Songs Of The Day: New Music From CKay, Shaybo, Olakira & More

Posted on by Emmanuel Esomnofu

2022 is no longer a new year, and Afropop knows that very well. As much as the previous year was packed with scene-defining achievements, especially within the context of global growth, the only way to keep the momentum from falling off is for artists to keep reaching into their bag for great music that holds the ears and captures the hearts of millions of listeners across the continent and well beyond. That’s exactly what’s been happening, so much so that there’s hundreds of new singles, at-least one new must-hear album and a new smash hit every week.

Amidst this torrent of new music, the NATIVE is committed to highlighting the best releases you need to hear, and possibly add to your playlists. That’s the essence of our ‘Songs of the Day’ column. Earlier this week we highlighted songs from Gabzy, Yung L, DJ Tunez and more. This week we have new drops from Lil Kesh, Ronehi, Black Sherif and more.

CKAY  – “MARIA” FT. SILLY WALKS DISCOTHEQUE

Love occupies much of CKay’s discography and it’s a subject he delves again into on his new song. After the successes recorded by “Emiliana”, the Warner frontman releases the electric “Maria”, declaring love in the softest terms for a woman named so. The bright guitars are lovely arms for carrying his vocals, delivered with a slight wink which indicates the affairs of a scene it will typically soundtrack. 

OLAKIRA – “FALL”

Afrobeats sensation Olakira has released groovy and colourful visuals for his latest single, “Fall”. On “Fall,” he sings in adoration of his muse with lyrics such as ”..I don fall for you..” that express his deepest feelings for her. The vibrant video was produced by Olakira and directed by Dammy Twitch, features scenes that are parallel to the song’s lyrics. In the video, occasional shots have Olakira in the background as he admires his muse in all her glory. As the video progresses he approaches her while singing “..pretty lady when you move your body you’re so gorgeous.”

LIL KESH – “VANILLA BOTTEGA” FT. JOEBOY

Lil Kesh surely rides on a cloud of confidence after his smashing collaboration with Zinoleesky (“Don’t Call Me”) went on to become one of 2021’s most resonant hits. It reintroduced his spritzy take on aspirational themes to the mainstream consciousness. He calls again on the new school with this groovy party record, “Vanilla Bottega.” His energetic yodelling about catching his cruise is complemented by Joeboy’s trademark cool, contributing to this record’s bewitching groove. 

L.A.X – “WAIST DROP”

Amapiano has been inspiring great performances from Nigerian musicians of late, and L.A.X is the latest. On his latest single,  “Waist Drop,” L.A.X shows off his luscious singing, laying slightly husky vocals over the thumping production. The result is an unmissable bop which should soundtrack the crazier motions of a night in Lagos.

SHAYBO – “CROCS”

Nigerian-British rapper ShayBo’s latest song is one of the most exciting songs you’ll hear. All her better qualities as an MC are on display, with a slick delivery and a wizened perspective that still sounds sexy. “Crocs” basically upholds her as the standard, taking shots at everyone from haters to broke boys who can’t make her wet. Set to a thumping bassline and synths straight from a Kanye song, the record’s two minute runtime will have you streaming again. 

DUNNIE – “ALREADY WON” FT. CHIKE

In a time of heightened relationship palaver, Dunnie is a preacher of love. Her new record is a warm ballad cushioned on balmy percussions. Creating a duet with Chike on “Already Won”, their glorious vocals build around the production with assured confidence. When the verses pull into the chorus, you’re almost tempted to join in with them to sing “I’m done with the streets, oh babe I already won”. 

BELLA SHMURDA – “FVCK OFF”

Street poet Bella Shmurda adopts an aloof stance on “Fvck Off”. Having soundtracked the motions of the spirited youth in preceding years, some have called his dedication into question in recent years. Truth is, Bella never lost it and “Fvck You” is a fine sample of the effervescence we all fell in love with. He directly addresses naysayers while upholding the carefree tenets of his lifestyle, singing “if you don’t like me, f*ck off/ if you feeling down, burn up” with brazy confidence. Niphkeys’ is tapped for the production, imprinting his typical brilliance on this jam.

BLACK SHERIF — “KWAKU THE TRAVELLER”

Having dominated music conversations this year, Black Sherif is visualising his legacy. The Ghanaian superstar does that through the release of visuals for “Kwaku The Traveller”, one of the biggest songs of the year. In a short film directed by David Nicol-Sey, the cinematic appeal of the record is translated into gripping scenes. Sherif’s figure as a fashion enthusiast is also captured, fitting finely in outfits which include a coat and pink balaclavas. It’s an admirably positive visual which manages to reflect the grimy severity of hustling to feed oneself.

RONEHI & SGAWD – “TELFAR” 

Scintillating best describes this song by Ronehi and SGaWD. They lace electric verses and soulful singing over double time synths, colouring the record with a brazy, infectious vibe. Paced with the intimate heat of Disco records, “Telfar” successfully combines genres in favour of an utterly accomplished song. You should definitely pay more attention to these women if you weren’t. 

PAYBAC IBORO – “SACRIFICE”

In the run-up to ‘West African Goat’, rapper Paybac iBoro has been employing the sonic eccentricities he’s known for. He’s consistently grown into his singing and his recent releases have flaunted that skill set. “Sacrifice” is no different, helmed by an ethereal beat which moves with the currents of an entire universe. The sound sets Paybac for brilliance, dissecting the affairs of his heart and mind with lucid precision. His verses entertain and enlighten, again confirming PayBac as a rapper with influences far beyond the genre’s scope.

KUAMI EUGENE – “TAKE AWAY”

Kuami’s vocals rank high among African musicians. He can wield its svelte nature into any form, and his latest song just shows that. “Take Away” begins with dreamy guitar strings and Kuami’s singing is tender as well, but his flows are as zesty as he’s ever been. The vision to prove the superiority of having money produces a song that’s as humorous as it is evocative. He’s particularly blunt on the chorus, screaming the lines “if you no get money, anything you say be funny/ they are taking your babes away” with the conviction of an experienced person.

SIMI – “NAKED WIRE”

Simi SZN is upon us. With her fourth album ‘To Be Honest’ expected on June 2nd, the singer has shared a single to ease listeners into that world. “Naked Wire” is the most vulnerable we’ve heard Simi in a minute, melting at the feet of love with trademark wittiness and poetry. Brooding keys linger in the background, as lush percussion sets the sonic centre. Simi’s tinny vocals are sure in the embrace of love as she sings lyrics like “moving in harmony, baby oh, no release me/ the language of my body, you speak it so fluently”. 

Featured image credits/NATIVE

A 1-Listen review of Buruklyn Boyz’ ‘East Mpaka London’

Posted on by Tela Wangeci

It is undisputed that Kenya’s Drill scene is buzzing with new artists that are taking over with dark, ominous 808’s and inviting flows. Pioneering acts Buruklyn Boyz have been on the frontline of that shift with a mix of urban appeal, slang-infused lyricism and varying song structure.

The dynamic duo, comprising childhood friends and long-time collaborators Ajay and Mr. Right, have delivered some of the most essential drill songs in Africa, starting with their breakout song “Nairobi,” which introduced their notorious tag, “Kwani Ni Kesho,” and set them up for a blistering 2021 run—the group was named one of NATIVE’s Best New Artists and Best rappers in 2021.

Keeping the momentum going, Buruklyn Boyz have entered this year with a handful of releases, setting an expectant tone for their anticipated, newly released debut album, ‘East Mpaka London’. Watching A-Jay’s Instagram Live on the eve of the album drop, you could tell the blood, sweat and tears that had gone into the album, as he constantly thanked the fans for their love.

In keeping their buzz going with “Location 58,” “Dream Ya Kutoka Kwa Block” and several more singles, Buruklyn Boyz have built on their rep as East Africa’s premiere Drill act, with a rabid audience to sate. In less than an hour of the release of the album, their Spotify streams amounted to over four hundred and fifty thousand.

Their tough but laid-back sound and business-minded image is a template for the dominant attitude in their 16 track debut album. Infused with 90s Hip Hop beats, Drill beats and R’n’Drill , which is a fusion of R&B” they epitomise the world as they see it. From being barred from performing in shows to being one of the biggest artists in East Africa, their rise to stardom has been intentional and calculative. Despite being their debut tape, my expectations are extremely high, “Pree” and “Dream Ya Kutoka Kwa Block” are already released singles so I can’t wait to dig in, Kwani Ni Kesho?

“INTRO”

This is quite an emotional opening. I know they are also a Hip-Hop group but I was expecting a drill number Not that I am not loving it, I am impressed and blown away. Ajay opens a vulnerable vault saying despite their come up they can still see the hate in people’s eyes. Ajay’s part is quite self reflective over a 90s Hip-Hop beat with recognition that music has always been his destiny. A soulful intro into ‘East Mpaka London,’ I guess it’s a rollercoaster of emotions?

“USIKAM HII SECTION”

Okay, this is R&Drill guys. When Mr. Right drops a line you definitely wanna do what he says. The growth of his command of language and delivery has been outstanding. Taking charge of the first verse and you know the boy is always busy chasing the bag, he gives a smooth delivery, never forgetting his catchphrase and transitioning smoothly into the sticky hook. I can’t deny the hook is catchy especially when Mr. Right says they have been looking for Juliet the whole day because they have Romeo. When Ajay gets to the second verse I have to restart his verse. He gets playful with his sentence structure with lines such as , “…baby girl imma getchyu the prada because I am proud of you…” I have so much tension because at the moment I am not sure what the tape contains. Are all the songs R&Drill?

“CONFESSION”

Guys! Who curated this tape? Less than 15 seconds into this song and we have to restart the song. This is a dancehall beat infused with drill, who does that?  The back to forth verse exchange between Mr. Right and Ajay with a percussive backdrop has you throwing gang signs. They throw boisterous lines “..we so sick rappers are in quarantine..”. Produced by Clue Ameshaivisha Track and Metro Suka Doba, this song is seriously infectious as they drew inspiration from Stefflon Don and Ms Banks’ “Dip”.  You can tell the form of the album is already taking place as you progress.

“NISKIZE” (Feat. Maya Amolo)

This has been one of the awaited tracks from the tape. Just like everyone I wondered how Maya would sound on an ominous 808s as opposed to her sultry soulful numbers. The build up to the song is gentle as it tells the story of hood love, the drum patterns complement the piano keys during this monumental moment the exemplary artists map out the Drill scene with unorthodox numbers. Maya’s background vocals take you back to Ja Rule’s “Always On Time” with Ashanti. 

“CATALYST”

This is my favourite song from the album. Slinging out his rhymes in a cocksure cadence, they offer an unapologetic delivering iconic verses. I can already visualise the live performance of this song. With creative alliteration “..zinapanda shuka panda,” the vibrant number is a testament to their come up and dominating the scene. I am predicting that this might be the song of the year. It’s brief, boisterous, and still relatable.

“PREE”

Released in April, the beat to this song is undeniably hard. It’s only A-Jay who would casually play around with sexuality and Justin Bieber. This was a perfect choice for a lead single, its lyrical simplicity and unique delivery makes it a fan favourite. Talking about a babe who wants to always hang out with them for their clout acknowledging their success.

“BLICKY”

Paying homage to Ziggy, creator of Mbichwa rolling papers, they give a raw delivery over a bouncy production. The song is mid and passes by quite quickly for me. I wish the bars went deeper. I will have to spin this one again.

“LAST AIRBENDERS” (Feat. Silverstone Barz, Big Yasa)

This is currently the strongest music bond. Each playing a role in the rise of  Drill,  Buruklyn Boyz have the ferocious Silverstone Barz and Big Yasa. Breaking the monotony in sonic production, they jump on a Hip-Hop beat as Silverstone turns the table with her hard knock lines with a venerable supporting cast. Big Yasa’s guttural voice immediately grabs your attention, I wish he gave more delivery to allow his verse to take form.

“COINS”

The more you listen to the album, you get to understand their story and vision for ‘East Mpaka London’. Once you hear the Clue Ameivisha Track Tag you are assured of an earworm production. The delivery is hard and tenacious with the rewind worthy hook, while Ajay gives a gritty delivery.

