For years, singer and songwriter, SOLIS has occupied an interesting space in the current musical landscape in West Africa. As one of bedroom pop’s head honchos and an enthralling voice in the underground alternative music scene, she continues to carve a lane for herself with her genre-defying music despite its hard entry into the mainstream Afropop market.
Over the weekend, the young star finally released her long-awaited debut EP titled ‘Stairway to Heaven,’ the follow-up to ‘Ruled By Venus, Unfortunately,’her first mixtape which was released exclusively on Audiomack. On her latest, the singer employs the help of a talented spate of singers, rappers and producers including 44DB producer, KD, newcomer rapper Champs, Jamaican singer, Amindi and DAP the Contract to weave poignant stories about love and loss.
In usual SOLIS fashion, the singer airs her romantic and personal frustrations all out on this breathtaking project. Sharing with her Instagram followers, on its release day, SOLIS says: I can’t believe it. It’s finally here. My debut EP. my tears are as real as the cover, the only difference is these tears are one of undiluted joy and pride. I’m so proud of me, so proud of SOLIS.” The post continues: “I hope this EP makes you feel something. I hope it makes you float and cry, dance and sing, scream. I pray you find yourself in it the way I found my way back to myself. I hope it brings you to your guides, brings out your light.”
With a beautiful voice that evokes the opulence of silk sheets, her latest ‘Stairway to Heaven,’ rings true on her mission to provide listeners with aural healing. The vibe is undeniably hypnotic, although it’s not obviously commercial. However, since its release, the singer has already celebrated some milestones including hitting over 3,000 plays on the Amindi-assisted “Abeg,” alone. To this end, we’re giving the EP a much-deserved spin and putting it through the NATIVE one-listen review test.
In Usual 1-Listen Review Fashion, All Reactions Are In Real-Time While The Music Plays. No Pauses, Rewinds, Fast-Forwards, Or Skip.
“The Lonely Star (Intro)”
The first track builds the vibe for the rest of the project. This piano solo is a solid intro for a project that claims to lead listeners to heaven’s gates. SOLIS’ high-pitched vocals kick in after a moment and I am amazed by how good she songs each time. Then the rain sounds come in taking your mind into a place of inner thought and peace. So angelic and beautifully performed. Just like the title, the song gives off a feeling of loneliness. A perfect start to the project, in my opinion.
“Angel”
“Angel,” is an aptly titled track from a singer like SOLIS and one of the project’s pre-released singles. Within the context of the project, it definitely comes to life a bit more, painting a clearer picture that visualises SOLIS’ personal experiences. “Like maybe I’m angel,” she coos on the hook, a detail that seems more certain which each lyric she sings. I will definitely be revisiting this number.
“Love Games” ft. Champs
This is another one of the EP’s promotional tracks and possibly one of my favourites. Going with the theme of the album so far, “Love Games” is equally a mellow soulful track but here, SOLIS explores more of her vocal range as she delves into matters of the heart. This number features the talented artist Champs who makes the song more memorable with a stellar rap verse. There’s something beautiful but equally sad and solemn about SOLIS’ music.
“Without You”
I get a nostalgic feeling with this beat but can’t seem to place my finger on it. SOLIS’ vocals on this number is quite impressive, her ranges just keep getting better and more engaging. You just can’t help but listen to her and whatever she may be saying with close attention so you don’t miss anything out. “Take me back to when I had no idea what love was,” is an apt lyric that exemplifies how many of us may be feeling at the moment. I would say that the track is quite short, I wish It was longer and her ending is abrupt but nonetheless, I’ll be giving this another spin later.
“Abeg” ft. Amindi
This is definitely one of my favourites as SOLIS’ voice and harmonies fill the whole song in her usual fashion. I mean who else can make a pidgin slang sound smooth and enthralling other than SOLIS. It’s exactly the type of song I’d expect from her. Amindi’s feature on this number is divinely ordained (God bless the A&R’s). Her melody-driven sound just takes you to a realm of pensive thinking. Such a beautiful track.
“No Feelz”
If sensuality and affection was a song, this track embodies all that and more. “I feel it everywhere, I feel it in your touch,” simply explains the song’s entire premise as many would easily recall the feeling of longing for attention and love from someone whose heart can’t be trusted.
“Gloria” ft. DAP The Contract
As we get to the end of the project, we get to experience the brilliance of Daps the Contract on this mid-tempo jazz-inspired track and might I say that he was perfect. His fast and clear rap reminds me of the traditional rappers from the noughties as Daps’ hard-hitting verse compliments the dreary tenor of SOLIS . The pair are just a magical blend so this is already one of my favourite tracks on this project.
Final thoughts
For a debut project, ‘Stairway to Heaven,’ expands our worldview of SOLIS’ universe. Here, she takes on more risks, contorting and shaping her voice in unimaginable ways as she sings about our deepest romantic desires that we don’t say outright. She bounces effortlessly around the futuristic production helmed by SirBastine, Fresh Meat alum Konde Oko, Trill Xoe, Le Mav and more, with catchy verses that will have you running them back to catch all the intricacies.
However, despite all these, ‘Stairway to Heaven’ doesn’t make any further grand statements. The subject matter and themes are wholly familiar to anyone who has been following her career trajectory up till now. Relying on her tried and tested method is no issue, as SOLIS has clearly found new ways to expand her vocal range, however, there were still moments were this thematic formula seemed to fall short. Regardless, SOLIS excels most when she’s in her love bag and this was proven many times on her debut effort. SOLIS represents a wanted evolution in today’s sonic landscape and her persistent visibility in today’s accelerating system of hype and overexposure continuously undeniably proves her superstar abilities which will only earn her new levels of recognition as emo-Afrobeats takes over the world.
Asa has always been known to move to the beat of her own drums and that isn’t any different when it comes to her music, fashion, and sound. “Mayana,” her latest single, was brilliantly produced by the award-winning Nigerian producer P.Priime known to be the genius behind multiple radio hits.
