take a break”. 

“A young girl in Nairobi, just trying to hustle her way out,” she offers as the album’s reality. Wendy Kay wrote the songs from a feminist perspective, and the characters inhabiting its world are riveting models from real life. “Trying to pursue the unthinkable and sticking to what you believe in. And in the process you meet some good guys, you meet some bad guys, you fall in love, you get heartbroken, your leaders let you down, you have to look for other alternatives of income—things that we are going through”.  

“Life is about the moments you’re in, wherever you are. For me though, I love staying near the water, I love the ocean.”

Her family resides in Nairobi but Wendy Kay calls herself a nomad. “Just before the corona happened I wanted to go on a little mid-year road trip around Africa,” she says. “Not the whole continent, but just some countries. Then [the pandemic] happened and I started travelling around Kenya more, and my country is so beautiful. But for me, where I feel a sense of peace, a sense of, you know, people accept me for who I am—that’s home for me”. 

Stream ‘MY WAY: VOLUME II’ below.

NATIVE Exclusive: Asher Yelo Is Making Memorable Music

Posted on by Damilola Animashaun

Realising your passion at a young age is a privilege many young people never experience, as most only encounter this later on in life. For 20-year-old singer, songwriter and producer, Asher Yelo, he realised his talent from a young age. Growing up as the son of a highly renowned British-Nigerian actor, Asher fell in love with the arts and performing. However, unlike his father, he was more interested in making music and creating new sounds.

Asher began his musical journey as early as 11 years old, when he began producing music on the Garage Band software found on his mom’s laptop. Aside from producing music, by the time he was 14, Asher was ready to explore other parts of his artistry which gave him ample space to perfect his singing skills. By the time Asher was 16, he had sang and recorded his own original music, and when he was 20, the singer released his first-ever project, a 5-track EP entitled ‘Know Me’.

 

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Asher’s confidence in his abilities stems from his strong family background. Raised in U.S., where he’s been living the last fifteen years, he tells me that his parents realised early on that he had a love for music and entertainment. As such, they nurtured Asher’s skills, pushing him to develop them further and make a career out of it. “They trust me to do it to the best of my ability and it’s because I had started so young, at the age of 11. They just saw that I was working hard with what I love to do,” Asher shares. 

Asher Yelo is very intentional about his craft and shares that he is a perfectionist when it comes to making music and writing his lyrics. Listening to his EP, you can tell how much he loves to tell a story, and how vivid he is when depicting the moods and feelings he sings about. “I call myself a story teller, everything is very much a narrative and you can hear that in my projects,” he says. “In the EP, the transitions are seamless because I’m very intentional with how things move, sound and are placed. Very much a beginning, middle and end. Everything is deliberate.”

Asher simply aims to create really good music that he hopes, in turn, will speak to people all over the globe. One of his earliest releases, 2021’s “Know Me” is a double entendre imploring his fans to “get to know [me],” while also presuming they know a considerable amount about him and his journey. This theme of getting listeners to understand more about him runs through his next body of work. The forthcoming project is meant to serve as a re-introduction to Asher Yelo, the artist and newest sensation on the scene.

 

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With a deeper emotional understanding about who he is and where he stands in the game, Asher approaches his sophomore project with a profound sense of clarity and a cohesive vision for his artistry. Recently, the singer shared new single, “There Ain’t Nobody,” an earworm track that finds the artist crooning about love and modern-day relationships. He displays an impressive balance of vulnerability and levity, which Asher shares can also be expected on his forthcoming sophomore release ‘Mr Misunderstood,’ which will further peel back the layers to the artist and man.

Ahead of the project release, we caught up with Asher Yelo to talk about his upbringing, his music career, his family roots, and his sophomore EP. Our conversation, which follows below, has been lightly edited for clarity.

NATIVE: How did you start making music?

Asher Yelo: Oddly enough, I found my love for music through Lego at 11 years old! I’ll explain how that came about. For the first 5-6 years when we moved to the U.S., my brother and I were home-schooled by my mum due to the constant traveling we’d have to do because of my parents’ work. And during that time, I was absolutely obsessed with Lego building; I’d create bionic arms from scratch, dragons and sci-fi looking worlds I’d play in, and so much more! I was convinced I was going to be a master builder at Lego HQ. But then one day, I came across my Mum’s laptop and found GarageBand. I explored around this music production program and found that all these loops you could find in the sound bank could be pieced together and structured to make a whole world, just like Lego! And so it was a very quick mental shift that allowed me to dive very deeply into music production at a very young age. 

Did you have a music around you while growing up?

My mum is always singing and playing piano throughout the house, and I grew up listening to a lot of my parents favourite music like the Fugees, U2, Linkin Park, Fela Kuti, Jay-Z, even contemporary worship from the likes of Hillsong. So I had a very diverse palate of music before I even considered making it myself.

That’s pretty diverse. Do you feel that your multinational background helps you connect with a global audience?

I think it really does. Being Biracial (English and Nigerian), an immigrant, living in the US, having been in French, English, and American school systems, and having travelled throughout almost every continent at only 20 years old has very much matured my worldview and perspective as a human. My mind and heart has been exposed to the grandeur of life ever since I can remember. This inevitably informs my ability to write and create music that can connect to people from many different walks of life.

You are considered a ‘bedroom producer’. Has this production style made it easier to have your own unique sound?

Yeah, I believe so. Since it’s a very unorthodox approach to music creation, you find methods and styles that are unique to your own work flow. I think one of the biggest components that differentiate people’s styles is the vastness of their musical taste; the various genres they listen to, the different forms of songwriting they enjoy, the kind of emotional atmosphere they’re attracted to, etc. All these pillars alter the sound that naturally comes out of a creator/producer, especially as someone who works for themselves in their own environment (namely in a bedroom). So yes, it’s helped me a lot to truly find my own sound and voice that I enjoy.

 

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You teach people about producing on Reddit live streams. As a self taught artiste, what were the major sources that you used to educate yourself?

It’s honestly quite simple: listening. My most valuable tool up to this point has been my ability to intentionally listen to every kind of music and figure out its blueprint. So replication, execution, and experimenting has been my primary method to educate myself. 

What’s been the highlight of your career so far?

The highlight of my career so far would have to be getting nominated for International Rookie of the Year at the Denniz Pop Awards in Sweden. The ceremony is on Sept 7th near Stockholm! It’ll be so fun to go out there and meet everyone.

You’re set to drop a new project.

Yeah, my upcoming EP is called ‘Mr. Misunderstood,’ and it’s about the mental, emotional, and spiritual journey of navigating how to be kind in a dark and turbulent world. I believe we’ve all felt alone and misunderstood at some point in our lives. I wanted to bring a voice to that state of mind because it can be so self destructive and scary at times. I hope it helps people to heal and navigate those emotions. 

NATIVE: How long did it take you to create the entire project and what was the most challenging part of working on it?

ASHER YELO: It took about 8 months to get all the songs made and finalised. The hardest part about the process was figuring out how to make sure that each song had its own identity while also making them live in the same sonic world so that it’s a cohesive experience. For those who don’t know, I make my EP’s transition into each other perfectly so that you can listen from beginning to end as if it’s one whole song with moving narrative points. But at the same time, each song works as a stand alone, so you can put them into your playlist and still love it!

What inspired the songs on the EP? 

