After the many wins forged by Afropop last year, the musical landscape has never looked more promising. As such the fast and furious pace of new music releases makes it hard to keep track of all the good music coming out of Africa. That’s where our Songs of the Day column comes in.
We’re doing the work to stay on pulse with all the music coming out from across the continent and beyond, bringing you exciting songs of tomorrow: today. Las week, we brought you new releases from Omah Lay, Dave, King Promise and more. This week, get into these new releases from Tim Lyre, Skillz 8Figure, Lioness, Falz and more Enjoy.
Tim Lyre – “Present”
For Tim Lyre’s debut album he delivers a 9-track tape which cuts across matters such as love, romance, good living and more, featuring artists such as Lady Donli, Prettyboy D-O, DAP The Contract and more. On standout track present, Lyre delivers an uptempo and catchy tune, infusing a bit of patois into the delivery of the track. Over the song’s bubbly beat, he sings “No go dey sleep ma lo sun, If you snooze then you lose, they go use you on cruise”, encouraging listeners to do more than focus on what people have to say.
Skillz 8Figure – “Cocoa Butter”
For his first release of the year, Ghanaian singer and songwriter Skillz 8Figure has arrived with the R&B number “Cocoa Butter”. On the track MikeMillzon’em-produced track, he sings “Cocoa butter skin, I need them thick thighs,” as he appreciates the beauty of his muse and her physical appearance which has him sprung.
Tha Boy Myles – “Sugar”
To kick off his year, Tha Boy Myles is here with his first official release titled “Sugar”. The mid-tempo track finds the artist delivering his most romantic lyrics to date over a smooth-sounding Young John-produced beat. Chanting romantic lines such as “Girl you make a man craze, me I wan indulge you/my baby too sweet like sugar”, he explains the love that his love interest has over him.
Barry Jhay – “Level Up”
Barry Jhay has brought to the ears of listeners his sophomore EP ‘Son Of God’. The 7-track EP finds the artist singing in his dialect about relatable issues such as being better, elevating and still communicating with his maker. On “Level Up,” the tape’s catchy opener, he sings about being a better version of himself and giving no room to opps who don’t wish to see him succeed. He sings lyrics such as “Never growing old so I go hard everyday, I’ve promised myself that I’m never gonna change/Make money and I break the chain,” paint a clear picture that visualises his experiences at this stage in his career.
AttiFaya – “The Guys” ft PsychoYP
For his new record, AttiFaya has teamed up with PsychoYP for “The Guys”, a rap tune which finds both artists at their most self-assured and collected. Over the memorable production by Burssbrain, both artists trade bars about what they need from their love interests to saisfy their urges with lyrics such as “whine of the guys, we the guys/ no be lies, that’d be exercise.”
Lioness – “Linyenga” ft Falz
Namibian singer Lioness makes beautiful music that champions her East African heritage. To open her calendar for the year, thw singer has collaborated with Nigeria singer, songwriter and rapper Falz, for new hit single “Linyenga”, an uptempo track which sees the singer delivering a romantic lyrics in her dialect, assisted by hard hitting bars from Falz.
“What’s Going On” Tallies Notable News Headlines From Across The Continent — The Good, The Bad, And The Horrible — As A Way Of Ensuring That We All Become A More Sagacious African Generation. With This Column, We’re Hoping To Disseminate The Latest Happenings In Our Socio-Political Climate From Across The Continent, Whilst Starting A Conversation About What’s Important For Us To All Discuss. From Political Affairs To Socio-Economic Issues, ‘What’s Going On’ Will Discuss Just That.
Nigeria approves US request for extradition of Abba Kyari
The Nigerian Federal Government has finally approved the US’s request for the extradition of Abba Kyari. Before the controversial ‘super cop’ was indicted in an illicit relationship with the internet fraudster Ramon Abbas (otherwise known as Hushpuppi), he was the country’s Deputy Comissioner of Police (DCP).
After an indictment was filed against him last year April, many thought it was unusual that Kyari was still a free man in Nigeria, without so much as a thorough investigation befitting the proof that was leveled against him. Nothing seemed to be changing months later, until now. Last week Tuesday the Attorney-General of the Federation and Minister of Justice, Abubakar Malami (SAN) filed an application for Kyari’s extradition before the Chief Judge of the Federal High Court in Abuja. The application came after a request by the Diplomatic Representative of the US Embassy in Abuja.
It was filed “for the surrender of Abba Alhaji Kyari, who is a subject in a superseding three counts indictment.” The accompanying affidavit related the satisfaction of the Attorney General, that Kyari will be allowed to return to Nigeria if there’s no reasonable reason to detain him. It also confirmed that no offence committed by Kyari before his surrender will be used to keep him in detainment.
Abba Kyari has pleaded not guilty to a drug trafficking charge filed against him by the National Drug Law Enforcement Agency (NDLEA) on Monday.
He was arraigned alongside six other officers, on allegations bordering on drug trafficking at the Federal High court in Abuja. pic.twitter.com/B5Ojh2pqLY
Kenya’s Uhuru Kenyatta endorses longtime rival as president
It was drama in the last days of March as President Uhuru Kenyatta endorsed Raila Odinga as the next president of Kenya. The 77-year-old Odinga has contested four times in the past. Between 2008 and 2013, he served as the Prime Minister of Kenya, then becoming part of its opposition party shortly after.
In 2017 he lost controversially in the presidential elections to Kenyatta, with echoes of election malpractice ringing from some corners. Afterwards, both men settled their differences and seemingly moved on; some say this was reason for Kenyatta’s subsequent falling out with William Ruto, the deputy President.
Ahead of this year’s presidential elections scheduled for August 9th, the incumbent Kenyatta, via a political alliance, has rather endorsed the opposition leader. Odinga will run under the Azimio la Umoja alliance, made up of ten parties, including his Orange Democratic Movement and Kenyatta’s Jubilee Party. Analysts expect that VP Ruto, who’s affiliated with the United Democratic Alliance, has been politically isolated and has had lowered prospects for winning the polls.
John Mbadi: President Uhuru Kenyatta supporting Raila Odinga does not compromise our elections. The only reason Ruto is bitter, claiming elections will be compromised, is because Uhuru did not endorse him. Kenya is full of surprises. – John Mbadi. pic.twitter.com/GTCULzhlcY
Burkina Faso’s military government names interim Prime Minister
Earlier this year, on January 24th, the government of Burkina Faso’s President Roch Marc Christian Kabore was overthrown by the country’s military. The coup plotters was said to have acted against the growing insecurity in the country, which had left over seven thousand people killed between 2015 and 2021, with millions displaced by attacks by jihadist insurgents.
In February, the military named Lieutenant-Colonel Paul-Henri Sandogo Damiba as the chief orchestrator of the coup and therefore the leader of the country’s new government. In a televised inauguration ceremony Damiba took an oath to “preserve, respect, uphold and defend the constitution”, the nation’s laws and a “fundamental act” of key decisions approved by the military.
One of those decisions is the recent naming of Albert Ouedraogo as the country’s interim prime minister. In a statement released last week Thursday, the 52-year old Ouedraogo, a development economist and university, was named to work alongside Damiba to bring political stability for a transitional period of three years, before the next elections.
In other related news, the Economic Community of West African States (ECOWAS) said it had canceled sending a delegation to Ouagadougou because the military government had readily adopted the transition charter which—including other conditions—prioritizes a constitutional government and the immediate release of the former president who’s on house arrest.
Burkina Faso Coup Leader, Sandaogo Damiba has been inaugurated as President today pic.twitter.com/JLhVahl6FL
PUBLIC FUNDRAISERS FOR AFRICANS STRANDED IN UKRAINE
The ongoing war in Ukraine has led to widespread discussions towards the safety of civilians. While many countries had evacuated their nationals, it was widely reported that Nigeria and some other African countries had neglected their countryfolk in Ukraine. After the conversation trended online, a number of public officials from this side made attempts to evacuate Nigerian citizens stranded in Ukraine.
Also reported was the racial discrimination facing Africans who, like everyone else, was fleeing war-torn Ukraine into the neighbouring countries like Poland. Per multiple reports, Black people weren’t allowed passage across a number of borders, leading them to wait there for days before any sort of help came. To respond to this, the #AfricansinUkraine hashtag has been trended on Twitter and through it, stories of discrimination and opportunities for positive change are being shared.
Right now, there’s a public fund setup to assist Africans in Ukraine. In just 24hours, 20ETH ($50,000) was raised by a tech-based collective on Twitter. Similarly a coalition of African Web3 orgs #Web3forAfricansInUkraine are raising funds through cryptocurrency for Africans and Black foreigners in Ukraine. Alongside this, the first evacuations from Ukraine just landed in Abuja earlier this weekend.
How to donate? #Web3forAfricansInUkraine is a coalition of African Web3 orgs raising crypto for Africans and Black foreigners in Ukraine. We have a mirror fundraiser going here with more details: https://t.co/VsreAMUDsa
The story of alternative music in Nigeria isn’t complete without the recognition of Tim Lyre. Encompassing the collaborative mien of the scene, Tim has created songs with its key players including Minz, AYLØ, Lady Donli and more. With equal strength both as a producer and artist, he’s a polymath connecting diverse sounds and eras, pushing for their exploration into something greater than their individual parts.
Since releasing his early songs in 2016, the Lagos-based creative has consistently projected his futuristic output, bringing his sheen to collaborations and saving some heat for himself as well. After producing a good part of Prettyboy D-O’s sophomore album ‘Love Is War,’ the firebrand artist returned the favour alongside Lady Donli on the upbeat “Highlife,” which was released in November 2021, Tim Lyre’s second single of the year. The first, “Real,” had come in July, pairing affectionate neo-soul flourishes with Lyre’s ear for conversational songwriting.
With these records, the artist stoked the flames for his new tape. Typically, an artist’s debut album is observed for its quality and the artist’s maturity in presenting a cohesive unit, but Tim Lyre is hardly a newcomer. If anything, the strength of his previous singles has me amped for what I’m about to hear.
In usual 1-listen review fashion, all reactions are in real time while the music plays. No pauses, rewinds, fast-forwards or skips.
“ORGANIC”
Skittering keys, a Trap flow starting out this one. “If you ever see me manage, start to panic” sounds so menacing in the context of these bars. Chest-thumping lines but they aren’t delivered loudly, just floating over the cinematographic production. The beat sounds like Superman emerging from brick rubble, unhurt while his opponent suffers in the background. Tena Tempo is speaking some real gospel, all in the frank wisdom that comes with Pidgin English. This is a very solid opener. Way to go, Lyre.
