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

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

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”

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”

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’

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’

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

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

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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After Breakfast, what happens next?

For the uninitiated, breakfast is a neologism for heartbreak. Coined from the popular Yoruba saying, “Gbogbo wa la ma je breakfast, askiko ti aluku ma je ti e, ototo ni,” which roughly translates as “We’ll all eat breakfast, everyone will eat theirs at a unique time,” the sceptre is slowly shuffling through the land and is being served to everyone regardless of their background.

Social media is awash with wistful clips of freshly heartbroken love birds speaking bitterly about receiving their serving of breakfast. An alarming number of young people are taking to social media to declare themselves over the concept of love, and are now fervently championing a campaign against the famed emotion of bliss. Even Grammy award winning musician Burna Boy recently had a brush with the scourge, which spurred his most recent single and song of the summer contender, “Last Last.” The dating scene is looking as dangerous as ever and the general consensus seems to be that the cost of giving room for emotional vulnerability is way too high. 

More and more young people are losing faith in love, the very ingredient that has coloured human existence since time immemorial. As someone who has had my own share of heartbreak in the course of my life, I’d be lying if I said I don’t feel an ounce of sympathy for those who have sloughed away the concept entirely from their minds. But this article is not about the burgeoning apathy towards the concept of love, instead it’s about coping with heartbreak or breakfast as it is fondly called.

The term heartbreak has overtime been reduced to a vacuous platitude that could refer to anything, from the blazing pangs that follow a messy split from a lover, to the mild twinge of sadness that follows watching your team lose a game. The Nigerian equivalent, Breakfast is a much more potent word. Breakfast is one of the most difficult ordeals to navigate, in the blink of an eye, the person you thought that you would lock hands with, as you amble through life suddenly becomes a stranger. Thoughts of them, which used to fill your world with vibrance and cause your insides to tingle, now rouse visceral dismal emotions.

It is akin to the feeling of losing someone. And in many ways it is mourning the loss of someone. The common thread that is woven through both circumstances is the hollowness that trails them. For many people, a romantic partner is a significant part of life, their essence melds with yours, your respective schedules warp to accommodate each other, memories of them are permanently emblazoned on your mind, and when they’re gone, all that’s left is the pain of forcefully being yanked apart by the forces of breakfast and the hollowness in the parts of your heart that played host to them. 

One thing I’ve learnt over time is that the hurt from heartbreak will lessen with time. Depending on how strong your attachment to your estranged partner was, the pain may still dawdle for a long time, but like many tribulations in life, it becomes bearable. However, no amount of experience or foreknowledge can prepare you for a breakfast. Each experience is fresh and gritty. I remember my last heartbreak which happened this year. At the time, I went a full week without mentally coming to terms with the loss of a partner with whom I’d spent a year of my life with. I brushed off our breakup and casually dismissed  it as “one of those things” as it wasn’t my first dance with those emotions, but after a week, those dormant emotions had formed into a thick fog of darkness and finally I had to grapple with them.

One of the most subtle and insidious ways society functions to exacerbate the feelings of heartbreak, is its passive dismissal of the experience. In the event of a loss of a loved one, society acknowledges your pain, you get a period of respite from work, cordial visits from friends and coworkers to commiserate with you, even displays of solidarity from acquaintances. But upon a breakup, reactions range from mockery to aloofness. You’re stuck in a ravine of hurt, but society does not pause to acknowledge your pain, let alone rally around in solidarity. Mind you, I’m not calling for work leaves to be afforded heartbreak victims (even though it’s not an entirely bad idea), however, it’s jarring that society treats an experience so significant to the affected person with so much aloofness. 

The situation around a heartbreak can be nuanced but as a rule of thumb it’s important not to blame yourself, especially in the recovery period. Heartbreak can stoke feelings of self-doubt or self scrutiny, and it’s easy to find yourself overanalysing the situation and wondering if you’re to blame. Even if you’re to blame, what good could come out of beating yourself over spilt milk? The pain and the roller coaster of emotions that trail a heartbreak episode are neither esoteric nor trivial, they hurt, really bad. So, in many ways, it is an injury and just like it would be outrageous to wallop your shoulder blade following an injury to it, whether the accident was your fault or not. It’s also directly opposite logic to jab at emotional wounds from breakfast, whether you’re at fault or not. 

The prevailing rhetoric foisted upon us by the previous generation is that: Heartbreak is just one of those things, so when it happens, dust yourself up and keep moving. However, the reality is that heartbreak is an injury that requires healing and the healing process mirrors the trajectory of physical healing from a wound. The period following a serving of breakfast is not the time for sombre introspection or unpacking demons from the deepest recesses of your mind, it’s the time for relishing in self-love and allowing yourself to heal. 

The world is rarely kind to people nursing wounds from a lost love. You only have to look around recent pop culture examples such as Lori Harvey and Michael B. Jordan and Kim Kardashian and her ex-husband, Ye to understand how seldom we care for the emotional health of the people around us–particularly celebrities who we believe are exempt from being dished a serving of breakfast.

A scroll through a Twitter thread on the said topic will leave you inundated by the myriad of recovery strategies proffered by self-acclaimed breakfast aficionados. One strategy that particularly jots out is: getting a rebound. From personal experience, this can work but it can also come back to bite your heel. In my sophomore year in the university, I went through a string of messy situationships and relationships. One of them particularly left me rattled. I was ghosted by the one true person I really cared for. 

As a final note, why do we see so much news and fiery rhetorics on failed relationships on social media, when in reality lots of people are in loving and stable relationships? Many people spend so much time on social media that the line between the bubble it offers and reality begins to blur. Not everyone is a heartbreaker on social media, some of us are the perpetually heartbroken. It’s okay not to subscribe to the prevailing notion of love and relationships but if you’re subliminally coaxed to give up on love by the nihilism on social media, dial back and remember that negativity makes the headlines while the great things of life remain in the background.


ICYMI: TWITTER TAUGHT ME HOW TO FEEL, NOW REAL LIFE HAS NO APPEAL

Ayra Starr updates “Bloody Samaritan” with a befitting Sun-El Musician Remix

Ayra Starr is a once-in-a-generation type of star. Following her debut on the scene back in 2020 with her eponymous debut EP, Starr has been on a mission to share her music with the world. Now, her talent precedes her name with numerous singles showcasing her warm yet sonorous vocals. Since the release of her debut album ‘19 & Dangerous,’ Ayra Starr continues to gracefully confirm herself as one of the most compelling artists of today, with her recent feature on NATIVE Sound System’s debut single “Runaway” with Lojay.

