Best New Music: Reekado Banks Breathes New Life Into “Ozumba Mbadiwe” with a Fireboy DML remix

Posted on by The Native

There are very few dates that will live on in the collective psyche of young Nigerians like 20/10/20. The massacre that took place at the Lekki Toll Plaza and other places across Nigeria was a painful reminder of the Nigerian government’s remorseless capability to deploy brute military force to silence the legitimate requests of its citizens. 

On the one-year anniversary of that dark day, the pain was not any easier to work through but Reekado Bank’s “Ozumba Mbadiwe” —  named after the expressway that leads to Lekki Tollgate in Lagos — served as both salve and vociferous response to the government after months of cover-up and obfuscation. In the months since then, the song has become one of the most ubiquitous tracks around and reignited the ever-burning career of Reekado Banks.

The truth of the matter is that “Ozumba Mbadiwe,” despite its famous 20/10/20-remembering tagline and all its conscious leanings, is not strictly a protest anthem. It is steeped in the delectable Afropop melodies that entertain and inform, just as much as it draws us to dance. The Fireboy DML-featuring remix of “Ozumba Mbadiwe” takes inspiration from the introspective air of the original track while keeping the sonic structure of the original. 

In the three years since coming to widespread attention via “Jealous,” Fireboy DML has become one of the most important artists of his generation and his verse references that status with him singing, “Since 2019 when I don blow, I’ve been on the road if you don’t know and I no get time for your convo.” Currently, in the thick of a United States of America tour, Fireboy DML’S own Ed Sheran-featuring remix of his 2021 smash hit, “Peru,” recently cracked the billboard top 100, debuting at number 79, and on the back-end of the track, he admits that he’s motivated by providing for himself and his loved ones. 

All said, the success of the “Peru (Remix)” hints at the utility of collaboration in the streaming world and this catchy remix of “Ozumba Mbadiwe” could be following the same path in bringing more visibility — particularly internationally — to an already successful song. Plans are underway to spread the reach of the single across Africa with a star-studded ‘Ozumba Mbadiwe’ Remix EP set to feature  Ghanaian pop star KIDI, Tanzanian singer, Rayvanny, and award-winning Ivorian rap artist Elow’n, and South African amapiano frontliner, Lady Du.

Listen “Ozumba Mbadiwe (Remix)” here.

ICYMI: A 1-LISTEN REVIEW OF FIREBOY DML’S ‘APOLLO’

14 Projects The NATIVE Team Are Excited For This Year

Posted on by Damilola Animashaun

Between Grammy Award wins and monumental inroads into the heart of popular music across the world, in 2021, Afropop and African music provided fresh impetus to a world reeling from the effects of the COVID-19 pandemic. In 2021, Afropop did not witness the glut of releases that it did in 2020. What the genre did experience was a variety of blockbuster showings from its emergent class like Blaqbonez’s ‘Sex Over Love,’ Prettyboy D-O’s ‘Love Is War,’ and The Cavemen’s delicate sophomore, ‘Love In Highlife’ as well as plays for legacy shouts by veterans like Olamide (‘UY Scuti’), Kizz Daniel (‘Barnabas’) and Tiwa Savage (‘Water and Garri’).

In Kumasi, the Asakaa scene moved beyond the gritty singles format that birthed it with key players like Yaw Tog, Jay Bahd, and Reggie dropping well-received projects — ‘Time,’ ‘The Return Of Okomfo Anokye,’ and ‘2 Times A Guy’ respectively — while rap veterans Sarkodie and M.anifest served up succinct reflections on their lives on ‘No Pressure’ and ‘Madina To The Universe.’

Beyond West Africa, it was clear that the sub-Saharan Africa was engaged in a transcontinental musical conversation as influences moved back and forth in fluid manner. The Scorpion Kings’ ‘Rumble In The Jungle’ with TRESOR was a pan-Africanist work that incorporated elements of Kizomba, Zouk, and Rumba into its core while TRESOR returned later in the year with the elegiac “Motion.” Further afield, acts like Cassper Nyovest, A-Reece, Victoria Kimani, and Shekhinah have expanded the scope of African music in interesting fashion.

2022 promises to be as storied if not more impactful for the continued trajectory of Afropop with the looming shadow of Wizkid’s next project — tentatively titled ‘More Love, Less Ego’ — while Rema is expected to share his debut album, ‘Rave and Roses.’ Ghanaian upstart, Black Sherif, continues to tantalise ears across the continent with his gravelly voice and smoky melodies that mine the boundless energy of Asakaa, but tincture it with trap’s traditional melodies and, after the success of his “Second Sermon” and its Burna Boy-featuring remix, will now be expected to definitively take form on a project. With all this and more expected, the NATIVE team has compiled a list of projects that track some of the most eagerly-anticipated records from this year as well as other selections that spotlight some of the continent’s most promising stars. Enjoy.

Sarz & Azanti

Release date: TBA

Sarz’s importance to Nigerian music is irrefutable. In a career going on fifteen years, the super-producer has defined multiple periods in Nigerian pop, while consistently redefining his craft as a versatile and constantly top tier soundman. Having gone over a decade without putting together a joint project with a vocalist, Sarz turned out three within a two year span, outfitting his collaborators with varying sonic palettes that played to their strengths and stretched the scope of his (and their) sound.

There’s the sensual and speaker-throbbing fusion of afro-house and R&B on ‘I Luv Girls with Trobul’ alongside WurlD, the sultry and vibrant melding of Afropop-tinged R&B and electropop on ‘LV N ATTN’ with Lojay, and the retro-futuristic Funk and Disco of ‘Sweetness’ with Obongjayar. Sarz is set to that immaculate canon, having tapped Apex Village prodigy Azanti as his latest collaborator. Azanti won the iconic producer’s attention following a ‘Free Sarz’ social media challenge, where up-and-coming artists were asked to freestyle over a Sarz beat for the opportunity to work on a joint project.

Azanti’s voice, brimming with teenage charm and precocious charisma, sounded like a perfect fit over that instrumental, so much so that Sarz thought he was quite clear of his colleagues. Whether they’ve even started working on the project is not known, but the possibilities of a Sarz and Azanti tape is tantalising. The singer is a melody wunderkind with a knack for insanely catchy hooks, and Sarz will always be a genius regardless of where he pushes the sound to.

Dennis Ade-Peter

Rema

Release date: TBA

Perhaps one of the most sonically unpredictable stars on the continent right now, one thing we do know 100% about Rema is that we’re finally getting an album from him in 2022. ‘Raves & Roses’, his debut LP under Mavin Records, has been announced (albeit without a date, for now). The fact Rema has ascended to the lofty heights he currently inhabits, without a full length album, is both a testament to his stardom and a fascinating look into just how much the music industry has changed.

It’s not an exaggeration to say ‘Ravers & Roses’ will be one of the most anticipated debut album since Wizkid’s ‘Superstar’ in 2011. Mavin’s golden child has come a long way from freestyling in the car, but you would be a confident punter to predict which Rema we’re going to get on his first full set. Lover boy Rema, as heard on the inescapable “Soundgasm”? Trap star Remy Boi, that we instantly gravitated to on “Beamer Freestyle”? Hook gawd Rema, that we’ve seen all too fleetingly on cuts like Jae5’s “Dimensions”? The answer probably lies somewhere in the middle. We live in an era in which there has never been this level of easy access to music, and there has never been more new music released on a consistent basis. Rema knows this better than anyone, capturing the hearts and minds of a new generation during his 2019 EP run. Since then, he’s dipped in and out of the public eye, emerging from his cave for shows and straight back into it.Now, with all eyes firmly on him, it appears he’s finally about to open his world for all to see.

Seni

Scorpion Kings

Release date: TBA

DJ Maphorisa and Kabza De Small formed Scorpion Kings in quite the spontaneous manner. The pair had worked on a slew of tracks together, featuring a long list of vocalist, and unbeknownst to Kabza, Phori shared a free download link to a zip file, which contained their eponymous debut album, a game-changer for Amapiano. That sparked a ridiculously prolific 5-album run within a year, climaxing with Kabza’s own proper debut in the lockdown summer of 2020. They would reunite, with singer TRESOR for the ride, on last year’s Rumble in the Jungle, adding subtle pan-African shades to their inimitable craft.

Since then, Kabza and Phori have been spreading their influence through personal and occasionally intersecting ventures, from Kabza’s integral mentoring of Young Stunna and his 50-track tape with MDU aka TRP, to Phori’s splendid vocal participation—as Madumane—on bangers like “Izolo” and “Bopha.” Thankfully, the iconic ‘Piano pair are back to helming seminal hits, closing 2021 with two Ami Faku-assisted stunners, “Abalele” and “Asibe Happy.” For me, and many others, that means a new Scorpion Kings album is on the horizon. It’s been nearly three years since they became a driving force for the Yanos to become a prominent part of Afropop, but as those two singles clearly prove, the Scorpion Kings remain musically progressive. A new project would be less of a reminder, and more of a flex, another assertion of their singularity in an ever-widening genre.

Dennis

Omah Lay

Release date: TBA

In 2020 during the peak of the pandemic, Omah Lay stepped into the limelight with the release of his debut solo EP ‘Get Layd’ to incredible fanfare. Largely unknown to fans a few months before its release, the EP catapulted Omah Lay into superstardom, earning him a spot in the upper echelons of Afropop conversations. Over 5 tracks, the singer unfolds his loverboy side as he delivers romantic tunes such as “You”, “Lo Lo” and “Damn”, making confessions and owning up to his feelings for his muse.

Since then, there’s been little doubt that 2022 would see Omah Lay shoot into greater heights once again. Over the past few months, the singer has been teasing his debut album titled ‘Boy Alone,’ whetting fans appetites for what’s to come with teasers and promo clips of the new universe he’s creating. Although no release date has been announced, fans are already hypothesising on what Omah Lay could bring to the album. Lover boy Lay who we’ve grown accustomed to? Jaded Lay whose shown he’s a “Bad Influence” or would it be smooth talking Omah whose sweet-tongued lyrics draws women to the dancefloor? Whatever the case may be, Omah Lay is keeping his cards very close to his chest at the moment. While there’ve been whispers of what an Omah Lay album would sound like, none of the speculations can prepare us for what’s to come and if his recent string of singles is anything to go by, this album will be replete with daring love songs and fiery club bangers, neatly packed from one of Port Harcourt’s most viable hitmakers.

Wonu Osikoya

Black Sherif

Release date: TBA

The sound of post-2019 Ghanaian music owes very much to the hard-hitting brand of drill music being made in the Ashani region. In 2020, the Asakaa boys from Kumasi made a big splash across the world with the strength of their culture and their melodic tunes inspired by the harsh realities of life around them. Konongo-based rapper, Black Sherif is at the vanguard of the immediate of this emerging sound on the continent, coming to fame last year with a series of singles that distilled his reflections on life in the trenches and hoping for a better life. “First Sermon” made him a regional star but “Second Sermon” with its painful reference to a tragic passing and Blacko’s zest for life made him a truly national star before a Burna Boy co-sign elevated his profile. With part of his Christmas spent recording music in Nigeria, with the likes of Prettyboy D-O and more, expectation is rife for a debut project from the ascendant rapper.

Wale Oloworekende

Tems

Release date: TBA

What a whirlwind couple of years it’s been for Big Tems. Following the success of breakout single “Try Me” and the fantastic ‘For Broken Ears’ EP, perhaps it wasn’t a surprise to hear Wizkid had enlisted her for a cut on his hotly-anticipated ‘Made In Lagos’ album. But few – well, apart from us – could have predicted would come next: the unprecedented success of “Essence”, quickly followed by festival sets, sold-out international dates, a collaboration with Drake, another genre-bending offering in ‘If Orange Was A Place’, all culminating in a sold-out homecoming show in Lagos.

