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

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

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

BNXN – “Kilometer” ft. Zinoleesky

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

DEELA – “Trapstar”

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

Ria Boss – “Somali Rose”

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

Jaylon – “Get Down” ft. Azanti & Chrystel

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

Khaid – “Ski”

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

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

The Kazez – “Church Mind”

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

Jess ETA – “Paralyzed” ft. Psycho YP

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

Featured Image Credits/The NATIVE


ICYMI: 11 Projects You May Have Missed This Year

 

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

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

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

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

Best Song?

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

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

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

Thoughts on the amount of features?

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

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

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

Best guest appearance(s)?

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

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

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

Any skip(s)?

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

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

What’s the potential smash hit here?

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

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

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

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

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

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

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

Listen to ‘Gbagada Express’ here.


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

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

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

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

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

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

“Danger”

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

“Holy Water”

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

“Wanna Know”

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

“For Here”

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

“Chargie” (w/Mugeez)

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

“No Lie”

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

Final Thoughts

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

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

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

Listen to In Transit’ here.


ESSENTIALS: BOY SPYCE RENDERS EMOTIVE TALES ON DEBUT EPONYMOUS EP

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

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

 

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

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

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

Khaid’s New Single “Ski” Paints An Honest Picture Of His Life Before Fame

Since the release of his debut single, “WITH YOU” back in January, Khaid has been the name on everyone’s lips. Signing to new record label, Neville Records which is owned by internet sensation and comedian, Sydney Talker, the 17-year-old artist was introduced with a voice of gold and an even sharper pen, as he weaved poignant romantic tales.

So far, Khaid continues to dominate popular conversations with his debut single currently amassing over 15 million streams across all platforms, a welcome feat for any newcomer looking to make a name for themselves. Now, with the attention he’s garnered, Khaid is ready to unveil more layers to his artistry as he gears up for the release of his debut project.

 

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Ahead of this, the singer and rapper has just shared a new record titled, “Ski” a boisterous track which finds him melding R&B sensibilities with gritty Afro-Trap for an enjoyable listen. The record is an honest exploration of where the artist is coming from and what it’s like come from nothing and carve a lane for oneself. Rather than succumb to the hardship of his past life, Khaid sings about resilience, determination, and trusting one’s gut to lead you to success. 

Over the trap beat produced by Mage, he sings “came out of the pocket now we trapping so fresh, I’m just 17 but I got voices like Adele/Yeah, I know I’m wrong but I’m trying to make amends”, sharing with listeners a bit of his backstory while making it clear that he has a bright future ahead of him. 

The record “Ski” arrives today with a Sydney Talker-directed video, which sees the artist and his friends in fast cars, drifting and racing while he performs the record in a colourful and vibrant outdoor space. With “Ski,” Khaid continues to put on display what he has to offer while setting his sights on his global ambitions. We’re looking forward to seeing what the uNder alum does next.

Watch the video for “Ski” here

Featured Image Credits/Instagram


ICYMI: 11 Projects You May Have Missed This Year

Where Were You: NATIVE x Kenneth Ize Paris Fashion Week AW/22

Marked by major milestones such as becoming a finalist for the 2019 LVMH Prize and a capsule collection with legendary fashion house, Karl Lagerfeld, Kenneth Ize is certainly one of Africa’s most important fashion exports. Given the stamp of approval by the likes of fashion powerhouses from Anna Wintour to Naomi Campbell, the 9-year old brand has seen a steady, yet, momentous incline since its inception in 2013. 

(Lojay & Ayra Starr in Kenneth Ize for NATIVE Sound System)

Last week, The NATIVE partnered with Chivas Regal and Kenneth Ize during Paris Fashion Week for the eponymous brand’s FW22 release. The fashion show brought together many Nigerian creatives to 3537, Paris and displayed an expression of who Kenneth Ize is in this moment. With this collection, Ize took inspiration from his Nigerian roots, with his signature use of traditional aso-oke to construct pieces with modern styles and silhouettes.

Inspired by the items from his mother’s wardrobe when he was growing up, Ize looked to his childhood when he would pass the days playing dress-up in her clothes. Kenneth tells us that with this collection, he made space to embrace his space for his femme for the world to see, much like he had always done in the confines of his mother’s wardrobe as a child.

In piecing this collection together, Kenneth created looks that he himself would wear, unencumbered by the constructs of gendered clothing. Inspired by his own past, the collection featured upcycled material of discarded clothes that may otherwise have gone to landfills or waste. The use of these materials give the clothes an authentically vintage feel, which compliment the timeless looks Kenneth constructed.

Following the show, attendees headed to a NATIVE-hosted party at the stylish bistro; Silencio des Prés. The crowd we gathered to celebrate Kenneth Ize included several models, influencers and artists from Temi Otedola to Roddy Ricch. The energy was free and pulsing with excitement and positivity as we all partied into the night. Going in felt like stepping into a speakeasy during the prohibition – a hidden place where people would gather to let loose away from the watchful eye of the government. A blast from the past within the modern world, it was very fitting for a party for a designer who blends the old with the new.

Watch our exclusive interview with Kenneth Ize here:

 

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5 Takeaways From NATIVE Sound Radio’s Special “Runaway” Episode

It’s official, NATIVE Sound Radio live is back and better than ever. Last year, the NATIVE launched a new vertical, NATIVE Sound Radio Live, a radio show exclusively on No Signal, a black radio station which  kicked off amid the difficulties of COVID-19 lockdown and has grown into a success story. The radio show which was hosted by Managing Editor, Tami Makinde hosted a number of guests in the previous season and cut across talking points such as music, style, fashion, societal issues, popular culture and more. 

Now, NATIVE Sound Radio Live is back for its second season. The pilot episode of the season was a special “Runaway” episode which featured a new host, Wonu Osikoya, Managing Editor of the editorial arm, Tami Makinde and the Project Manager of NATIVE Sound System, Kulupsy.

The “Runaway” episode was inspired by the release of NATIVE Sound System’s debut single “Runaway” featuring Ayra Starr & Lojay, two of the most promising voices of the new generation. Through the episode, Kulupsy took us through the process of creating the record, how the features came about and a lot more.

Here are 5 major takeaways from the first episode of the new season.

Creating The Record “Runaway”

“Runaway” was initially worked on at a recording camp in London two years ago by New World Ray and DJ Sholz. However, last year, Lojay recorded on the beat New World Ray had started creating, spurning something very special. Yet, it wasn’t until Ayra’s part was added to the song and its production fine tuned over a number of sessions, that the “Runaway” we know today came about. 

Some Collaborators On The Album

The NATIVE Sound System album is 90% ready, as we’re told by Kuluspy. Already, the album is shaping up to be one of the finer collaborations from this side of the world with features and production credits from a diverse range of artists and producers, including Chubbz, Teezee, Sholz, as well as the Genio and GMK of the Monster Boys, who were also executive producers on the project. The album also features producers such as Trill Xoe, New World Ray, Adey and more.

 

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Dafe Oboro Made A Magical Video

The video for “Runaway” is an undeniable visual feast and we can all agree that Dafe Oboro, its director created something very special. The video told an amazing story about two children who grew up, then grew apart but after a long while found themselves again and continued their love story. Everything about the video was exceptional from the storytelling to the costuming by MOMO Lagos. 

The Album Is Almost Here

If you’re familiar with The NATIVE, then this shouldn’t take you by surprise as the NATIVE has teased a forthcoming album for a while and now, project manager Kulupsy has confirmed that the album is coming sooner than we expect. She also shared the album will feature Afro highlife duo, The Cavemen as well as the two artists on the lead single off the project, Ayra Starr and Lojay. 

The Album Ties Around 4 Seasons

The NATIVE album ties around 4 seasons, the Rainy season, Harmattan, Christmas and summer, and the record “Runaway” falls under the rainy season on the project. The album is also centred around familiar voices and new sounds as Kulupsy, the album’s project manager reinforces throughout our conversation.

Run back the pilot episode of NATIVE Sound Radio below.

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Hot Takes: ‘The Kardashians’, Coachella Fashion, Sungba’s Hype & More

This past weekend, Easter came and went in a breeze. For the past few years, the long Easter weekend has become one of the most eventful times of the year with the highly attended Homecoming festival, taking the bulk of our attention. This weekend, I was fortunate enough to attend the music and fashion festival for the first time in its four-year run and it was all very exciting. There’s always the usual family drama that comes with any holiday, that brings gossip that lasts until the next family gathering and in the world of pop culture, nothing stops spinning (not even for the coming of Jesus).