“EX”

At this point I am beyond dumbfounded in the production and creative details of this project. Sampling 2021 AFRIMA Best Female in East Africa, Nikita Kering‘s “Ex” the vocals perfectly tie together creating a harmonious background. My favourite part of this album is its rawness. Mr. Right offers an honest delivery quantifying expensive beauty products with local beauty products.

“NOTHING BUT LOVE” (Feat. Younglouie 58)

This beat is so bouncy and so far this is the best hook. The back and forth lines between Mr. Right and Younglouie 58 is smooth. I can’t wait to hear the latters verse. I find it important to incorporate Kenyan slang despite being an assimilated sound. The switch between Swahili and English brings a swaggering spin on it. The different artists bring a new flow as the bass drums knock over an insistent beat.  

“TALIBAN”

A new beat is introduced and it can’t be what I think it is. Once again the producers have mixed two sounds: Persian melodies and drill composition principles. The head busting track has a bouncy beat comparing their brotherhood to Phineas and Ferb, Ajay gives a star studded delivery. The thunderous drums and dramatic strings are heavy and epic. 

“CELLIE” (Feat. Younglouie 58)

When you listen to this song, it’s amazing how the industry’s transformation is happening. The new school artists are employing new ways to export their music. While at it learning to build their brand, this song sounded very foreign to me. It was somewhat hard believing it is a Kenyan production.

“DELETE”

Starting off with their tag line “Kwani Ni Kesho”, Mr. Right uses the soulful backdrop as an opportunity to release his woes on his muse who hardly spends time with him. The tinny piano lines, preset drum sounds and roaring synths have resulted in a playback-worthy track.

“23”

Ajay’s menacing voice gives a gritty delivery with cocky delivery. Stating his influence even terming themselves as the coolest kids, this is a boisterous track of who they are. They associate their success with the hometown five eight (Buruburu). Mr. Right takes to boast about earning money from music. I do understand where they are coming from as most Kenyan artists only receive payments from live performances.

“DREAM YA KUTOKA KWA BLOCK”

Talking about liberation from the hood, this profound number is accompanied by a crisp video from Omoke. Serving as the perfect song to close off the album serving as a sequel to the intro which was about their come up. The production in the song is unique with a rattle-like sound standing out and drawing you into the song. From the piano keys a hopeful mood is set assuring their come up is not stopping their success

Final Thoughts

As I earlier said, this album is an emotional rollercoaster. especially if you have seen the come up of the group since “Durag na Slice.” The variety of artists’ collaboration has given the album an identity bringing Buruklyn Boyz closer to regional breakthrough. If there is anything ‘East Mpaka London’ does for the group, it’s setting up Kenya’s drill versatile possibilities. The curation of this album is meticulous, creating a build up in thoughts and emotions as you listen through the songs.

The album has defined the groups and position in the build up of the genre. Their pen game, delivery and flow will continue to mature overtime, but in the moment, ‘East Mpaka London’ is a standout exhibition of their rap prowess. My expectations have been surpassed. The album is a combination of live-worthy performances and ear worm production

Buruklyn Boyz are known to never rest so we should expect several videos soon. The album’s sonic perfection as the production gleams with catchy hard-knock bars explains the long wait fans had to go through. Showcasing their lyrical prowess over various Hip-Hop beats, Mr. Right and Ajay keep solidifying themselves as a duo and as solo artists. Also, one thing is clear with this, Buruklyn Boyz still have more to dish out.

Listen to East Mpaka London here.

“SHRAP OVER THE REST”: THE RISE OF A KENYAN GENRE FOR THE YOUTH, BY THE YOUTH

Lojay & Sarz Team Up With Chris Brown For “Monalisa” Remix

Posted on by Wonu Osikoya

Since the release of his debut collaborative EP ‘LV N ATTN’ with hit-making producer Sarz, Lojay’s growth has been nothing short of an undeniable success. The 5-track EP featured sultry and distinct afrofusion numbers such as the lead single off the project,”Tonongo”, Wizkid-assisted “LV N ATTN” and standout “Monalisa” which also featured on our mid-year best projects list in 2021.

 

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Just a few days after the release of his project last year, Lojay shared in a NATIVE Exclusive interview the shock he felt seeing people scream “Monalisa” at the club just a few hours after the release of the record. There’s no doubt that “Monalisa” has emerged as one of the biggest songs out of country in the last year. The song has gone on to top the charts both in Nigeria and across the continent for a long period of time.

With just a few months into the year, Lojay is already teasing the release of new singles via instagram live and video snippets. Already this year, he’s featured on NATIVE Sound System’s debut single “Runaway”, and has now tapped American singer, songwriter and performer Chris Brown for the remix of the Sarz-produced record almost a year later. 

Chris Brown is not new to the Afropop scene and he has delivered stellar guest verses on records such as “Blow My Mind” with Davido and “Time N Affection” with Rema. On “Monalisa Remix,” he adds a fine addition to the Amapiano-infused record by laying down yet another standout verse. Singing lyrics such as “For this life me and you chop life, hushpuppi/hope you know you light up my day, girl you know you’re all that i need”, he reminds his love interest about her place in his life and finely matches Lojay’s mid-tempo pace.

Although the remix arrives almost a year after the song’s official release, the new and refreshing energy brought by Chris Brown breathes new life into the track, adding an extra layer of intrigue to an already hit song. It’s clear that Lojay has secured another club-hopping set to soundtrack the summer. Just as we predicted in 2021, Lojay’s commitment to his artistic growth will continue to pay off in the long run.

Listen to “Monalisa” remix here.

Featured image credits/NATIVE

ICYMI: PROJECT RUNAWAY

Omah Lay shares new single “Woman” ahead of his debut album release

Posted on by Chibuzo Emmanuel

In 2020, while the entire world was confined indoors due to COVID-19 lockdown restrictions, Omah Lay spawned what is considered to be one of the finest EP’s in Afropop history. ‘Get Layd,’ was the titillating 5-track project that catapulted the singer into the upper echelons of stardom. In that same year, he spun another stellar 5-track EP, ‘What have We Done,’ which cemented him as one of the most prolific acts of his generation.

He has since doubled down on his dizzying 2020 run by lining the pop scene with continent-spanning hits like “Understand” and his feature with Ajebo Hustlers “Pronto”. Now he’s at the cusp of sharing his debut studio album, a purple-themed motif titled ‘Boy Alone’, which is poised to drop next month. Ahead of its release, he paired up with Justin Bieber for a snazzy mid-tempo offering, “Attention” which dropped earlier this year, and now he’s returned with an utterly irresistible earworm dubbed “Woman”.

 

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“Woman” sees him roll back time to deliver a classic Omah-Lay record. His syrupy voice drips over the P.Priime-helmed production, glazing it with his archetypal bouncy flows and awe-inspiring melodies. Omah Lay’s songs have largely been defined by longing — for sex, for love, or for attention.

He’s responded to these voids with wistful musings over amber-hued beats, until now, when he appears to look through a sunny lens and a twinge of nostalgia to deliver one of his finest works in recent times. The sanguine P.Priime production provides the perfect backdrop for him to layer lyrics that sees him shower his muse with adulation.

Alongside the record, he has also released an accompanying DK-directed video. The ambience of the video matches the upbeat track flawlessly. It sees Omah Lay and a slew of female friends cruise around the streets of Lagos in a vintage Mercedes-Benz, before arriving at a gilded palatial room, furnished with opulent furniture and exotic food, where they dine and goof about.

Watch the video for woman “Woman” and pre-save ‘Boy Alone’ below.

Featured image credits/Youtube

ICYMI: PROJECT RUNAWAY

NATIVE Exclusive: Ini Dima-Okojie Was Made For This Moment

Posted on by Chibuzo Emmanuel

What does it feel like to be backed against the wall, and to go against what feels like the whole world in an elusive pursuit for freedom? This question was the rich backdrop against which Ini Dima-Okojie played the role of Sara Duru in ‘Blood Sisters,’ the first Netflix Naija original series which was released earlier this month. The intensely churning series sees Sara Duru’s character stand up to her powerful abusive fiancé, leading to her best mate Kemi ending his life hours to their wedding. The pair spend the rest of the limited series on the run from his powerful family, the police and the world at large.

 

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While Ini Dima is a standout in her role for ‘Blood Sisters,’ as she has continously done in her recent string of releases including ‘Day of Destiny,’ and ‘Namaste Wahala,’ she’s a far cry from the timid young girl she once was. Speaking to the NATIVE a few weeks from ‘Blood Sisters’ release, Ini Dima-Okojie shares that she was an introverted child who lived under the shadow of her star sister. While her sister may have been the outgoing one, Ini Dima-Okojie spent years nurturing her creative and illustrious imagination.

Back then, she would conjure majestic stories, daydream about mounting dazzling stages to receive coveted awards and dream of touring the grandest cities of the world with her electrifying band. Being a shy child, she would often recruit the chickens in her yard to play pretend with her. On some days, they were part of her band, on other days, they were fellow co-stars in a blockbuster she was putting together, while sometimes they played the role of earnest listeners to her grand tales. She shares that she dabbled with film from as early on as highschool. Here, she played powerful roles that would evoke tear-jerking reactions from the crowd.

However, Ini Dima would put her creative side on the back burner once more, and pursue a professional career as an investment banker. In 2014, she got her wake-up call. After a close friend shared a film titled ‘The Island’ by Urban Vision, Ini Dima-Okojie found herself transfixed by its storyline and the depth of the characters. It was there that she began nursing her own ideas of acting. Eventually, she plucked up the courage to quit her job and enrol in acting school, a move that drew no raised brows from her close friends and family. “That was when I really knew that this was something I love and the feedback from my tutors was amazing and they really thought that I had something,” she shares.

Fast forward to 2022, and now, she’s the protagonist of the most significant and evocative Nigerian series in the past few years. Far from her gloomy aura in ‘Blood Sisters,’ in real life, her ambience is overwhelmingly sunny and infectious. Her sentences are punctuated by visceral spirited laughs that function to drizzle her positive energy around.

It’s this infectious energy that she brings to her role as Sara Duru in ‘Blood Sisters,’ which finds her expertly conveying emotions of fear, hope and misery. When she cries, you can’t help but feel pangs of pain in your chest, and when she’s unaware of the next step, you are also glued to your chair, eagerly watching her mould and meld her voice, facial expressions and mannerisms to convey the weight of her character’s plight.

Now, following her mercurial performance on the sizzling ‘Blood Sisters,’ Ini-Dima Okojie spoke to The NATIVE on her childhood, her switch from investment banking to acting and the story behind Blood Sisters.

 

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

NATIVE: What was growing up for you like?

INI DIMA: I had an amazing childhood. I’m the last child of four children. I always wanted to be exactly like my mum. She’s a retired banker and a lawyer, and I thought that she was the coolest person ever. She was so fashionable, and I think that’s where I get that from. Then my dad is a retired Air Force soldier but he’s also a doctor who is still practising in the UK. Growing up, I was very shy. I would live in my head most of the time but one thing I loved was award shows. I’d watch award shows even as a kid and almost daydream about receiving awards, or being in a band. I always leaned towards the creative side, but I couldn’t really express that, and it was actually my sister who was a child-star. She was in this show called ‘Children Of The World,’ and she was the outgoing one.

NATIVE: You mentioned that you were pretty reserved as a child, how did you get to acting?

INI: I remember a friend of mine, Mimi sent me a trailer for some show called The Island by Urban Vision. This was 2014 and I thought it was such an exciting trailer. I was so intrigued and I started to read up on the profiles of some of the actors. I noticed that a couple of them had gone to film school. Ever since that day, I just realised that I couldn’t sleep well at night, like every time I closed my eyes, I imagined being in that show or just acting. Eventually I went to film school, and fell in love with acting. That was when I really knew that this was something I love and the feedback from my tutors was amazing and they really thought that I had something. That’s how this journey started here.

NATIVE: How difficult was it convincing your parents to let you make the switch from investment banking to acting?

INI: It was easy, it was literally that one conversation. What was difficult was getting myself to be able to tell them because I thought they’d flip out.

NATIVE: How did you convince yourself to make the crucial career switch you made?