Now, what next? A debut album from Tems truly is one of the most exciting prospects in music this year. Take away the aforementioned groundbreaking success she’s had, and you see an artist whose creativity has been going from strength to strength with each release. Most recently on ‘If Orange Was A New Place’ cuts “Vibe Out” and “Found”, her innovative manoeuvring of her vocals on the record provides a brief glimpse into a new sonic dimension for the girl who was once afraid to sing in her school choir. ‘Orange’ also proved to be her most introspective release till date, with songs like the standout “Replay” offering a peek behind the shades. One would expect a full-length album to open up the blinds even more.

Seni

Cruel Santino

Release date: March 4

By now, it’s no small secret that we’re a while away from new Cruel Santino music. Originally announced late last year, and set for release sometime last October, ‘Subaru Boys: Final Heaven,’ was indefinitely pushed back, due to delays from his label and management, after two years spent working on it. Despite this heady start, the album didn’t suffer from any delay to its epic rollout as anticipation for its release has not waned, qualifying as an accurate representation of the singer’s magnetic pull.

Now, ‘Subaru Boys’ which has been status imminent for the last few months, is now full steam ahead to its March 8 release date (IWD coincidence? I think not). Beginning the year hot and heavy, Cruel Santino has now shared the album’s tracklist and cover art to incredible reception from his loyal fans. Announced to arrive in multiple arcs (which hint at yet another multiverse created by the singer) and set to feature a range of exciting acts such as Koffee, Gus Dapperton, Skepta, Amaarae, SOLIS and newcomer, Brazy Bih, the new album promises to be packed with fierce reflections of Cruel Santino and his many alter-egos tumultuous life. With only a month left to its release, Cruel Santino is already teasing the new drop with regular updates shared on his newly minted subaruwwworld IG account, as he takes us behind-the-scenes on the making of Subaru World.

Tami Makinde

Moliy

Release date: TBA

‘The Angel You Don’t Know,’ the debut album by Ghanaian singer, Amaarae, hinges its magnificence on being a rich depiction of singer’s eclectic music taste. Rising singer, Moliy, is at the center of some of the record’s cornerstone songs like “Feel A Way” and “Sad Girlz Luv Money,” helping bring earthy urgency to these songs that interrogate money, carnal pleasure, and more money with her lithe voice while maintaining a semblance of candy-eating playfulness in the margins.

On the Billboard Hot 100-charting remix of “Sad Girlz Luv Money,” the self-proclaimed Wondergirl is a perfect foil for both Amaa and Kali Uchis, providing a bridge to connect their worlds. Moliy’s own songs push the boundary just a little further along against a backdrop of airy beats accesorised with light percussion and her soul-meets-R&B delivery. Her quaint 2020 extended play, ‘Wondergirl,’ showed that she was not lacking in confidence or ability and, following the success of the remix of “Sad Girlz Luv Money,” she could be set for a big year. A new link asking listeners to pre-add a song, “Love Doc,” has been a significant feature on her social media bios and it could be the beginning of a year filled with Moliy music.

Wale

Olamide

Release date: Unknown

Olamide’s influence is as strong as anyone who ever did this music thing, and he’s still going hard. So it was somewhat surprising when he hinted at his retirement after ‘Unruly,’ his forthcoming album which is “95% done.” Past efforts ‘Carpe Diem’ and ‘UY Scuti’ successfully updated his sonic strengths, loosening his rap tendencies while playing up his effortless charisma and dazzling beats.

While he’s certainly prolific, his approach to an album roll-out is remarkably private. Not much has been heard of the album but in between partying with Wizkid and collaborating with Wande Coal on his next song, one could expect to hear the Olamide of “Rock” or “Jailer”—songs which center romantic tension amidst Afropop’s quintessential flair for the dramatic. Yet the title—’Unruly’—evokes an outlier, Hip-Hop vibe, stoking the possibility he could be part boastful and part introspective on the tape, looking back at the legacy he’s built, from the jaws-off rapping on 2011’s ‘Rapsodi.’ In recent years, Olamide has become an important figure in connecting Nigerian talent to international audiences, whether it’s through his mentorship of the generational Fireboy DML, their distribution deals with EMPIRE, or his ongoing feature run which includes Portable’s “Zazoo Zehh” and T.I Blaze’s “Sometimes”—Olamide has inevitably set himself perfectly for glory, and with genius producers like Pheelz and P Priime working with him, ‘Unruly’ is already shaping up to be an album to be reckoned with.

Emmanuel Esomnofu

Victony

Release date: TBA

In 2021, Victony was on track to burst into the next stage of his career with flying colours. Then, in April last year, the worst happened and Victony was impaired from the waist down, unable to exercise his motor skills. An experience such as this is enough to weigh one down, let alone an artist on the cusp of a breakthrough moment. Yet, in 2022, Victony’s name hasn’t faded from the lips of many Afropop lovers and industry insiders. After a string of exceptional guest appearances last year including his scene-stealing hook on Mayorkun’s hit single “Holy Father” to his two-pack single ‘Nataraja,’ with Grammy-award winning producer Rexxie, and his solo releases such as “Pray,” Victony has consistently shown why he deserves to have our attention. Ready to begin the year with a bang, the singer recently took to his Twitter, hinting at the release of his debut project. While he’s been rather clandestine about the details around its release or content, eager fans are already piecing together the pieces from his social media and holy smokes, it seems we might be getting some Victony and DJ Maphorisa heat in the next few months. In any case, all eyes (and ears) are on the charming singer and his voice of gold.

Wonu Osikoya

Asa

Release date: February 25

Asa is known to cause conversation with minimal effort. Countlessly forging her own path in the industry with her otherworldly sounds and a sense of unflappable chill, she’s undeniably brought the warm and dreamy vocals to Nigeria’s indie scene, serving as a role model of sorts for a new vanguard of Afropop stars. On the pulse of yet another changing terrain, last year, Asa released the Ppriime-produced “Mayana,” a bubbly and soulful number that pairs Asa’s mesmerising vocals with timeless production. The release served as the first tell-all sign of her fifth studio album which we’ve gathered is titled ‘V’. With little word about the album’s content, what we know so far is that Asa worked on the project throughout the lockdown period when everywhere was shutting down and she was confined in her home in Lagos, Nigeria. ‘V’ was also inspired by Asa’s passions outside music, such as watching the calm ocean view from outside her home. If 2020’s ‘Lucid,’ is anything to go by, ‘V’ promises to feature some of the singer’s boldest hooks and loosest songwriting till date.

Tami

Teezee

Release date: February 18

There hasn’t been a better time than ever for new Teezee material and the streets are in agreement. After an almost 7-year break from releasing any solo material, rapper Teezee is about to release his debut project after serving as an indelible ⅓ of DRB for the past decade. Interestingly titled ‘Arrested By Love,’ as he told NME in an exclusive last November, the forthcoming EP promises to explore the many layers and types of love that Teezee has experienced. That’s not all, the rapper has also teased the EP’s exciting features which include but are not limited to Davido, Lancey Foux, Pa Salieu and Backroad Gee.

As one of the leading voices in the alternative scene, Teezee has been blessed to work with a range of local and international acts which he now invites to his sonic world in his most daring musical effort to date. Already, the rapper has released the Maison2500 and New World Ray-assisted “GUALA”, followed by the Davido-assisted “BADI” and more recently, the EP’s lead single, “New Government” with PrettyboyDO and Kofi Mole. With the year only just begun, Teezee has already been crowned one of NME’s Artists to Watch, setting the scene for what could be an incredible year for the rapper and new-father. For someone this advanced in his career, it is only expected that the EP caters to fans and listeners, as well as showing off Teezee’s new and improved skills as an artist.

Wonu

Tiwa Savage

Release date: TBA

Tiwa Savage’s inclusion on this list may draw eyebrows, only because the singer has been working consistently for the past two years keeping her fans satisfied with frequent releases. In 2020, she released her third studio album ‘CELIA,’ a 13-song set inspired by her mother then followed it the preceding year with ‘Water & Garri,’ her sophomore EP which featured the likes of Brandy, Stefflon Don and Amaarae. Now it seems like the crowned Queen of Afropop is set to release the second half to 2021’s EP, with rumours of the project circulating ever since the first half’s release last August.  Whether it’s the rumoured second hald or an entirely new album, we’re rest assured that it’ll be some of her best work yet. It’s been a long way for the artist since her “Eminado” featuring Don Jazzy and “Love Me, Love Me, Love Me”, and with an impeccable work ethic and saccharine-sweet melodies, we can only expect something positively delicious.

Ada Nwakor

NSS

Release date: TBA

Even with the backdrop of a global pandemic, 2020 was an eventful year for The NATIVE. There was Issue 004 with Tems, Naira Marley and Mowalola as cover stars, an exclusive zine focused on Wizkid (!), and, to close out the year, majority of the recording for the upcoming NATIVE Sound System album happened at a clandestine location in Lagos. Members of the team, whether directly involved or not, were privy to watching dozens of cutting edge artists and producers from across Nigeria lay down and commingle sonic ideas. For whatever reason, I didn’t make it to any of those sessions, and it still eats at me occasionally.

Beyond the teasing stories of my colleagues who watched some of these songs take shape in real time, I’ve heard a handful of (rough) cuts over random to know there’s so much great, diverse music on the NSS album. Also, contributions to the album are not limited to those from the recording camp, with the collective A&R team sourcing out collaborations from across Africa and the diaspora. I don’t know what the results will be, but the possibilities from what I’ve heard are endless. There’s possibly a silky electro-pop song from one of last year’s breakout stars; I heard an American R&B singer’s demo that’s meant to be performed by a former NATIVE cover star; there’s an amalgamation of two pioneering groups on one song; there’s an artist who’s acclaimed as an album auteur having unbridled fun over a dusty amapiano beat — I could go on and on, but you get the gist.

Writing this blurb, I think I’m no longer salty about not being at the camps, mainly because I do not envy the final decision-makers, as well as those with special attachments to songs they watched get created. Right now, I’m like the rest of our community: eager to hear what NSS puts together.

Dennis

Featured image credits/NATIVE

ICYMI: THE BEST NEW ARTISTS OF 2021

Songs Of The Day: New Music From Shasimone, Adekunle Gold, Ycee & More

Posted on by The Native

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 Obongjayar, Koffee, Emo Grae, Phyno, Psycho YP & more. Now to begin the new week, we’re bringing you new releases from Shasimone, Adekunle Gold, Ycee & More. Enjoy.

Shasimone Ft SuspectOTB – “Schweet”

Our Fresh Meat alum, Shasimone is back with a single alongside a video featuring British rapper SuspectOTB titled “Schweet”. This single is the first to be revealed as a feature on the British Ghanaian’s upcoming debut EP ‘Simma Down’, set to drop in March 2022. In this blend of Uk rap, Afropop and R&B, we see Shasimone coming into her own as she gives one of the biggest Uk rappers, SuspectOTB, a run for his money in this later track.

“Schweet is about living in the moment, having a good time cos we’re not here forever” says Shasimone. The track was reportedly enjoyable and easy to create as both artists worked seamlessly together. The video is also a visual feast which finds the rapper flexing her lyrical chops against a dazzling sequence.