Now as Ayra tours internationally alongside Koffee for the first time since her debut, she’s also put a new spin on her hit single, “Bloody Samaritan” giving it a befitting and timely remix. Released today, the “Bloody Samaritan” remix arrives with a feature from South Africa’s Sun-El Musician with wistful vocals and twinkling production touches.

Produced by Grammy award winning producer London, the single pivoted her career with its Amapiano and Afrobeats backdrop. On its recently released remix, however, Ayra Starr switches up the tempo and slightly adjusts the synths to bring a new EDM feel to the track. The “Bloody Samaritan” remix also features a delightful blend of upbeat log synths and Afro-house percussion with Sun-El Musician’s Midas touch seering through the production.

On “Bloody Samaritan,” Ayra’s voice glitters as it merges with the song’s groovy production, subtly widening her the scope of her artistic range. While a remix may not be welcome by all, Ayra surely showcases that she is surer about her talent and her voice, as she audaciously sets out to display her unwavering artistic fortitude and growth.

Stream “Bloody Samaritan Remix” below.


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June 12 & the complexities of status symbols in Nigeria

If you’re adequately—or even slightly—versed on the history of Nigeria, the irony of last year’s nationwide protests on June 12 is evident. 29 years ago, on the same date, age-appropriate citizens participated in the election meant to usher in a civilian administration to end over a decade of military rule. The June 12, 1993 elections have been described as the most peaceful polls in the country’s fraught history with elections, however, the results were retracted and annulled by the then-dictator, General Ibrahim Babangida. It would take nearly six years for another presidential poll to be conducted and a formal transition to democracy.

Nearly eight months after soldiers of the Nigerian army shot at peaceful protesters at the Lekki tollgate, Nigerians defiantly congregated in several major cities across the country on June 12, 2021, in protest of the perpetual systemic rot we’ve all been living through for far too long. This year, there were no protests, mainly because there’s an impending general elections, and 23 years since exiting military dictatorship, the debilitating issues are evident.

Nigeria is going through its worst bout of internal insecurity problems since gaining independence. Regressive economic policies and rampant corruption continue to worsen multi-dimensional poverty, police brutality remains prevalent even though we loudly requested not to be killed, and the grave inadequacies of social and physical infrastructure consistently makes the standard of living bothersome for most Nigerians. On paper, lasting change from the autocratic leadership of our past should’ve been the ideal prescription for forward evolution, but in reality, it has emboldened existing problems and created a thriving ground for a cesspool of new societal ills. Sadly, this isn’t where the irony starts or ends.

In 2019, President Muhammadu Buhari officially recognised June 12 as Democracy Day, in commemoration of the peaceful 1993 election, which is widely believed to have been comfortably won by the late Chief Moshood Abiola. A successful businessman, beloved philanthropist and lifelong politician, MKO Abiola, as he is affectionately referred to, emerged as a symbol in the fight for Nigerian democracy. He was arrested, imprisoned and allegedly assassinated for his insistence on taking his rightful place and fulfilling his obligation as an elected president. He is a martyr. The thing is, though, martyrs are not always saints.

For all his inherent flaws, one of the overwhelmingly positive attributes of Fela Anikulapo-Kuti was his unbending dedication to socio-political truth-telling. In 1980, the Afrobeat pioneer recorded and released “International Thief Thief (I.T.T.),” a vitriol-laced barrage of arrows fired at the rich who’d acquired their wealth through corrupt practices. Already in his militant, post-Zombie’ era, Fela directly called out the principal target of his ire, MKO Abiola. The song’s title was a play on the name of the multi-national telecommunications company MKO locally headed at the time.

At the time, Fela was in a bitter battle with Decca Records over unpaid royalties from the albums he cut for the record company; MKO Abiola was the chairman of Decca Records’ operations in Nigeria at the time. While this personal connection definitely played a huge role in the making of “I.T.T.”, Fela’s indictment went beyond personal vendetta. Well before he embodied the hopes and dreams of a democratic Nigeria, corruption allegations trailed MKO Abiola’s career. In a Washington Post report from 1980, it is alleged that he was central to “questionable payments of millions of dollars” to gain Nigerian contracts on behalf of International Telephone and Telegraph Corporation.

While that’s the most popular example of MKO’s allegedly unscrupulous side, there are loose narratives of his un-ideal ventures as a politician, which supposedly included the sponsoring of one or more coups. Also, for a man who wanted to serve as the president of a multi-religious country, he was a vocal advocate for the adoption of Sharia law in the south-west. These parts of his life have been greatly downplayed in the MKO mythos, focusing instead on his philanthropy and democratic stance. Of course, there’s a legitimacy in hinging the bulk of his legacy on the latter point, he did win a pivotal election and remained defiant in the face of brutal despotism. On the face of it, he seemingly had a few crooked bones in him, a potential messiah who committed the sins you’d expect of the archetypal Nigerian politician.

Due to its ever-evolving variety of social, political and economic issues, Nigeria has a constant fixation with messiahs, ideal figures that represent the sort of leadership required to turn around the country’s fortunes. Except you’ve done some research, it is impossible to not think of MKO Abiola as this sort of apex hero but he exemplifies the complicatedness of many of the country’s symbols. It is interesting, and perhaps sobering, that the inspirational figure behind the most symbolic date in Nigeria’s was allegedly flawed in ways that mocked the very democracy he became a champion of.

Across global history, there are symbolic figures who represent this sort of irony, popular individuals with storied legacies and abysmal attributes. Sometimes, these legacies are revised to appropriately capture the complex nature of their person. For examples: Winston Churchill has been described as one of the greatest English statesmen ever but his racist and imperialist reputations have adjusted perception of him; Mahatma Gandhi’s activist work and philosophical ideals earned him global adulation, but stories of his horrible deeds as a serial sexual abuser of minors has undone some of that adulation.

This sort of in-depth revisionism is not yet commonplace amongst Nigerians, saddling us with heroic figures whose realities fail to live up to expectations. Here’s an example that turns my stomach every time I think about it: the airport in Lagos is named after a former military dictator who was the commanding officer in charge of the army battalion responsible for one of the most gruesome acts of genocide in Nigerian history.

In the aftermath of President Buhari’s incensing tweet which ostensibly threatened war by invoking the civil war of the late ‘60s, I came to find out that many Igbo people and well-versed individuals in Nigerian history are cynical of Nnamdi Azikiwe, Nigeria’s first president who is widely considered a hero of independence. According to accounts, Azikiwe colluded with politicians from the northern region for ideological but ultimately personal reasons, with a popular news journalist deeming him as “a pan-Africanist hotep.” As the leader of the National Council of Nigeria and the Cameroons (NCNC)—the political party founded by Herbert Macaulay—circa independence, he joined forces with the Northern People’s Congress (NPC), stalling plans for independence until the north was ready, vehemently opposing federalism and a proposed bill by the Obafemi Awolowo-led Action Group (AG) for regions to seek secession down the line.

