Songs Of The Day: New Music From Jinmi Abduls, DJ Tunez, Citizen Deep & More

Posted on by Emmanuel Esomnofu

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

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

JINMI ABDULS – “ROYAL RUMBLE”

In the early stages of his career, Jinmi Abduls was known for tapping from Highlife’s sonic material. Lately, the Lagos-bred musician has taken his sweet vocals into broader sonics within Afropop. Last weekend he released two party-ready songs, “Dapada” and “Royal Rumble.” The latter is more attuned to his sensibilities, a serenade which pledges unfettered love for one’s partner. With elements of House, there’s a warm overtone to its overall colour.

DJ TUNEZ & AMEXIN – “ALREADY”

It’s no secret that Afropop witnesses a mass influx of new talents everyday. Keeping up with such sonic wealth is no doubt hard, but most times the truly remarkable stand out on their own. On “Already,” Wizkid’s official disc jockey and business partner DJ Tunez connects with Amexin for this mesmerizing love record. The singer’s lithe vocals are really emotive, carried on colorful melodic notes which contributes to its mad replay value.

UCHE MALIK – “NKECHINYERE”

In the grand appraisal of all things Afropop, a number of diaspora-based acts have joined in the movement. Uche Malik is US-based but has ethnic links to Owerri, the capital city of Imo state. His recently-released project is titled ‘Nwa Owerri,’ and features this standout record which literally translates to ‘the thing God has given me’. It’s a spritzy record with bright guitars and Uche’s full vocals, gracefully rendering thanks in a mix of Igbo and Pidgin English.

CITIZEN DEEP & EL MAESTRO FT. ZANEEMUSIQ – “BABA MONGAMELI”

Soweto-bred DJ and producer Citizen Deep has always been on his grind. Since 2019, he’s worked to great acclaim in South African dance music, releasing projects to his ever burgeoning fan base. His latest project ‘Arcade 2’ features this standout, a deeply hypnotizing groove made from dusty drums and loopey key elements.

EESKAY – “AA RANO”

You’ve probably read us raving about the Abuja Drill scene. With every release their acts push the envelope of what’s possible in Naija Rap, blending colorful cadences and thrilling plotlines, essentially building the narrative of what it means to be a young person in this country. EEskay’s “AA Rano” is an anti-establishment anthem, loosely centered around the nation’s incessant fuel scarcity. Asides the thematic material, what truly intrigues the listener is the effortless barrage of flows, the authoritative voice that sounds like it means everything it says, the cinematic pull of the visual. Everything about the record just works, and that’s no small feat.

WAJE – “IN-BETWEEN”

If we’re counting African R&B icons, WAJE surely makes the list. The Nigerian vocalist has been rather off-the-limelight in recent years, but anytime she gets on the mic she makes it count. Her previous single “All Day” was a fitting collaboration with Tiwa Savage and not long after, she’s released an album, ‘WAJE 2.0’. “In-Between” is a standout, featuring the singer’s lucid vocals over haunting piano chords. She details a love lost, invoking all the associative emotions with emotive mastery.

Marvel Studios Unveils First Trailer For ‘Black Panther 2: Wakanda Forever’

Posted on by Wonu Osikoya

Yesterday, Marvel Studios returned with the first teaser for ‘Black Panther: Wakanda Forever’, the sequel to the 2018 block buster starring Lupita Nyongo, Chadwick Boseman, Letitia Wright and many more. 

Released a few hours ago, the official trailer of the sequel features BET-award winning singer, songwriter Tems performing a cover of Bob Marley’s “No Woman, No Cry” while the question of who will take on the mantle of the Black Panther lingers around the trailer, showing the somber tone of the country following T’Challa’s death.

Directed by Ryan Coogler, the film will show the aftermath of losing the king T’Challa played by the Late Chadwick Boseman who passed on after battling cancer four years prior to his death in the year 2020. The series is set to feature returning actors Lupita Nyong’o, Michael B. Jordan, Danai Gurira and more, and also feature newcomers such as Michaela Coel, Dominique Thorne, Alex Nivilani, Mabel Cadena and Tenoch Huerta. 

Coogler in an interview stated that:  “It goes to new places in Wakanda that we haven’t seen before and it goes to new places in the Marvel Cinematic Universe” explaining the length to which producers and directors from the Marvel Studios have reached to achieve the outcome of the new film. The trailer reveals never been seen clips of Wakanda’s aquatic environments, futuristic technology and more will also be enhanced in the film. 

The film is set for release in cinemas on November 11th will feature the next Black Panther which has been teased in the official trailer as a figure is seen in the hero’s suit at the end of the trailer, although it isn’t clarified who is in the costume.

Watch the full trailer for ‘Black Panther 2: Wakanda Forever‘ here

 

Four takeaways from Ayo Shonaiya’s ‘Afrobeats: The Backstory’

Posted on by Damilola Animashaun

An ongoing conversation has been sparked ever since Netflix premiered their first-ever Afrobeats documentary on the 29th of June, 2022. The Africa-led musical movement has arguably been the fastest-rising cultural phenomenon of the 2020s, therefore it made all sense for the streaming company to acquire Ayo Shonaiya’s work and push it with the resolve they’ve shown so far. With the 12-episode series ‘Afrobeats: The Backstory’ now fully released, sections of viewers have their different opinions.

For those who have limited knowledge of the Afrobeats scene, it’s surely an important reference point. Its deliberate spin around the movement’s birthplaces of Nigeria and Ghana, down to its early to mid 2000s evolution among the UK diaspora, were especially in-depth. However, it’s those based in Africa who experienced first-hand those generation-defining moments who’ve had the most to say about Shonaiya’s documentary. Ranging from well-deserved praise on its novel elements to criticism about perceived oversights, it’s been attended with the depth of reaction that’s only befitting of such an important cultural production.

Here at the NATIVE, we’ve made no small efforts to contextualise this music we so love. Through longform and 1-listen reviews, first impressions, feature pieces, and interviews with influential figures on chosen creative projects, it’s been a recurring mission of ours to centre the basic components of art. By doing that we’re able to demystify the creative process, and enable healthy discussions about its execution. As a result, we’ve asked members of our editorial team to each share their biggest takeaway from the Netflix Afrobeats documentary. Knowing how diverse our interests are, this is one compulsory accompaniment before, during or after watching the doc.

The ‘S’ is important

As someone who has never visited West Africa, I often confuse Afrobeats and Afrobeat. When the documentary starts, Shonaiya’s emphasis on “Afrobeats with an S” communicates one thing: the difference is immense and by the end of the documentary. Now, I can assure you I will never confuse it. The growth of the genre has been like a roaring fire in the forest consuming and carrying everyone with it and the documentary puts it out in the most detailed manner. In short, if you don’t know the origin of the genre, this documentary is your encyclopaedia.

As the documentary explores the rise of Afrobeats, the Nigerian global music phenomenon, the 12 episodes give a perfect blend of Nigerian classics and new generation music, from Afrobeat to Afrobeats. Paying homage to Fela Kuti, Shonaiya is key to ensure his light does not deem, giving him and Tony Allen credits for coining the name of the genre. I love the fact there was a background check and involvement of key players of the genre such as Junior & Pretty, Eedris Abdulkareem, Sound Sultan, Banky W and more. While watching the show there was an immediate emotional connection to the message as an African and also a lover of the genre. It felt like I was in the ’90s when Shonaiya broke down the emergence of Afrobeats. Compiling hit songs, club bangers and invaluable education, Shonaiya drove the point home. Afrobeat and Afrobeats are not the same.

Tela Wangeci

Documentation is important

For ‘Afrobeats: The Backstory’, producer Ayo Shonaiya gathered footage from over 20 years of real time experiences. At the time when memories were being created  Shonaiya was making sure to create a visual representation of these moments. At the time, Afrobeats was still on the come up and no proper structure had been put into place but the clips collected by Shonaiya has given the body of work more meaning and has amplified the storytelling, making the consumption of the documentary a lot easier. The documentary did justice to highlighting the relevance of what is being experienced now and its importance to the future. These footages also gave the documentary a feeling of a memoir, letting the viewers feel even closer to players such as Obi Asika, Keke and D1, JJC, Ayo Shonaiya himself, Don Jazzy, and more.

Wonu Osikoya

Thank you, Ghana!

In early 2017, Nigerian Twitter went into a frenzy after Mr Eazi stated in a now deleted tweet that it’s impossible to understate the influence of Ghanaian music on Nigerian music. Since then, the singer has been in something of a contentious relationship with Nigerian music faithful, even being cancelled – that’s despite scoring more hit songs and heading a successful label services company. In ‘Afrobeats: The Backstory’, Mr. Shonaiya digs into the “5-beat count” that forms the rhythmic basis of Afrobeats, tracing it to the Kpanlogo drum pattern, which is central to Ghanaian folk music and, consequently, Ghanaian urban music. Basically, Afrobeats—aka Nigerian pop in the doc’s context—has, and continues to, crib cues from its neighbour.

If you want to go all the way back, there’s Highlife, which has its origins in Ghana and formed the foundation of the sound for many iconic Nigerian artists, from Celestine Ukwu’s Igbo Highlife, to Sir Victor Uwaifo’s Edo Funk, to Fela Kuti’s Afrobeat, and more. In a more modern context, several Nigerian artists and hit songs around the turn of the millennium took vivid influences from hiplife, the Ghanaian originated sound that melded highlife melodies with the bounce of hip-hop. The mid-2010s renaissance that slowed down the de-facto tempo of Nigerian pop—led by Eazi’s banku sound, Tekno’s “Pana” and Runtown’s “Mad Over You”—owes a lot to neo-highlife melodies.

In the docuseries, respected producer JMJ and acclaimed singer Stonebwoy chip in on the influence of Ghanaian-originated music on Afrobeats, offering the sort of nuance that’s already known but doesn’t want to be acknowledged by Nigerians. So, again: Thank you, Ghana.

Dennis Ade Peter

Too many exceptions to ignore

As much as I enjoyed the documentary, it had a number of gaping holes. The most confounding for me was the absence of the Eastern music scene’s myriad contributions. Highlife was well-connected to its origin birthplace of Ghana, but its evolution within Nigeria wasn’t done proper justice to, especially with the 1967 Nigeria-Biafra War, which essentially ruptured its burgeoning fan base across the whole nation and gave way to the rise of Fela’s Afrobeat, and not long after, Juju and Fuji primarily in Southwestern Nigeria.

