Listen To Pheelz & BNXN’s New Single “Finesse”

Posted on by Wonu Osikoya

There aren’t many artists enjoying as great a moment as BNXN, the artist formerly known as Buju, currently is. Over the past few months, he’s impressively delivered back-to-back hit features on collaborations such as Ladipoe’s “Feeling,” Wizkid’s “Mood,” Timaya’s “Cold Outside” and his debut EP ‘Sorry I’m Late.’

While these songs continue to earn him new levels of recognition, he’s not losing any steam as he’s already doubling down on his impressive streak with the arrival of his latest feature on Nigerian producer, Pheelz’s latest single “Finesse.” The pair are only just sharing the song officially on streaming platforms, but the catchy track has been making its way round direct-to-user platforms such as TikTok, endearing the track to new audiences and creating hype for its eventual arrival.

 

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“Finesse” first began popping off right after Pheelz released a snippet of the chorus was released on TikTok and Instagram on the 5th of February. Asides the song’s catchy production, the song quickly spread like wildfire on social media, particularly TikTok where Nigerians embraced the number for its relatable lyrics. One lyric in particular rang out the loudest. Over the memorable hook, the pair sing “If I broke, na my business/ama shana e go bright o, Folake for the night o,” which speaks directly to many socio-economic issues that Nigerians currently face.

This initial clip from Pheelz quickly became a fan favourite on TikTok, inviting iterations from people around the country who performed dances and skits over the memorable hook. Outside the digital realm, the song was also gaining momentum in the clubs as DJs began spinning snippets of the viral track, all taken from bootleg sites such as NotJustOK and more. Already, many are calling this a contender  for song of the summer and its eventual release now paves the way for this taking form. “Finesse” is currently sitting at #1 on the Nigeria, London and Ghana Apple Music charts.

Produced by newcomer Miichkel, the uptempo track sees both artists performing on their best form as they advise their muses about the dangers of falling in love with them. On the pre-hook, they sing lyrics such as “bad girl say she wan Netflix and chill/You see these feelings, I’m not catching, omo ope just wan dey, ah finesse”. 

Adopting a similar release pattern to Davido and Focalistic smash hit, “Champion Sound”, Pheelz and BNXN played into a tried and tested formula as they let the fans carry the song to new heights. Rather than resorting to traditional marketing techniques, they relied on the power of social media to get the song to the ears of the fans, prioritising their organic reaction to the song above all else.

Snippets have the ability to make a record a hit or a miss. Typically, they’ve helped to elongate the shelf life of a song, paving the way for its eventual release by creating fever pitch hype from fans that translates into streaming numbers and engagement. In this instance, it seems the inverse is the case as many fans have taken to social media to voice their preference for the snippet over the official song. Regardless, it’s only the first day of its release and there’s still plenty of time for this slow burn to find a home again in listeners. If the song’s appearance on the Apple Music charts is anything to go by, this viral moment can be anticipated sooner rather than later.

Listen to “Finesse” here

Madonna teams up with Fireboy DML for a new remix of her iconic hit, “Frozen”

Posted on by Damilola Animashaun

A few days back, the queen-mother of pop Madonna thrilled social media with sizzling photos with Afropop star Fireboy DML. In the photos, the pair are draped in spiffy, futuristic all-black ensembles, the warm embrace teasing a collaboration between them. The iconic singer also put out a teaser video, which saw her draped in several steamy raunchy all-black outfits, with the song playing in the background.

 

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Finally, the song is out, and it’s the remix of a remix of her 1998 smash hit, “Frozen.” Earlier this year, masked Canadian producer/DJ Sickick released a remix to the song, quickly becoming a viral sensation. For this Fireboy DML-assisted version, the Afropop superstar delivers a thematically wounded verse over the slowburn pulsating Lo-fi beat. This contribution adds a renewed, new age urgency to an already evergreen song, and the remix will very likely introduce a younger generation to its OG’s housing album, ‘Ray of Light’, and Madonna’s catalogue.

This feature is coming on the heels of an immensely successful run for Fireboy, who just completed his tour of the US. His globe-trotting smash single with UK pop icon Ed Sheeran “Peru”, has enjoyed immense success across the globe, holding down the number one spot on Apple Music’s UK chart for well over 40 days and earning the singer his debut on the Billboard Hot 100, amongst a myriad of other achievements. Working with an iconic artist, on an iconic song, is a solid addition to that list.

Listen to “Frozen (Remix)” here.

ICYMI: FIREBOY DML TAPS 21 SAVAGE & BLXST FOR ANOTHER PERU REMIX

Essentials: Meji Has A Lot To Say On His Sophomore EP ‘Two’

Posted on by Wonu Osikoya

Rapper and songwriter, Meji is a member of the fast growing We Talk Sound community. He found his beat when he was discovered by the then Chocolate City label boss and veteran rapper MI Abaga who has had nothing but consistent belief in him and his abilities.

He then scored his breakout with “100 Clowns”, a diss track dedicated to fellow rapper Blaqbonez, who was signed to 100 Crowns, an imprint under Chocolate City at the time. Discovering his strength as a rap artist, he released a follow up single “Humble Son, Cocky Bastard”, a heavy rap freestyle which has the artist dishing out boastful bars over the bouncy production of the track. 

When he’s not being a rapper, Meji is finding more ways to emit his creativity, whether it’s through video editing or through graphic designing. He debuted his first solo EP, ‘The One’, in September 2020, an expressive 6-track tape, as well as a masterclass in lyricism and production. The project largely revolves around how special Meji’s growing skill showscasing great depth in his subject matter and theme. He spits heavy self-reverent bars over hardcore hip-hop beats on tracks such as “The One”, delivering standout lyrics such as, “I am the one, I am the father these youths are my sons/I am the one that was chosen to break every chain”, stating the acclaims he believes he’s owed.

Now, Meji is here with a follow up EP, ‘Two’, with features from Vader The Wildcard, Moefasa, Eazzie and Dwin the Stoic. He delivers a stellar 16-minute run across 6 tracks, cutting across matters affiliated with wealth, maintaining relevance and being a major part of the conversation. On this new tape, he raps over more melodious and rhythmic Afropop-leaning beats, a significant difference from the cloudy keys and booming 808s of his previous work.

With the release of the lead single “Emi Gan Gan” which arrived a week prior to the project, Meiji gives an insight as to what the tape is to sound like. Assisted by Vader The Wildcard, they bring to ears of listeners a soft tempo yet boastful track offering up lyrics such as, “I know you praying to see me fall/I’m on a wave wey no fit stop”, a reminder to his doubters that he’s still the one.

 

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“Sands Of Time” opens the tape with a rhythmic and smooth flow, delighting listeners with rich production infused with trumpets, giving a rather warm and welcoming introduction to Meji’s world. Assisted by Dwin and The Stoic, Meji speaks about counting his blessings and appreciating the tremendous things of life—“I Know I’m a star, I can never get lost in the dark/Oluwa don dey order my steps”. He moves into making a more personal statement on “Steppings” as he speaks on taking charge and control of his energy. He sings lyrics such as “Dem no fit touch anything I do/This year boy I be vexing, cause a scene when I step in”.

On other tracks such as “Lust Island”, Meji taps into a more sensual side of his artistry, delivering an exceptional performance with Eazzie over a gently knocking beat, as they belch lyrics such as “give me that give that all night long, baby me no dey plan no hit and run/I know you like it when I use my tongue, girl I know you like it when you cock my gun”. He closes the tape with a more uptempo track “Live Your Life”, where he speaks about enjoying what life has to offer and the good things that come with it, over bouncy beats, infused with trumpets. He sings, “More life, one life you only get one life/alaye live your life, jaye ori e”, encouraging listeners to spend while they can and enjoy life as you only live once.

Meji took a more different approach with this tape compared to his debut project. Here, he sings and raps over more melodious beats, rather than hardcore hip hop beats, making it easier for more listeners to relate to his music. The 16-minute EP is a clear indicator of an artist with style, lyrics and a lot to say.

Listen to ‘Two’ here.

ICYMI: ALL THE NIGERIAN ACTORS IN THE BEL AIR REBOOT

8 Books By Nigerian Authors We’re Excited To Read This Year

Posted on by Emmanuel Esomnofu

The world of African Literature is no doubt vibrant and intentional. Each year books from African authors based in the continent and her diaspora, go on to become bestsellers and influential titles, shining light on several aspects of their culture and ultimately revealing the writers as great practitioners of the craft.

Last year was particularly rewarding for lovers of African Literature. Not just getting served with breathtaking titles, important awards also went to authors. Some of the biggest news included the Nobel Prize for Literature, which was awarded to the Zanzibar-born Abdulrazak Gurnah; the South African Damon Galgut also won the Booker Prize for his astoundingly beautiful novel The Promise and in France, the Senegalese-born Mohamed Mbougar Sarr won the Prix Goncourt, considered as the country’s most prestigious literary award.

All these confirm what we’ve known for a long time: African writing is a global force. With 2022 underway, the scene was set for an array of titles to go out into the world and perform brilliantly as usual. Today, on the commemoration of World Book Day, we’re highlighting some of the most anticipated titles that are expected to be released this year. Across the genres of fiction, poetry and nonfiction, these are reads from Nigerian authors you’ll want to keep an eye out for.

AKWAEKE EMEZI – “YOU MADE A FOOL OF DEATH WITH YOUR BEAUTY”

Release Date: May 24, 2022

 

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The Tamil-Nigerian Akwaeke Emezi is an absolutely prolific writer, publishing books in various genres since the release of their monumental debut, Freshwater. They’re putting out three books this year, including the young adult novel Bitter and Content Warning: Everything, their debut collection of poetry.

Making a return to the novel form, You Made a Fool of Death with Your Beauty is forthcoming this May from Atria Books. It’s been described as a romance novel, following the story of Feyi Adekola who’s trying to come to terms with her husband’s death five years later, when she meets a man at a party who makes her want to live again. However, they’re some grey areas within this supposedly timely union, as Feyi’s grief turns within her with the force of a familiar foe and she must eventually reconcile what she desires for herself. Anyone who’s read Akwaeke knows her writing, at the basic sentence level, is a delight and there’s no reason why this title shouldn’t be typically brilliant.

BOLU BABALOLA – “HONEY AND SPICE”

Release date: July 19

 

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Few books published last year got as much buzz as Bolu Babalola’s Love in Colour, a short story collection lauded for its vivid characters as much as its intriguing storylines and setting. Consequently, the British Nigerian author became one of the year’s revelations, eagerly waited on for her forthcoming works.

Not wasting any time, Babalola is following up with the release of Honey and Spice, her debut novel. Forthcoming from William Morrow, it’s a humour-laced book about the various shades of love, especially the murky field that is young love. Kiki Banjo is a host of popular student radio show Brown Sugar who’s taken it upon herself to make sure the women of the Afro-Caribbean Society at Whitewell University don’t succumb to messy situationships. In a twist of fate, she’s embroiled in an affair which doesn’t turn out to be what she expected.

ELOGHOSA OSUNDE – “VAGABONDS!”

Release date: March 15

 

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Over the years, Eloghosa Osunde has emerged as one of the most promising literary voices from the continent, particularly with the short story form which she wields so mightily. “Good Boy”, published in The Paris Review, ranks high among the best stories I’ve read in recent years. All over Osunde’s gift for spare, poetic language is evident, peppered as well with nuances of the Nigerian pidgin English in a style that’s rare among contemporary authors.

Her forthcoming debut, Vagabonds!, is a collection of intertwined short stories which draws from the magical realism style of Ben Okri and Gabriel Garcia Marquez. Banding a diverse cast of characters, the book shows an underrepresented side of Lagos, whether through the story of a lesbian couple, a fashion designer who gives birth to a grown woman, or a driver with the supernatural power to bring people to life or make them die. It’s an eccentric book which attains measure through the closely controlled style of Osunde’s.

