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

Posted on by Tela Wangeci

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

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

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

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

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

RWANDAN WOMAN FACES 2 YEARS IN JAIL OVER INDECENT DRESSING

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

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

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

 

RAILA ODINGA CHALLENGES KENYA’S ELECTION RESULTS

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

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

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

ALGERIAN FOREST FIRE DESTROYS 2,600 HECTARES OF LAND

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

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

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

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

Posted on by Emmanuel Esomnofu

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

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

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

 

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

“WAGWAN”

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

“EMO THUG”

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

“RIDIN SOLO” FT. TALKSIICK

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

“DISTANCE” FT. KASHEEFAH

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

“GIDI GIRLS”

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

“MAINLAND” 

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

FINAL THOUGHTS 

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

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

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

Stream ‘Gorimapa Gangsta Vol. 1’

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

Posted on by Uzoma Ihejirika

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

 

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

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

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

Listen to “Electricity” below.

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

Posted on by Tela Wangeci

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

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

BLXCKIE – “SNEAKY” FT. A-REECE

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

JOEBOY – “CONTOUR”

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

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

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

Kami Leonne – ‘Body/Chaud’

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

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

Tanasha Donna – “Karma” ft. Barak Jacuzzi

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

KABUGA – “FearLESS”

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

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

JINKU – “FADE” FT. MAANDY & PIKES

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

THE BROTHER MOVES ON – “BAYAKHALA”

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

OIZA X MEYI – “SANTI”

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

JODY FANETO – “SHETANI 1”

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

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

Posted on by Damilola Animashaun

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

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

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

Here are our first impressions of ‘NATIVEWORLD’ below.

Best Song

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

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

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

Best Production

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

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

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

Best Feature?

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

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

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

Biggest potential hit

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

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

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

Standout verse

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

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

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

Biggest Skip

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

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

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

Overall first impressions

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

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

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

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

Stream ‘NATIVEWORLD’ below.

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

Posted on by Dennis Ade Peter

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

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

 

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

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

 

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The return of Pop-rap M.I Abaga

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

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

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

Features, features, and more features

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

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

The Guy is happily in love

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

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

Advocating for less toxicity in society

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

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

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

A brief moment of reunion for the original Choc Boiz

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

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

Listen to ‘The Guy’ here.

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

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

Posted on by Wonu Osikoya

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

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

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

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

Watch the video for “Terminator” here.

Featured image Credits/Instagram

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

Posted on by Emmanuel Esomnofu

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

 

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

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

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

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

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

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

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

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

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

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

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

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

Posted on by Damilola Animashaun

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

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

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

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

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

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

Listen to ‘NATIVEWORLD’ here.

ICYMI: PROJECT RUNAWAY

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

Posted on by Wonu Osikoya

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

Every week, tonnes of songs from African artists make their way to digital streaming platforms, and wading through them can be intense. That’s where The NATIVE’s Songs of the Day column comes in to help. We go through as many new releases as possible, spotlighting them here, two to three times every week. Today, enjoy new releases from SGaWD, Ronehi, Fireboy DML, Asake,  and more. Dig in. 

SGaWD & Ronehi  – “Telfar”

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

Fireboy DML – “Bandana” ft. Asake 

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

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

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

Preyé – “Crayons”

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

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

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

Ginius – “Feels Like Magic”

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

NATIVE Sound System – “University” ft NSG & Teezee

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

Featured Image Credits/NATIVE

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

Posted on by Tela Wangeci

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

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

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

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

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

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

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

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

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

Listen to ‘Her Notions Since 97,’ below.

Featured image credits/Ginius

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

Posted on by Wonu Osikoya

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

Violent clashes between police and protesters in Somaliland

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

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

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

Kenya Declares William Samoei Arap Ruto As President Elect

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

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

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

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

Seasonal Torrential Rains Causes Destruction in Sudan

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

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

Fire Outbreak In Giza Coptic Church In Egypt

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

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

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

Posted on by Wonu Osikoya

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

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

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

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

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

You can read a full breakdown of the charts here.

Songs Of The Day: New Music from Maglera Doe Boy, Khai Khalii & more

Posted on by Tela Wangeci

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

Every week, tonnes of songs from African artists make their way to digital streaming platforms, and wading through them can be intense. That’s where The NATIVE’s Songs of the Day column comes in to help. We go through as many new releases as possible, spotlighting them here, two to three times every week. Today, enjoy new releases from Da Vaji, Maglera Doe Boy, KaniBeatz, Destiny Nsonga, Alana Maria and more. Dig in. 

Da Vaj – “Drop It Down”

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

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

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

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

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

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

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

Unspoken Salaton – “Mambo Ni Mengi”

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

Jinku & See Through Solomon – “Moonlight”

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

Yung Stevie – “One More Time”

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

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

Posted on by Emmanuel Esomnofu

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

 

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

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

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

 

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

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

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

Listen to “Vigilante Bop” below.

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

Posted on by Tela Wangeci

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

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

 

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

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

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

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

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

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

Listen to ‘We Move The Needle’ below.

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

Posted on by Wonu Osikoya

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

Every week, tonnes of songs from African artists make their way to digital streaming platforms, and wading through them can be intense. That’s where The NATIVE’s Songs of the Day column comes in to help. We go through as many new releases as possible, spotlighting them here, two to three times every week. Today, enjoy new releases from Tiwa Savage, LAX, Fasina, Karun, Ms Banks and more. Dig in. 

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

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

Tiwa Savage – “Jaiye Foreign” ft. Zinoleesky

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

L.A.X – “Para”

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

Fasina – “Fever” ft. MOJO AF, PsychoYP

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

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

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

Nanette – “Vent”

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

Tena Tenpo – “Freaky” ft. Tim Lyre

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

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

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

Mannywellz – “No Closure”

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

Kehinde – “Hennessy”

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

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

Posted on by Emmanuel Esomnofu

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

 

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

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

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

Listen to ‘In Transit Deluxe’ below.

AV Club: Exploring The Poignant Appeal of South African Films

Posted on by Emmanuel Esomnofu

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

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

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

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

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

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

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

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

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

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

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

 

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

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

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

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

Posted on by Emmanuel Esomnofu

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

 

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

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

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

Listen to “IC3” below.

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

Posted on by Damilola Animashaun

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

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

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

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

Watch the documentary below.