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 Kizz Daniel, Tekno, Larry Gaaga and more. Today’s selection includes new cuts from Cobhams Asuquo, Bella Shmurda, Stonebwoy, Zilla Oaks and more
COBHAMS ASUQUO, PATORANKING & BELLA SHMURDA — “JAH ELI JAH”
Cobhams Asuquo, the veteran singer and songwriter has recruited Patoranking and Bella Shmurda for a dizzying new offering titled “Jah Eli Jah.” The record which is made up of billowing drums, soulful melodies and glib flows sees the trio skate the beat with grass-to-grace-tales and prayers to God.
STONEBWOY — “THERAPY”
Ghanian superstar Stonebwoy is back with a new offering dubbed “Therapy”. “Therapy” pares down the fluid texture of R&B with the gritty percussion of Afrobeats, with Stonebwoy surfing the beat with his sleek vocals. Over the track, the singer is openly vulnerable as he professes his unflinching love to his muse and declares her love as his therapy.
Jeriq – “Back To Basics”
Ahead of his forthcoming debut album, rapper, songwriter and uNder (previously Fresh Meat) alum Jeriq is here with his new single “Back To Basics”, a Drill tune with heavy bass and kicks on the production. “Back To Basics” finds him rapping in his dialect and speaking on where he started from to where he is today.
AYOMIDE SOUNDS — “YAWA DEY” FT. ZLATAN
On this gleaming offering, the age-old dance of old and new lives on, as budding talent Ayomide Sounds taps Zlatan for a resplendent romantic ballad. Ayomide is earnest as he professes his obsessive love for his muse with lines so clever, they could be the work of a Pulitzer Prize-winning poet stricken with lovesickness. Zlatan contrasts Ayomide’s solemnity with his defining playful essence.
ZILLA OAKS & MAKAMA — “MUTUMINA X ALOBAM”
One of the blistering acts heralding a new wave within the Nigerian music scene returns. Zilla Oaks — an illustrious Abuja based rapper — taps fellow Abuja-based rapper for a high-octane Hip-Hop offering “Mutumina x Alobam”, which is the lead single off his imminent ‘MMXXII’ EP. There’s no shortage of thrill on the record as the talented duo trade sleek bars over a menacing beat. The allure of the song is not so much in its lyricism but the smoothness the pair exude as the rap about living their best lives.
BLVCKI TOPIA — “BLVCK ORISA”
“Blvcki Orisa” is a powerfully poignant track that melds the amorphous sonics of quintessential Yoruba soul music with the tittering drums of 80s disco into a wholesome flourish. Blvck Topia is amorphous and fluid on this track, not just with his delivery but with his choice of words. He skirts around themes, heading in no particular direction but instead uses his sultry vocals to conjure a dreamy ambience.
In the summer of 2020, Victony elbowed his way into Afropop with an elegant and vibrant debut EP titled ‘Saturn’. The project, a 6-track EP released at the height of the COVID-19 pandemic introduced the world to his refreshing sound, and placed his name in conversations about Afropop’s new vanguard. Since then he’s only doubled down on displaying his fine craftmanship through collaborations such as “Holy Father” with Mayorkun and “Nataraja” with street pop producer, Rexxie.
Last Friday, the singer shared his sophomore EP ‘Outlaw,’ a 7-tracker which is intricately structured and emotionally layered with personal tales about love, life, lust, and becoming. “Being an Outlaw simply means being unapologetically you and we’re in a society where being yourself seems to be abnormal, so if being yourself is abnormal, then we’re outlaws”, the artist who had recently shared his body of work in the early hours of the day shared via a Twitter space hosted by The NATIVE.
On ‘Outlaw,’ the artist explores matters and topics which revolve around romance, love, self-growth and self awareness. On records such as “Outlaw” and “Kolomental”, Victony speaks on a better and more improved verse of himself as well as focusing on what the future holds for him rather than dwelling on his past experiences. On the EP’s opening number, he sings lyrics such as “say I no dey fear fire, champion boy you go vex tire/Enemy saliva no dey quench fire/if you hating you go vex tire”, chanting to those who don’t believe in him that he’s here for a long time with a bold and assuring tone.
With production from a few producers including lead producer group Ktizo, P.priime, Tempo and Blaise Beatz, Victony delivers some of his most honest work to date. ‘Outlaw’ is a clear showcase of his newly refined confidence after a year of seismic change in his personal and professional life. Take it from the man of the hour himself, below Victony breaks down the tracks on his project ‘Outlaw.’
“Outlaw”
I recorded “Outlaw” mid-2020 and that took the longest time to create on the EP because it’s a song that has depth and just needed time. It doesn’t even start immediately you hear the song, it starts off with a chant and then you begin to hear whispers. This was a song I wanted to have depth like lyrically, especially. We started the production on one day and we had to come back and finish with that later, and I felt it was a good opener because it embodies the right emotions for this project. It tells my story and it shows my relationships with the outlaws. At the time, I was honestly just voicing out the thoughts in my head and that’s how the song came about, “me I no dey fear fire”, not being scared of anybody, being a champion regardless, just going through situations and most importantly, being Victony, and I felt like there’s no other way to start this project than with this song.
“Chop & Slide”
With this song, I was listening to the beat online, apparently it was a Youtube beat and I fell in love with the beat. The beat basically kicked something in me, and I wrote this whole song in minutes. Usually, I do not like writing a song just with melodies in my head, I like to voice out melodies, do like a gibberish freestyle, and begin to replace the gibberish with words. However, with “Chop & Slide”, it was completely different. I was really excited but Hoodini, the producer who was recording me at the time had said he wasn’t really feeling it, so that just killed my morale. But my manager Dafe came back from school after a while and heard the song. He was super excited about it as well. I went back to the record and I said regardless of what anybody has to say, I’m going to finish this record and so I did. I was imaginative with the writing because that’s not a situation I’ve experienced before but at that point, it felt like the beat was commanding me to write about that. I really had no choice, I was just going with the flow.
“Apollo”
Making “Apollo” with P.priime was such an experience for me. We started the beat from scratch and I told him I really loved the song “Remember You” by DJ Clock and I wanted to do something with those exact chords. We just kept on exchanging energies, we kept on rubbing minds together and just banging our ideas. It was just such an energetic record and there were no dull moment at the session. It was just back to back and after we were done recording, we went back and forth with the production and made series of changes. Initially there was no second verse, I added the verse later and I had some girls come do some backup and just did some finishing touches and that’s how “Apollo” became “Apollo.”
“All Power”
The EP was originally six songs and as a fun fact, I added “All Power” on the night of submission. This was the last song I recorded a few weeks back and I really just love the song. I’m not sure what it is but there’s just something about it that I love. I was at the studio with Dafe and Hoodini and we had just rounded up a discussion on submission and I was upstairs listening to “All Power” and I was like this song has to be on the EP. I was sure this was what the tape needed and so I went downstairs and said we had to put this song on. It was a bit of a hassle because we felt like 7 songs was just a bit too much but I don’t think there’s anything like too much music so we just added the song. However, creating “All Power” was such an experience for me. Shoutout to Ktizo — the producer collective who produced about 60% of the EP. So I was with Seni, one of the producers and I was tired because I had just come back from my interview but I really just wanted to make music. I told him to play some chords and he did and we just went off. The studio was on fire. It’s a different thing when you’re making a song and when you’re in love with the song.
“Jolene”
With “Jolene” right, I was in a session and the producer Hoodini played the beat but I was just like next please. I hated the beat on first listen and another day, I was going through my files and the beat came on and, it actually sounded good so I picked up my phone and turned on my recorder and I recorded this melody but I didn’t feel it still. I said I’d play it for Hoodini and I eventually did play it for him and he liked it but I still wasn’t seeing the vision even after recording. However, as soon as he got the girls to chant the chorus that was when it became something to me. From the first day we recorded the song, he had said this was a song that’ll do good in Spanish countries and it’ll be more appreciated by people who are not from this part of the world. I guess at that point, I didn’t really see his vision or understand what he was saying until it became chanty and we got those extra backup vocals on the hook. That was when “Jolene” became “Jolene” to me and I think right now, it’s a whole lot of people’s favourite from what I’ve seen so far.
“Soweto”
I decided to call the song “Soweto” but it doesn’t in any way directly reference the place. “Soweto” just felt like a perfect title. Working with Tempoe was so fun and he’s such a talented producer. I didn’t really believe in this record as well, “Soweto” was one of the laziest sessions I ever had and I think the laziness was the swag in the song. When you listen to “Soweto” you feel drugged up, I felt like I was on drugs when I was recording. So I’d record a melody, go watch TV, then go back and lay another melody and Tempoe asked me to finish it so I did. He even took it upon himself to help me with some lines and he made sure we finished the song that day. I was really ignorant in the session but playing it for my friends and seeing their reactions made me realise that there’s something about “Soweto”. I caught the bug later and I understood what it was with “Soweto” after a while. I realised it was just the expression, the attitude and the charisma I had on the song were very different and that helped me appreciate the song much later.
“Kolomental”
So I linked up Blaise Beatz, another very talented producer who has produced some of the biggest records in the country. For some reason, I just wanted to tap into Blaise’s world because I often feel like this is who I want to work with today. Sometimes when I’m away from my comfort zone and I don’t work with Ktizo for long, I work with other producers. Blaise had this traditional feel to his sound which is very indigenous but still not tied to a place so that people from different parts of the world can still appreciate the song. So we linked up, I gave him the chords to play and we just started building from there. It was just a really normal day, nothing too bright or too dull but for some reason, I wanted to speak on the topic. I wasn’t really in a good or bad mood per say when I was making this, I just wanted to let out the message that I’ve had so many experiences in the last year but I don’t want to think about it. Yes, a lot has happened but I don’t want to focus on that. I want to just focus on the things that actually matter.
There’s a chance you may have heard the wonderful lore of how Bolaji Odukoya—performing under the moniker BOJ—laced the hook of an instant classic rap song. It’s a story that has been told consistently for nearly a decade but is yet to lose its lustre. If you haven’t heard it, here’s a summarised version of the anecdote: Looking to inject freshness into the Show Dem Camp catalogue, Tec got a Highlife-inspired beat from British-Ghanaian producer Juls, played it for BOJ, who briefly stepped out of the studio to connect with some higher vibrations, and returned to lay down the indelible hook within a matter of minutes.
“Feel Alright” the resulting song, is a seminal banger, the cornerstone to Show Dem Camp’s Palmwine Music’ series and Juls’ scintillating, hugely influential neo-Highlife-fusion explorations. For BOJ, it was one of the two collaborative songs that announced the singer as a distinct vocalist and etched him into the consciousness of Nigerian pop music. The other part of the breakout equation was Ajebutter22’s “Omo Pastor,” a humorous song with a bounce that remains unique till date. Both songs quickly established BOJ’s bonafides as a master of hooks and, thankfully, “Omo Pastor” has its own wondrous backstory.
“Butter sent me the song and he had a hook there already that he didn’t like, which he played for me,” BOJ recalls minutes into our chat over a Zoom audio call. Neither artist had met the other at the time—it was a connection fostered by mutual acquaintances, and the collaboration was pretty much based on vibes. “I went to the studio, I literally recorded something and I had to leave the studio for something, but I was going to come back and rerecord because I did not like what I’d done,” he tells me. Due to Butter’s insistence, he sent that initial draft without expecting positive feedback.
“I sent to him and they were all like, ‘Ye! This is the maddest thing,’” he says, adding that he was perplexed as to why they were enamoured by a rough draft. “I was literally fighting them that there’s no way this thing can come out like this, that I don’t like it at all, but they weren’t budging either. I was just like ‘fuck it’ and I was even thinking that they won’t release it.”
Usually, a new act gaining their first bout of widespread notoriety via features creates pressure, putting them in the difficult situation of hitting a commercially impactful home run with their next headlining single. After being the defining voice of two hybrid rap-pop hit songs, BOJ refused to overreact. Instead of swinging for the fences, the singer delivered a debut mixtape headlined by its title track, “BOTM.” Tilted towards the aspirational, the song, whose title is an acronym for “BOJ on the Microphone,” finds the singer revelling in the brightness of his future.
“BOTM” didn’t exactly put BOJ on the path of ubiquitous superstardom. It did, however, validate the confidence he had in his craft, receiving moderate attention and even winning the award for Best Alternative Song at the 2014 Headies. “I’ve always known I’m playing the long game,” BOJ says, with a palpable conviction in his voice. “I feel like I’m quite spiritual and God has already yarned me that as long as I’m doing what I have to do, putting the work in and making music, I’m getting where I’m going, no matter how long it takes.”
