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 Madè Kuti, Phaemous, Tim Lyre, NJERI and more. Dig in.
Mádé Kuti – “No More Wars”
On his most recent release “No More Wars,” multi-instrumentalist and performer Made Kuti delivers a soulful and distinct number that showcases his stellar penmanship. The GMK-produced record opens with women chanting “la la la” over the euphonious beat before paving the way for Made’s smooth vocals. With relatable lyrics such as “No more wars, no more wars for me/I’ve had enough, I’ll not lose myself,” the singer holds a mirror to his current mental state and that of the whole nation.
Phaemous – “Gbedu” ft. Tim Lyre
uNder alum (formerly known as Fresh Meat) Phaemous has arrived with the sensual mid tempo record titled “Gbedu.” On the Tim Lyre-assisted record, the artist opens with bold and resonant vocals singing lyrics such as “I make her body confused/nobody can do it like I, that’s why she’s always calling my phone.” Tim Lyre joins on the song’s second verse as he delivers standout bars over the catchy and rhythmic production.
Toyin Ores – “Kokose” ft. The Cavemen
For his first official single of the year, fast rising singer and songwriter Toyin Ores teams up with The Cavemen for mid tempo Afropop number titled “Kokose.” On it, he addresses his muse with sweet words, beguiling her with affection as he sings “I love the smell of your perfume, all the way down to your perfume/oh Lord what did I do to deserve you.”
Kxffy – “Over You” ft. NJERI
Kenyan producer Kxffy teams up with singer, songwriter and uNder alum Njeri for the new record “Over You.” The record is a heartbreak tune which sees the artist letting her love interest know she’s good with or without him. She quips “don’t you worry about me, you know i’m always trying to do my best/baby I’m over over you, it was never just us two.”
Victor AD – “Simple Life”
For his latest offering, singer and songwriter Victor AD returns with the catchy new number “Simple Life,” where he speaks on the necessity of living life to the fullest, focusing on the positives. He chants on the chorus of the track, “that’s all I need, the simple life I live/that’s all I need, a simple life of peace,” reminding listeners to find joy in the simple things life has to offer.
$pacely – “Street-Way (Abonten)”
Ghanaian rapper $pacely arrives with another uptempo joint titled “Streey-Way.” On the record, he makes braggadocious claims about how hard he works, self-growth as well as levelling up. Over the stellar production, he menacing spits bars such as “All about the money when you see this person, miss me with the drama I got my eyes on the green.”
Chop Life Crew – “African Time” ft. Mojo AF, BigBadCubix & Tim Lyre
On their latest offering, “African Time,” rappers Mojo, BigBadCubix and Tim Lyre come together for the melodic new rap number “African Time.” The record sees all the artists spitting disrespectful bars over the song’s propulsive beat. Mojo opens the record with “Shawarma, my two eyes don kagawa” as he switches between English and his Yoruba dialect. He hands over to BigBadCubix for his standout verse and the record rounds out with Tim Lyre spinning the record in a new and different direction, which makes for an enjoyable listen.
The first time Adetola seriously considered getting an iPhone was during the coronavirus-effected lockdown period of 2020. Alongside a few of her friends, she’d decided to join in the viral “Don’t Rush” challenge, where groups of women shared videos of their transformation from barefaced beauties to glammed-up beauties within the blink of an eye, while the song of the same title by UK Afroswing duo Young T & Bugsey served as the backdrop. When Adetola sent in her filmed part to be edited as part of the final cut, she was “horrified.”
“After I was done recording—I was even the first to finish—I sent it to our WhatsApp group chat out of excitement, then I played it back and it looked like something out of a poorly created video game,” she says. At the time, Adetola was using a high end Samsung smartphone with great camera specifications. Even with WhatsApp’s well-known penchant for lowering video quality, she was pretty sure her recording would still look good. Well, it didn’t look good. “What even made it worse was that my other four friends all use iPhones, and their individual videos were crisp while mine was crumpy and basically trash,” she added.
Adetola ended up borrowing her sister’s iPhone 8 to remake her part of the video, which appeared “way better than the one from my more expensive phone with supposedly better camera specs.” Almost two months after that situation, she’d go on to buy her very first iPhone, the XR, upgrading to an iPhone 12 in November 2021. “I’m still very attached to my Samsung, but I’ve been totally won over by the iPhone aesthetic,” she says with an added laugh.
Aesthetic is undoubtedly the keyword in Adetola’s (semi-)switch to Apple’s line of flagship smartphones, and even though the circumstance that nudged her might be unique, the general context applies to many young people who have embraced the iPhone as their mobile device of choice. Many young Nigerians I know and spoke to for this piece noted that aesthetic was a big reason for switching to, staying with, and upgrading to newer versions of the iPhone, citing just how good images and videos looked on these devices, and how much better they looked when shared to social media—as compared to visual stuff taken on other mobile phones.
“I used to joke that I bought it for Instagram,” Chuks, a 27-year old data analyst, tells me. “I would be conscious of what pictures and videos to post on social media with my former android phone, because they just wouldn’t look good when I put them anywhere, even if they looked very good on the phone. Immediately I got an iPhone, I didn’t have to bother about all that.” That difference is a significant one for a lot of young people, especially in a time where it’s not just enough to have a smartphone that can take pictures and make videos, but also share them in clear, positively flattering light.
In theory, there are many android smartphones with equally good—or even better—cameras than the iPhone. It’s even quite easy to find mid-level android phones whose cameras come with high megapixel specifications, great depth sensors and zoom ability, and all that technical stuff that should make for great images and videos. Still, there’s a reigning preference for the iPhone as the mobile device with the ideal camera. For instance, Chuks readily admits that, before he got an iPhone, he’d prefer someone with an iPhone take pictures and make video clips when he went out with his group of friends.
This ingrained camera supremacy has only been helped along by articles with headlines as brazen as “Why iPhone camera take better pictures than android?” on the first google page of a related comparative search. Just beyond that, though, the superior image and video quality is the perfect gateway for the iPhone as a lifestyle choice that automatically makes a young Nigerian seem cool. “Yeah, the pictures are fire but, omo, iPhones are just fine to hold and there’s kind of a swag to using one,” Funke tells me. The 30-year old nurse has been using an iPhone since 2019 when she got an 8-plus, before moving to an 11 a year later, and now she uses a 12. Part of the allure, she tells me, is in how the iPhone has become the premium smartphone of choice, much in the same way the Blackberry was in the mid to late 2000s to the early 2010s.
In the years since launching the iPhone as a novel, almost buttonless device, Apple has evolved its smartphone line, not only in terms of its technology, but also as a lifestyle decision. With every innovative step, whether it’s the removal of that button and the headphone jack slot, or the addition of the AirPods and iWatch series as complimentary devices, Apple has created an ecosystem that’s becoming encompassing and fashionable, in and of itself.
With all of its desirability points, iPhones are notoriously high-end devices—which is a fancy way of saying they are really expensive. In Nigeria, where the economy continues to prove unfavourable to the overwhelming majority, the steep prices of iPhones contributes to its overall coolness. Even with the market for fairly used iPhones, selling at far lower rates than new ones, those that can afford the iPhone are people with a lot of disposable income—which is not a lot of people—and those that can aggressively save over a prolonged period.
“I had to set aside money for about six months to buy this 11 I’m using,” Folarin, an engineer at a construction firm, tells me. After a raise at work, he was able to save about one-fifth of his monthly salary for that period to afford his iPhone. While he also mentions the aesthetic value of an iPhone as the reasoning for buy one, he’s quick to rattle off reasons like fast processing power, the “gorgeous” UI, and privacy of the iOS as perks, but he’s also willing to concede that it’s something of a luxury to afford it. “I think it’s something of a status symbol, that you’re hip, that you’re upwardly mobile with a few naira in your pocket,” he says.
Owning an iPhone in Nigeria means people are prone to look at you through a rose-tinted lens, which also has its negative sides. The Nigerian police has earned its rep as an institution that harasses, assaults and even kills Nigerians, especially its young citizens. As a tacit signifier of financial capability, using an iPhone puts a young person at greater risks for dangerous run-ins with the police. “I was stopped an accused at a police checkpoint of being a Yahoo boy [local term for internet fraudster] on my way from a work site just because I had an iPhone on me,” Folarin recounts in a low tone, adding that he had to surrender almost all of the N7,000 cash he had on him just so they could let him go.
“On our way to a concert, they almost took me and two of my friends to the station, calling us names and accusing us of being Yahoo boy girlfriends partly because we all had iPhones,” Adetola recalls. It’s the sort of harrowing experience that’s been experienced by many, and widely known about by all. During the EndSARS protests of October 2020, I remember seeing a signage that read, “IPhone is not a gun,” highlighting its targeting effect for men in uniform.
Even with the societal red flag attached to owning an iPhone, many young Nigerians are still plotting their way to get one because it’s the in-thing. “I’m definitely getting one soon,” 23-year old Bella tells me. “I use a good Samsung phone but everyone in my workplace has an iPhone and they’ve done the peer pressure thing and convinced me to get one. It’s just remaining the money—well, some of it,” she adds with a laugh. When Bella gets her iPhone, she’ll join a somewhat exclusive set of smartphone users—according to Statista, iOS users make up just under 10% of the Nigerian mobile operating system market.
While smartphones are more than camera aesthetics or lifestyle choices, the iPhone has situated itself as a prime symbol for cool in an era very much defined by optics. Regardless of how you feel about it as a device, Apple’s smartphones will continue to be highly coveted by young Nigerians as long as those aesthetic perks remain alluring.
Fireboy DML is not new to weaving his life experiences into a coherent body of work. Among the artists of his generation, he has proven to be the most eager to create transcendental records within the conceptual plane of an album. So far, so good, as he’s delivered two critically-acclaimed projects since 2019, with the first ‘Laughter, Tears & Goosebumps’widely earning the tag of a modern classic.
In the latter months of 2021, the YBNL and EMPIRE artist kicked off the run-up to his third movement. “Peru” was allegedly ‘leaked’ by label boss Olamide, but its breezy songwriting and effortless swag soon caught onto a swathe of Nigerian listeners. Not long after we’re hearing Ed Sheeran on the record, raving during international shows how he loved the song on first listen. Ever since, the 26-year-old artist has gotten a bigger international profile, getting on a song with Madonna and not long ago, becoming the first Afropop artist to perform at the main stage of the BET Awards.
‘Playboy’ arrives then, with much fanfare. It arrives on the back of these wins, and is naturally reminiscent of how we received his two albums. If the title, album artwork, and lead single reveals anything, it’s that Fireboy DML is exploring the more sensual aspects of his personality. Given his impeccable record as a writer, this is one album the members of our editorial team would have a great time discussing. In our tradition of first impressions, here are our honest and unedited thoughts about the much-anticipated ‘Playboy’.
