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

Posted on by Wonu Osikoya

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

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

 

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

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

Pre-save ‘Bad Since ‘97’ here

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

Posted on by Wonu Osikoya

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

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

What I’m Listening To

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

What I’m Watching

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

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

Sheggz is a walking red flag

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

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

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

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

 

“Soro Soke” Is Not Just A Catch Phrase

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

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

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

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

Posted on by Wonu Osikoya

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

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

 

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

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

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

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

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

 

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

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

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

Listen to ‘Son Of The Moon’ below


Featured Image Credits/Courtesy of the artist

NATIVE Exclusive: The Evolution of Dankie Sounds

Posted on by Emmanuel Esomnofu

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

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

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

 

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

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

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

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

 

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

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

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

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

 

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

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

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

Featured image credits/Courtesy of Dankie Sounds

In Celebration Of Biyi Bandele, A Master of Storytelling

Posted on by Emmanuel Esomnofu

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

 

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

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

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

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

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

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

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

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

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

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

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

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

Featured image credits/NATIVE

ICYMI: Afrobeat Legend, Tony Allen passes away at 79

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

Posted on by Emmanuel Esomnofu

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

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

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

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

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

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

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

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

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

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

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

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

Posted on by Wonu Osikoya

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

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

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

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

You can read a full breakdown of the charts here.

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

Posted on by Tela Wangeci

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

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

 

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

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

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

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

 

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

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

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

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

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

Posted on by Emmanuel Esomnofu

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

NANS Move To Impeach President

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

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

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

FORMER AL-SHABAAB SPOKESPERSON APPOINTED AS CABINET MINISTER IN SOMALIA

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

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

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

UGANDA SUSPENDS LGBT-SUPPORTING NGO

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

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

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

IVORIAN PRESIDENT ALASSANE OUATTARA PARDONS PREDECESSOR GBAGBO

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

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

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

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Songs Of The Day: New Music From Made Kuti, Phaemous , NJERI & 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 Madè Kuti, Phaemous, Tim Lyre, NJERI and more. Dig in. 

Mádé Kuti – “No More Wars” 

On his most recent release “No More Wars,” multi-instrumentalist and performer Made Kuti delivers a soulful and distinct number that showcases his stellar penmanship. The GMK-produced record opens with women chanting “la la la” over the euphonious beat before paving the way for Made’s smooth vocals. With relatable lyrics such as “No more wars, no more wars for me/I’ve had enough, I’ll not lose myself,” the singer holds a mirror to his current mental state and that of the whole nation.

Phaemous – “Gbedu” ft. Tim Lyre 

uNder alum (formerly known as Fresh Meat) Phaemous has arrived with the sensual mid tempo record titled “Gbedu.” On the Tim Lyre-assisted record, the artist opens with bold and resonant vocals singing lyrics such as “I make her body confused/nobody can do it like I, that’s why she’s always calling my phone.” Tim Lyre joins on the song’s second verse as he delivers standout bars over the catchy and rhythmic production.

Toyin Ores – “Kokose” ft. The Cavemen

For his first official single of the year, fast rising singer and songwriter Toyin Ores teams up with The Cavemen for mid tempo Afropop number titled “Kokose.” On it, he addresses his muse with sweet words, beguiling her with affection as he sings “I love the smell of your perfume, all the way down to your perfume/oh Lord what did I do to deserve you.”

Kxffy – “Over You” ft. NJERI 

Kenyan producer Kxffy teams up with singer, songwriter and uNder alum Njeri for the new record “Over You.” The record is a heartbreak tune which sees the artist letting her love interest know she’s good with or without him. She quips “don’t you worry about me, you know i’m always trying to do my best/baby I’m over over you, it was never just us two.”

Victor AD – “Simple Life”

For his latest offering, singer and songwriter Victor AD returns with the catchy new number “Simple Life,” where he speaks on the necessity of living life to the fullest, focusing on the positives. He chants on the chorus of the track, “that’s all I need, the simple life I live/that’s all I need, a simple life of peace,” reminding listeners to find joy in the simple things life has to offer.

$pacely – “Street-Way (Abonten)”

Ghanaian rapper $pacely arrives with another uptempo joint titled “Streey-Way.” On the record, he makes braggadocious claims about how hard he works, self-growth as well as levelling up. Over the stellar production, he menacing spits bars such as “All about the money when you see this person, miss me with the drama I got my eyes on the green.”

Chop Life Crew – “African Time” ft. Mojo AF, BigBadCubix & Tim Lyre

On their latest offering, “African Time,” rappers Mojo, BigBadCubix and Tim Lyre come together for the melodic new rap number “African Time.” The record sees all the artists spitting disrespectful bars over the song’s propulsive beat. Mojo opens the record with “Shawarma, my two eyes don kagawa” as he switches between English and his Yoruba dialect. He hands over to BigBadCubix for his standout verse and the record rounds out with Tim Lyre spinning the record in a new and different direction, which makes for an enjoyable listen.

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“I bought it for Instagram”: How the iPhone has become increasingly sought after by young Nigerians

Posted on by Dennis Ade Peter

The first time Adetola seriously considered getting an iPhone was during the coronavirus-effected lockdown period of 2020. Alongside a few of her friends, she’d decided to join in the viral “Don’t Rush” challenge, where groups of women shared videos of their transformation from barefaced beauties to glammed-up beauties within the blink of an eye, while the song of the same title by UK Afroswing duo Young T & Bugsey served as the backdrop. When Adetola sent in her filmed part to be edited as part of the final cut, she was “horrified.”

“After I was done recording—I was even the first to finish—I sent it to our WhatsApp group chat out of excitement, then I played it back and it looked like something out of a poorly created video game,” she says. At the time, Adetola was using a high end Samsung smartphone with great camera specifications. Even with WhatsApp’s well-known penchant for lowering video quality, she was pretty sure her recording would still look good. Well, it didn’t look good. “What even made it worse was that my other four friends all use iPhones, and their individual videos were crisp while mine was crumpy and basically trash,” she added.

Adetola ended up borrowing her sister’s iPhone 8 to remake her part of the video, which appeared “way better than the one from my more expensive phone with supposedly better camera specs.” Almost two months after that situation, she’d go on to buy her very first iPhone, the XR, upgrading to an iPhone 12 in November 2021. “I’m still very attached to my Samsung, but I’ve been totally won over by the iPhone aesthetic,” she says with an added laugh.

Aesthetic is undoubtedly the keyword in Adetola’s (semi-)switch to Apple’s line of flagship smartphones, and even though the circumstance that nudged her might be unique, the general context applies to many young people who have embraced the iPhone as their mobile device of choice. Many young Nigerians I know and spoke to for this piece noted that aesthetic was a big reason for switching to, staying with, and upgrading to newer versions of the iPhone, citing just how good images and videos looked on these devices, and how much better they looked when shared to social media—as compared to visual stuff taken on other mobile phones.

