Songs Of The Day: New Music From SGaWD, Fireboy DML, Asake & More

Posted on by Wonu Osikoya

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 SGaWD, Ronehi, Fireboy DML, Asake,  and more. Dig in. 

SGaWD & Ronehi  – “Telfar”

Following the release of her scintillating record, “Telfar” which arrived a few months ago, SGaWD and Ronehi have now arrived with a new video to further amplify the track. The Jazboi-directed video captures SGaWD in an altè dollhouse where she handles calls, counts her Telfar bags with stacks of cash and serves her hard bars. Ronehi is more laid back in the scenes, sharing a smoke with a mannequin, as he chants the chorus of the record with ease.

Fireboy DML – “Bandana” ft. Asake 

After holding down the charts for 4 weeks in a row with “Bandana,” Fireboy DML and Asake have arrived with the video for the track. Directed by TG Omori, the video captures both artists in a church scene and a mob scene respectively, showing them at their most confident, as they chant the lyrics of the track amid the chaos going on. The stunning video reflects the hustlers’ spirit in both artists. 

DJ Shawn – “Baddest’ ft. L.A.X & Reekado Banks

For the new record, “Baddest,” DJ Shawn teams up with L.A.X and Reekado Banks. Over the rhythmic and bubbly production of the Amapiano-infused record, the artists sing soothing lyrics about their respective love interests, also stating the hold they have on them. On the chorus, Reekado Banks chants “she be the baddest, and she get everything a man need.”

Preyé – “Crayons”

R&B singer Preyé is here with her most recent offering “Crayons,” a mid-paced record which sees her speaking about the fine things in life while spreading positivity.  On the record, she quips standout lyrics “In a world where it’s black and white and grey, I saw with my eyes no angles and no lines/In my world there’s wonder/here there’s colour.”

Boybreed – “Wine Am Go Low” ft. Zarion Uti

On “Wine Am Go Low,” Boybreed and Zarion Uti team up to deliver a bouncy new number. The record focuses on them chasing their respective dreams. Over the track, the duo trade bars about getting their shit popping while singing memorable lyrics such as, “Say life is not a bed of roses, e be why i dey waka like Moses/Each and everyday I be on my grind, Each and everyday na money I dey find.”

Ginius – “Feels Like Magic”

British-Ghanaian singer Ginius is here with her sophomore EP ‘Her Notions Since ‘97.’ On the standout record “Feels Like Magic,” the artist fuses Afropop and Soul together to deliver the hypnotic record. On the record, she quips, “He say I’m physically fit, run me that money no lesser than seven digits/Favourite colour is somewhere Dubai and living it, really really lit,” over the self-produced track. 

NATIVE Sound System – “University” ft NSG & Teezee

NATIVE Sound System has arrived with their debut album ‘NATIVEWORLD,’ a 15 track compilation album with appearances from artists such as Teezee, Deto Black, Lojay, Ayra Starr, Cruel Santino and more. On the 4Play & Adey-produced standout track “University,” NSG boys and Teezee slide seamlessly on the record, speaking solely on making money as the main focus. On the chorus of the record, the artist chants “I’ve only got money on my mind, another woman I’m down for but that na lie”

Featured Image Credits/NATIVE

Essentials: Ginius’ Sophomore EP ‘Her Notions Since ’97’ Is A Marker of Continued Growth

Posted on by Tela Wangeci

Ghanaian-born, UK-based vocalist and producer, Ginius made her debut in 2019 with the release of her first single, “30 Seconds” featuring Zee. Since then, she has been peeling back the layers of her musical artistry, revealing more of her stellar skills, and proving to be a force to reckon with on each release.

In many ways, Ginius uses her proficiency as a producer to explore new and evolving sounds. Birthed in a creative family, Ginius recognised her musical talents from a young age, playing the keys and drums from the tender age of 10 years. Proudly wearing her Ghanaian identity, she often pulls from West African sounds to inform her music, in addition to being influenced by global sounds. 

With only three singles to her name, Ginius tested the waters with the premiere of her debut EP ‘How It Feels.’ Revelling in the success of her lead single, “Full Moon”, she teamed up with Yung D3mz, Tori J and Freddie Gambini, to deliver the self-produced 6-track EP. ‘How It Feels’ was a combination of her stellar vocals alongside her astral production, which she fuses with a commingling of sounds such as contemporary Afropop, Amapiano, and sensual Afro-soul melodies.

One year later, Ginius continues to take astronomical steps in her career, with new releases that continue to push her sonic boundaries. Now, the singer has shared her sophomore EP, ‘Her Notions Since ‘97’, which features an enviable range of styles, showcasing her supercilious musical capability over a blend of  Amapiano, Highlife, and R&B into her free-spirited iteration of Afro-fusion. Clocking in at over 22 minutes, Ginius deliver 8 hypnotic tracks, as she draws other artists into his youthful world, including rising Ghanian singer Darkua and dexterous UK Afroswing singer, Kvngs to spice up the project.

Playing a colossal role in the production of her latest offering, Ginius shows her musical growth as she delivers an enthralling tale of good vibes, success, and love. Ginius starts the tape with her distinct voice, gliding over the smooth production in “Feels Like Magic” and setting the tone for the rest of the album. “Marama” is more upbeat and immediately kicks off as it begins, with drubbing and vibrant beats that make the album feel more memorable.

On “Consistency,” the piano riffs and the distant saxophone set the perfect backdrop for Ginius to fire off her melancholic lyrics. Produced by Joker Nharnah, the single delves into the theme of success, with lyrics such as “believe in yourself my lotus,” as she symbolises strength, resilience, and rebirth. While on “Hooked,” she sings about falling head-first into a romantic relationship. On it, Ginius’ voice is perfectly mastered to provide the serene feeling of love, 

Elsewhere on “Melody,” Ginius employs the vocals of fellow Ghanaian singer, Darkua over the melodious production of Joker Nharnah, while her vocals remain steadfast and lethal. On self-produced number, “Love & Light,” Ginius gives a timeless and memorable performance. Across the track, she talks about the evil in society, and the need to balance yin and yang. As ‘Her Notions Since ‘97,’ slowly wraps, the production effortlessly transitions into a laid-back style. “Real Ones” starts with Ginius’ voice assuring her muse of her undivided attention and dedication. Her flow and confidence in her words sound reassuring as she ushers us through the album.

As we all thirst for love, Genius ensures her last offering “Secret” is a dedication to the lust we experience as humans. Her sultry vocals perfectly compliment the mid-tempo production. In the personal and intimate record, she sings “secret you my dirty little secret,” metaphorically describing the human nature of entangling love and lust. Since the release of ‘Her Notions since ‘97’, she is currently the cover of Spotify’s Equal Afro playlist highlighting African women making waves in the African music industry.

In a year, Ginius has broadened her catalogue as she affirms herself through powerful songs about love and life with a calm, virtuous presence. Her polyphonic approach to experimental sounds gives her an edge as she is not afraid to jump out of her box. Ginius shows her fans her musical growth in composition and production, as she tackles new themes while staying true to her African roots. This is only the beginning

Listen to ‘Her Notions Since 97,’ below.

Featured image credits/Ginius

What’s Going On: William Ruto Wins Kenya’s Presidential Poll, Fire Outbreak In Egypt & More

Posted on by Wonu Osikoya

“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.

Violent clashes between police and protesters in Somaliland

Last Friday, clashes between the law enforcement and protesters broke out in the Somaliland region. According to Al Jazeera, the dispute was over an alleged attempt to delay the presidential elections, which resulted in police opening fire on the protesters in the area.

Earlier in the week, hundreds of people took to the streets in the capital, Hargeisa and the cities of Burao and Erigavo after negotiations between the government and opposition parties broke down, with the latter accusing the authorities of seeking to delay the election. Protesters carried placards saying “Hold the election on 13th November 2022” and chanted anti-government slogans. The president’s current term ends in November but the opposition suspects Abdi wants to delay that election and accuse him of seeking an extension of his term through “Guurti”, a council of elders that acts as the de facto parliament in Somaliland.

The deputy commander of the Somaliland police, Abdi Hassan Mire stated that dozens of security personnel were injured during the clashes with protesters who were armed with knives, catapults and clubs. Reports also state that some carried weapons and fired bullets. None of the current news reports state whether those that were killed were civilians or the police force. Following the clashes, Ibrahim Abdi Haji, the head of operations in Somaliland Police told reporter that 5 people were killed and 100 more injured. He also stated that 100 people were arrested in connection to the clashes and they will be charged to court soon. 

Kenya Declares William Samoei Arap Ruto As President Elect

For the past few months. Kenyans have been debating their next president. Yesterday, the country officially announced that the voting process had ended despite last-minute objections from election agents for Raila Odinga. Despite this, the head of the electoral commission said that William Ruto had won the election with 50.49% of the vote.

The IEBC chairman Mr. Wafula Chebukati announced Mr. Ruto had fulfilled the constitutional requirements after garnering 7,176,141 votes representing 50.49% of the total votes cast, and he achieved the minimum number of 39 out of 47 counties at the 25% margin. According to reports, Kenya’s 2022 elections have been the most transparent elections as the Electorate commission provided a public link to the presidential forms from each voting center in the country. This enabled the citizens of the country to count and tally the results.

International observers stated the 2022 elections had the lowest turnout in 15 years as 65% of the 22.12 million registered voters turned up to cast their ballot. Areas such as central Kenya which has the largest population in the country recorded the lowest turnout.  The drop in numbers was largely blamed on lack of voter education, and low interest by the youth as they have reduced trust and confidence in the political system, poverty, and youth unemployment. 

Four out of the seven commissioners of the Independent Electoral and Boundaries Commission (IEBC) disowned the yet-to-be-released results of the August 9th presidential election. Addressing the media from a Nairobi hotel on Monday, the four commissioners led by IEBC Vice Chair Juliana Cherera, said the last phase of the electoral process which is the verification of results was not transparent . She reminded Kenyans to stay peaceful during this period and urged those not satisfied with the results to petition to the Supreme Court.