INI: I don’t know about it being difficult convincing myself, it was more the journey. So obviously, there’s that fear of what am I doing? Because at some point it felt like, if you leave your job, then there’s no going back. It almost like I was leaving my comfort zone and leaving something that felt certain for something that’s so wild and uncertain, but that’s the beauty of it.

 

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NATIVE: How instrumental was film school in mounding you into the actor that you are today?

INI: I think film school was everything, I know not everyone goes to film school, and not everyone who has attended is an amazing actor, but for me, it really made a difference in my life. It’s what makes my process the way it is today. There’s just a fundamental approach to acting that I learnt from film school that is so valuable. I would do it over and over again if I had the opportunity. I’d go to film school again. I don’t think you can ever stop learning.

NATIVE: You’ve got a vaunted reputation in the industry and you’ve worked on a number of projects. Which one would you say is your favourite so far?

INI: That’s an impossible question. It’s like choosing your favourite child. I can’t pick one at all. There are some that are special to me. ‘North East’ is the first feature film I ever did, and it’s engraved in my memory forever. ‘Battleground’ is very special to me because it was a very different experience. ‘Daily Show’ is very different and it was such a wild ride. ‘Oga Pastor’ didn’t get released but as an actor, I walked a door with it and still hurt that it was cancelled. ‘Namaste Wahala,’ there were people that loved it, there were people that didn’t love it but, it represented so many firsts for me. And of course there’s ‘Blood Sisters,’ I’ve not come back on earth since the day ‘Blood Sisters’ was launched. This one, the stars were so aligned, from the production to the cast to every crew member to the director, like everything came alive.

NATIVE: How did you secure your first acting gig?

INI: So I got back from film school and didn’t know anybody. In 2014, I remembered that I had a family friend that was a first time producer in a new show called ‘Before 30.’ So I call her and I’m like I’m just from fresh from film school and willing to work and she told me that they had already cast the show but there’s a role for production assistant, if I didn’t mind that. I knew it would be a good opportunity to learn. While this was happening, my mum had introduced me to Kiki Omili, and I was going for auditions. Then I got this audition for a show called ‘Taste of Love’ and that was my first non-open audition. They called me to the office to audition, and I got the role.

NATIVE: How did you get recruited for the Blood Sisters project?

INI: So, I got an email with the sides from Ebony Life, and it was the role for Sara. I remember reading the script and feeling like the role was made for me. I auditioned for the role but then a few days later, I got another call for the character of Timeyin, who I equally loved. I just knew that, whatever this show was, I wanted to be a part of it. I auditioned for other roles including Kemi which Nancy Isime played. Eventually, after the auditions, the casting director said they want me for the role of Sara and Nancy as Kemi. So they swapped our roles because Nancy auditioned and actually read for Sara.

 

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NATIVE: Would you say you personally resonate with the character Sara?

INI: You have to get yourself to. For me, when playing any character, the first rule is not to judge. Even if the things that the character does are not what I’d do, I find something that connects us.

NATIVE: Your character Sara was essentially on the run for the entirety of the series, she also acted in a lot of emotionally charged scenes. How difficult was it playing the role of Sara?

INI: Sara is very challenging, and I think for me, it was three things: the mental, emotional and physical aspect. The last time I played such an emotionally charged role was ‘Oga Pastor.’ ‘Oga Pastor’ was crazy, I unlocked a door that I didn’t even know I had. There this balance [in acting] between being present and getting to a point where it feels dangerously real. But you’re still seeing lines, so your brain is still functioning but you’re so emotionally there that it’s almost (real). After ‘Oga Pastor,’ I promised myself I would never dig that deep into a character again but when I read Sara, I knew I had to go there. I could not two-face this at all.

NATIVE: How was the experience working with Nancy Isime on set? Are you friends outside of the camera’s?

INI: It was amazing. Nancy and I, we worked together about 8 years ago on ‘On The Rail’. The characters weren’t as closely tied as this one though. From the moment they paired us, it was so special. From day one, we bounced off each other very well. I get very intense when I’m working. She was literally my Kemi on set. We show each other love on social and off social. If I’m doing something, she’ll come, if she’s doing I’ll go. We’ve always had great energy but this has even made us closer.

NATIVE: What would you say was the most difficult aspect of working on Blood Sisters?

INI: I don’t know if I can pick that one scene but certain moments were very heavy. I like to divide Blood Sisters into two in my own head. There was episodes one and two, which was like the emotional journey for Sara and there was three and four which were the physical parts of her journey. Some particularly tricky scenes were when Sara had to have that conversation with her mum about her husband’s abuse. Then there’s the scene where she finally tells her abuser no and refuses to marry Kola, that’s another heavy scene for me.

“After ‘Oga Pastor,’ I promised myself I would never dig that deep into a character again but when I read Sara, I knew I had to go there. I could not two-face this at all.”

NATIVE: On the flip side, what was the most enjoyable aspect of working on ‘Blood Sisters’?

INI: It was so beautiful to be on a set where everything you read on a script came to life while you were acting. Whether it was a plane, a helicopter or a building burning in Makoko, everything you saw, it was not CGI. They built a building in Makoko and burnt it to the ground.

NATIVE: Who is your favourite character of the series?

INI: That’s a hard one. I loved everyone so much. It’s so crazy, even down to the extras, everyone pulled their weight on set. For that, it’s hard for me to pick, but gun to my head, I’d pick Timeyin.

NATIVE: Why is that?

INI: Because asides from Sara, I remember reading those sides and thinking that whoever gets to play this character is amazing because it was such a well-written character. They were all well written but there was just something about Timeyin’s that stood out to me.

NATIVE: What’s next for you?

INI: There are so many exciting things down the pipeline, the next thing I’m doing is season two for ‘Smart Money,’ which starts filming in June, by the grace of God. Get ready for that.

Watch ‘Blood Sisters’ and revisit our review here.

Featured image credits/NATIVE

ICYMI: PROJECT RUNAWAY

Free The Youth Opens Flagship Store in Accra, Ghana

Posted on by Tela Wangeci

Over the past few years, a quiet streetwear revolution has been brewing in Accra, Ghana. Home to notable names such as Free The Youth Ghana and more, the fashion and lifestyle brand is part of a growing number of West African labels shaping the face of youth culture on the continent.

After years of furthering their mission of making streetwear available on the continent and their notable collaborations with names in the fashion world such as Off-White, Daily Paper and more, Free The Youth is now embarking on its biggest mission yet: the opening of their flagship store in Accra.

Founded in 2013 by Jonathan Coffie, Kelly Foli, Shace Winfred Mensah, and Ormano, Free the Youth has grown to include a number of key players from around the Ghanaian alternative scene, among them event producer Prince Brefo, production lead Gilbert Quansah, photographer Philip N. Boakye, Design Advisor Mecha Clarke, and NGO managers Asia Clarke and Sunshine Duncan.

Out of a shared passion for fashion, the FTY community crafts a African fashion manuscript that encourages liberalism while drawing inspiration from real-time issues such as the” 1000 injured” tee paying homage to victims of the Accra Sport Stadium disaster of 2001.

On the 21st, Free The Youth will officially open the doors to their flagship store in Ghana. According to the FTY Instagram page, the store is located on Liberation Road in Accra and will open its doors to welcome guests and shoppers on the 21st of May from 1pm till late.

To RSVP for the opening event, please contact info@freetheyouth.net and shop their latest collection here.

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ICYMI: ‘Blood Sisters’ and the value of criticism in Nollywood

AV Club: ‘Blood Sisters’ & the value of criticism in Nollywood

Posted on by Damilola Animashaun

There is nothing as odd as showing up at a traditional Nigerian party in anything but traditional wear. Not only will you stick out like a sore thumb, you also attract the attention and questions as to the validity of your presence. Who invited you? Don’t you know how to dress to an owambe? Maybe you’re part of the help? No one might ask these questions verbally, but roaming eyes definitely will.

Maybe that’s why it’s a little absurd that the assassin hired to kill the groom at an engagement party in the first episode of ‘Blood Sisters,’ the first original Nigerian TV series for Netflix, came decked out in a leather jacket and a pair of jeans. Amid bright orange traditional outfits and shiny local caps, a guest that is inappropriately dressed for the occasion will attract eyes, which counters the point of discretely killing the main character at his nuptials. Of course, his target made him out, yanking away the element of surprise an assassin would supposedly have, leading to a hand-to-hand fight scene, despite owning a gun.

This sartorial mishap is an incredibly easy early flaw to spot in ‘Blood Sisters,’ a show that does have its merits, and stands out positively among the mixed bag of Nigerian films and shows that have landed on Netflix since the streaming giant took an active shine to cinema from Africa. This new, limited four part series digs into the aftermath of a murder, tracing its effects with a characteristic verve and some remarkable depth.

Kola Ademola (‘Deyemi Okanlanwon), the aforementioned groom, is killed by his fiancee’s best friend and maid of honour in a hotel room, while friends and family are gathered a few floors below for their engagement ceremony. It sort of happens in self-defence: Kola physically attacks Sarah (his wife-to-be) when she decides to call off the wedding due to his propensity for physical abuse. While joining her friend in defence, Kemi shoots Kola with the gun he confiscated from his grossly incompetent assassinator. What follows is a botched attempt at covering the murder, which digs Sarah and Kemi into the helter-skelter part of the plot, while the Ademola’s focus on their emotional turmoil.

It’s an engaging promise that does not fully justify it’s nearly 3.5-hour run time, but there’s enough movement in the storyline to keep things interesting. The acting on ‘Blood Sisters’ is consistently good – some you might even consider great, like Uche Jombo’s spot-on portrayal of Sarah’s mother. The two leads, Ini Dima-Okojie and Nancy Isime, who play Sarah and Kemi respectively, are wonderful individually and, as a pair, both show a strong chemistry that makes their on-screen ride-or-die friendship believable. They go through their ordeals with bravery and desperation, care and compassion, and the show is at its most encapsulating when it centres their bond over their high speed chase.

 

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The set up for the toxic Ademola family is also appealing. Kola Ademola, is given a thorough performance by ‘Deyemi Okanlawon. By watching his well mannered charm and easy smile, it makes sense that he is seen as the perfect golden boy by outsiders. Okanlawon switches to a visibly menacing candour in moments of anger without coming across as over the top. Even though he exits really early on, he is the ghost that looms large over the plot.

Then there is Femi Ademola (Gabriel Afolayan), the elder brother aggrieved that he’s not at the helm of the family’s pharmaceutical business, and his complementary, scheming wife Olayinka (Kehinde Bankole). Nascent actor Genevova Umeh plays the role of Timeyin Ademola, imbuing the character’s matrix of brilliance, insouciance and addiction problems with an admirable twitchiness. Acclaimed veteran Kate Henshaw portrays Uduak Ademola, the stern and consistently brawn-faced matriarch whose emotional abuse of her children, which could’ve been written off his tough love, is dutifully acknowledged on the show.

Unfortunately, aspects of the Ademola family were also some of the weakest points in the show.  The same subtlety that was used to portray Kola Ademola is absent with the two primary female antagonists, Uduak and Olayinka. The show felt the need to remind us what a monster Uduak was with every word she spoke. Yet, one would think someone as image conscious as her would be more willing to fake politeness. She was far more interesting when grieving her son or when she appeared briefly bothered by the effect that her past behaviour had on her children. Uduak’s character would have been more engaging if she were more manipulative and unpredictable, which would have made some dark revelations about her character towards the end more shocking and not obvious. As for Olayinka, the wife of the oldest Ademola son, her Lady Macbeth-style villainess is all too common in Nollywood. While her character was enjoyable to watch, her one-note cruelty became repetitive after a few appearances.

Both the highs and lows of the Ademola family arch is a snapshot of the mixed bag ‘Blood Sisters’ is. For the apt representation of police work in Nigeria, where nothing gets done unless money and proximity to power plays a role, there’s a tenacious detective with a bad ‘Chicago’ accent who is more perfunctory in the grand scheme of things than his appearances suggest. For the crooked driver that transports people across borders, there’s the incompetent criminal known to the police.