“I used to joke that I bought it for Instagram,” Chuks, a 27-year old data analyst, tells me. “I would be conscious of what pictures and videos to post on social media with my former android phone, because they just wouldn’t look good when I put them anywhere, even if they looked very good on the phone. Immediately I got an iPhone, I didn’t have to bother about all that.” That difference is a significant one for a lot of young people, especially in a time where it’s not just enough to have a smartphone that can take pictures and make videos, but also share them in clear, positively flattering light.

In theory, there are many android smartphones with equally good—or even better—cameras than the iPhone. It’s even quite easy to find mid-level android phones whose cameras come with high megapixel specifications, great depth sensors and zoom ability, and all that technical stuff that should make for great images and videos. Still, there’s a reigning preference for the iPhone as the mobile device with the ideal camera. For instance, Chuks readily admits that, before he got an iPhone, he’d prefer someone with an iPhone take pictures and make video clips when he went out with his group of friends.

This ingrained camera supremacy has only been helped along by articles with headlines as brazen as “Why iPhone camera take better pictures than android?” on the first google page of a related comparative search. Just beyond that, though, the superior image and video quality is the perfect gateway for the iPhone as a lifestyle choice that automatically makes a young Nigerian seem cool. “Yeah, the pictures are fire but, omo, iPhones are just fine to hold and there’s kind of a swag to using one,” Funke tells me. The 30-year old nurse has been using an iPhone since 2019 when she got an 8-plus, before moving to an 11 a year later, and now she uses a 12. Part of the allure, she tells me, is in how the iPhone has become the premium smartphone of choice, much in the same way the Blackberry was in the mid to late 2000s to the early 2010s.

In the years since launching the iPhone as a novel, almost buttonless device, Apple has evolved its smartphone line, not only in terms of its technology, but also as a lifestyle decision. With every innovative step, whether it’s the removal of that button and the headphone jack slot, or the addition of the AirPods and iWatch series as complimentary devices, Apple has created an ecosystem that’s becoming encompassing and fashionable, in and of itself.

With all of its desirability points, iPhones are notoriously high-end devices—which is a fancy way of saying they are really expensive. In Nigeria, where the economy continues to prove unfavourable to the overwhelming majority, the steep prices of iPhones contributes to its overall coolness. Even with the market for fairly used iPhones, selling at far lower rates than new ones, those that can afford the iPhone are people with a lot of disposable income—which is not a lot of people—and those that can aggressively save over a prolonged period.

“I had to set aside money for about six months to buy this 11 I’m using,” Folarin, an engineer at a construction firm, tells me. After a raise at work, he was able to save about one-fifth of his monthly salary for that period to afford his iPhone. While he also mentions the aesthetic value of an iPhone as the reasoning for buy one, he’s quick to rattle off reasons like fast processing power, the “gorgeous” UI, and privacy of the iOS as perks, but he’s also willing to concede that it’s something of a luxury to afford it. “I think it’s something of a status symbol, that you’re hip, that you’re upwardly mobile with a few naira in your pocket,” he says.

Owning an iPhone in Nigeria means people are prone to look at you through a rose-tinted lens, which also has its negative sides. The Nigerian police has earned its rep as an institution that harasses, assaults and even kills Nigerians, especially its young citizens. As a tacit signifier of financial capability, using an iPhone puts a young person at greater risks for dangerous run-ins with the police. “I was stopped an accused at a police checkpoint of being a Yahoo boy [local term for internet fraudster] on my way from a work site just because I had an iPhone on me,” Folarin recounts in a low tone, adding that he had to surrender almost all of the N7,000 cash he had on him just so they could let him go.

“On our way to a concert, they almost took me and two of my friends to the station, calling us names and accusing us of being Yahoo boy girlfriends partly because we all had iPhones,” Adetola recalls. It’s the sort of harrowing experience that’s been experienced by many, and widely known about by all. During the EndSARS protests of October 2020, I remember seeing a signage that read, “IPhone is not a gun,” highlighting its targeting effect for men in uniform.

Even with the societal red flag attached to owning an iPhone, many young Nigerians are still plotting their way to get one because it’s the in-thing. “I’m definitely getting one soon,” 23-year old Bella tells me. “I use a good Samsung phone but everyone in my workplace has an iPhone and they’ve done the peer pressure thing and convinced me to get one. It’s just remaining the money—well, some of it,” she adds with a laugh. When Bella gets her iPhone, she’ll join a somewhat exclusive set of smartphone users—according to Statista, iOS users make up just under 10% of the Nigerian mobile operating system market.

While smartphones are more than camera aesthetics or lifestyle choices, the iPhone has situated itself as a prime symbol for cool in an era very much defined by optics. Regardless of how you feel about it as a device, Apple’s smartphones will continue to be highly coveted by young Nigerians as long as those aesthetic perks remain alluring.

ICYMI: THE IMPACT OF BLACKBERRY AND ICONIC TECH FROM THE 2010S IN NIGERIA

Our First Impressions of Fireboy DML’s New Album ‘Playboy’

Posted on by Damilola Animashaun

Fireboy DML is not new to weaving his life experiences into a coherent body of work. Among the artists of his generation, he has proven to be the most eager to create transcendental records within the conceptual plane of an album. So far, so good, as he’s delivered two critically-acclaimed projects since 2019, with the first ‘Laughter, Tears & Goosebumps’ widely earning the tag of a modern classic.

In the latter months of 2021, the YBNL and EMPIRE artist kicked off the run-up to his third movement. “Peru” was allegedly ‘leaked’ by label boss Olamide, but its breezy songwriting and effortless swag soon caught onto a swathe of Nigerian listeners. Not long after we’re hearing Ed Sheeran on the record, raving during international shows how he loved the song on first listen. Ever since, the 26-year-old artist has gotten a bigger international profile, getting on a song with Madonna and not long ago, becoming the first Afropop artist to perform at the main stage of the BET Awards.

‘Playboy’ arrives then, with much fanfare. It arrives on the back of these wins, and is naturally reminiscent of how we received his two albums. If the title, album artwork, and lead single reveals anything, it’s that Fireboy DML is exploring the more sensual aspects of his personality. Given his impeccable record as a writer, this is one album the members of our editorial team would have a great time discussing. In our tradition of first impressions, here are our honest and unedited thoughts about the much-anticipated ‘Playboy’.

 

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Best Song

Tela: Each song on this album is meticulously produced and curated. Adore and Peru are two contenders fighting for this spot. But I have to give it to Peru. Ever since its release last year, I have been a prisoner of the composition. The constant repetition of “Peru Para” gets me excited and singing along. In my own words, this is an example of timeless songwriting and production. The euphonious singing of Fireboy backed up by the numerous adlibs show that he is a born star who has perfected his craft. The drum bass lines add ferociousness to the song and the display composition doesn’t have to be complex. Its simplicity stands out for me.

Moore: My personal favourite song is the opening track, “Change”. It’s gentle opening draws the listener in, immediately making you focus on its personal, melancholic lyrics. The song consistently swells until it reaches its peak of intensity as Fireboy belts out his complex feelings about his changing life. It’s a song filled with raw emotion about very specific feelings in Fireboy life, while also capturing a feeling of anxiety that everyone can relate to.