Tela: Each song on this album is meticulously produced and curated. Adore and Peru are two contenders fighting for this spot. But I have to give it to Peru. Ever since its release last year, I have been a prisoner of the composition. The constant repetition of “Peru Para” gets me excited and singing along. In my own words, this is an example of timeless songwriting and production. The euphonious singing of Fireboy backed up by the numerous adlibs show that he is a born star who has perfected his craft. The drum bass lines add ferociousness to the song and the display composition doesn’t have to be complex. Its simplicity stands out for me.
Moore: My personal favourite song is the opening track, “Change”. It’s gentle opening draws the listener in, immediately making you focus on its personal, melancholic lyrics. The song consistently swells until it reaches its peak of intensity as Fireboy belts out his complex feelings about his changing life. It’s a song filled with raw emotion about very specific feelings in Fireboy life, while also capturing a feeling of anxiety that everyone can relate to.
Wonu:“Ashawo” is definitely my best song off this project. I’m a big fan of how he tells the story of the Lagos dating pool with such finesse. Of course, the message isn’t ideal, but it’s an extremely catchy song. Over this jumpy Telz production, Fireboy floats smoothly on the song. He goes from mostly being not so apologetic about his playboy ways on one verse to sounding committed in the next; how typical. Using repetition techniques on the hook, Fireboy is able to draw the listener’s attention in a few seconds – an art he seems to master over this album, other examples of this found on “Peru” and “Sofri.”“Ashawo” has the suave production and melody, and general aura of a potential hit song.
Oluebube: The best song for me on this album is “Change.” The song particularly speaks to me and reminds me of the EndSars protest and how the youths were united for a single cause. It is also very inspirational, as it speaks of those expectations that people have of you when you reach a certain level and how you have to live up to those expectations.
Best Production?
Damilola: The production of this album is so amazing and my favourite out of all the songs is “Adore” which features Euro. I particularly like this song because I fell in love with it on my first listening. I haven’t seen enough hype on this song but I believe it’s a sleeper hit with massive potential, especially because the other features on the album include big names like Chris Brown, Rema and Ed sheeran. If people decide to relax and listen to “Adore,” they would realise how beautiful the song is. I believe it is very important to give small names a chance too because they deserve the attention as well!
Cynthia: There is a lot of creativity and diverse sounds in this album that one can’t ignore. My first choice in the album for best production is “Peru” because it had me transfixed with its stellar percussion and soft piano melodies in the background. Shizzi has been known for producing great hits and “Peru” is no exception. My second choice would be “Havin’ Fun” which has this reggae old school feel to it. This sound takes us to a different side of Fireboy and allows listeners to see him experiment with new sounds than what we are used to.
Maria: My first pick for this is “Peru.” I’ve already spun it quite a number of times but I can never get tired of it. Shizzi did a great job putting this together as the soft piano chimes in the background go perfectly with the heavy hitting drums to create this groovy song. The melody is memorable and its replay value is through the roof, no wonder it’s already a certified hit.
Next is “Diana.” It’s the perfect fusion of Afropop, R&B and Dancehall. Phantom was in his bag with this.
Emmanuel: I found the production on this album to be quite delightful. However, my body had a visceral reaction to the sizzling percussion and horns of “Afro Highlife”. Before discussing the obvious topic of its title, the production is quite Afrobeat-influenced and carries the energetic live quality of Kuti’s sound. That, to me, was a masterstroke of interpretation because that sound has been constantly rejigged and used, but keeping it fresh… that’s another thing. Now, to the title, I don’t quite hear the Highlife element in this song; the guitars aren’t as prominent as the horns, neither is the delivery quite Highlife-esque. I’ve already seen someone describe the record as Afrobeat, and while I haven’t clocked that in myself, it’s about time we have a conversation about genres and how much freedom the artist should have in naming them.
Biggest potential hit?
Moore: The song with the biggest potential is definitely “Ashawo”. It’s a song that has wide appeal. It has a tempo that’s just energising enough to dance to, but is also low-key enough to not be overwhelming. It’s playful lyrics are also guaranteed to place the listeners in an equally playful, cheerful mood and invite them to sing along.
Wonu: The biggest potential will surely have to be “Ashawo” and for many reasons. One, when you hear “Funkula!” you automatically know something heavy is coming. Telz did something amazing on the production of this record, I must say. Two, Fireboy was passing a subtle message about what listeners of this generation want to not just hear but will also want to speak about. The buzz around the record is not only going to be huge but will also last for quite a while.
Cynthia:“Bandana” has the biggest potential, for me, because it has an exceptional sound that everyone can vibe to and it can be easily understood by the majority of audience plus a catchy feel to its lyrics that one would find oneself singing after a couple of replays.
Best Guest Verse?
Emmanuel: For me, the best guest verse is not even a verse. But what Asake does on “Bandana” just highlights his sweltering status as one of Nigerian Pop’s biggest influencers today. The chorus chant is just one aspect of why the whole thing works; within that boisterous enchantment, Asake’s rhyme schemes and references (“Bandana l’ori biti 2Pac”) contribute to the song’s alluring hipness. Rema did well with his verse too on “Compromise”, layering those slick vocals with sensual purpose; on any other project, he’d be top place. But here Asake is just too contemporary to ignore.
Tela: Euro’s presence on “Adore” cannot be ignored. He simply swerves into the song serenading his muse with numerous sweet nothings with a dash of simping. I love how he was at par with the album and song’s title showing he put an effort. His cadence and delivery convince you of his heart’s desire as he goes off “Violets are blue and these Roses are red, I should be burning these flowers instead.” He is not trying too hard with his lines as he tells you an easy-going story of a playboy in love.
Biggest skip?
Wonu: Well the album does not really have any major skips to me but my biggest skip will have to be “Peru” and this is not because this record is not good quality but because this particular record has been out for over a year and has been on the airways for quite some time but other than that, “Peru” is a monster hit.
Moore: While I wouldn’t rush to skip any song on this project, I’d say the biggest skip has to be “Afro Highlife.” While it’s a very enjoyable song in the right setting, it’s one that needs to be played in the right mood. It’s not as versatile as some of the other songs featured in the project. The fact that I still wouldn’t skip it 9 times out of 10 is a testament to the quality of ‘Playboy.’
Standout verse?
Oluebube: For me, “Change” is still the one. The beats of the drums, piano strings, and the voice of Fireboy just provokes a certain feeling that one can’t help but think. This song particularly stems from a place of emotion especially when he says “stepping in a room and I got everybody smiling. Don’t know if they like me for myself or my talent. Most times I feel like I be suffering but I’m silent.” This just speaks to those fears that we have which are relatable.
Maria:“Change” takes the cake here. Fireboy’s album intros are always powerful as he is an amazing songwriter but this is his best yet. Lyrics like, “See my life’s about to change, but I feel some typa way, everyone around me keeps asking me the same “Are you ready for the pain?” tell the all too relatable tale of the fears that come with a new phase in life. He also touches base on the struggles of being a young superstar, saying “It’s kinda hard to deal with the pressure but I’m trying / “Don’t know if they like me for my person or my talent”. The song in its entirety is resonant, honest and relatable. I get it Fireboy. I get it.
Tela: There is nothing as satisfying as the perfect introduction to an album. “Change” is a soulful piece showing Fireboy DML’s growth. He makes a statement with the song, acknowledging his greatness in the Afropop industry with lyrics such as “…its kinda hard to deal with pressure but I am silent,” a reference to the fact that he is currently on the international watch since the release of the smash hit “Peru”. It might be the piano keys or his prolific storytelling skills but this verse does it for me.
Overall first impression
Wonu:‘Playboy’ is a solid body of work. Everything about the album stands out, from the production and engineering to the lyrical content. On his debut album ‘Laughter Tears & Goosebumps’, I believe Fireboy had set the bar extremely high but with every new release, the artist continues to redefine himself and his sound. A major takeaway from this album is that Fireboy wants to leave a mark on the world with his music. He doesn’t fail to not just say it but also find a lasting impression that listeners can always hold on to. A very commendable body of work from the artist and all the contributors on the project, Fireboy has another solid body of work under his belt.
Damilola: I wasn’t so pleased with the first song and that gave me a scare because I thought it was going to be like that till the very end. But to my surprise, the album because better as I kept on listening and I love it now! I believe Fireboy is a unique artiste because his music always finds a way to stand out. He has progressed so much over the years and now has big names like Ed Sheeran and Chris Brown on his album which is very impressive. Every aspect from the engineering to the lyricism and the transitioning is perfect and I think you have to be patient while listening to the album for the first time in order to enjoy it.
Emmanuel: Having come through the gates with artistically ambitious projects such as ‘LTG’ and ‘Apollo,’ here Fireboy wants to lay back a little. That, for me, is very crucial in parsing the execution of the album. On first listen you wouldn’t find obviously great songs, but just like “Peru,” I expect a number of songs to slowly warm their way into the hearts of listeners. Eventually, this is the album that reminds you that Fireboy is still a young man after all. He might have made his name being a poet for the sad generation but hedonism still ranks high among art’s enduring subjects. For me, that might be the reason for the relaxed nature of his songwriting here but overall, he does well in executing that particular vision.
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 FireboyDML, NSG, Yaw Tog, Ajebutter and more. Dig in.
Ajebutter – “Confam” ft Kida Kudz
Ajebutter and Kida Kudz team up for the new record “Confam.” On the record, the artist sings about showing his muse a good time while they party and get drunk. He sings “I said come through it’s fine, me and my friends confam/shayo dey confam, Hennessy dey confam.” Kida Kudz steps in with a rap verse as he spins the record in a different direction.
Fireboy DML – “Ashawo”
For his third studio LP Fireboy DML has arrived with ‘Playboy,’ a 14-tracker with features from artists such as Rema, Chris Brown, Shenseea and label mate Asake. On the standout number, “Ashawo,” he sings to his muse amorous lyrics such as “no be my fault na shayo/na all of us be ashawo” which translates to “It’s not my fault, its alcohol,” blaming his vices of drinking for acting out of order.
Yaw Tog – “Sophia”
Following his stellar breakout year, Ghanaian drill rapper, Yaw Tog is back with another catchy number titled “Sophia.” On the track, he delivers a romantic number as he serenades his muse with lyrics such as “fine girl me I dey for you, my heart with the key for you/and anytime I think about you, I just want to be with you,” letting his love interest understand the plans he has for her, while switching between his native tongue and English.
NSG – “In Da Car” ft. MHD
Following their ROOTS tour in Africa last year, Afroswing group NSG are back with their latest single, “In Da Car” featuring French rapper, MHD. The catchy new number finds the rappers trading bars in English and French about getting their shit popping and enjoying the fruits of their labour. The record also arrives with a new video which sees the boys in a pool party setting and a parking lot having the best possible time.
