TurnTable Top 100: Zinoleesky’s “Call Of Duty” Debuts On The Top Ten

This week, Fireboy DML and Asake remain on top of the TurnTable charts. “Bandana” tallied 4.54 million streams (No. 1 on streaming), 65.7 million in radio reach (No. 1 on radio) and 11.5 million in TV reach (No. 5 on TV). It marks a sixth week at No. 1 on the Top 500 which is just behind the 7-week reign of Kizz Daniel’s “Buga” with Tekno as the longest No. 1 songs of 2022.

Asake’s “Terminator” dips to No. 2 in its second week on the chart; interestingly, it is No. 2 on all three components of the Top 100 – streaming, radio and TV (it is even No. 2 on the combined airplay chart behind “Bandana”). Following “Terminator” is Pheelz & Davido’s “Electricity” holds at its No. 3 debut for a second week on the Top 100; it is No. 3 on streaming and No. 3 on airplay.

Rounding up the top 5 is Burna Boy and Ed Sheeran’s “For My Hand,” off his recently released studio album, ‘Love, Damini’ which lands at No.4 this week. According to chart data, Audiomack is the major factor for its boost as it by far the most-streamed song off Love, Damini on the platform. It is followed at No.5 by Crayon’s “Ijo (Laba Laba).” This week, Carterefe and Tiga-Berri’s “Machala” falls to No.6 on the charts, despite news of the single being taken down from streaming platforms last week. TTC posits that the song is expected to fall after being taken off some DSPs such as Apple Music, Spotify, YouTube and Boomplay on the final day of tracking for this week’s chart. The song is still being played on radio and also available on Audiomack.

Rounding out this week’s top ten; Burna Boy’s “It’s Plenty” and “Common Person” at No. 7 and 8 respectively; Ruger’s “Girlfriend” at No.9 while street poetm Zinoleesky’s “Call of Duty” launches at No. 10 this week. The song tallied 2.15 million streams (No. 5 on streaming) and 14.1 million in radio reach (No. 38 on radio). Outside the top 10, Olamide’s “We Outside” debuts at No. 20 this week.

You can read a full breakdown of the chart here.

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Essentials: Sound Sultan’s posthumous EP ‘Reality CHQ’ is a product of friendship and love

Artists come and inevitably go. Their works, though, if preserved, can last on forever. The latter is the case for Nigerian artist Sound Sultan who passed on last July. The death of Olanrewaju Fasasi, fondly known to friends and fans as Sound Sultan, shifted the air of the Nigerian music industry on the day the news broke last summer. Many Afropop lovers, feeling the stab of pain, stared reality in the face: one of the icons of the country’s music scene was gone, forever.

Sound Sultan was a man whose sojourn in the entertainment scene spanned over two decades, juggling music, acting and comedy. His hit songs and timeless records —“Mathematics,” “Motherland,” the 2Baba and W4-assisted “Ole (Bushmeat),” the M.I Abaga-assisted “2010 Light Up,” the Wizkid-featuring “Kokose” and “Natural Something,”—soundtracked the lives of Nigerians through different eras.

 

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Mostly known for using his songs to speak against poverty, corruption and bad governance in Nigeria, Sound Sultan was far from didactic; the hard topics were couched in a softness that made for enjoyable listening. Recently, the estate of the late Nigerian pop’s everyman released his first posthumous release consisting of tracks recorded before the veteran passed away. With the release of new EP ‘Reality Chq,’ his family and friends have undertaken the task to keep his voice still ringing out on airwaves and, most importantly, in the hearts of his fans and music lovers at large.

On ‘Reality Chq,’ those qualities are present. Over five tracks, which were produced by Nigerian music producer ID Cabasa, Sound Sultan offers social commentary and jovial observations. The project is also a bridge that connects the past and the present, with Sound Sultan’s longtime pal 2Baba and new-school acts Bella Shmurda and Zlatan appearing on the record.

The lead single “Friends” sets the tone for the project. Over groovy production, Sound Sultan interrogates the duality sometimes associated with the song’s title. “I wanna let you know it blows my mind/Anytime I look around o/And I see you you you,” he sings, expressing gratitude for the people who surround him. When he sings, “I pray make thunder fire all my enemies yesterday/But today I no fit find my friend/See gobe,” it is easy to imagine the shock on his face at the realisation that not everyone close to him wishes him well. The song encapsulates both his befuddlement and understanding of the mysteries of friendship.

On “Siren,” Sound Sultan and 2Baba decry the political and societal state of the country. Sound Sultan places the blame on the laps of corrupt politicians when he sings, “And as dem don dey do funny politics/Soldier dey die for Sambisa/While dem pikin dey jolly jolly/Dey jaiye jaiye for Ibiza.” He and 2Baba call on the people to embrace their powers as electorates to kick out bad politicians.

“Follow me make I carry you to reality/ Take a break from the Internet and its vanity,” Sound Sultan begins on “Reality Cheque,” which features Bella Shmurda. On the mid-tempo track, he administers doses of reality to the listeners: money doesn’t solve every problem in the world and you should quit yearning for someone else’s fancy reality because you do not know the burdens that they carry. “Face your fears and conquer/Live your life, no competition,” Bella Shmurda adds to the list of dos and don’ts. The backing vocals join in too, ensuring that the message of the track doesn’t escape the listener.

“Levels” strays into Afropop territory but its theme keeps in touch with the message of the project: no matter your station in life, find the positives and lead a happy life. Zlatan is a fine accompaniment on the track as he preaches about the benefits of staying in his lane and seeking progress.

 

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On “Naija Na Wa,” Sound Sultan is exasperated about the poverty in Nigeria, which is exacerbated by harmful political and religious practices. “On top money no dey (Na Wa)/They come dey form mugu (Na Wa)/Government dey play you local (Na Wa)/You dey look as your family dey suffer (Na Wa),” he sings. The percussion-heavy track gyrates with an infectious melody that massages the harshness of the issues Sound Sultan addresses. In the end, Sound Sultan cautions listeners that only concrete positive actions can deliver the positive changes they want to experience in the country.

Jointly released by EMPIRE and Naija Ninjas, which Sound Sultan co-owned with his brother Baba Dee, ‘Reality Chq’ is a compact presentation from an artist to his audience. He is not here but his music is here, and the problems he addresses with it are still present and demand upright citizens to solve them. That, in essence, is the reality check.

Listen to ‘Reality Chq’ below.

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Best New Music: Dunnie Craves Affection On “More (Ko Ko Ko)”

Last year, Nigerian artist, music producer and music director Dunnie released her EP ‘Amazon.’ The project featured Nigeria’s The Cavemen., Kenya’s H_art the Band and Tanzania’s Darassa. Its lead single “Mosafejo” swayed with an Amapiano-influenced rhythm and a fun-loving vibe that contrasted the romantic tone of 2020’s Oxlade-assisted “Overdose.”  Among other notable releases on her roster, she also featured alongside South African artist Focalistic on Malawian-South African record producer Gemini Major’s “Ewele.” An alumnus of Sarz’s production academy, Dunnie has collaborated with artists across parts of Africa including Wande Coal, Yemi Alade, Niniola, Becca and Busiswa, among others, and continues to showcase her impressive skill and range.

 

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In “More (Ko Ko Ko),” her second single of the year, Dunnie continues the theme of love started in her first single of the year “Already Won,” which she co-owns with Nigerian singer Chike. “More (Ko Ko Ko)” also continues music producer DeeYasso’s streak of production for Dunnie after “Already Won.” The Afropop tune possesses an upbeat rhythm with delightful guitar licks permeating its base. It presents a background for Dunnie to reveal her romantic desires for a love interest.  Ko ko ko I am knocking on your door/Baby come give me your lo lo love/I want some more more more,” Dunnie sings on the chorus.

The onomatopoeia “Ko ko ko” represents knocks on the door, which in this case is the heart of Dunnie’s love interest. She desires his affection and seeks his approval and invitation. There is a sweetness in Dunnie’s persuasion and she doesn’t come off as cloying or annoying; on the other hand, she exudes a playful confidence on the track. She sounds sure about what she wants and is confident that her heart’s desire will be granted. DeeYasso, on his part, matches that playful confidence with his production: he unravels an easygoing tempo that is instantly charming and irresistible. 

In today’s world where the internet has created more avenues for people to connect, the dating scene has also felt its impact. It has seen the proliferation of dating apps, which offers people, irrespective of gender identity or sexual orientation, the opportunity to bond with others and bolster their love lives. But it has its drawback: too many people to choose from can sometimes cause people to always be on the lookout for more, even when they have enough. Dunnie confirms her seriousness for her lover when she sings, “This one no be child’s play/I’ve found the one no more Tinder again.”

For her, her willingness to take herself off the dating app is a sign that her lover is enough for her and that she is ready to commit to them. In today’s dating scene, that action is a big, floating green flag. In 2021, Dunnie was featured in Global Citizen’s list of nine kick-ass women to know in the Nigerian music scene. She has collaborated with the NGO Audio Girl Africa to mentor girls and women who want to be producers, sound engineers, and DJs. She was one of the regional judges at the Access The Stars’ Music Competition alongside Seyi Shay, Tee-Y Mix and Kaffy. With her handprints in many sectors of the music industry, Dunnie proves that she is adept at many things. That assuredness also seeps into “More (Ko Ko Ko),” portraying her as a woman who recognises her desires and pursues them without breaking a sweat.

Listen to “More (Ko Ko Ko)” below.

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The Headies Cannot Live Up To Its American Dream

America. One country, many opinions. When the Headies announced earlier this year that the legacy awards will be held in the US, a number of people had doubts. The move was seen as audacious but quite jarring, given the fact that it would be taking the award show away from music lovers and followers of the Afropop scene—since 2006 when the Ayo Animashaun-led movement started under the alias of the Hip-Hop World Awards. 

For those who’ve been able to tune into the awards show in the past sixteen years, there’s been no shortage of administrative issues plaguing its otherwise credible running. Nominated personalities have only constituted a minor part of discussions surrounding Headies some weeks before it’s held. On the other side, portending a larger, urgent consideration was the quality of production. Would the sound and lighting be world standard? Would the hosts be entertaining and fluid? Would the scripting be properly done, and conversant with the event space and proposed timing? 

 

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In regards to the 15th Headies at the Cobb Energy Performing Arts Centre, a lot of these questions plaguing the show still went unanswered. Some hours before the event was to start on Monday night, a number of people shared their displeasure with the small-scale promotion and a dust of uncertainty immediately clouded the event as though its old demons were lurking. 

Mr. Animashaun, in the weeks and months before the event, was very keen to explain the reasons for taking Nigerian music’s biggest night overseas. Most recently, a Billboard feature gave his quoted reason in a descriptive headline that ended with, “We need to take centre stage”. In conversation with The NATIVE months earlier, the cultural entrepreneur cited cost and ease of getting production equipment as the reason behind their US move, saying they would likely hold the event internationally again, even though that wasn’t fully planned out. “Headies is largely dependent on sponsorship,” he said, “There’s a reason why the other awards have not been consistent because it has to mean more than business for you to continue. You have to love the industry and you need to be passionate about it to build something that lasts”. 

Consistency and expansion were surely key goals for Mr. Animashaun, but following its 15th iteration, it seems he’s only managed the former. The Headies was still organised this year, even though the American touch fell flat on its face. Watching the event, there was almost a sacrificial exchange between the colourful Nigerian energy that’s defined its most iconic moments and the neat global image being coveted. Perhaps due to a lack of MCs, the red carpet suffered a slow procession into the main hall as the arriving guests were all interviewed by the same MC Rhelax, who also works in-house at Hip TV for its streets vox pop segment.

Across the board, Nigerianess was sacrificed, and even more brutally, with the choice of Anthony Anderson as co-host alongside Osas Ighodaro. While the Nollywood actor was graceful and resplendent on the night, her male counterpart was out-of-touch. Here, he offers no familiar richness or quality commentary—in one standout moment, he complains about the absence of A-listers at the event. It was his tone, understandably pained but nonchalant and condescending, especially considering how much it must have taken to get him on stage. Referring to Black Sherif as “Kwaku the traveler” and his invocation of “African artists” was perhaps heavy with stereotypical representations. And this comes as no surprise considering the disconnect between Africans and African Americans, often stoking great feuds on social media. 

A Nigerian presenter would have known better. For all the recorded instances of Headies presentations, never has it been this bad. How do you celebrate Afrobeats and give stages to people who don’t know the smallest detail about its artists? Even a legend like Sound Sultan didn’t get a tribute as he should, while Americans grasped the familiar for their own safety. And, somewhere in all of this, that dream of occupying the centre reveals a larger problem. A larger problem of conquering home fronts and aiming for global appeal—but when you don’t utilise your own strengths, it becomes a clear case of lacking originality. The spaces you’re attempting to enter would respect you less, with even lesser goodwill among your home audience who are otherwise your biggest fans. 