Wonu: “Ashawo” is definitely my best song off this project. I’m a big fan of how he tells the story of the Lagos dating pool with such finesse. Of course, the message isn’t ideal, but it’s an extremely catchy song. Over this jumpy Telz production, Fireboy floats smoothly on the song. He goes from mostly being not so apologetic about his playboy ways on one verse to sounding committed in the next; how typical. Using repetition techniques on the hook, Fireboy is able to draw the listener’s attention in a few seconds – an art he seems to master over this album, other examples of this found on “Peru” and “Sofri.” “Ashawo” has the suave production and melody, and general aura of a potential hit song.

Oluebube: The best song for me on this album is “Change.” The song particularly speaks to me and reminds me of the EndSars protest and how the youths were united for a single cause. It is also very inspirational, as it speaks of those expectations that people have of you when you reach a certain level and how you have to live up to those expectations.

Best Production?

Damilola: The production of this album is so amazing and my favourite out of all the songs is “Adore” which features Euro. I particularly like this song because I fell in love with it on my first listening. I haven’t seen enough hype on this song but I believe it’s a sleeper hit with massive potential, especially because the other features on the album include big names like Chris Brown, Rema and Ed sheeran. If people decide to relax and listen to “Adore,” they would realise how beautiful the song is. I believe it is very important to give small names a chance too because they deserve the attention as well!

Cynthia: There is a lot of creativity and diverse sounds in this album that one can’t ignore. My first choice in the album for best production is “Peru” because it had me transfixed with its stellar percussion and soft piano melodies in the background. Shizzi has been known for producing great hits and “Peru” is no exception. My second choice would be “Havin’ Fun” which has this reggae old school feel to it. This sound takes us to a different side of Fireboy and allows listeners to see him experiment with new sounds than what we are used to.

Maria: My first pick for this is “Peru.” I’ve already spun it quite a number of times but I can never get tired of it. Shizzi did a great job putting this together as the soft piano chimes in the background go perfectly with the heavy hitting drums to create this groovy song. The melody is memorable and its replay value is through the roof, no wonder it’s already a certified hit.
Next is “Diana.” It’s the perfect fusion of Afropop, R&B and Dancehall. Phantom was in his bag with this.

Emmanuel: I found the production on this album to be quite delightful. However, my body had a visceral reaction to the sizzling percussion and horns of “Afro Highlife”. Before discussing the obvious topic of its title, the production is quite Afrobeat-influenced and carries the energetic live quality of Kuti’s sound. That, to me, was a masterstroke of interpretation because that sound has been constantly rejigged and used, but keeping it fresh… that’s another thing. Now, to the title, I don’t quite hear the Highlife element in this song; the guitars aren’t as prominent as the horns, neither is the delivery quite Highlife-esque. I’ve already seen someone describe the record as Afrobeat, and while I haven’t clocked that in myself, it’s about time we have a conversation about genres and how much freedom the artist should have in naming them.

Biggest potential hit?

Moore: The song with the biggest potential is definitely “Ashawo”. It’s a song that has wide appeal. It has a tempo that’s just energising enough to dance to, but is also low-key enough to not be overwhelming. It’s playful lyrics are also guaranteed to place the listeners in an equally playful, cheerful mood and invite them to sing along.

Wonu: The biggest potential will surely have to be “Ashawo” and for many reasons. One, when you hear “Funkula!” you automatically know something heavy is coming. Telz did something amazing on the production of this record, I must say. Two, Fireboy was passing a subtle message about what listeners of this generation want to not just hear but will also want to speak about. The buzz around the record is not only going to be huge but will also last for quite a while.

Cynthia: “Bandana” has the biggest potential, for me, because it has an exceptional sound that everyone can vibe to and it can be easily understood by the majority of audience plus a catchy feel to its lyrics that one would find oneself singing after a couple of replays.

Best Guest Verse?

Emmanuel: For me, the best guest verse is not even a verse. But what Asake does on “Bandana” just highlights his sweltering status as one of Nigerian Pop’s biggest influencers today. The chorus chant is just one aspect of why the whole thing works; within that boisterous enchantment, Asake’s rhyme schemes and references (“Bandana l’ori biti 2Pac”) contribute to the song’s alluring hipness. Rema did well with his verse too on “Compromise”, layering those slick vocals with sensual purpose; on any other project, he’d be top place. But here Asake is just too contemporary to ignore.

Tela: Euro’s presence on “Adore” cannot be ignored. He simply swerves into the song serenading his muse with numerous sweet nothings with a dash of simping. I love how he was at par with the album and song’s title showing he put an effort. His cadence and delivery convince you of his heart’s desire as he goes off “Violets are blue and these Roses are red, I should be burning these flowers instead.” He is not trying too hard with his lines as he tells you an easy-going story of a playboy in love.

Biggest skip?

Wonu: Well the album does not really have any major skips to me but my biggest skip will have to be “Peru” and this is not because this record is not good quality but because this particular record has been out for over a year and has been on the airways for quite some time but other than that, “Peru” is a monster hit.

Moore: While I wouldn’t rush to skip any song on this project, I’d say the biggest skip has to be “Afro Highlife.” While it’s a very enjoyable song in the right setting, it’s one that needs to be played in the right mood. It’s not as versatile as some of the other songs featured in the project. The fact that I still wouldn’t skip it 9 times out of 10 is a testament to the quality of ‘Playboy.’

Standout verse?

Oluebube: For me, “Change” is still the one. The beats of the drums, piano strings, and the voice of Fireboy just provokes a certain feeling that one can’t help but think. This song particularly stems from a place of emotion especially when he says “stepping in a room and I got everybody smiling. Don’t know if they like me for myself or my talent. Most times I feel like I be suffering but I’m silent.” This just speaks to those fears that we have which are relatable.

Maria: “Change” takes the cake here. Fireboy’s album intros are always powerful as he is an amazing songwriter but this is his best yet. Lyrics like, “See my life’s about to change, but I feel some typa way, everyone around me keeps asking me the same “Are you ready for the pain?” tell the all too relatable tale of the fears that come with a new phase in life. He also touches base on the struggles of being a young superstar, saying “It’s kinda hard to deal with the pressure but I’m trying / “Don’t know if they like me for my person or my talent”. The song in its entirety is resonant, honest and relatable. I get it Fireboy. I get it.

Tela: There is nothing as satisfying as the perfect introduction to an album. “Change” is a soulful piece showing Fireboy DML’s growth. He makes a statement with the song, acknowledging his greatness in the Afropop industry with lyrics such as “…its kinda hard to deal with pressure but I am silent,” a reference to the fact that he is currently on the international watch since the release of the smash hit “Peru”. It might be the piano keys or his prolific storytelling skills but this verse does it for me.

Overall first impression

Wonu: ‘Playboy’ is a solid body of work. Everything about the album stands out, from the production and engineering to the lyrical content. On his debut album ‘Laughter Tears & Goosebumps’, I believe Fireboy had set the bar extremely high but with every new release, the artist continues to redefine himself and his sound. A major takeaway from this album is that Fireboy wants to leave a mark on the world with his music. He doesn’t fail to not just say it but also find a lasting impression that listeners can always hold on to. A very commendable body of work from the artist and all the contributors on the project, Fireboy has another solid body of work under his belt.

