Last week, the 56-year-old Francis Kéré was announced as the winner of the Pritzker prize, the biggest honour in architecture. He’s also the first African and the first black person to win the prize. Eighteen years ago, his Gando project won him the Aga Khan Award for Architecture, marking him as a generational talent who’d go on to achieve great feats.
Kéré’s work celebrates the community, creating expressive spaces for simple existence to shine through. Centring community in more ways than one, the Gando project was executed with locals, who shared their input and helped source materials. Everyone did what they could: children gathered stones for the foundations, women brought water for brick-making, men volunteered their labor.
“Francis Kéré’s entire body of work,” the Pritzker jury said, “shows us the power of materiality rooted in place. His buildings, for and with communities, are directly of those communities – in their making, their materials, their programs and their unique characters. They are tied to the ground on which they sit and to the people who sit within them. They have presence without pretense and an impact shaped by grace.”
After arriving in Berlin on a vocational carpentry scholarship, Kéré learnt to make roofs and furniture, and took further classes at night to improve his technique. Today his elegant touch is sought all over the world, as he continues to work “at the intersection of utopia and pragmatism [by creating] contemporary architecture that feeds the imagination with an afro-futurist vision.”
Some of his most acclaimed work resides within Africa, primarily in Burkina Faso, where he was commissioned to design the Ouagadougou-based parliament building after it was burned during the country’s 2014 uprisings. It’s not yet completed, due to further escalations of violence earlier this year. He also designed Mozambique’s Benga Riverside School and its residential community and in Mali, the National Park of Mali and Centre for Earth. Another National Assembly project is currently under construction in Benin Republic, a project that “takes inspiration from the palaver tree, the age-old West African tradition of meeting under a tree to make consensual decisions in the interest of a community.”
After he was awarded the Pritzker, Kéré reflected on the sustainable model of his work. “Sometimes the Western world–and how it communicates–makes things in the West [appear to] be the best, without taking into account that local materials can be the solution to the climate crisis and can be our best alternative in terms of socio-economic development…the more local materials you use, the better you can promote the local economy and (build) local knowledge, which also makes people proud.”
A ceremony in London later this year will see Francis Kéré officially named as Pritzker laureate. He will also receive a special bronze medal and a grant of $100,000.
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 brought you highlight selections from Skiibii, DEELA, Smallgod, Tekno, Badboy Timz and more. For today, here are some songs from MI, PrincessMami, SGaWD, Diamond Platnumz,
M.I ABAGA — “DADDY” FEAT CHILLZ
Following a long-drawn absence from the music scene, veteran rapper M.I ABAGA makes a comeback with his sizzling new single “Daddy”. Over the light production by Chillz, the song is populated and coloured by theatrical keys, a minimalist drum pattern and graciously breezy vocals. Chillz also delivers his verse and the hook with effortless charisma, engaging his muse in a playful salacious conversation, with lyrics like “hope you’re getting your money? Do it for daddy”. M.I holds up his end with the magnanimous presence of a veteran, delivering laidback raps with breezy confidence.
OBONGJAYAR — “TINKO TINKO”
Following on from the Sarz-assisted ‘Sweetness’last year, Obonjayar, a genre-melding and culture-blending maverick arrives with yet another sonically rich number. “Tinko Tinko” is another single off his forthcoming tape ‘Some Nights I Dream Of Doors’, following the release of tracks like “Try” and “Message In The Hammer” (which are also billed to feature on the tape). Far from the pummelling and jaggedness on the two preceding tracks, “Tinko Tinko” is a gentle breezy ballad. On the track, Obongjayar flirts with the familiar themes of love and insecurity, as he sings to his muse, asking her not to take him for a fool.
MOONCHILD SANELLY — “STRIP CLUB” FEAT GHETTS
Off her soon-to-be-released tape Moonchild Sanelly releases yet another single “Strip club”. For this number, she taps British MC Ghetts. “Strip Club” is an upbeat number seasoned with pulsating rhythms and hyper-pop influences. Over the billowing production, Moonchild delivers swanky raps in her usual delectably high-pitched tone. Ghetts is as composed and sedated as ever on this one, rapping with a cool tone, perfectly counterbalancing Moonchild’s bubbly energy. On the record they explore sensual themes with lyrics like “Come to the strip club, come watch the girls dance, come give the girls cash…”
LADY DONLI – “THUNDERSTORM IN SURULERE”
After officially opening her book for this year with her debut A COLOURS SHOW performance of her latest single, “Thunderstorm In Surulere,” Lady Donli followed this up with song’s official release on streaming platforms. Produced by UK-based artist and EYL collaborator, BenjiFlow, “Thunderstorm in Surulere” is a tantalising, romantic jam. To expand the world around the song, she’s just released the noir-inspired video to the new lead single off her forthcoming LP to incredible fanfare. The Ayo Lawson and Demola Mako-directed video shows Lady Donli and her Lagos Panic crew performing their verses against grainy noughties film effects.
LARRYLANES — “JONZING” FEAT BELLA SHMURDA
Following his release earlier this year “Go Low”, which saw him tap Afro-soul singer Seyi Vibez, Larry Lanez isn’t losing any steam as he doubles down with the Bella Shmurda assisted “Jonzing”. On the song, the two rising stars weave in and out of playful themes, just having fun crooning over the sunny percussion upholstered pop production.
DIAMOND PLATNUMZ — “FINE”
Off the East African giant’s just released 10-track-EP ‘First Of All’, “Fine” is one of the standouts. On the record, he folds in an eclectic slew of sonic elements into a suave whole—punchy drums, soulful piano melodies, poignant crooning. On the gospel sounding number punctuated by anthemic chants, Diamond Platnumz showers adulation to his muse with his spectacular crooning.
KOFFEE — “SHINE”
Off her innovatively spectacular new album ‘Gifted’, “Shine” is one of the gleaming standout tracks. Contrasting the affably sunny aura of the rest of the project, “Shine” ironically maintains a selectively gloomy feel. Over the pensive, guitar-inflected production, the Jamaican singer sounds heavy from the weight of the complex topics she explores. She explores themes ranging from gun violence to systemic discrimination to the powerful message of hope. Even though she draws inspiration from the complex society of her native Jamaica, her message is as relevant across the world as it is to her people.
JAY BAHD — “DEMOCRACY”
Jay Bahd, a Ghanaian rapper and an elite member of the spate of talented voices taking the Asaaka movement to the world, has just released a fresh new single titled “Democracy”. The song sees the rapper layer crisp fire-cracking raps over a menacing bouncy drill beat. He touches on the pertinent topic of the oppression of youths across the continent as he scoots between rapping, belting out shrill cries and delivering elaborate poetic speeches, calling for the freedom of African youths.
PRINCESS MAMI— “MORNING” FEAT SGAWD & MOYOSWRLD
“MORNING” is a suave blend of punchy pop melodies and bolshy Hip-Hop beats. On the record, Princess Mami taps “Pop Shit” crooner SGawd and Moyoswrld. Over the bubbly production, the trio belt out glistening lyrics, playfully rapping about affluence in the usual braggadocio native to rappers. With lyrics like “Catch me in a whip, catch me in a foreign, these bitches stay mad, yeah that shit so boring”, they leave the pulsating record without a boring moment.
It’s not everyday that we see a 19-year-old Black women break glass ceilings in any industry–yet Jamaica’s Koffee has hit all rings and more since her debut on the scene. In 2020, this culminated in a history-making moment when the reggae singer was awarded a Grammy for the Best Reggae Album, becoming the youngest and only woman to hold such title. Today, Koffee continues to use her once-in-a-generation voice to transform herself from a blank canvas to an industry-wide tsunami.
Back in 2019, the “Toast” singer released her debut EP, ‘Rapture,’ a succinct body of work which gave us a taster course to what she has to offer. The EP propelled Koffee to greater heights, off the back of standout tracks such as the “Rapture” and “Throne”, which confirmed her rapid-fire abilities. Since then, she’s only maintained momentum by teaming up with some of the most intriguing names globally, from Gunna to JHus, and is currently one of the leading voices of a new vanguard of global hitmakers.
In the past few years, Koffee has achieved quite a lot, from topping the global charts to breaking records, previously withheld from women. It’s clear that what we are seeing today is a physical manifestation of many years of hardwork and dedicairon in the making. Recently, Koffeee herself shared in an interview that she took an interest in reggae music, since was a young girl, and is now one of its frontrunners, championing the sound to the world. Now, the 22-year old wunderkind is ready to step into her most defining moment yet, with the release of her debut album ‘Gifted’, a 10-tracker that finds the artist connecting her mind and spirit with the power of music.
In usual 1-listen review fashion, all reactions are in real time while the music plays. No pauses, rewinds, fast-forwards or skips.
x10
Ok, for an album opener, I think this is fire. It’s not too loud. It’s not too much. The instrumentals are very subtle and allows you to hear exactly what she’s driving at. There’s this subtle bass kick somewhere on the production, that not only calms you as you’re listening, but prepares you for a journey. I think what’s interesting about this track is the lyrical content where she’s literally praying but the beat will make you think otherwise. “I’m glad I woke up today” is currently stuck in my head. I’ll definitely be running this track up to start my days now.
Defend
Koffee made a one minute song? Wow. One thing I’ve noticed with Koffee’s music is that she’ll tell her story and sing it in a way that she wants listener’s to understand. On this track, she’s probably doing like 16 bars, that alone makes you want to know what she’s talking about. It’s also impressive that her themes are universal as she covers issues with the government, humanity, police violence and more, and speaking for the youth with lyrics such as “Koffee defend the case, our tears won’t go to waste”.
Shine
I’m surprised Koffee released this track as a single actually because it certainly sounds a lot better in an album setting. The production on this track is everything. From the delectable chords to THAT bass! She’s really taking it back to her Jamaican roots and I’m all for that. Now, I think I can enjoy this track more now that there’s more context to it.
Gifted
This particular track makes me gag from its sheer brilliance. Who produced this? Please give the producer his/her accolades. This track is spiritual and for so many reasons. You can just feel Koffee singing from her heart; “Don’t fight it fire, Ignite it/I’m guided and gifted,” she chimes, her words ringing through like a mother’s prayer. This track is certainly my favourite on the album, this is extremely special and I personally don’t believe anyone has the range to deliver this how Koffee did, what a gem of a song.
Lonely
First off all, wicked transitioning! I like how she gave the production a bit of shine before getting into the lyrics, a track such as this needs you to feel the beat. I like how she’s sliding on this and the backup vocals? SOLID. The production on this song is the song’s strongest asset. The way the producer tied all the elements together is actually so incredible. I just checked the credits and interestingly, Koffee herself produced this track. I had no idea she produced so I’m honestly just gagged. This is only the beginning and Koffeee has already set the pace.
Runaway
Ok, this is the first track that I’m not really feeling on the album. It’s definitely going to do it for some listeners but it sounds like an obvious album filler. The production is really captivating though, but it kind of sounds repetitive to me and I’m not sure how I feel about that. She’s speaking to a love interest with lyrics such as “Come runaway, You’ve got something to say so what’s in the way?.” However, the production kind of distracts you from the lyrics. I don’t think the track balances out properly, in my opinion.