II.
Debut albums are usually landmark moments for artists. For BOJ, it wasn’t—at least not for positive reasons. Three years after the Headies win, the singer’s debut LP, ‘Magic’, dropped under the direction of a label. Having sustained momentum in the intervening years with several singles and a handful of features, the album was meant to push BOJ up the ladder of popularity and mainstream reverence, especially with a stacked supporting cast which included Wande Coal, Simi, Banky W, Ycee, Olamide, and more.
On its merits, ‘Magic’ is an impressive debut where the moments of excitement outweighs its more tepid ones. Heavily tilted towards romantic concerns, the 15-track set is a suite of affectionate and assured performances over mostly sauntering and groovy beats laced by production duo, Studio Magic. It’s understandable that the album didn’t break the scale with regards to critical acclaim, but it was baffling that it barely registered to the wider Nigerian pop audience. There were clearly songs with hit song potential—the Simi-assisted “For Sure” was an obvious one at the time—but BOJ quickly moved on from the album, telling the crowd at a live show that he couldn’t “perform his recent shit,” barely two months after it dropped.
“Basically, it was a strategy misunderstanding,” BOJ tells me. “The label wanted to go a certain way and I wanted to go another way. When they didn’t want to lean towards what I wanted, I was just like, ‘Do what you want. This album, to me, is dead and gone.’” It’s not a unique situation, there’s several examples of artists citing irreconcilable differences with their label as the reason for commercial malfunction. In BOJ’s case, HF music wanted him to fully commit to the mainstream thing, but the singer wanted to maintain his alternative edge.
Despite the heavyweight feature list, there’s some justification to BOJ’s reasoning. As much as ‘Magic’ fit within the mid-tempo craze that had begun sweeping through Afropop the year before, it wasn’t reliant on the Banku sound Mr Eazi championed, neither did it lean on the ‘pon-pon’ sound that spawned mega-hits like Runtown’s “Mad Over You”, the basis for Davido’s dominant 2017 run. It was a pop album that wasn’t guided by trends—after all, “BOTM” and a handful of earlier BOJ songs already established his proficiency for mid-tempo pop jams.
Also, at the time, BOJ had emerged as a leading figure of the then nascent, liberally creative alté community, which prioritised independent expression over conformity. The singer was making alt-Pop music, and since his label was only focused on the pop, he decided to move on, deeming it another valuable learning period in his career. “I didn’t really dwell on it because there’s more where that came from, ‘cause I’ve never, for once, had any doubts of where I’m going to,” he confidently quips midway into our chat.
In the four-plus years since, BOJ has lived up to the bet he placed on himself, going on a productive run that has seen him masterfully hug the line between alternative and mainstream pop. There’s the delightful, summer ‘18 joint EP with Ajebutter22, ‘Make E No Cause Fight’, and its sequel with Falz the following year; he scored arguably his biggest song yet with “Awolowo”; and there’s his MVP-level showing on ‘Pioneers’, the well-received album from DRB—his rap-fusion group with Teezee and Fresh L.
That run has hit another pinnacle with the recent release of BOJ’s sophomore album, ‘Gbagada Express’, a highly collaborative effort with its creative beginnings rooted in the throes of the Covid-19 pandemic. “I started this album during lockdown when I was stuck in my house in Gbagada,” BOJ says. “That’s where my studio is, and because I wasn’t moving around, I was just being inspired by the sauce of Gbagada—of Lagos, really.”
III.
‘Gbagada Express’ is a double entendre. There’s its obvious location nod to a central part of Lagos mainland, and the roadway that links directly to the third mainland bridge, which serves as connector between the island and mainland parts of the compact, densely populated city. On a slightly deeper and more consequential level, it’s an ode to making music that’s connected to your immediate environment, without being obligated to play by anyone else’s rules but yours.
“If you listen well to that Teezee skit on the album, that’s what it is. I’m just a guy from Gbagada expressing myself however it makes sense to me,” BOJ offers as context. While he spent his Uni years in the UK, and is currently splitting his living time over there because of work, being Nigerian, via his Lagos upbringing and affinity for the city, is the base of who BOJ is. Coupled with that Lagos to London privilege, the singer is also amongst a generation of digital era creatives who have grown up alongside technologically advanced globalisation, playing a role in his perception of the lack of borders to the music he can create.
‘Gbagada Express’ is a formidable exercise in melding identity with eclectic choices. The music ranges from sunny Afropop to R&B-tinged bops to mellow drill, while guests range from Nigerian pop superstars Davido and Wizkid to a roll call UK and Ghanaian stars like ENNY and Amaarae. In the middle of this whirlwind of choices is a devilishly assured BOJ, consistently setting a tone of excellence for his collaborators—even on songs he doesn’t open—and displaying a first-rate sense of knowing when to cede space and interject to regain the spotlight.
“Apart from just showing myself and my growth, I also tried to show my A&R skills,” BOJ tells me of his approach to making the album. For him, the sheer number of features and the range of music he dabbles in is emblematic of the freedom with which he creates. It’s also an acknowledgement that, as an artist, freedom is a two-way street and the only way to fulfil his end of the bargain is to deliver songs and albums that represent his ideals as an artist.
“I make the music I like and I know there’s people that will like it, so that’s who I want to mainly cater to. I’m not trying to force something down anybody’s throat. I’m all about expressing yourself how you feel, and that includes working with other people. I feel like I enjoy listening to myself more with other artists, even if the other artist has more vocals or whatever, it sounds nice to me like that.”
Nearing a decade since his breakout, BOJ is fixated on maximising every moment of his artistic journey. Occasionally, he’ll reflect on the seminal achievement of pioneering a crucial movement in urban African music, but he’s quick to admit that there’s more great music to make, more boxes to check, and more goals to accomplish. Consistency is a recipe for greatness, and creating authentically binds an artist to listeners.
“When people tell me things like I inspire them, I feel like I’m doing what I’m supposed to be doing,” BOJ says as we conclude our chat. “That’s what I’m here for, to let young people know that they can figure their stuff out and do things their own way—not even just in music, whatever it is—that’s what keeps me going.”
In 2020, Money Badoo caught her first rounds of attention as part of a complementary duo, alongside close friend and collaborator Sauwcy. The pair released ‘MK-Ultra’, a bite-sized EP loaded with intoxicating trap cuts. While that joint debut was partly rooted in vivid chemistry between the two artists, it also showcased their individual powers, with Sauwcy’s gruff cadence playing the more orthodox counterpoint to the eccentric charm of Badoo’s ethereal wheeze.
A year out from the Blxckie-assisted “LIL BIH (Remix)” and their entry into NATIVE’s uNder (previously titled Fresh Meat) series highlighting exciting, nascent artists, Money Badoo has taken definitive steps in carving out her path as a solo act. In addition to guest appearances on songs by lordkez, Doowap and more, she’s shared a handful of singles, and the grip of releases have seen her dabble into downbeat trapsoul, amapiano, and hyperpop-inflected rap. All of that has set an expectant tone for her solo debut project, ‘PORN$TAR’, released today.
Money Badoo has shown herself to be capable of pulling multiple tricks, albeit in limited bursts. ‘PORN$TAR’ is her chance to pull those highlights into a searing performance. Let’s get into it.
In Usual 1-Listen Review Fashion, All Reactions Are In Real-Time While The Music Plays. No Pauses, Rewinds, Fast-Forwards, Or Skip.
“K.R.E.A.M (Intro)”[feat. Maglera Doe Boy]
This opening is ominous, a bit hair-raising even. This is an interesting start to the project, replete with gruff sounds and loud barks.
“g2g” (feat. lordkez)
This is quite the build-up, I can already tell it’s going to knock. “I’ve been doing better, baby” is a very lordkez lyric, she always sings from a place of lived-in assurance. And that voice, balmy and soothing. That’s Money Badoo, took a minute for her to slide in, but it’s worth the wait. This beat is amazing, it’s like riding on a pink cloud. “g2g” is wildly different from the last collab from this two, and they still don’t have to force the chemistry. I already know I’m going to spin this an insane amount of times.
“Gone Girl”
Even from the squeak and piano, I can tell this beat is fire. I mean, I’m barely two songs in but I’m tempted to praise Badoo’s ear for beats. Her flow is engaging, much sturdier but she’s adding melodic tricks and cadence tweaks to keep things interesting. “See me move, they trying/I get money five ways” sounds like an Instagram-ready caption. I’ll need to revisit this to hear every line, but this amazing on the music side. Of course, there’s an electric guitar to close things out.
“47K$” (w/Ricky Tyler)
Lead single time. I found this song out through the music video, and it was quite the worthwhile experience. Think I even watched twice, I can even picture it now. This is corny in the way romantic duo ballads are meant to be. The fact that Money Badoo can go from imposing rap flows to featherweight singing with losing her light touch as a performer is pretty great. Ricky Tyler was on uNder a while back, too, by the way. I think we have great ears at The NATIVE. This is a good song.
“Your Way”
This is a bit grungier than previous song. Money Badoo is luxuriating in the pocket but she’s still commanding my attention. “I can never flop, if I got you then we gon make it” is a romantic sentiment, but it’s line that works beyond its intended setting. That’s one of the hallmarks of relatable writing, it doesn’t work in a rigid framework. These songs are quite short, I would’ve liked this one to stretch out a bit, but I definitely won’t be skipping on the playback.
“H3ART OVERBOARD”
Every song so far has its moment of bated breath, where chords build-up to unfurl gorgeous beats. This one is no different, a muted bounce with wavy synths. It’s almost impossible to overstate just how soft and warm Badoo’s voice. Next to plush beats, it’s just wondrous. There’s the brief switch to a rap flow. How does she sound so wounded and inviting at the same time? Will need a replay for this, but I can’t call it a skip.
“PI$TOL POP”
I have to wait for a few seconds before I type because of these build-ups. I’m not mad. This is the closest thing on this tape to MK-Ultra. Hearing “I just pistol popped that bitch” in an operatic cadence is nothing if not intriguing. This is rambunctious and sensuous enough to work in a strip club, beyond that, I don’t know. These lyrics are a bit stock, and that robotic flow isn’t doing much for me. This beat, though. Very good. I wish this was much shorter, possibly my first mehhh on this album.
“100 DAY$” (w/Sliqe & Yanga Chief)
Okay, pick me up. Money Badoo sounds sweet and foreboding over this blown out bass. Yeah, this is more like it. Two lines just caught my ears but I’m so fixated on how impossibly smooth this flow is, so I can’t recall either one. Yanga Chief isn’t letting the energy wane, he’s picked up the baton with purpose. Couple of nice bars, nothing to crazy caught me. This one slaps, might be a keeper on second listen.
“cum 2 me”
This has been an immersive experience so far, but all these build-ups haven’t made for great transitions. From the title, this was going to be sensual. It’s living up to the expectations, though. This is late night, owl hours, carnal intentions music. Perfect for that private strip session playlist. This is the song you send ahead of a sneaky link, with the purple devil emoji as a caption. I think I’ve dropped too many descriptions. Let’s just say I like this one.
“PORN$TAR”
Last song. What would the hybridisation of rap and R&B sound like with no guitars? Yeah, this beat is absolutely gorgeous. Badoo’s voice barely goes above a whisper, she understands this assignment. I think this song is the second side of one-two punch with “cum 2 me.” I like this song, even more as a closer.
Final Thoughts
In a time when there’s a premium on versatility and honing a hybrid skill-set, Money Badoo is doing her best to stand out positively. Embedded within the ten tracks of her debut album, is the image of an artist confident in her strengths while still figuring out the developing facets of her abilities. ‘PORN$TAR’ is a remarkable showing of Badoo’s equal standing as a singer and a rapper. On the drop of a dime, she coos soft melodies and delivers irreverent bars, playing around with her delivery range to great results.
‘PORN$TAR’ also emphasises her ear for immaculate beats, with a lush and subtly ebullient soundscape filled with gentle guitar plucks, scuzzy synths, gently thudding bass, and varying types of instrumental flourishes. Ranging from luxuriant singing to tastefully attacking pockets, Money Badoo commands the sonic environment around her with apt levels of grace and/or assertiveness.
