AV Shares New Single “Jiggy”; Inks Record Deal With Warner Music

Posted on by Wonu Osikoya

2021 breakout star AV rose to mainstream prominence last year, following the release of his debut single “Big Thug Boys,” a catchy Afropop record that took over the airwaves and went viral on TikTok. A few months later, AV hit back with a new single titled “Confession” which equally portended his global ambitions. This all culminated with the singer earning top spots on our Fresh Meat (now uNder) column before the year ran out.

 

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This year, AV isn’t skipping a beat as he’s already inching closer towards the global powerhouse he is capable of becoming. Announced today, AV has officially inked a new recording deal with Warner Music, Sweden. With the backing of the industry giant, the Nigerian singer now shares his new single, a refreshing tune titled “Jiggy.”

Produced by Krizbeatz, “Jiggy” is an uptempo track which sees the artist performing at his best. Over the song’s Dancehall-inspired production which is intermingle with Afrobeats drums and Highlife sensibilities, AV sings about the euphoric feeling of having a new crush whose heart can’t be trusted. On the pre-hook, he chants lyrics such as “girl me I don jogodo, shack ogogoro/wetin I dey find dey inside your sokoto”, teasing his love interest about the effect she has on him when he’s inebriated. 

The new single which arrived today is the first single of the artists forthcoming debut EP ‘Thug Life’ which is set for release next month. AV continues to bring his A-game when it comes to showcasing his abilities as a songwriter and performer, and “Jiggy” is no different. It’s clear that AV is in it for the long run and with a new deal from one of the most prominent labels in the game, we can only hope he keeps delivering hits with his palpable charisma. 

Listen to “Jiggy” here

Featured Image Credits/Instagram

5 Years Later, Odunsi (The Engine) & Nonso Amadi’s ‘War’ Remains A Cult Classic

Posted on by Emmanuel Esomnofu

In 2017, no one saw the collaboration between Odunsi (The Engine) and Nonso Amadi coming. While both artists operated within similar ranges of R&B and Afropop, merging them to their will with each new release, there weren’t many nearby precedents for their collaborative ambitions. Even fewer could imagine their sonic connection, let alone envisage the creation of a four-track project. Yet it is this sense of quiet achievement that has characterised the legacy of ‘War’, five years after its release. 

These days it is relatively common for the success of Afropop to be measured in months, with new highs being recorded each day. Still, a number of subtle shifts triggered this state into being. In 2017, there were strong signs of a new wave. Early into the year Mr Eazi completed his 2016 run towards home with ‘Accra To Lagos’, distilling his Highlife roots into atmospheric slow burners carried on the earthy bass of his vocals. Wizkid’s ‘Sounds From The Other Side’ and Simi’s ‘Simisola’ were released two months apart from each other in the year’s second half, which both essentially highlighted that a new path had opened for Nigerian Pop, and there was only one way to test its efficiency: by playing its fields. 

Over on Soundcloud, the country’s alternative acts were early runners of the mid-tempo game. With their hold on the internet, they cultivated the dominant trait of independence among these creators. Often considered in terms of charting a course to the future, artists from that era also experimented through tinkering with the wisdom of past inventions and borrowing from a range of sonic influences. Between the duo who made ‘War’, Odunsi was more forthcoming about the influence of older forms like Fuji on his music, but Nonso Amadi’s records were often tinged with breezy elements which hinted at tropical Island influences. 

All these were present on the EP, contributing to its presence among a number of year-end lists. I was having a boring day sometime last year when I revisited some old projects that weren’t paid particular attention to upon release. That I picked ‘War’ first was only natural: I’d become a fan of Nonso Amadi shortly after my elder brother put me on to “Long Live The Queen” and I remember being surprised upon discovering he was also the voice behind “Tonight”. Odunsi grew on me a short while later, even though “Desire” with Tay Iwar and Funbi soundtracked many melancholic nights of my life. Eventually his artistry was placed into perspective with ‘Rare’, which offered my earliest immersion into the stunning breadth of the alternative soundscape, spawning semi-hits such as “Divine” and “Star Signs” which, featuring Davido and Runtown respectively, demonstrated the subtle ways the counterculture was influencing mainstream acts. 

The ‘War’ tape starts off with hints of its intended mood. A certain Jeff, riding through Hamilton in Canada talks about coming across this “smooth collection of nostalgic sentiments”—a description that still holds up after subsequent listens. What’s more nostalgic than love, the oldest theme of them all? Imprinting new spins on such a well-trodden subject isn’t easy, but that hasn’t stopped musicians from trying.

 I wasn’t too steeped in the details of love when the project was released, but years after coursing through seas of desire and affectation, a song like “Ocean” opens up more beautifully now. It captures all the wistfulness of being lonely and wanting someone beside you for the ride. “Henny plus me is a bad combination,” Nonso Amadi sings on the opening verse, sketching the picture of a beleaguered man who sits at the barstool and ponders if love would ever find him. It’s the type of broodiness he’s known for, but Odunsi on hook duties introduces a warm groove which balances the tape all through. “I’m the type to love you till you suffocate”, he sings on his verse, then going on to ask “how deep is your love?” 

Set to twinkling keys and steady drums, it’s the only song on the tape that’s not produced by either Nonso or Odunsi (The Engine). The mood carries into other records, moving between distinct meters of sound but wielded together by the musicians’ obvious chemistry. “Don’t” is the most upbeat song on the album, a fine contrast with the plea at its base. “Don’t make me love you, I don’t have to love you” they sing with the charm of one who’s already fallen but–like many of us–coming short of the language to address such a tender conflict. Perhaps the most warlike quality about love is how opposites of the human condition–love and hate, satisfaction and hunger–are pulled into its peculiarities. 

In the years since ‘War’ was released, relationships have risen to the top of most discussed social subjects, with disparate opinions on both sides of the gender divide. Men are often berated for their emotional unavailability, how wary we sometimes are to embrace the enthralling experience of being with someone and being for them. “Stay” ramps up the conflict, with Nonso Amadi getting direct to its base. “What you mean I gotta hangout more; every time me and my niggas outdoors/ Everybody queue to take a photo; I ain’t really feeling like a model” he sings over the looping action film-esque keys. Odunsi is less pensive but maintains nuance, singing, “Said she wanna know what it is, why I keep it moving like a solo/ I don’t need drugs to feel a way, you know that my love sophisticated/ I just need time, I need some patience”. 

As finely as any craftsmen working towards one goal, Odunsi (The Engine) and Nonso Amadi combine their peculiarities for an immersive experience. Whereas Nonso prizes introspection, Odunsi is more experiential, turning each story outside-in. Their distinct vocals–Nonso’s bright tone against Odunsi’s warm lulls—also brings the listener a balanced perspective of love through the peeking eyes of masculinity. Closing with “War”, the relationship has come to an eventual end. Here’s the most emotionally-heated stage, being so close to redemption and losing it. The song begins with beat scratches before segueing into a tempo that accentuates the song’s message. “Maybe you can text me later, but let’s not go to war” goes the hook, helmed on both sides by more detailed verses accounting for the fall-off.  

 

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There’s always the concern that joint tapes would fall short of expectations, but ‘War’ underscores the weighty gains of attempting one. It’s not a celebrated practice in Nigeria but there’s beauty in seeing two young artists create such a compact body of work so early in their career. 

Conceiving such from any duo today would be a hard task, and for less obvious reasons than you’d think. Fan comparisons are only one part of the equation; there’s a quality that comes only from being locked in and tuning to each other’s frequencies. Since 2017, I probably could count the number of notable joint tapes in one hand, but things could be simpler. Even when faced with the everlasting turmoil of love becoming war, Odunsi and Nonso Amadi demonstrate the usefulness in keeping things simple. 

Stream ‘War’ below.

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ICYMI: Project Runaway

NATIVE Exclusive: Moliy is focused on consistency

Posted on by Chibuzo Emmanuel

In 2021, just as the world was adjusting to the post-pandemic reality, Moliy Montgomery was catapulted to fame courtesy of her contribution on Amaarae’s “Sad Girls Luv Money”—an ethereal mix of Afropop and R&B which became an globe-trotting anthem for ladies across the world who were weary of the festering restrictions of the lockdown and yearning for the banal freedoms of the pre-pandemic era. In many ways, the song crystallised the zeitgeist of the time and went to break new ground: It was one of the most sensational tunes on TikTok in 2021 and peaked at No.1 on the Most Shazamed Songs chart and No. 80 on the Billboard Hot 100. 

Now, just one year after this euphoric high, Molly returns with a gleaming new 3-pack mini-project ‘Mahogany Street’, and with it a more Afrocentric sound — one that aims to tether her to her people, to her home, Ghana. “It’s inspired by my neighbourhood, that’s what I’m saying, 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.”  

There are very few artists that have been able to bend the mammoth that is Afropop to reflect and accentuate their idiosyncrasies as much as Molly. Beyond her dreamy ethereal beats and her breezy enrapturing voice, there’s something about her message and the rawness with which she tells her truth.

Every line she fashions encapsulates a poignant message that resonates with her audience. In her music, she explores themes of sombre angst and gnawing sadness but also teeming joy and youthful ebullience. These are the qualities that have earned her a growing audience and indicate a momentous career ahead for her.  

Ahead of the release of ‘Mahogany Street’, Molly spoke to The Native about her sophomore EP, connecting back to her roots in Ghana and her illustrious ascent to fame. 

NATIVE: How was growing up for you?

Moliy: It was good, I have two siblings, we were always doing fun stuff together, creating music together, playing games together, watching movies together, going to school together. It felt very, you know, family oriented 

NATIVE: Interesting, did you say making music together? 

Moliy: Yeah, while being together, maybe on the way to school, we would be singing gospel songs together in the car?

NATIVE: Oh, I actually thought you guys were making music in a studio

Moliy: Oh no. (Laughs). Just for fun, just for vibes.

NATIVE: Are you the only musician in your family? 

Moliy: My sister does music as well, she’s been on two features with me already. One with Amaarae and one with BOJ. She goes by Melissa.

NATIVE: Melissa? Oh she’s your sister?

Moliy: Yeah she is.

NATIVE: How inclined were you to music as a child? 

Moliy: Just like any other child, I enjoyed music. When I was a teenager, I started really enjoying Hip Hop music, like, Eminem, Lil Wayne, Nicki Minaj and I also started enjoying Highlife music, I started enjoying Azonto music, you know, all of these influences. At that time there weren’t really streaming platforms, it was more like burning music into CDs, so, it was more like I’d be my own DJ and find the hottest new sounds that I really enjoyed and just create a playlist of them and just be listening to them on the way to school.

I think I was even more of a reserved person, constantly just wanting to listen to music more than being extremely social, if you get me. But it wasn’t really like a thing where I saw myself as an artist, I thought I really enjoyed music and I thought my voice was cool, I felt like if I wanted to do it I could but I didn’t see it as a career or what I wanted to do until I finished high school. I was trying to do the whole Uni thing, I bailed on that and I came back to Ghana and that’s when I started getting into music for real and actually trying to create records, because prior to all that I was just a really shy person. I never really gave it a go until that moment.

NATIVE: Can you throw some light on the period you spent in America for university? 

Moliy: It was very brief. I was doing business studies, like business administration in Florida, and it couldn’t have been a year before I pulled out. But prior to that I wasn’t actually living in America. I’ve always been living in Ghana and it was when I was going to Uni that I went out there, so then, I stayed for like a couple years but then it wasn’t entirely schooling the whole time. So I tried going to Uni and then, I also did a basic job, I was working at Victoria’s Secret, you know (laughs) in that kind of work , it’s like you’re in service to people. You have to engage with people constantly and try and entice them to purchase something and it was new to me, it was something that I feel made me come out of my shell. But then, I still felt like it really wasn’t for me. My back was killing me, fam, so I was like “Nah I can’t do this either”. 

I think it was about that time that I decided to come back and make this happen. I was like, “you know what, I’m gonna come back to Ghana for one year”, that was my plan, one year. And I came with my sister, it was around November 2019 and as soon as we got there we were connecting, recording, doing all sorts of things, just like for January or February, for the lockdown to actually happen during the whole Covid thing. So it was like, that whole plan and whatever I came to do and all of my intentions were just in the air then, cos everyone was supposed to stay home. It’s the mandate, and we had to figure out a way to keep recording, so we had this little set up at home.