T.I Blaze – “My Life”
For his latest offering, singer, songwriter and performer, T.I Blaze is here with the uptempo Amapiano-infused record “My Life.” On the track, he speaks about enjoying the good things of life, having fun and focusing on the positive things of life. Over the catchy hook, T.I Blaze quips “Omo na my life, I cant come and kill myself/man go jaiye jaiye until the very end”which translates to “Its my life and I can’t come and kill myself/I’m going to enjoy my life until the very end.”
Mr Eazi – “Personal Baby”
Following the release of his hit single “Legalize,” singer and songwriter Mr Eazi has arrived with another warm romantic record “Personal Baby.” On the Kel-P produced record he sings about a love interest who always has his back and is always there for him.The record is accompanied by the Demola Falomo-directed video which sees the artist with his muse in a dark and moody room as he performs the record to her.
Ogranya – “Brenda”
Nigerian Afrofusion singer, Ogranya delivers yet another mid-tempo romantic number titled “Brenda.” On the record he appreciates his love interest who he can’t seem to get off his mind. On the song’s catchy hook, he chants “Brenda, Brenda, Brenda, you no de give me trouble/Brenda, Brenda, Brenda, so I go dey here for you” letting her know the energy she gives him is reciprocal.
Ariana Blnde – “Lightweight”
Rap newcomer, Ariana Blnde arrives with her debut single “Lightweight.” The record sees the artist spitting disrespectful and dizzying bars over the song’s catchy production. For her debut, “Lightweight” packs a mean punch as Ariana spits bars such as “I’m a nasty bitch off the prosecco” letting listeners know that she’s here for a good time. Across the song’s 2-minute run time, she makes braggadocious claims while reminding listeners about how much of a boss she is. With her debut, it’s clear that she’s confident in her abilities and we’re keeping our eyes peeled for how she continues to develop.
In 2020, Sierra Leonean-born, Ghana-based singer Skillz 8Figure became one of those artists no one could possibly ignore with the release of his debut EP ‘Gangsta Luv’, an honest 6-track confessional that merged dancehall sensibilities with trap-soul melodies, while staying true to his familiar Ghana bounce.
Skillz 8Figure’s musical journey is an intimate reflection of vulnerability intertwined with dark thoughts. Packing jazzy bangers with dreamy sounds, his irresistible songs are influenced by his vast cultural background. With roots in Sierra Leone and transversing across Ghana and Nigeria, he often describes his sound as coastal. Since then, the singer has been releasing new music, clearly improving on his sound with each subsequent release and amassing considerable fanfare along the way.
Last year, the prolific singer released his stunning debut album, ‘After Dark,’ which found him continuing to fashion himself into a singular pop star, by leaning into a laidback, arcane sort of personality. The album presented a refined take on the positives from his debut while expanding the scope of his artistry in intentional and definitive ways.
This year, he’s only been working on peeling back more layers to his artistry. A fortnight after the release of his lead single “Delilah” featuring Kelvyn Boy, the EP titled ‘Phones On Silent’ arrives today with anticipation. The 4-track EP is mixture of R&B, Afropop, and dancehall sounds, presenting a cocktail of sounds while touching on topics such as spirituality, love, sex, and energy.
Opening with “P.O.S” featuring Yung Demz, a brassy anthemic number with catchy snares and drums, Skillz 8Figure’s smooth melodies glide over the mellow beat as he serenades his muse with lyrics such as “loving you makes me feel a different excitement.” Elsewhere on “Down Flat,” with hitmaker Kelvyn Boy, Skillz 8Figure trades catchy lyrics about getting his shit popping with humble wisdom underpinning his songwriting. With plaintive hooks and sharp verses, Skillz 8Figure conjures a formidable body of work across the EP’s 11 minutes run-time, while gracefully confirming himself as one of the most captivating artists of the new vanguard of Afropop stars.
Ten months after the release of his heralded debut album ‘Sounds Of My World,’ Juls has put out a deluxe version. The Ghanaian-British act has been prolific throughout 2022, making sure to explore new twists within his signature palmwine groove.
On songs such as the BenjiFlow-assisted “Ready” and the duo of “Jamestown Riddim” and “Lokoto Riddim,” the production style was considerably edgier, incorporating rustic elements which brought even more colour to Juls’ sonic pallette.
The latter was named by The NATIVE as Best New Music and was praised as a blistering highlight of his sonic vision. Given its delicate infusion of myriad elements, Juls reemergence was always going to be a moment. And with seven new songs added to the previous fifteen-track album, fans of laidback Afropop will be eating good throughout the weekend and beyond.
Linking up with Juls on these songs is the duo of Zikomo and Jaz Karis, who appeared on the earlier-released “Summer In The Ends”. Jamaican musicians Sevana and Projexx, a frequent collaborator of Juls, get their own solo tracks. And of course, the silvery vocals of Tay Iwar are on dazzling display on “I Got You,” a smooth record pledging undying commitment for a lover. With its dusty 90s Hip-Hop vibe, it’s a fine marker of Juls’ regeneration as a pristine music creator. He goes the solo route on “Osu Riddim,” the closing song of the deluxe.
The producer works the log drums of Amapiano into the breezy lilt of his accomplished style, creating a song that sounds nothing like anything else. Most of the time, deluxe albums are commercial moves rather than advancing the sonic tapestry of a project. With Juls, it’s much more than that. He’s a soundman, and these additional seven songs give so much to your perception of his craft.
‘Elesin Oba, The King’s Horseman’, a film by EbonyLife Productions is coming to Netflix Naija soon. The Biyi Bandele-directed film is adapted from a 1975 screenplay by Wole Soyinka titled ‘Death and the King’s Horsemen.’ Based on a real life events, the horseman of a Yoruba King were prevented from committing ritual suicide by the colonial authorities.
Now, Mo Abudu’s EbonyLife studios have announced that the film will have its first worldwide premiere at the Toronto International Film Festival on the 10th September, 2022.
‘Elesin Oba,The King’s Horseman’ will feature in the prestigious special presentation category, becoming the first Yoruba language film to feature in this category. The forthcoming film will also star actors such as Odunlade Adekola who plays the lead role as Elesin Oba, Shaffy Bello as Iyaloja. They are joined by Deyemi Okanlawon, Olawale Oloforoo, Omowunmi Dada, and veteran actors, Jide Kosoko and Kevin Ushi with guest appearances by acting legend Taiwo Ajai-Lycett and Ajoke Silva.
In a press conference about the film, CEO of the EbonyLife Group and executive producer of the film, Mo Abudu shared that:
“In filming Elesin Oba, we chose to stay close to the original work, which is already well-known globally as a great example of African drama. It’s an honour to see this compelling introduction to African thought and tradition on screen. Its interweaving of European and Yoruba ideals to depict universal themes of cultural responsibility has never been more important than now.”
Watch the trailer for ‘Elesin Oba, The King’s Horseman’ below.
I was outside the halls of the Eko Conference Centre when Davido arrived. The moment was attended by a convoy of black cars, the rubber of tyres rubbing progressively along the asphalt, phones-in-hand ready to capture the star. When he emerged from his car, he had his signature bling wrapped around his neck and donned a designer red shirt. In another moment, he was inside and the night continued in its lascivious joy, propelled by Budweiser’s astute party organising capabilities.
For the second World Cup running, the biggest beer brand in the world had arrived in Lagos. In billboards and TV ads across the country, the distinct hue of the brand’s red colour had popped off, reminding event goers of its existence on Saturday, the 30th day of July. On the day in question, traders and service providers had themselves ready. It was a commingling of all that gives Lagos its mythic and slightly dystopic allure.
While at the reception preparing to go inside, the King arrived and was attended by loud, percussive music. The beautiful clash of cultures wasn’t lost on me; some hundred yards away, Asake was delivering music refined from the same well of traditional sound, performing the monstrous quartet of “Trabaye,” “Sungba (Remix),” “Palazzo” and “Peace Be Unto You”. Given the recency of the records, the crowd did most of the heavy lifting while the YBNL and Empire act danced impressively, layering his raw vocals over some parts of the songs; it came off as slightly less passionate,
Before then Fave and Reekado Banks performed songs like “Baby Riddim” and “Ozumba Mbadiwe” to varied but similarly engaged receptions. A few faces on the night were covered with masks, and were poignantly reminiscent of two years ago when communions such as these were impossible to conceive. Now, as hit song after hit song vibrated through the arena, impressively packed with–and this is a rough estimate–over five thousand people, the visceral quality of living through such musical moments was bare.
Halfway into the event, just after midnight a warm feeling of accomplishment was spread across the venue, mostly inside where people were gathered. Excellent lighting illuminated the stage, while the sound was impressively concert-esque, coloured with flourishes of live music. Personally, the event peaked when 2Baba got on stage. Here I must admit: it was my very first time seeing the legend perform live. That fact is as a result of factors both within and beyond my control, but Mr. Idibia wasted no time in getting the crowd lit.
His set was entirely sung live, spiced in-between with comments which had a sociopolitical leaning. His song choices reflected that urgency, going from “4 Instance” to “U No Holy Pass,” where he delivered a sensual-lined freestyle before demanding for stripped sonics, performing a stirring medley of “Fly” and “E Be Like Say”. While he impressed his own interpretation on the former, the latter was more communal in the reaction it got, again highlighting why the man remains such a cornerstone of our collective memories as Afropop lovers.
The reactions to Tiwa Savage’s set was also noteworthy. Her on-stage presence proved to be coolly passionate, effortlessly going from the introspective mien of “Save My Life” to energetic bops like “Ma Lo” and “49 99”. That peculiar vibrancy was parlayed into “grown and sexy” songs–as she dubbed them–such as “Dangerous,”“Attention” and “Like,” which was also performed solo during Reekado’s set.
Her lightheartedness reached a wholesome peak when she mentioned her name as Dr. Savage, referring of course to her recent honorary degree from the University of Kent. Another moment came just before her performance of the uber-hit “Somebody Son.” Speaking against a backdrop of swirling church notes, she alluded to the song’s titular character being none other than Jesus Christ, the son of God. Expectedly, that was met with loud uproar but it also bolstered the camaraderie between the stage and the audience, which was well extended by DJ Spinall’s brief-but-energetic set. Wande Coal and Teni also turned in invigorating performances, especially the former who flexed his iconic vocals in his rendition of classic Mo Hits-era records “Na Who Born The Maga” and “Booty Call”.