Centred on romantic trysts and cutthroat boasts, the writing on ‘PORN$TAR’ won’t floor anyone, but it’s consistently engaging and relatable. Most importantly, there’s a lived-in essence to Badoo’s lyricism, which balances out the sometimes surreal edge of her musical choices. There’s a lot to like about ‘PORN$TAR’ and, by extension, Money Badoo. She’s delivered a debut project that firmly sets her on the path to greatness.
Victony’s ability to turn life experiences into fully realised songs has not gone unnoticed. Last year, the musician returned from a ghastly car crash to imprint his transcendental sound on listeners. After the two-track ‘Dark Times’ produced his most introspective song yet (“Pray”), Victony’s svelte vocals was the dominant feature on arguably the biggest song of the year (“Holy Father”), carrying him into 2022 as one of the artists to watch out for.
And truly, he hasn’t disappointed. Being in the center of a friendly spar against Omah Lay made his earlier music reshared on social media, where listeners got a taste of Victony’s background in rap. There he emerged as a savant of the Soundcloud era, wielding emo sensibilities and after EP ‘Saturn’, pairing them with the pomp of contemporary Afropop.
The deliberate synthesis of such artistic virtues were again highlighted on “Apollo” and “Kolomental”, his previous pair of singles released earlier this year. Their brilliance has done well to helm the release of Victony’s anticipated EP, ‘Outlaw’. Purple-themed, intricately structured and imminently personal, the seven-track project is bound to dominate discussions over the weekend and most likely, beyond.
Our editorial team at The NATIVE have clocked in their early listens of ‘Outlaw’, and here are our first impressions of the project.
Best Song
Tela: “Outlaw” has to be the best song from the album. There is a melancholic yet hopeful tone to it as if indicating a great renaissance,, which is evident in the tape. Exploring a deeper theme as he translate his headspace into melody, the opening chant “we are the champion, king champion” serves as a reminder that we are champions giving you the will to move ahead despite tribulations. The melody is meticulously infused amid the chant leading to a crescendo as the harmonic set of pitches and the subtle background vocals set the tone for the song. His songwriting is witty offering comfort while still motivating as if he in a conversation. Outlaw emphatically captures the high and lows of an outlaw.
Chibuzo: I’ve listened to the project several times in a bid to be certain of my ‘Best song’ pick and I’ve concluded that “Chop And Slide” is the crown jewel of this majestic 7-track offering for a vast number of reasons. To start with, the production of this song and “Soweto” are incontrovertibly the best on the project. The production is minimal and apt, allowing Victony’s voice to shine through. But make no mistakes, minimal does not imply basic. The keys on the song are dreamy, ethereal and immersive, to say the least. On this song, Victony’s mesmerising vocals take the spotlight and boy! The boy can sing. He maintains cool composure for the first half of the song but when he gets to the second verse, he goes off totally, delivering a jaw-dropping sonic spectacle. His texture is silky and malleable, his range is also dazzling. In many ways, this song functions to display Victony’s overall range as a vocalist and a songwriter.
Moore: “Outlaw” is definitely my personal favourite from this project. The intro drew me in immediately, it feels like something to be chanted along to. This flows well into the rest of the song, which feels like a somber melody that also insists you sing along to it, this time more quietly. At least until the energy begins build until it reaches its peak with the lyrics ‘I no dey fear fire’, a height of emotions.
Best Production
Wonu: For me, the best production will have to be the production on “Soweto”, I mean what was Tempoe on? One thing I’ve noticed about Tempoe’s production has to be the finishing on the beat, down to the last detail. The blend of each element on this beat is very intentional and I’m not just talking about the kicks or drums, I’m talking about how it all comes together. This record is very special if you ask me.
Dennis: I’m not going to lie, this one is hard. Every song on ‘Outlaw’ is a masterclass in instrumental arrangement, which is a huge plus to Victony—his ear for beats has always been phenomenal. Because I have to choose, I’m going with “Apollo” and “Soweto.” With all the great hit songs they’ve produced in recent years, it’s impossible to say P.Priime and Tempoe had due bills when they created these respective songs, but the level of meticulous genius in those beats sounds like their landlords were banging on their doors and hounding them for rent. Thankfully, Victony responded by delivering inspired performances on two of the best beats we’ll hear all year.
Standout verse
Chibuzo: While I feel that Victony’s songwriting on this offering could have been better — considering that his crafting dazzling verses is his forte — his penmanship on ‘Outlaw’ is incredibly stellar. Victony displays this in earnest, melding words with an uncanny deftness into plush earworms. Like how he sings “Ogologo something wey you carry o/When I’m moving west I Dey find your Taribo” on “All Power”, or when he cheekily blurts “Oh keep it shaking, Joliy you be my Faraday. When it is shaking, e dey gimme light, I nah fi explain”, he makes crafting these quintessential Afropop lyrical masterpieces sound painfully easy.
Maria: Victony’s penmanship on “Kolomental” is stupendous. Throughout the mid-tempo track, Victony seamlessly intertwines gems on self-belief, stardom and shrugging off naysayers all while creating a smooth groove. It’s a great combination of danceability and relatability.
Tela: An undeniable fact is that Victony’s approach when creating ‘Outlaw’ was strategic and deliberately different from his previous projects. With an aim of embracing new freedom, he vibrantly tackles deep issues such as his second chance at life while cheekily inserting songs such as “All Power”. Victony’s third verse on “Outlaw” is a burst of emotions. Inviting you to his mental headspace he takes you through his acknowledgement of his fans, naysayers and his self prophecy of being great without having an idea of what to do but his self-belief serves as a reassurance of his greatness. As you listen to the verse, you have the epochal feel of redemption.
Biggest Potential Hit
Moore: It’s always hard to predict what will connect with people, but I’d say I can imagine “Jolene” being a hit. It’s infectious beat immediately makes you want to dance, which is necessary for Nigerian listeners. It also has an extremely catchy and easy to learn chorus that I’m sure many will sing along to.
Chibuzo:“Soweto” and “All Power” both have hit potential. They both check all the boxes that have defined hit songs in the past year and half — resonating lyrics, tight production, and breezy vocal delivery, but I reckon “All Power” has more potential. It’s a mid-tempo bop but it’s fast enough to dance to, plus it’s a song that would fly for TikTok videos.
Maria: My pick for this would be “All Power”. It’s clear that I have a bias for songs that praise women’s bodies (I mean, why not?) but asides that, the beat is infectious and Victony’s vocals are silky smooth throughout the track. Also, the hook is really catchy, you can almost visualise girls acting up when it comes on. It has all the necessary elements of a hit single. This one is going to be shaking clubs up for sure.
Overall first impressions
Dennis: If I wasn’t obligated to be more elaborate with my opinions, I’d just insert the mind-blown emoji here and be on my way. Outlaw is one of the best projects of 2022, and I’m saying that off one listen. I can already tell the replay value of the entire project is insane. The beats are multi-coloured, multi-layered slabs of excellence. Victony sings every syllable of every melody with an infectious passion. I’m going to repeat myself again: ‘Outlaw’ is one of the best projects of 2022. I’m about to run it back and send out a tweet with the project link and a mind-blown emoji.
Emmanuel: Victony’s unique ability is sounding fresh each time you hear him. His songs have this mesmerising attention to detail, building subtle layers of sound in each count of the minute. I first experienced this on “More”, and I’ve been a fan ever since. Suffice to say, I entered ‘Outlaw’ with high expectations and frankly, I wasn’t let down. Each song on there is arguably the best song, distinct in their own way as they cover the subjects we know him for. There’s lot of sex, but also lots of introspection; however, it’s his songwriting that renders them heft, makes you listen and listen till you can’t wait to sing along. Production-wise, the EP is also competent, building clouds of mostly soft beats under Victony’s alert vocals. In all, ‘Outlaw’ is a thoroughly enjoyable project that will go on to do great things for this talented artist.
Wonu: I’ve listened to this ‘Outlaw’ EP about 4 different times now and I must share, when I heard it the first time I knew it was going all the way up. Victony created something magical on this project. There’s a different experience with every listen and there’s this level of confidence you can sense in terms of the delivery. His writing on the EP, the production, the song selection, the track arrangement, everything seemed so organised and in order. On first listen, I knew this would definitely be here for some time. The replay value is also there so I’m excited to see how it all works out for him and how he manages the marketing of the project.
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 Naira Marley, Zinoleesky, Young Jonn, Darkoo, Ninety and more.. Today’s selection includes new cuts from Kizz Daniel, Tekno, Larry Gaaga and more.
Suté Iwar – “Alright, Okay”
Suté Iwar is known for his fiery Hip-hop numbers but in “Alright, Okay,” he takes a soulful approach as he carves out his own image in the burgeoning music scene. This melodic single tells the story of chasing the bag while avoiding negative vibes as he sings lyrics such as “your bad vibes can’t affect my mental temple.”
Kizz Daniel – “Buga” ft. Tekno
Following the release of his high-charting EP ‘Barnabas’ last year, Kizz Daniel is back this weekend with a new single. Here, he teams up with Tekno for a brilliant Afropop number titled “Buga”. The duo talk about the pertinence of money while also singing about the need to have fun amid their day-to-day struggles.
Larry Gaaga – “Monica” ft. Ajebo Hustlers and De La Ghetto
“Monica” is a sultry single which sees Larry Gaaga, Ajebo Hustlers and De La Ghetto trade amorous lyrics about their respective muses. Over a drum-led uptempo beat, the trio in a braggadocious fashion, pump their chest as they talk of spoiling their muse.
Nezsa – “Trouble”
“Trouble” is a captivating number from R&B singer Neza’s anticipated sophomore album. Her enchanting silky voice serenades the audience creating a calm ambience as she talks of emotional breakthrough from a toxic relationship. The glorious saxophone complements her layered harmonies over the lush 808 productions
Korb$ – “Kamata” ft. Kahu$h
Korb$ has been a force to reckon with in the underground Nairobi music scene. With a knack for storytelling, the stellar rapper has released a 12-track project titled ‘Purple Orange Skies’ which tells the story of growth, love and pain. Teaming up with fellow Kenyan rapper, Kahu$h on standout track, “Kamata” is an earworm track highlighting the concept of a good time.
Jess ETA – Raging ft. Gemini Major
For his latest EP ‘Playing With Fire’, Jess ETA delivers an 11-track project with hits such as the Psycho YP-assisted “Paralysed” and eccentric number “Raging”.“Raging” is an Amapiano infused single that sees Jess ETA employ help from the super-producer Gemini Major who does not fail to deliver. With a hypnotic sound bed, they create a dance anthem with deep percussions synthesised with distinct log drums.
King Promise – “Ginger”
Ghanaian singer King Promise’s latest single, “Ginger” feels as if you are watching a sunset by the beach. King Promise tries to woo his muse by dishing out praises as he sings “prettiest girl I’ve ever seen for you these melodies I sing”. The romantic number is meticulously produced with a mellow sound bed that shines a light on King Promise’s passionate singing.
Kemena – “Rewind”
Nigerian singer Kemena has released a new single titled, “Rewind.” This Afro-fusion ballad will certainly have listeners compelled from the first listen as it’s furnished with dainty violin melodies, bass sound beds and a jolty backdrop. Expressing his attraction towards his muse, Kemena’s stellar penmanship shines all through the song as he fawns over his muse.
95ANTNY – “Less Is More”
uNder alum (previously Fresh Meat) 95ANTNY — a deft purveyor of genre-defying experimental sounds — has returned with his first solo offering in almost a year dubbed “Less Is More.” The track is a resplendent ode to a love interest who relishes the silent moments between them. “She say less is more, so she don’t talk”, he sings over the billowing production. “Less Is More” is made up of tittering drums, ethereal synths, raging guitar riffs, and slick flows that lean full-tilt into RnB. True to his nature, he marries an assortment of elements into holistic flourish that captures his idiosyncratic essence.
Since emerging as the winner of Audiomack’s Rising Star challenge in 2021, Jess ETA ascent in the music industry has been one to attentively watch. Over the past few years since his debut, his blend of Afro-R&B with soulful Pop, Rock, Afropop and more, has endeared him to a multitude of growing fans as he gracefully confirms himself as one of the most promising artists of the now.
For his first body of work, Jess released his debut studio album ‘Aphrodite’ in 2019 and followed up with his second body of work ‘Balance’ in 2020, a 6-track compilation of delectable Afropop and R&B records with guest performances from SGawD and Zarion Uti. The body of work put on display the rapid-fire skills that the Nigerian-born singer had to offer and set a clear trajectory for his sonic growth. Now, after releasing a handful of singles, including “Skata” and the BNXN-assisted “Body On Fire”, Jess ETA is ready once again to welcome into his immersive world.