The track is a merge of Afropop and soul music with a rhythmic vibe that will leave you moving effortlessly to the sound, all while aided by the sensual mellow tone of Asa’s voice which elevates the whole number. A song that will definitely be on shuffle on most playlists and airwaves all across the world.
“Usually, when I write a song, I would make melodies with bits of words here and there. ‘Mayana’ stuck. I didn’t know what it meant. The usual thing I’d do is look for another word. I knew I wanted it to mean something good to this person I am singing to, like his forever. So, I Googled the word and voila! It means ‘Healer, tomorrow,” Asa shares explaining the idea behind “Mayana.”
The single is plucked from her much anticipated fifth studio album and was birthed after her return to Nigeria from the Incomplete European tour due to the covid pandemic. ASA began making new music with a sense of ease and a carefree nature as she allows herself to be vulnerable and tap into all her creative juices while working with other brilliant artists from all over Africa.
To bring the energy of “Mayana ” to life, Asa reconnects with Meji Alabi, a Nigerian creative genius, director and photographer renowned for his unique way of bringing visions to the screen. The cinematic film was simply meant to be about the beauty and vibrancy of colours and fashionable black people and what we are all about. Without a doubt, Meji Alabi never fell short of successfully portraying that and more in the “Mayana” visuals. You can’t help but be proud to be black and African
As the year winds down, the sheer number of music we receive at The NATIVE keeps growing at an exponential rate. With live shows back in full swing and Afropop hits such as Wizkid’s “Essence” and CKay’s “Love Nwantiti” climbing the charts both home and abroad, there has never been a more exciting time than the present for the ever-evolving sonic landscape. Through it all, we remain committed to the ideal of music discovery and sharing that is a big part of what we stand for.
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 time out, we had exciting music from Zinoolesky, Alpha P, Bryan The Mensah and more. Today, we bring to you new music from Simi, Lil Kesh, Joeboy, CKay, Blxckie and more
Simi – “So Bad” ft Joeboy
Following the reception of her latest hit, “Woman”, Simi is back to end the year right with the Joeboy-assisted “So Bad”. On the new track, both singers sing their hearts out about how their respective lovers are giving them mixed signals, expressing worry that their boo might be leading them on. Simi and Joeboy show great synergy on the party-ready track, bringing their different strengths together for a potential hit song.
CKay – “By Your Side” ft Blxckie
CKay seems to be the musical equivalent to Midas in these parts, as everything he has touched has turned into some manner of gold. He’s had an amazing past few months atop several charts, thanks to “Love Nwantiti“, released two years ago. Now, to bring us up to speed, and flex his star muscles a bit, he’s released “By Your Side”‘, where he teams with SA’s Blxckie. In his usual fashion, Ckay’s infectious and melodies make the song what it is, coupled with his thoughtful lyrics about wanting to be by his lover’s side.
Lil Kesh & Zinoleesky – Don’t Call Me
Lil Kesh and Zinoleesky, two of Afropop’s most prolific hitmakers have teamed up for “Don’t Call Me”. On the uptempo party track, both artists reminisce on how far they’ve come and the greater heights they still want to attain. On the pre hook of the track, Lil Kesh sings “I no go stop I no go settle, My light is never gonna die/Thunder go fire any devil, my light is forever going to shine”,
Chrystel – “Temptation”
Ivorian Fresh meat alum and singer, Chrystel is back with an uptempo track “Temptation”. On this track which has her speaking to her muse about being attracted to him but not wanting to give into temptation, she quips on the chorus of the track “We really shouldn’t give into temptation, see what we make of the situation/Do it right make it right gyration”.
Blackmagic – “Sorry”
Blackmagic is here with his latest project “Magic Republic (The Invitation)”, a 12-tracker which sees the artist speaking on self growth, self elevation, leveling up and more. On the standout “Sorry”, he lets his love interest know that he is sorry and is working on being a better version of himself; “I’m sorry that i made you cry, fking up all over again/Hoping and wishing that I could start all over again”
Afro B – “Shisha” ft Niniola & Busiswa
Someone on Twitter trolled Afro B about performing Joanna for the past three years, so he’s responded to the troll with a new song featuring two of Afropop’s most important women, Niniola and Busiswa. The amapiano-infused track with heavy kicks on the beat, each artist brings their a-game, delivering a great party-ready track.
Crayon – “Excuse Me (Rock You)” ft Toby Shang
Mavin signee, singer and songwriter Crayon, is here with the single “Excuse Me”. For this track, he teamed up with popular Nigerian hype man Toby Shang to deliver the overly catchy single set to take over the clubs this Christmas. H
Ronehi – “Galactic” ft MOJO AF
For this track, record producer Ronehi has collaborated with rapper, MOJO AF to deliver the uptempo rap tune. Over the bouncy production of the beat, MOJO sings lyrics such as “Never surrender, I dey grind like pepper for blender, I dey pray like MFM member”
Azana – “Higher”
South African singer and Fresh Meat alum, Azana makes beautiful music that sees people at the base of their emotions. On her latest single “Higher,” the singer melds beautiful melodies with thought-provoking lyrics creating a nostalgic, feel-good love song that deserves to be on your playlists. Over the percussive-led beat, she invokes nostalgic memories about peace and happiness, allowing listeners to disconnect from their present sorrows and lose themselves in the song’s propulsive rhythm.
Ladé – “Hustle”
Fast rising newcomer, Ladé is insistent upon making her mark in the industry. Recently sharing her debut EP ‘Olamade The EP,’ the singer introduced listeners to her didactic-style of music making which finds her spinning her personal tales into poignant relatable lyrics. On “Hustle,” one of the standout numbers on her debut, the singer paints a picture that visualises her experiences before she found her footing in the music industry.