As host of the night, Jimmie Akinsola did a great job of translating his on-screen suaveness into the immediacy of an MC role. Several times during the event, he was impressively understanding of his crowd, using popping phrases and relatable stories to keep the attention. That vibe was only amplified when Ebuka Obi-Uchendu got on stage to announce the winner of a raffle that would take them on an all-expense paid trip to see the World Cup later this year in Qatar.
Excitable tension was worked into the announcement, as the recipient wasn’t picking up his call. The phone’s ring consistently reverberating through the arena. Anecdotes and humorous remarks gave the progression the feel of a ‘Who Wants To Be A Millionaire?’ episode.. Suddenly a section of the crowd went loud, as people gestured that the raffle winner had arrived. Within minutes, he was on-stage with the expected look of feeling flustered.
When Mayorkun got on stage, he reverse-engineered some of his biggest hits in recent years. The wistful groove of “Certified Loner” was followed by the hypnotic percussive swell of “Of La La” and, moving through more serene motions, performing his standout verse off the remix of Camidoh’s “Sugarcane” and then the Victony-assisted “Holy Father.” Not long after, “The Best” came on and in what was an affectionate even if slightly trite script, headline act Davido emerged to perform his verse. The excitement rose to a very high crescendo, as both musicians thrilled the crowd for a short period before the protege gave way for the master, a master who had old tricks aplenty within a new bag, a facet he soon explored during his time on stage.
Starting off with classics from his catalogue such as “Dami Duro” and “Gobe,” he carved a unique reflection of his decade-plus career journey. They were quite well received, but not quite like the 2017 trinity of “Fia,” “If” and “Fall.”A Better Time’s “Jowo” and the “Baddest Boy (Remix)” also elicited the response of the largely youthful crowd, especially the latter whose flamboyant vibe was well chanelled by Davido.
Chants of “OBO!” rang through the front section as he performed the more recent “FEM” and CKay-assisted “La La” successively, his trademark zest on display as he placed a hand over his ear to gesticulate a phone call. Just before the choral sounds of “Stand Strong” came on, the recognisable figure of Iyanya appeared to perform “Like,” his recent collaboration with Davido and Kizz Daniel. The distinct shuffle of “Skelewu” came on, before the musician closed out with his duo of Amapiano-leaning collaborations “High” and “Champion Sound”.
The Budweiser glitz still extended outside the arena, where beer-laden photo props and dazzling lit-up booths were set up. Young people were daring in their fashion, intensifying the glitz on display. Down along a hallway, one could access cold beers while moving through other exciting features—it gave the feeling of being in an exhibition, which speaks to its curatorial brilliance. A good show is one of the highlights of the Budweiser experience and whether it’s using cutting-edge technology or collaborating internationally, they’ve always brought that vision to life.
Last Saturday was a fitting celebration of Nigerian music and Lagos’ famous nightlife. When the days roll by and the World Cup arrives, it will scarcely be enough to fill the peculiar anguish of not being a part of footballing legacy. Regardless we move on, knowing that night remains a vivid painting on the sprawling canvas of our cultural existence.
Bella Shmurda has one of the most unique voices in Afropop. Over the years, he’s wielded that piercing lilt in many forms, crooning suggestively about the good life or poignantly travelling the long miles of memory, reflecting his story through poetic snapshots spiced with street lingo.
Throughout 2022, the Dangbana Republik frontman has been typically prolific, appearing on collaborations like the remix of King Perryy’s cult classic, the Drill banger “Go German,” Cobhams Asuquo’ “Jah Eli Jah“ and most recently, Krizbeatz’s “Wild Party,” a colourful bop which also featured Tanzanian singer Rayvanny.
Every solo release from Bella has been considered a run-up to his highly anticipated debut album, tentatively titled ‘Hypertension’. Among those, the bold-faced “Fvck Off“ made the most impression, pairing the explosive element of his lyricism with dance-ready melodies. With its production coming from Niphkeys and Larry Lanes, Bella again marked himself as an artist to watch out for throughout the year.
Now, with the release of “New Born Fela,” Bad Boy Bella is moving into his own. The in-your-face nature of the lyrics is quite adaptive of his highwire qualities, blending romantic zest with the revolutionary turn of the instantly memorable chorus where he sings, “I be the new born Fela/ Storyteller, battery charger/ Baby pana, for my matter, use kayamata/ I know the matter, the matter don’t matter.”
Channeling the rich visual material familiar with Fela Kuti, the TG Omori-directed video is a masterpiece in its own right. It’s brief, as attuned to the song’s little over two minutes runtime, but the colorful representations and Afrobeat-inspired costumes work magically to bring the viewer into Bella’s world.
He already ranks among the most magnetic Afropop superstars, but this just amplifies the eccentric allure of Shmurda, constructing a riveting visual journey leading up to ‘Hypertension’. Following the video’s release, we spoke to Bella Shmurda about the inspiration behind the video and the prospects for his forthcoming debut album.
His answers, which follow below, have been lightly edited for clarity.
NATIVE: Why did you collaborate with this particular director on this video?
Bella: With TG, everyone knows he’s the go to director for videos that are different. So I was sure that when I plan to drop my next single. He will definitely shoot it for me. No doubt for my mind he will deliver. Also the message of the song needed to be translated impeccably visually, we all know how he does this so well.
NATIVE: What was the most exciting thing about being on set when shooting the video?
Bella: For me, when TG sent the mood board, I knew he got it—the costume pieces, the models, the clarity in the direction all gassed me up
NATIVE: How would you say the song is connected to the video?
Bella: The expression , me, my many wives in the video, the make-up, the interpretation, you can definitely see the connection.
NATIVE: You’ve been gearing up to release an album. What should your listeners be expecting from that?
Bella: A brand new expression of me, experiments and odd features that you wouldn’t expect, very natural too.
Get an exclusive first look at “New Born Fela” below
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 Simi, Tomi Owo, T-Classic, Charlie Kay and more. Dig in.
TOMI OWO – “BIRD”
Lagos-based Tomi Owo encompasses glittering influences in her music. From R&B to neo-soul and Jazz, the singer’s eclectic artistry has earned her a steady fan base, and got her onto the roster of Universal Music Nigeria in 2020. She typically in sparse circles, and “Bird” is her debut single of the year. Lulling bright vocals into the open air of a freedom song, there are bursts of shiny synths illuminating the perspective she renders so passionately.
SIMI – “LOGBA LOGBA”
Earlier this year, Simi made a strong statement with her third studio album, ‘To Be Honest,’ which flexed the artist’s vulnerable lyricism amidst muted production. “Logba Logba” portended one of the album’s striking bops, teasing an excellent sonic alliance from the pomp of Afrobeats’ drum patterns and Highlife’s exciting guitar-playing. The recently released Dammy Twitch visual captures a colourful and urban vibe, casting Simi alongside other beautiful black women, and amidst a lean storyline which involves a jailer.
MR. EAZI – “PERSONAL BABY”
The chief honcho of Empawa Africa has not hidden his intent to release an album this 2022. In June, he kicked off his year’s account with “Legalize”. Barely two months later, he’s continued his journey with “Personal Baby,” a warm record devoted to the earth-shifting motions of love. It’s co-written with Afropop star Teni, a choice which cumulates in a steamy perspective as he croons about being exclusively sensual with his romantic interest.
CHARLIE K FT. CASSPER NYOVEST & GEMMA GRIFFITHS – “SOLO”
Over the years, Zimbabwean artist, producer and label executive have solidified his name as a purveyor of good sounds. On his latest record, his skills both as a musician and curator is present, linking up with South African rapper Cassper Nyovest and fellow countryperson Gemma Griffiths to fine effect. “Solo” is unmistakably a party bop, but there are undertones of solemn lessons especially on Gemma’s chorus where she alludes to no one being an island. The visual does well to capture its urgent vibe as well.
TSHA FT. OUMOU SANGARE – “WATER”
London-based producer and DJ incorporates eclectic sonic choices into her catalogue and that has led to her growing acclaim across EPs. She’s expected to release another later this year, and what better way to propel that run up than this? Amidst the head-wracking beauty of her synths, Sangare’s ancient-sounding chants electrify the core of one’s soul, reaching where no words would and reiterating, as we quite know, that there’s no one way to creating magic. “Water” is a beautifully disruptive song.
T-CLASSIC – “JIMMY CHOO”
In 2019, T-Classic had all the streets spazzing with “Nobody Fine Pass You,” a song which announced his hitmaking potential to the wider Afropop audience. Since then, the artist has sought to replicate and surely exceed its success, but of course that hasn’t been easy. If there’s any clear path to ascendance, it comes on the ‘Voicenote EP,’ his latest project. A standout off the six-track tape is this Niphkeys-produced number, a bass-heavy affair ready for the dancefloor. Sultry keys delicately unfurl in the background as T-Classic makes a case for his love, using inventive one-liners and an instantly catchy hook to do so.
NUNO ZIGI – “ODIA”
Hip-Hop has strong roots in the country’s southeastern scene. From the era of Nigga Raw and Slow Dogg down to iLLBliss, rap has been a viable way for the region’s acts to express their hustler mentality and lyrical skills. Previously signed to Penthauze Music, Nuno has struck out on his own while maintaining the ethos that’s earned him a credible fanbase in the East. “Odia” is the lead single off his recently released ‘No Day Off’ album, a sizzling Drill banger lined with ferocious boasts and lived-in tales of growing up in Onitsha.
SAMPA THE GREAT – “BONA”
Zambian-born artist packs a punch into her artistry and it’s quite evident. On her new record “Bona,” she delivers fire-toned lyrics with blistering pace over a futuristic, synth-heavy beat. The pomp recalls the flamboyant direction many Southern African rappers are taking, but Sampa is original and edgy in her perspective, delivering the lines with audible glee when she raps, “we’ve been rocking this s**t since the origin/ they be acting like they can’t see us win.”
Towards the eighties, the Academic Staff Union of Universities (ASUU) was formed. This was made official in 1978, extending the reach of what was formerly the National Association of University Teachers into a more national entity. Previously consisting only of the legacy universities of Abuja, Lagos, Ife, Zaria and Nsukka, the newly-formed body was very influential in pushing for academic reforms through the military-led years of the eighties. Through the preceding decades, that significance only bolstered as a return to democracy in 1999 placed the priority of educational legacy under the eyes of the Olusegun Obasanjo-led government.
In the 23 years since then, the phenomena of ASUU strikes have been rife. Any average person who has gone through the federal tertiary system knows how synonymous those words have become with education in Nigeria. The frequency of the strikes also demonstrate how further apart education has grown from federal policies, quite unabashedly so in the eyes of the ruling elite. Currently with the ongoing strike action, university students have been at home for almost six months.