“PRESENT”
A switch in perspective. This is your bubbly track two, the typical deviation from the opener’s intricate melancholy. These strings are swinging bright, with the dominant Calypso feel merged into Afro sensibilities, evident through the percussive bounce. Really strong production, the delivery is as well potent. Tim Lyre is now singing in a conventional afro pop style but this record began with a Caribbean flavour, somewhere between Yung L’s ‘Yaadman Kingsize’ and Tomi Thomas’ “Shaken.” This first pair of songs has been quite unique offerings. I’m quite amped to hear what follows.
“REAL”
Man, Tim Lyre is such a talented creative. Nothing prepared me for what I’m hearing right now. How’s this production so clean? Don’t know what to classify this sound but there’s so much soul in this; the drums are almost rock-like. Behind, there’s a punchy guitar squeezing so much melancholy into this. Lyre’s vocals are perfect as well, evoking the frustrated mien of a disillusioned lover as it oscillates between various meters of flow. I hear it now: the squeals and the intriguing feel of destruction—there’s an element of emo-rock here. I kinda hate I’m hearing these records with my critical ears turned up. Would be perfect to just chill in the background as they play; would surely be returning to this one.
“SYZYGY”
The Trap flow returns; these are some bars many will describe as “deep.” For sure, the allusions to mythology are sounding intriguing (I’ll have to revisit) but the flow, my, the flow is just ethereal. The flow is a presidential flag billowing over silvery clouds on Independence Day, millions of people marveling at its greenery. What’s this title even pronounced as? There’s a romantic interest in the song’s center, for sure. DAP The Contract just entered, keeping his verse brief. “Thankful for what I see, cos perfection was achieved” is such a lyric, man. Sweet song. No skips, all bops on this project so far.
“HUBRIS”
Head-bopping production. The percussions are muted, setting a quite laid-back atmosphere. “Every memory is precious,” sings Lyre on the hook, before seamlessly stepping into the verse, adopting a less zesty variation of the Dancehall flow on “Present.” Lex Amor’s talk-rapping is brief but efficient, her striking vocals infusing a distinct flavour. “No time for no discussion, know me ah fit give you concussion” sounds like a Burna lyric, but Tim Lyre makes a good case why you shouldn’t speak on his name.
“GENERAL”
I’m having so much fun with these records, damn. You don’t know what to expect on the next song and still they manage to lift you onto a soundscape that’s unlike anything out there. That said, “General” is the boppiest of all bops. My head’s spinning right now, the smell of weed wafting in my nose. The vocals throughout this album haven’t wavered in strength. This should make every stoner’s playlist. MOJO is usually bouncy but this isn’t really his kind of bounce; if anything he gets a pass for coming through with the attitude. In all, it’s a good song. Doesn’t match up with the best in the album but that’s fine. Also, is it just me or is there a Jesse Jagz influence in some of these records?
“HIGHLIFE”
The title of this one steered my mind in a particular direction but Tim Lyre has other plans. If anything, this started like a rap song. When the “where you been dey, when I been dey find money” line drops you immediately change into a white suit and become Kanayo O. Kanayo in 2006. The intricate Highlife guitars are now present, but Lyre’s singing is all over the place. Prettyboy D-O is doing a better job, really short verse though. DONLI! She’s shredding this beat; her vocals are so beautiful on Highlife production. FYI, Enjoy Your Life still bangs. Tim Lyre is back with Zlatan-style adlibbing, bringing the song to its close with some singing in Yoruba. Enjoyable song, but the arrangement could have used better spacing.
“PRIMETIME”
No excuses, this one’s going straight for the dancefloor. At the first drop of the beat, I knew it already sounded like a sexy woman making artful whines as her braids swing from side to side. There’s not much being said but as one musician says, the vibe is right. Riding the beat, the voices stay cohesive and interplay off each other’s tones. If Sean Paul made a record with a Nigerian alternative artist, it’d sound close to this.
“SPANISH LIME”
This is the last song on the album. “If you really need me all the time, then I never would decline” is the first line from Tim that sticks, and as the song progresses the intent is bare: it’s a lover’s complaint. I’m peeping that “Spanish Lime” here is a metaphor, but would it be extra to Google what the fruit tastes like? The production is ambiguous, leaving you to ponder if this is a happy or sad situation. I’m tilting towards the latter, because Lyre’s vocals are nothing if not drenched of love. Considering the fun direction of the previous songs, the vibe here is deviant and somehow takes away from the overall progression. Individually, it’s a brilliant song, a fine manipulation of space and melody.
FINAL THOUGHTS
Tim Lyre is a really accomplished artist and it speaks to his inept creativity that he’s able to condense such versatility into a cohesive whole, even as most songs sparkle for their individual brilliance. On ‘Worry <,’ his producer sensibilities seem to be at the fore, especially with the seamless integration of his collaborators and making sure their brilliance shone through.
In a post-digital age, a lot can be done with a computer, and artists can literally create together from different ends of the world. Still, there’s no replacing the intimacies of creating within the same room which can affect a feeling of closeness on the produced music. Tim Lyre’s album echoes of that energy, mostly maintaining a positive outlook in line with the ‘Worry Less’ title. With Tim revealing in interviews that the project has been in the making since 2018, it is testament to the songs’ evergreen nature that they’re here and banging, four years later. What an achievement.
Last year, Spotify expanded into 38 new countries on the African continent including Ghana, Nigeria and more. With a total of 50 million songs and over 2 million podcasts in its catalogue, the Swedish audio streaming service made its glorious entry into Africa’s diverse and competitive marketplace, joining the playing field with existing streamers such as Apple Music, Audiomack, Boomplay, uduX and more.
Since then, Spotify has been working tirelessly to integrate itself within the new territories it now operates. This March, to further widen their reach in West Africa, Spotify is celebrating Ghana’s Independence Day in style by championing the voices and contributions of the country’s brightest creatives and artists.
Featuring Vic Mensa, Stonebwoy, Black Sheriff, Free the Youth, Sandy Alibo, Sefa and M.anifest, the visual piece titled ‘Free Forever,’ is a mini documentary celebrating the fervour of the creative community in Ghana and her diaspora. Ghana remains a cultural attraction to Black people across the world and the documentary tells the story of how far the Ghanaian creative culture has gone. Speaking about the video and their country’s Independence Day, Free The Youth co-founders share:
“Being a Ghanaian is one of the best part of our lives, knowing where we come from gives us the total freedom to create and to reach new heights.
People pay lot of money just to come and learn about Ghanian culture but for us, it’s always arround us and we get to see, be part of it and feel it for free that alone means.”
SEFA, one of the featured artists also shares: “In terms of sounds that have been taken out of Ghana, when I talk about sound I mean everything rhythm words and all that entails in the making of music, with examples like VIP’s Homka Wor Mu, Wizkid’s “Manya”, Patience Ozokwor – MamaG to mention few.”
After the many wins forged by Afropop last year, the musical landscape has never looked more promising. As such the fast and furious pace of new music releases makes it hard to keep track of all the good music coming out of Africa. That’s where our Songs of the Day column comes in.
We’re doing the work to stay on pulse with all the music coming out from across the continent and beyond, bringing you exciting songs of tomorrow: today. Earlier this week, we brought you new releases from 1da Banton, Magixx, Sess, Diamond Platnumz and more. This week, get into these new releases from Omah Lay, Dave, King Promise and more. Enjoy.
OMAH LAY — “ATTENTION” FT. JUSTIN BIEBER
After sending seismic ripples through the Afropop scene since 2020 with the release of his ‘Get Layd’EP and ‘What Have We Done,’ Omah Lay begins the year with the Justin Bieber-assisted “Attention”. The number is a beautiful dreamy mid-tempo R&B ballad, tinctured with delectable elements of Afropop.
On the song, Omah Lay and Justin Bieber take turns expressing their desire for attention from a love interest with poignant melodies that are front and centre of the new track. “Attention” is the lead single from Omah Lay’s forthcoming LP ‘Boy Alone,’ which is expected to drop later this year. In the accompanying purple-hued video, the pair are set in a bonfire party, crowded with swaths of sweaty young bodies, dancing and drinking to the infectious mid-tempo track.
CRUEL SANTINO — FINAL CHAMPION
Middle last year, Santi sent social media into a frenzy when he released a snippet of “Final Champion,” setting off a cascade of reactions — from TikTok’s to memes by his loyal legion of Gen Z fans. Almost a year following this euphoric high, the avant-garde act finally drops his much-anticipated sophomore album ‘Subaru Boys: Final Heaven’ which finally brings “Final Champion” into the land of the living. The track sees Santi seamlessly deliver punchy lyrics such as “weyrey touch me,” over a slow burn dreamy instrumental, maintaining the mid-tempo cadence that colours the project.
W4 — “Let Me Know” FT. BNXN
Following a long drawn hiatus, singer W4 makes his return on the scene with the BNXN-assisted “Let Me Know”. “Let Me Know” has a stripped-down Afro-piano production, marked by pensive guitar riffs and melodies, and sleek drums. On the song, the pair sing directly to their muse about their desire and the great lengths they would go to make her happy.
DAVE — “STARLIGHT”
In 2020, Dave’s sonical trajectory swivelled a new arc. On his 2020-album ‘We’re All In This Together,’ he opted for a more stripped-down production and leaned towards greater introspection. On his latest release “Starlight”, the mercurial UK whiz continues on this trajectory. The track feels heavy under the weight of his personal reflection, coloured by somber melodies as Dave delivers his verse in his recently release capsule collection at Corteiz. The effect is a poignant listen that reels in listeners, compelling them to listen with rapt attention to Dave’s shrewd poetry.
KING PROMISE — “BAD N RUDE” FT WSTRN
For “Bad n Rude”, Ghanian superstar King Promise teams up with WSTRN. The track’s production is marked by sleek percussion and elaborate gospel-like piano melodies. The pair layer lush euphoric vocals on the soulful production as they deliver inspirational lyrics about rising to the top and wanting to live a life free from troubles.
JILEX ANDERSON — “WITH YOU”
“With You” is Jilex Anderson’s debut release of the year. An affably sunny mid-tempo Afropop number, “With You” is populated with sleek drums, melodic keys and Jilex’s sultry vocals. On the new track, he rains praises and expresses his strong desire for his muse, in the bouncy cadence of archetypal Afropop songs, with lyrics like “Playing hide and seek but na you I want find, …”
DCHRIZ — “7 DAYS” FT. ZINOLEESKY
For “7 Days”, D CHRIZ taps man-of-the-moment Zinoleesky. The two combine to create a dreamy magnetic Afropop number, upholstered by bouncy percussion and poignant synths. Zinoleesky’s sultry vocals elevate the track as he sings about commitment to his muse. D Chriz holds up his end as he serves up brilliantly fashioned lyrics about the lengths he’d go to protect his muse. The effect is an interesting soulful ballad.