In telling the Afrobeats story, a deliberate effort must be made to decentralise the importance of Lagos. Shonaiya’s focus on the city brothers Lagos and London was too much of a singular narrative, even if true and well-researched. As a result, the descendants of the Highlife-dominated Eastern scene weren’t given their credit. Ostensibly missing was the contribution of notable figures such as P Square, Flavour, Dekumzy and J Martins who made the sound of Nigerian Pop varied in the 2000s, and in the post-MTV era became early explorers of the East African market.

Emmanuel Esomnofu

NATIVE ROOTS: THE BIRTH OF AFROBEAT

Songs Of The Day: New Music From Prettyboy D-O, M.I Abaga, Kwesi Arthur & More

Posted on by Tela Wangeci

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

Every week, tonnes of songs from African artists make their way to digital streaming platforms, and wading through them can be intense. That’s where The NATIVE’s Songs of the Day column comes in to help. We go through as many new releases as possible, spotlighting them here, two to three times every week. Today, enjoy new releases from M.I Abaga, Aluna, Prettyboy D-O, Higo, Layzee Ella, Superboy Cheque, Yemi Alade and more.

Aluna – “Nowhere To Hide” ft. Prettyboy D-O & Higo

This Friday, UK songstress Aluna shares a new number titled “Nowhere To Hide” featuring Prettyboy D-O and producer, Higo. The track is a smooth, poignant single with romance at its heart. Combining elements of Afropop and Amapiano with Aluna’s pitch-perfect vocals, the song’s catchy production provides the perfect backdrop for Prettyboy D-O to trade his rapid-fire bars. Thew new single from Aluna sees the singer continue her fruitful run of cross-continental collaborations.

M.I Abaga – “The Guy”

Nigerian rapper M.I Abaga has been teasing the release of his forthcoming album. Ahead of this, he has shared a new single titled “The Guy.” The single is a statement of the foundational relevance of the artist, a call to keep pushing, and a self-celebratory declaration of clear excellence. With its catchy lyrics and a memorable hook, the song clearly attests to the undoubtable versatility of M.I “The Guy” Abaga.

Skillz 8Figure – “Delilah” ft. Kelyvn Boy

Since the release of his debut EP ‘Gangsta Luv’ in 2020, Skillz 8Figure has remained one of the most prolific artists to keep tabs on. Since the year began, the Ghanaian-based, Sierra Leonean-born artist has been teasing the release of a new project with promotional singles such as the Kofi Mole-assisted “Wateva” and “Mind” featuring King Perry. For his latest release, he employs the help of Kelvyn Boy for a romantic number which finds both artists singing about their respective muses and the hold they have on them. Singing “Girl me want you, my delialah” Skillz serenades his romantic interest while playing on biblical allusions of Delilah and Samson from the Bible.

Layzee Ella – “Medusa” ft. Khaid

uNder alum, Layzee Ella makes music that sees listeners at the base of their emotions. Following the release of “sober” earlier this year, the Nigerian singer employs the help of other uNder alum, Khaid for the mid-tempo new track titled “Medusa.” The new track finds both artists singing about their respective muses and expressing exactly how they make them feel. The melodic hook finds Khaid singing “I thought I want to dey follow water go/I no fit use am,” as he sings about the effect his love interest has on him. “Medusa” is set to feature on Layzee Ella’s upcoming album ‘Find Everything’ which is set for release next month.

Superboy Cheque – “Holy Gee”

Last year, Superboy Cheque shared his debut album ‘Bravo,’ a 13-tracker which found him weaving poignant tales about his life and the come-up. To open his book for the year, the rapper and singer has now shared new single, “Holy Gee,” a rhythmic new single which founds him showcasing his lyrical dexterity. Over the mid-tempo production from Ozedikus, he sings “I dey steady on my ground, no stop/What’s the point of making money if you no fit blow with all your guys,” sharing insights on the current strides he is making in the indsustry.

Kwesi Arthur – “Nirvana” ft. Kofi Mole

After the success of his groundbreaking debut album ‘Son Of Jacob,’ Kwesi Arthur is back with an inevitable banger titled “Nirvana” and featuring fellow Ghanaian rapper, Kofi Mole. Taking a departure from his standard Drill beats, the new single finds both rappers trading bars about reaching euphoria. “No dey show fake love/I just wan touch nirvana/Seems so far sometimes but na nirvana man go find,” quips Kwesi Arthur over the song’s catchy hook, as he detaches from the lull of everyday life and looks ahead to greater heights.

Yemi Alade – “Begging”

Yemi Alade is as prolific as they come. For her latest release, the singer shares new anthem “Begging,” which finds her divesting from romantic relationships and refocusing on what truly matters: herself. Over the song’s upbeat production, Yemi Alade addresses her romantic interest and shines a light on the ways in which love has left a sour taste in her mouth. Singing lyrics such as “If you help me see love/Tell am I no want to love/Ain’t got no time for no lo lo love,” she emphasises her need to put love on the back burner.

Featured image credits/NATIVE

ICYMI: Here are our best new artists for June 2022

A 1-Listen Review Of Gyakie’s New EP, ‘My Diary’

Posted on by Emmanuel Esomnofu

In recent years, few Ghanaian musicians have captured the global attention as impressively as Gyakie. The daughter of iconic Highlife musician Nana Acheampong, she had officially started out in 2019 with the single “Love Is Pretty.” Her moment in the sun came exactly a year after, when a tender slowburn record surfaced on Ghanaian music circles. Shortly after it crossed over to Nigeria, where the song–and by extension, the 23-year-old singer–morphed into a legitimate internet sensation.

Gyakie has since become an Afropop superstar, with her Flip The Music team inking an international deal with three subsidiaries within Sony Music in April 2021. It’s impossible not to view “Forever” and its Omah Lay-assisted remix as one of 2020’s defining moments, the crucial introduction to Gyakie’s amazing artistry. With its glistening R&B feel, both songs served as the perfect set-up to ‘SEED,’ the singer’s debut project which came in August 2020. 

As any early listener would expect, Gyakie’s career has progressed in great stride. Throughout 2021, she released a couple of songs but it was a cross-country collaboration with Nigerians Fiokee and Chike (“Follow You”) which made the most impression. Over the guitar-laced production, Gyakie’s vocals recalled effortless sensuality, laced with the warm reverberations of truly being in love. 2022 began in similar fashion, releasing “Sometime” and following up with “For My Baby.” With the second single came the announcement of ‘My Diary,’ the singer’s sophomore project. 

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

“AUDIENCE” FT. SONG BIRD

Ethereal, jazzy strings floating in the background. The drums are low, and really atmospheric. Love the touch of an introduction, it gives the record a really visceral feel. Gyakie’s singing…ooh, these are sweet notes. The title is derived, I guess, from the audience’s dominant role in the record. These “la la la” scats are hitting. Such a soulful intro; brief and quietly evocative. I’m already relishing the choice to write about this project, been a fan of Gyakie’s artistry ever since her breakout. 

“FAR AWAY” 

The live element is retained into this second record, but the production is more pronounced here. Soulful horns progress into vivid percussions with a neo-soul vibe, while Gyakie takes the singing in good stride. Her tonal measure is mesmerizingly natural, using her husky vocals to fine effect. She’s singing about a distant lover; in these notes, I hear the emotional strain that comes with the terrain, but it doesn’t portend the final narrative. This chorus is delightful and exhilarating, as the beat morphs into a reggae flavour. Everything just works in this record. Gyakie’s writing here is so full of character, and her vocal dynamism just gets it over the line. Excellent openers so far. 

“FOR MY BABY”

When this single was released, I wasn’t too keen on its direction. Formed around the five-beat pattern of a Ghanaian percussion, Gyakie manages to build a love story around it. “Another one for my baby, do anything for my baby,”  she sings on the hook, but the excitement that should accompany such reassurances aren’t present here. It’s not an immediate skip, but I don’t see myself returning to this often. 

“FLAMES” FT. DAVIDO 

A Davido feature is one of the most recognisable sections of Afropop and I’m eager to hear how Gyakie utilises that. The production moves from sweet strings and gently bouncing drums, easing into a somewhat laid-back vibe. Okay, Gyakie is singing; she does this really well, by the way. Can’t get enough of these luminous vocals. “Especially when you are touching me/ I know you want it, look at me you’ll see, we on fire,” she sings, and somewhere in the background Davido’s voice bounces off. He’s singing now, deep in his R&B bag. Voices like Gyakie’s and Davido’s were made for each other; there’s such graceful chemistry. Davido can come across as tender when he’s vulnerable, and that’s the vibe he leans into here, and even manages to cap that off with his trademark energy. This is an absolute banger, guys. Don’t sleep on the fire. 

“SOMETHING”

I think this was the first single from the project, though I didn’t listen to it when it was released. The pacing on this one easily stands out; it doesn’t have the reflective soul of the first pair of songs, nor does it have the energy of the Davido collaboration, but it’s definitely groovy. I like the knocks of these percussions, and the underlying keys. Gyakie’s vocals are so impressively singular that sometimes you don’t bother to learn the lyrics; the tone is enough splendour. There’s understated wit in in the line “and if you tell me your wishes, I will come through,” though she’s more forthcoming elsewhere. Personally, I think the directness in Gyakie’s songwriting undersells the uniqueness of her voice.

“WAKA WAKA” 

Last song on the project. WOW, THIS BEAT IS BANGING. I’ve heard a number of Hip Hop influences on this tape but it’s straight from the first beat drop here. Gyakie’s voice drips with a deliberate exhaustion, taking its rhythmic flow from Dancehall. This sounds like something Rihanna would create during her ‘Anti’ years. “We no follow clout, we set the trend everybody follow now” she sings assuredly, before launching to a scattershot flow. She’s deep in her Jamaican bag, sheesh. I can hear Shenssea on this, but Gyakie is definitely riding the groove to perfection. Her Twi is deliriously melodic, coated in a gritty rap feel as she progresses further. Martin Luther and Kwame Nkrumah references give you an insight into the militant feel she’s going for. She wears this particular skin very well, though; none of the buttery stretch of her love records. Unapologetic, brilliant. Quite a fitting way to close out the project. Great song. 

FINAL THOUGHTS 

‘My Diary’  updates Gyakie’s direction in a less pop-centric style. Her growing comfort with sonic palettes sees her flirt towards unconventional forms like spoken word and neo-soul, even though her Ghanaian origin still firmly sits at the core. You’d hear strains of rustic pride in “For My Baby,” painting the image of Gyakie as a musician with the crucial ability to either surge into the future or return to the promise of one’s history to unearth fresh perspectives. 

She’s very assured in her sonic choices, which is quite evident from the first track. Even on first listen, it’s a remarkable project. The colour of the beats are flagrantly in-sync with her vocals, helping create an enthralling experience from start to finish. Peculiar credit should be given to her collaborators, how closely to the seams they play while ceding the centre stage for Gyakie to shine, as it should be. 