Adekunle Gold – “Dior, Dior, Dior” ft. Fousheé

Tapped from Adekunle Gold’s latest studio album ‘Catch Me If You Can’, is the 11th track featuring American singer and songwriter Fousheé dubbed “Dior Dior Dior”. The SPAX produced song is a blend of Afro-classic and R&B inspired sounds as both singers extol their love for their partners. Fousheé’s and Adekunle Gold’s voices sound just like melted butter on the romantic mid-tempo track that will have you falling in love all over again, just in time for the Valentine’s Day spirit.

Ycee & Nanpa Basico – “Intentionally Remix”

With the success of the ‘Love Drunk’ EP and his fan favourite single from the project titled “Intentionally”, Afro-pop hitmaker Ycee taps Columbian rapper Nanpa Basico to feature on the remix. On this record, he details his intentional love towards his girl. This single comes just after the “Aunty Lovina” song with Patoranking and YCee just celebrating his 29th birthday.

Wizkid – “Mood” ft. Buju

Wizkid’s hit single “Mood” featuring hitmaker Buju from his Grammy-nominated album ‘Made in Lagos: Deluxe Edition’ is again in the conversation with the release of its long-awaited music video release. The visual is a modern neon colour inspired visual directed by Kuukua Eshun. We get a glimpse of the mood Buju and Wiz were singing about. Wizkid has had such an exceptional couple of years, and the same goes for Buju, who has continuously delivered hit track upon hit tracks for the past year. A must watch.

Teffy – “Motion”

Last year, rapper Teffy released his latest EP titled ‘Melody King III,’ which featured the standout single “Motion.” Now, he has returned to our screens with a new music video directed by Z3RO and edited by Yaro. “Motion” is a trap record filled with poignant storytelling, detailing his push and strive to the get to the top. He uses real-life stories and good music to pull his listeners into his world.

dndSection – “24 Days in Lagos”

dndSection’s music is the gift that keep on giving. His merge of this old-school Hip-Hop style with a gruff rapping style and trunk-rattling sonic homages will have you running back his songs to catch all the intricacies. For his latest release, “24 Days In Lagos”, Dndsection details the crazy antics he gets up to when he’s in the motherland in Lagos, Nigeria. He also speaks on the struggles of putting out music and making it as an artist with “Gatekeepers trying to stop his progress”.

Lucianne – “More”

Successful Nollywood actress Lucianne is back with an exciting single titled “More” to kickstart the new year. The British Nigerian singer-songwriter released “More” under her independent label known as RIV Records. “More” is set to feature in her forthcoming comeback EP ‘Becoming’. Produced by Majeek, the Afropop number is commingled with hints of R&B with pop sensibilities as she speaks on her online attraction that she lungs to take offline. The song comes with its music visual directed by Dotun Ajakaye, which features clips of Luciann in her online fantasy world where she meet her love interest.

Featured image credits/NATIVE

TurnTable Top 50: Skiibii continues to set the pace with “Baddest Boy (Remix)”

Posted on by Dennis Ade Peter

A week after rocketing up to the top of the charts with his first entry, Skiibii continues to set the pace on the TurnTable Top 50 with the Davido-assisted “Baddest Boy (Remix).” In its second consecutive week as the biggest song in Nigeria, it tallied 7.05 million equivalent streams, a drop-off from last week’s numbers, but it gained massively in radio reach (45 million) and TV reach (10.7 million). Having put up historic numbers last week, as the song with the biggest total chart points, this week sees “Baddest Boy (Remix)” put up the second biggest total chart points in TurnTable Top 50 history.

The rest of this week’s top three is unchanged, with Fireboy DML and Ed Sheeran’s “Peru” staying at No. 2, and Kizz Daniel’s “Pour Me Water” at No. 3. With Adekunle Gold’s “Mercy” falling to No. 6, two spots from its previous TurnTable Top 50 position, this week’s top five is rounded out by one step rises for Lil Kesh and Zinoleesky’s “Don’t Call Me” (No. 4), and Burna Boy’s Wizkid-assisted “B. D’OR” (No. 5). Having just released his fourth album, Catch Me If You Can, it wouldn’t be odd to see Adekunle Gold reclaim a spot in the top five, and perhaps field several new entries on the TurnTable Top 50.

The rest of the top ten is filled up with familiar songs from recent weeks, with the only new entry being Bella Shmurda’s new single, “My Friend,” debuting at No. 10 a week after its release. The songs above it include a new peak for TI Blaze’s “Sometimes” at No. 7, Ckay’s “Emiliana” is at No. 8, and Kizz Daniel’s “Eh God (Barnabas)” continues its run in the top ten at No. 9. This is the tenth consecutive week Kizz Daniel has logged multiple entries into the top ten of the TurnTable Top 50, and he’s only two weeks off from setting a new record in that column.

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

ICYMI: OUR FIRST IMPRESSIONS OF ADEKUNLE GOLD’S ‘CATCH ME IF YOU CAN’

What’s Going On: Coup in Guinea-Bissau, Tropical Cyclone Ana in Southern Africa & More

Posted on by Tami Makinde

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

Ever so often, we have to remind developed parts of the world that Africa is not a country. It’s not just because a significant portion of people in those parts are unenlightened, but also because of the continent-wide similarities when it comes to social, political, and economic issues. For one, Africa is teeming with corrupt and inept leaders—many of them dictators— who have failed to invest in meaningful infrastructure, all while derailing and rejecting systemic change through violent means if necessary. In addition to this, they are fully aided by deeply patriarchal, religion deferring, and ultra-conservative social constructs.

At the same time across the continent, the current generation of African youth are pushing against these systemic boundaries, in order to continue the arduous work of rewriting the narrative. Even with all of the endeavours, talent and records being witnessed from music to tech, the limitations put in place by the continent’s political landscape still looms large. Every week, disparaging headlines from around Africa make their way to the news, reminding us of the bumps affecting these perceived stripes, and the roadblocks which delay our growth towards more wholesome and enabling societies for all Africans. Below are few news bits of what’s been going in on in the past few days.

Attempted coup in Guinea-Bissau

Last Tuesday, it was reported by Guinea-Bissau’s incumbent president Umaro Sissoco Embaló that an attempted coup was staged in the government palace. The attack is said to have taken place for several hours, during which assailants attempted to overthrow security forces with machine guns and AK-47s. The news of the attack was shared by the country’s president via a national broadcast on Radio TV Bantaba who said, “I have never imagined that we would arrive to this type of situation,” Embaló said. “I never thought that Bissau-Guineans could practice another act of violence.”

Crossfire is said to have lasted for five hours with Embaló also adding that “many” members of security forces were killed in the failed attempt, however he did not confirm the number of casualties. Embaló also said that he believes the perpetrators of the coup intended to kill him and members of his cabinet, who were gathered for a weekly meeting in the palace. It is not clear who was behind the planned attack but the president mentioned that, it “also has to do with our fight against narco-trafficking”. Guinea-Bissau became known as a transit point for cocaine between Latin America and Europe in the 2000s as traffickers profited from corruption and weak law enforcement.

The coup attempt in Guinea-Bissau comes after months of similar devastations across the African continent. In recent memory, in West Africa, there has been one in Mali in 2020 and again in August last year, another coup in Guinea in September, and in Burkina Faso just last week. Coups have also taken place to the East of the continent, in both Chad and Sudan.

Fire rages across Kenya national park

On Sunday, forest rangers and volunteers battled flames and strong winds to stop a fierce fire raging across Kenya’s Abedare national park which broke out for nearly 24 hours. According to Kenya Wildlife Service (KWS), the government body in charge of national parks, the fire broke out on Saturday night in the park. Located in the Aberdare mountain range, the park is home to spectacular waterfalls and lush bamboo jungles as well as a variety of wildlife including leopards, elephants and critically endangered black rhinos.

A number of other local bodies have teamed up to aid efforts to cure the fire. Rhino Ark, a conservation charity in Kenya, said on Twitter that it had deployed helicopters to conduct aerial surveys of the area to estimate the extent of damage to the forest cover. The Mount Kenya Trust, a body set up to conserve the country’s forests, said Sunday that a team had “headed up to help with the bushfires in the Aberdare.

Tropical Cyclone Ana tears across Southern Africa

Earlier this week, Tropical Cyclone Ana tore across Southern Africa leaving more than 80 people dead and thousands displaced and impacted in their homes. Although it is not yet known where these deaths are situated, the European Civil Protection and Humanitarian Aid Operations (ECHO) shared in its latest update that Madagascar, where prolonged drought has pushed people to the brink of famine — had been worst-hit, with at least 41 deaths and more than 110,000 people affected.

In Mozambique, at least 15 people were killed and more than 45,000 have been affected, while Malawi has reported at least 11 deaths, with nearly 217,000 people impacted, according to ECHO. It said that heavy rainfall had caused rivers to overflow, and that floods and landslides resulted in casualties and widespread damage. Although CNN reports that the storms have weakened, the South African Weather Service said that Malawi and Zambia could experience more heavy showers over the weekend. As we continue to witness the effects of climate change, it is said that climate the whole continent is projected to experience a greater frequency of heavy rain, according to the Intergovernmental Panel for Climate Change’s latest report. Southern Africa is particularly vulnerable to drought in a warmer climate.

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We Are Getting New Music From Nonso Amadi Soon

Posted on by Wonu Osikoya

In 2020, five years after his scene-stealing debut, Canada-based, Nigerian singer, songwriter Nonso Amadi announced that he was taking a social media hiatus. “Leaving the socials, coming back with new music,” his tweet had read, prompting conversations on the timeline about his departure and all the good music we’d receive upon his return.

Unbeknown to many, a few months later, a deadly global pandemic would hit, changing the world as we knew it and disproportionately affecting artists and the music industry in seismic ways. It’s taken Nonso Amadi thirteen months and six days to make his return but we can be sure of great music, in due time.

 

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First stepping into the limelight in 2015 with the release of his 5-track debut compilation ‘Alone.’ The project was our first introduction to the singer’s emotion-baring writing and his buttery-smooth vocals. His music also arrived with solid production, produced and engineered by the singer himself, a feat that instantly placed him in a lane entirely of his own making back then.

Soon enough, Nonso Amadi scored his first breakout hit with “Tonight,” only a year after his debut on the scene. The hit single created a loyal fan base for the artist and gained him the attention of listeners from all over the world as well as industry peers. Over time, more fans and peers started to make their own covers for “Tonight,” which eventually boosted the song to a wider audience and certified Nonso Amadi’s name in Afropop conversations. 

Over time, Nonso Amadi’s discography has only grown. The singer currently boasts of 2 solo EP’s, 1 collaborative EP with Odunsi The Engine and a handful of singles and features. Just before his departure, in 2019, he released his sophomore EP ‘Free’, a 6-tracker which boldly shows his crossover appeal, while retaining the hallmarks of an experimental artist.

There’s very little doubt that Nonso Amadi’s comeback will anything short of legendary. The singer’s Instagram post was shared from Kingston, Jamaica, a place that’s birthed generational talents including Bob Marley, Sean Paul, Buju Banton and more, could be indication of his sonic growth over the past few years–or at least, would explain where he’s been.

While we await his new music, revisit his last EP ‘Free’ below.

 

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Temi Otedola lands a role in Niyi Akinmolayan’s upcoming film ‘The Man For The Job’

Posted on by The Native

After starring in her debut performance on Kunle Afolayan’s 2020 film ‘Citation,’ Temi Otedola will be returning to our screens once again on Niyi Akinmolayan’s upcoming film ‘The Man For The Job.’ Revealed yesterday in an Instagram post shared on the actor’s page, it’s said that the upcoming film has now begun filming in Lagos, Nigeria.

 

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According to the synopsis, the crime drama follows the life of a young, ambitious man who is disturbed by the actions of the CEO of a highly optimistic startup company while fighting to balance his personal life and work life. Also announced to star in the upcoming film alongside Otedola are Ini Edo, Alibaba, Uzor Arukwe, Baba Rex, Suleiman Ibrahim and many more.