J K CHUKWU – “THE UNFORTUNATES”

Release date: August 2

The writer and visual artist J K Chukwu holds an MFA in literary arts and was a 2019 Lambda Fellow. Her debut work is this forthcoming novel from Harper Collins. Quite anticipated for a while, the story’s set in a college and whose protagonist, Sahara, is a queer half-Nigerian.

Sahara has it tough with the racial abuses she’s subjected to at school, leading her to lean forcefully on the friendships she nurtures with a number of Black friends. When these friends begin dying, with no pattern other than the fact they’re Black, Sahara sets out to investigate what happened to The Unfortunates—what the dying undergrads are called—and in the process uncovers something much larger.

DIPO FOLAYIN – “AFRICA IS NOT A COUNTRY”

Release date: April 7

 

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This forthcoming book is titled Breaking Stereotypes of Modern Africa and is a riveting critique of the cultural stereotypes usually attributed by the Western world about Africa. Since Binyavanga Wainana’s seminal essay “How To Write About Africa”, writers from the continent have continued to adopt a simultaneously inwards and outwards gaze, offering biting opinions on the contemporary world by depicting the unique nuances of particular African countries or cultures.

Funny and insightful, the seasoned culture journalist who was born in Chicago and raised in Lagos makes great points for the diversity of Africa, pulling the political and personal into an enjoyable book. He’s attentive and expressive, whether dissecting the colonial heritage of African countries or contributing to the banter over which one has the best Jollof rice.

AYOBAMI ADEBAYO – “A SPELL OF GOOD THINGS”

Release date: June 2

The debut novel Stay With Me marked Ayobami Adebayo among the most gifted storytellers of her generation, exciting readers within the continent and beyond. Since that breathtaking tale of Yejide and her husband Akin, the writer’s next book has been eagerly anticipated, no doubt promising a lot of quality.

Forthcoming from Canongate in the UK, fans of Adebayo won’t have to wait for much longer. In June, her second book will be published and the descriptions and blurbs have been tantalizing. Following the two-character lead of her debut, A Spell of Good Things is about Eniola and Wuraola whose lives intersect because of harsh circumstances caused by an ineffectual government.

ROMEO ORIOGUN – “NOMAD”

Release date: March 2022

 

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The Nigerian poet Romeo Oriogun is one of the most important writing today, among those responsible for sparking a renaissance in LGBTQ literature in the largely homophobic Nigeria. His debut collection of poetry Sacrament of Bodies was published to high praise from accomplished poets like Ellen Bass and Ilya Kaminsky, and earned Oriogun a place on the shortlist of the Lamda Award for Gay Poetry.

Forthcoming from Griots Lounge, a Canadian-based publishing house with special interest in African authors, Oriogun’s Nomad shines with expected brilliance. Broadening his scope, the author looks beyond queerness and masculinity, calling up the soft histories of West African countries, from Benin Republic to Burkina Faso, Ghana and Senegal. Themes of exile, slavery, colonialism and its reverberations on cultural life, is woven throughout the book.

CHINELO OKPARANTA – “HARRY SYLVESTER BIRD”

Release date: July 12

Since the publication of her debut book Under The Udara Trees in 2013, Chinelo Okparanta has become one of the most visible authors in the African literary space. Her follow-up, a collection of stories titled Happiness, Like Water was similarly acclaimed, introducing her bubbly voice to a number of people who might have missed out on the first.

Seven years after that collection, Okparanta is returning with her second novel, Harry Sylvester Bird. Forthcoming in July from Mariner Books, the novel follows the life of Sylvester, a young white man who falls in love with Maryam, a young Nigerian woman. As the two tango, going through the motions of contemporary love and expression, the shades of racism are cast over their relationship, leading to a breakup when Maryam pulls away from Sylvester. Alone, confused, Sylvester has to confront his identity and come up with some reason for his fate.

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Review: Adekunle Gold’s ‘Catch Me If You Can’

In the summer of 2018, aka the summer of “YE,” “In My Feelings” and an embarrassing deadbeat father reveal, Adekunle Gold delivered arguably the most confounding moment of his career. Almost a year out from his sophomore LP, ‘About 30’, AG shared a cover of Drake’s “Emotionless,” spitting a verse that mostly centred around his decision to try something as left-field as rapping. Between his hackneyed cadence and imperfect timing over the soul-sampling beat, it was hard to reconcile what one was hearing with the artist we had come to know over the years. It’s a very minor scandal, but it’s quite symbolic for that period of the singer’s intriguing career timeline.

After earning widespread adulation with the genial folk and excellent musicianship of his debut album, ‘Gold’, Adekunle Gold marked his third decade around the sun with an LP that was eager for radicalness. There he was, mourning the aftereffects of fame, angrily hosing down an unfaithful partner, throwing insulting screeds at a well-known online scammer, while expanding his sonic purview, from the Juju and Yoruba folk-inspired canvas of his debut, to include EDM, Igbo Folk, Afrobeat, and Gospel. This was Adekunle Gold rebelling against the image he had created, a wide-eyed writer who initially christened his sound Urban Highlife; now, he was more combative and disavowed the very notion of genre—up to the point of an ill-advised try at rapping.

In the opening moments of AG’s fourth album, ‘Catch Me If You Can’, he references that pivotal turn into age 30 that catalysed that small musical identity crisis and, most importantly, offered a self-aware criticism: he was living for everyone but himself.

Five years later, it’s impossible not to deem Adekunle Gold as a man that moves to the beat of his own drum—even if you’re sceptical, the clamour around his evolution is enough evidence. “Born Again,” the song that opens this recent 14-song set, feels like a spiritual successor of the eponymous opener from his debut.

Where “Gold” set an eager tone as an acapella introduction, this new opener is an impressive turn in self-assured portraiture, as each descriptive line about his life—“I know that I count on me, and I’m blessed with Adejare”—is sung with impenetrable poise. The chopped up interpolation of Malian singer Fatoumata Diawara’s modern classic, “Nterini,” is slightly unnecessary as a flex but it isn’t soulless within the song’s purpose. With the interaction between both intros, and the electro-folk bent of “Born Again,” which isn’t too far from Gold’s musical wheelhouse, ‘Catch Me If You Can’ is the closest thing yet to a full circle moment with AG’s debut.

Artistic evolution is prominently discussed within the context of artists discarding their past selves in favour of creating music that they deem to be more fulfilling. A lot of the time, though, it’s just improvements and adjustments being made until the artist reaches a seemingly better situation. Adekunle Gold is an easy example as a former folk-pop hero turned pop powerhouse. Artists evolve for several reasons, but the most cited and perhaps most intriguing is the realisation that the imagined perks of breaking out don’t always match the reality. That was the crux of AG’s commendably experimental but uneven sophomore LP, and what followed was a grip of sleek pop singles, signalling a recalibration of objectives.

 

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By 2020’s ‘Afro Pop, Vol. 1’, the renovation was complete. At six songs shorter than both preceding albums, AG’s third full-length is decidedly more eclectic, leaning into the global trend of pop music being an amalgamation of different influences into a glossy whole. Even Afropop, the genre its title references, is an expansive soundscape that factors in both local and imported influences. Beneath all of this stylistic tinkering, you would be hard-pressed to claim Adekunle Gold had changed his thematic interests. While his writing angles have widened beyond blue-eyed romance and aspirational quips, his current reflection reads as a man who has a better understanding of worldly complexity, but his music still revolves these familiar themes.

The same can be said for ‘Catch Me If You Can.‘ Like each of its predecessors, though, the general candour keeps things from being recycled. ‘Gold’ had manifested dreams as its compass, ‘About 30′ was an exercise in re-interrogation, and ‘Afro Pop, Vol. 1′ showed confidence. With his fourth, Adekunle Gold is standing firm in his convictions, extremely secure of who he is as an artist and a person. Throughout this album, AG sings with the sure-footedness of someone that doesn’t have much to prove, to listeners or to himself. It’s the next logical chapter, and it also makes sense that it’s a refined culmination of everything that came before.

Musically, the new album is an intersection between the rustic influences of early AG, and the contemporary flair of Nigerian pop music. It’s timely, considering how older forms of Nigerian music has become an inseparable part of the current pop landscape, a tenet Adekunle Gold was championing six-plus years ago. A significant portion of ‘Catch Me If You Can’, especially its opening third, is defined by the rhythmic melding of local percussion and indelible bass guitar riffs, not unlike the musical direction from his past work.

On early highlight, “Mase Mi,” frequent collaborator Blaise Beat combines a gurgling bass guitar line with robust drum, forming a lively counterpart to AG’s soulful rebuke of the devil. The TMXO-produced “Win” is driven by bubbling talking drums couched inside a rumbling bass, bringing emphasis to the singer’s declarative tone. The heart of this album is in the opening line of the song: “In my lifetime, people I fit die for dem be like two.”

Pop stars living and extolling the domestic life aren’t generally regarded to be alluring or riveting. In society, being married with kids is beige, making it difficult for it to be portrayed in music as exciting. To his credit, Adekunle Gold makes monogamy sound pretty swell on ‘Catch Me If You Can’. While his daughter gets a significant mention on the intro, it’s plausible to claim that the main inspiration here is his wife, the multi-talented singer Simi. Through this lens, the moments of hubris are given emotional gravitas, because his self-conviction is backed by the knowledge that there’s unconditional love flowing towards him from those in his corner. It’s a widely regurgitated claim, but there has to be some truth in your chosen family fuelling you to become a better person.

The overwhelming majority of the romance-themed songs on this album revolve around devotion, a relatable theme that’s made more meaningful by the singer’s own life. The ultra-groovy deep cut, “More Than Enough,” celebrates a long-term relationship with both parties sticking with each other through their early career days and into a financially abundant present. On the pre-released single, “Sinner,” which remains a delightful highlight here and features a sublime Lucky Daye verse, Simi famously played the role of the magnetic muse in the accompanying video. In a remarkable accomplishment, Adekunle Gold gets an ever-ready Lothario, the American R&B superstar Ty Dolla $ign to champion being a “one woman man.”

What these sort of songs lack in range or tension, they make up for in wonderful execution. They only misstep is the Tay Iwar-produced “Sleep,” an Afropop-inflected R&B tune that doesn’t flatter AG’s attempts at sex-crazed moxie and falsetto delivery. Over the course of his discography, it’s clear Adekunle Gold shines brightest when he’s accompanied by full-bodied arrangements, complementing the folksy beauty embedded in his voice. On “Dior, Dior, Dior,” the track opens up with guitars that plays into the acoustic pop-soul of featured artist Foushee, but a recognisable percussion groove lands and AG sounds right at home while accommodating his guest.

It’s arguable that the best feature on ‘Catch Me If You Can’ belongs to Davido’s energetic appearance on runaway smash, “High,” not just for its sheer value, but also in how it underlines AG’s honed capacity as a pop songwriter and performer. (“Love is not enough/baby, come to me, mo l’owo” is every bit as scintillating as “wake up and jumpstart/I go chop you like oha.”) Also, the tribal house-meets-amapiano banger is a phenomenal touch of versatility on an album that gleefully basks in fulfilment—but fulfilment doesn’t always equal constant satisfaction.

The thing is, taken together with the rest of his catalogue, ‘Catch Me If You Can’ is a resolution point in the linear narrative of Adekunle Gold’s career. With every resolution, there has to be a new beginning—or at least a continuation—which begs the question of where the singer goes next. That answer will come in the future, but here, that trudge to optimal self-assurance is beyond remarkable.

ICYMI: THE AWE-INSPIRING EVOLUTION OF ADEKUNLE GOLD

Songs Of The Day: New Music From Magixx, 1Da Banton, Diamond Platnumz & More

Posted on by Wonu Osikoya

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

We’re doing the work to stay on pulse with all the music coming out from across the continent and beyond, bringing you exciting songs of tomorrow: today. Last weekend, we brought you new releases from Darkoo, Black Sherif, Poco Lee, Alpha P and more. This week, get into these new releases from 1da Banton, Magixx, Sess, Diamond Platnumz. Enjoy.