As Gyakie launches further into global prominence, it’s a strong statement how she’s retaining her drive for impeccable artistry. This means that the package will never outshine the soul, which is a considerate worry for Afropop fans residing within the continent. Obviously the need comes to balance the many roles of an artist–as a business, a creator, a human–and great art is expected to deftly introduce those myriad flavours into the art being created. Gyakie surely has some more edges to perfect, but at this moment in time she’s in the perfect moment. ‘My Diary’ would surely leave an impression amongst her burgeoning fan base. 

Stream ‘My Diary’ below.

Featured image credits/MyDiary

ICYMI: Big Yasa Opens Up A New Chapter With ‘Biggs’ EP

Essentials: Big Yasa opens a new chapter with ‘Biggs’ EP

Posted on by Tela Wangeci

Big Yasa might be considered a newcomer in the mainstream music scene but he’s been around, earning his stripes as one of the exciting, emergent rap stylists in Kenyan drill music. Born and raised in Kibera, Kenya’s second largest slum, Big Yasa has steadily learned the art of incorporating the daily challenges of his community into his songwriting. His story is not majestic or lavish, rather it’s a dark side with a hint of hope for a better tomorrow.

Making a menacing entrance in 2020 with “Mahd Clan freestyle,” he displayed his raw ability to make every bar ring out with a purpose. While the Drill hype was at large taking over Africa, Big Yasa made his official debut with “Peng Ting,” featuring Twice the Gang. On an ominous beat, he sang along to the drill melodies as he tried to find his place and sound in the scene. Just as a seed needs nurturing to flourish into a flower, Big Yasa’s craft required polishing. It was not until he released “Compete,” featuring label mate Spinx Mafia, that he turned a couple of heads in the city. It was finally clear Big Yasa had found his flow and the perfect production. The drill beat was inspired by the dusty feel and thudding knock of ’90s east coast rap, giving life to Big Yasa’s husky voice, his unique selling point from the jump.

Over the years, Drill has been associated with unbridled youthful exuberance, and while Big Yasa leans into that, he’s more thoughtful in his approach. Growing up in Kibera, he uses his drill tracks to tell menacing tales of survival which resonate with the youth of Nairobi, as he reflects upon the harsh realities of the street. “Ulalaa” featuring Davaji saw him take a more intimate approach to his writing, reflecting on the death of his parents, while calling out lazy people. While building his cult following, he participated in the “Ordinare Challenge” hosted by veteran rapper Khaligragh Jones, reaching the semi-finals before falling off. The Nairobi rhymer knew he had to do better and focused on pushing forward.

A strong affiliate of Buruklyn Boyz, he has managed to carve out his identity in the drill scene under his label Mahd Clan. As 2021 wrapped up, he gifted his fans a feature on the fan favourite “Bad Boyz Club” alongside Nairobi’s drill stars Buruklyn Boyz and upcoming Mombasa artists Double Trouble. Big Yasa closed off 2021 as an UnKut Hennessy HipHop Awards nominee for Best Drill Artist. A champion of growing together as artists, Big Yasa often puts up Live YouTube sessions of various drill artists jumping on beats with his latest experience dubbed, “The Wapoa Live Experience,” with the main goal of promoting fellow underground superstars.  Over the past few months, Big Yasa continued dropping his group of loosies and jumped on a bunch of features for other artists such as Sewer Sydda, and, most recently, Buruklyn Boyz on their debut album ‘East Mpaka London’.

Two years after plunging into the scene, Big Yasa has delivered his debut EP, ‘Biggs’. Driven by punchy drums, he gives a mantric delivery as he dives into grizzly and textured verses. Compiling rage, joy, and hope into a 5 track project, Big Yasa makes it clear he is not about to stop reigning the streets. “Interlude” is a 14-second sample from a Skillibeng interview serving as an encouragement to his fans. The slow, melodic tune serving as the intro is comforting as the harmonious piano keys bring serenity, anointing Big Yasa as the voice of the streets while urging the youth that better days are yet to come.

The word breakthrough perfectly describes everything about “Wasp”. From the opening chorus about dedication to his hard-hitting 808s that make you feel you are chanting after him in a concert. “Wasp” builds up momentum for the tape. The guitar strings open the track with Big Yasa chanting his famous catchphrase “Mahd Clad.. 8side Westside”, an identity to his home Kibera. It is undeniable that Big Yasa knows how to grab and hold your attention as the entire sonic landscape has you anticipating what the tape holds. Big Yasa seems to be coming to terms with his flaws as he states he wasn’t born rapping but had to learn how to do so.

 

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“Crystal Clear” is an ode to all with dreams and aspirations, and still doubles up as something close to a gangsta love song. When the song careens into eardrums with its bass backdrops, it’s obvious listeners are in for an aggro treat. Big Yasa’s lyrical ability seems to evolve as he has mastered his cadence controlling his speed while still delivering hard knocking punches. “Lil Bro” is a dedication to his little brother. The overpowering aggression dripping from the keys and deep bass is accentuated by the most effortless production.

“Halal Haram” is an introspective song on a drill tune, something you rarely hear. The chorus highlights Big Yasa’s conundrum of making music despite it being considered wrong in his religion. His ravishing hunger to succeed is put in the spotlight as his voice gets heavier and darker. It is no doubt he has a knack for storytelling, as he delivers head-bumping verses that incorporate the cynicism and braggadocio fans expect and love. As the drums switch around at the halfway point and the hi-hats begin to fire at double speed, Big Yasa speeds up to a furious, machine gun pace that carries the second half weightlessly.

‘Biggs’ is a reflection of Big Yasa’s time in the industry. From a young boy who struggled to find his voice on a beat to a full-grown artist who has the streets quoting bars from his songs. As he has managed to step out into his light and create his image, so has he done with the music he puts out. Despite this, Big Yasa still has a long way to go as he transverses the hip-hop streets. As a first project release, this is only the beginning of a young star writing his legacy one quotable bar at a time.

Listen to ‘Biggs’ EP by Big Yasa here.

ICYMI: JAKK QUILL RIPS THROUGH BEATS ON NEW EP, ‘FINDING FLOWS’

New Music Friday: New Projects From Gyakie, King Promise, Magixx & More

Posted on by Wonu Osikoya

Friday is universally known as the day for new music releases. This means there’s so much music to wade through, and a few might get lost in the shuffle. To help out, here’s a run-down of newly released projects the NATIVE recommends from this week’s slew of releases. From Gyakie’s latest offering to music from Magixx and King Promise, here are some projects which have just been released today, tap in.

Gyakie – ‘My Diary’

Ghanaian pop princess Gyakie has only been around for a short period but her discography is palpable. The singer won the hearts of many with her debut single “Forever” and since then, has shared a number of romantic singles including her most recent release “Something.” Arriving today is the singer’s major label debut EP, ‘My Diary.’ The 6-tracker touches on topics such as love, romance and the complications that come with it. The project also features a guest performance from Afropop star Davido and shows off Gyakie’s sultry vocals as well as her songwriting and storytelling.

King Promise – ‘5 Star’

After taking a 3-year hiatus from releasing any projects, King Promise has now arrived with his latest offering ‘5 Star,’ a follow up to his 2019 LP ‘As Promised.’ The 15-track LP sees contributions from Omah Lay, Vic Mensa and Patoranking and as well as stellar verses from international acts including UK rapper Headie One, WSTRN and ChanceTheRapper. The new album continues to showcase King Promise’s ability to spin relatable and memorable tracks.

Magixx – ‘Atom’

In the final quarter of 2020, Mavin Records unveiled their newest addition to the team, Magixx. The stellar vocalist arrived with his debut self-titled EP which set the artist in the eyes of many. Now, to continue his streak, the singer and songwriter has arrived less than a year later with his sophomore EP ‘Atom,’ a 4-track body of work which sees the artist making records which show his current state of mind; enjoying the good things of life and not taking things too seriously.

Mi$tak & Ouma Wa Mafegi – ‘Raha’ 

Kenyan newcomers Mi$tak & Ouma Wa Mafegi team up for a new collaborative effort titled ‘Raha.’ The 41-minute LP is a fine balance between Hip-hop and Trap music as they fire off pensive bars and dizzying rhymes. Produced majorly by Mi$taK, the 14-tracker sees both rappers in their most braggadocious form as they work listeners through their current state of mind, from their obsession with the grind, to working hard and making it to the top. 

Uche Malik – ‘Nwa Owerri’ 

Nigerian born, Massachusetts-based singer and songwriter Uche Malik makes music that connects his audiences both home and abroad. For his latest release, the singer has arrived with his sophomore EP ‘Nwa Owerri,’ a follow-up to his previously released project, ‘Jiggy Boy.’ On ‘Nwa Owerri,’ Malik delivers a 5-track set performed entirely on his home and with production credits from L.Ucas, Soundchef and more. Across the project’s succinct runtime, he makes a case for uniting his two distinct backgrounds while serving up enjoyable tunes.

Julixn Drizzle – ‘Nimefika’

For his sophomore album, rapper and songwriter Julixn Drizzle returns with ‘Nimefika.’ The 17-tracker sees the artist delivering a blend of Hip-Hop tunes over which he lays weighty messages about his journey and the come up. The new project portrays the rapper in a vulnerable form as he speaks on levelilng up, getting better, evolving and becoming. 

Cill – ‘Something Cilly’

Cill properly introduced listeners to her music in 2020 when she released the record “Tatarata.” Now, the singer, songwriter and guitarist is here with her debut EP ‘Something Cilly’ a 6-track EP which puts on display all she has to offer, as well as includes a befitting remix of her hit single “Tatarata.” Across 6 new tracks, Cill bares her soul and invites listeners into her world with the help of stellar production. The singer dials up the romance as she delivers love anthems over the project’s 20-minute runtime.

Featured Image Credits/NATIVE

ICYMI: P Square Return With Their First Single In Five Years

P-Square Return With Their First Single In Five Years

Posted on by Emmanuel Esomnofu

The story of modern Nigerian Pop isn’t complete without P-Square. After spending their teenage years in Jos developing their artistry and performance skills to near perfection, throughout the 2000s and the following decade they launched an unprecedented package into the stratosphere of African and global music. The quartet of ‘Get Squared,’ ‘Game Over,’ ‘Danger’ and ‘Invasion’ unarguably constructs one of Afropop’s album runs, blending their R&B base into outlying Pop forms. 

 

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Ever since their very public breakup as brothers and business partners, every solo output coming from Rudeboy and Mr. P, fans clamoured for their reunion. The early indications of a comeback were visible sometime in mid-2021, when both superstars seemingly popped up randomly in the same locations. Later on it appeared more deliberate, meeting up to discuss and then in November, P-Square was born again, expectedly now stronger having gone through four years of developing their individual sounds respectively. 

