Nemsia Studios inks exclusive deal with Amazon’s Prime Video for three films

Posted on by Wonu Osikoya

American on-demand film and TV streaming giant, Amazon Prime announced its arrival into the Nigerian film industry last December, signing an exclusive streaming deal with Inkblot Studios. Not too long after, it announced a multi-year licensing deal with Anthill Studios, signifying its intent to establish itself on the African continent via Nollywood. Now, Nemsia Studios, the production company co-founded by BB Sasore and Derin Adeyokunnu, has announced that it has secured an exclusive deal for three commissioned films with Amazon prime.

 

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Nemsia Studios was set up as a film production house in 2013, and since then has created films such as ‘Before 30’, ‘God Calling’ and more. The first film in this Amazon Prime deal, ‘Breath Of Life’, is an inspirational film about life and destiny by the ‘God Calling’ director, BB Sasore, and is to be produced by Eku Edewor. The original deal was signed to commission just two films but now, Loup Garou—a Nigerian production company focused mostly on music video production—is involved and Amazon prime has given room for one more film. The music video production company has shot videos for artists such as Ayra Starr. In an official press release shared, Ayanna Lonian, director of Content Acquisition and Head of Worldwide Major Studio Licensing Strategy, Prime Studio shared: 

“We are very excited to collaborate with Nemsia Films on this pioneering slate deal, which will complement our growing lineup of local Nollywood content for Prime Video customers”

The other two films to come from the deal will be announced later this year. Along with this Nemsia Studios commissioning deal, Amazon Prime Video’s previously announced exclusive licensing agreements with Nigerian production studios is set to spread Nigerian films to an even wider reach.

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Kizz Daniel shares colourful & celebratory video for Tekno-assisted smash “Buga”

Posted on by Tela Wangeci

Kizz Daniel is an undeniable OG in the music industry, his craft does not age rather it evolves and reinvents itself. His ability to spin memorable quips on the relatable aspects of love and life formed the thematic basis of his critically acclaimed and commercially impactfully EP, Barnabas. This year, Kizz Daniel has been ruling the Nigerian airwaves, emerging as the best performing act of the TurnTable Charts in the first Quarter. Keeping the momentum going, Kizz Daniel tapped Tekno for the instant hit single, “Buga (LoLoLo).”

In usual Kizz Daniel form, the single has been incredibly impactful, even becoming the most Shazam’d song in the world not too long after release. The sunny and upbeat anthem is now an ode to everyone seeking to have fun, with a viral dance accompanying its popularity. In no time, it’s also been dominating the TurnTable Top 50, debuting and remaining at the top of the chart for six consecutive weeks. Produced by Reward Beatz, the song is laced with a buoyant feel over a percussive backdrop, a perfect setting for Kizz Daniel’s preppy melodies.

A few days back, TG Omori hinted at the a potential set of visuals to the fan favourite  single, and it only seemed right that the biggest song in Nigeria be deserving of an exciting video by Nigeria’s most sought after director at the moment. Hitting 1 million views on YouTube in less than 24 hours since release, the runaway hit has left its fans gawking in excitement as Kizz Daniel finally release the enchanting visuals for the Tekno-assisted single. Characterised by a splash of colours, the video for “Buga” is as vibrant as the song, and it will only improve the song’s impression on Nigerians.

From the first shot, there’s a purposeful portrayal of Nigerian culture totems, as well as nods to the Caribbean and African diaspora, as ladies dance in traditional attire while old men yell in shock over the carnival parade, which already catalyses the high-spirited environment. The color graded shots bring a 4K experience that has been stitched together for the purpose of internet immortality, featuring the award-winning comic Sabinus. TG Omori balances the exhilarating shots between Kizz Daniel and Tekno while using the luscious vixens and excited crowd to go in sync with the lyrics. The dynamic control of the duo as their verses build up on each other is enticing as they invite the audience to have fun with them.

Watch the video for “Buga” here.

Songs of the Day: New Music from YoungstaCPT, Aya Nakamura, Mbosso & more

Posted on by Tela Wangeci

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

Every week, tonnes of songs from African artists make their way to digital streaming platforms, and wading through them can be intense. That’s where The NATIVE’s Songs of the Day column comes in to help. We go through as many new releases as possible, spotlighting them here, two to three times every week. Coming off our early week curation, which featured new drops from Prince Kaybee, Groovy Jo and more, today’s selection is a pan-African selection of releases from YoungstaCPT, Aya Nakamura, Marioo, and more. Tap in.

YoungstaCPT – “Dagga”

Towards the end of 2021, veteran South African lyricist YoungstaCPT teamed up with producer Shaney Jay for Dream Don’t Pay Bills, a full-length project packed with the rapper’s real life experiences and lessons he learnt from them. He’s just shared the music video for one of the tape’s highlights, “Dagga,” where he recounts his time dealing weed and the effect it had on his life. The set of visuals centres YoungstCPT rapping his verse with poise, with several dramatised scenes adding an apt lived-in effect to the video.

Kuiyu – “Dizzy” (feat. Wambura  Mbogo)

“Dizzy” serves as  the second single to Kuiyu’s upcoming album ‘In Between’. Employing the harmonious vocals of songbird Wambura Mbogo, the mellow soundscapes of the song  feel like a perfect ride down a sunny road. Reflecting an authentic love story in the rural ends, they bring out the true nature of pure love. To accompany the riveting single is an eccentric visual portraying love when growing as children. 

Aya Nakamura – “Mechnate”

Aya Nakamura is the gift that keeps giving. Her French lingo is not only enticing but an exuberant ear worm especially on a crisp produced track and “Mechante” is one of them. Aya brings to light an emotionally draining relationship between her muse and herself with the relationship being warm and cold. Mechante translates to cruel which is the description of their love.

Antoneosoul – “Breaking News”

After a much-needed sabbatical break, Kenyan songbird Antoneosoul made a thrilling comeback with his album ‘Welcome 2 my Soul’. The 10 track project is a serene walk down peaceful jazz backdrops and harmonious vocals. “Breaking News” is the opening track with an upbeat pop soundscape. It is no lie that his voice is the knack of his career and he proves it as he hits numerous high notes in the chorus. 

Manana – “Minute of Silence”

The best words to describe Manana is a musical wizard. The Grammy Award winning songwriter once again puts his flamboyant penmanship skills into an empathetic and comforting single. “Minute of Silence” is Manana’s second release amid the buildup to his debut album drop, ‘But could the moments in between’. The song is an ode to failed love with ill feeling,s as he sings “..minute of silence for my dying pride, what is it worth a measure of a fake treasure..”

Mbosso – “Moyo” (feat. Costa Titch & Phantom Steeze)

One of the best crossovers in music has to be Amapiano and Bongo crossover. The symphony and unification of their beats create a new robust and upbeat environment. Costa Titch is a compass when it comes to Amapiano and it was only right for Mbosso to recruit him and Phantom Steeze. Costa playfully switches from English to Swahili bringing a balanced effect to Mbosso’s Kiswahili and Phantom Steeze’s English. 

Goldfish & Youngr – “Two Monkeys”

“Two Monkeys” is a playful electronic jam paying homage to children’s play songs with the famous line, “sitting on a tree k-i-s-s-i-n-g.” The song is the perfect upbeat as South Africa duo Goldfish recruit Youngr into the sonic fist bumping track offering a message of positivity. The dynamic vocals and electronic backdrop with a saxophone provides a perfect element for a turnt moment.

Marioo – “Dear Ex”

Over the last few years, Tanzanian Bongo Flava artist Marioo has leaned into the Amapiano sound, and his latest single “Dear Ex” continues to toe that ‘Piano-inspired line. Produced by Tony Duardo, the new song is incredibly lush, featuring a melange of wispy guitar riffs that mesh well with the singer’s aromatic voice, as he offers a heartfelt paean to a former lover.

Dapo Tuburna – “Idan Gan Gan”

Nigerian singer Dapo Tuburna has been relatively quiet since the release of his early 2021 EP, I Remember Everything. He recently shared his debut for the year with the new single, “Idan Gan Gan,” a boastful slapper that sees him sharing self-exalting quips over Que Beat’s hulking, Yoruba folk-indented beat. The song comes with a visualiser that see Dapo Tuburna performing his set with infectious enthusiasm, alongside a mean-mugging posse that echo the titular anthemic chants that pops up throughout the song.

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Essentials: Kabza De Small reasserts his supremacy with new album, ‘KOA II Part 1’

Posted on by Chibuzo Emmanuel

The story of Kabza De Small is inextricable from the story of Amapiano’s meteoric surge to global renown, which is probably the most majestic story in African music’s recent history. South Africa’s dance with House music and adjacent genres stretches back to the 90s, but at the turn of the 2010s, a sonic revolution started brewing within the nation’s churning Afro-House scene. Iconoclastic artistes nestled in sprawling townships in and around Gauteng started tinkering about with sounds in search of a new flavour, this culminated in the birth of Amapiano: an inimitable sub-genre of Afro-House music that ropes in an eclectic gamut of sounds, from Deep House to Jazz and Kwaito.

Today, approximately a decade since its birth, the burgeoning sub-genre boasts of being one of the most popular and exhilarating variants of House Music. From its early days, through every cascade and whirlpool, Kabza has been an ever-present pillar and guiding force of the culture. He boasts of being one of the very first artists to layer vocals on an Amapiano beat and his legacy is boldly scrawled on every inch of the sub-genre’s complex tapestry.

The most seditious statement to his hegemony in the sprawling Amapiano scene came in the apogee of the lockdown in 2020, when he released sophomore solo studio album, ‘I Am the King of Amapiano: Sweet & Dust’, a brazen title that wreathed an even more profound claim. The project lived up to its name, breaking all expectations as it became the most popular South African project in Apple Music’s history. He has since become the most-streamed local musician on Spotify South Africa, a record he has held claim to for the past two years. This is the gleaming backdrop against which he served his latest solo headline full length project, ‘KOA II Part 1’.

A sequel to his seminal album, ‘King of Amapiano II’ is a sprawling, undulating ode to Amapiano’s murky past and its lurid expansive future. Traversing from primordial sounds like Kwaito and Gqom, to nascent sounds like Tech piano, he pays homage to the genre’s roots whilst wearing the hat of an explorer charting a new course for the culture. If his previous album, ‘I Am the King of Amapiano: Sweet & Dust’ was an assertion of his position as numero uno in the scene, ‘King of Amapiano II’ is him reclining into his throne and exercising his royal powers.

For all its inventiveness and dynamism, at its core, the project retains Kabza’s defining sound: his knack for leaning into Soul Music and poignant African Folk sounds. This is a motif that’s snugly woven through every fiber of the album’s dynamic tapestry. The opening trifecta of the project, “Khusela”, “Ingabe” and “Eningi”, typify this in earnest. Roping in thumping African drums, anthemic chants and angelic vocals, he conjures a unique concoction of spiritual sounds. Spiritual is a common term used to describe Amapiano but these three songs and a handful of songs distributed sparsely across the project, evoke a palpable feeling of connection to our ancestors long gone.

For an 18-track album that spans over two hours, there is no boring moment on the project. Every spin feels like a swanky walk up Mount Olympus. Being the seasoned DJ that he is, he ramps up the tempo and ambience as the project progresses, it slowly morphs from the supple soulful sound that flagged it off to a gritty ominous sound that leans into Gqom and Tech Piano. Towards the last lap of the project, Kabza breaks down all barricades and leans into a concoction of experimental sounds. 

On “Bayasaba”, he experiments with a stripped down production underpinned by menacingly dark percussion. “Mshini” sees him lean into a suave blend of African percussion and ominous Techno melodies. “Mutserendende” sees him at one of his finest moments, on the record, he bridges the old and the new and inadvertently conjures a sound that serves as a portal to the future of the rapidly mutating genre. Melding Gqom, Soul and Techno, he creates a boisterous otherworldly sonic monolith. It’s in these moments of unbridled experimentation that the maverick clocks some of his finest moments.

For a lengthy album with 18 tracks, it’s interesting that the finest point on the project occurs at the fourth track, “Ubumnandi.” The track, which runs for just above 6 minutes, crystallises the dazzling ethos of the tape. Over erupting percussion and sonorous chanting, Nia Pearl and MDU populate the record with poignant soulful singing. The ambience of the track lies between the soulful aura that flagged off the project and the boisterous flavour that ended it, thereby serving as the anchor point of the luxuriantly majestic tape.