Seasonal Torrential Rains Causes Destruction in Sudan

Floods triggered by seasonal torrential rains in Sudan have reportedly killed more than 50 people and inundated over 8,170 homes since the rainy season started. Sudan’s rainy season usually starts in June and lasts until September, with floods peaking in August and September. Last year, flooding and heavy rains killed more than 80 people and swamped tens of thousands of houses across the country.

Now, Residents of Makaylab village in the River Nile province are trapped by flood water. The whole village is flooded and most farms are ruined. More residents living around believe that the flood water surrounding the area is affecting their health and due to the flood, many are left sick with no medical aid present. The flooding and heavy rainfall inundated 16 government facilities and around 40 stores, damaging at least 540 acres of agricultural land across the country. It has also been reported that at least 25 people have been injured so far this year, according to the country’s state-run SUNA news agency.

Fire Outbreak In Giza Coptic Church In Egypt

On Sundays, an electrical fire broke out as 5,000 worshippers gathered for Mass at the Coptic Abu Sifin church in Giza, killing dozens of people. The fire which blocked an entrance caused a stampede. This has led to a number of at least 41 deaths and over dozens of people injured.

Although coptic Christians make up at least 10 million of Egypt’s 103 million people, they face discrimination and play a lesser part in Egyptian public life than their numbers justify. The prosecutor’s office said it had sent a team to the scene to investigate the cause of the blaze and orders by the Egyptian President Abdel Fattah al-Sisi has been made to rebuild the church.

Featured Image Credits/

TurnTable Top 100: Bella Shmurda’s “New Born Fela” Debuts On The Top 10

Posted on by Wonu Osikoya

For the fourth consecutive week in a row, Fireboy DML and Asake’s hit single “Bandana” remains at the top of the TurnTable charts. “Bandana” equals the four-week stay of “Peru” at No. 1 on the defunct Top 50 as Fireboy DML’s longest charting No. 1 single in Nigeria.

Similar to last week, at at No. 2 is Carterefe & Berri Tiga’s “Machala”  which tallied 3.08 million streams (No. 2 on streaming, down 30.2%) and 46.7 million in radio reach (No. 6 on radio, up 90.6%). The record retains the top rank on the Top Street-POP Songs chart for a second week.

Burna Boy holds down the third, fourth and fifth spot this week. “It’s Plenty” is at No. 3 for a second week after tallying 54.7 million in radio reach (No. 2 on radio) and 2.39 million streams (No. 4 on streaming) and at No. 4 is “Common Person” moving up from its No. 9 spot last week – the song tallied 2.79 million streams (No. 3 on streaming, up 11.6%) and 32.3 million in radio reach (No. 15 on radio, up 167%).

Rounding up the top 5 spot this week is “For My Hand” with Ed Sheeran holds the No. 5 spot for another week – it peaked at No. 1 for a week. Mavins’ “Overloading (Overdose)” with Ayra Starr, Crayon, Boy Spyce, Magixx and Ladipoe is at No. 6 on this week’s chart, Kizz Daniel’s “Buga (Lo Lo Lo)” with Tekno stays at No. 7 for a second consecutive week.

Closing out the top 10 this week is the former No. 1 “Peace Be Unto (PBUY)” by Asake slides 4-8, Crayon’s “Ijo (Laba Laba)” falls 8-9. Bella Shmurda’s “New Born Fela” rises from 92 to 10. “New Born Fela” just like “Machala” name drops a legendary Nigerian artiste; it tallied 1.99 million streams (No. 8 on streaming, up 417%) and 16.7 million (No. 34 debut on radio). Outside of the top ten; Fireboy DML’s “Ashawo” debuts at No. 16, the artist currently has eleven tracks off the ‘Playboy’ album on the Top 100.

You can read a full breakdown of the charts here.

Songs Of The Day: New Music from Maglera Doe Boy, Khai Khalii & 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 Da Vaji, Maglera Doe Boy, KaniBeatz, Destiny Nsonga, Alana Maria and more. Dig in. 

Da Vaj – “Drop It Down”

Da Vaji teams up with Drill icon from Buruklyn Boyz, Ajay on their new riveting single titled “Drop It Down”. Sampling Akon’s “Bananza(Belly Dancer)”, the duo effortlessly hype themselves up and big up their position in the rap game. Ajay sings memorable lyrics such as “..anapenda maboy wastreets mapusher wenye wanatrap,” which roughly translates to “She loves hood boys, boys who hustle and peddle drugs.” The new single is accompanied by a video with the two rappers surrounded by their group of friends who are excited and religiously agree with each line the pair fire off.

DJ Vadim, Kenneth Mugabi & Destiny Nsonga – “Kiki Kyogamba(What You Saying Mix)”

On their latest release, DJ Vadim is joined by Kenneth Mugabi and Destiny Nsonga for new single, “Kiki Kyogamba.” “Kiki Kyogamba” meaning “what you saying,” is a lover’s duet, in Luganda and English, pitting Kenneth Mugabi’s distinctive soul falsetto with Destiny Nsonga’s alluring vocals. The song brings a classical 1970’s reggae vibe combined with a boisterous Hip-Hop beat. 

KaniBeatz – “Do It For Me” ft. YKB & Alana Maria

Nigerian-British producer, singer and songwrier KaniBeatz is back with a special offering titled “Do It For Me,” which features YKB and Alana Maria. On the new single, “Do For Me” KaniBeatz offers a romantic track that directly addresses his muse and the feeling she gives him. The mid-tempo track sees YKB adoring his muse with lyrics such as, “I go call my bank give her all my money” while they are both joined by Alana Maria who confesses her love for her partner.

Maglera Doe Boy – “God Is A Black Woman” ft. KayGizm

“God Is A Black Woman” is the third track from Maglera Doe Boy’s upcoming project titled ‘Diaspora’. Here, he combines effort with fellow countryman KayGizm as they adore the complexity of a black woman’s power “..Get down on my knees and I praise you, God is a black woman..” The piano riffs and harmonica provide a perfect instrumental background giving a Jazz with  Hip Hop infused vibe.  

Unspoken Salaton – “Mambo Ni Mengi”

Coining popular slang as his title, “Mambo Ni Mengi” is a drill song from rising rapper, Unspoken Salaton.  The poetic rapper gives a rebellious performance in his single as he drops numerous bars and thumps his chest while calling out weak rappers. He throws a couple of cheeky lines “… the girl is thick like yoghurt..” creating light laughs from his ice-cold flow. 

Jinku & See Through Solomon – “Moonlight”

As Jinku gears up for the release of his album ‘Oasis Park III’ from the Trilogy ‘Oasis Park’ he gives a sneak peek of what to expect with “Moonlight”. In collaboration with  See Through Solomon, he employs Khani Khalii’s vocals that croon over the electronic percussive background. The sonic production of “Moonlight” is striking, as the occasional crescendos seamlessly merge with Khani Khalii’s mellifluous voice. As she dreams of liberation, the composition of the song is a combination of melancholy and hope: like a love letter to a lost soul “maybe one day I’ll be the king that sets my people free, to find a way to safety//the land of honey seems way too far away from me.”

Yung Stevie – “One More Time”

For his latest offering, Yung Stevie shares a new single, “One More Time”. The infectious number has the young rapper showing off his playful and versatile music-making capability while portraying his lavish lifestyle with lyrics such as  “when I am speaking money you know I am speaking fluent// trying to drive you crazy like a Rarri or a Bentley.”

Featured image credits/NATIVE

Best New Music: Alpha Ojini & Odumodublvck Are Riotous On “Vigilante Bop”

Posted on by Emmanuel Esomnofu

A sharp, sinister sense of thrill fills the body when hearing “Vigilante Bop” for the first time. The latest record from rapper Alpha Ojini comes with a purposeful feature in Odumodu Blvck, and instantly commands attention with its scattershot approach and local references. Drill charges its sonic material but like Ojini has been known to do with his producing, there are soft-hued influences lurking nearby.

 

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A post shared by ALPHA OJINI™️ (@alpha_ojini)

Alpha Ojini’s place in Nigerian Hip-Hop has always recalled the vim of a disruptor. Even though his enormous talent as a producer and sound engineer was what got him on the map, he was able to parlay those connections into a budding rap career. His everyman personality was paired with his unshakable confidence in his MC skills, resulting in immersive and creative projects such as ‘Half Price’ and ‘Chvmeleon’.

In a time when most youngsters craved attention over the physical glory of getting paid in cash, Ojini was giving no discounts. That firm belief in his abilities have constructed the realness of his persona, a quality audible still on his pop-leaning records. Every second of “Vigilante Bop” bursts with musical stamina and a no-holds-barred mentality. “Lock up the cops and gbes/ Isakaba cover their mouth with spiritual bandage,” raps Odumodu in the opening bars and with vocals which rattles the core of your person, as though he could effortlessly deliver on every thing he’s rapping.

Even though the message is delivered in wild images, the documentation part emerges through the many references on the record. In a way similar to Paybac iBoro’s ‘CULT,’ the pulpy mass of recent Nigerian history is carefully plucked for an analysis on administrative deficiencies and personal shortcomings. Anyone from corporations to individuals like Abba Kyari and Hushpuppy gets the stick, poked and turned till something deeper is extracted from their malaise.

 

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Ojini’s unique gift as MC is making incisive comments with a sprinkle of humour, not so much softening the situation as much as colouring the ugliness of its reality very suddenly. Hip-Hop started as an anti-establishment form so aligning those well-trodden values with the rich capsule of Nigerian pop culture is invaluable, rendering this record the necessary intimacy and scope which largely contributes to its triumphant and bone-piercing vibe. “Bubu keep face like Jonathan for campaign; E enter office e turn Abacha/ Everybody dun curse am tire,” raps Ojini towards his verses’ end, setting up Odumodu for an even fiercer entry.