‘Playing With Fire’ is an 11-track project which sees the songwriter showing off his sultry vocals and blending that with his stellar lyricism. On the 32-minute run, he taps artists such as Gemini Major, Azanti, Frya and PsychoYP for guest verses and producers such as Maxonproduction, Riverays, S’Bling and more for additional production.
The tape features records such as “Dangerous” and “Paralyzed”, both of which sees the artist chanting romantic lyrics to his lover, drawing influences from R&B and soul. On the standout record “Paralyzed”, the artist sings on the chorus “I’m ready for the consequences, I’m burning with desire, it’s killing me/this could be suicide, it’s messing with my confidence, you’ve got me paralyzed”. With every new project, Jess ETA reestablishes why he’s here in the first place and “Playing with Fire” is yet another statement by the artist who has a lot to say.
As a new quarter of the year begins, we’re reminded that May is the month of the annual Africa Day celebration. Held on the 25th of the month, the event is heralded as a day to celebrate Africa’s vast and diverse cultural talents. This year especially, the day means more to Africans globally, as we continue to witness the fervour and tenacity of our people and ideas which have soared beyond the shores of our very continent.
Platoon–an artist service, A&R and music distribution company owned by Apple is celebrating this year’s Africa Day with the release of their sophomore compilation project, a collection of children’s songs titled ‘African Lullabies Pt. 2.’ The new compilation serves as a follow-up to ‘African Lullabies Pt. 1,’ which was released in October of 2021 in collaboration with some exceptional African voices, particularly South African singers and songwriters such as Ami Faku.
The second installment of African Lullabies sees a contemporary pan-African approach as it employs the silky voices of rising and established icons across Africa. Psalms of Suli introduces the album with “Hello Little One”, a serene earworm track that sets the warm and secure tone for the rest of the project. ‘African Lullabies Pt. 2’ also features a talented spate of artists and producers from around African including Asa, Karun, Tresor, Wurld, Olayinka, Aymos, Ntsika, Teni, Manana and Ayra Starr who all demonstrate an equal passion and knowledge of folklore, bringing a smile of appreciation to the faces of listeners.
Most of the recordings are original compositions by the artists, drawing from their experiences in parenthood, African folklore, while others are interpretations of previously released material arranged and re-recorded as lullabies. Despite being dubbed “African Lullabies”, this is a captivating and harmonious project that will certainly provide something in it for every listener, regardless of their age.
Since July last year Platoon has ventured into the kid’s music space after recognising the vital need for a rich and diverse offering for children that catered to all kids regardless of the language they speak or the country they’re in, partnering up with musicians and children’s content creators from across the globe and many languages, to become one of the leading children’s music curators in the world.
In the nineties, Beno Obano’s parents relocated to the United Kingdom from Nigeria. That move would later inform most of his life as a second-generation British-Nigerian. While most of his mates back home took up professional careers as doctors or lawyer’s, as Beno grew older, he would go on to become a rugby enthusiast after a number of influential people saw potential in his physical build and encouraged him to play.
Nowadays the 26-year-old Bath player and England international collaborates with Amazon to produce documentaries that shine a light on the sport’s racial imbalance. “It’s obvious, when you look at the teams and you see a lot of white people,” he says to The NATIVE, “and you’re like ‘why aren’t there more diverse people?’”.
Making the documentaries was Beno’s idea of broadening the ideas of Black people in regards to how they engage Rugby, seeing as it had changed the lives of players like himself. The first, ‘Everybody’s Game,’ was inspired by his come-up as a first generation South Londoner who also wanted Nigerians “to be proud and feel some sort of connection” to Rugby.
Eventually, Obano’s documetaries caught the attention of the right eye, gaining him a presence with TV giants Netflix and Amazon after he’d finished making the documentary. The latter responded positively, and that was the start of a partnership which is extending with Beno’s forthcoming docu-series, ‘Prep To Win: Harlequins’.
Speaking about his reason for opting for documetary-style videos, Obano shares, “I don’t like print media that much,” he says, smiling as he lingers over the last word. “Print media is a medium. Someone’s telling your story for you. That was my experience. In England, they’d come interview me and I’d speak to them, and then I read what is written. And it’s not like, wrong, but it’s their perception of what I said. I just thought it’s important to make a film where there’s no mediation. The person saying it is directly speaking to the person they’re trying to reach”.
There was a need for additional research. “Although I felt what I felt about the sport, I didn’t want it to be anecdotal,” he says. “I wanted to have the statistics to back it up, so I did loads of research around what I actually felt was the case, to support my argument essentially”.
‘Prep To Win: Harlequins’ is about turning things up, he tells me with a half-laugh. Along with some creative collaborators, he brainstormed the idea for a series that advances the game of rugby within its highest tier. “It was perfect,” he says. “From that point onwards, we just ran with it. I then pitched it to different teams, and they said yes. The same process, I showed it to the broadcasters, they said yes and then we moved forward”.
The series focuses on the pre-season journey of different teams. The reasons were practical enough: he wouldn’t have to worry about rights to official games or the lengthy production time of covering an entire season. His major concern was however more skill-influenced. “Pre-season is a part people don’t actually get to see,” he explains. “It’s the preparation phase. Even for this interview, for example, you have to prepare to ask me questions. People don’t see the preparation, but they’ll see the article when it comes out. So I thought if you can shine a light on the preparation, it’s a bit more interesting and more relatable ‘cos everybody has to prepare to perform”.
Beno Obano’s upbringing was effusively Nigerian, and it’s a trait that remains with him till today. In an episode of Pearl Conversations, a podcast hosted by his cousin and professional rugby player Maro Itoje, he admits certain cultural references (like not shaking someone with the left hand) used to confuse him, but he’s grown to understand its dominant message of respect. Likewise, Itoje confirms that “for [Beno] and I rugby has never really been there when we were growing up.” Until secondary school, “rugby was never really a thing for us. Coming from a Nigerian household where if it’s any sport at all it’s football, if it’s not football then it’s books.”
Everyone can’t play football however, and that’s where diversifying sports among Black communities comes into place. His efforts have been paying off: after the release of Everybody’s Game, a notable private school in the UK notified him of their interest to fund the education of some selected boys. “That sort of changes people’s lives and I think sports is able to do that,” he says.
In the past Beno has tried out rapping, and even released a couple of mixtapes. When the conversation shifts to music, he is instantly alert, responding that music pretty much soundtracks most activities in his everyday life. He’s previously opened up into the differences between his music taste and those of his predominantly white teammates, sharing his defiant response when they’d sometimes complain in the gym. In several scenes across his documentaries, you’d hear music from Skepta, DRB Lasgidi, Lojay and Headie One.
He hasn’t been in Nigeria too frequently, and that’s because the December festivities collide with rugby’s busiest period. “I wanted to go this summer, just relax, take it easy,” he says, “that’s kind of what I’m looking forward to doing. Hopefully, I buy a house out there soon and I have somewhere I can just stay. That’s the plan really, ‘cos we all have to go back home at some point.”
“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.
Minimum wage increase in Kenya
Four years since it was last reviewed, Kenya’s President Uhuru Kenyatta has announced the increase of workers’ minimum wage by 12 percent. The announcement was made during Labour Day celebrations at Nyayo National Stadium on May 1, with the reasoning being that increased minimum wage would help Kenyans deal with the increasing fuel and food prices, which have been effected by Covid-19 pandemic, droughts in several parts of the country, and the ongoing war in Ukraine.
“In full appreciation of the critical contribution of workers to the economy [and] following the recommendation of various stakeholders, I today declare an increase of minimum wage by 12pc points with effect from today,” Mr. Kenyatta said at the Labour Day rally. The 12% increase will raise the average minimum wage from 13,500 Kenyan shillings to Sh15,201.64. “We believe it is imperative to review the minimum wages to protect our workers from further deterioration,” the president added.
This new increase is far from the 24% increase demanded by the Central Organisation of Trade Unions-Kenya (COTU), with critics citing the upcoming presidential election as the motivation behind Mr. Kenyatta’s directive. Kenya’s economic woes is the most pressing issue ahead of the August 9 polls, with year-on-year inflation rising to 6.47 percent in April, a near 1 percent increase from March. Even though it’s not the ideal 24 percent increase, the 12 percent increase is a step in direction of easing the lives of Kenyans, with the rapidly increasing cost of living in the East African country.
Central African Republic adopts Bitcoin as national currency
Less than a year after El Salvador became the first country to adopt Bitcoin as legal tender, Central African Republic has become just the second country to make the cryptocurrency its national currency. CAR President Faustin-Archange Touadéra made the announcement last week, stating that country’s lawmakers unanimously voted to adopt Bitcoin as legal tender. The mover puts CAR “on the map of the world’s boldest and visionary countries,” the president said in his statement.
“The president supports this bill because it will improve the conditions of Central African citizens,” Chief of Staff Obed Namsio told Reuters. That claim, however, has been (rightfully) met with some cynicism, since only about 11 percent of the 4.8 million people living in CAR have access to the internet. Along with five other countries, all former French colonies, the country uses the CFA Franc, a regional currency governed by the Bank of Central African States (BEAC), which was reportedly surprised by the Bitcoin adoption. It’s currently being alleged that the cryptocurrency move fits within the anti-French sentiments that have been growing across Francophone Africa, while also playing into growing Russian ties.
The CAR has been in conflict with armed rebel groups for a decade, however, that has greatly reduced since 2018. After coming into office in 2016, President Touadéra has been shifting strategic alliance from France towards Russia, even contracting mercenaries from the Russian-based Wagner Group in the fight against armed rebels. This shift in alliance is believed to be the backdrop of the Bitcoin adoption in CAR, a country rich with gold and Uranium, with the anti-French sentiment favouring Russia’s influence.
On a strictly economic level, the International Monetary Fund has stated that the adoption of Bitcoin as legal tender “raises major legal, transparency, and economic policy challenges.” Recently, the economy minister deemed the situation of public finances to be “alarming,” describing the country’s stark economic circumstance. With the bare level of internet penetration, it isn’t clear as to how the national adoption of Bitcoin will help in boosting CAR’s economy.
FIFA sanctions Nigeria, Senegal for match disturbances
Incensed by its national football team’s loss to the Black Stars of Ghana, at the World Cup qualifying decider in late March, Nigerian fans invaded the pitch of the Abuja national stadium, vandalising property and equipment, and endangering the safety of players, coaches and officials. A month later, the Federation Internationale de Football Association (FIFA) has ordered Nigeria to play one match behind closed doors, and fined the Nigerian Football Association 63 million Naira ($145, 086) for “failing to implement existing safety rules regarding order and security.”
Similarly, Senegal has been ordered by FIFA to play its next match behind closed doors, while its Football association has been fined $180,000 for failing to control fans who shone laser pointers into the eyes of several Egypt players, during the second leg of their World Cup qualifying decider. During the penalty shootout, which Senegal won to qualify for Qatar 2022, fans shone laser pointers at several players of the opposing team, notably Mohammed Salah, as he missed his penalty kick.
These sanctions were announced as part of several decisions by the world football governing body, after investigating several incidents during the last round of World Cup qualifying matches. Algeria was fined $3,000 after fans threw objects and fireworks during their second leg meeting with Cameroon. The Democratic Republic of Congo and Lebanon also received punishments following disturbances in their matches against Morocco and Syria, respectively.
Netflix’s new series ‘Blood Sisters’is finally here, becoming the first Netflix Naija original to hit the streamer since its foray into African entertainment. Set to follow two best friends, Sarah and Kemi as they deal with the fallout of the disappearance of Sarah’s wealthy fiancé, Kola Ademola, on her wedding day. The Netflix show focuses on the bond between the two women, while also dealing with heavier topics such as abuse, addiction and toxic families.
The series is an exciting development in the recent string of deals between the Nigerian film industry and international markets. While the limited series only began streaming officially today in Nigeria, we were able to secure some exclusives with the series leading family: the dysfunctional Ademola’s.
In Sarah’s world, Kola makes all the decisions. What happens when she finally stands up for herself? #BloodSisters is now streaming 🩸 pic.twitter.com/GUAs47DTfb
In ‘Blood Sisters,’ the family is the focal point of the series, epitomising the dysfunction that occurs, particularly through the three siblings who live under the watchful eye of their mother. Deyemi Okanlawon plays Kola Ademola, the family’s golden boy. Far above Sarah’s social status, Kola represents everything that the Ademola family would like to represent to the outside world. To the public he is an intelligent, hardworking and well mannered young man who leads his family’s business with grace. However, like the rest of his family however, not all is as it appears with him.