‘Now Playing’ is an illuminating playlist series that gives listeners a glimpse into the music that has been of particular importance to our favourite artists during their release campaigns. Populating NATIVE’S streaming platforms, Now Playing is powered in partnership with Platoon – the initials of the series symbolic of both NATIVE and Platoon’s dedication to identifying and championing good, meaningful music.
Last month, after three years of teasing the follow-up to his 2018 debut album, WANI finally released his highly anticipated sophomore album ‘Lagos City Vice 2.’ His debut, which arrived at a pivotal time of change for the Nigerian music industry introduced us to his mixed bag of sounds where he had ample space to interpolate many of our favourites ’90s and ’00s R&B hits with his Afropop-tinged sound. Now, WANI was shifting the needle on his creative output yet again.
In the years since its release, WANI has come to sit firmly in the upper class of Afropop, backed by a string of steady hits including the Buju-assisted “Times Two” and a notorious online persona (he’s a bit of a ladies man). With ‘LCV2’, he’s disarming whatever perception listeners may have previously held of him and stepping into a more mature, developed stage of his career which is fashioned from the growing pains he faced while living in Lagos.
“I am learning more about myself obviously, I’m getting older too, I want the subject matter to reflect my growth and right now I am getting more comfortable.”
For many, witnessing WANI embark on the ‘Road to LCV2’ was a bittersweet moment, made more special by his proximity to his fans and loyal listeners who have been rocking with him from “China Designer” to “Grown Girl.” However, while the music we’re now hearing from the singer has definitely undergone some formative change necessary for its evolution, it never strays too far from WANI’s singular vision as an artist with a keen ear for melodies and crisp lyricism.
Now, as fans and listeners now enjoy the album, they can also listen to WANI’s dedicated new playlist packed with the songs that inspired his sonic world during album mode. Speaking about his latest playlist, released in partnership with Platoon, WANI shares: “It’s everything I’ve been listening to, my faves over time and all my influences leading up to the Lagos City Vice 2 EP.”
Hailing from Botswana, Titose is an incredible singer and songwriter melding R&B and Trapsoul sensibilities into poignant and relatable stories for young African women. After years of releasing loose singles on her Soundcloud page, in 2019, the singer officially released her debut single, an open confessional titled “Drowning,” which set a vast tone for where she could go sonically and lyrically.
Since then, she’s continued to earn her new levels of recognition as she blends the warm melodies of R&B with the gritty production of Trap-Soul and Hip-Hop. From crafting love songs such as “Drowning” to “Put You In Line”, it’s clear that improving her skills is a source of pride for the artist and this effort is most apparent on her debut EP, ‘Was It Something I Said,’ which was released earlier this month.
Titose crafts worlds and lyrics based on her personal experiences and those of her friends, spinning coming-of-age tales that centre around love, friendship, romance, becoming, personhood, self actualisation, and more. Right from the project’s title, Titose invites listeners to question everything they hear and experience through the project’s 20-minute runtime. ‘Was It Something I Said?’ already presupposes that Titose will be doing some soul-searching on the project, questioning her actions and those of people around her.
“I Do” is the perfect project opener. The melodic instrumental which opens the track sets the soothing tone for the project. However, from the onset, while we’re aware that we’re stepping into Titose’s world, it’s clear that there are no set characters and only scenarios where listeners can see themselves. The song tracks the onset of a conversation between two partners from the confrontation on “I Do” where she sings “I was losing focus, got me whipped up with potion/Tell me how did it turn to poison, let me out here in the open,” expressing her lack of understanding towards the change in behaviour by her muse.
Following the two-minute tape opener is the standout lead single off the debut project “Put You In Line”, a slow tempo track with melodious production. The track sees the artist speaking about the hold her lover has on her, singing lyrics such as “I’m a fool for guys like you/”. Titose is clearly in a tough position romantically and can no longer deny this. The Jitotwe Tshombela-produced track also sees the producer laying backup vocals as his deep-pitched voice contrasts with Titose’s, delivering a star performance.
As the project builds, the conversation between the partners evolves moving from her blunt accusations on earlier tracks to the struggle to find a compromise towards the project’s mid-point. On the track “Forest”, Titose explains that while she may not be the best option for her love interest, she still finds herself clinging to their relationship. On the hook, she sings “But I didn’t want you to leave, the truth is I want you to stay but I can’t give you half of what you need so I keep on pulling away”, over the euphonious production. There seems to be an acceptance, a sort of reconcilliation that she can’t be everything to one lover.
Of all the songs on this project, “Summertime With You” stands out the most to me. Titose begins singing immediately as the beat of the track kicks in, following its urgent delivery to sing about her romantic tryst. The track finds her expressing how she wants to be with her lover through all times, especially in the summertime. “I wanna be with you, Summertime with you/I just want you, summertime with you”, she sings morosely, armed with the pained realisation in her voice that their summers together are over.
Titose keeps the guests in her world short and simple. Excluding rapper, The Big Hash who features on the catchy “Best Friends,” the only other obvious collaborator in Titose’s world is Zambian-born producer, AmoBeatz who helms most of the EP’s futuristic production. The EP builds towards the penultimate track “Strangers” where Titose and her partner make the decision to part ways, accepting that the relationship is beyond saving. The final track “Lights Off” represents the final sequence of their relationship. Its apt title gives a little insight to what to expect from the song, making it the perfect closing track for a tape of this nature.
As the project fades out, Titose sings “Had enough of love/Cold as icy,” offering her final remarks on the relationship that she once nurtured. While it’s clear she’s mourning the death of their love, she also finds peace in moving on, singing “please don’t turn the lights off/cause we just tryna vibe out.” Here, Titose admits that she’s going to find love again, but till then, she’ll be partying with her friends. Like many of us who’ve recoiled from the deep pain of a past relationship and headed out into the streets, ready to reclaim our worth and ease the pain, this ones for you.