In this week’s Hot Takes, I’m sharing my opinion on a couple of things that have happened in the past week, that including my takes on the new Kardashians show, my opinions on a show about yet another young white scammer, Asake’s hit record “Sungba” and Elon Musk’s Twitter Drama. Enjoy!

What I’m watching

The latest addition to the scammer show catalogue is Hulu’s mini series ‘The Dropout.’ The show follows the story of Elizabeth Holmes, the infamous Theranos CEO who manufactured faulty blood testing machines, resulting in several misdiagnosis. The show documents her journey from an awkward but determined teenager, to a corrupt, fraudulent executive. 

After watching the attempted girl bossification of Anna Delvey in ‘Inventing Anna,’ I was a little skeptical when starting ‘The Dropout.’ The show impressed me by offering a nuanced view on Elizabeth without ever justifying or minimising her actions. The early episodes do humanise her through her backstory. It shows how her fathers job loss may have put pressure on her to succeed and how a reported sexual assault caused her to drop out of college and throw herself into her new company without a backup plan. However, it never shows Elizabeth as a victim however, but rather as someone who is willing to use her status as a conventionally attractive white woman to get money, status and now sympathy.

What I’m listening to

Recently I’ve been listening to ‘Paradigmes,’ the album by the French rock band La Femme. Many of the songs have been featured in everything from the 2022 thriller ‘Fresh’ to ‘Emily In Paris’, and the housing album itself features a diverse group of songs that are all equally as cool and atmospheric.

The tracks “Cool Colorado” and “Les Jardins” were particular standouts for me. This is based off the easy and cool vibe that the records exhibit. Although the tracks are in Spanish and I don’t understand up to 20% of what is being said, the calm I feel towards the song makes it easier to get lost in it. 

As a Kpop fan, I’m used to listening to music in foreign languages, and my year 11 French has enabled me to actually sing along to about 20% of the lyrics from this album. My teachers would  certainly be proud of me right now

Coachella Fashion Is Changing

Homecoming was not the only festival that took place last weekend. Coachella, one of the world’s highly attended music festivals returned this Easter weekend after a 2-year hiatus. Its return was even more welcome due to the talented spate of featured artists on the roster such as Harry Styles, Billie Eilish, and Swedish House Mafia (with the Weeknd). However, this weekend, despite its return, conversations seemed to revolve around the outfits and styling.

For a very long time, Coachella was considered one of the major fashion events of the year.  Many influencers and concert-goers used it as an opportunity to showcase their hot button fashion items and along the years, it became a safe ground for many to cosplay being a 70’s flower child. It was the perfect source of inspiration for people with a boho chic aesthetic.

The two year break has shown quite vividly how much has changed however. The pictures from the event showed several influencers and celebrities departing from the norm and wearing outfits that could have been worn at any outdoor event. There have been murmurs of dissatisfaction online from people who usually look forward to this event. This has been attributed in part to the rise of influencers attending the event and dominating the content that comes out of it.

The Kardashian Returns To Our Screens

‘Keeping Up with the Kardashians’ ended its 14 year run on E! In 2021. The show came to a dramatic end with the famous family debating the pros and cons of ending the show during its last few episodes.  All this feels a little anticlimactic with the premiere of their new Hulu show ‘The Kardashians.’

At first glance, there seem to be some differences between the two shows. There seems to be an attempt at being more politically conscious and transparent. The Kardashian-Jenner clan turn and talk directly to the camera in the middle of conversations and talk extensively about the fact that they are being filmed. There is also a notable lack of background music in many scenes however, despite the attempts at a more natural feel, the show is inevitably still a reality series.

Their images still feel as curated as ever, with Kim pushing a persona of a relatable boss lady who’s just trying to juggle motherhood and her career. A notable clip that’s been making the rounds on social media for being staged is one I’m less sure of though. In it, Saint, Kim Kardashian’s son, shows her a game, where someone claims to have new footage from her old sex tape. Her slow reaction in covering the screen and confusion over how Roblox works makes this feel almost awkward enough to be real.

It is convenient that something that major kicks off the storyline for their new series. Perhaps they’ve just gotten better at staging scenes or the awkwardness was an unintentional result of bad acting. The entire episode did feel off kilter as they attempted to combine a documentary style with the staging of a usual reality tv show. I hope the show can find its footing with a balance between the two styles, or else commit to more familiar reality tv conventions. The preview for the rest of the season did seem good, so I’m a little excited against my better judgement.

Is “Sungba” Befitting Of Its Hype?

Earlier in the year, uNder alum, Asake released his debut 4-track EP, ‘Ololade Asake’, right after signing with Nigerian record label YBNL. There’s no denying that the EP delivered hit records but the song “Sungba” was an early standout, eventually earning the singer a remix with Burna Boy. Many people are already calling it the song of the year.

Considering that we are only four months into the year, statements like this seem a little premature. On listening to the song, and hearing it performed live, the song’s production and lyrical content makes me understand where people are coming from. It’s a song that always seems to elicit strong reactions from people, with the crowd’s reaction to Asake’s performance at Homecoming reinforcement enough that Asake has hacked the winning formula. The question now is simply if it will have staying power. Will people still feel the same way eight months from now? If the outpouring of love for the song is anything to go by, it’s likely to be in people’s ten by the end of the year, at least.

Elon Musk vs Twitter   

It was recently revealed that Elon Musk had become Twitter’s biggest shareholder, and since then the public back and forth between Musk and the social media company has been a sight to behold. Musk has begun making polls asking Twitter users about their satisfaction with various features of the site. At first, Musk was announced as a board member, but then he turned down the position. He later announced his offer to completely buy the platform for $43 billion, an offer that Twitter’s board of directors is currently trying to block.

Considering how hostile the relationship between Musk and Twitter’s board of directors is, I wouldn’t want to see the shitshow that would occur if he did buy the platform, or maybe it could be entertaining to watch drama between people with too much money and time on their hands.  Musk has previously expressed his dissatisfaction with the social networking site and its apparent limited free speech. Considering Twitter’s tendency to already let too much go unchecked on their website, making it a haven for trolls and Neo nazis, Musks enthusiasm about free speech on the platform makes the idea of him owning the platform less fun. 

Sterling Bank Ad and censorship

Over the Easter weekend, Sterling Bank released a controversial advert. It likened the resurrection of Jesus Christ with the rising of Agege bread. On it a tagline reads “Like Agege Bread, He Rose!”. There has been uproar from many calling it distasteful, offensive and blasphemous. The Advertising Practitioners Council of Nigeria (APCON) has criticised the advert, stating that Sterling Bank would be punished. I can’t say that I’m surprised by people’s reactions. It definitely seems like a huge misstep to send out an ad like this in a country where religion is of utmost importance.

It’s not surprising that Sterling Bank has since deleted the ad. However, people should certainly be allowed to react to materials that they see as offensive. Where I do have worries, however, is with the intense response from APCON. The government body recently released a statement saying that Sterling Bank would be sanctioned according to the law and shared that, “No religious belief or faith is [to be]ridiculed or any blasphemous advertisement exposed in any guise.”

This response from a government body feels unsettling, considering that the advert did not contain anything particularly obscene. Nigeria is a country where people already don’t feel empowered to criticise any aspect of religion due to unfounded dogmatism. Having a company punished over something so harmless further creates an environment where people cannot make statements or share their opinions over fears that they will be sanctioned or worse yet, punished. 

Stop the press PLEASE!

Year after year, as Nigeria and the rest of Africa have become cultural hotspots worth visiting during the Detty December period or the Homecoming Easter weekends, I’ve begun to pick up on a strange phenomenon that occurs. If you’re paying attention, you’d have picked up on it too. And that is British tourists coming to Nigeria and posing with armed security officials, who to other Nigerians, are a symbol of oppression and fear.