Life inspired the songs and my girlfriend as well. You have my mum there for “it was you” which was fun to make. It’s just me talking about leaving the nest and how it makes my mum feel. It’s all from a different place but centred around love. I wanted a soft entry into what I wanna portray. My next project goes way deeper and very introspective, very relatable for the self and it will be intriguing to see how people react.

The “Know Me” movement experience was a 15 minute dance video playing all the tracks on the project. What fed into this decision to share your music in this way? 

It was all coordinated by a team in Quincy Jones productions. They coordinated it without me knowing, it was a surprise release party by telling me it was gonna be an interview but had friends and family who came. They had amazing dancers dance through the whole EP and it was cool to see how people interpret the visual aspect of the song. Having dancers interpret the music I made was such a cool thing to witness. It’s definitely motivated me to look further outside the box as to how I can help express the essence of the songs I create, whether that be through visual arts, poetry, technology, or whatever else. 

How did you get signed to Quincy Jones management? 

In high school, during my senior year, Gezim Gashi (who is now my management consultant), created a program at my school called the Institute of Arts and Innovation that I was accepted to. Alyssa Lein Bryant, VP of Quincy Jones Productions was the first speaker for one of the master classes. I really related to her as she was talking about building a strong character and things that actually matter, so I really appreciated that. I introduced myself, and we kept in touch from there. Long story short, she wanted me to finish high school before we could officially work together. After I was done with school, on February 3rd of 2021, I finally signed a management agreement with her as my manager, via Quincy Jones Productions.

What’s next for Asher Yelo? 

I believe a lot of things are about to unravel; the prospect of being able to perform my music on stage, collaborating with artists as a fellow artist and producer/writer, continuing to broaden my reach within the arts, and growing as a person. I’m still very young and have a lot of life to live and I’d love to use my craft as a way of recording my journey. So all in all, we’ve got a lot to look forward to!

Written by Ada Nwakor and Moore Wright

Songs Of The Day: New Music From WhoIsAkin, Deto Black, Blaq Jerzee & More

Posted on by Emmanuel Esomnofu

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, tonnes of 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 releases from WhoIsAkin, 3rty, Blaq Jerzee and more. Dig in. 

WHOISAKIN – “DAMAGED”

The talented Nigerian act signed under emPawa Africa has released his new record, “Damaged”. A softly-strung record built on percussions and swooning violins, the musician’s Biker phase continues as he riffs on life, adversity and triumphs. He’s ultimately determined to steer clear of temptations, singing with a wizened perspective how he intends to stand out in the music industry. With inventive rhymes and the subject matter, this is definitely the most affirmative we’ve seen from a musician better known for his tales of young, complex love.

3RTY – “BROWN SUGAR”

For years, lovers of a certain kind of alternative sound have rang loud the gospel of 3rty. He describes his music as one with healing vibrations, deftly immersed in the practices of African traditional lifestyle. The musician is however able to extend those qualities into a peculiar kind of pop-centric record, which is what he does on “Brown Sugar”. Almost muted from the start, the record progresses with dreamy perfection and, later on, the Wande Coal-esque vocalising which is rendered in pristine Yoruba.

BLAQ JERZEE  – “DANGEROUS” FT. JAS KARIS

Ever since he began creating songs as an artist, Blaq Jerzee has been on a consistent ascension. He’s proven capable at delivering unique Afropop records with a soulful edge, and “Dangerous” is another object from his bag of tricks. Drawing from the Palmwine-suffused sound of Juls, the production sets a mellow field for Jerzee and London-raised Jaz Karis to trade tales of their undefeatable love, portending a danger for naysayers. The Prince Dovlo visual is shot in Ghana and warmly translates the song’s theme with tender, colourful scenes.

LANRAYX  – “YGTLT (YOU GET TO LIVE TWICE)” FT. MAKA

Revered Hip-Hop producer Teck-Zilla stays behind the boards for all the songs off LanrayX’s new project, ‘Step It Up’. The soundscape is a collage of mellow, lo-fi beats which are paired with laidback, introspective rapping and evocative singing from a guest such as Maka. On “YGTLT,” the musicians tackle existential themes with stylistic assurance. “I care less about what society thinks/ They only care about your titanic luxury until it sinks,” LanrayX raps in his first verse, merging Old School knowledge with pop culture references.

DETO BLACK & MOWALOLA – “BAD SLUT”

When two fierce female voices connect, you know you’re in for a treat. “Bad Slut” is barely two minutes long, but the energy that jumps out will stay with you for a long time. Built on rocky drums and psychedelia-tinged loops, the record has that you-can’t-restrain-me energy that was the outlying feature of the Alte movement. Even with the colourful vocals and fast-paced nature of the song, its aspirational turn is obvious in lyrics like “Bitches want everything” and “I know I can fly”. The Shanti-directed visualizer also does beautifully in capturing the flagrance and fun.

LAYCON – “GOD BODY V2” FT. A-Q

Even before winning the much-followed BBNaija, Laycon was always heavy on his artistry. He wanted to be known as an artist, specifically a rapper, first, and he’s been keen to show that. On the second version of fan favourite “God Body,” he unites with the veteran rapper A-Q for a spaz off session. Over minimal, boom bap production they both unfurl lyrics with relations to the religious overtone in its title, making their claim on the rap game while paying homage to God for their uniquely successful trajectories. “God makes the tables turn, Jesus was the carpenter,” raps Laycon in his second verse, showcasing the deft wordplay which permeates this record.

HIGO – “TSUNAMI” FT. JILEX ANDERSON

Having soundtracked iconic Alte records for the better part of five years, Higo has been extending his sonic material. On his latest record titled “Tsunami,” he calls up Jilex Anderson for a vocal performance. His guest delivers in scintillating fashion, layering his calm vocals over Higo’s atmospheric production. What results is an undeniably sensual record, with the titular word employed as a metaphor for a woman’s explosiveness.

Featured image credits/NATIVE

What’s Going On: Terrorist attack in Somalia, Rwanda clamps down on indecent dressing & More

Posted on by Tela Wangeci

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

MORE THAN 20 DIE IN THE AL-SHABAB ATTACK IN MOGADISHU

According to reports from the BBC, 21 people have been confirmed dead after the Al-Shabab terrorist group invaded Hayat Hotel in Mogadishu, Somalia. On Friday evening, Al-Shabab militants made their way into the hotel and detonated two car bombs, sending vast plumes of smoke and destruction over the area. Once they were inside the hotel, the attackers then opened fire on guests and staff. Police spokesperson Abdifatah Adan Hassan confirmed the cause of the initial blast was a suicide bomber who attacked with at least three other shooters.

Reports also state that the attack lasted for 30 hours, leaving at least 21 people dead and 40 wounded before the Somali authorities gained control of the hotel. On Saturday night, police commander Abdi Hassan Mohammed Hijra confirmed police officers rescued 106 people trapped in the building and successfully killed the terrorists. After the initial attack, a website affiliated with al-Shabab said a group of militants was carrying out random shootings after forcibly entering the hotel, described as a popular location for federal government employees to meet.

Security forces struggled to access the hotel’s upper floors for hours as the gunmen, holding an unknown number of people hostage, reportedly bombed the stairs.  This attack comes less than a month after the Somalian Prime Minister appointed Al-Shabaab co-founder and former spokesperson Muktar Robow as a member of the country’s new cabinet.  