While details are still scarce, from what we can gather from the Anthill production teaser, ‘The Man Of The Job’ is filmed in modern-day Lagos, where the tech world thrives. The movie promises to be packed with exciting drama, suspense and gut-wrenching twists and turns. The film is scheduled to run exclusively on Amazon Prime Video after its cinematic showings in a multi-titled deal.

Akinmolayan whose production company, Anthill studios recently secured a global exclusive licensing deal with Amazon Studios, will release ‘The Man For The Job,’ on Amazon Prime Video exclusively on its platform after the film has made its local theatre run.

If you enjoyed Temi Otedola’s debut performance, stay tuned here for more updates.

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Songs Of The Day: New Music From Obongjayar, Koffee, Emo Grae & More

Posted on by Chibuzo Emmanuel

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 Benji Flow Chike, Kranium and more. To start the weekend, we’re rounding up the week’s releases with new music from Obongjayar, Koffee, Emo Grae, Phyno, Zoro, Psycho YP, Laime, Loti and more.

Obongjayar – “Try”

Last year, Obongjayer created seismic ripples in the Nigerian music soundscape with his abrasive-yet-sleek vocal texture, his flawless pen game and his unique style on his collaborative EP ‘Sweetness’ with Sarz. This year, the singer is not losing any steam. This year, after months of speculation and tantalising hints from a run of totemic singles and collaborations, the singer announces the release of his debut album ‘Some Nights I Dream Of Doors,’ with new single, “Try.”

On this record, he veers off from the sensual RnB sound that is characteristic of some of his earlier works and returns to his archetypal avant-garde sound. The song is all shades of experimental, incorporating elements from a range of genres including Country, Soul, Rock and Jazz elements. Obongjayar is not his usual energy-bustling self, instead, he sounds deeply reflective and pensive, as he solemnly sings “..there’s no guarantee our lives will change but all we’ll do is try..”.

Koffee – Pull Up”

Jamaican superstar Koffee teams up with ace British-Ghanaian producer Jae5 to create a sunny Afropop jam. Jae5 masterfully lays out a simple beat-composition and allows Koffee’s illustrious voice to take the centre stage—similar to what he did on a number of crosscontinental hits including Burna Boy’s 2019 Afropop song “Pull Up”.

Koffee is carefree and chill in her usual manner as she serves her some more of her rapid-fire lyricism and bubbly-high spirited productions, which have come to be expected of her. In the accompanying video, we see clips of Koffee performing her verse, while cheerily waving out of a moving car, aptly translating the song’s light-hearted and playful lyrics. It’s just the way to make a single preceding an album!

Phyno & Zoro – “New Video”

Phyno-Zoro collabs have become a staple in recent times, with five joint releases in the past few years. On this record, these two Igbo-Rap behemoths combine to create a high octane Jam, characterised by brash boisterous percussion and a wicked melody, which cascade for an enjoyable experience. The pair take turns to brag about their money and sex appeal over the song’s infectious beat.

Emo Grae – “Steady Drinking”

Fresh Meat alum, Emo Grae ran a stellar campaign in 2021 which culminated in the release of singles such as “Suddenly,” “Gone,” and more. To begin the new year, the singer has now partnered with Ace producers, Niph Keys and Timmy Jay for the exquisitely-produced number “Steady Drinking”. On the track, the singer segues smoothly between English and Yoruba as he sings about heartbreak and turning to booze and drugs for consolation.

Walahisteph – “One Man Load” ft. Psycho YP, Laime & Loti

One of the most defining qualities of music is its ability to make us feel–almost as deeply as the creator of a song. On their latest single, rapper Walahisteph teams up with fellow Nigerian collaborators, Psycho YP, Apex Village’s top shotta, Laime and Loti. This track has all the swagger of Afropop numbers from the early 2010s—syncopated percussion, a catchy hook, and a packed line-up. However, for all its strong suits, it seems to be missing a key element that would be pivotal in elevating the listening experience. Nonetheless, “One Man Load,” is replete with quippy beats and braggadocious lines as the rappers trade off bars on getting their shit popping.

Naira Marley – “Kojosese”

To begin the year, Naira Marley excited loyal listeners with the video release to his Detty December hit jam “Kojosese”. The Leo Beatz produced single has been climbing the charts across a number of stremaing platforms, and has even taken on a life of its own on TikTok where the hashtag #Kojosesechallenge has hit over 22.5 million views. The dark yet fun video delivers an array of dance moves choreographed by Lil smart, who features alongside some Nigerian masquerades in the video. Gorilla Boy directs the 4 minutes energetic visual. “Kojosese” is set to be one of the tracks that will feature on Naira Marley’s upcoming project ‘This is Africa’.

Dwin, The Stoic & Rhaffy – “Streets”

Editor by day, artist by night? Whatever the case may be, Dwin, The Stoic is living the best of both worlds. To begin the new year, he’s already setting a vast tone for where he can go sonically with the release of a new track titled “Streets.” Here, he teams up with Rhaffy, just in time for Valentine’s Day, delivering an anti-love anthem in honour of the streets. The duo trade verses about how cold and gruesome the streets are and try to woo a love interest, with lyrics such as “Baby see, want you please come cover me, see these streets don taya me”.


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Reekado Banks’ hit single “Ozumba Mbadiwe” earns a befitting Fireboy DML remix

Posted on by Wonu Osikoya

Reekado Banks has spent the past few years, quietly and impressively racking up a stellar discography packed with party-starting anthems and soothing romantic jams. Towards the end of last year, he released his second installment on his Off The Record series, ‘OTR Vol. 2,’ a smooth reintroduction to his sure-fire abilities and his uncanny ability at nailing the perfect hook as he proved on the project’s standout “Ozumba Mbadiwe.”

 

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To say that “Ozumba Mbadiwe,” has skyrocketed into a monster hit is no small secret. Aptly titled after the expressway that leads to Lekki Toll gate in Lagos, Nigeria where peaceful protesters were massacred for protesting against police brutality in October 2020, the single has shot Reekado Banks into a new limelight and edged him into the upper echelons of Afropop–a spot he rightly deserves as one of the most magnetic hitmakers around.

Arriving today, the song’s official remix with Fireboy DML has arrived to incredible fanfare. While Reekado Banks takes time to stand in solidarity with the victims of the #EndSars protest massacre on the original song, the remix sees his collaborator, Fireboy DML – who is currently sitting at the top of the Official UK Singles Chart with his Ed Sheeran-assisted remix to “Peru”– in an introspective mood as he questions his pursuit for stardom and quest for wealth.

On his verse, Fireboy DML sings braggadocious lyrics such as “Since 2019 when I don blow, I’ve been on the road if you don’t lnow and I no get time for your convo”, reminding listeners of his how he got to where he is now and how he deserves a spot at the top, exactly where he is. He also references a line from his global smash tune “Peru” as he sings “Won ni wan wa mi, wetin concern me, I’m in San Francisco jamming”, delivering an incredible performance. 

“Ozumba Mbadiwe” has not only birthed the monster Fireboy DML remix, but Reekado Banks has also called upon some of his artist friends from across Africa for a star-studded ‘Ozumba Mbadiwe’ Remix EP. Among the collaborations on the EP are Ghanaian pop start KIDI, Tanzanian singer, Rayvanny, and award-winning Ivorian rap artist Elow’n, and South African innovator Lady Du.

Listen to “Ozumba Mbadiwe” remix here.

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NATIVE Premiere: Teezee taps DETO BLACK for technicolour new single, “NOK’D”

Posted on by Dennis Ade Peter

Teezee has committed to being a pioneer for the entirety of his career. As one-third of the influential neo-Afropop fusion group, DRB Lasgidi, Teezee has played an integral part in musical and cultural shifts, combining inventive takes on contemporary, melody-infused rap with a chic sense of fashion into a unique personality.

Over the last year, Teezee has been clearing up space and building the buzz for his soon-to-be-released EP, ‘Arrested by Love’, sharing “GUALA” with Maison2500 and New World, the Davido-assisted “Badi,” and “NEW GOVERNMENT,” featuring Prettyboy D-O and Kofi Mole, as singles. With the EP closer than ever, Teezee has added to the canon of pre-release drop with “NOK’D,” premiering exclusively on The NATIVE.

 

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On “NOK’D,” Teezee is joined by ascendant rap star DETO BLACK, and the pair form a funky tag team, whipping their way through Genio’s technicolour Trap beat with auto-tune-assisted finesse. Going back and forth every few bars, Teezee and DETO form a dynamic pairing, with the former performing in a staccato flow and the latter employing a buttery cadence. Thematically in-sync, each rapper boasts of their undeniable swagger, exuding unflappable confidence and, most importantly, FUN.

Between Teezee laying claim to the world and your girl, and DETO proclaiming her unfuckwitable-ness with trademark poise, “NOK’D” is as imperial as it is an infectious listen. Doubling down on the swagger, the song’s accompanying video is a mash-up of eye-catching, Nollywood-inspired styling and irreverent energy befitting the lyrics. It’s the fourth consecutive proof of Teezee’s knack for creating music guided by his convictions, further heightening the stakes for Arrested by Love.

Watch the video for “Nok’D” here.

ICYMI: A TRIP TO CUBA WITH TEEZEE, SKEPTA & STEPHEN TAYO

Our First Impressions of Adekunle Gold’s ‘Catch Me If You Can’

Posted on by Damilola Animashaun

Adekunle Gold has always been transparent. In the seven-plus years since making his mark on Nigerian pop music, the singer has always made it a priority to convey who he is and where he’s at in his music, making him one of those superstars with a traceable, wholesome and awe-inspiring evolution trajectory.

In 2016, Adekunle Gold dropped ‘GOLD’, an acclaimed debut album with an overarching coming-of-age theme, and a vibrant, cohesive sonic board that honed in on his patented urban highlife sound. Just over a year later, About 30 expanded his musical and topical intentions, revelling in both the joys and struggles of becoming his own man, with a proselytising verve. Around the time of his sophomore, AG began sharing honest looks into his headspace, updates on the music he was working on, as well as heartfelt messages to fans who subscribed to his newsletter.

That level of openness was a refreshing gambit, and it set the tone for the self-assured pop star Adekunle Gold is these days. With his third album, 2020’s ‘Afro Pop, Vol. 1′, the singer delivered his most rounded effort yet, inhabiting an eclectic range of musical styles with charisma, and radiating the sort of impenetrable confidence that comes with being fully comfortable in your own skin.

 

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Being an album artist at heart, while still being very capable at turning out hot singles at a consistent clip, Adekunle Gold has mastered the full-length medium as a means of re-presenting himself to his listeners every few years. His new album, Catch Me If You Can, is preceded by a range of singles—the reflective “It is What it is,” the blue-eyed romance of “Sinner,” the rambunctious and groovy “High”—consolidate on AG’s convictions in the last few years, an exciting precedent by every measure. Below, The NATIVE’s editorial theme weigh in on our first impressions of the new album.

Best Song?

Chibuzo: It was super difficult to pick a best song, the LP boasts of a selection of stellar tracks but after a couple of listens I settled for ‘Catch Me If You Can’—The album’s closer. It most certainly isn’t the track that is going to do the most numbers but it’s arguably the most brilliant track on the project. From its opening it feels refreshing. The piano melody, the drums and bass riff combine to take me back to church. Special mentions include “Mercy”, “Sinner” and “High.”