There were, at least, riveting performances, from the likes of Pheelz, Fireboy DML, BNXN, and Ruger, who delivered a brief-but-poignant take on some of his biggest songs, including “Bounce” and “Girlfriend”. The blending of live instrumentation into the DJ’s sets was telling of an increasing awareness towards stage performances. Later that morning the artist formerly known as Buju would snag the coveted Next Rated, completing what has been a phenomenal run since exiting Spaceship Records in 2021. With Bad Since 97 released not long ago, he can now be considered two years-deep into his creative rebirth. 

In the hours after the 15th Headies, there has continued to be reactions. Some striking opinions have been from industry players, one of which is Masterkraft. Although the beatsmith has carved a distinct lane for himself through traditional-influenced pop, the famous Sunny Nweke has scarcely received an Headies nomination. “I have been a blessing to this Naija music industry for years and will forever be a legend to anybody who chooses to be excellent, exceptional and special in the music space of this continent,” he shared on his Twitter handle, going on to mention some of the artists he’s worked with: Phyno, Flavour, Wizkid, Davido, Burna Boy and Olamide. 

Another great point was the choice of performers. Individually, the choices were all good artists but collectively that’s not the variety an awards show should be presenting. From Adekunle Gold to Fireboy DML, more than eighty percent of the performers are operating within a similar circuit of the industry, and their songs were already globally recognised and digested for an even longer time by the Nigerian audience. It’s hard to infuse novelty in such situations, but why should it even be so, when Nigeria has so many diverse musicians? 

Psycho YP’s name is frequently mentioned, and even more so now given that the Abuja rapper currently ongoing a statewide tour with Rema. Although he’s previously been nominated, there’s a sense of the awards platform not having welcomed him into their space. Just like they haven’t welcomed many rappers, nor the indie-leaning musicians who are colouring the edges of Afropop. The Cavemen were missing from this year’s nominations, and beyond making a case for their excellent performance skills, the win of “Doings” by Flavour in the ‘alternative’ category places the need for a more robust interpretation of genres, and perhaps even creating new ones. 

All this calls for collaboration. To me, the efforts spent on the American Dream would have easily created an updated experience within Lagos while retaining cultural essence. As much as Afrobeats has become a global phenomena, there’s much potential in solidifying the roots of a home front. If anything, the humorous presence of the Lagos governor Babajide Sanwo-Olu at the event shows that the politicians are aware of the grounds our music is breaking. With proper collaboration with state and private stakeholders and contracting the genius creatives operating out of the country, an excellent Headies event—from production down to the nominations and winners—wouldn’t be a dream anymore. It would be a reachable reality. 


ICYMI: FIVE TAKEAWAYS FROM THE 15TH HEADIES AWARDS

Songs Of The Day: New Music From Frescool, Mohbad, Blxckie & More

We’re more than halfway through 2022, and it’s been an eventful year for Afropop. There’s been a torrent of great new music, spawning a massive stack of inventive smash hit songs. From Highlife-infused Ghanaian pop, to the unrelenting force that is Nigerian street-pop, to South Africa’s indomitable Dance scene, to tantalising Drill explorations in East and Central Africa, and much, much more, we’re living through abundant and musically expansive times.

Every week, many songs from African artists make their way to digital streaming platforms, and wading through them can be intense. That’s where The NATIVE’s Songs of the Day column comes in to help. We go through as many new releases as possible, spotlighting them here, two to three times every week. This Friday, enjoy new music from Frescool, Mohbad, Blxckie and more. Dig in!

DJ ASAP & Frescool – “One Second”

uNder alum Frescool teams up with DJ Asap for the catchy Amapiano infused record titled “One Second.” On the uptempo track, he pleads with his love interest for a moment of her time which he would deeply appreciate. On it, he sings amorous lines such as “I want just one second, iseju kan pere ah iseju kan pere” which translates to “I want just one second of your time, only one second.”

Mayten – “Wait On Me” ft Blxckie

Following the success of his hit single “Karolina,” South African singer Mayten taps Blxckie for the new mid tempo number “Wait On Me.” On the record, he sings lyrics such as “Girl you should have waited on me when I was in my darkest days/Girl you should have waited on me but I don’t need you now,” letting his muse know that he’s moved on from what they used to have.

Mohbad – “Peace”

Marlian record signee Mohbad has arrived with a new upbeat record, “Peace” a catchy number which sees the artist speaking on the necessity of having peace of mind. Produced by talented street-pop beatsmith Rexxie, he opens the record chanting lyrics such as “wetin be this one like this, been through many things/many many gist but I had to find my peace.”

Blaqbelieve – “Melody”

Following the release of his 2021 EP ‘Cupid & Strive,’ newcomer Blaqbelieve is here with his most recent offering “Melody,” and infectious mid tempo record which sees the singer laying down sultry vocals as he quips lyrics such as “I no go ever leave you my dear/make you go denge no fear, your melody is taking me there,” to his love interest.

Ceeza Milli – “God Abeg”

For his most recent offering, Singer, songwriter and producer Ceeza Milli is here with the record “God Abeg.” Produced by Dibs Tunes, the new numbers sees the artist speaking about his accomplishments so far as well as attaining greater heights. He sings “Omo tonight, me I want to jaiye, I’m ready for the night/God abeg, don’t let enemies come take my smile away,” while offering encouragement for his listeners.

Skiibii – “Flex”

Singer and songwriter Skiibii has had a good year so far in terms of hits, from records such as “Baddest Boy Remix” featuring Davido to “Trenches,” the year has been indeed good for the artist. Now, Skiibii is here with his most recent project ‘Life Of A King.’ The 4 track solo project sees Skiibii focusing on how far he has come, his growth so far and his strength as an artist. On the standout “Flex” produced by Niphkeys, he opens the record chanting “problem no fit my body, wahala no fit my body,” making it clear to  listeners that he’s only focused on the positive side to things and the good things of life.

9ice – “Ko Kanye” ft. Tiwa Savage

Veteran singer 9ice makes a comeback with the release of his latest body of work, ‘Tip Of The Iceberg 2.’ The 9-tracker features appearances from artists such as Bella Shmurda, Zlatan, Wyclef Jean and more. The Tiwa Savage-assisted record “Ko Kanye” which is produced by Grammy-award winning producer Rexxie, is a standout as the pair sing about living their respective lives without focusing on negative comments from people around them. 

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Watch NATIVE Sound System’s New Video For “Wedding Ring” With BOJ, WANI, Odeal and Odunsi The Engine

Over the past two weeks, NATIVE Sound System has been enjoying the fruits of its magnificent full-length project NATIVEWORLD’ released in August. The 15-track project pulls together familiar and emerging names from around the Afropop scene, both home and abroad, including Ayra Starr, Azanti, SGaWD, Psycho YP, Fresh L, Deto Black, NSG, and production credits from a murder row of beat smiths such as 44DB, Genio, Le Mav, Monster Boys Music, and more. 

Created to represent Nigeria’s cultural and climatic seasons, the album offers an array of tunes for the merry festive season, to the sunny summers, dusty Harmattan, and wet rainy season. Kicking off its rollout with “Runaway,” it represented the wet climatic season featuring Afropop’s bold leader Ayra Starr and the dexterous Lojay. Produced by NSS’ very own Sholz and additional production from Grammy Award-winning producer Lido, Runaway” narrated a tumultuous love story accompanied with cinematic visuals from the talented Dafe Oboro.

Now, to expand the visual world around her debut album, ‘NATIVEWORLD,’ NATIVE Sound System has shared NSS released its second video to the fan favourite single “Wedding Ring.” Directed by Emmanuelle Loca-Gisquet, the video features clips of the four-time band making promises to their muses before attending a wedding in typical Nigerian fashion but with an alte twist. Merging the visuals with VCR edits, WANI, BOJ and Odeal get playful as they perform their verses against the backdrop of Trill Xöe’s groovy production. 

With star-studded cameos from Afropop royalties: Dele Sosimi, Teezee, and SHŌLZ, the new video for “Wedding Ring” celebrates and champions African culture, while showcasing what NATIVE Sound System does best: pioneering sounds from this side to the world watching.

Watch “Wedding Ring” below.

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Five takeaways from the 15th Headies Awards

In the early hours of Monday morning, the Headies made an awaited return for a 15th edition. As the premier awards event in Nigerian music, the announcement of a new instalment of the Headies was greeted by a mix of intrigue and cynicism. Intrigue for what the nominees list would look like and growing cynicism every year at the production quality of the ceremony. This year’s wasn’t any different, especially on the latter front.

A few months ago, when the Headies announced the temporary relocation of its main event to the U.S, concerns immediately started flying around. Why would our music and culture, although now the source of global acclaim, see one of its more grounded events uprooted from its immediate environment? Headies founder and revered Nigerian music and media executive, Ayo Animashaun explained that the move to Atlanta’s Cobb Energy Theatre was mainly for production reasons, to help deliver the finest awards ceremony experience to a Nigerian and African audience disillusioned by the consistently subpar nights we’ve been privy to over the last few years.

On many accounts, many would say that the Headies didn’t deliver a great ceremony. There were barely any positive highlights; a lot of Nigerian music’s biggest stars were visibly absent, and the viewing experience remained aesthetically unappealing. Perhaps, regardless of the presentation, the most immediate part of the whole thing to appraise is the music, which is the focal point of everything after all. In the last few years, the Headies has expanded its purview beyond the trappings of its mainstream-centred view. It’s not enough to save the run of underwhelming ceremonies, but that widened view is the most refreshing part of the awards show these days.

 

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Winners have emerged from the diverse nominees list. There were the obvious choices like Wizkid winning Album and Song of the year for ‘Made In Lagos’ and “Essence”, respectively; there were innocuous but slightly head-scratching decisions like Burna Boy winning Best Male Act and Best African Act despite being visibly snubbed across other categories; and there were, as expected, controversial wins like Olamide winning Best Rap Album for the pop-oriented ‘Carpe Diem’ and BNXN (fka Buju) winning the highly coveted Next Rated award.

Over the next few days, opinions about who should and shouldn’t have won what will fly across social media timelines. For us at The NATIVE, here are our notable takeaways from the award wins at the Headies.

The Leader(s) of the New School

The Next Rated category is easily one of the most anticipated highlights at The Headies. Since the category was created in 2006, artists such as Wande Coal, Wizkid, Davido, Mayorkun, Rema and more have won the awards. The award has been dedicated to awarding the most promising fast rising act in the year under review, with a new car added to the winner’s incentive alongside the Headie plaque.

Earlier in the year when The Headies first made its announcement, they announced that the winner of the 2022 Next Rated category will be walking away with a brand new 2022 Bentley. This year’s nominees’ list was arguably the most competitive in the category’s history, as every artist in the category had a very strong year in the year under review. The artists in the category included Ayra Starr, Ruger, BNXN fka Buju, Zinoleesky and Lojay.

After a lot of debate and speculation, BNXN walked away with the award for the Next Rated artist of the year and that was a well-deserved win considering the year in review. This particular category was certainly a very difficult pick and I strongly believe that everyone nominated in this category should have been given a special recognition award. Although there can only be one winner, this goes to show that Nigerian Afropop has improved immensely. For the first time since 2013 when Sean Tizzle, Burna Boy, Dammy Krane, Seyi Shay and Phyno were all in competition against each other for The Next Rated award, this has been the most competitive year so far.

Wonu Osikoya

 

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Street-hop is not limited to Nigeria’s South-west

The streets form a crucial piece of Nigerian music. For the most part, they make up popular culture, inventing the slang and lingo behind the most communal songs we’ve ever heard. Yesterday, with the choice of Best Street Hop single going to Goya Menor and Nektunez’s “Ameno”, we saw a welcome change from the overt centralisation of Lagos in times past.

While the south western state and immediate region occupies a monolithic space in Nigerian culture, by no means should that be definitive. In recent years we have seen Southern artists from hubs like Port Harcourt and Benin City break into the mainstream, and bring their own culture with them. “Ameno” is very Benin in identity, codifying a number of local expressions and beautifully using the casket-bearing tone widely popular in nightclubs. A record like that no doubt peels into an entire demography of young people, and is rooted in a moment in time. While Rexxie and Mohbad’s “KPK” is a great shout, there’s a lot more going on for “Ameno”, especially considering its global acclaim (once the most Shazamed song in the world) and how that cemented a viable pathway for Nigerian Street Hop to blend with international conventions.

Emmanuel Esomnofu

What really is Alternative music?

In the past, alternative was a dog whistle for what many Nigerians deem “good” music—you know, the type that doesn’t sound…let me say, typical. Being a highly nebulous category, it’s difficult to explain what makes a song or an album classify as alternative, and if The Cavemen.’s winning last year’s Best alternative Album for the neo-highlife cult classic ‘Roots’ proved confusing, I don’t know how to explain Highlife-pop stalwart Flavour winning Best Alternative Song for his hit single, “Doings”.

Similar to the rest of the world, it’s obvious that the organisers of the Headies are increasingly viewing Nigerian music through the Afrobeats prism, othering almost everything that doesn’t neatly fit within the narrative of an imported nominal description. This year’s alternative song nominee list lumps together an Afrobeat cut, a slow boiling Afro-soul cut, and three highlife-indented songs. As much as proximity to what dominates the mainstream is the criteria here, there’s a clear dissonance, especially when you factor in that these genres are foundational to Nigerian pop.