1da Banton – “No Wahala” ft. Kizz Daniel & Tiwa Savage 

After 1da Banton’s “No Wahala” peaked and became a viral smash hit across the continent, the artist has arrived with a remix for the track, with guest verses from Tiwa Savage and Kizz Daniel. The track sees all three artists singing beautifully about living a stress free life as they merge energies together, delivering an outstanding track. All three artists work and connect seamlessly across the track, led by Kizz Daniel who delivers the first verse, setting the tone for the rest of the Blaise Beatz-produced track. 

Magixx – “Chocolate”

Mavin signee Magixx was only introduced to us last year, but already, his releases are near impossible to miss. Following the release of a re-up version to his single, “Love Don’t Cost A Dime” featuring label mate Ayra Starr, the singer returns for his first offering of the year with a new uptempo and energetic number titled “Chocolate.” The Rage-produced track is an Amapiano-infused single which sees the artist delivering addressing his irresistible muse over a heavy bass beat. He sings “Shana wole gba chocolate/make you dey fuck with my baby” on the chorus of the track, making known his salacious intentions.

Sess – “Revival” 

For his first post-album single, singer-songwriter and producer Sess is back with new gospel-leaning single titled “Revival”. The track sees the artist confronting his faith, singing lyrics such as “Baba God cover me, them go try but them no fit to conquer me/Goodness and Mercy follow me”, which find him directly conversing and extolling his maker. 

Diamond Platnumz – “GiDi” 

Tanzanian music prodigy Diamond Platnumz has begun the year with a new catchy single titled “GiDi.” The Afro-Highlife tracks finds him pulling from a wide range of influences and sampling nostalgic tunes such as Olamide’s “Show You The Money” and “Gbona.” Despite his proximity from the subject matter, the singer is able to wholly situate the song in Lagos, Nigeria, one of Afropop’s largest cultural hubs. 

KCee – “True Love”

Veteran singer KCee is here with a new romantic number titled “True Love”. The track sees the artist expressing his deepest feelings for his muse, singing lyrics such as “ayaya, baby would you please be mine?, you dey do me ayaya”, over the subtle yet rhythmic production of the Spotless-produced track.

Zoocci Coke Dope – “Lift Me Up” ft Blxckie & Nasty C 

South African rapper Zoocci is here with his first official release of the year, featuring Blxckie and Nasty C. “Lift Me Up” is a bouncy rap tune which sees the artists making braggadocious claims in the respective indigenous languages, spitting lyrics such as “I remember bitches looking down but now we up/Now we up and we’ll never stop”, over the track’s window-quacking production.

Malcolm Nuna (Feat. Yaw Tog, Black Sherif Kofi Jamar, Kweli Flick) – “Talk Talk.”

Celebrated Ghanaian rapper and songwriter Malcolm Nuna taps his fellow Ghanaian artists Yaw Tog, Black Sherif, Kofi Jamar and Kweli Flick on his latest single titled, “Talk Talk”. The Khendi Beatz-produced track brilliantly exhibits the dynamism of each collaborator as they easily combine English and their native tongues in their rap, a feat which elevates the record’s overall vibe.

Best New Music: Olamide & Wande Coal make a glorious pair on energetic new single, “Hate Me”

Posted on by Wonu Osikoya

Since Olamide announced his potential retirement from making full-length albums just a few weeks ago, anticipation has been rife for his “final” album titled ‘Unruly’. For his first move in the lead up to a new project, the rapper has just released “Hate Me,” featuring the consistently elusive Wande Coal.

A stark contrast to his insanely prolific colleague, Wande Coal has spent the last decade carefully selecting his breakout moments, and achieving maximum impact with every sighting, every single, every feature. This time is no different as both artists form a glorious pair on the P.Priime-produced party starter, “Hate Me.”

 

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We initially saw the pair on Olamide’s 2016 hit single “Who You Epp?” alongside Phyno, which quickly became a fans favourite, taking over the clubs, the streets and more just as quickly as it arrived. As the single was a big hit from the pair, fans and listeners would have expected an earlier follow-up over the years, but nonetheless, “Hate Me” does not suffer from any delay,  setting a vast tone for where both veterans are still able to go sonically, at this stage of their careers.

Produced by the Grammy-nominated P.priime, “Hate Me” is an energetic and up-tempo track laced over a unique and futuristic production. The duo’s energetic vocals float over the song’s funky basslines and twinkling production touches, setting the perfect backdrop for both artists to fire off their braggadocious lyrics about getting their shit popping. The record opens with Wande Coal’s agile and rhythmic vocals as he sings, “She ain’t work it, I don’t think that she work it/Do you I need to tell you what my net worth is?,” a fitting boast that extols his current legendary status in the game.

As the track progresses, the artists spit self-assured lyrics, stating how far they’ve come, how much money they’ve made and why they should be respected, with lyrics such as “They bout to hate me, when I show my bank statement/Inna the hood, you know they rate me, a hundred thousand dollar bills cannot take it”, which Wande Coal quips on the chorus. The track also displays Olamide’s indigenous rapping style, as he raps in Yoruba about his accomplishments, and how far he has come while still putting his opps in check.

In his usual manner, Olamide raps “Omo mo fo ti, eruku to te le mi won to forty/Now they know the reason why bitches love me, I just wanna get the money, kin de ma te button” which directly translates as “I can never break, i have over 40 niggas on my back/I just wanna get the money and push buttons.” With the news of his forthcoming final album in the works, it’s not hard to imagine that we’ll see more of Olamide taking stylistic risks, and inviting collaborators who will further push the limits of his artistry. 

“Hate Me,” is clear indication that artists are constantly evolving, even when they have spent decades exploring and fine-tuning their sound. To further amplify the track, the record arrived with the TG Omori-directed video, an intergalactic video which sees Olamide and Wande Coal on a spaceship, cascading through space. More than just a dazzling sequence to further the song’s reach, the video also portrays the song’s message about two veterans in their own right, evolving and changing with the times.

Stream “Hate Me” here.

Featured image credits/Youtube

Identify: Asa returned home and turned in her brightest-sounding album yet

Posted on by Emmanuel Esomnofu

The sound of music playing on a loop was Asa’s favourite thing about her childhood. She’d fit her body between the wall and furniture, listening to her father, a cinematographer, pair the visual with the sonic. When her first album was released in 2007, the images were striking: deserted lovers, nations on fire, a thirst for life, for art. She was in her early 20s but already possessed a sharpened sense for detail and emotion.

“Since I was a child, if any adult asked me then ‘what would you want to become when you grow up?’ I never wavered from saying I wanted to become a musician.”

Born in Paris, her family’s relocation to Lagos came at a time when one remembered little of their day-to-day experiences. Her earliest perceptions of human life came in Nigeria’s premier metropolitan city. In Lagos, she was immersed into the bubble of a state regaining its cultural practices after years of being the headquarters of a military regime. There she made her dream work, little by little, pushing for artistic excellence where many others prized instant gratification.

Asa’s appeal cuts across a swathe of demographies. To the young, she is a beacon of originality and nerdy swag. To the middle-aged, she’s  soundtracking the motions of their beleaguered storylines. To the aged, she’s an old soul, a lady they’d gladly sit and share stories with. To the international listener, Asa is a superstar in the mould of Fela Kuti, not quite possessed by his incandescent fury but wielding every bit of musical stamina, versed in several traditions and well positioned as a confluence for them.

Life being the source of Asa’s art, her albums are spaced out to encourage her immersion again into everyday life. “In between the spaces I’m writing, touring and I’m living normally,” she says. “But honestly most of the time I’m writing and I promised myself not to bring any album that I wasn’t happy with. I once recorded an entire album and put it in the bin.”

It was 2020, during Asa’s European tour when the pandemic broke out. She was somewhere in France and had thought she would stay there for its entirety but sensing the imminent coldness of a city on lockdown, she returned to Lagos. “When I came to Lagos what I did was throw my door open,” she says. She was working on her fifth album, two years after ‘Lucid’, an album suffused with some of her most heart-wrenching stories on love and loss. This time the energy was markedly different. Collaborators thronged into her house, creating songs in her living room with a view of the lake and blooming vegetable patches.

 “Home is different,” she says of the atmosphere that inspired the album. “Being unstressed and being familiar with the people I was working with, as opposed to going to a studio elsewhere, like in LA or in Paris. It was just really relaxed, nothing that tells of time and schedule.” Titled ‘V’, it was preceded by the singles “Mayana” and “Ocean,” both produced by 20-year-old P.Priime, who handled ninety percent of the LP’s entire production. This immersive style of collaboration affects a feeling of closeness all through the record, setting the template for the musical features which, interestingly, portends the first time an Asa album will feature artists.  

On “Ocean” WurlD’s lucent vocals float in the background, bringing a textured feel to Asa’s stirring meditation on self-love. “Good Times” was recorded with scintillating brother duo The Cavemen, whose trademark infusions of Highlife casts a beachside ambience over the record. “The Cavemen are special to me,” says Asa. “They inspire me. And you know, with me and Benjamin—I’m sure you’ve seen us on social media—we’re never up to no good, we’re always goofing around. “Good Times” is about friendship, it’s just about saying what you sometimes forget to say, just acknowledging friendship we see everyday and it’s become a background to our lives. Sometimes, stop and tell this person ‘thank you, you’re a good friend’.”

Among Asa’s favourite songs on ‘V’ is “All I Ever Wanted,” a poignant song about falling out of love and what it constitutes for the memory, left to pick up the shards of losing someone you’d rather have by your side. Featuring the iconoclast Amaarae, both voices meld in buttery perfection, layered distinctly over the stripped production. Asa had written the record for the Ghanaian star who she wished to feature on it. “That’s how my voice got to stay on ‘All I Ever Wanted’,” says Asa. “It’s a sarcastic song; Asa is always sarcastic. You can hear it in ‘Awe’ and ‘Bimpe’, you know. It’s just telling the person, ‘Have you forgotten how we were?’”

All through the album, you hear Asa angling towards the light. Her messages are clear and her desire for softness obvious. No other song encapsulates this feeling better than “IDG”, the mammoth collaboration with Wizkid. Some days before the album’s release, the ‘Made In Lagos’ star had shared a tweet announcing the song, which many noticed was exactly seven years since he’d tweeted that we wanted to work with Asa “so bad.” They had connected in Ghana sometime ago and after Asa wrote the song, Wiz came to mind. “I’ve always loved Wizkid’s melodies and always loved him as a very creative person,” Asa says. “With Wizkid, as with other people that I worked with on this record, one thing shines through—the album is just about vibes, good feeling, good times, friendship and love.”

It’s no coincidence that Asa’s brightest-sounding album is coming now. Shelving previous expressions of complicated loves for simpler gestures, she reinvents herself. The pop flourishes of the tape also owe its presence to Asa’s recent showcases of her playful side.

Asa has been really been vibing throughout her stay in Lagos and, more interestingly, getting caught on camera. “I’ve always been like this but you have to also understand that I’m very private and so the worst that you’ll see are scenes that someone caught,” she says, laughing. “Someone was very smart with holding the camera. It’s actually interesting that people are getting to know a little bit more about me and I’m getting comfortable with sharing that part. I mean, it wouldn’t hurt. Being able to do that now is because I’m okay with it.”

 

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This shifting perspective is responsible not only for the wholesome videos of Asa we’ve been getting but also influenced her creative process. A known perfectionist, she tells me she once returned to a song five years after she began writing it. “On ‘V’ it was a combination of being vulnerable and allowing myself not to think too much, not to be perfect, not to be precious,” she says. 

Ultimately ‘V’ is coming from a place of authenticity and acceptance. If the Meji Alabi videos for the singles were anything to go by, this is a multidimensional universe made possible by black excellence as well as black vulnerability, the willingness to lean into the mundane aspects of one’s life and embrace the glory in it. “I’m just playing a lot on these songs, having a lot of fun,” she says. “It was fun to connect with creatives that I met on this project and on this  journey and that really spilled into the recording.”