Damilola: I wasn’t so pleased with the first song and that gave me a scare because I thought it was going to be like that till the very end. But to my surprise, the album because better as I kept on listening and I love it now! I believe Fireboy is a unique artiste because his music always finds a way to stand out. He has progressed so much over the years and now has big names like Ed Sheeran and Chris Brown on his album which is very impressive. Every aspect from the engineering to the lyricism and the transitioning is perfect and I think you have to be patient while listening to the album for the first time in order to enjoy it.

Emmanuel: Having come through the gates with artistically ambitious projects such as ‘LTG’ and ‘Apollo,’ here Fireboy wants to lay back a little. That, for me, is very crucial in parsing the execution of the album. On first listen you wouldn’t find obviously great songs, but just like “Peru,” I expect a number of songs to slowly warm their way into the hearts of listeners. Eventually, this is the album that reminds you that Fireboy is still a young man after all. He might have made his name being a poet for the sad generation but hedonism still ranks high among art’s enduring subjects. For me, that might be the reason for the relaxed nature of his songwriting here but overall, he does well in executing that particular vision.

Stream Fireboy DML’s third album ‘Playboy’ below.

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Songs Of The Day: New Music From Yaw Tog, Ajebutter, NSG, Ariana Blnde & 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 FireboyDML, NSG, Yaw Tog, Ajebutter and more. Dig in. 

Ajebutter – “Confam” ft Kida Kudz

Ajebutter and Kida Kudz team up for the new record “Confam.” On the record, the artist sings about showing his muse a good time while they party and get drunk. He sings “I said come through it’s fine, me and my friends confam/shayo dey confam, Hennessy dey confam.” Kida Kudz steps in with a rap verse as he spins the record in a different direction.

Fireboy DML – “Ashawo”

For his third studio LP Fireboy DML has arrived with ‘Playboy,’ a 14-tracker with features from artists such as Rema, Chris Brown, Shenseea and label mate Asake. On the standout number, “Ashawo,” he sings to his muse amorous lyrics such as “no be my fault na shayo/na all of us be ashawo” which translates to “It’s not my fault, its alcohol,” blaming his vices of drinking for acting out of order. 

Yaw Tog – “Sophia”

Following his stellar breakout year, Ghanaian drill rapper, Yaw Tog is back with another catchy number titled “Sophia.” On the track, he delivers a romantic number as he serenades his muse with lyrics such as “fine girl me I dey for you, my heart with the key for you/and anytime I think about you, I just want to be with you,” letting his love interest understand the plans he has for her, while switching between his native tongue and English.

NSG – “In Da Car” ft. MHD

Following their ROOTS tour in Africa last year, Afroswing group NSG are back with their latest single, “In Da Car” featuring French rapper, MHD. The catchy new number finds the rappers trading bars in English and French about getting their shit popping and enjoying the fruits of their labour. The record also arrives with a new video which sees the boys in a pool party setting and a parking lot having the best possible time.

T.I Blaze – “My Life”

For his latest offering, singer, songwriter and performer, T.I Blaze is here with the uptempo Amapiano-infused record “ My Life.” On the track, he speaks about enjoying the good things of life, having fun and focusing on the positive things of life. Over the catchy hook, T.I Blaze quips “Omo na my life, I cant come and kill myself/man go jaiye jaiye until the very end” which translates to “Its my life and I can’t come and kill myself/I’m going to enjoy my life until the very end.” 

Mr Eazi – “Personal Baby” 

Following the release of his hit single “Legalize,” singer and songwriter Mr Eazi has arrived with another warm romantic record “Personal Baby.” On the Kel-P produced record he sings about a love interest who always has his back and is always there for him. The record is accompanied by the Demola Falomo-directed video which sees the artist with his muse in a dark and moody room as he performs the record to her.

Ogranya – “Brenda”

Nigerian Afrofusion singer, Ogranya delivers yet another mid-tempo romantic number titled “Brenda.” On the record he appreciates his love interest who he can’t seem to get off his mind. On the song’s catchy hook, he chants “Brenda, Brenda, Brenda, you no de give me trouble/Brenda, Brenda, Brenda, so I go dey here for you” letting her know the energy she gives him is reciprocal. 

Ariana Blnde – “Lightweight”

Rap newcomer, Ariana Blnde arrives with her debut single “Lightweight.” The record sees the artist spitting disrespectful and dizzying bars over the song’s catchy production. For her debut, “Lightweight” packs a mean punch as Ariana spits bars such as “I’m a nasty bitch off the prosecco” letting listeners know that she’s here for a good time. Across the song’s 2-minute run time, she makes braggadocious claims while reminding listeners about how much of a boss she is. With her debut, it’s clear that she’s confident in her abilities and we’re keeping our eyes peeled for how she continues to develop.

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Listen to Skillz 8Figure’s New EP, ‘Phones On Silent’

Posted on by Tela Wangeci

In 2020, Sierra Leonean-born, Ghana-based singer Skillz 8Figure became one of those artists no one could possibly ignore with the release of his debut EP ‘Gangsta Luv’, an honest 6-track confessional that merged dancehall sensibilities with trap-soul melodies, while staying true to his familiar Ghana bounce.

Skillz 8Figure’s musical journey is an intimate reflection of vulnerability intertwined with dark thoughts. Packing jazzy bangers with dreamy sounds, his irresistible songs are influenced by his vast cultural background. With roots in Sierra Leone and transversing across Ghana and Nigeria, he often describes his sound as coastal. Since then, the singer has been releasing new music, clearly improving on his sound with each subsequent release and amassing considerable fanfare along the way.

 

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Last year, the prolific singer released his stunning debut album, ‘After Dark,’ which found him continuing to fashion himself into a singular pop star, by leaning into a laidback, arcane sort of personality. The album presented a refined take on the positives from his debut while expanding the scope of his artistry in intentional and definitive ways.

This year, he’s only been working on peeling back more layers to his artistry. A fortnight after the release of his lead single “Delilah” featuring Kelvyn Boy, the EP titled ‘Phones On Silent’ arrives today with anticipation. The 4-track EP is mixture of R&B, Afropop, and dancehall sounds, presenting a cocktail of sounds while touching on topics such as spirituality, love, sex, and energy.

Opening with “P.O.S” featuring Yung Demz, a brassy anthemic number with catchy snares and drums, Skillz 8Figure’s smooth melodies glide over the mellow beat as he serenades his muse with lyrics such as “loving you makes me feel a different excitement.” Elsewhere on “Down Flat,” with hitmaker Kelvyn Boy, Skillz 8Figure trades catchy lyrics about getting his shit popping with humble wisdom underpinning his songwriting. With plaintive hooks and sharp verses, Skillz 8Figure conjures a formidable body of work across the EP’s 11 minutes run-time, while gracefully confirming himself as one of the most captivating artists of the new vanguard of Afropop stars.