Pictures of them posing with Nigerian police officers circulate online, and sometimes with confusing reactions. I can’t pinpoint exactly why this happens but it’s a near yearly tradition that just has to stop at some point. Do they just think their outfits look cool? Or perhaps the tendency to carry obscenely large guns is a novelty to British citizens, whose police are rarely armed. Regardless of the reason, it always makes me a bit uncomfortable to see these pictures knowing that our own are dying by these very weapons. It feels like something to be used as proof that they’ve been to a third world country once they return home.  Hopefully we can get to the bottom of why this occurs, or otherwise stop the trend of using African citizens as props for tourists either ways, I’m fine.

Featured Image Credits/NATIVE

Deep Cuts: Revisiting BOJ’s “BOTM” places his trajectory into perspective

BOJ was always destined to be great. In 2013, he lined classic records such as Show Dem Camp’s “Feel Alright” and Ajebutter22’s “Omo Pastor” with his unmistakable vocals in the form of a smooth husk which could soundtrack the quintessential Lagos movie. Paired with the rap efforts of his collaborators, both songs became early manifestations of a new alternative movement, and BOJ became a vehicle for its journey into the future.

The years after then have unravelled favourably for Bolaji Ojudokan. He has released music at his own pace, yet manages to stoke sufficient hype around projects. A debut album with longtime cohorts DRB Lasgidi underscored the collective’s still-groovy synergy and influence on alternative culture. Acclaimed collaborative projects with Ajebutter 22 spawned cult classics like “Yawa” and “Too Many Women”. It’s been a brilliant run-up to his forthcoming sophomore ‘Gbagada Express’, particularly because of its stacked feature list which again highlights BOJ’s artistic tendencies as a collaborator. It’s clear that he’s not so much concerned with being the lone star as much as curating a wholesome sonic experience. 

However, BOJ has also been known to take the microphone by himself, especially during the early years of his solo career. While he’d broken out through lacing rap songs with instantly memorable bridges and hooks, the singer had a mixtape out, ‘#BOTM’, at the time as well. It would take a while for listeners to warm up to his distinct style, but when they did, it paid off. His entry into the mainstream came accompanied with a win at the Headies award for Best Alternative Song in 2014. This was emblematic of BOJ’s unique appeal.  

“BOTM” translated to ‘Bolaji on the microphone’, a syrupy and sunny record about pursuing one’s dreams. Usually musicians are verbose when dealing with such infinite material, staking their entire philosophies as bet for their incredible odds. BOJ is rather cool. His delivery is the equivalent to an image of the class genius playing around minutes before the exam. In the opening lines, he’s assured as he sings Time is coming, I know that it is nearer/ The future is bright o, I know cos it is clearer” and later on making humble brags such as “got my dark shades on/ so I don’t see no later” and “moving forward, so I guess I’ll see ya later”. There aren’t many lines on the record, helping give an elusive sheen to its luscious keys.

The project had other great records like the Lola Rae-assisted “Ginger”, a cinematic offering full of the groovy synths that chracterised Nigerian Pop in the 2010s. “Blow” was a posse cut featuring Poe, Tec and Teezee. The verses are laced with the seamless bragaddocio you’d expect from such a line-up, all of them centering BOJ’s desire to blow. In 2017 BOJ’s debut album ‘Magic’ was released, helmed by a long list of collaborators who’ve either been present since the journey’s start or got on along the way. 

This Friday, the much anticipated sophomore ‘Gbagada Express’ will be released, and it’s telling how closely BOJ has been flying towards home. From the obvious nod in its title to the pan-African leanings of his chosen collaborators, the artist is again presenting himself as one of ours, just as he did all those years ago when he first grabbed the microphone.

(Re-)watch the video for “BOTM” here.


PREGAME: BOJ TAKES US BEHIND-THE-SCENES AT JAMESON CONNECTS

Elsa Majimbo’s Debut Film Is Set To Premiere At This Year’s Tribeca Film Festival

Comedy and humour aren’t Elsa Majimbo’s only strong suit. The 20-year old internet sensation and former NATIVE cover star is a hyphenate that dabbles in many diverse industries including fashion, and more recently tech.

Earlier this year, Elsa released her debut NFT collection on Crypto.com, following the release of her exclusive Maison Valentino x The Alphabet For Kids & Adults book last year. The exclusive collection brings to life the foundational building blocks of our stories: letters. 

 

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Now, following her recent deal with Logitech, Elsa Majimbo has announced her debut self-titled film ‘ELSA.’ The short documentary film which is set for its world premiere at the Tribeca Film Festival, this year, is a story about her life and the realities of being unashamedly herself, in a world that was not built for Black African women such as her.

‘ELSA’ is produced and directed by Julie Jansch and Mohamed Kheir and written by Elsa herself. The screening for ‘ELSA’ has been slated for June 9th and June 16th. A few hours ago, Majimbo took to her instagram to announce to her 2.5M followers that her debut film would be arriving very soon. She shared: “My first ever film! This icon is getting her premier at @tribeca film festival 2022! I love the title, “ELSA”, stunning!”

Find out more about her film here.

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ICYMI: 11 Projects You May Have Missed This Year

Life In Ink: Psycho YP is always adding to his collection

Last year Psycho YP was the crowned prince of our yearly (and highly disputed) Best Rappers list, a fitting way to round up a prolific year replete with singles, EP’s, and stellar features. While he’s been working at this break neck pace for the better half of the past few years, this year the Abuja-based rapper is showing no signs of slowing down.

Off the back of a blistering EP titled ‘Euphoria’ last year — an eclectic 9-track oeuvre — he opened the year with a glistening collaborative two-pack single with his protege Azanti, as well as a handful of singles. Away from the music scene he’s also been making moves in his personal life. Just last month, he bagged his second degree from The University Of Manchester.

 

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Born and raised in the bustling metropolis of Abuja. Psycho YP has metamorphosed from being a scrawny kid gravid with hopes and dreams, into one of the leading voices of the new wave of Hip-Hop in Nigeria. Six years ago, aged 18, he put out his debut project, an EP dubbed ‘Lost In the Sauce’, solidly planting himself in the industry.

Speaking about the start of his romance with music, he says, “I think it was like secondary school or so, I was just into American music, I just found a studio one time. It wasn’t like a normal studio, the owner was my age so that just made it easy for me to start the shit yunno. There was always people rapping around me for some reason. So my uncles used to rap, my brother used to rap. So I was just always people rapping, for some weird reason.”

There’s no denying that YP is one of the most gifted rappers from this part of the word. He’s popular for an extensive gamut of reasons, including his rapid-fire lyricism and his amorphous versatility. One subtle component however, that brazenly marks his art, is his too-cool-to-stress type of delivery — a patience and breeziness that’s associated with unbridled self-assuredness. Encircling every word he spurts is this clipped breezy aura — He doesn’t try to be cool, he just is. Like everyone else, YP had his heroes as a child. Lil Wayne was one of them, outside looking to him as a source of musical inspiration, he also admired his tattoos. Speaking on this, he says, “I used to fuck with Young Money a lot, and Lil Wayne’s always had tattoos. He’s one of my top sources of inspiration.”

Much like his role model, Lil Wayne, YP’s body is colourfully adorned with tattoos in varying sizes and degrees, which tell a story about the man he is today. His first tattoo was of his beloved mother’s name, which he got several years ago in Manchester through a stick and poke needle. Now, with over 20 tattoos already, Psycho YP is always adding to his collection.

Here’s a breakdown of Psycho YP’s tattoos.

NATIVE: So, how many tattoos do you have?

PSYCHO YP: I have like, I mean, if you count them. I don’t have big pieces like that, I only have two big pieces but then, they’re all like small pieces. If you count them individually though, they’re like 20 or so. The first is a logo of the ‘YP Season 1’ cover art on my right wrist, the other is an image of an Egyptian queen, Nefertiti, whose facial features have been swapped for his mother’s. I was looking for some crazy shit to do at the time, and I stumbled across a picture online, and I was like…I don’t know, something inside me just said ‘I have to go get that shit.

NATIVE: What was the first tattoo you got?

PSYCHO YP: My first tattoo is my mum’s name on my left wrist, like, very tiny. It wasn’t (done with) the tattoo machine thing, it was like a needle, she had to literally go over the tattoo like three times, it was my most painful tatt.

NATIVE: What inspired your first ink?