Listen to ‘V’ here.

IDENTIFY: MOONGA K. IS DEFYING SOCIETY’S NORMS

TurnTable Top 50: Zinoleesky’s “Rocking” debuts on the top 10 this week

Posted on by Tami Makinde

Two weeks following its release, Zinoleesky’s latest single, “Rocking” makes its Turntable Top 50 entrance, debuting at a staggering No.8. The song rakes in 2.82 million equivalent streams—making it the third-highest streamed cut—and 8.39 million in radio reach (No. 53 on radio). Zinoleesky also sets another milestone with “Rocking”, earning his fourth top ten with the single, after previously achieving top-ten entries with “Kilofeshe”, “Gone Far”, and “Don’t Call Me”.

At No.1 this week, Skibii continues to lead the pack with his Davido-assisted “Baddest Boy (Remix)”. The song however spends a fifth consecutive week atop the TurnTable Top 50 despite recording its lowest total chart points ever. Street pop sensation Asake moves up a rank with his Olamide-assisted “Omo Ope”, setting a new peak at No.2 for the vibrant anthemic number. Tallying 2.89 million equivalent streams, 26.6 million in radio reach and 6.75 million in TV reach, the song marks its fifth consecutive week on the chart. Two other songs off his eponymous EP make their entrance on the chart; “Trabaye” at No. 24 and “Sungba” at No. 49.

Rema’s “Calm Down” also moves up a notch rising from No.4 to No.3 on the Turntable Top 50 – Equaling the artiste’s milestone with “Soundgasm”—his highest-charting single on the chart. “Calm Down” tallied 47.7 million in radio reach, debuts with 10.3 million in TV reach and 1.51 million equivalent streams. Fireboy DML & Ed Sheeran’s “Peru” tumbles down two spots to No. 4, after topping the chart for the first four weeks of 2022. The globe-trotting pop sensation continues its incredible run as it marks 31 weeks on the chart. Lil Kesh’s Zinoleesky-assisted number “Don’t Call Me” retains its spot at No. 5 for another consecutive week, marking a staggering 12 weeks on the chart.

TI Blaze’s Olamide-assisted “Sometimes (Remix)” ascends to a new peak of No. 6. Kizz Daniel’s “Pour Me Water” plummets by a spot to No. 7, after topping the chart for a week. Rounding out this week’s top ten; Kizz Daniel’s “Eh God (Barnabas)” is steady at No. 9 – making him the first artiste with multiple entries in the top 10 for twelve weeks. Reekado Banks’ “Ozumba Mbadiwe (Remix)” featuring Fireboy DML tumbles down from No. 7 to No. 10 this week.

 

Featured image credits/

What’s Going On: Sanctions in Somalia, Nigerians Stranded In Ukraine & More

Posted on by Emmanuel Esomnofu

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

UN MISSION TO INCREASE PATROLS IN VIOLENCE-RIDDEN SOUTH SUDAN

South Sudan has been embroiled in a violent run between the Sudan People’s Liberation Army in Opposition and armed youths. The confrontations began in Mirmir Payam but have spread viciously over the past two weeks, creating unrest in several villages in Koch, Mayiandit and Leer, according to reports by the United Nations.

The United Nations Missions In South Sudan (UNMISS) have promised to increase patrols across the country and continue working with stakeholders at all levels “to encourage dialogue and reduce tensions and insecurity.”

In a statement, UNMISS appealed to national leaders, armed groups and influential people to bring an end to the violence. “UNMISS strongly condemns the violence at a time when humanitarian needs are rising, and people are already reeling from the worst flooding in decades,” the statement said. “The Mission urges national and local authorities to take immediate measures to reduce tensions and to prevent further escalation of the situation.”

The South Sudan conflict has been brutally experienced by the citizens, with number of casualties rising each day. A high number of people have also been injured or forced to flee from their homes due to the mounting insecurity. Women were reported to have been raped in Leer Town, said health facilities, and property destroyed. In what has been a violent free-for-all, supplies meant for displaced persons have also been looted.

US SANCTIONS SOMALIA AFTER ELECTION DELAY

The United States Department of State last Friday issued a statement announcing visa restrictions on Somali officials and individuals. Accused of “undermining the democratic process in Somalia,” the US Department of State Anthony Blinken said the sanctions would “promote accountability for their obstructionist actions.”

The sanctions were announced just hours after the Somalian parliamentary elections were extended from February 25th to March 15th. Last year November was supposed to finally be the period of the elections, one which has been delayed over a year before then because of internal disagreements on their conduction and some infighting between the president and prime minister.

Of the 275 members who make up the lower house, only 179 have been selected. With these lawmakers expected to choose the president, there’s been the longstanding inability to do so. Consequently no date has been set yet for the presidential election. This situation has made pressure pile on the government who’re busy securing their interests against that of the regional state leaders. Meanwhile, armed group al-Shabab are fighting to topple the central government and have intensified their attacks on key regions in election areas.

The UN reports that 4.3million people affected by the unending conflict are in need of humanitarian assistance. The International Monetary Fund, though, had earlier this week warned that it could stop funding to the country if the elections are not concluded and in a satisfactory manner. Led by the prime minister, The National Consultative Council cited insecurity, worsening national drought and financial constraints as the reason for pushing back the election deadline.

NIGERIAN STUDENTS STRANDED IN UKRAINE

There was widespread outrage all over the world after Russia declared war on Ukraine last week. Countries quickly moved to evacuate their citizens resident from Russia and the conversation around these parts quickly moved to what efforts African governments were making to do the same.

As circulated on social media, Nigerian students were stranded in Ukraine because the government wasn’t showing any zeal to ensure their safety. Millions of people have fled Kyiv, the Ukrainian capital and other cities since last week. As reported, there are an estimated 4,000 Nigerian students in Ukraine and many of them are confused as they wait for help in their different residencies.

Nigeria’s foreign minister Geoffrey Onyeama told the Nigerian Television Authority that students would be evacuated once the airports again open. “The advice we were getting,” he said, “was that we should not panic, the embassy was in touch with the students telling them to take reasonable precautions.”

A number of Nigerian students who struck out on their own to escape to neighboring countries like Poland have been racially discriminated against and not being allowed to pass through the borders. This development further aggravated Nigerians all over the world, and they’ve taken social media (especially Twitter) to demand an immediate reaction from government officials and some influential individuals. So far, there’s been an increment on the number of people who’ve been able to leave Ukraine, even as talks of negotiation between Ukraine and Russia was earlier reported today.

SOUTH AFRICA’S TANGO WITH RUSSIA

After becoming one of the first African countries to criticise Russia’s war against Ukraine, South Africa have gone back on their initial stance. Last week, the SA International Relations and Cooperation Minister Naledi Pandor called on Putin’s charges to withdraw from Ukraine.

Apparently that didn’t sit well with President Cyril Ramaphosa who was reported to be unhappy with the statement because he felt it contradicted South Africa’s neutral position. A day after the statement, President Ramaphosa seemed to blame US President Joe Biden for the invasion, citing Biden’s refusal to meet Putin days before the attack if his Russian counterpart didn’t promise not to attack Ukraine in advance. “Some of us were very disappointed when the meeting between President Biden and President Putin did not happen,” he said to journalists last week Friday. “Because if that meeting had gone ahead without any conditions I’m sure we would have avoided the calamitous situation that is unfolding now.”

“We will always be opposed to any conflict that leads to a loss of life,” said Mondli Gungubele, a South African Minister in the Presidency. “We are not prepared to say anything beyond that.”

Coming with much criticism, Defence Minister Thandi Modise was pictured on Thursday at the residence of the Russian ambassador Ilya Rogachev celebrating what was widely believed to be the Russia’s Defender of the Fatherland Day, an event which honours Russian military. Many commented the displeasure at being seen with the ambassador on the same day Russia opened fire on Ukraine’s cities.

Featured image credits/TheGuardian

Fresh Meat: Best New Artists (February, 2022)

Posted on by Damilola Animashaun

Although it’s the shortest month of the year, February has been a great period for music from the continent. As Afropop continues to make leaps and bounds on the global stage, the music landscape on the continent is growing more unpredictable than ever, and there’s no longer any kind of routine for artist discovery. This hasn’t deterred us from our mission to highlight those on the continent who are teeming with potential and primed for a breakthrough.

Amidst all the changes in the world, music keeps going, and it keeps us going too. It’s our duty to put you on to the hottest newcomers in Africa who are consistently meeting the demand for something fresh, defiant, boundary-pushing and above all, authentic. This month, we’ve got one of the most interesting lineups in recent memory, offering up formidable artists from our home base in Lagos, Nigeria to Lusaka, Gambia and beyond.

Look back at all of our Fresh Meat here and keep up with them all on the Fresh Meat playlists on Spotify and Apple Music.

Asake

Asake first caught the attention of listeners with his 2020 viral hit single “Lady.”  The Blaque-beats produced track sees him delivering an up-tempo tune where he adores his love interest. Shortly after, he released the follow-up single, “Mr Money,” which gained him even more listeners and his titular nickname. To reach a wider audience of listeners, he teamed up with DMW signee Peruzzi and street-hop hit-maker Zlatan for “Mr Money (Remix),” furthering the song’s reach into the Lagos mainland streets and upscale party scenes.

In the year that followed, Asake staggered his releases while redefining his sound into what it is now. Starting the year with a bang, the singer delivered the Olamide-assisted “Omo Ope,” one of the best and biggest songs of the year so far. It served as the lead single off his new debut EP, ‘Ololade Asake’, released under the auspices of Olamide’s YBNL imprint as its latest signee. The 4-track EP flaunts the artists’ new and refined sound, presenting Asake in the most confident form of his career. He delivers a stellar 11-minute run as he cuts across topics such as the growth, self-awareness, the importance of hard work, as well as getting set to live his best life. If you’re looking for a clear and concise musical experience, tap into Asake’s music.

Wonu Osikoya

Nova Amandlah

As we’ve seen in recent years, African musicians are really singing their hearts out. Especially ladies, whose songs are suffused with the complications of life and love. The likes of Fresh Meat alumni Ayra Starr and Ria Sean are just some of the many women owning their rightful power to create whatever songs they want, however personal or sensual it may be. The Zambian-Nigerian singer Nova Amandlah is also cut from this mould of singer-songwriters. Blending crispy R&B with the atmosphere of her Zambian and South African origin, the 25-year old singer’s music imbibes a flagrant flavour in conversation with her network of influences permeating various spheres of the world due to technological advancements.

Last year September, Nova released her debut project, a 5-track EP titled ‘Unveiled’ which was helmed by the single “Ring On It,” a song about the perceived level of commitments from one’s love interest. The subject echoes of Beyonce’s seminal “Single Ladies (Ring on It)” but Nova’s vocals nevertheless bends of its own accord, easing into the smooth production. “I ain’t your booty call,” she sings, effortlessly flowing into a rap-sung quartet on the latter parts of the song. There’s an inner consistency driving Nova’s songwriting, whether on the boastful, EDM-appropriating opener “Attitude” or “On a Low,” the sensual closer which progresses with the quality of late-night playlist music. On standout “Venus And Mars,” Nova’s flow oscillates between singing and rapping, taking the lo-fi influenced production with affectionate lyrics about wanting someone who might not burn with the same intensity.

Emmanuel Esomnofu

95ANTNY

A significant portion of this era of urban African music is driven by creative restlessness and an eagerness to engage with a diverse range of sonic styles. Ghanaian singer, songwriter and producer 95ANTNY has made it a preference to be musically omnivorous. A trip through his SoundCloud will reveal, from the cloudy trap of “vibing” to the giddy alt-pop on “Supposed 2” and the smooth blend of R&B and mid-tempo Afropop on “Piece of Me,” that the singer shuffles through sounds like a musical game of spin the bottle.