Where I’m From
I was not expecting this track to sound like this. Koffee snapped, WOW. And can we speak on her breath control on this track? I like how melodious and mid-tempo the production of this is, while she deals with delivering an outstanding performance. Also, the bass on the production ties all the elements on the beat together, very interesting. I’m feeling this.
West Indies
I’m not sure about the track placement of this particular record. I genuinely feel like this should probably be at track 3 or track 4. Nonetheless, this record doesn’t suffer from too much delay as it is another very special Koffee record. On “West Indies,” it seems that Koffee is operating in a different pocket as she tries to show us a different beat to her tune. I think this shows a lot of promise and growth for the singer and, I like that the track made the album. It really brings in that obvious diversity. I just think it’s a bit too low on the track listing.
Pull Up
Any record called “Pull Up” is guaranteed to be straight heat and this song did not disappoint. This is definitely not 2 and I’m not sure if it’s 2. Everything about this record is sick, from the production to the lyrics, to the feeling it invokes in listeners, everything seems put in place for a reason. It’s an easy listen. The trumpets on the track represent the icing on the cake. It’s one of the things that you don’t realise you don’t need, until you hear it. In my opinion, that’s what production is really about, making a great song greater. Shoutout to Jae5.
Lockdown
I’m very surprised this record made the album just based on how long ago Koffee shared it with us. It’s been out since 2020 but it’s still just as beautiful, as it was when it was released. “Lockdown” is a very strong album outro based on what it really represents, and all the changes that continue to happen in the world since its release. It adds this bright and shiny outro to the album, kind of like a ‘I hope you enjoyed the ride’ track and, if you ask me, I certainly did.
Final Thoughts
As I’ve always said, Koffee is a masterful storyteller and her music makes you feel deeply in your soul and spirit. You can tell with every lyric and every track that she considers the song’s recipients as she creates and crafts her otherwordly sounds. ‘Gifted’ is truly a master class in production and a fine offering from one of reggae’s fiercest lyricists.
For me, one thing I appreciate about the body of work is its overall experience. ‘Gifted’ plays like a world entirely of Koffee’s making, drawing listeners in right from the very first track, up till the closing number. Koffee has certainly mastered the act of acclimatising to the furor of modern times, while keeping her sound intact and defineable. For every project release, Koffee shows how far she’s willing to go, to put together a stellar body of work and, of course, this being her debut album, she didn’t hold back from adding more layers to her artistic mosaic. ‘Gifted’ is an enjoyable listening experience, which finely ties Koffee’s unbridled confidence and sharp lyricism into something for every listener.
The history between neighbouring West African countries, Nigeria and Ghana, stretches back for decades, with the sister nations nurturing a bond between them, that lies in the svelte plain between familial love and healthy rivalry. This rivalry peers through almost every facet of the cultural zeitgeist of the region. From the infamous “Jollof wars”, to face-offs in the music scene, and even to the staunch rivalry on the football scene.
On the cusp of a World Cup qualifying game between the pair, the aura of this rivalry and shared camaraderie is as palpable as ever. The two African giants are poised to play the first leg of their World Cup Jollof Derby qualifying tie tomorrow, at 8:30PM WAT. The two nations will meet in Kumasi on March 25 to stake their place at the World Cup – a fitting event to mark the 50th instalment of West Africa’s fiercest footballing rivalry.
Ahead of this monumental event, The NATIVE Mag and Spotify have collaborated with Nigerian Football team’s midfielder Joe Aribo to bring you his favourite pregame tracks. With a playlist featuring one of the year’s hottest stars Asake, alongside a number of other high-flying artists such as Lojay, Teezee and more, tap into the tracks that Joe Aribo and the Super Falcons warm up to, just before they hit the pitch.
Listen to Joe Aribo’s LockerRoom playlist takeover below.
As more months go by, and life returns back to normal, following the seismic changes of the COVID-19 pandemic, it has begun even harder to grasp the attention of viewers in an ever saturated industry. With more streaming platforms such as ShowMax and Amazon Studios now in the mix, we now have a large slew of African-focused entertainment at our fingertips.
Next month, following Netflix’s release of the first-ever African reality TV show, ‘Young, Famous & African,’ the streaming giant will now be bringing a political drama titled ‘Silverton Siege,’ which brings to life the events that took place on January 25 in 1980, when a trio of South African freedom fighters took a bank hostage, inspiring a movement that would lead to Nelson Mandela’s release from prison.
The Mandla Walter Dube-directed film ‘Silverton Siege’ is set to be released on April 27, South Africa’s Freedom Day, a day that commemorates the first post-apartheid election in the country. The trailer which was shared earlier today showcases the star-studded cast including Thabo Rametsi, Noxolo Dlamini, Stefan Erasmus and Arnold Vasloo and is based on a screenplay written by Sabelo Mgidi.
As gleaned from the trailer, the three freedom fighters are escaping the police after a freedom strike gone wrong, so they take refuge in a bank which they eventually keep under hostage. All three freedom fighters know that leaving that bank would result in one of the two things – prison or death, so they plan to negotiate for a life that is worth everything. It is then that they demand for the immediate release of Nelson Mandela.
“…One love, respect. I am the future.” Those were the last words Rema said as he poetically delivered his acceptance speech after clinching the coveted Headies Next Rated award in early 2020. As we watched the young wunderkind on stage, accept the award, he hoisted his trophy in the air, made a toasting motion, and uttered those prescient words in a teetering tone, his voice smothered by the roaring of the cheering crowd.
At the time, his seemingly self-aggrandising declaration could have been dismissed as him overreaching— he was a 19-year-old newcomer with a handful of pop hits and viral freestyles, declaring himself the future of a burgeoning global movement. Almost three years from this momentous point in his career, at the cusp of releasing his much anticipated debut album, those final words have proven to be prophetic. There is now no doubt that Rema is among the elite spate of younger artists actively shaping and reshaping the abundant present and blinding future of Nigerian pop music.
Rema’s come-up as a musician dates as far back as his nascent teenage years but his major break came in 2018 after his freestyle to industry veteran D’Prince’s “Gucci Gang.” The freestyle gained a modest level of virality and before long came to the attention of D’Prince, who flew Rema from his native Benin City to Lagos – the epicentre of Nigerian pop – signing him to a record deal. Under the auspices of D’Prince’s Jonzing World, in partnership with the Don Jazzy-led Mavin Records, Rema spent almost a year woodshedding and fine tuning his craft before announcing himself to the world with his continent-spanning smash hit “Dumebi,” a sunny Afropop record underpinned by bouncy drums and infectious melodies.-
The song was lush and bursting with freshness but it was still in line with the mainstream Afropop sound of the time. The accompanying, Ademola Falomo-directed video embellished that mix of modish and inventiveness. It effortlessly fused the colourfulness and playful plot of quintessential Nigerian pop videos with the iconoclastic fashion sense and liberal artistic direction championed by the Altè movement, into an awe-inspiring whole. It’s symbolic of his eponymous debut, which not only introduced him to a wider audience but also hinted at his future reputation of being a maverick.
Today, Rema is ubiquitously loved at home, but his proclivity for whipping up future-facing sounds and fresh concepts makes his art the constant topic of polarising discussions. For most, he is a young artist staking out new grounds in the Afropop landscape; for others, his sound comes off as alien and vaguely otherworldly, from what they’re familiar with. Every artist receives contrasting reactions to their art but pioneers tend to experience fiery reactions from the extreme ends of the spectrum. Rema fell into this pocket from the onset of his career.
His debut eponymous EP unfurled layers the singer/rapper’s artistry. Two songs on it were especially piquant, namely “Corny” and “Iron Man.” These songs are delectable blends of archetypal Nigerian pop rhythms and exotic classical North-Indian melodies, peppered with Rema’s soulful but garbled delivery. They were met with mixed reactions on the local scene, owing to their distantly unfamiliar nature, sounding as though beamed in from another universe.
Nigerian pop music has always been a melting pot of sounds, as such, fusing it with other genres was not a new affair. Afropop is notable for its wide range of influences, including Dancehall, House music, Rap, R&B, Reggaeton, Dembow, and more. However, almost no one was experimenting with eastern sounds, hence the initial mixed reception. The EP went on to enjoy worldwide success, with “Iron Man” even earning a celebrated spot on Barack Obama’s summer playlist that year.
Despite his ridiculous successes that year, it seemed that Rema was constantly at the receiving end of jibes and quips from online trolls for sounding “Indian”. To the layman listener, Rema might just have come off as yet another young pop star passing through the usual ephemeral and impactful stages of growth for any artist. But a deeper listen elucidates that he was taking his time, to cultivate his style which involves constantly tugging at the fringes of Afropop, redefining and forcing us to evaluate what Nigerian pop music is and could be.
As established on that EP, and emphasised in subsequent releases, Rema’s dynamism and cutting-edge inventiveness exceeds the confines of his music. His artistic brilliance bleeds across a far-reaching gamut and he combines eclectic elements in a way that is uniquely Rema, creating a wholesome experience with each offering. A conspicuous testament to this is his romance with his mascot, the teddy bear.
Since announcing himself to the world with his debut single, he’s featured teddy bears in more than a handful of his music videos (starting with “Dumebi”), severally employed teddy bears in his art as allegories alluding to far-reaching concepts and people. He also recently employed this motif at the listening party for his forthcoming debut album, which was held earlier this month in Lagos.
In a very conservative Nigeria, he was initially met with staunch criticism but that never deterred Rema. He only doubled down on expanding his sonic world and abilities. In the midst of the billowing criticism, he’s never engaged in a malevolent tirade against his slew of detractors. Currently, most of the ‘eccentricities’ for which he was initially berated for, have become the industry standard. In his three years on the scene, he has completely subverted the blueprint of becoming a leading light in Nigerian pop. “My sound y’all called Indian, everybody doing it now,” he tweeted in 2021, a self-reverent quip on his path to cementing himself as a genre-blending and culture-melding pioneer.
On his soon-to-be released debut album, ‘Rave And Roses’, he’s still toeing this arc. The three singles he’s released off the album have each followed unique paths, both sonically and thematically. “Soundgasm” is a stripped-down, unique Afro-Caribbean blend that inspires a gust of freshness with its mix of impassioned croons, whisper raps, and sexually-charged lyrics; “Calm Down” is a bouncy Afropop ballad, on which he surreptitiously weaves in and out of speech and hum, painting a romantic montage; on the AJ Tracey-assisted “FYN,” he sings his own praises, over a punchy beat coloured with exotic synths.
“I’ve taught you guys for 3 years with my releases not to have expectations when it comes to me,” Rema wrote in a tweet sent out earlier this week. “As you listen to the Album embrace the light, trust me I will not take my time in the studio to convince anyone. I’ve confidently distinguished myself as a creator. #RaveAndRoses🌹”. The build up to the release of ‘Rave And Roses’ has been drawn out, but it hasn’t dampened its status as arguably the most anticipated debut album in over a decade.