Since releasing the airy and melodic number, “The Sun (Icarus)” back in the summer of 2020, London-based Nigerian-German singer and songwriter 234jaydaa has not released any solo material—till now. Arriving yesterday, 234jaydaa’s latest single “234” finds the singer exploring the hustle and bustle of Lagos and its nightlife scene.
Using the country’s dialling code (+234) as the song’s title, the new single finds the singer painting a visual picture for listeners who have never travelled to the West African city. “December in Lagos, you know the vibes/It’s up every night, demons of a different kind,” she sings on the song’s mesmerising hook, ushering in the festive December period in a melodious way. “234” also highlights her mental state and thoughts she garnered during her stay at home from the effects of the pandemic. During her time away she experimented with new sounds and vocals thus contributing to the song being different from her usual take.
Speaking about the single, Jaydaa shares: “I had a lot of time in lockdown to create and learn new things, much like everyone else I know, so I decided not to shy away from what I was growing into and indulge in whatever I was diving into,” she says. “Most of it is about me accepting myself and learning how to be better for the people around me but it’s also about the part of me I don’t like and people don’t like as well – I embrace all of it,” says Jayda on “234” and her path to growth.
After many years of championing African women in the music industry, Femme Africa, a women-led organisation run by Ayomide Dokunmu is taking on its most ambitious project yet: its first-ever Femme Fest. Promised to be a day of music, entertainment, fashion, food and more, Femme Africa’s first-ever festival is set to make its debut on the Detty December lineup this year–and we couldn’t be more ecstatic.
Femme Africa has filled a much-needed space in the music and entertainment industry, seeking to bridge the disparate gaps between female artists and their male counterparts in Nigeria’s androcentric society. This has culminated in a dedicated series of workshops, panels, live showcases, of which Femme Africa has previously held four hot-ticket editions since its inception in 2018.
Now, with a new year just days away and women in Afropop making boundless leaps across the music industry, both here in Nigeria and the diaspora, Femme Fest will celebrate the best of the crop inviting artists such as Teni the Entertainer, Liya, Lady Donli, Somadina, SOLIS, SGaWD, Deto Black, Merry-Lynn, Ria Sean, and more, to its inaugural event. Femme Fest will also have an all-female Dj lineup featuring Dj Honeeay, Dj Dayzee, and DJ Sensei Lo.
Currently, the event is scheduled to be held on Sunday 12th, December at Amore Gardens, Lekki, and tickets are on sale at Tix Africa. Let’s support the girls!
With only thirty calendar days left till the end of the year, it’s impossible not to take stock of the leaps that Afropop has made this year. In the last eleven months, Africa to the world has become a popular rallying cry used to champion the continent’s artists, whose diverse work speaks in every mother tongue to the breadth and universality of Africa’s musical gifts. This year alone, Afropop has garnered new levels of recognition, taking the world by storm, thanks in no small part to streaming and direct-to-consumer apps such as TikTok and Thriller.
While many of its frontrunners currently enjoy mainstream success and ubiquity, this watershed moment for African music hasn’t skipped the continent’s newcomers who have spent most of the past year, edging out the competition and making a name for themselves rooted firmly in their genre-defying boundless music. Keeping up with our mission to champion those who are breaking boundaries and adding some value to the music ecosystem, our penultimate installment for the year is no different.
As usual, our selection of artists do not cater to any stringent sonic rules, emboldening the diversity of the music being made by young Africans on the continent and in the diaspora. From British-Nigerian classical act, Klein who is inverting genre norms to South Africa’s gospel-leaning SIPHO., here are the new artists you need to be paying attention to.
SIPHO.
Born and raised in Birmingham, music played a big role in SIPHO.’s life. While growing up with his family, he was introduced to a range of talented musicians as well as organised religions. But while seeking out his own understanding of God, SIPHO.’s view of religion grew darker due to the misplaced focus of modern religion that placed materialism on a pedestal. “Being in this church, you see how headstrong people could be about their beliefs,” SIPHO. told the Guardian earlier this year. “However, a part of a lot of religions is this idea that you should not be prideful or stubborn about things. I came to the conclusion that there might not be one single explanation to it. We all just know that we feel a presence, whatever it is, and we call it God.”
As he retreated from church, SIPHO. found comfort in music, making songs that blended elements of Soul and Electro-pop into a distorted, post-2010 conception of R&B. On 2016’s ‘C R U X,’the singer accescorised his music with parts rooted in Hip-Hop tradition, transforming songs like “Monument” and “The Sinner’s Interlude,” interpolating Kendrick Lamar’s “Bitch Don’t Kill My Vibe,” into earnest conversations on self and its intersection with the wider community. While studying songwriting at Birmingham’s BIMM Institute, SIPHO.’s music caught the attention of Dirty Hit – home to stars like Beabadoobee, Rina Sawayama and the 1975 – where he released 2017’s ‘I DON’T DESERVE HER.’
The most polished version of SIPHO.’s candid music can be found in 2021’s ‘AND GOD SAID’where the singer imbibes gospel influences on songs like “BODIES” and “WE AIN’T.” Right at the centre of the project is the powerful double track, ‘MOONLIGHT PT. 1+2’, where the singer displays his command of Rap and Soul with astute dexterity; but the real showcase comes later on “ALMOST LOST.” On the self-produced song, Sipho examines his relationship with religion and the divine over fleeting flourishes of piano keys that provide a base for his syrupy voice and display his promising future as a soul-pop star in the making.
Emo Grae
Making a splash in today’s hyper viral music industry is difficult for any artist. However, when you’ve got the backing of one of the biggest names in Afropop, namely one as ubiquitous as Naira Marley, success is pretty much foreseeable in one’s trajectory–all things considered. Officially activated last summer, the singer and songwriter Emo Grae, born Opeyemi Michael Edebie has been inching towards his breakthrough, following in the steady footsteps of labelmates Zinoleeksy and Mohbad who have enjoyed mainstream success.