Formerly performing as Tony Bryte until a fairly recent name change, 95ANTNY is an artist proud to wear the alternative tag, leaning into the boundary-less ethos of the most significant renaissance in African music from the last decade. In the five years since debuting with “vibing,” experimenting has helped him exhibit his chops adaptably, but at the heart of his songs is a knack for expressing himself plainly. He deals with relatable topics in his slightly brittle but deceptively rangy voice that always transmits a lived-in tenor. On his latest drop, “5STAR,” he issues out infectious boasts over slinky afro-fusion production; as his first song to venture out of the decidedly underground confines of SoundCloud, it’s a statement of confidence from an artist that’s getting set to hit his full stride.

Dennis Ade Peter

Kaey

At just 20, Kaey has amassed a breadth of experiences that underline the intentionality in her music. Born in Ibadan, growing up in Lagos, and then moving to Johannesburg before returning to Nigeria around 2014, Kaey is film school graduate with a passionate tilt towards the microphone. “It’s always the music for me,” she told The NATIVE earlier this month. “I’ve always known since I was young that I wanted to do music. I grew up in a music-inclined family so there were always different kinds of music coming from everywhere. My dad listened to Reggae, my mom listened to Gospel, aunties and uncles listened to Hip-Hop and Pop music. I just picked up stuff from everywhere.”

In June 2020, KAEY released her debut song, “Oath,” a song built on muted keys and speculative percussions. In turn, KAEY’s lyrics probe the innermost confusions of someone who is not able to love with the honesty and vulnerability she craves. “What’s the point of chasing, what’s the point of chasing if all you do is hide?” she sings on the first verse before segueing into the emotive chorus. “Oath, tie you to me/You’re not helping me, my fantasy,” she croons, implying a supernatural resolution to her heart’s conflict.

Some of KAEY’s influences include Beyoncé, Ed Sheeran and Lauryn Hill—all musicians with a great ear for melody and expressive writing. On her latest song “Expensive Taste,” she likens herself to being one’s guilty pleasure, sticking endless metaphors for all she wants to do with the love interest she lovingly sings about. Talking about its creation, she says: “I’d previously written some notes and I was in the studio, the producer played me the beat and I started writing off that note I had made.” Still writing and recording, KAEY hopes to put out her debut project before the end of this year.

Emmanuel Esomnofu

Leanne Robinson

We love to explore fresh, new and unique talents; and Leanne Robinson is one of those as she is both a musical genius and an actress. After starting her trudge into music as a cover singer, Leanne dropped her debut single, “Last Time,” in August of 2018; since then, she has been dropping singles at a considerably frequent rate. Incorporating influences from Gospel, Soul, Pop, Jazz, Reggae and R&B, the singer’s music takes her wherever the wind blows, surprising her audience at each turn by merging varying musical choices with her attention-holding voice.

Like many artists today, her love for music and singing began during her younger days as a singer in the church choir; she was also coached by a friendly neighbour called Denise. “I do not know if singing chose me or I chose music, but I cannot remember a time when I have not sung; it’s just always been there,” she explained in an interview with Flavour Mag. Her love for music persuaded her to study art in the BRIT School, where she studied Musical Theatre Diploma and the university to learn Music management. Leanne’s urge to make it into the music industry was apparent during her performance in the 9th season of ‘X Factor UK’ and ‘The Voice.’ With an impressive catalogue of singles and a debut project on the horizon, Leanne Robinson will always have reasons to keep you hooked to her music.

Ada Nwakor

Tomi Obanure

In a clime where zingy percussion and affably sunny melodies reign supreme, Tomi Obanure is an iconoclast going against the tide and forging a path for himself in Nigeria’s ever-expanding Drill and Rap space. Based in Nigeria’s capital city, Abuja, Tomi’s sonic palette is eclectic, venturing across quintessential knock ‘90s American rap to the contemporary bounce of Drill and Grime. Favouring football over rap music, Tomi’s passion for rap only started taking root at 15, but his actual dip into the water came after his university education in the UK. After wrapping up his education he packed his bags and headed back to Nigeria, where his nascent career started budding.

Across his two EPs, ‘No Rest for the Wicked’ and ‘I’ll Sleep When I’m Dead’, the rapper’s qualities are undeniable: his cadence is solid, his voice commanding, and his bars tight. From his black-and-white visuals to the dark hue of his sonic choices, he oozes class and sparks wizardry with each bar. On the recent 3-song set, ‘I’ll Sleep When I’m Dead’, he pushes the fringes of his creativity—stringing together serrated grunge melodies and drill percussion, then laying poignant, quick-fire raps on them. The result is a high-octane immersive experience. One of Tomi’s greatest strengths is his commanding shape-shifting voice. He wields it with masterful dexterity, compelling listeners to pay attention to his every word and entrancing them like an illusionist.

Chibuzo Emmanuel

 

T.I Blaze

Over the last three years, street pop has witnessed a slight change of guard that has positioned the importance of masterful story-telling and innovative melodies at the core of the ascendant genre that is inching its way towards bonding with other wildly-popular genres like emo-rap and contemporary R&B. In newcomer, T.I. Blaze, street pop has potentially its biggest multi-hyphenate, who is capable of dexterous Trap flows and delicate hymns about the come-up with an almost off-the-cuff swagger.

The bulk of T.I.’s sparse catalogue is dedicated to memorialising his struggles as a kid from the ghetto and opening a pathway to his future ambition of having money and being influential. “Sometimes,” the song that catapulted him to fame is a quintessential story about the hustle and grind of the community that he is from and the trade-offs—positive and negative—that people might have to make it out of those places. His new debut project, ‘The Fresh Prince Of Lagos,’ unfolds his life’s story in significant ways, swapping the long-winded enunciations of “Sometimes” for brevity. It promises to be a significant year for youngster.

Wale Oloworekende

Words by Ada Nwakor, Dennis Ade-Peter, Emmanuel Esomnofu, Wale Oloworekende and Wonu Osikoya.

ICYMI: THE BEST NEW ARTISTS OF 2021

Songs Of The Day: New Music From Darkoo, Black Sherif, Dice Ailes & More

Posted on by Wonu Osikoya

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

We’re doing the work to stay on pulse with all the music coming out from across the continent and beyond, bringing you exciting songs of tomorrow: today. Last weekend, we brought you new releases from Tekno, Skales, Laycon and more. This week, get into these new releases from Darkoo, Black Sherif, Poco Lee, Alpha P and more. Enjoy.

DARKOO— “ALWAYS” FEAT BLACK SHERIFF

Darkoo is a shape-shifting sonic genius. Whether she’s delivering rapid-fire bars on drill beats or dishing catchy carefree lyrics on punch Afropop instrumentation, she has the uncanny ability to contort her presence to fit a far-reaching sonic expanse. On “Always”, she joins forces with Ghanaian drill artist, Black Sheriff for a piquant romantic number. Over the mid-tempo instrumentation underscored by sombre melodies, the duo take turns rapping up a dreamy romantic ballad. 

SHALOM DUBAS— “DON’T LEAVE

“Don’t Leave” is a heavily introspective tune upholstered by sombre ethereal instrumentation. On the track, Shalom sounds forlorn as she alternates between singing and rapping, putting words to feeling alone and not wanting to feel isolated.  Her tone and her delivery are incredible—contorting her voice to convey a smorgasbord of emotions— segueing from dismay to apathy to passion. 

ASA — “IDG” FEAT WIZKID

Asa sent ripples pulsating through the music soundscape in the country and beyond when she released her fifth studio album ‘V’ this weekend. Among the leading fan-favourites is the Wizkid-assisted “IDG”. Time and space seem to lose their potency in the music Asa makes. Whether she’s writing pensive staid pieces, or sultry ballads, her music is for giving yourself to the moment. On the song, Asa and Wizkid take turns delivering dreamy verses over a mid-tempo stripped down instrumentation, singing about hope, hardwork and longing, with lyrics like “I don’t go where no love, Where my home o”.

POCO LEE—“YARD” FEAT ALPHA-P, BLACK SHERIFF, BELLA SHMURDA 

Poco Lee made a ginormous dent in the Afropop scene when he teamed up with Portable, P Prime and Olamide for the culture defining hit song “Zazuu” last year. On his latest track, he recruits P.Priime, Alpha-P, Black Sheriff and Bella Shmurda for yet another street pop jam. The fully stacked roster of illustrious talents on the song adds dynamism and flavour to the track, with each verse taking a new turn, and elevating its infectiousness. 

DICE AILES— “LADIES FIRST” FT TIWA SAVAGE

Dice Ailes is most notable for his sultry voice and his archetypal syncopated flows over Afropop instrumentation. On this number, he is assisted by fellow Nigerian singer, Tiwa Savage to deliver his archetypal sound. They deliver a seamless duet over a pulsating lo-fi beat. Using lyrics like “Hold me, He say baby no let me go Nah Nah hold me” to express their romantic affections for a muse.

T.I BLAZE— “OBA” FEAT BARRY JHAY

T.I BLAZE became a memorable figure when he burst into the Afropop scene a few months ago with his Olamide-assisted street anthem “Sometimes”. He recently released a six-track EP titled ‘The Fresh Prince of Lagos’ which included the standout single
“Oba” featuring Barry Jhay. “Oba” is a poignant soulful song punctuated by guitar riffs with memorable and catchy lyrics. T.I Blaze and Barry Jay eulogise and sing praises to God, contorting their voices to that of traditional Yoruba folk-song musicians.

NONSO AMADI — “FOREIGNER”

Following a long drawn hiatus, genius singer and songwriter Nonso Amadi swaggers back onto the music scene with a mid-tempo Afropop number. On “Foreigner”, he sings about his romantic attraction to an unknown woman, using expertly fashioned lyrics to this effect. “Finally spoke my mind, they you dey listen. Show me the doors to your heart baby I’m breaking in,” he sings on the record, making his intentions known to his muse.

Töme Explores Love And Passion On ‘LÖV’

Posted on by The Native

2021 JUNO Award-winning Nigerian French Canadian Artist Töme unveils the world around her third studio album dubbed ‘LÖV’ (Love Over Vanity).” ‘LÖV’ is an Afro-fusion piece of work that blends a mix of genres from R&B and Afropop while exploring the theme of love, passion and sacrifice with lyrics in both English and Pidgin English.

The first part of the album highlights TÖME’s skills as she flexes her ability to display a wide sonic talent while telling relatable and engaging stories that will certainly resonate with any young listener. Packing a mix of love songs on tracks such as “Nobody Else”, “Burn Up”, and self-reflective anthems such as “Dangerous” and “Töme,” the singer paints a picture of where she’s capable of going sonically and lyrically.

The ten-track project is also a brilliant way for Töme to reinforce the ability to always stay true to her culture regardless of the influences from other cultures and civilisations. The Canadian-based singer also employs the help of a talented spate of producers including Shizzi, Michelin Shin LT Moe and Grammy award-winning Nigerian producer duo Legendary Beatz. The album also introduces interesting guest features from Mozambique rising star Yaba Buluku Boyz, Nigerian Afro-pop star Skales and Atlanta based star Jsol.

Speaking about the project, Töme says:

“Honestly, there wasn’t much of a thought process or true inspiration behind the album specifically, I just wanted my feelings to speak for me. Whatever that means, this album feels good, it feels like heart-warming love. That was the inspiration.

I want people to take home the feeling of love being in all shapes and forms, that loving yourself is just as strong and vibrant as loving somebody else. I want my fans to know their worth but not let it get into their head. Live by Love over Vanity,” Töme explains concerning her inspiration behind curating ‘LÖV’”

With an impressive lyrical depth and saccharine sweet melodies to match, it is clear that Töme is ready to level up. ‘LÖV’ is a wonderful album and perfect for any new music playlists this weekend.

Stream ‘Löv’ below.