Of the nominees, Flavour’s “Doings” is the closest thing to pop. In fact, it’s a Nigerian pop song with a distinctly Eastern appeal, and that it doesn’t fit perfectly within the Lagos to London Afrobeats sonic template shouldn’t make it less so. Its win here feels watered down within a prejudicial framework; maybe it could have made a better choice in something like a Best Folk Song category. There’s an increasing difficulty in classifying music, and times like this reiterate the question of what alternative music is?

Dennis Ade Peter

 

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Olamide is a Nigerian rap great but ‘Carpe Diem’ isn’t the Best Rap Album

Olamide just snagged his third Best Rap Album win at the Headies, putting him on par with fellow Nigerian rap great M.I Abaga as the rap artist with the most wins in the category. Olamide’s first was at the 2013 Headies for his second studio album ‘YBNL’ and the second was at the 2014 Headies for his third studio album ‘Baddest Guy Ever Liveth.’ While the winning project, ‘Carpe Diem’, is a fantastic album that reinvigorated Olamide’s discography, it is a project that finds the artist, for the most part, plying the pop route.

Olamide’s wins in the previous years were merited, in my opinion. On those albums, he rapped to his heart’s desire, even on playful, party cuts. On ‘Carpe Diem,’ rap isn’t at the centre but stands on the side. Other nominees such as A-Q’s ‘GOLDEN’, LADIPOE’s ‘Providence’ and Show Dem Camp’s ‘Clone Wars Vol. 5 – The Algorhythm’ fit the bill most perfectly; I’m not saying that traditional Rap is the only acceptable Rap style, what I mean instead is that a Rap album category should comprise of albums that feature the genre’s title in copious measure. It’s telling that the younger generation of Nigerian rap is largely ignored in this year’s category, and Idowest is the only other indigenous rap proponent asides Olamide.

In the larger conversation about rap music not progressing in Nigeria, the Headies organisers shoot themselves in the foot as it again reinforces the perception that the artists pushing the genre in the country are rare. Categories for rap music should be left for artists and projects that are, on multiple listens, undoubtedly devotees of the genre.

Uzoma Ihejirika

 

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What types of legends are we even uplifting?

This year, the Headies introduced a new sub-category: the Lifetime Achievement Award (Talent), splitting up its former Special Recognition awards into two sub-categories that allows for recognition for both talent and an individual’s outstanding impact on the entertainment industry. In the past, this award has been bestowed on music executives and artists who have made a name for themselves in the Nigerian music industry and made valuable contributions to the sound and scene over a considerable time period.

Previous winners have included Paulo Okoye, longtime music exec and CEO of One Africa Music Fest, Afrobeat Maestro Femi Kuti and Kaffy, revered dancer and former Guiness World record holder. However, this year, the award went to D’banj who snagged the title of Lifetime Achievement Award (Talent) to mixed reviews from Nigerian audiences who were watching the ceremony both locally and internationally. D’banj is obviously talented—there’s no denying this fact, the Nigerian singer has endlessly proved his mettle by solidifying his place in Afropop’s canon through decades of radio-ready hits and party-starting jams. His music is reliably in rotation at functions and has served as the soundtrack for many Africans on the continent.

However, his contributions to Nigerian music has been marred by his recent allegations of sexual assault and coercion. In June 2020, a young woman named Seyitan Babatayo detailed her ordeal at the hands of musician, D’banj in a now-viral thread on social media. In her thread, Seyitan alleged that D’banj had sexually assaulted her after he gained entry into her hotel room through the hotel staff. While the outcome of the case was never publicised, Seyitan did involve the legal expertise of Stand To End Rape (STER), a non-profit organisation dedicated to helping women and children survivors in Nigeria, and sought redress to the harm caused to her. To then bestow an alleged assaulter with an award as prestigious as the Lifetime Achievement Award, is deeply disturbing and does little to assuage viewers doubts about the Headies being out of touch.

In saner climes, news of sexual assault or alleged misconduct would be enough to disqualify an artist or exec from receiving or being nominated for any awards but in Nigeria, bad behaviour is always rewarded. It almost seems like D’banj is being welcomed with open arms in the Nigerian music industry when there are very serious allegations levied against him, reinforcing the notion that abusers are pardoned and reintegrated into society more than the survivors they have left to bear the brunt of their harm. Awarding abusers like D’banj with awards such as the Lifetime Achievement Award sends the wrong message to survivors, viewers and even other abusers, as we see more power being placed in the hands of those who wish to abuse it.

For me, this award should have gone to someone like Sound Sultan, Nigerian music’s everyman who recently passed away and should have been posthumously recognised by his peers and colleagues. Even worse, The Headies didn’t deem it fit to even pay tribute to Sound Sultan, a bonafide Nigerian music legend. There’s always been a fear that Nigerian music going global would help in the rewriting and, possibly, erasure of the history attached to. At a time when the Headies have decided to fully join in the exporting craze, the special acknowledgement of a suspected assaulter and the overlooking of a fallen hero doesn’t inspire much confidence they will do right by Nigerian music if the American affair keeps going on.

Tami Makinde


ICYMI: REVISIT THE PAST WINNERS OF THE HEADIES NEXT RATED AWARD

Tim Lyre shares deluxe edition of well-received debut LP, ‘Worry <'

On his debut album, ‘Worry <’, talented Nigerian singer-songwriter, multi-instrumentalist and producer Tim Lyre showcased his range across a nine-track canvass of love, lust, sadness, joy and observations about life. The project fused influences from R&B, Neo-Soul, Trip hop, Highlife, mid-tempo Nigerian pop, among others, and featured Tena Tenpo, DAP The Contract, Lex Amor, MOJO AF, Prettyboy D-O, Lady Donli, July Drama and Kobla Jnr.

 

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On The NATIVE‘s mid-year list highlighting the Best Projects of 2022, so far, ‘Worry <’ snagged a position, indicative of its wondrous quality. Keeping attention on the album, Tim Lyre returns with the deluxe version of ‘Worry <’ six months after its initial release. The update comes with five new records, which include production remixes from British and South African producers and a new version of “Spanish Lime”, featuring Nigerian musician Suté Iwar.

On the DAP The Contract-assisted “Syzygy”, South African music producer Skulla pulls the track in the direction of House music. Aside from the production, the mid-tempo number experiments with the arrangement: It starts with Lyre’s chorus (whereas the previous version started with Lyre’s verse) and DAP The Contract’s verse doesn’t reach its end. South African music producer Oscar Mbo discards the sombre ambience in the original “Real,” and settles for a carnival-like atmosphere. The new sound creates an interesting contrast against Lyre’s reflective lyricism. Midnight Manoeuvres brings a cinematic feel to an instrumental remix “Spanish Lime”, and on vocal remix version, Suté Iwar complements Lyre’s outpourings about relationship woes.

For ‘Worry < (Deluxe)’, Tim Lyre highlights his knack for collaboration. By opening up the project to other producers, he permits them to use their influences and reconstruct the sounds to their taste. The result is a project that is forward-thinking and widens the door for more cross-cultural connections.

Listen to ‘Worry < (Deluxe)’ below.


ICYMI: READ OUR FIRST REACTIONS TO TIM LYRE’S ‘WORRY<‘

Songs Of The Day: New Music From Nonso Amadi, Somadina, Erigga & More

We’re more than halfway through 2022, and it’s been an eventful year for Afropop. There’s been a torrent of great new music, spawning a massive stack of inventive smash hit songs. From Highlife-infused Ghanaian pop, to the unrelenting force that is Nigerian street-pop, to South Africa’s indomitable Dance scene, to tantalising Drill explorations in East and Central Africa, and much, much more, we’re living through abundant and musically expansive times.

Every week, 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. This Friday, enjoy new music from Skiibii, Preye, Dunnie, Ajebo Hustlers, and more. Dig in!

SOMADINA – “ROLLING LOUD”

Every fan of Nigerian music has been eating good this year and there’s no signs of stopping. The sheer variance of sounds and artists are almost viscerally pleasing, as though you could reach out and touch the music. Somadina’s “Rolling Loud” is that kind of song, a colourful, trippy record pulsing with juicy, affirmative vocals. Adapting the bad gyal vibe of Dancehall purveyors, Somadina blends cheeky quotables into body-swinging moments.

PREYE FT. LADIPOE – “LOVE, TODAY”

Soulful describes the music of Preye, the Nigerian vocalist who’s made positive impressions on the audience for a number of years now. Ahead of her project, she’d released the glittering singles “Malibu” and “Crayons,” a stripped ode to her childhood. She’s now put out ‘Don’t Look Down,’ a 7-track project which houses both tracks. “Love, Today” is however the lead single, a powerful record which recognizes the fleeting nature of life and why seizing moments are necessary. “Just wanna be free; keeping it cool/ Turn up the heat, pour out the wine,” she sings on the breezy chorus, joined later by a typically illuminating verse from Ladipoe.

VECTOR FT. WANDE COAL – “MAMA MARADONA”

One thing Vector has mastered over the career is pop-rap experiments. He’s able to switch lanes or cross them so purposefully, most recently to fine effect on the Goodgirl LA-featuring “Early Momo.” He’s joined by another stellar guest in the iconic Wande Coal, both of them swinging over glittering synth-based Trap production. The narrative of a lover’s mother playing an unlikely matchmaker is explored humorously, giving a sunny levity to the musicians’ delivery.

SKIIBII – “FLEX”

The music of Skiibii has been on a consistent rise since last year, spawning hit songs and notable cultural lingo. As you’d expect, that has granted the musician a new lease on life, a more graceful perspective if you will. On his latest EP, ‘Life of A King,’ the record “Flex” is gloriously-toned and well-sung, relaying the musician’s ambition to get the best from life. The Niphkeys production packs his signature flourishes, while Skiibii also utilises a unique variant of the stacked vocals that’s been a fixture all through Afropop’s 2022.

FOLABI NUEL FT. TIMI DAKOLO – “FALLING IN LOVE”

Nuel is better known for gospel songs, but on the just-released ‘Bobibi’ he charts broader seas. Love is the moving nucleus of the five-song EP which features Johnny Drille and Remii. A standout is this vibrant, earthy collaboration with Timi Dakolo. Performing gleefully over party-esque drums, the duo evoke the famous thrill of falling heads over heels in love. It’s also a fitting compass for the project’s overall mood: a fullness of romance courted with relative innocence.

NONSO AMADI – “EYE TO EYE”

For those who know, Nonso Amadi is back. The R&B savant has made good on his promise to release music this year, following up the introductory “Foreigner” with “Different”, a record whose collaboration with Majid Jordan introduced a distinct edge to Amadi’s signature sound. He’s gone three for three with “Eye To Eye,” a soothing record which underplays the romantic tension at its center. He’s admitting of being struck by a certain love interest, working up a catchy chorus to illuminate the practices of their union. “We don’t always see eye to eye,” he sings with raw honesty, “but when we know when it’s the perfect time.”

TROD – “ISE”

Street Hop unarguably influences the center of mainstream pop, and Trod is a strong name in that movement. For starters, he’s the younger brother of the late great Dagrin. But asides that, Trod is an highly competent rapper, a fact that’s bare on his new album, ‘Grinface’. The hallmarks of his style are well represented on “Ise,” an introspective slowburn off the tape. His vocals, inflections and word choice are well calculated to create a balanced record, one with enough soul but enough Hip-Hop to keep your head moving.

LOVN – “CAUTION”

Highlife is an important sonic touchstone for many Afropop acts today, from Omah Lay to Black Sherif. The name Lovn may or may not be familiar to you, but his latest song will have you on notice. Titled “Caution,” the mid-tempo record borrows the electricity of local percussions and Lovn’s singing, very accomplished and deftly lyrical, is the perfect accompaniment. He weaves sexual innuendos into essential life advice, maintaining a cheeky mastery while at it. “Egungun wey enter for church, na im go anointing touch/ Dog wey go loss, no go hear whistle of the hunter,” he sings wisely in the opening lines. A fine run-up to his ‘This is Lovn’ tape expected later this year.

DUNNIE – “MORE (KO KO KO)”

An irresistible candour permeates this record. Dunnie’s renown as a multi-skilled entertainer is well charted, but has her singing been undermined? She’s a very capable singer, and her background in producing endows her with melodies. On the Deeyasso-produced “More (Ko Ko Ko),” her sunny vocals capture the exhilarating mood that comes with finding your better half. The glistening allure in the production is also very alive, bringing the song’s warmth into completion. If you fancy a well-natured love song, surely have this one on repeat.

AVANTE FT. AJEBO HUSTLERS & FRAYZ – “KEEP ON ROCKING”

By all markings a label record, “Keep on Rocking” reworks the Amapiano trend into a breezy affair. The Semzi production sounds made for these cold Lagos evenings, surrounded with the enthusiastic vocals of the featured musicians. Piego’s signature crooning meets Knowledge’s story-spiced bars, but it’s Frayz on the hook who binds the record with sustained zest. If you know anything about Fridays in Nigeria, you’d know this isn’t an advice as much as it’s a precursor to already rolling events.