PSYCHO YP: I don’t know, I just wanted to get a tattoo. That was when I just moved to Manchester per se, I just felt like — damn! With all this freedom, I can actually get my tattoo. I didn’t want to get anything big, I just wanted to test my parents to see how they’d react to it. So I just got a small one first, but I always knew I’d get a bigger one

NATIVE: Which of your tattoo would you say is your most memorable?

PSYCHO YP: I’m not even sure. I think right now, it’s gonna be the one on my left arm, the butterfly because people keep seeing the butterfly on my left arm and keep asking me why I would get a butterfly on my arm. But I’m like, yeah, I like butterflies but it wasn’t even meant to be just one, but I was in a studio session when they were doing the tattoo, so I just told the guy to stop after the first one.

NATIVE: What ink do you plan on getting next?

PSYCHO YP: I don’t really plan like that, I just go with the flow

NATIVE: Which tattoo do you hate the most?

PSYCHO YP: Ehhh, I don’t even know. I think the tattoo I hate the most is the one on my right arm. I don’t hate it because of anything deep. I just hate it because the tattoo guys didn’t really come out the way I wanted it to be. It doesn’t even show properly. So that’s why I don’t like it, but I like it in general. It’s on my right wrist, a sunflower.

NATIVE: Which of your tattoos is your favourite?

PSYCHO YP: My favourite one has to be the queen (Nefertiti) on my right leg. It’s also biggest one.

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NATIVE Premiere: Midas The Jagaban & Liya celebrate “420” in style

Midas the Jagaban has been ruling the airwaves since 2020 with her anonymous persona and harmonious vocals. Repping South London’s Lambeth district, she made her debut in the summer of 2020, releasing the infectious anthem, “Come We Bill Ehh,” which instantly endeared her to fans. Since then, she’s only continued to double down on efforts to showcase her rapid-fire skills.

Now, Midas the Jagaban has released her first single of the year, sharing the new track and video on the celebrated 420, a special day for cannabis lovers. To Midas The Jagaban, the 420 experience needed to be felt and celebrated in a meaningful way. Hence the release of the Liya-assisted new number titled “420,” which finds both artists paying homage to marijuana and having a good time, as they chant lyrics such as “whatever I do, I do it better when I smoke my marijuana.”

The song’s visual storytelling is characterised by blunts, lighters and a lot of hotboxing as it emphasises the song’s infectious lyrics about getting high and letting go of one’s worries. The trippy visuals take viewers to a futuristic carefree environment where they are safe to let go of their inhibitions.

While both artists appear to just be having a good time, “420,” breaks the norm that cannabis is only used by men, boldly opposing the pure and naive image that’s often forced on African women by society’s conservative ideals. Midas the Jagaban seals her status not only as a prolific artist but, one also capable of shape-shifting and melding different genres and sounds to her will.

So roll one up, relax and and get a first look at “420,” exclusively on the NATIVE.

Songs of the Day: New Music from Chike, Ceeza Milli, Portable & more

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

Amidst this torrent of new music, the NATIVE is committed to highlighting the best releases you need to hear, and possibly add to your playlists. That’s the essence of our ‘Songs of the Day’ column. Last Friday, we highlighted new drops from Reminisce, Liya, Adekunle Gold, AV and more. Today’s curations includes releases from Masterkraft and Chike, Ceeza Milli, Portable, Nia Ramzy and more.

MASTERKRAFT — “HOSANNA” (Feat. CHIKE)

At the inaugural edition of The Voice Nigeria, sensational vocalist Chike left the entire nation taken aback by his mercurial vocal prowess and his electrifying stage performances. Week after week, he thrilled, leaving his name on the lips of an entire nation—and eventually finished as the second runner up. Following a smattering of singles and a stellar debut album, Chike is back with another glistening offering. 

On this record, he’s tapped by ace producer Masterkraft for a Gospel-inflected Amapiano number. Chike’s effusive voice holds its own against the rich melodic Amapiano grooves and thumping percussion of the Masterkraft produced beat. Over the anthemic Gospel-patterned song, Chike is effusively grateful and reflective as he sings about the curdling joy lodged inside him and offers poignant praises to God. 

B-RED — “CALL ME”

Following a brief hiatus, veteran Nigerian pop singer B-Red swaggers back onto the scene with a lush new offering. On “Call Me”, he cleverly melds R&B melodies with the quintessential bouncy percussion of Afrobeats into a refreshing whole. His sultry voice contrasts the tranquil production, upholstered by clipped guitar riffs and zingy bounce, creating a delectably riveting effect. He sings about his undying love for his muse, elaborately describes the lengths he’d go to win her love, and tells her to call him with the poetic deftness of a veteran bard. “Call me anytime you need me, I’d be running back to your arms/For you I’ll run a thousand miles, you’re the perfect picture, the star,” he sings. 

NIA RAMZY — “BABY”

On “Baby”, newcomer Nia Ramzy layers interesting lyrics on a lush R&B-tinged Afropop record, crafting a brilliantly refreshing record by effect. On the production, H-Born rallies an extensive assortment of sonic elements—clipped percussion, poignant keys, groovy bass riffs, lancing synths—and strings them end-on-end to create a placid ethereal sound. The singer holds up her end, offering soulful crooning, as she expresses her deep longing and affection for her muse. 

CEEZA MILLI — “CHOP LIFE”

On his new single, “CHOP LIFE”, Ceeza Milli is sombre and introspective, which is especially astonishing considering the title of the track. While he does sing about exuberance and luxury, the themes of the song lean full-tilt towards the topics of negativity doled on to him by his detractors, his prowess as an artiste and the uncertainty of life, which are all harbingers to his central message of living life to the fullest. The amber-hued environment provided by the pensive production, walks in lockstep with his singing, and functions to transpose the message of the song into an even more lofty echelon. 

RIC HASSANI — “LIKE A QUEEN RMX” (Feat. SAID PALACIOUS)

For his latest offering—a re-up of a standout track from his 2021 album The Prince I Became’—Ric Hassani taps burgeoning Guatemalan singer Said Palacious. On the reggae-tinged Afropop record, laced with groovy guitar riffs, Ric offers adulation to his muse with his glib sonorous vocals. Said Palacious sultry vocals holds its own against the stripped-down groovy production, as he offers poignant crooning in his native Guatemalan. 

PORTABLE — “CLEAR”

Following his 2021 smash hit “ZaZoo Zehh”, Portable isn’t losing any steam as he follows through with yet another single. On “Clear”, an uptempo ballad upholstered by a poignant melody, he weaves in and out of meaningful singing and playful babbling. Scooting between Nigerian Pidgin and Yoruba, he sings about how crucial money is in today’s society and fills in the rest of the song with playful histrionics. 

IHCEGO — “YOU”

“You” is a clever fusion of R&B and Afropop that inspires the thrill of hearing a lush work-in-progress. Over the sombre, guitar-upholstered production, Ihcego expresses the full gamut of emotions of a person stricken with love. Using poetic lyrics, she paints an elaborate tableau of the breadth of her love for her muse. 

CEEZA MILLI & MUGEEZ — “YOU”

On this record, sister nations—Ghana and Nigeria—fuse into a sturdy whole. The song sees ace Ghanaian singer and 1/2 of R2bess, Mugeez join forces with Nigerian singer Ceeza Milli. Upholstered by a groovy guitar riff and sparse percussion, the tranquil production of the song inspires a flurry of serene emotions. On the romantic ballad, the duo take turns offering adulation to their muse with cheeky lyrics and soulful crooning, the result is an electrifying performance.


ESSENTIALS: BOY SPYCE RENDERS EMOTIVE TALES ON DEBUT EPONYMOUS EP

Best New Music: YoungstaCPT immortalises his memory of Riky Rick on “Dear Rikhado, Love Riyadh”

Riky Rick was several things to many people. To those of us that interfaced with him through the lens of celebrity, he was a supremely talented rap artist, a successful entrepreneur, and a staunch advocate for the youth. For those who paid a little more attention to his interviews and the conversations he shared in public, his unabashed honesty about our fleeting existence as humans was as bracing as it was jarring, referencing struggles with his mental health and counterbalancing the grimness with a sense of purpose—a belief that it’s not all meaningless.