The burly-voiced rapper has been a favourite among a section of the Nigerian rap audience since 2021, and it’s easy to see why. Asides his ferocious outlook of his bars, he’s a very deft stylist, landing on unexpected pockets while bringing austere metaphors into his bag of tricks. When he raps in chorus that he “breaks all the laws in rap,” it’s a testament to the rappers’ civil disobedience and technical proficiency as wordsmiths. “Odumodu shooting on duress/ Never, never, I did it with clear head,” he rattles  in the middle of his verse, contrasting the seeming craze in his talk with a pledge of his ethos.

A renaissance is sweeping through rap music in Nigeria, and nowadays rappers don’t really need albums to make grand statements. Where that leaves room for bigger and unchecked flaws, a single record is well-spaced to reflect all your strengths while playing down whatever conceptual shortcomings an album might have. The New York-born Drill sound has proven to be a fitting medium for capturing these instant thoughts, and here Ojini and Odumodu has given us a sweltering track to keep track of all the shady stuff Nigeria’s got going on.

Listen to “Vigilante Bop” below.

Listen to God Knows’ New EP ‘We Move The Needle’

Posted on by Tela Wangeci

The Zimbabwe-born, Shannon-raised, Limerick-based rapper, Munyaradzi God Knows, better known to fans and listeners as God Knows, made his defining entry on the music scene with the release of his 2020 debut solo EP, ‘Who’s Asking?,’ an introspective cut which found him tracing the complications of his mind.

A deep and ardent student of the game, God Knows is a proud member of the Rusangano Family, a rap trio from Ireland, that is keen on redefining what rap music means in the modern age. God Knows, along with is Irish rap crew made history when their single “Let The Dead Bury The Dead,” earned the Hip-Hop group their first-ever win for Album of The Year at the Choice Music Prize 2016.

 

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Since then, God Knows has continued to carve out a remarkable solo career through the release of memorable singles such as “Crown” and “Clout9,” which endeared him to an army of loyal fans. Both tracks masterfully revealed God Knows enviable wordplay and clever flows, as he challenged the archaic structures of society. Most of God Knows’ songs are on radical change and building a community based on joy.

Today, God Knows adds another layer of creativity and glorious composition to his catalogue by sharing, ‘We Move The Needle,’ his latest effort. The EP follows a deep appreciation of South African culture whilst collaborating with the likes of Jah Master and Senita, who make the project more memorable. Inspired by the Amapiano and House scene in Southern Africa, God Knows sets out to marry his appreciation for South African youth culture with his reflections, beliefs, and his unique rap style.

Opening up the project with “Square Peg”, God Knows delivers a stelalr performance with cutting lyrics and slick, rapid-fire delivery. He chants lyrics such as “turn a war zone to chapel//Welcome to my world//I’m a square peg in a round hole,” which reveal his confident persona. The spotlight shines on the cutthroat production with crisp guitar keys as he goes on to elaborate on his need to stand out from the crowd.

Speaking on the tape, God Knows states he has always been a firm believer in speaking up for injustice, especially when it comes to his art and career. His love for art and artists that derive real-life experiences, as every record he releases is always a reflection of the reality he is navigating at that time. To him, ‘We Move The Needle’ is his chance to air his opinion on his record label, Narolane.  Right between opener, “Square Peg” and “Twelve 61” is the braggadocious number, “No Weapon”. With the help of fellow Narolane members, MuRli and Denise Chaila, “No Weapon” is an excellent commingling of gritty voices, dancehall influence, and Denise’s harmonious vocals over the catchy bass lines.

He wraps up the eccentric project with “Glory(Extended),” featuring South African songbird Senita, which offers a slightly different beat to the other tracks. Taking a more serene approach, the pair sing about glory and favour, and the impssibility to hide ones success once achieved. The song’s breezy Amapiano production gives way to the duo’s sonorous vocals, setting the mood right to end the project.

Across 4 eccentric tracks, God Knows makes yet another case for his compelling artistry, while drawing listeners into his youthful and conscious world, with songs determined to ignite different emotions in listeners. In the end, God Knows crafts a solid body of work, while reminding listeners of the ever-changing reality we live in, and the need to grasp your glory.

Listen to ‘We Move The Needle’ below.

Songs Of The Day: New Music From Karun, Tiwa Savage, Nanette & More

Posted on by Wonu Osikoya

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 Tiwa Savage, LAX, Fasina, Karun, Ms Banks and more. Dig in. 

Karun – “Lie To Me (Tell Me A Fairy Tale)”

Kenyan singer and songwriter, Karun delivers the new earworm track titled “Lie To Me (Tell Me A Fairytale).” The mid tempo number finds sees the artist singing about the love and its near magical qualities. On the Bloch-Beats produced record, she sings directly to her love interest, drawing them closer into a world of their own making with lyrics such as “Cause when I check in my mind and you’re no longer here/I feel it in my chest, I wanna disappear.”

Tiwa Savage – “Jaiye Foreign” ft. Zinoleesky

For her first official single of the year, Tiwa Savage teams up with former NATIVE digital cover star Zinoleesky for the new upbeat record “Jaiye Foreign.” The Amapiano-infused record finds them toasting to the good life. Over the Pheelz production, Zinoleesky sings “Girl I can feel it in my soul can you feel it too, don’t know why I keep missing you/All the time I wanna be with you, girl I’m tryna figure what I mean to you” letting his love interest know the hold she has over him. Tiwa glides over the production with her melodious vocals, singing “Maybe na the highness, make me look the finest to you/Keep up with the finesse, I go wait till half past two,” while merging energies seamlessly with Zinoleesky.

L.A.X – “Para”

Nigerian singer, songwriter and performer L.A.X has just shared the lead single from his forthcoming project, “Para.” The Smeez-produced record sees the artist hyping up himself, as well as speaking on his growth so far. On the hook of the track, he quips catchy lyrics such as “listen I be the reason dem dancing, dance to my music stop jonzing/I’m leaving stamp on this music, para oh.” 

Fasina – “Fever” ft. MOJO AF, PsychoYP

Fasina teams up with rappers MOJO AF and PsychoYP for a bouncy new record titled “Fever.” Over the Eke-produced beat, the trio explore the complications of toxic love and relationships. Fasina opens the record singing “she only brings complications my way, turning off my phone till late night Friday.” As he croons about his lover, he is joined by PsychoYP and MOJO AF, who deliver equally memorable verses that further visualises our experiences of toxic love.

Yung D3mz – “La La La” ft. Boye ‘The Genius’

Ghanaian producer and performer Yung D3mz has arrived with a two-song pack ‘Commercial Break,’ featuring the records “La La La” and “Dweet.” On the standout number “La La La” featuring Boye ‘The Genius,’ the artist serenades his muse while telling her how she makes him feel. He sings on the chorus, “Alright, say you wanna get down tonight/I go make you sing La La La/Baby come, let’s make symphonies.”

Nanette – “Vent”

South African singer and uNder alum Nanette shares a video for her recent release, “Vent.” The video features simple shots of Nanette speaking with her love interest fondly over the phone and sharing an intimate moment. The self-directed video serves to further expand the visual world around the song’s relatable lyrics as she vents to her lover about the things that cloud her mind.

Tena Tenpo – “Freaky” ft. Tim Lyre

Tena Tenpo has now arrived with his a new project titled, ‘Vibes Alive.’ The 6-track EP features guest appearances from artists such as Tim Lyre, MOJO AF, Jawsz and showcases more of Tena Tenpo’s impressive range. On the standout Tim Lyre-assisted record “Freaky,” Tena opens the record singing “you got the kind of thing i like, make I tell you the truth no lie/come show me that you’re freaky girl,” delivering romantic lyrics to his love interest. 

Ms Banks – “Gbedu” ft. Joey B, Kwesi Arthur

Following the release of her EP, ‘Bank Statement’ last month, Ms Banks is back with a new single titled “Gbedu” featuring Ghanaian rappers, Joey B and Kwesi Arthur, and Snypa. The mid-tempo record finds the artists speaking about having a good time with life and enjoying every moment it has to offer. The impressive record also draws lyrical inspiration from Burna Boy’s 2019 hit single “Gbona.” 

Mannywellz – “No Closure”

For his most recent release, Mannywellz shares new single, “No Closure.” Over the mid-paced production of the track, he speaks on being happy and free from the complications of a toxic relationship. With lyrics such as “We don’t need no closure baby, I see through the lies you’re moving crazy,” he represents the motions of a turbulent relationship.

Kehinde – “Hennessy”

For his first official release of the year, Nigerian born UK-based singer and songwriter Kehinde is here with the uptempo catchy number “Hennessy,” which sees him singing about focusing on life’s little joys. Over the song’s memorable production, he sings “Drink Hennessy o it’s all on me o, make all the girls dey shake body for party,” imploring his listeners to let loose and have fun.

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Terri Shares Deluxe Version Of His EP, ‘In Transit’

Posted on by Emmanuel Esomnofu

Terri leaves a good impression on his listeners. He possesses sunny vocals and a magnetic bend of percussive-heavy beats, elements of his artistry the Wizkid protege has parlayed into creating some memorable songs in recent Afropop history. After 2020’s ‘Afro Series,’ the artist maintained some buzz with singles and earlier this year, the warm-hued “Danger” caught on to a string of listeners, and from there morphed into his biggest hit since the Sarz-produced “Ojoro”.

 

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‘In Transit’ was released in April following that score, and “Danger” became the lead single among its six tracks. The project was well received among Terri’s fanbase, but the sonic choices and sole feature of Mugeez hinted at his expanding scope. Even the title can be taken as a hint of the journey this particular artist is embarking on, and following the release of its deluxe version, Terri is further growing into his own.

For Terri, less seems to be more as he includes just two new songs on the deluxe, both of which are remixes. “Danger” gets a new gloss-over with a BNXN verse; the guest breezily introduces himself, utilising the compelling rhyming patterns that’s made him a pop darling over the past year. The backdrop of lush guitars being Buju’s preferred field, both artists combine beautifully and with chill intent. On the remix of “No Lie,” it’s the pop wunderkid Rema who pours his signature energy and vocal dynamism into every second of his verse. It’s decidedly more upbeat, closing out the tape with verve and charisma.