ERIGGA FT. JERIQ – “PERFECT TIMING”

Revered for his wit as much as his technical abilities, Erigga is a rap savant. For lovers of his music this has been obvious for close to a decade, but the Warri-raised rapper has consistently worked his way into mainstream discussions. Earlier today, he released ‘The Lost Boy’, an album which bares all his strengths as a music-maker. Take for instance, this guitar-licked Drill-leaning record with the exciting Jeriq. Their distinct styles are combined for an aspirational bop, the kind of song you’ll want to hear when something really good happens to you. Solid chune.


ICYMI: LISTEN TO MAGLERA DOE BOY’S DEBUT ALBUM ‘DIASPORA’

Preyé releases debut EP ‘Don’t Look Down!’

Preyé has been in the industry long enough to make you aware of her alluring presence with her provocative voice. Releasing her first single “Mortia” in 2015, she stood out among her Afro-Fusion/R&B peers, as she used metaphors to describe death. Using her experiences in life to tell a story to her listeners, she’s developed a pensive writing skill breaking down the vast range of human emotions and conditions.

After years lined with sporadic single drops that helped advance the lived-in uniqueness of her artistry, Preyé started teasing the impending release of her debut EP, leading off with the sultry single, “Red Wine”. The sumptuous single was a glimpse into this unfolding arc of her career, a confident showing embodying unbridled sex appeal, which was also fitting at the time of its February release. “Red Wine” is a sexy sip of R&B and neo-soul, making it clear Preyé is not shy about exploring intimacy, offering sensual coos over spry guitar riffs and loose swing drums, and vivid lyrics coating the record with lust and passion: “…you know the riffs that make the lover sweat, hands on my hips riding shotgun.

Don’t Look Down’, the announced title of her debut EP, was teased with a couple more pre-released singles, following up “Red Wine” with the vibrant “Malibu”, which was inspired by her trip to California. “If you cry with me, I’ll cry with you too/Die for me I die for you/Ain’t no problem, you’re my type”, Preyé sings over a mellow groove with neo-funk and dream-pop influences, her earthy voice perfectly reflecting the unguarded joy and excitement at being wholesomely and hopelessly in love. Capping off the run of pre-EP singles was “Crayons”, her enchanting vocals provide a soothing performance as the romantic number pairs up vibrant percussion with her soulful aura. Over the head-nodding production, she sings “I’ll do anything for you to dream big,” transporting us to a euphoria where love is the currency.

Today, ‘Don’t Look Down’ is finally out in its entirety. Housing 7 songs with a diverse range of R&B production, Preyé is capturing our lovelorn souls and driving them to freedom. Crooning over the delicate productions with her luscious vocals, she is not afraid to test new sounds as she explores the act of loving those around her. On “D.L.D Interlude”, she echoes the affirmation, “I am worthy of love”, explicitly embracing the easy allure of love and reminding us that it is okay to love, be loved, and want love, even in these when everything seems complex.

Preyé is joined by a sole guest, featuring Ladipoe on “Love, Today”, who’s in typical “lifelines” mode, as he opens up about balancing the realities of his ongoing success with his continuous quest to find peace and never lose sight of who he is. ‘Don’t Look Down’ is defined by an infectious transparency in its writing, enveloping melodies from Preyé, and production that balances ebullience with a loungey-vibe. Seven years away from her debut single, Preyé’s new debut EP is a strong marker of her growth over time and her confidence in her ideals as a person.

Listen to ‘Don’t Look Downhere.

Listen To YKB’s New Single “San Siro”

Since his breakout in 2019 with the release of the infectious freestyle “Swaggu,” Nigerian singer Oluwo Yusuf Gbolaga, popularly known to fans as YKB, has been on the cusp of a breakthrough. Emerging on the scene with an irresistible charisma and even slicker lyrics and flows, YKB has garbered himself a sizeable following, all devoted to his brand of melodious, word-bending delivery and stellar penmanship.

 

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Since then, he’s attained new heights  including landing a spot on Mr Eazi’s emPawa Class of 2020 alongside other talented young artists in Africa, and even secured a hit single with street-pop heavyweight, Zlatan. His first body of work ‘Before I Blow’ featured songs like “Wake Up” and “Practice Patience,” both of which helped listeners understand where the artist was at the time in his life while still remaining vibrant and colourful.

Last year, YKB who was initially known as YusufKanbai released his debut euphonious EP ‘Before I Blow,’ a 7 track body of work which allowed the artist to bring listeners into his world and explore his different styles and sounds. He’s since followed this up with groovy and infectious numbers such as “Imagine” and “If,” which have only served to showcase his impressive range and sharpen his delivery.

Now, arriving today is his most recent offering, “San Siro.” Produced by Finito, the mid tempo record is a romantic number which sees the artist chanting pleasant and melodic to his love interest. Merging his hypnotic and solemn vocals with his fine art of storytelling, the artist delivers a stellar performance. YKB glides smoothly on the boisterous production of the track as he sings “ever since I don set my korokoro eyes on you, I know that I will fight for you/I know that I will participate in any competition as long as the prize is you,” letting his muse know the length to which he is willing to go for her. The violin strings on the track adds an impressive layer to the track making the record as euphonious as possible. 

With “San Siro,” YKB shows that he has a clearer vision of his sound and he’s ready to unveil more layers to his artistry with a laser-focus on uncovering his true self.

Listen to “San Siro” here.

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Listen to Maglera Doe Boy’s debut album ‘Diaspora’

Even without the announcement of an official debut album, Maglera Doe Boy already had a reverential presence amongst the younger generation of South African rap lyricists and stylistic inventors. Using music to delineate Ghetto’s stories, his career has been bounteous since his break out in 2018 with “Bodega. In 2020 he joined forces with colleague 25K and DJ Slique for ‘Champion Music’, and he released 2021’s 2 Player(The Digital Score) strictly on SoundCloud in line with its description as a mixtape.

In addition to these project drops, Maglera Doe Boy has built his rep as a consummate collaborator—a cheat code feature, if you will. From his technically dazzling display on Sipho The Gift’s “Dark Matter” to his giddy contribution to Boity’s “018’s Finest” and forming a solemn duet with lordkez on “Glory”, the rapper has consistently proven his ability to deliver glistening contributions that help catapult songs. Earlier this year, he formed a fiery duo with Thato Saul on MashBeatz’s street rap hit, Never Ride, creating an indelible mark to get listeners warmed up for his long-awaited debut album.

Officially announced in August, along with a pre-add link, Maglera Doe Boy has been clearing space for ‘Diaspora’, releasing a grip of singles before its eventual release last night. First, he released the MashBeatz-produced and Ason-assisted lead single Dor Do Povo, an affecting cut where he lamented the tribulations of young South Africans from the ghetto. Giving a stellar reflective performance, contrary to aggressive approach he’s known for, he offers insightful vignettes that pull directly from the environment he grew up in.

Following that single, he dropped the monochrome visuals to “Memoirs”, artistically telling the black and white story of his childhood tribulations—“..I write these memories from my soul..”—setting the tone for ‘Diaspora’ as a project informed by deeply personal events and honest first-person perspective. To drive anticipation for the album’s scheduled September 2nd release date, Maglera Doe Boy shared a handful of pre-release singles over the next few weeks, including God is A Black Woman with KayGizm,Makazana, The Suns Song, and the Focalastic-assisted Maglera House Party.

More than a day before it was meant to see release, Diaspora’ is officially out in its entirety. Being one of the most anticipated rap albums out of South Africa this year, the surprise drop sent Twitter into a frenzy, with fans excitedly dissecting the project and many already deeming it a masterpiece. On the heels of the 2022 South African Music Awards , where ‘2 Player(The Digital Score)’ was nominated for Mixtape of the year, the release of ‘Diaspora’ is set to unravel a new era of artistic excellence and higher reverence for Maglera Doe Boy. Lined with street rap ballads and hard knock rap classics, Maglera crafts an album that’s a perfect balance for old fans used to his powers as a lyrical wordsmith and new fans who will be taken by its coherent and thought-provoking narrative.

Listen to ‘Diaspora’ below.

Love Island Finalist Indiyah Becomes The First-Ever PLT Marketplace Ambassador

Indiyah Polack is that girl. After winning the affection of the entire British population and the diaspora as a finalist on the recently concluded season of Love Island UK with boyfriend, Dami Hope, she has become the poster girl for Black girls everywhere, who are looking to break glass ceilings and smash previously inaccessible heights.

While news of 6-figure deals and partnerships with fashion brands have been lined up for other Love Island contestants such as Gemma Owen, Paige Thorne and Tasha Ghouri since their exit from the sunny Majorca villa back in July, Indiyah’s lack of brand deals and sponsorships has been the topic of conversation–until now. First announced yesterday, news of the 23-year-old’s record-breaking deal with British beauty retailer and pharmacy chain, Boots reached social media to rave reception from fans worldwide.

Barely hours after, Indiyah Pollack has announced a new deal with fast-fashion brand PrettyLittleThing (PLT) which is part of the Boohoo UK group owned by a Umar and Adam Kamani. On social media, however, the announcement of Indiyah as PLT Marketplace’s new ambassador was met with scepticism, with many users conflicted on the tenuous relationship between sustainability and fast-fashion.

PLT’s Marketplace was first announced back in February when Creative Director and former Love Island finalist, Molly Mae shared a post on her Instagram about the fast-fashion company’s grand plans to disrupt the fashion industry. Undoubtedly, there were many questions from buyers across the world who were sceptic about what real changes would result from this move. While Indiyah as the face of the new PLT marketplace (with her own TV ad) is any Black girl’s dream, we can’t deny there are real ethical questions to be answered by PLT.

According to official reports, the PLT Marketplace is a buying and selling community which allows you to sell on the clothes you no longer wear or buy and sell Pretty Little Thing items as well as pre-loved clothing from other fashion brands. In the year-long deal, Indiyah will also be selling pre-loved outfits that she wore in the Love Island Villa. However, this is clearly at odds with PLT’s current standing as a fast-fashion company.

Good on You, a digital platform that weighs up the ethical practices of fashion brands, PLT has scored an environment rating of ‘not good enough’ and a labour rating of ‘very poor.’ Other consumers online have accused PLT of greenwashing and glossing over their horrible business practices with empty environmental-friendly policies.

The only way to redress these issues is by facing the problem directly and wholly restructuring their entire business model to suit more satisfactory and sustainable practices. While we’re more than thrilled for our girl, Indiyah who’s bagging up 6-figure deals left and right, we can’t help feel that this is another tokenistic idea by a fast-fashion brand who are known for disproportionately impacting Black women and women of colour. We’ll be keeping our eyes peeled for how this develops.

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Essentials: Ogranya Is Poetic And Reflective On ‘Festival Of The Sun’

Last year, while the entire world was still reeling from the pandemic and figuring out how to return back to their normal lives, Nigerian artist Ogranya embarked on a challenge to release a new song every week for an entire year. Through those 12 months, Ogranya tirelessly carried out this project which culminated in the release of Project 52,’ at the end of the year.

The project garnered over two million listens across all platforms, bolstering Ogranya to new heights and new ears. Each track aligns with a very specific mood as Ogranya constructs a cohesive vision of life as a young Nigerian. Since his debut in 2018, Ogranya has been making music that delves into a variety of personal life experiences from love, healing and loss as well as the good, bad and ugly of toxic relationships.

Melding genres such as Soul, R&B, Jazz and more, Ogranya has been able to arrive at his own distinct fusion of sounds which has earned him a small but loyal following. This year, he’s released the earworm track “Brenda” which is a heart-wrenching love song about committing to someone whose heart cannot be trusted. Now the singer has shared new EP ‘Festival Of The Sun,’ which widens the scope of his sonic arsenal and sets the benchmark for where he is able to go sonically and lyrically.

The 6-track EP explores issues such as toxic love, romance, self awareness, growth and development. Across its 20-minutes runtime, Ogranya is at his most poetic and reflective as he spins earworm tracks about love and its misfortunes. Employing a range of skilled artists including Johnny Drille, Moliy, Moelogo and more, Ogranya brings his collaborators into his colourful soundscape without obscuring his singular vision: to spin memorable love tunes.

While Ogranya’s voice on this project is more refined, the singer still retains a relaxed and laid back tone, as he shuffles between different sounds and genres. There’s audible influence from a range of genres — shuffling primarily between the mid tempo Afropop and the syrupy melodies of R&B and Soul. The project’s entire mood revolves around the typical jovial themes that are characteristic of archetypal Afropop records.  

‘Festival Of The Sun’ opens up with the self-reflective number, “A Good Time.” The prelude sees the artist in conversation with a love interest as he hammers on the fact that he’s just trying to have a good time and enjoy every minute of his life right now. On the record, he quips “So tonight I wanna go on the dance floor, tonight I wanna take a different route tonight I wanna make you scream and shout,” sharing with listeners his current state of mind which focuses solely on having a good time.