With a proposed hundred-city global tour forthcoming later this year, today P-Square officially release their first two-pack single since getting back together. The pair’s sonic philosophy is echoed in “Jaiye (Ihe Neme)” and “Find Somebody,” both songs respectively falling into their signature party blockbusters and emotive love riddims. It’s written and produced by them, which is quite a feat considering how fresh they come across. 

“Jaiye” blends Amapiano drums with glittering synths, with its sped-up pace reflecting a room-filling nature. Having been on tour since last year, the loud, warm reception of their many fans could only have inspired a song like this. Their vocals are more distinct than ever, Paul’s slightly husky hue finely complemented by Peter’s more sing-songy tone. Cheeky one-liners delivered in Igbo are paired with pidgin-inflected lyrics elsewhere, proving that the iconic twins haven’t lost their understanding of creating a song with massive hit potential. 

A TG Omori-directed visual for “Jaiye” accompanied the new release. It depicts P-Square in a suave style which advances their roadman gear from years past, the leather jackets traded for furry snow coats. Omori’s trademark use of bodies and colour works into the cinematic vision of the song, which on first listen prompts an image of the superstars urging a crowd to get grooving. This is how you stage a comeback. 

Listen to “Find Somebody” below.

Featured image credits/Youtube

ICYMI: Here are our best new artists for June 2022

Songs Of The Day: New Music From BNXN, Zinoleesky, Ria Sean & More

Posted on by Wonu Osikoya

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

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

BNXN & Wande Coal – “Kenkele”

For his latest release “Kenkele,” BNXN teams up with Wande Coal for a mid tempo Sak Pase-produced record. On the song, the singer delivers a charming tune bursting with catchy lyrics such as “Kenkele, bo se n redi bi shekere, she comes from sapele.” Wande Coals opens his verse with standout lyrics “I’m living my best life, make nobody tell me ah” indicating that he’s currently having the time of his life. Thee record arrives with the colourful and vibrant DK-directed video which sees both artists at the spa, getting body massages and resting.

Zinoleesky – “Loving You” 

Earlier in the year, Zinoleesky arrived with the romantic number “Loving You,” a Niphkeys produced record which finds the artist declaring his love for a woman over fine production and the impressive sampling Asa’s hit record “Be My Man.” To further amplify the track, Zinoleesky has now shared the song’s video which is a visual feast. On the Dammy Twitch-directed video, Zinoleesky plays a high school lover who grows up loving his muse through everything.

Jay Cliff – “Jewel”

Ghanaian singer and songwriter Jay Cliff has arrived with another mid tempo romantic number “Jewel”. On the Okaiwav-produced record, he attempts to win over his woman with lyrics such as “you’re my person, my personal person/baby everything I want to do, i’ll do it next to you”. 

Théodore – “NGANDA” ft Ria Sean 

French singer Théodore teams up with Nigerian pop sensation Ria Sean for the mid tempo record “Nganda.” As the singer chants lyrics in his native language, Ria Sean assists with a natural and sensual Ria Sean flow. Their energies merge seamlessly on the track as they explore the contours of romantic love.

Chike  – “Hard To Find” ft. Flavour

Following the release of his hit single “Running To You” with Simi, Chike has now arrived with his first official single of the year and the Flavour-assisted mid tempo bop “Hard To Find.” On the romantic number, the singer sings “E be like you get the fire, you get fire/If I start to dey cald, you bring the fire” as he makes it clear to his muse his feelings for her. Flavour steps in with a different energy and chants his lyrics in his native tongue.

Toye – “Takes Time”

Nigerian singer Toyè has arrived with his latestoffering “Takes Time,” an uptempo record which sees the artist sharing his romantic intentions with his muse. He sings amorous lyrics such as “You know me and you no go breakup, only fight/we’ll resolve it even if it takes some time” letting his love interest know the point at which their love has reached and what comes with it.

Featured Image Credits/NATIVE

Hot Takes: Fenty Hair, Portable Controversy, BNXN Vs. Ruger & More

Posted on by Emmanuel Esomnofu

As the year surges on, it is only expected that feathers will ruffle. By feathers I mean the soft tissue of popular culture, the air we breathe and the news we see. By this time, with the Nigerian rainy season contrasting with the international summer, a lot is happening on both sides.

The past week has been no different as we’ve seen stan wars in Nigeria escalate into heated comments between the artistes themselves, a supposed antihero sinking himself further the abyss of controversy, and a forthcoming film about an African princess who somehow finds herself in America. We’re again present with Hot Takes, and here are the rudiments.

WHAT I’M LISTENING TO

Last weekend Omah Lay dropped his debut album so I’ve been listening. I’m actually going to write its review on this platform but one thing I’ll say now is that ‘Boy Alone’ really made an impression on me. Since Friday it’s been fairly constant on my playlist. I’ve picked up on other new music as well, especially Adekunle Gold’s “5Star” and the Fireboy DML-Asake collaboration “Bandana.” And, internationally, I’ve revisited Jon Bellion’s catalogue, spurred by his awesome rendition of his classic “Simple and Sweet” through the prism of Afropop’s signature rhythm. 

WHAT I’M WATCHING 

The first thing I’m plugging is not really a film but an extended music video. “Knee Down” was an instant favourite of mine from Falz’s ‘BAHD’ album, the collaboration with Chike sparkling with dramatic tension. The short film/video is written and directed by Clarence Peters, and features both artists in a leading role alongside award-winning actress Osas Ighodaro. It’s a quite poignant watch, and would really give you Old Nollywood feels with a fresh vibe. 

I’m also bingeing episodes of Obi Asika’s ‘Journey of the Beats’ documentary on Showmax. While its Netflix counterpart might be getting better buzz, this is equally a powerful reference document for contemporary and future purposes. Its standout is how it digs deep into the eras and development of African music, also doing the crucial work of connecting its circular movement to the Western world (initially through the slave trade) and back. I’m on the fourth episode and there’s been so many takeaways already. I fully recommend this for every lover of Afropop and culture in general. 

THE ONE MILLION BOYS OF PORTABLE 

We’ve always known that Portable is no stranger to controversy but no one expected the latest turn of events. Seemingly out of nowhere, the “Zazoo” artist directly implicated himself by saying he was the founder of One Million Boys, a cult group that’s prominent in the Lagos Mainland and particularly engaged in street riots, vandalisation and theft during the 2020 lockdown. 

He has since deleted the post but commenters and the Nigerian Police have been hot on his heels. A section of people will say it’s just banter but I beg to differ. This is a very dangerous precedent and he should surely be investigated and convicted if found guilty. Portable might be crass but he definitely knows an adult fully responsible for his actions.

Obviously Portable does not enjoy his role as Nigerian pop’s favourite antihero; but it seems that while Naira Marley and Zlatan parlayed their moments into something more longstanding, he’s rolling deeper into a national mess like this. It’s a quite interesting trajectory. 

OMAH LAY & BNXN VS. RUGER & VICTONY

Port Harcourt-raised artist, Omah Lay has been in the news recently. Last Friday, on the same day he released his debut album, he engaged the musician Ruger in a heated exchange of words on Twitter. The Jonzing Music act had taken a perceived shot at BNXN fka. Buju and Omah Lay had reacted to it, dubbing him and Victony, who he’d gotten in a clash with previously, as “kids”.

Their heated exchange set off a chain of events on social media as loyal fans of the various artists battled it out for who had the stronger pen game. BNXN also took shots on Instagram, ascribing his independent status as a deal-breaker in the Afropop scene. While it’s never great to see your favourite artists battling it out on the timeline, some proponents ‘praised’ Gen Z acts for being direct with their disses, something which was typically amiss with the Afropop greats who came before them.

I actually think the larger conversation here is about their respective skills, how the new vanguard of Afropop acts are unwilling to let anyone belittle their craft and diminish their efforts. If kept to this music, it would admittedly increase their focus on lyricism but egos also come into the fore, and could prevent collaborations going into the future. We’ve seen beef obscure potential hit songs and I would hate to see these artists allow the reactionary tendencies of fans to permanently rupture their relationship. 

 

‘BECOMING NOBLE’ & THE AFRICAN ROYALTY NARRATIVE

Just yesterday, ‘Euphoria’ star Storm Reid was revealed as the lead character and co-producer in ‘Becoming Noble’. The Paramount Pictures feature would cast her in the familiar role of an high school senior who learns she’s a princess of an African nation. She expectedly travels to her home country, eager to know how this new information translates into her reality. Alongside her mother Robyn Simpson, the film will be produced under their A Seed & Wings Productions banner.

Quite recently, I began to write about films a lot more so I’ve been one to parse them through the typical critical lens. Beyond just enjoying a film, I’m likely to ponder its soft visions, the politics behind the art. Reid is among my favourites from ‘Euphoria’ but is she really a filmmaker? Especially with a cliche theme such as this, it would take careful interpretation not to make a film that would be all fairy dust and no nuance.

Another way to look at it would be that global popular culture is uber-focused on Africa in recent years. This falls into that category, but I’m more skeptical of its unique leaning. A comment I caught on Twitter was whether the said African country would be a fictional one. If that happens, the question becomes: why are they so considerate of being set in an actual country while milking its culture for box office gains?

FENTY HAIR

Written by Tami

Rihanna’s Fenty empire is the gift that keeps on giving. Now I’m not quite sure if the rumours are true but it seems that our favourite bad girl (and hot mom) has bagged herself a new venture. In the early hours of this morning, mefeater Magazine, a music and entertainment outfit based in New York published an unconfirmed screenshot of the ‘ANTI’ singer’s latest money making venture: Fenty Hair.

The company registration form contained details of the latest venture as registered last Friday, 15th July under the company title Fenty Hair. The unconfirmed document also detailed the brand’s goods and services including the sale of hair bands, hair clips, hair nets, extensions, wigs, other decorative articles for hair and hand-held hair appliances such as hair curlers, straighteners, and more.

A part of me is not surprised we got Fenty Hair so soon down the pipeline but I am gagging to see how Rihanna will shake up the hair industry, just like every other field she’s put her mind to. It seems like the next step in the well-oiled Fenty machine and I am thrilled that we’re witnessing in real-time the birth and formation of a global empire headed by one of the most influential voices in music. While I’m also bummed that we’re not getting any new music from Rihanna soon, I can’t help shaking the feeling that all her new ventures is leading to something big and epic.