Gabriel Afolayan plays Femi Ademola, the oldest child with a chip on his shoulder. More than anything, his character wants to take control of the family business from his brother and finally be the celebrated one, something that he sees as his birthright. Scheming with his wife to upstage his brother, Femi represents the resentment and division that can develop in families where success and image is prioritised over all else.
Genoveva Umeh plays Timeyin Ademola, the youngest sibling and only daughter. She is an addict who at first appears brash, announcing that she was in rehab to a dinner party as if daring anyone to judge her for it. Timeyin is more vulnerable than she first appears however, as the show follows her struggles with addiction as she tries to prove herself in a family that sees her as permanently defective.
In this exclusive interview, we speak to the three actors that make up the core of this dysfunctional family. They tell us more about the value they place on playing such complex characters, what drew them to the project and what audiences can expect from the show.
Our conversation which follows below has been lightly edited for clarity.
What made you sign onto this project?
Deyemi: It was the money. We can be honest! They said ‘you people, we’re paying you this amount of money’. And we said ‘anything that you want us to do!’
Genoveva: It was Timeyin for me. Absolutely Timeyin. I read her bio and I was like ‘geez I want to play her character.’
Deyemi: You know when they sent me the sides and told me to send a video, my wife was reading for me. We got to this except, and that was the first violent scene. My wife was in shock, we were both in shock. You know in the other excerpts he seemed like a regular guy. Also, I fell in love with the character, the story, and the fact that I’d been told the actors I was going to work with. And then, it was EbonyLife productions again.
Genoveva: And you can imagine me, I didn’t know who I was going to work with. I was just like me, you’re giving me this role? Me? And then I walked into the table read and I was just like ‘what am I doing here?’
Speaking about your characters, the three of you play quite flawed characters. Would you say there was anything you could relate to in them, whether in spite of their flaws or because of them?
Gabriel: Once you judge a character you can’t play them. So for me personally it’s because of those flaws that I’d want to play a role. You have to be vulnerable to the process. So it’s nothing so big that one can’t handle once you understand the arc of things.
Genoveva: Timeyin was extremely flawed, she’s an addict. But I think I played her in a way that you’re not looking at her flaws. As someone that’s been failed by her family. She wants support and she wants to be believed in right? But she doesn’t get that support in her motivation to change. She wants to quit drugs but she doesn’t get that support from her family. I’m an extremely flawed human being and I love playing characters. And I will defend Timeyin because regardless of what she does, it’s the reasons she does the things she does that is important.
Deyemi: The problem is I don’t understand this whole ‘flawed, flawed’ thing, because I’m perfect. I’m sure if you sit down and you wake Kola Ademola up in the morning he’ll say ‘I’m perfect’ too. So you know a perfect guy playing a perfect role. But Kola is a deeply, deeply flawed individual and it’s always exciting to embark on a journey towards finding a character, for me that’s the height, that’s the juice, that’s it. Forget the film, forget the money, forget everything else but that journey into finding a character, getting to a point where you actually empathise and you can say ‘I get it. I don’t agree with it but I get it’. As Gabriel said, you cannot play a character that you judge. So until you empathise, that’s when you find out how to be the character. For me that was the process.
What do you think will surprise people the most when they see the show?
Deyemi: Just how beautiful everybody looks.
Genoveva: How thrilling it is, it’s binge worthy. You start episode one and you are going to sit there until episode four..
Gabriel: The fact that there’s no missing link in the characters.
Genoveva: And these characters are so different, which is nice because then you’re following peoples stories and peoples lives. And you can see relatable characters.
Deyemi: I feel like as you’re watching, you’ll see somebody you know. I think people will totally love it.
Gabriel: It’s quite an ensemble, everything just came together.
Without giving any spoilers, what would you say your favourite character moment was?
Gabriel: Hmm.. Blue Film loading.
Genoveva: I’m screaming. Do you care to elaborate on that?
Deyemi: I think Gabriel should have paid to play this role, because we did all the work. He had all the fun.
Gabriel: You know when you work all the years and one job comes where you can just flex?
Genoveva: I had so many great moments. I don’t think I had just one moment where I thought, ‘this is amazing’. Perhaps her entrance? Timeyin’s entrance is like, this is who i am, love me or hate me. I think the finale as well. Look out for that!
Deyemi: So for Kola, because of the level of aggression I was gunna bring, I was in the gym for three months. More intense than I’d usually go. I was doing weightlifting then I was doing boxing. And then you see there’s a fight scene in the series, so I wanted to build a specific fighting style. So between what the choreographer had and what I’d done over the past months to get ready.
Gabriel: That was one of my favourite scenes too.
Genoveva: It was lit.
What’s your best memory from set? Whether on or off screen?
Gabriel: The food. Me, I chop. You don’t understand, it was sweet. The costumes, superb. Then the directors, two different flavours. It was so on point that you couldn’t even feel the difference. It was just like one person anchoring us into another person’s hands.
Genoveva: I think everytime i had a conversation with the directors, anytime I had to rehearse, it was just vibes. And I live for this so it was just nice to just have the freedom to do what you want. And the production value of EbonyLife is huge. And Netflix made sure that everything we had on the script was actually brought to life so there was no reason why we couldn’t have fun.
Deyemi: I entered a helicopter!
Gabriel: The production value was top notch. He looked perfect with it.
Finally, we have a release date for Simi ’s third studio album. Over the long Eid weekend, as the country geared for a return to official duties following the religious holidays, the singer announced June 3rd as the official date of her third album. She also shared its title: ‘To Be Honest’.
There’s a number of reasons to be excited about new music from Simi, but the most exciting is the most glaring one. Few musicians of today wield her power of emotional storytelling and technical songwriting, a hybrid that she’s mashed to critical acclaim across two full-length solo projects.
Her 2017 debut ‘Simisola’ heralded her generational talent, spawning a number of hit songs whose resonance still ring heavy today. Followed by the tribute album to her father ‘Omo Charlie Champagne’, she proved capable at incorporating more colourful Pop flourishes into her sound. In 2020, Simi continued her ‘Restless’ EP series, portending her most experimental tape till date.
Simi has been active on the scene since then, most recently becoming a judge on Nigerian Idol. Her vocals and star presence has also contributed to the glowing profiles of songs like Chike’s “Running To You” and Liya’s remix of “Adua”. Last month, she released the sizzling “Sare”, impressing her bright melodies over the eclectic production.
Announcing the album via social media, in a handwritten note, she wrote about making the album and how conceiving her daughter made her postpone her initial plans. “I’ve been trying to tell you a story”, she wrote. “For close to three years, I’ve been desperate to tell you something. Something to help me show you the thoughts I’m thinking…the feelings I’m feeling. I started to start, but then I got pregnant and I said ‘not yet’…”
There hasn’t been more information or a tracklist for ‘To Be Honest’ but trust we’ll keep you in the loop. With the reputation of this particular singer, an album helmed by such a transcendental personal experience isn’t something you want to miss out on.
Moliy’s profile has been on the rise ever since last year when she bodied her role on Amaarae’s“Sad Girlz Love Money”. Almost two years ago, her crystalline vocals showed great promise on debut EP ‘Wondergirl’, stoking excitement around her dreamy takes on Afropop. The Fresh Meat alum has continued to sketch her narrative, one song and project at a time, not quite fazed by the pace of today’s music scene.
Her latest drop came last weekend, a 3-song project she named ‘Mahogany Street’. Coming weeks after Moliy coloured BOJ’s “In A Loop” alongside her sister Mellissa, the songs were met with expectant ears. After lining her records with flourishes from diasporic genres, Moliy plays closer to home on her new tape. The title takes from a real street in Accra, Ghana while the sonics, as she said in an exclusive with The NATIVE, was inspired by “my neighbourhood, that’s what I’m saying, like I really want people to know I’m from Ghana and I’m out here making the kind of music that I do, I want it to be known.”
With just three songs and Moliy’s refreshing cadences, her latest EP ‘Mahogany St,’ is an immersive experience that underlines the artist’s movement towards the centre of a burgeoning global movement. To that end, no other song captures the awareness of her confidence as the catchy opener “9 to 5”.
Many artists have looked to the future with eyes of optimism, projecting favourable fortunes on themselves. It’s however believed that sometimes luck comes into play in the search for success, and turning to the divine becomes a viable leeway. The young African isn’t so concerned with things they can’t control, believing that destiny can be arrived at through hard work, and truly a number of success stories prove the fact. “9 to 5” is that song, and Moliy is confident she doesn’t want to journey through the conventional path.
Just under three minutes, the song stakes its claim, carried on Moliy’s inspired vocals and a gritty Dancehall bounce. Although steeped in cinematic back effects, the singer’s voice stays in tChe centre of things. “See the pain in my eyes, what I did to survive/ Real ones go fit realise”, she sings in the first verse, and before coasting to the assured hook, maintains character as one who’s tasted the sour edges of life, singing “But everyone has let me down, I got trust issues”.
For its own sake though, the record doesn’t fully embrace the sentiments that come with such betrayals. On the second verse, Moliy throws the light back on the community, opening the car seat for anyone who’s down for the ride. Her increasing ease with local cultural references also shines, especially in lines such as “Try get in my way and get this gobe” and “karma on the roll, gonna catch up on you one day.”
Moliy might not be known to the biggest section of Afropop fans, but she’s showing the grit necessary for a shot at the top. With a song like “9 to 5”, she’s speaking to her youthful fanbase but also to the wider industry, letting everyone know she’s in her zone and hungry for all that comes with making it.
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 Tems who featured on Future’s new album alongside Drake, Zenesoul, Majeeed, Moliy, T.I Blaze, Skiibi and more. Today’s selection includes new cuts from Young Jonn, Darkoo, Ninety and more.
Young Jonn – “Dada Remix” ft. Davido
Following the release of his debut EP as a performing artist ‘Love Is Not Enough’, Young Jonn has collaborated with Afropop superstar and DMW Label boss Davido for the remix of the standout single “Dada.” The remix sees Davido elevating an already catchy track. He opens his verse with lyrics such as “Now, ini mini mani mo, on your marks, set, baby let’s go/girl your body be the koko, money money choke o for the bank o”, letting his love interest know he’s ready to take care of her with all his wealth and power.
Naira Marley – “O’dun” ft Zinoleesky
For his first official single of the year, street pop artist Naira Marley has arrived with a new record “O’dun”, featuring his protege and former NATIVE cover star Zinoleesky. “O’dun” is an Amapiano infused track which sees both artists singing in Yoruba about experiencing something sweet and savoury. Zinoleesky delivers a stellar verse on the track as he sings “feeling like spartacus I’m dangerous, she loves me cause I’m famous.” The song also serves as the lead single off Naira Marley‘s forthcoming debut album, ‘God’s Timing The Best.’
Darkoo – “Everything But You Remix” ft BackRoad Gee, Clean Bandit & Young Chencs
On “Everything But You Remix”, UK rapper singer and songwriter Darkoo teams up with BackRoad Gee for an uptempo Afroswing record. Co-produced by Young Chencs and Luke Petterson, the record sees both artists singing to their respective muses and making claims about how they currently feel. Over the hook, Darkoo sings “I just want to let go off everything but you,” while setting the scene for Backroad Gee to step in and rap melodiously over the stellar production of the track.
Ninety – “Hold My Side”
For his debut EP, Ninety is here with ‘Rare Gem’— a 7-track project which features records such as “Buttercup” and standout record “Hold My Side.” “Hold My Side” is a mid-tempo record produced by Typae which sees the artist making confessions to his lover. On it, he offers lyrics such as “My baby be like rizzla wey dey roll my ganja/she got the fire like a full lighter.”
Goya Menor – Ameno Amapiano ft. David Guetta
Following the success of his hit single, “Ameno Amapiano” record which took over the Internet and clubs only a few days after its release, Goya Menor has tapped American producer David Guetta for a befitting cross-continental remix. The record features similar elements to the song’s original production, while also sprinkling signature house melodies that have come to underscore Guetta’s stellar production.
Mr Drew – “Dayana”
Ghanaian Highlife singer, songwriter and performer Mr Drew is here with another record “Dayana”, a mid-tempo number which sees the artist making love confessions to his muse. On the Beatz Vampire-produced record, he showers her with his undulating affection with amorous lyrics such as “Baby you give me something, step in the front show workings/Make somebody call my Dayana.”
