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.

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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.

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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.

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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

AV Club: ‘Silverton Siege’ Explores Historical Event Amid Blockbusting Thriller

Posted on by Emmanuel Esomnofu

Last month, ‘Silverton Siege’ a political drama about the events that led to the release of Nelson Mandela from prison has been released on Netflix. The film’s maker Mandla Dube has previously explored racial tensions in his native South Africa. ‘Silverton Siege’ rests at the middle of a planned trilogy which began with 2016’s ‘Kalushi’, a biopic about the freedom fighter Solomon ‘Kalushi’ Mahlangu.

The last of the trilogy ‘The Rivonia Trial’ of Nelson Mandela expected to complete the project. When viewed together, Dube has created a gritty, affectionate collage from epic moments which, not so different from every nation’s story, is tinged with hope, despair, misjudgements and thrill.

Aptly released on the nation’s Freedom Day (April 27th), ‘Silverton Siege’ was received by viewers on the continent with a flurry of attention. ‘Kalushi’ had performed well, among other honours, even winning Dube the Rapid Lion award at the 2016 Festival. However, just as his previous film, the conflicting matter of justice once again reared its head and cast a light on the stories of Stephen Mafoko, Humphrey Makhubo and Wilfred Madela.

On January 25 1980, these members of the UMkhonto weSizwe (commonly known as the MK, a radical group started by Mandela), entered the Volkskas Bank while being chased by the police who had sabotaged a mission of theirs. Knowing the multitude of police waiting outside, they decided to take everyone inside the bank hostage and, seeing no way they’d leave alive, began to stir a movement much larger than them. ‘Free Mandela’, they demanded, passing their incandescent message through an array of forms.

Asides this vague nod to that event, ‘Silverton Siege’ glistens with artistic freedom, so much so that you’d be amiss to call this a documentary or biopic of the siege’s lead characters. Director Dube flouts the conventional knowledge of three men really leading the siege, rather pulling the masterstroke of featuring a lady. Intimate details of the Apartheid era were also cut away as the camera retains picturesque quality, following the film’s immediate characters with reliant focus. In an interview, Dube mentioned Frank Pearson’s ‘Dog Day Afternoon’ and Akira Kurosawa’s ‘High and Low’ as inspiration for ‘Silverton Siege’, adapting their highwire qualities and psychological tussles.

The brilliance of ‘Silverton Siege’ unfurls initially through its cinematography. Narrated by Calvin Khumalo (played by Thabo Rametsi), its early scenes depict the ramshackle nature of the nation’s slums, the stretching veldt and haphazardly-erected wooden shacks. Against the relative richness of the Pretoria landscape where he arrives to orchestrate an MK mission, audiences can sense the origins of his discontent and, even much larger, those of Black people across South Africa.

While he and his comrades are pursued through busy streets, their everyday clothes and perplexed skin marks them out, as though they’d rather be elsewhere, but are now being called into the unquestionable duty of being freedom fighters.

Inside the bank, Dube’s camera follows the trio with shifting complexity, zooming in and out with natural understanding of the emotional state he seeks to capture in a particular scene. The hostages also contribute to the montage, coming differently into the revolutionary struggle. Supplying packed tension, the sound choices are also good: in this movie, you’ll watch the most poignant interpretation of Fela Kuti’s “Zombie” etched onto a progression of events.

Truly, life inspires art and the colour-driven history of South Africa inspired the great creations of many artists from the 20th Century to the present time. They responded variously to the inhumane-yet-strong presence of white discrimination across the country. In films like the Oscar-winning ‘Tsotsi,’ we see how Black pain can morph into Black violence, often against people in similar situations with ours.

The complex presence of being among so many and yet feeling alien lingers still in the multiplicity of languages spoken in the ‘rainbow nation’, a cultural facet ‘Silverton Siege’ does well to explore. In one scene, while negotiating with the MK trio, the white police chief (played by Arnold Vosloo) urges Calvin to speak in Afrikaans, a language with origins to the Dutch people who colonised parts of South Africa before the eighteenth century. Khumalo retorts, asking the man if he spoke Zulu. “Your people have been here 400 years and you haven’t bothered to learn an indigenous language, yet you call yourself a South African?”

In contrast to the overarching presence of racism, Dube shows that it is possible for logic to pierce through love instead of hate and greed. The character of Elani Dekker playing Christine is particularly emotive and effective. She’s an affluent white woman who learns equality early in her life, and is eager to help the Silverton trio. Prior to exiting the bank to declare their noble goals of freedom, she and Khumalo feature in one of the movie’s most powerful scenes. Confused and desperate, Khumalo initially refuses her advances to help. She doubles down, speaking a phrase in Zulu which proclaims the philosophy of Ubuntu: ‘we are only human through other human beings’. In the end, their stories are shared: his, of a past riddled with pain; hers, of a past steeped in injustice.

 

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Elani is just one of the several women who brilliantly execute important roles in the movie. In her act as Mbali Terra, Noxolo Dlamini juggles ferocity and tenderness, eventually becoming the most likeable member of the Silverton trio. Rachel, a lady with albinism who passes as white, is played by Michelle Mosalakae who delivers a memorable account of her skills.

The strongest criticism against ‘Silverton Siege’ is perhaps its treatment of the world outside. While Khumalo and Christine argued before sharing personal tales, the former criticised the woman’s invoking of Ubuntu. “They’re just words, Christine”, he says with pained disbelief,  in the same way a critique might point out the flattened themes of this movie, how easily it leans onto utopia to pass across its message. Well, in actuality, Nelson Mandela was released ten years later. How you hold up that information relies on your personal interpretation of justice, if its enemies run too deep in the system to have a fair chance; or optimistic enough, three people can stir millions of hearts worldwide.

Lead character Rametsi has worked previously with Dube on ‘Kalushi’, but otherwise, he’s more known for acting in TV series. Here he’s brilliant as a funnel for the conflicting emotions suffered by many revolutionaries. Sketches are made of his  compulsiveness, but he makes good on his choices eventually and by the powerful closing scene becomes the sort of hero you’d expect from a movie like this. He’s the one who has to answer the most heated of the recurring question: ‘what’s the price of freedom?.’ In its attempt to get us to ponder this question, ‘Silverton Siege’ forces us to stare at the surface of a longstanding conflict so that perhaps, one day we’ll dig deep enough to be covered in the dirt of salvation ourselves.