Featured image credits/NATIVE

ICYMI: Omah Lay Is Ready For The Next Phase Of His Career

What’s Going On: Violent clash in Sudan, Marburg Virus In Ghana & More

Posted on by Tela Wangeci

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

Many killed in violent clashes in Sudan

According to reports in the Guardian, the death toll in Sudan has rise to about 65 people this weekend. The fighting was sparked by the killing of a farmer earlier last week and continued until Saturday, according to the local government. On Sunday, while Sudan protesters marched in the capital city of Khartoum against the country’s military leadership, security forces fired tear gas at them which led to an outbreak of violence in Blue Nile State.

There have been sporadic outbreaks of violence in several parts of Sudan including eastern coastal regions and western Darfur, despite a nationwide peace deal signed by some rebel groups in Juba in 2020. This weekend’s turn of events worsens the situation in the country with increased accusations from anti-military groups that the military of stoking internal conflict and failing to protect civilians.

Since then, Sudan Authorities deployed the military and paramilitary Rapid Support Forces to bring stability to the region. They also imposed a nightly curfew and banned gatherings in the towns of Roseires and Damazin, where the clashes took place. According to reports in Al Jazeera, raising fears that the situation will become more violent, military expert, Major-General Amin Ismail said: “The conflict in the Blue Nile will become more bloody, especially as politicians become involved in the tribal conflict.”

Mali opens talks on the release of Ivorian soldiers

During the past month, 49 Ivory Coast soldiers were arrested at the Modibo Keita International Airport in Bamako. According to Mali’s military government, the soldiers who arrived on 10th July, at the country’s main international airport arrived without permission and correct documentation.

Mali’s military government had said the troops arrived without permission, that some of their passports indicated non-military professions, and that they gave differing versions of their mandate. It said the soldiers would be considered mercenaries and charged as such, adding that Ivorian authorities were unaware of their arrival. However, on Tuesday, the Ivorian national security council said the troops, who were arrested on Sunday at Mali’s main international airport in the capital Bamako, were deployed as part of a security and logistics support contract signed with the United Nations peacekeeping mission in Mali in July 2019.

Ivory Coast has now demanded the release of these 49 soldiers. Ivory Coast added that none of the soldiers carried arms or war munitions as they disembarked but that a second plane contained arms for self-protection authorised by the UN. After much persuasion, Mali’s military ruler is finally ready for a dialogue to resolve the issue of the 49 Ivorian soldiers.

In an official statement, Colonel Assimi Goita said he is willing to resolve the issue through diplomatic means to ensure the good relations between the two countries continue. Adding on the colonel named Togo as the diplomatic lead after he held talks on issues of common interest with Togolese Foreign Affairs minister Robert Dussey. He praised Togo’s support and the personal commitment of Togolese President Faure Gnassingbé to Mali’s political transition. This comes after the Ivory Coast openly condemned Mali for the unlawful detention of its soldiers. 

Ghana confirms 2 dead form Marburg virus

Earlier in the month, Ghana confirmed two positive cases of the Marburg Virus which is likened to the Ebola virus. This is only the second outbreak of Marburg in West Africa. The first ever case of the virus in the region was detected last year in Guinea, with no further cases identified. The blood samples of the two victims, who were both male aged 27 and 51, from South Ashanti were tested at Pasteur Institute in Senegal and came back positive. The two victims both had symptoms including diarrhoea, fever, nausea, and vomiting, before dying in hospital. 

The Marburg virus is a zoonotic disease that was first detected in 1967 and can be spread from animals to human beings. Ghanaian government declared an outbreak of the virus over the weekend and has immediately taken measures to contain the virus as it is highly contractable. According to the World Health Organization, the virus has mostly been identified in Eastern and Southern Africa and is mainly transmitted as a result of long exposures in mines or caves that are inhabited by Rousettus bat colonies, which are considered to be the natural hosts of Marburg. 

Buhari orders ministers to end university strike

Nigeria’s President Muhammadu Buhari has given the country’s education and labour ministers two weeks to end the prolonged lecturer’s strike. The ongoing strike action began on February 14 this year when the country’s Academic Staff Union of Universities (ASUU) asked its members to skip work. They have not returned since then and many public university students have been outside the classroom for months without end.

ASUU is protesting against the government’s failure to implement a 2009 deal that would see lecturers get better pay and improve facilities in institutions of higher learning. According to reports in Channels, the President gave the directive on Tuesday during a meeting with relevant government Ministries, Agencies, and Departments (MDAs).

Featured image credits/AlJazeera

ICYMI: How Da Trybe Left A Reverential Nigerian Moment With “Oya”

The Shuffle: How Da Trybe left a reverential Nigerian music moment with “Oya”

Posted on by Dennis Ade Peter

There are dozens of indelible touchpoints for the context of urban Nigerian music, especially as regards its formative years before and around the turn of the millennium. There’s the fact that it dovetailed around Nigeria’s turn from years of military dictatorship to democratic governance. There’s also the obsessive, if occasionally inventive, parodying of American hip-hop and R&B; and then there’s the dedication towards new ideals for music distribution and hip attempts at lifestyle marketing; and much more.

In that era, very few could lay claim to being as forward-facing as eLDee Tha Don, the rapper, songwriter, producer and eventual label executive who co-founded Trybesmen, the seminal Nigerian rap-fusion group, alongside Kaboom the Detonator (KB) and Freestyle. Alongside his colleagues, eLDee was on the cutting edge of modern Nigerian pop music, laying a dynamic indie blueprint by merging undeniable talent, the cool of youth culture and savvy business moves.

Trybesmen’s music parsed the trio’s fixations with American rap through a distinctly Nigerian filter, and the quality was aided by its nationwide reach, fostered by the immediately influential and now iconic Alaba model of music distribution pioneered by eLDee and his cohort. Naturally, the success of Trybesmen meant expansion. The self-funded—well, partly through eLDee’s mother—label already had several artists circling around it, thanks to the primary trio’s first bouts of popularity on the University of Lagos campus, which turned out to be a hotbed of incredibly talented creatives in those formative days.

With Trybe records looking to build on the meteoric rise of its primary core, it became home to over a dozen rappers and singers. In hindsight, that number might have been too much to handle for an indie label, but those couple of years in the early 2000s saw the introduction of several artists to the mainstream through Trybe records, several of whom would go on to build stellar careers and remarkable legacies even after the imprint was temporarily dissolved—largely due to eLDee’s prolonged hiatus.

During its heyday, Da Trybe—as the label was collectively referred to—managed to squeeze out a compilation project, ‘The Big Picture’, as well as a few signature hit songs. One of those incredibly popular songs was the 2001 smash, “Oya”, a rap cypher with the distinct gloss of a Nigerian pop song from the early ‘00s. This was two years after Trybesmen stamped their authority on Nigerian music with their classic debut album, ‘L.A.G Style, Vol. 1’, meaning that anything affiliated with eLDee and his crew was greeted with the expectation of being great and boundary-pushing. There are few things as boundary-pushing as stuffing ten rap artists—many of them making their official debut—on a commercial single.

After eLDee and a couple of Da Trybe affiliates made the preceding “Work It” together, those left out were slighted and demanded to make their own collective song, and the result was “Oya”. The premise was simple: every rapper gets about 30 seconds to show out within the confines of a feel-good anthem. From Blaise’s precise rhyming to Double O’s Wu-Tang Clan-inspired pyrotechnics to Dr Sid’s slick raps to Sasha’s bubbly cadence to 2Shotz’s melodic bent, and other individual highlights, “Oya” was a something of rap clinic formatted for pop crossover, underlined by Del’s raunchy hook.

In his recently released documentary series, “Afrobeats: The Backstory”, filmmaker and then Da Trybe manager, Ayo Shonaiya fondly recalls spending money he would make from managing fuji luminary King Wasiu Ayinde Marshall (KWAM 1) on shooting videos for the collective, including the one for “Oya”. It frames much of the music industry in those early days, where a lot of pioneering players made things happen through personal passion. That video, a lively cut of all contributors rapping and dancing at a basketball court, as well as backup dancers from KWAM 1’s band doing, well, an impression of the twerk, was essential in driving the song to smash status.

It doesn’t feel out of place to say that the “Oya” video laid the template for many music-related visuals in Nigerian pop, from Wizkid’s “Holla at your Boy” to Crayon’s video for his latest single, “Ijo (Laba Laba)”. Even musically, it’s the precursor to cypher-esque slappers like Banky W’s “Lagos Party (Remix)” and Da Suspect’s “I No Send You”, which had male and female versions.

eLDee, Ayo Shonaiya and affiliates didn’t just make a hit song that was fresh immediately it landed, they also created a reverential moment. Da Trybe was a motley crew and “Oya” was its everlasting totem of camaraderie, one that will never be replicated but will continue to remain influential.

ICYMI: REVISITING FAZE’S ‘INDEPENDENT’, AN ENDLESSLY INTRIGUING ALBUM

Best New Music: Omah Lay’s “temptations” Is A Masterpiece of Romantic Tussle

Posted on by Emmanuel Esomnofu

Melancholy is an important element of popular music. Beyond the catchy groove of strong hit songs, a wave of sadness can affect deeply lasting emotions. To tap into specific memories though, the singer has to shed the mystery of whatever hard exterior they wear. Through this very hard process, classic songs are birthed, and transcendental moments recorded. 

 

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Among the new vanguard of Afropop stars, few bleed their heart’s content as keenly as Port Harcourt-born artist, Omah Lay. It seems to be the musician’s default mode, an introspective poet streaked with bad boy tendencies. His breakout record “Bad Influence,” spawned off a one-minute clip on Instagram, went on to become one of the 2020’s biggest hits. And perhaps contributing the most to that acclaim was its peculiar leaning towards the zeitgeist, coming at a time when love was rare and physical touch even rarer in 2020.

Over the weekend, Stanley Omah Didia released the much-touted ‘Boy Alone.’ The debut album was among our editorial team’s fourteen anticipated projects of the year, ostensibly because of the singer’s increasing profile across two EPs. Before now, he’s been in splendid form, releasing the singles “Understand” and “Attention.” The latter featured Canadian superstar Justin Beiber and was his biggest hit going into a global tour he’s embarked on since the start of this year. 

As you’ll expect, ‘Boy Alone’ is a tender and conflicting album. It is full of standouts across the 14-track album, but “temptations” is an obvious standout. In between “i’m a mess” and “understand,” its slowed pacing allows Omah Lay the ease to burst with emotive and real-sounding lyrics. An ode to a lover, he charts the severity of his actions and how she still held him down. “How do you love like that? Your eyes no dey dry water,” he sings matter-of-factly in the first verse, not a stranger to how typical it would be for the person to just up and go, rightfully choosing to sidestep the toxicity. 