On his deeply moving tribute to Riky Rick, “Dear Rikhado, Love Riyadh,” Cape Town rapper YoungstaCPT includes a portion of the conversation between the pair, during which Riky Rick pondered human ephemerality and legacy. Used in the song’s opening moments, that except was culled from the tenth episode of “Lab Live,” the interview series where Riky Rick roamed around, and dug into, a variety of topics with his rap colleagues. In the episode with YoungstaCPT, they discussed everything from Prophets of Da City pioneering rap music in South Africa to the complex colonial history of the rainbow nation.

Towards the reluctant end of the 98-minute chat, Riky Rick gushed about this being emblematic of their sporadic phone call conversations. Whether you knew of their relationship or not, the mutual respect and reverence YoungstaCPT shared with the recently deceased Riky Rick is deeply woven into “Dear Rikhado.” As its title indicates, YoungstaCPT’s tone is conversational, an open letter to an unexpectedly departed friend. Having taken some time to consider his feelings and the circumstances of Rick’s passing, he’s considerate in his writing, offering the type of immediate clarity that comes in the aftermath of the first wave of tears and broodiness.

“You seemed larger than life but still as real as one of us,” YoungstaCPT recalls over a soulful, bare bones beat, establishing himself as a narrator without any conceit beyond memorialising. There’s the acknowledgement that Riky Rick had closer friends, there’s appreciation of his legacy, and there’s regrets about their relationship not deepening even further than the occasional meetings in Jo’burg and those phone calls on nights when Rick’s spirits were low. What truly distinguishes “Dear Rikhado” as a tribute piece, though, is the amount of grace YoungstaCPT extends, to Rick’s family, to himself and, most importantly, his deceased friends.

When he does bring up the alleged suicidal ending, he simply quips, “It is what it is,” with no sermonising and no overt need to understand, tacitly recognising the complexity of that decision, especially from a man who was explicit about his will to live. The consistent thoughtfulness YoungstaCPT has exhibited across his catalogue, especially on his cult classic album ‘3T’, is again apparent on “Dear Rikhado,” accepting the finality of death and eulogising the eternal mark Riky Rick left in his short time on earth.

Listen to “Dear Rikhado, Love Riyadh” here.


DEEP CUTS: RIKY RICK WAS UPFRONT ABOUT HIS WILLINGNESS TO LIVE ON “HOME”

TurnTable Top 50: Black Sherif’s “Kwaku the Traveller” stays at No. 1 for second straight week

Black Sherif is everywhere right now and the mercurial Ghanaian doesn’t seem to be stopping anytime soon. His smash jam “Kwaku The Traveler” has retained the Turntables Charts top spot for the second week running. 

During that time it got up to 6.10 million equivalent streams (18% higher than last week) and with 34.3 million in radio reach, it was propelled from No. 43 to fourth place on the radio charts, a staggering 230% increase recorded. This means that every song that has debuted at No. 1 at TTC has enjoyed successive weeks at the top, with the exception of Davido and Nicki Minaj’s “Holy Ground”.

Asake’s “Sungba (Remix)” with Burna Boy goes one place higher, from No. 3 to No. 2. Going in opposite movements, Rema’s “Calm Down” occupies third spot. The record also leads the radio charts for the consecutive eight week, matching the year’s record run of Fireboy DML’s “Peru”. There are no changes from last week’s No. 4 to No. 8—in that order is Pheelz and BNXN’S “Finesse”, Skibii and Davido’s “Baddest Boy (Remix)”, Asake and Olamide’s “Omo Ope”, Fireboy DML’s “Playboy” and Darkoo with Black Sherif’s “Always”.

Completing the top ten is Black Sherif and Burna Boy’s “Second Sermon (Remix)”, peaking at No. 9 and Seyi Vibez’s “Billion Dollar” debuting at No. 10. Sherif’s song had 2.42 million in equivalent streams (No. 6 on streaming, up 60%), 4.06 million in radio reach (No. 109 on radio, down 34%) and 6.85 million in TV reach (No. 11 on TV, down 0.5%). As a result, Black Sherif joins Davido, Wizkid and Olamide as the only artists who have recorded at least 3 top ten entries in a week. In addition, Black Sherif is now the non-Nigerian artiste with the most top ten entries, surpassing Justin Bieber.

Seyi’s “Billion Dollar” is currently only available through streaming, and it tallied 2.56 million equivalent streams (No. 4 on streaming chart) to become the artist’s first top ten entry on the Top 50.

You can go through the full rundown of this week’s TurnTable Top 50 here.


REVIEW: REMA’S ‘RAVE & ROSES’

Essentials: Boy Spyce renders emotive tales on debut eponymous EP

These days, it’s become tradition for Mavin Records to unveil a new artist early into the year. A year ago, it was Ayra Starr, and before her, Rema, who were both launched into fantastic careers off the back of their debut EP’s. Last week, Boy Spyce, Mavins latest act, played to a similar tune by releasing a self-titled EP and following the path of the label’s previous signees. In usual fashion, the EP generated its fair share of buzz, but Boy Spyce was even more celebrated for reasons that may not be apparently obvious.

 

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While Boy Spyce may be new to some, the young artist has actually been inching towards this moment. Last year, the youngster’s cover of “Essence” was a regular fixture across social media, which earned the newcomer the attention of industry heavyweights along the line. In a little over a minute, the cover displayed the groove of his delivery, a soft voice that almost sounds too good to be true. Expressing the flair for storytelling, he described himself as “one broke boy from Isolo” before mapping the relatable story of being in love with someone who is beyond your social bracket.

So it came as no surprise when Mavin Records announced the artist’s onboarding. Boy Spyce re-entered the popular consciousness, but this time under markedly different terms. Now, he has a project helmed by some of the best professionals in the continent, and the ears of an ever-ready Afropop audience. As on previous freestyles and early records, Boy Spyce’s voice is stunningly vulnerable, conveying his well-crafted lyrics with necessary flushes of drama.

“Dreams” is a perfect opener, on which the artist flexes his songwriting skills by charting the trajectories of two characters, depicting the often striking ways people can grow apart. “Feel so incomplete, as you dey park your bag to leave/ And I dey look you through my window; boy you have to chase your dreams, you have a plane to catch by six,” he sings over the pensive, minimal production, subtle violin effects in the background. Some records were obviously crafted for the excitement of dancefloors. “Bad Things” follows the archetypical direction of sensual records, replete with coded talk and bad boy vibes. “Off your heels and your grey gown” is as descriptive as they come, and Spyce keeps his vocals on that pulse throughout the song, later singing “girl I’ll do some things to you/ many, many, many bad things.” Highlife-esque strings roll into bright drums on “Wayo”, with the artist hyping up a love interest in brazy fashion. Romantic affiliations are again centred in “Nobody”, and here his tender demeanour reaches perfect form when he sings on the hook, “Cos love no go work if your heart no dey beat/ The ship no go sail if your feelings dey sink.”

The EP closes out with “Destiny”, which is right now my favourite song off the tape. It’s not as though Boy Spyce’s lyrical abilities aren’t flagrantly captured across the other songs. What happens on the EP closer is the natural result of a man’s heart singing its truest melodies, finding lessons through his journey.

The lingo of Spyce’s Isolo area and his native Benin are combined to sweet effect as he sings of hard work and perseverance being necessary motors for success. “Person work hard you dey call am grace/ When you dey sleep, e dey work for rain”, he sings on the most quotable lyrics, with Andre Vibez’s mellow production setting a comfortable vibe which strengthens the song’s message.

With the track record to show, Mavin Records have seemingly mastered how to break artists into the market. Still, it is testament to their ingenuity that these eponymous debuts don’t sound overtly intentional. On his debut, Boy Spyce does well enough, breaking out on his own and showcasing his skillset. However, it fell short at some points, with beats that were too similar and repetitive. Nonetheless, his vocals and impeccable songwriting save the day as Boy Spyce is never shy to pluck the unlikely metaphor. With the clarity and wisdom in these songs, it shows that the best is yet to come and he’s surely one to watch out for.

Stream ‘Boy Spyce’ below.

Featured image credits/BoySpyce

What’s Going On: Death toll rises in SA, Egyptian court cracks down on female influencers & more

“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.


Egyptian court cracks down on female social media influencers

Earlier this week, an Egyptian TikTok star named Haneen Hossam was sentenced to three years in prison after charges were brought against her for exploiting young girls on video sharing platforms. She was initially sentenced to ten years, but this verdict was later cut short with an additional fine of 200,000 Egyptian pounds ($10,740) being levied against her by the Cairo Criminal Court.