Creating a sequel to a stellar project is always a precarious arc to tread but recording a sequel to a stellar project that heralded your dominance is a morbidly precarious arc to tread. Kabza De Small waltzed into nationwide renown with ‘I Am the King of Amapiano: Sweet & Dust’ but on this new sequel, he pulls a rabbit out of his hat to top his previous zenith, as he stakes new grounds and extends his tentacles out the confines of the nation that birthed him. ‘King of Amapiano II’ is not just a stellar album, it’s the resplendent crescendo of a young maverick who surged from South Africa’s townships to the most magnificent stages in the world. On ‘KOA II Part 1’, Kabza De Small unflinchingly asserts his supremacy.

Listen to ‘KOA ll Part 1’ here.

SOUNDS FROM THIS SIDE: AMAPIANO

Revisiting Faze’s ‘Independent’, An Endlessly Intriguing Album

Posted on by Emmanuel Esomnofu

When I was a boy of about nine, I was at my mother’s shop a lot of the time. I was academically bright, so it was only natural I followed my elder sister into the lineage of shop salespersons, helping out on weekends and other free days. It was mostly a boring task for an introverted kid, but I found other ways to keep myself busy. 

Those ways marked my immersion into art. Drawing was my favourite activity but I soon got into music. Writing out the entire lyrics of songs like Diddy’s “Coming Home” and M.I. Abaga’s “Undisputed Champion”, I would rap them over and over till my tongue mastered the curve of every syllable. It brought great joy to a boy learning the nuance of words. That era came to a perfect circle when, one usual boring day, I found a CD of Faze’s ‘Independent’ within a cluster of soft drink bottles, dust and cobwebs covering its rounded edges. 

Fortunately, the shop also had a big MP3 device. Until then, I’d only used it for its radio. The Faze disk demanded something of me; I wasn’t big on technical skills so I had to work my way around the device a bit. If you are familiar with the days before streaming changed music consumption, then you know the process of getting a CD to play was almost as important as the music itself. You had to make sure that its rims were well cleaned; that the device’s lens were clean as well. Heck, how you placed the CD in the player was even crucial; you wanted to get everything right, as though the music was a sanctuary you could only enter after partaking in the practical splendour of its rituals. 

Coming into the Faze album, I knew little about the man. He was just another musician, handsome and neatly cut in the suits he usually wore. He was also a member of the defunct Plantashun Boyz, but my generation wasn’t too informed on the group’s legacy, especially as we came up in the era of solo star 2Face Idibia. 

Thus my first play on ‘Independent’ came without the flurry of information we’re familiar with today. That, I think, allowed me to enter the music without any expectations or prejudices. And without the temptation of sharing any instant thoughts on social media, the happenings of my life at the time were usually soundtracked by ‘Independent’. For over a year, I listened to this album as much as I possibly could, not quite familiar with how much classic material was embedded within its songs. 

The album starts with “I Don Come”, a song that’s split into two verses which are the first and last song on the album respectively. Crooning assuredly over a booming beat which sounds made for a punchline-heavy rapper, Faze announces his presence on the former while shouting out his family and collaborators—ID Cabasa, Cobhams Asuquo, OJB Jezreel, Paul Runz etc.—on the closing track. 

In overall analysis, these songs are not usually highlighted among the album’s standouts but are indicative of the album’s greatest strength: its humanity. Just so we’re clear, these weren’t the most energetic performances or virtuosic vocal showcases. Faze had both in good measure, but how he came across as another guy on the streets was most endearing. In my mother’s shop, I could sit behind its show glass and feel like I was having intimate conversations with a friend. An older friend, but one who was nonetheless vulnerable and understanding, reflecting the world in all its glorious beauty and unavoidable ugliness. 

A song like “Letter To My Brother” sees Faze at his most gracious, revisiting “Faze Alone” which he’d made years back (it was also the title of his debut solo album) and extending the olive branch to his referred brother. Word on the street was that the record was for 2Face, his former bandmate who’d been the catalyst for the group’s disbandment and who, not long after, had created “See Me So”, a lash-out at perceived detractors. The soothing way Faze sang the hook—“If you no send me o, people plenty when send me o/ I’m not alone, not Faze Alone; my brother say, Jah is here with me”—was indicative of having resolved a conflict within himself. It was one of the earliest instances of seeing a man at peace with his purpose and in love with the world.

That was the only song of its kind on the album, rendering it even more levity. Elsewhere, Faze parlayed the sensual allure of R&B into vivid pop beats. His scintillating vocals were alert to the times, taking the quartet of “Tattoo Girls”, “Kpo Kpo Di Kpo”, “Need Something” and “On A Plane” within the arena of classics. It is worth remembering that in 2006, the concept of love wasn’t as complicated as it is today. When musicians created love songs, the listener had the propensity to imagine the recipient of such adoration. Seldom, we thought, could such pristine expressions of love flow from an unoriginal source: it had to be inspired. 

Faze wasn’t just inspired; he was deliberate. Even at eight, I could appreciate the album’s first skit which plays just before “Kpo Kpo Di Kpo” comes on. He freestyles the song to his friends, seeking feedback but ending up with firm believers in its instantly catchy lyrics. The song itself is a miracle of onomatopoeia, laying the chorus in a style that’s now influential and noticeably present in a song like Simi’s “Duduke”. That chest-bumping format carries into the fun nature of the record; around my little space, I’d shuffle comfortably in dance, not much concerned about what I was or was not doing right. 

The duo of “Tattoo Girls” and “On A Plane” had more dramatic effects on me. Way before tattoos became more acceptable in Nigerian societies, people who had them were perceived as itinerant and morally deficient. The subtle discrimination was brought down even more fiercely against women. Faze’s song was a cultural reset. Slowly, through its irresistible groove and sexy lyrics, tattoos became to be seen in a more exotic light. Women who had them were strong willed, and Faze was looking for them. When I looked into the future and fantasized about my greatest loves, somehow they all had tattoos. 

In “On A Plane”, he brings that dream into reality. Long accustomed to becoming another character through music, I became Faze meeting Halima on a plane, smoothly running into a soft oasis of conversation. The guitar strums of its production coloured the golden sheen of the song, and back then I’d imagine Faze running into the aircraft’s toilet to record a demo on his phone. I wasn’t in love then, but that was how I wanted it to be; it wasn’t too dreamy, but the mess of reality was mostly kept outside its world. 

Thinking of it now, respect was always the driving ethos of Faze. Even as the pop superstars presented themselves with hyper-realised masculinity, he remained grounded in familial values and seldom sang about objectified women. This was perhaps how he made such transcendental records. He was a ladies’ man, but he was also a mothers’ man and a young boy’s man. He was my man. 

Sixteen years after the release of ‘Independent’, Faze has seldom gotten his flowers. As an R&B-leaning album, I think it falls just short of the impact of Styl Plus’ ‘Expressions’ or 2Face’s ‘Face To Face’. As an album from a Pop artist, the likes of ‘Mushin 2 Mo’Hits’ and Timaya’s ‘True Story’ undoubtedly have more influence on the current sound of Nigerian pop. The legacy of ‘Independent’ is quite different; it appeals more to people who come from places similar to mine, places with limited grasp on the ebbs of popular culture. Such places were attended by a remarkable slowness, and ‘Independent’ is an album which is best savoured in a kind of seclusion. 

It comes to me now, those latter years when, in junior secondary school, my friends and I would rework the lyrics of “Kolomental”. We’d sing, “Amala enter plate, ewedu start to dey craze,” and we’d sing that with all the force in our hearts, stretching our hands backwards to touch a foundational memory of our boisterous childhood. It didn’t seem like much at the time, but I guess when you’re 22 and have the world in front of you, it’s entirely possible that a song sponged in the water of your memories would act as a brief relapse from the heated stare of everything else. 

What I mean to say is that Faze was an additional member of my family, a much exposed brother who was cool enough for my mother to allow me to hang around. Alongside the late great Sound Sultan and Blackmagic, he counts among my favourite everyman artists, those rare ones are comfortable in relaying the mundane with remarkable clarity. Since 2006, I have listened to a lot of music but few experiences have lingered as long as those hours when I would sit behind that showglass and having nothing to do, would take out the ‘Independent’ disk from the green cover, and slot into the MP3 player. 

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A 1-Listen Review of Asum Garvey’s new project, ‘The Asum Cut’

Posted on by Tela Wangeci

Asum Garvey’s music catalogue has positioned firmly on the path of greatness. Officially starting off his rap career with the early 2018 cut “Spirit”, his voice has been on a journey to consistent evolution, with his sprawling project ‘The Showman’ elevating him from rookie status. What’s followed has been a solidification of his clear skill set, with a prolific stream of new singles and projects. His moniker Asum, which means he is a sum of numerous artistic capabilities, is a rebel against labelling artists acting as a prelude to his artistic cadence and his penmanship that has his listeners gawking. 

While his debut album ‘The Showman’ instantly enshrined him in Kenya’s imaginary Rap Hall of Fame, ‘Shrapper Sum’ coalesced his into a dynamic showing. His adept penmanship got playful on Shrap beats and he cheekily put out his wordplay, testing his loyal fans and expanding his fanbase. At this point, Kenyan hip-hop fans were migrating towards Kenya’s trap-infused music dubbed Shrap. Asum’s fraternization with the Shrap community gave him an environment to expand his musical range and flaunt his ability to balance making radio-ready hits and lyrically astute rap music.

A few months off his last project, ‘Citrine’, Asum returns with a new, concise 11-track project, ‘The Asum Cut’. In half an hour, Asum pens a braggadocious letter to everyone around him with a defying message: this is Asum’s world and we are all characters in his quest for undeniable greatness.

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

 

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“SPENT CALORIES”

At first I thought it was a skit. I am super anxious to hear what this song is about. Oh he definitely started with his tag “Asum..” I love the 808 backdrop and my head is definitely banging. This is super different from the calm Asum. His cadence is menacing and I keep asking, “Y’all, who made Asum mad?” What’s interesting is there seems to be subtle subliminals: “If you wasted me don’t think I forgot, hitting you up and you leave me on read.” I love how cocky he sounds on this track.

“ON IT MORALE”

It starts with a jazz beat! There is a saxophone background with a bass drop. Asum gives a shout out to one of the greatest Kenyan artists, Poxi Presha. This shows he is just more than a student of the game. The word play at the end is very Asum like! Definitely adding this to my playlist ’cause, girls, we need to be serenaded like this.

“ASUM’S OFFF”

Uhm, please wait guys. We have to restart this. It’s giving off vibes of ‘Shrapper Sum’!! I actually knew it. To be honest if you have not heard ‘Shrapper Sum’, there is a need to stream the album. We have Asum’s playful pen game that makes you feel like you are in a bouncing castle with his flow. This song is my all time favourite off the album and I don’t think I can change. I want to hear this song during a concert because it’s guaranteed to cause massive head bops. 

‘“THE ASUM CUT”

It’s amazing how Asum’s growth is so enigmatic. He takes us through his musical journey with lines such as “these were my first lyrics in the music game”. Giving off a nostalgic vibe it has a bouncy feel to it. Fourth song in and I am already obsessed with this project. The groovy outro is giving!

“LIVIN’ LIVE”

Asum takes a new persona with each project he gives out, but one thing I love about this project it seems like he has brought all his personas into one. LOL, “your bums are feeling soft, I just wanna bite them off” is such a cheeky line. To be honest you really have to be an Asum stan to get deeper references in his lines. All through the album, there is a reference to either an Asum song or an Asum moment. I live for this, it takes the listeners on a unique journey. 

“ASUM’S INTERVENTION”

Hats off because that was a very fire transition. I didn’t notice we were into the next song. Asum’s cadence is increasing on this song and his flow is growling. Who produced this beat? It’s too good to be true, it sounds so futuristic and retro with a touch of hip hop bounce. Basically Asum is just going off reminding you he’s the best and Shrap is the anthem. Actually, I think Luigi produced this beat. (Editor’s note: Tela’s right, Luigi produced this song.)