There are thematic parallels with “Damn” but the Port Harcourt-raised Omah Lay manages more to reign in more sensitivity here. “In all of these temptations wey dey inside my life, you still hold me strong,” he recalls honestly on the hook, while warm percussion and brooding keys build around him. He packs a lot in the second verse, going from religious to familial conflict with druggy exhaustion. “Cannot deny that I got issues sadly,” he admits, and though he doesn’t bother to tidy up the narrative–thankfully, that is–there’s a sense he’s working towards becoming a better man. 

In modern Nigerian relationships where breakfast has become a slang for heartbreak, “temptations” offers a nuanced contribution, even if solely from a masculine perspective. Although it’s not the full picture, on its own the record is remarkably poignant and progressive, and further solidifies Omah Lay among the biggest conversation drivers for his generation. 

ICYMI: READ OUR FIRST IMPRESSIONS OF OMAH LAY’S ‘BOY ALONE’

Daily Paper Debuts New Collection ‘Identities Rebuilt’, In Celebration Of Its 10 Year Anniversary

Posted on by Wonu Osikoya

The Dutch streetwear brand Daily Paper marks its 10th year anniversary this month. After years of immersing itself into African youth culture, the fashion brand celebrates its decade-long run in the game by continuing its focus on championing Africa’s creative talent and cultural legacy for a global audience.

To commemorate this remarkable win, Daily Paper has now shared a first look of its latest Fall/Winter 2022 series named ‘Identities Rebuilt,’ a collection that reflects the brands’ journey through the decade and as well draws inspiration from heritage, identity and community.  

 

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For its FW22 collection, Daily Paper introduces new silhouettes as well as classic denims, an elegant wool coat, braided knits and not to forget the collections hero piece; a branded leather jacket. A custom branded coat of arms embroidery decorates the back of the jacket, which was first revealed in the form of a mosaic center piece at the brands’ London flagship store last year.

The emblem reflects the founders’ multicultural heritage depicting a lion, leopard and an eagle and other notable memorabilia. Also, in staying true to the brands essence, outerwear makes a strong comeback in this collection for the colder months of the year, with signature puffer jackets, varsity jackets and bombers in new colours and designs.

Speaking about the new collection, Co-founder and Design director Abderrahmane Trabsini shared: 

 “This year marks our 10 year anniversary of Daily Paper. From exploring our roots, to starting a blog, continuously building our community and opening our flagship stores in NYC and London. With FW22 we’re going back to the essence of Daily Paper and rebuilding our identity.”

The first drop of Daily Paper’s Fall/Winter 2022 collection will be available globally online at dailypaperclothing.com and in-store across Daily Paper flagship stores in Amsterdam, London and New York on Friday, July 22, 2022 at 12 PM CEST. Prices range from €15 to €500.

Featured Image Credits/Zach Apo-Tsang

Songs Of The Day: New Music From Maya Amolo, Major AJ, Mau From Nowhere & More

Posted on by Tela Wangeci

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

Every week, tonnes of songs from African artists make their way to digital streaming platforms, and wading through them can be intense. That’s where The NATIVE’s Songs of the Day column comes in to help. We go through as many new releases as possible, spotlighting them here, two to three times every week. Today, enjoy new releases from Maya Amolo, Tijani, Major AJ, Mau From Nowhere and more.

Maya Amolo – “Foundry” ft. Kalibwani

Kenyan R&B alternative singer, Maya Amolo is gearing up for the release of her new EP. After sharing her recent single “Can’t Get Enough” earlier this year, Maya is back with her second offering from the forthcoming project. On “Foundry,” she pushes her artistic boundaries as she enlists a trio of upcoming Nairobi-based artists on the track. Lukorito’s detailed production accompanied by DJ IV’s punctuated drums create an enticing backdrop for Maya’s airless vocals. Ugandan rapper Kalibwani delivers a smooth verse with lyrics exploring love’s complex spectrum.

mau from nowhere – “Fireflies”

The uNder alum, mau from nowhere has released a sombre yet hopeful track titled “Fireflies.” The new single finds him telling telling a tale of making it back to yourself after wandering far away from your roots. Starting off with a piano and drum combo, mau emulates the feeling of staring into a mirror trying to seek and understand yourself. He uses the song as an avenue to share his journey, with solo personal conversations from when he first stared music and balancing the craft with a full time job. He wraps up the song with a conversation between him and his grandmother detailing his visions and aspirations.

Major AJ – “Taboo”

Chocolate City has been on a roll for the past few years. From releasing timeless albums to revealing a roster of talented artists such as Blaqbonez, Young Jonn, and more, the label has been leading the charge in priming Africa’s brightest stars. Major AJ is the latest singer to join this talented fold with the release of his 5-track album ‘Retroverse.’ The project’s apt title symbolises a new beginning despite his presence in the scene.

Standout single, “Taboo” is a enjoyable new listen with influences from the 70’s retro and disco sounds. Giving insight into his mind, Major AJ conveys his emotions with strong penmanship as he talks about a mysterious girl who is toxic but irresistible with lyrics such as “..separate my soul from my body.”

Tijani – “Dance” ft. K3vo & Niyyi

Tijani’s road to musical success has been an ongoing proactive journey. Since releasing his first single “Paulina” in 2020, his music has indoctrinated the use of saxophones on an Afropop backdrop. Over the weekend, Tijani enlisted K3vo and Niyyi for the lustrous new single, “Dance”. The Kssdwizz-produced Afro-soul single balances the percussive backdrop with fervent piano keys. The song’s melodic structure sees the trio adore their muse, while promising a love-filled life with lyrics such as “I can take you to the moon.” 

Lucianne – “Te Amo”

Earlier in the year, singer Lucianne step into a new phase of her career when she released her recent single, “More.” Now, with a new name and a renewed sense of vision, the singer returns with a new Afro-R&B masterpiece “Te Amo” in the lead-up to her comeback EP ‘Becoming.’ On the new single, she builds on themes of love and romance, while opening up a more vulnerable side. The infectious R&B offering is fused with lush Afropop sensibilities and soundscapes, over which Lucianne weaves defiant tale of the strength and fortitude.

D. Matthews – “No Frontin”

“No Frontin” serves as the first single from D. Matthews and the precursor to his upcoming debut EP. Driven by lush synth keys and minimalist percussion drum arrangements, the single sees D.Matthew showcasing his captivating flow and delivery. The Australian-based Afropop crooner also puts on display his penchant for creating contemporary and progressive music, while also paying homage to the foundational flavours of the late great Fela Anikulapo Kuti, and giving a nod to a cult classic from Adewale Ayuba and Jazzman Olofin.

Featured image credits/NATIVE

ICYMI: Our First Impressions Of Omah Lay’s Debut LP ‘Boy Alone.’

TurnTable Top 100: Burna Boy’s ‘Love, Damini’ Sweeps The Charts

Posted on by Damilola Animashaun

Following the release of his recent LP, ‘Love Damini,’ the Grammy award winning singer Burna Boy debuts at No.1 with the Ed Sheeran-assisted “For My Hand.” The new single tallied 3.90 million streams and 47.5 million airplay audience impressions. “For My Hand” arrives as the second No. 1 entry on the Nigeria Top 100 – the chart was launched last week as the first standard music chart in the country that combines all platforms.

Elsewhere on the charts, Burna Boy also debuts three other songs off his new album, ‘Love, Damini’ including “It’s Plenty” starts at No. 6, “Common Person” at No. 7, “Different Size” at No. 8 and “Cloak & Dagger” at No. 9 while previous chart-topper “Last Last” slides to No.5 on this week’s top ten.

Asake’s “Peace Be Unto You” slides to No. 2 on this week’s chart – it continues to lead airplay in Nigeria with 79.1 million in airplay reach (up 27%). It leads the radio chart for a third week and reaches No. 1 on the TV chart for the first time. Kizz Daniel’s “Buga (Lo Lo Lo)” with Tekno is down to No. 3 while Mavins’ “Overloading (OVERDSOE)” falls to No.4 this week. Ruger’s “Girlfriend” descends from its previous peak at No.7 to No.10 this week.

Outside the top ten; more tracks off ‘Love, Damini’ feature in the Top 50 – “Jagele” at No. 45 is the lowest charting song off the album. Crayon’s “Ijo (Laba Laba)” rockets to No. 18, jumping seventy-two places in the process while Chris Brown’s “Nobody Has to Know” with Davido debuts at No. 57 while Fireboy DML’s “Bandana” with Asake launches at No. 66 off one day of tracking.

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Our First Impressions of Omah Lay’s Debut LP, ‘Boy Alone’

Posted on by Damilola Animashaun

Omah Lay has mastered the art of turning real life experiences into widely loved earworms. Since his clandestine entry into the music scene during the COVID-19 pandemic with his soothing voice and honest writing, the Port Harcourt-born singer and songwriter has delivered records with instantly relatable tunes and catchy melodies.

Over the span of two years, Omah Lay has delivered two EPs, stellar party bops and soulful music. Last year, he landed himself one of the biggest songs of the year with “Understand”, a mid-tempo record which sees the singer directly addressing a love interest who has taken his love for granted. The record maintained momentum as it remained at the top of the charts for weeks and earned the highest charting number 1 record on the TurnTable Charts. He rounded off the year with the year “Free My Mind” and shared with listeners the title of his anticipated debut album: ‘Boy Alone.’ For months, Omah Lay has teased the release of his debut album and now, the 14-tracker has finally arrived.

The body of work sees production credits from producers such as Tempoe, Semzi, P.Priime, Niphkeys and more, and features guest appearances from a range of artists, from Justin Bieber to Tay Iwar. The purple-themed, imminently personal 40-minute long LP is bound to dominate discussions over the weekend and most likely, beyond. Here is The NATIVE editorial team’s first impressions of ‘Boy Alone’.

 

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Best Song

Moore: While I’m tempted to call “safe haven” the best song due to its enchanting vocalisations, I’m going to have to say “i’m a mess”. As the title suggests, the lyrics make this song one that everyone can relate to, describing messy, complicated emotions. It’s set to a very catchy tune, inviting the listener to sing along to the song on particularly sad days.

Emmanuel: “never forget” has my whole heart. Although Omah Lay says a lot of brave, exciting things throughout ‘Boy Alone,’ he’s very unapologetic here. The lyrics go from angst to tenderness in easy motions, carried by minimally pensive production which is divided into two parts. Especially in the last verse, Omah makes a case for his A-level pen game, running a scheme that recedes from an emotive standpoint while making observations on the world’s nature. 

Dennis: I’m going to go with “soso”. It’s quintessential Omah Lay, in its expressive lyricism, but what makes it special is the passion emitted from the melody and how it interfaces with Tempoe’s instrumental arrangement, which is a colourful slab that pulls from highlife, local gospel, and afro-house.