With the stakes attached to it and Rema’s knack for one-upping himself, the project is poised to make a seismic dent and set a new precedent in the Afropop scene. As to what to expect, expect the unexpected as Rema delivers the future.
Since the release of his breakout single, “Jealous” in 2019, Fireboy DML’s growth has been nothing short of an astronomical success. He came into the game, ready and certain to showcase his skills while having a good time, as he did on his omnivorous debut album ‘Laughter, Tears & Goosebumps,’ and its 2020 follow-up ‘APOLLO’.
Back then, Fireboy DML shared in a NATIVE Exclusive interview that the output fans could see was hard work and dedication, 12 years in the making. Today, his dedication has not skipped a beat, as his work continues to flow with a strong belief in himself and his abilities, even earning him the title of Billboard’s R&B/Hip-Hop Rookie recently.
With just three months into the year, Fireboy DML is already teasing the release of his third studio album. Already, he’s given us a peak into this world with the release of the Ed Sheeran-assisted “Peru Remix” and its 21 Savage and BLXST-follow up. Hot off the back of his appearance on Madonna’s “Frozen” and his American tour, Fireboy DML shares new single “Playboy.”
The Bizzouch-produced track is an uptempo record which sees the artist in a more relaxed light. He unfolds the playful and flirty side as he sings over the mellifluous production of the track, with lyrics such as, “girl, don’t flex with the boy, your body is a mad ting, she wanna roll with the mandem/when i drop, yunno it’s an anthem.” In the same breath, he subtly appreciates the physique of his muse while making braggadocious claims about his current standing in the game, how far he has come and how he should be respected.
Just as we predicted back in 2020, Fireboy DML is ready for his next level. The artist himself echoed this in a tweet, sharing moments before the song’s release that he was at the beginning of a new era. Given his recent success, including “Peru” becoming certified gold in the UK, it’s clear that Fireboy DML has hacked the winning formula and is forging ahead in this new era with unshakeable confidence.
British-Nigerian actor Martins Imhangbe, who plays Bill Mondrich in the 2021 Netflix period drama ‘Bridgerton’, has always had a passion for acting, right from an early age. Despite being Nigerian-born, where creative careers are typically shunned, he was fortunate enough to have parents who nurtured and supported his creative talent. Imhangbe would eventually find his feet, after attending Lewisham College and securing a diploma in Performing Arts.
At the time, he auditioned for drama school but failed to gain admission. Without losing any steam, he auditioned once again, and was finally accepted into the Royal Central School of Speech and Drama. After graduating in 2013, he officially kicked off his acting career by entering into theatre. Although ‘Bridgerton’ marks an impressive TV debut for the theater actor, he’s also landed roles in productions such as ‘Death of a Salesman’ and ‘The Tragedy of King Richard the Second’ in London.
In 2020, while the world picked up the pieces from the seismic effects of the COVID-19 pandemic, Imhangbe found himself in his biggest role yet: as Bill Mondrich, best friend to the Duke on Netflix’s hit TV series, ‘Bridgerton.’ Mondrich, unknown to many, is based on a real boxer called Bill Richmond, who became the first black boxing entrepreneur in the 19th century.
“First of all, when I got the audition, I didn’t know that character actually existed. I didn’t know that Bill Richmond was such a pioneer.”
For most actors, training to play a boxer is tough, as they have to undergo rigorous training that they might not otherwise be used to, but training to play a boxer in the late 18th and early 19th century has a whole new set of challenges. However, Imhangbe was almost primed for a moment and a character such as this. Speaking to the NATIVE a few weeks before the new season’s release, he shares: “I love boxing a lot, the discipline, I love the endurance and honestly, there’s nothing like it,” revealing that he had earlier played a role that involved boxing.
It’s clear that Imhangbe is immensely dedicated to his craft and assumes the life of whichever role or character he is emulating. It’s this strong conviction in himself and his abilities that endeared him to Shonda Rhimes and the series casting agents. Imhangbe, himself also echoes this by sharing that there’s a lot of heart poured into the new season. “In one sentence, I would describe the new season as heartful,” he says over the phone.
With the new season only hours away, and anticipation already rife for the return of the ‘Ton and their mischievous and nosy, Lady Bridgerton, we caught up with Martins Imhangbe to talk his journey to ‘Bridgerton,’ his relationship with his work and find out some exclusives.
Our conversation, which follows below, has been lightly edited for clarity.
NATIVE: How was working on the new season for Bridgerton?
Martins: Well, it was nice. It was really interesting coming back to a show that everyone was proud of, and coming back to film a new season. All of that was quite interesting. There was a new energy but at the same time, there were COVID-19 restrictions and, so navigating that was a bit of a hassle but we’ve done it, so yeah, it was good.
NATIVE: So let’s talk about the new season. Your character plays Will in the series, and you’re really close to the Duke. How was bringing that character to life?
Martins: It was amazing because I was learning so much at the time. First of all, when I got the audition, I didn’t know that character actually existed. I didn’t know that Bill Richmond was such a pioneer and such a black pioneer, so it was nice to be able to be a part of telling that story and be a part of that history. To really get into character, I just read books going into the history, and learned a lot about the time. That kind of informed all my choices going into the role.
NATIVE: How was working on this new season of Bridgerton? Coming back to work and creating with everyone for a second time.
Martins: It was really good, because I mean now, the show is now established and successful. So, it felt like everyone was sort of proud of the show and knew their characters a bit better now that we had done the first season. So, the relationships in this season were a lot clearer and fully formed.
NATIVE: In terms of relationships, do you think viewers are going to relate more to the characters in this season?
Martins: Oh yes, I definitely think so because you’ve had a whole season to really get acquainted with these lot. Now, you’re going into another season so you’ve had time to get to know these characters and what makes them tick. For this reason, people are definitely going to feel more connected to these characters and love them even more.
NATIVE: Period dramas like “Bridgerton” are important for many reasons. As a Black character in a predominantly Eurocentric period drama, what was it like navigating the role you were embodying?
Martins: This was a real life character so yeah, that was amazing. Black people were doing a lot in those old times and doing extremely great things. Bill Richmond was one of the first black boxing entrepreneurs and he was very successful, so I felt very proud actually, just being able to be a part of that narrative. I think often times we’ve seen black people in those times being victims of oppression so it’s nice to see someone who is actually successful and thriving in their own field.
NATIVE: Did you have to learn boxing for that role or that’s something you do normally?
Martins: I don’t usually box but I had to reconnect with boxing. I did a play, a while ago, which required me to start training as a boxer. After that, I did boxing for about three years, then I got this role which really helped me reconnect with it. I love boxing a lot, the discipline, I love the endurance and honestly, there’s nothing like it.
NATIVE: Will we be seeing more of you in the new season?
Martins: Well, you’ll be seeing more of me in a new light that’s all I can say. I’m really excited about seeing what everyone will make of it and it’ll be nice to see how the audience takes the change.
NATIVE: How would you describe the new season in one sentence?
Martins: In one sentence, I would describe the new season as heartful. There’s a lot of heart poured into it and it’s going to be quite moving.
NATIVE: What will you want viewers to take away from the new season?
Martins: I would like viewers to just enjoy the characters and just enjoy the journey of each character because I feel like there’s so much put into it. For those paying attention, there’s a lot to take from it, in terms of the journey and the characters so I would really love for viewers to enjoy the ride.
NATIVE: What personal projects are you working on?
Martins: Well right now, I’m just gearing up for the release of season 2, that’s pretty much it. There are quite a number of things but I can’t really talk about those right now so we’re really just focusing on the release which is out in a few weeks.
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 brought you highlight selections from Young Jonn, Elaine, Dremo, Shane Eagle and more. For today here are songs from Skiibii, DEELA, Smallgod, Tekno, Badboy Timz and more.
DEELA – “GET A GRIP”
Nigerian-born UK-based rapper DEELA released her latest mixtape, ‘DONE DEEL’ to incredible fanfare last year. The tape which featured fan favourites such as “FIT” and “GET A GRIP”, a track which sees the artist spitting fiery bars over a bouncy and catchy beat. Now, she’s expanding the visual world around the project with the release of her debut music video for “GET A GRIP,” its lead single. Arriving today, the video of the track sees the artist partying with a group of friends, getting drunk and having a great time, while she sings her lyrics in a colourful party scene.
Tekno – “Jinja”
Arriving today is Tekno’s latest single “Jinja”, a mid-tempo track which sees the artist singing romantic lyrics to his love interest. Tekno delivers smoothering lyrics such as “I go treat you right baby, swear I go make you shine baby/I go make your life better”, as he promises to make his muse happy. Accompanying the track is a colourful video, which sees Tekno in different settings as he performs his verse. He goes from taking his muse shopping and gifting her clothes, shoes and more to performing with his dancers where he showcases his dance moves and free spirit.
Bad Boy Timz – “One In Town”
Bad Boy Timz is on a roll. From “Move” to “Skelele”, the number of hit singles coming from the singer’s camp is undeniable. To continue this streak, he has shared new single, “One In Town“. Over the melodious production of the track, the singer hypes up his muse, reminding her that she’s the only one he sees and the only one in town. He sings lyrics such as “Baby na one in town, her body na coke bottle”, describing his love interest’s beautiful physique.
Smallgod – “Falling” ft Darkoo & KiDi
Ghanaian singer and producer Smallgod is here with new single titled “Falling”. This time, he has teamed up with British-Nigerian rapper Darkoo and Ghanaian singer KiDi for an irresistible number. The track is a mid tempo number which sees Smallgod delivering his romantic affections to his love interest with lyrics such as “I want to know where you come from, You’re like a fantasy/baby girl you got a mandem tight, I’m falling”.
Lady Du – “Mandule” ft. Djy Ma’Ten, Mellow & Sleazy
South African singer Lady Du has teamed up with Djy Ma’Ten, Mellow & Sleazy for new single “Mandule”. The Amapiano track is an irresistible number with an even more catchy production. Featuring glitchy kicks and airy snyths, the song’s productions provides the perfect backdrop for Lady Du to fire off her bars. While she speaks in her mother tongue, there’s no missing her universal message of finding enjoyment and having a great time.
Timaya – “Charger”
Following the release of the music video for “No Pressure,” Afropop superstar has now shared his latest single, this time titled “Charger.” The uptempo dance tune finds the singer operating in familiar territory, as he delivers a radio-ready jam. On the chorus of the track he sings, “anything when I put my hands must go well o/anywhere when I dey, I swear must dey well o”, making subtle prayers and hoping for the best of life.
Lovn – “Abena”
Newcomer and fast rising act Lovn is here with his first single of the year titled, “Abena”. On this mid-tempo number, the singer delivers a romantic number to his muse as he tries to win her over with sweet words. With lyrics such as “Oh baby, Casanova, no baby/Abena give me your love, Abena give me your love”, he is unafraid to state his desire and please with his love interest for her time and affection.