This arrangement helped make Tafawa Balewa, Nigeria’s first prime minister, enshrining a model of civic nationalism without taking stock of the country’s ethno-religious complexities that would, and still continues to, prove a thorn in our side. There is an archival interview clip of Ahmadu Bello, then leader of NPC, Northern Premier and Sarduana of Sokoto, being openly bigoted toward Igbo people, an irony considering his party’s affiliation with the Azikiwe’s, and a least discussed part of his legacy even though he is nationally deified.

Even Obafemi Awolowo, who led the opposition at the time, played a key role in the civil war as finance minister in the Yakubu Gowon-led regime despite being a loud advocate for regional federalism and an initial sympathiser for the agitations of Nigeria’s South-East region. Speaking of Gowon, the former dictator granted an interview on the 50th anniversary of the end of the civil war, stating that he didn’t do anything wrong by fighting a war for Nigeria’s “non-negotiable” unity. Now regarded as an elder statesman, he continued to peddle the “no victor, no vanquished” rhetoric, choosing not to account for his regime’s failings in a war that cost millions of lives.

The complicatedness of the symbolic figures mentioned in this article—and the dozens more unmentioned—play a significant role in the way Nigeria is currently shaped and the social, economic, and political issues it continues to face. The problem with the relative obscurity of these wholesome portraits from Nigerian history is that information is not made readily available for the many Nigerians who did not live to witness these personalities and the foundational events.

I spent all of my formal education days within the Nigerian education, and I can comfortably say that the overwhelming bulk of my knowledge of contemporary Nigerian history has come from a handful of books and a lot of Google searches. The same applies to many Nigerian Millennials and Gen Zers, because both basic and in-depth acquaintance with our history are by-products of our curiosity. Nigeria is structured to keep the darker parts of its history hidden, making it almost impossible to actually know and wholly revise the exploits of those it considers its heroes. The effect of this is that we repeat the same cycles even if the context shifts.

By the next general elections in 2023, Nigeria would be twenty-four years into its fourth republic, running a democratic system of government. In sixteen of those years, we would’ve been led by two former dictators who were elected into office twice, Olusegun Obasanjo and Muhammadu Buhari. Not only are they similar with these feats, but they are also interestingly linked: After resuming as head of state, following the assassination of Murtala Mohammed, Obasanjo relinquished power to civilian rule in 1979; four years later, Buhari returned the country back to military control. During their time as military rulers, both of these men were scathingly criticised by Fela Anikulapo-Kuti, a pre-emptive indicator that both were far from the public-serving saviours they billed themselves as when seeking election through democratic means.

In an interview aired on the government-owned Nigerian Television Authority (NTA), the evening before last year’s June 12 celebrations, Buhari claimed that Nigerians are forgetful of his administration’s achievements, stating that over ten million people have been moved from poverty. A simple fact check proves this to be very untrue. The claim, however, is not entirely surprising. If anything, it is emblematic of the exaggerated premise on which he campaigned, where his previous run as a dictator was described as the apex of patriotism to a younger generation desperately looking for a potential hero.

Since Buhari (re-)entered the highest public office in the land six years ago, Nigeria has plunged deeper into poverty and unemployment, while insurgency and general insecurity have become a far worse problem. The economy is running on the fumes of bad policies, and all around us, the press and general freedom of speech are being attacked, and the president has shown his preference for un-democratic ideals a handful of times. It is a befitting sequel to his time as a military rule. When asked, during another rare interview on Arise TV in 2021, what his legacy would be, Buhari said he’d leave that to the Nigerian populace with hopes that they’d be fair to him. To me, it sounded like a suggestive answer from a man who would like to be someday considered a hero. Considering Nigeria’s penchant for historic irony, it doesn’t seem like a far-fetched wish.


@dennisadepeter is a staff writer at the NATIVE.


WHILE WE MOURNED, WE DANCED: ON #ENDSARS, AFROBEATS & GRIEF

Best New Music: Thato Saul & A-Reece Uphold Classic Rap Values on “Put It On Me”

Bravado and a seen-it-all honesty lies at the centre of everything Thato Saul raps about. Having grown up in Saulsville of Pheli, a township in Pretoria West, the 26-year-old had intimate references of the society’s darkest ills and its vivacious communism, diluting those qualities into the music he began creating around 2014. Since then, Thato has ascended among the most respected lyricists in South Africa, the introspective weight of his bars often streaked with the brutish haughtiness of a rapper who grew up on diss battles.  

 

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Over the weekend, Thato’s ‘Life Is Gangster’ was released to considerable acclaim, extending his prolific catalogue with some of his most boisterous cuts yet. In thirteen songs, he evokes the gritty landscapes of Pretoria, from its shared stories down to the infamous heat of its streets. Collaborators broaden his ideas, infusing impressionistic verses and choruses which complement his vision of taking rap’s inherent storytelling qualities into the peculiarities of living on the poorer and more challenging side of the social classes.

For as long as rappers have existed, making it out of such places makes you special. And the fact that everyone wouldn’t necessarily concur with that renders it even more narrative quality, introducing the prospects of haters into the fold. Right at the beginning of ‘Life Is Gangster’, Thato delves into this arena of rap. He calls up A-Reece, a trusted rapper with similar qualities who makes the perfect feature.

Thato Saul has spoken in interviews about the influence of 50 Cent and 2Pac on his rap ambitions, his earliest models on how to come across as authoritative without sounding fictitious. On “Put It On Me,” he makes his reputation as menacing as a gun, spraying on hypothetical enemies with remarkable precision. “I ain’t dead my homie, you can put on me/ I ride there with homies, you can put it on me,” he raps on the chorus, segueing into his verse with similar verve. 

He is even more direct in his verse, taking no prisoners as he stakes his claim among the greats of the country’s current scene. With humorous detail reminiscent of Frank White, he spits lines like “I take the S out of Spain, your ankles will get sprained/ That’s if you think this is a game/ Sugar coaters you’ll be cane”. His focus never wanes as he switches rhyme schemes, rounding off his verse with, “Protecting all my street cred/ Born and raised from the crumbs was how a nigga was bred”, employing in that last word a cheeky wordplay which aptly reaffirms his street ethos. 