Listen to ‘Phones On Silent’ below.

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Juls Shares Deluxe Version Of ‘Sounds of My World’

Posted on by Emmanuel Esomnofu

Ten months after the release of his heralded debut album ‘Sounds Of My World,’ Juls has put out a deluxe version. The Ghanaian-British act has been prolific throughout 2022, making sure to explore new twists within his signature palmwine groove.

 

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On songs such as the BenjiFlow-assisted “Ready” and the duo of “Jamestown Riddim” and “Lokoto Riddim,” the production style was considerably edgier, incorporating rustic elements which brought even more colour to Juls’ sonic pallette.

The latter was named by The NATIVE as Best New Music and was praised as a blistering highlight of his sonic vision. Given its delicate infusion of myriad elements, Juls reemergence was always going to be a moment. And with seven new songs added to the previous fifteen-track album, fans of laidback Afropop will be eating good throughout the weekend and beyond.

Linking up with Juls on these songs is the duo of Zikomo and Jaz Karis, who appeared on the earlier-released “Summer In The Ends”. Jamaican musicians Sevana and Projexx, a frequent collaborator of Juls, get their own solo tracks. And of course, the silvery vocals of Tay Iwar are on dazzling display on “I Got You,” a smooth record pledging undying commitment for a lover. With its dusty 90s Hip-Hop vibe, it’s a fine marker of Juls’ regeneration as a pristine music creator. He goes the solo route on “Osu Riddim,” the closing song of the deluxe.

The producer works the log drums of Amapiano into the breezy lilt of his accomplished style, creating a song that sounds nothing like anything else. Most of the time, deluxe albums are commercial moves rather than advancing the sonic tapestry of a project. With Juls, it’s much more than that. He’s a soundman, and these additional seven songs give so much to your perception of his craft.

Listen to ‘Sounds of My World Deluxe’

EbonyLife’s ‘Elesin Oba, The King’s Horseman’ Is Set To Premiere At The Toronto International Film Festival Next Month

Posted on by Wonu Osikoya

‘Elesin Oba, The King’s Horseman’, a film by EbonyLife Productions is coming to Netflix Naija soon. The Biyi Bandele-directed film is adapted from a 1975 screenplay by Wole Soyinka titled ‘Death and the King’s Horsemen.’ Based on a real life events, the horseman of a Yoruba King were prevented from committing ritual suicide by the colonial authorities.

Now, Mo Abudu’s EbonyLife studios have announced that the film will have its first worldwide premiere at the Toronto International Film Festival on the 10th September, 2022. 

 

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‘Elesin Oba,The King’s Horseman’ will feature in the prestigious special presentation category, becoming the first Yoruba language film to feature in this category. The forthcoming film will also star actors such as Odunlade Adekola who plays the lead role as Elesin Oba, Shaffy Bello as Iyaloja. They are joined by Deyemi Okanlawon, Olawale Oloforoo, Omowunmi Dada, and veteran actors, Jide Kosoko and Kevin Ushi with guest appearances by acting legend Taiwo Ajai-Lycett and Ajoke Silva.

In a press conference about the film, CEO of the EbonyLife Group and executive producer of the film, Mo Abudu shared that:

“In filming Elesin Oba, we chose to stay close to the original work, which is already well-known globally as a great example of African drama. It’s an honour to see this compelling introduction to African thought and tradition on screen. Its interweaving of European and Yoruba ideals to depict universal themes of cultural responsibility has never been more important than now.”

Watch the trailer for ‘Elesin Oba, The King’s Horseman’ below.

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Where Were You: The Glitz Of Budweiser’s FIFA Concert

Posted on by Emmanuel Esomnofu

I was outside the halls of the Eko Conference Centre when Davido arrived. The moment was attended by a convoy of black cars, the rubber of tyres rubbing progressively along the asphalt, phones-in-hand ready to capture the star. When he emerged from his car, he had his signature bling wrapped around his neck and donned a designer red shirt. In another moment, he was inside and the night continued in its lascivious joy, propelled by Budweiser’s astute party organising capabilities. 

 

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For the second World Cup running, the biggest beer brand in the world had arrived in Lagos. In billboards and TV ads across the country, the distinct hue of the brand’s red colour had popped off, reminding event goers of its existence on Saturday, the 30th day of July. On the day in question, traders and service providers had themselves ready. It was a commingling of all that gives Lagos its mythic and slightly dystopic allure.

While at the reception preparing to go inside, the King arrived and was attended by loud, percussive music. The beautiful clash of cultures wasn’t lost on me; some hundred yards away, Asake was delivering music refined from the same well of traditional sound, performing the monstrous quartet of “Trabaye,” “Sungba (Remix),” “Palazzo” and “Peace Be Unto You”. Given the recency of the records, the crowd did most of the heavy lifting while the YBNL and Empire act danced impressively, layering his raw vocals over some parts of the songs; it came off as slightly less passionate, 

Before then Fave and Reekado Banks performed songs like “Baby Riddim” and “Ozumba Mbadiwe” to varied but similarly engaged receptions. A few faces on the night were covered with masks, and were poignantly reminiscent of two years ago when communions such as these were impossible to conceive. Now, as hit song after hit song vibrated through the arena, impressively packed with–and this is a rough estimate–over five thousand people, the visceral quality of living through such musical moments was bare. 

 

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Halfway into the event, just after midnight a warm feeling of accomplishment was spread across the venue, mostly inside where people were gathered. Excellent lighting illuminated the stage, while the sound was impressively concert-esque, coloured with flourishes of live music. Personally, the event peaked when 2Baba got on stage. Here I must admit: it was my very first time seeing the legend perform live. That fact is as a result of factors both within and beyond my control, but Mr. Idibia wasted no time in getting the crowd lit. 

His set was entirely sung live, spiced in-between with comments which had a sociopolitical leaning. His song choices reflected that urgency, going from “4 Instance” to “U No Holy Pass,” where he delivered a sensual-lined freestyle before demanding for stripped sonics, performing a stirring medley of “Fly” and “E Be Like Say”. While he impressed his own interpretation on the former, the latter was more communal in the reaction it got, again highlighting why the man remains such a cornerstone of our collective memories as Afropop lovers. 

The reactions to Tiwa Savage’s set was also noteworthy. Her on-stage presence proved to be coolly passionate, effortlessly going from the introspective mien of “Save My Life” to energetic bops like “Ma Lo” and “49 99”. That peculiar vibrancy was parlayed into “grown and sexy” songs–as she dubbed them–such as “Dangerous,” “Attention” and “Like,” which was also performed solo during Reekado’s set. 

Her lightheartedness reached a wholesome peak when she mentioned her name as Dr. Savage, referring of course to her recent honorary degree from the University of Kent. Another moment came just before her performance of the uber-hit “Somebody Son.” Speaking against a backdrop of swirling church notes, she alluded to the song’s titular character being none other than Jesus Christ, the son of God. Expectedly, that was met with loud uproar but it also bolstered the camaraderie between the stage and the audience, which was well extended by DJ Spinall’s brief-but-energetic set. Wande Coal and Teni also turned in invigorating performances, especially the former who flexed his iconic vocals in his rendition of classic Mo Hits-era records “Na Who Born The Maga” and “Booty Call”. 