Few songs in 2021 matched the global reach of Amaarae’s “Sad Gurlz Luv Money.” In a year full of breakthrough moments, the Ghanaian artist’s spritzy collaboration with Moliy enjoyed a great run, especially after its remix with US-Colombian star Kali Uchis. It debuted at #80 on the Billboard Hot 100 Chart and went to #1 at the Spotify Viral chart, also charting on US TikTok and on the UK Singles chart.
However, it has been revealed however that the record’s main creators aren’t exactly on the best terms. Earlier this month, Moliy took to Twitter to make strong ownership claims against her collaborator, Amaarae. She revealed that she wrote eighty percent of the original song, and claimed she wasn’t properly credited on the remix and has had “limited visibility” on the two videos that’s been released. She also faulted Amaarae for allegedly lip-syncing her lyrics without her approval and ultimately said she hadn’t received “any proceeds from the record and have no idea what’s been accumulated so far.”
Sharing the thread on the Ghanaian Independence Day, the matter was eagerly discussed on social media as diverse opinions stood out. Some were quick to call out Amaarae, obviously on the grounds that it’s a universally relatable feeling, to perform so diligently and not be fairly rewarded. It was, however, resolved that no fair assessment can be made if the other party didn’t explain their side of the story.
Hours later, Amaarae responded with a thread of her own. Charting the start of their working relationship, the Ghanaian-American singer revealed how Moliy reached out to her for a prospective collaboration and she gave Moliy two minutes on her acclaimed debut album ‘The Angel You Don’t Know.’ Amaarae shared this was “because I believed in your talent and wanted to give a fellow Ghanaian up-and-coming woman an opportunity. I had the confidence to take a backseat and let you shine.”
Amaarae went on to dispute Moliy’s claims of sidelining her, saying she has always expressed her love for Moliy and that, at her first live festival performance in America, she shouted out “this special artist” who created the song with her and asked the crowd to do so as well. “Meanwhile your team was busy fighting my team in the background and sabotaging our efforts to promote the record,” she wrote, breaking down the financial and social investments that have been responsible for the song’s success. Amaarae also shared that Moliy’s demand for her share of revenue was unusual because the costs for promotion had not been recouped.
I’m sure it comes as a shock to most cos @amaarae performs my lyrics of the song every chance she gets. I wrote it to motivate all young women to be confident and successful, and this was the perfect opportunity for two Ghanaian women to be the face of that.
According to Amaarae, a number of confrontations suggested that Moliy’s team almost sabotaged the promotion of the record and that the artist herself did not promote the record until it began blowing up on TikTok. Near the end of her thread, Amaarae confirmed that Moliy “has a larger publishing split on the original than I do and an equal publishing split on the remix…she is credited as a featured artist on both songs meaning she can earn her mechanical royalties.”
There’s been a lot of takes on social media, some finding Amaarae’s riposte satisfactory and others, quite not. There’s no doubt that both parties will now be looking to solve their differences behind the scenes. Still, there’s a larger conversation that’s now been opened, one that takes the legal framework of collaboration into a larger context, especially now that afropop is moving into the world and, more than ever, artists are joining forces to conquer new ground.
To this end, we spoke to Tokunbo Komolafe, a music and entertainment lawyer in Lagos, Nigeria and Frank Nwafor, a music publisher and co-founder of Jam Distro to find out more about royalties, publishing and protecting oneself in the music business.
Our conversation which follows below has been lightly edited for clarity.
NATIVE: To start off, what’s one thing every party should have in mind when creating a song?
FRANK: As a main artist without features, it’s essential to send out split sheets. There are two split sheets which are necessary and a main artist should have their publishing split sheets and the mechanical royalty split sheets. A producer is not entitled to mechanical split sheets but is entitled to publishing split sheets. When a featured artist is involved, the publishing split sheets is necessary for everybody involved, which includes the producer, main artist and the featured artist. No matter how little a person participates in a song, the person is entitled to something from the publishing of the song. If an artist is featured on a song, and is paid in cash upfront, then the artist isn’t going to get any percentage from the song later on. That’s why a split sheet is necessary to avoid any future drama.
If you’re an artist looking to get another artist on a feature, I would advise to throw in an obligation one pager. This obligation one pager involves how an artist posts, supports etc. Another important thing is the clearance process because it is only when your split sheet is signed that a track can be cleared. Anybody can come and throw a percentage at you that doesn’t align with what you want, so you can negotiate for a higher price. When looking at the percentage, it’s necessary to keep in the back of your mind that investors can come into place. It’s always advisable not to over split cause when investors are involved, they always prefer percentage to any other option.
TOKUNBO: With what I’ve seen, I think they’re very interested in their rights, royalties and money too. Although, I would say it varies cause it depends on the literacy and exposure of the artist. I’ve worked with clients that, prior to the time the song is even released, they ask for their money upfront while a few would request for their money after their song has blown up. Also, compared to the time I started working in the music space, which is about 6/7 years ago, artists needed to be convinced that split sheets was important. But now, most of them or about a half of them demand for split sheets and producer agreement. I think it’s a giant leap in the right direction and it can only get better if there’s more education and more avenues to learn.
“We’ve passed the days where when an artist makes music and the only way to make money from the music is performance fee or appearance fee.”
NATIVE: Why is it important to protect and look out for your rights and obligations?
TOKUNBO: This is because at the end of the day, it’s their creative product. Artists have put in effort to create something unique, tangible, something to stand the test of time and, it’s only right that they earn something from it. Now the actual product is the music, the music has its own specific copyright, IP right and is a creation on its own. We’re in the era where people sell their own catalogue like John legend selling his IP rights to different entities and then making millions of dollars from it. Even in contracts, when doing contracts and you’re listing the revenue channels of the song, the primary revenue channel is the music, so your streaming revenue, publishing revenue, even your endorsement deals are called ancillary channels.
The main thing really should be the product. However, the reverse was the case in the past, when we didn’t have streaming platform and there was rampant piracy which made it difficult for artists to make money. But now with technology, DSP, and actual distribution companies doing their work, things are getting better. Even investment companies are seeing value in IP and are willing to put money behind to purchase it. My advice is for everyone to hold on to their catalogue, even if it’s 5percent or 10 percent of the piece in the pie because it’s not even just for now. It’s just like pension that you can earn from in the future because if the music is good, we would keep listening to your music and you will keep making money from it.
NATIVE: In Africa, where the music industry is still finding its structural footing, how easy is it to protect your rights as an artist, songwriter or producer?
FRANK: It’s easier now than before because now you can communicate with DSPs if you have a copyright infringement release and they can take it down. Gone are the days where one has to go through a long process or find the person that released it and you can also report blogs that release your songs without your approval. Although, I think the Alaba market thing is still an issue because you can’t go to every shop and scatter there to check which store has your music. However, compared to 5 or 6 years ago , it’s better now and as time goes on, people will become more aware of their rights which would, in turn, give room for improvements.
NATIVE: Are there still structural challenges as regards the Nigerian constitution, or just like attitudes on intellectual property in the entertainment industry?
TOKUNBO: From the legal perspective, there’s an entire process to follow. Here, you can take the parties to court. They can be sued at either the Federal or High courts which have the jurisdiction for copyright or intellectual property matters. At the end of the day, the whole point of justice is to be quick but in Nigeria, there are many issues with the court system. For instance, it can take awhile to get a fixed court date when there are other channels for alleviating these issues. A quick alternative is that you can always communicate with the DSPs, that you have a copyright infringement issue with necessary proof. This usually takes about 24 hours before the song is pulled down from streaming platforms.
In my experience, with my clients, we communicate with the DSP and also take them to court. This way, it’s a bit more forceful because just taking down the song won’t redress the pain caused to the other party. However, when you sue them, then you can sue for damages or they settle out of court. The only problem is the legal landscape in Nigeria. They are very slow. It’s almost not even beneficial to go to court, but we still do it to show seriousness or to force the other party to settle.
NATIVE: In your experience, when do things usually go sour and how can that be fixed?
FRANK:Things can go sour anytime. In most cases, things go sour when the artist starts to blow up. For example, in the case of Moliy and Amaarae, according to what I saw, I don’t think it should have gone that far. You can still go for your rights as an artist without burning that bridge. In the music industry, for every song that you distribute, the person investing in that record has to be recouped before any discussion on royalties. The discussion on splits can be had but damage in relationships begins when people start thinking about how much they can actually gain rather than focusing on how big the record can actually be.
TOKUNBO:I did come across that case and what stuck out to me is the importance of having your contracts sorted out prior to the release of a song. For instance, during negotiations and preparing the contract, there will be conversations about the commercial aspects of the record, so like the percentage to be split with the featured artist, the publishing share, and if there’s a remix to the song in the future, who owns that and how would that be split. This will also include discussions on social media posts, promotions, their appearances in video shoots and, also negotiations on recouping. For instance, if the featured artist was asking for 25% of the mastered earnings, the negotiation can be 25% but 25% of the net profit. Net profit means whatever we make from the record, after the expenses have been deducted.
This particular case just highlights the necessity for doing your contract properly. Moliy also made a complaint about Amaarae singing her portion of the song but sometimes in contracts, this can be addressed. There can be an agreement stating that both parties have rights to perform depending on how it is worded. If the entire copywriting in the master, belongs to the primary owner of the song, they can perform the record, if they want to it doesn’t really matter who it belongs to. If they own the rights, they can perform it, and the other person also has rights to perform because they also own it. In this Moliy and Amaarae case, I would say it’s really just a thing of communication and clear contract terms. It’s a good thing that it came out because it does highlight to other artists who’ll be featured on other songs to do the right thing prior to release.
NATIVE: So far, we’ve spoken about artists with good teams and capital. How about independent artists who cannot afford a lawyer or a manager?
TOKUNBO: There are different ways to negotiate these things. There are entertainment lawyers who are flexible, there are entertainment lawyers who won’t charge as much, depending on how you negotiate. Now for managers, they usually earn a percentage off the artist’s earnings, so I don’t think there should be an excuse about not being able to afford a manager. However, in the event that a record was released without any professional on the team, then the song blows up and you want to then clear it, there are companies that actually do these things for a living, clearing songs after the fact. In these instances, you just have to set up meeting with the other artist’s teams and if they are unable to clear, you clear what you can until there’s an issue. I would add that the right thing to do is reach out to the team of the person and come to an agreement of some sort because at the end of the day, earning 10% is better than not earning anything at all, if that isn’t sorted.
NATIVE: Looking at it from the outside, it seems like protecting your interest takes away from the fun of collaboration. Have you come across clients who just won’t do that?
TOKUNBO: Yes, there are clients who won’t bother simply because they won’t want to deal with the back and forth. Some clients are just like whatever they want, give them or let’s just release the song. As lawyers, this is certainly not advisable to any client, but at the end of the day, it’s a business and not a sprint. It’s a long race and relationships are so crucial in the Nigerian entertainment industry. You have to think about where you are as an artist, and put things into consideration when demanding and negotiating royalties and publishing. Most of the time, in the Nigerian entertainment space, it depends on your level as an artist. There are some artists who focus more on the music and leave their producers and lawyers to do whatever they can to get their money so that it doesn’t affect their creativity or relationships but it’s the managers behind the scenes that are fighting.