Featured image credits/NetflixSA

ICYMI: 11 Projects You May Have Missed This Year

NATIVE Exclusive: Obongjayar Has Been Dreaming Of Doors

Posted on by Emmanuel Esomnofu

The 1994 documentary ‘Hoop Dreams’ follows the lives of two Black Americans who shared dreams of becoming professional basketball players. Neither of the two men played for the NBA as they quite hoped, but their lives took interesting turns. Obongjayar saw this documentary and was inspired to advance that conversation through music. “It just got me thinking about the idea of what it means to dream for so long, and then it doesn’t work out in the end,” he shared with the NATIVE via a Zoom call a few weeks ago.

 

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The singer’s debut album, ‘Some Nights I Dream of Doors’ arrives tomorrow. A mesmerising piece of art, it is possessed with the artistic ingenuity that has marked Obongjayar’s career. “Checkpoints,” he says when I ask what the doors represent. “For me doors are like a portal to somewhere else; no matter where you are, if you’re going through a door you’re going from one place to another place, by default. Even if you put a door in an open space, it instantly transforms that space into two spaces cos you’re going from one place to another, right?”

This sense of perspective follows the album’s twelve songs, which all possess profound bits of wisdom. If you know anything of Obongjayar’s personal life—especially how his mother left for the UK to escape an abusive husband, leaving him in the care of his grandmother—you’d know this perspective has been cumulatively garnered over the. “These are my opinions,” he says. “I’ve got something to say and I see the world in a very different way and I wanna share that.”

Quite truly, ‘Some Nights I Dream of Doors’ is an experiential work of art. Its messages are simultaneously personal and communal, inviting the listener to apply them as their own lives demand. And though Obongjayar plunges through details of dissatisfaction or torment, he’s usually appreciative in the end. Whether on the album opener “Try” where he sings, “we used to be so beautiful” or “Sugar”, where he rides a groovy instrumental to beckon on listeners to make good of their experiences, the 29-year-old maintains a positive outlook. While album closer “Wind Sailor” is a charming ode to music, carried on wistful piano chords and Obongjayar’s poetic lulls.

“There’s no one I wanted to sing like,” he says of his sound. “I’m not an entertainer; I’m an artist. My mission isn’t to entertain or to be a dancing puppet. If my songs make you dance or feel a type of way, then great. But that’s not what I’m doing it for. I’m communicating an idea or a perspective, and that’s what’s important to me.”

“No matter where you are, if you’re going through a door, you’re going from one place to another place, by default.”

Born Steven Umoh in the port city of Calabar, his early musical diet was largely influenced by American pop culture. However, due to the vibrant festive culture of his home state, a young Steven would revel in vivid Afropop drums and the colourful masquerades which danced to them. When he began making waves in underground British circles, Obongjayar’s wide-ranging experiences made his art distinct. His music synthesised a number of artistic virtues, contorting into different shapes with obvious respect for musical history while charting an unprecedented course to the future. Simply put—Obongjayar sounds like no one else.

You hear it in his songs with slices of Afrobeats, Jazz and Soul laced by a domineering electronic influence, all carried by Obongjayar’s powerful voice. “It’s like creating music for a film,” he tells me now, describing the thought process behind his songs. “You’re not driven by things that have come before. You’re trying to create an environment where if someone’s listening to those ideas they’re fully involved with the world you’re trying to build.”

In the past Obongjayar has tried to sound like the rappers he grew up hearing. “But there came a time when I asked myself ‘Who am I?’ This thing I’m putting on isn’t my story. It isn’t where I’m from or what speaks to me. So what is it that speaks to me? From that conversation, I realised: My voice. Use your voice. The voice I hear in my head when I’m angry, the voice I speak with, the voice I use when I’m emotional. Like, how do I translate that into sound?”

That question was duly considered on the ‘Home’ EP. Complex dubbed it “one of 2016’s best debuts” and praised Obongjayar as a “young artist who seems wise beyond his years”. Speaking to this, he describes “Lullaby” as a “conflict between my own world and what’s going on outside. We all battle with wanting to talk about yourself and what you’re going through and also realising that there are things bigger than you.”

Next year’s ‘Bassey’ was even more telling of Obongjayar’s vision. The songs took on themes of social justice, history, personal conflict, and confrontations in different forms. The project was sparse, sombre and spiritual with production that leaves a tingly feel on the skin. “If my light ever should go, feed my fire don’t burn my bones” he repeatedly sings in “Endless”, consistently propelled by the rhythm of war-like drums. “I was testing out stuff to see who I wanted to work with,” he tells me about his choice of producers on that project.

In 2020, Obongjayar inched closer to the present iteration of his sound after working with producer Barney Lister. The seven songs which make up the EP ‘Which Way Is Forward’ were intricately crafted around Obongjayar’s voice and epic subject matter, each becoming their own universe. They won the acclaimed Ivor Novello for Best Song Musically and Lyrically with “God’s Own Children.” “He just understood my language,” says Obongjayar about the Huddersfield-born Barney, who produced all but one song on ‘Doors’. “It was pretty obvious once we started working together that we’ll be in each other’s lives for a long time. You know, we made my first album together which is a beautiful thing, and nobody can take that away from me or him.”

 

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In the universe of Obongjayar, music might be the dominant force but it’s seldom the only one. His videos are similarly thoughtful and bold. Milo Blake’s visual of “Tinko Tinko” echoes cyber punk’s eccentric qualities, featuring Obongjayar watching himself in present time through a computer screen. “Try”, which was actually the first song recorded on ‘Doors’, also has scintillating visuals from Spencer Young, casting Obongjayar in the role of an out-worldly god, with horns and flamboyant regalia further pronouncing the aesthetic. On his part, the artist gives credit to his collaborators. “That’s the beauty of it, man,” he says, “you know you’ve done your job correctly when the [videographers] can see what you see.”

Obongjayar’s speaking tone is lucid, quite different from the earthy pull listeners are accustomed to hearing in most of his songs. But when our conversation shifts to the state of politics in Nigeria, he’s instantly infuriated. “Rubbish,” he says. “It’s always been rubbish, no be today. It’s a money grab for a lot of people, which sucks man. People forget this country is yours; whether you’re making millions by swindling people or making people suffer, you’re inadvertently fucking up your own country.”

He further dissects the failures of the public educational system and the recurring distribution of power among the same class. He’s constantly in the loop about what happens in Nigeria; the day after we speak, he’ll be on a plane to the country. “I have a chance to go see my grandma,” he says fondly. “That’s the woman who raised me.”

More than ever, Africans in the diaspora are returning home, adding the details of familial histories to their cosmopolitan experiences. “It’s brilliant, man,” says Obongjayar. “We’re drumming our sound everywhere. We’re part of the conversation in a big way. Show your colours and wear them proudly, that’s what I say. It’s great that a whole bunch of these people are researching their roots. Because it wasn’t like that—if you take it back like ten years ago, it really wasn’t like that. People weren’t proud they were Nigerian, that shit was super coveted. But now it’s like everyone’s shouting about their identity and for better man, ‘cos we believe in it.”