Wonu: I have to be biased with this and still pick “High”, I mean what a gem of a song? There’s a lot of amazing tracks on this LP, from “More Than Enough” to “Sinner” but “High” was definitely one of the songs that did it for me last year so I have to go with that. Close second to this will be “Born Again” and this is based on the honest delivery and the palpable lyricism. This track is absolutely a brilliant opener.

Ada: Asides from the regular favourites like – “High” and “Sinner”, I’d say I heard other real bangers on this project. A few of them are “Dior Dior Dior”, “Mercy” and “More Than Enough”. These tracks are so good and really stood out to me more than the rest. I’m really blown away by Adekunle’s music.

Best Feature?

Ada: Well it’s clear that Davido’s feature on “High” will always be legendary but that wasn’t the only feature that caught my attention. Steflon Don on “FYE” was fantastic and you always expect her to kill it. Fousheé’s voice has always been such a favourite of mine and hearing her on “Dior Dior Dior” made me love the song even more without a doubt.

Moore: While there are some truly great features on this album “Dior Dior Dior” featuring Foushée is a standout. Foushées smooth yet husky vocals immediately draw you in, as she gets the opening lines in the song. She helps set the chill tone for the song, which is perfect to start winding down the album as the 11th track.

Shina: Fatoumata Diawara on the intro song. it’s a perfect way to start the album and Fatoumata never ever fails to deliver with her sultry and smooth vocals adding the necessary support on the track with adlibs and backup. An honourable mention would be Foushee on “Dior Dior Dior”. Actually all the features on the album are good and well suited on each song they appear on.

Biggest Skip?

Wonu: Well to me, the biggest skip is most likely “One Woman”. This track didn’t really do it for me and I think it’s because I was expecting so much more from TY Dolla sign. I mean I don’t hate the song or anything but it just won’t be my go to song and It certainly can’t be on my playlists.

Shina: This is very hard to pick because a lot of the songs on the album are good, but if i’m to pick i’ll go with “Mercy.”

Chibuzo: Definitely “Selah.” It’s not a bad song but it feels uninspired and repetitive. At the point where this track comes on, the project is begging for a stream of fresh air and this song fantastically fails to deliver that. Again, it’s not a bad song, it’s just underwhelming. The drum and piano due at the end is fire tho.

Best Production?

Chibuzo: “FYE” produced by RYMEZ and LEKAA. The beat is nothing short of magical. It’s clean and poignant, the melodies are supple and evocative. Listening to this song is like getting lost in a fantasy world. The producers understood the assignment and killed it.

Wonu: This is easily “Sinner” for me, the production on this track is so special, so smooth and so relaxing and the progression? Yes, “Sinner” is that one song that did it for me production wise. One thing I also noticed with this tape is the solid engineering of each track so shoutout to the Audio Engineer/Engineers that worked on this tape.

Joan: The production on “Sinner” would forever be a fave. Blaise Beats did a madness with the violin and drums, it’s too beautiful. The production on “Catch Me If You Can” comes close, you can never go wrong with trumpets in my opinion and the way the beat takes you on a high-low experience is just amazing.

Overall First Impressions

Tami: Once again, AG Baby has moved the needle on his creative output. Where 2020’s ‘Afropop Vol. 1,’ saw him charting unfamiliar territory, bending and contorting genres to his will and taking sonic risks, ‘Catch Me If You Can,’ finds him relaxing into his new refined image, as he operates with an irresistible charisma that permeates off the music. It’s refreshing and replete with insular moments of gratification, from a man whose more than earned his stripes in the game. I’m excited to see how he continues to expand the world around this project in the coming weeks. AG Baby is truly our baby.

Dennis: Here’s the thing, I’m writing the review for this album and I’ve listened to the album a few times already. That’s not a flex, it’s just that I’d be lying if I said this is a first impression, and we don’t do lies at The NATIVE. I’ll say this, though: This is already a strong contender for album of the year. This is early in the year, but remember Burna Boy in 2018? I also want to say this is his best album yet, but I have light nostalgic bias for ‘GOLD’, so let’s just this is a phenomenal Adekunle Gold album.

Joan: It’s AG Baby, so obviously I’m extremely impressed. This project makes me want to light my candles, have my bottle of wine close, maybe have a man stare at my beauty and play it on full blast. The first track “Born Again” is such a great intro and prepares you for the rest of the magic. Loved it!

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Viola Davis Stars In ‘The Woman King,’ A Film Inspired by the Kingdom of Dahomey

Posted on by The Native

Multi-award-winning actress Viola Davis and ‘Underground RailRoad’ actress Thuso Mbedu are the leads in the forthcoming warrior epic titled ‘The Woman King’.

Based on a true-life event, the film is a historical movie inspired by events that took place in the Kingdom of Dahomey, one of the most powerful states in Africa during the 18th and 19th centuries. Set to hit theatres in September 2022, ‘The Woman King’ is certainly an apt subject for a month dedicated to otherwise overlooked figures in Black history.

 

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The film centres around Viola Davis, who plays Nanisca, the general of an all-female military unit known as The Amazon alongside her military recruit, Nawi who is played by Thuso Mbedu. Together they fight the French and neighbouring towns who have disrespected their honour and enslaved the people of Dahomey and all they live for.

The movie also stars John Boyega, Adrienne Warren, Sheila Atim, Lashana Lynch, Jayme Lawson, Hero Fiennes Tiffin, and many more. Viola Davis, alongside Cathy Schulman, Julius Tennon and Maria Bello, are producing the Tristar Pictures movie. In a recent tweet, Davis shared her excitement over the upcoming role, stating, “I’m deeply honored and excited to bring this incredible story of these badass female warriors to life.”

Davis also serves as a producer on the film, alongside Cathy Schulman, Julius Tennon, and Maria Bello. The film is based on an original screenplay by Dana Stevens, with Gina Prince-Bythewood serving as director.

Featured Image credits: Instagram/violadavis

Hot Takes: Rihanna’s Baby Bump, Khaby Lame & Nikyatu Jusu’s ‘Nanny’ & More

Posted on by Moore Wright

Somehow, we’ve already made it through the first month of 2022.  The pandemic has seriously made time feel meaningless, because January seemed to fly by in just one blink. Looking back on the past month could possibly give us an indication of what’s in store for the rest of the year.

2021 was a very eventful year in the best and mostly the worst ways. It’s clear that we won’t be getting a break this year. January turned out to be a very hectic month. So far we’ve already gotten a pregnancy announcement from the coolest couple alive and a major partnership between Hugo Boss and Khaby Lame. More seriously, we’ve been shown that the lack of value placed on black women’s lives continues to be a major issue. This week I’ll be giving my hot takes on everything thats been going on in pop culture. Enjoy.

What I’m listening to.

During my sad girl hours (most hours), I like to go to Youtube to listen to Lana Del Rey’s unreleased music, making myself even sadder because I can’t add them to my Spotify playlists. In January, I listened “Say Yes To Heaven” on repeat and ket myself feel like an ethereal fairy in my less ethereal sweatpants. I particularly enjoyed the fan-made music video from the account cherryparadiso which used clips from films like Russian Ark and commercials like Sofia Coppola’s Marc Jacobs to make a an airy video that’s perfect for the song.The dreamy song sometimes makes me idealistic enough to hope our problematic ‘goddess of sadness’, as Georgia Miller puts it, will one day release all these songs as an album, although those hopes are definitely misguided.

What I’m watching

Recently I heard positive things about the HBO max series the ‘Sex Lives of College Girls’ and decided to give the first episode a try. This ‘try’ turned into a binge session where I watched the entire thing in one sitting. This is owed not only to my significant lack of impulse control, but also to the genuine quality of the comedy series.

The show follows a group of very different college roommates as they navigate sex, love and ambitions at their prestigious fiction New England College, ‘Essex’. We follow the aspiring comedian Bela, the WASPy high strung and secretive Leighton, the politicians daughter and soccer star Whitney and naive small town girl Kimberly as they go through their first college semester.

The (sometimes overly) sex-positive, Indian-American Bela made the strongest impact on me, with her character getting some of the best and most ridiculous lines and a particularly relatable, complex story to me as a woman of colour with ambitions in the entertainment industry. Leighton who sometimes felt like a gossip girl cosplayer in the best way (apart from her questionable choices in grandmotherly blazers) was also a standout with actress Reneé Rapp delivering her lines with such an over the top aggression that it made the character strangely endearing instead of Karen-like. The revelation that —spoilers for the first episode— Leighton is a deeply closeted lesbian also allows us to empathise with why she is so guarded. Kimberly is a character that I was fully prepared to dislike, as her micro-aggressions towards her black co-worker Canaan, barraging him with questions about the black experience upon first meeting made her appear irritatingly oblivious. She was quickly put in her place by Canaan however and quickly seemed to learn her lesson. Pauline Chalamet played the character with such sincerity even when putting her foot in her mouth that it was hard not to find her endearing. Whitney, the black daughter of a popular senator is seems like the most composed out of the 4 roommates. Her affair with her soccer coach makes it clear that she has some messiness of her own. She was actually the character that felt weakest to me, surprisingly as she seems like the easiest to like. It felt like the show wasn’t always sure what her role was, her characterisation flip flopping between a socially aware cool girl, an awkward and eager to please girl and a more neutral ‘straight man’. In a show where the other leads are so clearly defined it makes her fade Ito the background in group scenes especially, which is unfortunate for the only black lead.

Besides the issues with Whitney, the show does deal with a range of diverse storylines effectively. It handles serious topics ranging from sexual assault to internalised homophobia with care and without being tonally inconsistent with the rest of the show, unlike with other HBO shows like the Gossip Girl reboot. It doesn’t shy away from going deep, while still providing the audience with much needed escapism, that often made me wish I could trade university experiences with these girls.

If you’re looking for your next 6 hour binge, line this show up.

Tiktok roasting sexist podcasts

Tiktok has recently introduced a new filter allowing people to have more masculine features. Many women have began to use use the filter to mock a specific subset of toxic males.  Specifically the type of pick up artist or motivational speaker who goes on podcasts to discuss their views about women and dating.

An example of such men would be the Fresh & Fit duo who give dating advice to men on Tiktok before eventually being banned from the app, but still have an active podcast. The type of men who call women ‘females’ and spend most of their time criticising women, making it confusing why they would even want to date women. The parodies use similar speech patterns and show how little originality there is in this space. Tiktok has unfortunately given a different platform these types of men. It has also given a platform to Tiktokers to call them out.

Rihanna’s bundle of joy

For years, people have been obsessed with the singer Rihanna’s romantic life. With this came multiple rumours about the artist being pregnant, even more frequently than there have been for most celebrities.

On Monday, for the first time, the the rumours were actually proven correct. Rihanna and musician A$AP Rocky announced the pregnancy through a photoshoot. The announcement shook up the internet, with many people ecstatic for the couple. However, many people were critical of Rihannas choice in the father. Many people have insulted his looks and career in comparison to Rihanna. Even a publications like Forbes used the headline “Singer, billionaire, and beauty and lingerie mogul Rihanna is expecting a baby with her boyfriend rapper A$AP rocky”, with many noting the difference in which they were both described.

A lot of male celebrities female partners have been harshly criticised on the internet, with both Selena Gomez and Hailey Beiber receiving death threats for their connections to Justin Bieber. This is one of the rare celebrity couples where the man receives more hate. This still feels very cruel and unfair to A$AP Rocky , even if it is Rihanna.

It is also very condescending to Rihanna, with the implication that she somehow doesn’t know her worth. Overall, it seems like the internet has a serious problem drawing boundaries when it comes to famous couples.