RWANDAN WOMAN FACES 2 YEARS IN JAIL OVER INDECENT DRESSING

Over the weekend, people from all over Africa were filled with rage after reports circulated that the Rwandan authorities had arrested a young Rwandan woman over alleged indecent dressing. The news of her arrest and jail term arrived after a photo of her in a fish-net attire at a music concert appeared on social media. On Thursday, a judge at Kigali-based Kicukiro Primary court declined to grant her bail, with the prosecution requesting that she be detained for 30 days as the investigation continues.

The Law Determining Offences and Penalties in Rwanda, Article 143, stipulates that “any person who performs an indecent act in public, commits an offense. Upon conviction, he/she is liable to imprisonment for a term of not less than six months and not more than two years.” As such, Liliane Mugabekazi, 24, was arrested on August 7 after the photo from a concert by renowned French musician Tayc on July 30 at BK Arena was circulated on social media. She appeared in Kicukiro Primary Court on Thursday, August 18, and was charged with public indecency.

The court case comes a few days after the Rwanda National Police Spokesperson stated on national TV that the country’s security forces are committed in taming such indecent behaviours. The police have since denied some women entry into public places and concerts in Kigali due to their “inappropriate dressing”. Rwanda National Police (RNP) says it will continue to enforce the law on public indecency, and even called on parents to educate their children so as to avoid breaking the law.

 

RAILA ODINGA CHALLENGES KENYA’S ELECTION RESULTS

Barely a week after the Independent Electoral and Boundaries Commission chairman, Mr. Chebukati declared William Ruto as the president-elect (NATIVE Link), the opposing presidential candidate: Mr. Odinga moved to the Supreme court on Monday challenging the eligibility of the results. Odinga’s Azimio La Umoja coalition claims it has enough evidence in the petition to prove misconduct by the electoral commission after the August 9th presidential election that resulted in a narrow win for Deputy President William Ruto. The Independent Electoral and Boundaries Commission’s results said Ruto, 55, won with 50.49% of the vote against Odinga’s 48.85%.

This is Odinga’s fifth time running and third time challenging his loss in presidential elections. He filed a case through the Supreme Court after the last two elections in 2013 and 2017. In 2017, the Supreme Court ordered re-election, which Odinga boycotted after losing to incumbent President Uhuru Kenyatta. The Supreme Court has 14 days from Monday to hear Odinga’s case and deliver a verdict. If the seven judges ruled in favour of 77-year-old Odinga, they could order a recount of votes, a fresh election, or award Odinga the presidency.

Preliminary findings by the Independent Policing and Oversight Authority, IPOA has revealed that the National Police Service were better organised and prepared towards management of the 2022 general election. IPOA in its report says it observed that the police largely carried out their mandate professionally and that police had sufficient logistical support in the course of their work. The report has also criticised a section of Police Commanders who were reported as non-cooperative for not sharing election related operational orders.

ALGERIAN FOREST FIRE DESTROYS 2,600 HECTARES OF LAND

According to recent reports, at least 36 people have died and several others injured in wildfires that have ravaged mountainous areas in the east of Algeria in the past week. Deadly forest fires have become an annual scourge in the north African country, where the climate crisis continues to wreck havoc and destruction on the country’s inhabitants. This latest scourge has claimed over 30 lives, and caused further destruction states the country’s Minister of Interior Kamal Beldjoudarly who told state television of the fires in El Tarf, near the border with Tunisia.

Firefighters and helicopters are trying to contain several blazes in the country’s east. Beldjoudarly added that overall, 2,600 hectares burned down due to the fires, along with nearly 1,800 hectares of brush and some 800 hectares of forest cover in El Tarf, Setif, Souk Ahras, Jijel, Skikda, and Tipasa.

Following the fire, the state deployed fire trucks, Air Force helicopters, and other capabilities to extinguish deadly fires. Over the past 24 hours, a total of 118 forest fires were registered in Algeria and 1,700 civil protection officers and 280 trucks were deployed to control the damage. On Thursday, Prime Minister Ayman bin Abd al-Rahman stated the government would offer compensation to all affected by the fire. Much of the northern hemisphere is battling extreme heat and below-average rainfall, or even drought, raising the risk of wildfires. One year ago, at least 65 were killed in wildfires in the mountainous region of Algeria.

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A 1-Listen Review of Loti’s ‘Gorimapa Gangsta Vol. 1’

Posted on by Emmanuel Esomnofu

It’s taken five years, but Loti is now surer in his artistry and what matters most to him. The Fresh Meat (now uNder) alum, has collaborated widely across the Nigerian music scene, bringing his finely-textured vocals to the notice of listeners. Like most of his collaborators, he’s audibly influenced by R&B but there’s an intentional choice in parsing its sound and technique through the prism of Nigerian experiences.

That has so far birthed projects like ‘Odyssey’ and ‘Violent Times,’ a four-track project that was released in early 2021. He was also part of that year’s Ejoya ‘Class Of,’ a collaborative project for mostly independent artists being distributed by the company. In March, he kicked off his solo output for 2022 with “Gimme Ginger,” a warm record which served as a prelude to a more boisterous number like “Mainland”. Its attendant video was shot under a bridge on the Lagos mainland, full of smiling kids and physical activity. With every single, the release of the promised ‘Gorimapa Gangster Vol. 1’ drew near and this August Friday, it’s finally here.

‘Gorimpa Gangsta Vol.1’ comes with six songs and two features, with Kasheefah being a name previous listeners of Loti would be familiar with. With all that said, let’s get into the programme of now. 

 

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

“WAGWAN”

Some evocative horns starting this one, soft strings. Too early to say, but should be a bop. Loti’s singing now, very measured flow and impressive vocals. “Got a man down, no violence,” that line surely belongs in a song titled “Wagwan”. This is the kind of record you just chill out to on a weekend, blowing mad loud like Loti sings. Very breezy, and suffers none of the over-ambition a number of artists have when picking a project’s first song. This one works, Loti.

“EMO THUG”

These opening adlibs remind me of Oxlade. Vocoder-inflected vocals don’t go very well with Afropop but I like how the beat just flows into Loti’s singing. Starting off with Pidgin was a nice touch too, I guess that’s the thug part? I’m loving this “Hey, my lover lover lover” chorus, very fresh. Hmm, there’s Yoruba now; this artist surely knows how to code switch and when to hug the English language. Asides that, there’s a certain ease to his delivery which really makes the listening pleasurable. I’m on headphones now, but I just know it’ll slap even harder when it gets on a speaker.  

“RIDIN SOLO” FT. TALKSIICK

There’s definitely more bounce in this than in the other songs. Production-wise, though. Eh, these early seconds are not for me. This guy! Just when you think you’ve gotten enough of his vocals, he spices things up; I surely love the Igbo in this second chorus. A sprinkle of SA-style drums and keys tell me he’s charting the Amapiano audience, dancefloors and all that. It’s not my favourite song on the tape, but I’ll check back.  

“DISTANCE” FT. KASHEEFAH

An even faster-paced production. There’s a touch of Deep House here, but whatever’s Nigerian surely bears the stamp. The songwriting is not doing much for me the beat has most of the magic. Like the previous record, I think I’ll enjoy it more when the energy around is communal and party-like. For now though it’s a skip. 