Biggest Potential Hit

Wonu: I believe the biggest potential hit record on this album is still “Woman”. The record is easily the most marketable and has a more different feel to it now that its on an album and there’s more context to it, it’s easier for the record to be more appreciated. 

Maria: My pick for this is “bend you”. The melody is infectious and the hook is really catchy and at the moment, those are the qualifying attributes of hit songs. It’s a song that’s sure to resonate with people really easily.

Tami: I think the biggest potential hit for me would be “bend you”. There’s just something about the melodies and rhyming pattern on this song that just does it for me. I think it reminds me of 2020 Omah Lay, just that young kid fresh out of Port Harcourt and hungry to show the world his ability. It’s reminiscent of ‘Get Layd’ and that has me coming back for more. It’s not the strongest contender for best written song of the year but not that many songs out today are anyways. Artists should be able to make music for the sake of making sonorous, enjoyable music and I don’t see the harm in making music that finds a way to connect with our emotions while divulging as little as possible of its creator.

Best Production

Shina: Okay, so there are a lot of shouts for this pick. First of all the album is choke-full of amazing productions. The one I’ll mention first is the Niphkeys-produced “i’m a mess”; I was surprised to find out it was produced by Niphkeys because it is far from the Street Hop style we’ve come to know him for. Another which is currently my favourite song from the album is the P2J produced “i” and my last would be “Understand”. Tempoe served a delightful offering.

Emmanuel: Perhaps the second-most endearing quality of ‘Boy Alone’ (asides Omah Lay’s vocal output) is its production. Kept in as few hands as possible, a coherent feel emerges. The three-song run of “i’m a mess,” “temptations” and “Understand” really does stand out, though. It begins with Niphkeys’ lofi-inspired percussion teasing Omah’s most tear-jerking performance while the latter tracks draw sonic semblances from early 2000s R&B, using vocal reverberations to construct the parallels between romantic tension and dealing with bigger demons. 

Wonu: Anything Tempo touches just somehow does it for me. I think the best production will be “soso”. There’s this feel to the beat from the combination of the chords and the drums, I think Tempoe really outdid himself on the production of this track, I’m very impressed. Close second for me will be P2J on “tell everybody”. The strings on this record are so sincere and honest, my type of music.

Biggest Skip

Maria: My biggest skip is “Attention”, and before anyone comes for me it’s not a horrible song, it’s just not as great as I expected a Justin Bieber feature to sound. In comparison to other songs on the album, it’s not a song I’ll be running back to listen to.

Tami: Honestly, I think I need to spend more time with this album before I come to any conclusions about its biggest skips. For me, I think Omah Lay’s music really represented a time in our lives: months deep in a global pandemic and stuck at home figuring out the uncertainty of the future. So, for his debut album, I expected a little departure from that familiar and comfortable beat he had been striding since his debut EP but ‘Boy Alone’ didn’t fulfill that for me. It’s a big skip on many songs only because I’m yet to fully take in their intricacies. I will definitely have to run back a lot of these tracks in the near future.

Moore: My biggest skip will have to be “temptations”. Coming fifth on the track list, it comes after other low energy songs, while lacking the qualities to draw you in.

Best Guest Verse

Tami: The strongest guest verse for me would be Tay Iwar on “tell everybody”. I’m definitely biased to anything Tay Iwar and have been excited to hear him on more features since his killer verse on Wizkid’s “True Love” back in 2020. So, I was more than excited to get to the Tay Iwar verse and listen to his sheer brilliance and he absolutely did not disappoint. It’s one of my favorite verses on the album and has one of the most engaging beats as well. Omah Lay and Tay were the all-star combo we didn’t know we needed till now.

Emmanuel: There weren’t many guests on ‘Boy Alone’ and I think that just plays into the vision of the project. Omah Lay’s solo releases tend to better capture the delicate turmoil of his mindstate. As we know, this is the crux of his lyrical abilities. So far into his career, Justin Bieber has been among the few who’s able to shift the needle for him—which is why I think he’s the best guest on here. “Attention” works far better as an album cut; within the framework of a young man trying to find peace, it’s a desperate plea for female attention. Bieber’s excellent work on the first verse and pre-chorus perfectly sets up Omah Lay. Even when those parts are done, the Canadian superstar lingers in the background, providing vocal assistance and through that firmly imprinting his vibe on the record. 

Shina: Best guest verse for me would be the Tay Iwar feature. Of course I’m already biased on this choice because of my dislike for the Justin Bieber-assisted “Attention”, but this is not my only reason for picking this as the best guest verse. Tay Iwar’s vocal contribution to this record is near perfect on a complementing stellar production. Strongly feel this song could have appeared earlier on the album.

Overall First Impressions

Emmanuel: As expected, the contents of Omah Lay’s unfiltered thoughts are the standout of his debut album. However, it’s the sonic leanness which most surprises me. On these beats you’ll hear an artist who remains unfazed by grand gestures; he’s rather simple in executing his stylistic peculiarities. It’s a project that not just delivers on its ambitious title, but pours into various levels of the influences that formed a man like Stanley Omah Didia. In the collection of these fragmented levels, ‘Boy Alone’ effectively captures the sex-crazed, therapist-needing nature that inspires the toxic masculinity of Nigerian Pop music. What this means is that Omah Lay, like every great writer according to Teju Cole, is conversant with the history of his field while in conversation with it. Such brilliance is destined for the top.  

Wonu: Overall, ‘Boy Alone’ is an honest body of work by an artist who has a lot to get off his mind, storytelling at its finest. Omah Lay truly meant it when he said he poured all his emotions into this body of work. The album is honest and true and I believe Omah Lay made a masterpiece. An 8/10 body of work if you ask me, with very strong and solid songwriting as well. The production is not too complex but he did justice to each track and delivered a stellar body of work.

Dennis: What I like the most about Omah Lay’s brand of honesty is that it finds clarity without unnecessarily reaching for catharsis. That’s what ‘Boy Alone’ continues to work with, emotional vulnerability without gimmicks. Coupled with a groovy batch of beats passed through something of a Lo-Fi filter, his lyricism and conversational melodic style are immersive. The Boy Alone continues to set himself apart.

Moore: Omah Lay’s ‘Boy Alone’ is an album that is easy to listen to. The entire project is filled with slow, atmospheric songs. Due to the slowness, the project can feel lethargic in a way that won’t be welcome in all moods. In the right setting, however, the album will provide a very pleasant listening experience due to its consistency and well produced tracks.

You can listen to ‘Boy Alone’ here.

ICYMI: OMAH LAY IS READY FOR THE NEXT PHASE OF HIS CAREER

Songs Of The Day: New Music From Adekunle Gold, Waje, Chike & More

Posted on by Emmanuel Esomnofu

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

Every week, tonnes of songs from African artists make their way to digital streaming platforms, and wading through them can be intense. That’s where The NATIVE’s Songs of the Day column comes in to help. We go through as many new releases as possible, spotlighting them here, two to three times every week. This Friday, we have several exciting new songs for you. Enjoy!

ADEKUNLE GOLD – “5 STAR”

For his latest record Adekunle Gold digs deep into the mud of his existence. Over Kel P’s swirling keys and steady percussion, the musician charts the glory of his trajectory. He’s autobiographical in mentioning the exact places, the time period and how he’s progressed over the years. All this while keeping a sweetly defiant tone, even taking shots at the ineptitude of the ruling elite. “Our government no get time for ghetto; we only get love on manifesto,” he sings in the second verse. It’s a quietly exhilarating song, full of the humanity that’s made AG Baby one of the most beloved Afropop superstars. 

IYANYA FT. DAVIDO & KIZZ DANIEL – “LIKE”

The trio behind this song have an unbelievable amount of hits between them and barely hours after release, “Like” is already sounding like one. It possesses the saccharine fluidity that’s popular across Afropop, but the accomplished singing of all three impressively captures the tale of longing at its center. They all take turns to sing the chorus of “If you like, we can both decide.” The groovy production as well contributes to its allure, a polished package that sounds ready-made for the charts. 

NAKHANE – “TELL ME YOUR POLITIK” 

On “Tell Me Your Politik,” Nakhane brings fellow South African collaborators, Moonchild Sanelly and Nile Rodgers seamlessly into her world. Nakhane’s hook and a short verse lays down the sensitive direction of the record, a willingness to only get down with men whose ideals align with yours. Moonchild Sanelly’s verse builds around the story of an ex-lover, who offered bomb sex but changed when strangers were around. Breaking into an excitable run at the end, the song eases into its final rest, but not without causing your body to move.

DETAILMADEIT – “HUSTLERS AMBITION” 

Abuja-based rapper Detailmadeit boasts a prolific catalogue and he’s showing no signs of letting up. After releasing a slew of singles, ‘O.T The Mixtape Vol. 1’ captured the gritty-yet-exquisite feel of his music in project format, realigning his sonic vision with the hungry-for-success nine-to-five perspective he carries every day. “Hustlers Ambition” is cut from a similar cloth; it sees Detail waxing poetic over the twinkling drop of piano keys and a flamboyant percussive base. “Tryna see the scene blow up on a global scale,” he raps, again highlighting the transcendental scope of his goals. 

CHIKE FT. FLAVOUR – “HARD TO FIND”

It’s been pretty clear for a while now that Chike is one of the most talented Nigerian vocalists. Having captured the hearts of many with his classic debut album ‘Boo of the Booless,’ word about a forthcoming sophomore has been going round. On “Hard To Find,” he offers something to wait on, a brilliantly cinematic record which drips about pure vocals. Alongside the legendary Flavour, he creates a heart wrenching song about the uniqueness of true love amidst the craze of the world we know. Backed by buttery percussion, swirling Highlife guitars and an evocative string section at the end, it’s a warm record that should follow you into the weekend. 

WAJE FT. TIWA SAVAGE – “ALL DAY”

What do you get when two women icons of Nigerian pop collaborate? An absolutely freaking bop. “All Day” is produced by LeriQ, and the mastery associated with his name is evidently present. Sharp synths and syncopated violins form its bright Dancehall melody. As opposed to trying to fit over the beat, the duo of Waje and Tiwa effortlessly glide across, layering their golden vocals in the service of a good time.  

BADBOY TIMZ – “IZ GOING” 

It has been quite a while since we got new music from Badboy Timz and it only makes sense the singer makes his return with a banger. “Iz Going” draws colourful influences from EDM, while mashing those eccentricities with the Fuji-inflected flavour of Timz’s vocals. A romantic affair is the subject of the Tempoe-produced song’s heartbeat-paced rhythm, seeing the singer make assurances that are as witty as they are affectionate. 