On his part, Reece is more attentive to the nuances of being one of the most visible rappers in the country. It’s a spot that comes with juicy positives but also with the awareness of proving one’s mettle during specific times, which is exactly what he accomplishes alongside Thato. “These niggas is tryna master a technique that I invented/ Get your prepositions right cos I don’t think you understand,” he raps with seamless vigour, then stating the humane vision of his lyricism in what is the perhaps the song’s most striking line: “I ain’t talking rap money when I say I’m tryna touch millions.”

The production is sparse but effective, layering head-bumping drums and soulful vocal samples with melancholic, glossy keys. The result is a cinematic record, impressively lined with the Zulu-tinged vocals of Thato and Reece.

Listen to “Put It On Me” here.


ICYMI: LISTEN TO MOONCHILD SANELLY’S SOPHOMORE ALBUM, ‘PHASES’

TurnTable Top 50: Ladé debuts in the top ten with “Adulthood Anthem”

Rising Nigerian singer-songwriter Ladé has been on the cusp of her breakout moment. Following her pseudo-self-titled debut EP back in December, hugely popular vocal advertising work including Airtel’s “444” ad, and a viral video showcasing her vocal chops, the singer has now scored her first entry on the TurnTable Top 50 chart with her new single, “Adulthood Anthem.” 

The relatable song, which laments the unending responsibility of being all grown-up and wishes for the simpler days of childhood, debuts at No. 9 with 3.68 million equivalent streams and 9.75 million radio impressions. This feat is historic for Ladé, as “Adulthood Anthem” becomes the second song by a female lead artist to debut in the top ten of the TurnTable Top 50. She follows Ayra Starr, who debuted at No. 10 with her debut single, “Away,” back in February 2021. As more people discover her new breakout hit, expect the song to remain and possibly keep rising in the top fifth of the chart.

Meanwhile, the rest of the top ten remains unchanged from previous weeks. Kizz Daniel and Tekno’s ubiquitous smash, “Buga,” stays at No. 1 for the fifth week in a row. This makes it one of the three longest-running No. 1 songs in 2022—alongside Skiibii and Davido’s “Baddest Boy” and Black Sherif’s “Kwaku the Traveller”a tie that could be broken if it stays another week at the top of the chart. For the third consecutive week, Mavin’s all-star single “Overloading (OVERDOSE)” is at No. 2, closing the gap with 5.10 million streams and 53.8 million in radio reach, in a bid to reach the summit of the TurnTable Top 50.

The rest of this week’s top five is also unchanged: DJ Spinall and Asake’s “Palazzo” is at No. 3, Burna Boy’s “Last Last” is at No. 4, and Zinoleesky’s “Loving You” is at No. 5. TurnTable Top 50 darling Omah Lay is at No. 6 this week, with his recent single “Woman” climbing one spot from its previous position. Davido’s “Stand Strong” also moves up a spot to No. 7, after peaking at the sixth position. Ghanaian singer Camidoh’s “Sugarcane (Remix)” dips two spots from last week to No. 8, continuing its top ten run for a significant part of this year. Rounding out this week’s top ten, Asake and Burna Boy’s former No. 1, “Sungba,” makes its way back up, rising four places to No. 10.

You can read a full breakdown of the charts here.


ICYMI: LISTEN TO GYAKIE’S NEW EMOTIVE SINGLE, “SOMETHING”

Songs Of The Day: New Music From MOJO, Jeriq, Darkovibes & More

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 weekend, we brought you new music from Mr Eazi, Ladipoe, Preye Itams, Mafikizolo and many more. This week, enjoy a new selection from MOJO, Freddy K, Jeriq, Psycho YP, Darkovibes, and more. Tap in, and you’ll definitely find new sounds for your playlist(s).

MOJO – “Rap Jesu”

“Rap Jesu” is Mojo’s brazen assertion of being the messiah of Rap. Since his 2020 single, “Chiwawa”, he has made a point to set himself apart from the crowd with his inimitable laidback style of delivery and his penchant for theatrical beats. Two years since his debut and that thread is still snugly woven through every song he drops. On “Rap Jesu”, he surfs a sprawling serene production interspersed with shimmering theatrical keys, switching flows deftly and exploring pockets of space with his amorphous voice as he sings his praises.

 Moonchild Sanelly – “Chicken”

Moonchild Sanelly dances to the beat of her drum. From her penchant for genre-bending sounds to her inimitable style of delivery, every song she spawns is a testament to her unflinching bohemian ethos. “Chicken”, a standout from her just-released album, ‘Phases,’ sees this motif in full glory. Over a boisterous production, she tugs at the age-old question: Who came first, the chicken or the egg? Shuffling between whimsical singing and concerted mulling, she conjures a gratifying party anthem.

Offica, Darkovibes & A9DBO Fundz – “Kolomental”

“Kolomental” sees Nigerian-Irish rapper, Offica, Ghanian singer Darkovibes and Irish rapper A9Dbo Fundz combine for a blistering Pop record. Over the boisterous production, they conjure a sound reminiscent of a high-octane night at the club. Coming with sleek lines and punchy melodies, they broach the topics of ebullience and opulence.

Freddy K & Tyler ICU – “Ashi Nthwela” FT. Focalistic

The ascendance of House Music and Amapiano from suburbs in South Africa to the world over the past few years has been steep and majestic. A new wave of prolific artists with fresh and subversive spins on the genre is emerging and Freddy K and Tyler ICU are some of the most prominent fresh voices leading the charge. Off their freshly released EP, ‘Freddy Vs Tyler’, “Ashi Nthwela” is a standout which encapsulates their unbridled knack for colouring outside the borders of the genre to spotlight their idiosyncrasies. Joining forces with Focalistic they rope in sonic bits from an eclectic palette to conjure a dazzling party soundtrack.

Insane Chips – “I Came For It All” ft. Psycho YP & Jeriq

Nascent act Insane Chips may have just a smattering of singles out, but over the course of his career, he has established himself as a prolific act with a handle on a far-reaching gamut of sounds, from punchy Afropop tunes to ominous Hip-Hop records. For his freshly-released single, “I Came For It All”, he taps two of the nation’s most blistering rappers, Psycho YP and Jeriq, for a luxuriantly melodic Hip Hop record. Against a backdrop of theatrical keys and hard-hitting Hip-Hop drums, they bounce off each other, trading opulent bars about their rise to success.

Kaptain – “Non Stop” ft. Teni

In 2020, Kaptain caught the attention of the public after his debut EP, ‘Kapacity’ was released. The project saw him amble down the svelte path between sombre introspection and breezy anthemic singing while establishing himself as a purveyor of hood chronicles. Now, he’s back with a glistening single with Teni dubbed “Non Stop”, which is a standout off his fresh album, ‘Beyond Any Reasonable Doubt.’ Surfing bouncy drums, twinkling keys and groovy bass riffs, the pair bounce off each other as they deliver a melodic ode to God’s blessings to them.