Almost three years after his acclaimed debut ‘Mandy and The Jungle,’ Cruel Santino’s sophomore album is finally out. Since teasing the Subaru Boys: FINAL HEAVEN title months ago, the virtuosic artist has kept a tight lid on what it might sound like, instead following the motions of his world building exercise.
The album’s soundscape is influenced by Cruel Santino’s versatility, matching glittering production with eccentric vocal showmanship. Frequent collaborator Amaarae, grime legend Skepta and Grammy-winning Koffee are some popular names on the 21-song tracklist. Other features include MAISON2500, Solis, Brazy, Bratzbih, Ebee, Seo, WiFiGawd, Chi Virgo and Gus Dapperton, who’s featured on two songs.
An all-star production team also includes Genio Bambino, Tochi Bedford, Le Mav, Tyler Turner, Odunsi (The Engine) and The Monster Boys. So far, reactions to the album have been nothing short of expected, with the cohesion and transitions being particularly lauded by fans and followers alike.
With the sheer number of songs being presented and the quality that each of Cruel Santino’s collaborators bring to the album, we’ll surely be eating good and the days and months to come. That said, it’s officially Santi szn.
There aren’t many artists enjoying as great a moment as BNXN, the artist formerly known as Buju, currently is. Over the past few months, he’s impressively delivered back-to-back hit features on collaborations such as Ladipoe’s “Feeling,” Wizkid’s “Mood,” Timaya’s “Cold Outside” and his debut EP ‘Sorry I’m Late.’
While these songs continue to earn him new levels of recognition, he’s not losing any steam as he’s already doubling down on his impressive streak with the arrival of his latest feature on Nigerian producer, Pheelz’s latest single “Finesse.” The pair are only just sharing the song officially on streaming platforms, but the catchy track has been making its way round direct-to-user platforms such as TikTok, endearing the track to new audiences and creating hype for its eventual arrival.
“Finesse” first began popping off right after Pheelz released a snippet of the chorus was released on TikTok and Instagram on the 5th of February. Asides the song’s catchy production, the song quickly spread like wildfire on social media, particularly TikTok where Nigerians embraced the number for its relatable lyrics. One lyric in particular rang out the loudest. Over the memorable hook, the pair sing “If I broke, na my business/ama shana e go bright o, Folake for the night o,” which speaks directly to many socio-economic issues that Nigerians currently face.
This initial clip from Pheelz quickly became a fan favourite on TikTok, inviting iterations from people around the country who performed dances and skits over the memorable hook. Outside the digital realm, the song was also gaining momentum in the clubs as DJs began spinning snippets of the viral track, all taken from bootleg sites such as NotJustOK and more. Already, many are calling this a contender for song of the summer and its eventual release now paves the way for this taking form. “Finesse” is currently sitting at #1 on the Nigeria, London and Ghana Apple Music charts.
Produced by newcomer Miichkel, the uptempo track sees both artists performing on their best form as they advise their muses about the dangers of falling in love with them. On the pre-hook, they sing lyrics such as “bad girl say she wan Netflix and chill/You see these feelings, I’m not catching, omo ope just wan dey, ah finesse”.
Adopting a similar release pattern to Davido and Focalistic smash hit,“Champion Sound”, Pheelz and BNXN played into a tried and tested formula as they let the fans carry the song to new heights. Rather than resorting to traditional marketing techniques, they relied on the power of social media to get the song to the ears of the fans, prioritising their organic reaction to the song above all else.
Snippets have the ability to make a record a hit or a miss. Typically, they’ve helped to elongate the shelf life of a song, paving the way for its eventual release by creating fever pitch hype from fans that translates into streaming numbers and engagement. In this instance, it seems the inverse is the case as many fans have taken to social media to voice their preference for the snippet over the official song. Regardless, it’s only the first day of its release and there’s still plenty of time for this slow burn to find a home again in listeners. If the song’s appearance on the Apple Music charts is anything to go by, this viral moment can be anticipated sooner rather than later.
A few days back, the queen-mother of pop Madonna thrilled social media with sizzling photos with Afropop star Fireboy DML. In the photos, the pair are draped in spiffy, futuristic all-black ensembles, the warm embrace teasing a collaboration between them. The iconic singer also put out a teaser video, which saw her draped in several steamy raunchy all-black outfits, with the song playing in the background.
Finally, the song is out, and it’s the remix of a remix of her 1998 smash hit, “Frozen.” Earlier this year, masked Canadian producer/DJ Sickick released a remix to the song, quickly becoming a viral sensation. For this Fireboy DML-assisted version, the Afropop superstar delivers a thematically wounded verse over the slowburn pulsating Lo-fi beat. This contribution adds a renewed, new age urgency to an already evergreen song, and the remix will very likely introduce a younger generation to its OG’s housing album, ‘Ray of Light’, and Madonna’s catalogue.
This feature is coming on the heels of an immensely successful run for Fireboy, who just completed his tour of the US. His globe-trotting smash single with UK pop icon Ed Sheeran “Peru”, has enjoyed immense success across the globe, holding down the number one spot on Apple Music’s UK chart for well over 40 days and earning the singer his debut on the Billboard Hot 100, amongst a myriad of other achievements. Working with an iconic artist, on an iconic song, is a solid addition to that list.
Rapper and songwriter, Meji is a member of the fast growing We Talk Sound community. He found his beat when he was discovered by the then Chocolate City label boss and veteran rapper MI Abaga who has had nothing but consistent belief in him and his abilities.
He then scored his breakout with “100 Clowns”, a diss track dedicated to fellow rapper Blaqbonez, who was signed to 100 Crowns, an imprint under Chocolate City at the time. Discovering his strength as a rap artist, he released a follow up single “Humble Son, Cocky Bastard”, a heavy rap freestyle which has the artist dishing out boastful bars over the bouncy production of the track.
When he’s not being a rapper, Meji is finding more ways to emit his creativity, whether it’s through video editing or through graphic designing. He debuted his first solo EP, ‘The One’, in September 2020, an expressive 6-track tape, as well as a masterclass in lyricism and production. The project largely revolves around how special Meji’s growing skill showscasing great depth in his subject matter and theme. He spits heavy self-reverent bars over hardcore hip-hop beats on tracks such as “The One”, delivering standout lyrics such as, “I am the one, I am the father these youths are my sons/I am the one that was chosen to break every chain”, stating the acclaims he believes he’s owed.
Now, Meji is here with a follow up EP, ‘Two’, with features from Vader The Wildcard, Moefasa, Eazzie and Dwin the Stoic. He delivers a stellar 16-minute run across 6 tracks, cutting across matters affiliated with wealth, maintaining relevance and being a major part of the conversation. On this new tape, he raps over more melodious and rhythmic Afropop-leaning beats, a significant difference from the cloudy keys and booming 808s of his previous work.
With the release of the lead single “Emi Gan Gan” which arrived a week prior to the project, Meiji gives an insight as to what the tape is to sound like. Assisted by Vader The Wildcard, they bring to ears of listeners a soft tempo yet boastful track offering up lyrics such as, “I know you praying to see me fall/I’m on a wave wey no fit stop”, a reminder to his doubters that he’s still the one.
“Sands Of Time” opens the tape with a rhythmic and smooth flow, delighting listeners with rich production infused with trumpets, giving a rather warm and welcoming introduction to Meji’s world. Assisted by Dwin and The Stoic, Meji speaks about counting his blessings and appreciating the tremendous things of life—“I Know I’m a star, I can never get lost in the dark/Oluwa don dey order my steps”. He moves into making a more personal statement on “Steppings”as he speaks on taking charge and control of his energy. He sings lyrics such as “Dem no fit touch anything I do/This year boy I be vexing, cause a scene when I step in”.
On other tracks such as“Lust Island”,Meji taps into a more sensual side of his artistry, delivering an exceptional performance with Eazzie over a gently knocking beat, as they belch lyrics such as “give me that give that all night long, baby me no dey plan no hit and run/I know you like it when I use my tongue, girl I know you like it when you cock my gun”. He closes the tape with a more uptempo track “Live Your Life”, where he speaks about enjoying what life has to offer and the good things that come with it, over bouncy beats, infused with trumpets. He sings, “More life, one life you only get one life/alaye live your life, jaye ori e”, encouraging listeners to spend while they can and enjoy life as you only live once.
Meji took a more different approach with this tape compared to his debut project. Here, he sings and raps over more melodious beats, rather than hardcore hip hop beats, making it easier for more listeners to relate to his music. The 16-minute EP is a clear indicator of an artist with style, lyrics and a lot to say.
The world of African Literature is no doubt vibrant and intentional. Each year books from African authors based in the continent and her diaspora, go on to become bestsellers and influential titles, shining light on several aspects of their culture and ultimately revealing the writers as great practitioners of the craft.
Last year was particularly rewarding for lovers of African Literature. Not just getting served with breathtaking titles, important awards also went to authors. Some of the biggest news included the Nobel Prize for Literature, which was awarded to the Zanzibar-born Abdulrazak Gurnah; the South African Damon Galgut also won the Booker Prize for his astoundingly beautiful novel The Promise and in France, the Senegalese-born Mohamed Mbougar Sarr won the Prix Goncourt, considered as the country’s most prestigious literary award.
All these confirm what we’ve known for a long time: African writing is a global force. With 2022 underway, the scene was set for an array of titles to go out into the world and perform brilliantly as usual. Today, on the commemoration of World Book Day, we’re highlighting some of the most anticipated titles that are expected to be released this year. Across the genres of fiction, poetry and nonfiction, these are reads from Nigerian authors you’ll want to keep an eye out for.
AKWAEKE EMEZI – “YOU MADE A FOOL OF DEATH WITH YOUR BEAUTY”
The Tamil-Nigerian Akwaeke Emezi is an absolutely prolific writer, publishing books in various genres since the release of their monumental debut, Freshwater. They’re putting out three books this year, including the young adult novel Bitter and Content Warning: Everything, their debut collection of poetry.
Making a return to the novel form, You Made a Fool of Death with Your Beauty is forthcoming this May from Atria Books. It’s been described as a romance novel, following the story of Feyi Adekola who’s trying to come to terms with her husband’s death five years later, when she meets a man at a party who makes her want to live again. However, they’re some grey areas within this supposedly timely union, as Feyi’s grief turns within her with the force of a familiar foe and she must eventually reconcile what she desires for herself. Anyone who’s read Akwaeke knows her writing, at the basic sentence level, is a delight and there’s no reason why this title shouldn’t be typically brilliant.