This is not the first time that Haneen Hossam will be arraigned in relation to exploitation and trafficking. Hossam was first arrested in 2020 and, along with another influencer named Mawada al-Adham, was sentenced to two years for “attacking society’s values” in online videos. She was detained after posting a video on Instagram explaining how women could earn up to $3,000 by broadcasting videos using the video creation platform Likee, which authorities interpreted as promoting women selling sex online.

Authorities have been cracking down on female social media infleuncers for some time now, with Hossam being the latest in the line of viral stars to face jail time. In recent times, several belly dancers and pop singers have been targeted over online content deemed too racy or suggestive. Egypt has over the past few years enforced strict internet controls through laws allowing authorities to block websites seen as a threat to national security and to monitor personal social media accounts with more than 5,000 followers. Last year, Amnesty International shared, “Women TikTok influencers are being punished for the way they dress, act, influence on social media, and earn money online,” said Amnesty International researcher Hussein Baoumi. “This is part of the authorities’ attempts to control cyberspace by policing women’s bodies and conduct.”

Death toll rises from SA floods

KwaZulu-Nataal is healing from one of the worst floods South Africa has faced. A state of disasteer has been declared as the government has deployed over 10,000 troops to assist the victims. The KwaZulu-Natal provincial government estimates that billions of rand worth of damage has been caused to properties and infrastructure, describing the heavy rains as unleashing untold havoc. Some communities have been completely cut off as major the roads to the port of Durban, one of the busiest in Africa, are impassable after the swollen river washed mud and debris onto the roads.

At the beginning of the year, the area was hit by two tropical storms and three cyclones in six weeks resulting to gigantic damage with 230 reported deaths. Currently the rainfall has eased up but the amount of rain which fell was equal to about 75% of South Africa’s average annual precipitation.Weather experts have said that climate change may be contributing to changing patterns and making such extreme events more frequent. The government is urging citizens to move to higher grounds and avoid building homes close to water bodies.

Nigerian authorities warn over viral schoolgirl video

This weekend, disturbing reports surfaced on the Internet after management authorities in Chrisland School VGC reneged on their duty of care to protect students during a school trip in Dubai. According to reports, in March, 76 students between the ages of 10-15 were selected to represent their school in the World School Games. During their trip, two underage students, both male and female (11 and 10 respectively) were performing sexual activities on each other, which was then recorded and circulated around the school.

At some point, school authorities caught wind of the video and allegedly subjected the young female student to three pregnancy tests without consulting her parents. According to the mother’s report, her underage daughter was also verbally abused and bullied with death threats if he told her parents what had transpired during the school trip. Shortly after news reached the media, Lagos State authorities swiftly moved to close down all branches of the Chrisland School franchise within the country. Following the closure, Chrisland authorities released a statement sharing that the case was being investigated by the relevant Ministries, Departments and Agencies, including the Ministry of Education, Office of Education Quality Assurance, Ministry of Youth and Social Development, Ministry of Justice and the Lagos State Domestic & Sexual Violence Agency, whilst the criminal allegations have been escalated to the Commissioner of Police.

Since news broke out, many have irresponsibly and illegally shared the clip containing child pornography online. While the case was shared on social media, the sensitivity of the matter at hand means that the identity of the victim must be protected. The Lagos State authorities have now warned against sharing or receiving child pornography as it carries a 14 year jail term. The Lagos State government have ordered for the immediate close of Chrisland school pending further investigation. Meanwhile the school is denying of any wrong doing stating they have suspended the male student involved.

 

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UN warns about drought in East Africa

The World Food Program has issued a drought warning in East Africa. Ethiopia, Somalia and Kenya are the driest they have been for 40 years and the rains have failed to materialise almost a month into the current rainy season. They are experiencing the driest conditions and hottest temperatures since satellite record-keeping began.

As a result, as many as 13 million people are currently experiencing acute food and water shortages and a projected 25 million will face a similar fate by mid-2022.Despite several warnings of the disastrous drought, funding has not been made available as the war in Ukraine has resulted to rise of shipping costs and fuel prices thus affecting wheat supply.

In November 2021, scientists at the Famine Early Warning System Network sent out a warning that an unprecedented drought in the Horn of Africa was impending if poor seasonal rainfall continued into 2022. Tragically, their prediction is turning out to be prescient.

Featured image credits/The Guardian

‘Blood Sisters’, The First Nigerian Original Series Is Coming To Netflix This May

Last year, EbonyLife Studios and Netflix began stoking anticipation for the first-ever Netflix Naija original series, titled ‘Blood Sisters,’ by sharing the star-studded cast list which included Nancy Isime, Ini Dima-Okojie and more. The crime-thriller which is directed by ​​Biyi Bandele and Kenneth Gyang is now coming to life, with a release date slated for May 5, exclusively on Netflix.

 

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According to its synopsis, the 4-part series tells the story of two best friends, Sarah and Kemi. Sarah is engaged to her dream man, Kola, however, their seemingly idyllic union has a dark side – Kola is a physically abusive and controlling fiancé. Despite Kemi’s vocal misgivings, Sarah is determined to press on with the wedding. On the day of the traditional engagement ceremony, tragedy strikes, unintentionally setting off a catastrophic series of events, finding both women on the run.

‘Blood Sisters’ is the first Nigerian original series on Netflix, following the multi-title deal between the streaming giant and Mo Abudu through her media house and production company, EbonyLife Media. The series also features some Nollywood veterans including Ramsey Nouah, Kate Henshaw, Uche Jombo, Segun Arinze and Joke Silva as well as well as Nancy Isime, Ini Dima-Okojie and Deyemi Okanlawon, and many others.

In an official press release statement, CEO of EbonyLife studios, Mo Abudu shared: 

 “Blood Sisters is a crime thriller, which is a new genre for us, so the prospect was challenging but very exciting! It was also a particularly unique and intense experience as we shot during the pandemic, but we remained committed to the vision we share with Netflix – to tell authentic and exciting African stories with superb production values.”

Watch the trailer for ‘Blood Sisters’ here

Featured image credits/

Songs Of The Day: New Music From Reminisce, Liya, Adekunle Gold & More

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

Amidst this torrent of new music, the NATIVE is committed to highlighting the best releases you need to hear, and possibly add to your playlists. That’s the essence of our ‘Songs of the Day’ column. Earlier this week, we brought you songs by Phyno, Bella Shmurda, Olu Bliss and more. Today’s selection includes songs from Reminisce, Liya, Adekunle Gold, Simi, AV and more

Reminisce – “Overdose” ft Simi 

For his third official release of the year, veteran rapper Reminisce has tapped Simi for new single “Overdose.” The romantic number sees the singer pleading to his muse to remain with him while he figures out how to reinvent himself. On the Quebeat-produced record, he sings “oh baby tell me what you want, girl I want to know abi you no want to do again/The thing be say I love you die I hope you know, mo gbe e sori bi gele oreke lewa” on the pre-hook of the track. Simi steps in shortly and delivers a stellar verse, singing equally romantic lyrics to her muse. 

Liya – “Adua (Remix)” ft Simi 

Last summer, Liya presented to listeners her debut EP ‘Alari’, a 6-tracker which featured standout records such as “Melo” and “Adua”. Today, Liya is here with the remix for “Adua” as she features Afropop singer Simi to bolster the song to newer heights. Simi opens the record with her verse, interspersing her thin and beautiful vocals across the track as they both express their deepest desires. Over the song’s infectious production, both singers blend their undulating vocals seamlessly across the track. 

Tayc – “D O D O” (Adekunle Gold Version)

Singer, songwriter Adekunle Gold has arrived with a refix for French singer Tayc’s original record titled “D O D O”. On the record, Adekunle Gold switches the tempo of the track, making it more slowly paced number as he delivers a beautiful verse that rivals its original version.

AV – “Big Thug Boys Remix” ft. Jireel 

Following the release of his breakout record “Big Thug Boys”, Newcomer and Fresh meat Alum, AV has further amplified the record with a remix. The record features a guest verse from Swedish-Angolan rapper Jireel. The rapper adds a befitting verse to an already enjoyable track, as he sings lyrics such as “I can make you sing them high notes, I’m a lover girl no playboy/anything you want Imma give to you”, specifying his intentions towards his muse. 