Obongjayar’s music has always explored the politics of identity, for better or worse. From his time in Nigeria, he credits family values for making him who he is today. When he began making music, there were unspoken expectations that he’d eventually fall into their perceptions of the archetypical Black musician. He has deflated such thoughts, further growing into his distinct expression. “My job,” he says, “is to create an environment where people coming up underneath me can say ‘I can do that too. I can replicate the thing in my head and it’s okay’. Because I’m Nigerian I don’t have to have a particular thing being placed on top of me, I can do what it is that I feel and I can share my perspective and it is valid, because I’m a human being. That’s a thread that runs through my music-–anything is possible, you can do it too.”

All this ties into the vision of ‘Doors’. “The catch with dreaming,” he tells me now, “is that the dream never ends. Once you achieve a dream there’s always another door. There’s always another thing. It’s a continuous process. To move forward, you’re constantly going back into your life, taking experiences from your life that kinda help you grow, or learning from mistakes or whatever it is to help you push forward. And that was the whole concept of the title, the idea of that opportunity. What does it mean if things don’t work out the way you want them to? You have to realise that wherever you are, there’s always somewhere to go. There’s still other factions—whether you succeed or fail, it’s fine. You can still continue.”

Pre-save Obongjayar’s album here.

Featured image credits/NATIVE

ICYMI: After conquering all fronts, what stories will Burna Boy tell on ‘Love Damini?’

Essentials: Smallgod Is Bringing Africa Together on ‘Connecting the Dots’

Posted on by Emmanuel Esomnofu

Smallgod has not hidden his intent to connect Africa. While this vision runs the risk of being interpreted simply, this is no easy task. With Afropop moving at the pace it does, pinning down talented music stars is hard enough. Not to talk of them executing a concept album, which is one of the reason why veterans like Larry Gaaga and Basketmouth are so heralded in recent times. Their decades of background experience is parlayed into the creative role of A&Rs, creating full projects of their own and more importantly, bringing their ideas of music making to life. 

In 2021, the Ghanaian-Dutch multidisciplinary creative showed his first inclination towards a body of work. Between March and April, his monkey symbol visualised collaborations with Harmonize (“Marry Me”) and R2Bees (“Simple Instruction”), setting the bubbly undertone for his latter musical choices. Halfway into the year, his debut album ‘Building Bridges’ was released, threaded by a concept of Smallgod hosting the ultimate pan-African music festival. Skits from British-Congolese comedian Eddie Kadi polishes the narrative, and Smallgod connects musicians in the diaspora with the continent’s major genres like Highlife, Bongo, Kwaito and Nigerian Pop. 

 

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Afropop continues to witness its defining moment within the bubble of global culture over the past year. Commercial success has trickled to previously unseen spaces, with qualities like good music and deliberate marketing in place. With the zeitgeist on his side, it makes sense that Smallgod is furthering his exploration of the soundscape. His sophomore album, ‘Connecting The Dots’, was released last weekend, stacked with features from artists from around the continent. The hallmarks of diverse genres are embedded in single tracks, and it is credit to Smallgod’s curation that the album’s execution isn’t bloated. 

The beats are tapped into the root of their interests while the musicians combine purposefully. Each record moves with real intent, much like “Holy F4k”, the hypnotic Drill affair which preceded album drop. Black Sherif might be everywhere right now, but manages to sound fresh each time he turns up; his Twi-laced hook sets the template for international rappers Ivorian Doll and Vic Mensa to deliver excitingly. “Falling” sees KiDi and Darkoo lace saccharine lyrics over warm production, their vocals alert with professions of love. It’s decidedly the most-covered subject across the album, though the myriad approaches colours ‘Connecting the Dots’ with the prospects of a mixtape. 

This means that most people will probably have their own favourites; however, there are unquestionable bops which will resonate with more people than not. “Tried & Tried” pairs spritzy Highlife-esque guitars with an Afro Bashment bounce, while NSG and Darkovibes sketch the flamboyant details of their soft lifestyles, held against the pained gaze of naysayers. Here and elsewhere, the choice of features map internal stories of their own. 

Being Ghanaian, Smallgod plays more regularly to coastal sounds. Breezy elements occupy the centre of his sonic vision, moving ‘Connecting the Dots’ with the progressive pacing of a friends’ time out at the beach, going through the motions of the day with an unchanging sense of calm and triumph. “Do You” most captures this vibe, helmed by Nonso Amadi on hook duties and further vivified by vocal contributions from Stonebwoy, Teezee and Acebergtm. On personal favourite “2000”, the energy builds even stronger as rippling Amapiano drums and trademark chants dreamily propels a hook which is sung in Yoruba. 

Such cross-cultural references showcase the overlapping nature of most African genres. Smallgod’s vision, therefore, doesn’t stake out on commercial gains but rather having a deep connection with one’s roots, matching their flourish with your experiences in the wider world. Having come this far, dabbling in fields as diverse as fashion and hospitality, Smallgod is imprinting his name in the creative aspect of music making. Two good albums in successive years confirms he’s doing well in that regard. 

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Hot Takes: King Kendrick, Netflix’s Blood Sisters, Young Thug’s RICO Arrest & More

Posted on by Emmanuel Esomnofu

There’s one universal truth about the world: that life goes on. It has been a persistent conflict within people for generations, how one’s inner life might have shifted greatly and yet the world outside doesn’t know. Some might say that proves the futility of life, but personally I’m not given to such nihilism. This is perhaps an unusual way to begin a column about popular culture, but what’s more popular than humans trying to grasp the meaning of life? 

Culture, on the other hand, is a different ball game. Culture moves with the pace of technology and modern tastes. We know so damn much, even though we’ll never know enough. As the year advances, popular people give us enough reasons why they shouldn’t be popular while everyone else proves they’ll probably be worse characters if they become popular. This inspires the news, the buzz of social media arenas. Hot Takes infuses some nuance to the breaking news, the quintessential package for distilling global pop culture every week. Dig in for today’s as I discuss the highly coveted Presidential forms for Nigeria’s 2023 general elections, reactions to ‘Blood Sisters’ on Netflix, new music from Kendrick Lamar and Young Thug and YSL’s racketeering charges. 

WHAT I’M WATCHING 

I’ve recently seen ‘Silverton Siege’, a movie about an event that really happened in South Africa. It is powerful, emotional and thought-provoking, and I think everyone should see it. Actually, I’ve written something more in-depth about the film so make sure to watch out for the website in the coming days. 