 

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Missing black woman syndrome

On December 12th 2021, two black women died in Bridgeport, Connecticut. Tiktok influencer, Lauren Smith-Fields was found dead in her apartment after a Bumble date. The cause of death was declared to be cause by intoxication from “Fentanyl combined with prescription medication and alcohol”.

Her family was not informed of her death. Her mother and brother went to check up on her at her apartment and were simply greeted with a note that said “If you’re looking for Lauren, call this number.” When her family spoke to the detective involved about the white man that she had been on a date with, he dismissed her concerns calling the man a “really nice guy”.

Brenda Lee Rawls

On the 14th of December, Brenda Lee Rawls family found her body at a medical examiners office. This came after a hectic search when they were informed of her death by a neighbour and not the police, with them having to call the police and various hospitals before finding her body. Rawl’s sister has said, “It’s almost like they’re not aware of her death, or they just don’t care and that made us angry,” “She was raised and born in Bridgeport, Connecticut, paid her taxes, voted and they treated like she was nothing. Like she was roadkill.”

The lack of care in which these two situations were handled make it comparable to the media frenzy in Gabby Petito’s case. “Missing white woman syndrome” occurs when the media white woman who are missing or endangered a large amount of focus when compared to other demographics. Now we can see the opposite happening when it comes to black women.

Black women are often seen as disposable and less valuable, with black deaths are just statistics and nothing more. Cardi B had to tweet about Lauren Smith-Fields’s death before the investigation was reopened. There has been some action taken with the detectives involved in both cases being suspended, but it feels insulting that it has taken so long, with uproar from the internet, for these cases to be treated with any empathy.

Nikyatu Jusu’s “Nanny“

At the 2022 Sundance film festival the Sierra Leonian-American director Nikyatu Jusu made her feature film debut with the horror film Nanny. It follows a Senegalese nanny as she works for a wealthy New York family.

The film won the Grand Jury Prize at the film festival, making Jusu the second black woman to win this award. While this is a fantastic feat on Jusu’s part, it is unfortunate that in Sundance’s 44 years of operation this is only the second win. there is still much further to go in the support of black women behind the camera.

Jusu has described Nanny as a ‘dark but hopeful love-letter for mothers who have been systematically excluded from the American dream’. From the rave reviews to the compelling premise, this seems like a movie to watch out for.

Khaby Lame and The Success of Black Creators

The Tiktoker Khaby Lame has scored a massive campaign with Hugo Boss, also co-designing a capsule collection with the label. Just two years ago, Lame was a factory worker who quit his job when the COVID-19 pandemic hit. However, since he took to TikTok during the stay-at-home induced lockdowns, Lame has emerged as one of the app’s most followed creators–all while being mute.

Tiktok and social media in general allows major career growth for many creators. It is good to see a black creator benefiting from the app. This is especially true after criticisms have been given to popular white creators who benefit from the trends and dances started by black Tiktokers, without crediting them and eventually getting far more exposure. Addison Rae in particular was criticised when she used creator Jalaiah Harmon’s “Renegade” dance in an appearance on Jimmy Fallon, an event that she has apologised for.

This brings to mind recurring issues in which black people create styles and trends that are not praised until they are seen on a white person, as seen when Kylie Jenner was praised for making wigs cool, or with the entire Kardashian clan ‘popularising’ facial and body features that are more associated with black women. The success of creators such as Khaby Lame is hopefully a sign that black creators are finally getting their due.

 

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Best New Music: Asake taps Olamide for celebratory jam, “Omo Ope”

Posted on by Dennis Ade Peter

Nigerian pop music is largely defined by whatever trends are embraced and championed by the streets of mainland Lagos. It’s a fact that’s impossible to overstate, especially at a time of rampant inventiveness that involves meshing external influences with the innate, percussive bombast of street-hop. In 2020, Asake became known for his breakout single, “Mr Money,” a hype track that paired the airy, propulsive vibe of South African House music with local drums from folksy Nigerian genres, Fuji and Juju.

It would be indefinite to claim that “Mr Money” set the trend, but it surely played an integral role in the uniquely captivating style of DJ mixes running Lagos’ streets at the moment, where popular songs are re-upped with the addition of Fuji and Juju-inspired percussion. On his part, Asake has followed up with a slew of guest features and a handful of follow-up singles, mostly playing into his sensibilities as a caption-ready writer, energetic vocal performance and production leaning into the gimmick of his biggest song yet. Listening to these singles and features, however, it felt like there was more to Asake’s craft than these specific type of cruddy bangers.

Starting out the year on a phenomenal note, Asake taps Nigerian pop mainstay Olamide for “Omo Ope,” a euphoric new single that successfully expands the singer’s musical purview without sacrificing one bit of his boisterous persona. In fact, it amplifies his powers as a potentially prolific pop hit-maker.

On the song, Asake leans into a common advocacy in street pop: living the good life and indulging in whatever material and hedonistic excesses you deem fit. While many songs with this theme try to be substantive by adding an inspirational undertone to the festive mood, “Omo Ope” is solely focused on the enjoyment that’s happening in the moment. “Mo s’are f’owo mi s’aye/gbomo mefa l’ole/emi omo ope o,” Asake sings in self-congratulation on the hook. The first two parts of that lyric line roughly translates to: “I used up my money on flexing/bringing home six women.”

Singing in a tone that exudes utmost satisfaction, Asake is lively without being loud, pulling off an instantly memorable melodic performance rooted in glaring conviction. Asake’s verse runs for about six bars, a proclamation of his party-starting prowess, keeping it rather simple before running into the bridge, and eventually the song’s hook. His showing on the hook is complimented by choral embellishments, a creative touch that pays off mightily.

Produced by Magicsticks, “Omo Ope” is a masterclass in song arrangement, combining a light two-chord piano riff and a full-bodied percussion groove as its foundational elements, a perfect backdrop for Asake to flaunt his singing. As the song progresses, guitar plucks and log drums—‘Omopiano’ for the win!—are infused, especially on Olamide’s verse. Even though he’s mellowed out his sound significantly over his last two albums, Olamide has ensured his connection with street pop and its younger generation has remained intact. Unlike song-defining contributions to recent collaborations, Portable and Poco Lee’s “ZaZoo Zehh” and TI Blaze’s “Sometimes (Remix),” his appearance on “Omo Ope” is mostly additive as a function of his ever-effective star power.

It’s not every day we get an Olamide verse as the cherry on top, rather than as the attention-holding show-stopper. It’s a testament to Asake and his improvements as a pop artist in the two years since gaining his first hit. With over two million streams on Audiomack already, in just over a week of release, “Omo Ope” looks like Asake’s next big hit. Besides that, it’s one of the best songs in Nigerian pop music this early into the new year.

Listen to “Omo Ope” here.

SOUNDS FROM THIS SIDE: STREET POP

PreGame: Welcome to Deto’s World

Posted on by Damilola Animashaun

“PreGame” is a NATIVE Original series which grants us an all-access pass to the lives of your favourite artists & icons, on their most important days. In our debut episode, we take a trip to Nigerian rapper Deto Black’s World, as she prepares for her debut solo London show, celebrating her EP release.

Last August, rap newcomer and style coninosuieur, DETO BLACK released her debut EP ‘Yung Everything,’ a 5-track taster course to everything she has on the menu from quippy beats to fully-formed snapbacks. Released almost a year since her debut feature on the scene-stealing Odunsi (The Engine) “body count” with Amaarae, the EP was widely received by eager fans waiting to hear what the newcomer had in store.

 

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In true DETO fashion, she did not disappoint, drawing listeners further into her glamorous world by embodying rap’s current themes of women’s independence, sexual freedom, autonomy and strength. ‘Yung Everything’ was just the body of work DETO BLACK needed to make her debut highly-anticipated full appearance in the Nigerian music scene.

Following the release of her debut body of work, DETO BLACK celebrated in grand style, inviting friends and loyal fans from around the UK to her first-ever headline release party in London. Sharing the stage alongside her longtime collaborators and friends including Teezee, (Odunsi The Engine), Mowalola and more, DETO kept the crowd entertained with singles off her new tape while also plugging in some exclusives.

Before gracing the stage in the evening, we spent the day with DETO BLACK as she prepared for her show, learning more about the world around ‘Yung Everything,’ and discussing with her makeup artist, Alice Dodds who helps the rapper construct her bad bitch persona, one eye gem at a time.

But our words won’t do justice to how wild the night was, so this is something you need to see for yourself.

Watch ‘PreGame with Deto Black’ below.

Featured image credits/Instagram: cherriebroll

How Corteiz Is Redefining Streetwear Culture in the UK

Posted on by Makua Adimora

If anyone asked whether you’d be willing to swap your cherished designer jacket for a brand new coat worth a fraction of the price, would you say yes? No? Maybe? Well, for hundreds of GenZ Londoners last week, there was only one answer: say less.

 

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Ask any teen to twenty-something UK native even remotely interested in streetwear fashion, and chances are they’ve heard of Corteiz or are among one of its loyal fans anticipating the latest exclusive drop. A fashion staple for some of the UK’s brightest stars including from Dave, Virgil Abloh & Jorja Smith, the London-born streetwear brand thrives off exclusivity: private Instagram account, passworded website with secret codes only available on drop day and hot-button items selling out within minutes. Still, Corteiz’s biggest selling point remains the constant, energising buzz around the brand, thanks to its illustrious marketing strategies. Whether it’s making a hundred people race through the streets of London or Lagos for a free T-shirt or get in line to swap their travel cards for exclusive drops, the team behind Corteiz sure knows how to keep the people talking–and buying.

But last weekend, they upped the ante. To launch its new collection, the brand took to social media to announce a surprise event dubbed “Da Great Bolo Exchange”, requesting that Londoners swap their high-end jackets including North Face, Supreme and more – but interestingly, no Black-owned brands – for an unreleased Corteiz “BOLO” puffer. Social media was immediately abuzz with excited chatter as many found this to be an outrageous ask. No one believed that any streetwear head would actually fall for it.

Yet, come 3 pm the following day, a North Face army was spotted on the streets of West London, excitedly making its way to an empty parking lot for a chance to secure one of the 50 BOLOs up for grabs. On the day, £16k+ worth of designer jackets – ranging from brands like Arc’teryx, to Moncler, Nike, North Face, and Supreme – were exchanged for BOLO puffers. This level of guerrilla marketing tactics undoubtedly showed the extent of Corteiz’s impact on its audience and signified that the brand is just as – if not more – coveted than the big-name streetwear brands.

But how did a company created in 2017 by a couple of kids amass a cult-following of this magnitude in such a short time?

Right from inception, Corteiz ushered in a fresh dynamic in retail. Founded by British-Nigerian Clint (AKA Clint419) in his London bedroom, the brand started out with screen-printed crewnecks and T-shirts, embodying a non-conformist approach right from the jump. The collections featured symbols of delinquency: tees embossed with the Alcatraz insignia, distinctive Corteiz-scribbled balaclavas and bold powerful messages of breaking down boundaries and ruling your world. Relying solely on social media and word of mouth to boost awareness, Corteiz cultivated a tight knit community of loyal fans and followers. Drop announcements were only made on the – now 200k+ followers deep – private Instagram page and the passworded websites (passwords are sent to those who sign up when instructed to), generating a feeling of exclusivity among its audience.

Soon enough, it gained the attention of UK celebs such as Stormzy and Central Cee, who were spotted donning pieces from the brand. Yet, despite this celebrity following, everyone still receives the same access to the clothes on the website – a feature that underscores the brand’s direct-to-consumer marketing methods. This community-led and authenticity-fueled approach stays true to the very essence of streetwear, long before it became gentrified by billion-dollar luxury companies. Streetwear originated in the 90s; curated and developed by the Hip-Hop scenes of NYC, the surf-skate & graffiti culture of LA and Japan nightlife in response to traditional brands who refused to dress them. The roots of streetwear were always about the people and Corteiz embodies this ethos wholeheartedly. It joins a legion of direct-to-consumer brands including WAF, co-owned by British-Nigerian, Slawn, who similarly employs guerrilla marketing techniques that draw in loyal fans looking to connect to something deeper than fashion or art.