As easy as it sounds, being in the faces and ears of the global Afropop audience is definitely a hard task. By embracing the ethos of collaboration on this deluxe, Terri has extended the project’s run with remixes that can spur their own wave. He might be in transit, but this is the home he consistently seeks: songs of potency.

Listen to ‘In Transit Deluxe’ below.

AV Club: Exploring The Poignant Appeal of South African Films

Posted on by Emmanuel Esomnofu

Film is arguably one of the most evocative art forms. The combination of audio and visual elements have the ability to move audiences across the age divide or geography. Like many Nigerians, my introduction into the world of South African cinema was the Jamie Uys film, ‘The Gods Must Be Crazy’. Released in 1980, the film opened my pre-teenage self into a world that was instantly alive, throbbing with Blackness and nativity. 

Many years later, the TV’s on which we watched that classic aren’t in fashion anymore. In place of physical CD’s, streaming has evolved our watching habits and in an extensive swoop, influenced the attendant world of cinema. So far in Africa, the countries of Nigeria and South Africa have been the darlings of incoming streaming companies such as Amazon Prime, Showmax and Netflix. In December 2018, the crime thriller ‘Queen Soho’ became Netflix’s premier South African TV series. It would go on to become wildly successful, putting a number of new viewers onto the country’s filmmaking.

Not long after, I watched ‘Tsotsi,’ which marked the beginning of my immersion into the world of South African cinema. The Oscar-winning Best Foreign Film was about a street gang leader who is brutish and merciless, and takes whatever he wants from anyone who’s in possession of it. All that changes one day when what was supposed to be a simple robbery unfurls into chasos; inside a car he claims, is a baby. It sets the trajectory for the complete prism of the thug’s emotions to shine through. In the film’s most heated moments, he’s neither good nor bad; he’s just another human driven to circumstances by situations beyond his control. 

The juxtaposition of humane and economic travesty in the Oscar-winning ‘Tsotsi’ portends a shared thread in the philosophical direction of the films coming out of the country. External forces collide with inner convictions to create a sort of antihero, usually playing the murky terrain of Apartheid to make its spin on a contemporary issue. This does not mean that every film by a South African is heavy on the political side of things; it’s rather an honest recognition of how deeply the aftereffects permeate several facets of cultural life in the country. 

An ideal work of art is undoubtably influenced by the events surrounding its creation, which only serve to further buttress a film’s wider context, whether directly or otherwise. This was richly wielded in the hands of Mandla Dube who directed ‘Silverton Siege,’ a movie with stark representations of the freedom fighting era. It was inspired by the real-life event of the Silverton trio, who were chased into a bank after a covert mission of theirs was compromised. The plot’s development, the fragrance of the languages, the overtones of racial theory, the thriller-esque soundtrack—all these point to an astute understanding of effective production.

Very often, the case is made for Nollywood’s expanding sense of a story. In comparison to foundational Nigerian films of the 1990’s and early to mid 2000’s, some would argue for the superior production quality of today’s movies. All this is not to say that Nigeria has not produced good films in the post-streaming era. It’s only that the truly creative directors are few and far between, confidently digging into the earth of the country’s disparate stories for a narrative. With Africa’s shared history of colonialism, there’s a lot of storylines that are yet be unfurled, particularly through film media. Asides being accessible, film allows creative freedom while staying close to the important details of actual events. This is where South African cinema triumphs; no character is spun out of thin air—you could almost reach out and touch them, so real and humane are their complications. 

In the past, I’ve often wondered about the roots of South Africa’s cinematic brilliance. It’s easy to chalk it up to its well-off economy, how easily funding and fine cinematography can be accessed by anyone with the proper connections. But truly good art transcends all this; it reveals a willingness to uncover the truth. True, the apartheid era was one of the world’s most haunting periods, especially for Black people who lived in and around the townships. However, to be surrounded by so much wealth and have none for yourself has a way of inspiring an against-all-odds mentality. 

Many post-colonial films from South Africa reflect this ethos to untangle events to make a cohesive storyline. Their stories and characterisation is heavily nuanced and displays a strong grip on trajectories. In many films, their heroes aren’t glossy images on a TV screen, it’s the township boy who seemed to do good until someone–or something, really–stopped him in his tracks. 

To me, I think the quality of movies made in Anglophone Africa does not match the startling poignance of their Eastern and Southern African counterparts. Part of the reason might be the dogged attempt of English-speaking countries to ally themselves into the workings of the new world. Our closeness to their popular culture–particularly in Nigeria–gives a false sense of camaraderie, a curious desire to align ourselves in the blistering light of capitalism. 

In actuality, the most sensational stories are found in the crucibles of the mundane. History portends a great school of inspiration and South African filmmakers aren’t just curious students, you get a sense that they are admirers of their history and the glory of their continued survival. It isn’t art’s mission to explain or correct the bad; you only show it. 

I was again reminded of this when I watched ‘Collision’ not long ago. Centred on a white South African family, upper middle-class and relatively well-off, the patriarch loses a job promotion to a black woman in the opening scenes. Their teenage daughter is madly in love with a young black musician; the musician’s best friend is affiliated with a street thug, one who counts the white patriarch as an associate. These interwoven threads are set loose over the film’s almost two hour run time. A minor storyline unfurls elsewhere, Black South Africans turning against Nigerians in a spate of xenophobia-inspired attacks; within that plot is situated an evocative but brief love story.

 

On the other side of the argument, the overwhelming number of people who did not agree with the idea of over flogging the apartheid stoyline, still belive that the country’s history would always be a reference point for creators. As much as contemporary demands for fresher stories, it’s always an artistic strength to play to what forms the core of your creativity. Watching a movie like ‘The Forgotten Kingdom’ on Showmax, I was easily transported to an abstract world that was still rich in its South African heritage. Which is to say, more often than not, the material isn’t the problem; rather, finding new ways to tap from it.

In the end, the culture surrounding the world of film is not improved overnight. It takes brave filmmakers to look beneath the sheen of the contemporary to unearth cinematic gold. From what I’ve observed in the past few years, South African directors are pushing the envelope for filmmaking around the continent and reclaiming the right to tell our own stories from our own lenses.

Local content has flavour that is spiritually carried by the evolution of that particular place, which is why movies like Tunde Kelani’s ‘Ayinla’ and Niyi Akinmolayan’s ‘Prophetess’ are some of the most affecting films we’ve seen from these parts in recent times, and such attention to detail ought to be continued. Criticism offers a valid standpoint of effecting positive change and, looking at the robust nature of the highlighted discourse, it’s no wonder that South Africa keeps getting it right. 

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Psycho YP, Zilla Oaks & Backroad Gee Share New Single, “IC3”

Posted on by Emmanuel Esomnofu

Conversations about Hip-Hop in Nigeria haven’t always been without nuance. In the peculiar topic of a rapper consistently expanding their skillset, a number of acts have been found lacking. The name of PsychoYP is usually absolved of that brand of criticism, strictly because he’s build a noteworthy fanbase from Abuja while matching his raps and cadences with flecks of his Abuja identity, offshore swag, and his own strongly held beliefs. Menacing rap songs permeated with a young man’s wisdom is often the result, reason why YP is one of the most exciting rappers around today.

 

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His prolific work rate comes to the fore once again on his new record, a sizzling collaboration with ABJ rap kin Zilla Oaks and Backroad Gee, the Congolese British rapper whose highly receptive of West African collaborations. YP’s 2022 has been feature-stacked with verses, while on solo releases “MIDLIFE CRISIS/WYDTM” and “Bando Diaries” took stock of his ever-expanding worldview, his unique navigation of the world and its existential concerns.

“IC3” comes off as celebratory then, uniting with friends against the opps while carving some space for self-praise. At every count the MCs box against the combustible finesse of Princeton’s drill-tinged production. In the opening seconds, what grips the listener is that flute-y movement encircling an arrangement of ominous keys, foreboding disaster in a tone reminiscent of an Anime’s resolution scene. YP’s entry is flexible, scatting and repeatedly mentioning the name of his collaborator Backgroad Gee. “They don’t want YP free,” he defiantly sings, and when the bassy drumline drops, the mood switches, the tension swapped with flamboyance.

“Bad P in the AP sipping on JB/ Bad B coming like Ivy League,” he raps, setting up Zilla who enters with energetic clarity, smirk-ready as he rattles the lines, “Tell me what you know about madness, badness; tell me what you know about streets/ I’m a general like IBB, I run my coup and man retreat”. Backroad Gee’s verse flames an already heated track, a snarl and gruff coated in roadman tales and haughty threats, a spice of sensuality and very infectious energy. Tapping from the anthemic chorus trend, the chant of “They don’t want YP free” sets up the rapper for his final verse, where he lays claim to the country’s top spot when it comes to the bars. With songs like “IC3”, he does make a great case.

Listen to “IC3” below.

Google Africa’s New Documentary Celebrates The Vibrancy of the Alte Scene

Posted on by Damilola Animashaun

Just before the 2020’s, a revolution was underway through Nigeria and other parts of Africa. Here was a generation of young people who fiercely impressed their global identity within the blueprint of traditional art, be it music, fashion, film or other interdisciplinary fields of expression. The music scene essentially combined all these elements, propelling creators like Cruel Santino, Lady Donli, Odunsi (The Engine), Amaarae and many others to iconic acclaim around the same time Afropop launched onto its ongoing phase of global ubiquity.

Many have attempted to tell this story, but not many have spoken intimately with the actors themselves. On ‘The Inevitable Growth of the Alte Movement,’ a documentary included within the #GoogleAfricaCelebratesAlte campaign, some of the most intriguing and influential players on the scene discuss the cultural phenomena. It is produced by Backdrop and NATIVE Networks, and with additional assistance coming from creatives in South Africa and Kenya, it parlay’s Google longstanding interest in alté culture into the transcendental scope of Film.