I don’t think anybody would have been like “I’m still gonna drop an EP during this period” cos it was so random, and it was like, “with what’s actually going on, would it be a good idea? Is this gonna work out?” But at the same time I felt like I have this timeline that I’ve given myself, so am I really gonna drop all that because of this unexpected thing going on, but I felt like I had to do something because I didn’t want time to get away from me. I didn’t actually have a plan but I had the music together cos I had been working with the producers that made my EP. When I had the project together, the last song that I created was “Wonder Girl” and that was the one song that put the whole project together because it kinda helped me create an identity for myself as an artiste and at that point, I got connected to my current manager. 

 

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A post shared by Moliy $ (@moliymusic)

NATIVE: How was the process of working on your previous EP?

Moliy: I wasn’t always aware that I was making an EP, I was just creating honesty, so there’s like a bunch of other tracks that I halve but for some reason I pieced these ones together and like I said it was the final song “Wondergirl” that made it seem like a project to me, I felt like it was kind of me telling a story at that point with my experiences. All the tracks tell a story on their own. I was just trying to show all of the different things I could do and put it in a project.

NATIVE: You mentioned your music influences a while ago, so, who were the artistes you looked up to growing up? 

Moliy: I really love Michael Jackson, I like R2bees, I don’t know it’s like a whole lot, different styles of music I like. I wouldn’t even say it only just the artistes but like the songs and the songwriters involved, and melodies and different genres. Cos’ it all plays a role, I was exposed to a lot, different kinds of music.

NATIVE: How did the moniker Moliy come about, and is it in any way related to the drug?

Moliy: No, no, oh my God! (laughs). I’m half American, so I think my name is inspired from the whole American name Molly, cos my Dad’s American. My mum named me Molly, so my name is actually spelt “Moliy”, but it’s in no way affiliated to the drug. That’s why I specifically changed my artiste-name from Moliy, now the spelling is different, so come on, you guys don’t have a reason to affiliate it.

NATIVE: Can you tell us about your impending projects? 

Moliy: I’m doing two projects this year, one is like a mini EP, just three tracks,  and it’s coming out this month on the 28th called “Mahogany Street”. That one is kind of like, if feel like more Afro- themed, Afro-Reggae, and yeah I’m hoping it can show people that I identify with Afrobeats and that I’m Ghanaian, because I think some people miss the point, that I’m Ghanaian and that I’m Afro influenced. So that’s mostly the point of this project but then my other EP, that one it’s going to have its own story and it’s own ideas and I feel like it’s going to show my growth, more of my versatility and it’s really exciting, I can’t wait for people to hear what I’ve been working on.

 

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NATIVE: How was the process working on your soon-to-be released project in comparison to the ‘Wondergirl’ EP?

Moliy: There’s definitely more planning, there’s more teamwork involved, there’s bigger ways to make it reach the right ears. The first time was random, but this is definitely more intentional. I’m trying to make this my career, I’m trying to go far with this and attain higher heights, so of course I’m trying to put out my best work, and I’m hoping that goes really well. 

NATIVE: In the period between your last EP and now, how would you say you’ve grown as an artiste and as a person? 

Moliy: I would say I’m allowing myself to communicate how I really feel and what feels right, unaffected by what people might not agree with or understand. Because sometimes I feel like my music can be very opinionated and is very emotional and is a lot about how I feel and some people will not always agree with that. But you have to be confident and, because by all means I’m feeling it, I’m a girl in this age facing a lot of things that other girls out there are feeling, so someone has to be vocal about it. I guess I’m just hoping that those people who resonate with it support it regardless. 

NATIVE: What’s the idea behind the title of your impending release ‘Mahogany Street’? 

Moliy: No, it’s not random, it’s a real street in my neighbourhood in Lapas, Accra. It’s 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.

NATIVE: African music to the world is the new wave. Are you focused on a crossover with your new EP? 

Moliy: I mean, it would be nice to crossover but I’m taking it step by step. I feel like I’ve already crossed over in a sense, I feel like right now it’s about consistency.

NATIVE: What are some of the challenges you’ve faced since starting your career? 

Moliy: I haven’t been able to do many shows, I want to be able to perform more. And I feel things now that Covid restrictions are slowing down, there are more opportunities and I’m excited to perform more and grow in that way as well.

NATIVE: Where do you see yourself as an artiste in the next five years?

Moliy: I see myself on really huge stages all over the world, and I see myself making the music I’ve always wanted to make with artistes that I really really really admire. I see myself having multiple streams of income and just living my dreams basically. 

NATIVE: Asides your impending EP, what’s next for Molly this year?

Moliy: Hopefully some more exciting features. 

Stream ‘Mahogany Street’ below.

Featured image credits/NATIVE

ICYMI: ROYALTIES, PUBLISHING & THE REALITIES OF THE MUSIC BUSINESS

Hot Takes: Elon Musk’s Twitter, Linda Ikeji Strikes Again, #EndTimWestWood & More

Posted on by Wonu Osikoya

In a blink of an eye, the first quarter of the year is done, though it feels like January was only a few days ago. Brisk as it may have been, this hasn’t changed the fast paced environment we live in, as we watch culture change and shift powers segueing from us chanting “Hot Girl Summer” one minute to “that ain’t P” in the next. In my opinion, the only enjoyable thing about April is the welcome return of live shows across the world from the Homecoming festival weekend to Rick Ross’ headline show in Lagos, Coachella and more. It’s official! Summer is approaching.

Today, I’m also particularly excited about Burna Boy’s show at Madison Square Garden which he sold out, becoming the first African to headline ay the stadium. While I wouldn’t exactly call myself an Outsider, I’m super excited for this show for some reason because the man can really perform his heart out. He’s committed to the craft and to giving his fans a great live experience so I’m sure he will not disappoint. I’ll be shouting “My problem is I too sabi,” for the rest of the week in his honour. Dig in to my hot takes this week on Real Housewives of Lagos, TikTok’s reach in the music industry, Elon Musk’s latest purchase and the investigation into DJ and alleged sexual assaulter Tim Westwood.

What I’m listening to 

Right now, I’m listening to a bunch of new music I stumbled upon as I’m not really listening to anything in particular. But I got into some new releases last weekend and I’m really feeling records like BNXN & Zinoleesky’s “Kilometer Remix” which was our Best New Music pick this week and Boj’s album ‘Gbagada Express’. I also got into Jaylon’s “Get Down” featuring Azanti and Chrystel and currently, that’s been on replay.

Jaylon and Azanti have a way of creating something magical when they come together and this time, Chrystel was the icing on top of the cake. The record features a blend of string instruments and piano chords, which gives the track a distinct feel to it and make it easily a favourite for me. I also got into Kwesi Arthur’s debut album ‘Son Of Jacob’, over the weekend and I’m surely going to be spinning that a couple more times.

What I’m Watching 

When I’m not scouring the Internet for new music, I like to spend my time watching  TV shows as often as I can. Currently, I’m hooked on a new Ndani TV youtube series called ‘Love Like This’, and I’m loving it. The series follows a woman called Abiye, who cheated on her fiancé a night before their wedding. On the day of their nuptials, she’s marred by guilt and leaves him at the altar setting off a mixed bag of reactions from her friends and family alike. 

Of course coming from a typical African background, this only caused family, friends and others to judge her based on this decision but truly, she wasn’t very much interested in him as she was still not over her ex. Shortly after this chaotic experience at the altar, she went back to dating him and it’s been drama drama drama since then. I’m currently 9 episodes in and I keep coming back for more.

Gentility…oshey stupidity!

TikTok continues to reach into the music industry, bolstering songs from sleeper hits to mainstream success in the blink of an eye. Last year, we saw this particularly in the case of Nigerian singer CKay whose 2019 single “Love Nwantiti” gained a new lease of life when it went viral on the social networking platform and earned top spots on global charts, including the Billboard Hot 100.

This year, TikTok continues to prove to be a viable source for “blowing” one’s music and we’ve already seen this in the likes of Pheelz and BNXN who scored a hit single with their recent collaboration, “Finesse.” Now, it seems that this is happening once again as Melvitto and Wande Coal’s “Gentility” climbs to the top of the Nigerian Apple Music Top 10 chart, almost three years after its official release. This no doubt shows the power that TikTok has in the long run, with the ability to increase the shelf life of songs in this hyper climate. Yet we’ve also seen songs spark and die on TikTok, spurring viral challenges and repost videos from millions of users one minute, only to be abandoned for the next viral thing in the next moment. I’m not exactly one to beat the gun and say that TikTok is going to redefine the trends in music and culture, but we may very well continue to see Afropop songs gain new life  

An Update On The  Real Housewives Of Lagos 

Spoiler alert.

The forecast for the debut season of Real Housewives of Lagos (RHOL) is drama, drama and more drama and I’m loving it. After kicking off three weeks ago, the Nigerian iteration of the hit reality TV show has piqued the interest of many viewers across the country who can’t help but irresistibly talk about the cast and their flair for trouble. 

As I mentioned in Hot Takes earlier this month, Laura seems to be the season’s villain and three episodes in, she’s still wearing this title with visible pride. I’m not really a fan of her so far, and have found her character to be a tad bit too spiteful for my taste buds, nonetheless she brings the much needed drama to the show. Last Friday, the girls were over at Carolyna for a garden brunch (more like dinner), following the beach get away hosted by Iyabo Ojo last weekend. 

Carolyna came ready to treat the ladies to a good time but unfortunately, drama waits for no woman. In the latest episode, we see Carolyna and Laura Ikeji have a face-off after two weeks of brewing anger. We see Chioma spill the beans about Laura wishing to slap Carolyna following the game played at Iyabo’s beach house. Carolyna does not take kindly to threats of violence as she feels Laura’s anger is misplaced. In Carolyna’s defense, Linda Ikeji, Laura’s sister has been weaving false stories about her on her popular gossip blog without verifying any of the damaging information. While I’ll spare the details about Laura’s hateful actions, there’s no denying that she has over the years fostered an unsafe environment for women, queer people, children and more, choosing sensationalism over any journalistic integrity.

Tim Westwood Accused Of Sexual Misconduct By Multiple Women

Ex radio host and DJ Tim Westwood has been accused of sexual misconduct by seven different women, making this the second time accusation against him come to light during his decades-long career in the music and entertainment industry. Although he has denied these allegations, multiple women have anonymously come out to share their experiences in an investigation carried out by the BBC. In the documentary, these survivors have accused Westwood of misusing his position in the music industry then, to exploit the young women.

Multiple women have also shared their stories since the BBC investigation came to light, detailing how the DJ and alleged sexual assaulter would cajole them into sexual acts during a time period of 1992 and 2017. The investigative documentary titled ‘Tim Westwood: Abuse Of Power’ aired on the 26th of April and set off a chain reaction on social media where survivours and allies were able to share their experiences.

According to the documentary, one of the women reporting her story  was underaged (17) at the time Westwood took advantage of her naivety, while another was a fan who wanted a picture with the famous DJ, only to be grabbed on her breast in the process. This has been one of the UK music industry’s most openly kept secret and has been long overdue, but I am sure glad to see something finally being done and can only hope that this documentary opens up a criminal investigation into his allegations.

Elon Musk Acquires Twitter For $44B 

Stop what you’re doing. We’re now operating on Elon Musk’s Internet. Earlier this week, it was announced that the world’s richest man Elon Musk had now acquired Twitter. This followed earlier announcements that Musk had become Twitter’s biggest shareholder but declined a position to join the company’s board. Following this, Musk moved for a hostile takeover with his majority share, and soon bought out the company with Twitter’s board announcing on Monday that it had agreed to Musk in a deal valued at $44 billion.

Shortly after his record deal with Twitter, Musk began asking Twitter users what changes they would like to see, to the point of suggesting an edit button for users on the social networking platform, a feature many have clamoured for years. Already, many are speculating about what the future for the social platform will look like now that it would be privately owned by one of the world’s richest men. Musk, of course, is notoriously unpredictable so if there’s one thing that seems clear: Twitter’s leadership will likely look much different after the deal than it does today.

According to people familiar with the matter, Musk has already laid out ambitions for Twitter that will fundamentally change the user experience. For instance, Musk wants to pay “creators” to produce content on Twitter, a strategy that helped build TikTok into a social networking juggernaut. Contrary to this, Musk who describes himself as a “free speech absolutist” has also long been vocal in his criticism of the platform’s content policies, raising questions after the company banned former US President Donald Trump. Whatever the case may be, I can tell that in the coming weeks we’re going to be hearing more and more from Elon Musk and what he has in store for Twitter. As someone who has been using the platform for as long as I can remember, I certainly do hope that this does not open a can of worms for incels, bullies and racists to go scott free on the timeline.