 

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The next track “Abeg” is a more uptempo track assisted by Moelogo and Nviiri The Storyteller. The artist opens the record harmonising the standout lyrics “Cool it down for a minute/Life is for the living,” reminding listeners to let their worries go. On the record, the artist tells the story of focusing on the positive side of life rather than being phased by challenges and the uncontrollable obstacles which may come your way. Elsewhere, on the standout record “I’m Sorry,” Ogranya and Johnny Drille’s undulating vocals merge seamlessly as they both tell a story of mistakes they’ve made towards their respective love interests. On the romantic number, Ogranya sings on the hook of the track “I bet you know, how much I miss you/I bet you know that I’ve been thinking about you,” over the bouncy production of the John Ighodaro-produced track. 

On “Brenda,” which emerged as the lead single off the body of work, the artist addresses his love interest, singing about his love for her and how he plans to reciprocate the love. Over the groovy hook, he sings, “Brenda, Brenda, Brenda, She no dey give me trouble/Brenda, Brenda, Brenda, so I go dey here for you,” guiding the project’s tone and mood with his remarkable artistic fortitude. ‘Festival Of The Sun,’ closes out with the Moliy-assisted “Ecstasy,” a funky and sexy track which provides the duo ample space to fire off their romantic intentions. The record opens with the sensual vocals of Ghana’s Moliy as she chants “I’m feeling you next to me, ecstasy/I’m feeling your energy, ecstasy.” She is shortly joined by Ogranya as he takes a different approach, pairing his wistful vocals with the song’s fusionist production.

‘Festival Of The Sun’ is a stellar body of work by an artist who has paid attention to how important memorability is in his career. Ogranya approaches his new body of work with a clearer vision of who he is as a man and an artist, resulting in a body of work that is equal parts poetic and equal parts self-reflective. As Ogranya traverses a convoluted arc, experimenting with an assortment of sounds, he remains collected, anchoring the eclectic project with the familiar themes of love, romance and positivity.

Listen to ‘Festival Of The Sun’ here.


ICYMI: Read our Essentials on Benji Flow’s ‘The Thrill’

How “Yan Yan” frames Asake’s growth within the past year

Every year, Nigerian pop welcomes several ascendant stars to the mainstream. Of those entrants, it’s not unusual for one or more of those artists to put together a special breakout run that quickly sets them apart from their peers. In select cases, special doesn’t even begin to define that run—think solo 2face Idibia in 2004, Asa in ‘07, Wande Coal in ’08, Wizkid in ‘10/’11, Mr Eazi in 2016, and Rema in 2019.

Asake is in the midst of one of those transcendent breakout years, one that will be Nigerian music history lore for decades to come. Since making his searing entrance into the mainstream with “Omo Ope”, the singer hasn’t just been on a tear of smash hit songs, he’s been the primary narrative of Nigerian pop.

“Sungba” and “Palazzo” aren’t just insanely popular songs, they are irrefutable touchpoints in the pronounced trend of vocally stacked and anthemic hooks. Instant listener favourites “PBUY” and “Terminator” ratcheted up the efficiency of the snippet as a marketing tool before dropping. Asake isn’t just an uber-talented hit-maker, he’s made himself a cultural force.

For an artist with half-a-dozen veritable smash hits, and on the cusp of his debut album, it feels like a long time ago that the singer was trying to consolidate on the success of “Mr Money”. Following the Zlatan-assisted remix of that 2020 street hit, Asake dropped a similarly cruddy banger, “Don’t Hype Me”, but it’s the subsequent single, “Yan Yan”, that offers an inflection point between Asake, the one hit wonder and Asake, the pop superstar with a growing stack of hits.

Sometimes, artists breakout by pulling a 180 and totally reupholstering their style and approach to making music. Other times, they do so by doubling down on a formula and working out the kinks. Asake’s breakout is of the latter type, and “Yan Yan” is prime exhibit that he’d found the sound that would serve as the engine for his supersonic tear. Produced by Phantom, the song relied on the percussive ticks of Amapiano for a club-ready ambience and an exuberant backdrop for Asake to sing boastful and sexually suggestive quips: “I don arrive/omo, je ka lo London”.

The singer’s ready-made disposition was both earned and pre-emptive—he’d already scored a hit song but he wasn’t yet a bonafide star. “Yan Yan” didn’t do badly when it came out, I remember hearing it a few times around where I stay in Lagos mainland, but I wouldn’t describe it as ubiquitous. In hindsight, though, it’s a perfect middle of the road single, because it contains the hallmarks of his now-distinct artistry—albeit in rudimentary form.

There’s the ‘piano-indented beat, which sounds unpolished compared to more the extravagant instrumentation and arrangement of “Omo Ope” and “Sungba”; there’s also his fuji-influenced vocals and flashes of his quotable lyricism, but it’s not as engrossing and intricate as “Palazzo” and “PBUY”. Released just over a year ago, the song shows just how much can change with consistent retooling. It can be easy to take the journey an artist goes through for granted, but understanding humble beginnings makes the trajectory even more worthwhile to experience.

Hours ahead of his highly-anticipated debut LP, ‘Mr Money with the Vibe’, “Yan Yan” perfectly frames the huge strides Asake has taken on his way to becoming a singularly compelling artist.


ESSENTIALS: ASAKE COMES INTO HIS OWN WITH EPONYMOUS DEBUT EP

Review: M.I Abaga’s ‘The Guy’

M.I Abaga is constantly evolving with the times. Since his breakout with 2006’s “Crowd Mentality,” the seasoned rapper has maintained his position as Africa’s most successful English-speaking rapper, merging his propensity for lyrical astuteness with renowned commercial success. Over his decade-spanning career, he has built an enviable catalogue of hits from his critically acclaimed albums to his ‘Illegal Music’ mixtapes, all while shouldering the weight of heightened visibility and even higher expectations which have undoubtedly earned him a loyal following. 

At the end of the 2000s, M.I started his career on an irresistible ascent, a momentum that carried over to the following decade, but that dominance has been tested with each project since the mid-2010s. His 2014 album The Chairman and 2018 ‘playlist project’ Rendezvous saw him offer intriguing variations of his powers as a magnet, bringing in a sprawling cast of collaborators while building on now-familiar themes and soundscapes without erasing what fans had come to love from him. Taking a stark departure from his earlier releases, he turned inward and released some of his most honest work to date with ‘A Study on Self Worth: Yxng Dnzxl’, offering fierce reflections about his tumultuous life and insight into his psyche.

 

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M.I has always been knighted as the undeniable leader of the genre, with a legacy that now ranks among one of the most powerful in the game. It is a position he acknowledges as his, even with doses of a messiah complex. “I should be close to retirement/Couple more years be retiring but/None of you rappers inspiring/None of you pass the requirements/ I can’t retire yet, damn,” he raps in his scathing 2017 single “You Rappers Should Fix Up Your Lives.” It was this single that spurred him, Loose Kaynon, A-Q and Blaqbonez to start a supergroup (L.A.M.B crew) whose sole aim is to revive the English rap scene in Nigeria. “See I fathered the game, go check the record books/When rappers couldn’t get DJs to play ‘em like the second hooks,” he raps on the A-Q-assisted “The Trinity,” off 2020’s EP ‘Judah’. M.I, sure of his place in Nigeria’s music archive, never lets go of an opportunity to educate listeners about his legacy.

On ‘The Guy’, his fourth studio album and eleventh project, M.I Abaga is at his most relaxed yet. With all his years in the game, leading and pioneering the rap genre in the country, M.I approaches this album with a profound sense of calm. While his powers as a mainstream superstar are no longer at peak levels, M.I is still making music that reflects the current landscape. ‘The Guy’ is best considered as a melting pot of every of the skills that M.I Abaga has shown throughout his decades-long career, all commingled into a cohesive whole with witty lyricism and suave delivery. 

The album’s title, ‘The Guy,’ comes with an interesting backstory, which M.I hinted would be his new stage name. The title also serves as a powerful declaration: knowing your worth and power, recognising that no one is like you or can ever be you, that you are that guy (or babe or person, if you please). M.I makes this intention clear on the album’s titular track where he declaratively says, “I’m the guy, ask the guy you thought was the guy/If he don’t say I’m the guy, that’s a lie because I’m the guy.” From the album’s introduction, it is clear that M.I is not concerned with the competition, he is the standard and across the album, he sets out to showcase—not prove—why he still deserves your attention this far in the game. 

Across the 12-track project, M.I Abaga enlists the assistance of some of the biggest names working in the Nigerian music industry including Olamide, Wande Coal, Phyno, Jesse Jagz, Duncan Mighty and more, all while also providing production on a few tracks. As a storyteller and world builder, M.I has managed to remain generationally relevant, adeptly growing and developing with the changing times, and placing those with less visibility at the forefront of his work. It’s a remarkable position he plays with an everlasting message that guides him as he enters new phases of his personal and professional life. While not everyone will agree that he’s his generation’s leader, M.I is less concerned with titles than he is with collecting real estate and reverence.

On the Chopstix-produced “The Hate”, he turns his attention to fellow rappers and artists. “What’s up with all the hate though?” he asks before he goes full throttle to list the evidence of his legendary career. “I’m a god, I’m a king, I’m a Pharoah (Yes)/Been a leader since I was a day old,” he raps. His tone is blunt but not accusatory; it feels as though it is beneath him to be angry at the unbelievers.

As if to prove his superiority, the track is followed by “Bigger”, which features Olamide and American rapper Nas. There is a sharpness in both M.I and Nas’ verses as they acknowledge their career successes while professing a hunger for more. A collaboration nine years in the making, “Bigger” highlights M.I’s status as an upper-echelon rapper who can rub shoulders with the best artists in the world. It also counts as a win for M.I’s in his mission to raise the profile of Nigerian rap. Olamide, also a veteran in the game, delights with his chorus, which captures his grass-to-grace story and his unquenchable thirst for victory.  

Longevity is a befitting word to describe M.I’s career. Between 2015 and 2019, M.I served as CEO of Chocolate City (after being an artist on the label since 2006), shepherding the careers of Ice Prince, Dice Ailes, Jesse Jagz, Koker, Kahli Abdu and DJ Lambo, among others. Coinciding with the release of ‘Judah’, he launched his own imprint, Incredible Music, falling in line with his publicly-known dive into entrepreneurial ventures. Musically, though, he’s remained both a student and teacher of the game, and that’s shown in the quality of collaborators he’s worked with recently, whether that’s gleaning inspiration from, and trading bars with, veteran lyricist and close collaborator A-Q across a joint EP, or tapping lesser-known, porcelain-voiced singers Osi Grace and Tomi Owo on this album.

“Soft Life Tony”, one of the standout songs on ‘Guy’, features Lord Vino, a respected rap artist in Nigerian English rap circles, and together they add Tony Elumelu to the list of wealthy people exalted in Nigerian music – a list that includes Femi Otedola, Aliko Dangote and Mike Adenuga. Both artists long for the lifestyle that the Nigerian entrepreneur and philanthropist enjoys and express a determination to hustle and attain that status. While many might feel M.I has a financial capacity that doesn’t warrant looking up to Tony Elumelu, it is not out of place for humans, most especially Nigerians, to desire to go higher on the ladder of wealth. 

The Nigerian economy, with its unpredictability, forces the citizens, including the billionaires, never to hit pause. “Dangote still dey find money o,” Burna Boy sings on the track “Dangote,” off 2019’s ‘African Giant.’ M.I agrees with Burna Boy when he raps, “Normally soft life no be free, e dey cost plenty fees, chale don’t be deceived.” Not too long after its release, Tony Elumelu posted a glossy viral video on social media, playing directly into the reverence of “Soft Life Tony”.

M.I isn’t known for playing heavily into pop culture iconography, and he doesn’t start leaning into it too much now. The crux of his music has always been his personal experiences, which continues on his twelfth project. Earlier in the year, the rapper warmed many hearts when he broke the news of his engagement to Eniola Mafe. A video, which accompanied the announcement, revealed further details about the relationship. The video was also sound-tracked by a song that turns out to be the Wande Coal-assisted “The Love Song,” which appears on ‘The Guy.’ Dedicated to his heartthrob, M.I declares his commitment, promising to be a worthy spouse and lover. Wande Coal is also in fine form, adding to the song’s appeal with a sweet chorus.

The middle third of the album is filled with a run of devotional love songs, a perfect reflection of M.I’s life at the moment that also plays into his well-known ability to spin timely and timeless songs out of blue-eyed romance. On the Tempoe-produced “The Front Door,” Port-Harcourt’s first son Duncan Mighty draws inspiration from his native Ikwerre language and Ghanaian vocabulary to serenade a love interest. M.I is playful yet deliberate with his delivery on the percussion-led track as he makes romantic promises.

On the hypnotic “The Inside,” M.I taps into the Highlife leanings of Nigerian artists Phyno and The Cavemen. as he renders another love tune. There is also the playful energy of “Daddy,” where he and Chillz shower praise on the anatomy of the object of their affection. While firing off relatable and catchy lines, he drops witty bars that refer to the #EndSARS protests and the Nigerian military.