NATIVE: What do you think about artists’ education with regards to rights, what to do, what not to do? How do you think we can bridge the education gap on this issue for African creatives?
TOKUNBO: Education is really important. The more educated the ecosystem we have, the better for us. When people in the ecosystem understand the business, it makes my job as a lawyer easier. I don’t have to explain to you this is what royalties are or this is what publishing rights are. So yes, education is paramount and it’s our responsibility to educate people, but also people who are more experienced and learned should take up the responsibility to pass the information across. For me, I speak to a lot of students about the kind of knowledge they need to have as an entertainment lawyer and share resources they can use, podcasts, youtube videos, articles they can read. Also, in my team, we try to give our clients a little level of education on the different rights in music.
FRANK: Artists can also help themselves by taking online courses, online courses will definitely help you. With artists signed to my distribution company, I take my time to actually learn on their behalf, I learn and summarise to them. Yes, their job is to create, but at the same time they have to be very knowledgeable about the music business. You have to have a good team that actually believe in you and even with that, you can’t depend on anyone. So, it’s best you have the knowledge and know these things. An hour a day should not be too much for an artist in terms of studying and understanding the business.
Featured image credits/NATIVE
Words by Emmanuel Esomnofu and Q&A by Wonu Osikoya and Wale Oloworekende.
Last week, nominees for the 2022 Africa Magic Viewers Choice Awards (AMVCA) were announced to incredible fanfare. The livestream event was hosted by Adesua Etomi-Wellington and Daniel Etim Effiong, and was eagerly followed after being missed out on last year, the pandemic being the familiar reason yet again.
As expected of such a prominent award show, there was a buzz of reactions across social media that evening. Film professionals celebrated their nominations in real time, turning up the excitement for May when the award is scheduled to hold. The AMVCA is no small feat, and pretty much everyone knows it.
Upping the ante for this year’s show, award organisers Multichoice had made announcements of their own. The award gala will be held on May 14, but the entire week before then will be attended by a host of events which celebrate non-acting professionals. Voting is now open for the nominated categories and will close on the 29th of April.
Certainly with the burgeoning interest in modern Nigerian filmmaking, the 2022 AMVCA Awards would be an important week for the entire entertainment ecosystem. These nominations have really got us piqued, and here are four talking points from the whole affair.
Most nominated films
As with any nomination list there’s bound to be focus on the most nominated directors and films. Through these choices the preferences of the award organisers are assessed and their motivations sometimes argued. Given the influence of the AMVCAs, its nominations list inherently shapes the direction of the film industry, a signifier of the films that could be produced in the near future.
The historical drama ‘Amina’, co-written by Okechukwu Ogunjiofor and Izu Ojukwu, had the most nominations: thirteen, including major categories such as Best Overall Movie and Best Director. The film, a portrait of the famed warrior queen Amina of Zazzau received mixed reviews, some faulting its usage of English language in telling such a peculiarly Hausa narrative. Others lauded its cinematography and fashion, still it was largely considered inferior to Ojukwu’s other historical film, ‘76’, which was a stirring depiction of military life and its relative terrors.
Making up the most nominated films were Ramsey Nouah’s ‘Rattlesnake: The Ahanna Story’ which got eleven nominations, making it two for two in Nouah’s vision of remaking classics from Nollywood’s spiritual-inspired era of the nineties and early 2000s. Nominated also was Larry Gaaga, whose soundtrack successfully replicated the colourful Highlife-pop scoring that made ‘Living In Bondage’ such a delight. Highest-grossing Nollywood film ever, Funke Akindele-Bello’s ‘Omo Ghetto (The Saga)’ earned nine nominations, including Best Overall Movie, Best Picture Editor, Best Actor in Comedy and Best Makeup, making her the most decorated actor in AMCVA history with fourteen nominations and five wins.
A new category is introduced
Of the many categories announced, there was one which notably struck out: Best Online Content Creator. This new category had seven nominees, all of them famous to viewers of the myriad skits found across social media. In recent years these skitmakers have grown their cultural currency, massively contributing to the cache of trend worthy phrases and moments.
Among the catchphrases we identify with right now are ‘something hooge’ and ‘freaky freaky’, which can be traced to Oga Sabinus and Mr Macaroni respectively, both early favourites for the award in May. The nominations list is however filled with uniquely talented creators such as Tee Kuro, Bukunmi Adeaga-Ilori, Jacqueline Suowari, Eden Victor and Elozonam.
The larger conversation here concerns the prospects of social media video making in film awards. Content creation is gradually being accepted as a part of the entertainment ecosystem and requires a significant level of talent and dedication to pull off properly. The Oscars have been slowly incorporating TikTok into their awards, announcing last year’s nominees live on the platform. Another similar collaboration was the Cannes Film Festival partnership with TikTok to create the #TikTokShortFilm global competition, where in-app videos between thirty seconds and three minutes will be judged in the categories of Grand Prix, Best Script and Best Editing.
Nigerians love a good story and the nominations had a number of those. One that certainly struck out was that of Abiola Popola, the makeup artist who was cast as a sex worker in ‘La Femme Anjola’ after the original actress didn’t show up.
“She saved us,” wrote director Mildred Okwo in a tweet that went out just after the film was nominated in the Best Makeup category, a while after Okwo’s film which also starred Rita Dominic in the main role had been nominated for Best Overall Movie.
Another high point was Bisola Aiyeola’s nomination in three different acting roles. The former BBNaija housemate has proven to be a versatile creative, relentlessly carving a space for herself and showing she’s actually a good actress. Viewers of her nominated films ‘This Lady Called Life’ (best actress in a drama), ‘Dwindle’ (best actress in a comedy) and ‘Sugar Rush’ (best supporting actress) would surely fancy her to snag at least one of them.
Notable omissions
There were a number of high profile movies that were missing from the nominees list. Not only were these movies made by some of the biggest directors in Nollywood, they had progressed societal discussion about sensitive topics such as sex work and politics, inspiring reactions to both its message and artistic heft long after they were released.
Till today, some still ask: is the second instalment of ‘King of Boys’ a good movie? Obviously the first had established Kemi Adetiba as a fine practitioner of the intricately outlandish, sketching diverse stories through characters like Eniola Salami, Makanaki and Odogwu Malay who brought their act to life on screen. Many loved it, and though most people thought the part 2 only faltered minimally, it ordinarily would have been on the nominee list.
The films ‘Oloture’ and ‘Citation’ were also missing from the list, even after being some of the most discussed films of last year. Also pushing its mode of storytelling, both movies featured a documentary-style narrative and a non-actor lead respectively. Daniel Ademinokan’s ‘Gone’, a story of a returnee immigrant touches on the warm messages of familial strength and got a shout among viewers who thought it’d be nominated.
On my part, I thought Tunde Kelani’s characteristically brilliant ‘Ayinla’, a biopic of the Apala star Ayinla Omowura who was stabbed to death by his manager in 1980, would have gotten some nominations. All these films were however nominated last year at the Africa Movie Academy Award (AMAA), leading speculations as to why the AMVCA didn’t feature them in any categories. They might not have been submitted by the directors, which would be due to a number of underlying factors not privy to the public. There’s still so much to anticipate in May though, and we’ll be keeping our eyes for eventual winners.
Most shocking snubs😱?
King of Boys 2
Oloture
Gone
Citation
N.B to qualify for an AMVCA nomination, the producers of the films must have submitted them. These films were likely not submitted. pic.twitter.com/hUA0DoSO7W
Afropop has gone global. Last year, many Afropop numbers debuted on the Billboard Hot 100, including Wizkid’s Tems-assisted “Essence,” Ckay’s “Love Nwantiti” and Fireboy’s “Peru”, with some going on to dominate the chart for weeks at a time. While this is not the first time Afropop will break into wider conversations, it is the first time that these conversations have culminated in a global chart–save for the UK Afrobeats chart.
Officially announced yesterday, Billboard has partnered with Afronation, to launch the United States Chart for Afrobeats music which aims to spotlight the best Afrobeats songs in the United States. The chart will officially begin next week, on 29th March via Billboard.com.
Billboard to launch new US Afrobeats Songs Chart, ranking the top 50 songs in the country. Starting next week, March 29.
According to the official announcement, the Billboard US Afrobeats charts will rank the top 50 most influential, popular and well-accepted songs in the country and will be based off formula incorporating official streams on both subscription and ad-supported tiers of leading audio and video music services, plus download sales from top music retailers
In a press statement released via Billboard, Afro Nation founder Obi Asika mentioned that:
“The last decade has seen Afrobeats explode into a worldwide phenomenon, influencing culture and fashion across the globe and I am humbled to have made a contribution to growing the genre alongside many talented, passionate people.”
Billboard’s SVP of Charts and Development, Silvio Pietroluongo also added that:
“As with much of the world, Afrobeats has grown tremendously as a genre in America and we are proud to showcase the top songs and artists with this new weekly ranking.”
Earlier this month, Cruel Santino released his sophomore album ‘Subaru Boys: FINAL HEAVEN,’a kaleidoscopic snapshot of futuristic sounds and genres, helmed almost exclusively by his close-knit circle Monster Boys, which played out as a cohesive movie sequence to the world he had built.
Taking cues from a range of genres such as R&B, Rock, Dancehall, Pop and more, Cruel Santino places listeners firmly into an underwater world, where the Subaru Boys rescue the day and make it just in time for the party. Most of the album plays out in this way, setting up stories with an accompaniment of sounds and glittery chimes, while casually retooling familiar sounds to create new vibrations—and memorialise feelings—within Santino’s world.
Termed as “scaping,” a word used to describe the creation of a sonic environment, Cruel Santino makes a bolshy one-eighty from the atmospheric and melodic sound that defines his stellar 2019 debut album ‘Mandy and the Jungle.’ “Scaping songs is very key because your brain is taking in so many things subconsciously that kind of let you travel,” Cruel Santino shared in an interview with RollingStone, following the album’s release.
While journeying through the immersive soundscape is one of the album’s strong suits, one of the most enjoyable parts of the album are the collaborators Cruel Santino brings into his world. While Cruel Santino is a credited writer on every song, penning some of them on his own, a significant portion of the 21-song album features and benefits from outside assists, some of them being unknown names to music listeners on the continent.
So to fully appreciate the communal brilliance of ‘Subaru World: FINAL HEAVEN,’ here are some of the collaborators (songwriters, producers and engineers) that helped bring Santino’s world to life.
Newcomer Brazy first caught the attention of many early last year with the hit single, “Siren”. Since stepping into the rap scene, Brazy has delivered entertaining bars, which listeners and fans can relate to heavily, alongside guest verses from her equally fierce rapper friends. In short of a year, Brazy has carved out a name for herself with her quippy beats and rambunctious raps, going on to deliver a slew of singles including “Girls”, “Night Light”, and her most recent offering “Selecta”.