Featured Image Credits/NATIVE

ICYMI: PROJECT RUNAWAY

Victony Shares His Refreshing Perspective On New Song “Kolomental”

Posted on by Emmanuel Esomnofu

Victony’s life is straight out of a superhero tale. This past Tuesday made it exactly a year since the singer’s car crash that claimed a friend and, for several months, his ability to walk. Colleagues and fans contributed finances towards his welfare, and soon we saw him again, first moving around with a wheelchair. Now he walks, going about his life with a renewed vim.

 

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A post shared by VICTONY (@vict0ny)

On a musical level, that event has coloured his perspective ever since. Last year’s ‘Dark Times’ came just three months after, featuring two songs that offered an accurate view into the mindset of a survivor such as the emotive “Pray” ending with a solemn prayer from his mother. ‘Nataraja’ with Rexxie was also released and it reflected Victony’s truest self through reflection.

Victony’s latest song “Kolomental” was released yesterday, the first year anniversary of the accident. He shared a brief note on Twitter, in memory of his beloved friend. On the record, that brooding sense of melancholy lingers. The Blaise Beatz-produced song begins with the twinkly chords you’d expect from a Victony song, introduced by the line, “I no fit reason am, e go kpai me o”. Steeped in weariness that’s no doubt influenced by the heavy subject, the first verse talks about the many times he’s been on the receiving end of some wrongs, and about being unable to “calculate the calculus, e plenty gan.”

His resolve comes in the chorus, dropping some much-needed perspective. “Make I face my front, make ogbanje no use me test run/ Make potopoto no stain my cloth, Home advantage everytime I ball”, he sings, detailing why he’ll always ignore certain comments on social media and elsewhere. It’s entirely valid to protect one’s mental health and reputation by choosing not to engage with obviously malicious comments. With celebrities increasingly being prone to trolling online, some time off is a step many have been taking. Victony would rather unlook and put out music, which is the one thing he has control over. 

With the ‘Outlaw’ EP expected on May 6th, “Kolomental” for sure portends an interesting run-up to that. If anything, it’s shaping up already as a worthy completion of the journey that began a year ago. 

Stream Victony’s “Kolomental” below.

Featured image credits/

ICYMI: The NATIVE Presents Project Runaway

Songs of The Day: New Music From Kabza De Small, Killertunes, A-Reece & More

Posted on by Emmanuel Esomnofu

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

Amidst this torrent of new music, the NATIVE is committed to highlighting the best releases you need to hear, and possibly add to your playlists. That’s the essence of our ‘Songs of the Day’ column. On Monday, we highlighted new drops from BOJ, Kwesi Arthur, Oritse Femi and more. Today’s curation includes scintillating vibes from Kabza De Small, NV Funk, BadTheSoundBoy and more. Tap in.

KABZA DE SMALL — “ZIWA NGALE” FT. DJ TIRA, YOUNG STUNNA, DLADLA MSHUNQISI, FELO LE TEE, BEAST & DJ EXIT

Famed for his prolific releases, Amapiano mainstay Kabza De Small recently put out a 4-track project, titled after this eponymous opener. As usual it’s full of dusty gold production where his collaborators shine. No other song better captures the festive vibe at the base of the project than “Ziwa Ngale”, which features a host of notable acts in the SA music scene. With Dladla’s trademark vocals setting the tone, other voices and effects merge wonderfully into Kabza’s production, making this a song you’d want to groove into the weekend listening to. 

NU FUNK — “FUNK TO BLACK”

From his base in South Africa, Gqom-inspired drummer, DJ and musician has made his mark among lovers of experimental Afropop worldwide. Quite recently, Nu Funk put out ‘Funk To Black’, a project of four songs, extending his stronghold on his unique expression. The titular opener is a brooding experience made alive with big drums and vocoder-inflected vocals. Repeatedly sung is the line “funk to black, the rhythm is back”, which really doesn’t give away the spirited groove of this record until you go ahead and press play. 

KILLERTUNES – “WYD”

In recent times, more producers have been stepping into the recording booth and creating their own bangers. Killertunes’ musical resume goes back some time, and he’s not stopping anytime soon. On his latest song, titled “WYD” (an acronym for ‘where you dey’) he rides a slow, neo-Highlife beat, riffing about a lover in very tender ways. “As your corner eyes just dey eye me/ I miss your vibing, when we go outline things”, he sings with sufficient humour, keeping a chill mood in sync with the production’s soft strings and almost muted percussion. It’s surely one for the late nights and moving hands.

BADTHESOUNDBOY – “BALACLAVA BABY” 

Emerging producer and artist BadTheSoundBoy has maintained a prolific streak, releasing the ‘Bad For You’ EP last year and now sharing what is his second single of the year, “Balaclava Baby”. A bubbly record, it possesses all the vim of modern Afropop, with subtle vocal effects that undergirds Bad’s passionate singing. The guitars are reminiscent of Calypso, and paired with the vivid Yoruba-style drums, it’s a record that will surely have many parts of your body moving. Absolute bop. 

A-REECE FT. MAGGZ — “MORE THAN ENOUGH”

A-Reece is known for his blistering raps but on the South African MC’s latest project, he dials things down a notch. ‘The Burning Tree’ is suffused in warm melodies and laid-back riffs on life and love. Crafted through the concept of enjoying a good blunt, Reece is tender and interrogative as he pokes holes in commonplace themes and renders them a new lean. “More Than Enough” begins with church-esque keys, but the lyrical direction is more militant, as Reece raps of naysayers “dealing with a heavyweight, I’m outside tell security to barricade.” Maggz turns in an evocative hook, showcasing the awareness that’s made him so loved among listeners in the South. 

Featured image credits/NATIVE

ICYMI: The NATIVE Presents Project Runaway

The NATIVE Presents Project Runaway

Posted on by Damilola Animashaun

In the summer of 2020, Lojay, one of last year’s breakout stars began recording a trappy experiment helmed by London-based rapper and producer, New World Ray. Over the next two years, the freestyle would undergo transformation as it passed through several hands, including highbrow producers such as Lido (A$AP Mob, Chance the Rapper), NATIVE Sound System’s Sholz, and finally Adey.

That single, now known as “Runaway,” the soulful ballad performed by Lojay and his sweet-sounding collaborator, Mavin Records’ crown jewel Ayra Starr is the first song off the NATIVE Sound System‘s forthcoming debut album, the music division of the NATIVE Networks which is also the parent company of this very publication. The eponymous album will pull together a spate of talented artists, producers, sound engineers, A&R’s, and music executives from around the continent and the diaspora, all united to spread the sounds of tomorrow: today, the ethos of this very media company.

In that light, for our April Digital Cover and our first cover of the new year, we shine a light on all the collaborators on “Runaway,” tracing how the lead single off the NATIVE Sound System’s debut single came to be. Starring two of the most powerful voices of the new generation, Mavins lead female vocalist Ayra Starr and “Monalisa” singer, Lojay alongside director and producer, Dafe Oboro, stylist MOMO, Forevatired, Monster Boys and more.

‘Project Runaway’ highlights the creation process behind working on the record “Runaway”, and digs deeper into the rebellious and left-field nature of the NATIVE. The album which is centred around four of the climatic and cultural seasons that make up a typical year in Lagos, and is a compilation of familiar voices and new sounds. That being said, ‘The Sound Is Coming.’

Full Credits:

Starring Ayra Starr and Lojay in New Bottega

Editor-in-Chief: Seni Saraki

Managing Editor: Tami Makinde

Words by Wilfred Okiche

Photography: Victor Elochukwu

Styling: Morinsola Hassan-Odukale

Make-Up: Onome Ezekiel

Hair: Kehinde Are

BTS Photography: Torty Ikechukwu

BTS Videography: Ayo Odunsi

Production assistants: Wonu Osikoya and Moore Wright

Cover design by Shina Ladipo

You can read the cover story here.

ICYMI: Project Runaway

“Shrap over the rest”: The rise of a Kenyan genre for the youth, by the youth

Posted on by Tela Wangeci

As a global phenomenon, rap music’s most popular sonic trends reaches beyond its origin point, inspiring inventive twists from artists thousands of miles away. In recent years, rap music in Kenya has made this form of creativity compelling, through its exploration, and eventual localisation of Trap and Drill. In comparison to Kenyan Drill, which only started finding its identity recently, the Kenyan iteration of Trap–colloquially referred to as Sharp–is an identifiable, vibrant and vital part of its rap scene.

According to pioneering artists like Musau Mumo, Jovie Jovv, Nziira and Boutross Munene, Shrap is Swahili and Trap fused with the main goal of representing the Kenyan lifestyle. These artists want to depict the wins and losses of an average Kenyan and from this, they coined Shraplife. Shrap yielded a culture filled with fashion, flamboyance, bravado, and nonchalance, backed by a sound that is equal parts sinister, exuberant, blunt and hard-hitting. It has been a driving force, especially in the urban peninsula of Nairobi City where the population is mainly young people.

In the sub-genre’s earlier days, Kenya’s mainstream was more tilted towards popular regional acts like Diamond Platnumz and farther international artists. It was not until 2017 that Shrap gained attention with the release of the visceral “Kiasi” by Jovie Jovv. The certified banger rampaged through the mainstream with Trap music’s characteristic 808s kick and the fuzzy voice delivery from the Shrap pioneer. To further amplify the single, Jovie Jovv, with the help of Fred Matunga, directed a searing video depicting a quintessential life on the streets that involved drugs. As “Kiasi” stamped the Shrap image in the scene, Jovie earned the gilded title of Shrap OG. 

Even with this prime example, the content of a Shrap song isn’t limited to just trapping. Many artists in the scene also touch on the bleak standard of living in the hood, making detailed and sometimes affecting observations of life in the streets. For instance, “Tofauti/Different” by Boutross primarily touches on mental health, even circling in on suicide. These days, Boutross is seen as the image representing Shrap. A lanky fellow with a prolific output, he disregarded the old rap star metrics of greatness, like the use of heavy wordplay and sturdy flows, and instead perfected his art in storytelling.

Boutross started rapping at the age of 12, with his musical career kicking off later in 2013. With popular for hit songs such as “Yea Yea Yea” and “Story Ilianza,” he is Shrap’s most successful story yet. He managed to find his voice in his knack for emphasis and his aptitude for infectious vocal versatility, becoming an integral cog in Shrap morphing into a gargantuan beast and bypassing industry gatekeepers. In Nairobi, Shrappers and keen fans often say “Shrap is the gospel,” after Boutross’ legendary line, “Shrap ni injili.”

In 2019, Boutross became the first Kenyan artist to feature on the EmPawa100 initiative, receiving a $3000 grant to shoot the flashy music video for “Wrong,” a booming, Shrap slapper that would become a national hit and gain heavy airplay despite its gritty lyricism. Doubling up as a producer, Boutross has become a significant name in the music industry as a creatively restless artist. More than anyone, he has used the frictions of modern Hip-Hop to his advantage. All at one, he is a rapper and a singer, a raw emotional purger, a street-centric braggart and a hopeless romantic. 

Boutross is idiosyncratic and identifiable enough that he’s become the go-to man for bold collaborations, teaming up with Nviiri the Storyteller on “Sin Thea,” and showing that Shrap has even bigger crossover potential. From finding his voice on 2018’s ‘Billy Jean’ EP to the scene-defining ‘6IXVIEWSII8K’ mixtape, which earned him the 2019 UnKut Hennessy HipHop Awards Best Male Artist, Boutross’ growth has not only cemented his music prowess, it has also mirrored the wondrous evolution of Shrap over the years. 

The boom of Shrap culture goes beyond the glorification of good times and has a lot to do with the democratisation of new technologies. Shrap music with its three-note synths and overdose of Auto-Tune, spread from just Swahili to vernacular languages. Kenya’s Wuod Baba identifies as a Shrap artist spreading the Dholuo Trap. His discography shows that music is more than just a language but an emotion that brings people together through melodies. While new names continue to crop up in the scene, Kay Gren is a much smaller name that hovers around Shrap’s pioneer days. His unique rapping timbre is perhaps what set him apart when he first debuted on the scene. Known for his feature in the mega-smash hit “Kibare Kwa Face,” his current absence keeps his fans on the verge of their seats waiting for his comeback.

