6 Young Nigerians On How Growing Older Affected Their Perception Of Love

Regardless of the hyper-commercialisation of Valentine’s Day that has occurred over the last decade due to humanity’s ongoing pivot to digital tools of communication and amplification, it is hard to escape the sentiment behind the day whether it is being celebrated in the context of agape, eros, ludus, or philia love. Some might even say that humans are made – and socialised –  to love in certain ways whether it is the love of self, longstanding love, or a deep love for family. 

Part of growing up is learning the patterns that define our lives and seeing what type of love we are expressing in our day-to-day life; similarly, growing up Valentine 2022 is as good a time as any to cast minds back and look at the different ways that our understanding and interactions with love has evolved. To get some answers, we had a little chat with members of The NATIVE team as well as members of our wider community. 

How did you understand love growing up?

Judith: I understood love growing up as a deep feeling that should be cherished between two people and to keep it sacred as long as it should between couples.  Love so far is not a feeling, but something that should be built on and should be afforded the attention and other ingredients that makes it worthwhile.

Emmanuel: A lot of the love we felt growing up as young Nigerians was couched in provision. If you had everything you needed, you were loved. This is mostly how I understand it. There were few emotional touchstones, but I also grew up in a large family so everything just rubbed off somehow. Sometimes there was warmth.  

Chibuzo: As a young child my opinions on love were shaped by teachings in Sunday School,  my parents and a smattering of Disney animations. I understood love as the warmth I felt inside when someone showed care or when I cared deeply about someone. When I was eight years old, I remember one afternoon when my brother (he’s three years older) came home crying, someone had hit him—a neighbour. I remember asking him with so much anger “Who hit you, just tell me”. The dude who hit him was like 14 years old, I remember bursting out of the room, racing to ‘go get’ the dude who hit him. When I got to the guy, I was taken aback by his height, he was like twice my height, after threatening and raining curses on the dude, he just burst into laughter and apologised—That’s how I used to be with those I loved. What I felt inside used to move me to do the unthinkable. 

Levi: Growing up, the word LOVE in my opinion was overused, even till now I think. Over time, I’ve come to understand that love isn’t just about butterflies or whatever people say – it’s a feeling, a feeling of deep understanding and utmost care and affection for someone or a thing. 

Enioluwafe: Love to me, was what I saw between my parents. I always felt the genuine love they had for each other and for us (the children) through the laughter and care they exhibited. Also, I was exposed to a lot of Disney movies growing up so I had that Disney definition of love where it was cute and happy and joyous. It was all very surface level though. I don’t think I fully understood the concept, just the idea of it.

Wonu: Growing up, I got to understand a lot of things early as I grew up with a single mother and my grandparents. Love was always about being with family and being there for family at every given opportunity and this shaped me in such a way that when I love, I love with everything. 

Eniola: I mostly thought about love in a familial and religious context. I never thought too deeply about it because I thought it was expected of me to love my family and God.

 

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Has that perception changed? If so, how?

Judith: NO, the perception hasn’t changed so far. But what I would say is LOVE in now in our present times has been watered down into something that isn’t real, just a fiction of the mind telling you how it should be. Traditionally speaking, it’s just how it should be that’s why my perception hasn’t changed. 

Emmanuel: As I grow, I learn that love could be ‘cheap’. It doesn’t just provide but cares. And throughout my relationships, I try to keep a certain degree of sensitivity. To be thoughtful about stuff. 

Chibuzo: I’m twenty-one now and all I can say is “Life and love have shown me pepper”. Maybe I’m just being too extra because to be fair, I haven’t experienced a lot of heartbreaks so far. But I think I’m more circumspect, I understand the difference between love, lust, and infatuation. I also understand that love doesn’t isn’t a two-way switch, it exists on a proverbial analog scale—There are levels to love—you know how the level of heat a pressing iron produces is determined by an analog rotating dial? That’s how I understand love to be now—the degree of love people have towards someone or something varies. Sometimes I understand that someone loves me but that they don’t love me to the extent that maybe I want at the time and that often determines my willingness to commit to a relationship. I find this profound because people often ask “Do you love me” but almost no one asks “How much do you love me”.

Levi: I would say it has really, growing up and being in a committed relationship for five years now has given me a different perspective to love. And to be honest, love is cheap – but, to love honestly and be loved wholeheartedly. nothing in the world beats that, well except a shit load of money. 

Enioluwafe: I think the word I’d use is deepened. I definitely have a better understanding of what love is. From relationships with my friends (which to me has been the purest exhibition of love) to romantic relationships and familial relationships. It is still joyous and happy and is about care. The world has not done enough damage to me not to be optimistic about love. (Christ, I sound like a proper romantic; ew.)

Wonu: Not really, to be honest, now I just love but with more boundaries. I grew up understanding love because of how my mum and grandma taught me to love but I’m also more intentional with how I love anyone or anything. I’ve grown to understand the concept of love and day in day out, I seem to understand it even more.

Eniola: Yes, my understanding of love has broadened quite a bit. I love people that aren’t my family and I’m mostly indifferent about god. I love and appreciate my parents more now, I think most of the ”love” I had for them before was simply because they provided for me but as I got older, I started to see them as individuals just trying their best like everyone else.

What sort of love appeals to you now?

Emmanuel: Soft, intentional, playful love. Love that sees through the fake smiles and asks, “What’s wrong?” Love that can be immersed in play and abandon, that doesn’t care much for what other people think. It’s a bit hard coming by this love in contemporary Nigeria but I’m utterly convinced it’s out there. Somehow, we’ll find it. 

Judith: Intentional love, honest actions and words, and love that’s about me (obviously reciprocated) that shows me that is all I need. I have known myself to be needy and set aside insecurities and all but that has shown me love that is worth every attention. Also, when both parties are open to each other about their secrets and all. My type of love to be honest is the “Bonnie and Clyde” love, to always do things together, conspire, sleuth, and above all to be honest to each other, the type that seduces you to be committed completely. 

Chibuzo: I don’t think I have a particular type of love that appeals to me now, I just really like it when I know someone has my back. 

Levi: I really don’t have a way love appeals to me, I feel that the more intentional you are about things and how honest you can be in whatever relationship it is you’re in can propagate your relationship you don’t have to love me back for me to love you. I try to be kind because everyone is fighting one hard battle or the other. 

Enioluwafe: Honest, intentional love I think. I don’t want to think too much about what I say or who I am around you if we love each other. Ease, companionship, and like I said before, a friend. I think we underrate the importance of having a friend you can talk to any time, no matter the season or topic. So yeah, these are definitely things I unintentionally look for in a partner.

Wonu: Right now, intentional love. The kind of love that you don’t need to labor for, it’s just right. The kind of love that makes you warm and safe, yeah, there’s nothing that matters to me more than intentional love, being with someone that you can refer to as your better half; a companion. 

Eniola: Something soft, sweet, and affectionate without secrets and judgment. I’ve been very guarded in my relationships and I didn’t even know I could be affectionate until recently and it felt freeing, I’d like to explore that. Life is hard and having your person makes it less daunting sometimes. 

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TurnTable Top 50: Rema’s “Calm Down” Debuts At No. 4

In preparation for the debut album ‘Rave & Roses’, Afrorave singer and songwriter Rema released his second official single off the forthcoming project titled “Calm Down”.

A week after its release, the track has made its entrance on the TurnTable Top 50 charts, debuting at no. 4. Within just a week, the record has 38.1 million in radio reach and 2.21million equivalent streams respectively, earning Rema his 5th Top 10 entry on the chart. It joins his other singles, “Peace of Mind” which debuted at No. 7, “Bounce” at No. 4, “Soundgasm” at No. 3 and JAE5’s “Dimension” which debuted at No. 9. 

Currently sitting at the No. 1 spot this week and for the 4th week in a row is the Davido-assisted “Baddest Boy (Remix)”, as the record becomes the third song to spend four weeks at No. 1. The track tailed 5million equivalent streams, 13.7 million in TV reach and 41.8 million in radio reach.

It is followed by Fireboy DML’s “Peru Remix” with 21 Savage & Blxst. According to TTC data, the No. 2 entry of “Peru” accounts for all four versions of the song; the original, the remix with Ed Sheeran, the remix with 21 Savage & Blxst and the acoustic version. Asake’s “Omo Ope” with Olamide retains its No. 3 spot this week, tallying 25.7 million in radio reach, 2.89 million equivalent streams and 1.25 million in TV reach.

Holding down the 5th and final spot in the top 5 this week is Lil Kesh and Zinoleesky’s “Don’t Call Me”. Kizz Daniel’s “Pour Me Water” stays at No. 6 for another week while Reekado Banks’ “Ozumba Mbadiwe (Remix)” with Fireboy DML moves down 3 spots to No. 7 this week. This makes TI Blaze’s “Sometimes (Remix)” with Olamide slip down one spot down to No. 8. Rounding up this week’s top ten is Kizz Daniel’s “Eh God (Barnabas)” at No. 9 and Mayorkun & Victony’s “Holy Father” at No.10.

You can view the full breakdown of the charts here.

Songs Of The Day: New Music From Töme, Olakira, Tion Wayne & More

After the many wins forged by Afropop last year, the musical landscape has never looked more promising. As such the fast and furious pace of new music releases makes it hard to keep track of all the good music coming out of Africa. That’s where our Songs of the Day column comes in.

We’re doing the work to stay on pulse with all the music coming out from across the continent and beyond, bringing you exciting songs of tomorrow: today. Last weekend, we brought you new releases from Simi, Mohbad, Black Sherif, Tesh Carter and more. To begin the new week and celebrate Valentine’s day, get into these new releases from Töme, Olakira, Tion Wayne and more. Enjoy.

Töme – “Nobody Else”

Award-winning Canadian singer-songwriter Töme is ready to start off the year with a bang as she releases her first single, “Nobody Else”, in anticipation of her forthcoming album ‘Löv’, which means love over vanity. On this track, Töme digs into her romantic feelings for a love interest as she talks us through a scenario where she experiences hurt or heartbreak. She repeats “I want nobody else”, representing her level of affection towards her love interest, although he has broken her heart. Töme’s album is only a few days away as its slated for a 24 February release date.

Olakira – “Fall”

Olakira kicks off the new year with his latest single “Fall”. Over the Amapiano-inspired beat produced by Tim Jay, Olakira is about to sound off his romantic affections for a love interest. He provides smooth vocals and love induced lyrics that are perfect for any playlist. “Fall” comes after the success from his smash hit song “Maserati”.

Tion Wayne & M24 – “Knock Knock”

North London rapper Tion Wayne reconnects with rapper M24 on the latest single dubbed “Knock Knock”, which is released alongside an accompanying video shot in London. Produced by Frank Ampomah & Andy Broski, the track is filled with catchy trim lines like “wanna roll with the big boys” and signature ad-libs we’ve all gotten used to from the duo. Both rappers first worked together on the single “London” two years ago.

Uche Malik – “Rizza”

Nigerian-American singer, rapper and songwriter debuted his latest single, “Rizza”, his first single of the year. Over the song’s catchy production, he sings about a love interest who he can’t get off his mind. “Take me to your tomb, I’m your raider/She dey phone, the phone no fit enter,” he sings, expressing his feelings and serenading his love.

Jaysynths, Teni & DGT – “Mad Thing”

Singer and composer Jaysyth’s new single “Mad thing” features Nigerian hitmaker Teni and DTG, a follow up from his most recent release titled, “Nobody”. The Afro-pop song is incredibly catchy, especially with Teni’s vocal ability and signature sound which perfectly compliments the song’s infectious production and DTG’s catchy lyrics.

Eli De Great ft Buju & Kinsolo – “Ton Ton”

Fast-rising producer Eli De Great released his debut EP titled ‘Love Is Drug’, which features the standout track “Ton Ton”, featuring Buju, now recognised as BNXN and Kinsolo. “Ton Ton” is a romantic and sensual number that will have you swaying your body its propulsive rhythm. Armed with catchy and quotable lyrics, the songs sets the bar for where Eli De Great can go sonically.