So what is it about Brazy that’s got us slowly hooked on her? On Cruel Santino’s album opener “MATILDA”, she delivered a clutch performance, gliding and sliding over the heavy baseline of the track very casually, while still maintaining a firm and expressive tone, structuring the track into the pointed tone-setter it is. Her contribution on the album encapsulates her rapid-fire abilities, as she bursts on any beat with colourful puns and glitchy saccharine-sweet melodies.
Of the five arcs that make up the conceptual narrative of Subaru Boys, ‘Subaru Girls Worldwide’ is the only arc that comprises one song. “OWN GAME” sees Cruel Santino setting up the scene with a numb chant, before ceding space to two verses from guest rappers. One of those verses is delivered by UK-based artist EbEE, whose deadpan flow forms an entrancing counterpoint with the twitchy, technicolour beat. Her 16 is a dazzling display in metronomic control and picturesque lyricism that lends itself to being quotable—“Can’t stretch my legs ‘cause you’re other side of the bed/ drown in my thoughts when you suck on my head.”
That contribution is a solid encapsulation of EbEE’s capacity as a malleable rap artist. Across her catalogue, which is currently limited to about half-a-dozen singles—mostly uploaded to her SoundCloud—and a handful of features, her music a positively dizzying experience, filled with sonic experiments that range from electro-rap to cloud rap to bedroom pop to whatever else she feels like. Armed with a helium-toned voice that contort to multiple shapes, EbEE is capable of walking the spectrum between rapping and singing from song to song. EbEE clearly makes music that centres on her own choices and idiosyncrasies, a trait that she shares with, and most likely endeared her to, Santi.
Dennis Ade-Peter
Seo
Seo, who also goes by Moonbather, is one of the luxuriating female voices on “OWN GAME”, the eight track on ‘Subaru Boys: FINAL HEAVEN’ On there she bridges the rap showcases of Bratzbih and Ebee, layering soothing vocals which balances the zesty direction of the other contributors. A Fresh Meat alumni in 2020, Seo possesses an understated catalogue, delivering catchy projects during and after the proliferation of SoundCloud in the Nigerian music space. Her music sparkles of a relationship with bedroom pop and its known indulgence into concurrent streams of other niche sounds. Earlier this year Seo released Nightblood, an album of eleven songs inspired by soulful incisions into her deepest concerns and fears, all delivered through fine, quaint songwriting.
UK-based rapper Bratzbih was first discovered on producer singer and songwriter Tochi Bedford’s ‘After Eternity’ EP on the track “Wassup”, where she talked about being married to the money and focusing only on the bag. She’s seen again on Santino’s “OWN GAME”, alongside Seo and EBEE, where she naturally emerges as a fierce lyricist. On “OWN GAME,” the only arc under ‘Subaru Girls Unlimited,’ all three artists have charisma that permeates off the screen. Bratzbih seamlessly merges energies with all artists on the track, giving listeners a taster course to what she’s got to offer while setting a vast tone for where she’s able to go sonically.
There are few rappers anywhere in the world who have rapped any more prolifically (or with precision) than WifiGAWD in the last two years. The DC native has risen to fame for creating exciting rap music that’s a product of teaming up with boundary-pushing producers who are blurring the divide between rap and other genres. On ‘Subaru Boys’: FINAL HEAVEN’ WifiGAWD’s jaunty flow slides in after a mad cap intro by Santi, putting a cap on the teasing message of “SWAGGER BACK.”
A true rasta, WifiGAWD’s music is influenced by a free-wheeling sense of wonder that has seen him take inspiration from sonics inspired by hip-hop’s golden age and the 2015-2017 SoundCloud trap laboratory. WifiGAWD’s most recent album, ‘Chain Of Command,’ is a video game-inspired, anime-adjacent horrorcore hip-hop project that melds WifiGAWD’s knack for effusive lyricism with a sonic palette that borrows influences from soul, EDM, and shoegaze.
On “FALLIN”, the 17th track on ‘Subaru Boys’, the crystalline voices of Solis and Chi Virgo unite to provide a backbone to one of the most beguiling songs off sprawling project. The London-based, Nigerian-born singer Chi Virgo has built a reputation for herself for making feathery, soul-infused alt-pop songs that pack a punch.
Ecelectism and singularity is at the heart of Chi’s music and her music reflects those characteristics. A string of singles from 2019 and 2020 found her ruminating over emotions like angst, self-assuredness, and upheaval with inspirations from legends like Tina Turner, Whitney Houston, Beyonce and Sade. In 2020, she released her debut project, ‘Under The Moon,’ a collection of mooning R&B and neo-soul cuts that brought her distinctive attempt of songwriting to the fore over a mix of uptempo and mooning instrumentals. Her contribution on “FALLIN” taps into the vividness of her 2021 pack, ‘Crybaby/Rain’ while fitting nicely into Santi’s hyper-vivid universe of sounds.
On “War In The Trenches”, a standout on ‘Subaru Boys’, 1takenandos is the masked master pulling the strings behind the scenes on this track. 1takenandos takes ethereal piano melodies, brazen horn sounds, bouncy drum patterns and strings them together, end on end, creating a breezy otherworldly sound that reels listeners knee-deep into this project.
Born Nnamdi Eluwah, the artist is a 26-year-old Nigerian multi-hyphenate from Abuja. He moved to Dubai when he was 11 and has been there ever since, it was there he met Santi. Among his creative pursuits are music production and DJing. He also does radio mixes and hosts electrifying parties in hubs across Dubai. During his nascent days as a producer, he majored in crafting thumping House music beats, along the line, his career swivelled a new curve, these days he majors in producing punchy Hip-Hop/ Trap music.
Tyler Turner is a 29-year-old Japanese -American producer and songwriter based in Los Angeles. He spent the greater part of his career as a producer crafting Hip-Hop records but he has since evolved into a sonically expansive producer, fashioning and blending a colourful assortment of sounds that cut across genres. Prominent cuts on which he has production credits include Juice Wurld’s “I Want It”, Sloan Evans’ “Honest”, Lil Keed’s Roddy-Ricch-assisted “Dragon”, amongst others.
Tyler’s work is one of the key elements that upholsters ‘Subaru Boys’. While he’s not a featured artist, he boasts of production credits and creative input on a smattering number of songs on the album. He produced “Mermaid Aqua”, “Final Champion” and “Falling”. He also has credits on seven other tracks— “Matilda”, “I Told Gus I’m Dreaming”, “War In The Trenches”, “Tapenga”, “Beautiful Nothing”, “Way of the Serpent” and “Dirty Eyes Evil Manners”.
Gus Dapperton is the only artist featured on multiple songs on Subaru Boys, and even has a song, “I TOLD GUS I’M DREAMIN”, named after him. So who’s the man? Born in Warwick, New York, 24-year-old Dapperton released his debut single in 2016 and followed up with his debut EP, ‘Yellow and Such’, the next year. Since then he’s released another EP and two albums, the latest, ‘Orca,’ coming in 2020.
Dapperton’s sound is a fusion of indie pop and all its modern iterations, powered by his inventiveness which seeps into his fashion style and its resultant gender discourse. His contribution is immensely felt in “BEAUTIFUL NOTHING” where he bounces off Santi’s introspective crooning on the psychedelic production. Near the end of the song, his affecting vocals take the beat in stride, singing “I can’t live without you”. He emerges into the center stage on “WICKED CITY”, turning in a hook that’s both emotive and tightly controlled, setting Santi up for a more carefree approach.
Emmanuel
Words by Chibuzo Emmanuel, Emmanuel Esomnofu, Dennis Ade-Peter, Tami Makinde, Wale Olowrekende and Wonu Osikoya.
Continuing from its previous winning streak, Pheelz and BNXN’s “Finesse” has retained its position at the top of the TurnTable Top 50 charts for a second week in a row. This week, “Finesse” continues to climb the charts across all platforms, tallying a record 6.29 million equivalent streams and 42.9 million in radio reach.
Skiibi’s “Baddest Boy” assisted by Davido retains its spot at No.2 this week right after topping the charts for 5 consecutive weeks. Although it slips down one position, it is currently the longest No.1 song of 2022 so far. At No. 3 is Asake and Olamide’s “Omo Ope”, which holds the same spot it was in last week.
Omah Lay “Attention” is at No. 4 this week, with 53.2 million in radio reach, 8.61 million in TV reach and 1.46 million equivalent streams. It’s followed by Rema’s “Calm Down” which rounds up the top 5, tallying 64.5 million in radio reach in the latest tracking week.
Lil Kesh’s “Don’t Call Me” with Zinoleesky is at No. 6 after peaking at No. 3 on the chart – it remains the only song to have stayed in the top 10 throughout 2022. Following at No. 7 is BNXN’s “Italy” with Blaq Diamond which rises to a new peak from last week; it tallied 43.9 million in radio reach.
This week, following the release of her fifth studio album, Asa and Wizkid’s “IDG” jumps seven spots from last week and makes its debut in the top ten this week at No. 8. It becomes Asa’s first top ten entry on the chart and Wizkid’s seventh. The Wizkid-assisted “IDG” tallied 41.6 million in radio reach and 920,000 equivalent streams, ending an 8-week run of no female artiste in the top ten.
According to the chart data, the last female entry in the top ten was Fave’s “Baby Riddim” at No. 7 on the chart dated January 24, 2022. To round up the top 10 this week is Fireboy DML & Ed Sheeran’s “Peru” at No. 9 and TI Blaze’s “Sometimes (Remix)” with Olamide which rests firmly at No. 10. Outside of the top 10, we’ve got newcomer Khaid’s debut single, “With You” at No.12, Ajebo Hustlers “Loyalty” at No.21 and Victony’s “Apollo” debuts at No. 39.
Elaine seemingly crept out of nowhere to become one of the most celebrated young voices in South Africa’s thriving R&B scene. Her 2019 debut EP, ;Elements’, instantly situated the smoky-voiced singer as a divulger of vulnerable moments, detailing the emotions attached to them, and how these experiences affect our perspective on romantic ideals. After signing a major label deal with Columbia Records in the previous year, Elaine dropped “Right Now” as the sole release of 2021, a balmy, self-liberating salvo in the aftermath of snatching yourself from an unideal entanglement.
Where her debut EP revelled in being love-struck, with heartache evident in every lyric about unrequited or unclear feelings, there was a cocky sense of clarity on “Right Now,” which may have prompted speculations that future output would chock the middle finger at unabashed love. Well, that’s not even remotely the case on her new single, “Shine,” a song where Elaine completely devotes herself to being supportive of her partner’s happiness. Similar “You’re the One,” this new single personifies that consuming feeling of knowing you’ve found your person, but without the air of uncertainty that haunted that breakout hit.
On “Shine,” Elaine offers the wholesome warmth of assurance, the type that comes from being pretty confident that those sentiments are reciprocated from the other direction. As she’s done all through her small but significant catalogue, her writing is plain and direct, making sure that her intent is matched by a frankness that makes her music relatable.