Born and raised in the streets of Ojodu, Lagos State, Emo Grae nurtured his passion and love for music at a young age. Despite his lack of access to the resources he needed to kick start his career, the young singer would spend many years patiently fine-tuning his craft, awaiting his moment to step into the limelight and showcase his star power. He caught this big break in July, during the thick of the COVID-19 pandemic when he signed to Marlian Music, a pivotal moment in his career which consolidated his pop star potential.
So far, Emo Grae has released six official singles including his 2019 debut “Need You,” a romantic track that finds him pining for a lover, the Buju-assisted breakout track “0903”and recent releases such as “Mine,”“Gone”and the balmy new number “Suddenly.” The common denominator in all these tracks lies in Emo Grae’s ability to convey his deepest and most sincere emotions with bleeding sincerity, tracking how we fall in, out of, and back into love. Flaunting a unique tone of voice and positively catchy hooks, Emo Grae sings about romantic dalliances and savouring the genuine rush of a new crush, toeing a similar line to the sea of past heartthrobs, such as Korede Bello and CKay, that have come to permeate Afropop. With only a handful of singles and a debut project on the horizon, we can’t wait to hear what comes next.
Groovy Jo
About half of Groovy Jo’s Instagram feed is dedicated to the low-stakes act of freestyle covers. Beyond her appreciation for the songs, there’s no obvious method to what music she chooses to give this treatment, and that freedom allows her to meld the mellow Afropop of Omah Lay, the energetic Trap of Kahu$h, an Erykah Badu cut here, a Major League DJz cut there, throwback jams by Nicki Minaj and JAY-Z, and much more. While she often finds her way to stay on topic, these freestyle covers have proved to be conveyor belts for her entertaining lyricism and rap versatility.
Beginning her music career in 2018, the rapper’s earliest offerings were rough-hewn tracks that highlighted a talented rap artist finding her voice. By the end of 2019, she’d amassed enough goodwill on the back of her potential to be nominated for Best Female rapper at the Unkut Awards, and in 2020, she consolidated with multiple single releases, several of which made it to her debut mixtape from earlier this year. Even though it’s only her first project, ‘The Groovy Way’is a culmination of Groovy Jo’s early development as a rap artist, powered by an unflappable self-conviction and a widescreen musical approach.
“They say Groovy conceited, I agree sir/Me, myself and I is what I breathe for,” she raps on Shrap—the Kenyan new school variation of Trap—standout “Wykat,” one of the many infectious, aggrandising lyric lines that litter the entire tape. The boasts are complemented by a range of beats that include Reggaeton-infused turns and UK Drill-inspired thumpers. Wholly, ‘The Groovy Way’ is incredibly fun, defined by Groovy Jo’s ability to find a pocket and deliver the hardest, most self-reverential raps she can muster. In the near future, though, we might get more thematic range from Groovy Jo. Her latest single, “Clear Picture,” is a ruminative turn on what it means to be Black and ambitious in a world dominated by whiteness, and on a continent lorded over by inept leaders. Obviously, on her first attempt on wax to offer social commentary, Groovy Jo’s voice isn’t as sharp as when she’s issuing brags and caustic takedowns, but it shows a commitment to artistic growth, which will pay off in terms of longevity and a higher ceiling as she approaches rap stardom.
Klein
You might be wondering why a talented act such as British-Nigerian artist Klein features on our Fresh Meat roundup this month. With accomplishments that include sharing global stages with Björk, Wu Tsang, Mark Leckey and more, the genre-defying classical artist is one that’s far more advanced in her music career than many other Fresh Meat alums. However, as an artist we believe is sorely underestimated on the continent, and one that deserves all the attention for her unique brand of music, her appearance this month is well justified.
Although she grew up in London, Klein spent most of her formative years moving between her home city Lagos, Nigeria, and Los Angeles exposing her to an eclectic mix of sounds from these parts. Klein’s music veers from piano-laden solos to punk-pop guitars and bass drops, to persistent rhythmic displacement, as she seamlessly melds a range of genres from R&B to Hip-Hop to Grime, Reggae, Pop and more, to her will. Her fusion of sounds is due in large part to her unconventional upbringing with a passion for musical theater. Growing up in a Christian Nigerian home, Klein has previously shared in interviews that she wasn’t exposed to circular music until her final year of high school and such, her religious upbringing serves as the cornerstone of the music she makes. “I grew up with music that was essentially the opposite of the music I make,” she once shared with gal-dem.
In 2016, she released her debut EP ‘Langata,’ a collection of songs that put her on the map as one of London’s DIY artists at the time. Klein followed this up across the years with music and hyper-colour visuals that allowed listeners to get a sneak peek into her creative, and oftentimes confusing mind. Recently, she released a new project titled ‘Harmattan,’ a collection of 11-songs named after the West African season and primed to cause epic revolt to beginnings and ends. As one of the disruptors bringing the much-needed change and refinement to classical music genres, Klein is crafting genreless music with a finely-tuned ear while basking in the emotions and situations that make her human, often arriving at a conclusion that offers more clarity than catharsis.
Chrystel
We admit we were a little late to discovering Chrystel–but this doesn’t mean you should be late to the party too. First gaining our attention through her scene-stealing appearance on DND Section’s “Darling”back in 2020, the singer’s alluring and passionate vocals provided a much-needed combination of heartfelt singing and technical songwriting ability unlike most of her peers today.
Digging back into her discography, you’ll discover that Chrystel has been making music since she was nine years old. A first-generation bilingual African who moved to Utah when she was much younger and then later to Atlanta in 2015, Chrystel got her big break in 2019 when she earned songwriting credits on Dreamville’s compilation project ‘Revenge of the Dream III’ and Baby Rose’s debut ‘To Myself.’ However, it’s on her solo work that she seems to thrive the most.