Jay Teazer – “Taste Like”

Singer and songwriter Jay Teazer recently released his latest single titled “Taste Like”. Over the tracks’s upbeat rhythm, Jay Teazer repeats “Gimme that love wey dey taste like Hmmm” on the chorus, lacing poetic words together to represent the love he craves from his love interest.

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Best New Music: Asa explores the motions of self-love on “Ocean”

It took Asa 12 months to release her first (and only) song of 2021, but this year’s been off to a glorious start already. With her forthcoming album ‘V’ slated for this Friday, the iconic musician shared its second single over the weekend.

“Ocean” flows in the Pop-infusing direction of “Mayana” and is produced by P.Priime, the wunderkid who is chopping beats for some of the biggest artists in the game right now. His sparse production centres the luscious quality of Asa’s vocals, permeating every second of this blissful record. At just over three minutes, its relatively quick run time is complemented by the memorable quality of its songwriting.

 

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Asa is known for dipping in the complex waters of our emotional existence but here she rides on simpler currents. “I hope I’m not too much for you, I know where I wanna be/ why won’t you just let me be?” she sings, letting her hair down and just being free in her existence. As an artist who broke out as a prodigy, there’s the tendency for Asa to be perceived within the confines of her accomplished artistry. I’m human, she seems to say, channeling the ancient symbol of the ocean as a metaphor for maintaining her fresh perspective to living.

Since last year, speculations have been emerging on the kind of music Asa was creating, as she was increasingly letting fans into parts of her private life, showing the humorous and goofy sides to her. If anything, “Ocean” hints at her updating the folk/R&B sensibilities of her early sound, pairing its affecting lyricism with sunny elements from contemporary Pop.

She also teamed up with Meji Alabi for the song’s visuals. Packing a number of colourful scenes filled with joyful activity, the video mirrors the intimacy of the song and places the Black body in cinematic contrast against the blue of the ocean. Shot around a beach, there’s a slow quality to Alabi’s camera, following the movements of the on-screen characters with focus and rhythm. The result is a video every bit as exciting as the song, complementing what is already a delectable offering from one of the continent’s greatest musical talents.

With Friday just around the corner, we’re breathlessly on the wait for what Asa has got planned for us. Going by the brilliance of her previous pair of singles, there’s every chance we just might be clicking play on a contender for album of the year, regardless of the fact we’re still a long way off December. This is Asa we’re talking about after all.

Stream “Ocean” below.

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Music entrepreneur Jamal Edwards passes away at 31

Over the weekend, news of the passing of legendary Black British author, broadcaster and DJ, Jamal Edwards took the world by surprise. The family of the late music entrepreneur had shared the news on social media, referring to his passing as a tragic loss due to unforeseen circumstances. He was 31 years at the time of his passing. 

Best known for his invaluable work in setting up SBTV in 2006 at age 16, Edward’s influence on Black UK culture is palpable through all he has worked with. SB.TV or SmokeyBarz (SBTV) is now a leading media platform which champions the music and experiences of young people, particularly in genres such as Hip-Hop and Grime. Over the years, the influence of SBTV has become undeniable, as it has been at the forefront of the careers of many artists and producers including Dave, Ed Sheeran, Stormzy and more.

Before he was the mastermind behind the media outfit, SBTV, Edwards was already building a long-standing career in the music and entertainment scene. In 2013, he became the first Youtuber to release an e-book and interactive game, ‘Self Belief: The Vision’ which swiftly became a best seller and led up to the release of hardcopies. Over the years, he’s lent his hand to a number of ventures aimed at giving Black British creatives and entrepreneurs the chance to get their foot in the door, by providing a platform for them to showcase their talent. Edwards was given an MBE in 2014 for services to music and was an ambassador for Prince Charles’ charity, the Prince’s Trust.

Edwards influence on the culture extends far beyond just SBTV. He’s also been instrumental in merging sounds from his home city, London with emerging acts from around the African continent. Recently, in an interview with Elton John on his Apple music show “Elton John’s Rocket Hour’, British singer, songwriter and performer Ed Sheeran stated that the Jamal Edwards had sent him Fireboy’s hit single “Peru” and mentioned that Fireboy would love to have a guest verse from him on it.

Tributes from have been paid in by celebrities and other public figures such as Dave, AJ Tracey, George The Poet and many more.

May his soul rest in peace.

Here are some of the tributes:

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NATIVE Exclusive: Sipho Is Challenging Hyper Masculinity With His Music

Zimbabwean British singer and songwriter Sipho captured the heart and ears of audiences with his powerful and captivating voice since his first EP in 2016, and has followed this up across the years with a string of steady releases including the 2021 self-produced EP titled ‘AND GOD SAID’.

With awe-inspiring singles such as “Bodies”, “We Ain’t”, and two-part single “Moonlight Pt1/2”, Sipho has showcased a unique mixture of vulnerability and honesty on his views of a range of coming-of-age topics including organised religion, faith and his identity as a Black man. Through his inquiry into his own complex wiring, listeners are able to see and hear their experiences represented and in turn, the singer has carved out a lane for himself.

Besides his vocal ability and unapologetic style, a key component of Sipho’s music, that sets him apart is the thought-provoking subject matter he uses as inspiration for his music releases and projects. In ‘She Might Bleed’, Sipho explores the issue of hyper masculinity in his generation and the ways in which it directly affects the women in his life. These thoughts began after he was robbed and nearly lost his life, a terrifying experience for anyone, especially for a young adult like Sipho.

Following this, Sipho began to open his mind and see the bigger picture. Instead of harbouring anger towards his attackers, Sipho instead confronts these feelings he’s facing head on. He questions what life circumstances could drive someone to pick up a knife or a gun and hurt another human being. Speaking about this, Sipho shares that “we see bits of it in ourselves as young men, less potent but still present.” 

“At first, it was mainly about hyper masculinity, the violence and greed, the self-centred nature of it all, but it kinda comes down to how it impacts the women in our life. Whether father, son, brother, it all tends to affect the women in our life. I feel like that is one of the relished and acknowledged ways we could be as young men.” 

‘She Might Bleed’ took Sipho eight months to record, write and produce, just in time for this defining moment. Sipho is always known to write his music and is very hands-on with his work. This trait isn’t any different with ‘She Might Bleed,’ as he and Joseph Rogers worked together in completing the EP. “It’s good to have that extra ear to say yes and no and give new ideas and different ways to look at things”, says Sipho, as he doesn’t shy away from creative input from others.

Sipho strategically picked songs he felt invoked the exact feeling and message he aimed to share with his listeners from a long list of songs. This is because he is firm believer that the best creatives are also the best curators and can help portray the message that he intends to. Sipho’s love for music began with his curiosity for writing and putting out music from age 11. At that young age, he was inspired by the authenticity in the music from Frank Ocean, Tyler the Creator, Solange, James Blake, Sampha. By the age of 15, he began working on his music, putting it on SoundCloud and garnering an audience. At the age of 18, during his A-Levels, he made the decision to pursue music fulltime and hasn’t looked back ever since.

Now, off the excellent reception from his last EP and single releases, Birmingham-based singer Sipho is giving us exclusive access to the world around his sophomore EP, ‘She Might Bleed’. Following its release last Friday, we caught up with the singer to talk about his inspiration, background, his other interests and the future of his music career.

The conversation which follows below has been lightly edited for clarity.

 

NATIVE: Hi Sipho, how are you doing? It’s so good to have you on call today. Congratulations on the EP ‘She Might Bleed’. How does this moment feel to you? 

SIPHO: It’s nice to be putting out music. It’s a blessing. The time to get the chance to speak about things on record for a living and I guess take away all the different experiences that come with it. I’m super grateful 

NATIVE: How would you describe your songwriting and creation process? 

SIPHO: It comes from anywhere. It could be a movie , a conversation and taking all that information on Board. If I like it and it’s something I wanna work with 

NATIVE: When you make music, who do you make it for? Are you just creating what you want or do you have an audience in mind? 

SIPHO: I picture a lot of people. It’s mainly for whoever wants to listen but naturally you just absorb the things you see. I feel like the people I’m around and things I see are all reflected in my music. Being part of Gen-Z we are really weird and bizarre in the way we do things and being around these people it’s all gonna leak into the music. 

NATIVE: Your chose to centre your EP around hyper-masculinity in society. What fed into that decision?

SIPHO: I feel it’s something that needs to be considered and talked about more cause it’s not. It’s not always my job to know why because I see myself as a vessel and I’m blessed with creativity but I get that kind of information from a higher place. I think it’s something that just has to be looked into more so we can affect some kind of change.

NATIVE: You’ve released “Occasion” & “Beady Eyes”, what do each of these track have to say about the overall message of the project?

SIPHO:  In the EP I talk about “Occasion” first and with the way I wrote the EP, it was like a narrative. “Occasion” establishes the position of whoever it is that we are writing about and their struggle when it comes to love and their love interest. What I noticed in our generation is that we have an interesting struggle with love and with how on and off we can be with people we care about. It made me realise that although it’s in my generation we have to go further to everyone else really.

Although with how back and forth we are, there is still passion. Just the difficulty with accepting who you are and trying to figure out who you are. “Beady Eyes” is more of the uncomfortable side of things when it comes to figuring out things for yourself as an individual and managing other people’s expectations and what that can do in your head. But the music can be applied anyhow you want cause once this song goes out it’s not mine anymore 

NATIVE: When putting together ‘She Might Bleed’ did you face any challenges or setbacks?

SIPHO: The whole EP has challenged me with the subject matter because I got to dive into something new and stretch myself even further, especially in the project’s final track. That’s where I found it the most challenging. It’s not the best I can do, but it’s pushed me in a good direction in terms of providing information and lyrics in a different way.

 

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NATIVE: Which artists do you see yourself working with and would merge seamlessly with your sound?

SIPHO: I have people that will be really cool but I don’t know if it will connect. I’d love to work with Bougie, the producer, Desire who is representing a whole new thing. I wanna get in a room with The Alchemist. Instead of just similarity in sounds I think philosophy attracts me more, what feels good, the way we make music and the creative process attracts me more. Let’s make a predictable and really good song or I could try something new and stretch my mind even further. 

NATIVE: Have you faced any challenges being a young black man in the music industry 

SIPHO: I may have but I don’t look at it that way. I’m blessed to be who I am in this industry because people are curious and thirsty for new perspectives. When I look at me, where I’ve been and where I’ve come from it will be an interesting aspect for people. The main challenge will be people mislabelling the genre of my music based on how I look. Like with beady eyes, that has been categorised as an R&B song but it’s more of  a rock song and little R&B but would have been dodgers if someone else sang it. It’s more of me observing rather than a challenge for me. As long as I’m in the conversation people will understand and try to discern way better. 

NATIVE: How do you see your music and musical career evolving in the next couple of years?

SIPHO: I see myself building a community. I want the experience of my music to go beyond just me and what it is to be something shared among themselves. In the next couple years I wanna be blessed to be able to do that asides from performing in shows and making more music. Just being able to engage with people that are for me and about me and that’s the least I can ask for. Just being able to make an impact on people. I have nothing to complain about. 

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Day In The Life: Anthony Iban and Michael Amusan, DLT Brunch Co-Founders

DLT Brunch is one of the most attended events in London for young Black people. Founded by four friends Michael ‘MK’ Amusan, Bosun Apata, Ife Awosika and Anthony Iban, Days Like This (DLT), a UK based event outfit with a quest to fill a vaccum: curating and providing quality entertainment for Black people, who looked just like them.

Now, six years since their first event in London, DLT Brunch has expanded into a cross-continental affair, bringing wonderous party experiences to Black people in cities such as Lagos, Accra, Ibiza, Malta and more.