There’s no way to misconstrue the supportiveness in lines like, “All eyes locked on you, are they seeing what I’m seeing, babe?/Like diamonds, flashing lights/Your aura so bright when I’m near you.” It’s not all frictionless, though—“I just hope that they know you’re mine,” she coos—because you can only be 100% certain of your own devotion.
Co-produced by Zeke and American R&B stalwart Stwo, who has worked with Drake, Jeremih, Roy Woods and more, “Shine” is a speculative attempt at furthering the singer’s international reach, considering that the minimalist, contemporary R&B slant of her previous work already caught some significant ears stateside. Beyond the career ambitions, the song does Elaine’s expand the sonic purview. It’s her most upbeat song yet, assuredly sidestepping her foundation of moody chords, minor key melody, and skittering 808 bass, for a gleaming pop song.
Pulling in cues from Funk and synthwave, “Shine” is glossy and bouncy, a more maximalist canvas that brings out an ebullient performance from Elaine, as she even plays around with her falsetto and the upper register of her voice in restrained but notable bursts. It all feels very fitting, especially as “Shine” spotlights the ongoing evolution of Elaine from minimalist R&B singer to diverse savant. At the heart of this marquee change, though, she’s still very much in her vulnerable element, wearing her heart on her sleeves and imbuing soul into every sung line.
2022 is no longer a new year, and Afropop knows that very well. As much as the previous year was packed with scene-defining achievements, especially within the context of global growth, the only way to keep the momentum from falling off is for artists to keep reaching into their bag for great music that holds the ears and captures the hearts of millions of listeners across the continent and well beyond. That’s exactly what’s been happening, so much so that there’s hundreds of new singles, at-least one new must-hear album and a new smash hit every week.
Amidst this torrent of new music, The NATIVE is committed to highlighting the best releases you need to hear, and possibly add to your playlists. That’s the essence of our ‘Songs of the Day’ column. Last Friday we brought you highlight selections from Terri, Oxlade, Goodgirl LA, NSG and more. For the new week, here are songs from Skiibii, Young Jonn, Elaine, Dremo and more.
Elaine – “Shine”
Still an undergraduate when she released her debut EP ‘Elements’in 2019, Elaine’s career has continued its upwards trajectory. Her experimental takes on glossy R&B renders her music a unique quality and coupled with a Columbia deal, new Elaine has been expected since the May 2021 release of “Right Now.” Elaine’s new single “Shine” is aptly titled, set to music that throbs with the colourful sheen of an interstellar experience. The rich vocals of Elaine vibrate with purpose as she sings of self-belief. “You should live inside of your moment, let go, just be yourself,” she sings, tenderly calling listeners toward their truest form.
Young Jonn – “Dada”
The sound of Nigerian pop in the 2010s would be markedly different without the output of Young Jonn. With an array of clients (but primarily Olamide) tapping from his mastery of high tempo production that saluted the musical history of southwest Nigeria, he cemented his name among the greats of that formative era. And yet Young Jonn is not done: recently signed to Chocolate City, he’s reintroducing himself as a musician with an EP slated for later. “Dada” is the first song from that project and it’s a largely enjoyable offering. Amidst the bubbly production Jonn’s surprisingly accomplished vocals take center stage as he describes the often dramatic actions inspired by being heads over heels in love with someone.
Skiibii – “Trenches”
With the Davido-assisted “Baddest Boy (Remix)” still doing a madness, Skibii has shown no signs of riding out its momentum for the longest. To that end “Trenches” is a celebratory moment, both in sound and direction as Skiibii sings of living the life. His channeling of popular culture’s humour-laced interpretation of ‘trenches’ also casts an aspirational quality to the record, sizzling beneath with Runcheck’s measured production. Maintaining his bright songwriting, Skiibii’s vocals and his surefire hook elevates the song’s overall quality.
Dremo – “Confam” ft. Simi
Nigerian rapper Dremo taps singer Simi on his new single “Confam”. The song is dramatically composed in duet style, with Dremo’s character eager to get the ball rolling on a relationship. They are however complications to smooth out and that vast middle ground is explored from both spectrums, the artistes’ voices blending in seamless chemistry. “I’m waiting for you to give confirmation,” sings Dremo in the lyric that most encapsulates the wistful groove at the heart of the song.
Praiz – “Wait” ft. Joeboy
The music of Praiz is recognisably cut from the epic, scene-setting R&B tradition that artists like Alicia Keys and John Legend emerge from. With a captivating vocal range he powered his way to stardom in the early 2010s and though his output has significantly reduced over time, his releases have been nothing short of praiseworthy.
Few days ago his third album, ‘Reckless’ was released, a strong offering with some of his best records ever. Although the album’s most important pieces are guitar-based musings, one of its high points is also the groovy union with Joeboy on “Wait”. Having all the colour of a typical Afropop song, its rich vocals and the simple allure of its chorus takes the song beyond average, the kind to soundtrack the evening after a productive day.
O’Kenneth, Reggie & G4 Boyz – “Loading”
The explosion of Ghanaian drill internationally happened over two years ago but acts from its Asakaa scene are pushing the bar for even more acclaim and quality. The quartet of O’Kenneth, Reggie and G4 Boyz are no strangers to collaboration, merging their distinct strengths to make rap bangers which thrill with the pervading mystery of a ghost tale. “Loading” has a bouncy base, a textured groove that highlights the urgency in the spritzy deliveries all over the records. The chorus is particularly progressive, complementing the beat’s enigma with an almost joyful twang as they stunt on haters.
Shane Eagle – “STREETFIGHTER”
South African rapper Shane Eagle is famed for his spirited raps which tackle many topics, from personal motivations to social anxieties and the extent of the generational vices we all share. “Streetfighter,” the second song off his new album ‘Green,’ channels from boisterous, trap-influenced cadences as Eagle stack lines that are deceptively simple, unfurling in greater depth as the song advances. “They know that Eagle the GOAT, but this one is not for the slaughter,” he raps, talking his shit over production that sounds like the soundtrack of a blockbuster video game.
YTBOUTHATACTION – “BLOW UP”
Trap music has blossomed in Nigeria in recent years, particularly among young people who are inspired to document the complex details of their life in the way rappers like Lil Durk are known to do. 22-year-old ytboutthataction is one of the most inventive rappers from this side, possessing the ability to condense serious topics relative to being young in eccentric, colourful production. For her first offering of 2022, the Lagos-based act releases a two-track package, boolean logic. “blow up” finds her coasting on a triumphant beat, matching its bounce with dexterous flows that are evocative of the Migos, but with more purposeful melody and lyrical awareness, as she raps “imma do this shit on my own” before going on to deliver accordingly.
Last year, WANI offered a timeless showcase of his undisputed talent on the follow-up to his debut EP ‘Lagos City Vibes,’ bringing his audience much closer to the heart of his art and inspirations on songs like “Calvin Clean” and “God Bless The Kid” off ‘Lagos City Vibes II’while teaming up with stars like Buju, Prettyboy D-O, and rap duo, Show Dem Camp.
While ‘Lagos City Vibes II’provided a fresh glut of WANI music, it didn’t necessarily sate fans who have been waiting on music from the singer for years. To tide his fans over, WANI announced a plan to release two new tracks every quarter and the first dispatch of that promise, “Silver Spoon Interlude/ Jezebel” is here.
The two-song pack sounds like it was cut from the ‘Lagos City Vibes II’ era with “Silver Spoon Interlude” featuring a distinct melodic progression from “God Bless The Kid (GBTC”) that continues the storytelling arc of that track while “Jezebel” is inspired by the singer’s more salacious desires with a woman he fancies.Four months after the release of ‘Lagos City Vibes II,’ WANI has offered some more perspective on the personal truths and thrilling escapes that inspired his sophomore project while giving new material to the listeners who have championed his work.
2022 is no longer a new year, and Afropop knows that very well. As much as the previous year was packed with scene-defining achievements, especially within the context of global growth, the only way to keep the momentum from falling off is for artists to keep reaching into their bag for great music that holds the ears and captures the hearts of millions of listeners across the continent and well beyond. That’s exactly what’s been happening, so much so that there’s hundreds of new singles, at-least one new must-hear album and a new smash hit every week.
Amidst this torrent of new music, The NATIVE is committed to highlighting the best releases you need to hear, and possibly add to your playlists. That’s the essence of our ‘Songs of the Day’ column. Earlier this week, we brought you highlight selections from Timaya, Ms Banks, Iyanya, Tia and more. For our Friday installment, here are recent releases from Falz, Goodgirl LA, NSG, Terri and more.
Oxlade – “Want You”
Fresh off his signing with Columbia UK, Nigerian vocalist Oxlade has released his first single of the year. “Want You” continues in the direction of Oxlade’s soul-wrenching stories about unrequited love. Here, he finds the sweet middle ground between wistfulness and groove, colouring every second of this delightful record with his famed falsetto.
Terri – “Danger”
Music from Terri hasn’t been forthcoming as his burgeoning fan base would like but every new drop is usually well received. With “Danger,” the singer has scored himself another remarkable record, a prospective hit in every sense of the word. Flowing over Krizbeatz’s mellow production, there’s a tender quality to Terri’s lyrics about staying loyal to his lover. “I know some kind love money cannot buy, the type you no fit say bye bye,” he warmly sings on the opening lines, setting the song’s mood.
Falz – “Ice Cream” ft. BNXN
Among Falz’s greatest strengths as a hitmaker is combining his rap skills with smooth pop-esque beats, and that’s the route he takes on new song “Ice Cream”. Layering bad boy punchlines over Yung Willis’s bouncing bass lines, he’s joined by BNXN who delivers the catchy hook in his trademark saccharine vocals. “All hits, no misses; I feel like Tyson,” sings BNXN on either side of Falz’s vivid verses, a narrative that fits perfect in the hedonistic allure of cities like Lagos.
T’NEEYA — “COMING”
Singing over Hip Hop-inspired beats encouraged the rise of neo-soul in the nineties, a genre otherwise termed progressive soul. On her new record, the Cameroonian-born artist T’neeya taps from those sensibilities, with an electric bassline and horns infusing more gravitas. She sings of being in love, employing over-the-top metaphors to depict the thrill of being swept up in someone else’s goodness. “All the feels I feel right now, you don’t even know how much I want it,” she sings, expressively leaning into the sultry quality of the record.
NSG — “SUZANNA” ft. Patoranking
The six-man Afroswing group NSG have roots in West Africa, and their music have often tapped from the region’s sonic energies. Their captivating records usually feature sing-along choruses and individually distinct verses, making them a group you’d want to chill over the weekend listening to. Earlier this year they released “Suzanna”, a JAE5-produced collaboration with Dancehall scion Patoranking. Their contributions humorously straddle the line between romantic interest and hedonistic trappings, qualities which are conveyed with pomp on the recently-released visual.