“GIDI GIRLS”

Interesting title lol. The state of Lagos, otherwise known as Las Gidi, has enough tales to colour a record like this. Really soft start, some crooning. The drop just came in; so much uniqueness on display, man. First of all, I really love this production—it sounds cut from Santi’s ‘Subaru Boys’ soundscape but with even more pomp. Loti is certainly enjoying himself; it’s easily his most assured performance on the tape so far, flowing into unexpected pockets and utilising wordplay like “ten sure boys” and “tension boys” to paint the picture of one who’s stuck on the fast life. It’s an over flogged storyline, but he somehow sounds convincing. Sometimes that’s all art has to do. 

“MAINLAND” 

What’s Loti going to do with my beloved Mainland? A MADNESS, bruh. He’s just come into this record with a really captivating energy, really aspirational too as he charts a grass-to-grace story. The crowd vocals are present here, too, very well done too. “I’m from the Mainland, me I just dey hustle for the paper,” a quite beautiful mission statement if you know what comes with that first line repping where he’s from. Even though the streets unarguably feed the crux of popular culture, some of its brightest stars haven’t always enjoyed a progressive journey to stardom. Song is ending now, church-like pianos and Loti softly singing the words ‘gorimapa gangsta’. An almost poetic end there. 

FINAL THOUGHTS 

If you’re a stickler for titles, you’d glean a bit of Loti’s intent with ‘Gorimapa Gangsta’. Both words are very different in their original context, but together it conjures an enthralling image of a man in his twenties. Loti is in the streets but has something unique from everyone else, and he goes about this job with assured minimalism. 

The EP’s soundscape translates that picture brilliantly, using faint touches to pique curiosity as the project dives deeper. It’s almost like Loti structured the six songs to fit the mood of an event whose peak continues to rise and rise. By the end, the accumulated energy is channelled back to the familiar source of one’s life source, the reason why they move like they do.  

Loti’s presence in the thick of Lagos’ creative scene imbibes him with the relevant tools to make relevant music. ‘Gorimapa Gangsta’ moves with that touch of the contemporary, with the production colourful for most parts. He’s a very competent singer, and he’ll grow to learn. In all, it is quite an enjoyable tape from a musician who is soundtracking the motions of the consistently thrilling and unbelievably chaotic city that is he calls home: Lagos. 

Stream ‘Gorimapa Gangsta Vol. 1’

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Listen to Pheelz’s New Single, “Electricity” featuring Davido

Posted on by Uzoma Ihejirika

Pheelz is currently enjoying his moment. 2022 started on a great note when he released the BNXN-featuring globetrotting hit track “Finesse.” The song boosted the status of the Nigerian award-winning producer-cum-singer, landing him on music charts around the world, and securing him a record deal with Warner Records. Since then, he’s been enjoying the success the single has earned him and spun multiple cross-continental remixes, most recently featuring German-Ghanaian artist Aisha Vibes.

 

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In the second half of the year, Pheelz returns with his newest single “Electricity,” which features Nigerian superstar Davido. Produced by Pheelz (with co-production assistance from TMXO and P.Priime), the song buzzes with high voltage energy as Pheelz and Davido exchange positive vibes as it concerns love and life.

In his verse, Pheelz reveals that he is at the top of his career because of a dogged mentality. “Love is very sweet/But first we must get the mulla/Na poverty/Na him make a man worry,” Davido sings, a variation of his “Love is sweet oh/When money enter, love is sweeter” lyrics from 2018’s “Assurance,” proving that it is the hustle for banknotes that keeps him going. Both artists recognize the star power and the privilege of their position when they chorus, “And I see darkness all around me but I know I’m the light.”

On the production side, the trio of Pheelz, TMXO and P.Priime do not let the energy drop for a second as they rely on the boisterous Amapiano log drums, soft piano and saxophone chords and whistles. The TG Omori-directed music video also recaptures that energetic frenzy: revolving lights and animated dance steps in a crowded club. By all indications, Pheelz’s lights are on, clearing the darkness on his path to global dominance.

Listen to “Electricity” below.

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Songs Of The Day: New Music From Joeboy, Uncle Waffles, Blxckie, & More

Posted on by Tela Wangeci

We’re 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, tonnes of 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 releases from Blxckie, Uncle Waffles, Joeboy, Jodye Faneto, and more. Dig in. 

BLXCKIE – “SNEAKY” FT. A-REECE

Blxckie is still making a merry out of his ‘4LUV’ deluxe tape. Barely a month after its release, the rapper has released the visuals to “Sneaky” alongside proficient rapper A-Reece. The Lotus Sutra-directed video amplifies the track further with clips of the two artists trading their bars with precision. The crisp video features countless beautiful women accompanied by trippy shots of A-Reece, Blxckie, and an alien-like character. 

JOEBOY – “CONTOUR”

Joeboy is back with a broody single titled, “Contour.” The single serves as a follow up to his recent hit, “Sip (Alcohol)” which dominated the TurnTable charts earlier this year. His new release switches things up a bit with a slow-paced tempo that shows off his stellar penmanship. Over the Tempoe-produced track, Joeboy sings “Be like I go rinse my soul with Fela Kuti Be like you go rid yourself of all that pussy, shit is messy,” symbolising the end of a tumultuous and toxic relationship.

UNCLE WAFFLES, LAA LEE & CRISTALE – “BING BONG ” (UNCLE WAFFLES REMIX)

Following the massive success of “Bong Bing” on TikTok, Laa Lee and Cristale make the track more memorable by collaborating with none other than uNder alum, Uncle Waffles for the song’s Amapiano remix. Putting a unique stamp on the smash hit, Uncle Waffles enhances the log drums and the airy synths adding a riveting twist for the dancehall single on the dance floor.

Kami Leonne – ‘Body/Chaud’

Kami Leonne has been steadily achieving milestones one song at a time. The June uNder alum currently has two stellar projects to her name including 2020’s ‘Promises’ and ‘No Use Seducing Time’ in 2021 which earmarked her as one to watch out for. As she continues to inch closer to the powerhouse she is capable of being, today, the singer shares new two pack single, ‘Body/Chaud’.  Produced by Ramoon, the sheer soothing beats of “Body” merge with Kami Leonne’s’ symphonic voice. The exceptional piece sees her boast about her skills as a writer and songwriter with the ability to write a compelling love song that is guaranteed to be a club anthem.

On “Chaud” which translates to hot, Kami Leonne tells a story of her blistering desire for her muse. Produced Che Baby, her lustrous vocals contrast with the riff bass lines and canorous synths symbolising human lust as she sings “wanna feel you right on top of me // You love the way I clap it, yea.” “Body” and “Chaud” despite being lyrically akin, are different in production. It gives space for Kami Leonne to boast of her sonic range. With this release, Kami adds to her growing arsenal of sultry bangers.

Tanasha Donna – “Karma” ft. Barak Jacuzzi

Kenyan singer, Tanasha Donna has had a tumutlous past few months following her recent public split from Diamond Platnumz. For her first official release, the singer is reclaiming back her power and her time on new single, “Karma” which features Barak Jacuzzi. On it, she sings lyrics such as “you never saw it coming, leave it Karma,” as she addresses someone who has done her wrong. Her silky and airy vocals contrast with the dark percussive production giving a confident yet sultry cadence. Together with her collaborator, Barrack Jacuzzi, the pair get pragmatic about the strength of karma. 