I’m also re-watching ‘Avatar: The Last Airbender’ and it’s been a thrill so far. You’d think the animation holds the power of nostalgia over us but nah, it’s actually very good storytelling. Plots and subplots are carefully expanded, and each character is three-dimensional. The CGI still remains a beauty, and I’ve fallen in love again with this series. If I have to throw in something quite different from the earlier suggestions, then ‘Newness’ (on Netflix also) is a movie that’s been on my mind. 

WHAT I’M LISTENING TO 

My music listening habits are quite haphazard. I tend to take my time on new releases, instead revisiting crucial moments in the past, either enjoying them or thinking about them in new ways. Suffice to say, I’ve been listening to Ice Prince’s seminal album ‘Everybody Loves Ice Prince’, which spawned some of my favourite Nigerian rap-pop songs of the 2010s: “Mercy”, “Kpako”, “N Word” and “Pray”, featuring the late great Sound Sultan. 

I’ve also caught myself in a bubble of alternative rock and other psychedelia-inspired stuff. Some projects I’ve found particularly interesting are Noah And The Whale’s ‘Peaceful, The World Lays Me Down’ and ‘My Head Is An Animal,’ by a band named Of Monsters and Men. Victony’s ‘Outlaw’ is definitely getting repeated spins, too. Many jams on there but my favourites are probably “Outlaw” and “Apollo”.

REACTIONS TO NETFLIX’S BLOOD SISTERS 

Given their budget and burgeoning name around these parts, African Netflix movies are usually released to sufficient hype. Earlier this year, Ebony Life’s ‘Chief Daddy 2’ had been one of the most anticipated movies on the platform but when it dropped, a lot of people criticised its bland acting and zero dedication to realism. To that end, it was as though the dominant feedback of subpar storytelling will continue to be Nollywood’s bane. 

I guess the Mo Abudu-led production house took those criticisms in good stride, because the reception to ‘Blood Sisters’ has been largely positive. Over the weekend, many took to social media to laud the coordination between the gory and sensual themes of the movie with the characterisation. Apparently the characters were cast beautifully, while the story moved without the fluff you’d find in much of contemporary Nollywood. 

To better help viewers understand the series’ central conflict, The Native interviewed three members of the Ademola family. In all, they seemed to have had a good time filming. I haven’t seen the series just yet and that’s why I’m refraining from making explicit comments. But to the best of my knowledge, capable hands were on deck. I mean, do you know the movie director Biyi Bandele is an accomplished novelist? Check him out if you haven’t. 

NEW MUSIC FROM KING KENDRICK 

Five years is an impressively long time for a creative to not share their work, but that’s what Kendrick Lamar did. After soundtracking the motions of Black America through three peerless and transcendental albums, becoming the first musician to win a Pulitzer along the line, Mr. Duckworth is knee-deep into his return process.

Last we heard him (on cousin Baby Keem’s “green rangers”) he rapped about “smoking on top 5s” and after announcing the May 13th release date of ‘Mr. Morale & The Big Steppers’, he’s intent on backing that up. Yesterday Lamar shared the fifth instalment in his classic The Heart series, taking what is easily his most experimental audiovisual route yet. That’s a huge claim for a rapper who has flied in videos and has taken the voices of several characters throughout his discography, but everyone agrees “The Heart Pt. 5” is a stunning piece of art. 

Standing against an oxblood-coloured background, Kendrick wears a white shirt and a black handkerchief, tied loosely around his neck. Spazzing over a sample of Marvin Gaye’s “I Want You” his scattershot flow discusses the history of pain and how we’ve adopted it as culture. As he moves into wider pockets, a deep fake effect causes his face to change into Black personalities like Jussie Smollett, Will Smith, Kobe Bryant and Nipsey Hussle, from whose perspective he delivers a chilling verse about the unfortunate incident which led to the rapper’s death. Immersed in his interests like never before, listeners have begun to unpack details from the song and video, perhaps in the hope we might understand a bit of Lamar’s frame of mind as his fourth solo album arrives this Friday. 

YSL MEMBERS ARRESTED ON RICO RACKEETERING CHARGES 

It’s not a good time to be Young Thug. The 30-year-old superstar made yesterday’s headline for allegedly being part of a criminal gang. Atlanta Police took the rapper and ten others into custody after an afternoon raid on his home located in Buckhead, Atlanta. He and the others were said to have been booked into the Fulton County Jail in Atlanta, according to several reports. 

Young Thug was charged with one count of attempted murder and one count of participating in gang activity. Having pulled up resources and information on the rapper as far back as 2012, police officials claim he rented a car used in the drive-by shooting which resulted in the murder of Donovan Thomas, who was 26-year-old in 2015. Young Slime Life (YSL) was also labelled a gang, co-founded by Thug and several others in 2012. Officials uncovered its affiliations with the infamous Bloods gang, they revealed. He was also charged with conspiracy to violate the Racketeer and Corrupt Organisations (RICO) Act. 

I however have reservations about the part of the 88-page indictment which pulls up Young Thug’s lyrics as a possible proof of his criminal history. The song in question, “Just How It Is”, was the first Thug record I ever liked, and though it surely has lines like “we don’t speak about shit on wax, it’s all mob business”, there’s a long history of misinterpreting lyrics as evidence. Rap is infamously violent and white conservatives have sometimes twisted that to their advantage, using the rapper’s perceived image to build a real-life case against them. I’m not asserting that Thugger is innocent. I’m saying, let art remain art and if FACTS prove he did the crime, then he should definitely do the time. 

APPLE DISCONTINUE THE IPOD, AFTER 21 YEARS

The streaming era has pretty much influenced how we listen to music. Providing CDs or vinyls are now treated as an additional thought by creators, more or less. Continuing the trend of discarding the past in total attention on the future, yesterday Apple announced that it was discontinuing the iPod device. Since 2001, music lovers have downloaded music onto the small device,  so loved because that sole function prevented any distraction.

Apple has announced that iPods remain available while stock lasts, but that hasn’t stopped iPod lovers from reflecting on their relationship with the device. I mean, it’s hard when everything around you is shifting and it seems like you have no say. The fact pretty much remains that capitalism is here to stay, and I wonder how many of our childhood darlings will be taken from us in the coming years. Farewell now, iPod. It was great while it lasted.

Make it comedy..but to what end?

by Wonu Osikoya.

By now it’s no known secret that Will Smith physically assaulted comedian, Chris Rock on stage at the Oscars when Rock made an insensitive joke about his wife’s alopecia. What has followed from this event is polarising discussions about whether Smith deserves to be banned from the Oscar’s Academy, have his awards stripped off him and lose his standing in the comedy industry.