Mr Wakobi – “Forgiven” ft. Spiritual Vibez

“Forgiven” sees Mr Wakobi tap Spiritual Vibez for a richly melodic ode to the elusive concept of forgiveness. Over a bouncy reggae instrumental, the pair broach the topic of going against the grain and rising above adversaries to the echelons of success.

Featured image credits/NATIVE

What’s Going On: Kenya’s ICT Bill, eviction of Maasai community in Tanzania & More

“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.


Proposed ICT Practitioners Bill causes uproar in Kenya

As the general elections in Kenya approach, the government is running around making legislative changes in order to earn another term in office. Over the past week, the National Assembly enacted an ICT Bill dubbed ICT Practitioners Bill 2020. The bill which is awaiting the president’s approval seeks to establish an ICT Practitioners Institute for training, registration, licensing, practice and setting standards for ICT professionals in Kenya. The proposed Institute will also issue annual licenses to the practitioners at a fee. The bill was first proposed to the Kenyan parliament in 2016 then 2018 but was rejected on the basis of repetitiveness. It was then reintroduced in Parliament in November 2020 with very minimal changes from the previous ones.

The bill has caused an uproar among Kenyans and political figures such as presidential aspirant Raila Odinga asking Uhuru Kenyatta not to sign the bill terming it as vague yet loaded with sweeping powers over the ICT sector, with no clarity on the specific problem it is meant to address. The legislators describe the bill as progressive aiming to reduce confusion in the ICT sector while providing a legal framework for the ICT practitioners in Kenya.

South African opposition demand the step down of incumbent President

As president Ramaphosa addressed the National Assembly, opposition legislators heckled at him confronting him over allegations he tried to cover up the theft of cash from his game farm, Phala Phala. The Legislators in question were from the populist Economic Freedom Fighters (EFF), the second largest opposition party, who were removed by security guards as they shouted that Ramaphosa should not be allowed to address the house. The Radical Economic Freedom Fighters party president, Julius Malema stated Ramaphosa has failed to prove himself as a worthy president and assured he will receive the same treatment as Jacob Zuma, the previous president who is in court over corruption charges.

The parliamentary proceedings descended into chaos for the second day running prompting the Speaker of Parliament, Nosiviwe Mapisa-Nqakula, to order the removal of several legislators. One of the EFF legislators, Omphile Maotwe shared that “The president of the republic, there are serious allegations against him, so he can’t come to the house to address us. He must step aside and allow the law to take its course.”

President Ramaphosa has denied any wrongdoing, saying his farm got the money from selling animals and that he had reported the theft to his presidential protection unit. Last Friday, according to AlJazeera, he told legislators that the robbery was under investigation and that “the law must be able to take its course”. These challenges comes ahead of Ramaphosa’s bid to be re-elected the party’s president at its national conference in December.

Members of Tanzania’s Maasai community have been displaced from their homes

Thousands of Maasai people have fled their homes and escaped into the bush following a brutal police crackdown on protests against government attempts to evict them to make way for trophy hunters and conservation. On June 8 dozens of police vehicles and an estimated 700 officers arrived in Loliondo, N. Tanzania, near the world-famous Serengeti National Park, to demarcate a 1,500 km2 area of Maasai land as a Game Reserve. On June 10, the armed officials fired on Maasai protesting at efforts to evict them. According to reports, there are at least 18 men and 13 women were shot, and 13 wounded with machetes while one person is confirmed dead.

This comes after police officers demarcated pieces of the Maasai land as a Game reserve. Live footage of the attack was shared on social media causing an international uproar of the police brutality. Following this, the officers have been going door to door assaulting anyone who is believed to be circulating the footage or part of the protest. This is the latest episode in a long-running effort by Tanzania’s authorities to evict Maasai from their land in Loliondo for safari tourism and trophy hunting. The leaders of the Maasai community arrested last week have not been seen since they were detained. Now, the NGO Pan-African Living Cultures Alliance said it plans to stage a mass protest on Wednesday unless they are released. The Tanzanian government has denied it is trying to evict anyone and said it was trying to conserve the area. It maintains the Maasai will still have access to 2,500 sq km of land.

Militant attack in Burkina Faso

Over the weekend, armed gunmen in Burkina Faso killed at least 55 people in the latest attack in the west African country, which is seeing mounting violence caused by Islamic extremists. The attack took place in the Seytenga in Séno province with the country’s official government report putting the official toll at 55, while others place the figure far higher, with some saying as many as 100 had died.

New reports arriving today from the Guardian also state that 29 more bodies have been found following a massacre by Islamic extremists, raising the provisional death toll to 79, and that the search for still more victims is being hampered by fears of booby-trapped devices planted “by terrorists to mine the site”. Burkina Faso is one of the hardest hit African countries with terrorist attacks. According to AJ Plus, Violence in the region has forced at least 2M people to flee and nearly 1 in 4 people in Burkina Faso needs urgent humanitarian aid, according to the UN

Featured image credits/TechCabal

Essentials: Namakau Star successfully reinvents herself on debut project, ‘Landing’

South African soul-fusion singer, Namakau Star started her solo career under the moniker Iindirhe. Her fairly recent name change was a move of reinvention, with the main aim of being authentic. While there’s the innate ‘African’ feel attached to the names, there’s clearly more meaning that symbolises the nominal shift—a Google search shows a result that the name means brave, and another result claims that persons named Namakau are passionate and move on instinct.

The music Namakau Star has been making since debuting in 2021 with “Trance” encapsulates those symbolic meanings, a fundamentally soulful sound that ropes in elements from R&B and hip-hop, along with electronic tinges. It falls on the outré side of South Africa’s urban music spectrum, an instinctive and clearly individual choice that ensure she’s building her image and sound exactly how she wants, establishing herself as the soul goddess.

 

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Recently, the uNder alum released her debut project ‘Landing’, a soulful 7-track project stamping the budding artist’s credentials as an auteur of immersive and affecting music. With singles such as “Floating” and “Rewind” laying the foundation for her debut, Namakau Star delivers a cohesive and slyly eclectic body of work, turning in gauzy neo-soul cuts, earthy hip-hop-soul bops, along with her ear-tingling vocal melodies and themes that dig into varying facets of the human condition.

In its brisk 30-minute span, Namakau Star traverses ‘Landing’ with sonic explosions and soulful lyricism. The futuristic tape takes listeners to utopia, with an overall feel that’s ethereal. This serene and soulful backdrop provides an efficient background for Namakau to spread her positive ideologies to the universe. She opens the project with a pensive record on time. Tomorrow (Intro) questions your actions on earth over a dreamy synth. Setting the record for the whole project, Namakau Star takes you through an introspective journey accompanied with a melodic background as she displays her vocal range and capability.