“BOLD” (FEAT. BOUTROSS & GROOVY JO)

Before the song starts, guys, we need to take a moment of silence, they are about to kill the beat. Boutross—also known as the Shrap god—Asum and Groovy Jo are three of the best in Kenya’s rap scene right now. Hold my heart guys because it might just explode. Remember I said I love how cocky he sounds? How do you just start off your song with, “I wanted verses but what I can do now is Verzuz.” He is literally calling himself the best! Asum, you really are bold. Boutross’ voice is always detectable, and his ad libs are his fortress. I love how mellow they are on the beat! I am waiting for Groovy’s part. As usual she never disappoints. I love the different takes of the song. They explored a calm beat that’s different from what they put out.

“ASUM’S PERCENTAGE”

“Are you telling me I ain’t Dennis when the Menace is written on…” I like the line. Super simple and I am sure it’s gonna be my next Instagram caption. I am going to have to replay this song though so I can get it to my system.

“I GOT PRESSURE”

When Asum announced his project he tweeted, “Incomplete but I am looking the fullest.” An introspective track with words that cut through flesh but seem quite light. While listening to Asum you feel a piece of weight lifting up as he gives a comfort shoulder showing you aren’t alone. I have a special place for this song. 

“SHEREHEKEA” (FEAT. NAHSHA)

Nahsha sounds so good. Her R&B voice is so pure, who is she? The combination of their voices is so fierce and enchanting. Definitely a dance floor number. Yes, as Kenyans we love fun, going out and maybe too much drinking? “Sherehekea” is a perfect sum of all these. I hope this song actually gets big cause I feel some potential. It sounds very pop.

“LIGHT & SOFT”

The outro of a project is always as important as the intro and, for Asum, he is forever understanding the assignment. A transition into a hopeful and lighter cadence, we see the visions of hope from Asum. Despite the anger and rocky paths he’s facing, there is still light at the end of the tunnel. The penmanship is light, memorable and serene. 

FINAL THOUGHTS

In “Asum’s Cut,” Asum Garvey clearly boasts that he’s worked past his 10,000 hours and isn’t about to stop. ‘The Asum Cut’ is a projection of his skills, not only lyrically but also in ear for great beats and balancing collaborations. He sounds in full control of his delivery and cadence, and packs a cocky attitude as the crux of the tape.

For over 10 years, Asum has been crafting himself as a sum of his creative intuitions. In this project he has cut through the air with declaration of grit and menace, regardless of the conditions. Balancing club bangers such as “Sherehekea” to concert-ready slappers like “Asum’s Off” to several easy-going bops fit for long drives, Asum reiterates his submission as new era great in Kenyan rap.

Being the second project he’s released this year, after the introspective ‘Citrine’, ‘The Asum Cut’ is a perfect follow up to his consistency chain. The project title lays out his thoughts and feelings while showcasing his aspirations. Packed with great rapping, subtle digs at unbelievers, and great music for new and old fans, ‘The Asum Cut’ keeps the Asum Garvey hype train chirping in a positive direction.

Listen to ‘The Asum Cut’ here.

ICYMI: LISTEN TO NEW MUSIC FROM PRINCE KAYBEE, GROOVY JO & MORE

Hot Takes: Drake’s surprise album, Ruger’s on-stage incidents, Steph’s ring & more

Posted on by Chibuzo Emmanuel

The first half of this year—which has served a substantial dose of riveting Pop culture topics ranging from the infamous the Will Smith Oscars debacle to the highly discussed ownership change at Twitter— is on its last legs. In a couple of days, the sparkling new second half of the year will be underway. The bells of summer are tolling with unbridled gusto and its aura has started percolating through every inch of the Pop culture landscape.

Instagram is awash with lurid photos of summer-enthusiasts flaunting their summer bodies, fresh vivacious Pop jams have started gaining traction and the typical fiery topics that usually crystallize the zeitgeist of this season have started sprouting. In Nigeria the dawn of the summer also flags off a highly anticipated stint: the infamous 9-month  run-up to the general elections. Prominent candidates have begun dallying about to consolidate power, and engaging each other in a profound game of political chess. Patriotic citizens are scurrying about to get their PVCs, fervent supporters have begun singing the paeans of their candidate while online revolutionaries are at their game of trying to change the country solely through the power of fiery tirades on Twitter. 

Against the backdrop of these jostling activities, the Pop Culture scene continues to serve sweltering topics of discussion. In this instalment of Hot Takes, we’ll slice through several notable topics of the last week, from the cloud of dust that was raised on social media after Ruger’s salacious stage performance over the weekend, to Steph Curry’s legacy-sealing ring. Sit back as I take you on an exhilarating ride. 

WHAT I’M LISTENING TO

Last weekend was surreal for music enthusiasts from this part of the world. There were drops from several prolific artists, including new music from Asake and Drake. Over the past few days I’ve found myself marinating in a cocktail of quality music. The Asake bit is an obvious one, he’s kept the whole nation and our comrades in diaspora in a chokehold since he dropped “PBUY.” I’ve also been bumping Chris Brown and Wizkid’s “Call Me Everyday.” This song leaves me in weightless bliss with every listen and, even though it’s a single ahead of the coming Chris Brown album, something deep within my guts tells me that this song is also a prelude to Wiz’s reported next album, More Love, Less Ego.

I’ve also been listening to Drake’s surprise album, Honestly, Nevermind. I must admit that this album initially left me rattled for so many reasons. For one, it seemingly popped out of pure either. Also, it’s a Dance album. Then, the concise nature of the album is quite unlike Drake. But, for all it’s worth, it’s a stellar album. It was nice to receive a cohesively strung-together project from Drake. His singing has gotten a lot better, a lot of people don’t seem to have clocked this. My favourite cuts off the project are “Texts Go Green”, “Sticky”, “Massive” and “Jimmy Cooks”; the album is great but these cuts are immaculate.

WHAT I’M WATCHING

The weight of reality can feel crushing sometimes. Recently, I’ve found reality to be rather bland and lethargic, as a result, I’ve turned to movies for the quaint bliss of escapism.  I’ve binged on a not-so-healthy amount of films and series, the bright side to this is that I have enough content to stuff up this column with.

I breezed through an exhilarating Netflix series titled, “The Lincoln Lawyer.” The plot sees a charismatic litigator, Mickey Haller, revive his career, pulling rabbits out of his hats as he wins cases by razor-sharp margins. This all culminates in him winning an almost-impossible case, which sees his most prominent client Trevor Elliott get acquitted of two counts of murder. My description of the plot is drab compared to how spellbinding the actual series is, and of course, there’s a major plot twist. 

I also watched an inspirational Basketball film, “Hustle”, which follows the definitive trope that all sports movies follow: work super hard and against all odds you’ll achieve your dreams. I’m not going to dawdle on how idealistic and fantastical these movies are, as idealistic as they are, they hold a poignant and profound message: Hard work and resilience are some of the most prominent attributes that underpin success. Also, I enjoyed the movie because who doesn’t enjoy two hours of escapism that culminates in a happy ending?

I also watched a teen series on Netflix titled “First Kill”. Which is essentially a story about a forbidden love between two teenage high school girls, one of which is a legacy vampire, and the other is a monster hunter. For a heads up, if you get queasy about minuscule details that are not executed properly or you cannot forgive not-so-great CGI, or you’re a vampire aficionado, you will not enjoy this series. This series is for vampire non-experts that just want a breezy watch. The second half of the series however is painfully difficult to watch, the plot gets garbled and the acting is agonizingly bad. Finally, I’ve been watching “Big Mouth”. For those in the dark, it’s the best-animated series ever created by man.

RUGER & SEXUAL ASSAULT

Ruger is a classic heart-throb, and as such he is doted on by ladies from far and wide. Unfortunately, some ladies find it hard to keep their attraction to him at bay and he’s fallen victim to several public sexual assaults this year, with the most prominent event seeing a lady grab his crotch while he was performing a song on stage. 

Over the weekend he delivered an electrifyingly titillating performance that saw him engage three ladies in raunchy dancing whilst he performed some songs on stage. This performance sparked a riveting discussion on Twitter and people from certain circles believe that he deserved to be assaulted because he’s comfortable with engaging in consensual salacious dancing with ladies on stage.

To this, I’ll say, stupidity knows no bounds. It’s 2022, and some people still don’t understand the pertinence of consent? As a final note, the fact that a person acts openly sexual doesn’t mean that they want to be sexual with you, consent is key. If you don’t get this in this day and age, that’s frightening. 

KIM KARDASHIAN COMES UNDER CRITICISM FOR DAMAGING MARILYN MONROE DRESS

Over the past week, Kim Kardashian has come under intense arson for damaging a famous Marilyn Monroe dress, which she wore to this year’s MET Gala. I understand that Kim was out of line to an extent, with regards to donning the dress to the MET Gala. For one, she brazenly stated that she had to lose several pounds in two weeks to fit into the dress, which maybe a bit counterintuitive in today’s body-positivity climate. Full disclosure, she didn’t fit into the dress. A video surfaced which showed a throng of stylists forcefully trying to squish her into the dress. Even with all the effort, the zipper couldn’t go all the way up, and she had to drape a jacket over her back to veil the mess. 

But at the end of the day, I still don’t think anything she did warrants the public outrage, it’s still just a dress. Miss me with the “The dress holds so much significance”, it’s still just a dress! As a civilization, we have more pressing issues to tackle. America is facing a gun-violence endemic, and Nigerians are grappling with a dysfunctional society, a damaged dress is the least of our concerns. Furthermore, the havoc that she wreaked on the dress was not in any way substantial, the custodians of the dress put out a statement to this effect. The dress is owned by a private collector from whom Kim rented the dress, he’s not complaining, I see no reason why the public has decided to herald this as the world’s most pressing problem.

Thankfully, and predictably, the fake outrage has given way to a bunch of good jokes on Twitter, which is inarguably the best thing to happen with this situation.

REACTIONS TRAILING DRAKE’S SURPRISE ALBUM

Last Friday, Drake sent seismic ripples through the Pop Culture space when he dropped his 7th studio album, Honestly, Nevermind with only last minute warning. Following the drop, throngs of self-acclaimed music connoisseurs got to work airing their opinions across social channels. As expected, the project received a lot of criticism, especially on Twitter. 

I understand why people are mad at Drake on account of this project. His previous project, Certified Lover Boy, was a bland formulaic album, as such, fans were expecting him to waltz in, rapping with a chip on his shoulders for his follow-up album. Instead, they got a Dance album with no bars, save for one song on the project. Still, this doesn’t change the fact that Honestly, Nevermind is a great project. It’s a trim, cohesive and refreshing LP from a man who is notorious for disturbingly eclectic and lengthy projects. Furthermore, the project is replete with feel-good anthems. 

I’m particularly stoked that a good number of Africans were involved in the production of the album. Congolese artist Tresor was heavily involved in the production and recording of the project, he worked on six songs off the project. Grammy award-winning South African artiste Black Koffee was also heavily involved in the project, he boasts of writing and production credits across the project. In addition, he’s also listed as an executive producer on the project. It’s a bummer that the project didn’t sport any Amapiano record, though, especially since industry rumours projected a Drake ‘Piano record with South African twin DJ/producer duo Major League DJz as far back as last summer. Maybe he’ll get around to that sometime soon

Drake also announced that he’s dropping a rap mixtape later this year. Hopefully, that’ll pacify the aggrieved rap heads in Drake’s tent.

RING HIM. KNIGHT STEPH CURRY. CROWN HIM.

In the third quarter of game 6 of the just concluded NBA Finals, Steph Curry walked into a 30+ footer 3-point shot, pushing the lead of his Golden State Warriors to 22 points in a closeout game. Seconds later, as the shot forced the Boston Celtics to call a timeout, Steph dismissively glared at the crowd as Boston’s TD Garden while pointing at the ring finger on his right hand, signifying his readiness for a fourth NBA championship ring. Somehow, that was only the second coldest moment of that night.