Few books published last year got as much buzz as Bolu Babalola’s Love in Colour, a short story collection lauded for its vivid characters as much as its intriguing storylines and setting. Consequently, the British Nigerian author became one of the year’s revelations, eagerly waited on for her forthcoming works.
Not wasting any time, Babalola is following up with the release of Honey and Spice, her debut novel. Forthcoming from William Morrow, it’s a humour-laced book about the various shades of love, especially the murky field that is young love. Kiki Banjo is a host of popular student radio show Brown Sugar who’s taken it upon herself to make sure the women of the Afro-Caribbean Society at Whitewell University don’t succumb to messy situationships. In a twist of fate, she’s embroiled in an affair which doesn’t turn out to be what she expected.
Over the years, Eloghosa Osunde has emerged as one of the most promising literary voices from the continent, particularly with the short story form which she wields so mightily. “Good Boy”, published in The Paris Review, ranks high among the best stories I’ve read in recent years. All over Osunde’s gift for spare, poetic language is evident, peppered as well with nuances of the Nigerian pidgin English in a style that’s rare among contemporary authors.
Her forthcoming debut, Vagabonds!, is a collection of intertwined short stories which draws from the magical realism style of Ben Okri and Gabriel Garcia Marquez. Banding a diverse cast of characters, the book shows an underrepresented side of Lagos, whether through the story of a lesbian couple, a fashion designer who gives birth to a grown woman, or a driver with the supernatural power to bring people to life or make them die. It’s an eccentric book which attains measure through the closely controlled style of Osunde’s.
J K CHUKWU – “THE UNFORTUNATES”
Release date: August 2
The writer and visual artist J K Chukwu holds an MFA in literary arts and was a 2019 Lambda Fellow. Her debut work is this forthcoming novel from Harper Collins. Quite anticipated for a while, the story’s set in a college and whose protagonist, Sahara, is a queer half-Nigerian.
Sahara has it tough with the racial abuses she’s subjected to at school, leading her to lean forcefully on the friendships she nurtures with a number of Black friends. When these friends begin dying, with no pattern other than the fact they’re Black, Sahara sets out to investigate what happened to The Unfortunates—what the dying undergrads are called—and in the process uncovers something much larger.
This forthcoming book is titled Breaking Stereotypes of Modern Africa and is a riveting critique of the cultural stereotypes usually attributed by the Western world about Africa. Since Binyavanga Wainana’s seminal essay “How To Write About Africa”, writers from the continent have continued to adopt a simultaneously inwards and outwards gaze, offering biting opinions on the contemporary world by depicting the unique nuances of particular African countries or cultures.
Funny and insightful, the seasoned culture journalist who was born in Chicago and raised in Lagos makes great points for the diversity of Africa, pulling the political and personal into an enjoyable book. He’s attentive and expressive, whether dissecting the colonial heritage of African countries or contributing to the banter over which one has the best Jollof rice.
AYOBAMI ADEBAYO – “A SPELL OF GOOD THINGS”
Release date: June 2
Thought we’d add a little joy to your Friday morning 😉🌼
A SPELL OF GOOD THINGS by Ayọ̀bámi Adébáyọ̀ will be published simultaneously by Knopf in the US and by @canongatebooks in the UK in Summer 2022! pic.twitter.com/NcSu23dblx
The debut novel Stay With Me marked Ayobami Adebayo among the most gifted storytellers of her generation, exciting readers within the continent and beyond. Since that breathtaking tale of Yejide and her husband Akin, the writer’s next book has been eagerly anticipated, no doubt promising a lot of quality.
Forthcoming from Canongate in the UK, fans of Adebayo won’t have to wait for much longer. In June, her second book will be published and the descriptions and blurbs have been tantalizing. Following the two-character lead of her debut, A Spell of Good Things is about Eniola and Wuraola whose lives intersect because of harsh circumstances caused by an ineffectual government.
The Nigerian poet Romeo Oriogun is one of the most important writing today, among those responsible for sparking a renaissance in LGBTQ literature in the largely homophobic Nigeria. His debut collection of poetry Sacrament of Bodies was published to high praise from accomplished poets like Ellen Bass and Ilya Kaminsky, and earned Oriogun a place on the shortlist of the Lamda Award for Gay Poetry.
Forthcoming from Griots Lounge, a Canadian-based publishing house with special interest in African authors, Oriogun’s Nomad shines with expected brilliance. Broadening his scope, the author looks beyond queerness and masculinity, calling up the soft histories of West African countries, from Benin Republic to Burkina Faso, Ghana and Senegal. Themes of exile, slavery, colonialism and its reverberations on cultural life, is woven throughout the book.
CHINELO OKPARANTA – “HARRY SYLVESTER BIRD”
Release date: July 12
The legend Chinelo Okparanta is coming out with a new book in 2022! It’s a satire of white liberalism titled HARRY SYLVESTER BIRD and I’ma need the entire publishing industry to get ready for this one 🙌🏾✨📚 We *been* waiting for the incisive queen of our hearts to return 😩💞🙏🏾 pic.twitter.com/aIVWDwv9rB
— akwaeke emezi (they/them) (@azemezi) April 1, 2021
Since the publication of her debut book Under The Udara Trees in 2013, Chinelo Okparanta has become one of the most visible authors in the African literary space. Her follow-up, a collection of stories titled Happiness, Like Water was similarly acclaimed, introducing her bubbly voice to a number of people who might have missed out on the first.
Seven years after that collection, Okparanta is returning with her second novel, Harry Sylvester Bird. Forthcoming in July from Mariner Books, the novel follows the life of Sylvester, a young white man who falls in love with Maryam, a young Nigerian woman. As the two tango, going through the motions of contemporary love and expression, the shades of racism are cast over their relationship, leading to a breakup when Maryam pulls away from Sylvester. Alone, confused, Sylvester has to confront his identity and come up with some reason for his fate.
In the summer of 2018, aka the summer of “YE,”“In My Feelings” and an embarrassing deadbeat father reveal, Adekunle Gold delivered arguably the most confounding moment of his career. Almost a year out from his sophomore LP, ‘About 30’, AG shared a cover of Drake’s “Emotionless,” spitting a verse that mostly centred around his decision to try something as left-field as rapping. Between his hackneyed cadence and imperfect timing over the soul-sampling beat, it was hard to reconcile what one was hearing with the artist we had come to know over the years. It’s a very minor scandal, but it’s quite symbolic for that period of the singer’s intriguing career timeline.
After earning widespread adulation with the genial folk and excellent musicianship of his debut album, ‘Gold’, Adekunle Gold marked his third decade around the sun with an LP that was eager for radicalness. There he was, mourning the aftereffects of fame, angrily hosing down an unfaithful partner, throwing insulting screeds at a well-known online scammer, while expanding his sonic purview, from the Juju and Yoruba folk-inspired canvas of his debut, to include EDM, Igbo Folk, Afrobeat, and Gospel. This was Adekunle Gold rebelling against the image he had created, a wide-eyed writer who initially christened his sound Urban Highlife; now, he was more combative and disavowed the very notion of genre—up to the point of an ill-advised try at rapping.
In the opening moments of AG’s fourth album, ‘Catch Me If You Can’, he references that pivotal turn into age 30 that catalysed that small musical identity crisis and, most importantly, offered a self-aware criticism: he was living for everyone but himself.
Five years later, it’s impossible not to deem Adekunle Gold as a man that moves to the beat of his own drum—even if you’re sceptical, the clamour around his evolution is enough evidence. “Born Again,” the song that opens this recent 14-song set, feels like a spiritual successor of the eponymous opener from his debut.
Where “Gold” set an eager tone as an acapella introduction, this new opener is an impressive turn in self-assured portraiture, as each descriptive line about his life—“I know that I count on me, and I’m blessed with Adejare”—is sung with impenetrable poise. The chopped up interpolation of Malian singer Fatoumata Diawara’s modern classic, “Nterini,” is slightly unnecessary as a flex but it isn’t soulless within the song’s purpose. With the interaction between both intros, and the electro-folk bent of “Born Again,” which isn’t too far from Gold’s musical wheelhouse, ‘Catch Me If You Can’ is the closest thing yet to a full circle moment with AG’s debut.
Artistic evolution is prominently discussed within the context of artists discarding their past selves in favour of creating music that they deem to be more fulfilling. A lot of the time, though, it’s just improvements and adjustments being made until the artist reaches a seemingly better situation. Adekunle Gold is an easy example as a former folk-pop hero turned pop powerhouse. Artists evolve for several reasons, but the most cited and perhaps most intriguing is the realisation that the imagined perks of breaking out don’t always match the reality. That was the crux of AG’s commendably experimental but uneven sophomore LP, and what followed was a grip of sleek pop singles, signalling a recalibration of objectives.
By 2020’s ‘Afro Pop, Vol. 1’, the renovation was complete. At six songs shorter than both preceding albums, AG’s third full-length is decidedly more eclectic, leaning into the global trend of pop music being an amalgamation of different influences into a glossy whole. Even Afropop, the genre its title references, is an expansive soundscape that factors in both local and imported influences. Beneath all of this stylistic tinkering, you would be hard-pressed to claim Adekunle Gold had changed his thematic interests. While his writing angles have widened beyond blue-eyed romance and aspirational quips, his current reflection reads as a man who has a better understanding of worldly complexity, but his music still revolves these familiar themes.
The same can be said for ‘Catch Me If You Can.‘ Like each of its predecessors, though, the general candour keeps things from being recycled. ‘Gold’ had manifested dreams as its compass, ‘About 30′ was an exercise in re-interrogation, and ‘Afro Pop, Vol. 1′ showed confidence. With his fourth, Adekunle Gold is standing firm in his convictions, extremely secure of who he is as an artist and a person. Throughout this album, AG sings with the sure-footedness of someone that doesn’t have much to prove, to listeners or to himself. It’s the next logical chapter, and it also makes sense that it’s a refined culmination of everything that came before.
Musically, the new album is an intersection between the rustic influences of early AG, and the contemporary flair of Nigerian pop music. It’s timely, considering how older forms of Nigerian music has become an inseparable part of the current pop landscape, a tenet Adekunle Gold was championing six-plus years ago. A significant portion of ‘Catch Me If You Can’, especially its opening third, is defined by the rhythmic melding of local percussion and indelible bass guitar riffs, not unlike the musical direction from his past work.