In an interview with the NATIVE late last year, co founder MK mentioned I think we started to learn that we were a staple within the London party culture. What it made us do is help us realise we weren’t always intentional for what we were doing for Africans and Caribbeans in London, because that’s who we were appealing to,” explaining the important role DLT Brunch plays in the UK, and it’s importance on the Black culture. 

With this in mind, we sat down with 2/4 of the DLT Brunch crew and got to learn about how they run their ship, across different regions and countries. To get a sense of how they pull it all off, we spoke with co-founders Anthony Iban and Michael Amusan about their daily schedules.

From spending time at meetings, listening to new music and discussing potential signings, to ending the day with thirty minutes to an hour of video games, here’s a quick deep dive into what a day in the life of DLT brunch’s co-founders looks like. 

A Day In The Life Of Anthony:

8.30am – I wake up after having a late night. I try to avoid looking at my phone within the first hour of waking up so I have time to myself. I prepare myself for my job as an A&R Partnerships Senior Manager at a music publishing company.

9.30am – After I’ve showered and gotten ready I drive to North Greenwich station. I switch between listening to new music and the Rory and Mal podcast while driving as it’s easier to take in music/podcasts without distractions of texts. This particular episode I enjoyed because they discussed how underrated Sisqo was. Who I rate highly. On the train, I listen to ‘CKay The First’ album and repeat my favourite song Oliver Kahn featuring BOJ. 

11:00am – Go to an A&R meeting at work where we play each other new music and discuss prospective signings. I enjoy these meetings as I get to hear some songs that I wouldn’t normally listen to. It gives me a wide breadth of music knowledge. 

 

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12:30pm – Have a marketing call with MK and an external marketing agency about potentially working with DLT for a new activation. Never done this before so we are being cautious and asking a lot of questions before and after the call. In between a lot of these activities MK and I stay in constant communication via WhatsApp so we can stay on top of everything that’s happening with DLT. 

1:30pm – Met an artist lawyer for lunch at Dishoom. He represents a lot of the artists that I like so thought it’d be great to put a face to the name. We both discuss our excitement about going to Ghana during the Christmas period. 

3:00pm – Back to my office to respond to emails to set up artist sessions and them working with potential brands. Throughout the day I check my DLT emails/WhatsApp groups on the go, making offers for artists to perform at DLT. As well as making sure things are going smoothly for our upcoming Ghana projects. 

6:00pm – Met with MK to meet the CEO of Pollen, we are discussing business ideas for DLT and working with each other.

8:00pm – Return home. When I get home, I normally chill and watch something or play video games.

A Day In The Life Of MK 

7:30am – I wake up, check my 3 mailboxes. My work mailbox, a personal one and my DLT one. After reading a few emails and messaging a few WhatsApp groups re DLT stuff, I get myself ready to go to the office for my day job as a Trade and Transaction reporting lead for PGIE. The hardest part of my day is getting up, I usually struggle in the mornings so I tend to set my alarm 30mins before I’m due to get up to have some downtime in bed. My morning routine usually consists of me playing music, today’s song choice is Darrell Cole – “My Bruddah.” 

8:00am – Quick catch up with the DLT Digital/Social team on WhatsApp whilst on my commute to update them on what’s to come this week. We have 2 events to announce this week in Ghana. All of us are excited about going back, it’s the first time since what we did in 2019 and we’re keen to ensure it wasn’t a one-off.

8:55am – I am in the office with a mocha from Pret and catching up with yesterday's emails for the next few hours until lunchtime. I have a governance meeting at 2pm which I need to create the presentation for and have it approved before the call. I enjoy putting decks and stats together, but my manager can be particular in how he wants things, I essentially have to give myself time to go over things before the call which adds to the pressure of getting things done in a timely manner.

12:00pm – Working lunch… I am catching up with the guys at Polo Beach Club about our collaboration as we plan to announce things this week. The call with the guys goes really well, they have some production ideas which will blow everyone’s mind. I left the call feeling excited.

 

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12:30pm – Meeting with Anthony and a marketing agency on potentially working with DLT on an activation. This is somewhat new territory for us, as it’s not a music activation. They made us sign an NDA so I can’t disclose who it is, but if it comes to life people will be pretty impressed. I’m excited about it.

2:00pm – I head up my trade and transaction reporting governance call, so I have to switch from speaking about all things events to all things financial conduct. The call runs smoothly, as usual with loads of actions off the back of it. I aim to catch up with these tomorrow.

3:00pm – Daily reconciliation checks and trade and transaction reports. 

4:30pm – I leave work a tad bit early to get to studio 338 with Ife to run through the ideas for our Anti NYE party in London. We want to make sure our last London party goes off with a bang, so we are pushing the limits in terms of what we can add to the experience. 

6:00pm – Meet up with Anthony and Pollen CEO to discuss 2022 plans. I’m really excited about this as we have been talking for nearly 2 years about doing something internationally… but this time feels like it could happen.

8:00pm – I am home, after a long day I want to switch off all things work and DLT so I decide to play my PlayStation for an hour to switch off before preparing for bed.

Featured image credits/Courtesy of DLT

Tobi Kyere’s ÓWÀMBÉ explores Nigerian hall party culture

Tobi Kyeremateng, the award-winning producer and writer from South London has just released her debut documentary titled ‘Ówàmbé.’ Kyeremateng who was one of the lucky 10 recipients of Netflix‘s inaugural documentary talent fund, used the funding to kickstart her passion project inspired by her Nigerian roots.

Although Tobi Kyeremateng has a successful portfolio, replete with her film and audio projects along the years, the ‘ÓWÀMBÉ’ documentary will be her directorial debut in the film industry.ÓWÀMBÉ’ is a film that beautifully showcases the culture of hall parties, more specifically in the UK scene.

“It’s all about exploring Nigerian hall parties in London and witnessing how this tradition has evolved over the last 25 years”. 

According to Tobi Kyere, this documentary is a way to call to action Nigerians, especially the young ones living in the UK, to keep this fantastic culture alive despite their first-generation parents and family now turning older.

The film also informs people of all ages and ethnicities who aren’t familiar with these parties because it is clear we don’t try to talk about it as much as we should. So with these visuals, people are getting a full-on insight into the world of the party hall life. So they understand why people enjoy it and what it is all about. Premiering on Netflix on Sunday, the 20th of February, it will be part of a season called ‘Britain Is Not Boring’ alongside documentaries by other filmmakers. 

To celebrate this remarkable feat, Tobi Kyere tells us more about the documentary and it all came to life.

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

NATIVE: Hello Tobi, Lovely speaking to you. How does it feel to know your work is premiering on Netflix ?

KYERE:  It’s very scary because it’s my first film as a director but I’m really excited for a lot of people to get to see it. 

NATIVE: How did the idea for this documentary come about ?

KYERE: So with the documentary I wrote an essay last year for a publication called Black joy that was published by Penguin and it was a collection of essays around joy and what that means to black people in Britain specifically. So for that I wrote about hall parties and I interviewed my uncle who is the first man you see in the yellow because he used to throw hall parties all the time. so this opportunity came up where Netflix launched this documentary fund for new filmmakers, established filmmakers to make a new documentary and I was like I’ve written an essay about it. I have never seen a documentary about hall parties mainly in the UK and it will be cool to make a documentary on it but I didn’t expect it to get anywhere. There were a series of processes, there was a mood board and the synopsis and we presented it to the panel.

NATIVE: How long did it take to complete the documentary ?

KYERE: It took us a couple of months and we started filming in October last year and then we did the final filming in December. In the documentary you see that we go to some churches and some parties so we had to wait for those things to happen. We started pre production in the spring, started editing in December and we submitted at the end of January 

NATIVE: How was it like working with your team to bring your idea to life?

KYERE: We had a large production team from costume designers, researchers, DOP to make up artists and archive producers etc. We had a full team and they were amazing and this being my first film, they carried me through the project. I was really trying to do justice to the parties I used to go to as a child so I was very nervous but  just having a team that was so creative, open with their Ideas and understood the culture as well made the process so good. 

NATIVE: How were you able to gather a lot of the footage you used in the documentary?

KYERE: There is a lot of archive in it and it was important we got archives in it because we are talking about something so specific and I feel like people don’t really know much about hall parties unless you know a lot Nigerian people or you’ve been to one and so we had to show people what we were really talking about. There isn’t really much archive stock footage online on Nigerian hall parties and so we had to basically get contributors. Some of the footage was from my uncle and we also went to people’s houses to scan their images, videos and DVD’s. So we had a collection of archives that no one has really seen and the contributors haven’t even seen these images in so long cause it’s been in their lost collective. It’s a mixture of archives and things that we shot. 

NATIVE: Did you face any adversities while creating the film ?

KYERE: I think the main issue we had was that we shot this at the peak of Covid and when we wanted to go out and capture parties and churches we found it hard because things were being shut down. Trying to make a film about bringing people together was kinda hard in a time when you couldn’t, it was really difficult, that’s why it took us so long but we persisted. That’s why we got what we got. 

NATIVE: What can we expect when watching OWAMBE?

KYERE: If you’re Nigerian you can expect a lot of  nostalgia from hall parties you used to go to. You can expect a lot of laughter, there were a lot of characters especially with the people we interviewed and Some people were very joyful and funny. A lot of pride as well because it is really colourful and flamboyant and just energetic and everything I associate with being Nigerian. 

NATIVE: Now that you’re done with the film, what is next for you ?

KYERE: I’m still producing so I’m working on a couple of short films that will come out later this year so I’m excited. It’s mainly about black communities in London. 

Featured image credits/Netflix

Songs Of The Day: New Music From Simi, Minz, Blaqbonez & More

After the many wins forged by Afropop last year, the musical landscape has never looked more promising. As such the fast and furious pace of new music releases makes it hard to keep track of all the good music coming out of Africa. That’s where our Songs of the Day column comes in.

We’re doing the work to stay on pulse with all the music coming out from across the continent and beyond, bringing you exciting songs of tomorrow: today. Earlier this week, we brought you new releases from Kidi, Ria Sean, Popcaan & more. To ease you into the weekend, enjoy these new releases from Simi, Mohbad, Black Sherif, Tesh Carter and more. Enjoy.

SIMI – “SÁRÉ”

Simi’s new song packs her trademark groove into lighthearted lyrics, coasting over bright percussions. Her songwriting flits between romantic excitement and the general positivity of one who’s living her best life. “I’m getting money, I’m getting lucky/I hear you calling, you’re up to something” she sings on the pre-hook, taking into the innuendo into the song’s chant-esque hook.

TESH CARTER – “REBEL” FT. BLAQBONEZ

Tesh is usually one of the sickest singers around with a voice of gold. On her latest single, she opts for a pop vibe on “Rebel.” Tinctured with a Caribbean bounce, feature Blaqbonez joins her in talking up their grit and journey in the game. “I don’t fear anybody, I’m bad I’m not humble/you know I’m a rebel,” she sings.

OBT – “OH NO” FT. KILLERTUNES

OBT’s new record “Oh No” adopts the self-referential gaze of many afro pop songs. Over warm percussions and alongside revered producer Killertunes who turns in a scintillating verse, the artist takes stock of his wins and the haters who’d want to fumble his bag. To them he gracefully sings, “as my life dey mess with your conscience, I no mind.”

JAYLON & MINZ – “NAYA’S RIDDIM”

Last year, Jaylon racked up credits on projects by Mr. Eazi and Psycho YP. Said to be currently working with DJ Tunez, the producer is in demand and “Naya’s Riddim” demonstrates why. Crafting a sweet, textured groove on the record, he collaborates with emerging act Minz, who adds his accomplished vocals and catchy adlibs. In all, you get a romantic bop dripping with sensuality and intent.