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WurlD paints a riveting picture of sadness on new single “Sad Tonight”

Posted on by Emmanuel Esomnofu

Since the release of his two stellar projects in 2019 – debut EP ’Love is Contagious’ and the Sarz collab ‘I Love Girls With Trobul’ – WurlD has continued to consolidate his prowess with a steady release of singles. As if these weren’t enough markers of his growth, he followed these projects up in 2020 with the release of ‘AFROSOUL,’ his third EP which expanded on his colourful sonic palette.

 

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Now, the singer is set to release his latest effort, ‘MY WORLD WITH YOU,’ in a month. Following “LET YOU DOWN,” the mid-tempo Afrosoul number back in January, WurlD is drawing the world around his album closer with the release of new single “SAD TONIGHT.”

The Grammy-winning Telz provides the slow tempo production on “Sad Tonight”, building an immersive beat which throbs with the pulsating feel of the mid-tempo sound that’s becoming popular among producers of his generation. Amidst swooning keys and trumpets, WurlD’s signature vocals enliven the affair, riding the groove yet effusing strains of melancholy which, no doubt, has to do with the tale in his writing.

“Sad Tonight” hinges on his desire for a departed lover and throughout the song, WurlD conveys the baggage of their time together, conceding the blame just so he doesn’t sleep alone, again. “Got nobody on the low, no dey do plan b/ I’m missing all the signs/ And I don’t know how to read your mind/ I don’t know what I’ve done but baby I’m sorry/ You’re killing me with the silence, now I’m sorry,” he sings.

As with most things WurlD, this new record is beautifully ideated and finely executed. Barring any lapses in promotion, it should quickly become a soundtrack to sultry Lagos evenings or a breezy cruise with friends around town.

Listen to “Sad Tonight” and pre-save ‘My WorlD With You.’

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Nonso Amadi makes a refreshing return with new single, “Foreigner”

Posted on by Dennis Ade Peter

In early 2020, Nonso Amadi took a self-imposed hiatus from social media. Now back in the full glare of the public, the singer and producer’s break from digital hyper-connectivity has clearly been rejuvenating and rewarding, with a renewed focus and important career moves accompanying his re-entrance. In addition to announcing his new single, “Foreigner,” Nonso Amadi will be working with Universal Music Canada for his next slate of releases, giving the previously independent artist a better depth of resources to amplify the experience in his music.

 

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As a return single, “Foreigner” shows the singer hasn’t lost a beat. The self-produced cut is a smouldering mix of love-struck writing and sumptuous instrumental arrangement, the essential elements of many Nonso Amadi songs. “My doctor tell me I’m in need of your medicine,” he intones at the beginning of the song, continuing his knack for striking opening lines that place listeners right at the heart of his narratives.

With each line, sung in that impossibly smooth tenor, the intensity of his devotion remains consistent, capturing the excitement of being deeply infatuated by a love interest. Backing his voice is a beat that hugs the line between chill and effervescent, a colourful melange of Spanish guitar riffs, Afro-Caribbean percussion, glittery piano undercurrents and a blaring horn motif.

Seeing as it continues to hone previously set artist precedents, and is his first single since his 2019 EP, Free, “Foreigner” can’t really be described as a return to form for Nonso Amadi, but it is quite significant as a return. Accompanying the single is a mini-documentary feature, “Bloom Again,” which features a supercut of characteristic shots of Lagos and London, as well as a voice over from the singer himself. In the visual feature, directed by U.ax, Nonso explains the importance of both cities to his musical journey, while also reaching back to recall the influence of Craig David, Alicia Key and Paul Play on his R&B leanings. It signifies an artist who is better connected to the root of his craft and is back with a stronger perspective of what he hopes to achieve going forward.

Watch “Bloom Again” below and listen to “Foreigner” here.

DEEP CUTS: NONSO AMADI’S “TONIGHT” IS AN EVERGREEN ANTHEM

Track By Track: Asa breaks down her new album, ‘V’

Posted on by Emmanuel Esomnofu

Today, after months of teasing the release of her fifth studio album with awe-inspiring singles such as “Mayana” and “Ocean,”  Asa’s ‘V’ is finally here. Together, Asa’s first four albums are a tour de force, exceedingly brilliant pieces in a magnetic whole.

Before the release of her self-titled debut album in 2007, Asa was little known in Nigeria. In the months to come, not only did Asa emerge among the year’s breakout stars, the strength of her album elevated her immediately into the pantheon of modern African pop greats. The journey since then has been quite well documented.

 

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Weaving tales of love, destruction, politics, money and everything in-between, Asa’s songs have the ability to provoke many emotions in their minimal run time. Her sound transverses forms and eras, dipping twinkly toes in genres such as R&B and Jazz, but with a textured feeling for spectacular music elsewhere, especially Yoruba folk. These qualities have elevated Asa into the rare pristine artist, a vessel through which diverse motivations can emerge into a powerful, singular presentation.

“Mayana” was her only song throughout 2021 and the Priime production hinted at a growing flair for sunny pop grooves. Lighthearted expressions, sparse songwriting and minimal production: all these were present, then and on “Ocean,” released only last weekend. ‘V’ is simply the fifth. There’s no underlying motivation behind the title other than Asa is who she is, and needs no introduction. Some days back, The NATIVE spoke to her over a Zoom call, and she broke down every song on ‘V’, how they came about and what they mean.

“MAYANA”

One afternoon, Priime and I were working with a blank slate, and I guess the first words that came out of my mouth was “nothing but I’ll love, nothing but I’ll love” and after that I went and wrote the song the next day. But the first thing were those words. Because it’s such a dreamy love song and it just puts you in a place and for me, that place is an island. And automatically, I felt it was going to be a love song cos the music inspired the story behind it.

“OCEAN”

This is also a love song, but it’s also about coming to one’s self, knowing oneself, knowing one’s self and not being afraid to express it. As a love song, I’m telling the other person, “Listen, you don’t lose; you can’t lose, I’m already for you, you have nothing to fear.” It’s about trust. “Ocean” goes beyond love between partners, it goes as far as love between friends. Anyone could be your ocean. And again, it’s the music. This thing about feeling the ocean; maybe it’s because I live in front of water, I don’t know. ‘Cos I was clearly writing the song there as well and I worked with WurlD on this song.

“IDG”

With Wizkid, you know we had met earlier–we met in Ghana already, we had drinks and just connected for the first time. I don’t think the song was born then. So I wrote the song, I thought ‘Listen, Wizkid would do great on this.’ I’ve always loved Wizkid’s melodies and always loved him as a very creative person. I sent to him, he loved it and did it. With Wizkid, as with other people that I worked with on this record, one thing that shines through—the album is just about vibes, good feeling, good times, friendship and love.

“NIKE”

“Nike” is about someone who’s shown you the world, shown you about another side of love you’ve never experienced and suddenly the relationship’s no longer happening, it’s done. In the song, I’m singing of this lost love and there’s a little bit of pain and a little bit of wanting to have revenge or something. Again, it’s very minimalistic music and that’s just [displaying versatility] and restraining, not wanting to put too much in the song so that the vocals and storyline could shine through.

“SHOW ME OFF”

This is just a story of “Yes, the relationship is here. This is the person I want to be with. Show me off; don’t be shy. Tell your friends, tell the world.” “Show Me Off”, like all the songs on the album, it again goes back to friendship. It’s about not being afraid to openly express because this is what it would be forever.

“MORNING MAN”

“Morning Man” is what it is. He’s an imaginary person but I hope that when I sing the songs, and you’re listening, you’ll find yourself in it. And “Morning Man” is just an easygoing morning song, when you wake up and quite lazy to get out of bed. There’s something rhumba, African, Island-ish about this. It’s a song you just hear and when you hear the sea in the background, everything is good and perfect.

“GOOD TIMES”

The thing with ‘V’ is that there’s a song for everybody; you pick the one that you love. The Cavemen are special to me, they are great guys, they are people who I love dearly. They inspire me. And you know, with me and Benjamin–I’m sure you’ve seen us on social media–we’re never up to no good, we’re always goofing around. “Good Times” is about friendship, it’s just about saying what sometimes you forget to say, just acknowledging friendship we see everyday and it’s become a background to our lives. Sometimes, stop and tell this person thank you, you’re a good friend.

And with The Cavemen, it reminds me of my roots, my beginning with the Asa (Asha) album, going back to that acoustic feel and there’s something about it that takes me to Paul Simon and the Ladysmith Mambazo–there’s this nostalgia about that song. Something about takes me back to childhood, those good times. I remember we were in the studio, we were just gathering around, one mic, singing this song. And it’s so good we finally have it, ready for you guys to listen to what we’ve been working on.

“BELIEVER”

Again, it’s just reaffirming that I’m loyal, I’m here for the long run. I know what I want, I know what I’m doing so don’t worry. Relax. Trust me. I’m here, I’m a believer. If you link that to “Ocean” as well, that coming to oneself and telling your lover, whoever it is, “I know my self.”

“ALL I EVER WANTED”

Originally, I wrote the song with Amaarae in mind. I wanted to give it to her. A friend came over to the house to have dinner and he put the phone to me, and Amaarae was online. That was our first connection. I’ve been listening to her songs and I thought she’s amazing, she’s in her own lane, she’s different. And this is what I do when I want to get out of the usual Asa; I’ll think of another artist and write for them. She listened to the song, she loved it and said “Why don’t we do it do it together?” And that’s how my voice got to stay on “All I Ever Wanted.” It’s actually one of my favourites on the album.

It’s a sarcastic song; Asa is always sarcastic. You can hear it in “Awe” and “Bimpé,” you know, I kind of brought a bit of that sarcasm into this song. It’s just telling the person, “Have you forgotten how we were?”

“LOVE ME OR GIVE ME RED WINE”

This song is me telling a lover, “Say what it is. If we’re not doing this, don’t just up and go.” I think “Love Me Or Give Me Red Wine” talks about emptiness, a void, the shock of not knowing when this person might go and not telling me why. Again, there’s sarcasm in this, a lot of playing around. This is what I like to do: I’ll say something serious and also be unserious about it.

Stream ‘V’ below.

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Marlian Music Singers, Zinoleesky and Mohbad have been detained by NDLEA Officials

Posted on by Chibuzo Emmanuel

In the early hours of this morning, disturbing reports began circulating social media about the detainment and harassment of Marlian Music singers, Zinoleesky and Mohbad. In a series of clips shared on Twitter, National Drug and Law Enforcement Agency (NDLEA) officers are seen grappling with the artists and their friends in an attempt to get them into their vehicles. This is not the first time that clips of this manner have made the rounds on our social media timelines, as late-night run-ins with law enforcement officials who barge into the private lodgings of Nigerians are common–and worse, expected.

In the now viral clip, the artists were also seen demanding for a warrant for their eventual detainment, however, it is unclear whether this request was honoured by the officers. According to reports from Punch Newspaper, the Marlian Music singers were arrested alongside four others on several alleged charges. Among this includes the possession of an unknown quality of cannabis and molly.

According to the NDLEA Spokesman, Femi Babafemi, a number of illegal drugs were recovered by the operatives, “Our men raided an area in Idado estate where Bịara Market boys stay. Some quantities of Cannabis sativa and Molly were recovered from their apartment and car.”

This has sparked public outrage about Nigeria’s pathological problem with unlawful arrests and police brutality and marks the second celebrity arrest in the past few months. Months back, a popular skit maker who goes by the moniker De General was arrested for the possession of cannabis. However, a high court ruled that the quantity of cannabis found in his possession was too small for a conviction and he was subsequently set free.

UPDATE – 25.02.2022

According to label boss, Naira Marley, Moh Bad has been released from NDLEA detention after he was physically assualted by the officers whose care he was entrusted in. In a series of tweets shared in the early hours of this morning, Naira Marley also informs the public that there is still no official warrant and four people remain in detention, including Zinoleesky, under extreme pressure and stress.