On February 14th 2022, millions of federal university students received the news that ASUU were embarking on a month-long warning strike, and lecturers would only be back in classes if the federal government met their demands. In a statement by the body’s national President, Professor Emmanuel Osodeke, the association revealed that an agreement signed in December 2020—one which put an end to a nine-month strike—had not been fully implemented by the Muhammadu Buhari’s government. This was after it had declared a lecture-free day the week before, aimed at sensitising university communities and the general public to the government’s blatant failure to honour their previous agreement.
“ASUU will not relent in its historic responsibility of advocating for an improved university system,” said the union’s leadership, stating that “this is because it holds the key to our collective prosperity and better future for our children and our children’s children; so, let us work together to fix it. We don’t like to see our students at home. We don’t want our academic calendars disrupted but our demands are not met.”
In his own statement a few days later, the Minister of Labour and Employment, Dr. Chris Ngige blamed the union for not giving a 14-day strike notice, saying that it was “a clear breach of labour laws.” That statement saw him grasp at long-winded inefficiency of government bureaucracies, saying that ASUU’s clamouring for the University Transparency and Accountability Solutions (UTAS) was to be approved by higher powers in the government, the very government who had turned a blind eye to the December 2020 decision. Even though he reported that the country’s premier technical agency had finished its assessment of UTAS, no prior announcements were made as the strike continued to roll on and on.
On their part, the ASUU have been fairly communicative of the myriad reasons behind their strike action. When President Buhari announced the utilisation of the Integrated Personnel and Payroll Information System in 2019, they kicked against it and highlighted its problems for the fluidity and autonomy of the academia, a field that’s markedly different from the motions of regular civil service. Since its February strike, while the government and its agents have continued to strut their arrogance and unaccountability, the association have continued to speak with the press and indirectly parsing information through third-party social media channels, with some of those crucially using Gen-Z language to appeal to the knowledge of young Nigerian undergraduates.
Since 1999, ASUU have embarked on about sixteen strikes. This latest tussle is an offshoot of the renegotiated 2009 agreement between the union and the Federal Government and speaks more to the latter’s indifference to the long-held practice of affording the universities’ little autonomy. This has not been summarily discussed nor updated with the times. Whenever the topic is broached, the Labour Minister and his Education counterpart, Mallam Adamu Adamu, are always certain to maintain disbursing some funds to ASUU, which feeds the union’s opinion that the government isn’t aware of the shifting nuances of education and the economy.
Which way is Nigeria headed? I bought 50 litres of diesel for my car at the cost of N40, 000 in Enugu. I’m wondering how we will all survive this hardship. As a Law Professor that has reached the last step and stage in promotion at a Federal University, I’m paid about 400k per
— Prof. Joy N. Ezeilo (OON) (@NgoziEzeilo) June 15, 2022
Two months ago, a university lecturer—who is actually a professor—made a tweet bemoaning her salary earning of four-hundred thousand naira. This was met with uproar considering that the nation’s lawmakers easily make more than that off bureaucratic allowances that should rather be catered for by their basic salaries. After a claim by Senator Shehu Sani in 2018 that the average Nigerian senator earns approximately 13 million each month, the Revenue Mobilization, Allocation and Fiscal Community said that each senator’s salary and allowances tally just a little over one million naira.
Still, there should be no argument that Nigerian politicians are paid in a grossly indifferent way to the plight of other civil servants. This inadvertently contributes to the god complex most government officials possess, moving through spaces callously and without regard for the average Nigerian. If you read in between the lines of the many statements, you’d see how much of the ASUU strike is an ego problem, of certain figures incessantly clashing against each other and hampering the progression of lasting negotiations.
About two weeks ago, President Buhari seemed to wake up from his slumber. The incumbent president called for an executive meeting, which lead to little to no results. His statements released afterwards leaned into the militaristic behaviour of giving orders without any recognition of nuance. He kicked Dr. Ngige off the negotiation table, who’s been accused by the union of disrespect and being an “unabashed protagonist in the crisis.”
In his stead, Mallam Adamu was placed. But this is also a man who angrily walked out of a meeting with representatives of the National Association of Nigerian Students, right after a comment was made about the children of most Nigerian politicians are students of well-run foreign universities. In a report by Premier Times, it was suggested that the two weeks “deadline” given to end the strike was actually made by the Minister of Education. The report also highlighted an alleged rift between Dr. Ngige and Mallam Adamu, the heads of governmental bodies that should ideally be collaborating for a quick dissolution of the strike.
The aforementioned report also revealed that the past five years have seen the government budget only five to eight percent of the annual budget for education, falling quite short of the fifteen to twenty percent recommended by UNESCO. Coupled with the insecurity in some regions, this has resulted in over 18.5million children being out of school, while academic standards across federal universities have severely declined. As such, in solidarity with their fellow union members, the National Labour Congress embarked on a nationwide three-day demonstration. As reported by Al Jazeera, thousands of union members marched to important locations within the states of Lagos, Osun, Oyo, Kano, Kebbi and the country’s capital, Abuja.
In all of this, undergraduates have reacted with typical defiance. Even as many of us—this writer included—take to online jobs and internships, the rising cost of services have resulted in a whole lot of physical stress for many young Nigerians. This current moment bears testimony to the government’s lackadaisical approach to education even though current undergraduates will be expected to fill up the labour force in the next five years or more. Their outdated policies have also essentially criminalised cryptocurrencies, which was seen as a viable pathway to financial freedom. And with different sets of students clogging up the academic calendar, there’s no doubt there will be a rush whenever schools resume, much to the detriment of the students’ learning.
This strike is affecting me. It’s not even about time wasted but the academic and mental stress that comes with it.
I can’t even move on with my life. The unproductivity is killing me.
Currently, there is growing insecurity in many university towns right now because students–who are the largest stakeholders in these neighbourhoods—aren’t present. Also, a wide spate of economic services around such places are sure to have taken a downturn, from computer centres to restaurants, bars, provision shops, medicine stores and many others.
Two weeks after President Buhari’s cabinet made sure to publicise their so-called efforts to reopen universities, there has been no resolution in sight. ASUU’s leadership described that order as “lip service” and it’s proven to be quite true. In any working country, figures such as Dr. Ngige and Mallam Adamu would have been relieved of their duties long ago, but Nigeria, as we all know, defies normalcy. In their bid to positively influence the decision-making of the government, in a National Executive Council (NEC) meeting on Monday, the first of August, ASUU announced it was extending the ongoing strike by four weeks. As the strike action continues to worsen and extend, it is pertinent we continue to call out the Nigerian government for its failure to establish a reliable and academically sound tertiary education system.
The world is still a mess. We’re still reeling from the effect of a pandemic (that’s still ongoing), and an entire generation of young people continue to bear the brunt of a volatile global economy, especially in Africa where several countries are going through record levels of inflation that’s raising cost of living to astronomical highs and incinerating purchasing power.
In all of this, Ghanaian singer and songwriter Lirase would like you to believe that life is beautiful, a plain statement he offers at the very top of his new single, “Don’t Know”. If you’re cynical enough you might be tempted to call bullshit but, hey, hear the man out. Immediately after that opening line, he quickly follows with, “but sometimes feel like shit,” and it all feels very right—an idealist lyric line followed by one soaked in the mud of reality. It’s not exactly a bait-and-switch move, as the general tone of the song is one of optimism, but it does set an affecting tone for Lirase to figure out what really makes life beautiful.
A week before this new song, Lirase shared his official debut single, “Dark Ages”, a personal and reflective ode to new beginnings over an orchestral blend of new wave synths, dream pop guitars, contemporary R&B drums and fuzz rock ambience. Initially entering the Ghanaian music fray as electro-fusion beat-maker and occasional rapper TonioBeatz back in 2013, that first single partly served as a symbolic moment of reinvention, clearing space for an artist potentially committed to telling his truth over electric instrumentation.
“Don’t Know” continues that early streak, establishing Lirase’s bonafides as a singer-songwriter coming into his own. In his commitment to assuring himself (and us) that he’s taken “life as a blessing,” you can tell Lirase is baffled throughout the song. Whether it’s by kids wanting to be all grown up or adults wishing for the idyll days of adolescence and youth, there’s a curiosity that makes his defiance to view life as a worthwhile—wholesome, even—experience come across as admirable.
“I got too many questions, me I don’t know,” he sings on the pre-chorus, with a twinge of shakiness to his voice that makes the cathartic swell of the chorus—“That be why I’ve been searching, searching wey no dey end/journey wey no dey earn”—feel earned. Thematically, it’s reminiscent of Jason Mraz’s “Life is Wonderful”, but Lirase is a lot less zany with his writing and perhaps that makes “Don’t Know” a little more bracing. It also helps that he’s speaking from his personal perspective, allowing himself to be uncertain even in his earnestness.
Like its preceding single, “Don’t Know” is produced by John Ekow Barnes, who’s worked extensively with Ghanaian jazz-fusion group Overtone Band, and it benefits from his experience with live instrumental arrangement, collecting influences from reggae, rock, funk and folk. The music reminds me of revered Nigerian singer-songwriter Asa’s classic, “Jailer”, and even though Lirase isn’t speaking truth to power with the same combative vim and narrative excellence, but it’s remarkable how he offers hope without sticking his head in the sand or acting like he’s handing down lessons from a soapbox. Also, like Asa all those years ago, Lirase is working within the same lineage of modern Afropop artists rooting their music in the grittier aspects of going through life.
This week, ahead of the release of his third studio album ‘Playboy,’ Fireboy DML’s hit single, “Bandana” remains at the top of the charts for a second consecutive week. “Bandana” tallied 3.53 million Nigerian streams (No. 1 on streaming) and 56.9 million in radio reach (No. 1 on radio). The song marks Asake’s first song to spend more than one week at No. 1 on the Top 100 or defunct Top 50 (“PBUY” spent a week each at No. 1 on the Top 100 and Top 50).
It is followed by Asake’s “PBUY” which is at No.2 for another week on the charts, while Burna Boy’s “For My Hand” featuring Ed Sheeran rises from its previously held position at No.4 to No.3 this week. Coming in at No.4 is Mavins “Overloading (OVERDOSE)” which features Ayra Starr, Crayon, Magixx, Boy Spyce and more, while Kizz Daniel’s chart-topping “Buga (Lo Lo Lo)” rounds up the top 5 spots this week.
Following at No.6 this week is Burna Boy’s “Common Person” which re-enters the top ten at a new peak. The song talied 2.96 million streams (No. 2 on streaming) and 7.95 million in radio reach (No. 64 on radio). At No.7 is also Burna Boy’s “It’s Plenty” which is followed by Crayon’s “Ijo Laba Laba” at No.8 this week. Rounding up this week’s top ten is Burna Boy’s “Last Last” at No.9 and Mayorkun’s “Certified Loner” at No.10.