For Shrap, lack of airplay did not stop the eventual breakout with key players taking a DIY approach that’s clearly paying off. Musau Mumo teamed up with Boutross to form ADF, a label that consists of Shrap artists Boutross and  Dope-I-Mean. While the music is clealry essential, the power players behind the label act as the driving force to the success of Shrap. The label offers services such as studio time, which is still an issue for most artists on the come up.

Musau also kickstarted Shrapnite, a showcase event for rising Shrap artists in and around Nairobi. There’s been about a half-a-dozen successful editions of Shrapnite since 2018 that have geared the recognition and growth of the genre, providing a platform to a medley of rappers, including NATIVE uNder alum Groovy Jo. One of the few female rap artists associated with Shrap, her flow, lyrical precision, and refusal to self-censor defines her growing catalogue. She is frank and outspoken about her sexuality and her desire while still commanding respect as a lyrical savant and dynamic rap artist. 

As Shrap keeps evolving and with the sound becoming indelible to Kenyan youth culture, DJ’s have also played a great role in its continued proliferation. Dj Mawinch is a propelling force to the sound. Making numerous Shrap mixes, Mawinch has been pivotal in spreading the sound to his peers. Apart from that, he designs custom clothing pieces dubbed “Renots Apparel,” which is often seen in Shrap videos. For Mawinch, his role in Shrap is playing unheard creatives as he has become an icon in the industry.  To varying degrees, other key DJ’s like DJ Abubaxter, DJ Hanuman, Magnum the DJ and GI Selects have also been monumental in the shaping of Shrap. 

Becoming an even bigger regional deal within East Africa’s thriving music scene, Shrap Nite has collaborated with the Nyege Nyege festival, a 4-day international music festival known for its unique East African feel and outlook, to create a sprawling line-up for a 2020 showcase that included Ohms Law Montana and Denzel Kong. This is validation for the fact that Shrap music resonates with the urban youth as their voice, through the inventiveness and authentic expression of its purveyors. 

Shrap openly embraces capitalism with its lyrics about success, fame, luxury and money, and its neoliberal pragmatism with a do-it-yourself basis provides testimony that you do not need a big record company to make it big. It is a way of saying “we don’t accept the rules of the game anymore, now we’re going to play it our way.” Shrap has positively added to the music community in Kenya as it is propagating musical democracy among its new and nascent acts.

Shrap is not merely a music genre but a way of living, dressing, talking, and self-expression for an entire generation. From social media networks to dance floors and has put up its functioning codes and systems. You might or might not love Shrap but like any music genre, the diamonds are beneath the surface.

FOR THE GIRLS: HOW WOMEN’S PLACE IN KENYAN MUSIC CONTINUES TO EVOLVE

Best New Music: BNXN & Zinoleesky are a dazzling pair on “Kilometer Remix”

Posted on by Tela Wangeci

When BNXN, the artist formerly known as Buju adopted his new moniker earlier this year, there were numerous speculations that his meteoric rise to success would affected by the significant change. Unknown to many, BNXN was no stranger to shedding his old skin and adopting a new name to suit his current standing in the game.

As a teenager, he tested the musical waters starting off as a rapper under the name Drizzle before gradually adopting Buju as his stage name. His early singles “Catch A Vibe” and “Energy” were a premeditation to his current cache of cathartic and ebullient songs, which now runs the span of moods and genres.

 

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A post shared by BNXN (@toyourears)

BNXN’s path to international recognition has been slow and steady but remarkable. After a robust 2021 flourishing from coveted collaborations such as the Zlatan-assisted “Feeling”, his feature on “Mood” off Wizkid’s ‘Made In Lagos Deluxe,’ to his debut EP ‘Sorry I’m Late’, it seems that BNXN is now is gearing for an even bigger 2022.

Already, he has displayed no signs of slowing down his current trajectory. Earlier this year, BNXN assured the world of his prowess when he teamed up with Pheelz, who has recently signed a deal with Warner, to release a giddy fan-favourite smash hit “Finesse” that went viral all over the world. “Finesse” currently sits comfortably at No.5 on the Billboard Afrobeats Songs Chart after debuting at No.6 five weeks ago.

Now to capitalise on this moment and further expand the world around his debut EP, BNXN has finally released the highly anticipated remix to his hit single, “Kilometer” which features street pop icon Zinoleesky. Produced by serial hitmaker Rexxie, the song’s original version has been climbing the airwaves for the past few months, taking over clubs and parties around the country with its propulsive and infectious rhythm.

“When I dey on speed, mo n ja kilometer/I don play your show, e jor owo mi da” BNXN coos over the song’s hook, admonishing a show promoter who has refused to pay him his dues. On the remix, Zinoleesky finds a balance between relatability and danceability in his lyrics, with a charisma that permeates off the track.

Over the catchy production, Zino adds to BNXN’s anger with the promoter, while he talks about his attraction towards a female counterpart who has an eye for expensive things “She likey extra ordinary things She wan to touch she can’t resist.” He also emphasises his disdain for shisha, chanting “Fuck SHISHA” over his love for weed. Rexxie’s street pop bounce sets the tempo for the resounding vocal contributions from both performers as they produce some of their best vocal work yet.

While the validity of remixes in expanding the shelf life of a song has been questioned by a number of music listeners recently, it’s clear that BNXN and Zinoleesky do not fall into that cyclical pattern. Instead, the pair showcase great charisma and synergy as they compliment each other’s smooth and infectious vocals. With “Kilometer Remix,” BNXN continues to widen the spotlight on him and showcase once again why deserves to top the charts.

Stream “Kilometre – Remix” below.

Featured image credits/NATIVE

ICYMI: A 1-Listen Review of Buju’s debut EP ‘Sorry I’m Late.’

Music Business Africa (MBA) Returns For A Second Edition

Posted on by Emmanuel Esomnofu

The Music Business Africa (MBA) program has recorded great influence since being founded by Godwin Tom in 2020. Its earliest form was through an internship program in 2017, but as Afropop scaled new heights in global dominance, it was clear that more in-depth resources on the music business needed to be shared. 

This July, MBA will be returning for its second edition with a program that actively trains the incoming music executives across Africa. “As Africans, we must take the creation and distribution of our knowledge into our own hands,” says Elizabeth Sobowale, who’s the new programme director. “MBA for Africa plays an important role in ensuring that the knowledge of Africa’s music, creative and cultural industries are passed on to the future leaders, executives and creators of the continent.”

Developed by iManage Africa, the MBA also partners with Music Ally and Dr. Carlos Chirinos of the Music Business Department at the New York University. YouTube Music will power this year’s edition. “Africa’s music industry produces some of the world’s most creative content and contributes significantly to global pop culture. This initiative enables the support of more creatives who will play a critical role in the continent’s fast growing creative economy. Additionally, It paves the way for the inclusion of more perspectives, which benefits the Africa and global musical landscape. It aligns with our values, and we are thrilled at the opportunity to support it,” says Addy Awofisayo, YouTube’s Head of Music in Sub-Saharan Africa.

“This is the most advanced music business programme on the continent, localised but with global, industry-standard best practices,” says Anthony Churchman, Music Ally’s commercial director. “It empowers Africa at the foundations: it starts with the people.”

Closing out in November 2022, the program will teach students about a range of music business trends and technologies, as well as giving them hands-on experience in releasing and promoting music to create sustainable careers for artists. Students will also communicate closely with experienced music industry executives, including a faculty drawn from all the different sectors of the business. The project also features the ‘Women’s Fund’, which continues the inaugural edition’s practice of parlaying the support of sponsors towards ensuring that at least 50% of this year’s participants are women. 

Godwin Tom recently moderated a panel at the NY:LON Connect industry conference about Africa’s music industries, which included a discussion about the importance of education to nurture young managers, lawyers, PR people and other roles there. The MBA also shares the same philosophy, even raising the stakes by incorporating practical tasks. In 2021, the inaugural students worked with five African artists in a ‘Talent Project’ that saw them release two EPs, including a crowdfunding campaign.

“When I started out in this industry, there was nowhere to learn about the business and so I, like many of my peers, had to make so many mistakes and it took me years to realise I had been doing so many things wrong,” says Godwin Tom. “The Music Business Academy for Africa has all the modules designed for creative music entrepreneurs to leverage and tap into the wide opportunities in Africa’s music and entertainment industry.”

Featured image credits/MBA

ICYMI: The Compozers are keen on expanding their legacy

NATIVE Exclusive: The Compozers are keen on expanding their legacy

Posted on by Wonu Osikoya

Bands like The Compozers are a dime a dozen. For every one that’s been able to finagle their way into longevity, there’s way more that have fizzled in their nascent period. In fact, the one thing which seems to be common among bands is their inability to stand the test of time.

However, offering their own inspirational counter narrative, The Compozers are standing passing that temporal test on their own terms, cementing their status as the premier backing band in Black British music (and, by extension, Afropop) and charting their way forward as artists in their own right.

 

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A post shared by THE COMPOZERS (@compozers)

Referring to themselves as pioneers for many reasons, Stephen, the group’s drummer shared with me over a Zoom call a couple of days before their live show with Tiwa Savage: “I’ll definitely say that I believe that we’re pioneers because we didn’t have any examples of what we’re doing before we started and now that we started it, other people have seen what we’re doing and they’re replicating it in the different parts of the world and we’re happy to see that what we’re doing it in the intention to inspire others. So I’ll say yes and I believe that we’re pioneers.”

Drawing influences from some of the most credible bands in the world from the iconic Beatles to premier Hip-Hop band and production outfit, 1500 or Nothing, The Compozers are a British-Ghanaian group of four instrumentalists made up of Stephen Asamoah-Duah (drums), Nana Ntorinkansah (bass guitar),  David Ohene-Akrasi (keytar) and Charlie Mensah-Bonsu (keyboard), who kicked off their musical journey nearly a decade ago and have maintained a steady momentum in the past years.

Growing up Ghanaian and all coming from christian backgrounds, The Compozers are deeply invested in their christian roots and as much as possible try to inculcate this into the music they create. “Being Ghanaian, like going to Ghanaian church, growing up with Ghanaian music as well, like the way the music is, we implement it a lot in what we do as well, like how we approach it and stuff,” Stephen shares. “Also it’s very important to get a lot of support from the Ghanaians as well so it plays a very big part. We wouldn’t be here if God hadn’t given us these talents you know, we always have to give back.”

The Compozers can be described as the dictators of the sound. They decide what the music is supposed to sound like. Being a part of the industry for close to a decade, they’ve been able to key into the Afropop and Caribbean pop, finding a juicy mid-point that’s evident on feel-good records such as “Feel Right” and “Born You Well.” As of today, they’ve worked with some of the biggest names across the world, cutting across artists in different genres, from Davido, to Rax, to Koffee. This goes to show that The Compozers are a formidable band, experimenting with different musical genres and representing the Black-British community.

“We’ve been able to pick from so many different cultures meaning that we’ve been able to delve into different genres,” David, the Keytarist shared with me, with regards to what their music represents in the Black-British community. When I ask the guys what 10 years as a band means to them, they all shared with me their different perspectives on this. David responds:

“I feel like we just want to live, especially this 10 year journey, we just want to live that positive message and resonate in that and that whatever you want to do in this life, you can achieve.”

Ten years together as a Black musical band is something that’s rarely seen and The Compozers have a familial bond to than for that. “Being brothers is what allowed some challenges not to break this thing that we have,” Nana says. “Being in a collective is one thing, and being able to maintain a working relationship and a brotherhood as a collective is an entirely different ball game.” The Compozers are playing the long game as a collective and we have no choice as fans but to watch. As Nana declares, “what 10 years means to me, it means legacy and that we’re also just getting started.”

“10 years has been a long time and also not a long time when you really think about it,” Stephen adds. “I’m so grateful because this is something that we started so innocently and we had no clue on what it’s gonna be and it has blossomed to what it is today and it’s actually a worldwide thing and I can confidently say that if you go to every corner of this world and mention the Compozers at least 1 person would know who the Compozers are and I think that that’s an amazing achievement for us.”

 

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For an instrumental band to come this far, I believe it’s something to take pride in. Maybe not to some degree as record producers, but instrumental bands have some level of control on the sound of Afropop and Black diaspora music, giving audiences memorable experiences to hold on to while playing and reinterpreting songs at a live show.