However, it seems perhaps a dangerous precedent has been set. On Tuesday night at the Hollywood Bowl in LA, Dave Chapelle was attacked by someone from the audience. While Chapelle’s security was taking care of the man who had jumped him, Chris Rock went on stage and took Dave’s mic while sharing: “Was that Will Smith?”

To me, I believe this is very insensitive for many reasons. If your fellow colleague has just been attacked on stage, I don’t believe the first thing that should cross your mind is making insensitive comments about a similar situation of assault. It would have served the audience and viewers watching at home, if Rock had left out the Will Smith comments and instead focused on the matter at hand, which was assisting his colleague and friend. If this is a chapter you’ve decided to close completely, then do just that. But just as we can’t control people’s reactions, we also shouldn’t tell people how to handle their emotions right? There’s a thin line between comedy and just being plain insensitive and rude but where do we draw the line?

Featured image credits/NATIVE

ICYMI: UNDER – APRIL 2022

After conquering all frontiers, what stories will Burna Boy tell on ‘Love, Damini’?

Posted on by Chibuzo Emmanuel

Last week, while performing in front of a frenzied crowd and darting around in underwear, Burna Boy eagerly announced to over 20 thousand fans at the majestic Madison Square Garden, and an additional 25 thousand fans streaming the show live, that his sixth studio album will be released on the 2nd of July. That date is personal, as it will be his 31st birthday. The title is also personally symbolic titled ‘Love, Damini.’

In the weeks leading up to this momentous announcement, Burna Boy had subtly been hinting at an album release—he shared a spate of intriguing snippets, an ice-cold picture with one of the UK’s finest Ed Sheeran, and a slew of shrew cryptic tweets that all carried the signature ‘Love, Damini.‘ To the average eye unfamiliar to the workings and history of Nigerian pop culture, those two words may seem unremarkable, banal maybe. But to those in touch with the pulse of the culture, those who have witnessed Damini Ogulu’s steep and gruelling rise over the past two decades, the apt title ushers in the singer’s next phase following his gargantuan win at the 2021 Grammys.

As the title suggests, ‘Love Damini’ seems to be a departure from Burna Boy’s earlier work. The singer shared on his social media that the album would be a personal body of work. ‘It’s about the ups and downs, the growth, the L’s and W’s. I’m excited to share this journey and roll out with you all,’ he said candidly on Twitter. Burna’s gambit as a writer and performer is the supreme ability to traverse a roller coaster of personal emotions and themes in his music, from sombre angst to effusive mirth to occasional political agitation to self-actualisation.

From his debut album, ‘Leaving an Impact for Eternity’, down to his fifth and most recent LP, ‘Twice As Tall’, the bulk of the album titles in the Burna Boy catalogue were engendered from situations where he’s had to come out swinging, either to prove something or get himself from a back-to-the-wall situation. As made evident in these titles—from ‘Redemption’ to ‘Twice As Tall’—he doesn’t attempt to flatten these precarious situations. Instead, he uses them as material to spawn majestic sonic totems.

However, for the first time since his illustrious breakout in the summer of 2012, he’s poised to depart from that template. Burna Boy is no longer the scrawny kid desperate to emblazon his footprint on the Afropop landscape; he’s not the forlorn singer trying to prove a point to his ex-label and he’s barely the misunderstood artiste locked in a battle with detractors who think he’s drunk with his hubris. He has elevated from being the burgeoning powerhouse trying to assert his legacy on the African continent and he’s eclipsed being the hoodwinked giant on a mission to level up and bag a Grammy.

Damini Ogulu has proved his critics wrong, sold millions of records, earned countless certifications, sold out tons of arenas across the globe, earned his Grammy, and for the first time in his illustrious career, he is at the forefront of a battle and there’s not a single antagonist on the other side. With no narratives to right or hurdles to surmount, it’s worth speculating the motivations and purpose of the impending Burna Boy album?

In the stint between his last project—the peak pandemic-released, Grammy-winning ‘Twice As Tall’— and now, Burna Boy populated 2021 with four singles. There’s the unabashedly triumphant “Kilometre,” the sunny “Question” with Don Jazzy, the glossy trap cut “Want It All,” featuring Chicago rap star Polo G, and the carefree, Wizkid-assisted “B. D’OR.” One thing they all share is the absence of a weighty reflectiveness, or the agenda setting-tone of singles like “Anybody” and “Wonderful.”

On “Kilometre,” over an ebullient and partly menacing beat, he gloats and goes full self-aggrandising which is far from atypical of a Burna Boy song, but the taunts in his lyrics and the playfulness of his cadence make for a straight-up club banger, and less of a grand proclamation. For “Question,” he follows a similar format, matching quips like, “Anything you wish me, that be your portion. Bad mind no dey work o, man no be God o,” with a breezy sense of accomplishment.

There’s a change of pace on “Want It All,” swapping out maximalist Nigerian Pop bent for spare, gleaming instrumentation with choral flecks. Burna Boy sounds a little more ambitious with his agenda, but the focus on amassing material wants doesn’t exude urgency. Closing out 2021 on a similarly ostentatious note, he’s joined by friend and colleague Wizkid for “B. D’OR,” a sleek party tune replete with boastful writing and a joyful disposition.

From the pattern of his post-‘Twice As Tall’ drops, is Burna Boy on course to deliver his first purely Pop album? No politically charged music, no grand message of Pan-Africanism, no poignant rebuttals aimed at his detectors? Just love, happiness, boasts, and—in Nigerian parlance—vibes and inshallah? This prognosis makes a lot of sense. What’s left to do than enjoy the spoils of triumphing and levelling up for three consecutive years?

It’s worth noting that we would’ve gotten to this arch of Burna’s career a few years earlier. In the Aftermath of ‘African Giant’, Burna Boy dropped “Money Play” and “Odogwu,” two celebratory records that, according to industry chatter, were precursors to a summery album. Being overlooked at the Grammys changed that direction and, coupled with the Covid-19 pandemic, inspired an introspective turn. That scenic route to this point feels a lot more earned, and the afro-fusion artist is clearly relishing every moment of his apotheosis.

That Burna Boy feels fulfilled is more of a fact than it is a projection on him. A tweet he shared a couple of weeks ago, amidst one of his infamous digital rants, reads:

 “At this point I just want to LIVE and DIE on STAGE with my Band The OUTSIDERS. I’ve achieved All the dreams I ever personally had. Money gives me No satisfaction, Nothing really does, except being On STAGE with my God sent band.”