Depending on who you ask, ‘Blood Sisters’ is either great television, riddled with far too many flaws, or just adequate. For EbonyLife studios, the production company behind the show, that might be a net positive, considering that their recent efforts have not been met by a lot of positive reviews. Earlier this year, the company released ‘Chief Daddy 2: Going for Broke,’ an atrocious sequel to the blockbuster 2018 film that was also not very good. In the wake of the polarising discussions that followed the film on social media, EbonyLife shared a video of its founder Mo Abudu threatening some sort of bifurcated access to those with negative takes. Obviously, that didn’t land well with Nigerian Twitter, and it would’ve played a role in the online reactions if ‘Blood Sisters’ didn’t have any merits.

In the days after the new show made its way to Netflix, social media was littered with opinions, both positive and critical of the limited series. The negative opinions have been fairly passionate, with people pointing out the weak story and unrealistic elements of the plot. Others have just as intensely defended the production, stating the unfairness in comparing it to a Hollywood production, with many calling for people to simply enjoy it for what it is.

Criticising Nollywood productions in general can be a strange undertaking. Nollywood is one of the most prolific film industries in the world, with thousands of films made each year. Classic Nollywood films are famously low budget and appreciated for the ridiculous campiness as much as anything else. It’s only in recent years that Nollywood films have gotten serious enough funding to make large scale productions. It’s easy to say people should not be so harsh on an industry that is in its infancy in some ways.

As nice as it is to simply focus on the merits of any achievements made in this country, things rarely change unless there’s some negativity. At this point, creators should know that their audience cares about quality. Of course, in an ideal world, all negativity would be constructive criticism. But the nature of the internet means there will be unnecessary vitriol mixed which could sour people towards valid critiques. In order for healthy debates to be held however, it may be necessary to take the good with the bad.

But we also cannot blame viewers for simply being proud of progress and who aren’t yearning for their media to be up to a certain standard. There’s room for cheesy, predictable work. For some viewers, there’s even room for out right questionable acting and story decisions. After all, don’t many of us watch questionable work from Hollywood? For those who want more varied stories, the success of shows like ‘Blood Sisters’ may mean more investment into the Nigerian film industry and more opportunities for stories of different shades to be told.

Words by Moore Wright and Dennis Ade-Peter.

ICYMI: HOW RUBY OKORO CREATED THE COVER FOR BOJ’S ‘GBAGADA EXPRESS’

The significance of Kendrick Lamar releasing his album from Ghana

Posted on by Dennis Ade Peter

The best rapper alive just spent a week in Accra, Ghana.

That may not sound like a big deal to the cynics amongst you, given the West African country has recently become the destination spot for global superstars, Africans across the continent, and Black people in the diaspora. What makes it notable though, is the timing. On the eve of the release of his fifth studio album, ‘Mr. Morale & The Big Steppers’, the Compton-born rapper was shuttling around Accra, from Jamestown to Osu, prepping its release.

 

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Since vaulting into the upper echelon of superstardom with his instant classic major label debut album, ‘good kid, M.A.A.D City’, every Kendrick Lamar full-length release has been an event. Regardless, this new project is arguably the most anticipated of his incredible career. His last set, ‘DAMN.’, came out in 2017, and the soundtrack he curated for ‘Black Panther’ was released in 2018. Five years between solo albums is an eternity in streaming years, especially for an artist that’s notoriously invisible on social media.

Usually, one would expect an artist releasing a new album after a self-imposed hiatus to want to cater to their immediate audience, through radio runs, interviews with local press, “surprise” appearances at staple events, and other parochial attempts to dominate the IG feed for that day. Obviously, Kendrick’s level of ubiquity and the global reverence he commands affords him the luxury of not going the traditional route with his return LP, but flying to another continent entirely is an unexpected turn in the rollout script.

As expected, what he was doing in Accra has been a topic of conversation in music circles on the continent. Rumours of a top-secret video shoot for a song off ‘Mr. Morale…’ seem plausible. Perhaps he just wanted to see what all the hype was about? Pictures from the private listening event on the night, hosted by Spotify, show Kendrick with Ghanaian artists Black Sherif, Amaarae and Stonebwoy.

Whether the motivation for his travel is either of those speculations, something else entirely, or a combination of several factors, the presence of Kendrick Lamar in Ghana at a significant time in his career is eyebrow raising. While this is his first time in Ghana, this isn’t Kendrick’s first time in Africa. In 2014, he visited South Africa, a trip that he said heavily influenced his classic, jazz-indented third album, ‘To Pimp A Butterfly’. Travelling around Johannesburg, Durban, Cape Town, and visiting Nelson Mandela’s cell on Robben Island, the rapper has repeatedly credited visiting the rainbow nation with broadening his approach to making music.

On ‘TPAB’, he references Nelson Mandela on the epic 12-minute closer “Mortal Man,” and storytelling highlight “How Much A Dollar Cost” is based on a real life moment during the South Africa trip. On the ‘Black Panther’ soundtrack, he recruited South African artists Yugen Blakrok, Sjava, Saudi and Babes Wodumo for standout moments. As well-executed and well-curated as it was, the soundtrack was barely the pan-African effort many would’ve liked, but the inclusion of those artists is another mark of the profound effect visiting an African country had on him. It’s only right he came back for seconds.

Apart from the industry events he’s been at in Ghana, pictures and videos of Kendrick Lamar doing more mundane stuff has made its way to Twitter timelines. Over the weekend, he was at Freedom Skate Park, hanging out with people in the community, taking pictures and signing autographs. He was also spotted playing football at a makeshift pitch in Jamestown, and he spent some time at the bar beach in Laboma.

As heart-warming and intriguing as it is to see Kendrick Lamar having an eventful time and clearly enjoying himself in Ghana—coupled with his time in South Africa—it’s not novel for American music stars, specifically Black artists, to mingle with local residents upon touching base in the motherland, some staying longer than the others. Stevie Wonder famously received the four Grammys for his sprawling magnum opus, ‘Songs in the Key of Life’, in 1977, during a prolonged stay in Lagos after Festac ’77. A few years prior, in 1974, Nina Simone moved to Liberia and stayed in Monrovia for three years. In 1997, Ghostface Killah travelled to Benin Republic for alternative medical care and ended up staying longer than planned in a Village hours outside the capital city of Cotonou, a stay that inspired his seminal and lyrically esoteric masterpiece, ‘Supreme Clientele.’

Each of those artists had reasons for visiting (and remaining) on the continent at those points in their lives, from disillusionment with racism to redefining their perspective—via searching out relief for physical and mental health issues. “We never dream of Africa. Like, ‘Damn, this is the motherland,’” Kendrick Lamar told Dave Chapelle of his South Africa trip in a conversation for Interview Magazine. “You feel it as soon as you touch down. That moment changed my whole perspective on how to convey my art.”

Those sentiments might elicit an eye roll or two from many of us who were born and raised in African countries, but it is impossible to dismiss the profoundness of visiting Africa for the first time for those born and raised in the diaspora. Besides, many artists have shown that visits to the continent don’t need to have a weighty reason attached to them to have a deep impact on them. The simple feeling for Black artists to be surrounded by people that look like them, is enough to make one feel at home.

Ari Lennox gushed about being in Ghana for last December’s Afrochella (to some unnecessary backlash), Cardi B has always been effusive about coming to Nigeria in 2019, Chance the Rapper chronicled his Ghanaian trip on Twitter and wants to return with “a bigger group,” Dreamville acts Bas, JID and Earthgang have stayed multiple brief stints in South Africa, collaborating with local rap artists and even tapping Shane Eagle (Bas) and Blxckie (Earthgang) for international tours.

Interestingly, Kendrick Lamar isn’t the first superstar Rap artist to be in Africa on release day. In 2018, close friend and peer J. Cole was in Nigeria on the same day as the drop of his fifth album, ‘KOD’, in obligation of a live show, and he performed a few songs off the project for the first time in front of over 6,000 turnt fans. It would be disingenuous to claim Kendrick is following Cole’s path, since the circumstances of their trips to West African countries are as similar as they are different.

There have not been any scheduled live shows, and beyond the peeks we’ve seen on social media, only Kendrick Lamar, his pgLang co-founder Dave Free, and the crew they travelled with really know reason behind this Ghana trip. From an external standpoint, though, it’s an exhibition of the post-digital era, where artists can release their music without being tethered to their home countries. It’s also an exhibition of autonomy from an artist that continues to carve out his mythos by being meticulous and intentional.

The oft-repeated mantra of “Africa To The World” has somewhat defined the last decade of music coverage on the continent. It wasn’t too long ago that D’Banj and Don Jazzy being spotted with Kanye West seemed like a momentous occasion for the continent, or at the very least, the Nigerian entertainment industry. We don’t have to strain our memories too much to remember the fanfare that Drake’s feature verse on the “Ojuelegba” remix brought, or the pride we felt the morning we woke up to a Shatta Wale & Beyoncé collaboration.

Kendrick Lamar made a calculated choice to be in Ghana for the release of his feverishly anticipated follow-up to a Pulitzer Prize-winning album. Even if you still want to be cynical about the magnitude of this occurrence and its timing, it’s hard to not admit that the best rap artist of his generation choosing to mark a significant point on the timeline of his career in the land that pioneered Highlife, away from the country that birthed him and Hip-Hop, is a flex. It’s a flex for Ghana and Ghanaians, and to a lesser but notable extent, for Africa and Africans on the continent and in the diaspora. While there will always be a clamour for and from African artists to take their music “to the world”, it appears now, more than ever, The World is Coming to Africa.

Stream ‘Mr Morale & The Big Steppers’ below.

Featured image credits/NATIVE

ICYMI: PROJECT RUNAWAY

Hot Takes: AMVCA Fashion, Freddie Gibbs Vs. Benny The Butcher, Sauti Sol & More

Posted on by Damilola Animashaun

There has been no shortage of news emerging as we countdown to the summer. On the Twitter timeline, things have been rather gloomy. Insecurity in Nigeria remains on an all-time high as we draw closer to election season, and even though there’s chatter about relationships and lobsters interspersed with all this, there’s still a sense that globally things are going to get worse before they get brighter.

This week, I’m taking the reins on the column to bring you the hottest takes from all across Elon Musk’s Twitter. From the fashion at the recently concluded AMVCA Awards in Lagos to Freddie Gibbs vs. Benny Butcher, and Sauti Sol’s latest infringement case. Here’s the latest in our world of pop culure. Stay with me as we embark on the ride.

WHAT I’M WATCHING

The year is moving at an incredibly fast pace. Like most adults, I sometimes feel like my ability to consume a large number of films has waned, perhaps due to a low attention span or the terrifying claws of ‘sapa’ urging you on to do something more productive. But let’s be honest: watching movies offers productivity, particularly if you watch movies like I do. I’m all about enjoying films but the technique of storytelling stays with me much longer.

Thus, I watch films that dazzle me with structure and story, something my Netflix subscription has failed to provide recently. Many are criticising the platform’s decline in service and I definitely see it. One thing they however have on this Nigerian is the number of our contemporary films on their backend. I recently saw ‘Ahanna: The Rattlesnake’, the Ramsey Nouah movie everyone has been talking about. It’s a terrifyingly exciting film, even though it falls short in certain areas. The acting and cinematography were especially noteworthy, and I think Mr. Nouah can become a great director if he works with more writers to bring more detail into his films. He certainly has the eye for good stories.

WHAT I’M LISTENING TO

KENDRICK LAMAR, of course. The Compton legend’s new album ‘Mr Morale & The Big Steppers’ has got the entire world on a chokehold, and the man is in Ghana chilling out. Of course, that has not excused the album from scrutiny, especially considering the close reading Kendrick’s music demands and receives. It’s surely a great album, the first time the untouchable MC peels away the veneer of steel to reveal a deeply flawed and introspective human.

‘Mr Morale & The Big Steppers,’ is a unique placement in his discography, no doubt bound to be divisive. Personally, I think it suffers a bit in the replay value aspect but its peaks are glorious, some of the highest of Kendrick’s legendary career. His writing assumes a sharper, with none of the density of ‘DAMN’ or ‘Good Kid, m.A.A.d City’. Rap-wise, he’s the GOAT, showcasing an eclectic arrangement of flows throughout the double album. My favourite songs? A number of them, but surely the quartet of “United In Grief”, “Die Hard”, “Father Time” and “Mirror”.