Beyond their live performance exploits, The Compozers are beefing up their resume. Last year, they released their debut album, ‘The Experience’, and for most, this was the first time hearing music curated by and centred on the band. In conversation about their next project and what’s yet to come, Charlie Biggz, the band’s keyboardist shared: “We’ve been in the studio with a lot of artists, mainly from Africa, and we’re still deciding on the genre of what the EP is gonna be but it’s definitely gonna be Afrobeats and we’re definitely working on it so watch out for it.”

Even though a lot of their work revolves around backing the most popular artists from Africa and across the diaspora, The Compozers are controlling their own narrative, in  terms of how they need their music to sound. It’s the sign of the collective greatness, a talent-fuelled group whose wholesome impact continues to be more than the sum of its parts.

Stream ‘The Experience’ below.

Featured image credits/NATIVE

ICYMI: With ‘Son of Jacob,’ Kwesi Arthur is aiming for the next level

What’s Going On: Trafficking In Tanzania, Crude Oil Spillage In Niger Delta & More

Posted on by Wonu Osikoya

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

Trafficking of People With Albinism In Tanzania

Tanzania has the highest rate of people with Albinism all over the world. Albinism affects nearly one in 15,000 people in Africa with further estimates showing that it affects one of 1,400 Tanzanians annually. Yet, those who are born with the skin condition often battle stigmatisation and are referred to as ‘ghosts’ or ‘white goats’ as well as other derogatory names.

While they face discrimination from their fellow Africans, it seems that the trafficking of albino body parts has been on the rise in recent years with an underground network specialising in the resale of parts such as bones, skins and internal organs which are used for amulets believed to bring good fortune and powers.

In Tanzania, a set of organs is worth nearly $75,000 by the traffickers serving wealthy clients. Although crimes against people with albinism are underreported, the high values attached to the illicit trade make this form of human trafficking one of the most lucrative and harmful. According to reports, victims are abducted, trafficked from one country, town or village to another, killed and have their organs taken out. Currently, there are three active trafficking routes in East and Southern Africa, says Ntetema, an investigative journalist in Tanzania: “Tanzania-Malawi-Burundi-Kenya; Tanzania-Mozambique-South Africa; and Tanzania-Swaziland-South Africa.” In March, the country launched a National Anti-Trafficking in Persons Plan of Action which will surely bring some improvements and justice to the region.

Kenyans Call For Investigation Into The Murder Of A Non-Binary Lesbian

According to LGBTQ groups in Kenya, 25-year-old Sheila Lumumba’s body was found several days ago after they were brutally raped and killed in their own home. According to reports, a group of men broke into their house in Karatina town, sexually violated them and ultimately killed them. 

Now, members of Kenya’s LGBTQ community and allies have taken to social media to raise alarm about the discrimination and stigmatisation the group faces daily, as well as call on the Kenyan authorities to look into the murder of Sheila Lumumba, a member of the queer Kenyan community. Although the police are yet to determine the motivation behind Sheila’s killing, Kenya’s National Gay and Lesbian Human Rights Commission (NGLHRC) have shared that what happened to them is not a one-off occurence as there is a repeated history of sexual and physical violence being meted out against queer Kenyans.

Just last year, hashtags such as #JusticeForErica were trending following the murder of another member of the LGBTQ by, a trans-woman activist. Queer Kenyans have slowly become a target in the past few years and nobody is being held accountable for these tragic deaths.

Crude Oil Spills From A Pipeline In Nigeria & Kills Over 100 

Oil pipeline vandalism has been one of the major factors contributing significantly to environmental degradation in the Niger Delta region, which accounts for about 70 to 80% of the oil and gas sector that drives the Nigerian economy. Over the weekend in Rivers State, over a 100 lives were lost due to an explosion at an illegal oil refining depot. The blast at a site in the Abaezi forest during the night of April 22-23 killed at least 110 people, said Ifeanyi Nnaji, head of operations for the Nigerian government’s National Emergency Management Agency in Imo state, where the accident happened.

Unemployment, lack of jobs and poverty have made refining of illegal crude oil a lucrative yet extremely harmful business in Niger Delta, Nigeria. Over time, the refining of illegal crude oil has caused many accidents and has caused oil spillages causing polluted farmlands, lagoons and more. Passer-bys shared that many cars were waiting patiently to purchase illegal fuel when the explosion occurred which caused a number of people to be burnt in the fire. President Muhammadu Buhari declared the event a “catastrophe” and instructed security agencies “to intensify the clampdown on illegal refineries,” according to a statement by his spokesman. The financial backers of the site “must all be caught and made to face justice,” it read.

Kenya’s Ex-President Mwai Kibaki Dies At 90 

Kenya’s third president, Mwai Kibaki has died at age 90. Kibaki served as the elected leader of Kenya for over a decade, from 2003 to 2013, before leaving public office. Kibaki, whose death was announced by the current president of Kenya, President Uhuru Kenyatta, is credited with reviving Kenya’s then ailing economy.

However, his tenure was marred by deadly violence that killed more than 1,200 Kenyans following his disputed re-election in December 2007. While announcing Kibaki’s death, Kenyatta also recalled his long public service, as well as being a member of parliament for five decades. Domestic media reported that Kibaki (90) has been ailing for some time. Kenyan politicians took a break from campaigning for the general election scheduled for August 9th to mourn the ex president. 

New Case Of Ebola Found In Congo 

Four months after the end of DR Congo’s last outbreak, a new case of Ebola hemorrhagic fever has been confirmed in the Northwestern part of the country. The Ebola outbreak in 2018 which lasted for over two years, killed about 2,300 people, approximately. This was recorded as the second highest death toll in Congo.

The National Institute of Biomedical Research said on Saturday that a 31-year-old male was detected with the Ebola virus in Mbandaka city, Congo’s Equateur province. The patient who had experienced a few symptoms a week prior had failed to seek any medical attention. He was later admitted to an Ebola treatment centre but passed on that same day. Congo has seen 13 previous outbreaks of Ebola, and Mbandaka has contended with two – in 2018 and 2020.  The last outbreak, which also spread in the Eastern region of the country, infected 11 people between October and December, while killing six people. 

ICYMI: ‘The Man of God’ is about a pastor-turned-crook but the bigger story remains unsolved

Turntable Top 50: Black Sherif Is No. 1 For Third Consecutive Week

Posted on by Emmanuel Esomnofu

Last week, we reported Black Sherif’s dominance on the Turntable Top 50. This week, the 20-year-old Ghanaian artist has extended that lead, going three weeks straight at number one. “Kwaku The Traveller” got 4.41million streams, remaining No. 1 in streaming but going down 27.7% from last week’s numbers. With 42.6million in radio reach, it went No. 2 on the charts, seeing an increase of 24.2%. Right now, only Gyakie and Omah Lay’s remix of “Forever“ has spent a longer time at the summit of the Turntable charts, with four weeks.

On No. 2 is Rema’s “Calm Down“, tallying 45.5million in radio reach. Nine weeks at the top, it is now the longest No. 1 on the radio chart in 2022. And just a week behind the all-time record held by Fireboy DML and Ed Sheeran’s “Peru”. Swapping last week spots, Asake’s “Sungba (Remix)“ drops to No. 3. “Playboy“ by Fireboy DML reaches a new high of No. 4, getting 40.8million in radio reach (No. 3 on radio, up 17%) and 2.2 million equivalent streams (No. 4 on streaming, up
13%). Former No. 1, Pheelz and BNXN’s “Finesse“, occupies fifth place in this week’s charts.

Skiibii and Davido’s “Baddest Boy (Remix)“ drops one spot below, to No. 6. Asake and Olamide’s “Omo Ope“ is in seventh place. Darkoo and Black Sherif’s “Always” remains at No. 8 for the third consecutive week.

Rounding out this week’s top ten is a couple of re-entries. Omah Lay and Justin Bieber’s “Attention” moves three places from No. 12 to No. 9. TI Blaze’s “Sometimes” with Olamide elevates from No. 11 to No. 10. Just outside the top ten, British rapper ArrDee’s “Come & Go” hits a new peak of No. 12, which is not at all surprising following his recent appearance at the Homecoming festival.

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Songs Of The Day: New Music From Sirbastien, Kwesi Arthur, Bobby Blane & More

Posted on by Chibuzo Emmanuel

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

Amidst this torrent of new music, the NATIVE is committed to highlighting the best releases you need to hear, and possibly add to your playlists. That’s the essence of our ‘Songs of the Day’ column. On Friday, we highlighted new drops from BNXN, Zinoleesky, Deela, Jaylon, Chrystel, Ria Boss and more. Today’s curations includes releases from BOJ, Kwesi Arthur, Bobby Blane and more.Tap in

BOJ — “OWO NI KOKO” FEAT FIREBOY

“Owo Ni Koko” is one of the gleaming standouts off BOJ’s latest full-length project ‘Gbagada Express.’ Over the sunny Afropop production helmed by Fireboy’s sultry vocals, the duo trade bars singing on the pertinence of money. Fireboy is particularly reflective and sings on his journey to success and how far he’s come. “I Dey hustle nonstop, whether na street or na house, I don’t care anywhere na my workshop, I must put my mama in a droptop”, while BOJ intersperses the bouncy record with his defining breezy vocals, dishing out light playful lyrics in classic Afropop fashion. The levity BOJ brings to the track offers reprieve from Fireboy’s solemn crooning and functions to establish dazzlingly delectable sonic contrast.


KWESI ARTHUR — “TOXIC” FEAT ADEKUNLE GOLD

“Toxic” is a dazzlingly brilliant soulful Afropop ballad furnished with melodic guitar riffs, ethereal violin melodies, bass grooves and bouncy percussion. The record finds the duo trading bars aimed at their muse, singing about not being able to meet her emotional needs, urging her to move on and berating themselves as toxic. “Me I know I’m toxic, poison, you don’t need my loving” they sing over the hook. “Toxic” is one of the standouts from Kwesi Arthur’s just released album ‘Son Of Jacob’.

SIRBASTIEN — “CHANGES” FEAT SGAWD

On this glistening record, SirBastien taps rapper SGaWD for an ethereal dreamy Afropop ballad. Over the silky production, SirBastien charges his muse to show more defiance in the pursuit of their love and sings on the cyclical nature of love. SGaWD follows with an explosive braggadocious verse that’s the unequivocal highlight of the song. 

ORITSE FEMI — “ORO AJE” FEAT PORTABLE 

“Oro Aje” is a hypnotic inspirational Afropop record that sees Oritse Femi and Portable unite. This song represents Oritse Femi’s first foray into the music scene after a brief hiatus. He delivers a poignant verse about life, hustling and status, before Portable follows with his characteristic brassy vocals, also singing along the same themes. 

TERRI — “FOR HERE”

“For Here”is a breezy Afropop record upholstered by theatrical keys that sees Terri surf the beat with playful lyrics about his enchantment with his muse. On the track, Terri hardly stays on theme, he scoots between random themes that many times border on being nonsensical, but the song’s allure is not its lyrical shrewdness but its sunny production and Terri’s sleek flows. 

BOBBY BLANE — “LOONEY”

“Looney” is a groovy salacious Afropop record tinged with North-Indian melodies, that sees Bobby Blane ride the undulating wave of poignant melodies, singing about his raging desire for his muse. Roping soft hums, impassioned adlibs and concerted lyrics, he renders an exquisite salacious ballad. 

Featured Image Credits/NATIVE

ICYMI: With ‘Son of Jacob,’ Kwesi Arthur is aiming for the next level

Identify: With ‘Son Of Jacob’, Kwesi Arthur Is Aiming For The Next Level

Posted on by Sarah Osei

Ghana’s music industry is experiencing its golden age. In recent years, the West African country has become a stronghold of the continent’s buzzing music scene, spurring a talented spate of artists including Gyakie, Stonebwoy, Shatta Wale and more. Ghana’s new-gen artists have also fiercely carved a lane for themselves in the over-saturated Afropop scene, giving us a diverse palette of sounds, from swoon-worthy feeling of Highlife to the gritty sound of Drill.

Enter, Kwesi Arthur, one of Ghana’s most vital stars and one of very few artists able to take on this monumental task. Since 2017—when his debut single “Grind Day” marked him as a star—Arthur has been musically fine-tuning a unique blend of Afrobeats, Hip-Hop, and R&B. In his hands, anything—a mumble, a hum, spoken-word—becomes the perfect avenue for his particular brand of genre-lessness. A song like his Afropop hit “Celebrate” is upbeat and carefree; on “Don’t Keep Me Waiting,” his vocals carry the highlife ballad; then with “Winning” he turns into a merciless drill rapper. And his music is as multi-territorial as it is multi-dimensional. In 2018, just a year after dropping his first single, his regional fame quickly turned into international recognition when he was nominated for the Viewer’s Choice Best International Act at the BET Awards.