J.Derobie – “Ato Me So” 

Ghanaian singer, songwriter and performer J.Derobie has arrived with his first official single of the year “Ato Me So”. The singer arrives with an uptempo Afrobeats track infused with elements of R&B on the production, as he quips his meaningful lyrics in his mother tongue.

Sefa – “Soft Life” 

Ghanaian singer and Black Avenue Muzik signee, Sefa delivers a new record titled “Soft Life.” The song sees the artist speaking on the good things of life that she deserves, from designers to money and wealth, over the memorable production of the record. She sings lyrics such as “so so enjoyment, put am for my waist/make i dey, make i count money” to paint a clear picture of her affluent and unperturbed lifestyle.

Lex Ash – “Sweet Me”

Singer, photographer and visual artist Lex Ash kicks off his musical year with new record “Sweet Me”, a slow tempo romantic number which sees the artist singing to his muse with sensual and melodious vocals. He sings lyrics such as “Cause every time  you call my phone I can’t help myself to pick the phone just to say hello/e just dey sweet me to hear your voice”, speaking on how she makes him feel. 

Buchi Davids – “Come Around”

Newcomer Buchi Davids kicks off his musical career with his first record “Come Around”, a mid tempo Afrofusion record which sees the artist singing to his love interest, and delivering a sensual message. On the track, he chants lyrics such as “tell me what you want baby talk talk talk, anything you need baby I’ll be right there”, over the melodious production of the Blaise Beatz-produced beat.

Featured Image Credits/NATIVE

The Shuffle: Revisiting P-Sqaure’s “Beautiful Onyinye Remix” With Rick Ross

The P-Square era is undoubtedly one of the most dominant in Afropop history. At the time, their unprecedented understanding of R&B filtered into dance-ready bops, earning them countless hits throughout the 2000s and the nascent years of the following decade. By the release of their fourth album (2009’s ‘Danger’), the Okoye twins had entered an echelon of superstardom unoccupied by anyone else in Africa. After peering into sold-out stadiums and seeing no new hill to conquer, they then set their sights on the international market.

To achieve this, the twin duo required new partners. And fittingly, Akon at the time was exploring the African music scene, especially Nigeria’s which had been shaping up to be the continental hotspot. P-Square signed partnership deals with the Senegalese superstar’s Konvict Musik and Universal Music Group, so naturally their network expanded. When African listeners heard Rick Ross’s gruffy vocals on the chords of “Beautiful Onyinye”, a new dimension seemed to have unlocked.

Coming halfway into 2012, the potency of the collaboration lay in its international vision. Having released their debut album in 2003, the twins were playing on steep turf as they entered their second decade. Their ability to continue excelling at the game needed a big showcase, and they didn’t come bigger than the rapper born William Leonard Roberts Jr. In an interview with Ok! Nigeria TV, Peter said they were chilling somewhere in Atlanta with Akon, when Rick Ross came in and he loved the vibe; apparently the original “Beautiful Onyinye” was Akon’s favourite song on ‘Invasion’.

Directed by their brother Jude “Engees” Okoye, the visuals of the remix were pretty unforgettable. It was shot in Miami and South Africa, embossing the calming blue of the sea in the mind. The song revelled in innocence, praising a love that has survived time and contributed to the lives of the characters involved. As always the twins evoked deep emotions with their storytelling, most likely influenced by their exposure to Igbo oratory. Adlibs and sentimental croonings also came into the mix, resulting in a record that glistened with hit potential, even among the other bangers all over that album.

On his verse, Rick Ross did well by keeping it simple. Carrying the language of hyper-capitalist brags into an Afropop love song didn’t have many precedents then. Which was part of the reason why the remix seemed so strange at first, but when one listened again, the idea stuck. Ross starts his verse with the affirmation “We fell in love on the first day” which, if you remember, used to be screamed like a prayer. Other lines followed with relative ease, exuding the charisma that made Ross so revered among African audiences. “We talking money here, you talking nonsense” was particularly popular, sketching the nonchalant exuberance many of us imagined to be the texture of celebrity existence.

If the remix of “Beautiful Onyinye” was a novelty at the time, there’s no doubt how commonplace such collaborations are now. Afropop has scaled gigantic heights to reach an undeniable level of acclaim internationally. Anyways, Rick Ross is a name which should come up more in discussions about international stars who were early admirers of Afropop. Though he didn’t trod the genre as frequently as some others, it speaks more to his respect for its true practitioners. His offerings have been sparse, but indisputably beneficial on artistic and commercial levels.

He delivered another lush verse on Yemi Alade’s “Oh My Gosh”, complementing her boisterous energy with lyrics that would sway any woman who’s already in love with you. Another thread of the rapper’s relationship with Nigeria rolls into “Hold Me Back”, a poignant visual shot during his visit to Nigeria in 2012. Its montage of documentary clips, live shooting in black and white soundtracked by the synth-heavy bass of 2010s American Hip-Hop provided an immersive experience at best, and a controversial one if considered sceptically: why does he choose to floss over pictures of slums?

Hip-Hop shares a strong relationship with Afropop, and the “Beautiful Onyinye” remix remains among its finest transcontinental showcases. Its impact was immediate and transcendental, a capsule into a period that’s remembered with cherry nostalgia. Just proving really, that music is the most effective calendar of our collective existence as Black people.

Featured image credits/NATIVE


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

Hot Takes: Real Housewives of Lagos, Flutterwave allegations & more

In the blink of an eye, the first quarter has burned through without respite and we’re now firmly planted, knee-deep, in April. The past few months have played host to some of the most absurd and head-spinning happenings we’ve witnessed in recent times. From Will Smith scuttling from his seat to the stage of this year’s Oscars ceremony to wallop Chris Rock with a slap, to the anthology of Oxlade’s sex tapes that circulated the Internet, spawning the most hilarious memes and reactions (#Spiderman).

The past few months have redefined the fringes of pandemic and lowered the bar for normalcy. As days become months, it has become clearer that this is reality and not a bizarre dream. The Academic Staff Union of Universities has been on strike for a little under three months, while episodes of nationwide power blackouts and fuel scarcities have become the new normal. Around the country, ritual killings, kidnappings and banditry are all on the rise. Recently, a train on course to the nation’s capital was attacked by terrorists, leaving many dead, some injured and others kidnapped without recourse or any glint of hope.

Even on a lighter note, the not-so-Super-Eagles crashed out of the AFCON tournament prematurely and fell at the hand of the Black Stars of Ghana in the World Cup qualifying tie. I saw a meme to this effect, a picture of a debilitated fallen eagle was paired with a caption that went along the lines, “What the Eagle gets when it thinks it can fly higher than a star.” This string of malaise even laid hold on our very own starboy who lost out on his two Grammy nominations to the shock and dismay of many.

Away from the news of doom and gloom, and in the spirit of “we move!” and “cruise no dey ever finish,” we bring to you another instalment of Hot Takes, the informally toned and incisive column where we dig into the most controversial and mind-boggling happenings in the pop culture scene. In this week’s offering, we explore topics such as — domestic violence in Nigeria, the corporate culture in Nigeria’s tech ecosystem, amongst others. Strap in and as I take you on an enthralling ride. 

What I’m listening to

At the moment, I’ve been listening to a lot of Hip-Hop projects, new and old ones alike. I’ve also been scouring the internet — like a drug addict in need of his fix —for exciting music — new, old, Rock, Classical… anything potent enough to stimulate me. Nigerian pop has been an arid desolate expanse for a minute though there are occasional sparks of excitement every now and then. However, these sparks are too sparsely distributed to trigger a fully blazing fire. I’m a huge Afrobeats nerd, so it sucks to have to turn elsewhere for succour, but it is what it is.

Over the past few days, I’ve found myself binging on Baby Keem’s The Melodic Blue’, bits and pieces of Kanye’s Donda’, Jaden’s ‘CTV3′ and Fivio Foreign’s B.I.B.L.E.’ Special mentions to ‘Made In Lagos’, ‘Rave And Roses’, “Lemonade” by Vince Staples  and this new Bia and J Cole collab dubbed “London”. Of all these music listed out, CTV3′ and B.I.B.L.E’ are the staples in my music pantry. 