Lights, Camera, Fashion at the AMVCA

The African Magic Viewer’s Choice Awards (AMVCA) are pretty much the dominant and most consistent of Nigerian film awards. Over the weekend, again they rolled out the red carpet for this year’s award shows. We had written about some takeaways from the announced nominations months ago. No doubt the categories would be keenly contested and debated.

That Sunday night was however attended by a different kind of attention. Fashion. Many attendees to the event felt the need to attempt the avant-garde, from a black gown flowing with skulls to everything else you saw. A small number of people commented that most Twitter users turning fashion critics couldn’t pull off red carpet looks if they were invited.

Which is probably true, but my hot take is…NEVER STOP, NIGERIANS. Keep being fashion critics, Vogue writers have nothing on you. Y’all make the whole thing really entertaining. Don’t trust me? Go through #AMVCA22 on Twitter and know if you won’t keel over in howling bouts of laughter.

WHAT’S ALL THIS NO. 1 TALK?

Last weekend was preceded by songs from many notable Afropop musicians. Icons like Burna Boy and Davido shared streaming spaces with prolific youngsters like Zinoleesky, Ria Sean and Asake, making Friday a particularly heated day for Nigerian music.

“Number one song in Nigeria” was a phrase many used over the course of the weekend, fuelled by the excesses of the two biggest stars who put out music. The subs and buzz were not surprising, not as much as the widespread acceptance of Apple Music as the metric for determining the biggest song in the country. This obviously negates the fact that local listeners are scattered across platforms, of which Apple contributes a small part of.

Personally, I don’t care for the ‘No. 1 song’ narrative, knowing fully well it’s not a level playing field. On the ground, a platform like TurnTable charts offers even more breadth in representing the Nigerian listenership, collaborating with ALL the major streaming platforms, and including radio and TV in their reports. The question of why more musicians aren’t using their stats demands a bigger conversation but please, PLEASE…can we stop with all the number one talk? Let’s discuss the artistry and range on display instead. That’s how the sound grows.

FREDDIE GIBBS VS. BENNY THE BUTCHER

This headline sure reads like a wrestling match-up but these are rappers. Some of the most skilled rappers today who have previously collaborated, uniting their gritty takes on street lifestyle into iconic Hip Hop numbers. However things took a turn recently as news of sustained conflict between them have made the American tabloids over the past week with some reports even dating back months.

According to reports, Gibbs had been throwing shots at Benny over on social media. On Saturday, he was in Buffalo, New York, to perform a scheduled show as part of his Space Rabbit Tour. However, just before he took to the stage, he was jumped inside a restaurant by people believed to be associates of Benny. Video surfaced not long after, and with the crowd, it was obvious Freddie didn’t stand a chance. He went on to perform at the show but with a balaclava which couldn’t cover all the parts of his bruised face.

This act of violence, however light or comical it may be perceived, surely leaves a bad taste in the mouth (no pun intended). Just days after the YSL RICO charges, the rap game is again centring itself in unhealthy ways. And it’s sad that two respectable MCs are at the center of this one. It’ll surely be to the benefit of everyone involved that this is settled as soon as possible, away from the flashing lights and with as much humility as both parties can muster.

CAN MEN AND WOMEN MAINTAIN PLATONIC RELATIONSHIPS

Twitter has risen to become a favoured court of public opinion but don’t trust everything you see there. Over the weekend, a male Twitter user posted a picture of himself and a lady, with the caption: “me and my lecturer’s daughter”. In the comments a host of (mostly) Nigerian men bared their misogyny through a number of lewd comments which suggested a romantic relationship between the both of them.

Sadly, the man encouraged the comments. Not long after he returned with an update, saying the girl’s actual boyfriend had broken up with her and that she was devastated. He deleted the post, but never the consequences. Stories immediately inundated the timeline, something I now group under a folder I’ll call ‘bestie palaver’. In all, a number of men don’t believe a woman can be just ‘friends’ with another man.

Shola, a popular Twitter user, made a post challenging ladies to text something steamy to their male besties. That tweet now stands at 35k likes and 15k retweets. The conversation is surely a divisive one, but mostly lacks nuance. Of course, a number of best friends have sex but there’s such a thing as platonic friendships as well. As wise people say, two truths can coexist. Meanwhile, if you received a risky text over the weekend you’re likely caught in this rocking boat of conflicting opinions. It has nothing to do with you–the game just remains the game.

Sauti Sol seek legal action against Kenyan political group

by Tela Wangeci

On Tuesday, Kenyan Afropop band Sauti Sol spoke out against an illegal use of their song in the naming of Martha Karua as the coalition’s running mate for the upcoming elections. According to reports, Sauti Sol claimed there was an alleged copyright infringement of their song “Extravaganza,” which was used without the group’s permission. In a statement issued on Monday, Sauti Sol accused the Raila Odinga-led Azimio La Moja political group of infringing their right to property.

According to the Music Society of Kenya (MCSK) chairman Ezekiel Mutua, the political group was given a go ahead to use the song. However, further permission was not sough from the song’s owners. The Kenya Copyrights Board (KECOBO) stood with Sauti Sol stating the infringement of copyright as only the owners of the song have the right to flag it off for usage when it comes to audio-visual platforms.

Sauti Sol’s outcry brought to light a number of issues including tyranny in music organisations and lack of public knowledge when it comes to copyright. Since news broke out, Kenya’s Copyright Board has issued a statement which states that the government needed to have obtained a synchronisation license before use of the song. This license can only be issued by the song’s original composer or performer. While we applaud Sauti Sol for speaking up, Kenyan artists should take it upon themselves to learn the workings of the industry as well as their legal rights to avoid abuse from the authorities

Featured image credits/NATIVE

ICYMI: PROJECT RUNAWAY

NCVRD: How Ruby Okoro Created BOJ’s ‘Gbagada Express’

Posted on by Emmanuel Esomnofu

The fisheye lens comes from a long history of experimental photography. American physicist Robert W. Wood first explored with the form in 1906 by combining real-life elements to replicate the effect of looking at surfaces how a fish would see it. It has since occupied the canon of visual creation around music for decades.

For the album artwork of musician BOJ’s sophomore album, ‘Gbagada Express’, the Lagos-based visual artist Ruby Okoro utilised this same style to represent the weight of Gbagada’s impact on the singer. “I always try to breathe life into [my work and] make it multi-dimensional,” Ruby said to The NATIVE some weeks ago. “As much as I like creating images, I still have to have those colours, have it kind of distorted. I’m very experimental, so for every project I need to try something new. It’s a personal thing; I use every project to accomplish ideas I have in mind”. 

Born in the southeastern state of Enugu and later residing in Lagos and Rome, Ruby Okoro is as eclectic as they come. His work combines disparate elements from the art found in these influential cities. He asserts that within every project of his “there has to be something that speaks culture”.

Cultural current flows surely on ‘Crystal Visions Of You’, among Ruby’s most recent work. When I inquire the stuff he’s most excited about as a creator, no time is wasted in choosing this. “It’s an idea that stuck with me,” he explains. “Other ideas kind of grew on me, but this was something that was with me since the start.”

Ruby was even better prepared for the BOJ artwork due to his familiarity with the musician’s catalogue. “BOJ DM’d me [earlier this year], in the normal way artists have been DM’ing me to work,” he says. “It was pretty straight, he told me he wanted a cover and sent me a cartoon reference of Tiny Planets. And like I said, I always have ideas so I’ve been waiting for someone to fully experiment with the Tiny Planets,” he says.

It was fated as Ruby had previously delved into the Tiny Planet aesthetic. From there, the pair began conceiving the inception of what is now the cover to ‘Gbagada Express.’ Ruby shares, “That’s where my vision now comes into light: me talking about how I want the cover to look, the font and all that. Then him looking through the back as the back cover, then the rollout video, him riding through Gbagada.”

“I PICKED PROMINENT PLACES THAT MEANT SOMETHING, THAT REPRESENTED GBAGADA AS MUCH AS HIM…IT DIDN’T FEEL FORCED SO I KNEW HOW TO VISUALLY REPRESENT HIM.”

The vision was to keep the artwork close to BOJ’s roots. It was Ruby’s decision to feature landmarks within the central Lagos area. “I rode around that day, sourced out locations, places I’ll love to use. There’s an image with him standing on the express as well–that’s the Gbagada Express. I picked prominent places that meant something, that represented Gbagada as much as him. And also that church, too. I think that’s a popular place in Gbagada. So it still boils down to having a touch of me in the work.” 

Speaking to Ruby about BOJ, it’s easy to see why the pair created such an iconic cover. The musician’s laidback vibe eased him into the faster paced world of music, and art was the priority. “It’s BOJ now,” he says lightheartedly when I ask how the textures of sound influenced his own creative choices. “I’ve been listening to BOJ’s music for a while. It didn’t feel forced so I knew how to visually represent him,” he says. “It’s something else when it’s a fresh act coming to you to shape how they’re visually represented [against] someone who’s been in the culture and who’s doing what he’s doing. For visual artists, if you know what’s up you can nail it.”

Okoro also wanted to capture the peculiarities of BOJ’s everyman personality. “The styling was very homely. It felt like a boy in the hood thing. He wasn’t rocking jewellery, he wasn’t dripped out. I wanted to show a normal BOJ, just waking up, riding his bicycle to go and buy Agege [bread] or something,” he shares with the NATIVE. 

Speaking about the music on the album, Okoro shares that “It’s a blend of everything and I fuck with it,” he says. “I fuck with how he also has the remix that he didn’t release; it’s kind of fresh. ‘In A Loop’ is a jam, that shit is on repeat every single time. ‘Owo Ni Koko’ is a jam too. It’s why I say you can never go wrong with BOJ. He’s like one of those guys that are your favourites’ favourite, but they won’t tell you. They’ll just lock it up and face their front. But if you know you know.” 

Ruby tells me that he began creating right from early childhood. He loved sketching and drawing and would later on dabble in music production. He won some writing competitions in high school. Photography came much later. “That felt like the best way to express everything,” he says. His sights set on going professional by 2017, he began creating images which held one spellbound, coloured by community and mystery in ways peculiar to Ruby. VSCO began paying him not long after. “Just for being hard,” he chips in with a laugh. He knew then he had something special. 

He grew into his creativity and with that, more clients came calling. His ascent within Nigerian art circles coincided with the primal stages of the alté counterculture. Lady Donli was an early collaborator, modelling for Ruby’s hybrid project, ‘Wetin You Sabi?’. The brilliance of contemporary visual artists unarguably contributes to the growing relevance of creative direction across entertainment, especially for musicians like BOJ.

As Afropop launches further into deep pockets of global pop culture, more musicians are in need of cohesive presentation. Ruby’s trademark flourishes have created compelling portraits of Teezee, Oxlade and Mavin Records signee Magixx. 

Featured image credits/NATIVE

ICYMI: PROJECT RUNAWAY

Best New Music: Burna Boy reinforces his superpower with “Last Last”

Posted on by Dennis Ade Peter

Although his recent wins may seem calculated, Burna Boy places a premium on creating through spontaneity. In his cover story for The NATIVE’s Birth Issue, the Port Harcourt-raised artist described his process as being in the moment and letting the Afro-Fusion spirits guide him. This laidback approach is very prosaic, but it has led to a catalogue packed with great music. For example, he recorded “YE” in less than a half-hour while inebriated at the backroom of a nightclub in Lagos. Yet that’s one of the greatest songs in Afropop right there.

Burna’s approach isn’t unique to him, but there are obvious reasons it works for him better than his colleagues. The first being  that he’s a supremely talented and devilishly skilled vocal performer that is always comfortable in any given sonic environment. That ability allows him to confidently broach a wide range of subjects and, especially when he’s being vulnerable, operate as an emotionally detailed lyricist. On the eponymous closer of 2018’s ‘Outside’, the subtle fears of not fulfilling his potentials are laid out in cutting lines, hitting a crescendo with a particularly chilly reference to incarcerated Jamaican dancehall superstar Vybz Kartel.