The 14-minute documentary features discussions with artist and co-founder of NATIVE Networks Teezee, model, entrepreneur and creative director Ashley Okoli, alternative musician Karun, founder of ’90s Baby Idris Adedeji, the cultural commentator Natasha Eagle, and many others. They share their unique perspectives on a movement that’s broadened the image of Africa globally, drawing references from their own personal life and expertise. “I do think it’s harder for women to experiment creatively because there’s a certain way they want us to behave,” says Ashley, who’s also the CEO of fashion brand SilletByAsh. “That’s where I feel like alté comes in, non-conformity”

“For sure, I’m not making the music that is being pushed heavily on radio and TV right now,” says Karun, who recently collaborated with producer Jinku on ‘Passenger 555′, an electro-inspired album which ranks among the year’s standouts. “I don’t fit that box of what you would consider a pop artist in Kenya. And personally, I would prefer to be called alternative because it gives me the freedom to just be flexible and be myself without needing to cater to anybody’s specific tastes. I get to do me.”

Watch the documentary below.

BNXN Announces His Sophomore EP, ‘Bad Since ’97’

Posted on by Wonu Osikoya

There are not many artists enjoying the moment quite like BNXN. Back in 2020, the singer has soared to greater heights off the back of party-ready hits such as “Energy” and “Spiritual” which gained the attention of music heavyweight, Zlatan. Since then, the singer has continued to enjoy mainstream success and show off his inimitable talent through stellar features such as Ladipoe’s “Feeling,” Wizkid’s “Mood,” and Pheelz’s viral single, “Finesse.”

Most recently, he released his debut EP ‘Sorry I’m Late,’ last October which found the singer taking a significant period in his life and shaping it into beautiful music that served as the showcased more of his impressive range. Through songs such as “Daniel Benson (Buju)” which reveal personal stories of growth and becoming to “Kilometre” which showcases his capacity to create radio-ready hits.

 

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Now, barely a year after its release, the singer has announced his sophomore EP,  ‘Bad Since ‘97,’ which he has begun to tease by announcing some of the producers featured on the EP. Scheduled to be released on the 25th of August, the forthcoming project will include 7 tracks including the recently released Wande Coal-assisted single “Kenkele,” which gives listeners a taste on what to expect on the new release.

Also scheduled to feature on the album are producers such as Denzl who has produced songs such as Tomi Obanure’s “Wickedest” and Phaemous’ “Say Less,” and Sak Pase both scheduled to be featured on the project’s first track. So far, BNXN has also announced that another producer, TSBoy will have production credits on his forthcoming release, and he has promised to continue teasing the project’s features through out the next few weeks.

Pre-save ‘Bad Since ‘97’ here

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Hot Takes: Jackie Aina & Sore Soke, Red Flags on BBN & More

Posted on by Wonu Osikoya

In a blink of an eye, we’re already in the final month of the third quarter of 2022 and that is honestly beyond shocking to me. Summer is slowly fading out but it’s safe to say that it’s still not over as we enter LEO Season. As there’s only a few weeks left in summer, there’s still quite a lot to get into. ITV’s Love Island UK just wrapped but Love Island USA just kicked off about a week ago and viewers seem to be shifting focus towards that now.

Reality TV shows seem to be holding it down right now all over the world. Just two weeks ago, Big Brother Naija made its way back to our screens for a new season and in less than two weeks, it’s become one of the hottest topics, steering up different conversations on the timeline. Just as always, the wheels of pop culture are ever-turning and it’s our job to put you onto the hottest takes on just about everything about reality TV shows.  Keep reading this week’s Hot Takes as we’ve got a lot to say.

What I’m Listening To

Recently, I’ve been listening to a whole bunch of new music actually but for the past few weeks since its release, the only body of work I’ve really listened to is ‘Boy Alone.’ After this body of work, it’s safe to call myself an Omah Lay stan because for some reason, I was overly impressed. I think the major takeaway for me from the album is the blatant honesty, I can’t get over his sincerity on the album and for this reason, I keep running back the album. I currently have no favourites as my favourites change on every listen but right now, it’ll be between “Soso” and “Never Forget.” These two records are currently everything to me. The elements on the beat of “Soso” were extremely thought out and that has to be the most intentional beat pattern I’ve heard all year. Shoutout to Tempoe for that special record.

What I’m Watching

I’m not really watching anything in particular right now. I’ve been catching up on my favourite visual podcast ‘The Crew Has It,’ so that has been taking up all my time. It’s a podcast about all that goes on in the Power Universe, hosted by Michael Rainey Jr. who plays Tariq and Gianni Paolo who plays Brayden. The podcast features characters from all parts of the ‘Power’ universe including all the seasons of ‘Power,’ ‘Raising Kanan,’ ‘Power Book 2: Ghost,’ ‘Force’ and all the other sequels and prequels.

If you’re a ‘Power’ fan just like myself, I highly recommend this show. It gives an insight on what goes on behind scenes which viewers never really get to see. It also sheds light on the crew and not just the cast of the show. My favourite reality show Big Brother Naija just returned for a new season and yes, I’m getting into this. Conversations have already started and conversations.

Sheggz is a walking red flag

Let’s call it as it is, Sheggz is a walking red flag. If you don’t know who Sheggz is by now, he’s one of the contestants on the current season of Big Brother Naija Level Up season and already, he’s been causing quite the conversation, and all for the wrong reasons.

Emerging in the Big Brother House as an original housemate in Level 1, Sheggz entrance immediately elicited comments on social media timelines, as news of an alleged assault on his ex-girlfriend drew opposition from many viewers who did not encourage an abuser being platformed on the country’s biggest reality television show. While these details were allegations were not confirmed, his presence on the show this year has been closely been observed by many viewers who believe the UK-born contestant is not to be trusted.

This season, especially has been heavily focused around contestant-to-contestant relationships or ships as they are fondly called by BBN superfans, and Sheggz is one of the contestants this season in the highly stanned relationship. From the onset of the series, Sheggz has made his affections known for another housemate, Bella who seems to be drawn to more than the other female contestants. Clips and videos of both housemates wooing each other, and maintaining close affection, have circulated the timeline, alerting viewers of Sheggz worrying traits in romantic relationships.

The tip of the iceberg came this weekend when Sheggz mentioned to Bella that he had “blue balls,”  a slang for “epididymal hypertension,” which occurs when a person becomes sexually aroused for an extended period of time but does not have an orgasm. I’m not even in the habit of discussing a grown man’s balls so it’s deplorable he would mention this on live television which is also being broadcast in different continents. What stood out to me during this conversation was Sheggz mentioning to Bella that he would not tell her what was wrong, then proceeding to tell her it this wasn’t her fault, right after explaining what it meant to her, as she was unaware of the terms definition. He then goes on to claim that blue balls is akin to a woman’s menstrual cramps which is the most ridiculous thing I’ve heard this week. It’s a bit alarming that we’re not recognising harmful characteristics when they pop up, but Sheggz is literally playing one of the oldest tricks in the books. The level of manipulation that comes with that statement is beyond jarring because it’s right there. As viewers, there’s higher chances of seeing something the housemates don’t see but I’m a believer of not ignoring red flags and I’m worried that Bella will realise when it’s far too late. Send help to our girl, Biggie.

 

“Soro Soke” Is Not Just A Catch Phrase

Jackie Aina recently unveiled a new range of candles, “The Owambe Collection.” The scented candles were named “Mood Soft Life,” “No Wahala” and “Soro Soke,” playing on Nigerian terms that she believed were used colloquialy. However, she was wrong. While sore soke translates as Yoruba for “speak up,” it has also recently taken on new meaning among young Nigerians who adopted the saying into their lingo during the horrors of the EndSARS protests in 2020. While young Nigerians around the country took up placards, and took to the streets to protest a rogue anti-robbery unit and years of rot and corruption in the heart of the Nigerian system, they all united with one voice to chant “soro soke,” at their peers, oppressors and institutions who continue to perpetuate harm till this day.

As a young Nigerian affected by these issues, I can relate to the level of insensitivity that many of us are feeling at the moment. The horrors of October 20, 2020 is still fresh on the minds of many young Nigerians, as we continue to face increased challenges everyday from our leaders and law enforcement. It’s preposterous that a Nigerian living in the diaspora, after witnessing all those atrocities would then go on to utilise the name in their business. It hurts even more knowing that at the time of the protests, Jackie Aina did not speak up or post on this issue publicly which really irks many young Nigerians who see her latest move as a cash grab. In the past, Jackie Aina has been accused of only promoting Nigerian culture when it is convenient for her for profit and while she is a Nigerian herself, she’s not gone about immortalising the memories of the lives lost in a respectful and tasteful manner.

In the end, Jackie Aina had to issue an apology on her social media and pull down the product from the market and cease production immediately. She declined to respond to any comments or criticism and has since been reportedly blocking accounts who had been calling her out, sending the wrong message to an already dissatisfied crowd. In all of this, what stood out to me the most was even the unavailability of the product in Nigeria. If you’re going to be claim you were utilising the term for good then at least make the products available to those who chanted the words in protest merely two years ago. Nonetheless, she’s apologised now for the gross negligence so let’s just keep our fingers crossed that a similar case does not arise in the future, and Nigerians in the diaspora take their time to learn from their counterparts back on the continent. We really should be more united at a time of pain and loss for many across the Black African community.

Featured Image Credits/NATIVE

Essentials: TAR1Q Begins His Music Journey With Debut EP ‘Son Of The Moon’

Posted on by Wonu Osikoya

When he was a young boy, Nigerian singer and songwriter, TAR1Q had lived in over four states in his home country. Sharing with the NATIVE, a few weeks after his debut EP’s release, the singer admits, “Growing up for me wasn’t the smoothest. I was born in Benin City, moved to Lagos, moved to Delta state then I moved back to Lagos again to finish up my school and then college a whole lot of movements with less time to settle down properly.”

While he never settled down in any of the places his family moved, he would turn to music instead, in those confusing times to uplift him from the funk of constantly moving. TAR1Q tells me that he was fond of writing songs he would hear over the radio station and then, rehearsing them until the words completely stuck. Soon after, he began writing his own original lyrics and ghost-writing for friends and colleagues, leading him to fall deeper in love with his craft.