This is a developing story.

All the Nigerian actors in the Bel Air reboot

Posted on by Emmanuel Esomnofu

In the early noughties, ‘The Fresh Prince of Bel-Air’ ran on American TV for six years, becoming one of the most beloved sitcoms representing the various lives of Black people. Centred on Will (played by Will Smith), a young high-schooler learning the motions of both private and public life, the original sitcom leaned on comic dramatisation to give insight into what it meant to be Black person in the nineties. Now, there’s a reboot of those classic scenes which are being reprised for a modern audience.

Conceived by executive producer/showrunner Morgan Cooper and former star Will Smith, ‘Bel-Air’ is now available to stream, and everyone’s already raving about the new Banks family. The arcs of some characters were tweaked to inspire a robust exploration of Blackness, especially taking into account the racial-charged events of the past 30 years. For some reviewers, it wasn’t quite a successful experiment while for some, there was a general sense of excitement at having this full-circle moment.

The series premiered on Peacock with four new episodes, following the journey of Will Smith (Jabari Banks) from the slummy areas of West Philadelphia to the opulence of Bel-Air’s gated communities. As confirmed by several characters of the series, each actor in the reboot was approved by Will, who wanted faces who carried the sitcom’s originality while repurposing their roles to embrace more complex contemporary concerns.

Of course, remakes of our favourite shows are usually frowned on—if anything, we desire to hold those delicate strands of our cherished memories. And yet, mining our past loves for a new feel has become a blooming section of Hollywood and there’s little to be done to stop the capitalist machinery from surging forwards.

You’d surely be more inclined to check out the series if we told you that two young actors of Nigerian descent feature in it. Here’s some information on them and the roles they play in this anticipated series.

OLLY SHOLOTAN — CARLTON BANKS

 

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The 24-year-old was born in Atlanta, Georgia and is a multifaceted artist, having dabbled in music and production in the past. In Bel-Air, he’s tasked with bringing the character of Carlton Banks to life. Originally played by Alfonso Riberio, Sholotan continues in the pivotal role as Will Smith’s cousin.

So far, a number of viewers have drawn distinctions between Riberio’s Carlton and that of Sholotan. The latter is overtly hostile towards his cousin who, coming into the Banks family, becomes a threat: Carlton imagines him falling out of love with his own folks as Will is increasingly welcomed into their warmth. Indeed a number of scenes featuring both co-stars are confrontational, leading viewers to speculate on the dynamics of their relationship as the series advances.

JIMMY AKINGBOLA — GEOFFREY

 

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Born James Olatokunbo Akingbola, 44-year-old Jimmy is one of the most accomplished actors on the cast of Bel-Air. His long career has seen him star on a number of films and the British-Nigerian is also the voice in computer games for electronic game brands like the EA, PlayStation and Disney.

On ‘Bel-Air’, Jimmy plays the role of Geoffrey, one of the original show’s funniest characters, formerly played by Joseph Marcell. The Geoffrey of Jimmy’s execution is a bit different from Marcell’s, repurposed into the new show’s more serious outlook. As Jimmy himself said, the new Geoffrey’s “got a different kind of swagger. He’s street smart and book smart, he’s a chameleon, he’s a shape shifter, so he knows what it’s like on the streets and he knows what it’s like in high society mansions or the corporate rooms.”

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Hot Takes: Inventing Anna, Don’t Jealous Me, & Much Ado About Kanye

Posted on by Moore Wright

With March around the corner and the first quarter of the year drawing to a close, I have found myself being particularly opinionated on recent events. There are a lot of things to be opinionated on. Every day for the past couple of weeks it seems like there is a different story about the wild antics of a (certain) celebrity, a questionable decision from a politician or simply an exciting new show being released.

Thankfully, I have an outlet through which I can express these opinions that may have otherwise made me unbearably frustrated. Our Hot Takes column was designed to bring you all our unpopular takes on what’s going on in pop culture. From Netflix’s ‘Inventing Anna’ to Kanye West, I’m joined by Chibuzo this week to give you takes on everything from Kanye West’s everlasting drama to some significant breakthroughs made in HIV medication.

What I’m watching

Last week I binged the Shondaland true crime limited series ‘Inventing Anna’ on Netflix. It follows the story of Anna Delvey (actually Anna Sorokin) the infamous Soho grifter, a Russian woman who posed as a German heiress and infiltrated Manhattans elite. The literal definition of faking it til you make it! It all sounds very gaslight gate keep girl boss but unfortunately the show doesn’t seem sure if it wants to portray her this way.

Anna pulls off some pretty unbelievable scams. To make this understandable, she is clearly is meant to come off as this sort of alluring it girl, with a certain je ne sais quoi that drew people in and made them want to believe her. She is not performed with the necessary gravitas however, and it makes it hard to understand why anyone buys her bullshit and would put up with her past politely  socialising in a group setting. We are meant to be taken in by her and even sympathise with her the way many characters do.

An example of the degree of sympathy the character gets of this is through the depiction of  what may be the most famous incident in Annas case, she invites her friends to an extremely expensive hotel in Marrakech ($10,000 a night!) knowing that she had exhausted all her borrowed funds. After building pressure from the hotel, her middle class friend Rachel offers her cards instead for the hotel to hold while Anna sorts out her funds. Obviously, there is no money coming for Anna, and the hotel eventually charges the $62,000 expense to Rachel’s personal and work card.

She faces being fired from her job and losing her apartment. After months of pestering and begging Anna for the money, with promises from Anna that she’d sort it out tonight, or next week, or when she can get in contact with her bank, she eventually turns Anna in to the police. Rachel also makes significant money from an interview on the ordeal and ensuing book deals. She is treated as the spawn of satan for this. The characters and show treat it as some kind of unbelievable line crossed.

Now, Rachel is an extremely annoying character. She’s portrayed as a fake,  desperate kiss ass who is prone to taking advantage of her white woman’s tears. But how is any of her fakery different from what Anna does? Rachel at least only crosses this boundary when she is at her limit, whereas Anna goes out of her way to take advantage of people.

The show wants to portray Anna as some sort of folk hero but also a comedic villain, while also an misguided kid who bit off more than she could chew. The final episode has her lawyer and the journalist covering the story mulling over her sentence and how she had her life stolen from her. Even though the show also shows her as a remorseless scammer a lot of the time. This multi faceted portrayal could work but winds up coming across as fractured and desperate to find meaning, the same way the characters try to find meaning in the whole mess. To be fair, maybe that was the point, or maybe the show was just a mess.

What I’m listening to

Recently I’ve been listening to ‘Meant To Be Yours’ from the Heathers musical soundtrack. I heard a snippet of the unhinged rant of a song on TikTok, and I had to look it up, before realising out it was from the Heathers musical, based on a truly iconic 80s film that follows Veronica, a girl in a mean girl clique, who falls into a toxic romance with a charming outsider JD, who winds up murdering the Queen and Veronicas best friends, Heather Chandler.

There seems to be in a small collection of films for teens and young women that made it to broadway, like ‘Clueless,’ ‘Mean Girls’ and ‘Legally Blonde’. The song captures the essence of the film, but makes JD (the Christian Slater-played heartthrob for misguided teens) seem like more of an emotional wreck. I hope it hasn’t given him more fans to romanticise this kind of toxic behaviour. Regardless, the song has motivated me to give the musical, and the other teen movie musical adaptations a try.

Is Coachella setting a dangerous precedent?

The 2022 Coachella festival will be going back on its former COVID policy. The popular music festival will no longer require testing, masks or even proof of vaccination. This is a notable move from the organisers, as such a large festival is capable of setting a new standard for public events in 2022. This may be a sign that we are moving in to more of a “post COVID” mindset.

But is it a smart move? Music festivals are basically the ultimate super spreader, with thousands of people packed together, sweating and screaming at the top of their lungs. If the festival has even a fraction of its usual turnout, there could be a significant boom in COVID infections.  It feels a little irresponsible to not at least require proof of vaccination.

At the moment, most major public events still have restrictions but many organisations may find themselves unwilling to further lose money from people who have positive COVID tests or are either unable or unwilling to get the vaccine. If this move from Coachella proves effective financially, I fear that organisations  may follow in their footsteps. Whether Coachella will have an effect on events going forward is yet to be seen, but I for one hope that it there isn’t too much of a case of follow the leader.

Rediscovering Don’t Jealous Me

Viral comedian Tolu Ogunmefun, aka “Don’t Jealous Me” recently released the song Vogue featuring TimiBoi. A very notable comedian in the 2010s, he has had a significant impact on internet comedy, showing that Nigerians a place in that world. His career has been particularly colourful, with many acting credits under his belt, including a role in the Idris Elba directed film Yardie.

2021 marked a specific change from the musical parodies he was known for to original music. A lot of influencers in the 2020s have made a pivot into music. TikTokers like Addisson Rae and Lil Huddy have released singles, some to extreme criticism. It seems that their identities as media personalities has harmed them when it comes to critical responses.

The positive reviews towards DJMs music makes it seem like he has escaped this fate. He still posts comedic videos, and seems successful in a lot of fields simultaneously. It’s nice to see such a successful evolution, and his success proves that multitalented people do not have to put themselves in a box.

 

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Second POC (a WOC) to ever be cured of HIV

Last week, a breakthrough in medicine was achieved with the announcement of the third ever person to be cured of HIV. A mixed race 64 year old woman in New York was cured after two transplants, including from an umbilical cord. She is only the third ever person to be cured, with a man from Berlin and a man from London being the first and second respectively.

It is surprising that two people of colour make up two thirds the first people cured, with the “London patient”, Adam Castillejo being a Latino man. Healthcare is often not a friend to non white people. It is good that people of colour have been treated with such care in this case, although there could arguably be an unfortunate link between this fact and the fact that the treatments used have been very high risk and experimental.

People of colour have historically been used as guinea pigs when it comes to medicine. In the Tuskegee Study of Untreated Syphilis, in the Negro Male 399 African American American men with syphilis were never informed of their diagnosis and many were medicated with placebos instead of available treatment. 128 people died from syphilis-related complications by the time the study was called off.

The current HIV treatments do not have the same ethical concerns as the patients involved presumably were informed of the risks involved. It is just easy to be pessimistic about the fact that this seems to be a rare area of healthcare where people of colour have been prioritised. While there is always cause for concern when new medicines are being discovered and  a cure still seems a ways a way, this good news is still definitely cause for increased optimism.

Joe Biden promises to appoint a black woman to the Supreme Court

Joe Biden recently announced his intention to appoint a black woman to replace Stephen Breyer on the United States Supreme Court. Responses to this announcement have been divided to say the least. From the more conservative side, there is the expected reaction. Many are asking why the appoint is will not be purely based on merit, regardless of race. This assumes however, that a complete objectivity when it comes to decisions like this is possible.

People’s biases always affect the choices they make whether consciously or not. Sometimes, the only way that change will be achieved is if people actively try to go against their biases. This also ignore the fact that the most qualified candidate, depending on the qualifications considered, could easily be a black woman regardless. Others have also brought up the fact that there are other types of women, Asian women, Latina women who are underrepresented. But black women are arguably the most targeted. There is also the fact that appointing a Black woman doesn’t guarantee black people will be fought for as people who look like you do not always have your best interest at heart.

Amy Cohen Barrett is a woman that actively goes against women’s rights, often compared to the hypocritical Handmaid’s Tale character Serena Joy. But people may be more likely to at least empathise with others in their demographic. This is just one small step overall, and there needs to be effort put in to make sure. making sure they get a Black woman who will fight on behalf of other Black women.

KANYE WEST’S MANIA COULD WREAK HAVOC ON THOSE AROUND HIM

By Chibuzo Emmanuel

‘Crazy’, ‘Impulsive’, ‘Different’, ‘Problematic’, ‘Eccentric’—These are all adjectives that have been used to describe Ye over the years. But in past few months, following his separation from his ex-wife Kim Kardashian, his eccentricity has spiralled into a fully inflated ball of mania—public feuds with Kim over the Internet, Juvenile troll posts aimed against Kim’s new partner Pete Davidson, Buying a house opposite to Kim’s new residence, Cries on Instagram for Kim to reunite with him, disputes with everyone from Pete to Billie Eilish to his longtime close pal Kid Cudi.