KABUGA – “FearLESS”

Kenyan rapper Kabuga makes it clear that his creativity is nothing short of musical genius. His latest project ‘Kusema Ukweli (The Truth)” is a ruminating letter on being your true self. In 39 minutes, he takes us through a self-reflective 15-track set as he sets out to balance bangers with meditative thoughts.

The standout track  “FearLESS”  samples ZyDaShadow’s “Perspectives.” On it, Kabuga offers up memorable lines such as as “I ain’t future but I don’t think I am in past tense,” which further showcase his clever word play. As the song continues, Kabuga raps about his admiration for his muse, while effortlessly gliding over the intoxicating medley of percussive sounds in the song’s production.

JINKU – “FADE” FT. MAANDY & PIKES

Less than a week to the release of his album ‘Oasis Park III’, Jinku serves the album’s next promotional single to his loyal following. “Fade” features the honeyed voices of Maandy and Pikes over Jinku’s prolific electronic production. With catchy lyrics such as “say you won’t fade aw,” Jinku and his collaborators symbolise the hope of eternal existence. 

THE BROTHER MOVES ON – “BAYAKHALA”

The Brother Moves On is back after a seven-year hiatus from releasing any original music. To mark their return to the scene, the collective has recorded their sophomore album ‘S/he Who Feeds You’ to drop later this year. “Bayakhala” is the lead single drawing from deep histories, old languages, and the idea of ‘keepers of the land communicating a calling to higher selfhood from the other side.

OIZA X MEYI – “SANTI”

Nigerian sister duo, Oiza and Meyi release their anticipated debut single “Santi” ahead of their album release. The eccentric single opens up with traditional instrumentals as they sing an ode to their love “baby boo you see the things you do, darling you are so amazing,” as they address their respective love interests. 

JODY FANETO – “SHETANI 1”

Drill artist Jodye Faneto shares new single, “Shetani 1,” which finds him at his most braggadocious. Throwing claims such as “mimi ndio niliwafunza kurap” which translates to “I’m the one who taught them the rap skills.” On the track, Jodye gets two points across: the threats that come out of his mouth are very real, and he is not afraid to name-drop anyone who stands in his way. 

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Our First Impressions Of NATIVE Sound System’s Debut Album, ‘NATIVEWORLD’

Posted on by Damilola Animashaun

The SOUND is here to stay. For a while now, the NATIVE Sound System has been spreading the gospel of ‘NATIVEWORLD’–the debut album from the super-producer and A&R arm of the NATIVE Networks which is championing new and emerging sides from this side to the world watching.

Finally arriving on Thursday, the compilation album pulls together several collaborators and peers, across time zones and countries, to execute a daring 15-song set that traces the different cultural and climatic seasons in Lagos, Nigeria. The project is feature-stacked with excitable artists such as Teezee, Joyce Olong, Ayra Starr, Show Dem Camp, Obongjayar, Cruel Santino, Lady Donli, Azanti, Deto Black, NSG, Psycho YP, Fresh L, Prettyboy D-O, Lojay, Maison 2500, Knucks and many others.

These distinct artists are paired on visceral, intimate beats by producers as varied as P Priime, Sholz, GMK and Tyler Turner, among others. Earlier this year “Runaway,” the stirring rain-evoking duet by Ayra and Lojay, had kicked off the ‘NATIVEWORLD’ journey and “Wedding Ring,” a summer time bop from the quartet of WANI, BOJ, Odunsi and Odeal not long ago. Now, the sound is here to stay and champion the brightest voices coming out of Africa.

Here are our first impressions of ‘NATIVEWORLD’ below.

Best Song

Tela: “Rara” is my standout track in the album. The production, featured artists and execution of the song immediately make the song impossible to ignore.The three artists manage to create a catch and effortlessly trill song. The synergy between Maison 2500, SL& Deto BLACK boil down to championing fun, confidence and rage. “Rara” is a medley of influences as there is the spirit of breakneck pace, the melodic crooning injected slightly with the pint sized angst of punk pop. To me, there is literally nothing topping this song The details in “Rara” are rich as Deto Black paints a vivid picture of what it means to be an authentic bad bitch as she wraps up “bitches cannot see me unless its on tv.”

Dennis: There is a right answer here, and it’s “Stuck On You.” I’ve anointed myself a DAP the Contract expert, so maybe it’s the bias talking. Actually, no. This is the best song on ‘NATIVEWORLD’. Everything just works so damn well, from LMBSKN’s synth-pop masterclass, to Ayra Starr’s immaculate falsetto, to DAP’s Teflon flow.

Emmanuel: It’s hard picking a best song and this is not my bias talking, shoutout Dennis. “Tortoise” surely ranks among my favourites, as does “Stuck On You” and “Bittermooncake.” However, I’m leaning most towards “Pim Pam” right now. Everything from the production to the verses seems to be divinely ordained, at the right places at the right time. Any song featuring both Prettyboy D-O and MOJO AF is a cheat code, and Fresh L and Psycho YP just make things more interesting on a rap-level. Really hard like I said; the entire album slaps!

Best Production

Moore: It’s hard to say which song has the best production on an album of consistently standout production quality. If I have to pick one, I’d say “Bittermooncake.” The song utilises a futuristic synth that blends seamlessly with the energising beat. The entire song comes together to give the listener an experience that’s both trippy and enlivening.

Daniel: The production on ‘NATIVEWORLD’, as a whole was stellar which makes really hard to pick one. But for me, the production on “Tortoise” stands out! The intricate fusion of dance and highlife was a combination I didn’t see coming. Big shoutout to Sholz for that.

Wonu: The most standout production on this body of work for me will be “EDMP,” produced by Le Mav. It is easily a standout putting into consideration the kicks, snares and the general outcome of the beat; it’s a properly put together record if you ask me. Close competition will be Tochi Bedford on “Bittermooncake.” I don’t think there’s any other record taking the second spot for any other reason. All round, the production on the body of work extremely stands out so shoutout to all the producers on the project.

Best Feature?

Uzoma: I give it to Alpha P on “Pressure,” which also features Lady Donli. The Afropop track seems tailor-made for him and he shines with his ear-candy vocals. Lady Donli gives a good account of herself but it is undeniable that Alpha P has this one on lock. Special mention goes to WANI on “Wedding Ring.” Also, everyone on “Bittermooncake” – Tochi Bedford, Zirra and SGawD – came correct.

Daniel: Have to give this to Ayra on ‘Stuck On You’, her vocals are just magical on the song. She came out strong on the track giving a real Pop Queen energy. And hear me Dap the Contract came correct with his flows, but Ayra was the highlight. Notebale shout outs to Alpha P and Lady Donli on “Pressure.”

Maria: I can’t lie, this one is hard so I have to put three contenders up; Ayra Starr, PsychoYP and Wani.
Ayra Starr’s emotive lyrics and alluring vocals on “Runaway” and “Stuck On You” put her up there instantly and although PsychoYP had just about fifteen seconds on the album, he packed so much energy into it with braggadocios lyrics that it secures him a spot here too. Wani is the king of serenading lyrics. He knows exactly what to say and how to sing it. He did so well on “Wedding Ring”, it’s almost making me want to be cuffed which is very fitting seeing as it is culled from the summer section of the album. Get thee behind me Wani. LOL. All jokes aside, these three did amazingly well. Hats off to them.