Elsewhere on the charts, Oxlade’s “KU LO SA – A COLORS SHOW” ascends to a new peak of No. 12, Omah Lay’s “i’m a mess” drops 12-14, BNXN’s “Kenkele” with Wande Coal debuts at No. 15. Additionally, all of the tracks on Burna Boy’s ‘Love, Damini’ continue to chart in the Top 100 for an unprecedented third consecutive week.
Last Thursday, Ghanaian singer Camidoh held his first-ever live performance at the Standard London. The night was well attended by music lovers and industry insiders alike, as they gathered together for the first time to welcome the artist to the city. The occasion was marked by the success of Camidoh’s hit single, “Sugarcane Remix,” featuring Mayorkun, King Promise and Darkoo, which has garnered over 9 million plays on Spotify alone, and 16 million views on Youtube.
Originally released back in 2021, “Sugarcane” went on to garner more fanfare when it was released a year later with a star-studded cross-continental remix that commingled cultures and sounds. Over a catchy production laid down Phantom, the singer and his collaborators deliver an unforgettable tune that has now become the soundtrack of many parties and weddings.
While “Sugarcane Remix” has continues to garner more plays since its release earlier this year, and its debut atop the TurnTable charts, the song has also taken over our timelines. Following in the footsteps of Afropop records before it, such as Kizz Daniel’s “Buga” and CKay’s “Love Nwantiti,” Camidoh’s “Sugarcane Remix” also exploded on TikTok. Currently the #SugarCaneChallenge has recorded over 85 million views and 1.3 million video creations, inspiring dance challenges and remixes from music lovers across the Internet.
It’s clear Camidoh has scored a massive hit on his hands, and he’s a student of the game, keenly paying attention to how important memorability is where melodies are concerned. Powered by this rich trove of insight, Camidoh went on to release his debut solo single of the year titled “Kaba” last Friday. The new single finds the artist exploring love and its complications, as he inquires into modern romantic relationships.
Switching between his native tongue, Ewe and English, Camidoh delivers a bubbly high-spirited track, about loving his muse, and attempting to put in the work so that her needs are met and provided for. The song’s vibe is undeniably hypnotic, toeing similar lines as “Sugarcane Remix” and his earlier releases, a move that will certainly satisfy both his old and new audiences. All this is inching towards Camidoh’s defining moment: the release of his debut album. During his stunning Evening at the Standard, Camidoh shared that his new project, ‘LITA’ would be out for release soon, and would feature of blend of music that fans had come to expect from him, while introducing listeners to something new.
Ahead of the project release, we caught up with Camidoh ahead of his first-ever headline show, ‘An Evening With Camidoh’ and spoke to the rising Ghanaian artist about his inspirations, his time in the UK, and his plans for the future.
Our conversation which follows below has been lightly edited for clarity.
NATIVE: When did you first get started in music?
Camidoh: I started music professionally in 2008. Back then, I was in high school and started a group with some friends. We formed a band and we were called Belce. We made Afrobeats at the time, but back then, it was not a common genre in Ghana, so we made more of what we’d call Hiplife.
NATIVE: How would you describe the music you make?
Camidoh: In regards to the genre , I call it Afropop and R&B. I describe my music as feel-good music and sweet music. I always go for very sweet romantic music and that’s what makes it special and sweet.
NATIVE: What inspired your hit single, “Sugarcane”?
Camidoh: I was just trying to make a very easy going track that people would enjoy. I didn’t want to make people think too much to understand the lyrics. It’s inspired by a general love story of a woman playing hard to get, so I’m serenading her with sweet words to make her feel good and shoot my shot with her. I make love songs all the time. This time around, “Sugarcane” was special because it didn’t take itself too seriously, the lyrics aren’t deep, it’s very catchy and I guess that’s something everyone can relate to.
NATIVE:How does it feel to witness the success of your song on a global scale?
Camidoh: It feels really good. It feels like a step in the right direction. If I can do it on this level, with one song, then the door is actually open for me to make a mark. I can literally do everything on a global level. It fuels me with hope and makes me want to do it again. I want to work hard for the next record and the next. I feel motivated to replicate the formula.
NATIVE: What was your experience like working with the song’s collaborators?
Camidoh: It was really good. I drew a lot of inspiration from their participation. The way that they have all treated this record – asides from performing the record, they have shown up for it in numerous ways.
NATIVE: What do you want UK audiences to take away from your music?
Camidoh: What we did at the Standard was to properly introduce the real Camidoh. When I became a solo artist from the group, I started making acoustics. I was performing these acoustic versions of songs, covers, renditions and all of that. That was the proper foundation of Camidoh. I wanted my fans out there to see me running a track and be like ‘oh he can really sing.’ If I decide to do any other thing, at least my fans have seen that I can actually sing. It’s not about gimmicks. That was the aim, to really go in with the fans.
NATIVE: What did it mean to have your first headline show in London?
Camidoh: It felt great, especially looking at the turnout. It felt very impressive. It has motivated me to do a bigger venue next time. The venue’s capacity was 250 people but we had even more people who were trying to register to be a part of it, which we obviously couldn’t allow. It was a sold-out event. Next time, we do something even bigger for the fans.
NATIVE: Where do you want to be by this time next year?
Camidoh: By this time next year, I want to be able to do venues like Indigo 02 and 02 Brixton Academy. I want to be a global name across the world. I want to be a household name globally and not just the UK, not just Ghana, not just Africa, but globally.
Stream Camidoh’s latest single, “Kaba” below.
Interview by Moore Wright and words by Tami Makinde
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 Flash, Larry Gaaga, Jesse Jagz and more. Dig in.
FLASH & DJ SPINALL – “FIDIDI”
For those who know, Flash is one of great talents in the game. Across his sparse catalogue, he has turned in all-time classic performances on Sarz’s “Get Up” and Show Dem Camp’s“Tropicana”but he has somehow been less prolific as a lead artist. On the groove-lined “Fididi,” he coasts a fast-paced beat amidst adlibs from Spinall. Still impressively tender in his vocal delivery, he packs a lot of good vibes into the three minutes of this new catchy track.
LARRY GAAGA – “BLESSINGS” FT. JESSE JAGZ & TEGA STARR
Larry Gaaga has another steady bop for listeners. This time, on “Blessings,” he joins the unlikely pair of rap savant Jesse Jagz and Tega Starr, a rising Afropop act. He’s actually the catalyst of this record, weaning his bright vocals onto the live-inspired tapestry of the production. With the vibe to match, Jagz delivers a short but poignant verse in his usual gruff style, colouring this record with the breezy allure of a laid-back summer number.
TENA TENPO – “BUMPY” FT. MOJO AF
On “Bumpy,” Tena Tenpo’s latest release, a voice sample forms the basis of this song’s arresting production, somewhere between Kanye West and Prettyboy D-O, off the strength of its bounce. MOJO kicks off things with a zesty verse, lining technical quirks into the trademark bass of his voice. By the time Tena Tenpo comes along, you’re surely swept up in the record’s eccentricity, full of its energy and positivity.
JAYWILLZ – “TILL DAWN”
Amidst the current crop of Afropop artists, love is a subject that leads to a larger resolution. For Nigerian singer, Jaywillz on “Till Dawn,” a standout record off his latest EP, it’s a delirious high, and you’d hear the excitement of his vocals on this one. Backed by tender percussions and colourful guitar strings, he turns in a performance that reaffirms his name among the many great acts to watch out for.
ELVEEKTOR – “50K” FT. BUGZY DVINCI
On his projects, Enugu-bred rapper Elveektor is intensely political in his exploration of identity. It’s the bedrock of his strong underground fanbase, but Valentine Ogbu has also been known to do impressionist, vibe-influenced rap singles. “50k” is another impressive moment in the run-up to his ‘Ife Nwoke’ album, calling up Bugzy to create a Trap-inflected bop. The stuff of dreams and grind forms their thematic source, and the thrust of this record.
PRIDDY UGLY – “30 MINUTES TO SOWETO”
The introspective leanings of South African rappers have constructed what is perhaps the most intriguing Hip-Hop scene on the continent. From Tyson Sybateli to Thato Saul and Priddy Ugly, they all share a burning desire to document the twisting angst of their lives.
Priddy’s “30minutes to Soweto” is a sprawling track of six minutes, packing the tear-inducing observations of Priddy into two utterly stirring verses. In the first, he creates a wonderful progression with the bars, “Most of our fathers were the type to beat our mothers, so our mothers wore a face-beat just to keep it undercover/ And deep benеath the covers therе were heaps of secret lovers/Love we need to rediscover, just to teach it to each other.” The Armsdeal-directed visual is also a poignant reflection of the streets, featuring the rapper in a drive through the city that made him, looking back on what it’s taken to get this high-up in life.
2022 is poised to be a great year for music. Coming off the stay-at-home induced orders of 2020 and creating and experiencing music in isolation, the world is open up once again and music is being released an exponential rate. As such, with another edition of the uNder column, our mission remains committed to bringing our audience the best new crop of artists primed to cause a stir on the continent and in the diaspora.
So here we are again, with a new batch of rising artists who probably haven’t even peaked yet but are nearly on the cusp of an explosion into superstardom. From the ‘Piano-loving duo TxC who have dominated popular festivals and stages across the globe to Nigeria’s Majesty Lyn who steadily carving her own corner in the game, and to Ghana’s Lasmid who is reworking nostalgic influences in his music, here is our list of Best New Artists for July.
Lasmid
There’s a certain nostalgia that comes through on Lasmid’s music. Born and raised in Ghana, Lasmid is a singer and songwriter whose growth can be charted from his 2020 debut single “Odo Brassband.” The groovy Hiplife single harkens back to an early era of Ghanaian music and finds the singer showering his muse with praises. The earworm track was a glittering debut which cast a wide net for where Lasmid was able to go sonically and artistically.
While he’s taken the slow and steady pace to releasing new music, the hard work seems to be paying off as he racks in more accolades on the way to the top. In 2019, Lasmid won the 8th season of MTN’s Hitmaker, a music competition created by MTN Ghana back in 2011, which earned him the recognition of his peers and role models alike. He’s only released a handful of singles but everything he’s released has been more engaging than the last, with records such as the Kwami Eugene-assisted “Sika”, “Father” and “Atele” revealing more layers to his artistry, as he melds Afropop, Gospel, Highlife, R&B and more.
If you’re looking for an entry point into Lasmid’s short but sweet catalogue, look no further than his latest single “Friday Night”, one of the biggest songs in Ghana this year, which also shows his massive potential. The mid-tempo number finds the singer talking about enjoying life and focusing on the positive aspects it has to offer, a cocksure and confident way to come into the game. Within two years of his debut single, Ghana’s Lasmid has gone from singing in the choir at an early age to getting involved in rap battles while growing up, and now singing on main stages. With a few months left in 2022, we’re betting that Lasmid is one to watch out for.