BLACK SHERIF & BURNA BOY – “SECOND SERMON (REMIX)”

Not long ago footage emerged of Burna Boy performing the “Second Sermon (Remix)” on stage, effortlessly taking both his and Sherif’s verses. It’s obvious he loves the song and why wouldn’t he? It’s a thrilling sound which appeals to different audiences; since last year, the “asem ebo” phrase has been hot on everyone’s lips, regardless of whether they knew its meaning or not. Now, a video has been released to represent the record’s evergreen energy. Cinematic in vision, it’s shot in Ghana and shows Sherif being chased through some buildings and being caught, before Big Brother Burna Boy shows up, bossed-up in an all-black ensemble as he delivers his verse.

DJ TUNEZ – “MMM” FT. MOHBAD & REXXIE

Rexxie and Mohbad have never missed on a song together and for their latest, joining Starboy’s DJ Tunez, the chemistry is again channeled. The production is trademark Rexxie, thumping drums and adrenaline-lined keys. The aspirational quality of “Feel Good” is again present in Mohbad’s lamba, confidently delivered in a mix of Yoruba pidgin English speak. The song just pulls you in till you lose control, dancing wildly. Who doesn’t want more money?

OCHOFOREIGN – “LOVE CYCLE” FT. JESS ETA

The title track off OchoForeign’s three-track release, “Love Cycle” is a slow burner, suffused with lovelorn voices reminiscing of the better days in love. “We go together like stew and rice,” sings Ocho in his chorus, making the point of why the romantic interest should stay with him, regardless of whatever pops off in the future.

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Teezee’s New EP ‘Arrested By Love’ Is Finally Here

After months of anticipation, Teezee’s debut solo project ‘Arrested By Love,’ is finally here. Following the release of catchy promotional singles, “GUALA,” the Davido-assisted “BADI” and “New Government” with Kofi Mole and Prettyboy D-O, it is clear the project hasn’t disappointed, delivering on everything it promised and more–as listeners and core fans are invited to witness the different sides to Teezee, the entertainer and mogul.

 

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Arriving today, the 9-tracker ‘Arrested By Love’, is a body of work that gives a 360-lens view into Teezee’s world. The artist features many of his artist friends on the EP such as Deto Black, Lancey Fauxx, Backroad Gee, Midas The Jagaban, Davido and a few others, who heighten the listening experience of the project.

Earlier in the week, Teezee shared with the NATIVE: “I’m going to explore my new sound because I feel like I have discovered myself sonically right now so it is exciting for me to show the world what I have been working on”, stating that he found his sound and has been able to redefine himself over the past few years.  His sonical evolution is one that has been evident in the past year with the release of each new track. 

On the tape, he merges different themes and genres, creating a commingling of pleasurable sounds that embrace sprawling tangents and further furnish Teezee’s non-judgemental view of the world. On the distinct EP opener, the Adey-produced “FREE ME”, Teezee gives an insight into what you may be expecting on the tape. He is found hyping himself as well as making it clear that he’s ready to make a statement with this tape and make a mark in Afropop. It’s clear that Teezee has secured a great win for himself.

Listen to ‘Arrested By Love’ here

Featured image credits/Teezee

Asa shares new single, “Ocean” ahead of her forthcoming album

Nigerian singer, Asa re-emerges with the release of her latest single titled “Ocean” following last year’s P.prime produced single “Mayana”. Both set to feature on her upcoming album titled ‘V,’ Asa draws listeners deeper into her world with soul-stirring vocals and emotion-baring writing.

 

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Once again teaming up with the exciting Nigerian producer Priime and seeing her taking cues from Pop, Afropop, R&B and Soul sounds, “Ocean” sees Asa drawing on the mesmerising marriage of rhythmic, hip-shaking percussion and Asa’s sultry, laid-back vocals. Speaking about the new single, the singer shares:

“Ocean is liberating and confident yet subtle. The power in knowing who I am, loving how I want, doing what I want and revelling in the drop-dead ecstatic that God created.” 

In the accompanying music video, Asa reconnects with the director to the stars, Meji Alabi, who is known to work with the top artists in the music and entertainment industry to bring to life the vision for her latest single. Asa’s album ‘V’ is birthed through a last-minute despising her return to Nigeria as her European tour ended due to the effects and aftermath of the Covid 19 pandemic.

Asa is also set to bring her contagious energy and music to the stress of London with a live performance show at the Iconic Royal Albert Hall on May 3rd and to a home concert in Lagos, Nigeria on May 11. 

Pre-save ‘V’ below.

Featured image credits/Courtesy of the artist

Listen to Blaqbonez’s new sensual single, “Commander”

Last Sunday, Blaqbonez gave his 2021 debut album, ‘Sex > Love’, a befitting live concert experience at his anti-love crusade. The concert stamped his growth from infamous rap rabble rouser to veritable fusion artist with mainstream success. While he’s expanded his delivery format to rely heavily on melodies, as a way of creating hit songs, Blaqbonez still approaches his music as a project artist, much as he did in his years honing his abilities in the underground. He’s already set his sight on his next album, currently titled Young Preacher’, which doesn’t have a release date but is scheduled to drop sometime this year.

 

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Setting the ball rolling for Blaq’s 2022 new releases is “Commander,” a slinky sex cut that combines boastfulness with scene-setting. Produced by frequent collaborator Type A, the new single continues the pair’s preference for vibrantly coloured Nigerian pop that will fit seamlessly into playlists comprising groovy mid-tempo songs. Featuring oriental guitar riffs, acoustic guitar fills and dembow-inflected percussion rhythm, the sonic make-up of “Commander” acts as the perfect backdrop for Blaqbonez to croon about moving to a love interest and her eventual obsession with his sexual prowess.

Within the opening lines of the first verse, he vaguely recounts putting the moves on her using his star power and, by the hook, he’s using onomatopoeias to describe their sexual encounter. “She say, e dey sweet for body/she tell me say, you’re the air that I breathe,” he sings on the unsubtly self-aggrandising second verse. Running at 180 seconds, Blaqbonez imbues “Commander” with the same rewind-worthy verve as the situation he describes in the song.

Listen to “Commander” here.


ICYMI: THE IRONY & SHOWMANSHIP AT THE BLAQBONEZ ANTI-LOVE CRUSADE

Zinoleesky Keeps The Party Going On “Rocking”

Over the last half-decade, Street pop has been at the center of Afropop’s zeitgeist, providing stars like Naira Marley and Zlatan who have effortlessly bolstered the rowdy, dance-ready culture that makes music from west Africa so irresistibly catchy.  A new array of stars have emerged on the scene led by Agege-breed artist, Zinoleesky, whose dynamic melodies and silky delivery have earned him a place on the roster of Nigerian artists to look out for. 

 

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Last year, the NATIVE cover star had a stellar year, releasing two singles – “Naira Marley” and “Gone Far” – that confirmed his peerless talent while other features on songs like “Blessings” and “Don’t Call Me” showed an artist on the cusp of becoming a legitimate kingmaker. On his latest song, “Rocking,” Zinoleesky keeps the party going with an amapiano-inspired maelstrom orchestrated by Niphkeys. 

While “Rocking” has a party-starting essence, it is essentially guided by introspection by Zinoleesky that sees him reflect on his relationship with the women in his life, money, an almost-obsessive desire to keep the party going. As usual, Niphkeys’ majestic instrumental is layered with percussive dials that rise and fall with the pace of Zinoleesky’s voice while he urges his audience to keep on rocking. 

Between lyrics like “Man no go fit resign” and “Me I wan free my mind, so no dull the vibes,” Zino is straddling the line between resignation and euphoria while transforming his thoughts into poignant music that is as fresh as it is addictive. 

Listen to “Rocking” here

A 1-Listen Review of DJ Lag’s Debut Album ‘Meeting With The King’

In 2019, DJ Lag collaborated with Beyoncé on ‘Black Is King.’ A year before, the American superstar had performed to “A Trip To New York,” a song by the South African producer and DJ. For the uninitiated, Lag was considered as having caught his big break. However, that isn’t the case. Way before Bey caught on, DJ Lag was a legend of South Africa’s Gqom scene.

His breakout song “Ice Drop” was released in a 2016 album, under a record label that’d been approaching him since he was in high school. He started as a dancer in his hometown of Clermont, Durban. A rapper cousin got him production software and he began making beats. Gqom, a dark variant of House music, was emerging around the nation’s townships, so loved for its formless expression. DJ Lag was early on the Gqom train and more than anyone he’s taken the sound international by touring regularly and releasing three EPs inspired by the swathe of electronic music he’s come into contact with over the years.

Shortly after the pandemic broke out in 2020, DJ Lag returned to his hometown of Clermont where he recorded much of Meeting With The King, his debut album. Anyone who’s heard a DJ Lag track knows the calculated chaos that it is, and I’m piqued for the different flavours he could explore.

 

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

“THONGO LAMI” (FT. NDONI)

Here we go guys. Have to say this is my first one-listen review and it’s a pleasure to be doing this. Man, this vibe is entrancing, I feel deep inside up in a tribal cave somewhere, listening to the drum music which tells the people’s history. Ndoni is ripping this beat, I wonder what she’s singing about. She’s repeating Ka we ma in what sounds like Zulu. Very powerful singer, the beat just builds around her. Pulsing and pulsing. Lag’s doing a madness behind the boards; there’s so many bewitching effects I’m getting right now. Bouncy stuff.

“DESTINY” (FT. AMANDA BLACK)

Amanda Black just entered this beat like it was a dream. Elegant voice, layering hums over Lag’s vivid production. That’s the word I’ve been grasping for since track one: vivid. You see Lag’s production, it takes you deep into a place that’s too overwhelming to describe. I’m listening with new headphones so I know what I’m saying. Amanda’s singing oscillates between powerful desire and raw pain, like she’s someone’s favourite aunt beckoning them home before it gets too dark. The music here just reminds me of a South African film I watched a while ago. Can’t remember the title now but I’ll try as we go on.

“RAPTOR” (FT. SINJIN HAWKE)

A swelling of open-air energy here. The percussions are really alive, the claps and vocal chants are thumping, my ears are bursting right now. What’s this refrain? Some back story about the collaborator on this record: Hawke produced Kanye West’s “Wolves” and after he and Lag were made this, he said something about Lag’s drums being tough, epic and minimal. If you listen to “Raptor,” you can’t help but hear it. There’s even more effects than usual but I’ll chalk that up to the presence of two producers.

“LUCIFER” (FT. LADY DU)

Really suggestive title, wonder if the song is as devilish. Oh, these drums of Lag’s. They never fail to capture one’s attention. Lady Du’s refrain runs like a rap lyric, but she’s not here to stay, not here to be verbose with lyrical miracles. The production does most of the heavy lifting, but her voice is no doubt suited for it. Perfect collaborations so far.

“iKhehla” (FT. BABES WODUMO & MAMPINTSHA)

The transition from the last song was perfect. Head-bopping stuff. I really like how the choruses are acting as a guide through the album. They’re usually the titles so every song gets really recognisable. Babes Wodumo is a legendary act and she brings the fire here. Something here is sounding like Zlatan’s “gbese” but I’m sure it’s not, lol. The male vocals are minimal, but the balance is hardly there. It’s all Wodumo in my head.

“INTO ONGAYAZI”

First solo track. DJ Lag really knows how to build a scene. There’s a Trap bounce somewhere here, yet there’s no denying the South African flavour. Is he the one humming? The expression on this is unique, deep, confounding. Most times the production goes from one idea to another in a split second, so sharp and complex. I thought it started like a rap song, now I’m hearing native chants and seeing a man searching for his soul. Wobbly keys and heroic claps swirling, very TV-esque.

“SHULULU” (FT. K.C DRILLER & LOKI)

Bells and beats. This is as sinister as anything Lag has created. The word “Shululu” intersected with production effects and another voice, a baritone. If you peep it, Gqom was created around a nightclub culture, so this album is better experienced. I’m not really feeling “Shululu” though, not on the level of the other songs. Maybe I’ll revisit.