“There’s a sense of community that aligns with the brand,” says Benson Edo, a Houston-based stylist and image consultant. “Its consumers know what they want and the brand gives them more than that. That sense of community and togetherness is crucial for a brand to thrive.” This rings true in everything that Corteiz does. Their pieces, while limited, hold a sentimental value of some sort, evoking a kindred spirit among people who own them; almost like they’re all part of some cool, members-only club. People want to feel like they are tapped into an exclusive experience – especially GenZ consumers, with 30% of them interested in the ‘first opportunity to purchase’. Traditionally, luxury brands promoted the feeling of exclusivity with their high price ranges through authoritarian top-bottom communication. Streetwear has now taught the industry that limited editions do promote a sense of exclusivity, not through prices, but through community spirit.

In many ways, Corteiz is a direct mirror of its founder and creative director, Clint, and this plays no small part in the brand’s rise as a youth culture powerhouse over the years. Clint’s true-to-self demeanour is all the rave and his brand of reckless adolescence is conveyed into Corteiz’s designs and presence. His motto, RTW (RulestheWorld) is a philosophy people have bought into, and cultural capital of that sort is invaluable as a brand. “Without cultural capital, who exactly would be loyal to the brand?” Edo asks, stressing that a brand needs a following that “believes in its ideas.” People buy into the brand because they believe in Clint and in this sense, Clint and Corteiz are one. This speaks to the personality-led fashion landscape of the 2020s where consumers buy into brand faces that provide cultural cachet and credibility (see Virgil Abloh at Louis Vuitton and Telfar Clemens at Telfar). People trust Clint, therefore, they trust Corteiz.

As such, the success of “Da Great Bolo Exchange” is a testament to the fact that in marketing, brand positioning is everything and value is in perception. The jackets exchanged for the BOLO puffers were worth hundreds to thousands of pounds, yet people were willing to trade them in for a jacket retailing for a fraction of that price. Ultimately, these designer jacks were then donated to a soup kitchen for the homeless for no profit.

This move ties into the studies which state that 76% of people who feel connected to a brand are more likely to buy it over a competitor. What this tells us in this case is that value lies in the eyes of the consumer. People were willing to swap products from more established brands for an indie brand on the come up because the cultural capital it possesses is far more valuable to them than a £1000 winter coat. This is not to say that this applies to every brand and its consumers. Global belief in Corteiz as a brand may not be widespread yet, but their ability to already impact the perceptions of hundreds, hints at numerous potential to continue to scale upwards.

With Corteiz, Clint is redefining streetwear culture in the UK, one sold out tracksuit and puffer at a time. Owning a fashion brand comes with numerous barriers which become even harder to break down when you’re Black. Corteiz’s BOLO exchange offers a sliver of hope to independent Black-owned brands, showing that community backing converts to revenue in so many ways – and sending a £16,000 middle finger to the old guards upstairs at the same time. With the majority of its audience being Gen Z, it’s clear that the future of streetwear is the youth; the new generation of consumers (who Edo describes as “informed, meticulous and RICH”) are identity shoppers and will buy into any brand that connects and resonates with them. “The youth are the heart of consumerism,” Edo adds. “Any brand that inspires the youth has already won.” To that end, watch out, corporate. BOLO season has only begun.

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What’s Going On: Bloc suspensions for Burkina Faso, DR Congo sentences 49 to death & AFCON updates

Posted on by Dennis Ade Peter

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

AU & ECOWAS suspend Burkina Faso following military coup

Last week, Burkina Faso became the latest African country to come under military rule following a coup d’état. The Patriotic Movement for Preservation and Restoration (MPSR), the junta led by Lieutenant-Colonel Paul-Henri Damiba, arrested President Roch Marc Christian Kabore and effectively took over the government. The junta’s reason stems from the raging insurgency in the country, being perpetrated by armed groups linked to al-Qaeda and ISIS, and the Kabore-led administration’s failure to adequately support Burkina Faso’s military against the consistent spate of violent attacks.

The coup has been roundly condemned by external governmental bodies, and Burkina Faso has now been suspended by the African Union (AU). The AU’s 15-member Peace and Security Council voted to suspend Burkina Faso from participating in all AU activities until the restoration of constitutional order. In the same vein, West African bloc ECOWAS has suspended Burkina Faso during a virtual extraordinary summit of heads of states. ECOWAS has yet to mete out any sanctions—like it did to Mali recently—and will only move forward with any further decisions after a report from fact-finding teams that will be sent to Ouagadougou.

These responses are in contrasts to the reactions of many Burkina Faso citizens, who have deemed the ousting of Kabore by the junta as good news for the country. Many cite the incessant insecurity, as well as the economic situation in the county which the democratic government failed to improve on for years—about 40% of the population live below the poverty line and minimum wage has been stuck below $50 since 2008.

Currently, the MPSR is enjoying the goodwill of its population, and has named Damiba interim president. In its latest statement, the junta has restored the constitution to ensure the autonomy of the judiciary. This is, in part, to effect the resumption of the long-awaited trial over the assassination of revolutionary leader, Thomas Sankara, back in 1987. One of the defendants is former long-term president, Blaise Compaore, who was deposed and fled to neighbouring Ivory Coast on asylum.

DR Congo court sentences 49 to death over killing of UN experts

In March 2017, the bodies of two members of the UN Group of experts were found, after weeks of being reported missing, in the Democratic Republic of Congo’s Kasai Central province. Swedish national Zaida Catalán and US citizen Michael Sharp were on a UN peacekeeping mission, investigating widespread human rights abuses near the remote village of Bunkonde, south of provincial capital, Kananga. Their bodies were found alongside that of their Congolese interpreter, Betu Tshintela, with Catalán’s head decapitated.

Nearly five years later, a military court has sentenced 49 people to death for these deaths, while one officer will receive 10 years in prison. DR Congo has observed a moratorium on the death sentence since 2003, so those convicted will serve life sentences. The judgement has, however, been met with scepticism for not indicting and convicting higher-level officials, with Catalán’s sister, Elisabeth Morseby, stating that the trial had not revealed the truth. “In order for the truth to emerge, all suspects, including those higher up in the hierarchy, need to be questioned which has not yet be done,” she told Reuters.

Human Rights Watch’s senior researcher on Congo, Thomas Fessy, echoed the same sentiments, stating that the investigation and trial had failed to uncover the full truth, leaving more questions than answers. Several of the defendants were sentenced in absentia, because they were never apprehended or escaped from custody. Sharp’s mother, Michele, appreciated the judgement but is still wondering who gave the orders. “Surely someone in the upper echelons of power,” she said. “We await further developments.”

Burkina Faso, Senegal, Egypt and Cameroon advance to AFCON semi-finals

Last Monday, January 24, at least eight people died and more than 35 were injured after a stampede at the Yaounde Olembe stadium in Cameroon. This happened while crowds tried to enter the 60,000-capacity stadium to watch Cameroon’s round of 16 tie against Comoros. Due to coronavirus restrictions, stadiums attendance are limited to 60% during AFCON, however, the cap is raised to 80% during matches involving the host country’s team. The stampede occurred following free ticket entries into the stadium, after low turnout during the first round of games.

Despite this fatal incident, the competition has continued its course, and it’s set for the semi-finals. Cameroon was the first of four teams to qualify, after winning Gambia 2-0 on Saturday afternoon. They will face Egypt on Thursday night in the semi-final, after the Mo Salah-led team took a slim 2-1 victory over Morocco. After eliminating one of the early favourites, Tunisia exited AFCON following a 1-0 loss to Burkina Faso, who continued their gritty display, having scored just one goal in each of their five games thus far. Burkina Faso will face Senegal in Wednesday’s semi-final, who’ve been in fine form since entering the elimination round of AFCON 2021.

Winners of the semi-final will play in the final match on Sunday night, while losers will play in the third place match on Sunday evening.

ICYMI: NIGERIANS REACT TO AFCON KNOCKOUT WITH SELF-DEPRECATING BANTER

TurnTable Top 50: Skiibii’s “Baddest Boy Remix” Debuts At No.1

Posted on by Chibuzo Emmanuel

This week, Skiibii earns his first top 10 entry with the Davido-assisted “Baddest Boy (Remix).” Tallying a record 8.21 million equivalent streams (No. 1 on streaming), 32.9 million in radio reach (No. 11 on radio) and 827,000 in TV reach (outside the Top 100), this is Skiibii’s first No. 1 entry on the Top 50 as well as being the first entry on the chart.

Skiibii joins Gyakie, Ladipoe and Nicki Minaj as artists would have reached No. 1 with their first chart entry. “Baddest Boy (Remix)” is Davido’s record extending fifth No. 1 entry on the TurnTable Top 50 – having previously reached the top with “FEM,” “Holy Ground,” “The Best,” and “FOR YOU.”

Fireboy DML & Ed Sheeran’s “Peru” slides to No. 2 after topping the chart for four consecutive weeks – it continues to lead the radio chart with 52.6 million radio impressions (7th week at No. 1). It is followed by Kizz Daniel’s “Pour Me Water,” which slips to No.3 on the charts and Adekunle Gold’s recent single “Mercy,” which debuts at No.4 this week. The song tallied 45.8 million in radio reach and 1.94 million equivalent streams and becomes the fourth song off the artist’s highly anticipated ‘Catch Me If You Can’ album to enter the top ten.

Rounding up the top 5 is Lil Kesh’s latest single “Don’t Call Me” featuring Zinoleesky which drops from its previously held 4th position last week. It’s followed by Burna Boy and Wizkid’s awe-inspiring single “B.DoR,” at No.6 this week and CKay’s “Emiliana,” which ascends to No.7 this week. TI Blaze’s Olamide-asssisted “Sometimes,” follows at No.8, with Kizz Daniel’s “Eh God (Barnabas)” at No.9 and Ruger’s “Dior,” holding its No.10 peak.

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Elsa Majimbo Launches The Alphabet NFT Collection

Posted on by The Native

After conquering the comedy, entertainment and now the fashion world, Kenyan superstar Elsa Majimbo is now inching into a new market: non-fungible tokens (NFTs). Following the release of her exclusive Maison Valentino x The Alphabet for kids & ADULTS book last year, the comedy star along with her money-making team (Mohamed Kheir and Pepijn Temming) have now announced their debut NFT collection.

 

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Titled ‘The Alphabet NFT Collection,’ and now live on Crypto.com, Elsa’s latest effort is her first official gateway into the metaverse. The collection brings to life the foundational building blocks of our stories: letters. The first collection will consist of 26 unique letter animations, and the first three drops will have eight letters, which are O, H, D, L, S, A, E, Y. Whoever ends up with the NFT letters – E L S A will be entered into a raffle draw for the chance of winning the exclusive Maison Valentino x The Alphabet for kids & ADULTS book.

The Alphabet NFT Collection will be the first collection to bring word games into the NFT space, allowing collectors to create words, play word games and claim rewards. The second stage launch of the collection will include an $LPHA token as a framework for future The Alphabet Universe utilities while stage three will see the launch of AlphaBattle, the first NFT word game.