2088” coasts on an airy production with a jazz influence. Namakau Star embodies her rap personality as she sings to her muse of the positive energy that surrounds her, dubbing it the mothership. Floating, released earlier on as an announcement to her album, sees her floating over airy synth productions as her R&B prowess exudes all over the song. With every note Namakau hits, she brings out a new surprise and it is evident in Surrender(Interlude). Apart from her strong vocals, the production in the song stands out the most. The pensive instruments compliment Namakau’s desperation in her lyrics she sings, “I am at the edge of the waterfall.”

Rewind, which marked her R&B territory, is a graceful rumination on past romantic experiences and confronting the idea of being able to change things if she were given the chance. In true versatile fashion, the honeyed single has Namakau Star singing in the first half and rapping in the second half. Seazn Luv, featuring LordKeyyZ, is an ode to all lovers. Namakau gets vulnerable in this eclectic number that goes beyond emotional connection and physical touch. Reminding everyone of the power of their sexuality, the chorus keeps on pondering as she sings, “Seazn the soul with Luv.” LordKeyyZ serves as a perfect collaboration partner. His verse is short and precise but his lingering background vocals leave a lasting impression. Breathe, the only other collab song which features Phola, signs ‘Landing’ off on a perfect note, a stunning neo-soul track with a riveting rap verse from its guest.

Throughout the soulful album, Namakau Star puts together a clear and precise message: free yourself and live through the experiences. She takes her listeners on an emotional journey with crisp productions. As she affirms her listeners to believe in themselves more and the essence of positive vibes, the assuredness and serenity is comforting. An exceptional project from an artist reinventing herself, ‘Landing’ is an ethereal debut for the star who is carving her identity one wondrous and deeply relatable song at a time.

Listen to ‘Landing’ here.


ICYMI: CHECK OUT OUR BEST NEW ARTISTS FOR MAY 2022, WHICH INCLUDES NAMAKAU STAR

Bruk It Down: The creation of “Foreigner” with Nonso Amadi

After a much-needed 2-year sabbatical break, Nonso Amadi made a pronounced groovy re-entry into the scene in February with “Foreigner.” A singer, song-writer and producer, Nonso derived the inspiration from Omah Lay’s project, paying keen attention to the drums that provided the perfect backdrop for his sonorous voice. Upon its release, the self-produced single, “Foreigner” was met with instantly rapt reception, ensuring that his long-awaited return scratched the itch of fans who had been waiting with bated breathe.

“Foreigner” has been at the tip of the tongues of Nonso’s supporters, with its hypnotic lyricism and Afropop-tinged R&B arrangement showcasing the artist’s range, touting his music prowess as an artist and a producer. The intensity of his words are felt through the smooth seductive record and smooth vocal records. His knack for defying openers lead to the melody infused in the song, as he adores his muse while creating adorable music at the same time.

Being a producer has developed Nonso’s penmanship, as he knows what gets the listeners excited.  Speaking to the NATIVE, Nonso Amadi said, “the best way to capture your listeners is through the ups and downs,” “Foreigner” managed to tap into the emotive corner of the listeners through the emphatic high and lows. From playing around with instruments and his voice to employing mid tempo vocals that have the sauce, Nonso Amadi made a sterling comeback with “Foreigner”. Managing to emotionally connect with the audience through R&B melodies, here is how the singer’s comeback single came to be.

Watch the Making of “Foreigner” below.


ICYMI: THE VULNERABLE ART & HEART OF SIMI

Songs Of The Day: Mr Eazi, Ladipoe, Bella Alubo & More

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 brought you new music from Kabza De Small, Shatta Wale, Chop Life Crew and more. This weekend, enjoy our selection from Mr Eazi, Ladipoe, Preye Itams, Mafikizolo and many more. Tap in, and you’ll definitely find new sounds for your playlist(s).

Mr Eazi – “Legalize”

Earlier this year Mr Eazi announced his engagement to Temi Otedola through a bite-sized clip which he shared across social channels. The video was set in the ambient city of love, Paris, and saw him take to his knees as he proposed to his long-time girlfriend. His new release, “Legalize”, which is also his debut of the year, captures the palpable aura of nuptial bliss stoked by the engagement video. Over a serene production upholstered by twinkling guitar riffs and trilling violin melodies, he declares his unbridled love for his muse and his desire to make their relationship legal.

Ladipoe – “Big Energy”

Since his 2020 seminal breakout hit “Know You”, Ladipoe has cemented himself as a rapper with a knack for fusing heavy-hitting Rap bars and anthemic Pop hooks into a unique flourish. On his latest offering, “Big Energy”, he continues to toe this trajectory. Here, he surfs over a mid-tempo production interspersed with whimsical keys, brazenly singing his praises by way of exaggerated braggadocious bars such as “Big Energy, when I come through, big energy”, which he sings over the hook.

Mafikizolo – “10k” ft. Sjava

Very few artists in the southern pocket of Africa possess the artistic range and longevity of one of South Africa’s foremost duos, Mafikizolo. Since their debut in 1996, they’ve been in sync with the pulse of Pop culture, morphing and evolving to mirror the times. Their latest cut, “10K” is another testament to their unflinching knack for reinventing themselves. Roping in angelic singing, trilling bass riffs and bouncy grooves, they conjure a poignant flurry of serene ethereal sounds.

Bella Alubo – “Location” ft. Niniola

Bella Alubo brandishes her femininity in her music unabashedly, whether it’s a velvety romantic ballad or a bouncy Pop record, her songs serve as rallying anthems for her burgeoning female audience, and her latest isn’t any different. For “Location”, she taps Afro-house pioneer Niniola, for an upbeat Afro-house earworm. Against a backdrop of boisterous drums and undulating melodies, they bounce off each other as they trade whimsical lyrics about making a delivery to a location.

Thato Soul – “Put It On Me” ft. A-Reece

The moods of Thato Soul’s music are typically defined by intense reflection and gritty storytelling. This is a motif that’s firmly woven through his latest project, ‘Life is Gangsta’ — a 13-track ode to his days in Saulsville, a gritty township in South Africa. Off the project, the A-Reece assisted “Put It On Me” is a standout. On the record, he surfs a blend of RnB and 80s Hip-Hop, pulling apart the themes of success and gratefulness, as he relays his hood chronicles by way of velvety rap bars.