The most significant part of that tweet might be the first three words: At this point. Burna’s last three albums have been moment-based. ‘Outside’ was created around an industry pressing him to the margins; ‘African Giant’ was partly spurred by the Coachella font saga; and ‘Twice As Tall’ was a resounding and resilient bounce back from the crushing Grammy loss. Burna Boy has formed a habit of creating in the moment, and this new album won’t be any different. For an artist selling out arenas the world over, that the theme of triumph will be central isn’t a wild speculation. At that, to expect a vacuous album would be the wild speculation.

At his historic, sellout shot in New York’s gilded, 20,000-capacity Madison Square Garden, Burna Boy seemingly previewed a song off ‘Love, Damini’, and that’s the closest we can get in speculating and mulling over what this new album would sound like. The track is bookended by a striking brazenly Nigerian chant delivered by a cadre of male voices, “E don cast, las las, na everybody go chop breakfast”—that’s the marking of a resonating Afropop record. In under four minutes he traipses an extensive gamut of topics: from his car crash this year, to his days in his hometown of Port Harcourt. He’s still reflective and intentional but he’s mostly grateful and vulnerable.

Inferring from the singles released in 2021, the song previewed in MSG, his arena-hopping lifestyle, and his dynamic powers of writing from the vantage point of invincibility and vulnerability, Burna Boy is poised to deliver an album replete with both vibrant party anthems and songs with personal, affecting stories. Most of all, having conquered almost all frontiers, the African Giant can only sit on a high hill, stare down, and bask in the glory of his majestic exploits. 

 

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3 YEARS ‘OUTSIDE’: APPRECIATING BURNA BOY’S PEERLESS CREATIVE RUN SINCE HIS REBIRTH

What’s Going On: Gunmen raid in Nigeria, criminal charges against former Guinea president & more

Posted on by Damilola Animashaun

“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.

48 dead after gunmen raid Northwest Nigeria

Northern Nigeria’s insecurity issues continue to escalate and provide horrific news reports. Last Friday, 48 people were killed by bandits in the Northwestern state of Zamfara. According to Aminu Suleiman, administrative head of the Bakura district, the attacks were coordinated as the terrorists shot anyone who was trying to flee. The attack comes a month after the horrific Kaduna train attack which left families traumatised after losing their loved ones.

The bandits attacked three villages – Damri, Sabon Garin and Kalahe – where they burned a police car down, killed two security personnel and attacked hospital patients before looting livestock and food supplies. “A total of 48 people were killed by the bandits in the three villages attacked Friday afternoon,” Suleiman said, adding that Damri was the worst hit, with an estimated 32 people killed.

In a statement, Nigerian president Muhammadu Buhari has asked security operatives to “do all that can be done to bring an immediate end to the horrific killings,” another perfunctory response that shows his administration’s failures to deal with this fatal epidemic. Officials in Zamfara say more than 700,000 people have been displaced by the violence, and the United Nations estimates that over 11,000 have relocated to neighbouring Niger to seek refuge.

Price of living increased in Mauritius

Effects of inflation have once again struck Mauritius resulting in a high cost of living.  The current state of living was stated as the worst hike rate since the 2011 inflation rate after a nationwide riot protesting the increase in prices. Recently, the bus and train fares increased between 25-40%.

The current inflation rate has been credited due to the Russia-Ukraine war as Mauritius heavily imports food and fuel. Due to the currency weakness and the sanctions on Russia, there will be sustained pressure on the prices. Currently, the government is consulting with economic and social actors as they are about to present the national budget to the population. Perhaps another positive indicator is the International Monetary Fund’s projection that the country’s economy will grow 6.1% this year, a 2% increase from last year.

Kenyan athlete set a world record at Kip Keino Classic race

On Saturday evening, Kenyan athlete Ferdinand Omanyala set a new 2022 world lead of 9.85 seconds in men’s 100m, at Saturday’s Kip Keino Classic, a Continental Tour Gold Athletics. With Italian Olympic gold medalist Marcell Jacobs forced out due to food poisoning, Omanyala defeated Olympic 100m silver medalist, American Fred Kerley, who clocked 9.92 – his personal best this season – firmly putting him on the global radar as more events take place in coming months.

Back in September, the sprinter set his continental record of 9.77 seconds on the same home soil track, and he’s determined to lower that personal best in coming races. “I am the African record holder, but I want to be the African champion,” he told BBC Sport Africa. “Right now, I am hungry for medals, so I am really preparing for the African Championships, World Championships and the Commonwealth Games.”

Competing in the 100m, 200m and 4x100m events at the African senior Championships in Mauritius next month, Omanyala is targeting three gold medals at the competition scheduled for June 8 to June 12. He’s also targeting a podium finish at the World Championships in July 15 to 24 in Oregon, United States, as well as the Commonwealth Games slated for July 28 to August 8 in Birmingham, England.

Guinea to prosecute ousted president for murder and other grave charges

Last September, a military coup led to the ousting of former long term president, Alpha Conde, who’s popularity amongst Guineans had dwindled following moves to constitutionally extend his stay in office and hold on to power indefinitely. His forceful removal from office elicited mostly positive reactions from the general public, but that’s just the beginning of his travails. Guinea’s Military government has filed several charges for alleged crimes committed by Conde and 26 of his former official during his time in office.

According to a document shared by public prosecutor, Alphonse Charles Wright, the alleged crimes include murder, torture, kidnapping, violent sexual abuse, amongst others. Joining Conde as defendants in the case are a former president of the constitutional court, ex-speakers of parliament, a former prime minister and many former ministers, legislators and heads of the security services. These charges were issued in response to complaints filed by the National Front for the Defense of the Constitution (FNDC) — the group that had led the protests against Conde’s attempt to run for a third term in office.

ICYMI: PLATOON CELEBRATES AFRICA MONTH WITH NEW COMPILATION PROJECT, ‘AFRICAN LULLABIES PT. 2’

NATIVE Exclusive: Following his break in comedy, Justin Ugonna Is Looking To Conquer The Fashion World

Posted on by Moore Wright

You’ve probably heard of Justin Ugonna, a US-based Nigerian content creator fondly known on the timeline as Justin UG. His funny skits and videos flood social media timelines stirring viral discussions for days on end or land on popular blogging sites where they are re-shared by his loyal fans. His career has been nothing short of colourful, despite him only being 24-years-old.

 

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With a degree in IT from Georgia Southern University, Justin Ugonna’s career in the creative field might seem unicorn but he’s always been naturally creative right from a young. He made his career start with internet comedy through the popular video app, Vine. Here, Justin would share videos and challenges which naturally lent itself to the app’s viral nature, bolstering his profile to eyes and ears both home and abroad. It quickly became clear that he would be no stranger to creativity.