When M.I decides to address weighty topics, he goes in fully. On the Ossi Grace-assisted “Crazy,” he draws a parallel between toxicity in familial and romantic relationships and the toxicity found on social media. He complains about the lack of nuance and empathy in conversations, which he ascribes to the faulty relationships many people have with their loved ones. He places himself in the middle of that melee when he raps, “People be savage on Twitter be dying inside/Wish you could see how I’m feeling inside.” The track ends with advice from M.I : “Be kind, you never know what people are going through/ It’s crazy out there.”

On “Soldier,” M.I revisits the issue of male vulnerability, which he touched on in 2018’s A Study On Self Worth: Yxng Dxnzl.’ With assistance from Tomi Owo, he paints a sad picture of men, who as boys were encouraged not to express sad emotions, and, seeking an outlet for those emotions, have chosen suicide, violence or silence as adults. He surmises that this, in turn, has affected women who mostly bear the brunt of these men’s aggression. “Lift your head soldier/Pick your head up soldier, don’t cry,” Tomi Owo sings, offering strength to every man and woman in need of it.

‘The Guy’ is loaded with guests, mainly on the hooks, adding even more flavour to an album swirling with colour. Serving as a (co-)producer on majority of the songs, M.I’s ability to create ear-catching pop-rap is at the fore, and he’s joined by a list of renowned soundmen behind the boards, including Chopstixx, Masterkraft, Tempoe, and more. As he’s done on earlier commercially successful albums, and in collaboration-heavy projects, the sound palette reaches across the bubbling spectrum of Nigerian pop. There’s soulful, mid-tempo pop cuts, a club-ready bop, Amapiano is folded into Trap on “Soft Life Tony”, and the lead single is a drill fare that plays into the rising craze around the sound in Nigerian rap.

In addition to adding a vibrant touch and versatility to the project, several features serve as emotional foils. On the folk-inflected “Oil”singer BNXN joins M.I for an affecting performance, as both artists give thanks to God for protecting them and their families and ushering blessings into their lives. The song possesses a gentle-swaying rhythm that oozes leisure and comfort. The thankfulness extends into “More Life” as M.I and his fellow Choc Boiz—Jesse Jagz and Ice Prince—enjoy their victory lap. While Ice Prince cheers Abaga and Jagz in the background, Jagz uses his verse to declare that he and his crew are indestructible. M.I exudes positive energy throughout the track, refusing to allow life’s pressures to unsettle him as he sings, “Let me live my life, you live your life/Toast to more life, we do this shit for life.” 

 

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It is noteworthy that, in Nigeria’s singles-driven market, M.I hasn’t relented with putting out projects. His first and second albums—‘Talk About It’ and ‘MI 2: The Movie’—began his storied journey and revealed undeniable talent and passion to dominate Africa’s Rap scene. His ‘Illegal Music’ mixtapes were M.I’s way of exchanging verbal punches with the best rappers he could find. Subsequent projects, even through controversies, cemented M.I’s place in Nigeria’s rap history as a veritable voice. ‘The Guy’, on the other hand, is a celebration of M.I’s reign rather than the end of it. It is an applaudable chapter in the rapper’s dazzling career.

M.I’s act of sticking to releasing albums signifies his confidence in his gift; it is a statement that only an artist who has years’ worth of refinement can make. This album isn’t as ground-breaking as his earlier work nor does it take risks like his more recent, sometimes insular work, but it’s a strong reminder that the Nigerian music scene is yet to see an English rapper in the mould of M.I Abaga. He has morphed through the years and adapted to different changes while retaining his core as an artist. His works have kept him in a secure space, unharmed by the wave that is Nigerian Pop. ‘The Guy’ is a reminder to both him and his listeners: he came, saw and is still here conquering. That is a big win for rap music in Nigeria.


ICYMI: READ OUR REVIEW OF OMAH LAY’S POTENTIAL CLASSIC DEBUT LP

Songs of The Day: New Music From ShaSha, Soulaar, Eugy & More

We’re more than halfway through 2022, and it’s been an eventful year for Afropop. There’s been a torrent of great new music, spawning a massive stack of inventive smash hit songs. From Highlife-infused Ghanaian pop, to the unrelenting force that is Nigerian street-pop, to South Africa’s indomitable Dance scene, to tantalising Drill explorations in East and Central Africa, and much, much more, we’re living through abundant and musically expansive times.

Every week, 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. This Wednesday, enjoy new releases from South African Amapiano singer, ShaSha, the new Ejoya Music artist Soulaar, Eugy, Rowlene and more. Dig in!

SOULAAR – “BAM BAM”

This week, Ejoya Music announced the first artist out of its music development programme, Nigerian singer Soulaar. Now the newcomer has released his debut single “Bam Bam.” Soulaar might be new to the game, but his pen game skill has been in practice for a while, and the Afrofusion number gives a glimpse of his range of capabilities. Produced by Xtremetheproducer, Soulaar sings over a thumping bassline and airy piano keys ”Bam Bam Bila, She’s a killer, bloody sinner,” giving the song a hypnotic chorus.

SOMTO – “AVAILABLE”

The South Eastern music scene has produced remarkable gems over the years, and Somtoo comes from that lineage. A soulful musician based out of Awka, he explores themes of love and loss in a vulnerable style that’s influenced by his passion for writing and poetry. Somto’s latest record is “Available,” a warm bop which seeks the companion of a lover. With adequate grasp on his tone, the budding musician has created a contemporary-leaning record that both confesses and excites, confirming Somtoo as an impressive artist to watch out for.

M.RUMBI – “LET GO” FT. NAWEKULO

The mellow guitar riffs and harmonious background vocals give this Soul & RnB number a melancholic feel. Featuring the sumptuous vocals of Nawekulo, South African songwriter M.Rumbi reflects on fading love that has wilted. Nawekulo repeatedly sings “if I let go will it be okay,” showing the desperation of her love as she has been holding on for too long.

$HYLI – “SLOW WINE”

The best word to describe Ugandan singer, $hyli’s new single “Slow Wine” is seductive. The juxtaposition of singing, subtle mid-tempo productions, and dancehall vibe give off a dreamy tune that relaxes listeners. The beautiful catchy flow and bass percussions make up for the scanty lyrics in the song. 

EUGY – “NO OTHER”

2022 has been an active year for Ghanaian- British-based singer Eugy and “No Other” is another catalogue to add to his hits. He follows up his most recent single “Enough For Me” with an Afro-fusion ballad: “No Other.” On the Afro-Fusion ballad, Eugy combines cloy lyrics with his Afropop palette as he persuades a lady to accept his feeling towards her with lyrics such as “I’ll be your guy when you need, you know I’ll ride when you need.

EMMIE MUTHIGA – “CATCH ME LATER”

Releasing her debut album ‘FREE‘ over the weekend, Kenyan songstress Emmie Muthiga is redefining R&B according to her terms. The eight-track project contains an array of emotions circling love, despair, and liberation over complex up-tempo productions. The stand-out track “Catch Me Later” finds Emmie Muthiga bidding goodbye to a toxic relationship characterised by love and insecurity. She constantly assures her listeners her confidence is contagious as she meticulously blends Swahili and English while cheering on the beauty of Kenyan ladies. 

VUGA KVNGZ – “DROWSY”

Since breaking out in 2019, Vuga Kvngz has been on an upward trajectory in defining Afro-Trap. In his latest single: “Drowsy” he tells the story of working hard, drugs, and shawries on a trap-infused beat produced by DicetheGem. As his fan base and career evolve the feeling is overwhelming as he speaks of where he is heading. The aggressive vocals and the bouncy beat render this song enjoyable to listen to as the song is a perfect blend of rap and afro beats with; a beautiful hip hop orchestra. 

SHA SHA – “GIVE ME SOMETHING” FT. ROWLENE

South African songstress Shasha is gearing up for the release of her album ‘I’m Alive‘ coming out on 23rd September. With two songs out already including “Ungowami” featuring Soa Matrix and “Themba Lami” featuring the dexterous Ami Faku, Sha Sha released her third single”Give Me Something” from the anticipated album. Employing the euphonious vocals of fellow countrymate Rowlene, the R&B number gives a love story over a concussive production. Birthing a sonic bliss, the duo coat the song with their sweetened vocals.

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5 Standout Songs From Mafikizolo’s New Album, ‘Idwala’

Mafikizolo are titans of the African music space. Formed by composer Theo Kgosinkwe and singers Nhlanhla Nciza and Tebogo Madingoane in 1996, the group’s eponymous debut album was released the following year. Before 1999 when their sophomore album ‘Music Revolution’ was released, the group were famed for embedding Kwaito’s distinct groove onto broader genres. A trifecta was completed with 2003’s ‘Kwela’, an album whose title track featured the legendary Hugh Masekela and went on to become a great commercial success, firmly imprinting Mafikizolo among the greater figures of contemporary South African music. 

Ever since, sonic excellence and hard work has been defining traits of the duo. Following the untimely passing of Tebogo in 2004, the remaining members of Mafikizolo took a break and returned the next year. It’s been seventeen years since their fourth album, and they’ve clocked in eight albums in that time. ‘Idwala’, the latest of those, was released only last Friday. Translated into ‘rock’ in isiZulu, it advances the group’s collaborative vision—only this time, they’re more in-tune with popular music than ever before. Collaborations include Sjava, Ami Faku, Zakes Bantwini, and Sun-El Musician, among others. 

Curating a five-songs list is definitely hard, because the album is a sonic treat. Each song glitters with visceral production, and the accomplished voices of the musicians doing great justice. Jazzy, electric, and colourful are some descriptors that come to mind, but you’ll have the time to make your own selections. That said, these five songs aren’t necessarily the best songs—they rather evoke the variance of the album’s tapestry. 

“FATELA”

There are songs and there are songs. “Fatela” is that song. Right from the opening seconds, there’s a rustic element shimmering at its core. The drums are really alive and groovy, like there’s a party happening somewhere. You’ll find this quality of production elsewhere on the album, but there’s a familiar yet strange feel to this particular song. Classifying its genre is another task, as House blends into contemporary Jazz, and some shades of Indian-esque progressions. The singing polishes the record’s brilliance, bouncing with joyous inflections and the captivating hum at its centre, a childlike presence which elevates the feeling into something transcendental, yet ephemeral. 

“NGEKE BALUNGE”

This was a pre-album single and an excellent one at that. Countless times since 2020, I’ve allowed its slow groove wash over me like an ocean’s waves. Soulful strings and steady drums form the sonic bedrock, and those roll in the deepest into your psyche. Even before the duo’s voices are introduced, this soundscape is immersive and somehow personal, bending to accommodate whatever stories the listener might have. The actual meaning however weaves the tale of two young lovers who are the focus of society’s unwavering eyes and criticism. “They won’t succeed, they won’t finish us,” goes the chorus, “because this love obviously cannot be overshadowed.” 

“ABASIYEKE” FT. ZAKES BANTWINI

You’ll find collaborations are left and right on this album, but “Abasiyeke” instantly stands out. Even before Bantwini’s dreamy vocals swirl alongside Nhlanhla’s, the set mood is dusty, colourful, and made to sound interstellar through the glitter of its drums and keys. Chants of “abasiyeke, abasiyeke” blend into the production, dipping and rising in tempo to accommodate the verses. Community was perhaps the driving ethos behind this record, because it sounds made for sharing—sharing its fun vibe through a party, in a dark room full of friends, or on TV, where its yet-unmade visual would be full of smiling, dancing, and perhaps a logfire.   

“10K” FT. SJAVA

A slow, soulful feel permeates the bones of this record. It’s a winter-esque craving for someone’s love, imbued with all the longing and listlessness associated with that cutting feeling. The tone of the singing carries that looking-out-the-window vibe, its pacing supplied by the stripped production. This record’s mood is very reminiscent of Sauti Sol’s “Girl Next Door,” though the gender perspectives are flipped and here it’s Sjava delivering a winding, poignant verse. He flexes his famed versatility, dipping into Trap cadences while maintaining the homebound inflections and words from isiZulu. As far as R&B goes, this is probably the most traditional of the records and like most songs off the album, it sounds wrapped in a time capsule. 

“KWANELE” FT. SUN-EL MUSICIAN & KENZA

Imagine a dancefloor swirling with coloured lights, the conversations rising in dark corners, the smell of alcohol, the feet of people dancing, and yet somehow, every activity seems ordained. If one of them were to stop, the scene’s magic would be instantly subdued and watered down. That’s the associative mood of “Kwanele,” which is perhaps my favourite record on the album. A lot has been said and written of Amapiano’s intricacies but South Africans are great music makers, period. Here those signature drums are slowed, paired with Disco-esque synths and progressions. Along with the soothing tones of the singers, an ethereal record emerges. It is dreamy but still closely rooted in painful experiences, you can tell, and the sparse spaces in the verses allow the beat to breathe, to allow its seamless entry into the depths of one’s heart. A truly beautiful song.