 

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Raised on a musical diet of a diverse range of artists such as Frank Ocean, Ed Sheeran, K1 De Ultimate, Chris Brown and more, Tariq Oluokun, known widely as TAR1Q, is now making music that heals and uplifts his audiences in need of aural healing. Although TAR1Q was unveiled only a few days ago by NuTrybe — a development academy under Chocolate City Music as their first signee, he has been recording music for a year behind the scenes, studying the tactics of the game, as well as carefully crafting his sound.

Barely two years after graduating from the academy, the singer has amassed over 60 records under his belt, mastering his craft, and shaping it into what listeners are hearing today. His ecletic musical style, endlessly pushes the pocket and expands his range across a fusion of sounds such as Afropop, Hip-Hop and classic R&B and more. When I asked the singer about what informs his music and its themes, he shares with me, saying “It’s how I feel at that moment, how the room feels, what’s in my head. My music is completely in tune with how I feel. I ask myself what strand of me am I taking out to make it? How am I trying to make people feel when they hear it? These are the sort of things that inspire the music I make.”

A week ago, TAR1Q arrived with his debut EP ‘Son Of The Moon,’ a 5-tracker that spans topics and moods such as love and its complications, mental health and dealing with insecurities, becoming, money and fame. The debut project helps listeners understand the singer’s journey so far, told through anecdotes and relatable storytelling. Over the project’s 15-minute runtime, TAR1Q makes a case for his artistry by showing off his well defined vocals and his bold presence on each record.

‘Son Of The Moon,’ opens with the earworm track, “Emotions.” The catchy number finds the artist in a state of confusion as he tries to make sense of his feelings for two women at the same time. He opens the record, chanting the lyrics “this is illogical, I dey attached to different women, the show me different pattern” over the mid-tempo BMH production. While crooning about his romantic woes, he draws lyrical inspiration from the OG heartbreaker anthem, “Two Women” by Tony Tetuila.

On “Bad Intentions,” TARIQ casts clear statements about where he is able to go sonically. Over the catchy production, the singer serenades his muse with reassurance of his love for her and his willingness to go above and beyond to make her happy. He sings, “Girl I need one dance but it takes two to tango/I no be that kind boy we go give you love wey get plenty comma,” fusing sweet words with catchy and relatable pidgin. Across the EP, TAR1Q breathes a new and different life into each song, making each song a standout in its own right and imbuing the project with a level of cohesiveness.

 

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On the record “Be Mine” which features guest verses from Blaqbonez & Ria Sean, the artist draws inspiration from the song’s title to deliver another love song, this time with more salacious requests. With lyrics such as “I’m in the mood tonight, I’m feeling you tonight/Come in that big T-shirt or that snipping dress make we moan tonight/I want you be mine tonight,” the singer lets his intentions known with no hesitation. The track is bolstered by the incredible vocals of Ria Sean who adds her soulful distinct touch and rapper, Blaqbonez who delivers a memorable verse.

The project rounds out with the record “Dear Insecurities,” a more personal and honest record. Opening with violin strings, he sings “I never knew that sacrifice and fear will be heavy load, conversations with my demons happening on the go/My past no go define my future, I’m the son of the father oh,” delivering to listeners a piece of his inner self. Since the EP’s release, TAR1Q has gone on to dominate recent Afropop conversations, including amassing over 1 million streams across all platforms and earning a spot on Audiomack’s Most Streamed New Albums last week.

‘Son Of The Moon’ is a firm effort by an artist who’s ready to begin a long musical journey. As a newcomer in the music scene, TAR1Q’s debut EP is a clear indication of a stellar vocalist with an unquestionable voice, instantly commanding listeners’ attention. The topics on ‘Son Of The Moon’ may be dynamic but the project never feels restless.

Listen to ‘Son Of The Moon’ below


Featured Image Credits/Courtesy of the artist

NATIVE Exclusive: The Evolution of Dankie Sounds

Posted on by Emmanuel Esomnofu

“If you come to a Dankie Sounds, you can’t sit still,” Babatunde Adeniyi says, barely five minutes into our call. It’s a cool Thursday afternoon and the young entrepreneur is together with his three other “brothers”–Sama Olanrewaju, James Anyiam and Reuben Brown–who are currently living in London, United Kingdom. A year ago, all four of them quit their corporate jobs to start an entertainment brand, the one currently known as Dankie Sounds. 

“In these first twelve months,” recounts Tunde, “we’ve been fortunate to grow from doing our first event of maybe, like a hundred and thirty people, to now selling out a thousand tickets in less than 24 hours and that’s a real testament to the glory of God as well as the customers, and those that continue to support what we’re doing.”

The word ‘Dankie’ has connotations with their London and African characters. It’s most commonly known as ‘thank you’ in the Afrikaans language of South Africa, but ‘Danke’ has also been known to describe pengness in London circles, a solemn compliment for looking fresh. All four friends have African connections: Tunde is obviously Nigerian, Sama is from Sierra Leone, Lebanese, and Nigeria, Reuben is from Ghana and Grenada, and James is from Nigeria. 

 

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Dankie Sounds is a community of people gathering to play really electrifying Dance music. Their setlist is typically African influenced, and they’ve spent the past few years building a strong reputation in the UK where young communities are catching the Afro-inspired wave. In their early days, the soothing Jazz of Amapiano was their forte; nowadays, they’ve expanded onto broader forms of the sound. 

“We were fairly new to Amapiano at the time when we wanted to launch but we knew it was a sound that we liked, and really enjoyed, compared to some of the other sounds that were out then,” explains Tunde. “We were seeing the trend of how this music was growing. It’s a genre that promotes the movement of dance. Everyone on this call loves to dance. At the end of the day if it’s music that makes us dance we like it, and want to bring it to the ears of people that we think ‘when you hear this sound, you’re gonna like it too’.”

“I think what sets Dankie apart,” continues Sama, “it’s not just an event, it’s an experience. [Through the times] we still kept the experience. When customers come to Dankie Sounds they might just have maybe their handbag but when they leave, they left with a tambourine, they left with a glowstick, they left with light-up glasses, rings, whistles, horns—we give an experience to the customer that is quite unique.”

The district of Camden Town in northwest London was the roots of their beginning. They started a three month residency in a scenic rooftop bar and in November 2021, did something groundbreaking by featuring an all-female lineup of DJs. “This was something at the time that we felt needed to be done to showcase the amount of rising female talents there is,” says Tunde. “Not only in the industry, but in the space of Amapiano. That event was our biggest attendance that we’d seen.”

 

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From then on, Dankie Sounds set their sights on Africa. They decided on Ghana, collaborating with rap group NSG to play at their venue. It was a considerate risk because most of them had never been to the country (except Reuben, who’s half-Ghanaian) talk more about hosting their own event. The event was packed, they say, bigging up Ghana for their chokehold on the local entertainment scene. “That kinda set our tone on alright, we wanna take Dankie, not only to London, we wanna take it to the world. It’s a brand that we really wanna take around the world.” 

You’ll see colourful posters of their many events on social media. The Dankie Sounds community also have traditional series they play alongside their regular shows worldwide. An event they’ve regularly held this year is Ladies Love Dankie, which was largely inspired by the all-female event last November. “Until we’ve given every female DJ on our list a platform to do that event, we’ll continue to do them,” says Tunde. “Just to chime in,” Sama adds, “even in the London Amapiano scene as well, a lot of it is pushed by actual female DJs as well. So as we’re celebrating women it also aligns with what’s going on in London right now.” 

They’re also intent on utilising the Detty December to grow their presence in the motherland. Having set the template with their Ghana show, they’re looking to host events in Nigeria, South Africa and, wherever the sound takes them across the continent. “We want to be students of the culture, understand the scene over there and do what we continue to do, which is learn in a respectful way.” 

Part of paying that respect means recognising the homegrown players in every scene, and Danke have continued to collaborate with talented DJs and event organisers in these places. Looking over the wider music ecosystem, the founders of Dankie have had first-account witness on the ubiquity of Amapiano and other genres orbiting Afropop. “You’re now seeing non-Africans DJs that are pushing the sound of Amapiano, not because it’s a trend or hit, but because they truly are lovers of the music,” says James. “They approach the genre with respect, with humility and have a passion for the sound.”

 

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As you’ll expect from this varied mix, the guys listened to very different music–including church music–during their formative years. Being in the UK meant Grime and Rap formed a prominent slice in that diet. It was later into their young adulthood did African music begin to get on the radar, and who would have thought? Right now they’re active players in the game. Their contributions to the running of Dankie Sounds is similarly varied and cognizant of their individual skills. Tunde handles strategy, Reuben is the creative director, Sama executes and manages the talents they work with, while James is largely responsible for the brand’s youthful representation online, across socials. 

Dankie are already deep into the future, making great projections–not just for Amapiano, but Dance music in general–about how the scene would consistently continue to grow. Their merchandise is very limited, but they’re inclined to do pop-up shows at venues they play in. “We just see an exciting, bright future; scary, a lot of ups and downs, but overall, like, a blessing,” says Sama. 

“That’s what’s so unique about what we’re trying to do and our mission,” affirms Tunde. “Yes, our fundamentals are, we’re an event brand, an entertainment brand. That’s where we started but what we’ve built the brand to now is one that you can actually book Dankie Sounds to be at your event, you can book Dankie Sounds to be on the lineup of your festival, you can book Dankie Sounds to open up for a headline concert, you can book Dankie Sounds for your corporate Christmas party. It’s now become an act in its own right. Actually, the experience you get with Dankie isn’t one that can be replicated. We’re building on that by playing around in the studio right now and making music so we cannot only provide the platform for the music to be shared, but also influence the creation of the music in the industry itself. That’s the beautiful place Dankie Sounds is at now”.

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In Celebration Of Biyi Bandele, A Master of Storytelling

Posted on by Emmanuel Esomnofu

Biyi Bandele, a director, filmmaker and master of storytelling, has passed away Though his death was announced late yesterday in a statement signed by his daughter Temi Bandele, it sent shockwaves around the entire entertainment industry. He was only 54 years old at the time of his passing.