“KHAVHUDE” (FT. MR JAZZIQ, VIC TYPHOON & MPURA)

Give me the money and I’ll probably make a film from only Gqom songs. Each time these beats drop I’m reminded of young people immersed in an activity, often at the extremes of emotional perception: very happy and almost ecstatic, or in profound anguish and confusion. Is there any middle ground for the black person? “Khavhude” has the strongest beat on this album so far. The features all deliver accordingly, dipping in and out of each other’s verses in a roundabout way, colouring the song in the brilliance of multiplicity.

“KEEP GOING”

By the title, this should be inspirational. Indeed it is. Lag hasn’t gone this direction all through the album–a sunny break. Here’s the middle ground I was looking for, hehe. The effects are cherry and light, save for the thumping drums at the center. As it progresses Lag gets sturdier, introducing whistles and faster paced rhythms. If you were jogging and this song came on, your pace would surely triple. At number nine and with six more songs to go, there’s an interlude vibe to this. What’s the progression from here?

“SOMETHING DIFFERENT”

The sound of buzzing flies opens this one, you just feel tingly around the skin. Seems intentional. The title just took another light. Lag really thrives on the depth of extremes. This big drum sound is everything, just love how each instrument is introduced, how the song swerves and catches back on each time that happens. I can picture the arm-swinging dance that would go with this. Arms and stomping feet, heavy facial expressions, combative. Tough. This is tough.

“YASHO LEYONTO” (FT. DLADLA MSHUNQISI)

HOLY. This beat dropped like a monster from hell. Just remembered that tweet I saw where angels were drawn how the Bible described them, looking very weird and stuff. Wonder how demons would look. There’s very powerful singing in this track, possibly the first time on this album where the vocals exceeds the production. The obliterating force in Dladla’s singing captures why South African women singers have distinctly owned their different eras, from Ladysmith Mambazo to the Mahotella Queens, down to Busiswa and Moonchild Sanelly. The Mafikozolo lady deserves a shout too–electric performers, the lot of them.

“CHAOS” (FT. GENERAL C’MAMANE & OMAGOQA)

The drums feel rubbery, elastic even. It’s not really distinct but sounds well paced, building up to something. Lag is keeping the vocals away, just getting things settled. There’s no boppiness in the first half, but here are the voices. The beat is contracting into complexity; more effects, sharp synths and drums. The features are not really singing, just laying dibs of talk over the beat. Lag is ending strong. It’s really a magic of technology that these kicks are not created by the masterful player of an ancient, big drum.

“NO CHILD’S PLAY” FT. GENERAL C’MAMANE & DEEJAY JACKZIN

This song is trying to be good, but doesn’t match up quite well. The conventions of a Lag production are present, the bounce and mystery in full glare, but perhaps it’s the time length. A 15-track album is always challenging nowadays, but we can’t fault the artist. There hasn’t been many albums without a single skip, and that’s on fact. Best do what expresses you. Remember Kendrick Lamar on “The Heart Pt. 4”?: “They tell me seven tracks, I said fifteen/ Called it an EP, they say I’m tripping.” Okay guys, thesis over. The next song’s on.

“NEW WAVE” FT. OMAGOQA

Last song before the last song and Lag is all about that new wave. As usual, the drums are tough and there’s so much energy I haven’t gotten since about three songs back. I’m intrigued to hear the energy he’ll pair this with on the last track. It’s nice getting to the end of things. The album has no doubt been engaging but I reckon it’ll make a better listen when I’m somewhere in Lagos, getting lit and swept under the music’s frenzy. Wonder what the prospects are for Gqom entering Nigeria.

“DJ LAG” FT. BABES WODUMO & MAMPINTSHA

The self-appraising closer. How fitting. DJ Lag invites the same duo on “iKhehla”. Mampintsha starts things off, making the introduction and chanting DJ Lag’s name like the perfect hype-man. Babes Wodumo is typically energetic, infusing brightness with her distinct voice. When hers and Mampintsha’s meet, there’s a symbiotic understanding of each other’s textures, and they cede way appropriately. Lag’s production, compared to other songs, is quite laid back. He just seems to be in the background, enjoying the adulation of his favoured collaborators. He’s the King after all.

FINAL THOUGHTS

The world moves and sounds emerge; connecting a sound born in a South African township to global audiences is remarkable, talking more of keeping his legacy strong, updating style and keeping an eye on the future. DJ Lag’s success cannot be chalked up to luck.

Meeting With The King embodies that dedication to growth. At a sprawling one-hour-plus, Lag engages an array of elements to entertain his listener, but he never craves attention. He follows his heart, disappointing popular expectations at times. The songs are largely engaging, his collaborators present. As a debut album, it’s as accurate a presentation as any memoir could be, a fitting start to his latest arc as the global face of Gqom.

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NATIVE Exclusive: What To Expect on Teezee’s ‘Arrested By Love’

Over the last half-decade as music from the alté community has surged in popularity, due notice has been cast back to the pioneering work of culture and community icons like DRB Lasgidi and L.O.S. who paved the road for much of the fluid expressionism and leftist music that has sprung out of the community. DRB member, Teezee, has particularly received praise for his innovative style of rapping that melds influences from Fuji, afropop, and soul into his eclectic style of music.

Outside of his work with DRB Lasgidi, Teezee has previously released ‘The Fresh Prince of Las Gidi,’ a body of work that distilled his cool aura into an expansive showcase of the free-wheeling music tastes of an alter pioneer and, in recent years, Teezee has been working his way towards a body of work that both captures his position in the zeitgeist and offers a tunnel into his thoughts on love, community, family, and growing-up.

That project, ‘Arrested By Love,’ is due out tommorrow and captures the duality of Teezee as both rapper and singer than at any point in his career while displaying the appreciation for quaking instrumentals that Teezee has leaned into over the last 18 months. Importantly, ‘Arrested By Love’ offers a new vision for an integration of mainstream Nigerian pop–featuring acts like Davido and Teni–and the alté tenets that give room for experimentation and innovation.

 

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Below, Teezee gives his thoughts on the project and the process that birthed it.

It’s his second solo project.

Before he was chopping it up with his day-zero crew, DRB, Teezee was also on track for a formidable solo career following the release of his debut project ‘The Fresh Prince of Las Gidi.’ While he’s taken a step back and focused on important ventures such as DRB’s stellar debut project ‘Pioneers,’ and raising a family, Teezee is now re-emerging this year with ‘Arrested By Love.’

In his own words, “The most important thing to me as well as all the other business ventures. I’m trying to be like a Diddy or a JAY-Z or a Don Jazzy. I’m trying to be a business mogul.”

A full-length view into Teezee’s world

Following the seismic change of the past two years, Teezee is in a better position than any to release his latest solo project. He says, “I don’t think I have let people into my world in a long time. I think I’m ready now, I’m vulnerable, a lot has happened, the world has vastly changed and I’m just super excited to let people into my world.”

‘Arrested By Love,’ will see Teezee expressing a full range of emotions, capturing both his fullest, his highest, his weakest, and in his most braggadocious state. There will be more vulnerability than ever before as the Cancer man that he is. Teezee also adds, “I wouldn’t say people would see me in a mature light but I can definitely say they will see the full range of Teezee that no one has ever relly seen. I think I am a very interesting, eclectic character and there’s going to be a range.”

He’s coming through with all his artist friends

Although Teezee doesn’t want to give away too much. The project will feature some of his artist friends and creatives that he has established friendships with across the years. We know for sure that Maison 2500 and New World Ray will be on the summer drop following the release of “GUALA” last year but Teezee also lets us in on some album exclusives:

“I can say for sure that Teni the Entertainer will be on there. I love Teni’s music and everyone will be able to hear her in a completely different light. Sars on the Beat is also on there and I’m so honoured to have him. He’s one of the legends out here, to me he’s the Dr Dre of Africa so working with him was an exciting opportunity.”

He’s found his new sound

You can redefine yourself at anytime and artists with longevity like Drake, Nicki Minaj and more have shown us that it’s never to late to switch it up and redefine yourself sonically with each new release. Teezee has shown us glimpses of this on “Like to Party” with BOJ and Skepta and also ‘Make E No Cause Fight’ with BOJ and Ajebutter and of course, DRB’s debut ‘Pioneers.’

He shares: “I’m going to explore my new sound because I feel like I have discovered myself sonically right now so it is exciting for me to show the world what I have been working on.”

The future of Afropop

Afropop is witnessing its defining moment. Following the wins forged in the past year, there has never been a better time than the present to usher the sound into its next frontier. For Teezee, this is a mission that he holds dear to his heart, haven operated within the scene for over a decade.

In Teezee’s words, “I’m creating this project for the future. I’m creating this project for the world of people who live in places like we do and know that a world of opportunities is not available to them but who find ways to dream. I’m making this for the underdog and for who people have looked down on. Those of us that have struggled to show the world who we truly are and find ways to communicate it. This is really for anyone out there looking for a sign that they can also do it for themselves.”

“That’s what I am trying to do, I’m trying to inspire.”

Pre-add ‘Arrested by Love’ below.

Featured image credits/Teezee


Words by Wale Oloworekende and Tami Makinde

Where were you: The irony & showmanship at the Blaqbonez anti-love crusade

As Blaqbonez scurried about the stage at 2am in the wee hours of Valentine’s Day, something spectacularly ironic caught my eye. While the rapper/singer was passionately singing “Never Been in Love,” perhaps the most symbolic track of his debut album, two concert-goers were in the warmest embrace you’ll ever see, even going as far as exchanging pecks and playful kisses. “Never been in love, so fuck that shit!” Blaqbonez bellowed, and what seemed like deep romantic affection was happening barely fifteen yards away from the stage.

Last year, Blaqbonez released his debut album, ‘Sex > Love’, a consistently impassioned expression of his preference for carnal relations over the confines of romantic love. What that album lacked in nuance, it made up for in conviction and craft, combining forthright songwriting, Blaq’s oscillation between bright melodic croons and vivid rap flows, his delightfully badgering persona, and the innate eclecticism of Nigerian pop music. The 14-song set—19 on the deluxe—was a collection of the varying forms Blaqbonez has been experimenting with in the last few years of his career, from trap inclinations to the D-O-inspired dancehall explorations, adding his own obsession with Nigerian pop melodies to create his own version of a Rap/Pop fusion artist.

With “Bling” as its runaway hit song, and the considerable successes of other singles such as “Fendi” and “Okwaraji,” Sex > Love’ is a career-defining feat for Blaqbonez. To gauge that definitiveness, you had to have witnessed his headlining concert at Lagos’ Muri Okunlola Park. At 10:30pm, well over 90 minutes after the event was scheduled to start and with opening acts warming the crowd up, a line of attendees stretched out from the entrance gate to the venue’s other side, all waiting to get tickets since regular early bird tickets were all sold out digitally. I’m not that great at estimates but, excluding those still trying to get in, I can confidently say there were over 2,000 concertgoers already inside the confines of the open air venue.

That turnout was pretty much expected. In the days leading up to the live show, Blaqbonez had gone on an inventive, humorous social media-driven campaign that amplified the candour of its headline material. Titled ‘Breaking the Yoke of Love’ and billed as a crusade, the rap artist added the familiar hysterics of Christianity to his anti-love stance, building up an intrigue that thousands clearly wanted to experience. One look at the stage set-up, and you could tell Blaq, his production crew and his supporting cast (of strictly male artists) didn’t want to disappoint.

There was signage at the top that reminded attendees that this was a Blaqbonez crusade ministry presentation, a pulpit stood at the centre of the stage until Blaq asked his ushers to move it, and I lost count of how many times the headliner, his guest acts and hosts openly rebuked love. To the latter point, I also lost count of how many times I saw what I assume were couples, different set of duos linking arms, holding hands, petting one another heavily, and playfully singing along in each other’s faces. Of course, they were those who came with friends, and maybe I might be overstating the romantic element in the crowd, but I saw enough to be slightly amused and generally intrigued by the irony on display.