Now with over 200,000 followers on Instagram, he has made his mark as one of the leading Nigerian comedy creators today.  However, in spite of the mark he has left on the comedy space in Nigeria, it is worth noting that Justin cannot simply be described as simply a comedian. He is also a multi-disciplinary creator with work spanning across different industries from acting, to filmmaking, to fashion design. In more recent years, he has made a more official foray into fashion by creating  the luxury streetwear brand known as For the Geng.

Created in 2020 during the COVID-19 pandemic, Justin’s brand strives to find the middle ground between luxury and streetwear is a top priority for Justin Ugonna’s brand. This is exemplified by the brands website which features high quality accessories and graphic tees, but with nothing above $100 dollars. For the Geng also references its founders’ Nigerian heritage, particularly with the release of a football jersey in honour of the Nigerian Super Eagles team. 

 

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In this interview we speak to Justin about his career leading up to now, why he went into fashion in the first and the challenges that he has faced so far.

His words which follow below have been lightly edited for clarity.

NATIVE: You’re a filmmaker, designer and actor among other things. How do you juggle all this? Do you ever find it difficult?

Justin: Difficult, yes. There’s a lot of things to do, especially when you have to try and be the best at each and every one of these things. That’s when the difficult part comes in. I’m the type of person that if I feel like I can do something and I know it won’t be trash, then I’ll go ahead and do it. That’s why with designing, I thought ‘I love wearing clothes. I think I know what could look good, so i’m just going to try it out. With music, I thought the same thing too. Nobody is going to stop me from making music. It may not be the best but it’s not terrible. I’m just going to go ahead and do it. So I’d say it’s difficult but its something I really enjoy doing.

NATIVE: You learnt quite early on that comedy is a currency in the Nigerian culture space. What did you learn back then about influence and the power you wielded in your corner of the internet?

Justin: Once you have people who follow you and admire your work, that influence is there. Do I feel like I have that influence? Maybe just a bit.

NATIVE: Of course, as someone who works on the Internet, you’re no stranger to the negative sides of social media and how negative it can become. What are some of the ways you stay afloat or detox from social media when the pressure gets too much?

Justin: When I first got into the limelight, I was carrying myself in a way where I’d never want to get that negative energy. But somehow it just found me. When things of this nature happen, I try to just drift away from social media in general. But that could also hurt you, in the sense that if people feel you’re not giving them what they want again, they’ll stop following you. I still feel like just leaving social media sometimes is my own way of handling issues. I don’t get a lot of negativity but when I do, it really affects me. I could have hundreds of positive ones but just that one negative one could just put me in a terrible place. Right now, I feel like everyone is very insensitive. I started making content eleven years ago on Vine. Then, people just wanted to laugh. But right now, anything you say, someone could look at it in a hundred different ways and there could be misinterpretations.

 

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NATIVE: What other ways do you stay true to yourself?

Justin: I feel like you have to believe in yourself. With me, I know that whatever I’m putting out I’ve put a lot of work into it. So, I know that no matter what people are saying, at the end of the day, I’m still good at what I do. 

NATIVE: Why did you decide to go into fashion?

Justin: I love to dress well. I love seeing people who know how to dress well. I feel like I’ve also had this business mindset probably since I was in secondary school. I feel like I can make things that people would love to wear. I started making things for myself and people would ask where I got it done and who designed it. I would tell them I did it myself, but if they want it they can pay me and I can get it done for them. It started growing from there and I started branching into streetwear, just diversifying myself. The people I’d say had a big impact were the owner of Telfar and Virgil Abloh.

NATIVE: Is streetwear something you’ve always been interested in?

Justin: With my brand, what I’m trying to do is find that middle ground between luxury and streetwear. Where someone could wear something and have it be seen as luxury, but style it a different way and it’s seen as streetwear. I also want to show people you can find good quality at a very good price. So people could buy my products and feel like this is money well spent, and I’m glad that this has been the case. I want everyone to wear good quality stuff.   

 

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NATIVE: How did the idea for ‘For The Geng’ come about? 

Justin: I think it was in December 2020. I had a group of friends and i was making T-shirts for them. People that support me called themselves UG Geng. I didn’t want my name to be the focus, so I needed something people associate me with but could also stand on its own. I used to have merch like any other Youtuber but I felt like I wanted to make it a proper brand where anyone could get it. ‘For the Geng’ sort of means for the people. I just want people to feel like part of a community. I feel like it’s a weird name for a brand, but I like weird stuff.

NATIVE: What were the biggest challenges in starting your brand? 

Justin: Money. I didn’t know how much it would take until I got to my first major collection. I had to really open my eyes to what people in the fashion industry actually go through. I had to do a lot of learning because I’m coming in as someone who studied IT and never did anything fashion-related. I had to learn about the game so when I started I’d be equipped. And I’m still learning, I don’t think you ever stop learning in this industry. But once you start, things just fall into place.

 

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NATIVE: Was there any major resource you used to learn?

Justin: Youtube was a major source. Just watching interviews of people who had their own brands. There are so many interviews of Virgil Abloh speaking about the whole production process. I also reached out to a couple of people who work in the industry. I also bought a couple of courses, so a variety of things.

NATIVE: What do you think about sustainability and what are some of the sustainable practices you adopt at your brand?

Justin: I’d say it’s important, not just in fashion but in different industries. It’s something I definitely take into consideration while working on ‘For The Geng.’

NATIVE: You’ve popularly reworked Nigerian jerseys and constantly borrowing inspiration from your country’s past to dictate current tastes. What are some of the ways in which you wear your hometown/country with pride?

Justin: Before anything I feel like I’m a Nigerian, so I like to put the country on the map. Obviously Nigeria is not the best place to be right now, so I like to shine any kind of light that I can.

 

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NATIVE: What do you think about the current state of streetwear, specifically in Nigeria?

Justin: In the past few years, I feel like the growth has been insane. I feel like people like Virgil have made streetwear more visible, not just in Nigeria. It’s just amazing seeing streetwear growing rapidly in the place I’m coming from. With the likes of people like Ireti who is doing a big job making sure the streetwear culture stands and keeps going.

NATIVE: Has the vision for For The Geng changed significantly over time? I know you mentioned a rebrand a while back. 

Justin: I’d say the only major change that has happened was that at first, I wanted it to be a full streetwear brand. After some time, I felt like I could incorporate luxury into it. That has been a major change but every other thing has stayed the same. It’s become more broad rather than focusing on one aspect. It gives me more freedom rather than putting me in a box of just streetwear.

NATIVE: What are the next steps for your brand and for you? 