The Warriors got the job done on that night, winning the game 103-90 and rounding out the finals series with a 4-2 win, behind 34 points from Steph. The baby-faced assassin, as he’s referred to by NBA fans, was easily the best player on the floor throughout the entire series, and he added his first, previously elusive NBA Finals MVP trophy to his latest championship. Prior to last Thursday night, some basketball fans and analysts had pointed to a lack of the FMVP trophy in Steph’s résumé as the weak link in his legacy, as if he wasn’t already a transcendental, game-changing centrepiece of one of the greatest teams in Basketball history.

Competitive and clearly petty, like his Warriors brothers Klay Thompson and Draymond Green, Steph used this year’s finals—and the entire 2022 playoffs run—as an assertion of his greatness, leaving zero rooms for questions about the validity of claims that he’s a top ten basketball player ever.

BEST NEW MUSIC SPECIAL: ASAKE’S “PEACE BE UNTO YOU” + CKAY’S “WATAWI”

Asake, Burna Boy & the trend of anthemic choruses across Nigerian Pop

Posted on by Emmanuel Esomnofu

You might have observed a recent trend in Nigerian music: the anthemic chorus. Backed by several singers who sound like they’re in the studio, musicians have created energetic bops which, more or less, have ruled mainstream Pop this year. If we have to trace an initial point of prominence, we’d have to return to the earlier months of 2022, when Olamide, again, pulled a masterstroke of business to bring Asake to YBNL.

Asake has been at it for a while, most notably with his propulsive street-pop hit “Mr Money,” a moniker he would go on to adopt as a way of pre-empting his superstardom. But the immediate appeal of his renewed sound, largely responsible for his mainstream breakout, was the pairing of his caption-ready writing with choral elements, how finely that blended into the rippling percussions he was adapting in his sound. With this he made “Omo Ope,” calling on his legendary boss who reaffirms that it’s Asake time. Across the country, the song caught on like wildfire. It went on to spend several weeks at No. 1 on Turntable Top 50 weekly chart.

His eponymous EP ‘Ololade Asake’ was released not long after, and all its four songs had a similar style, featuring chanted choruses with stacked vocals. “Sungba” soon became a fan favourite, and its cult classic status was only elevated when Burna Boy got on the remix. That collaboration birthed an assortment of quotables (“My problem is I too sabi” being the most popular), moving into the magnetic pull of its chanting chorus. 

If Asake has been getting any slack on how frequently he’s drawing from this particular well of sound, it’s worth knowing he isn’t the only one with the understanding of where Nigerian pop currently is. The continued success of “Palazzo” can be considered a cheeky rebuttal to those suggestions that the vibe might have been too stretched. And the potency of the hit records that’s been lined up after “Omo Ope” prove this fact as well: no one knows what’s likely to blow. If it bangs, it bangs.

At this moment in musical history, social media undisputedly influences the consumption of music. Not long ago American musicians got on their personal handles to complain that they’re being pressured by label executives to trend on TikTok. It’s quite obvious how forcing art into ephemeral boxes of mass attention isn’t a sustainable plan, especially if the artist has strong intentions about the presentation of their art. Yet, TikTok moves even more extensively into the music industry, bringing down barriers between audio and visual, and reshaping our perceptions about what a record label looks like. For musicians who haven’t had the biggest budgets, there’s an unquestionable appeal towards TikTok. 

After playing a prominent role in the hit status of “Love Nwantiti” and “Essence”, its pathway as a viable means to international acclaim was immediately gleaned. It was, however, Pheelz who brought the chants into the space of TikTok, and in so doing highlighted the innate relationship between the two phenomena. Being a social space, the allure of TikTok hinges on the blossoming of its community, the ability to avail its users the sensation of being part of something that extends beyond whichever room you are, wherever in the world. Then you hear a song full of happy voices screaming lyrics which you can’t help but agree with, no matter how absurdist or extreme it sounds.

I’m sure there’s a number of songs you know which draw from said style. It’s ingenious, but one thing it is not is novel. Again, we go back to Asake, whose exciting artistry has elicited the opinions of several music heads I respect. Among the lot of them, the consensus is that Asake is influenced by Fuji and Juju music, incorporating some of its classical practices into his sound. His usage of Yoruba is only the lyrical aspect, he also follows the flagrant rhythms, interchanging melodies within tight spaces to create an ultimately cathartic effect. The chanting chorus can also be heard in several songs in those genres, using backup singers to amplify the often groovy message of the lead musician. 

Those genres in no small part influenced the foundational sound of Nigerian Pop in the 2000s, especially in regards to the utilisation of elements besides the musician’s voice. Adlibs were an important part of this era, a time when Street Hop was beginning to exert the influence it would continue to demonstrate two decades later. Still, the background chants improved the overall feeling of Timaya’s “Dem Mama“, X Project’s “Lori Le”, and Junglist Boys’ “Tell Them Say”, sounds which peeled into entire demographics on the mainland and revealed their biggest motivations: to live an enjoyable life and that one day its shining lights—the musicians—would go into the world and do great things, with the streets solidly behind them. 

There’s probably a more nuanced conversation to be had in actuality, but it’s easily understandable why Nigerian listeners would seek themselves in these records. Emotional relatability remains a huge part of why certain songs do well and others don’t; the most natural response to a lyric you’re familiar with is to sing along, and it is this facet of humane connection the trend feeds into.

It’s typical for Afropop to look back at its past, to seek new ways to interpret their sonics. For some musicians like Burna Boy and Dice Ailes who I recently interviewed, it’s an hitch-free entry into the idiosyncrasies of a generation different from yours, in the process unlocking a sweet spot of nostalgia the listener might not even be aware of. If anything evolves in its application, it is the specific details across the distinct eras, the references which timestamp the revealing space in our collective memories between then and now.

Another prominent angle is the position of Nigerian pop in the world. It might very well be created and inspired by the internal happenings of the country, but there are far broader stakeholders influencing its trajectory at this very moment. Not far into the distance, summer looms and hits must be made. I imagine the label execs on the phone to the A&Rs, the artist listening on with a glass of whiskey by the side. 

There’s no greater PR for a trend than when big artists jump on it. Asides the natural increase in listeners, it’s considered with more heft–either apprehension, or appeal. I wasn’t online when Wani called this trend “the new format” but I eagerly followed the conversation after. The opinions were as divisive as you’d expect, some rightly stating that chants have always been a part of African culture; others thought it was merely a rush inspired by commercial prospects and nothing more.

It now makes sense to introduce the two biggest artists who’ve taken to the trend. Coming from ‘A Better Time’, Davido has mostly taken the route of features to showcase his unique understanding of Afropop, giving career-high verses with every song from “Champion Sound” to “High.” When he shared the trailer to his first song of the year, it was with overtones of a changing sound, a slight shift from the pomp he’s more associated with. 

His latest song “Stand Strong” features the Sunday Service Choir, the famous collaborators of Kanye West, who has himself been recently incorporating African American gospels into his smattering 808s. This was the immediate reference for a lot of people when they saw the trailer, but Davido’s song bears strong trademarks of the startling vulnerability he’s shown across his discography. At a time when he’s more engrossed in his father duties, he’s also caught in the tangles of social media communications. 

It’s a field he’s commandeered considerably well for a long time, doing no long term damage to his image while he often colours the obvious charm of his personality. He’s the perfect person to inspire you. When the choir enters, it’s a throwback into the gospel mornings so many of us had, which was somehow playing in the background as long as our parents controlled the playlist. The overall effect of the chants are therefore of artistic merit, and the record undoubtedly one of the year’s better releases. 

“Last Last” might have premiered at the Madison Square Garden, but its success still exceeds expectations. It’s the kind of record that’s so unapologetically Nigerian it can become anything else. Having been touted by Spotify as one of the songs likely to become the song of the summer, it’s been elevated into the rare pantheon of hit songs that become classics almost immediately on release. 

The song had the combination of all that makes Burna Boy one of the most exciting artists in the world right now: humour, vulnerability, groove and deliberation. Sampling Toni Braxton’s classic “He Wasn’t Man Enough” was a fine undertone to his account of a breakup, and when the “I need Igbo and shayo” chant comes on, it’s as natural as a guy hanging out with his friends, pouring his heart out.

While this trend might be viewed with scepticism, what really can’t be denied is its usefulness right now. In light of all the festivals happening around the summer, it helps to have that line in that song which people can scream back at you. Which all points to the fact that more musicians will be featuring chants in their choruses. At this very moment, Ladé is primed to become another sensation who deftly worked the trend into poignant and relatable social material on “Adulthood Anthem”. I think it’s telling that even as a music journalist constantly on the prowl for new music, the first couple of times I heard the song was on the WhatsApp status of some friends. 

And perhaps that’s the point: that at this moment in time, we seek anything that brings us warmth, and if it’s tens of voices screaming into a microphone from a studio we don’t know, and if the song is good, then we’ll sing along. There should be no fear of slithering into monotony. The scope of Nigerian music, after all, recedes far from the focus of mainstream attention. There’s a bit of everything everywhere, for those who take the time to search.

ICYMI: WHY NIGERIAN POP LEFT THE STREETS

Best New Music Special: Asake’s “Peace Be Unto You” + CKay’s “Watawi”

Posted on by Dennis Ade Peter

Amapiano is Africa’s champion sound, an in-the-moment dance subgenre that consistently proves transcendental. What initially started as an experiment by a handful of DJs and producers in townships across South Africa’s Guateng province, has evolved into a singular wellspring of sonic inventiveness. While its given name translates to “the Pianos,” the Yanos’ most distinct element is its log drum, giving it an indelible percussive identity even as it travels through different forms of interpretations across the continent.

Of course, Nigerian pop isn’t exempt from Afropop’s general co-opting of Amapiano elements, especially its log drums. Within months of Kabza De Small and DJ Maphorisa lifting the subgenre’s commercial ceiling in South Africa with Scorpion Kings, Nigerian artists and producers were already cribbing and, in some cases, refitting ‘Piano to the ears of Nigerian listeners. Today, a large portion of Nigerian pop is based on and inspired by the Yanos, and, thankfully, the output is a mix of remarkably Nigerian translations and collaborative efforts with key players from the sound’s point of origin—none of that outright ownership BS.

Our Best New Music picks for this week highlight these different approaches to Amapiano-based Nigerian pop slappers. YBNL’s latest wunderkind Asake continues his breakout tear with “Peace Be Unto You (PBUY),” and global superstar CKay taps Davido, Focalistic and Abidoza for “Watawi.” Both songs, released within a day of each other, exemplify Amapiano as the gift that keeps on giving, as a now indispensable part of Nigerian pop and a viable bridge between two powerhouse countries in Afropop.

Asake – “Peace Be Unto You (PBUY)”

Two weeks before its official release, Asake previewed his latest single in almost its entirety. Naturally, that set off a chain of reactions, to snippets as a tool for music promotion and, perhaps a little more immediate, the singer’s now established preference for ‘Piano-inspired production. As soon as the trailer for the song’s video made its way to social media, several twitter users shared screenshots of Shazam identifying the then-unreleased track as “Sungba (Remix),” possibly implying that Asake is a one-trick pony.

As much as it makes sense to assess “PBUY” within the context of Asake’s biggest songs, there’s enough uniqueness between these seemingly analogous cuts. For comparison sake, “Omo Ope” mainly used log drums as percussive embellishments, the emphasis of “Sungba” is on its low end and speaker-rattling vibe, Spinall’s beat for “Palazzo” is spare and psychedelic, while “PBUY” is easily more flamboyant than its log drum-reliant predecessors.

Even with similar tempo, you don’t even need to listen too closely to hear the clear difference in percussion pattern, and trusted producer Magicsticks enters a delightfully complex melodic bag, pulling out cherubic piano chords, synth riffs, violin samples, and even whistles. Fittingly, Asake turns in some of his best writing till date. Co-written with YBNL boss Olamide, “PBUY” is rooted in Asake’s unvarnished sense of self-assurance, a lot of that honed from his years as a burgeoning performer.

“I just blow but I know my set/before them use me I go use my sense,” he strikingly offers on the bridge. The chorus, as is now expected of an Asake song, is instantly memorably, a thrilling stack of spiritually-informed lines where he rhymes “make I know lose” with an interpolation of a pioneering Nigerian pop song. In typical form, Asake’s performance on the verses is vibrant, but it’s on the chorus that his raspy voice hits a soulful crescendo, marking “PBUY” as another awe-inspiring entry into the canon of great Asake songs.