Lagos can be incredibly fast-paced and crazy, and having music that primes you to cope with this can be a life saver. That’s where Fivio Foreign’s B.I.B.L.E’ comes in for me. Nigeria is also an incredibly difficult place to live in, and like most Nigerians, I often find myself scurrying around for an escape. Those who can afford it jet out every now and then for a breath of fresh air, a moment of respite. Others like me escape through music, and that’s where CTV3′ has come in handy of late. The tape puts me in a trippy, psychedelic-esque mood. When I’m fully immersed in the record, I feel like I’m slowly exalting, aloft in a breezy delicate mass of marshmallows. Except in reality, I’m either tucked in bed, squirming around under the covers or in an Uber headed to some location in the ever-bustling Lagos Metropolis. 

What I’m watching

Over the past few weeks, I’ve been incredibly busy, and as such I’ve been unable to commit to watching a series. Occasionally, I take out sometime to watch a movie. If I’m to be candid, what actually goes down is that I spend the first hour carefully doing reconnaissance and researching the movie to watch, before settling down to watch the movie. 

Last weekend I watched ‘CODA,’ ‘The Bubble’ and ‘Dune’. Interestingly, ‘CODA’ and ‘Dune’ were spotlighted heavily at this year’s Academy Awards, with ‘Dune’ picking up 6 awards. All three movies are incredibly enthralling. ‘The Bubble’ is a rib-cracking story set in 2020, about a movie-shoot during the pandemic that went horribly wrong. ‘CODA’ is the story of a girl from a deaf family of four, who’s passionate about singing. In the movie she struggles to balance pursuing her career as singer and helping out her family, all the while navigating love, platonic friendships and the intricately delicate web of social relationships that teenagers are often caught in.

‘Dune,’ however, was the highlight of my weekend. There was a lot of outrage and riveting discussions when the said movie made a clean sweep at the Oscars , raking in 6 awards, but after seeing it, I understand the hype and I think it deserves every award or acclaim it got at the show. From the costuming to the storyline, down to the cinematography and sound, everything was expertly executed. It’s one of those movies that slowly reels you into their cinematic universe, carries you along and forces you to think. 

Ketanji Brown Jackson becomes the first Black woman in the U.S. Supreme Court

Ketanji Brown Jackson recently made history by becoming the first Black woman to be admitted into the U.S supreme court of justice. For the longest time, the U.S supreme court mirrored the power dynamics of American society. For years, it consisted of only White upper-class males, over time the court has become slightly more diverse but it remains largely dominated by White men. For context, excluding the newly installed Ketanji Brown, only two other black people in all of America’s history have graced the Supreme Court. 

Currently, of the 12 actively serving members of the court, there are only four women (who are all white) and just one Black man. Given this backstory, it’s easy to see why Ketanji’s appointment to the court has raised so much dust and is already a huge historical moment. Given America’s reputation as a paragon of democracy and liberal values, this is a step in the right direction. Another interesting point to note is that the Senate voted 53-47 to confirm her appointment. This shows how divided the house was about setting this momentous precedent. A few years ago, talk of a Black female Supreme Court appointment would have sounded like a pipe dream, but even in this day that this has become a lustrous reality, opposition to this is still strong. This shows that there is still a mountain of work to be done.

Hopefully, in the coming years, greater strides will be made in a bid to achieve an equal society.

The Real Housewives are about to bring all the drama

written by Wonu Osikoya

The highly-anticipated ‘Real Housewives of Lagos’ is now airing on Showmax and it truly is full of drama as promised. Only one episode in and you can already feel the heat. The show follows the lives of five successful women Laura Ikeji, Carolyn Hutchings, Chioma Ikokwu, Toyin Lawani-Adebayo, Iyabo Ojo & Mariam Timmer, who are living intriguing lives and want more people to have a look into their lives. The show also flaunts money, riches and wealth in the faces of viewers. Marking the 16th version of the ‘Real Housewives’ franchise and the third in Africa, the Lagos franchise seems to be the most talked about so far as only an episode has steered so many conversations on social media.

I predict this season is certainly going to be as chaotic as you can imagine and also extremely interesting. So far, the season sees Laura Ikeji and Carolyn Hutchings as the most controversial and this is based on conversations and the discussions that have arisen from the pilot episode. Something I noticed while watching was Toyin Lawani’s attitude, you can tell she’s not ready to fake anything and she’s always ready to say things as they should be said, I’m predicting she’s going to be a character this season for sure.

It’s still quite early to discuss the many characters in the season but mid season, I should have hotter takes on this topic. In terms of production, I think the production team did quite well for the first episode and going forward, I hope to see more screen time on Laura, Iyabo Ojo and Chioma. The final character Mariam Timmer has not been introduced but hopefully by the next episode we should get into her character.

The continued terror of domestic violence in Nigeria

Last week Gospel singer Osinachi Nwachukwu’s life came to a painful end. The celebrated singer was most popular for her song “Ekwueme” which is a staple in Nigerian homes and churches and has garnered over 71 million views on YouTube. Initially, her death was attributed to cancer, but as the days turned, more details unraveled. Her death is now attributed to domestic abuse meted out on her by her sinister abusive husband. Based on multiple reports from friends, family (including her children), church members and neighbours, her husband was perennially abusive towards her — both physically and verbally — during the time they spent together. 

Following her death, social media has been beset by a wave of domestic abuse videos, bringing to cognition a looming dark reality of Nigerian society. Abuse is ubiquitous in Nigeria. A conspicuous ghost. When high profile cases, like this one pop up, the reactions are of utter bewilderment and shock, but abuse in this part of the world is so glaring and furnished that reactions of bewilderment border on cynicism. The shocking aspect of this case is the sheer number of people privy to the abuse that the late singer was perennially subjected to, and no substantive effort was made to rescue her from the snares of her abuser.

Nigerian society is communal and the notion of personal boundaries is a woozy one — people unobtrusively comment on everything and actively wade into other people’s business, but when it comes to issues of domestic violence everyone looks the other way. Elderly ones will offer lengthy sermons if you do as little as dye or cut your hair in an eccentric way, but insipidly splurt “It’s their personal business” when they come across issues of domestic violence. Ironic. 

People experiencing domestic violence are physically and mentally debilitated and they need the strength of a community to lift them from the ravine they’re stuck in. Thankfully, her husband has been arrested and the police are investigating the case. 

On the corporate culture at Flutterwave 

Over the past few weeks a slew of high-profile Nigerian tech startups —including Bento Africa and Kuda —have come under fire for their chaotic corporate culture. Flutterwave, Africa’s gleaming tech unicorn is the latest tech startup to join the fold. In a sensational article decorated with lustrous CIA-esque receipts and documents, popular investigative journalist David Hundeyin alleges that the CEO of Flutterwave — Olugbenga Agboola who goes by the alias GB — is guilty of financial crimes including insider trading, fraud, sexual impropriety, amongst other things. 

The article has been a hot point of discussion and more details of the case are unraveling in real time. While David has been issuing retorts to those looking to poke holes or demand better ethics in his reportage, Flutterwave has been playing the silence game, refusing to publicly engage even though some have called for them to sue on grounds of defamation. Whether David’s story is a sensational ball of fluff or it has real substance to it, it’s the latest instance that sends a message to horrible bosses across the country — there are repercussions for the horrible practices that go on within workplaces. 

Tory lanez continues to harass Megan

In 2020, Tory Lanez shocked the whole world when news made out that he allegedly shot at Megan Thee Stallion. Two years later, he continues to leave us stunned. Lanez was taken into custody early this month after a judge ruled that he violated protective orders in his first assault case where he was charged for allegedly shooting  Megan. Back in February, Lanez wrote in a now-deleted tweet,  “Good d— had me f—ing 2 best friends, and I got caught, that’s what I apologised for … it’s sick how u spun it tho.”

According to the judge, the tweet was a violation of the protective order restraining him from contacting or publicly mentioning his ex. He was ordered to pay a fine of $350,000, and his trial is poised to be held in September. This case spotlights how persistent, subtle and insidious abusers typically are. Even after shaking them off, they constantly manipulate their way back to dole out the same damage they did before. This has been the trend in a couple of high profile celebrity cases of late. If rich and powerful survivors of abuse find it difficult to wrangle free from the clutches of their abusers, how much more the average person being abused. Survivors need as much help and support as they can get. 


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