Biggest potential hit

Moore: I think the biggest potential hit is definitely “Stuck On You.” This is partly because it’s difficult for an Ayra Starr song to not become a hit. With an expert composition by LMBSKN, the song is engaging from start to finish. The verses rapped by Dap the Contract gives the track a shot of energy that compliments Ayra’s smooth vocals. I can definitely see this track being successful with all audiences.

Uzoma: Easy. It’s “Pressure.” Producers Le Mav and Genio provide Alpha P and Lady Donli with the perfect Amapiano-influenced soundscape to flex their skills. This track is sure to rock dance floors.

Wonu: I personally think the biggest potential hit on this album will still be “Runaway.” I don’t think the record has reached its peak potential yet. Ayra and Lojay are two of the hottest new acts right now and there’s simply nobody touching them plus the song itself is one of the records that when it eventually grows on you, you get hooked. “Runaway” still remains one of my favourite songs out this year.

Standout verse

Dammy: My favourite verse has to be Azanti’s ending verse on “Good Good.” It comes right after Solis’ verse which is towards the end of the song. I love it because it was an unexpected part and I was even about to play the next song but I changed my mind and decided to listen to it. All of a sudden, I hear this sick beat that complements Azanti’s verse (the beat starts at the middle of his verse). I loved it so much that I had to restart it again. Although very short, Azanti’s ending verse on “Good Good” is very catchy and pleasing to the ear.

Ebube: The favourite verse for me has to be the intro for “Good Good.” I was just so hooked and I can’t even lie, I was just feeling it so much especially when she said “where are in that place that makes me naught naughty.” The entire track is just fire. Also Solis falsetto towards the end was just out of this world.

Dennis: I’m going to say WANI on “Wedding Ring”. The song was billed as a one-time band effort, and as much as everyone gave up the goods, WANI is clearly the Timberlake-calibre frontman. He usually sings with a clear understanding of the emotion he wants you to feel, and this time it’s evident. Also, I plan on washing someone with those lyrics. Thanks, Wani.

Biggest Skip

Maria: I’ve listened to it twice now just to be sure and I can genuinely say that I don’t have any. NATIVE Sound System have successfully created a “no skips” album. Incredible.

Moore: To be honest, on my current listens I haven’t been eager to skip any song on this album. In the future, “Pim Pam” may be my most likely skip. It’s something I’d need to listen to when in a specific mood, as it’s a bit too intense to listen to casually. It would probably be best appreciated in a party setting.

Dennis: I don’t really have any. Maybe “Bittermooncake”, largely because it’s a jarring tonal shift from the preceding track, “Tgif”. Not a bad song, just won’t be eager to hear it when I run the album back.

Overall first impressions

Wonu: Putting together a project is one thing but putting together a compilation album is a whole different thing. I can’t get over the standout production on this album, every single collaborator on the project delivered an amazing performance. ‘NATIVEWORLD’ caters to everyone, there’s something for everybody on this album and this is without a doubt one of the most interesting compilation projects I’ve heard in a long time.

Emmanuel: I’m very impressed by the curation on this, special shoutout to executive producer Chubbz. There’s a deliberate movement to the pacing and the features were all pushed to their limits, you can tell. Which is good because ‘NATIVEWORLD’ is an adequate representation of the wide scope of sounds being created by African artists in the continent and diaspora. This is a project I would be returning to very often.

Ebube: I’ll say I’m very very impressed that something like this can come out of Africa. It just goes to show that good things and incredible talent is embedded in Africa and ‘NATIVEWORLD’ is just what pushed that idea to the forefront. With the collaboration of so many talents, I wasn’t expecting anything less.

Uzoma: ‘NATIVEWORLD’ succeeds as a meeting place for the unique talents that circuit the Nigerian and UK music scenes. It is a project that challenges artists and, for the most part, brings out some of their best performances yet.

Stream ‘NATIVEWORLD’ below.

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Five Takeaways From M.I Abaga’s New Album ‘The Guy’

Posted on by Dennis Ade Peter

Longevity is a word that’s befitting as a description for the rap career M.I Abaga has managed till date. Not in the sense that he’s still here and still rapping, it’s that he’s still very visible and, while his powers as a mainstream superstar are no longer at peak levels, his impact in Nigeria’s rap scene remains very tangible. A lot of that hinges on his admirable productivity.

In 2018, he released two full-length projects, the sunny and musically varied ‘Rendezvous’, which was tied to a light-hearted concept, and the greyscale ‘A Study on Self Worth: Yxng Dxnzl’, a deeply ruminative album tie together by excerpts from a therapy session. Two years later, he’d pull off the same double-project output, albeit on a less grand scale, turning out the self-indulgent ‘Judah’ EP, and combining with A-Q for ‘The Live Report’, a short but packed time capsule for pandemic-period concerns.

 

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Since his last album, however, M.I Abaga has been on something of a crusade. As widely touted as he is as one of the greatest rap artists on the continent, he’s been concerned with annealing his greatness, especially in the aftermath of the widely discussed beef with rapper Vector. While he didn’t exactly lose the beef, his reverence did take a hit, and he seemingly focused his energy on being at his technical best as a lyricist, serving as the main fulcrum for the duo of his 2020 projects and the many cyphers and freestyle challenges he participated in.

After months of teasing, today sees the release of ‘The Guy’, an album M.I Abaga has touted has a return to form. That ostensibly means a return to making music accessible to more people beyond the heads interested in lyrical acrobatics, which is evident in its list of collaborators, including Wande Coal, Olamide, Nas (!), BNXN, and much more. Here are five takeaways from our first few listens.

 

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The return of Pop-rap M.I Abaga

M.I’s superpower has always been his ability to make rap music that affects as many as possible without totally slouching on his obligations as a lyric-driven rapper. Whether approaching theme selection and writing with an everyman verve, or fusing the bounce of hip-hop with the rhythms and melodies of contemporary Afropop, he’s proven his mettle for being relatable without sacrificing being distinctly compelling.

For the first time in about eight years, he wholesomely leans into this superpower, placing ‘The Guy’ in the pantheon of his pop-rap classics like ‘Talk About’ and ‘M.I 2: The Movie’. Here, even at his most boastful, M.I is approachable and the colourful swirl of sounds prop up the assured gait he assumes throughout the album. A lot of the songs here are meant to be experienced communally, well beyond the confines of hot Twitter takes, which hasn’t been the case for the last couple of M.I projects, sans ‘Rendezvous’—and even that tape swung too Trappy and too alt-poppy.

‘The Guy’ is not a return to form for M.I Abaga as a rapper, but as a consummate song-maker. The artist that can make an effortlessly boastful slap like “Soft Life Tony”, serenading love songs like “The Inside”, and club-ready banger like “Daddy”.

Features, features, and more features

‘The Guy’ contains one more featured artist than its number of tracks. Even on the opening two songs without any credited collaborators, M.I’s voice isn’t the only one present—there’s ad-libs from Tiwa Savage, Naeto C, Vector and R2Bees’ Omar Sterling. It’s par for the course, partly because of its sonic direction and partly because M.I absolutely loves collaborating. On ‘Talk About It’, there were a dozen credited collaborators, including then-fairly known artists like Wizkid and General Pype; he even featured himself—as singing alter-ego Julius Caesar—on ‘M.I 2’; and he went on to stuff every song on ‘The Chariman’ and ‘Rendezvous’ with at least one featured artist.