CKay – “Watawi” (feat. Davido, Focalistic & Abidoza)

If you didn’t know much about CKay prior to 2021, you’d think his rise was meteoric. In a sense, it was. Many songs go viral on TikTok after all, but “Love Nwantiti” is in that one percent that eclipses momentary virality and becomes a cultural touchstone. Two years after release, and about a year after the video for its Joeboy and Kuami Eugene-assisted remix premiered, CKay was right in the middle of Nigerian pop’s surging presence stateside.

If he’s feeling any of the expectant pressures foisted on global superstars, CKay isn’t really showing it. The singer ended his dream year with two singles, “By Your Side” with South African hybrid rap artist Blxckie, and “Emiliana,” the brilliant, if slightly contrived, successor to his breakout mega hit. Both songs did a dual job of reinforcing the core tenets of CKay’s sound—emotive lyricism, lilting melodies—and expanding the boundaries of his artistry. The Blxckie-assisted single especially, which starts off on a downtempo, deep house note before switching to a cut bearing the hallmarks of Kwaito’s influence on Amapiano.

“Watawi,” CKay’s new single, continues his ‘Piano explorations. The singer reunites with “La La” co-star Davido, who also reunites with two-time collaborator, Focalistic. Helmed by respected South African producer Abidoza, his instrumental arrangement echoes the excellence of the several soulful ‘Piano classics he’s produced, from “Dinaledi” to “Siyathandana.” Here, he puts together a lush and groovy soundscape, shifting around elements to fit the vocalists’ tenor, keeping the music spare for CKay’s verse, infusing airy piano string riffs underneath Davido’s gentle rasp, and ratcheting up the percussive intensity to match Focalistic’s animated rap verse.

Together, the trio turn in a cumulatively dynamic and enthralling performance, putting in formidable shifts over a sparkling beat. All three play the role of noncommittal romantic partners, finding varying angles of approach, from CKay’s charm to Davido’s brashness and Focalistic’s preference for banal flashiness. “Watawi” plays into the ‘Boyfriend’ identity CKay heavily leans on, but with a different type of edge. There’s a different type of emotional honesty on the song and, more importantly, it leads to gleaming results.

ICYMI: KABZA DE SMALL RELEASES FIRST SOLO HEADLINE ALBUM IN TWO YEARS, ‘KOA II PART 1’

Songs of the Day: New Music From Prince Kaybee, Dotman, Groovy Jo & 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. Last week, we featured songs from Young Jonn, Mayorkun and others. This week, we have new bops from Groovy Jo, Harrysong, Prince Kaybee and more. Dig into for some great listens.

PRINCE KAYBEE — “ZIMBALI” (FT. AMI FAKU)

South African DJ and Producer Prince Kaybee put out his latest album ‘Gemini’ last weekend, using his long years in the SA music scene to assemble a fine list of collaborators. A standout is this stirring and soulful track with Ami Faku, whose glistening vocals are in fine harmony with the production’s colourful movements. During the song’s six minutes runtime, an array of emotions is seamlessly tapped into, from the bewitching dance section to ominous piano notes and, much later, pairing everything into an electric closing.

GOD KNOWS — “TWELVE 61” (FT. JAH MASTER)

Zimbabwean-Irish rapper God Knows has been intentional about his career, frequently updating his catalogue. His songs tend to explore the multiplicity of cultures he belongs to, and on “Twelve 61” that ethos is on full display. Over a sizzling beat unmistakably cut from Dancehall, he connects with homebased established scion Jah Master to deliver a memorable performance. They’re accompanied by the masterful stroke of sampling a 60s tune.

GROOVY JO — “FEELIN’ IT”

An electric bass and rolling drums are the dominant features of “Feelin’ It,” the infectious new single from Kenyan rapper and Fresh Meat alum Groovy Jo. The song takes a boisterous turn as Jo sings of her superior artistry, holding up herself as the standard. True to her words, she’s remarkably cutting edge with her delivery, flowing into every second with mastered precision. By the song’s final twist, you’re indeed deep in the groovy vibe her moniker promises.

HARRYSONG — “META”

His name might not be as prominent as before but those who know Harrysong will look fondly to his years of reign. Fortunately for everyone, the man himself isn’t caught in the wistful motions of nostalgia but continues to prove himself as one who can readily adapt. His new song “Meta” showcases that elastic artistry, with Mr. Songz talking love and taking his famed vocals into a lush soundscape heralded by soft drums and cooing trumpets.

DOTMAN — “SAY NO MORE” (FT. PERUZZI)

Soft string arrangements and heartfelt lyrics move accordingly in “Say No More”, the new collaboration between Dotman and Peruzzi. The mood is pensive in the ways love can be, inspiring the assuring lines of each singer. Between Dotman’s melodious ring and the more lived-in detailing of Peruzzi’s verse, the song deftly upholds itself a fine addition to any playlist concerned with similar subjects.

BLESSING TANGBAN — “FIBIYIN”

Drawing from the deep well of folk music, Blessing Tangban’s music leaves one with the feeling of encountering a mystic power. In her most recent tape, ‘Out of The Ordinary Feel’, the Cross River-born musician orchestrates an exhilarating record detailing the patience that comes with living. “I believe it will be if it’s meant to be” she sings in the hook with crystal-eyed assurance, situating her ethereal vocals within bright guitars from a rock-style progression.

ESSENTIALS: KAPTAIN PROVES POP CREDENTIALS ON ‘BEYOND ANY REASONABLE DOUBT’

TurnTable Top 50: Kizz Daniel & Tekno’s “Buga” stays at No. 1 for the sixth straight week

Posted on by Dennis Ade Peter

Last week, Kizz Daniel and Tekno’s smash hit “Buga (Lo Lo Lo)” made it to five straight weeks at No. 1 on the TurnTable Top 50, entering a three-way tie as the song with the most weeks at the position in 2022. This week, the catchy, dance-ready single leaps ahead of Skiibii and Davido’s “Baddest Boy (Remix)” and Black Sherif’s “Kwaku the Traveller” to own this year’s record for most weeks at No. 1. Without an official video, the song’s chart dominance has been spurred by a 6-week run as the most streamed song in Nigeria, and it also extends Kizz Daniel’s Top 50 dominance in 2022.

“Overloading (OVERDOSE),” the all-star single from prominent Nigerian record label Mavin, continues to tail “Buga” at No. 2, while still putting up adequate numbers to keep challenging for the apex spot. This week’s No. 3 and No. 4 positions on the TurnTable Top 50 are still unchanged, with Spinall and Asake’s “Palazzo” and Burna Boy’s groovy break-up anthem, “Last Last” holding their places from last week. Ghanaian singer Camidoh continues his top ten run with “Sugarcane (Remix),” jumping three spots from its previous position to this week’s No. 5.

Omah Lay’s “Woman” remains at No. 6 this week, while Zinoleesky’s “Loving You” slips two places down to No. 7. Davido’s gospel-inflected “Stand Strong” moves down one spot to No. 8, while Asake and Burna Boy’s “Sungba (Remix)” continues its top ten resurgence by moving up one spot to No. 9. Rounding out the top fifth of this week’s TurnTable Top 50, Fireboy DML’s “Playboy,” which peaked at No. 2 earlier this year, moves up one place to No. 10 this week.

You can read a full breakdown of the charts here.

ICYMI: WATCH THE VIBRANT VIDEO FOR ASAKE’S NEW SINGLE, “PEACE BE UNTO YOU”

What’s Going On: Killing In Ethiopia’s Oromia Region, Attackers Target Church In Kaduna, Nigeria & More

Posted on by Wonu Osikoya

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

Over 100 Killed in Ethiopia’s Oromia Region

Witnesses confirm over hundreds of civilians have been killed in an attack in Ethiopia’s Oromia region. The regional Government confirmed the attack but failed to go into further details as no mention about casualties was made. Witnesses have, however, stated that over 200 people have been killed. Abdul-Seid Tahir, a resident of Gimbi county, shared with The Associated Press news agency: “I have counted 230 bodies. I am afraid this is the deadliest attack against civilians we have seen in our lifetime.” Bodies have been buried in large numbers and in mass graves and more bodies are still being collected.

Another victim said that ethnic Amhara that have been living in the area for over 30 years are now being “killed like Chickens.” It has been reported that the Amhara people — the second largest ethnic group in Ethiopia have been a frequent target in regions like Oromia. Prime Minister Abiy Ahmed shared on his twitter: “Attacks on innocent civilians and destruction of livelihoods by illegal and irregular forces is unacceptable,” without going deeper into details or addressing any killings. Thousands of people have been killed, and millions of others have been left homeless and without shelter as a result of the fighting between forces loyal to Abiy and the Tigray People’s Liberation Front (TPLF) and their allies. Ethiopia is experiencing widespread ethnic tensions in several regions, most of them over historical grievances and political tensions. 

Attackers Target Church In Kaduna, Nigeria 

Places of worship in Nigeria have become targeted by attackers and bandits in the past few weeks as just recently, a church in Owo, Ondo state was attacked, killing over 40 people while leaving others injured and hospitalised. Three people have been killed while two others have been injured after bandits attacked a church in Kaduna, Nigeria. The state’s Commissioner of Internal Security Samuel Aruwan mentioned that an unknown number of criminals on motorcycles entered four villages in co-ordinated attacks robbing people and later targeted Maranatha Baptist and St. Moses Catholic churches respectively, leaving people killed, injured and also kidnapped. Police investigations have been sped up as ordered by Kaduna Stata’s acting governor Hadiza Sabuwa Balarabe. Goods, valuables and other important materials were stolen by bandits. 

South Sudan Minister of Water Resources Dies In Egypt 

Over the weekend, Manawa Peter Gatkuoth Gual, South Sudan’s Minister of Water Resources and Irrigation died in a hospital in Cairo, Egypt. After developing chest pains which demanded instant attendance, the minister was flown out on Friday from Juba to Cairo. He immediately faced a surgical process on Saturday but did not survive it as he died 05:00am on Sunday. The late minister was a member of the political bureau of the Sudan People’s Liberation Movement in Opposition (SPLM-IO). The president, President Salva Kiir stated that he received the news of the death with profound sorrow. The Vice President Riek Machar said in a condolence message to the deceased’s family:

“Mr Manawa was a strong student leader during his university days as well as a leader in the youth movement in Sudan. He was a committed nationalist. He was a strong believer in reforms in the Republic of South Sudan”

Developing countries Win Five-year Waiver On Vaccines Against Covid-19.

Since the start of the pandemic, South Africa and India have repeatedly denounced inequalities in access to vaccine doses, in what has been called a “vaccine apartheid”. Developing countries have now won a five-year waiver of patents on vaccines against Covid-19. This decision was established on Friday 17th of June, following fervent negotiations at the World Trade Organisation (WTO.) The 164 member body shared their decisions made just a few days ago. The agreement is intended to allow local factories to produce vaccines or the ingredients necessary to make them, without the consent of the patent holders and now, Covid-19 vaccines can be exported to other countries. According to the World Health Organisation (WHO) , 60% of the world’s population has received two doses, but the situation is still inequitable with only 17% of the population vaccinated in Libya, 8% in Nigeria and less than 5% in Cameroon.

ICYMI: JUNE 12 & THE COMPLEXITIES OF STATUS SYMBOLS IN NIGERIA

Essentials: Kaptain Proves Pop Credentials On ‘Beyond Any Reasonable Doubt’

Posted on by Emmanuel Esomnofu

Nigeria’s southside constantly pours great musicians into the stream of mainstream pop. A few years ago, Kaptain was the latest star addition to a galaxy that’s included Erigga and Ajebo Hustlers over the years, notable acts who’ve parlayed street-influenced credos with pronounced beats. Kaptain’s flirtation with pop was even evident in the early stages, allowing him to move between characters with ease.

 

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Until now, Kaptain had taken the backseat in 2022, releasing “Non Stop”, a collaboration with Teni which sees both musicians lifting motions of praise into the power of a supernatural force, set by Mikaba’s bubbly production. The record was considerably received, but more importantly, it showed the musician born Favour Etuk in a vulnerable lens, placing the weight of his success and what it means for him into perspective.