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

The importance of critical reporting to Nigeria’s burgeoning tech ecosystem

Reckonings have a way of altering pre-existing perceptions. Prior to a few months back, you’d assume it’s all rainbow and roses in Nigeria’s burgeoning tech ecosystem, with all the consistent news of investment rounds and increasing valuations. In addition to being proof that individuals and startups are creating valuable products, the influx of investments tacitly inferred a wholesomeness to the Nigerian tech space, with better practices and healthier work cultures than you’d normally find in Nigeria’s corporate environment.

As the news cycle of the couple of months have shown, it’s that this de-facto perception is not wholly true and a reckoning seems to be in full effect. In late March, TechCabal published an article alleging workplace toxicity at Nigerian payroll startup Bento Africa, furnishing the story with quotes from former staff and pictorial evidence. “Bento took everything from me—my sense of humanity, sanity, confidence, and trust,” a declaration from an ex-Bento staff opened the story, and the following couple of thousand words peeled back layers to the horrible circumstances employees had to endure.

With personal accounts from several former Bento staff, and additional pictorial evidence, the piece details gross verbal abuse, gas lighting tactics, undue pressure, abrupt termination, and more, directly perpetrated by co-founder Ebunoluwa Okubanjo. Corroborated by a few current Bento employees, these accounts merged into depicting a workplace culture that was detrimentally suffocating, harmful to mental and physical health, and even stripping staff of their respect. Immediately it was published, TechCabal’s piece generated a significant amount of shock, mostly because the Bento allegations presented a wildly differing reality to the neo-corporate ideals many young Nigerians expected to be norm in the tech sector.

In Nigeria’s corporate space, the rigours of being an employee are an open secret. From delayed or withheld salaries, to late closing hours without overtime pay, to enduring tongue-lashings, and more. Companies in Nigeria are infamous for consistently putting their employees through the ringer, testing the limits of their physical and mental wellbeing in an environment that’s already riddled with debilitating factors. Within this longstanding cesspool of unfavourable circumstances, Nigeria’s blooming tech space seemed to be much rosier, partly with the naïve expectation that younger corporate leadership would be much more sensitive to wholesome workplace culture.

“It’s disappointing but not surprising,” Systems Analyst and curator of Tech-focused newsletter, Get.Africa, Chiagoziem Onyekwena tells NATIVE of his reaction to TechCabal’s Bento story. It’s a stark opposite of general reactions because many were disappointed and surprised, but Chiagoziem, who’s been keen on the evolution of the tech ecosystem in Africa for years, has seen past the rose-tinted veil long before now. “I think, sometimes, when people think of tech companies, they think it’s better than a non-tech company of the same profile,” he adds. “These are companies that are barely few years old, several don’t have proper governance structure and they’ve only optimised for growth over having a safe work environment.”

That last statement is a perfect encapsulation of the Bento allegations, where Okubanjo expected 24-hour availability from all employees, and tested the boundaries of draconian employer behaviour within the framework of productivity and business upscaling.

Amidst the shock and disgust to Bento’s workplace situation coming to the light, a wider, trickle-down effect followed almost instantly. Within hours of TechCabal‘s breaking story, there were tweets and tweet threads from many in the Nigerian tech ecosystem detailing horrific experiences while working under Okubanjo-type bosses at startup companies, some explicit, others thinly veiled, and even more subliminal ones. It even culminated in a Twitter space, partially titled #HorribleBosses, where dozens vocally shared their experiences. Within a day, we all came to realise that the norm is far from our prior perceptions.

There’s a craze around tech in Nigeria, and for good reasons. The last few years has seen the advent of unicorns, companies valued at millions of dollars, and even lesser-valued startups, creating and iterating exciting products for local, continental and global use. There’s also the fact that this outstanding emergence is being effected by visionaries and highly-skilled experts across varying tech aspects, with a playing field that continues to widen to accommodate new, keen entrants, while keeping up with global tech standards. It’s even more impressive when you factor in the Nigerian factor, where the government is consistently looking to squeeze, rather than aid, a growing sector of its economy—largely because it’s being spearheaded by youth.

In all of this, it’s easy to understand why the presumptions of workplace culture didn’t take toxicity into account. Because this reality is just being given ample attention, it’s difficult to determine if the overall workplace culture is the case of a few bad apples amidst many good, wholesome companies, or vice versa. That sort of specificity allows for proper perspective, but it doesn’t strengthen faith when a unicorn-level company is facing its own share of allegations centred on corporate leadership.

On April 4, former Flutterwave employee Clara Wanjiku Odera published an article alleging bullying and intimidation by the company’s CEO, Olugbenga Agboola, detailing a situation that’s lasted for 3-plus years. Odera, who’s now the CEO and co-founder of Credrails, alleged that her exit from Flutterwave in late 2018 was met by hand-wringing tactics by Agboola, who she claimed refused to “have my dues settled,” blocked subsequent job opportunities, accused her of being behind a social media account spreading rumours of sexual harassment, and negligently roped her into fraud investigation.

Odera’s article was published a day after an interview with Agboola was published, where, amidst talking about Flutterwave’s growth into a $3 billion startup, he referenced Odera’s lawsuit which she filed during her exit. The allegations were, again, shocking. After all, this is the most valuable start-up in African tech, with a pristine outward image. However, that was just the drizzle before the torrential downpour.

Just over a week later, journalist David Hundeyin published a lengthy investigative piece, alleging fraud, perjury and insider trading. Hundeyin, who’s (in)famous for reporting and digging into contentious, complex scenarios with a sensational and authoritative (or gonzo, if you like) verve, paints the portrait of a corporate leadership that’s comfortable flouting the rules, with Agboola as the main culprit. The pillars to Hundeyin’s story are four former Flutterwave employees who serve as his sources, while his observations and inferences tie the story together.

While Hundeyin’s approach and reporting ethics were called into question, his piece was shocking and disappointing. It didn’t help that Flutterwave kept silent in the immediate aftermath of the piece reaching public eyes, which many took as a tacit admission of guilt, if not on all the allegations—at least some. If Odera’s article was an oil stain on the immaculate image of Flutterwave, Hundeyin’s was only driving this image further.

So far, the only response from Agboola and the Flutterwave brass is an internal memo to its staff, which was made public by Techcrunch, and the publication also (rightly) flagged the memo’s inadequacies. Just before that, Iyin Aboyeji, co-founder and former CEO of Flutterwave, granted an interview with TechCabal, attempting to clear up his role at the unicorn start-up and the circumstances surrounding his exit, which Hundeyin had roped into his story as both a co-conspirator and one of the indicators of Agboola’s aversion for being checked. However, Aboyeji’s interview did little to assuage the disappointment of those observing, with many even pointing at the far from rigorous questions he faced during the interview.

As a footnote to the interview, TechCabal did the much-needed diligence of publicising its working relationship with Aboyeji, Agboola and Flutterwave. It framed the complicatedness with which the publication has had to cover this situation. While Hundeyin has turned his investigative piece into a personal crusade—taking it to typically obnoxious extremes no less—TechCabal’s affiliation with Flutterwave puts them in a tenuous situation, making it difficult to be as thorough and critical as their Bento Africa story.

For a long while, the media surrounding Nigeria’s burgeoning tech ecosystem focused on overtly positive things like fundraises, valuations, interviews with founders and experts about products and new strides, helping to create that utopian image. Those investigative stories from earlier this year have helped to embolden critical balance. Right now, you’ll easily find articles digging into layoffs and salary cutbacks at start-up firms like 54gene and Alerzo, and reports on frozen bank accounts belonging to Flutterwave, signalling more attention to the grimier details in the Nigerian tech sapce.

“I like the fact that we’re discussing more than just valuations and fundraises,” Chiagoziem says. “We’ve been judging the tech space by just one data point, which is how much they’re raising. We’re not using other data points like whether they’re profitable or, in this case, whether they’re actually sane environment people are working in. We shouldn’t just been glory-singers and praise ourselves all the time, if not we’ll create an echo chamber.”

Juxtaposing the stances of TechCabal and Hundeyin, with relation to the Flutterwave situation, Chiagoziem acknowledges the complexity of this type of media coverage, as the intensity will vary based on structure and relationships—especially in a space that’s still relatively small. “I think TechCabal is stuck between a rock and a hard place,” he says. “How do you objectively report on your main sponsor and some of your investors? I actually empathise with them; for me, it’s reduced the standard of what to expect. It’s bigger than [these scenarios], and more about the models that these publications and publishers operate.”

At the beginning of this week, news came out that Eke Eleanya Urum, co-founder and CEO of stock investment app Risevest, had stepped down from his position due to ongoing investigations into allegations of sexual misconduct and non-sexual impropriety levelled against him. It isn’t the first time Eke has been in the news for allegedly unsavoury behaviour: In 2021, he was accused of fostering an unhealthy workplace by a former Risevest employee, and he was accused of sexual harassment by an unknown person during the Bento brouhaha. (He copped to the former and vehemently denies the latter.)

TechCabal was amongst the publication that broke the Risevest news, including quotes from Eke in their article, and also citing similar news from recent months. However, there were complaints on social media that the publication had omitted the Flutterwave situation in the roundup, even though it did publish news of Flutterwave’s ongoing money laundering accusations in Kenya. While some are clearly looking for a pound of flesh, or hoping to see a breakup in relations between TechCabal and Flutterwave, it’s also an indicator that concerned youth are looking for wholesome accountability, rather than the eye service that used to dominate the tech news cycle.

“In that regard, I still think critiquing is good,” Chiagoziem say of TechCabal‘s position and tech-related media in general. “I think criticism helps strengthen companies’ corporate structure, and even individuals. If you realise you’ve made mistakes in your part, then maybe in your second coming you’ll do better.”

To his latter assessment, Chiagoziem references Favour Ori, former CEO and founder of Wejapa, who was found guilty of underpayment, extortion and breach of contract, after some of the freelance developers he was working with outed his underhanded practices. These days, Ori is the CEO of payments start-up PayDay, which secured a $1 million pre-seed fund last year and, shortly after, joined operational investment company, Techstars, which has 15 unicorns under its umbrella. It’s the sort of redemption story that sets a precedent for the healthy effect of critical reporting and observation.

“Bento might end up being a good example, there’s been some restructuring at the top and they’ve put some people in there to improve work culture,” Chiagoziem says. Applying to the general playing field, it’s the sort of optimism many rooting for the continued uprising of the Nigerian (and African) ecosystem can hold on to, that it doesn’t just look like rainbow and roses, but that there is actually zero practice of toxic corporate leadership.


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ARCON’s ban on foreign models offers no redemption for Nigeria’s creative scene

Why do Nigerian regulatory bodies always think bans, or alternate draconian measures, are the best way to deal with any and every issue? Although bans work in some situations, they can be a slapdash method that do not wholesomely address the issue they’re meant to tackle. Take the recent ban on the use of “foreign talent” in advertising campaigns targeted at Nigerians, an announcement that was made by the Advertising Regulatory Council of Nigeria (ARCON), and is set to take effect from October 1.

Justifying this move, ARCON claims the incoming ban falls in line with the Nigerian government’s policy of “developing local talent” and promoting local economic growth. Naturally, the announcement has been met with mixed reactions from Nigerians within the country and in the diaspora, as well as Africans across the continent.

The obvious argument for those in favour of the ban is to echo ARCON’s already stated motivations, claiming that it will serve as a boost for Nigeria’s creative scene due to the opportunities that should open up. To believe that, though, could be seen as being wilfully naïve, largely because, as the last few years have shown, enforcing strict measures to keep things local hasn’t worked too well in the government’s favour.

Many concerned about the ban have noted that ARCON, which finally changed its name from Advertising Practitioners Council of Nigeria, in a bid to fully assume regulatory authority, is looking to exceed its previously established limits as a body. Even with the name change and a new policy framework, the now-regulatory body is offering a flattening resolution that ignores several nuances. For example, the line between foreign and native talent is much thinner than the body seems to be taking note of. Beyond its local borders, Nigerians live everywhere, so does the ban apply to Nigerians who were born in Africa and across the world? What about those with multiple nationalities? What about those who’ve intermittently lived between Nigeria and elsewhere?

There’s also the obvious fact that we live in a global village, and a lot of the companies advertising to Nigerians have an international and continental presence, which makes it a bane—and quite honestly, insensitive—to ask for country-specific ad campaigns with local talent only. When creating international or continental campaigns, companies like Cadbury and Unilever don’t always pay attention to individual countries, except they’re being executed on an individual country scale. In multi-country ads, they recruit dark skin models to represent the African countries because we wouldn’t know the difference between a South African and a Nigerian.

With this ban, does that mean Multichoice can’t air an ad featuring Nigerians and non-Nigerians during the halftime show of a Premier League football match, which is syndicated on satellite channels across Africa? Does this mean that an ad geared to black people across the world can’t be shown on local stations in the country? Does it mean that campaign images featuring international, non-Nigerian sport stars and artists won’t be shown on billboards along roads and highways in the country? There are several unanswered questions surrounding this hasty decision.