Working with a lot of people is just what M.I Abaga does, and ‘The Guy’ ropes in collaborators of varying capacities that add to its vibrancy and thoughtfulness. There’s a dense verse from hip-hop legend Nas, a calmly sung and affecting hook from Nigerian rap/street-pop great Olamide, The Cavemen. and Phyno offer sweetly-scented highlife melodies, Wande Coal remains inimitable on a wedding party-ready jam, Tomi Owó’s voice is as bracing as ever on a ruminative deep cut, Lord Vino’s Teflon flow fits the bill for a conceited highlight, and there’s much more great outside contribution.

The Guy is happily in love

“All I need right now is a Naija girl to call my queen,” M.I raps on the intro, title track. It’s a personally revealing moment on a track filled with self-important and dismissive quips, but the rapper wasn’t just wishing at the time he recorded that line. In April, the rapper shared news that he’d be getting married, with a post on social media summarising how they met and their evolution from fast friends to romantic partners.

The heart-warming video clip was scored by the Wande Coal-assisted “The Love Song”, which is one of the three romance-themed songs on ‘The Guy’, alongside “The Inside” and “The Front Door” with Duncan Mighty. From older classics like “Forever” and “One Naira” to newer cuts like “Playlist” and “You are like Melody”, M.I’s ability to make fairytale-inclined love songs has always been a part of his everyman charm. On this album, there’s a palpable joy he emits on the songs about finding and being in love, a glow that carries through the easy confidence that permeates ‘The Guy’.

Advocating for less toxicity in society

Back in May, shortly after Kendrick Lamar released the revealing and introspective ‘Mr Morale & the Big Steppers’ to widespread conversations, M.I shared a tweet expressing frustration at not being properly revered. He was obviously referring to the reception of ‘Yxng Dxnzl’, which shares themes and a Therapy-leaning concept to Kendrick’s latest LP. While the rapper has always offered glimpses into his life’s story and mind-set with each album, ‘Yxng Dxnzl’ amped it up several notches, addressing mental health at a time when it still a taboo topic in Nigeria’s conservative society.

M.I would’ve obviously liked the album—which will be four years old in a few days—to be widely applauded but that wasn’t really the case. That hasn’t stopped him from mining raps from moments of honest reflections, like he did on “When I’m Gone” from The Live Report. He does that again on two occasions for ‘The Guy’, tackling the toxicity of social media on “Crazy” and toxic masculinity on “Soldier”. While the former, even with its timeliness, feels a bit contrived, the latter is M.I at his poignant best, asking for love to be extended to men on the first verse and turning the lens back on men to sharply demand accountability.

M.I has been vocal about the need for men to be better attuned to their role in making society a safer and saner place for women. On “Soldier”, he’s even more pointed than the time he rapped, “Niggas open your wings/let your women be kings,” again advocating that all men be feminists. Maybe it will be widely discussed, maybe not, but it’s an album highlight that should leave a mark on the many listeners who are all ears—which is still a W.

A brief moment of reunion for the original Choc Boiz

M.I doesn’t trade in nostalgia on his albums, but he indulges himself at the end of ‘The Guy’. On final track, “More Life”, he’s joined by long-time close friend Ice Prince and brother Jesse Jagz, a reunion for the game-changing trio of rap artists that formed the initial core of record label Chocolate City. It used to be a ritual on each rapper’s albums, all three assembling on a song—often the final track—for a breezy show of one-upmanship.

Those resulted in some revered rap songs: the delightful combative “Nobody Test Me”, the booming “Represent” and the playful “Thank You”. This time around, there’s no friendly competition, just three older compatriots celebrating their journeys and toasting the good life in each other’s company, with just opening ad-libs from Ice Prince, easy and gruff singing from M.I Abaga, and ragga-inflected raps from Jesse Abaga. It’s a wistful closer to a generally joyous affair.

Listen to ‘The Guy’ here.

ICYMI: M.I ISN’T THE MESSIAH THE WORLD WANTS HIM TO BE

Asake Shares New Single “Terminator,” Ahead Of His Debut Album

Posted on by Wonu Osikoya

Asake is the man of the moment. Since the release of his hit single, “Omo Ope,” featuring Olamide, the singer has embarked on a stellar run in the music scene, dominating conversations with his catchy and Yoruba-inflected lyrics, and his charismatic personality which he endlessly reveals on his social media. He’s since played this to his advantage, with the release of his debut eponymous EP, ‘Ololade Asake,’ which gave him ample space to reshape and reinvent his sound on his way to superstardom.

Since the release of his EP, Asake has kept listeners well-satisfied with a string of powerful releases including “Sungba Remix” with Grammy award winning artist, Burna Boy and DJ Spinall-assisted “Palazzo” and “Peace Be Unto You (PBUY).” Now, the singer has released his most anticipated release yet, “Terminator,” an exciting love song that fans have already crammed the lyrics to, since it was first teased over a month ago.

The Magicstix-produced “Terminator,” is an uptempo number which sees the artist singing to a love interest with sensual lyrics. On the record he chants standout lyrics “this your love get meaning for my body/Sho ni power, boni ko wa elemi lo ma last” which translates to “this your love get meaning in my body/if you have power, come show me but it’s only the strong that’ll last.” 

The record also arrived with the TG Omori-directed video which starts off with Asake in a boxing ring with a crowd cheering for him as he defeats his opponent. Asake moves into a more vibrant and colourful space and delivers a stellar performance. The track is set to feature on his debut album ‘Mr Money With The Vibe’ along with promotional single, “Sungba Remix.” Currently, the album is slated for on September 2, 2022. 

Watch the video for “Terminator” here.

Featured image Credits/Instagram

The Legacy & The Timeliness of M.I Abaga’s ‘Illegal Music 2’

Posted on by Emmanuel Esomnofu

The year is 2012 and M.I Abaga is one of the hottest rappers in the continent. It’s April, a sleeper month where not many listeners would be expecting a project packed with collaborations. And not just any other project, but a mixtape which continued the Chocolate City rapper’s well-received Illegal Music. At the time of its release, M.I fans had waited three years, and then waited some more, but when ‘IM2’ dropped on that faithful day in April, it was no fool’s play. 

 

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Looking back, it’s obvious why a rap mixtape would be met with that sort of ubiquity. For anyone in the loop, it really was the era of bars and projecting intelligence. A lot of young Nigerians were entering the world of the internet and acquiring tastes far different from the familiar sound of the mainstream. Even though pop musicians still coveted the majority of the audience, it was cool to love rappers. And from such admiration sprung the love for its culture, the love for its technical aspects, love for the expansive potential of rap to hold and express weighty stories, to shine an uncompromising light on the self and the society. 

M.I emerged somewhere near the ending of the 2000’s, at a time when one could say the rap scene was blossoming. The elaborate rhymes of Modenine were appropriately coveted by the critics and award shows, while Ruggedman and Eedris Abdulkareem made affecting records which spoke to the everyman’s reality. When M.I’s “Crowd Mentality” won Best Rap Single at the 2008 Headies, he rubbed shoulders for the first time with these names, proving to be an equal and a peer. That record was an alleged response to Chocolate City’s boss Audu Maikori, who had requested M.I make a pop-leaning record to aid his entry into the mainstream. 