Alpha Ojini – “Two Horns” ft. Boogey, Kel & A-Q
For his latest release “Two Horns”, Alpha Ojini, Boogey, Kel and A-Q have teamed up for a hard-hitting rap number which sees all the artist flexing their skills over the song’s gritty production. The record which is a blend of Afropop and Hip-Hop-type beats sees all four rappers trading bars on their achievements and being above their opps and haters.
For the past few years, Homecoming has played a key role in the cultural exchange between Nigeria and the rest of the world. Since the first iteration in 2018 where we witnessed the breakout of the then 19-year superstar, Rema, the music and arts festival has grown into one of the most important platforms for the next generation of Afropop superstars.
Founded by Grace Ladoja MBE, who is also the co-founder of Metallic inc. — a global culture studio, each venture operates as an intersection between music, marketing and culture with the main aim to support youth culture in any way they can. Shuffling between running these entities, motherhood, building a family, and managing the careers of artists such as Skepta and Sarz, Grace is setting the path ahead of her straight.
Last month, Homecoming returned to Lagos after a fallow few years due to COVID, and I had the great honour of spending the full day with her during the Homecoming weekend. We spent the Saturday of the festival weekend together, which was the first day of the pop-up at Alara, Lagos. With a very early start at 8am, I gained a closer look at how she juggles her different responsibilities throughout her 24 hours and I must say, she certainly is a dynamic force.
I met a relaxed Grace Ladoja at the Arise TV studios, seated with crossed legs and a cup of tea in her hand. She was preparing for an interview scheduled for 8:00 AM, but got off to a slightly delayed start. When on-air, she spoke eloquently on ‘The Morning Show’ for about 30 minutes, shedding light on the 4-day festival, her career as a talent manager, being a mum as well as building her young family.
After the interview had wrapped up, we headed out to her home so she could prepare for the rest of her very busy day. In the 15-minute journey from the studio, Grace Ladoja mainly only spoke about how excited she was to see her son, Zacai, who was turning 1 that weekend. The shift from Boss to Mum was palpable, as she spoke with a firm, concise tone whilst talking business, but became a pile of mush with regards to her son.
We arrived at Grace’s Ikoyi residence at about 9:23AM, where she stopped by to get changed out of her TV clothes to a more practical choice for the hustle and bustle of the day. While in the living room waiting for Grace to come back, I could hear her playing with her son before she stepped back out wearing a black tee with “I SUPPORT YOUNG BLACK BUSINESSES” written boldly across the torso – an exclusive Off White x Homecoming collaboration). You could tell she was going for a practical look, but she still managed to look glamorous, pairing the tee with black Prada shorts and black sneakers from Drake’s Nocta x Nike collection.
At about 9:51AM, we headed over to Alara Lagos, aluxury concept store, located in the heart of Victoria Island, Lagos, Nigeria. The whole place was set up with Homecoming brand representation all over the place, from stickers to merchandise to exclusive collaborations designs with streetwear brands such as Patta, Daily paper, Ashluxe, Motherlan and more.
Before the day kicked off, Grace showed Zacai around, going from stall to stall explaining to the 1-year-old what each brand represents. As she took commemorative pictures and videos with him at the Nike x NOCTA stall, she spoke to him about her achievements and how far she has come, asking him “Are you proud of mummy? You should be proud of mummy”.
She spent a bit of time at the pop-up location before eager customers began to make their way, checking in with the team to ensure nothing was out of place. Within the hour since we arrived at Alara, Grace mentioned that she needed to get her breakfast sorted out twice, but never got round to it due to the sheer amount of work she had to do.
After making sure everything was in check, we set off to a shoot location elsewhere in Victoria Island for the i-D editorial photoshoot which features images of all the collaborative pieces between Homecoming and the brands in partnership with them. At the shoot, Grace and I have a little chat about what a typical day in her life is like.
When she finally found the time to sit for breakfast and get her hair done at the same time, she says candidly “I know this may sound clichė but every day in my life is different from the last.” Being in the entertainment and popular culture business, it’s hard to predict how a day unfolds, because there’s usually so much to keep abreast of and stay on top of. Being a music business mogul and managing parenthood is no easy feat for anyone, but what makes it worthwhile for Grace Ladoja, is the passion she has for everything she does. She sees her job as a part of her life and her life as a part of her job, and this allows her to manage both heavy duties side by side.
“When you have a baby, everything in your life becomes number 2 and my son is my number 1 priority.”
One other thing Grace Ladoja sees as a job is making the world a better place for women. She is very vocal about her need to support other women and ensure that they also can stand in their power, and she buttressed this during our chat saying:
“I have a job and it’s to amplify and push women that are doing great things, because sometimes the confidence you can give a woman is just them seeing you as an example.”
You don’t have to spend the whole day with Grace Ladoja to place that she is a strong and confident woman who stands in her power, and considering the monuments she has built across the pond, any woman, regardless of their background would be inspired. After chatting for a bit, we went to get a closer look at the shoot, and Grace checks in with the producer to make sure everything is going well. While the shoot is on, she chats with her partner and co-founder of Metallic inc, Alex Sossah about Homecoming, the ongoing pop-up, the panels and more as we all prepare to head back to the pop-up. We arrived at the pop-up at a few minutes past 3pm and the entire place had become so much more colourful and vibrant than it was earlier on in the day.
The place was filled with a stylish crowd from all over the world who were ready to reconnect with all the different facets of culture available. The pop-up had people shopping exclusive pieces from Drake’s Nocta collection, Daily Paper, Pith Africa, WAF and more. While the pop up wound down for that day, we headed out to the pane discussions, where Grace shared a bit of knowledge about streetwear culture alongside other streetwear brand representatives such as Street Souk, Free The Youth, Daily Paper, Motherlan and more. The panel which kicked off at 6:00PM was very insightful and there was a lot of insight made available. A number of emerging streetwear brands were represented as well as already established brands, which gave the audience two different perspectives to take away from.
Altogether, a day in the life of Grace Ladoja seemed like a success looks like. When a thing of your dreams becomes a tangible object that benefits others, it’s an incredible thing and no wonder Grace is so proud of herself.
8:45AM – Interview with Arise News where she spoke about the impact Homecoming has had so far, Homecoming’s relevance to the culture today, the musical culture in Africa now and Africans in the diaspora.
9:23AM – Got back home to specifically spend some time with her son, Zaccai, get ready for the Homecoming panels, the pop up show.
9:51AM – Heading over to Alara to check out the set up.
10:06AM – Grace checks out the set up and takes pictures and movies with Zaccai as she shows him around.
11:00AM – Grace addresses the staff, starting off by thanking them and preparing them for what the day’s going to be like.
12:30PM – She moves to the i-D editorial photo shoot.
3:10PM – Grace goes back to Alara to check out how the pop up show is going
4:40PM – Grace settles at Nok By Alara restaurant to eat and talk with friends and family.
5:40PM – Grace heads out to the Panels where she’s sharing a bit of knowledge about streetwear, alongside other streetwear brand representatives such as Motherlan, WAF, Street Souk, Free The Youth, Daily Paper and more, all discussing ‘The Rise Of African Streetwear.’
6:00PM – The panels kick off and representatives from each brand are on stage, including Grace and her partner Alex Sossah, co-founder of Metallic Inc.
8:00PM – The very insightful panel rounded up. The members of the panels were asked questions by the audience, right after they had shed light on all they know so far concerning streetwear and the growth of African streetwear
Staying True To Our Mission To Reshape The Face Of African Popular Culture, The NATIVE Team Curates A Monthly List To Spotlight The Best And Most Exciting New Artists On The Continent. Some Of These Artists Have Dropped Songs To Some Regional Acclaim, While Others Are Brand New On The Block, Working Towards Their First Big Break. Tune In To What’s Next. Click Here For March’s edition.
Last month, after two years of discovering some of the Best New Artists on the continent and in the diaspora, we launched uNder, our new column dedicated to furthering our mission of spotlighting the sounds of tomorrow: today. With the start of a new year and quarter, we deemed it best to re-evaluate our commitment to music discovery and where it fits into the grand scheme of things in today’s hyper-viral climate.
While our goal of putting you unto the most exciting sounds remains unchanged, we realise that music is in a constant state of motion. uNder, therefore is a celebration of the ever-spinning wheels of music which vastly covers artists at different stages of their careers–from brand new discoveries to artists who are reaching a tipping point and on their way to mainstream success and even to more familiar names, with a few accolades under their belt.
This month’s edition is an indication of how wide that talent pool currently is. From Nigeria’s Boy Spyce who was just activated by the Mavin powerhouse with a debut eponymous EP to South Africa’s Pabi Cooper who blends kwaito with the rich sounds of house music. So stay tuned for all the exciting features to come—we’ll still be doing this round-up every month, but if you want engaging submissions, deep cuts, or just want to suggest who else we should be listening to, subscribe to uNder newsletter. We hope you find something new that you like.
Boy Spyce
The Mavin Dynasty has done one thing since it was established in 2012: produce stars. Last year, the record label unveiled Ayra Starr and Magixx, two instantly prominent voices of the new generation. In such little time, we’ve seen these artists grow rapidly, positioning themselves as key parts of the new wave of stars, emphasising that Mavin isn’t stopping anytime soon.
Earlier in the month, Mavin records activated new signee Boy Spyce, a promising new already making his mark and primed to reinforce the label’s dominance. Spyce was first discovered through a viral video on Instagram where he did a cover for Wizkid and Tems’ “Essence”. The cover garnered the attention of many, including industry heavyweights such as Don Jazzy, who reached out to the artist at the time and signed him to the Mavin academy.
Now, the artist is ready to take on what the world of music has for him. His unveiling arrived with the release of his self-titled debut EP, a 5-tracker which cuts across matters on love, self-awareness as well as self-growth, showcasing his euphonic vocals and splendid songwriting skills one track at a time. Tracks such as “Wayo” and “Dreams” are clear statements by the artist, proving why he’s here in the first place. On “Dreams”, he sings lyrics such as “And I dey look you through my window; boy you have to chase your dreams, you have a plane to catch by six”, reminiscing on the past and wishing for a better future.
Boy Spyce is a fresh voice of the new generation and we’re rooting for him.
Wonu Osikoya
Simi Liadi
Silky vocals have featured in the resumes of many great R&B musicians, and Simi Liadi is no different. Born in Germany to Nigerian parents, her childhood was characterised by a lot of moving around. Her family eventually settled in Maryland, USA. At 12, she joined the church choir which was where she got her earliest training on the technicalities of sound. In 2020, Liadi made her debut with “Clear”, a glossy record built on stuttering drums and swooning keys.
Liadi’s songwriting underplays complexity, rather honing in on the nuances of her voice to pass across an ultimately deep message. “Clear” was indicative of this, beginning with the couplet “I don’t need nobody but you/ But I need you to tell me if you’re down for me too.” She proved to be a consistent act over that year, releasing “Dream” and “The Hills”, both further underscoring her flair for pulling diverse strands of young love together.
She was especially busy last year, releasing a number of songs before putting out her debut EP, ‘Essence’, in May. Its six songs were carefully selected to highlight Liadi’s subtle twist on love stories, with “Letter To You” and “Faded” being particular highlights. The former demonstrates her technical writing ability vividly portrayed with melancholy as she thinks of a distant lover. “Faded” is about feeling out of touch in a relationship, with Liadi likening it to a fading fire. Last month Simi Liadi released a 3-pack titled ‘Experience’. Here, her songwriting shows even more maturity, leaning into less dramatic flourishes to tell her stories. Together, it’s a fine offering in the oeuvre of a singer who’s really singing.
Emmanuel Esomnofu
Pabi Cooper
From the deep basslines of Kwaito to slowed-down House beats and the dark atmospheres of Gqom, Dance music has, for decades, been an outlet for young Black South Africans to creatively express themselves. At the moment it cannot be argued that Amapiano is the biggest sound at the moment, serving as the modish outlet for producers, singers and dancers to express and entertain. This ongoing ‘Piano dominance has been the catalyst for new stars to transition from the dancefloor to the singing booth.
Not too dissimilar to 2021 breakout star Kamo Mphela, the exuberant Pabi Cooper came into the spotlight for her smooth dance skills in Amapiano, before getting in front of the mic to hone and showcase her chops as a vocal entertainer. Releasing her first EP dubbed ‘Isphithiphithi’in 2021 she has become a fast-rising star to watch out for. The 2 song-set contained the titular track, featuring Amapiano buzzing artist Reece Madlisa, Busta 929 and Joocy, and “Unyangi’Jabulisa” featuring Yumbs. The EP vaulted her to local notoriety, on the strength of her gleaming vocals and infectious, energetic candour over dusty beats.