But what makes him especially formidable is that his musical ascent is nothing short of what he calls “miraculous.” Taking his dream from the harbour town of Tema, where he was born and raised, to audiences thousands of miles away was never in the cards for him. His candid lyrics offer a poignant and dynamic exploration of his journey and what it means to be young and defiant of your circumstances. It’s spiritual music, he says, and something he dubs “ghetto gospel.”

Now, five years into the game, he’s got something to prove and his long-awaited debut album, ‘Son of Jacob’, is his testimony of the journey so far. We all know Ghanaian music is due for its crowning moment, Kwesi Arthur believes he’s the chosen one.

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

NATIVE: What was it like growing up in Tema?

KWESI: Growing up in Tema was really fun even when we didn’t have much. The sense of community always feels like family. You have different people from everywhere coming together. In Ghana tribes and ethnic groups matter so much, but in Tema there weren’t those boundaries.

How did you know that music was the path for you?

KWESI: Writing poetry was always something I enjoyed. Then Thank Me Later by Drake, came out and that kind of changed my life. Because listening to that, how Drake spoke from his perspective, how he put his words together, it made me think, “Maybe I can do this too and tell my story.” From there, I decided to write a verse, when I went to school, I rapped it for my classmates. They were like, “Yo, where did you steal these bars from?” That was my light bulb moment. I thought, if they believe I stole this verse, there must be something there.

Ghana’s music scene is having an incredible moment right now and it’s bringing a lot of different sounds and stars to the world on a level that we haven’t seen before. What do you think is Kwesi Arthur’s role in this movement?

KWESI: I feel like the internet opened the gate for us. Right now, there’s nothing like gatekeepers anymore. Now we all finally have the chance to just make good music and keep it going. When I was growing up, I looked around and I felt like there was this gap where nobody really talked for the youth in Ghana. It was usually about love or parties, but never about us. I think I represent the culture as we know it, from our perspective. That’s the role I want my voice to play.

As you said, the internet plays a big role in this movement African music is finally having. Is the idea of trendiness and virality something you consider when you’re making music?

KWESI: In terms of the creative process, we do what we do because it feels good. I’m not even on the internet like that, but I keep it in the back of my mind because that boosts the audience and that means my message reaches more people. We take all that into consideration, not when we’re making the music, but afterwards in the rollout, promotion and everything. And chale, we’re from Tema, so we got the hustling spirit in us.

 

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Let’s talk about ‘Son of Jacob’. Fans have been waiting on this album for a couple of years now. Why the delay? And what made you realise that the album was complete at last?

KWESI: So, Covid happened and we couldn’t do a lot of things. Another thing that came into play was losing my grandma. I feel like all those things shaped what the album is. If I didn’t lose her, I wouldn’t have a song like “Silver Spoon” on there. So I feel like the delay too helped with making it what it was meant to be. We ended up taking some of the songs off and adding new ones because we had the time to edit. I feel like it’s all God’s engineering. There’s nothing like perfect timing, but everything will fall in place at the right time. And that’s how everything played out with the album.

What have you learned about yourself while making this album?

KWESI: Through the process [of making the album], I understood the fact that I’m only human. I’m a complex being, it will take a while to understand myself, and I need to give myself the chance to venture out, make mistakes and grow, and not let people’s perceptions of me hold me back. I also learned that I can have fun with my music. Like on the song “Animal,” I was really playing around when I wrote it. For a while, I wasn’t really doing that, being playful on a song. This album should have been out 2020, then 2021. Because it took so long I got to have fun with it.

Could you explain the title of your project and what it means to you?

KWESI: The name came to me on my first EP, where the first bar I opened with [on “Ade Akye”] was, “Son of Jacob/Thank God/Wake up.” In my culture a lot of the practices are connected to the ancient Israelites in the Bible [of whom Jacob is the patriarch]. So the title is spiritual for me. Son of Jacob is deeper than just me, it’s about all of us belonging to something. If you listen, you will understand.

Sonically you’re very versatile, is this album going to sound like the Kwesi Arthur we know or are you giving us something new?

KWESI: I don’t like being boxed in. I’m an artist and at first, I wasn’t allowing myself to be that because I was stuck on, “Oh, but I’m a rapper.” But bro, I was in the choir in school and I was singing in my uncle’s church! That side of me was always there but I wasn’t really paying attention to it. So, I’m comfortable not boxing myself in a category. However I feel like expressing something, that’s the way I will express it. When people listen to the album, my convictions, challenges, insecurities, imperfections, everything is on there. They’ll understand that this is the ghetto gospel.

What’s your favourite part of the album?

KWESI: My grandma’s skit. That was one of the last things we did before she passed away. She was the head of the family, she changed everything for us. It felt important to honour her, my matriarch.

 

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How do you hope people receive your debut album?

KWESI: I hope it connects with people and they take away something special from the music. I want the melodies, the words, just everything to resonate with people listening. Some of the songs on there are therapeutic for me and maybe they can be for someone else too. If everyone gets their own personal experience from it, then it’s done what it was supposed to do.

After an album like this, that’s been so anticipated, how do you approach making the next project?

KWESI: I’ve already started making the next project. This is the thing with me: it never stops.

From growing up in Tema to finally presenting your debut album, your circumstances have changed so much in the past years. Have you also changed as a person in response to that?

KWESI: I’m growing. I’m learning more about myself. Yeah, I fuck up. I try to do good things, but I fuck up also. Chale, I’m not perfect but I strive to be better every day.

What does success look like? What is the bigger picture that you’re aiming for?

KWESI: The bigger picture is taking my culture to the top. Making it go places it’s never been. As Africans, we got a story to tell. The world hasn’t heard us like that, but now they’re tuning in. There are so many sides of the story that still need to be heard, our perspective is needed. I’m also trying to build an empire, I want my people to be good. So the people after us have something they can depend on, something that can last for generations. Way after we’re gone, it will be there.

Listen to ‘Son Of Jacob’ here.

Featured image credits/NATIVE

IDENTIFY: WURLD KEEPS GETTING BETTER AND BETTER

AV Club: ‘The Man of God’ Is About A Pastor-Turned-Crook But The Bigger Story Remains Unsolved

Posted on by Emmanuel Esomnofu

This month, Bolanle Austen-Peters’ ‘The Man of God’ was released on Netflix Naija. Its debut on the streaming platform was primed for notable viewership, bolstered also by Austen-Peter’s important role among the foremost cultural curators in African theatre. For years, her Terra Kulture outfit have produced stage plays which largely pay homage to great personalities and traditions. Partly influenced by the Yoruba travelling theatre culture, her plays are scarcely reproduced on digital platforms, making ‘The Man of God’ one of the early mainstream showcases of a BAP Production. 

Although the film mainly revolves around religion, its earliest appeal was the juxtaposition with music. ‘The Man of God’ opens in present time with the protagonist Samuel (played by Akah Nnani) performing Fela-esque music in a place that could easily be the New Afrikan Shrine. As a start, this choice was quite explosive but Samuel didn’t seem in-sync with the music being performed, which was far more energetic than he could afford. Immediately, this pokes holes in the narrative, failing to possess the grainy quality of real sound, or hold candle to the character of Samuel, in a way that moves the narrative. He also can’t seem to stop smoking on a blunt, on-stage and off, but we don’t see him indulge in this act throughout the other scenes in the film. 

Some might consider this a harsh critique of what obviously is a background to the main action, but it’s a quintessential example of the film’s persistent disregard for detail. Later, we see Samuel being a university undergraduate and still performing at shows around the state, but there’s not enough to ground the viewer in either of his worlds. Few scenes dedicate themselves to capturing the university’s peculiarities, discarding classic locations (lecture halls or a night party) that would have strengthened the narrative. Beyond that, the affairs of an infamous music industry is rarely broached. He makes mention of playing some gigs but those scenes are treated as inconsequential, a breezy prelude to the main course of action. 

The shining light in those early parts of the film is Samuel’s best friend Rekya (Dorcas Shola-Fapson) who also doubles as his lover and band member. Her acting captures the dilemma of modern relationships, torn between one’s desires and what’s good for both lovers. The film is coloured by her flirtatious character, easing the heavy sense of melancholy that follows Samuel. And yet, although her character was necessary, the trajectory wasn’t respected in the overall plotline. When she excitedly tells Samuel of a business that’s been raking in mad revenue, there’s a nagging possibility that one of her trysts could have been followed. A character from there could have resurfaced later to strengthen the narrative quality yet little is done to advance this.

Instead, the story evolves with the introduction of Teju (Osas Ighodaro) and Joy (Atlanta Bridget Johnson), completing a love triangle around Samuel. Its strengths come into view then, recording the nuances of conversation as Samuel’s infatuation with Joy clashes with Teju’s affections for him. In one humorous scene, after Teju tries for the umpeenth time to get him to attend Bible Study, Rekya tells Samuel it’s obvious she wants to have sex with him. “Just give am strong thing, sharp sharp…she go free you,” she says in a smooth manner which underscores the braziness of her character. 

The theme of abuse was visited early in ‘The Man of God’, but there wasn’t a clear direction for its execution. Samuel is immersed in the activities of a musician, but his past creeps up: the film had opened with flashback scenes where his father, a popular pastor, used to beat him mercilessly, quoting Proverbs 14:12 to justify his rather severe disciplinary methods: “There is a way that seems right to a man, but the end thereof is destruction”. That statement is finely worked into Samuel’s central dilemma of finding himself, haunting him when he makes any choices.

When Samuel becomes a pastor, the narrative comes full circle. But, just as in earlier parts of the film, some crucial aspects are left underdeveloped or completely glossed over. Samuel’s marriage to Teju is skimmed over, which makes it difficult to feel its conflicts later on. When his best friend Rekya resurfaces, involved in even murkier deals, there’s no mention of its details or how Samuel develops into them. The church sermons and politics vividly evokes the pomp of what happens in real life, and Eucharia Anunobi brilliantly executes her brief role as an uncouth reverend. For a while, this change of setting offers a feel-good, modernist portrayal of contemporary Christianity in Nigeria but then you remember why Samuel’s here after all–to find his true self, be it musician or preacher or doting family man.

That internal conflict is never resolved with sufficient depth. It’s even more striking that about a week before this film’s release, a gospel musician met her untimely death at the hands of an abusive husband. That ugly event opened a conversation into how society turns a blind eye to anything which remotely concerns religion. The film’s also coming at a time when more than ever people are questioning the moral pedigree of their religious leaders.

African societies are intrinsically bound by religion. While centuries have passed since our initial encounters with missionaries, it still remains deeply entrenched in many countries including Nigeria where religion and state typically intertwine. ‘Man of God’ is obviously a timely film and that is why its accumulative misjudgements weigh so heavy in the end. Nigerians today are demanding justice from a lot of things, and our stories should reflect that. Where’s the justice in Samuel being traumatised and still shamed for being unable to love his abusers? Where’s the justice in Rekya being discarded like just any other character? In movies like these conservative moral lessons should take the back seat in favour of narrative balance.

Overall, ‘The Man of God’ shines with really good production—great costuming, a brilliant cast and well-done scenery—but the storyline doesn’t advance the many important conversations that has left many young Nigerians with great need for therapy. That glory never came and perhaps indeed, that is the lesson to be learnt in film and in life. Nobody is coming to save you or quicken your road to self-discovery–life is instead, a balancing act between pursuit and fear.

Watch ‘The Man of God’ on Netflix Naija here.

Featured image credits/ 

ICYMI: How ‘King Richard’ Loosely Portrays The Complexities of Black Fatherhood

Essentials: DND Section Comes Full Circle On New EP ‘Bad Things Will Not Happen Again’

Posted on by Chibuzo Emmanuel

In the summer of 2019, Atlanta-based rapper DNDSection released his debut EP titled ‘Love Lies Bleeding’— an eclectic 8-track set that marked the start of his budding career. Now, after a three-year stint, he returns with ‘Bad Things Will Not Happen Again’, and with it, a more refined sound and resonant stories about his background.

 

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‘Bad Things Will Not Happen Again,’ the title of the 6-track EP loosely translates to “Ozoemena” in Igbo which is a popular unifying maxim used to express solidarity with the fallen victims of the Nigeria-Biafra civil war. While the project is nothing about the war, the weighty title is an apt harbinger of the staid and cloistered environment of the project. ‘Bad Things Will Not Happen Again’ mirrors the growth that DND has experienced over the past few years.