Justin: As a creative I’m trying so hard to get into the Hollywood/ Nollywood scene. If I can’t get into that, I’m trying to find a way to eventually get that big break. Even if it’s with creating more short films or maybe a feature film. With my brand I feel like I still have to prove a point to people. Because people see you as a comedian and all of a sudden you’re doing clothing. I don’t think they take comedians as seriously when you try to branch out. But I’m just taking my time, making people know that I know what I’m doing and that this is for the long run. I also just designed my first bag and I’m about to release that next month under my brand. 

 

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Featured image credits/NATIVE

Best New Music: Victony Ponders The Allure of A Situationship On “Soweto”

Posted on by Emmanuel Esomnofu

Afropop projects are hardly received unanimously but Victony has been a worthy exception. Since the release of his sophomore EP ‘Outlaw’ last Friday, feedback has been astoundingly positive. While we shared our first impressions of the project, it was obvious everyone had their favourite songs, picking at different standouts on the succinct 7-track project. 

This was not surprising given Victony’s track record. Impeccable songwriting is highlighted nowadays, the reason being that audiences’ broadening tastes and the self-determination of many young artists to be creative with their verses. Lined with ethereal melodies and an uncanny understanding of space, Victony continues to carve a niche for himself with a sound that glistens with alternative flourishes while paying close attention to the mainstream. 

 

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From “Holy Father” to “Rosemary”, Victony has continued to show growth in his lyricism and sensational lyrics, all accomplished with an almost peerless cool. Across the seven songs on ‘Outlaw’, these virtues flagrantly occupy the fore. He is meditative, joyous, inspirational, naughty and sleek all at the same time. On the Tempoe-produced standout “Soweto,” he is especially sleek delivering his verses with an audible smirk and charisma that permeates off the screen.

“Soweto’s” tone is light, right from its opening sequence of cherry strings and wistful adlibs. With the most unique percussive bounce you’ll hear in recent times, Victony proceeds with his enthralling descriptions of being awestruck by a woman’s beauty. While “All Power” might have gotten overtly intimate into the lurid desires of his mind, “Soweto” is restrained. As you might expect, the lyricism is more allegorical than factual. With Victony singing lines such as “No go do me Diego, my Maradona”, within the stirring pleas which make up the hook of this song. 

Of course, all praise to Victony for his songwriting qualities which he has also matched in quality by Tempoe. Since last year, the producer has churned hits with the consistency of an AI machine, embedding his beats with trademark flourishes an average listener can almost immediately place. With a two-minute run time, Victony cedes control halfway into the song, allowing the beat to expand and excite into the closing seconds. The whistle solo is a masterstroke, becoming a sort of interlude before the melancholic closer “Kolomental” comes in. 

Few songs this year will come close to this level of synergy. Within the tape which houses it, “Soweto” is neither the boisterous bop nor the most effusively introspective. However, what it portends is something more, an echelon of instant classics which refine themselves with time, better with each listen. That’s what “Soweto” sounds like. 

Listen to “Soweto” 

Featured image credits/TSE

ICYMI: PROJECT RUNAWAY

Knucks Returns With A Blistering New Album, ‘Alpha Place’

Posted on by Chibuzo Emmanuel

British-Nigerian rapper Knucks, one of the most exciting voices in the UK’s budding progressive Rap scene returns with his first body of work since 2020. ‘Alpha Place’ is a dazzling 13-track ode that sees him relay his hood chronicles with astute dexterity and further cementing himself as a consistent lyricist capable of weaving poignant tales and dizzying rhymes.

 

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His latest effort sees the 27-year-old explore his South Kilburn roots in great detail. He breezes through bits and pockets of the jazz-inflected Hip-Hop production that defines the project, with his archetypal solemn delivery. In a recent interview with Complex, the rapper recently shared that the project serves more as an extended EP than a full-length LP, which was executive produced by both himself and the Brit-jazz extraordinaire, Venna.

An accompanying video to a standout off the album — “Die Hard” which features fellow London rapper Stormzy — has also been released. In the video, set in an eerie truck park in London, Knucks chills and peruses around with a cadre of friends outdoors, before heading to an amber-hued opulent room to join Stormzy for a game of chess.

Complete with exciting features with budding and veteran acts alike — Lex Amor, Stormzy, Ragz Originale, Sainte, Youngz Teflon, SL, Shaé Universe, Venna & M1llionz — the album is poised to secure him his first top 10 entry in the UK Top Albums chart.

Stream ‘Alpha Place’ below and shop the merch here.

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TurnTable Top 50: Black Sherif Tops The Charts For The Fifth Consecutive Week

Posted on by Wonu Osikoya

For the 5th consecutive week, Ghanaian Asakaa drill rapper Black Sherif remains at the top of the Turntable Top 50 charts, with “Kwaku The Traveller” sitting at number 1. The record which tallied 4 million equivalent streams (No. 1 on streaming) and  44.2 million in radio reach (No. 2 on radio), has now become the longest No. 1 single by a non-Nigerian artist surpassing the 4-week peak of Gyakie and Omah Lay’s “Forever (Remix)”, and also equals the 5-week reign of Ladipoe & BNXN Fka Buju’s “Feeling” as the longest Hip-Hop/Rap No. 1.

Fireboy DML’s “Playboy” holds at its No. 2 peak for a second week in a row, while uNder alum Asake moves up one spot with the Burna Boy-assisted “Sungba (Remix)”, which takes over from Rema’s “Calm Down” now at No. 4 this week. Pheelz & BNXN’s “Finesse” is at No. 5 for another week, rounding off the top 5 spot for this week. BNXN also holds down the 6th spot this week with “Kilometer Remix”, featuring Zinoleesky.

To round out the top 10 this week, Young Jonn’s “Dada (Remix)” with Davido enters the top 10 this week as it ascends 13-7, making Young Jonn the first artist-producer in the Top Ten. Holding down the No. 8 spot this week is Asake’s “Omo Ope” with Olamide which peaked at No. 1 for one week, while Skiibii & Davido’s “Baddest Boy (Remix)” falls from No. 7-9 after topping the chart for five weeks. Rounding up the Top 10 this week is Kizz Daniel’s “Oshe” with The Cavemen which drops to No. 10 after peaking at No.9 last week.

Elsewhere in the charts, Melvitto & Wande Coal’s “Gentility” rises to a new high of No. 11 – while Camidoh’s “Sugarcane (Remix)” with Mayorkun, Darkoo & King Promise makes its debut on the charts at No. 16.

Read a full breakdown of this week’s TurnTable Top 50 here.

ICYMI: PROJECT RUNAWAY