The thing is, concerts are widely known to be great avenues for dates, so couples would inevitably find their way into an anti-love concert. After all, these are the same people that harass our timelines with ‘me & mine’ pictures. In another moment that caught my eye, Mavin’s latest signee Magixx dropped by to perform his biggest song yet, “Love Don’t Cost a Dime,” and not too far from the food vendor stand where I was, a guy and a girl were doing their own karaoke rendition of the song, with the intimate energy of those “our song” couple moments.

Even Blaqbonez might have been complicit in these situations with certain line-up inclusions, like bringing CKay on to perform a 3-song set of hugely popular, romantic cuts. In my mind, that playful friction between the concert’s non-committal, hedonistic theme and the small but significant displays is symbolic of the common trope about how Lagos people—and many in this generation of youth, in fact—approach romantic relationships with ambiguity, wavering between the idea of wholesome devotion to a person and the pleasure-seeking thrill of the streets. Breaking the Yoke of Love celebrated that ambiguity, with an emphasis on the hedonistic pole.

 

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Commandeered by a consistently vivacious Blaqbonez, Breaking the Yoke of Love used the same showmanship of its campaign as its foundational element. Minutes before midnight, Blaq emerged in the same white suit he’d been spotted in throughout the promo run for the concert, setting a searing tone with the one-two punch of “Novacane” and “Heartbreaker.” The air of anticipation had, by the second song, fully given way to the excitement that had been brewing since the handful of highlights from the preceding hour: Kayode performing his melodic drill slapper “Live Forever,” Josh2Funny’s humorous music parody act, and the slapstick comedy of Arole and Yhemolee.

For much of the 3-hour-plus set, Blaqbonez intertwined performances of songs from his debut LP with cameo appearances from his guest ‘ministers’, some much longer than the others. He set a reasonably high bar for the entirety of the night, rapping with vim, singing with poise, and prancing around the stage with controlled mania. Mixing the live elements from his backing band with TV tracks spun by the DJ, there was enough technical composure to signify that he matched the visibility of his online gimmicks with offline rehearsals. The preparedness was amplified by remarkable sound engineering, ensuring that the Blaqbonez and his supporting act—most of who used the DJ-backed tracks—were loud and clear.

A very common critique of live shows in Nigerian music is the propensity many artists have for lip-syncing and generally being offbeat. Thankfully, that’s not a critique that can be applied to Breaking the Yoke of Love. Both seasoned and rising artists did a good job at actually singing and rapping their words for the sake of clarity. When Blaqbonez brought out the rising singer Maxee to perform “National Cake,” his breakout song which was also fitting for the concert’s theme, his buttery tenor rang out to the very back of the venue where I was at the time. PsychoYP came on to perform a couple of songs off last year’s Euphoria, closing out with King Perryy’s “YKTFV,” and his sleek cadence was robust enough to get those at the front jumping.

The crowd at Muri Okunlola on that night was packed with young people, many of them seemed like undergrads—which makes sense because Blaqbonez took his promotion to the University of Lagos days before. These were guys and ladies who were engaged during M.I’s nostalgia-infused set, and were also actively interacting while younger pop stars like Buju and MohBad performed their hit songs. For each recognisable song, there were shouts of approval and singalongs. The level of engagement barely waned, whether it was Jaido P briefly popping by for “Tesinapot” or the euphoria that took hold when Mayorkun surprisingly appeared to perform “The Best” and “Holy Father.”

A significant portion of the higher peaks of the show were powered by gimmicks. Many of the supporting acts indulged Blaq’s theme, performing in their Sunday best suits, but it was Falz and Bella Shmurda that completely obliterated the assignment. Falz came in with a complete pastor’s set, including a roman collar to round out his fit. The songs he performed, like “Bop Daddy” and “Alakori,” were hits but the crowd seemed more into his cameo for that outfit choice. Bella Shmurda comically trudged on stage with a book that resembled the Bible, and engaged the crowd with bawdy humour: “Tell your neighbour, ‘you are a fuck, fucker, fuckest.’”

All through it—except the brief interlude that included sets by LadiPoe, Skales and more guests, as well as an outfit change to a blood-red suit—Blaqbonez was on stage, performing hypeman duties for his supporting acts in between his own songs, and sometimes seeming genuinely amused that he was actually pulling all of this off. For his final gimmick, Blaq faked the crowd out on another guest, before casually announcing that the show was over. The crowd, which had barely dwindled in numbers, weren’t buying it even though we had already clocked the joke. “They are still waiting sha,” he said from the exit side of the stage, disappearing into the night with no encore.


WHERE WERE YOU: ART X LIVE RETURNED TO LAGOS LAST YEAR

What happens if Olamide retires from making albums after this year’s ‘Unruly’?

Over a week ago, Olamide sent the Nigerian pop culture scene into a frenzy, after the rapper stated that he will be dropping his final album titled ‘Unruly.’ Taking to Twitter, the rap behemoth announced: 

For an artist who dominated the 2010s with a yearly album release cycle, and entered this decade with the vim of a fresh artist—three projects in two-plus years—Olamide’s proclamation of a final album is puzzling, only because he’s been moving with even more momentum these days, especially on the business side of things. In 2020, his record label, YBNL, signed a partnership deal with U.S-based label services company, EMPIRE. Many saw this as the start of his plan to launch his campaign for wider international recognition. If that’s the case, why would he hang his boots now?

In recent years, Nigerian pop music has multiplied its global reach, gaining popularity in recognisable music hotspots across the world, as well as in more obscure places. Rapping and singing mostly in Yoruba, with a primary emphasis on connecting with the Lagos (and Nigerian) streets that first championed him, Olamide has never explicitly cast himself as a proponent of Afropop’s Western incursion. Even as his last two albums, ‘Carpe Diem’ and ‘UY Scuti’, featured more vibrant melodies than sturdy rap bars and hewed closer to mainstream Nigerian pop rhythms, Olamide has prioritised authenticity over engineering a crossover. While breaking down Carpe Diem, he told The NATIVE that he wasn’t forcing collaborations with non-Nigerian artists, an indicator of his creative stance despite his improved access to more collaborators via his working relationship with EMPIRE.

Perhaps, that deal is more of a strictly entrepreneurial venture, an attempt to consolidate power as a music business magnate. Having signed Fireboy DML in early 2019, he has mentored and helped guide the singer into becoming one of the biggest Afropop artists around. Maybe he’s retiring, after all, to focus on another aspect of the game he’s excelled in–mentorship. In his time as a record label head, Olamide has an impressive record of being a star-maker, whether it’s in signing eventual stars like Lil Kesh, Adekunle Gold and Fireboy, or endorsing artists with career-uplifting guest appearances—in the sprawling list includes Phyno, Naira Marley, Bad Boy Timz and Bella Shmurda.

In the last two months alone, he’s exhibited this particular form of greatness on a handful of occasions, bringing Portable, T.I Blaze and Asake—who he’s just signed to YBNL—to the limelight with single features. Of course, the idea that he’ll become a facilitator of careers is speculative, but whatever may be the case, only time will tell for sure. What is definite, though, is that Olamide’s retirement from making full-length projects will be deeply felt, particularly because throughout the span of his career he has been an ever-present figure in Nigerian music.

We often tend to look at an artist’s impact through their number of hit songs, which would be scale-breaking in Olamide’s case. At the same time, that would be underplaying the fact that Olamide is an album artist at heart, setting and maintaining a dizzying tone for his career before prolificness became quotidian. The global music scene is now fast-paced, and the sheer volume of songs and projects that are churned out every day is staggering. As such, it’s easy to forget how scintillating and invincible artists were in their prime.

Olamide came into the Nigerian music scene just when it felt like the curtains of one era was being drawn closed and a new dispensation was being ushered in. He made a mark immediately, sending a cascade of reverberations in the local music scene with his debut single “Eni Duro” and his 2011 debut album, Rapsodi. Just as it is in every epic or legend, where the hero has to pass through a series of trials and tribulations and overcome them before attaining their full potential, Olamide had his giants to slay. His first obstacle to overcome was escaping the shadow of Dagrin.

Dagrin was one of the hardest rappers of his day, widely beloved for his rapid-fire Yoruba raps and gripping vocal cadence that inspired an obsessive following on the streets. Not only did his popularity chart new waters for indigenous rap music, it also redefined what Nigerian rap could be, delivering a burst of fresh energy that helped disrupt and ultimately raise the creative ceiling to Nigerian music itself. It wasn’t too long after Dagrin’s unexpected passing in 2010, that Olamide made his way into mainstream consciousness, after years honing his rap skills in the underground.

Olamide came in as a scrawny, ambitious kid who was generally acclaimed as being wildly innovative with his sound, delivering raps with guns-blazing, Lil Wayne-inspired lyricism and carefree self-assured braggadocio. But he was unfairly tasked with filling painfully huge shoes. Dagrin was a Yoruba rap legend, Olamide also delivered his raps in Yoruba, hence fuelling natural comparisons. Tasking a youngster with living up to the standard set by a legend is almost always a surefire way to send their careers into a downward spiral. In the world of football, there are the all too familiar stories of youngsters who display brilliance, get branded as the next Messis and Ronaldos, after a few years of the hype, they choke under the pressure and fizzle away. On the local front, there are countless similar cases—Lil Kesh was supposed to be the next Olamide, the DNA twins were supposed to be the new Psquare, the list goes on.

Faced with this boulder in the path of his Odyssey, he did what all heroes do, he got to work moving the boulder out of his path. Between 2011 and 2013 he released three studio albums and an innumerable catalogue of explosive, lava-hot singles. By 2013, with the culture-defining ‘Baddest Guy Ever Liveth’, he had planted his feet firmly in the industry and become his own artist, tending to his own legacy.

The next challenge he had to surmount was escaping the box street artistes were placed in. At the time, the word ‘street’ was used as a euphemism in Nigerian music parlance, limiting the ceiling of how high artists who identified as ‘street’ could peak. Olamide owned the street tag with his full chest, eclipsing those limitations one hot single, one hot feature, and one hot album at a time. His preference for delivering music in quick succession may have come with the occasional moments of diminishing returns, but the bulk of his discography is tilted towards greatness.

By 2017, Olamide released Lagos Nawa, his seventh studio album in as many years. In the next few years, that overwhelming productivity waned after the 2018 run of smash singles like “Kana” and “Motigbana,” and the December release of a YBNL compilation album. Around this period of relative silence, so many exciting things were popping up on the street side of the music scene. Young, hungry-for-fame street artists like Zlatan and Naira Marley popped up, driving the abundant period of the brief Shaku Shaku stint that was quickly replaced by the Zanku era. These guys sent seismic ripples reverberating through Nigerian pop music.

At the time, no one dared think Olamide’s odyssey was over, but he had stopped moving. On the outside, there were multiple outlooks on the situation of street-pop’s most iconic artist—to some, he was weary of the burden of stardom, he had done everything to be done, what was the point in continuing this gruelling voyage? To others, Olamide was simply taking the backseat to allow budding talent blossom. To another set, the situation wasn’t so grim, the King was simply laying low to gather strength and let off steam before continuing on his journey. The latter was the case.

In 2020, Olamide swaggered back on the scene with the acclaimed and sonically expansive album Carpe Diem,’ churning out an album that housed multiple smash hits eight months after putting the game on notice with the very first EP of his career, 999.’ In nine months, he followed up with his 9th studio album, the well-received UY Scuti.’ These albums expanded Olamide’s musical purview as a dynamic rap artist and (street-)pop hit-maker.

Maybe with his tenth album and eleventh project in twelve years, Olamide believes his odyssey is complete. For an artist who has shown a compulsive need to create projects, especially long plays, it’s a little difficult to fully accept his recent “last album” announcement. Also, add in the fact that rappers never really retire from the album as a medium of expression. If he does stick by his decision and a new LP doesn’t materialise after the impending Unruly, there’s no doubt that Olamide’s legacy is secure for years to come.