Compared to 2019’s sunnily jovial ‘Love Lies Bleeding,’ his latest release is more sonically cohesive, rich with piquant stories and raw shrewdness. ‘Bad Things Will Not Happen Again’ can feel serrated from the stings of the impassioned message that traverses the project. However, the moody amber-hued ambience that colours this project also functions to amplify the poignant effect of his message. DND Section turns inwards and tunnels through dark alleys, heavy under the weight of his own personal reflection, exploring his humble background and the staid reality of his current state in life.

In classic Hip-Hop fashion, DND opens the project with a corpulent pensive record about his humble background. On “Villian,” he is as ravenous as a lion, ardent and deft as he sets the tone for the entire project. Brimming with unbridled vim and poignant words, he lances the gospel-esque Drill beat, rapping about the crushing reality of his life — his childhood, his relationships, his future and racism. Bookending the track is a resonant phrase “Made out plastic out here”.

On “Twist & Tease,” he maintains the pensive ambience that colours the project but contrasts this with salacious lyrics — teaming up with SMV and A.been to deliver a sexually charged ballad. The bouncy percussion and melodic guitar riffs on “Runaway” sound like an apt soundtrack for a fantastical vacation on a lush remote island encircled by the turquoise waters of the ocean. It’s a proper Afropop record but without the archetypal jovial salacious lyrics. Instead, he renders a foggy silhouette about spirits, fire, the devil, fake love and haters. It almost feels like the lyrics of “Twist & Tease” and “Runaway” were accidentally swapped.

“Flyest In The Room” sounds like a swanky walk up Mount Olympus. Over the shimmering production, he sings and raps about opulence and ebullience with lyrics like “We got bad bitches and rich niggas too, we got Casamigos and some 1942, she says she like my accent and my dialect smooth, I’m the highest and the flyest in the room.” Just when the energy of the project starts to trail off, he dials it up a notch with the bouncy percussion of “Larry Bird.”

Over the trap production, his message is simple and conspicuous, a fine point that has carried him throughout his career. He traps with affable vim about feeling blessed and grateful. Like sharing the Grace in a church, this penultimate track subtly functions to indicate the project drawing to a close. The last track “Stomach Hurtin” forms a harmonic exclamation point so grand, that it seems to yell “The End!”. On it, DND has come full circle. He is as pensive and introspective as he was at the start of the project, a fitting end to a project that peeled back more layers to his artistry.

The pensive tone of the EP may feel extremely heavy at certain points, but the jovial ambience of songs like “Twist & Tease” and “Flyest In The Room” offer reprieve from the project’s weight, infusing levity into an otherwise difficult melancholic stretch. While ‘Bad Things Will Not Happen Again’ is not quite an experimental oeuvre, on it, DND is not sticking to the formula. He picks his battles and tells his story with an undiluted purity and it pays off heavily.

Stream ‘Bad Things Will Not Happen Again’ below.

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Songs Of The Day: New Music From BNXN, Deela, Jaylon & More

Posted on by Tela Wangeci

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

Amidst this torrent of new music, the NATIVE is committed to highlighting the best releases you need to hear, and possibly add to your playlists. That’s the essence of our ‘Songs of the Day’ column. Earlier in the week, we highlighted new drops from Masterkraft and Chike, Ceeza Milli, Portable, Nia Ramzy and more. Today’s curations includes releases from BNXN, Zinoleesky, Deela, Jaylon, Chrystel, Ria Boss and more. Tap in.

BNXN – “Kilometer” ft. Zinoleesky

BNXN taps street pop artist and former NATIVE cover star Zinoleesky for the remix of hit record “Kilometer”, off his debut EP ‘Sorry I’m Late’. The remix makes the song a more enjoyable listening experience, as Zino captures audiences attention with quotable lyrics such as, “When I dey on speed mo ja kilometer/Kilo Kilo, what’s my name Zino Zino Zino, Zino and Buju Benson, give me life Buju Benson.”

DEELA – “Trapstar”

This accelerated number suits its title, DEELA is a Lagos born rapper who is unapologetic about her demeanour. In “Trapstar” she tears bar for bar, fusing Trap and Drill with braggadocious lyrics about sex and dominance. She raps, “My belly full still got some room for these lame bitches who testing me, but can’t pass a test at school,” audaciously speaking her mind without filter. The lyrically talented DEELA also dubs “Trapstar” as an entrance into her Trap twenties.

Ria Boss – “Somali Rose”

After a two-year sabbatical break, the neo-soul goddess Ria Boss returns with a new single titled, “Somali Rose.” The new single opens this soulful track with a double entendre, singing “I smell the oil on your skin” to explain the calming effect of Somali Rose oil after which the song is named after. The song is a love letter celebrating romance in its pure form as Ria’s honeycomb lyrics evoke an emotive response. The acoustic-like live set of the guitars, drums and bass brings a strong deeply confessional tone. “Somali Rose” is the lead single from her upcoming debut album ‘Remember’ set to drop on April 29th.

Jaylon – “Get Down” ft. Azanti & Chrystel

The Nigerian singer, songwriter and producer Jaylon comes through with a hypnotic number titled “Get Down”. Over the track’s earworm production, he employs Azanti and Chrystel who bring their strong technical writing ability to the number. Chrystel smoothly delivers her verse with a sweet-sounding voice as her vocals linger in the background amplifying the R&B track.

Khaid – “Ski”

The first few seconds into uNder alum Khaid’s new single, “Ski” will have you running it back to catch out the intricacies. The gloomy piano keys serve as an introduction to the 17-year-old Afro-Trap singer as he grooves over the synthesised Trap beats. His gritty enunciation is distinct as he looks back at his past struggles and bleakly prophesies his future.

With an aim of normalising Trap music in Nigeria, Khaid gives an exemplary performance boasting his knack for writing with wordplay “I put my mask on like I am batman, I be shooting like Mad Max, all I can see is bad man” while showcasing his admiration for Grammy award-winning producer Rexxie. 

The Kazez – “Church Mind”

The raw, aesthetic talent of The Kazez is their stronghold and “Church Mind” is a testimony to this. Produced by Semiz, “Church Mind” thematically talks about The Kazez’s interest towards their muse who already has a lover. With lyrics such as “you ain’t have to go back when you are sober here is my shoulder you can put the blame on me,” the upbeat, fun, and energetic track pairs complex rhythms, heavy percussion, and Pidgin English for an enjoyable listening experience.

Jess ETA – “Paralyzed” ft. Psycho YP

After a thunderous 2021 which culminated in him winning the Audiomack rising star challenge, Jess ETA is back with a thunderous new number. The first single off his sophomore project titled, ‘Playing With Fire’ is the incendiary “Paralyzed”, featuring prolific rapper PsychoYP and produced by GT Beats. Jess ETA sets out to blow up his sonic template resulting in a zonked-out slapper with heavy vocal pitch modulations. The Afropop single is a compelling track where both artists trade bars about the uncertainties in their relationship which leave them paralysed due to the lack of security. 

Featured Image Credits/The NATIVE

ICYMI: 11 Projects You May Have Missed This Year

 

Our first impressions of BOJ’s new album, ‘Gbagada Express’

Posted on by Damilola Animashaun

In the last decade, Bolaji Odojukan has been at the forefront of the Alté movement, an influential bohemian offshoot of Nigerian pop. Over the years he’s morphed into a larger-than-life personality, a pioneer who has secured his status by spawning incredible music and being an ever-present pillar of the culture. Today BOJ stands tall as one of the most engaging musical acts in Nigerian music.

Since his debut to the music scene, he’s dropped several projects, spawned countless jovial pop records coloured by his defining breezy voice, permeated nooks and crannies with electric guest verses, both at home and in the diaspora—just last year, he blessed British-Nigerian rapper Dave with the scintillating hook on “Lazarus.” Now, five years after his debut solo album, BOJ returns with ‘Gbagada Express’, his third project overall.

Titled after the home area in Lagos, the project is as thronged as the title indicates. Playing host to a staggering roster of twenty guest artists, including superstars like Tiwa Savage, Wizkid, Davido, Fireboy, Buju and Amaarae, ‘Gbagada Express’ is a triumphant celebration of the man BOJ has come to be: A man of the people. Riding on the cresting wave of sunny grooves and warm melodies, BOJ and friends deliver a rich playlist replete with party anthems and chill, feel-good music. Here, The NATIVE editorial team weighs in on our impressions of the newly released album.

Best Song?

Emmanuel: Right now, I’m strongly leaning towards “Action Boyz.” They’re a number of distinct sounds all over the album but this collaboration is so natural and skillful. First of all, the brooding production is deliberately understated, allowing the voices to shine through. BOJ’s first verse is a showcase of his smooth delivery, singing “I’m a top striker, it’s a hat trick” and again updating his cache of football references. Obongjayar is just sensational, bringing his pristine vocals into a verse that adapts the flow of rap. “I was on my ten toes you was sleeping,” he sings with charming exuberance. In an album full of upbeat bops, this record might not get its due immediately but it’s a slapper. It’s the kind of song that could inspire its own movement. 

Dennis: I think “Culture” is one of the very best songs in BOJ’s catalogue as a headliner. There’s a few songs you could label like that—“Confam” and “In A Loop” are strong contenders—but there’s a conviction on this ENNY-assisted slapper that’s just enveloping. From a lyrical standpoint, it’s a masterclass that has some of the best lines that have tumbled out of BOJ’s mouth, and ENNY just absolutely and casually rips her verse. I think this is the first time BOJ is on a Juls beat since “Feel Alright,” and the growth is breathtaking.

Maria: Right after the first few seconds of it starting, “Confam” became my favourite. It sounds like something straight from the early 2000s when Nigerian Pop was heavily set in the streets. ‘Gbagada Express’ is the perfect cocktail of a lot of features from different genres, but this one is the most on   brand. D-O came in true fashion with Igbo-inflected lingo in his verse, and BOJ smoothly delivered serenading lyrics in Yoruba with his unmistakable husky vocals. It’s another beautiful display of the two languages’ seamless union in songs just like in Phyno and Olamide’s “Ghost Mode”. The call and response on the chorus, “Girl your body–Confam! Your waist– Confam!” sounded like something from Danfo Drivers’ archives and is definitely going to be a crowd-pleaser when it’s being performed. This song is just what I had envisaged a BOJ and D-O song would sound like. *Chef’s kiss.*

Thoughts on the amount of features?

Tami: I’ve had BOJ’ album since last year so I had seen the track list before it came out earlier this month. Of course, I was a bit apprehensive at first, mainly because it’s BOJ’s first album in five years and while there’s no doubt about his star power, it would have been amazing to hear how he could perform on his own without any supporting acts. Despite this observation, I think the album’s strong suits are the features and all the people he brings into his world. ‘Gbagada Express’ is a testament of everything BOJ stands for: a man for and of the people. In order to do this, I think BOJ had to let people into his world to really encapsulate the relationships he’s made along his journey and his position as one of the best hook killers we’ve seen in a minute. He’s made really compelling feature choices from Fireboy DML to Shaybo to Wizkid, Zamir, Prettyboy D-O and many more.

Wonu: At first when I saw the track list, I was a bit concerned by the number of features because all I could think about was this is ACTUALLY a lot, but after listening to each song, I understand why he did that. The features are amazing, every featured artist brought something new and refreshing to each record, from Victony to Wizkid, to Amaarae. Yeah, this was definitely a solid one. 

Moore: There definitely are a notable amount of features. At first glance I was worried about a lack of cohesion between the songs due to the variety. But after listening to the album, it’s clear that each artist was carefully chosen. Each artist brings something unique and integral to the vibe of each song, while BOJ still makes each song his own.

Best guest appearance(s)?

Tela: All the features were euphonious over this  album but Moliy, Melllissa and Teezee stood out for  me. Moliy and Mellissa shred their vocal chords and have a blast as they exude impulsive chemistry in this yearnful number that dwells in a romantic sphere. With both having a catalog in alté, Moliy’s silky whisphers and Mellissa’s luminous vocals bring a commendable performance. Teezee graces “Yarning Many” with a rock solid flow nostalgically remembering pioneering alté. His guest verse is rightfully cocky with a confident flow and neck cutting lines recognizing their position in the scene .