Safe to say, Burna Boy is living out his purpose. There’s the peerless three album run from 2018 to 2020, a much-coveted Grammy-award, arena shows all over the world, and many more accolades. Set to release his sixth album, ‘Love, Damini’, Burna Boy is clearly enjoying the moment, and the singles he’s shared in the last year represent that impenetrable feeling of triumph. Perhaps that’s what makes his new single, “Last Last,” deeply satisfying and somewhat bracing. It’s the first time since ‘Twice As Tall’ that he’s taken off the veneer of invincibility, recalling stories from Port Harcourt and sharing the emotions in the aftermath of recent experiences that cut him deep.

Premiered at some stops on his ongoing Space Drift tour, and shared on social media in snipper form, “Last Last” has been the subject of intrigue among Afropop fans, for its bridge and hook. The former, “Last last, e don cast/na everybody go chop breakfast,” presumably sung by Burna’s some of bredrins, is a clear nod to the popular Nigerian parlance used in summarily (and crassly) describing the ephemerality of most romantic relationships. While Burna Boy has never really been one to obviously crib from pop culture, singing of his recent breakup makes its usage here very apt. He’s ambiguous with details, but the weight on his heart is heavy and he even admits to dropping more than a few tears.

The breakup thing is the salacious—and most moving—part of “Last Last,” however, it functions within a stream of consciousness framework, a form Burna Boy is a master of. The first verse starts with a boast while the second recalls trying to get a Toyota Corolla in Port Harcourt under the tense cloud of the assassination of militant Soboma George. He links it to a self-inflicted car accident with his Ferrari, which could’ve resulted in fatal consequences. The story is tied together by Burna’s yodelling, along with guttural chants from his bredrins, on the indelible chorus: “I need igbo and shayo.”

 

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Similar to “Outside,” this emotive parts of this new song are not to show his scars. It’s not even a cry for help because Burna Boy is dealing with these feelings the best way he knows how to: smoke some good weed and drink some good alcohol, while commanding listeners to enjoy themselves along with him. It might not be entirely wholesome, but there’s something heartening about Burna spilling his feelings over Chopstix’s masterful blend of stomping, groovy bass and the frenetic guitar riff from Toni Braxton’s turn of the millennium mega-hit, “He Wasn’t Man Enough For Me.”

Already, there’s been speculations on what an upcoming Burna Boy would sound like, following his record-breaking spell. Turns out the personal experiences that inspire the intimate but ebulliently sung moments in his catalogue don’t need to be grand. Ahead of ‘Love, Damini’, “Last Last” reinforces Burna’s vital superpower of turning lived-in situations into wondrous anthems.

Listen to “Last Last” here.

ICYMI: DAVIDO RELEASES HIS DEBUT SINGLE THIS YEAR, “STAND STRONG”

4 Takeaways From The Mental Health Awareness Episode of NATIVE Sound Radio

Posted on by Wonu Osikoya

Last Thursday, the second episode of the new season of NATIVE Sound Radio aired on No Signal Radio. This time around, to spotlight Mental Health Awareness month, and the struggles we face as women in the music industry, our host Wonu Osikoya got candid with some of the women on the NATIVE team, Damilola Animashaun, Head of Content Strategy as well as Moore Wright, production assistant. 

The role women play in the music industry has become an increasingly present topic, given that women from all walks of life and from different creative and business sectors have created spaces for themselves in this male-saturated business. While the needle has shifted a bit, there’s still a long way to go with regards to how all of these women, no matter what their station is, are treated.

In this episode, Wonu got the girls talking about how they cope with the effects of their mental health while working in a fast-paced industry. Also, it was Mental Health Awareness Week, and as such, the girls also spoke at length about loneliness and how they are able to find ways to alleviate the feeling in their personal lives. They also exchanged their first-hand experiences with navigating friendship groups as adults, being vulnerable with your loved ones and getting over heartbreak.

Here are 4 takeaways from the latest episode below. 

Netflix’s ‘Blood Sisters’ is A Must Watch 

On May 5th, the first Nigerian original series arrived on Netflix in partnership with EbonyLife studios. The crime-thriller series told the story of two best friends, Sarah and Kemi. On the day of the traditional wedding ceremony, tragedy struck as an unintentional situation led to both women on the run, fighting for their life and crossing many hurdles. The 4-part film features actors Nancy Isime, Ini Dima-Okojie as the main characters and supporting acts from Kate Henshaw, Ramsey Nouah, Uche Jombo, Segun Arinze, amongst others. 

How To Deal With Mental Health In The Workplace 

The music industry moves at an ultra-quick pace. As women in the creative space, we’re having to navigate situations which could lead to mental breakdowns, issues such as hormonal imbalance from menstrual cycle. The girls share that working out and indulging in morning exercises help to relax the mind before a work day. 

How To Make Your Loved Ones Feel Less Lonely

Loneliness is one of those unavoidable feelings we as people seem to experience. For the women at NATIVE, we handle such situations by being there for people in a way that suits them rather than what works for us. Damilola spoke about being there for people to the best of your ability and rendering them support, whether emotional or physical. While Moore shared that sometimes all people is to know that people are there for them and they actually care.

Music as aural healing 

Music is a powerful healing tool and for most, a coping mechanism. For the women at the NATIVE team, music is the key to aural healing. Damilola speaks at length about how Hip-Hop/Rap records usually help with gloomy days because one can hear details of their pain which helps them process their feelings. While Moore and Wonu share how R&B and soul music also help in lonely and gloomy times.

Run back the pilot episode of NATIVE Sound Radio below.

Featured Image Credits/NATIVE

TurnTable Top 50: Kizz Daniel’s “Buga” Debuts At No.1 This Week

Posted on by Tela Wangeci

Barely 2 weeks after its release, Kizz Daniel’s “Buga” featuring Tekno sets a new record for the biggest streaming week ever in a week since TurnTable Charts began tracking in July 2020 – breaking the previous record held by Pheelz & BNXN’s “Finesse”. The song raked in 11.4 million equivalent streams and 47.5 million radio streams, debuting at No.2 on radio. This is Kizz Daniel’s third No. 1 entry on the Top 50 while it is Tekno’s first chart topper in Nigeria.

 

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It is followed by Black Sherif’s “Kwaku The Traveller,” which drops to No.2 this week after tallying 3.36 million equivalent streams. At No.3 is Fireboy DML’s “Playboy” which also records a drop this week from its previously held peak. Camidoh’s “Sugarcane (Remix)” with Darkoo, Mayorkun and King Promise rises to No.4 on this week’s Top 50 with 2.97 equivalent streams and 27.3 million radio streams and is followed by Rema’s “Calm Down” which rounds up the top 5.

At No.6 this week is Asake’s “Sungba Remix” with Burna Boy while Young Jonn’s “Dada (Remix)” with Davido holds at its No. 7 peak for another week. To round up the Turntable top 10; Pheelz & BNXN’s “Finesse” falls to No.8 and BNXN’S “Kilometer (Remix)” with Zinoleesky takes a fall to No. 9. After the release of Victony’s EP ‘Outlaw,’ “Kolomental” debuts at No. 10. This is Victony’s second top ten entry after “Holy Father” featuring Mayorkun which peaked at No. 2.

Elsewhere in the charts, Naira Marley’s ”O’dun” with Zinoleesky debuts at No. 12 while T Dollar’s “Rise” starts at No. 21 and FUTURE’s “WAIT FOR U” with Tems and Drake at No. 25.

Featured image credits/

ICYMI: PROJECT RUNAWAY

Songs Of The Day: New Music From Gabzy, Yung L, Falz & More

Posted on by Chibuzo Emmanuel

2022 is no longer a new year, and Afropop knows that very well. As much as the previous year was packed with scene-defining achievements, especially within the context of global growth, the only way to keep the momentum from falling off is for artists to keep reaching into their bag for great music that holds the ears and captures the hearts of millions of listeners across the continent and well beyond. That’s exactly what’s been happening, so much so that there’s hundreds of new singles, at-least one new must-hear album and a new smash hit every week.

Amidst this torrent of new music, the NATIVE is committed to highlighting the best releases you need to hear, and possibly add to your playlists. That’s the essence of our ‘Songs of the Day’ column. Last week, we highlighted new drops from Zinoleesky, Asake, DJ Spinall, Naya Akanji, Mavin records and more. To begin the new week, enjoy a new selection from Gabzy, Yung L, Falz, and more.

GABZY — “RICE & PEAS”

Blending Afropop, R&B and Latin Jazz into an iconoclastic concoction of escapist sounds, Gabzy treats us to another dose of his gilded magic on “Rice & Peas”, a standout off his just-released awe-inspiring EP ‘At The End Of The Night.’ From the impeccable production to his concerted breezy delivery, Gabzy rolls together a brilliant summer anthem, perfect for turning up with your favourite person.

DJ TUNEZ & D3AN — “LONDON”

Over the past few years, the name DJ Tunez and the phrase “Life of the party” have become synonymous. Off the back of a monster hit, “MMM”, which features burgeoning Street Pop icon Mohbad, he teams up with D3AN for yet another banger, “London”. Coming at us with boisterous percussion, sustained synths and dizzying melodies, the pair deliver an awe-inspiring Amapiano gem, certain to send clubs into a vivacious frenzy any time it comes on.

YUNG L & MR VEGAS — “JO”

Since releasing his spellbinding ‘Yaadman Kingsize’ EP in 2021, which spawned seismic hits like the Wizkid-assisted “Eve Bounce”, we’ve all been eagerly waitiTim ng to see where Yung L will take his Afro-Dancehall sound next. Now, he returns with a gleaming offering with Mr Vegas titled “Jo”, the latest addition to our Dancehall playlist. Salacious lyrics over an undulating dancehall production, “Jo” is all you need to unwind and let loose after a hectic day.

WAJE AND FALZ — “VIBEZ”

After a long-drawn hiatus, Waje is back and she has definitely not lost her defining lustre. On “Vibez,” she joins Nigerian singer for a bouncy, utterly irresistible and explosive new track. Waje’s dizzying voice drips across the song’s mid-tempo production, dazzling and rolling back the curtains of nostalgia. Falz pulls his weight, dishing swanky lyrics, as the pair deliver a celebratory Afro-house earworm.

TIM GREY — “4U”

At some point in our lives, we’ve all certainly experienced the twin emotions of sexual attraction and unbridled love for a love interest. In Tim Grey’s new track “4U”, he pulls apart the gamut of emotions that accompany love and longing, while delighting our eardrums with a sultry upbeat percussive record.

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ICYMI: Celebrating a decade of Mavin Records with 10 standout songs

What’s Going On: Drought In East Africa, Fatal Attacks In Nigeria & More

Posted on by Wonu Osikoya

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

Fatal lynching attacks across Nigeria

Without access to proper court systems and justice, news of jungle justice and lynching is quite common to the point that many people are desentisised. But with two fatal attacks over the weekend, the news is a lot harder to ignore. Over the weekend, disturbing occurrences were reported in Sokoto where a young school girl was set alight for blasphemous statements down, and in Lagos where a sound engineer was reportedly burnt to his death.

On Thursday 12 May, Deborah Samuel, a 200 level student of Home Economics in Shehu Shagari College of Education was brutally stoned, flogged and burnt to death after posting a message on a class groupchat discussion. According to PMS News Nigeria, a classmate and eye witness had reported that “Immediately, about three other chats came in from two Muslims and one Christian, telling her to retract the statement. Two students from other departments who over heard some Muslim boys discussing the matter told Deborah’s close friends to prevail on her to retract the statement. But she replied via a voice note on the platform ‘Holy Ghost fire. Nothing will happen to me.”

Following this, the Deputy Commissioner of Police led a team of policemen and operational commanders to the scene of Deborah’s death. The situation was brought under control and, according to Sanusi, the police command’s public relations officer, two suspects were arrested at the scene of the crime. The school was also shut down in line with efforts to carry out an investigation of the incident

Elsewhere in Lagos, on Sunday evening, in Lekki environs, it was reported that a keyboardist and audio engineer David Imoh who was the lead audio engineer of LEGACY360 band was beaten, killed and lynched by motorists over a disagreement with a motorcylist who he owed change for his fare. News has flooded social media timelines with reports stating that David’s death followed quickly after a mob arose in response to his disagreement with the motorcyclist, and he was set ablaze by the angry crowd. Following the gruesome scene, the Lagos State Police Command has said that four have been arrested as suspects in this case while Nigerians are calling for#JusticeForDave via social media. 