 

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As host of the night, Jimmie Akinsola did a great job of translating his on-screen suaveness into the immediacy of an MC role. Several times during the event, he was impressively understanding of his crowd, using popping phrases and relatable stories to keep the attention. That vibe was only amplified when Ebuka Obi-Uchendu got on stage to announce the winner of a raffle that would take them on an all-expense paid trip to see the World Cup later this year in Qatar. 

Excitable tension was worked into the announcement, as the recipient wasn’t picking up his call. The phone’s ring consistently reverberating through the arena. Anecdotes and humorous remarks gave the progression the feel of a ‘Who Wants To Be A Millionaire?’ episode.. Suddenly a section of the crowd went loud, as people gestured that the raffle winner had arrived. Within minutes, he was on-stage with the expected look of feeling flustered. 

 

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When Mayorkun got on stage, he reverse-engineered some of his biggest hits in recent years. The wistful groove of “Certified Loner” was followed by the hypnotic percussive swell of “Of La La” and, moving through more serene motions, performing his standout verse off the remix of Camidoh’s “Sugarcane” and then the Victony-assisted “Holy Father.” Not long after, “The Best” came on and in what was an affectionate even if slightly trite script, headline act Davido emerged to perform his verse. The excitement rose to a very high crescendo, as both musicians thrilled the crowd for a short period before the protege gave way for the master, a master who had old tricks aplenty within a new bag, a facet he soon explored during his time on stage.  

Starting off with classics from his catalogue such as “Dami Duro” and “Gobe,” he carved a unique reflection of his decade-plus career journey. They were quite well received, but not quite like the 2017 trinity of “Fia,” “If” and “Fall.” A Better Time’s “Jowo” and the “Baddest Boy (Remix)” also elicited the response of the largely youthful crowd, especially the latter whose flamboyant vibe was well chanelled by Davido. 

 

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Chants of “OBO!” rang through the front section as he performed the more recent “FEM” and CKay-assisted “La La” successively, his trademark zest on display as he placed a hand over his ear to gesticulate a phone call. Just before the choral sounds of “Stand Strong” came on, the recognisable figure of Iyanya appeared to perform “Like,” his recent collaboration with Davido and Kizz Daniel. The distinct shuffle of “Skelewu” came on, before the musician closed out with his duo of Amapiano-leaning collaborations “High” and “Champion Sound”.

The Budweiser glitz still extended outside the arena, where beer-laden photo props and dazzling lit-up booths were set up. Young people were daring in their fashion, intensifying the glitz on display. Down along a hallway, one could access cold beers while moving through other exciting features—it gave the feeling of being in an exhibition, which speaks to its curatorial brilliance. A good show is one of the highlights of the Budweiser experience and whether it’s using cutting-edge technology or collaborating internationally, they’ve always brought that vision to life.

Last Saturday was a fitting celebration of Nigerian music and Lagos’ famous nightlife. When the days roll by and the World Cup arrives, it will scarcely be enough to fill the peculiar anguish of not being a part of footballing legacy. Regardless we move on, knowing that night remains a vivid painting on the sprawling canvas of our cultural existence. 

NATIVE Premiere: Bella Shmurda’s Video For “New Born Fela” Pays Homage To The Afrobeat Pioneer

Posted on by Emmanuel Esomnofu

Bella Shmurda has one of the most unique voices in Afropop. Over the years, he’s wielded that piercing lilt in many forms, crooning suggestively about the good life or poignantly travelling the long miles of memory, reflecting his story through poetic snapshots spiced with street lingo.

 

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Throughout 2022, the Dangbana Republik frontman has been typically prolific, appearing on collaborations like the remix of King Perryy’s cult classic, the Drill banger “Go German,” Cobhams Asuquo’ “Jah Eli Jah“ and most recently, Krizbeatz’s “Wild Party,” a colourful bop which also featured Tanzanian singer Rayvanny.

Every solo release from Bella has been considered a run-up to his highly anticipated debut album, tentatively titled ‘Hypertension’. Among those, the bold-faced “Fvck Off“ made the most impression, pairing the explosive element of his lyricism with dance-ready melodies. With its production coming from Niphkeys and Larry Lanes, Bella again marked himself as an artist to watch out for throughout the year.

Now, with the release of “New Born Fela,” Bad Boy Bella is moving into his own. The in-your-face nature of the lyrics is quite adaptive of his highwire qualities, blending romantic zest with the revolutionary turn of the instantly memorable chorus where he sings, “I be the new born Fela/ Storyteller, battery charger/ Baby pana, for my matter, use kayamata/ I know the matter, the matter don’t matter.” 

Channeling the rich visual material familiar with Fela Kuti, the TG Omori-directed video is a masterpiece in its own right. It’s brief, as attuned to the song’s little over two minutes runtime, but the colorful representations and Afrobeat-inspired costumes work magically to bring the viewer into Bella’s world.

He already ranks among the most magnetic Afropop superstars, but this just amplifies the eccentric allure of Shmurda, constructing a riveting visual journey leading up to ‘Hypertension’. Following the video’s release, we spoke to Bella Shmurda about the inspiration behind the video and the prospects for his forthcoming debut album.

His answers, which follow below, have been lightly edited for clarity.

NATIVE: Why did you collaborate with this particular director on this video? 

Bella: With TG, everyone knows he’s the go to director for videos that are different. So I was sure that when I plan to drop my next single. He will definitely shoot it for me. No doubt for my mind he will deliver. Also the message of the song needed to be translated impeccably visually, we all know how he does this so well.

NATIVE: What was the most exciting thing about being on set when shooting the video? 

Bella: For me, when TG sent the mood board, I knew he got it—the costume pieces, the models, the clarity in the direction all gassed me up

NATIVE: How would you say the song is connected to the video? 

Bella: The expression , me, my many wives in the video, the make-up, the interpretation, you can definitely see the connection.

NATIVE: You’ve been gearing up to release an album. What should your listeners be expecting from that? 

Bella: A brand new expression of me, experiments and odd features that you wouldn’t expect, very natural too.

Get an exclusive first look at “New Born Fela” below

Songs Of The Day: New Music From Tomi Owo, Simi, Mr Eazi & More

Posted on by Emmanuel Esomnofu

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

Every week, tonnes of songs from African artists make their way to digital streaming platforms, and wading through them can be intense. That’s where The NATIVE’s Songs of the Day column comes in to help. We go through as many new releases as possible, spotlighting them here, two to three times every week. Today, enjoy new releases from Simi, Tomi Owo, T-Classic, Charlie Kay and more. Dig in. 

TOMI OWO – “BIRD”

Lagos-based Tomi Owo encompasses glittering influences in her music. From R&B to neo-soul and Jazz, the singer’s eclectic artistry has earned her a steady fan base, and got her onto the roster of Universal Music Nigeria in 2020. She typically in sparse circles, and “Bird” is her debut single of the year. Lulling bright vocals into the open air of a freedom song, there are bursts of shiny synths illuminating the perspective she renders so passionately.