On early highlight, “Mase Mi,” frequent collaborator Blaise Beat combines a gurgling bass guitar line with robust drum, forming a lively counterpart to AG’s soulful rebuke of the devil. The TMXO-produced “Win” is driven by bubbling talking drums couched inside a rumbling bass, bringing emphasis to the singer’s declarative tone. The heart of this album is in the opening line of the song: “In my lifetime, people I fit die for dem be like two.”
Pop stars living and extolling the domestic life aren’t generally regarded to be alluring or riveting. In society, being married with kids is beige, making it difficult for it to be portrayed in music as exciting. To his credit, Adekunle Gold makes monogamy sound pretty swell on ‘Catch Me If You Can’. While his daughter gets a significant mention on the intro, it’s plausible to claim that the main inspiration here is his wife, the multi-talented singer Simi. Through this lens, the moments of hubris are given emotional gravitas, because his self-conviction is backed by the knowledge that there’s unconditional love flowing towards him from those in his corner. It’s a widely regurgitated claim, but there has to be some truth in your chosen family fuelling you to become a better person.
The overwhelming majority of the romance-themed songs on this album revolve around devotion, a relatable theme that’s made more meaningful by the singer’s own life. The ultra-groovy deep cut, “More Than Enough,” celebrates a long-term relationship with both parties sticking with each other through their early career days and into a financially abundant present. On the pre-released single, “Sinner,” which remains a delightful highlight here and features a sublime Lucky Daye verse, Simi famously played the role of the magnetic muse in the accompanying video. In a remarkable accomplishment, Adekunle Gold gets an ever-ready Lothario, the American R&B superstar Ty Dolla $ign to champion being a “one woman man.”
What these sort of songs lack in range or tension, they make up for in wonderful execution. They only misstep is the Tay Iwar-produced “Sleep,” an Afropop-inflected R&B tune that doesn’t flatter AG’s attempts at sex-crazed moxie and falsetto delivery. Over the course of his discography, it’s clear Adekunle Gold shines brightest when he’s accompanied by full-bodied arrangements, complementing the folksy beauty embedded in his voice. On “Dior, Dior, Dior,” the track opens up with guitars that plays into the acoustic pop-soul of featured artist Foushee, but a recognisable percussion groove lands and AG sounds right at home while accommodating his guest.
It’s arguable that the best feature on ‘Catch Me If You Can’ belongs to Davido’s energetic appearance on runaway smash, “High,” not just for its sheer value, but also in how it underlines AG’s honed capacity as a pop songwriter and performer. (“Love is not enough/baby, come to me, mo l’owo” is every bit as scintillating as “wake up and jumpstart/I go chop you like oha.”) Also, the tribal house-meets-amapiano banger is a phenomenal touch of versatility on an album that gleefully basks in fulfilment—but fulfilment doesn’t always equal constant satisfaction.
The thing is, taken together with the rest of his catalogue, ‘Catch Me If You Can’ is a resolution point in the linear narrative of Adekunle Gold’s career. With every resolution, there has to be a new beginning—or at least a continuation—which begs the question of where the singer goes next. That answer will come in the future, but here, that trudge to optimal self-assurance is beyond remarkable.
After the many wins forged by Afropop last year, the musical landscape has never looked more promising. As such the fast and furious pace of new music releases makes it hard to keep track of all the good music coming out of Africa. That’s where our Songs of the Day column comes in.
We’re doing the work to stay on pulse with all the music coming out from across the continent and beyond, bringing you exciting songs of tomorrow: today. Last weekend, we brought you new releases from Darkoo, Black Sherif, Poco Lee, Alpha P and more. This week, get into these new releases from 1da Banton, Magixx, Sess, Diamond Platnumz. Enjoy.
1da Banton – “No Wahala” ft. Kizz Daniel & Tiwa Savage
After 1da Banton’s “No Wahala” peaked and became a viral smash hit across the continent, the artist has arrived with a remix for the track, with guest verses from Tiwa Savage and Kizz Daniel. The track sees all three artists singing beautifully about living a stress free life as they merge energies together, delivering an outstanding track. All three artists work and connect seamlessly across the track, led by Kizz Daniel who delivers the first verse, setting the tone for the rest of the Blaise Beatz-produced track.
Magixx – “Chocolate”
Mavin signee Magixx was only introduced to us last year, but already, his releases are near impossible to miss. Following the release of a re-up version to his single, “Love Don’t Cost A Dime” featuring label mate Ayra Starr, the singer returns for his first offering of the year with a new uptempo and energetic number titled “Chocolate.” The Rage-produced track is an Amapiano-infused single which sees the artist delivering addressing his irresistible muse over a heavy bass beat. He sings “Shana wole gba chocolate/make you dey fuck with my baby” on the chorus of the track, making known his salacious intentions.
Sess – “Revival”
For his first post-album single, singer-songwriter and producer Sess is back with new gospel-leaning single titled “Revival”. The track sees the artist confronting his faith, singing lyrics such as “Baba God cover me, them go try but them no fit to conquer me/Goodness and Mercy follow me”, which find him directly conversing and extolling his maker.
Diamond Platnumz – “GiDi”
Tanzanian music prodigy Diamond Platnumz has begun the year with a new catchy single titled “GiDi.” The Afro-Highlife tracks finds him pulling from a wide range of influences and sampling nostalgic tunes such as Olamide’s “Show You The Money” and “Gbona.” Despite his proximity from the subject matter, the singer is able to wholly situate the song in Lagos, Nigeria, one of Afropop’s largest cultural hubs.
KCee – “True Love”
Veteran singer KCee is here with a new romantic number titled “True Love”. The track sees the artist expressing his deepest feelings for his muse, singing lyrics such as “ayaya, baby would you please be mine?, you dey do me ayaya”, over the subtle yet rhythmic production of the Spotless-produced track.
Zoocci Coke Dope – “Lift Me Up” ft Blxckie & Nasty C
South African rapper Zoocci is here with his first official release of the year, featuring Blxckie and Nasty C. “Lift Me Up” is a bouncy rap tune which sees the artists making braggadocious claims in the respective indigenous languages, spitting lyrics such as “I remember bitches looking down but now we up/Now we up and we’ll never stop”, over the track’s window-quacking production.
Malcolm Nuna (Feat. Yaw Tog, Black Sherif Kofi Jamar, Kweli Flick) – “Talk Talk.”
Celebrated Ghanaian rapper and songwriter Malcolm Nuna taps his fellow Ghanaian artists Yaw Tog, Black Sherif, Kofi Jamar and Kweli Flick on his latest single titled, “Talk Talk”. The Khendi Beatz-produced track brilliantly exhibits the dynamism of each collaborator as they easily combine English and their native tongues in their rap, a feat which elevates the record’s overall vibe.
Since Olamide announced his potential retirement from making full-length albums just a few weeks ago, anticipation has been rife for his “final” album titled ‘Unruly’. For his first move in the lead up to a new project, the rapper has just released “Hate Me,” featuring the consistently elusive Wande Coal.
A stark contrast to his insanely prolific colleague, Wande Coal has spent the last decade carefully selecting his breakout moments, and achieving maximum impact with every sighting, every single, every feature. This time is no different as both artists form a glorious pair on the P.Priime-produced party starter, “Hate Me.”
We initially saw the pair on Olamide’s 2016 hit single “Who You Epp?” alongside Phyno, which quickly became a fans favourite, taking over the clubs, the streets and more just as quickly as it arrived. As the single was a big hit from the pair, fans and listeners would have expected an earlier follow-up over the years, but nonetheless, “Hate Me” does not suffer from any delay, setting a vast tone for where both veterans are still able to go sonically, at this stage of their careers.
Produced by the Grammy-nominated P.priime, “Hate Me” is an energetic and up-tempo track laced over a unique and futuristic production. The duo’s energetic vocals float over the song’s funky basslines and twinkling production touches, setting the perfect backdrop for both artists to fire off their braggadocious lyrics about getting their shit popping. The record opens with Wande Coal’s agile and rhythmic vocals as he sings, “She ain’t work it, I don’t think that she work it/Do you I need to tell you what my net worth is?,” a fitting boast that extols his current legendary status in the game.
As the track progresses, the artists spit self-assured lyrics, stating how far they’ve come, how much money they’ve made and why they should be respected, with lyrics such as “They bout to hate me, when I show my bank statement/Inna the hood, you know they rate me, a hundred thousand dollar bills cannot take it”, which Wande Coal quips on the chorus. The track also displays Olamide’s indigenous rapping style, as he raps in Yoruba about his accomplishments, and how far he has come while still putting his opps in check.
In his usual manner, Olamide raps “Omo mo fo ti, eruku to te le mi won to forty/Now they know the reason why bitches love me, I just wanna get the money, kin de ma te button” which directly translates as “I can never break, i have over 40 niggas on my back/I just wanna get the money and push buttons.” With the news of his forthcoming final album in the works, it’s not hard to imagine that we’ll see more of Olamide taking stylistic risks, and inviting collaborators who will further push the limits of his artistry.
“Hate Me,” is clear indication that artists are constantly evolving, even when they have spent decades exploring and fine-tuning their sound. To further amplify the track, the record arrived with the TG Omori-directed video, an intergalactic video which sees Olamide and Wande Coal on a spaceship, cascading through space. More than just a dazzling sequence to further the song’s reach, the video also portrays the song’s message about two veterans in their own right, evolving and changing with the times.
The sound of music playing on a loop was Asa’s favourite thing about her childhood. She’d fit her body between the wall and furniture, listening to her father, a cinematographer, pair the visual with the sonic. When her first album was released in 2007, the images were striking: deserted lovers, nations on fire, a thirst for life, for art. She was in her early 20s but already possessed a sharpened sense for detail and emotion.
“Since I was a child, if any adult asked me then ‘what would you want to become when you grow up?’ I never wavered from saying I wanted to become a musician.”
Born in Paris, her family’s relocation to Lagos came at a time when one remembered little of their day-to-day experiences. Her earliest perceptions of human life came in Nigeria’s premier metropolitan city. In Lagos, she was immersed into the bubble of a state regaining its cultural practices after years of being the headquarters of a military regime. There she made her dream work, little by little, pushing for artistic excellence where many others prized instant gratification.
Asa’s appeal cuts across a swathe of demographies. To the young, she is a beacon of originality and nerdy swag. To the middle-aged, she’s soundtracking the motions of their beleaguered storylines. To the aged, she’s an old soul, a lady they’d gladly sit and share stories with. To the international listener, Asa is a superstar in the mould of Fela Kuti, not quite possessed by his incandescent fury but wielding every bit of musical stamina, versed in several traditions and well positioned as a confluence for them.