ILLBLISS FT. IDAHAMS – “ABENA”

This warm record sees both musicians pleading the flavour of Abena’s love. It’s a terrain of pop-rap which iLLBliss expressively thrives in, even though he’s paid more homage to his Hip Hop roots in recent releases. “Abena” sees a return to that form, featuring a sweetly-laced hook from the Port Harcourt-bred Idahams. Given the shared history of Highlife between that part of Nigeria and its South East, the string-led overtones of “Abena” fits just perfect. iLLBliss still retains his bossy bravado, but the lighthearted nature of his delivery complements the chill intent of the record.

Omah Lay Is Ready For The Next Phase Of His Career

Posted on by Wonu Osikoya

2020 was a remarkable year for historic reasons. The COVID-19 pandemic effected global uncertainty, putting a question mark on any and almost everything.  For then rising singer, songwriter and producer Omah Lay, that period of dizzying doubt was a blessing in disguise.

Omah Stanley Didia has always been surrounded by music. At a young age, his Grandfather played the drums for the singer Celestine Ukwu before he passed away in 1977. Omah Lay initially started out as a rapper in a rap group with the stage name ‘Lil King’, then delved into music production which seemed to be useful to him at the time. After making beats for people which went uncredited, Omah Lay decided to pick up the microphone and make music for himself, music which appeals to the new generation. 

Port Harcourt, a small city in Nigeria and the treasure base of the nation sees some of the most talented musical creatives out of the country, including Global superstar Burna Boy, pioneering street-pop storyteller Duncan Mighty, Afro-fusion duo Ajebo Hustlers, and it was also the fostering environment for Omah Lay. Emerging from a city that’s produced some of the most definitive artists in Nigerian pop, the singer was working within a lineage while trying to stamp what made him uniquely special. 

Omah Lay kicked off his musical career in April 2019 with his debut single “Do Not Disturb” and a month after, proceeded to release his sophomore single “Hey Brother.” His consistency, delightful melodies and all round soulful and sensual energy landed Omah Lay a recording deal with KeyQaad and afterwards, the singer took a 7-month hiatus off putting out materials to rebrand for a majestic re-entrance.

In January 2020, the multitalented wunderkind arrived with the hit record “Bad Influence,” a track that set the artist in the eyes of many. Already gaining attention of listeners and mostly female fans, he followed up with the romantic number “You”, which sees the artist chanting sultry love lyrics to his muse, lyrics such as “If you need a fire, I’ll be your lighter, Please be judge and put me on trial/If you think I’ll hurt you, put me underwater take me court, yeah, I don’t need a lawyer”

As the world ground to a halt due to the pandemic, Omah Lay released his debut EP, ‘Get Layd’. The EP which hosted 5 tracks, including already existing tracks, “You” and “Bad Influence,” featured a blend of catchy melodies and groovy mid-tempo beats, produced by Omah Lay, Bizzouch, El Jack and Andre Vibes. The EP which also housed the records “Lo Lo”, “Damn” and “Ye Ye Ye” which garnered over 20M+ streams across all platforms less than a month after its release while making an additional 100M+ streams by the third month of its release. The smooth and relaxing music Omah Lay presented at the time was exactly what listeners needed to carry on at such a low period, serving as comfort music and landing Omah Lay a spot on the NATIVE’s first edition of its Best New Artists column, uNder—previously known as Fresh meat.

 

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Six months later, Omah released his sophomore EP ‘What Have We Done,’ following the release of the 6lack-assisted “Damn (Remix)”. The tape saw four new tracks, “My Bebe”, “Can’t Relate”, “Godly” and “Confession”, produced by Echotheguru, Tuzi, Tempoe, and Omah Lay respectively. ‘What Have We Done’ is a fine offering by an artist dealing with the anxiety that comes with stardom. On the standout record “Godly,” Omah Lay chants lyrics such as “Men I thank God I godly, say God no ungodly/It’s why I Jaye sometimes, a little Henny and ice,” stating his appreciation for the good things of life and his accomplishments so far. The sophomore project stood as a solid follow up for the artists’ debut. 

Since then, there have been a handful of singles from the artists, singles that have made listeners and fans hold on to the artist up until now. He kicked off 2021 with a smash hit as he featured alongside Alpha P on Masterkraft’s official remix for Justin Bieber’s peaches. He followed up with another hit “Understand” shortly after which touched down as one of the best songs of the year and rounded off the year with a more relaxed and melodic tune “Free My Mind,” a mid tempo record which finds the artist speaking on forgetting his worries by drinking alcohol and focusing on the more positive things.

Now, Omah Lay is ready for the next phase of his career as his debut album ‘Boy Alone’ is only a few hours away. For months now, Omah Lay has teased the release of his debut album with teasers and promo clips of the new universe he’s creating. The album is set to host 14 tracks, including already released records “Understand”, Justin Bieber-assisted “Attention” and his most recent offering, Ppriime-produced “Woman.” Records like these have set the tone for what’s to come on the album. His debut album is set to be a combination of all his emotions, sweat and tears all tied together into 40 minutes. While the new stories Omah Lay is set to tell on his new album remain unknown, he has spent most of the last two years cutting his teeth as one of the most exciting artists of the now.

‘Boy Alone’ will be a body of work with a fine mix of love songs, infectious tunes and fiery club bangers, neatly packed from one of Port Harcourt’s most viable hitmakers.

Featured Image Credits/The NATIVE

Fireboy DML & Asake Unite For Their First-Ever Collaboration, “Bandana”

Posted on by Emmanuel Esomnofu

2022 has been Fireboy DML’s season. The YBNL act cruised into the year off the global success of the Ed Sheeran-assisted “Peru (Remix)” but he’s been angling towards more notable moments. After announcing the ‘Playboy’ title of his third album due for release sometime this year, its self-titled record was released to almost unanimous acclaim, fast becoming one of the year’s most exciting songs.

 

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After his historic performance on the main stage of the BET awards, the musician followed up the buzz by revealing the cover of his forthcoming album. The focus on his facial expression gave hint into the expected incursions into the events of his mind. It’s no surprise then that for Fireboy DML’s latest record, he collaborates with his on-fire labelmate, Asake, who’s had a very memorable 2022 himself. 

“Bandana” is produced by the phenomenal P.Priime, featuring the violin sections and church-like percussion familiar to listeners of Asake. It sets the template for his anthemic chorus, part indulgent and part triumphant. “I be ghetto boy, I be singer,” he sings with audible glee, sketching the aspirational core of the record. “They never see me coming…Naija boy wey dey go foreign/ Oshey, Mr. Money,” he continues, quite aware of the peculiar nature of his nationwide acclaim. 

The subject of fame has been covered severally across Fireboy’s catalogue and here he’s adept as ever, able to maintain his lived-in perspective while casting hopeful eyes to the future. As always, he calls on the evidence of his closest community to hold up the struggles borne from his trajectory. His first verse recalls writing his story “since ‘06” and following that up with “I no be OG, but if you ask them dem know me.”

His deft working of everyday phrases into the nature of his celebrity continues deep into the verse, where he sings “music chose me, just know this and know peace/ I dey lowkey, but I’m never lonely; sexy ladies come whine for me slowly.” The second verse finds him in a more confrontational zone, discussing the returning gains of his legacy while representing his family and aiming lyrical shots at detractors. 

“Bandana” counts among those rare songs with a fine combination of everything, threaded immaculately through the famous backstories of its two creators. Coming with the promise of an album between them, there’s a prophetic feel to the record. At the moment though, it’s for sure the perfect anthem to live it up. 

Listen to “Bandana”

Asake leads the debut edition of the TurnTable Top 100

Posted on by Emmanuel Esomnofu

Over the past two years, the TurnTable chart has been one of the most consistently accurate charts for Nigerian music. Due to the dearth of verifiable data on music out of Nigeria, their introduction on the scene was welcome as they filled a much-needed gap within the industry.

Since its inception, the TurnTable mission has always been to provide statistical data around the music we so love, and their latest venture is an indication of their dedication to reflecting the Afropop space as it continues to grow and spread exponentially across the globe. Introducing the TurnTable Top 100, a new flagship chart that encompasses all platforms in the country (streaming and airplay), which is powered by data collected across all streaming platforms and airplay data provided by Radiomonitor.

TurnTable’s Hot 100 is based on a careful formula drawn from audio and visual streams within Nigeria. It also counts airplay on radio and satellite TV, becoming the golden standard for the provision of comprehensive music activity, including the much-touted No. 1 song in Nigeria.

To that effect, Asake has the first No. 1 song on the TurnTable HOT 100. Counting from July 1st to July 7th, “Peace Be Unto You” has accumulated a staggering 2.94million in streams and 68.8million in airplay impressions.

Kizz Daniel and Tekno’s “Buga (Lo Lo Lo”) ranks at second place, with 3.07million streams and 62.1milion airplay impressions. The Mavins’ all-star “Overloading (OVERDOSE)” comes closely behind, with 2.86million Nigerian streams and 48.7million in airplay reach. Burna Boy’s “Last Last” is No. 4 with 1.66 million Nigerian streams and 53.9 million airplay impression. SPINALL & Asake’s “PALAZZO” rounds up the top five with 1.69 million Nigerian streams and 48.6 million in airplay reach.

Elsewhere in the Top 10 of this premier Hot 100, Camidoh’s “Sugarcane (Remix)” with Mayorkun, Darkoo and King Promise is No. 6, continuing its enjoyable foray into the Nigerian market – it tallied 1.40million Nigerian streams and 45.1 million airplay impressions. Ruger’s “Girlfriend” is No. 7 with 1.47 million Nigerian streams and 40.1 million airplay impressions.

Rounding out the top ten, Zinoleesky’s “Loving You” is No. 8, Mayorkun’s “Certified Loner (No Competition)” is No. 9 and Omah Lay’s “Woman” is No. 10.

In more extensive dives of the chart, you’d find that there are 30 non-Nigerian artists on the Top 100 in both lead and featured capacities. The majority of Chris Brown, Future, DaBaby, Beyonce, Jack Harlow, 21 Savage, Cardi B, Lil Durk, Kanye West, Post Malone and Roddy Ricch are from the US, while Darkoo, ArrDee, Ed Sheeran, Harry Styles, Cat Burns, Tion Wayne and La Roux are from the UK. Five are from our frequent collaborators Ghana, with songs from Camidoh, King Promise, Black Sherif, Stonebwoy and Gyakie.

The full Nigeria Top 100 will be available on turntablecharts.com and you can follow @turntablecharts on Instagram and Twitter for all chart news.

Featured image credits/Youtube