SIMI – “LOGBA LOGBA”

Earlier this year, Simi made a strong statement with her third studio album, ‘To Be Honest,’ which flexed the artist’s vulnerable lyricism amidst muted production. “Logba Logba” portended one of the album’s striking bops, teasing an excellent sonic alliance from the pomp of Afrobeats’ drum patterns and Highlife’s exciting guitar-playing. The recently released Dammy Twitch visual captures a colourful and urban vibe, casting Simi alongside other beautiful black women, and amidst a lean storyline which involves a jailer.

MR. EAZI – “PERSONAL BABY”

The chief honcho of Empawa Africa has not hidden his intent to release an album this 2022. In June, he kicked off his year’s account with “Legalize”. Barely two months later, he’s continued his journey with “Personal Baby,” a warm record devoted to the earth-shifting motions of love. It’s co-written with Afropop star Teni, a choice which cumulates in a steamy perspective as he croons about being exclusively sensual with his romantic interest.

CHARLIE K FT. CASSPER NYOVEST & GEMMA GRIFFITHS – “SOLO”

Over the years, Zimbabwean artist, producer and label executive have solidified his name as a purveyor of good sounds. On his latest record, his skills both as a musician and curator is present, linking up with South African rapper Cassper Nyovest and fellow countryperson Gemma Griffiths to fine effect. “Solo” is unmistakably a party bop, but there are undertones of solemn lessons especially on Gemma’s chorus where she alludes to no one being an island. The visual does well to capture its urgent vibe as well.

TSHA FT. OUMOU SANGARE – “WATER”

London-based producer and DJ incorporates eclectic sonic choices into her catalogue and that has led to her growing acclaim across EPs. She’s expected to release another later this year, and what better way to propel that run up than this? Amidst the head-wracking beauty of her synths, Sangare’s ancient-sounding chants electrify the core of one’s soul, reaching where no words would and reiterating, as we quite know, that there’s no one way to creating magic. “Water” is a beautifully disruptive song.

T-CLASSIC – “JIMMY CHOO”

In 2019, T-Classic had all the streets spazzing with “Nobody Fine Pass You,” a song which announced his hitmaking potential to the wider Afropop audience. Since then, the artist has sought to replicate and surely exceed its success, but of course that hasn’t been easy. If there’s any clear path to ascendance, it comes on the ‘Voicenote EP,’ his latest project. A standout off the six-track tape is this Niphkeys-produced number, a bass-heavy affair ready for the dancefloor. Sultry keys delicately unfurl in the background as T-Classic makes a case for his love, using inventive one-liners and an instantly catchy hook to do so.

NUNO ZIGI – “ODIA”

Hip-Hop has strong roots in the country’s southeastern scene. From the era of Nigga Raw and Slow Dogg down to iLLBliss, rap has been a viable way for the region’s acts to express their hustler mentality and lyrical skills. Previously signed to Penthauze Music, Nuno has struck out on his own while maintaining the ethos that’s earned him a credible fanbase in the East. “Odia” is the lead single off his recently released ‘No Day Off’ album, a sizzling Drill banger lined with ferocious boasts and lived-in tales of growing up in Onitsha.

SAMPA THE GREAT – “BONA”

Zambian-born artist packs a punch into her artistry and it’s quite evident. On her new record “Bona,” she delivers fire-toned lyrics with blistering pace over a futuristic, synth-heavy beat. The pomp recalls the flamboyant direction many Southern African rappers are taking, but Sampa is original and edgy in her perspective, delivering the lines with audible glee when she raps, “we’ve been rocking this s**t since the origin/ they be acting like they can’t see us win.”

What’s Going On Special: A timeline of the ASUU Strike In Nigeria

Posted on by Emmanuel Esomnofu

Towards the eighties, the Academic Staff Union of Universities (ASUU) was formed. This was made official in 1978, extending the reach of what was formerly the National Association of University Teachers into a more national entity. Previously consisting only of the legacy universities of Abuja, Lagos, Ife, Zaria and Nsukka, the newly-formed body was very influential in pushing for academic reforms through the military-led years of the eighties. Through the preceding decades, that significance only bolstered as a return to democracy in 1999 placed the priority of educational legacy under the eyes of the Olusegun Obasanjo-led government. 

In the 23 years since then, the phenomena of ASUU strikes have been rife. Any average person who has gone through the federal tertiary system knows how synonymous those words have become with education in Nigeria. The frequency of the strikes also demonstrate how further apart education has grown from federal policies, quite unabashedly so in the eyes of the ruling elite. Currently with the ongoing strike action, university students have been at home for almost six months. 

On February 14th 2022, millions of federal university students received the news that ASUU were embarking on a month-long warning strike, and lecturers would only be back in classes if the federal government met their demands. In a statement by the body’s national President, Professor Emmanuel Osodeke, the association revealed that an agreement signed in December 2020—one which put an end to a nine-month strike—had not been fully implemented by the Muhammadu Buhari’s government. This was after it had declared a lecture-free day the week before, aimed at sensitising university communities and the general public to the government’s blatant failure to honour their previous agreement. 

“ASUU will not relent in its historic responsibility of advocating for an improved university system,” said the union’s leadership, stating that “this is because it holds the key to our collective prosperity and better future for our children and our children’s children; so, let us work together to fix it. We don’t like to see our students at home. We don’t want our academic calendars disrupted but our demands are not met.”

In his own statement a few days later, the Minister of Labour and Employment, Dr. Chris Ngige blamed the union for not giving a 14-day strike notice, saying that it was “a clear breach of labour laws.” That statement saw him grasp at long-winded inefficiency of government bureaucracies, saying that ASUU’s clamouring for the University Transparency and Accountability Solutions (UTAS) was to be approved by higher powers in the government, the very government who had turned a blind eye to the December 2020 decision. Even though he reported that the country’s premier technical agency had finished its assessment of UTAS, no prior announcements were made as the strike continued to roll on and on. 

On their part, the ASUU have been fairly communicative of the myriad reasons behind their strike action. When President Buhari announced the utilisation of the Integrated Personnel and Payroll Information System in 2019, they kicked against it and highlighted its problems for the fluidity and autonomy of the academia, a field that’s markedly different from the motions of regular civil service. Since its February strike, while the government and its agents have continued to strut their arrogance and unaccountability, the association have continued to speak with the press and indirectly parsing information through third-party social media channels, with some of those crucially using Gen-Z language to appeal to the knowledge of young Nigerian undergraduates. 

Since 1999, ASUU have embarked on about sixteen strikes. This latest tussle is an offshoot of the renegotiated 2009 agreement between the union and the Federal Government and speaks more to the latter’s indifference to the long-held practice of affording the universities’ little autonomy. This has not been summarily discussed nor updated with the times. Whenever the topic is broached, the Labour Minister and his Education counterpart, Mallam Adamu Adamu, are always certain to maintain disbursing some funds to ASUU, which feeds the union’s opinion that the government isn’t aware of the shifting nuances of education and the economy. 