Life being the source of Asa’s art, her albums are spaced out to encourage her immersion again into everyday life. “In between the spaces I’m writing, touring and I’m living normally,” she says. “But honestly most of the time I’m writing and I promised myself not to bring any album that I wasn’t happy with. I once recorded an entire album and put it in the bin.”
It was 2020, during Asa’s European tour when the pandemic broke out. She was somewhere in France and had thought she would stay there for its entirety but sensing the imminent coldness of a city on lockdown, she returned to Lagos. “When I came to Lagos what I did was throw my door open,” she says. She was working on her fifth album, two years after ‘Lucid’, an albumsuffused with some of her most heart-wrenching stories on love and loss. This time the energy was markedly different. Collaborators thronged into her house, creating songs in her living room with a view of the lake and blooming vegetable patches.
“Home is different,” she says of the atmosphere that inspired the album. “Being unstressed and being familiar with the people I was working with, as opposed to going to a studio elsewhere, like in LA or in Paris. It was just really relaxed, nothing that tells of time and schedule.” Titled ‘V’, it was preceded by the singles “Mayana” and “Ocean,” both produced by 20-year-old P.Priime, who handled ninety percent of the LP’s entire production. This immersive style of collaboration affects a feeling of closeness all through the record, setting the template for the musical features which, interestingly, portends the first time an Asa album will feature artists.
On “Ocean” WurlD’s lucent vocals float in the background, bringing a textured feel to Asa’s stirring meditation on self-love. “Good Times” was recorded with scintillating brother duo The Cavemen, whose trademark infusions of Highlife casts a beachside ambience over the record. “The Cavemen are special to me,” says Asa. “They inspire me. And you know, with me and Benjamin—I’m sure you’ve seen us on social media—we’re never up to no good, we’re always goofing around. “Good Times” is about friendship, it’s just about saying what you sometimes forget to say, just acknowledging friendship we see everyday and it’s become a background to our lives. Sometimes, stop and tell this person ‘thank you, you’re a good friend’.”
Among Asa’s favourite songs on ‘V’ is “All I Ever Wanted,” a poignant song about falling out of love and what it constitutes for the memory, left to pick up the shards of losing someone you’d rather have by your side. Featuring the iconoclast Amaarae, both voices meld in buttery perfection, layered distinctly over the stripped production. Asa had written the record for the Ghanaian star who she wished to feature on it. “That’s how my voice got to stay on ‘All I Ever Wanted’,” says Asa. “It’s a sarcastic song; Asa is always sarcastic. You can hear it in ‘Awe’ and ‘Bimpe’, you know. It’s just telling the person, ‘Have you forgotten how we were?’”
All through the album, you hear Asa angling towards the light. Her messages are clear and her desire for softness obvious. No other song encapsulates this feeling better than “IDG”, the mammoth collaboration with Wizkid. Some days before the album’s release, the ‘Made In Lagos’ star had shared a tweet announcing the song, which many noticed was exactly seven years since he’d tweeted that we wanted to work with Asa “so bad.” They had connected in Ghana sometime ago and after Asa wrote the song, Wiz came to mind. “I’ve always loved Wizkid’s melodies and always loved him as a very creative person,” Asa says. “With Wizkid, as with other people that I worked with on this record, one thing shines through—the album is just about vibes, good feeling, good times, friendship and love.”
It’s no coincidence that Asa’s brightest-sounding album is coming now. Shelving previous expressions of complicated loves for simpler gestures, she reinvents herself. The pop flourishes of the tape also owe its presence to Asa’s recent showcases of her playful side.
Asa has been really been vibing throughout her stay in Lagos and, more interestingly, getting caught on camera. “I’ve always been like this but you have to also understand that I’m very private and so the worst that you’ll see are scenes that someone caught,” she says, laughing. “Someone was very smart with holding the camera. It’s actually interesting that people are getting to know a little bit more about me and I’m getting comfortable with sharing that part. I mean, it wouldn’t hurt. Being able to do that now is because I’m okay with it.”
This shifting perspective is responsible not only for the wholesome videos of Asa we’ve been getting but also influenced her creative process. A known perfectionist, she tells me she once returned to a song five years after she began writing it. “On ‘V’ it was a combination of being vulnerable and allowing myself not to think too much, not to be perfect, not to be precious,” she says.
Ultimately ‘V’ is coming from a place of authenticity and acceptance. If the Meji Alabi videos for the singles were anything to go by, this is a multidimensional universe made possible by black excellence as well as black vulnerability, the willingness to lean into the mundane aspects of one’s life and embrace the glory in it. “I’m just playing a lot on these songs, having a lot of fun,” she says. “It was fun to connect with creatives that I met on this project and on this journey and that really spilled into the recording.”
Two weeks following its release, Zinoleesky’s latest single, “Rocking” makes its Turntable Top 50 entrance, debuting at a staggering No.8. The song rakes in 2.82 million equivalent streams—making it the third-highest streamed cut—and 8.39 million in radio reach (No. 53 on radio). Zinoleesky also sets another milestone with “Rocking”, earning his fourth top ten with the single, after previously achieving top-ten entries with “Kilofeshe”, “Gone Far”, and “Don’t Call Me”.
At No.1 this week, Skibii continues to lead the pack with his Davido-assisted “Baddest Boy (Remix)”. The song however spends a fifth consecutive week atop the TurnTable Top 50 despite recording its lowest total chart points ever. Street pop sensation Asake moves up a rank with his Olamide-assisted “Omo Ope”, setting a new peak at No.2 for the vibrant anthemic number. Tallying 2.89 million equivalent streams, 26.6 million in radio reach and 6.75 million in TV reach, the song marks its fifth consecutive week on the chart. Two other songs off his eponymous EP make their entrance on the chart; “Trabaye” at No. 24 and “Sungba” at No. 49.
Rema’s “Calm Down” also moves up a notch rising from No.4 to No.3 on the Turntable Top 50 – Equaling the artiste’s milestone with “Soundgasm”—his highest-charting single on the chart. “Calm Down” tallied 47.7 million in radio reach, debuts with 10.3 million in TV reach and 1.51 million equivalent streams. Fireboy DML & Ed Sheeran’s “Peru” tumbles down two spots to No. 4, after topping the chart for the first four weeks of 2022. The globe-trotting pop sensation continues its incredible run as it marks 31 weeks on the chart. Lil Kesh’s Zinoleesky-assisted number “Don’t Call Me” retains its spot at No. 5 for another consecutive week, marking a staggering 12 weeks on the chart.
TI Blaze’s Olamide-assisted “Sometimes (Remix)” ascends to a new peak of No. 6. Kizz Daniel’s “Pour Me Water” plummets by a spot to No. 7, after topping the chart for a week. Rounding out this week’s top ten; Kizz Daniel’s “Eh God (Barnabas)” is steady at No. 9 – making him the first artiste with multiple entries in the top 10 for twelve weeks. Reekado Banks’ “Ozumba Mbadiwe (Remix)” featuring Fireboy DML tumbles down from No. 7 to No. 10 this week.
“What’s Going On” Tallies Notable News Headlines From Across The Continent — The Good, The Bad, And The Horrible — As A Way Of Ensuring That We All Become A More Sagacious African Generation. With This Column, We’re Hoping To Disseminate The Latest Happenings In Our Socio-Political Climate From Across The Continent, Whilst Starting A Conversation About What’s Important For Us To All Discuss. From Political Affairs To Socio-Economic Issues, ‘What’s Going On’ Will Discuss Just That.
UN MISSION TO INCREASE PATROLS IN VIOLENCE-RIDDEN SOUTH SUDAN
South Sudan has been embroiled in a violent run between the Sudan People’s Liberation Army in Opposition and armed youths. The confrontations began in Mirmir Payam but have spread viciously over the past two weeks, creating unrest in several villages in Koch, Mayiandit and Leer, according to reports by the United Nations.
The United Nations Missions In South Sudan (UNMISS) have promised to increase patrols across the country and continue working with stakeholders at all levels “to encourage dialogue and reduce tensions and insecurity.”
In a statement, UNMISS appealed to national leaders, armed groups and influential people to bring an end to the violence. “UNMISS strongly condemns the violence at a time when humanitarian needs are rising, and people are already reeling from the worst flooding in decades,” the statement said. “The Mission urges national and local authorities to take immediate measures to reduce tensions and to prevent further escalation of the situation.”
The South Sudan conflict has been brutally experienced by the citizens, with number of casualties rising each day. A high number of people have also been injured or forced to flee from their homes due to the mounting insecurity. Women were reported to have been raped in Leer Town, said health facilities, and property destroyed. In what has been a violent free-for-all, supplies meant for displaced persons have also been looted.
🇷🇺🇿🇦Today marks 3️⃣0️⃣ years since the establishment of diplomatic relations between Russia and South Africa!
Our interaction is distinguished by the strong bonds of friendship & cooperation established during the struggle against apartheid, which continue to develop today. pic.twitter.com/OHLS4AL5HS
The United States Department of State last Friday issued a statement announcing visa restrictions on Somali officials and individuals. Accused of “undermining the democratic process in Somalia,” the US Department of State Anthony Blinken said the sanctions would “promote accountability for their obstructionist actions.”
The sanctions were announced just hours after the Somalian parliamentary elections were extended from February 25th to March 15th. Last year November was supposed to finally be the period of the elections, one which has been delayed over a year before then because of internal disagreements on their conduction and some infighting between the president and prime minister.
Of the 275 members who make up the lower house, only 179 have been selected. With these lawmakers expected to choose the president, there’s been the longstanding inability to do so. Consequently no date has been set yet for the presidential election. This situation has made pressure pile on the government who’re busy securing their interests against that of the regional state leaders. Meanwhile, armed group al-Shabab are fighting to topple the central government and have intensified their attacks on key regions in election areas.
The UN reports that 4.3million people affected by the unending conflict are in need of humanitarian assistance. The International Monetary Fund, though, had earlier this week warned that it could stop funding to the country if the elections are not concluded and in a satisfactory manner. Led by the prime minister, The National Consultative Council cited insecurity, worsening national drought and financial constraints as the reason for pushing back the election deadline.
BREAKING NEWS: UN security council meets on Monday on extraordinary session on Somalia.
A raft of sanctions, visa bans and account freeze are expected. Arrest warrants might be issued against key Somali politician and foreign officials for being SPOILERS of peace in Somalia.
There was widespread outrage all over the world after Russia declared war on Ukraine last week. Countries quickly moved to evacuate their citizens resident from Russia and the conversation around these parts quickly moved to what efforts African governments were making to do the same.
As circulated on social media, Nigerian students were stranded in Ukraine because the government wasn’t showing any zeal to ensure their safety. Millions of people have fled Kyiv, the Ukrainian capital and other cities since last week. As reported, there are an estimated 4,000 Nigerian students in Ukraine and many of them are confused as they wait for help in their different residencies.