Despite being a relatively fresh face to the industry, Pabi has enjoyed many highlights on her path to greatness including stellar collaborations from some of Africa’s biggest stars including DBN Gogo, Focalistic and Diamond Platnumz. Her latest release, “Bayana Ke Bafana,” seals her come-up, as she partners with Focalistic, Ch’cco, LuuDadeejay and Nobantu Vilakazi for an anthemic cut that cements her proficiency for delivering ‘Piano cuts with a wide appeal.
Tela Wangeci
Majeeed
At just 23, Nigerian singer Majeeed has been making music for seven years, and writing for some of the most influential names in Afropop today, from Tiwa Savage to Seyi Shay. The singer and songwriter is slowly becoming an emerging voice of the new vanguard of Afropop stars, using music as a potent tool to tell stories which heal the mind. Interestingly, in a conversation with The NATIVE, he described his music as nature-inspired.
After signing with new record label Dream Empire Music, which was established in 2021, Majeeed recently delivered his debut EP ‘Bitter Sweet’. The 6 track project is a musical experience which is tied together by the artist’s emotions, his personal experiences as well as his environment. The 17-minute long listen features records such as “Yawa No Dey End” and “Tough Love”, both of which are uptempo afro-fusion records, which sees Majeeed speaking to his love interest about what he has been through and why he deserves to be loved correctly, flaunting his songwriting abilities and his satisfying melodies on the tape.
Since Majeeed made the decision to begin making recording music for himself two years ago, his musical journey has become a story in itself. With a knack for blending catchy Afropop rhythms with soothing R&B melodies, Majeeed is one to look out for this year.
Wonu
Mau From Nowhere
Kamau Wainaina came up with his moniker, mau from nowhere, as an ode to feeling out of place within the context of mainstream Kenyan music. Starting off on the Hip-Hop/R&B spectrum, he’s diversified his sound over time, leading him to dive into his pure consciousness and create by listening to more of his inner self. His hotbed is his ability to draw your emotions as seen in “Try,” as his vulnerability creates a serene environment free of judgement. Inspired by his time spent in the diaspora, UK and briefly, in the US, Mau has no facade in his music permeated, by mellow sound beds and cathartic performances.
For his releases, he occasionally takes to Soundcloud and YouTube, releasing covers and singles as he builds his Kenyan fanbase. From the release of his 2020 EP ‘MFN’, which is an acronym for his name Mau From Nowhere, his growth and maturity can be heard and felt as he expands his sonic palettes in “Pink Matter,” originally by Frank Ocean. ‘MFN’ was a stellar tape where Mau exhibited himself as a multidisciplinary artist, exhibiting his prowess as a singer, songwriter and producer. The EP served as a re-introduction into the scene allowing him to re-centre as he plans his next move. Thematically, the project delved into the complex turmoil of the human experience, touching on burnout and self-sabotage, while the results of miscommunication in relationships are also explored.
Sonically mau from nowhere is an experimental artist often toying with unconventional sounds. His creative restless nature enables him to explore and grow his sound as he delivers his emotionally layered numbers with tangible emotions.
Tela
Raebel
It’s increasingly becoming common for young Nigerian women to steal our hearts with names such as Fave and Ayra Starr immediately coming to mind. Another name that should be on your radar is Raebel, an 18-year-old singer with a voice of gold. She grew up listening to the greats Onyeka Onwenu and Fela Kuti, but also had lots of contemporary music around her, put on by her mother. “My mom tried to make me join a choir but it was not my thing when I was younger,” she tells The NATIVE.
Raebel’s voice is undeniably her standout feature, a sun-tinted blossoming made even more evocative through her unique takes on songwriting. Writing from her own perspective, her songs however come across as universal, imbibed with all the emotional heft that has made international youngsters like Arlo Parks and Olivia Rodrigo so heralded in recent years.
Last December, Raebel released “Miniskirt”, a record about her autonomy in a relationship. She recounts the conflicts between her and a lover who wants her to freak out for him. The Timbun-produced song sparkles with bubbly drum patterns and an assortment of live-sounding effects. Made breezy with elements of Dancehall, Raebel sets a distinct mood, weaning lyrics such as “Why you try to compare me with all of them girls?/ Say me no fit wear miniskirt for you/ Me no fit be like others for you”. Speaking about the song, she says, “‘Miniskirt’ is not just a song about a [piece of clothing]. It’s a song about life, about society and how people expect you to be. Everybody expects you to look like this, the society wants this from you, what about what you want?”
Emmanuel
Avalanche Kaito
Experimental doesn’t even begin to describe the music Avalanche Kaito make. The trio, comprising Burkinabe griot and multi-instrumentalist Kaito Winse, alongside Belgian musicians Benjamin Chaval (drums) and Nico Gitto (guitar), is primal and cerebral, folksy and post-modern, beholden to ancestral traditions and driven by a future-facing, inventive verve. It’s a head-spinning meld of punk, electronic music, beatless noise, hints of free jazz, and Kaito’s deeply-ingrained folk music and reverence to tradition.
Born and raised in the village of Lankoué, in the Sourou region of northern Burkina Faso, Kaito Winse learnt the griot customs and musical heritage of his origins, taking them with him on his European travels, where he met Chaval in 2018. Then, Chaval was part of the post-punk duo Le jour du Seigneur, and as the two new friends and collaborators continued bonding, they invited Gitto to join in the formation of Avalanche Kaito. All three artists push past the boundaries of their work in previous bands and as solo act—notably, Kaito’s 2020 album ‘Kaladounia’ is a masterful introduction to the folk music knowledge he gained while growing up.
Earlier this year, the trio dropped their debut EP, ‘Dabalomuni,’ a brief and searing collection that includes musically spare tracks that centre Kaito’s voice, sometimes manipulated but never lacking organic intensity, and entirely wordless songs that still stun with their shifty compositions. It’s just an entrée for Avalanche Kaito’s self-titled debut LP, set to drop in June. With their released material so far, the band has set a precedent of unlimited possibilities guided by their zany perception of music’s relation to the earth, and whatever imaginations follow after that.
Anthony Azekwoh is a Nigerian-based artist and writer who took the internet by storm in 2020, when his artwork “The Red Man” was sold as an NFT online. Within his catalogue, he has also designed album and single covers for several artists, including Adekunle Gold, Blaqbonez, Show Dem Camp, and Masego. These days, Anthony holds the attention of a global audience, both for his writing and art, and has received a number of accolades for them, including the Awele Trust Prize in 2017 and the Loose Convo grant in 2018.
Following the successful execution of his Lagos exhibition last year titled ‘Homecoming’, the 22-year-old creative just staged ‘Becoming’, a month-long exhibition running from April the 1st through the 30th at the Discovery Museum located inside Abuja’s Art-Tech District in Wuse 2.
Nearly a week after the exhibition’s launch, I arrive at the venue at 11:59am to meet the artist himself for a 12-noon appointment. Less than 2 minutes later, he arrives at the venue and greets me warmly. He leads me through museum’s narrow entrance adorned with lit images of Nigeria’s leaders, icons, and personalities. The exhibition is one of a kind. Perhaps the first in Nigeria, complete with a cinema room, a 360 room, and digital frames displaying live paintings. The first question I ask him is what he thinks of the space.
“Oh, it is great. There is nothing like it throughout the country”, he says, matter-of-factly. “In Lagos last year, we had to build our own temporary space from scratch, you know, just to exhibit. So, yeah. I really appreciate the existence of a place like this.”
The 22-year-old’s foray into art and his ascension to the status of one of Nigeria’s most successful digital artists is familiar in some ways, and yet very unique in many other ways. Having been kicked out of Covenant University, one of Nigeria’s foremost private universities, for writing a scathing article about the school, he was subsequently kicked out of the house by his parents who didn’t approve of his focus on art over completing a Chemical Engineering degree.
“They weren’t so much upset about my engagement with art and artistic things, as they were about it not being what they had imagined for me,” he tells me as we settled down on a table in Lagos Bistro, a restaurant situated within the same premises as the exhibition. “And also, how much time I was spending on it as opposed to my Chemical Engineering work.”
It didn’t matter that he was already being recognised for his work all over the world, his parents were still unconvinced that he was making the best life decision. “To their credit though, things happened for me really quickly and it was a whole shift for all of us,” he offers an empathetic explanation. “I was blinking and things were happening for me, so imagine it as a parent of this child. One day your child is studying Chemical engineering and the next day he is telling you about this writing thing and the day after he is doing these crazy, crazy stuff. It can be a lot to take in and I understand how that must have felt for them.”
Reflecting on his influences as a writer, Anthony points to a time in his childhood when reading books like ‘Cat in the Hat’ bored him. His mother, on noticing that, gave him a newspaper to read instead and that made all the difference. Years later, he would be enamoured by the writings of Nnedi Okoroafor, Nneka Lesley Arimah, Neil Gaiman, and Kola Tubosun, who was his teacher in secondary school and the person who inspired him to take his artistic instincts more seriously.
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In the exhibition halls, the paintings glow off the framed digital screens hanging on the walls. Nearly all the paintings, though their subjects appear human, exude a familiar superhuman, extra-terrestrial aura across board. For instance, the painting “The Traveller”, depicts an old man in a beautifully adorned red turban on a yellow backdrop. This portrait could pass for a representation of a real-life subject were his left eye not pulsating with unusual light.
The portrait of Mansah Musa, the richest black man in history seems perfectly normal until you look deeper into the background. From “Mama Gold”, to ”The Red Man” to “The Orange Father”, one thing is constant: the ethereal, almost stone cold eyes of the subjects, and their pulsating cigarette lights. And on the digital screen, they have even more room to play on. The flames flicker of the cigarettes while their chins twitch under the glow of the diamond above the heads of the subjects.
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Seeing all one can do with digital art, from NFTs to the way they are exhibited in current times, I wanted to know what his thoughts were regarding the current climate for Nigerian artists. Were digital artists receiving some of the attention that other creative sectors are getting, whether it is tech, writing, Nollywood or the music industries. He takes a big swig of his lemon flavoured water, pauses a second, then says:
“Revolution is going on in every single craft or area you can imagine right now. In the Nigerian scene specifically, digital art is one of those things where equipment is expensive, the people who know the skills themselves are few and far in between and at the same time, there are people beating those odds. Like me, for instance, when I started, I was using mouse to draw and watching free YouTube tutorial videos. It is the same for other people I know who have embraced the reality of the moment and saying ‘this is how we have to learn it now’.”
Anthony chooses his words carefully. Although he is cautious not to sound too arrogant, his demeanour is of a young man who is self-satisfied with his achievements, and yet is humbled by what he is yet to achieve. “We weren’t trying to start a revolution, per se. It just happened to be what was beneficial to me at that particular space and time. What then happens is that it automatically subverts the prevailing system of how art should be or should look like. Art wasn’t normally exhibited like that, with screens, cinema room, 360 room, and the rest, but at the same time it is natural for me because that’s what is available to this medium of digital art. You can do many crazy things like make the cigarette light glow with smoke; you can see heads move. Yes, so I think a revolution is already here because the capabilities have exponentially improved.”
“Revolution is going on in every single craft or area you can imagine right now.”
What about NFTs, the much raved about Non-Fungible Tokens? What are the implications of minting your work on the Blockchain and selling it after an auction? What is the value if anyone can still have a copy on their smartphone? Anthony had himself made $40,000 off his “The Deathless Star” NFT collection last year, with the (in)famous “The Red man” NFT going for over $25,000. What better person to ask if not the artist sitting in front of me?
When he first discovered NFT in 2020, he was hit with the same confusion, incredulity if you will, as many of us. “I didn’t quite get it”, he says. Then he adds, “It took me for a spin as I tried to figure it out. But then, the more I read about it, understood it, and used it, it was more like, oh this is just same old, same old.”
I am not satisfied, so I ask, what about ownership and provenance? How does that work here? He smiles, sips his glass of water again, then goes:
“So, let’s say for instance, let’s say a hundred years ago you made your oil painting called WhiteHandkerchief. That painting was special for the main reason that when you go through this galaxy above and beyond, there’s still only that one painting of White Handkerchief by you. That makes it special. This explains why the value of artists’ works skyrocket when they die because that supply is now limited and it’s now fixed. Imagine 100 years later and it’s now digital art, art that can be infinitely reproduced across the internet. When I mint my work on the blockchain, everybody can see it. when I sell it; it’s been transferred. It’s the same with say TheMonalisa, you can take pictures of it all well and good, I can even make my own forgery but the original copy and ownership still belongs to that one person who has it.”