Growing up on a musical diet of genre-bending artists such as Stromae and Rihanna, Chrystel’s music is an amalgam of a range of influences including West African pop, Congolese Rumbas and Country music. She makes beautiful love songs armed with tangible emotion that permeates off our screens. If you’re looking for a place to get into her music, we’d recommend her 3-pack single titled ‘Prey’which was released earlier this year. “Thunder” is an atmospheric number that examines Chrystel’s state of mind with a scalpel-like examination while “Hot Star” is a groovy anthemic number that finds her delivering emotionally layered lyrics and “Good Thang” is an anti-love anthem about realising one’s worth. Her deep understanding of her psyche and those of her peers results in music that is both relatable, universal and pensive, providing listeners with music that sees them at the base of their emotions.
Dai Verse
Making his debut at the start of 2020, newcomer Ifeanyi Chineme Lennon, popularly known as Dai Verse is a singer and songwriter with the right blend of lyrical vulnerability and catchy songwriting. Born and raised in Surulere, Dai Verse’s love for music and performing started at a young age when he began creating freestyling videos on his social media pages. He soon plucked up the courage to share these releases on Soundcloud before releasing his debut single “Love” in 2019. His intriguing vocals earned him our attention but he’s been able to retain this by delivering soothing and sumptuous love songs that sound more bittersweet than outright sad.
Dai Verse first gained traction in 2020 with the release of the Zugo-assisted“Colorado,” an earworm track that weaves relatable stories about young romance, as the singer likens the effect his partner has on him to the effect of a hallucinogenic strain of marijuana known as Colorado. The metaphors have only grown more poignant with each new release. The Soundz-produced “Your Body (Cocaine),” similarly finds the singer drawing parallels between his love interest and the harmful class A drug, cocaine. While he certainly doesn’t hold back from stating his admiration for this woman, Dai Verse also recognises that their relationship is ultimately built on his infatuation with her, a detail that signals their eventual end. Still, he is more concerned with tracking the jovial pursuit of love and loss which characterises many Afropop releases.
Already, “Cocaine” is garnering Dai Verse the attention he needs to enter the next phase of his budding career. Hitting a milestone record of over 20 million streams across all platforms earlier this month, the singer has kept his releases short and sparse over the past few months since he shared “Your Body (Cocaine)” but he’s already gracefully distinguishing himself from the fold with a cryptic online personality (Dai barely reveals his face which is typically clad with a balaclava or trucker hat) that has fans guessing his real identity. Instead, the music does the talking as he recently echoed, “Music is the heartbeat of the universe, and my music is driven by passion and love for the sound.” With a knack for blending catchy Afropop rhythms with soothing R&B melodies, Dai Verse is one to watch before the new year.
Titose
Fast-rising Botswana-born singer and songwriter Titose has a voice that will stop you in your tracks mid-listen. Evoking the warmth of silk sheets and armed with a keen eye for catchy melodies, Titose has been taking several assured steps towards the powerhouse that she is capable of becoming. Her string of releases has provided a protective balm for listeners in search of some aural healing with its polished production and emotion-laden writing.
Titose kicked off her passion for music at a very young age, encouraged by the unwavering support she received from her musical family. While her peers pursued professional careers, there was never a moment of doubt in Titose that she couldn’t forge her own singing career, despite the dearth of success stories in these parts. In a recent interview, the singer shared that this overwhelmingly firm sense of belief comes from years of nurturing at home. “I come from a musical family,” she shared. “I sing, my sister and my brother too. A cousin and an uncle are acclaimed musicians. So I grew with music [being] a part of my life,” she continued during the interview. Ingrained in her DNA from early, Titose would spend most of her formative years forging her own distinct sound, which rests firmly at the intersection of R&B, Afropop, Hip-Hop, Trapsoul and more.
Titose shared her first single on Soundcloud when she was 16. The mid-tempo number titled “Colour Blind” was actually a cover for an original song inspired by a Glee episode she had watched. “Please don’t mind the quality, I was like 16,” she warned listeners at the time, worried that her music would not land the desired impact. However, the song fared better than she expected. Today, “Colour Blind” has over a thousand listens and counting on Soundcloud, a feat worthy of celebration from an artist on the cusp of an explosion. Motivated by these reactions, Titose then officially began releasing music three years ago. Her first official single “Drowning”, a slow R&B fusion track was released in August 2019 and was soon followed this closely with the release of her sophomore single“Lights Off” during the peak of the COVID-19 lockdowns last year. While each new release adds a layer of intrigue to her artistry, a worthy starting point for anyone looking to dig into her discography would be her debut EP ‘Was It Something I Said?’
Over 8 soul-baring tracks, Titose ruminates on relatable topics for young women including tales of love, life, friendship, becoming and more. Each track on the project tells a different story, however, they are mostly driven by personal experiences, creating honest tracks that intimately mimic a late-night conversation with your girlfriends. Across her short but sweet discography, Titose’s personal and artistic growth is crystal clear. This year already, she’s enjoyed notable career highlights such as joining the talented spate of artists on the Platoon roster and reached her first 200,000 streams milestone. With all this and more music planned for 2022, next year may very well bring the big break she desires.
Featured image credits/NATIVE
Words by Ada Nwakor, Dennis Ade-Peter, Wale Oloworekende, Wonu Osikoya and Tami Makinde
In the summer of 2020, Victony eased his way into Afropop with an elegant and vibrant debut EP titled ‘Saturn’. It marked a pivotal point in his transformation from rapper to singer, showcasing a precocious ear for melodies, musical choices as colourful as a pack of Crayola, and a voice brimming with charm and boyish charisma. In his follow-up year, he’s greatly consolidated on his pop star potential, in part due to a sizzling star turn on Mayorkun’s “Holy Father.”