While there are many layers to Ye and his public struggles with mental health, the latest turn of events sees the rapper call on his fans not to do anything physical to Pete Davidson. In the wake of this post, it becomes ironically lucid, the power that someone of the iconography of Kanye wields to both inspire fans and incite them to much worse, particularly to those around him.

 

Earlier this month, Kanye West took to Instagram to ask that his fans not “do anything physical to Pete Davidson, at the request of his estranged wife Kim Kardashian. Ye allegedly received a text from Kim which he put up on Instagram, it read “U are creating a dangerous and scary environment and someone will hurt Pete and this will all be your fault,” the text reads. He replied, casually saying would  “handle the situation myself” in the post, which included a screenshot of the text, along with a photo from the 2001 film Baby Boy. The comments section, as well as Twitter conversations on the matter, were filled with both insults and threats aimed at both Kim and Pete by a number of his loyalists.

It’s easy to think that these insults and threats are just dark jokes that have no effect outside the phantom of social media. But history says otherwise. Last year, fellow right-wing popular figure Donald Trump encouraged his followers to reject the US presidential election results after he lost to President Joe Biden. Initially, this sparked conversations and memes of an insurrection online. These conversations were seen as harmless juvenile wails from a few right-wing extremists, until the capitol building attack, which left the whole world shell-shocked on how something as unthinkable as an insurrection could happen in the world’s bastion of democracy.

It is also worth noting that all these Instagram posts have now been taken down, only to be replaced by promotional posts for ‘DONDA 2,’ Ye’s deluxe album which is available exclusively on stem player.

Featured image credits/NATIVE

The Shuffle: Naeto C’s “Kini Big Deal” is another marker of Hip-Hop’s influence on Nigerian Pop Music

Posted on by Emmanuel Esomnofu

As seen on our timelines, many Nigerians loved the Super Bowl Half Time show which held last week Sunday. For most, the 70,000-capacity SoFi Stadium in Los Angeles was geographically distant, but the performance of Dr Dre and his legendary friends couldn’t have hit closer to home. On our social media timelines, discussions opened into our favourite songs of the 2000s and how that diet was largely informed by American Rap music–a mainstay in popular culture at the time.

Emerging from the Bronx, New York, in the late 1970s and early 1980s, Hip-Hop was readily adapted into the cultures of many diasporan nations. In the 2000s, America’s influence on the media rubbed off on many Nigerians, especially on musicians who began making music which sounded similar to some of our classical oratory. Bursting at the seams and innovated frequently, Hip-Hop was the commercial darling of popular music worldwide. Nigerian acts would usually be gleamed wearing sports fits and baggy jeans, sporting cornrows and sketching some grit into their images. Simply put, you needed to be hip to stand any chance at ‘blowing’ around these parts.

Few came as hip as Naeto C. The Houston-born rapper completed his secondary education in Lagos but returned to America to further his studies. During his MSc program at the George Washington University, he met the brothers Ikechukwu and Uzikwendu, developing a rapport which coalesced into the World Famous Academy. Part collective and part label (without any real sponsorship), the WFA released Ikechukwu’s 2006 debut album, ‘Son of the Soil’, while Naeto C worked on his own music that would go on to capture the ears and hearts of millions.

“Kini Big Deal” was released in 2008 to almost instant acclaim. The Hausa-inflected hook and the Yoruba-lined chorus of “kini big deal” were too Nigerian to ignore, but then the swag—an important factor in the song’s success—was obviously international. Naeto C rapped like he was too blessed to be stressed, running every syllable with the ease rappers like Snoop Dogg were famed for. The record’s production also glistened with party elements, evoking the feeling of standing in a large ball room with a tall glass of expensive champagne in hand.

The song’s brilliance cannot be understated. As a product marketed to a people’s sensibilities, its grand vision of opulence and city connections cannot be missed. Lyrically, it’s potent, taking shots at a rival and sweet-talking a lady at different points and, in the last line of its first verse (“one more thing, this is Las Gidi”), embracing the Hip Hop culture of “representing.” The slickness of his “Yes, Boss” adlibs also hinted at decades-old black tradition and crucially appealed him to a generation who grew up on stories of confidence.

Naeto C’s debut album ‘You Know My P’ went on to become a classic. Besides housing this undisputed pop classic, it spawned great records like “Lagos City Hustler” and the Wande Coal-featuring “One For Me” and became a schoolbook for cutting commercial success from rap’s generous textile. Both Naeto C and Ikechukwu wore classy suits reminiscent of The Notorious B.I.G and Puff Diddy whose Bad Boy Records created the 90s template for being hip in a way that transcends Hip-Hop. Naeto’s pairing of simple shirts with northern-styled hats would later become a totem of 2000s popular culture.

Over the years, from the “Kini Big Deal” era to that of “Ako Mi Ti Poju” and “Tony Montana”, Naeto C built a lifestyle associated with his music, going the necessary extra mile to immerse the audience in an experience that stays longer than a song’s last spin.

THE SHUFFLE: THE REMEDIES’ “SHAKOMO” IS A MARKER OF HIP-HOP’S INFLUENCE ON NIGERIAN MUSIC

What’s Going On: Fuel Scarcity in Nigeria, Taxation in Ghana & More

Posted on by Damilola Animashaun

“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. 

Nigerian Government seeks patience amidst fuel scarcity

For decades, episodes of fuel scarcity have plagued Nigeria. Fortnightly, the country faces a new bout of Premium Motor Spirit (PMS) scarcity, worsening the living conditions of citizens—as if that was already challenging. In the past few weeks, the scarcity of PMS, colloquially referred to as petrol or fuel, has effected long, gruelling queues at filling stations, arbitrary hikes in the price ranging from one fuelling station to the next, as well as accidents from purchasing adulterated fuel from the black market.

According to reports, the scarcity was caused due to the importation of bad PMS—contaminated with methanol—into the country, however, the Nigerian National Petroleum Corporation (NNPC) put out a statement claiming that the situation would be stabilised within a few days. Currently, though, access to petrol hasn’t been any easier, with ongoing presence of queues and price hikes. In addition to powering vehicular movement, petrol is used by many Nigerian households and businesses to power generators that serve as alternative means of electricity to the country’s everlasting, epileptic power supply. With general groans of the power situation being much worse during this bout of petrol scarcity, Nigerians are really going through it.

In a recent statement, the Federal government of Nigeria sympathized with its citizens and called for patience as they make moves to find an enduring solution to the problem. Chief Timipre Sylva, Minister of State for Petroleum Resources, made the plea on Sunday in an announcement by his Senior Adviser (Media & Communications), Horatius Egua. “In the last weeks, Nigerians have grappled with fuel scarcity not because of the absence of supply of products but due to inspection failure, which allowed adulterated products into the country. This is regrettable, and the Federal Government sympathizes with the citizenry over the unforeseen hardship, occasioned by the inevitable scarcity. Let me once again appeal to Nigerians to be patient with the government in finding lasting solutions to the crisis,” Sylva said.

Also, the NNPC recently stated that it is expecting 2.3 billion litres of PMS by the end of February, perhaps giving a clear path to the return of relative normalcy.

More taxes in Ghana

Last November, during its 2022 budget presentation, the Ghanaian federal government announced the impending introduction of an electronic transaction levy, charging 1.75 percent on all electronic transactions above GHs 100. The announcement immediately proved controversial, drawing backlash from many Ghanaians who are already weary of the economic woes and corruption allegations under Nana Akufo-Addo’s administration.

Last August, thousands took to the streets of Accra to protest the country’s uninspiring economic situation, which has been worsened by the coronavirus pandemic. The announcement clearly incensed many who feel the E-levy is a tone deaf measure by the federal government, citing its potential to worsen economic inequality, especially as it is yet to address concerns on corruption and misappropriation of public funds. The proposed tax hasn’t been passed into law yet, proving to be divisive in Ghana’s parliament, which broke out into a brawl last December while the deputy speaker stood to vote. While the tax hasn’t proved popular amongst the general populace and legislative arm, the federal government sees this as an avenue to improve revenue by leveraging on the increased popularity of mobile money over the last half-decade, projecting to rake in GHc 6.96 billion in 2022 alone.

As the debates on the E-levy continue, with the government even scaling back to 1.5 percent, the Ghanaian Revenue Authority (GRA) has laid its sights on making GHc 2.7 billion from imposing taxes on betting, gaming and e-commerce companies, this year. The commissioner for Domestic Tax Revenue Division of the GRA, Edward Appenteng Gyamerah stated that the GRA is rolling out a policy to enable it effectively receive a fair share of tax of companies that fall under this umbrella, both domestic and foreign entities with a presence in Ghana. This new tax policy should take effect from the second half of this year.

With an economy in desperate need of a boost, as well as a pile of external debt, the Ghanaian federal government clearly sees taxation as its best means of revenue. However, not only is this method increasing resentment among citizens, it might dampen Ghana’s reputation as the ideal location for foreign investment in West Africa. Also, without wholesome oversight and accountability, these taxes will only fuel the corruption that’s already allegedly rampant amongst public office holders.

Nigerian air strikes reportedly kills and injures children in Niger

Nigeria’s battle against insurgency has been a long drawn one. Since its first attack in 2009, Boko Haram has upended the stability in the country, especially in Northern Nigeria, killing thousands and leaving over 3 million people displaced from their homes. To this day the onslaught against insurgency still rages, and amidst all of this, civilians are also vulnerable to fire from the Nigerian military.

According to multiple sources, the Nigerian air force has killed and wounded several children in neighbouring Niger in an airstrike, possibly aimed at insurgent forces. Speaking to Al Jazeera, Chaibou Aboubakar, governor of Niger’s Maradi region said, “There was a mistake with the Nigerian strikes on the border that resulted in victims on our territory in the village of Nachade.” He estimated that the victims were 12 children, seven dead and five wounded. According to the governor, “the parents were attending a ceremony and the children were probably playing when the strikes” hit them. Four children died instantly and three others succumbed “to their injuries while being transported to hospital.”

The Nigerian military has neither confirmed nor denied the launching airstrike and causing these casualties, but a military spokesman has stated that a probe was underway.

French military exits Mali after almost a decade

In 2013, France sent 5,000 troops to Mali at the government’s request, following increased insurgent activities by al-Qaeda-linked Islamists in the country’s northern region. Last Thursday, President Emmanuel Macron announced his decision to withdraw French troops from Mali, following soured relationships with the current military government and the Malian populace. A linked European special forces task force, Takuba, will also withdraw from the country.

In its entrance nearly a decade ago, France’s government said it wanted to help in protecting the Malian populace and the 6,000 French citizens living there, however, the insurgency and armed rebellion has only worsened in that time period. Also, deteriorating relations with Mali’s military leaders, who seized power in a coup in 2020—the second coup in 8 years—catalysed France’s exit. The ruling junta had reneged on an agreement to organise democratic election in February, and proposed holding power till 2025, to the public disagreement of the French ambassador, Joel Meyer, who was given 72 hours to leave Mali after his comments.

President Macron has stated that the withdrawal of French troops and Takuba will take four to six months, during which time there would be fewer operations against jihadists. In its own retort, the Malian junta has demanded the immediate exit of French troops, instead of the drawn out plan. This was met with positive reactions from many Malians, who took to the streets celebrating the exit announcement with symbolic brooms. Currently, it is alleged that Mali has sought alliance with a Russian mercenary group in the fight against insurgency, a move that analysts claim will have profound effect on the anti-terrorism situation in the Sahel region, since the majority of French military support was focused in Mali.

[Featured Image Credits: BusinessdayNG]

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