When musicians begin to feel this way, it’s inevitable that they will create a project that reflects their new position in life. Even more urgent when you’re operating in the fast shifting space of Nigerian music, where you make your mark or go home. Kaptain understands the assignment. The title of ‘Beyond Any Reasonable Doubt’ already hints at his in-your-face awareness, but the music isn’t as obvious, possessed of sonic nuances and able to deliver sweet doses of a flagrant style Kaptain employs throughout the album.

His evolution is unmistakable right from the opening song “Bard”. The mood is lush, backended by soft percussion and stirring string elements. Kaptain’s delivery follows the mood but speaks its truth, each bar moving with narrative purpose. Moonlight Afriqa’s hook is spiritually enriched with a quaint Reggae flavour. “Less was shown than magnified/ There is more for you and I/ Them dey show us open eye/ They shall live and one day die”, he sings with exquisite groove, setting Kaptain up for a chest-thumping performance. “You love me or you hate me, my pocket nothing remove,” he raps, before proceeding to end that verse with chants of his own name.

Elsewhere he’s caught in the tangles of love, going from passionate lover (“Kapachino”) to disillusioned one (“On My Own”), pouring into each record his colourful language. The production does a fine job of stitching the disparate motivations, building their way into the inner stories of the songs. As he’s shown on previous tapes ‘Kapacity’ and ‘Love Ship’, he’s quite comfortable around these subjects, simply due to the fact he’s lived and seen what is possible in the streets where anything—most especially love—can become a fierce battle.

On the project’s last trio of songs, Kaptain offers his voice into the more poignant tussle of navigating the changes of existence. “For Mummy, For Daddy” follows an aspirational direction, underlining the familial motivations which form the backbone for many of our persistent trials to be successful. “Free” is a hair-down song about wanting to live freely without being responded to in a stereotypical manner. Closing out the album is “Give Thanks”, following in the direction of the Teni-assisted single, recognises God as the ultimate propeller behind his dreams.

It’s a fitting end to a project which moves Kaptain into the arena of rap-inspired pop acts, freely charting the trajectory from street poet to mainstream darling. He sometimes falters when some songs are too similar in sonic and lyrical direction, but those never run into too much trouble. He’s always able to enter the album’s crux with renewed vim and with its twelve songs running short of forty minutes, ‘Beyond Any Reasonable Doubt’ has the reward of having incredible replay value.

ESSENTIALS: JESS ETA FINDS HIS VOICE ON ‘PLAYING WITH FIRE’

Watch CKay, Davido & Focalistic team up in the video for “WATAWI”

Posted on by Wonu Osikoya

CKay, in the last year, has emerged as one of the biggest African acts. The Nigerian singer, songwriter and producer’s 2019 hit song “Love Nwantiti” took over Tiktok last year, renewing its commercial impact on a truly global scale and setting the record as one of the biggest Afropop songs ever. The song has now garnered almost 300M views on youtube and over a billion streams across all platforms, ushering CKay into the path of international superstardom.

 

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Towards the end of 2021, CKay shared with listeners his emo-afrobeats single “Emiliana,” which also became a viral hit across social media as soon as it was released. He also teamed up with South African rapper and songwriter Blxckie for the amapiano-infused record “By Your Side”, an upbeat and experimental record which saw CKay tapping into a different genre, showcasing his versatility. In that experimental ‘Piano vein, CKay has arrived with “Watawi,” a collaborative effort with ultra-reliable hit-making duo of Focalistic and Davido.

Produced by acclaimed South African producer Abidoza, the new single sees all collaborators on the song in their playboy elements as their sing to their respective love interests over heavy log drums. On the chorus of the track, CKay chants: “She tell me what are we, I tell her we are what we are, baby no reason am too far.” Davido steps in and delivers a subtle and collected verse, which Focalistic breathes a different life into the record with his also stellar verse. On his verse, he quips standout lyrics, “baby I ain’t no window shopper and I can buy you Balenciaga/I’m not a window shopper, I’ll buy you Prada when I’m proud of ya”, letting his muse know the sort of things he is ready to do for her even without being in an official relationship.

With the record, all the collaborators brought a different energy and vibe and it might be fitting to say CKay has another summer on lock with this potential monster hit. The accompanying video is just as vibrant, featuring all three artists in ostentatious apparel serenading muses in front of brightly coloured backgrounds.

Watch the video for “Watawi” here.

Featured Image Credits/Instagram

Songs of the Day: New Music From Mayorkun, Ruger, Young Jonn & 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. Earlier this week, we highlighted new drops from Mojo, Kaptain and Moonchild Sanelly among others. This Friday, we have bops from Slymkrez, Chris Brown, Young Jonn and many more. Dig in and get on some weekend vibes.

MAYORKUN – “CERTIFIED LONER (NO COMPETITION)”

Constant reinvention is the prime reason for Mayorkun’s sustained dominance in Afropop. On his latest song, he reminds listeners again of his shifting inspirations, creating which essentially collects a relatable feeling. Layering well written lyrics with assurance over an Amapiano-style beat with glossy keys, “Certified Loner” sounds like a hit song on first listen. 

CHRIS BROWN FT. WIZKID – “CALL ME EVERY DAY”

Since ‘Sounds From The Other Side’, the duo of Wizkid and Chris Brown have parlayed their friendship into unmissable bops which plays to their distinctive strengths. Having excited listeners since a snippet dropped some days back, their latest affair has been eagerly anticipated. “Call Me Every Day” justifies the buzz, both singers going back and forth over rippling, sensual production from Blaise Beatz and DJ Tunez. 

SLYMKREZ – “DIFFERENT” 

The name of Slymkrez might not be one you’re familiar with but a listen will surely have you enthralled. He’s recently shared his debut EP, ‘LLTM/DSTM’, a collection of four futuristic songs which input unique spins on established ideals. The opening record “Different” is instantly distinct, fusing dusty drums from Amapiano as Slymkrez sings about the purpose of his sound. A spoken word performance by Kpemeshe wonderfully plays into the song’s thematic turf, merging with the bright synths to produce what is ultimately an exhilarating effect. 

RUGER – “GIRLFRIEND”

Ruger is one of the most acclaimed new school superstars and he’s given us countless showcases why that is. Drawing from the electric depths of Reggae-influenced music, he’s been able to create transcendental bops which solidify his uniqueness among the current crop of Afropop acts. “Girlfriend” is one of the three new songs he adds to his deluxe of ‘The Second Wave EP’, a sizzling jam that might go on to become a fixture of summer playlists from Africa to the Caribbean. 

YOUNG JONN – “NORMALLY” 

Fresh off scoring a hit and Davido feature with “Dada”, the Chocolate City act Young Jonn continues to prove the seamless nature of his transition from producer to musician. “Normally” is a soulful ode rendered to one’s ex-lover, with Young Jonn painting images which would no doubt be relatable to anyone caught in such complexities. And even though he’s pensive, the juicy groove of the production

OBANI – “CRYSTALS”

The selfless urge to inspire and project beauty in a woman; that’s the subject matter of “Crystals”, the opening song off Obani’s ‘How She Loves’ EP. Her writing is reminiscent of Simi, but Obani’s vocals are uniquely bright, masterfully wedged by the production’s rolling percussions and indie-rock bounce. 

ICYMI: LADÉ DEBUTS IN THE TOP TEN OF THE TURNTABLE TOP 50 WITH “ADULTHOOD ANTHEM”

Tay Iwar returns with blistering new single, “Bad4u”

Posted on by Chibuzo Emmanuel

Tay Iwar, one of the most prolific acts from Nigeria’s burgeoning alternate music scene, has just released his first single of the year, “BAD4U,” a glistening ballad which sees him starkly pull apart an unwieldy situation with a love interest, against the backdrop of a luxuriantly serene R&B production. 

 

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“Bad4u” sees the 25-year-old outré singer-songwriter lean into the quintessential sultry melodies that typically colour his work, as he conjures a sparkling R&B ode to the forbidden love trope. Over erupting guitar riffs and shimmering keys, Tay Iwar delivers a poignant melodic monologue, juxtaposing the prevailing notion that he’s bad for his love interest with his unflinching devotion to her. “They say that I’m bad for you, I could die right now for you, say something,” he sings wistfully over the hook.

This new single comes off the back of his acclaimed 2021 5-track EP, Love & Isolation, which saw him lean into a quaint, velvety blend of R&B and Afropop, as he explored the twin conundrums of love and loneliness with sombre angst. In the last year, he was also tapped extensively by Afropop behemoth Wizkid, for “Steady” off the deluxe edition of his critically acclaimed Made in Lagos album. As his first headline song in over a year, “Bad4u” is blistering return that reinforces Tay Iwar as a master of his preferred musical form and thematic function, exploring the jagged edges of romance over stunning production, as he’s done several times to great effect.

Listen to “Bad4u” here.

UNDER SPOTLIGHT: GET HIP TO KENYA’S LATEST R&B RISER NJERI

Watch the vibrant video for Asake’s new single, “Peace Be Unto You”

Posted on by Wonu Osikoya

2022 kicked with Veteran rapper and YBNL label boss Olamide announcing his latest signee Asake to the label. Following the announcement, Asake arrived with his debut EP ‘Ololade Asake’, a 4-track body of work in which the artist used to reshape and reinvent his sound on his way to meteoric superstardom.

The 4-song EP featured hit songs such as “Sungba” and the Olamide-assisted “Omo Ope,” a record which also emerged as one of the NATIVE’s best songs this year. Shortly after “Sungba” emerged as a hit record, the “Mr Money” crooner teamed up with Burna Boy for a remix for the record, only making the song an even more global record. Adding to his rapidly growing catalogue, Asake teamed up with ace Nigerian DJ and producer Spinall for the instant hit, “Palazzo,”  only a month ago. 

After releasing a snippet for an upcoming single a few weeks back, he has arrived with his most recent offering, “Peace Be Unto You”, an uptempo party bop set to take over the clubs this summer. The record sees Asake chanting appreciation lyrics to his maker. On the track, he chats standout lyrics: “I no dey send, I dey chop my life/Mo ta ka oshi danu, Oluwa shower me your blessings times two” which translates to “I don’t send, I’m enjoying my life/I reject any rubbish from my life, God shower your blessings on me two times.” 

Accompanied with the record is the TG Omori-directed video which sees Asake and his clan on power bikes, driving across the vibrant and colourful city of Lagos, having a good time as they sing the lyrics to the record. Asake is clearly not planning to keep his feet off the gas anytime soon, and just recently he announced his debut album, ‘Mr Money With The Vibe’, will be released sooner than expected. 

Watch the video for “PBUY” here

ICYMI: AYRA STARR UPDATES “BLOODY SAMARITAN” WITH A BEFITTING SUN-EL MUSICIAN REMIX

Kabza De Small releases first solo headline album in two years, ‘KOA II Part 1’

Posted on by Wonu Osikoya

Since declaring himself the King of Amapiano in 2020, with his genre-defining double LP, ‘I Am The King Of Amapiano: Sweet & Dust’, celebrated South African producer and DJ Kabza De Small has only added to the efficacy of his greatness. In the two years since, he’s strengthened royal status with a multitude of impactful and inventive releases. He’s co-helmed three joint projects: the experimental Afro-tech EP ‘Petle Petle’ with King Deetoy and DJ Maphorisa, ‘Rumble in the Jungle’ with Phori, and ‘Pretty Girls Love Amapiano 3’ with MDU aka TRP. There’s also been an avalanche of collaborative smashes, including Mr JazziQ’s “Woza,” Scorpion King’s “Abalele” and “Asibe Happy,” Young Stunna’s “Adiwele,” and more.

In that time, Kabza’s record label, Piano Hub, has expanded its roster and catalogue, even turning out one of 2021’s breakout superstar, Young Stunna. Loads of unreleased music have also been leaked, some of which were premiered by the producer via social media and at gigs, hinting at his preference for prolific and obsessive music-making. After months of speculation, and a few weeks since its announcement, Kabza De Small has arrived with a new solo headline album, ‘KOA ll Part 1’, a follow-up sequel of his definitive 2020 album.