It’s an amazing story, from being a young upstart fighting the legend of a ghost, to him willing himself to becoming one of the greatest to ever do it. That’s the legacy Olamide will leave behind if he does retire this year.


ICYMI: WHY NIGERIAN POP MUSIC LEFT THE STREETS

Songs Of The Day: New Music From KiDi, Ria Sean, Tomi Owo & More

After the many wins forged by Afropop last year, the musical landscape has never looked more promising. As such the fast and furious pace of new music releases makes it hard to keep track of all the good music coming out of Africa. That’s where our Songs of the Day column comes in.

We’re doing the work to stay on pulse with all the music coming out from across the continent and beyond, bringing you exciting songs of tomorrow: today. Last weekend, we brought you new releases from Tim Lyre, Bucky Raw, Juls, dndSection and more. To begin the new week and celebrate Valentine’s day, get into these new releases from Kidi, Popcaan, Ria Sean and more. Enjoy.

KiDi & Tyga – “Touch It Remix”

Following a successful run in 2020 which saw the release of his debut album, ‘The Golden Boy,’ Ghanaian singer, KiDi teams up with American rapper Tyga on the remix to his standout single, “Touch It.” The groovy Afropop number finds KiDi in his natural element, toasting to the good life and beautiful women as he enjoys his success so far. He’s joined by Tyga for a fire guest verse that elevates the songs listening experience. The Tyga-assisted single will surely boost the song to new audiences, ahead of KiDi’s North American tour set for later this year.  

Asake – “Omo Ope” ft. Olamide

Starting out the year on a phenomenal note, Asake taps Nigerian pop mainstay Olamide for the catchy new single titled “Omo Ope.” Following his signing to the rapper’s label and the song’s success on the TurnTable Top 50 this week, Asake follows this up with the song’s official video that finds both artists in a nightclub, a feat that certainly portrays how the song is currently taking over the clubs.

Popcaan & Imeru Tafari – “Elevate”

Jamaican singer Popcaan taps Imeru tafari on the brand new single “Elevate”. The introspective new single finds both singers trading verses about overcoming life’s many troubles and elevating despite all odds set against you. In their smooth-sounding patois, they fill listeners with affirmations about making it in life. The song was released alongside a music video in anticipation for the singer’s forthcoming mixtape titled ‘Vanquish’ which is said to feature 10 new songs.

Jahmiel – “Lifetime”

Dancehall artist Jahmiel has released a new love induced single, “Lifetime” alongside a music video just in time for the week of love. “Lifetime” emphasises Jahmiel’s love and affection for his love interest as he reaffirms his commitment to choosing and loving her for a lifetime. In the accompanying video, we see clips of Jahmiel and his woman in romantic scenes as he professes his love for her, before the couple end up buying a house and moving in together.

Ria Sean- “Satisfy My Soul Aazar Remix”

Fresh meat alum Ria Sean first released the saccharine-sweet track titled “Satisfy My Soul,” as the headliner for her 2021 EP ‘Fluid’. After the earworm track warmed its way into our hearts, Ria is now giving the song a befitting Aazar remix, complete with a new video that elevates the listener’s experience of the track. Over a fast paced House beat, Ria delivers one of her best performances yet.

Tomi Owó – “Through The Never”

Last year’s ‘Metallica Blacklist’ album was curated to celebrate Metallica’s 30th anniversary, featuring a talented spate of artists, producers and engineers from around the world. Covering one of their favourite tracks on ‘The Black Album,’ Tomi Owó on Disc 3, Track 9 gives a special rendition of “Through The Never, making her the only Nigerian on the album (excluding Oma Mahmud on the song’s production). Following the project’s success last year, Tomi Owó has begin the year with her first musical offering, the video for “Through The Never.” The picture-esque is a dazzling black and white sequence which gives Owó the ample space to flex off her skills as a live performer.

AV Club: Surreal 16’s ‘Juju Stories’ examines human stories at the centre of supernatural chaos

After a run of the film festival circuit, Juju Stories’, the anthology film by the Surreal 16 Collective, was recently released in Nigerian cinemas. It is a film with many horrific elements but Abba T Makama, one of the three directors comprising Surreal 16, tells us he would call it supernatural rather than horror.

The three-part anthology film certainly has a grim, ominous tone at some points along with many things that are simply fantastical. The film uses familiar Nigerian urban legends or “juju stories” to tell sometimes horrific tales about various people, many of whom already don’t have the easiest personal lives. Makama says “everyone knows a Juju story,” and most Nigerians know much more than one. These are stories that feel familiar, stories grandmothers tell us before bed or we heard from peers who acquired them from their own relatives.

Supernatural stories have always been a mainstay in Nollywood, with films like ‘Nneka The Pretty Serpent’ considered iconic parts of the industry. More often than not however, these films are known for being particularly moralistic and over the top, both in writing and performances. Juju Stories’ explores a different side of the supernatural. The three chapters of the film examine extremely human stories at the centre of all the chaos surrounding them.

It is no less than what should be expected by the filmmaking collective surreal 16. The members, Michael Omonua, Abba T. Makama and C.J Obasi, have made it their goal to create films that aren’t limited by the conventions of Nollywood, with stories about a wide range of topics. The three stories within the film, “Love Potion,” “Yam,” and “Suffer the Witch” all deal with different aspects of Juju.

 Love Potion

‘Juju Stories’ opens with a first part that is written and directed by Micheal Omonua. It’s centred on one of the most frightening topics for young adults: love and dating. The story follows Mercy, a woman desperate for the affection of Leonard, an engaged man.

She is eventually convinced to take her desperation to the extreme by drugging Leonard with a love potion, that makes him fall into a deep infatuation with her. Mercy and Leonard move in together and all seems well at first. As we see their relationship progress, it becomes clear how misguided Mercy was in fixing her sights on Leonard, as the pair are obviously incompatible. She finally lets him go, her extreme measures seemingly for nothing.

‘Love Potion’ is interesting in how relatable its story is, regardless of the magical elements. A lot of the horror of the tale comes from the examination of the overwhelming pressure that women specifically feel to enter relationships, setting their sights on moulding mediocre or uninterested men into the man of their dreams. When men are seen as fixer-uppers, it never ends well.

There is also an extremely dark portrayal of Leonards situation. Love potions in fantasy stories have always seemed like magical roofies, even when portrayed in a light-hearted fashion. Here, Mercy essentially assaults Leonard, both mentally and physically, taking control of his motions against his will. But unlike most similar stories, this one examines how dreadful this is, with Leonards entire life being turned upside down. He leaves his fiancée to pursue his obsession with Mercy and when he is dumped he appears absolutely shattered being left incapable of moving on in ways that most people can.

Yam

The second part of Juju Stories’, “Yam,” is directed by Abba T Makama. It follows two men, Amos and Tohfik, as they hustle in Lagos amidst rising cases of people turning into yams. Tales of people turning yam for pocketing money found on the street is familiar to most Nigerian audiences. These are the types of cautionary tales that parents tell their kids to scare them away from doing bad things.

Aside from that, however, there is nothing overtly familiar about Makama’s ‘Yam’. The story has the loosest structure of all three sections of the film, with scenes going on for great lengths. The way it refuses to be upfront about the themes also makes the film have the most wiggle room for interpretation. Makama stated that he wanted the story to be open to interpretation and just make people laugh. With campy performances from the actors, he certainly will have gotten his wish.

There are many ways the story could be interpreted. The story was bookended by a painting of screaming man, a painting by Makama himself. The screaming man could possibly represent the never-ending purgatory that many Lagosians find themselves trapped in. The poorer characters seem to be stuck in a state of hustling and suffering. They mock and consume each other in order to deal with their circumstances.

Tohfik takes out his frustrations on his female companion and mocks Amos. Tohfik accidentally eats Amos after he has been turned into a yam, and is driven mad by the voice of a tormented Amos in his head. Both he and Amos are bonded together in a never ending cycle of horror. The rich characters start and end the film, untouched by the turmoil we have seen on the streets of their city, casually reading about the supernatural occurrences on a headline. They sit in front of the painting portraying eternal, ongoing torment, yet unaffected.

Regardless of its intended interpretation, ‘Yam’ is a story that addresses class in a very unique way.

Suffer the Witch

C.J Obasi’s ‘Suffer the Witch’ is the third and final story in Juju Stories’. Set in a university campus, this part harkens back to more familiar Nollywood films of the noughties. It follows a girl, Chinwe, and her growing suspicions around her strange and obsessive friend Joy. The events in the story make her increasingly sure that Joy is not just acting strange, but a witch.

A confidently shot film, many scenes are extremely tense and unsettling. A feeling of anxiety looms whenever Joy is seen or even just spoken about. She creeps up like a ghost in several scenes. She is spoken about in a way that makes it seem like she is always watching, always lurking. She almost like a deranged toddler, appearing odd but harmless when she wants to, but has a terrifying darkness lurking beneath the surface.

Joy seems to make it her mission to isolate Chinwe. A fantastic performance from Nengi Aidoki makes Joy a truly terrifying character. She switches on a dime between the cloying, childish affectations of Joy and the unhappier person within. It is unfortunate that the film falls into the usual partnering of lesbianism and villainy, something that pops up in many films as a lingering effect of the Hayes Code in Hollywood, and religious puritanism in Nollywood. The fantastic performances and confident directing however allows the story to rise above this trope.

‘Juju Stories’, overall, is an important addition to the more inventive films coming out of Nigeria, amidst the current emphasis on gloss in Nollywood. It treats the audience like adults and allows them to work through the themes without having their hands held. Abba states that “there are ways” in which the stories are linked, “but I’m not going to say it. The audience has to figure that out.”


ICYMI: THE IRREFUTABLE LEGACY OF OSUOFIA IN LONDON

For The Girls: Nana Darkoa Sekyiamah Wants To Have Frank Conversations About Sex

African women have always discussed sex among themselves. However, to write about the sex of the everyday African women and tell those intricate intimate stories from the perspective of those who lived them is something unheard of in our patriarchal society. Yet, telling that story with a lot of care and intentionality is what Nana Darkoa Sekyiamah has done with her latest book, ‘The Sex Lives of African Women.’

The writer, activist and feminist Nana Darkoa Sekyiamah has been advocating for the safe and healthy sex lives of African women for a very long time. In 2009, she started ‘Adventures from the Bedrooms of African Women’ with Malaka Grant, offering a space for African Women to share experiences of sex and our diverse sexualities. Since then, he work has championed and supported African women living their lives audaciously, without the monitoring gaze of society.

In a world that vilifies, silences, and marginalises women who engage in owning their own sexual agency, we need more platforms like Sekyiamah’s that are tell the daily, mundane, and majestic sexual stories of African women. Nana has been doing precisely that through her work for many years, whether by hosting panel discussions, hosting a digital forum, intimate events around sexual liberation for adventures and now her book.

 

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For most young African girls, the stories we hear about sex are that of fear, caution, and public state-sanctioned violence. This has created a void in the available knowledge around sexual agency, liberation, and exploration of one’s sexuality from a young age that then leads to a life of unenthusiastic and unfulfilling sex lives that is geared to serve the patriarchic status quo.

Speaking with Nana has always felt like speaking with an elder sister, who is fearless and will truthfully share her wisdom, insights, and pleasurable experiences of sex. This is very much why most of the young African feminists I asked about Nana’s latest book described her as the real Shero ally, who knows how to tell stories and when to tell stories that see many of us at the base of our emotions.

Nana Darkoa Sekyiamah is simply creating a lane of her own, a foundation of which she has consistently worked for ages, her lane is brilliantly impactful to all African women of all ages, classes, and ways of life. For Nana Darkoa Sekyiamah, it is pertinent that stories of all African women include our stories of intimacy, healing, please, freedom, exploration, and thus sex.

In a conversation with Adeola Naomi, Nana talks about her new book, the significance of telling sexual stories of African women, and reclaiming our sexual agency.