Kweku Smoke – “Weso” ft. Jay Bahd

Kweku Smoke is one of the youngest and most subversive rappers charting the course of Drill music in Ghana. Young as he is, he has already cemented himself as one of the most exciting voices on the block, and his defining legacy is his inimitable take on Drill music. He ropes in his native tongue, syncopated flows and hooks, to conjure Drill anthems unique to himself. On “Woso”, this pattern is glaring, he taps fellow Ghanian rapper Jay Bahd, and the pair trade rapid fire flows over an ominous production.

Prèye – “Malibu”

“Malibu” feels reminiscent of the slow-burning sultry R&B records that coloured most of the 80’s and 90’s. Nigerian singer Prèye has kept her releases precious and powerful, always adeptly making a statement with each new release. Against the backdrop of a smoky salacious production, Preye professes her love to her muse with witty lines. “Ain’t no problem, you’re my type. You’re exactly what I like”, she sings over the hook.

Reece – “No Crying In A Hoe Phase”

“No Crying In A Ho Phase” is a sparkling blend of Lo-Fi Pop and R&B that sees Reece pull apart the unwieldy conundrum of getting emotionally attached to a casual lover. Over a bouncy production, he deftly conjures a vivid montage of the situation. He sounds forlorn as he sings about a gnawing longing for a lover and filling up emotional chasms with booze, before picking himself up and declaring that there is no crying in the hoe phase.

Featured image credits/NATIVE

Moonchild Sanelly Releases Her Sophomore Album, ‘Phases’

Two years ago, South Africa’s Moonchild Sanelly released ‘Nüdes’, an EP which showcased her eclectic interpretation of genres like Gqom and EDM. Soon after, she was one of the fine roster of African talented who worked with Beyoncé on ‘Black Is King’, colouring the album with the eccentric flourishes of her style. 

 

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Now, Moonchild Sanelly occupies a unique space in South African music, her sensual lyrics often becoming larger conversations on female autonomy. Her florid sonics have also brought her to the notice of international collaborators afterwards, positioning her as a conductor for electronic music beyond the continent. 

She’s been busy this year, starting off her run to the ‘Phases’ album with the two-pack Strip Cluband Over You she released in March. The UK rapper Ghetts featured in the former, foreboding the diaspora-leaning direction of the blue-haired artist. April Fool’s Day followed a month after, and then Cute“, furthering Sally’s exploration of her eccentric style. 

Earlier today, the musician released her latest album, ‘Phases’. The follow-up to her 2015 debut album, ‘Rabulapha!’, it was crafted around the myriad experiences associated with women, Sanelly has explained the intent behind the album. The nineteen songs pulses with the boisterous overtones of a collective anthem, but with individual experiences permeating its several layers. It goes near and far collaboratively, from the South African acts like Blxckie, Theology HD, Sir Trill to international acts Ghetts, Sad Night Dynamite and Trillary Banks. 

Stream ‘Phases’ below 

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Gyakie shares new emotive single, “Something”

This time last year, Gyakie had confirmed her entry into the echelon of rising superstars. The Ghanaian singer’s behemoth single, “Forever,” along with its Omah Lay-assisted remix, captured the ears and hearts of Afropop audiences across the continent and in the diaspora. Later that year, Gyakie followed with “NEED ME,” which emphasised her colourful sonic preferences and assured songwriting abilities. In the time since breaking out, she’s also worked with Nigerian singer Mayorkun, Tanzanian singer Jux, and more pan-African collaborators.

 

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Until today, Gyakie’s 2022 output has been limited to a handful of guest appearances. Opening her headline account for this year, she’s back with a romance-themed single, “SOMETHING,” which sees her put a more complex spin on her writing. Across her growing catalogue, Gyakie has often focused her love songs on the devotional side of the spectrum, resulting in highlights like “Sor Mi Mu” and her breakout smash. This new song is an impressive change of pace, as she sounds deeply annoyed by an inconsistent partner. “It’s like I’m walking far away to you/Baby, don’t try,” Gyakie sings on the bridge, extending an olive branch without coming across as smitten.

Produced by Nigerian wunderking producer P.Priime, “SOMETHING” is a delightful blend of pinched highlife guitar riffs, folk-inflected Afropop percussion, R&B piano melodies, an apt arrangement for the singer’s dazzling, husky vocals. This emotive single, with its lived-in premise, is another step in Gyakie’s artistic evolution. Reportedly the lead single of an upcoming EP, “SOMETHING” sets an expectant tone for whatever the singer has coming next, and also serves as a strong standalone song that declares that Gyakie is working her forward as a superstar.

Listen to “SOMETHING” here.


ICYMI: GHANA IS SET FOR NFL’S FIRST AFRICA-HELD CAMP

Wale in the Wild: Zinoleesky, Lagos & street-pop’s gospel of hope

In his new column for The NATIVE, ‘Wale in the Wild’, culture writer Wale Oloworekende digs into the boisterous tapestry of Nigerian pop, offering a series of contextualised and personalised essays on the relationship between the music, its points of origin and how it all ties together into the Nigerian experience. This inaugural essay takes a personal look at the rise and rise of Zinoleesky, through the lens of society, genius lyricism and personal experiences.


The truth is that there are very few things that I hold as sacred as the court of music I keep with my friends these days. I think that what this means more than anything is that, on the most bleary days, one by one, from places that are most unlike each other, we emerge at each other’s houses and, sometimes, we speak on the troubles that keep us awake at night; other times these conversations are had over a glass of wine or whatever can numb the pain enough to allow the words to form in our throats. But most importantly, on the days when talking is too strenuous or the weight of words threatens to break our backs, we play music.

One thing I have noticed about the music that we spin is its consistent ability to leave us enthralled. I have yet to see a problem, with the notable exception of death and its many variants, that music hasn’t seen us through or at least started us on a path to feeling better. Even with death, all we ask is that the music goes high enough, the liquor stays flowing longer than usual, and we can start to imagine a way out of any painful labyrinth.

In discussion, my friends and I have often playfully tried to localise where things started–or at least appear–to go awry in our generation, and, being frank, many of us point to the gloom of 2020 as a portent of sorts. 2020 was a wild and anxious year in many respects. Almost as soon as we attuned ourselves to the social distancing and stay-at-home regimen of the COVID-19 pandemic, we were being forced to pour ourselves out into the streets to protest a rogue institution that seemed fixated with the forcible neutering of young black bodies. Many times in 2020, it was hard to take a look over your shoulder and not feel a hovering sense of sadness.

That said, here is another fact about 2020 that I think you should know: In the first two weeks of that year, I compiled a scatter-brained list of artists to watch out for in the year for a nice outlet I used to work for and I put Zinoleesky on the list.