ARCON’s impending ban is an overt attempt at controlling the direction of ad campaigns in Nigeria, rather than it is a wholesome attempt at regulating. It would be wrong to dismiss the fact that foreign-looking and foreign-sounding elements are often deemed as more appealing, hence the hunt for people who look exotic and sound non-Nigerian in many local ads. Back in the day, there was a widely shown ad by a soap company that only featured light-skinned women, an implied but well-known hint at skin colour, which continues till this day via ads by local skincare brands.

As we all know, colourism is a scab in African culture. Although few talk about it, it is represented in various aspects, not just ads but also in the characters we see in films and shows, and even presenters on TV. The policy, effective from 1st October might offer a solution to colourism in the country. In recent years, brands from several industries have faced criticism for their colourism. In 2017, Nivea faced criticism in West Africa  for a problematic ad which features a black woman applying the Natural Fairness moisturiser to her body and her skin becoming visibly lighter.

Even within this glimmer of positivity, it might prove exclusionary to Nigerians of a fairer skin tone, or those with dual nationalities. It will probably affect Africans who work within the Nigerian creative space. The truth is, there are too many moving parts in the world of advertising that makes it impossible to deem a sweeping ban to be the solution to whatever problems there seem to be. Yes, many brands and advertising agencies have always favoured voice actors with “foreign” accents, but the new policy states that only Nigerian talent should be used, which makes it application to accents rather nebulous.

“Buy Naija to grow Naira” has been the rallying cry of Nigeria’s current federal government administration, an attempt to foster the economy by emphasising a priority on local goods and services. So far, it’s proved to be a scam and a failure. It even went as far as the closure of land borders for about two years, but the move to force Nigerians to consume more local products backfired, and it has contributed to the consistently rising prices of food and household commodities. This ARCON ban falls in line with this patriotic ideal to prioritise local, and the outcome might not be great.

What happens when international companies boycott Nigeria out of its global and continental campaigns? What happens if, instead of creating more opportunities, the ban streamlines advertising to a select few creatives? What happens if the quality of local-only ads doesn’t amount to better quality? What happens if the revenue in the advertising space shrinks because multinationals don’t see any reason to invest in Nigerian campaigns due to the stringent policy?

This ban is raising more questions than delivering a great solution, and it’s clearly not the redemption for the Nigerian creative and advertising space some might think it is.


Written by Tela Wangeci and Dennis Ade Peter


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uNder: Best New Artists (August 2022)

What makes an artist special? It’s a question that can be complicated, especially when part of the job involves discovery—and in a time when breakout stars emerge at breakneck pace, no less. There’s the obvious requirement of talent, but even that isn’t always a clear signifier that an artist is special. It’s quite the conundrum, one that we deal with here at The NATIVE on a daily basis, partly for our uNder (fka Fresh Meat) column, and also because our editorial commitment to championing the stars and sounds of tomorrow—today—is a constant.

What working on uNder over time has taught us is that, special is a complex concept, and sometimes it means an artist has that ineffable and vivid star power, other times they make music that’s strikingly distinct regardless of mainstream appeal, and in some cases it’s their journey so far that proves intriguing. This month’s instalment of the Best New Artists column continues our quest to bring you artists we think are special.

Including the colourful afro-fusion of Ghanaian singer Ginius, the spell-binding voice of South African singer Chlèy, the summery earworms of Rwandan singer Chriss Eazy, and more, here are six artists you should be paying attention to.

Ginius

“I’m not a spontaneous person,” Ghanaian producer and singer Ginius readily admits. “I’m going to take my time to make my music proper, so that when I blow, nobody will tell me I didn’t pay my dues.” In a time where stars emerge out of the ether with a hit song and are often forced to keep replicating that trick, Ginius relishes the scenic route of becoming prominent by building artistry and commercial interest brick by brick. It’s a refreshing perspective she’s gleaned from the sustainable careers of artists like Burna Boy, Tems, Show Dem Camp, and more.

Born and raised in Ghana, before moving to the UK in her latter adolescent years, Ginius’ interest in music spans all the way back to being the “little girl who played congas in church,” growing her affinity for hand percussions through lessons from an uncle who owned a full set of the djembe drums. After her move to the UK, that naturally turned into an interest in producing music, and she started working towards a career behind the boards by researching DAWs and learning to play the piano. “When I started this music journey, I didn’t want to sing; I just wanted to produce,” she says, but at the nudge of a colleague and seeing the positive reception to her first song uploaded on SoundCloud, she decided to put it all together.

Officially starting her career in 2020, Ginius filled that year with a grip of releases, including ‘Happy to Be Outside’, a 3-song pack of summery Amapiano, released just before the sound became the craze of Afropop. She’s since released ‘How It Feels’, a romance-themed debut EP from last year, and earlier this month, she followed up with ‘Her Notions Since ‘97’, a more expansive effort that shows Ginius in greater control of her honeyed voice, as she sings of love, joy and life’s quest to be successful over colourful, largely self-helmed production. “The growth from my last tape to this tape is very intentional,” she says. “As much as music is something I feel the rhythm is a part of me, I’m also being like, ‘I need to up my game here’, because I’ve got eyes on me.”

Balloranking

Musically, Street-pop is an influential force at the very centre of Nigerian pop, dictating sonic trends and scoring communal, exuberant moments. Spiritually, though, the essence of street-pop is centred on portraying the reality of its immediate environment, unabashedly reflecting the lives and hopes of its artists, and by extension, its primary audience. Balloranking is an artist that hedges much closer to the spiritual aspect of street-pop, delivering soulful expressions of what it means to claw from less-than-ideal circumstances into a better life.

Starting to hone is abilities circa 2018 while still in school, the Surulere, Lagos-raised singer quickly began making his mark as a recording artist, releasing a grip of singles in 2020 that encapsulated his burning desire to succeed. Chief among those songs is “Time No Dey”, which features street-pop darling Seyi Vibez. The song is a prime showcase of Balloranking’s ability as an emotive song-maker, passionately singing self-motivational quips in a mix of Yoruba and Pidgin Englis over folk-indented production. “My music is afropop and afro-soul,” he said in a 2021 interview. The latter genre namedrop is a description that fits, especially if you’ve come across the video of him and Lyta performing the spiritually-inclined “Thankful”.

Right now, there’s a slightly more increased emphasis on the pop side of his artistry. Balloranking’s new EP, ‘Trench Kid’, is a confident and more musically expansive showing than last year’s aspirational-themed ‘Zero Panic’. There’s the soulful street-pop cuts like the title track and Bella Shmurda-assisted “Elevate (Remix)”, but there’s also the dancehall-inflected “Idol” and R&B-tinged “Feeling You” with Bad Boy Timz. The scope of the new project is a statement from an artist ready to become a bigger star without abandoning his roots.

Lirase

Music in the post-digital age is dominated by fusion, and Ghana’s Lirase willingly plays into that ethos. When Lirase started making music in his early teens with a group of friends, he barely saw the distinction between rapping and singing. Part of that is because his introduction to rap and R&B came through the melodic hip-hop smashes of American rapper Nelly in his early 2000s heyday. As he kept grooming his abilities, he came to the personal realisation that “there’s a thin line between both of them and I feel like it’s all about getting inspired to express yourself.”

Previously producing and performing under the moniker TonioBeatz, Lirase’s musical ambitions took a 7-year detour when he went to medical school, which furnished him with a wealth of personal experiences he now imbues into the music he makes under his actual first name. Over the last month, Lirase has put himself out as a refurbished artist with a sense of purpose, turning a dark period in his life into cathartic music for his own healing. Pulling from struggles with school, the split of a long-time friendship, and a breakup, Lirase’s new debut EP, ‘The Dawn’, pieces together a defiant statement of self, wholesomely willing himself to positivity over a busy but well-curated sonic canvas that includes threads from reggae, rock, folk, soul, electronic music, and more.

The point of Lirase’s music is to be as honest as possible. “I’m still learning how to put things the way they are,” he admits. There’s some concern that the alternative lean of his music might take some time to gain widespread acceptance but he’s playing the long game and looking to connect with more and more listeners by being authentic. “I make music that feels good to me, sounds good to me, and I know I don’t have a terrible taste in music, so it’s going to feel good and sound good to somebody else.” Listen to Lirase, the lived-in essence of his fusion music might feel good and sound good to you.

Chlèy

Everything moves at breakneck speed in the world of Amapiano. New strands of the South African dance subgenre are mutated and adapted every fortnight, there’s an unending avalanche of hit songs, and new stars are minted every few weeks. To the latter point, sometimes, all it takes to be an emergent star is a feature on a hit song. Earlier this year, Chlèy Nkosi saw an astronomical boost in her profile following the runaway success of Konke and Musa Keys’ “Kancane”, a groovy slapper on which she delivered its instantly memorable hook.

“Kancane” wasn’t Chlèy’s first appearance on wax, but it’s the song that firmly placed the 17-year old singer on a runway to success, and the reason is obvious: Chlèy possesses a wonderful voice. In that breakout performance, the intoxicating nature of her falsetto is on full display, but it’s in the bridge where she adopts a delightfully snappy melody that Chlèy shows the dynamic range of her voice. If you scroll to the bottom of her Instagram page, you’ll find a post with lo-fi video of the singer performing Seal’s classic “Kiss from a Rose” as part of a duet on national TV, indicating the level of her talent and the assuredness she already has in her voice even as a teenager.

More collaborators are taking note of that voice, like Mellow & Sleazy, the producer duo at the forefront of Bacardi-indented Amapiano, who recently joined forces with the singer on the recent hit song, “Wenza Kanjani”. There’s no falsetto on the song, but Chlèy’s voice is no less riveting, rattling out another memorable hook. Still firmly at the frontend of her career, Chlèy is no doubt still working on the specifics of her artistic identity, but she’s already a compelling singer to listen, which is very much a solid foundation to build a superstar career from.

Chriss Eazy

You might not be familiar with this, but Rwanda is home to some of the finest Afropop songs around. In the last few years, the country’s pop music landscape has been undergoing a renaissance in quality, buoyed by colourful soundscape that echoes influences from the globally-recognised pop sounds of Ghana and Nigeria—but with a distinctly East African and Rwandan flavour—as well as an increasingly long line of consummate vocalists with a knack for earworm melodies. Chriss Eazy is a singer who fits into that mould, but he wasn’t always an artist with a preference for melodies.

Reverent of Kendrick Lamar’s craft, particularly his 2017 hit song “DNA”, Chriss focused on honing his craft as a rapper, favouring trap beats and an aggressive double-time flow. In 2016, he participated in a talent competition, emerging as the winner amongst 341 other budding rappers. Chriss spent the next few years trudging the arduous path of rap superstardom, sharing freestyles and blaring rap singles, until June 2021 when he switched things up with “Fasta”, a raunchy pop song that received widespread attention. It signalled a new era, and before long, he scored a smash hit with “Amashu”.

In late May, Chriss Eazy dropped his biggest song yet, “Inana”, a romance-themed bop that came with a colourful video and an accompanying set of dance moves that would help its virality. The single solidified his rep as a hit-maker, placing the 21-year old singer on the path of sustained success. “My music is based more on creativity than just singing or mastering the lyrics,” he shared with The New Times shortly before his rap-to-pop change. “I love going with the flow and making sure that the people that listen to it are enjoying both the beat and the message.” It was an indicator that he was getting set to embrace the crowd-pleasing nature of being a popstar, and now he’s exhibiting his world-reaching potentials.

Major AJ

“My sound is basically Afro-fusion, just like Afrobeats mixed with other stuff,” Major AJ says of the descriptive tag that best fits his music. It’s a long way off from his heavy lean towards rap music when he began harbouring dreams of being an artist while growing up in Kainji, a small town in Niger state. At the same time, though, it’s not exactly peculiar: Nigerian pop music is heavily influenced by American hip-hop and R&B, with many of its pop stars starting off as rappers. Major AJ’s evolution from upcoming rap artist to rising pop star follows that same path, swapping YMCMB and Usher influences for Wizkid and Burna Boy inspirations.

In early 2020, Major AJ officially debuted with “Terminator”, a buoyant love song produced by Telz. It didn’t rocket the singer into notoriety, but you could hear the twines of his artistry as a pop singer locking together. Later that year, he teamed up with Leriq for “Original Love” and the following year, “Salo” caught the ears of Chocolate City, the label that’s currently nurturing his aspirations. In mid-July, he kickstarted his major label career with ‘Retroverse’, a brilliant debut EP that incorporates the timeless, groovy signature of disco and funk into the modish bounce of Nigerian pop. It serves as a potent backdrop for Major AJ to showcase his vibrant voice, as he paints striking romance-themed vignettes, and gets purposefully triumphant on closer, “Superstar”.

Mostly produced by Fresh Meat alum Dunnie, ‘Retroverse’ quickly establishes Major AJ’s bonafides as an artist ready to cater to a wide audience, while fostering a distinct identity that shows in his fearless approach to making fusion-pop music. “This project I used disco-funk, the next one might be something different,” he says. “I know I want to keep levelling up and I’m sure of myself, so I don’t think I’ll have any fears when I release anything. It will always be good music.”


Written by Dennis Ade Peter


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