Before then, he shared the reflective and hopeful ‘Dark Times’, a balmy 2-song pack centred on the life-threatening event he survived earlier this year. Refusing to let tragedy solely define his headlining output for the year, Victony has teamed up with producer Rexxie for ‘Nataraja’, a new 2-song pack built on the palpable symbiosis between both artists. The two songs, “Like Dat” and “Ego,” operate on a push-and-pull basis between the pair with the former being a gleaming Alt-Pop bop and the latter being rooted in the booming wheelhouse of Rexxie’s Afro-House experiments.
In theory, a collaboration between Victony and Rexxie is quite the left-field attempt, but the easy denominator is the willingness that both artists have to try out new styles. Over his short but growing catalogue, Victony has chosen to operate with a nebulous sonic palette, ensuring the constant and defining element of his music is his voice—part-buttery, part-holler. For Rexxie, who has built his reputation as the leading purveyor of the modish street pop bounce, there’s enough evidence on his debut LP ‘A True Champion’—along with more outré work like Naira Marley’s “Bad Influence”—to prove there’s more to his musical chops than his most popular music.
All that said, ‘Nataraja’ benefits from the pair playing to their individual strengths, culminating in a union of their kinetic synergy. Writing-wise, “Like Dat” is the more vivid of the two tracks. The music Rexxie helms is quite delicate, comprising twinkling keys and a gently thudding drum patterns, with Victony’s ethereal chants rounding out the atmospheric beat. Within the first lines of the song, Victony describes an intimate scene in first-person perspective, where rolling weed is a love language, sex is meant to be savoured, and shutting out the world keeps the moment pure. The innuendos are scarcely veiled, like when he sings, “You doing stuff you cannot tell your mummy,” and football-related symbolism that’s ingrained in pop culture.
“Ego” is the groovier affair, coining in on the Amapiano-infused bounce Rexxie has mastered since his seminal smash hit “Ko Por Ke (KPK).” A shimmering piano riff is laid under its synth bassline, giving the song an instantly catchy melody that’s emboldened by its bulbous percussion and log-drum combo.
Slipping into lascivious mode of many party-ready Afropop songs, Victony sings with a snappier edge, revelling in his infatuation with an interest’s physical figure, while leaving just enough devotion in his lyrics—“Who do the polishing, oh ya?/’Cos you dey shine like morning sun”—to keep his charm intact.
‘Nataraja’ works because it finds the balance between both artists intermingling already established sensibilities. The two comprising songs are stylistically disparate, but they are unified in spirit because Rexxie and Victony don’t trade-off as much as they figure out a sense of musical kinship.
“Bruk It Down”, a video series shining a light on the producers and beat-makers behind the scenes, as they break down the intricacies of the songs we listen to every day. In the fifth edition of our NATIVE Original, London takes us through the elements of “Bloody Samaritan” by Ayra Starr.
Ayra Starr rampaged her way into mainstream consciousness with a fully-formed voice and a well-oiled label machine behind her. Released in January, the singer’s eponymous EP is a bite-sized and compelling introduction to her boisterous voice and preternatural confidence. By the subsequent summer release of debut LP ’19 & Dangerous’, it was obvious we were watching the real-time rise of a generational talent-in-the-making.
Even though the album is loaded with a boatload of highlights, the lead single “Bloody Samaritan” is its runaway smash hit. Produced by the Grammy-nominated producer and fellow Mavins signee, London, the song finds Ayra Starr issuing defiant and assured proclamations of self, turning in one of her most vibrant performances on wax. To amplify the lyrical clarity and help its resonant, she’s accompanied by—inarguably—one of the best beats of this year, an Amapiano-infused composition with a unique feel.
In the last year-plus, Amapiano has ingrained itself into the fabric of Nigerian pop music, and it’s no surprise that so many artists and producers have tapped into the South African-originated sound. One of the truly ingenious efforts to arise from this co-opting has been Ayra Starr’s “Bloody Samaritan”, helmed by the talented producer, London. In an interview with The NATIVE shortly before the release of 19 & Dangerous, Ayra Starr divulged the challenging process of making this song, mainly because of the peculiarities of London’s beat.
“When I was listening to this song in the studio, I was just so nervous because I had the beat for six months and didn’t know what to use it for. I found it so challenging but I kept begging London not to play it for anyone else. The lyrics weren’t flowing so London had to leave the studio for me and I recorded myself. By the time London was back, he was in shock. I had pulled it apart and pieced it back together perfectly.”
Mashing together soulful Amapiano, the low-end emphasis of Afropop, and classical samples, “Bloody Samaritan” is a baroque masterpiece. For the fifth installment of Bruk It Down, The NATIVE’s original series digging into some of the most captivating Afropop songs, London gives a step-by-step guide into the making of “Bloody Samaritan,” and he also recounts the process of making the song with Ayra Starr. Watch, marvel, and enjoy.
Featured image credits/NATIVE
Words: Dennis Ade-Peter, Videographer: Omowunmi Ogundipe, Producer: Tami Makinde.
Wrapped in her mesmerising vocals and her desire to explore past memories, pain, and the history of her father’s activism, Dutch singer and songwriter, Joya Mooi bears it all on her latest single “Most Frail”. With the assist of producers SIROJ & Blazehoven, Joya escapes into her element as she sings a heart-wrenching confessional that recalls past memories of her father’s activism and his fight for the liberation of South Africa from the apartheid regime.
Although she was brought up in a small town an hour away from Amsterdam, Joya’s inquisition into her South African roots and heritage have always taken centre stage in her music and “Most Frail” is the most honest expression of this. Speaking about “Most Frail”, Joya explains that: “Freedom fighters are sometimes put on pedestals, but are mostly forgotten. And the ones who’ve survived, that came back, I believe they have never fully returned. “Most Frail” is about all the stories we’ve lost – through them – in the wake of liberation.”