Chibuzo: The guest list for this project looks like the line-up of an Afronation festival, which is really incredible and naturally lends itself to stellar dynamism—at no point does the energy on the project trail off. Every single guest understood the assignment and did an incredible job at holding up their ends. The best guest appearance in my opinion however, is ENNY. “Culture” is nowhere near being an archetypal commercial track, and as such it may not get the hype that its pop counterparts will receive but what ENNY did on that track is absolutely mental. Subtle but genius. From the self-assuredness in her voice to the way her cadence walks in lockstep with the undulating beat, she effortlessly exudes pristine deftness. Her pen-game is world class, she tells a concerted and lucid story, weaving in savvy punchlines and cheeky phrases as she does this, the effect is a dazzling work of genius. 

Dennis: ENNY, obviously. Refer to my thoughts on the best song. Honourable mention to Teezee, that skit is a defining part of this album.

Any skip(s)?

Maria: Honestly, I don’t have any. It’s a stellar body of work. Each song is almost as powerful as the next and the features, song placements and production marry well. It’s very clear why BOJ took six years to put this out, he was gunning for perfection and in my opinion, he nailed it.

Dennis: It’s not that I don’t like “Lekki Love” as a song, I just have a (stupid?) rule about side-stepping songs with Lekki in the title. Also, I don’t really believe people are finding love in Lekki; it’s openly known that the Lagos dating scene is garbage and, as far as I know, Lekki is emblematic of all the unnecessary games. Sorry to Buju’s lilting melodies, Fresh L’s slick raps and BOJ’s devotional lines, but I’m not the target audience for this one. Again, sorry. 

What’s the potential smash hit here?

Emmanuel: One thing you’d surely get from a BOJ album is memorable hooks, and there’s a number of songs with hit potential here. “Owo Ni Koko” is stirred by sensuous keys possessed with a Middle Eastern feel, and Fireboy DML takes the chorus in good stride. Paired with BOJ’s seductive croonings, you get a record that would likely play out of filled rooms across the Island. It’s a little behind the pace to be a party ripper, but then again there are many moods to a party. “Confam” and “Get Out The Way” have great prospects too, the former being a sizzling interpretation of Ajegunle’s Galala style, inspiring a sleek verse from Prettyboy D-O; “GOTW” meanwhile, is one of the most electric rap songs you’ll hear this year. BOJ is in familiar territory as the song’s conductor, the bouncy verses from Joey B and Kofi Jamar building around his vocals with fiery precision. 

Moore: “In A Loop” is a personal favourite of mine, so I can imagine it being loved by others. It was released ahead of the album so has had a head start, with an already large amount of streams on Spotify showing this. As summer inches closer I can imagine this playful song becoming familiar in clubs. 

Tela: I am torn between two songs “Confam” featuring Prettyboy D-O and “Awolowo” with Wizkid and DarkoVibes. The two songs have a sense of familiarity with deep percussive backdrops and seductive appeal.

Overall impression from first (few) listen(s)?

Tami: Overall, I think ‘Gbagada Express’ is a fine body of work which will surely age with grace. On the first few listens, I can already tell a number of standouts will arise from this album. I’m not one to call early favourites but I’m certain this will do the necessary rounds. Big ups BOJ for securing another classic so far in his career. It’s really warming to see artists that we grew up with, now earning their stripes and setting their sights on much bigger ambitions. BOJ is certainly an artist that is able to play to different bags, morphing from your friendly alté guy one minute, to a deep and compelling storyteller in the next. As such, he’s able to pull a mixed bag of listeners, including everyone from your mum, to that 30-plus on the TL and even to us, Gen Zers (yes, I am Gen Z). I’ll continue spinning a few of the tracks this weekend–and you should too.

Emmanuel: It’s a really good album. There are a number of songs I’ll be returning to; also the features were quite essential, stretching the project’s texture in a way that mildly resembles that of a playlist. In that sense it’s likely you won’t listen to ‘Gbagada Express’ in one straight order, rather you’ll be returning to different songs for their distinct moods. Colour me overly sensitive but I was kind of hoping to hear personal stories in some parts of this album. The title piqued my interest through that sense of getting to know BOJ better. That doesn’t happen but you get to meet his friends…and you know what Nigerians say about “show me your friend.”

Wonu: You know what? This album is a solid 9/10 for me and I say this without second thought. The project is a stellar body of work. Track arrangement is a 10, production is also a 10 from me, even the writing as well. BOJ put together a solid, solid, solid body of work and I’m certainly impressed with the outcome. Taking a break from releasing solo projects then returning with this? Yes, I have to give it to him, he did good. This is definitely one for the books and I surely will be nominating this in our end of year lists for ‘Album Of The Year.’

Listen to ‘Gbagada Express’ here.

DEEP CUTS: REVISITING BOJ’S “BOTM” PLACES HIS TRAJECTORY INTO PERSPECTIVE

A 1-listen review of Terri’s new EP, ‘In Transit’

Posted on by Dennis Ade Peter

What’s the weight of a co-sign from an Afropop superstar? If you ask Terri, he’d probably tell you it weighs more than a tonne. Within weeks of his debut on the scene, the Nigerian singer born Akewe Terry went from semi-viral freestyle covers to a standout guest spot on a collaborative smash hit with Wizkid. In his official foray into Nigerian mainstream pop, Terri crossed an item off his bucket list, working with one of his foremost idols, the type of introduction that creates instant hype.

The flip side of that hype, though, is that it came with remarkably high expectations. Since its creation circa 2014, many artists had been affiliated with Wizkid’s Starboy imprint, but Terri was the very first to be fully tagged a signee, placing him under heightened scrutiny. Although he delivered a handful of singles and features in the next few years, Terri was almost tagged a bust, since he’d yet to indelibly sear his name into Nigerian pop music conversations. By ‘Afro Series’, his debut tape released during the first peak of the pandemic, it was clear he was only taking the scenic route to stamping his credentials as a distinct artist beyond overstated comparisons to his mentor.

The EP spawned his biggest solo song yet, “Ojoro,” and with the subsequent release of stunning slaps like the Bella Shmurda and MohBad-assisted “Money,” Terri has been living up to his potential. Now independent and in full control of his destiny, the singer is looking to level up, which is where his new EP, ‘In Transit’, comes into play. How much has Terri grown in the last two years? Where is he looking to go next? The answers are in these six songs, so let’s listen to them.

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

“Danger”

Lead singles as opening tracks, what a concept. Shout-out to early 2000s R&B. This song is an R&B engine under the hood of a Nigerian pop body. I really like the way Terri’s voice luxuriates on this beat, it sounds like the music was specifically arranged for. Only one of his contemporaries that would sound as good here might be BNXN. That small bit of call-and-response on the second verse is a cheat move. There it is on the hook again. I played this a few times, between release and the video drop, but I like it a lot more as an opener. Great intro.

“Holy Water”

This build-up has me a bit anxious. Another “Afropiano” song, LOL. This is more deep house mixed with Nigerian pop verve, I wish more people get it, instead of lazily just saying it’s Amapiano-inspired. Meanwhile, Terri sounds confident, like someone walking into an event with a black card. The lyrics are little lacklustre, wish they had a bit more edge. I like his cadence, but when your lyrics are not jumping out of the page, you might have to try a little harder, which means that confidence will lose some of its lustre. I can see this doing commercially well, but it doesn’t match the same all-round brilliance of its preceding song.

“Wanna Know”

P.Priime tag, I’m up! This is a slightly different bounce than what he’s been giving pop singers recently, which is another mark of his versatility. This beat is clearly in Terri’s wheelhouse, and he sounds very in control of his surroundings. I think he sounds a little more effortless than his debut EP. I noticed that on “Money” as well. Terri makes music for Yourba guys that wake up and text five different women like they are the priority of their romantic existence. There’s a woodwind instrument that keeps catching my ear. This entire beat is packed with a bunch of things, but it doesn’t sound busy. This is a good song.

“For Here”

This is going to be up-tempo. BOOOOOOO! I expected a better bounce. This is the first time Terri is getting into his preppy bag, which makes sense because he has to try on this beat. I don’t know, man. This sounds quite stock. Even the log drum use is not giving any flavours, which is weird. I don’t know why my brain just went there, but this sounds like a poor person’s version of “Sungba.” I want justify this take as something not overwhelmingly negative, because I can see its appeal in a club setting. I just don’t see myself reach to click play on this ever again.

“Chargie” (w/Mugeez)

2000’s R&B-inspired guitars lodged inside Nigerian pop bounce is officially a staple. Terri is singing, singing. Not in terms of hitting notes, more in the way he’s serenading his love interest. Yeah, this is that jam. See what I was saying with that Yoruba boy thing, because who says stuff like, “You’re my chargie, you give me reasons to love.” I know some people started an Afrobeats Hall of Fame thing, so let me just put it out here that Mugeez should be inducted in that thing—that’s if they’re looking beyond Nigeria sha. Quick verse but it’s a nice touch. Terri is quite versatile if you go through his catalogue, but this mid-tempo, R&B-influenced bag is undeniable. Absolutely zero misses.

“No Lie”

Last song, let’s end on a good note. Songs like this make me thank God Runtown made “Mad Over You.” “Na your type I dey pray for morning devotion” proves my Terri theory, man. He’s even adding a dose of religion in there. Fellow city boys, Terri is giving guys captions and texts for those early morning things. The rhymes on this hook are competent, but they add up to a wonderful whole. I like how Terri’s voice is casually animated, but cool enough to not make it sound like he’s trying too hard. This is a solid closer.

Final Thoughts

On first listen to ‘In Transit’, I count one skip, one maybe and four good songs—maybe two great ones even. That’s a beyond respectable shooting percentage from Terri, who continues to establish himself as one of Nigerian pop’s rising savant. The EP is a breezy run of songs with quip-laden writing, consistently assured vocal performances, along with apt beat selection to match.

The growth from his last project is quite evident, with Terri oozing an effortlessness that wasn’t part of the package on ‘Afro Series’. Of course, that tape had experimentation and wide-eyed approach as its gambits, but this time around, he’s in a confident groove on the best songs here. The adventures with upbeat, House-inflected styles don’t work too well, but it would’ve been nice to hear Terri swing for a few more sonic surprises. For what it’s worth, the peaks far outweigh the valleys, which says a lot about where the singer is at the moment.

There’s still some things that need figuring out in Terri’s artistry, which is a positive sign because he’s taking his development in stride, earning his stripes and taking visible strides with each release. ‘In Transit’ means he’s not hit a final destination just yet, and this is a solid representation of where he is on the journey to complete actualisation.

Listen to ‘In Transit’ here.

ESSENTIALS: BOY SPYCE RENDERS EMOTIVE TALES ON DEBUT EPONYMOUS EP

Kwesi Arthur’s anticipated debut album ‘Son of Jacob’ is finally out

Posted on by Emmanuel Esomnofu

Kwesi Arthur ’s debut album has been anticipated for a while now. Throughout the 2010’s the Ghanaian artist imprinted his amorphous, soulful songs in the mind of audiences home and abroad, releasing the acclaimed Nkrumah tapes which showcased his flair for rapping and singing. Now, with years working on the grand display of his artistry, Kwesi Arthur’s ‘Son of Jacob’ has finally been released. 

 

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‘Son of Jacob’ is a fifteen track album which recognises Kwesi’s unique position in the scene as he brings a diverse cast of supporting acts into his world. Among features on the album include the Brooklyn-based Ghanaian creative and musician Big Hommie Flee, Nigerian artists Adekunle Gold, Joeboy and Teni (the latter two appearing on pre-album singles), while diasporic affiliations are strengthened with the inclusion of NSG and VIC MENSA, the American rapper of Ghanaian heritage.

On the stirring album artwork, a painted Kwesi Arthur sits among a number of people. Aged differently, they wear unique expressions (mostly of sadness) while Kwesi sits in the centre as though he’s the custodian of their stories. The decrepit kiosk which looms behind them could be interpreted in several ways, but Kwesi has sort of mapped this journey in the past. If you’re familiar with Kwesi’s music, you’d know he’s the sort of artist that always wants to pass across poignant messages that are peculiar to the Ghanaian and the Black person in general. 

From his back catalogue, most recently his feature on Yaw Tog’s crossover hit “Sore” and “See No Evil”, off the second project in his Nkrumah series, Kwesi Arthur has shown his tendency to lean simultaneously on the personal and the communal, telling stories that situate him in the struggle of something larger. There’ll be forthcoming pieces forthcoming from us, but for now you’ll do well to listen to ‘Son of Jacob’.