 

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Best known for his gigantic contributions to the worlds of film, TV, theatre and literature, he often combined their shared quality of story into powerful and honest presentation. Bandele was deeply engaged with the several cultures of Nigeria, adapting classic books from the Professors Wole Soyinka and Chinua Achebe to the stage. He still had this ethos permeating his lesser known works, even though, in truth, it took a little while for Nigeria to get familiar with his brilliance. 

However, the 2007 book ‘Burma Boy’ was the ice-breaker for Bandele. He had produced plays and the books ‘The Man Who Came in from the Back of Beyond’, ‘The Sympathetic Undertaker’, and ‘The Street’ between 1991 and 1999, but the fourth made a consequential shift to the scene of Nigerian literature. It is enmeshed in the autobiographical experience of his father’s time in Burma, fighting for Britain during the second World War. That level of closeness inspired his journalistic, poetic take on the well-covered subject, opting instead to reflect the humanness of his characters, especially the central protagonist, who had lied about his age so he could get conscripted. 

Along with Chimamanda Ngozi Adichie’s (CNA) ‘Half of a Yellow Sun,’ the book helped broaden an entire generation’s sense of history. It seemed written in the stars when he directed the movie adaptation of the CNA classic, introducing to Nollywood for the first time, the merits of having a metropolitan outlook, especially in regards to scenic details and the expansive nature of the research, which granted the actors clarity in their conversations. While the movie had its critics, the greater word was of its undoubtable brilliance, of its warmth and professionalism–even from behind the scenes, Bandele’s fine hand was delicately obvious. 

The southern town of Kafanchan, Kaduna, was the birthplace of Biyi Bandele-Thomas. His father Solomon Bandele-Thomas was a veteran in the Burma Campaign of the World War II, and it was expected that a young Biyi would have been regaled of stories of the political wide, the green mass of national affiliations and their mud-stain of their proximity to the earth. As early as 14, he had already won a short story competition. After studying drama at Obafemi Awolowo University, Ile-Ife, he moved to London three years later, having won prizes like the International Student Playscript Competition and the British Council Lagos Award. 

After his first commission by the Royal Court Theatre, London became the late Bandele’s residence in the nineties and from there he produced his literary-focused works. However, after his work on HOAYS whose excellent casting placed Nigerian actors like Genevieve Nnaji and OC Ukeje with their international contemporaries like Chinwetel Ejiofor and Thandiwe Newton, Bandele’s influence on the Nigerian film scene came under more spotlight. From then on, he effortlessly juggled his way between several facets of the creative industry, all through with the warmth of his personality. 

Looking past the brutal immediacy of the death of one so vibrant, many of Bandele’s close friends and associates have beautifully remembered him through his most beloved medium: words. The tributes have been rife on social media, and this tribute by his friend and fellow author Kola Tubosun is especially poignant. The poet Dami Ajayi describes him as “an accomplished multi-hyphenate” and Adesua Etomi-Wellington says, “he was so kind to me”. Other notable media personalities like Silverbird’s Ben Murray-Bruce and Beverly Naya have paid beautiful tribute to his memory, and the gigantic space he leaves behind in the world. 

Needless to say, we’ll always have the quality of his creations to remind us of his productive and selfless years. For the many young filmmakers and actors who’ve benefited from his glittering humanity, he leaves a long trail of typically astounding work. For the audience, they construct an enviable pillar of contemporary Nollywood in regards to quality and range. In 2015, the romantic drama ‘Fifty’ was screened at the London Film Festival which was themed ‘Year of the Strong Woman’. Following the lives of four women, it wields a closely controlled lens in extracting their private lives from the collective story of wading through personal challenges in contemporary Lagos. Reviews praised the film’s unabashedly honest outlook, reflecting sexual themes flagrantly and with none of the outdated secrecy that’s rife in Nollywood. With cameos from the likes of King Sunny Ade, Femi Kuti, and Nneka, the film was soundtracked befittingly with rootsy intent. 

He also directed the third season of ‘Shuga,’ introducing his signature touch to a series that’s assumed classic status as heralder of the new stories Nigerians were telling. The overall landscape was naturally allied with his perspective on storytelling, so it was only expected how beautifully he delivered. 

Earlier this year, he enjoyed massive acclaim for his directorial output on ‘Blood Sisters,’ the much-anticipated film which was Nigeria’s first Netflix Original series. In an interview with The Cable, he revealed that the CEO of Ebonylife (which had produced ‘Fifty’) Mo Abudu phoned him to ask his availability for another project. For this, he returned to Nigeria in 2020, but at the last minute his longtime collaborator pitched him the ‘Blood Sisters’ idea. “They’d already cast,” he said. “Usually, I’d be involved in every aspect – writing the screenplay, casting – I’d be involved in everything. Now I could just go into this and test my skills as a filmmaker. It was an adventure. I just dived into it. I took a chance and it was really fun.” 

As he said in the interview, Bandele’s directing was very influential in getting the actors to embody their roles. “When I’m working with an actor on a story,” he said, “I bring a combination of experiences I’ve had in life, my knowledge of movies and writing, and how to move an audience. Then, I apply to what I’m doing. It involved a lot of conversations with my actors.” Earlier this year, The NATIVE highlighted the value of criticism to Nollywood generally, and particularly in the turnaround of Ebony Life’s acclaim, going from the lacklustre ‘Chief Daddy 2’ to ‘Blood Sisters,’ which was received more positively and artistically, pushed the envelope of the country’s filmmaking in a less-obvious but aesthetically-pleasing direction. 

Barely a week ago saw the announcement of Bandele’s final project, unknown to many at the time: a movie adaptation of Soyinka’s 1975 classic play ‘Death & The King’s Horseman’ would hit Netflix as ‘Elesin Oba, The King’s Horseman’. Its worldwide premier at the Toronto International Film Festival would come on September 10th. In a conference statement, Ms. Abudu highlighted the film’s vision of staying “close to the original work” and that “its interweaving of European and Yoruba ideals to depict themes of cultural responsibility has never been more important than now.” 

The death of Biyi Bandele surely leaves an impossible pain in the hearts of the many who knew him. For admirers of his work, it’s a painful exit from an artist who was still growing into his creative process, finding new and myriad ways to reflect his in-born creativity. For now, no words describe him as fittingly as those penned by his daughter, describing him as “a prodigiously talented writer and film-maker, as well as a loyal friend and beloved father. He was a storyteller to his bones, with an unblinking perspective, singular voice and wisdom which spoke boldly through all of his art, in poetry, novels, plays and on screen. He told stories which made a profound impact and inspired many all over the world.” 

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ICYMI: Afrobeat Legend, Tony Allen passes away at 79

Everything We Know So Far About Kizz Daniel’s Arrest In Tanzania

Posted on by Emmanuel Esomnofu

Yesterday, reports circulated on social media that Kizz Daniel had been allegedly detained by the Tanzanian police. This came only some hours after it was revealed that the Nigerian artist had failed to turn up for a concert he was booked to play in the East African country.

In the widely-circulated videos seen on social media, concertgoers who had gathered at the Old Nextdoor Arena were kept waiting for more than five hours with no show from the Nigerian artist. The crowd’s patience soon thinned out and many concert-goers expressed their frustration at the night by vandalising parts of the venue before making their way out. 

Asides being grossly disrespectful of music fans who had paid good money to see a musician perform, Kizz Daniel’s alleged detention came on the heels of a string of similar “incidents” in the past few months. Barely a month ago, the “Buga” singer came under heavy criticism for being more than four hours late for his Afroclassic concert in DMV, Maryland. The singer still took to the stage though, by which time the audience was angry and threw objects at him.

On the night, even as he hurriedly got through a thirty-minute performance, and tried to sweetly diffuse the tension, the tardiness was too unprofessional to be ignored. A few days later, Kizz Daniel issued an apology while citing logistic issues as reasons for coming late.

“DMV, thanks for showing up last night and sincere apologies for all that happened,” he wrote on his official Instagram page, adding that, “for some reasons my passport was withheld at the US Consulate in Nigeria until the day of the show and previously booked flights had to be cancelled.” He also promised to announce a new date for the concerts, sharing that the purchased tickets were still valid. Not long after, in the same month, he cancelled a show in Denver at the last minute, this time without an explanation. 

According to Steven Uwa, the Tanzanian show’s alleged promoter, the reason for Kizz’s no-show was because a gold chain was missing from his luggage bag, despite already donning one neck piece already. The singer’s bags containing his clothes were also delayed after which his business partners volunteered to take him shopping in Tanzania. It is alleged that the singer refused, stating that the quality was not the same as his clothes. 

The reaction of Nigerians to Kizz Daniel’s arrest recognised the larger conversation of musicians repeatedly failing to respect concertgoers by either turning up late or delivering shoddy performances. In an open letter apologising to their customers and promising that “everyone involved will be held accountable,” Big Step Consultancy revealed that Kizz Daniel was fully paid for the event. 

Just before midnight today, a number of national newspapers reported that Kizz Daniel had been released by the Tanzanian police. “He has just been released but his lawyers will report to the station tomorrow,” wrote the Chairman, Nigerians in Diaspora Commission, Abike Dabiri-Erewa, in a tweet. “He should be home anytime soon.”

The artist has since responded with his own account of the event. He appeared in a press conference in Tanzania, and spoke extensively about having logistical issues. According to Kizz, he had a good show at Uganda the day before, and was supposed to enter Tanzania by way of Kenya. In Kenya, along with many others his flight was delayed for up to eight hours. He allegedly landed in Tanzania around 1.30AM, by which time concertgoers were already gathered at the venue. And even though he did have issues with his styling (as he needed to freshen up), eventually he was prepared to go on stage, but by then the destruction of properties within the venue was ongoing and there was greater risk to his security. Of his arrest, he says, “The law got involved due to the vandalism; so the police came to my hotel, took me in for questioning-it wasn’t an arrest actually. [It was to inquire] why my name keeps coming up, how are you connected to the destruction of this property?”

He later said there were plans to hold another show, this time for free. “I come here often,” he said, alluding to his love for Tanzania. “I come to chill and have fun cos I love the people of Tanzania obviously. Good energy, good vibe.”