Soon after, when “Safe” followed, it featured another intelligent mimicry. This time there were several voices informing the bars, and the ability of Jude Abaga to still shine through, not just an exceptional rapper but a music-maker first and foremost. The ‘Illegal Music’ mixtapes was M.I’s way of reflecting these qualities in an unencumbered way, not limited by the demands of being a label act or a mainstream-affiliated rapper.

Constructed on samples of mostly American records, the 2009-released ‘IM’ set the blueprint for the series. The rapper dug from the archives of classic R&B and then-popular rap—Kanye West, Lil Wayne, Jay-Z, Snoop Dogg. The second mixtape was no different, only this time the featured artists were the dominant standout and had people talking. To add, the music was very well-written and produced too. It didn’t just feel a bunch of soulful samples slapped together to evoke melancholy; sometimes the mood is rib cracking funny, sometimes it lingers in-between as M.I sprinkles spoken word into bare spaces. 

On the opener “Coming Home,” the rapper stages a grand re-entrance, shiny horns and triumphant synths shooting from every corner of the production. Tonii, who sings the hook, delivers a spoken word to introduce the scene: “The return is not as easy as I thought. The years have taken toll and been unkind,” she says with a sort of aged stoicity. With his first verse M.I lightens the affair, adapting a slightly funny tone to basically say he’s been making more money. Artists, after all, need you to take them seriously while not taking themselves very seriously—that playful approach to one’s craft can sometimes be revelatory, which is something M.I has always understood. The second verse is more lived-in, speaking on the mixtape’s attendant anticipation. “Did you lose hope or is your faith strong?/ See I just needed time to take a break from/ All this mediocrity and usher in new sounds,” he raps with a cocky mien, confident in the body of work he’s presenting. 

At fifteen songs, the Illegal Music 2 is aptly-numbered for a mixtape. There’s a fine blend of introspective cuts, romantic bops, and braggadocio-heavy records. A song like “Sex Love BS” falls into the first category, laying tender bars over the soothing notes of the production. Lyrics such as “They say that time is money and the time we gon spend/ With no urgency, the currency, the time will never end” reveal MI’s simpler ways which is often the result of hard-earned wisdom. “Eyes” toes a similar path, but the soundscape is even more lush though the lyricism is less affecting. 

There are few times across the tape where a flaw is glaringly obvious. The pacing is sometimes overstretched but on a personal level, the songs offer incredible highs. Still on the mild-hued records, “Pain” and “Flower” are late-project cuts, the former seeing the musicians rise over tribulations and claiming their rightful place in the world. “Flower” calls up Ruby Gyang for the simple hook (“open up, wild flower/ open up, let me see”), and on his verses M.I looks back on his career, giving shoutouts and generally exuding the mien of an approachable boss. 

In the ten years since the release of ‘IM2,’ it’s the introspective rap records that most fans remember. “Lost” and “Superhuman” have always been somewhere present on my playlist. The high rapping level paired with cinematic touches rewards multiple listens, and the Malcolm X sample on the latter bears a unique fire each time I listen. Love to the late Hip Hop Pantsula, too, whose verse was one of my favourites for a while. On “Do I Move You,” Nina Simone’s royal bass vocals is side-by-side with MI’s confident staging, starting the record with the inquisition, “Tell me doctor, am I ill? Four years later, and I’m spitting still”. 

The duo of Phenom and Ice Prince are set up for smashing last verses on “6 Foot, 7 Foot Freestyle” and “Fvck You” but M’s mastery still shines through especially on the latter. It’s incredibly hard to outshine him on a record but what the features do is balance out his lyrical inventiveness by sticking to their own strengths and doing what they do best. I remember how I’d animatedly wait for Phenom’s verse so I could scream, “I know you broke, but please pay attention.” That sounded so smart but now, in the age of sapa, it’s always said with an edge of well-natured mockery.

Today, M.I is one of the most prolific artists from these parts, and with each new release, he offers up an element of the unexpected despite this far in the game. As the rapper releases his fifth studio album ‘The Guy’ tomorrow, by the day’s end he will surely reveal more layers to his artistry while upholding his timeless legacy. 

It’s popularly accepted that ‘Illegal Music 2’ is the best of the series. There’s an argument for the third instalment, but released in 2016, it came at a time when MI was refining his powers and seldom had the visceral quality of its predecesso. Records like “The Box” and “All Falls Down” respectively bore traits of MI’s continued exploration of personal ambition and what it means for that to come crashing, a humane attempt at capturing the fickleness of everything. 

NATIVE Sound System’s debut compilation LP, ‘NATIVEWORLD’ is finally here

Posted on by Damilola Animashaun

The SOUND is here. For the past two years, DJ and producer collective NATIVE Sound System has been hard at work on a full-length project. Its execution began in recording camps across Lagos and London between 2020 and 2021, extending to post-camp recording, rearranging of songs, addition of contributors, and the like. Roping in dozens of collaborators across hundreds of demos, instrumentals and recorded vocals, the drawn out approach was taken to ensure the curation of a worthwhile, definitive project.

Today, the wait is over. No more hushes about a secret project, no more stoked anticipation via IG posts, no more compelling glimpses through pre-released singles. NATIVE Sound System finally presents ‘NATIVEWORLD’, a compilation album framed through a weather-based conceptual arc. “For the album we were in the midst of trying to create the seasons of a year in Lagos — Rainy, Dry, Harmattan and Christmas seasons,” Chubbz, executive producer and A&R at NSS explained shortly before the release of its lead single.

With its guiding framework, the collective set about its mission to present the middle ground between the familiar and alternative in Afropop, pulling in a wide range of artists and producers in Africa and across the diaspora. Earlier this year, NSS provided the first piece of the ‘NATIVEWORLD’ with “Runaway”, an alt-pop duet featuring 2021 mainstream breakout act Lojay and Ayra Starr. While the lead single was pulled from its rainy season section, following single “Wedding Ring” represented the summer-tinged section, with delectable contributions from the quartet of Wani, BOJ, Odunsi and Odeal.

Both those singles set the tone for the mixing and matching of vocal contributors that grace ‘NATIVEWORLD’. On the album, there’s intriguing pairings that include Ayra Starr and Dap the Contract over sparkling synth-pop; Joyce Olong, SOLIS and Azanti trading melodies over a beat that merges afro-house and UK Funky; Prettyboy D-O, MOJO, PsychoYP and Fresh L taking turns on Nigerian street-house production; and much more.

NATIVE Sound System has curated an album with fascinating choices, often challenging the contributors beyond what’s typically expected from them, whether that’s The Cavemen delivering over deep house instrumentation or Cruel Santino spit balling on a Konto-inspired slap.

Behind the boards, ‘NATIVEWORLD’ is graced by an array of talented producers, with contributions from P.Priime, DOZ, Tyler Turner, 4Play, GMK, Sholz, and much more. Like all things NATIVE, this album champions community, collecting the talents of many and distilling them into a thrilling whole. Again, the SOUND is here.

Listen to ‘NATIVEWORLD’ here.

ICYMI: PROJECT RUNAWAY