The book’s illustrator, Teeming shares that “I’m so excited to finally be releasing this project which we have worked so hard on. Like so many people in this space, I grew up on the internet — and now, as an artist, I’m extremely excited to see the evolution of digital ownership and the impact this has on our internet culture. I hope you all love ‘The Alphabet Universe.’ It’s been a true passion project.” Speaking about the new collection, former NATIVE cover star, Majimbo says:

“I’m so excited to bring our letters to life with this NFT release; when we wrote the original book, I knew that amazing things would come from it,”

 

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Afropop revolves around Nigeria, for better or worse

Posted on by Dennis Ade Peter

Of the ten artists nominated for Best African Act at the 2021 MOBO Awards, eight were Nigerian. The other two nominations were for Ghanaian singer, King Promise and UK-based Afro-swing boy band NSG. Essentially, in its thorough survey of urban African music over the previous year, the MOBO’s pretty much determined Nigerian Pop music as the only consequential scene on a continent with 54 countries.

It’s quite the common theme: At the upcoming NAACP Image awards, Ghanaian singer Kidi is the only non-Nigerian artist out of five nominees in the Outstanding International song category; and two out of the three nominees up for Best Global Music Album at the coming Grammys are Nigerian artists. There’s the useful argument that awards aren’t the best gauge for what’s happening in the music zeitgeist, but they are a useful reflection of the music receiving a lot of attention. Especially in the context of the increasing global reach of music out of Africa, there’s an obvious attention landslide in favour of Nigeria.

It would be ingenious if anyone claims the attention is entirely undeserved. Over the last two-plus decades, modern Nigerian Pop music has evolved at breakneck pace, growing out from its initial form as a kitschy and inventive parody of Hip-Hop and R&B, into a boundless organism with wide sonic range and a groovy identity. Just at the dawn of the middle of the 2010s, that constant evolution coincided with the advance of globalisation, through the increased permanence of social media, as well as an auspicious mammoth collaboration between the country’s premier superstar, Wizkid and Drake, arguably one of Pop’s global stars.

To simplify the spike in attention through this particular period, though, would be underselling the fact that Nigerian music has been crossing borders years before. In the mid-2000s, P-Square, 2Face Idibia, the Don Jazzy-led Mo’ Hits, and a handful other acts prominently exported Nigerian music on a continental level, pulling off arena-size live shows across Africa, and dominating awards held on a pan-African level. By the late ‘00s and early ‘10s, artists like Naeto C, 9ice, Chidinma, Wizkid and a slightly wider cast furthered that incursion, helping to service and expand the incremental demand for Nigerian pop music within and beyond Africa.

In terms of pure impact, Afropop has revolved around Nigeria for the lion’s share of this millennium, and that dominance continues to expand with each calendar flip forward. Last year, three Afropop songs made it to the U.S. Billboard Hot 100 singles chart, two of them—Wizkid and Tems’ “Essence”, and CKay’s “Love Nwantiti”—by Nigerian artists, and the third, Amaarae’s “Sad Gurlz Luv Money (Remix)” with Kali Uchis, is by a Ghanaian artist often referred to as a honorary Nigerian due to her popularity and early bond with Nigerian listeners. Nigeria’s ranking at the top of the popularity chain, and by such a significant margin, has become a source of discomfort for several non-Nigerian artists on the continent.

As a glorious 2021 for Nigerian pop music was winding down, Ghanaian Dancehall superstar Shatta Wale went on a tirade via Twitter, condemning the Nigerian music industry for its lack of support towards non-Nigerian artists, specifically Ghanaians. The singer’s accompanying point is the prominence of Nigerian artists in Ghana, claiming a disparity in standing across the border. Not too long after, fellow superstar and frenemy Stonebwoy released a wordy statement, proselytising African unity as a way of agreeing with his colleague rhetoric.

If Shatta Wale, through the combative tone of his tweets and incessant clapbacks, was being didactic, Stonebwoy was being diplomatic. Neither of them was met with kind comments by Nigerian Twitter users. The replies were vitriolic, ranging from sarcastic retorts to straight-up insults, another example of just how loud, tenacious and deleteriously funny Nigerians are on social media when collectively expressing displeasure. It was also the perfect setting for an ever-combustive Burna Boy to enter into a war of words and threats with Shatta Wale, which somehow devolved into sexual assault accusations from each camp.

Within all the noise, the obvious takeaway is not just the dominance of Nigeria on Afropop, but also Nigeria’s awareness on their influence on what gets and stays hot. It’s been said many times, but it’s difficult to overstate the importance of Nigeria being the most populous nation in Africa, as well as the teeming number of first-generation immigrants all over the global diaspora. That alone is an integral part of the unassailable advantage, but it’s worth noting that Nigerian music itself had some work to do to get those numbers in its support.

 

Even with the forward steps, the ‘00s and part of the ‘10s was marked by the common rhetoric that Nigerian music was inferior to the music from outside, more specifically from the U.S. and the UK. Having a listening diet that was light on Nigerian music was the cool thing to do, until it wasn’t, and the situation reversed. The music has always been great, but it became much cooler to loudly love Nigerian music as a lifestyle. These days, there’s an obvious pride Nigerians everywhere have in the music being made by its artists, and it’s had a profound effect on the external interest from the last couple of years.

For Nigerian music to have to prove itself to its own parochial audience, shows how difficult it can be to coral the collective acceptance of Nigerians. Also, now that the music is a rallying point, controversial statements like Shatta Wale’s and Stonebwoy’s are sure to meet the ire of Nigerians, because of the work it’s taken for Nigerian music to reach local reverence, pan-African supremacy and global popularity.

Around this time last year, Cameroonian entertainment figures Pancho C.Y International and Stanley Enow made claims similar to Shatta Wale, comparing the popularity of Nigerian music and artists in Cameroon with the lack of reciprocal representation in Nigeria. Of course, the reactions from Nigerians was anything but favourable, quickly dismissing those comments as an exercise in entitlement. Conversely, both these situations highlight Nigerians’ understanding of what crossover into Nigeria means for non-Nigerian artists, and it’s an exercise in flexing that power without interrogating some of the responsibilities that come with it.

Nigeria is the most recognisable hotspot of pop music in Sub-Saharan Africa, and that cultural value could be more significant than it currently is to its continental neighbours. With priorities set on music from home-grown artists, Nigerians often approach pan-African music conversations with an aura of supremacy. In early 2017, when Mr Eazi noted the storied influence of Ghanaian-originated styles of music on Nigerian music, the ensuing reactions made it seem like he had committed a cancellable offence. As Amapiano began impacting Nigerian pop in 2020, there were misguided takes on eventually owning the South African-originated sound, a constant attempt with every musical trend that starts off elsewhere.

Knowing very well that music with vested Nigerian interest is amplified in reach, that bullishness casts a negative shadow on Nigeria’s dominant stature in Afropop. It’s near impossible to demand Nigerians pay attention to many artists from every country, or be entirely reverent of every musical style that graces our ears, but that acceptance bandwidth could be widened. That solution looks simple on paper, but it’s far more complex because music is a subjective experience and it’s near impossible to tell everyone what to pay attention to and like.

Nigerian music’s popularity all over the world is often couched within Africa’s increasing cultural impact, however, that context isn’t fully realised when there’s just one country hugging the overwhelming share of visibility. In the last year, Ghanaian singer Gyakie, South African ‘Piano rapper Focalistic, and Mozambican trio Yaba Buluku Boyz gained some level of popularity in Nigeria, through collaborations with Nigerian superstars. Those looks undoubtedly elevated the pan-African and international visibility of these artists. That’s the type of impact-sharing Nigerian music should be looking to heighten, a true flex befitting of their dominance in African music.

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Songs Of The Day: New Music From BenjiFlow, Chike, Kranium & More

Posted on by The Native

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 Wurld, Portable, Kofi Mole, Reminisce& more. This New Music Friday, enjoy these new releases from BenjiFlow Chike, Kranium and more.

BenjiFlow – “Ready” ft. Juls

After several single releases last year including “Go” and the Oxlade-assisted “My Bella,” Benji Flow has now shared his latest project ‘The Thrill.’ The 8-tracker that finds him making an ambitious change from his last EP as he experiments more and shifts the boundaries on his creative output once again. On standout Amapiano-inspired track “Ready,” the singer teams up with Ghanaian-British producer, Juls who delivers the perfect groovy backdrop for Benji to express his romantic intentions to a muse. “Baby I feel the same way/I told you I’m ready/Don’t let this feeling go,” he sings over the song’s propulsive beat, addressing a muse who he’s ready to deeply commit to.

Chike – “Nwoke Oma”

Singer and songwriter Chike gets inspirational in this solo Afropop single entitled “Nwoke Oma”. “Nwoke Oma” is an Igbo word meaning a good man/handsome man/great man and in true fashion, Chike works his boyish charms on the track. Singing “When you dey hustle, you go dey all alone; when you succeed, they go call you their own,” he speaks on distinguishing between those in your corner and those against you. He advises listeners to be careful and mindful of people who care for you during the good and bad times.

Kranium – “Wi Dey Yah”

Kranium returns with a reggae induced tune titled “Wi Dey Yah” as his first single of 2022. “Wi Dey Yah” is Jamaican slang for “We’re here, or We’ve Arrived, “ showing his new-year mindset. In a boisterous and self-assured tone, he sings about his accomplishments and toasts to the successes yet to come.

Kida Kudz ft Prettyboy DO – “Plus 2”

After the release of his sophomore album ‘Top Memba’ in 2021, packed with hit songs like “Makaveli” and “Animalistic”, Nigerian born London based Afro-pop artist is back to debut his three-track single pack titled ‘Jiggy Pack Vol 2’. The third song on the project is dubbed “Plus 2”, assisted by fellow Nigerian rapper Prettyboy DO. The song is a slow-paced, low-tempo track that flows smoothly with Kida’s unique vocals and DO’s signature eccentric rap style. Both make a great team and lovely vibe.

Save Milli ft Ria Sean & Shank – “Studio”

After releasing his debut EP, ‘Childish II’, last year, Afrosoul singer, Save Milli is back with a dual-single project. The first is a solo track titled “Like This” and the second is “Studio” featuring fast rising singer Ria Sean and Shank, which is an immediate standout of the two.

“Studio” explores an intimate moment shared between two lovers in a cosy studio space. “I’m about to set the mood, you know to make everything beautiful, bout to make love in the studio” sings Save Milli, addressing his love interest and reassuring her of his commitment to her safety and enjoyment. Ria Sean was such a perfect addition to this track as she mimics the reactions and responses of his lover, forming an angelic union of both their voices.

Powpeezy, Barry Jhay & Psycho YP – “Lagos Party Remix”

With success from the first song, Nigerian singer-songwriter Powpeezy taps Barry Jhay and Abuja rapper Psycho YP to hop on the remix for his single, “Lagos Party”. The Afro-trap number finds all three rappers trading bars about Lagos nightlife, getting their shit popping and maintaining the bag.

Khaid – “With You”

Khaid is a fresh face emerging in the Afro-trap scene with his debut single “With You”, released today. The romantic number finds Khaid singing about his unrequited love with a girl who can’t help but give him a hard time. With all the hurt and pain he’s been through, he still falls deep into love with her and hopes she returns the feelings. The energy in “With You” is brilliantly portrayed in the music visual skilfully directed by OceanBoy.

Nu Fvnk – “Fair Game”

East African musician Nu Fvnk has been making music since he was young. After years of sharpening his skills, the singer is ready to kick off the year on a high note with the release of his new single, “Fair Game” which he produced and mastered by himself. The catchy new single is a genre-mashing affair which finds the singer chanting in defiance about the underdog rising to propserity. “Fair Game” is set to feature on the singer’s debut album ‘Color Man’, set to be out soon.

 

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