Editors note: This is a developing story. A representative from Kizz Daniel’s team has refused to comment on the ongoing case.

TurnTable Top 100: Carterefe & Berri-Tiga’s New Single “Machala” Debuts At No.2

Posted on by Wonu Osikoya

This week, comedian Carterefe and singer and songwriter Berri-Tega hold down the no. 2 spot on the top TurnTable charts with “Machala.” It follows Fireboy DML and Asake’s earlier released single, “Bandana” which remains at the No. 1 spot for the third consecutive week in a row.

“Machala” launched at no. 2 tallying 4.15 million streams and 24.5 million in radio airplay impressions. The pair’s viral new single also starts at No. 1 on the Top Street-POP Songs chart as well as the NXT Emerging Artist Top Songs chart.

Burna Boy’s “It’s Plenty” returns to its no. 3 peak on the charts while Asake’s “Peace Be Unto You” falls down 1 spot, and holds at No.4 this week on the charts. Burna Boy’s “For My Hand” with Ed Sheeran falls two spots this week, holding down the 5th spot this week and completing this week’s top five. At no. 6 this week is Mavin Records’ “Overloading (Overdose)” stepping down two spots from last week while Kizz Daniel’s “Buga (Lo Lo Lo)” with Tekno retreats to no. 7.

“Buga” makes a bit of history on this week’s chart as it becomes the first song in 2022 to reach No. 1 on every chart – and the fifth overall. It completes the clean sweep by moving to no. 1 on this week’s TV chart. In the process, Kizz Daniel becomes the first artist to achieve this feat with multiple songs. Rounding out this week’s top ten; Crayon’s “Ijo (Laba Laba)” holds at its No. 8 peak while Burna Boy’s “Common Person” drops from 6 to 9; Mayorkun’s “Certified Loner” is steady at no. 10 for another week.

You can read a full breakdown of the charts here.

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Best New Music: Fireboy DML’s “Ashawo” is a relatable tale about modern relationships

Posted on by Tela Wangeci

Last Friday, YBNL/Empire’s Fireboy DML released his third studio album ‘Playboy,’ a smooth 14-tracker which finds him changing his sonic gears, taking a swift turn from the moody vulnerability of 2019’s debut album ‘Laughter, Tears, and Goosebumps,’ and 2020’s boisterous cut, ‘APOLLO.’

On ‘Playboy,’ Fireboy DML performs at his best capacity, drawing inspiration from the album’s title to weave playful songs and charming radio and playlist-friendly records about getting his shit together, embarking on new journeys after his first visit to the United States, and his first tour, as well as settling into this new stage of his career.

 

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Speaking to Apple Music, at the time of the album’s release, Fireboy DML clarified that the album’s title ‘Playboy’ was not meant to negatively connote feelings of unseriousness or non-commitment but rather as a declaration of his willingness to up his game. This is the phrase ‘boy, play’. I’m ready to come out to play. I’m ready to step into my superstar element. I’m ready to be more expressive. Not careless, but carefree—someone that’s willing to come out and play, and just have fun and relax. I was always holding back—now, I’m telling my truth,” he candidly shared, letting listeners in on his process.

With this renewed sense of vision, Fireboy DML returns to the mic after a spell of writer’s block to deliver some of his most honest and sincere work to date. Featuring local and international acts including Shenseea, Chris Brown, Rema, Adore and more, Fireboy DML creates music that reveals his artistic layers and lays bare his loverboy anguish.

While every song is a hit, as attested by the NATIVE’s editorial team, a sharp standout is the Telz-produced single, “Ashawo” which finds Fireboy DML at his most relaxed, creating music that is beautifully layered without taking itself too seriously. Fireboy DML shows his lyrical capability over the nasal guitar strings led by Amechi Donald. Presenting listeners with the reality of a promiscuous world, he uses the Nigerian term “ashawo” to paint a vivid description of relationships in the new age.

Singing “if I cheat on you, I’m sorry, and if you cheat on me, no worry” he defends himself by stating it’s not his fault he has grown to be a playboy, rather it is the price of fame and alcohol. Making numerous bold statements Fireboy convinces the listeners that the intoxication of alcohol and persistent calls from women have transformed him into an “ashawo”. Despite this, he still professes his love to his muse understanding the strength of human desire as he promises not to crucify her when she cheats as long as she doesn’t get perplexed when he does the same.

 

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On “Ashawo,” Fireboy DML shows off his knack for masking blunt lines with honeyed tones. While he is certainly aware of his romantic flaws, he blames it on his surroundings, explaining that his lifestyle and what it accords has led him to the person he currently is. In romantic relationships, its proven that men will put their desires first above anything else, and Fireboy DML upholds these harmful practices with lyrics such as “No be my fault say I famous oh/Make I no cast for Lagos” defending casual sexual relationships.

Across an irresistibly catchy production, Fireboy DML makes a case for the fuck boys and heartbreakers, utilising slangs and sayings in English and his native language to accentuate both his vocal and lyrical capability. He flips a known Yoruba term “Ashawo,” which typically has negative connotations into a title to be worn with pride because we are all capable of falling prey to our lustful desires.

Whether you can relate to his message or not, it’s upbeat and catchy, and that’s exactly what we all need right now. In modern romantic relationships where there is a thin line between love, lust, and desire “Ashawo” is a bitter-sweet testimony of 21st-century love.  

Listen to “Ashawo” and stream ‘Playboy’ below.

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What’s Going On: Uganda Suspends LGBT NGO, Nigerian Students Association Move To Impeach President & More

Posted on by Emmanuel Esomnofu

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

NANS Move To Impeach President

The National Association of Nigerian Students (NANS) are moving to get their current President Sunday Asefon impeached. Some members of the group have cited incompetence and unlawful extension of his tenure as some of the reasons why Asefon is currently under fire and in the process of being removed from a position he’s held since December 2020.

Asefon, who is currently 47-years-old, was elected for a one-year tenure. He has however failed to conduct a national convention or hand over to another president, as is embedded in the NANS constitution. He’s also been considered unable to protect the interests of Nigerian students, both home and abroad. In the light of the further-stretching ASUU Strike, Asefon’s administration hasn’t been able to mount sufficient and efficient pressure on the government who are supposed to be held accountable by, not just his office, but the entire body.

A more sinister twist to the story is the reported information that Asefon is a member of the ruling All Progressives Congress, otherwise known as APC. This obviously contributes to his nonchalance about the strike, as he’s been reported to be touring the country campaigning for the same political party that’s kept Nigerian students at home for almost six months now. Speaking to SaharaReporters, a senate member of the body says, “We have called for a Senate meeting where his removal will be ratified.”

FORMER AL-SHABAAB SPOKESPERSON APPOINTED AS CABINET MINISTER IN SOMALIA

Al-Shabaab co-founder and former spokesperson, Muktar Robow has been announced by the Somalian prime minister as a member the country’s new cabinet. The news broke about sometime last week and created a great controversy and subsequently, discussions, about how beneficial Robow’s appointment could be for the country in its fight against insurgency. Some commenters believe it would be a positive choice, while others couldn’t look past Robow’s history as an ex-terrorist.

On television, Prime Minister Hamza Abdi Barre said that Robow would serve as the country’s minister in charge of religion. Before splitting from the Islamic sect in 2013, Robow had a $5 million US bounty on his head but four years later, he became one of the highest ranking officials to quit the sect, said analysts to CNN.

In 2018, the then 48-year-old Muktar was arrested by the previous government as he campaigned to become a regional president. A wide spate of protests spread afterwards, as over eleven people were reportedly shot at by security operatives.

UGANDA SUSPENDS LGBT-SUPPORTING NGO

It was agony last weekend as the Ugandan government suspended the operations of Sexual Minorities Uganda (SMUG), a local non-governmental organisation that champions the rights of sexual minorities. According to an unnamed senior official, the SMUG was operating in the East African country “illegally,” even though they were founded as far back as 2004.

In its many years of existence, the SMUG have protected the rights of LGBT people in Uganda, a country where homosexuality remains illegal and gay people have been victim to being ostracized by society, imprisoned for life or/and met with unspeakable violence. A trans man Victor Mukasa and Sylvia Tamale, a Ugandan academic, founded the NGO in March 2004 as a means of galvanising support for vulnerable members of the LGBT community, and it has continued to be a key advocate for those specific rights.

SMUG operations were suspended because “they were operating illegally,” Reuters gathered from Stephen Okello, who heads a government agency that regulates NGOs. “SMUG continues to operate…without a valid NGO permit,” he says, although SMUG’s director Frank Mugisha doesn’t believe so, hinting at underlying problems. “This is a clear witch hunt rooted in systematic homophobia, fueled by anti-gay and anti-gender movements,” he said to the BBC.

IVORIAN PRESIDENT ALASSANE OUATTARA PARDONS PREDECESSOR GBAGBO

In a speech to mark the 62nd anniversary of Ivory Coast’s Independence, President Alassane Ouattare revealed he had signed a presidential pardon to remove the pending economic charges on Laurent Gbagbo, his predecessor. This, he said, was “in the interests of strengthening social cohesion”.

He also revealed that he’s asked for the former president’s accounts to be unfrozen and that his life annuity be paid. President Ouattare also signed a decree for the conditional release of former navy chief Vagba Faussignaux and a former commander of a key gendarmerie unit, Jean-Noel Abehi, who were close associates of Gbagbo and were convicted for their role in the post-election unrest of 2011 when the estranged Gbagbo failed to recognise Outtara’s victory in the Presidential elections a year before.

Although the International Criminal Court (ICC) acquitted Gbagbo of alleged war crimes, an Ivorian court handed him a 20 year term in-absentia over the looting of the Central Bank of West African States (BCEAO) during the country’s post-election crisis. This pardon comes some weeks after President Outtara, Gbagbo, and another ex-president Henri Konan Bedie were said to have had a “fraternal meeting” in which they discussed how best to collaborate in moving the country forward. Both Gbagbo and Bedie were invited to attend independence day celebrations yesterday at Yamoussoukro, which is acclaimed as the country’s political capital.

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