Kenyan Student Stabbed To Death By Boyfriend

19-year-old Purity Wangechi, a student at the Kenya Institute of Mass Communication has been reportedly stabbed to death by a man who has been identified as her boyfriend, 24-year old John Wanyoike Kibungi, popularly known as VDJ Flex. The country’s Directorate of Criminal Investigations revealed that Purity left college on Friday to visit her boyfriend in Kirigiti, Kiambu County. However, on Saturday, her body was discovered in a thicket in Buriria Village with two stab wounds in the neck.

According to official reports, a passerby noticed her body alongside some identification documents which included a national identity card and a school identification card. On Saturday, the deceased’s body was taken to City Mortuary in Nairobi County pending an autopsy. As at the time of her murder, the Kenyan authorities have also reported that Wanyoike was still at large and is currently the only suspect being followed in the current case. However, since it was reported, the suspect has been found in an undisclosed hiding spot and is currently in police custody.

Drought In East Africa

A fourth season of failed rains is causing one of the worst droughts East Africa has seen in decades, and a village, which is home to 3,600 families, is one of the areas hardest hit. In Northern Kenya, Turkana — home to over 3600 families, is experiencing the worst drought in the last decade. Since this latest drought started last year, there have been multiple cases of malnutrition and famine across the land.

According to reports from the BBC, several families within the region have been badly hit. Countless families are eating once a day and as there is not enough food to go around, with the priority given to the elderly people as well as children. Currently, the UN’s World Food Programme says up to 20 million people in East Africa are at risk of severe hunger. Also, Ethiopia is currently battling the worst drought in almost half a century and in Somalia, 40% of the population are at risk of starvation. 

Kenya is set to make history

Over in Kenya, Martha Karua may become the first woman to occupy the office of deputy president in Kenya after Raila Odinga announced her as his running mate in this year’s election. Karua, more commonly referred to as “Iron Lady” who ran for president by herself in 2013 and was one-time rival to Raila Odinga, has always been outspoken on corruption in the past years.

In August, Kenyans will once again decide who will become their democratically elected leader after incumbent President Uhuu Kenyatta steps down from power following the presidential elections. Kenya has one of the lowest proportions of female parliamentarians in East Africa – at just 23%, and as such, the news of Karua as running mate for the forthcoming elections is a welcome one. Ms Karua, 64, is a lawyer and legal practitioner who won praise before becoming an MP for her work advising human rights activists.

Featured Image Credits/PMSNigeria

ICYMI: PROJECT RUNAWAY

Celebrating A Decade of Mavin Records With 10 Standout Songs

Posted on by Wonu Osikoya

Mavin Records is a towering dynasty in the making. Birthed in 2012 by Don Jazzy, the label’s formation followed the closure of Mo’hits records in the aftermath of the split between Don Jazzy and D’banj. Recently hitting the 10-year mark, Mavin has nurtured dozens artists, producers, songwriters and music creators, elevating more than a handful into global superstardom. It’s quite the fulfilment, considering the word Mavin refers to someone who is an expertise in whatever field they find themselves. 

In a glitzy introduction, Mavin Records opened shop with its ‘Solar Plexus’, a compilation album featuring its first set of artists—Dr Sid, Tiwa Savage, D’Prince and Wande Coal—under the guidance of executive producer and label boss, Don Jazzy. Largely created and produced within the space of three days, the 13-track project was moderately received, setting the ball rolling for an abundant run that continues till date. Over the years, Mavin has been the home to more superstars and acclaimed producers beyond its inaugural class, with an enviable list that includes Korede Bello, Reekado Banks, Di’Ja, Iyanya, BabyFresh, Altims, Ladipoe, Rema, Crayon, Ayra Starr, Johnny Drille, and more. 

Celebrating its 10-year anniversary, Mavin recently shared the all-star single “Overdose,” which was first previewed at their celebration party last weekend and was released earlier today. The single is the precursor to an upcoming compilation album, which doesn’t have a specified release date just yet. While looking forward to that project, it also feels pertinent and apt to take a trip down memory lane. Below, we look at each calendar year in the Mavin canon, highlighting a standout song from each year.

2012: D’Prince – “Take Banana”

Now label boss of Jonzing world Records, D’Prince delivered the record “Take Banana” in 2012 as part of Solar Plexus. The raunchy songs, with thinly-veiled quips about unbridled horniness, had the lyrics “take banana till you go yo” on the lips of listeners and fans for a long time. The song emphasised D’Prince’s pop bonafides, and it quckly became the standout single off the compilation project ‘Solar Plexus.’

Honourable Mentions: “Oma Ga” – Tiwa Savage and “Forever” – Wande Coal 

2013: Tiwa Savage – “Eminado” (feat. Don Jazzy)

Everything about this record “Eminado” is special. From the meaning of the title “Eminado” which means “good luck charm” to the delivery on the track, Tiwa Savage and Don Jazzy created a special record and the synergy on the record is what draws listeners to this particular tune. On the pre-hook of the track, Tiwa chants “Oh my baby, carry me like your baby/I don’t know what you did to me but I’ll never leave, I’ll be your Eminado”, stating her importance and relevance if she’s welcomed in the life of her lover. Don Jazzy also holds down the song with his stellar verse and his bass voice, fusing a different energy and life into the record.

Honourable Mentions: “Rotate” – Wande Coal

2014: Mavin All Stars – “Dorobucci”

In terms of impact, “Dorobucci” has to be the most impactful song out of the Mavins’ catalogue. The record was used to break out three different stars at the same time and undoubtedly did just that. The record featured verses from Tiwa Savage, Don Jazzy, Korede Bello, Reekado Banks, Di’ja & D’Prince and the word “Doro” became the go to word for any music and non music lover. The heavy impact of the record cannot be overstated. On the Don Jazzy-produced record, each artist delivered a stellar verse that tied their respective personalities to their verses. On the track Tiwa Savage chants lyrics such as “Doro na diva, doro na Tiwa, doro na leader”, stating she’s a female boss and won’t be stopped by anyone. Korede Bello on his verse also shared lyrics such as “Doro mega, doro super, doro star, doro mega superstar”, introducing listeners to himself, his music as well as his persona.

Honourable Mentions: “Adaobi” ft. Don Jazzy, Reekado Banks, D’ija

2015: Korede Bello – “Godwin”

Korede Bello had listeners and fans at his feet with a stellar verse on “Dorobucci”. In a bid to show more star power, the artist released the single “Godwin” in January 2017, a record that rose to the top of the charts as soon as it was released. The record which was also produced by Don Jazzy sees the artist speaking on his recent achievements and thanking God for his success story. On the track he chants lyrics such as “I don get alert, Godwin and I don buy motor Godwin/Everything I do na Godwin”, expressing his most sincere appreciation.

Honourable Mentions: “Kabiyesi” – DR SID

2016: Reekado Banks – “Problem”

Reekado Banks released his first body of work ‘Spotlight’ in 2016 and the album featured records such as “Ladies and Gentlemen”, “Move” and more. On standout record “Problem”, Reekado Banks opens the track as he chants “This gbedu is a problem”, assuring listeners that they’re in for a ride on the track. Produced by Baby Fresh, the record sees the artist praising his love interest based on her physique. He sings on the track, “Your problem dey for your back/your problem is our problem, this problem is a problem”, over the heavy kicks of the production of the track.

Honourable Mentions: “Standing Ovation” and “BAD” – Tiwa Savage

2017: Tiwa Savage – “Ma Lo” ft Wizkid

Shortly after its release, “Ma Lo” instantly became a hit song and only became bigger as the days went by. Off her ‘Sugarcane’ EP, Tiwa Savage teamed up with Wizkid for the romantic number. The mid tempo tune sees both artists delivering romantic verses to their love interests. On the chorus, Tiwa Savage quips “Ma lo, jo o, you give me love I never see oh”, pleading with her love interest in the most romantic way possible to remain by her side. Wizkid taps into the message of the record and delivers a stellar verse.

Honourable Mentions:“All Over”– Tiwa Savage

2019: Rema – “Dumebi”

After a fallow 2018, Mavin, in collaboration with D’Prince’s then-new imprint Jonzing World, introduced the world to wunderkind Rema, unfolding a new era early in 2019. Rema arrived with the release of his debut self-titled EP, which had introduced listeners to a world of different sounds and themes all merged into 4 tracks. The standout track “Dumebi” instantly piqued the attention of listeners and in no time became a fans favourite, topping charts in and out of Africa. On the track, his search for love directs him to an Afropop dance party bop with piano-led beats Ozedikus produces as he showcases melodies and delivers a stellar performance.

Honourable Mentions: “All I Do Is In Order” ft. Don Jazzy, Rema, Korede Bello, DNA Twins

2020: Ladipoe – “Know You” (feat. Simi)

At the peak of the pandemic, Ladipoe released the Simi-assistsed “Know You” as his first official single of the year, blending his heavy bars with Simi’s magical voice and sensual melodies. On the track, they both sing to their respective love interests on how they’d want to be more than just friends and they’d like to know them deeply. On his verse, Ladipoe quips standout lyrics such as  “You got something in your teeth but would you try to stop me if I want to take it out/Girl I think you love me, but you turn this bad boy into a busy boy.”

Honourable Mentions: “Woman”- Rema

2021: Ladipoe – “Feeling” (feat. BNXN Fka Buju)

Ladipoe teamed up with BNXN to deliver the longest number 1 Hip-Hop/Rap song on the Turntable charts in 2021. The record “Feeling” is an uptempo rhythmic number which captures the beauty of focusing on the good things of life and taking life one at a time. Produced by Andre Vibez, BNXN sings on the chorus “I like the way I’m feeling now, no come use your reggae spoil my blues and rhythm now”, Ladipoe on the track delivers two rap verses which sees him contributing to the message of the track with his rap bars. He quips lyrics such as “All I wanna do is jaiye, 220 on the highway/I’m about the energy, baby if it’s good bring it my way, if it’s bad keep it private”, making it clear to listeners that he’s focusing on the positive and good vibes.

Honourable Mentions: “Bloody Samaritan” – Ayra Starr

2022 (so far): Rema – “Calm Down”

Off the highly anticipated debut album ‘Rave & Roses’, Rema arrived at the start of the year with the lead single off the tape “Calm Down”, an infectious Afropop romantic number which finds the artist singing about his love interest inviting her to give him a chance. On the track he sings “Baby calm down, this your body dey put my heart for lockdown” over the rhythmic and melodious production of the Andre Vibez-produced track. He delivers a special romantic number as he fuses a bit of pidgin into the lyrics of the record, giving listeners an enjoyable listening experience through his inviting melodies.

Honourable Mentions: 

“Are You There” off Rema’s debut album ‘Rave & Roses’ is a fierce, bold and honest statement by a young Nigerian artist who has a lot to say and uses music as a weapon of expression. This record which arrived less than two months ago has become one of the songs which have resonated with fans and listeners as it addresses the matters we as young Nigerians have faced and are still currently facing.

Featured Image Credits/NATIVE

Obongjayar shares highly anticipated debut album, ‘Some Nights I Dream of Doors’

Posted on by Dennis Ade Peter

To describe Obongjayar as a unique artist would be stating the obvious. The British-Nigerian singer and songwriter born Steven Umoh emerged in the mid-2010s with a pair of deeply stirring EPs—‘Home’ and ‘Bassey’—dealing with heady and intensely personal themes over a simultaneously imposing and gauzy soundscape, with intricately woven cues from Electronic music, Ambient, Jazz, Afrobeat, and Soul.