This new project was preceded by ‘Ziwangale’, a 4-track EP released in EP, and its arrival was heralded by several pre-release singles, including lead single “Khusela,” which sees the hitmaker blending the groovy percussion of Amapiano and velvety melodies of gospel to conjure a refreshing concoction of ethereal sounds. ‘KOA ll Part 1’ comprises 18 songs, and it runs over two hours. For the uninitiated, the sprawling run time is typical of a Kabza De Small album, and Amapiano generally. The project is loaded with guest features, including producers MDU aka TRP, DJ Maphorisa and Stakev, and vocalists Msaki, Daliwonga, Ami Faku, Nobhule, Toss, Young Stunna, and many more.

From its title, this might be just one side to entire LP, which would be fitting since its predecessor was a double disc, and Kabza’s last joint tape was a mammoth 50-song project released serially. For now, though, ‘KOA ll Part 1’ is set to keep building on the Kabza De Small myth of continued dominance and musical inventiveness.

Listen to ‘KOA ll Part 1’ here.

SOUNDS FROM THIS SIDE: AMAPIANO

uNder spotlight: Njeri explores romantic toxicity and self-love on ‘D.R.U.G.S’

Posted on by Tela Wangeci

Njeri’s entrance into the music scene can be credited to the lockdown period. After a near death experience from contracting Co-Vid 19, Njeri wanted to make a statement that would immortalise her dedication to her first love: Music. Believing her songwriting abilities are innate, after stumbling across her late grandfather’s book where he scribbled lyrics, she decided to turn her lifelong hobby into her life’s mission.

A strong believer of love, Njeri has spent the bulk of her growing catalogue painting warm vignettes of life’s most ubiquitous and complex emotion, with her seraphic melodies acting as her most compelling trait. Aiming to use music as a mirror of her life, she has mapped and solidified her position as a growing R&B star in Kenya. Intensified devotion and an intentional approach, along with her childhood love for musical shows, has given her the formula to serenade listeners with enchanting songs that have emotional honesty at its core, tacitly and warmly urging us to join in and get vulnerable with our emotions.

 

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Njeri’s debut EP ‘Dimensions’ served as a forerunner to her greatness. With the aim of showcasing her life in full spectrum, she tackled going out, love and passion for life. The project also managed to get a co-sign from Kenyan musical legend, Chris Adwar. Her recently released album, ‘D.R.U.G.S’, is a reflection of her growth over the past year. With its title functioning as an acronym for “Dear Romance U Got Sweet,” Njeri takes listeners on a 23-minute sonic euphoria ride, with neatly stacked, absorbing production from prolific producer Cap, weaving together a subtly eclectic and cohesive tapestry that centres R&B and neo-soul, with touches of hip-hop, dream-pop, trip-hop, bedroom pop, synthwave, and even rock.

Across the nine tracks that make up ‘D.R.U.G.S’, Njeri’s silky tunes and the divine transitions between songs traces a journey from the false highs of toxic love to the wholesome safety of healthy love. Using the intoxicating effect of drugs and their sobering comedowns as a guiding device, Njeri curates a conceptually immersive body of work with great standalone songs that culminate into a seamless front-to-back listen. “I would NEVER wish a toxic love on anyone,” she tells The NATIVE over a zoom call. “Love should be pure, blissful, everything nice. Yes, there’s highs and lows but the lows should not be rock bottom.”

Shedding the bubbly character from her previous EP, Njeri takes a more introspective route to depict the persona of a lover in distress, happy, sad, melancholic, and on the road to self-discovery. Her soul infused serenades have built a project that will stand the test of time as it greets and holds ears across Kenya and beyond. A month after the release of the album, she’s appreciative of the positive reception towards the album. As we speak over Zoom, she tells me the reception has been immense, something she didn’t expect as she is still new in the industry.

In our conversation with Njeri, she discusses her path to singing, ‘D.R.U.G.S’, and her creative process. A lightly edited version of the interview follows below.

NATIVE: How did you get into singing?

Njeri: I really enjoyed listening to music as a kid and watching musicals, so I guess it just grew on me. Everything made sense when there was music on and I just started singing along. I was in the choir as well so I guess that played a big part as well. 

I’ve always been one to shy away from my talents. The turning-point in my musical journey happened after I contracted Covid-19 in December 2020. I contemplated feelings of regret and self-doubt and realized that when all is said and done, music is what I wanted to do with my life. Plus I didn’t want to go back to the States, I was desperately searching for something to tie me back to Kenya.  Obviously, this isn’t me trying to romanticize my experience contracting Covid but it was the sign I needed to be fearless with my passions and dive into the deep-end. I believe if you are given a gift, it’s your obligation to explore it!

Who have been your musical inspirations?

Most of them are R&B artists. Tracy Chapman, Whitney Houston, Kiana Ledé, Lauryn Hill.

How would you describe the style of music you make?

I would describe it as different. As basic as that sounds, there’s nothing in the Kenyan market that I can for sure say sounds like it. It’s emotive as well in terms of lyrics. I have lived in the US for a while and it has enabled me to be in touch with my African roots.

You released ‘Dimensions’ last year, what’s the difference between that EP and your new album?

Production quality and unison of ideas. The EP did not have a set storyline, whereas the album did. The production quality was also amped up to a much higher level thanks to Cap! He did an amazing job with everything and worked overtime to get the details perfectly such as the transitions. Everything was so seamless on ‘D.R.U.G.S’.

How would you describe your creative process for this album?

It comes from a storytelling point of view. Not necessarily my stories but things I’ve seen and witnessed in other people’s lives as well. I’m an optimist so I always like to end things on a positive note. In the album, the outro is “Love Again,” which basically denotes the willingness to want to fall in love again. Being open to finding love again, meaning one’s readiness of being vulnerable in that aspect after being hurt repeatedly. It takes a lot to be vulnerable, so being ready to take that leap of faith again takes a lot of healing and once it’s achieved it turns into something beautiful.

 

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The album digs about love and its toxic parts, would you say it is essential to have these feelings?

Hell no! I would NEVER wish a toxic love on anyone. Love should be pure, blissful, everything nice. Yes, there’s highs and lows but the lows should not be rock bottom. A lot of us are genuinely used to settling and calling it love which shouldn’t be the case. Everyone deserves love, a healthy love and I genuinely hope everyone finds it.

What was the most notable moment when making D.R.U.G.S?

The day we made “Ecstasy.” It was one of the chillest days in the studio. Albeezy, Cap and I were just chilling and Cap decided to make this fire beat that we wrote to and made into what it is now. It was actually supposed to be spelled Extacy because it’s about a past love.

‘D.R.U.G.S’ has catapulted you into an artist to watch out for, how has that impacted you in the last month?

It’s been quite normal for me but that’s probably because I don’t realize the magnitude of what it’s done. I tend to be a very low-key and realistic person. I’m not the type to change my way of life based on any sort of success, so yeah, it’s definitely a me problem. Everything feels the same to me. Don’t get me wrong, I appreciate it all. I appreciate and reciprocate all the love that I’ve been getting. It just doesn’t change my way of life.

With roughly less than a year into the music industry, what have you learnt so far?

To be genuine. Always be yourself and never change what you make in terms of trends and all. My first project was more tailored to suit the market. It sounded like what was already out, but with the album I chose to stick to R&B and do what I do best. I’m impressed by how high up it is on the charts. I would’ve never expected an RnB album to be that high up on the Kenyan charts. I like that people are open to a new sound.

What’s your most memorable moment as an artist yet?

My listening party when people sang along to my songs that hadn’t even been released yet. I was in shock. I was in awe. It was a beautiful moment.

ICYMI: NJERI, NANETTE & MORE ARTISTS TO GET HIP TO FROM MAY 2021’S UNDER LIST

NATIVE Exclusive: Nissi Ogulu is a multidisciplinary star

Posted on by Chibuzo Emmanuel

Nissi Ogulu is as prolific and ambidextrous as they come. She was born into a family of renowned luminaries from an array of fields. Her grandfather, Benson Idonije, was the manager of the legendary Fela Kuti, her brother Damini Ogulu who goes by the moniker Burna Boy, is a Grammy award-winning superstar while her mother Bose Ogulu is a polyglot, who also doubles as Burna Boy’s manager.

Toeing a similar arc as those who came before her, Nissi continues to widen the potency of her arsenal by revealing layers to her personal and artistic self. The most seditious testament to her far-reaching brilliance arrived last year when she was announced as the lead engineer that brought the 2022 Jaguar Land Rover to life. Speaking on the experience of working with the car-manufacturing behemoth, Nissi shares with the NATIVE, “It was good, it was very lesson-filled, I learnt a lot of things while working there… So, for me, invaluable lessons were definitely learned on my side.”

As far back as she can remember, Nissi has always been a jack-of-all-trades. At the age of four, she had already begun exploring her creative side by crystallising sprawling stories and images in her mind into vivacious comic books while also learning to play the keyboard. Outside her creative passions, she also leaned into her love for science and design. The way she sees it, all her passions are inextricably linked and meld to form her identity. She shares “these are things that I’ve always been able to do as far back as I can remember, it basically makes up my identity.”

It is this desire to explore the breadth of her creative potential that spurred her to release her debut NFT project, ‘Jigsaw Tribe.’ Aside from being a creative conduit for the iconoclastic 26-year-old, ‘Jigsaw Tribe’ also doubles as her attempt to tether Africans back to their cultural heritage by educating them on African culture and music instruments, “I thought that that’s the knowledge that a lot of people don’t have and I wanted to spread that knowledge”.

Off the back of her sizzling new single “Gravity”, a vaunted career as a project manager and a burgeoning career as a visual artist, Nissi spoke to THE NATIVE about being a multi-dimensional creative and her just-released NFT project, ‘Jigsaw Tribe.’

Our conversation which follows below has been lightly edited for clarity.

NATIVE: You’re renowned as a multi-faceted creative with interests ranging from music to design, and now NFTs, how do you manage to wear these hats?

NISSI: I think it’s more about planning your time and minimising your sleep or social time. Dedicating most of your time to work-based stuff and planning to make sure you’re meeting your deadlines.

NATIVE: We live in a society that forces people to keep the range of their interests razor-thin. What made you feel like you could do everything and succeed at them?

NISSI: When you have a set of talents or skills that have just been naturally embedded in you from the onset, these are things that I’ve always been able to do as far back as I can remember, it basically makes up my identity: it is all who I am. So, there has never been a time when I was looking for things to add on, they’ve always been there.

NATIVE: How did you begin your journey into the creative world?

NISSI: From four, five years old, I was drawing comics and playing the keyboard in music school. I was doing art as well, and in school, I was always naturally good at sciences and design based things. It wasn’t a “read for it”, I just naturally could do it. Then, I guess that grew. I just kept developing, making more art, recording music from like 13, just trying to practice my recording skills. Obviously, I had school as well, eventually in 2016, I released my first single, “Pay Attention”,which started my first solo exhibition in 2015, and it’s been moving since then.

NATIVE: How was the process of working with Range Rover on a car design?

NISSI: It was good. It was very lesson-filled, I learnt a lot of things while working there: How to work with a team, how to be a leader and how the entire process of car manufacturing and design works. So, for me, invaluable lessons were definitely learned on my side. From a final year project that I had done in Uni, actually two projects, my supervisors and all the other heads of heads of department were quite impressed and they sent my stuff off to Jaguar Land Rover, who were interested. I went to work with them for a three month period, then they asked me to come back for this project, and I did. I worked on this project for about three and a half years, so in total I spent about 5 years working with them, if you sum it all up.

NATIVE: Are you allowed to talk about the specifics of your role in the project?

NISSI: I can’t go into too much detail but I was essentially the lead engineer, that meant working on specific commodities in the glass house area. So, interior cabins, console and then glass house where I worked with all the teams from the design team, to the engineering feasibility, and CAD. So, it was the full project management role.

NATIVE: How did the idea for this NFT project come about?

NISSI: So, I made a collection for my physical art called ‘Puzzled,’ which we’d been touring this entire year with exhibitions. Then, the idea dawned on me because the concept of it was so interesting. I was trying to bring in music and research on the traditional way that was birthed in Africa. So here, that was how ‘Jigsaw Tribe’ came about.

NATIVE: Can you explain the overall goal of your NFT project?