Majesty Lyn
In 2018, Majesty Lyn released a cover of 2Baba and Peruzzi’s “Amaka”. Amid other covers, that one went on to become a smash hit on social media, introducing Lyn’s total artistry to a large section of Afropop fans, shortly after the then 21 year-old musician delivered a stellar verse on “Memories” is a stand out cut from ‘Alternate Ending’, the joint album from Boogey and Paybac iBoro also known as The Lost and Found.
Lyn soon captivated ears with singles of her own, going on to release the ‘Four Twenty’ EP in 2020. The four-track project had buzzing standouts like “Hold On My Heart” and “You See” which showcased Lyn’s expansive range and tonal brilliance, while constructing tales of young love and ambition. The brilliance of that introductory year was finely wrapped with “Find Your Way,” a House-tinged record packed with motivational bite. “Friends don’t even last these days, shameless with the plastic ways/ Sadly there’s no time to waste, concentrate when things fail,” she sings with exciting resolve, underlining her resolve to be a generational voice.
2021 was a typically prolific year for the Port Harcourt-bred musician, releasing two projects–‘Lyn of the South’ and ‘Loud And Clear (4.20)’–between March and April. As suggested on its title the former bleeds into personal stories, carried by strong records of affirmation like “Name Another Girl” and “Zion,” an ode to the transcendental forces behind her. Still, lyrics like “cos I’m entitled, and I am a bitch,” reflect her unapologetic honesty. Her latest single “Notice” was released barely a fortnight ago, notably to much anticipation after becoming an IG trend as well. Without a tinge of exaggeration, Lyn’s amorphous skill set sets her on the path of making a novel impact on the ever-changing Nigerian music industry.
Wendy Kay
Over the years, East Africa has been a breeding ground for some of the most inventive musicians emerging the continent. Wendy Kay emerges from this tradition of excellence, debuting in 2018 with “Maybe.” Even that early into her career, Kay’s artistry already possessed an accomplished sheen, constructed by poetic, cutting lyrics which gently flowed out of R&B-patterned strings. “Nakudai” followed the next year, this time relaying more urgency yet still indelibly stringed by Wendy’s bright vocals breaking into fun, dance-ready cadences.
Her debut EP came in 2020, the succinctly-titled ‘My Way’ which significantly broadened her range. The titular opener ripples with rap-inflected drums, but Wendy’s vocals are remarkably cool as she sings about executing her vision in her unique way. From mirroring the beat’s rhythm to soulful croons, her skillset is audibly gorgeous. Other songs like “Mama Papa” and “Stori Ni Gani” also had that singularity of vision, utilising bold sonic to sketch out Wendy Kay’s motivations. The Rigga-assisted “Samahani” is a personal favourite, formed on a lush backdrop of knocking percussions and Kay’s affectionate singing. Breakup is the subject, and such powerful emotion is weaned from that, portraying Wendy Kay as an experiental artist.
Going through a prolific 2021, Lyn released a number of songs which strengthened her grasp on the Kenyan music scene, and crucially marked her out as one to pay attention to. Earlier this year she released ‘My Way 2,’ a fitting sequel to her first project. As on earlier songs, her neo-soul flourishes are present on standouts like “Niambie” and “Safe Space,” again reaffirming Wendy Kay as a most compelling artist.
TxC
South African Amapiano duo Tarryn Reid and Clarisse Hefke will most likely fall within the category of artists you may have come across before. Popularly known under their moniker, TxC, the duo are well known for their viral ‘Piano dj sets which has seen them grace prestigious stages across the world including their eclectic Boiler Room set which has amassed over 1 million views.
While their stellar DJ sets need no introduction, they are fairly new on the music scene given that the duo only released their debut project this year. Arriving just this month, the duo released their debut 5-track EP ‘A Fierce Piano,’which brings their love and passion for Amapiano into sharp focus. The 30-minute body of work features guest performances from stellar African artists such as Tim Lyre, Daliwonga, Murumba Pitch and more, who offer a rare and rounded glimpse into the world of the ‘Piano-playing duo. On “Mood,” one of the project’s standout tracks featuring Tim Lyre, the duo provide the perfect backdrop for Tim Lyre to fire off his pensive and clever verses, creating an irresistibly danceable hit.
Since their arrival on the scene, they have collaborated with industry heavyweights such as Dinky Kunene, Daliwonga, DJ Task, Unlimited Souls, Amaroto, as well as Nigerian superstar Davido. Although the step towards releasing their own original music may seem new to those familiar with the duo from their early days, TxC have always been involved in music from a very young age and decided to pursue disc jockeying full-time to express this passion. Inspired by the fact that there were not many female DJ’s of colour, they decided to take the risk and move to Johannesburg to start their music career, making one of the most impactful decision of their lives. Now, with the world at their feet, TxC are ready to take on the world stage from the studio.
Mi$tak
Mi$tak is a marvel of youthful imagination and a reflection of hip-hop’s diverse, Trap-centric era. A year ago, he shared his debut full-length project, ‘Truth of the Matter’, a fine showcase of his ability to helm vibrant bangers packed with self-assured bars and occasionally introspective lyricism. Months later, on this year’s Valentine’s Day, the Kenyan artist dropped ‘Love & Ties’, a brief EP featuring his best impressions as an R&B crooner, laying his atmospheric vocals over thumping and mood-based production.
While the bulk of his current catalogue favours his powers as a rap artist, Mi$tak fits perfectly into the digital era of artists boasting seamless diversity across singing and rapping. As a rapper, though, he favours quirky punchlines that accent his delightfully deadpan flow. He recently joined forces with Ouma Wafegi for ‘RAHA’, a trap-infused tape packed with an unrelenting onslaught of feel-good slappers underpinned by a consistent display of exuberance, in the catchy flows, imagery-based raps and ominous but colourful beat selection. Whether dropping intoxicating rhymes or indulging his gruff soul-man croon, Mi$tak is carving out his identity as a worthwhile artist to listen to.
Caleb Awiti
In a 2020 interview, Caleb Awiti stated that his dream collaboration was to work with Bryson Tiller. That should give you a clear picture of the era and type of R&B music the Kenyan singer reveres. Having decided to make music as a passion, Caleb started honing his voice from a young age, officially debuting as a teenager in 2019 with “Messed Up”, introducing himself as a decidedly R&B artist. Since then, he’s delivered dozens of singles and several projects, including his debut project, ‘Love Letters 1’, and its fairly recent sequel from March.
Prolific and talented, Caleb’s smooth and entrancing vocals are the centrepiece of his music, often floating over hypnotic, slow-rolling beats as he navigates infatuation, love, and toxic exes. It’s fitting for an artist that, in addition to Bryson Tiller, the vivid influences of singers like The Weeknd, Drake and Brent Faiyaz plays into the solipsistic edge of his music, as he escapism, romance, and melancholia. Parsing his music through something of a Lo-Fi filter, his sound is hazy and often minimal, made for moments of personal listening – preferably at owl hours.
With an inclination towards spontaneous music-making, there’s a constant lived-in feel to his songs, whether it’s an off-the-cuff love letter to a modern R&B darling or taking us through the tumult of being with a possessive partner on latest single, “All To My Own”. The type of music Caleb Awiti makes prioritises honesty and he’s living up to that requirement.
The early 2010’s was an interesting time for me, as a young writer and music lover. Rap music was always a part of life, but then I’d begun to immerse myself in knowledge of the craft. It was the years of deep cuts and Genius, the years of penning my own lyrics, of getting in online battles with silly pseudonyms, the year of Sarkodie. I think I had heard about Sarkodie in a non consequential argument about fast rappers. One wide-eyed boy, obviously revelling in this discovery, shouted out, “Una dun hear Sarkodie?!”
The three syllables of that name stuck to my head, so one day I browsed and found a song titled “Lay Away”. Shot on a tightly packed rural area, the considerably budgeted video centred on Michael Owusu Addo, the man otherwise known as Sarkodie who’d also go on to become one of my favourite rappers ever. His black skin and sunglasses had a militant feel, making the words he rapped seem like a message from a distant brother. Sure he was fast: he bended Twi like a glob of mashed cereal, and was crucially able to retain its essence even though parsing it through a foreign form.
Sarkodie’s appeal was however his gritty Hip-Hop swag, and I readily fixed him onto my playlist which at the time consisted of names like M.I Abaga, Boogey, Eva Alordiah, Tumi and Phenom, among others. To the best of my knowledge that decade was the final run of Nigerian rap as a focus of the mainstream, and so I wasn’t the only Nigerian catching the Sarkodie buzz. By the time the E.L-assisted “Azonto Fiesta” dropped, the Ghanaian MC was primed to become an adopted member of the Nigerian music scene, a role he fully entered with the ‘Sarkology’ album.
Admittedly, it’s a very lengthy album—thirty songs, and feature-streaked from start to finish. Listening to it now, it’s not a perfect album. Indeed, its most exciting moments come in the latter parts, with the beats even more polished. On it, you’ll find the Banky W (“Pon Di Ting”) and Davido (“Gunshot”) collaborations, which are prime examples of the pop-rap path which Sarkodie continued to explore.
I remember we were in college when the former rifled through the streets of Lagos, possessed with the swag found in rap crossovers at the time. I remember Banky W’s cheeky last line “baby, I can make you move faster than Sarkodie’s raps” introducing the rapper’s trademark element to mainstream Nigeria. 2Face Idibia (“War”) and Tiwa Savage (“Ordinary Love”) also turned in scintillating performances, but nothing could trump my love for Burna Boy’s output on “Special Someone,” a song which also featured South African rapper AKA. Asides the signficance of having three major acts from three African countries collaborate, the song was impressively tender, drawing from the soft nucleus of R&B while brazenly adapting the breezy cadences of rap within the verses.
Sarkodie was however more than just a fine curator. Regardless of how much leverage his Nigerian-facing collaborations gave him, ‘Sarkology’ still featured the rich Ghanaian flavour I’d fallen in love with two albums ago. On “Original,” he talks about the concerns of people that he’ll be limited by rapping in his native language, then discarding the thought by going on to decimate a boisterous beat lined with triumphant synths. There he also mentions Reggie Rockstone and Obrafour among his musical heroes, thereby noting Hiplife among his sonic touchstones.
On “Elijah,” he parlays his musical kinship with the iconic Obrafour into a notable rap affair. Zesty, calculated verses blend with a poignant hook, one which immediately takes the audience into the mood of being in an alcoholic bar somewhere in Tema, communing with like minds and getting high.