Nigeria’s foreign minister Geoffrey Onyeama told the Nigerian Television Authority that students would be evacuated once the airports again open. “The advice we were getting,” he said, “was that we should not panic, the embassy was in touch with the students telling them to take reasonable precautions.”
A number of Nigerian students who struck out on their own to escape to neighboring countries like Poland have been racially discriminated against and not being allowed to pass through the borders. This development further aggravated Nigerians all over the world, and they’ve taken social media (especially Twitter) to demand an immediate reaction from government officials and some influential individuals. So far, there’s been an increment on the number of people who’ve been able to leave Ukraine, even as talks of negotiation between Ukraine and Russia was earlier reported today.
How can I help African/Caribbean students evacuating Ukraine? – A thread
After becoming one of the first African countries to criticise Russia’s war against Ukraine, South Africa have gone back on their initial stance. Last week, the SA International Relations and Cooperation Minister Naledi Pandor called on Putin’s charges to withdraw from Ukraine.
Apparently that didn’t sit well with President Cyril Ramaphosa who was reported to be unhappy with the statement because he felt it contradicted South Africa’s neutral position. A day after the statement, President Ramaphosa seemed to blame US President Joe Biden for the invasion, citing Biden’s refusal to meet Putin days before the attack if his Russian counterpart didn’t promise not to attack Ukraine in advance. “Some of us were very disappointed when the meeting between President Biden and President Putin did not happen,” he said to journalists last week Friday. “Because if that meeting had gone ahead without any conditions I’m sure we would have avoided the calamitous situation that is unfolding now.”
“We will always be opposed to any conflict that leads to a loss of life,” said Mondli Gungubele, a South African Minister in the Presidency. “We are not prepared to say anything beyond that.”
Coming with much criticism, Defence Minister Thandi Modise was pictured on Thursday at the residence of the Russian ambassador Ilya Rogachev celebrating what was widely believed to be the Russia’s Defender of the Fatherland Day, an event which honours Russian military. Many commented the displeasure at being seen with the ambassador on the same day Russia opened fire on Ukraine’s cities.
Although it’s the shortest month of the year, February has been a great period for music from the continent. As Afropop continues to make leaps and bounds on the global stage, the music landscape on the continent is growing more unpredictable than ever, and there’s no longer any kind of routine for artist discovery. This hasn’t deterred us from our mission to highlight those on the continent who are teeming with potential and primed for a breakthrough.
Amidst all the changes in the world, music keeps going, and it keeps us going too. It’s our duty to put you on to the hottest newcomers in Africa who are consistently meeting the demand for something fresh, defiant, boundary-pushing and above all, authentic. This month, we’ve got one of the most interesting lineups in recent memory, offering up formidable artists from our home base in Lagos, Nigeria to Lusaka, Gambia and beyond.
Look back at all of our Fresh Meat here and keep up with them all on the Fresh Meat playlists on Spotify and Apple Music.
Asake
Asake first caught the attention of listeners with his 2020 viral hit single “Lady.” The Blaque-beats produced track sees him delivering an up-tempo tune where he adores his love interest. Shortly after, he released the follow-up single, “Mr Money,” which gained him even more listeners and his titular nickname. To reach a wider audience of listeners, he teamed up with DMW signee Peruzzi and street-hop hit-maker Zlatan for “Mr Money (Remix),” furthering the song’s reach into the Lagos mainland streets and upscale party scenes.
In the year that followed, Asake staggered his releases while redefining his sound into what it is now. Starting the year with a bang, the singer delivered the Olamide-assisted “Omo Ope,” one of the best and biggest songs of the year so far. It served as the lead single off his new debut EP, ‘Ololade Asake’, released under the auspices of Olamide’s YBNL imprint as its latest signee. The 4-track EP flaunts the artists’ new and refined sound, presenting Asake in the most confident form of his career. He delivers a stellar 11-minute run as he cuts across topics such as the growth, self-awareness, the importance of hard work, as well as getting set to live his best life. If you’re looking for a clear and concise musical experience, tap into Asake’s music.
Wonu Osikoya
Nova Amandlah
As we’ve seen in recent years, African musicians are really singing their hearts out. Especially ladies, whose songs are suffused with the complications of life and love. The likes of Fresh Meat alumni Ayra Starr and Ria Sean are just some of the many women owning their rightful power to create whatever songs they want, however personal or sensual it may be. The Zambian-Nigerian singer Nova Amandlah is also cut from this mould of singer-songwriters. Blending crispy R&B with the atmosphere of her Zambian and South African origin, the 25-year old singer’s music imbibes a flagrant flavour in conversation with her network of influences permeating various spheres of the world due to technological advancements.
Last year September, Nova released her debut project, a 5-track EP titled ‘Unveiled’ which was helmed by the single “Ring On It,” a song about the perceived level of commitments from one’s love interest. The subject echoes of Beyonce’s seminal “Single Ladies (Ring on It)” but Nova’s vocals nevertheless bends of its own accord, easing into the smooth production. “I ain’t your booty call,” she sings, effortlessly flowing into a rap-sung quartet on the latter parts of the song. There’s an inner consistency driving Nova’s songwriting, whether on the boastful, EDM-appropriating opener “Attitude” or “On a Low,” the sensual closer which progresses with the quality of late-night playlist music. On standout “Venus And Mars,” Nova’s flow oscillates between singing and rapping, taking the lo-fi influenced production with affectionate lyrics about wanting someone who might not burn with the same intensity.
Emmanuel Esomnofu
95ANTNY
A significant portion of this era of urban African music is driven by creative restlessness and an eagerness to engage with a diverse range of sonic styles. Ghanaian singer, songwriter and producer 95ANTNY has made it a preference to be musically omnivorous. A trip through his SoundCloud will reveal, from the cloudy trap of “vibing” to the giddy alt-pop on “Supposed 2” and the smooth blend of R&B and mid-tempo Afropop on “Piece of Me,” that the singer shuffles through sounds like a musical game of spin the bottle.
Formerly performing as Tony Bryte until a fairly recent name change, 95ANTNY is an artist proud to wear the alternative tag, leaning into the boundary-less ethos of the most significant renaissance in African music from the last decade. In the five years since debuting with “vibing,” experimenting has helped him exhibit his chops adaptably, but at the heart of his songs is a knack for expressing himself plainly. He deals with relatable topics in his slightly brittle but deceptively rangy voice that always transmits a lived-in tenor. On his latest drop, “5STAR,” he issues out infectious boasts over slinky afro-fusion production; as his first song to venture out of the decidedly underground confines of SoundCloud, it’s a statement of confidence from an artist that’s getting set to hit his full stride.
Dennis Ade Peter
Kaey
At just 20, Kaey has amassed a breadth of experiences that underline the intentionality in her music. Born in Ibadan, growing up in Lagos, and then moving to Johannesburg before returning to Nigeria around 2014, Kaey is film school graduate with a passionate tilt towards the microphone. “It’s always the music for me,” she told The NATIVE earlier this month. “I’ve always known since I was young that I wanted to do music. I grew up in a music-inclined family so there were always different kinds of music coming from everywhere. My dad listened to Reggae, my mom listened to Gospel, aunties and uncles listened to Hip-Hop and Pop music. I just picked up stuff from everywhere.”
In June 2020, KAEY released her debut song, “Oath,” a song built on muted keys and speculative percussions. In turn, KAEY’s lyrics probe the innermost confusions of someone who is not able to love with the honesty and vulnerability she craves. “What’s the point of chasing, what’s the point of chasing if all you do is hide?” she sings on the first verse before segueing into the emotive chorus. “Oath, tie you to me/You’re not helping me, my fantasy,” she croons, implying a supernatural resolution to her heart’s conflict.
Some of KAEY’s influences include Beyoncé, Ed Sheeran and Lauryn Hill—all musicians with a great ear for melody and expressive writing. On her latest song “Expensive Taste,” she likens herself to being one’s guilty pleasure, sticking endless metaphors for all she wants to do with the love interest she lovingly sings about. Talking about its creation, she says: “I’d previously written some notes and I was in the studio, the producer played me the beat and I started writing off that note I had made.” Still writing and recording, KAEY hopes to put out her debut project before the end of this year.
Emmanuel Esomnofu
Leanne Robinson
We love to explore fresh, new and unique talents; and Leanne Robinson is one of those as she is both a musical genius and an actress. After starting her trudge into music as a cover singer, Leanne dropped her debut single, “Last Time,” in August of 2018; since then, she has been dropping singles at a considerably frequent rate. Incorporating influences from Gospel, Soul, Pop, Jazz, Reggae and R&B, the singer’s music takes her wherever the wind blows, surprising her audience at each turn by merging varying musical choices with her attention-holding voice.
Like many artists today, her love for music and singing began during her younger days as a singer in the church choir; she was also coached by a friendly neighbour called Denise. “I do not know if singing chose me or I chose music, but I cannot remember a time when I have not sung; it’s just always been there,” she explained in an interview with Flavour Mag. Her love for music persuaded her to study art in the BRIT School, where she studied Musical Theatre Diploma and the university to learn Music management. Leanne’s urge to make it into the music industry was apparent during her performance in the 9th season of ‘X Factor UK’ and ‘The Voice.’ With an impressive catalogue of singles and a debut project on the horizon, Leanne Robinson will always have reasons to keep you hooked to her music.
Ada Nwakor
Tomi Obanure
In a clime where zingy percussion and affably sunny melodies reign supreme, Tomi Obanure is an iconoclast going against the tide and forging a path for himself in Nigeria’s ever-expanding Drill and Rap space. Based in Nigeria’s capital city, Abuja, Tomi’s sonic palette is eclectic, venturing across quintessential knock ‘90s American rap to the contemporary bounce of Drill and Grime. Favouring football over rap music, Tomi’s passion for rap only started taking root at 15, but his actual dip into the water came after his university education in the UK. After wrapping up his education he packed his bags and headed back to Nigeria, where his nascent career started budding.
Across his two EPs, ‘No Rest for the Wicked’ and ‘I’ll Sleep When I’m Dead’, the rapper’s qualities are undeniable: his cadence is solid, his voice commanding, and his bars tight. From his black-and-white visuals to the dark hue of his sonic choices, he oozes class and sparks wizardry with each bar. On the recent 3-song set, ‘I’ll Sleep When I’m Dead’, he pushes the fringes of his creativity—stringing together serrated grunge melodies and drill percussion, then laying poignant, quick-fire raps on them. The result is a high-octane immersive experience. One of Tomi’s greatest strengths is his commanding shape-shifting voice. He wields it with masterful dexterity, compelling listeners to pay attention to his every word and entrancing them like an illusionist.