To what extent are Nigerian artists benefiting from NFT’s? “As for me in particular, my audience is global,” he tells me. “I have been building it long before I dabbled into NFTs. In that sense I can’t be a parameter for measuring that. However, anyone who is putting in the work and have taking their time, it shows.”
He alludes to Osinachi, arguably the most prominent NFT artist in Africa and curator of the first ever NFT-focused exhibition at the Lagos-based Art X last November. Art X is West Africa’s most prominent international art fair. “He started minting on the blockchain around 2018 or 2019 when his works were selling for $80 or $90. Now he sells them for hundreds of thousands of dollars”, he says of Osinachi’s success, even as he immediately acknowledges that it isn’t the case for everyone.
“It is a process, and nothing happens within a day. I recognise that while it [NFT’s] is working for a lot of people, it is still confusing for others.
This is because there’s a lot to navigate, with your audience, with your craft itself. That process of rediscovery again and again and it just takes a while.”
The 360 room envelops you with screens and sounds. “This is something I have been working on for a while. Feels good to finally let it out,” he says with grins.
The screens display the cascading and swift movement of the artist’s various works surrounded by shapes and lines. The accompanying sound is sonorous and each screen displays the same thing but from a different angle. I almost twist my neck from stealthily trying to ‘catch’ the moving images as they morph. I am convinced that it would be a playful toddler’s paradise.
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Unsurprisingly, Anthony’s influences as an artist are diverse. They range from his contemporaries and mentors like Duro Arts, to modern American artists like Norman Rockwell. Notwithstanding, his works both as a writer are steeped in a firm conviction that as a Nigerian artist, he cannot afford to make his works about things not connected to issues of the time.
He draws inspiration from history and the present times and brings them to an elevated stratum of existence. Often perceived as mystical and supernatural, the characters in his writing share certain resemblance with the subject of his paintings – a sentiment he reluctantly accepts. Author of several books and short stories, including ‘Stars’, and a series on Brittle Paper titled ‘The Fall of the Gods’, he has a forthcoming book titled ‘Sango Oya.’
He not only speaks about the need for nuance and balance in the stories coming out of Nigeria, he tries to do it in his works. He set up the Anthony Azekwoh Fund, where a percentage of every income from his art goes to, and is donated annually to upcoming Nigerian artists who need it.
He tells me that the ‘Becoming’ Exhibition is the closing of a chapter for him and the same time the opening to a new one where he gets to find himself again. “I feel like the journey so far has been about me doing things that feel natural and then figuring out the best possible way to keep doing it.”
“Few years ago, I was known mainly as a writer and now few years later I am known mainly as an artist and I am still evolving and trying to stay more connected to myself. Right now, the only thing I’m working on is learning how to do 3D sculpting”, he adds.
More than anything, one of the most striking things about Anthony is his humility and clear sense of duty to himself and society. “My paintings have been seen by millions of people and sometimes I wake up to messages or posts online of someone saying, “look, I tattooed your work on my body”. We live in miracle times, because as a Nigerian artist, to achieve this level of exposure in say, the ’50s, at my age, would have been unthinkable.”
Sanusi Anselm writes short stories, poetry, essays, research papers, and policy briefs. He is a Contributing Writer at The Question Marker and the Non-fiction Editor at Fortunate Traveller. He is the anchor of our monthly Book Club and co-curated the book, Government Pikin: An Anthology of NYSC Travels. He lives in Abuja.
“Bruk It Down”, a video series shining a light on the producers and beat-makers behind the scenes, as they break down the intricacies of the songs we listen to every day. In the sixth edition of our NATIVE Original, The Monster Boys: Genio and GMK take us through the making of Cruel Santino and Koffee’s “Deadman Bone.”
Cruel Santino’s sonic universe is usually a marvel to behold. Right from cult classic ‘Suzie’s Funeral’ to more popular cuts like “Rapid Fire” and “Freaky”, the multidisciplinary creative has favoured edgy, layered beats over what is preferred elsewhere across Afropop. Last month, the artist shared his anticipated sophomore album ‘Subaru Boys: FINAL HEAVEN’, inviting a host of collaborators to build that world with him.
A frequent name you’ll see on the credits for ‘Subaru Boys: FINAL HEAVEN’ is the producer duo Monster Boys, made of GMK and Genio Bambino. Across the tape their production glistens, possessing the bewitching twist we’ve come to know Santino by. After the album was released, no one seemed to get enough of “DEADMAN BONE,” one of the album’s early standouts.
The record’s incandescent vibe resonated among a number of listeners who surely relished how Santi and the Grammy-winning Koffee linked up with great chemistry. Complementing the vividness of their vocal delivery is the production, a sizzling bounce that’s irresistible to get off your head once it hits.
For the latest edition of Bruk It Down, the duo walk us through the making of “DEADMAN BONE”. From multiple rimshots to steady 808s and crowd chants, here’s how an eternal banger was made.
Alté is a word with many connotations. Shortened from the word alternative, it has become the moniker for an ever-growing Nigerian subculture which has been bubbling in the underground for quite some time. Unfortunately, the term has often been reduced to an insult against alternative people who are sometimes accused of devil worship, for using aesthetics and themes that make our deeply religious society uncomfortable.
On the less extreme end, they have also been accused of all being pretentious or shallow. Alté can be used by some as a shorthand for people who go against the norm for the sake of it. This waters down the innovation within the movement, and paints everyone who steps outside the mainstream with the same brush.
The NATIVE has always put a focus on supporting the genuine artistry and innovations of the Nigerian music scene, particularly the underground which has long been maligned by industry gatekeepers. Our music festival NATIVELANDhas been headlined by many alternative artists, such as Odunsi (The Engine), Cruel Santino, Lady Donli and the pioneers themselves, DRB.
Thus it was only fitting that a documentary on the scene be birthed by none other than Teni “Teezee” Zacchaeus of the NATIVE, Lex, Ladder & Booker, and Metallic Inc. Titled ‘WTF is Alté?’, the mini-doc uncovers the scene’s key players while giving us glimpses into their lives and their methods.
“That’s what makes me alté, doing what I like to do or doing what I know how to do,” chimes Ashley Okoli on the video, speaking to the importance of staying true and not conforming to the mainstream. We hear their insight into what alté is and why it’s so important. It examines the history behind the term, as well the people that kicked of the movement.
‘WTF IS ALTÉ’ was directed by Ademola Falomo, San Omosa, Chukwuka Nwobi and Teni Zaccheaus, and is a true partnership between change makers in Nigerian society.
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. On Wednesday, we highlighted new drops from Kabza De Small, NV Funk, BadTheSoundBoy and more. Today’s curation includes new cuts from Tems who featured on Future’s new album alongside Drake, Zenesoul, Majeeed, Moliy, T.I Blaze, Skiibi and more.
FUTURE — “WAIT FOR YOU” FT. DRAKE & TEMS
Future is back with a new album ‘I Never Liked You’, and “Wait For You” is an early standout on it. On “Wait For You”, he unites with Nigeria’s own Tems and Canadian Superstar Drake. The track which is a sample of Tems’ 2020 “Higher” — Future sounds forlorn as he whips through rapid fire lines about feeling vulnerable, doing drugs and a precarious situation with a love interest. Drake also holds up his end as he dishes swanky lines about a troubled situation with his muse: “Why you introduce us if you know that you was with him? Made me shake his hand when y’all been fucking for a minute”. However, Tems’ dazzling voice intersperses the record and is the connecting fluid that holds the track together.
ZENESOUL — “IS IT LOVE?” FT. AZANTI
For her latest offering, Zenesoul taps Afropop wunderkid Azanti for a new record titled, “Is It Love?” Over an upbeat groovy beat, Zenesoul opens the record with her rich soulful voice, questioning her muse’s feelings towards her. “Is it love? Or am I just a fool for you?” She sings with conspicuous distress in her voice. Azanti steps in, lancing the beat with his smoky voice as he delivers an illustrious verse in classic Afropop fashion about being jilted by his muse with lyrics such as “Oh no, I been alone yeah. And I been wasting, cause I been deceiving myself that I was over you”.
MOLIY — “9 To 5”
Off Moliy’s just released three-track EP ‘Mahogany ST’, “9 To 5” is an obvious standout. The track is a suave electrifying blend of Afropop and reggae, upholstered by shimmering guitar riffs and bouncy melodies. Over the groovy track she delivers a resonating verse about her strength as a woman, the efficacy of hard work and how the typical 9-5 work schedule doesn’t work for her.
MAJEED — “YAWA NO DEY END” FT. JOEBOY
Following the incredible success enjoyed by the original, wunderkid Majeed doubles down with a Joeboy-assisted remix. “Yawa No Dey End” is a beautiful mid-tempo highlife-inflected Afropop record. Over the groovy beat, Majeed displays pristine shrewdness, as he runs through the armada of problems he’s faced with and declares that letting loose and enjoying life is a much better option to being sullen. “But I go live my life, I go chop life, my brother yawa no Dey end”, he sings over the hook. Joeboy comes in with an electrifying verse — to the same effect as Majeed’s message — that transposes the song to a more lofty echelon.
T.I BLAZE & SKIIBII — “KILO”
Off the back of impressive runs for the pair, they unite for a fresh rousing Afropop offering. Over the boisterous Niphkeys-produced beat the pair take turns delivering rapid fire about youthful ebullience and their grind up to fame. “I’m already used to the fakeness, so I focus on the greatness”, T.I Blaze brazenly declares over the stirring production.
NINETY — “HOLD MY SIDE”
“Hold My Side” is a silky new number that finds the Nigerian singer Ninety weave poignant tales over a groovy beat with his sultry vocals. On the track, Ninety effusively expresses his love for his muse and showers her with adulation. Using cleverly fashioned lyrics, he acknowledges his muse’s reservation about him and reassures her of his desire to be with her for the long haul singing “I no go like to let you go, I no go like to play tinko”. The single features on his on his debut EP ‘Diamonds’ which was released today.
Suzan Kerunen is known as the pearl of Uganda. The celebrated singer is a polyglot who known for using her command of language to share her musical journey with listeners all over the world. Starting her career with her two sisters under the moniker Soul Of Africa, Kerunen got started in music at an early age, before debuting as a solo artist in 2006 with her thrilling album, ‘Nimefika.’
Since then, the singer has soared to higher level as she hits new rings in her decade-long career, including sharing the stage with contemporary music leaders such as the late Miriam Makeba, ASA, and Yvonne Chaka Chaka. Today, Uganda’s Suzan Kerunen releases her 5th studio album titled ‘From Ashes We Rise,’ which finds her celebrating Africa while she raconteurs tales of our battles, triumphs and victories to come.
Releasing “Ginya” and “Earthly Speaking” as the album’s promotional singles, Suzan was inspired by the seismic effects of the COVID-19 pandemic which altered our lives in varying degrees. Her album metaphorically compares African to the Phoenix who manages to shed its old self and rises from its ashes despite facing harsh conditions. The 14-track set concedes Suzan’s position as not only an African icon but a global phenomenon as she meticulously frames the identity of an African through a plethora of languages including Alur, English, Swahili and French.
Using a series of features from across Africa including Burundi’s Bernice the Bell, Uganda’s Kinobe Herbert and Mseto Nation, and South Sudan’s WD Alzain-South Sudan, she addresses continental issues such as modern-day slave trade, Black skin stigmatisation, human trafficking, war, governance and climate change issues that keep sucking the life and blood out of Africa by global and continental perpetrators.
‘From Ashes We Rise,’ is carefully curated to bring out the diversity of art through spoken word, music, chants, riddles and proverbs with brilliantly varied percussion instruments which are Tamur (talking drums), Akogo (thumb piano), and Ndigidi (tube fiddle). The album sees Susan indirectly encourage and develop a breed of artists who will create art not just for self-sustenance but rather look at art as a reproductive tool for humanity. From “Earthly Speaking” which is a plea to save the Earth from global warming to “Remnants” which talks of hope for a new generation, the album is an extensible project juggling emotion, cognition and melody.
While the project ushers unspoken conversations in the African community, Suzan expresses the desire to break cultural boundaries used to keep people divided. Instead, she calls on humanity and empathy not only to those around us but to the climate itself.