NISSI: I was trying to achieve opening people up to a new concept. When I found out about the African cultures and the creation of their instruments and the backgrounds of all the individuals, I found it to be extremely interesting. I knew that it was knowledge that a lot of people don’t have and I wanted to spread that knowledge. I wanted to represent Africans in a positive and colourful light and give people the chance to really see more about the culture and the diversity that we have, and also promote creativity as it pertains to merging creatives and technology, because I’m a tech enthusiast.

NATIVE: How open do you reckon that Nigerians are to technologies like NFTs and Web 3?

NISSI: There’s a really nice budding sector for technology in Nigeria to be honest, especially over the past two years. It has been growing, and I think it’s only going to keep growing because we are in the digital and technological revolution currently. Compared to other places in the world, there’s less understanding of the space but then again, our system is not quite as developed as the rest of the world but I think with time, we’ll get the hang of it.

NATIVE: Are other Nigerians involved in the project? Digital art creators, developers, product strategists?

NISSI: My core team is predominantly made up of Nigerians, the art was all done by me. I have an animation company with a good team, who were able to convert my art into animated 3D pieces. So, 80 percent of my team is made up of Nigerians, the other 20 percent is Ugandans and Kenyans. So, I’ve kept it quite Afrocentric.

NATIVE: How has the reception been so far?

NISSI: I think the reception has been good, especially for a project that’s a first. Obviously, I had no community at the time when it dropped, so I think the interest just generated as the drop happened and there are people who are keying into it. I haven’t looked at the region or demographic of all the buyers, so far, so I can’t give you a detailed breakdown of who has really been patronising but just looking at the numbers from a high level, it has been doing good.

NATIVE: Judging by our widespread adoption of crypto, it’s safe to say that Nigerians have a massive internet in tech, but this gusto for tech hasn’t translated to the widespread adoption of NFTs, possibly because people are in the dark with regards to it, are you doing anything to bridge that gap in knowledge?

NISSI: Yeah, I think as the drops and the campaigns continue to happen, and we’re engaging more people as part of the campaign, it’s going to spread. It might not be overnight but the more drops and conversations we have about NFTs, we’ll eventually spread the knowledge across the African space.

NATIVE: From what I’ve gathered, this project is somehow affiliated with Binance, can you throw some light on that?

NISSI: So I’ve partnered with Binance for this project, Binance NFT’s and Binance Forex, so they’re my official partners for the drop.

NATIVE: What are the perks of partnering with a brand like Binance as opposed to launching a project of this similitude single handedly ?

NISSI: Binance has a platform. Having a platform or any group of people that follow you is always a help, because they they already have an existing user-base, which will automatically give your project more eyeballs.

NATIVE: Should we expect a music-NFT project from you soon?

NISSI: Yeah! Why you trying to expose the P now? But yeah, I want to do stuff differently. I like to be different, let me just be honest. I want to do stuff a little bit differently because I’m an artist and an artiste at the same time, so finding a beautiful way to merge that in is what I’m planning, but let me not spill the T. Let me let you guys be pleasantly surprised.

NATIVE: Can you briefly spotlight the highs and lows of working on this project?

NISSI: The high points for me have been the amount of interest that it has garnered, not just around the continent but from people internationally. It has been great to see this kind of interest in Africa and in art. The lows for me were the growing pains of trying to learn the process and having conversations to build the community.

NATIVE: Can you touch on some of the noteworthy things you discovered or came to understand as a result of working on this project?

NISSI: I’m learning new things everyday. There are new conversations to have, new utilities, new people that have interesting platforms, so I’m just learning as I go.

NATIVE: What determines the worth of an NFT in your collection and what would you say makes your NFT pieces formidable investment options?

NISSI: With NFT’s it’s almost like buying a digital art or asset that doesn’t really depreciate, especially if the artist is keeping with what they’re doing. In the same way that a lot of things are influenced by recognition and fame and having an audience, it’s the same with NFTs.

NATIVE: Any parting words for creatives hoping to get into NFT’s?

NISSI: What I would say is, do your research, try to grow a community and start having conversations about your art/ NFTs before dropping them.

“WE LIVE IN MIRACLE TIMES”: THE ART, LIFE & TIMES OF ANTHONY AZEKWOH

Hot Takes: Love Island Returns, Gunna On Trial, Frank Ocean & More

Posted on by Moore Wright

Now that we’re deep into June, it’s finally starting to feel like summer is really upon us. The warm weather in many countries means that Instagram is littered with people in swimsuits at enviable holiday destinations around the world. Summer also means the return of our favourite reality dating show, Love Island which is getting all the rave for its strong casting this year. For many, the return of the show signals the start of summer as the Twitter timeline is filled with commentary on the love lives of complete strangers.

Being this deep into pride month also means that there is a sense of celebration if you know where to look, but unfortunately this celebration is not very visible in most of the world and particularly in our own hometown. In this issue of Hot Takes, we discuss our thoughts on what’s happening on the infamous dating show so far, an older show based in the 90’s, a fast fashion brands attempt at being more green and much more.

What I’m Watching

My love of Jodie Comer means I try to watch as much of her cinematography as possible. The extremely disappointing end of ‘Killing Eve’ means that a rewatch of that is unfortunately off the table, until I feel less bitter about it (so probably never). While scrolling through Netflix, I stumbled upon a show i’ve never seen before starring the aforementioned actress, ‘My Mad Fat Diary.’ Although I started it for a very specific reason, I was quickly drawn in by the relatable exploration of mental health, self harm and body image issues.

These themes were explored through the main character and writer of the diary, Rae Earl. We get front row access to her extremely self destructive behaviour and the perpetually negative self talk that leads her there. She is flawed in a real, messy way that is unusual for depictions of women with mental health issues, as they are usually shown as romantic, or as just a little quirky. 

What I’m Listening To

An album I’ve been listening to on repeat has been Obongjayar’s debut album ‘Some Nights I Dream Of Doors.’ The spiritual album is an exploration into Obongjayar’s mindscape. The songs take the listener on an emotional journey as the moods veer from yearning to joyous to admirably obstinate.

Obongjayar expresses such defiance in “Wrong For It”, as he belts out “they can’t take this smile away from me no matter how they try”, affirming his commitment to staying happy against the odds. In Sugar, the tone becomes much more affectionate, as he sings to someone to whom he can bring sweetness to life.

In what may be my favourite track of the album, “New Man”, there are clashing vocals as he belts out lines in a deep guttural tone that contrasts with his lighter singing voice. ‘Some Nights I Dream Of Doors’ is something I’d definitely recommend to get you into the summer mood.

Free WUNNA

The ongoing racketeering case against Gunna and other apparent Young Slime Life associates continues to make headlines as Black art is once again under heavy scrutiny by the courts. Gunna’s appeal to the judge for bail was denied because his release would pose an apparent “danger” to the case witnesses. After this failed attempt to make his case in court, Gunna took to instagram to appeal to his fans. Sharing on his 29th birthday, the rapper was in a self reflective mood as he looked back on his career leading up to this moment.

He candidly shares about about how he grew up watching “Black Men, Black Women and Black Children constantly attacked, hated, murdered, berated, belittled, silenced, judged, used and held captive,” likely to draw a parallel to the fact that he is now experiencing his own form of captivity. The “Pushing P” rapper also called for people to “ PROTECT BLACK ART!”

The situation feels bittersweet as he speaks on his accomplishments so far. There is also a large amount of support from those who believe the use of his song lyrics as evidence is racially motivated. Regardless of the support he gets however, the bitterness is still present as his detention may set a new precedent for the way black art is approached from now. It takes the conversation from constructive discussion on the necessity of violent lyrics to censorship. As the case goes on and the conversation deepens however, it will also further the discussion of racism in the American justice system and perhaps lead to real change down the line.

 

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Cruel Santino teases a new sound

Cruel Santino is no stranger to controversy. Earlier this year, the Nigerian singer and rapper released his sophomore album, a genre-defying cut titled ‘Subaru Boys: FINAL HEAVEN’ which was received with mixed reviews. For many older fans, Cruel Santino had completely departed from the music he created on his debut album ‘Mandy & The Jungle,’ which seemed to isolate fans weary about entering into his underwater world of Subaru.

Following the album’s release, Cruel Santino once again showcased his a new layer to his artistic mosaic. A few weeks back, the singer released a new freestyle which once again elicited mixed reviews from fans and detractors alike. For me, while the experimental nature of the song makes it true that the freestyle simply isn’t for everyone, one has to wonder how much of an impact these discussions have. It feels like every time Cruel Santino releases a project, similar criticisms come from people who likely aren’t his target audience. On the other hand, there should always room for people to give there opinions on art, even when the opinions are consistently similar, whether positive of negative. Regardless, the repetitive nature of the discussions around his projects can be a little dizzying.

Now, Cruel Santino seems to be teasing a new sound that’s got both his day-one fans and his detractors coming back for more. Currently, there is a snippet going around on a rumoured Cruel Santino single which is swathed in simple but effective Afropop and fuji melodies. Currently, the sound has garnered over 2.5K videos on TikTok with many online users bolstering the sound to new heights, catching the ears and eyes of loyal fans and new fans.

Love Island Returns

Love Island UK is back for its 8th season. Last week, the whole Twitter timeline tuned in to watch the sizzling romance between hot singles for the next eight weeks. Already, this season is shaping up to be full of drama as our hot, sexy singles are already on the prowl looking for their life partners (and their chance at £50,000). For everyone who is tuned into the new season, Ekin Su, Davide, Gemma, and more, are names and faces that have flooded our timelines.

However, this new season has not one, two but THREE Nigerian housemates who are putting in on for the country. Ikenna Ekwonna is a year old pharmaceutical sales specialist. At 23 years old, he only just recently graduated from Nottingham Trent University, having studied Biomedical Sciences. Despite the cool headed reputation of scientists, Ikenna seems to be on the more idealistic side about the potential of his time on the show, stating that he is looking to find someone to settle down with. Having only been in one serious relationship previously, it will be interesting to see how he carries himself in a new one if he does indeed find Mrs. Right.

Dami Hope is also one of this season’s favourite contestants. He is another scientist, working as a senior microbiologist. After four years of being single, the Dublin born contestant says he is looking for the One. This motivation may come in part from his mother, who has apparently been on his neck about finding a wife. The famed luck of the Irish along with a good sense of humour could help him achieve this goal. He is also an Aries, so will likely bring some fire to the villa. Despite a potential for being hot headed, he also sounds like someone who could be very balanced in a relationship, stating that he is “good at being in a team”.

Shein and greenwashing

As people get more aware of the coming climate crisis, a main topic of discussion is the role that fashion and in particular fast fashion play in climate change. In response to growing awareness from consumers on the effect of fashion on the environment, many brands have incorporated strategies to appear more environmentally aware. A move from a particularly infamous fast fashion brand, Shein, made headlines. The brand announced its intention to donate $15 million to The Or Foundation.  The nonprofit that studies fast fashion waste in Ghana and has heaped praises on Shein for the move, calling it “groundbreaking”.

But while $15 million sounds like a lot to the average person, this amount of money will hardly make a dent for the $100 billion company. While, it’s feels like a good thing for the brand to donate at all, it still feels like an easy move without acknowledging the impact Shein has on the amount of waste that affects Ghana through second hand clothes dumped there every year. The way the brand notoriously rips off current trends in a cheap way before moving on to the next makes waste feel synonymous with their brand. Until changes are made to the way the company is operated and the way they dispose of their products, this feels like a shallow acknowledgment of the way fashion waste affects African countries.

Frank Ocean and the music to A24 pipeline

It has been announced that Frank Ocean plans to write and direct an A24 film. This film will be his directorial debut. As his songs have featured in A24 films before, most significantly Godspeed in the movie Waves, furthering his collaboration with the company actually isnt all that surprising. This marks a development in the strange black-North-American-musician to A24-creator pipeline however.

It follows The Weekend’s upcoming show ‘The Idol’ and Drake serving as a producer on Euphoria. Considering the troubled production of ‘The Idol’ and mixed reactions to season 2 of Euphoria I hope that Frank Ocean following in the footsteps of the other two artists brings smoother results. Frank Ocean’s notable absence from music there is also a bit more demand on the musician to justify exploring this medium instead of the one people most associate with him. No pressure on him however!

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