Nu Fvnk – “Just Say It”
Famed for his innovative production and insightful raps, the multidisciplinary creative Nu Fvnk has been the pride of East Africa (and his home country of Kenya particularly) for a while now. Inspired by similarly eccentric creators like Pharell Williams and Tyler, The Creator, Fvnk’s sound has flitted between sounds and eras, but with foundations on Hip Hop. “Just Say” progresses with the brooding prescience of a film score, carried along by Fvnk’s bassy voice and lyrics packed with dare. “Say what you wanna say,” he repeatedly sings, building the song’s atmosphere from dusty drums and vintage-styled keys.
ANYTHING WITH YUSEF — “EYE TO EYE”
Anything with Yusef has an amazing presence on records. He’s typically self-aware on his new song “Eye To Eye”. A trippy record with allusions to desolation and revenge, his vocal strength brings alive the vision of a lovelorn ballad. ”I hear my ex has a new best friend, her and I don’t see eye to eye,” he sings matter-of-factly on the hook, channeling the bluntly introspective vibe that comes with hitting play on this song.
Good Girl LA – “Goodbye”
Boasting one of the most captivating voices in Nigerian music, Goodgirl LA is highly sought after, both by listeners and other musicians. “Early Momo” was released over a year ago, but the duet still remains a sonic pleasure, LA’s husky vocals still as effective. Her new song “Goodbye” uses the psychedelic feel of emo-rap to explore heartbreak, possessing its range of associated emotions from anger to catharsis and eventual acceptance. “I was a loner when you met me, and you took all my energy for free/ like a thief in the night,” she sings, going back memory lane as we all do when these situations unfold.
Kay Slice – “Takin’ It Home” ft. Reynolds the Gentleman
The range of afro pop is no doubt influenced by African musicians in the diaspora who channel from their roots even as they navigate the world around them. Based in Netherlands, Kay Slice stands on the verge of mainstream acclaim, loved for pairing Ghana’s colourful rhythms with rap. Off his latest album Back To Back, those qualities are on display, especially on “Takin It Home”, a record that sounds like Kay’s manifesto for his hybrid experiments.
The lyrics echoes different shades of proud, from expressing his love of Ghana (“back it up, back it up right now, baby we’re taking it home,” he sings on the chorus”) to proving his mettle as an MC (“they be using my song as a reference”). The Edward Pappoe visual understands the assignment, incorporating strong elements of the Ghanaian culture into his video, mirroring the song’s cherry outlook with its intimate shots of Black people being happy and in love.
QUAMINA MP — “DADA BA”
The artist and producer has excited fans since his breakout in 2017, melding the signature Hiplife sound of his native Ghana with other contemporary sounds. New record, “Dada Ba” bounces with urgent percussions famous among African listeners, but Quamina’s voice will entrance anyone in the world. Gliding authoritatively across the bubbly beat, “Dada Ba” is the kind of love record that turns up a party, seamlessly soundtracking the night’s activities until it is over and everyone’s eager to know whose song just played.
In the crowded and competitive world of rap, Atlanta-based Nigerian-born artist, dndSection takes advantage of his Nigerian roots, pulling different stylistic threads together in order to stand out. After closing out last year with stellar tracks such as the Maradona-assisted “Red Eyes” and “Bad Bitches, Bad Decision,” the rapper opens his book for the year with a new Mannywellz-assisted single titled “Runaway (Devil Is A Liar).”
“Runaway (Devil Is A Liar)” is an Afroswing production seasoned with exotic horns and shimmering guitar riffs, which provides the perfect background for the pair who take turns delivering amber-hued lyrics with their sultry vocals.
“I saw you calling but I ain’t replying/I hear spirits calling so I run away,” dndSection chimes on the song’s first verse, swapping his off-the-cuff raps for a mid-tempo drawl about a mesmerising women who spells nothing but danger. Prior to the release of the single, dndSection took to his Instagram page, announcing the record with a picture of himself and Mannywells. In the picture, they were clad in clean-cut suits and black leather boots, in what looked like the set of a video shoot.
“Runaway (Devil Is A Liar)” is coming off the heels of the singer-rapper’s last release “24 Days In Lagos”, a sombre rap freestyle released in February, which was based off his visit to Lagos.
If you’re anyone with an active social media account, you’d probably have come across the viral video of a South African DJ dancing and entertaining a crowd with her fire DJ set and entrancing dance moves. Now hugely popular, the DJ known as Uncle Waffles has become one of South Africa’s most visible flag bearers as she takes the global sound of Amapiano to the world through her captivating sets.
After entertaining and spreading the gospel of her home town through her DJ sets and tours, Uncle Waffles is now ready for her biggest effort yet – her official entry into music. Recently, Waffles recently took to her Instagram to announce the arrival of her debut EP ‘Red Dragon’, which will be arriving towards the end of March. The 4-track tape is set to feature acts such as Tony Duardo, Boi Bizza, Given Kau, Yedda and more.
Sharing to her 731k Instagram followers, she said:
“This journey has continually proven to be a blessing, now we move into a new part of the journey. My EP, RED DRAGON dropping soon, with the lead single Tanzania ft @sinomsolo @real_boibizza @tonyduardo dropping tomorrow, 16/03/2022.”
In preparation for her debut tape, Waffles has now released her debut song and the lead single off her forthcoming tape. Titled “Tanzania”, the new single puts on display what Waffles has to offer as a solo artist. The single is assisted by fellow South African’s Tony Duardo, Sino Msolo and Boi Bizza. The self-produced Amapiano track, “Tanzania” is a combination of heavy elements of production, from the bass to the kicks on the beats. The track sees the performers singing in their dialect, over the melodious production of the beat, giving listeners and fans an insight on what to expect on the talent’s debut.
Google’s Art and Culture platform was launched in 2011 to highlight cultures all around the world. Using high resolution videos and images, it encapsulates a wide range of artsy knowledge about places and eras of public interest. Recently the program executed one of its most brilliant packages yet, ‘Mali Magic’, an extensive dive into the cultural history of Mali.
The West African nation features prominently in the continental history of trade. Having formed the earliest basis of African interaction with the outside world, trading posts along the Sahara were identifiable structures of economic prosperity as early as the 14th Century.
Its city of Timbuktu would be renowned in latter centuries as a great learning center, benefiting from the teachings of great Islamic scholars and the diplomatic qualities of its leaders who built some of the greatest mosques and universities of its period. In Timbuktu were kept scrolls wherein knowledge of vast subjects were embedded. These were ultimately threatened in 2012 after insurgents seized the Northern part of the country. Around that period the United Nations Educational, Scientific and Cultural Organization (UNESCO) declared Timbuktu an endangered World Heritage Site while Google made plans to digitise the scrolls.
Beyond that, ‘Mali Magic’ comprehensively spans the breadth of Malian culture by viewing them through four M’s: Manuscripts, Music, Monuments and Modern Art. It’s a pretty immersive experience, so to this end, we made sure to check it out for things to watch out for.
MANUSCRIPTS
The Timbuktu manuscripts represent some of the oldest documented knowledge on earth. The vibrancy of the city’s literary scene used to attract enthusiasts from far and wide, and in popular culture, would come to be seen through this central feature.
After the takeover of Northern Mali, the librarian Dr Abdel Kader Haidara was amongst those that smuggled them to safety and consequently worked with Google to make them available to anyone. In their digital form they number about 40,000 pages, initially written on materials that ranged from animal skin to Italian paper. These classic manuscripts were written as early as the 11th Century, and encapsulate Philosophy, Islamic Jurisprudence, Education, History, Medicine, Mathematics, Poetry, Astronomy and more.
However, a glance through the manuscripts show that they’re completely digitised in their original form, which means they’re mostly in Arabic. This undoubtedly limits the number of people who can actually read their contents. Still it’s important enough that these manuscripts however exist on the internet from where further translation can take place. The gallery’s presentation is as well nostalgic, mirroring the atmosphere of someone entering an ancient library.
MUSIC
The music of Mali is interwoven with its history as a people. Although there are different ethnicities within its vast lands, the Mande people who are descendants of the ancient Mali Empire are the most represented in its mainstream sound, taking centuries-old oral traditions into string-based music.
Malian acts Salif Keita, Toumani Diabaté and Ali Farka Toure were prominent among the many African musicians who made international entrees in the eighties with stirring folk-based music. Diabaté comes from a family of kora custodians who’ve played the instrument for centuries. His son Sidiki also plays the instrument.
Fatoumata Diawara produced the soundtrack of ‘Mali Magic’, and fittingly so. Not only is the Grammy-nominated artist among the most accomplished Malians today, her discography echoes of the nation’s musical legacy. The seven-track Maliba showcases her virtuosic ability to evoke strong emotions with scintillating vocal turns and delicate guitar-playing. Another influence of the 2012 coup on the Mali landscape was the hate on music that was deemed secular by Islamic insurgents. Many musicians resident in the severely affected northern region fled the country, but kept making music. Fatoumata’s singing channels the rebellious streak of that period.
The music section also features annotations of Fatoumata’s album, highlighting the relevance of its themes in relation to the project’s mission. I especially found the posse cover of Ali Farka Toure’s “Howkouna” by modern Malian acts to be delightful, layering expressions like Rap to propel the vision of Niafunké, the 1999 album where it’s housed, into something more contemporary and urgent. If you’re in anyway unfamiliar to Malian music, the five-minute cover is a good place to start.
MONUMENTS
As befitting of its rich history, Mali has a number of remarkable monuments to show. Dating back centuries, structures such as mosques, libraries and schools can be explored by visitors of the gallery. Some of the places available to view are The Great Mosque of Mopti, Tomb of Askia, The Great Mosque of Niono, Bandiagara Escarpment, Hamdallaye and others.
The highlight of the monumental showcase is The Great Mosque of Djenne, with its importance represented through the expansive space the mosque’s details takes up on the gallery. A UNESCO World Heritage Site, the city of Djenne is itself a Malian landmark, and famed, just like Timbuktu, for its involvement in the Saharan trade and as well Islamic movements that penetrated into Mali.
The Djenne mosque has a number of fascinating traditions. From its day-long music festival during a yearly replastering (to prevent its muddy structure being washed by rain) to its long association with magical practices, there’s a lot to check out within Google’s gallery.
To offer a modern perspective on art, there’s an appraisal of diverse artists expressing flair beyond the dusty streets of Mali. This section of the gallery has profiles on the contemporary creators Abdoulaye Konate, Opa Bathily, Souleymane Guindo, Seydou Camara, Ange Dakouo, Dramane Toloba, Aboubacar Traore, Mohamed Dembele, King Massassy and Mohamed Diawara. Their disciplines range from textile art to photography, painting and sculpture, influenced strongly by their navigation of the Malian landscape.
The artists also discuss their creations, sketching its motivations which range from the spiritual to sociopolitical and geographical. Movement and colour in the work of Mohamed Diabagate is discussed by the artist himself and, over a melancholic score Abdou Ouologuem tells the inspiration of Blue Death, his painting which poignantly echoes the confounding terror of the sea, and the many black lives it has claimed throughout history under different circumstances.