The conversation which follows below has been lightly edited for clarity.

Can you tell us a little bit about yourself, Who is Nana Darkoa Sekyiamah?

NANA: I will say my primary identity, the one that I always describe myself as is that of an African feminist, I will add to that a writer. I think it took a while for me to feel confident enough to step into my authority as a writer because it sounds so big. But, actually having a book that is published by a sort of mainstream publisher that is available in different countries around the world makes me feel like okay I can finally call myself a writer. I am also a sister, a daughter, a friend, a mother. These are kind of my identities.

You said that you identify as an African feminist and I know you went to an all-girls boarding school in Ghana growing up, does that shape your feminism or inform how you present yourself as a feminist or how you even come into feminism?

NANA: Not at all actually, it is quite sad when you put it that way because you would think going to an all-girls boarding school would somehow imbed in me a feminist spirit. If anything I feel like my all-girls school tried to take away my feminist spirit, because it was a Catholic boarding school where the nuns had a really strong influence. Some of my memories of the school are things like literally being called a devil because I shaved my eyebrows and a whole bunch of other girls also then decided to shave their eyebrows. So, I actually feel like I am a feminist in spite of having attended a school that tries to get me to conform to a particular notion of girlhood/womanhood and respectability. For me, feminism is the opposite of all of that. Feminism is revolutionary, it is not about accepting the status quo. It is about questioning, it is about dismantling and rebuilding. Unfortunately, I don’t think I got that kind of education from my Catholic boarding school.

Your book is about the sexual lives of African women, and how sex is performed in society and sexuality. With everything going on right now on the continent, you are in Accra Ghana where there is an anti-LGBTQ bill discourse, there is a lot of conversations on the continent that repress sexuality, would you say sex is political?

NANA: Absolutely, the mere fact that the state tries to control who we love, who we sleep with who we form relationships with, shows us how political sex is. On the one hand, people like to present sex as a deeply personal issue but it is also a deeply political issue and one that as far as I am concerned we need to speak about. It is one of those issues people say ‘we don’t need to talk about what goes on in the bedroom’, and I feel like whenever people try to say there is no need to talk about something, that is the more reason one needs to talk about it. It is like with money, people say we shouldn’t really be talking about money, people shouldn’t know what others earn but that is because they don’t want you to know that you are being cheated, you are not being paid a fair wage. So, as far as I am concerned, sex is absolutely political and that is why I choose to write about sex.

 

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Is that also the reason for your other feminist work as the communication director of the association for women’s rights in development (AWID)?

NANA: I will be leaving AWID in march, which I am super excited about, I love Awid, I have had a really good run there. But, it is coming up to seven years and I want to focus on my creative pursuit. The only way I can do that, especially now that I am a mother and don’t have as much free time as I used to have is to do that within my working hours. So, yes I am leaving Awid to focus on my next book, my other projects, including a podcast, and whatever else I feel like doing.

I love all the creative side of you and you embrace it all, your book is very creative and I would like to know what was going on in your mind when you were talking to all these women? Did you feel like you saw yourself in their stories or there was a specific interviewee where you thought this could be my story?

NANA: The process of speaking to people and hearing their experiences was super interesting. You know, like I used to warn people beforehand, saying ‘I am interviewing you about sex, which means I am going to ask you lots and lots of intimate details. I knew I wanted to write the stories in the first person, it meant, I really needed to know what it felt like to be in the person’s body. So, I would ask, ‘what else was going on, what could you see?’ because I wanted to put in a lot of texture and details in the stories. That was enjoyable, especially while writing about it, as I could almost imagine that I am not, for example, Chantelle, and this is what is going on. Of course, there are some stories that I identify with more than others. There are some stories I was like ‘this is the life that I want to lead, like Helen Banda, I also want to be Alexis when I grow up. I want to be Helen Banda right now and to be Alexis when I grow up. It was an enjoyable process.

What was your writing process like for this book, was there a preparation because it is such an intimate topic? Especially for the fact that some very sensitive and triggering stories might hurt to revisit?

NANA: Obviously talking about sex, you also inadvertently bring up issues of traumatic sexual abuse. In the beginning that was kind of unexpected for me, it may sound a little bit naive. I don’t think I had fully realised how many women had experienced child sex abuse. So, in the beginning, there was a particular question I was asking, then I realise afterward, that question was triggering people to tell me their experiences of child sexual abuse. Frankly, it got to a point where I didn’t want to hear it anymore, so I just stopped asking that question, and people stopped telling me. There was a question that I was asking and that would always come up for people.

What was the question if you don’t mind sharing?

NANA: I don’t mind at all, it was ‘what was your earliest sexual memory as a child?’ something along those lines or ‘what was your earliest awareness of sex?’ For a lot of people, it was an instance of abuse.

And what did that make you feel about the writing of sex as a topic? The need for this type of writing especially of African women as you were hearing all these stories of abuse?

NANA: It was a lot of fear as a mother of a young child. It just makes you really worried like can I do everything in my power to protect her? Is there a risk that she can be abused and what do I need to do to protect her? Because the reality is parents can’t be there 100 percent of the time and it is actually the people who are closest to you who tend to abuse the children. So, for me that is scary. That is really scary.

 

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When you talked about freedom in the book, do you think that a lot of African women do know what freedom feels like in intimate relationships? You interviewed around 30 women for the book.

NANA: That’s a very good question. I feel like some women know what freedom is like and some women are living lives that think they are modelling many aspects of freedom for us. I am sure there are very few people who feel free in every single area of their lives. So, I think a lot of women who are working on being free, will always claim that sense of freedom, If I think of Fatou for example, the woman from Senegal, she always says, “I am a free woman.” She would say that to all partners, she claimed freedom for herself and that was the strongest value for her. She always made sure that she held onto that. I think sometimes we don’t know what freedom looks like and we need to figure out what freedom looks like for us so that we can claim it for ourselves. I think what freedom looks like for one person, looks very different for the other person.

Who are the African feminists that you would recommend to a young African girl to start their sexual liberation journey with?

NANA: It is easy for me because I actually bought two books by African feminists on sex and sent them to my goddaughter who just turned 17, I think I sent her the books when she was 16. So, I will say ‘the quirky quick guide to sex by Tiffany Kagure Mugo, and Dr. T: A Guide to Sexual Health and Pleasure.

Are there any more books around the sexual freedom of African women in your future?

NANA: I am starting to work on a second book which is actually about sexual freedom! Laughs.

I cannot wait to see and read it. When you chose to share the story of a trans woman and sex workers, would you say this was an intentional political decision before you even begin their interviews for the book and I want you to tell us more about that decision?

NANA: For me it is basic, trans women are women and there is no way I will write a book about the sex lives of African women and only include the experiences of cis women, that wouldn’t be a book about the sex lives of African women. So, for me, it was a given that I included every one of us. And if I am interviewing women about sex, surely I have to interview people who are experts about sex. Experts to the point that it is their profession. The book would be invalid without that, some people that I was planning to interview, I didn’t know they were sex workers, it just sort of came up in conversation. Kuchenga for example, I didn’t know was a sex worker. I knew Kuchenga was trans, but I didn’t know she was a sex worker.

This book is not just for African women, it is for all who relate to African women. What are the final words you want to say to all the people who relate to African women about the being of African women when it comes to freedom and liberation?

NANA: I will say support African women, love African women, listen to African women, know that we are the experts of our own lives. We don’t have one story, we are not a monolith, we don’t all think the same thoughts, and it is not bad if we don’t think the same thoughts. Like everyone else, we have our struggles, moments when we can come together, and moments when we need to stand apart. We are unique, we are complex, we are diverse, we are beautiful, we are horrible, we are everything, We are human.

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For Us By Us: How I Discovered Self Love

In a patriarchal world, the standards of beauty are endlessly weighted against women who look, dress and talk like me. Growing up in a world where Eurocentric standards of beauty rue the day, it’s hard for Black African women to see themselves represented in mainstream media and in turn, love themselves for how they look and who they are. According to one international study, only 4% of women aged 18-29 would call themselves beautiful and these numbers when narrowed down to my side of the world, are even steeper.

For me, a young woman navigating life in Lagos, Nigeria, I had to remind myself that my beauty existed regardless of my outward physical appearance. As a young woman who once attended a boarding school where all the girls had to shave their hair, I never really grew up believing I was conventionally attractive–with a buzz cut. However, surrounded by young girls and women who also donned the same low cut style as me, I was reminded that beauty was only skin deep from a very early age.

In my experience, I have learnt that it is almost impossible to love others the way they deserve to be loved without loving yourself first and this is something I have struggled with in my platonic and romantic relationships. I was unsure of myself and that in turn, meant that my relationships suffered due to my lack of self-awareness. Once this awareness kicked in, I decided to inculcate the habit of looking into the mirror, on my way out of the house every day, and reminding myself of my beauty and what made me unique. At the time, it was just a thing I did out of habit to but overtime, I realised this was building my self confidence. It became part a big of who I was, and now, a mirror is just a reminder that I’m beautiful.

Once you can be there for you always, you would never need to labour to be loved correctly in any relationship, whether that’s with friends, family or with a romantic partner. Self love is more about honouring yourself and where you currently are as a person, and then choosing oneself time and time again. It can be difficult to make the choice to commit to yourself and your happiness but for me, choosing myself has been an invaluable step towards the powerhouse of a woman I am capable of becoming. 

As a music head, music is another avenue for me to practice loving myself. Over the years, there have been numerable songs that have bolstered my belief in loving oneself, and in turn, filled me with the confidence I needed to take on a world that constantly counted me out. I distinctly remember how much I could relate with Justin Bieber’s “Love Yourself,” due to its honest lyricism. I felt a similar way when I heard India Arie’s 2002 classic, “I Am Not My Hair”, a timely track which was aimed to empower Black women and remind them that Eurocentric standards of beauty are not the measure of their worth or desirability. Although I was barely 4 years at the time, I distinctly remember that song inspiring and filling me with pride, the moment I could understand and interpret its lyrics.

The new generation artists have also been doing a good job at passing these messages with their music recently. The new vanguard of Afropop stars are confident in who they are, and they want the same for their listeners. Ayra Starr arrived with the breakout single “Away”, an affirming track with lyrics such as “understand I won’t be the girl that used to cry, cry about a man that never came through.” More than just an avenue to talk about her own personal experiences, the song was affirming for a new generation of listeners coming into their own as adolescents and interacting with the opposite sex. That song constantly gives women hope and strength as it’s a subtle reminder that nobody deserves to have so much power over you. 

On Joeboy’s debut album ‘Somewhere Between Beauty And Magic,’ he opened the album with the track “Count Me Out,” a self-appreciative number that found the singer talking up himself and his abilities. Here, he reminds listeners not just his strength as an artist but his self confidence and how he worked hard to be in the current Afropop conversation with standout lyrics such as “I drop hit I just smash hit and na so e go dey I’m never stopping”, a rather braggadocios but catchy entrance. These are the type of songs that are constantly on replay whenever I am feeling less than my confident self, because of their ability to see me at the base of my emotions. 

With Valentine’s here once again, I’m reminded of that little girl who made the decision to look into the mirror and choose herself, even when the world stood against her and those who looked just like her. I am a long way from that little girl, but in many ways, still exactly like her, searching for a way to be comfortable in my own skin. I can’t tell you it’s been easy and I certainly can’t tell you that it’ll be a one-week mission or a two-month thing or even a year. It’s an everyday job to love oneself and commit to loving that person in the mirror.

Self love is more than just acceptance. I have come to find that it is about challenging hateful lies that ruin lives, and then creating a space for the truth, which opens one up to love and fulfilling existences. Picture everyone making the decision to do this everyday, imagine how life could change for all of us? lf we all made the decision henceforth that we are perfect exactly the way we are, who gon’ stop us?

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ICYMI: Platonic Love Matters Too