By the time 2020 was biding its final farewell, Zinoleesky was on his way to music superstardom, off the bank of a string of hit songs that distilled his brand of cool, brooding music into a clarion call for a generation facing its toughest moment, while sneaking in tidbits of his ghetto gospel. From “Ma Pariwo” to “Kilofese,” Zinoleesky seemed to be presciently aware of what the zeitgeist needed to be saying at any particular time he released new music. 

Since then, Zinoleesky has become an immutable part of the Afropop galaxy, as he has moved from songs like  Naira Marley to “Gone Far” to “Blessings.” I think it is impossible to talk about the narrative of Zinoleesky’s career without turning our gaze on who he is and where he came from. Many times in the last 18 months or so, I have wondered about the specific anecdotes that line his music and the all-too-casual elegance with which he has leaned into his role as the de-facto voice of a generation of ghetto kids. I imagine that it is a hard task to be Zinoleesky, to make the crux of your art inspiring people that many others would rather not see. But by any estimation, there are roles that become you and there are roles that you become when there are no outlets to tell the specific stories that you want to tell.

                                                                                  *****

At this specific moment, there is no sub-genre that waters Nigerian pop’s ever-evolving cast of slangs, lingo, and euphemisms with the regularity that street-pop does. What this means is that you can barely walk down any road in this country and not hear Mohbad tell you of how he wakes up at 4:30am to get to whatever activity might put some food on his table for the day, or see Bella Shmurda perform Cash App,” with all the controversy that the track invites, to 20,000 people who are screaming it back word-for-word at the 02, while lost in the madcap delirium that I must imagine follows the performance of such a track in a huge sea of people coming together to bathe in the glow of music. 

I guess what I’m trying to say is that street-pop is here to stay and I know this because it has crossed over into the places that I would never have seen it going into even five years ago. But if you were paying attention as far back as 2019, it might have been easy to at least not be surprised by this current trajectory of street pop. Every other week in the third quarter of 2019, we’d wake up to a new viral video from a bunch of street rappers domiciled in Agege, rapping about the survivalist conditions of life in the place that they call home.

 

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The responses to these videos broadly fell into two categories: first, there were those whose direct lived experiences were referenced in those freestyles whose fire emoji comments littered the comment sections of those rising rappers, egging them on with every fibre of their being; then there were those who looked upon this rising tide with bemusement, unsure what to make of these rappers who were really Fuji-inspired singers at heart.

Of all the rappers we saw on our phone screens from Agege in 2019, Zinoleesky was the one who seemed most uncomfortable with the strictures of rap as a medium, the one more likely to break into an intuitive spurt of melody to bookend his raps that resembled the readings of a poet in residence. I think that the dominant thought about Zinoleesky, about Agege, about street-pop in general at that point, was that this too shall pass. That whatever was being done on that side of town would eventually tide over and Nigerian pop would continue its unstoppable rise to international ubiquity with street pop as nothing but a side note of that trajectory. The point I’m trying to make is that Zinoleesky is of people that are dreamers, eternally optimistic, forever building, and ready to burst at the seams, regardless of whatever institutional barrier is stacked against them. 

I have spent countless hours over the last two years considering what might be Zinoleesky’s greatest skill, and I have come to the conclusion that it is in how he put his own distinct interpretation on feelings of hopelessness while finding a way to localize joy in the midst of all that despair. There is something to be said about someone that gives a voice to this instinct of the oppressed, but it is another thing to urge the same people to find a way to look past all the worries in their life and keep at their life with any sort of joy.

One time last year, I was in Computer Village and I must assume that my audience knows that Computer Village, functioning as a microcosm of Lagos, is not the most optimistic of places, but late in the afternoon “Gone Far” came on in the section of the market where I was hiding away from a heavy downpour and men who may or may not be looking to pick pockets stopped for a second to acknowledge the genius of Zino while doing their best impression of smiles while singing the line “more money, more respect” heartily. And I suppose this says something about the origin of the music that originally inspired Zinoleesky and his incredible ability to propel its aura forward. Last year during a conversation in an almost empty car lot in Ikoyi, the singer sheepishly admitted to me that the music of icons like Pasuma and Saheed Osupa were some of the biggest inspiration on his life. If truth be told, in a moment when Nigerian pop is moving beyond the physical locale of its origin to touch an almost unquantifiable audience, Zinoleesky’s voice is more important than ever. It’s the voice of Lagos, singing the music that keeps us alive and vitalizes us.

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One time in between smoking whatever remained of a blunt and sipping some bacardi, one of my friends described Zinoleesky’s Naira Marley as a breathtaking work of poetry. He’s right. There’s something achingly expressive about the breath, cadence, and lines that Zinoleesky employed in that song. Even the most cynical of us must admit that there’s something redemptive about a mother’s love. I know this because many times my mother’s love has pulled me back from whatever gapping abyss has threatened to swallow me whole. Half of the time when we’re listening to Zinoleesky play, I must admit to you that we’re high as shit. I must also tell you that Nigeria is after our lives in many ways that we cannot often describe, but the truth is that we remain present, alive, warm bodies fighting for each other as best as we can because all we have is the music and one another. 

I have grown to be accustomed to the Nigerian institution being a supreme bully that will come after anybody that doesn’t fit their linear narratives about how one should present themselves so I was not mighty surprised when officers of the NDLEA invaded the living space of Zinoleesky and members of Marlian music. Most of that night, while doing whatever it is to numb the pain of the previous day, all I can feel is an abiding sense of disconsolation. I would be a hypocrite if I say there’s anything revolutionary about Zinoleesky being thrown in jail by the Nigerian institution, but there is a silent message I assume in who was invaded and how overwhelmingly quiet the Internet space appeared; how there was a very strong possibility that we could just move on as though nothing happened.

It is a humid March night and Zinoleesky is bantering on stage at Obafemi Awolowo University’s amphitheater. For those who don’t know, there is defiance baked into the very fiber of OAU, and it seemed almost like an act of divinity that Zinoleesky’s first public performance post-NDLEA drama should come there. Performing to an overly-euphoric set of listeners, Zinoleesky instructs the DJ to play “Blessings,” his smash hit with producer, Niphkeys, and the words, “Don’t know why I’m always thinking about tomorrow,” float perfectly into the air against the cascading backdrop of more than six thousand people shouting the words back.

If truth be told, me and my niggas are not perfect, we make mistakes upon mistakes, till we happen on whatever decisions and results we can live with. But we live in the essence of music, we pray at the altar of Zinoleesky and all the other radiant children of Nigerian pop. I want to believe that music is the weapon now more than anything, music is the weapon for our continued existence, especially when we are high and need something to line our mouths.


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