In early 2020, he shared ‘Which Way Is Forward?’, a meditative and sometimes joyful rumination being Black in a white man’s world. That project exposed to a wider pool of listeners, and Obongjayar has since done his part to build on the momentum. Last summer, he partnered with Afropop producer and savant Sarz for ‘Sweetness’, an inventive, addictive and breezy punch of Disco-influenced neo-funk. He’s also collaborated with Little Simz, Pa Salieu, BOJ and more, consistently bringing his distinct flavour and artistry into a mainstream spotlight without losing its outré essence.

 

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All of this has set the stage for ‘Some Nights I Dream of Doors’, his highly anticipated, newly released debut album. Initially scheduled for a January drop, Obongjayar had pushed back the LP a few times, before settling on its May 13th release date. The album was preceded by several singles, including the searing, socio-political screed, “Message in a Hammer,” the uplifting “Try,” and romantically-tilted “Tinko Tinko (Don’t Play Me for a Fool).” They’re a representation of the album’s expansive yet deeply personal thematic range, showing Obongjayar’s wondrous knack for making profoundly affecting music.

Inspired by the seminal basketball documentary, ‘Hoop Dreams’, Obongjayar recently told The NATIVE that the ‘Some Nights I Dream of Doors’ came about by “thinking about the idea of what it means to dream for so long, and then it doesn’t work out in the end.” The album comprises twelve songs, with a sole feature from acclaimed British jazz saxophonist, composer and band leader, Nubya Garcia. Similar to his last project, ‘Some Nights I Dream of Doors’ is entirely produced by Barney Lister, except for “All the Difference,” which was co-produced with J Rick.

Listen to ‘Some Nights I Dream of Doors’ below and read our Obongjayar profile here.

ICYMI: How SARZ & OBONGJAYAR BROUGHT NIGERIAN FUNK BACK ON ‘SWEETNESS’

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

Posted on by Tela Wangeci

2022 is no longer a new year, and Afropop knows that very well. As much as the previous year was packed with scene-defining achievements, especially within the context of global growth, the only way to keep the momentum from falling off is for artists to keep reaching into their bag for great music that holds the ears and captures the hearts of millions of listeners across the continent and well beyond. That’s exactly what’s been happening, so much so that there’s hundreds of new singles, at-least one new must-hear album and a new smash hit every week.

Amidst this torrent of new music, the NATIVE is committed to highlighting the best releases you need to hear, and possibly add to your playlists. That’s the essence of our ‘Songs of the Day’ column. Earlier in the week, we highlighted new drops from Cobhams Asuquo, Bella Shmurda, Stonebwoy, Zilla Oaks and more. Today’s selection includes new cuts from Zinoleesky, Asake, DJ Spinall, Naya Akanji, Mavin records and more.

DJ Spinall & Asake – “Palazzo”

“Palazzo” sees producer and DJ Spinal employ the abilities of talented singer Asake. The new release is a blend of Spinall’s melodic tune and Asake’s aptly rhyming prowess. Merging Amapiano and Afrobeats on the soundbeds, the instrumentals add to the song appeal creating a dancefloor aura. Accompanied with crisp visuals directed by TG Omori, who creates the perfect backdrop for Asake to fire off his rapid-fire lyrics, nothing seems out of place.

Zinoleesky – “Love You”

Zinoleesky’s playful melodies and charming vocals dominated his fresh new single “Love You”. Publicly acknowledging his adoration towards his muse, he narrates his love and his willingness to do anything for her  while ignoring the outside world. Singing lyrics such as “.. Tell me what them haters gon’ do oh no Idea them no get password to the WiFi they just want to know our lifestyle..,” his exuberant song writing skills shine all through the Amapiano infused tune. 

Ria Sean – “Thai Food”

Ria Sean releases another sensational single, “Thai Food” which is set to feature on her forthcoming EP, the follow-up to 2021’s debut release ‘Fluid.’ On new release, “Thai Food,” she reminds listeners of her rapid-fire abilities. Over a percussive beat and a groovy backdrop, her soulful vocals are distinctive as she asks her lover to stay true to their desires.

Njeri – “Ecstasy”

Kenyan songbird Njeri navigates the highs and lows of love with her new single, “Ecstacy.” Her honeyed vocals provide a soothing listening experience while she coaches listeners on the mechanics of romantic love. Featuring Albeezy, the upbeat backdrop compliments the drastic effects of love. 

Mavins – “Overdose” ft Crayon, Ayra Starr, LADIPOE, Magixx & Boy Spyce

Over the past 10 years, Mavin has released a catalogue of collaborations with notable numbers from the record label. From the defining “Dorobucci,” to the cheeky “Jantamanta” video, Mavin has been at the forefront of housing continental stars. To celebrate their 10th year anniversary the label has released a romantic single “Overdose”.

Featuring Crayon, Ayra Starr, Ladipo, Magixx and Boy Spyce, the artists use love as their subject matter while the soulful Ayra Starr dishes out boisterous lines such as “..trips to LA taking photographs if it’s signed by me it’s an autograph.” The infectious hook gives an extra punch to the earworm track making it a must have on your playlist. 

Naya Akanji – “Closer”

Rising star Naya Akanji has released an earworm track titled, “Closer”. The smooth single is tailored towards listener’s sensitive side reducing the distance they could feel between themselves and their muses. Over a blend of R&B and EDM, “Closer” pushes past physical connection into the emotional realm.

Ruguru Tanya – “For Sheezy”

Ruguru Tanya is a Kenyan songbird who has been attracting attention for her silk voice and sleek R&B sound. Her ability to sing about a wide range of issues from love to God’s presence in her life, has set the singer on a steady rise to stardom. Her latest release, “For Sheezy” is a love song dedicated to lovers and to having a good time.

Quamina Mp – “Attraction (Pinini)”

Sensational artist Quamina Mp released his self produced track titled, “Attraction(Pinini).” Here, he pledges allegiance to his muse and worships his lover with lyrics such as “..anyhow you move ago move.,” asserting his intimate desires towards her. 

Featured Image Credits/DemolaMako

Burna Boy’s “Last Last” Begins The Journey To ‘Love, Damini’

Posted on by Emmanuel Esomnofu

Burna Boy has released his “Last Last”, the first single off his forthcoming sixth album, ‘Love, Damini’. The Grammy-winning musician first premiered the breakup-themed song on the night of his groundbreaking Madison Square Garden show, much to the excitement of all who were present and those who streamed the event from around the world. Weeks later, the sizzling “Last Last” is finally available to stream. 

The song captures Burna Boy in all the shades he has painted himself since releasing his debut album ‘Leaving An Impact For Eternity’ in 2012. In the first verse, he charts the timeline of a failed relationship by hinting at the cause of conflict: him being too busy, flying around the world and making music the top priority. “You go bow for the result o/nothing to discuss o, ‘cos me I win by default o” he sings with typical assurance, but by the ending line of the verse he’s vulnerable and willing to admit the hurt of having no other choice but to leave someone you love. “My eyes o, don cry o” he sings, before segueing into the most relatable line of the song: “I need Igbo and Shayo”, repeated over a thumping bass line which samples Toni Braxton’s “He Wasn’t Man Enough”. 

We recently wrote about the potential for Burna Boy’s forthcoming album and how it’s likely to embrace freedom in a way he’s seldom done since ‘Outside’. Knowing how well the 30-year-old musician parlays his personal experiences into something larger, “Last Last” is probably the prime showcase of his mindstate going into ‘Love, Damini’. In the second verse, he goes from discussing the conflicted emotions he had when a Niger Delta militant George Soboma was killed, to addressing how he crashed his Ferrari earlier this year. “Na small thing remain, could have been run-over” he sings with obvious emotion in his voice. 

“Last Last” is produced by Chopstix, and was released alongside a video that was directed by none other than Burna Boy. The scenes are festive and communal, packed full of family and friends in the musician’s house. Flashbacks of him winning the Grammy, touring the world and performing at the MSG also contribute to the montage. In all, “Last Last” takes the right step in starting off the journey to July 2nd when Burna Boy shares ‘Love, Damini’ with the world. 

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ICYMI: PROJECT RUNAWAY

Davido Releases His Debut Single This Year, “Stand Strong”

Posted on by Chibuzo Emmanuel

Davido is the gift that keeps on giving. Since his seminal breakout in the summer of 2012 with the explosive “Dami Duro”, he has established himself as a touchstone in Afropop culture. Lining the Pop landscape with hit after hit, the momentum of every banger propelling him above stratospheric limits.

Since the release of his 2020 project ‘A Better Time’, which spawned continent spanning hits like the anthemic “Fem”, he’s continued in his hit spinning trajectory, delivering tectonic hits like the Focalistic assisted “Champion Sound”, his collaborative offering with Adekunle Gold “High”, and Focalistic’s “Ke Star Remix”. Now he’s back with another sparking track featuring the Samples.

 

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His new release, “Stand Strong” symbolises the end of the long wait for his debut record of the year. The Pheelz-produced track pairs his sultry vocals with choral crooning from The Samples, who have in the past been called upon by Kanye West for his Sunday Service Choir. The sonorous new number finds the singer drawing from a range of influences and experiences in his life, as he sings lyrics such as “Omo I stand strong/30BG dey my back/can’t deny devotion,” and extols God for blessing him and those around him.

Two years after his star-studded 2020 album ‘A Better Time’ which features international heavyweights like Nicki Minaj, Lil Baby and Nas, Davido is on course to release his fourth studio album this year. The just-released “Stand Strong” is the first track of the imminent Album.

In a tweet made a few days ago, he announced “For the first time I want to bring you into the other part of my world. The part where every day is a battle but I have no option but to STAND STRONG. I present to you, the first single off my next album.” The title and release date of this impending album still remains in the dark, but more details are expected to unfurl soon. Following a momentous second sold out show at London’s famed O2 Arena, Davido is poised to embark on a limited run of shows in a slew North American cities in June, with a tour titled ‘We Rise By Lifting Others’. The tour will see him perform in Brooklyn, Toronto, Boston, Chicago and Los Angeles.

Stream “Stand Strong” below.

Featured image credits/Davido

Kizz Daniel emerges as the best performing act on the TurnTable Charts Q1 Report

Posted on by Chibuzo Emmanuel

Since bursting onto the perennially bustling Afropop scene in the summer of 2014 with the mercurial “Woju,” Kizz Daniel has not slowed down. Now following his stellar musical offerings in the past few months, he emerges as the most prolific act of the first quarter, according to data from Turntable Charts.

 

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Kizz Daniel’s music is largely defined by playful celebratory lyrics — sunny romance inflected ballads, majestic lax anthems and ambitious odes directed at God. He doesn’t try to buoy his career or lay claim to the top spot, instead his true and tested strategy has always been sticking to what he does best which is flooding the Afropop tableau with dazzling Pop masterpieces.

His last EP ‘Barnabas,’ released at the tail end of 2021, is the paragon of his flagrant commitment to delivering dizzyingly resonant gems over elaborately polished but vapid sonic trinkets. Speaking to Turntable, Kizz Daniel says “I just put out music when I feel good about it and there’s no pressure because I’m not trying to impress anyone. If you have a body of work, you put it out. Barnabas is doing so well right now and it wasn’t particularly planned. I was supposed to drop an album, Afro-Classic, but there was some hold up with some international songs on the album.”

This year, the blistering success of ‘Barnabas’ has kept the embers of Kizz Daniel’s impressive run going, dominating charts across the country. From being an ever-present canon on the Apple Music charts, to dominating the Audiomack and Boomplay charts respectively, its exploits have been stratospheric. A testament of his star-power is his feature (alongside Tiwa Savage) on 1dabanton’s viral tune “No Wahala,” which rocketed to the ranks of the Top Ten hits in the country following the remix.

Alongside Kizz Daniel ‘s gargantuan win at the top of the end of quarter results, there are also a number of other notable wins. Fave emerges as the highest performing newcomer of the first quarter, earning the TurnTable Next Rated title following the release of her debut EP ‘Riddim 5.’ Olamide lands a victory as the highest performing artist on streaming platforms for the past quarter, while Blaise Beatz emerges as the top producer.

The NATIVE and TurnTable charts will be rolling out the full breakdown of the Q1 report over the next few weeks. Keep your eyes peeled for more information.

Featured image credits/Turntable

ICYMI: Obongjayar Has Been Dreaming of Doors