The duo of “Adonai” and “Devil In Me” centre Sarkodie’s tendency to align religious beliefs with raps. Rather than the more popular version of the former, it’s a musician called SK Blinks who delivers the hook and chorus of this one. Even the lustrous sheen of the remixed version isn’t present; rather, a stirring, primal percussive rhythm is maintained and amplified, rising with delicate knowledge of the traditional style of playing. Blinks’ vocals are deliciously roots-y as well, and setup by such brilliance Sarkodie’s thoughtfulness is given free reign to emerge, scarcely shackled by the technical demands of all-out rap songs.
“Devil In Me” is another such song. With Efya’s vocals being in its prime period, she renders a strong performance which raises the roof of the album. Hearing it again, this church-inspired rap music also forms the core of M.I Abaga’s “Imperfect Me.” The vulnerability of Efya’s sombre cry inspires a similarly heartfelt approach from Sarkodie, and it’s such a perfect way to close the album. Of course, you’d expect a number of skits from a 30-track album but the high points of ‘Sarkology’ are incredibly high.
The directness of a record like “Rap Attack” can only be attempted by an MC of high calibre, confident in his ability to hold his own over such a demanding beat. At the time Vector was really prominent for his battle tendencies so it just made sense–you went into the recording expecting something, and you got just that.
It’s also worth knowing, however, that such directness would not always have great compliments. A review I read of this album faulted Sarkodie’s eagerness to overtly display his rap credibility. This, the writer felt, was highly considered over the concept of a particular album, and I kind of agree with him. As much as Sarkodie is a fine rapper, I don’t always align with his albums. Well, there isn’t much to align with but in the case of ‘Sarkology,’ the impact trumps its quality, and that’s fine. There’s an array of such albums scattered over the tapestry of popular music.
Not looking much further, the expansive edge of a rapper like M.anifest have given him better albums down the line. Stitching the concerns of a capitalist world into his own exploration of identity, the Ghanaian has made enduring albums like ‘Nowhere Cool’ and ‘Madina To The Universe.’ However, Sarkodie as well has largely gotten it right with recent projects ‘Black Love’ and ‘No Pressure.’ The former especially has a unified sonic backdrop (of lush, warm beats), and is threaded by an array of perspectives about love. What pushes that over the line as an important album, would have been intimate lyricism. Admittedly, that was lacking even though Sarkodie’s delivery still had its assured flow and humorous observations.
Still, I’ll always remember ‘Sarkology’. Being Igbo and a fan of Highlife music, I’ve always been aware of some alliance with Ghana and Sarkodie was the first superstar born from that imagination. The trendier years of Hiplife in the early 2000s wasn’t really my generation; I heard the songs but Sarkodie married the fascination with Hip-Hop with obviously local content. For this fact, ‘Sarkology’ will always remain an important African rap album.
Since his debut on the scene, Azanti has been cruising to greater heights. So far, with a collaborative EP and a handful of features under his belt, he is inching towards making a name for himself in the Afropop scene. From songwriting credits on Mr Eazi’s EP ‘Something Else’, to backup vocals on Joeboy’s standout single “Police”, Azanti has utilised his artistry to the fullest in such a short period of time.
Now, with a clearer vision about where he’s headed in the game, Azanti shares his debut solo single, “Getting Hot,” an anthemic and instantly memorable song that is fit for the summer. The track opens up with shakers in the background as his melodious voice croons over the instrumental. Azanti takes advantage of the single to remind his fans he’s coming in big with lyrics such as “..so let me remind you my name is Azanti.”
He paints a picture of the journey ahead of him, taking stock of his lessons so far and preluding the success of the future. Fuelled by assertive storytelling, “Getting Hot,” widens the potency of Azanti’s arsenal and takes him a step closer to the powerhouse he is capable of becoming.
“Getting Hot,” also serves as the Abuja-based singer’s official label debut, after signing with Def Jam Records.
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 Jae5, Dave, Camidoh, Wande Coal, DJ Tunez, and more. Dig in.
JAE5 – “Propeller” ft. Dave & BNXN
On “Propeller”, UK based producer Jae5 unites rapper Dave with Nigerian singer, BNXN (fka Buju). BNXN opens the track with his buttery smooth vocals, singing “been a long time since I learned to put rhymes together, spin round your block I’m a big propeller” as he reminds listeners of how far he has come with his craft. Rapper Dave steps in and lays two stellar verses on the record with BNXN singing the hook at intervals.
DJ Tunez – “Bad Girl” ft. Wande Coal & Victony
DJ Tunez brings Wande Coal, Victony and P.Priime together to deliver new single “Bad Girl.” Over the stellar production of the fiery new record, Wande Coal and Victony are a divine pairing, feeding off each other’s energies and lyrics.
Victony sings “bad girl don’t you run away now, girl” calling on his love interest to remain with him. Wande Coal also delivers a standout verse, as he chants lyrics such as “bad girl don’t run away now, e get many things I want to say now/pretty girl come my way now, I get many things I like to show ya.”
T-Classic – “Oliver Twist”
Nigerian born singer and songwriter T-Classic has arrived with his sophomore EP ‘Voicenote,’ a 6-track project which features a guest verse from S1mba. On the project opener and standout track “Oliver Twist,” T-Classic speaks on his love for beautiful women and how he can’t seem to commit to one. He quips “So make I follow the way, the way of Oliver Twist” as he plays on the tale of Oliver Twist who was never satisfied.
Camidoh – “Kaba”
Ghanaian singer Camidoh held down the airwaves recently with his hit single “Sugarcane Remix” which featured Mayorkun, King Promise and Darkoo. Now, the singer is back with another catchy tune titled “Kaba.” The mid-tempo record sees Camidoh delivering a catchy verse about the complexities of love and dating in modern times.
Ayüü – “2 Müch”
Abuja-based singer Ayüü has arrived with his second official single of the year. On the Lë Mav-produced “2 Müch,” he melds R&B sensibilities with heavy Afropop drums while singing lyrics such as “Sometimes it feels like I’m at peace but then, i start talking to you/Got betrayed sacrificed sha, Still walking with you.”
Mau From Nowhere – “Our Favourite Songs”
uNderalum, mau from nowhere is an experimental artist often toying with unconventional sounds. Following the release of his previous single, “Fireflies,” earlier this month, the singer returns with a new track titled “Our Favourite Songs.” Over the song’s mid-tempo production, he sings “I know you’re scared to chase it, scared of who’ll do you wrong/So we’re celebrating, making all our favourite songs,” reassuring her of their shared love.
Bryann – “Juju Pt. 2” (A COLORS Performance)
Fresh Meat album (now known as uNder) took the internet by storm when he debuted as a contestant on the ongoing season 7 of Big Brother Naija. Now, the singer joins the long line of Nigerian artists featured on the COLORS platform with his new single, “Juju Pt. 2.” On the Spax-produced record, he sings “forget the thing dey do me pon pon, the thing dey high me like sawdust/i’m addicted, I’m addicted to you,” to his love interest, as he reveals how deep his love runs for her.
The African community in the diaspora contributes a lot to the trajectory of Afropop. Beyond providing a bubbling, paying fanbase for African acts across countries like the US and the United Kingdom, musicians creating from over there has also been inspired to reflect their roots in their sonic choices.
Canada-based Nigerian artist Shopé has released his EP, ‘Things We Say’. The six-track project encapsulates the breadth of his myriad influences, and is threaded by the concept of one’s human relationships and the power of words as a central part of that connection.
The music scene of Cadana is impressively growing to include an array of musicians, with acts like Nonso Amadi breaking out over the past half-decade to considerable acclaim. Shopé is inspired by this tradition, utilizing R&B to fine effect. Before the release of this album, he had a laidback year, putting out “Rikiki” and “Pepper Dem,” two singles which doubled down on the legitimacy of his Nigerian origin. In the colorful visuals of the latter song, he stages an interview at the beginning to flex on his fashion, smoothly using that to establish the buoyant vibe of the record.
With all the deliberation that goes into Shopé’s music and his overall presentation, ‘Things We Say’ surely has great potential to break through the ice of today’s many releases. Actually, it’s quite expected that the tape will become a solid entry in his discography, looked back upon with relish as he continues to grow his fan base.
Earlier this year, Teezee released his sophomore album ‘Arrested By Love,’ his first solo body since 2013’s debut ‘The Fresh Prince of Las Gidi.’ The new project provided a full-view of his sonic and personal world, capturing the duality of Teezee as both rapper and singer than at any point in his career while displaying the appreciation for quaking instrumentals.
Since the EP’s release, Teezee has been drawing fans into the world of ‘Arrested By Love,’ by treating fans to new video treatments. Earlier in the year, he shared the video for the Deto Black-assisted “NOK’D” and has now followed this up with the release of the official video for “DRKSKN” featuring UK rappers, Lancey Foux and Backroad Gee.
The new video features clips from Teezee’s colourful world in Lagos and London. Directed by Ayo Odunsi, the video includes clips of Teezee as he takes us through different parts of the Lagos living experience, from concerts to the beach, family time and more. All these experiences merge into an enjoyable visual experience for the viewers’ consumption.
The vibrant and colourful video also captures Lancey and Teezee, during the rapper’s visit to Lagos last December, as well as multiple clips of raging fans and listeners at concerts. Following the video’s release, we spoke to Teezee about the inspiration behind the video and the importance of documentation.
His answers, which follow below, have been lightly edited for clarity.
NATIVE:How did this particular collaboration come about?
Teezee: This particular collaboration came about in London in early 2021. I had linked up with my longtime friend and collaborator Lancey Foux and I had always been a fan of his music cause he always had his own interesting way of going about putting out his music in the UK and now, he’s one of the biggest and with Backroad, I met him around the same time in London and we just connected on energies and we linked up in the studio on the same day so Lancey laid the hook first in like five minutes and so Backroad and I just hopped on and did our verses back to back and that happened.
NATIVE: What was the major idea behind this video and how were you able to create this visually?
Teezee: I just wanted to capture Lagos in its full element during the party season. From the rage season in December with events such as NATIV5 to Easter with Homecoming, these are what make Lagos fun. I’m glad my close friend, Lancey could really feel the energy of Lagos and really understand that people are really messing with him out here because it was his first time perfo he’s been here back in the day with Skepta and wasn’t able to perform but these two events really showed him that people on this side mess with him a lot.
NATIVE: What were two major highlights while shooting this video?
Teezee: Well, it was really the Behind The Scenes moments we were really trying to capture, so I think the highlight was really the whole scene in its glory. There’s a lot of cameos from people and participants in everything we’ve been trying to build for the past couple of years and that’s pretty exciting.
NATIVE:What do you want listeners and viewers to take away from this track alongside the video?
Teezee: Obviously, Lagos is one of the craziest and funnest cities in the world but yeah, this one’s actually for Black people and dark skinned people. This record celebrates us for being darkskinned people and being on our own vibes.