Two months ago, a university lecturer—who is actually a professor—made a tweet bemoaning her salary earning of four-hundred thousand naira. This was met with uproar considering that the nation’s lawmakers easily make more than that off bureaucratic allowances that should rather be catered for by their basic salaries. After a claim by Senator Shehu Sani in 2018 that the average Nigerian senator earns approximately 13 million each month, the Revenue Mobilization, Allocation and Fiscal Community said that each senator’s salary and allowances tally just a little over one million naira. 

Still, there should be no argument that Nigerian politicians are paid in a grossly indifferent way to the plight of other civil servants. This inadvertently contributes to the god complex most government officials possess, moving through spaces callously and without regard for the average Nigerian. If you read in between the lines of the many statements, you’d see how much of the ASUU strike is an ego problem, of certain figures incessantly clashing against each other and hampering the progression of lasting negotiations. 

About two weeks ago, President Buhari seemed to wake up from his slumber. The incumbent president called for an executive meeting, which lead to little to no results. His statements released afterwards leaned into the militaristic behaviour of giving orders without any recognition of nuance. He kicked Dr. Ngige off the negotiation table, who’s been accused by the union of disrespect and being an “unabashed protagonist in the crisis.” 

In his stead, Mallam Adamu was placed. But this is also a man who angrily walked out of a meeting with representatives of the National Association of Nigerian Students, right after a comment was made about the children of most Nigerian politicians are students of well-run foreign universities. In a report by Premier Times, it was suggested that the two weeks “deadline” given to end the strike was actually made by the Minister of Education. The report also highlighted an alleged rift between Dr. Ngige and Mallam Adamu, the heads of governmental bodies that should ideally be collaborating for a quick dissolution of the strike. 

The aforementioned report also revealed that the past five years have seen the government budget only five to eight percent of the annual budget for education, falling quite short of the fifteen to twenty percent recommended by UNESCO. Coupled with the insecurity in some regions, this has resulted in over 18.5million children being out of school, while academic standards across federal universities have severely declined. As such, in solidarity with their fellow union members, the National Labour Congress embarked on a nationwide three-day demonstration. As reported by Al Jazeera, thousands of union members marched to important locations within the states of Lagos, Osun, Oyo, Kano, Kebbi and the country’s capital, Abuja.

In all of this, undergraduates have reacted with typical defiance. Even as many of us—this writer included—take to online jobs and internships, the rising cost of services have resulted in a whole lot of physical stress for many young Nigerians. This current moment bears testimony to the government’s lackadaisical approach to education even though current undergraduates will be expected to fill up the labour force in the next five years or more. Their outdated policies have also essentially criminalised cryptocurrencies, which was seen as a viable pathway to financial freedom. And with different sets of students clogging up the academic calendar, there’s no doubt there will be a rush whenever schools resume, much to the detriment of the students’ learning. 

Currently, there is growing insecurity in many university towns right now because students–who are the largest stakeholders in these neighbourhoods—aren’t present. Also, a wide spate of economic services around such places are sure to have taken a downturn, from computer centres to restaurants, bars, provision shops, medicine stores and many others. 

Two weeks after President Buhari’s cabinet made sure to publicise their so-called efforts to reopen universities, there has been no resolution in sight. ASUU’s leadership described that order as “lip service” and it’s proven to be quite true. In any working country, figures such as Dr. Ngige and Mallam Adamu would have been relieved of their duties long ago, but Nigeria, as we all know, defies normalcy. In their bid to positively influence the decision-making of the government, in a National Executive Council (NEC) meeting on Monday, the first of August, ASUU announced it was extending the ongoing strike by four weeks. As the strike action continues to worsen and extend, it is pertinent we continue to call out the Nigerian government for its failure to establish a reliable and academically sound tertiary education system.

Featured image credits/NATIVE

Best New Music: Lirase makes life’s uncertainty sound hopeful on “Don’t Know”

Posted on by Dennis Ade Peter

The world is still a mess. We’re still reeling from the effect of a pandemic (that’s still ongoing), and an entire generation of young people continue to bear the brunt of a volatile global economy, especially in Africa where several countries are going through record levels of inflation that’s raising cost of living to astronomical highs and incinerating purchasing power.

In all of this, Ghanaian singer and songwriter Lirase would like you to believe that life is beautiful, a plain statement he offers at the very top of his new single, “Don’t Know”. If you’re cynical enough you might be tempted to call bullshit but, hey, hear the man out. Immediately after that opening line, he quickly follows with, “but sometimes feel like shit,” and it all feels very right—an idealist lyric line followed by one soaked in the mud of reality. It’s not exactly a bait-and-switch move, as the general tone of the song is one of optimism, but it does set an affecting tone for Lirase to figure out what really makes life beautiful.

A week before this new song, Lirase shared his official debut single, “Dark Ages”, a personal and reflective ode to new beginnings over an orchestral blend of new wave synths, dream pop guitars, contemporary R&B drums and fuzz rock ambience. Initially entering the Ghanaian music fray as electro-fusion beat-maker and occasional rapper TonioBeatz back in 2013, that first single partly served as a symbolic moment of reinvention, clearing space for an artist potentially committed to telling his truth over electric instrumentation.

“Don’t Know” continues that early streak, establishing Lirase’s bonafides as a singer-songwriter coming into his own. In his commitment to assuring himself (and us) that he’s taken “life as a blessing,” you can tell Lirase is baffled throughout the song. Whether it’s by kids wanting to be all grown up or adults wishing for the idyll days of adolescence and youth, there’s a curiosity that makes his defiance to view life as a worthwhile—wholesome, even—experience come across as admirable.

“I got too many questions, me I don’t know,” he sings on the pre-chorus, with a twinge of shakiness to his voice that makes the cathartic swell of the chorus—“That be why I’ve been searching, searching wey no dey end/journey wey no dey earn”—feel earned. Thematically, it’s reminiscent of Jason Mraz’s “Life is Wonderful”, but Lirase is a lot less zany with his writing and perhaps that makes “Don’t Know” a little more bracing. It also helps that he’s speaking from his personal perspective, allowing himself to be uncertain even in his earnestness.

Like its preceding single, “Don’t Know” is produced by John Ekow Barnes, who’s worked extensively with Ghanaian jazz-fusion group Overtone Band, and it benefits from his experience with live instrumental arrangement, collecting influences from reggae, rock, funk and folk. The music reminds me of revered Nigerian singer-songwriter Asa’s classic, “Jailer”, and even though Lirase isn’t speaking truth to power with the same combative vim and narrative excellence, but it’s remarkable how he offers hope without sticking his head in the sand or acting like he’s handing down lessons from a soapbox. Also, like Asa all those years ago, Lirase is working within the same lineage of modern Afropop artists rooting their music in the grittier aspects of going through life.

Listen to “Don’t Know” here.

BEST NEW MUSIC: ALUNA, PRETTYBOY D-O & KOOLDRINK’S “NOWHERE TO HIDE” IS RESONANT & BUOYANT