Chibuzo Emmanuel
T.I Blaze
Over the last three years, street pop has witnessed a slight change of guard that has positioned the importance of masterful story-telling and innovative melodies at the core of the ascendant genre that is inching its way towards bonding with other wildly-popular genres like emo-rap and contemporary R&B. In newcomer, T.I. Blaze, street pop has potentially its biggest multi-hyphenate, who is capable of dexterous Trap flows and delicate hymns about the come-up with an almost off-the-cuff swagger.
The bulk of T.I.’s sparse catalogue is dedicated to memorialising his struggles as a kid from the ghetto and opening a pathway to his future ambition of having money and being influential. “Sometimes,” the song that catapulted him to fame is a quintessential story about the hustle and grind of the community that he is from and the trade-offs—positive and negative—that people might have to make it out of those places. His new debut project, ‘The Fresh Prince Of Lagos,’ unfolds his life’s story in significant ways, swapping the long-winded enunciations of “Sometimes” for brevity. It promises to be a significant year for youngster.
Wale Oloworekende
Words by Ada Nwakor, Dennis Ade-Peter, Emmanuel Esomnofu, Wale Oloworekende and Wonu Osikoya.
After the many wins forged by Afropop last year, the musical landscape has never looked more promising. As such the fast and furious pace of new music releases makes it hard to keep track of all the good music coming out of Africa. That’s where our Songs of the Day column comes in.
We’re doing the work to stay on pulse with all the music coming out from across the continent and beyond, bringing you exciting songs of tomorrow: today. Last weekend, we brought you new releases from Tekno, Skales, Laycon and more. This week, get into these new releases from Darkoo, Black Sherif, Poco Lee, Alpha P and more. Enjoy.
DARKOO— “ALWAYS” FEAT BLACK SHERIFF
Darkoo is a shape-shifting sonic genius. Whether she’s delivering rapid-fire bars on drill beats or dishing catchy carefree lyrics on punch Afropop instrumentation, she has the uncanny ability to contort her presence to fit a far-reaching sonic expanse. On “Always”, she joins forces with Ghanaian drill artist, Black Sheriff for a piquant romantic number. Over the mid-tempo instrumentation underscored by sombre melodies, the duo take turns rapping up a dreamy romantic ballad.
SHALOM DUBAS— “DON’T LEAVE
“Don’t Leave” is a heavily introspective tune upholstered by sombre ethereal instrumentation. On the track, Shalom sounds forlorn as she alternates between singing and rapping, putting words to feeling alone and not wanting to feel isolated. Her tone and her delivery are incredible—contorting her voice to convey a smorgasbord of emotions— segueing from dismay to apathy to passion.
ASA — “IDG” FEAT WIZKID
Asa sent ripples pulsating through the music soundscape in the country and beyond when she released her fifth studio album ‘V’ this weekend. Among the leading fan-favourites is the Wizkid-assisted “IDG”. Time and space seem to lose their potency in the music Asa makes. Whether she’s writing pensive staid pieces, or sultry ballads, her music is for giving yourself to the moment. On the song, Asa and Wizkid take turns delivering dreamy verses over a mid-tempo stripped down instrumentation, singing about hope, hardwork and longing, with lyrics like “I don’t go where no love, Where my home o”.
POCO LEE—“YARD” FEAT ALPHA-P, BLACK SHERIFF, BELLA SHMURDA
Poco Lee made a ginormous dent in the Afropop scene when he teamed up with Portable, P Prime and Olamide for the culture defining hit song “Zazuu” last year. On his latest track, he recruits P.Priime, Alpha-P, Black Sheriff and Bella Shmurda for yet another street pop jam. The fully stacked roster of illustrious talents on the song adds dynamism and flavour to the track, with each verse taking a new turn, and elevating its infectiousness.
DICE AILES— “LADIES FIRST” FT TIWA SAVAGE
Dice Ailes is most notable for his sultry voice and his archetypal syncopated flows over Afropop instrumentation. On this number, he is assisted by fellow Nigerian singer, Tiwa Savage to deliver his archetypal sound. They deliver a seamless duet over a pulsating lo-fi beat. Using lyrics like “Hold me, He say baby no let me go Nah Nah hold me” to express their romantic affections for a muse.
T.I BLAZE— “OBA” FEAT BARRY JHAY
T.I BLAZE became a memorable figure when he burst into the Afropop scene a few months ago with his Olamide-assisted street anthem “Sometimes”. He recently released a six-track EP titled ‘The Fresh Prince of Lagos’ which included the standout single “Oba” featuring Barry Jhay. “Oba” is a poignant soulful song punctuated by guitar riffs with memorable and catchy lyrics. T.I Blaze and Barry Jay eulogise and sing praises to God, contorting their voices to that of traditional Yoruba folk-song musicians.
NONSO AMADI — “FOREIGNER”
Following a long drawn hiatus, genius singer and songwriter Nonso Amadi swaggers back onto the music scene with a mid-tempo Afropop number. On “Foreigner”, he sings about his romantic attraction to an unknown woman, using expertly fashioned lyrics to this effect. “Finally spoke my mind, they you dey listen. Show me the doors to your heart baby I’m breaking in,” he sings on the record, making his intentions known to his muse.
2021 JUNO Award-winning Nigerian French Canadian Artist Töme unveils the world around her third studio album dubbed ‘LÖV’ (Love Over Vanity).”‘LÖV’ is an Afro-fusion piece of work that blends a mix of genres from R&B and Afropop while exploring the theme of love, passion and sacrifice with lyrics in both English and Pidgin English.
The first part of the album highlights TÖME’s skills as she flexes her ability to display a wide sonic talent while telling relatable and engaging stories that will certainly resonate with any young listener. Packing a mix of love songs on tracks such as “Nobody Else”, “Burn Up”, and self-reflective anthems such as “Dangerous” and “Töme,” the singer paints a picture of where she’s capable of going sonically and lyrically.
The ten-track project is also a brilliant way for Töme to reinforce the ability to always stay true to her culture regardless of the influences from other cultures and civilisations. The Canadian-based singer also employs the help of a talented spate of producers including Shizzi, Michelin Shin LT Moe and Grammy award-winning Nigerian producer duo Legendary Beatz. The album also introduces interesting guest features from Mozambique rising star Yaba Buluku Boyz, Nigerian Afro-pop star Skales and Atlanta based star Jsol.
Speaking about the project, Töme says:
“Honestly, there wasn’t much of a thought process or true inspiration behind the album specifically, I just wanted my feelings to speak for me. Whatever that means, this album feels good, it feels like heart-warming love. That was the inspiration.
I want people to take home the feeling of love being in all shapes and forms, that loving yourself is just as strong and vibrant as loving somebody else. I want my fans to know their worth but not let it get into their head. Live by Love over Vanity,” Töme explains concerning her inspiration behind curating ‘LÖV’”
With an impressive lyrical depth and saccharine sweet melodies to match, it is clear that Töme is ready to level up. ‘LÖV’ is a wonderful album and perfect for any new music playlists this weekend.
Since the release of his two stellar projects in 2019 – debut EP ’Love is Contagious’and the Sarz collab ‘I Love Girls With Trobul’ – WurlD has continued to consolidate his prowess with a steady release of singles. As if these weren’t enough markers of his growth, he followed these projects up in 2020 with the release of ‘AFROSOUL,’ his third EP which expanded on his colourful sonic palette.
Now, the singer is set to release his latest effort, ‘MY WORLD WITH YOU,’ in a month. Following “LET YOU DOWN,” the mid-tempo Afrosoul number back in January, WurlD is drawing the world around his album closer with the release of new single “SAD TONIGHT.”
The Grammy-winning Telz provides the slow tempo production on “Sad Tonight”, building an immersive beat which throbs with the pulsating feel of the mid-tempo sound that’s becoming popular among producers of his generation. Amidst swooning keys and trumpets, WurlD’s signature vocals enliven the affair, riding the groove yet effusing strains of melancholy which, no doubt, has to do with the tale in his writing.
“Sad Tonight” hinges on his desire for a departed lover and throughout the song, WurlD conveys the baggage of their time together, conceding the blame just so he doesn’t sleep alone, again. “Got nobody on the low, no dey do plan b/ I’m missing all the signs/ And I don’t know how to read your mind/ I don’t know what I’ve done but baby I’m sorry/ You’re killing me with the silence, now I’m sorry,” he sings.
As with most things WurlD, this new record is beautifully ideated and finely executed. Barring any lapses in promotion, it should quickly become a soundtrack to sultry Lagos evenings or a breezy cruise with friends around town.
Listen to “Sad Tonight” and pre-save ‘My WorlD With You.’
In early 2020, Nonso Amadi took a self-imposed hiatus from social media. Now back in the full glare of the public, the singer and producer’s break from digital hyper-connectivity has clearly been rejuvenating and rewarding, with a renewed focus and important career moves accompanying his re-entrance. In addition to announcing his new single, “Foreigner,” Nonso Amadi will be working with Universal Music Canada for his next slate of releases, giving the previously independent artist a better depth of resources to amplify the experience in his music.
As a return single, “Foreigner” shows the singer hasn’t lost a beat. The self-produced cut is a smouldering mix of love-struck writing and sumptuous instrumental arrangement, the essential elements of many Nonso Amadi songs. “My doctor tell me I’m in need of your medicine,” he intones at the beginning of the song, continuing his knack for striking opening lines that place listeners right at the heart of his narratives.
With each line, sung in that impossibly smooth tenor, the intensity of his devotion remains consistent, capturing the excitement of being deeply infatuated by a love interest. Backing his voice is a beat that hugs the line between chill and effervescent, a colourful melange of Spanish guitar riffs, Afro-Caribbean percussion, glittery piano undercurrents and a blaring horn motif.
Seeing as it continues to hone previously set artist precedents, and is his first single since his 2019 EP, Free, “Foreigner” can’t really be described as a return to form for Nonso Amadi, but it is quite significant as a return. Accompanying the single is a mini-documentary feature, “Bloom Again,” which features a supercut of characteristic shots of Lagos and London, as well as a voice over from the singer himself. In the visual feature, directed by U.ax, Nonso explains the importance of both cities to his musical journey, while also reaching back to recall the influence of Craig David, Alicia Key and Paul Play on his R&B leanings. It signifies an artist who is better connected to the root of his craft and is back with a stronger perspective of what he hopes to achieve going forward.
Watch “Bloom Again” below and listen to “Foreigner”here.