To expand the world around her new release, Joya has now shared the video for “Most Frail” which will be released officially later today. The new video captures moments of contemporary dance and movement by Ibrah Silas Jackson as Joya Mooi and her collaborators use non-verbal expressions to represent the strength and fervour of her father and freedom fighters. “The dance gives a form of clarity and focus to the story that is being portrayed,” Joya says, as she speaks to how she was able to meticulously work in her family’s life experiences and heritage.
Ahead of the video’s official release, we caught up with Joya Mooi on the inspiration behind the video, the process of creating it, and the decision to honour her father and her nation’s freedom fighters.
Her answers which follow below have been lightly edited for clarity.
NATIVE: Hey Joya, so “Most Frail” is inspired by your father, could you give us an understanding as to how he inspires the song?
JOYA: I’ve seen from up close what the consequences are of fighting against injustice. My father was a member of the ANC and so part of the liberation of South Africa. Many people see them as heroes, but there’s little eye for the loss and trauma that they’ve endured, back then and even now. Most Frail is about all the stories we have lost in exile, in post-apartheid – all the stories that have not come to life- in the wake of liberation.
NATIVE: What was it like working with the producers, SIROJ & Blazehoven?
JOYA: Almost a year ago I wrote “Most Frail” in a session with Blazehoven. This beat directly spoke to me and later SIROJ contributed more layers to it, while simultaneously giving more space for this personal tale. I love creating music like this, just fully leaning into what a story needs and taking my time with it.
NATIVE: What was the main idea and feeling that you wished to convey in the video?
JOYA: With the visuals for “Most Frail,” I wanted to touch on freedom and escapism. The relation between principles and reality, how alienating the world can be. With scenes reflecting on people who’ve become their own shadows.
NATIVE: Alongside the incredible scenery, the film captures moments where we also see the male lead free and running. Why was it important to depict moments such as this?
JOYA: I think the path to mental freedom is such an important part of this story. Can you actually become free in this world filled with inequality? How you cope with life – amongst everything- is a battle only you can fight.
Catch a first look at the video for “Most Frail” below.
This week, Davido and Focalistic’s hit record “Champion Sound” makes its top ten debut. Making its entry at No.9 this week, the song garnered 1.02 million equivalent streams and 39 million in radio reach. It is Davido’s fifth top ten entry of 2021 and thirteenth overall in the top ten.
“Champion Sound” also becomes Davido’s record 30th total entry on the Top 50 and record 18th entry as a lead artist. The song is Focalistic’s first in the top ten and second overall, following the No. 15 peak of “Ke Star (Remix)” – also with an assist from Davido.
Elsewhere in the Top 50 charts, “Sip (Alcohol)” logs its eighth week at No. 1 on the TurnTable Top 50 – making it the longest No. 1 song of 2021 on the chart. “Sip (Alcohol)” tallied 2.8 million equivalent streams (up 21.4%), 43.7 million in radio reach (down 18%) and 11.3 million in TV reach. It is now second on the list of longest No. 1 in chart history, behind only the 11-week reign of “Godly.”
Adekunle Gold’s “High” with Davido is steady at its No. 2 peak on the Top 50 while Reekado Banks’ “Ozumba Mbadiwe” holds at its No. 3 high for another week. Timaya’s “Cold Outside” with Buju stays at No. 4 for a fourth consecutive week. Fave’s “Baby Riddim” rises to a new high of No. 5 on the chart; it tallied 2 million equivalent streams (up 41.8%) and 34 million in radio reach (up 20.1%).
At No. 6 this week is Mayorkun and Victony’s “Holy Father” which ascends to a new peak after tallying 50.8 million in radio reach (up 15.5%) and 1.04 million equivalent streams (up 92.6%). Fireboy DML’s “Peru” rises to No. 7 this week and it’s followed by former chart-topper “Lie” by Kizz Daniel at No.8. Kizz Daniel’s latest EP ‘Barnabas’ also floods the chart with six new entries and becomes only the fifth project to send all songs on it to the TurnTable Top 50. Closing out the top 10, Ayra Starr’s “Bloody Samaritan” retreats to No.10 this week. Just outside the top ten, there are a couple of debuts by Kizz Daniel including “Eh God (Barnabas)” at No. 13 and “Pour Me Water” at No. 20.
.@joeboyofficial’s “Sip (Alcohol)” spends a seventh week at #1 on the TurnTable Top 50— making it the No. 1 song in 🇳🇬 this week
It tallied 2.33 million equivalent streams, 53.3 million in radio reach and 2.9 million in TV reach ✨
In 2019, Botswana’s High Court issued a landmark ruling decriminalising homosexuality. This followed the filing of a petition by Letsweletse Motshidiemang, a student of the University of Botswana, questioning the constitutionality of Section 164 of the country’s Penal Code and other provisions of the country’s laws which prohibits all acts “against the order of nature.” The laws against homosexuality were introduced while Botswana was under British colonisation, and Motshidiemang’s petition cited its outdatedness and the global society’s growing acceptance of queer relationships.
In a unanimous decision, three judges ruled in favour of the petition, noting that the law was discriminatory, unconstitutional and against public interest. “Human dignity is harmed when minority groups are marginalized,” Judge Michael Leburu said in the ruling statement. “Sexual orientation is not a fashion statement. It is an important attribute of one’s personality.” The ruling struck down Section 164 of the Penal code, which proffered up to 7 years of imprisonment.
“Before, we were struggling. People have been hiding,” Anna Mmolai-Chalmers, then-Coordinator of Lesbians, Gays and Bisexuals of Botswana (LEGABIBO), told CNN after the ruling. “This judgement can make a massive change for our lives. This is what excites me the most. The judgement means so much… The court has upheld our dignity, our privacy, and our liberty… It means freedom”
However, Botswana’s attorney general Abraham Keetshabe decided to appeal the decision of the High Court shortly after. The rationale behind the appeal wasn’t immediately clear, but as the appeal went on, Mr. Keetshabe’s argument was based on the idea that overturning the anti-homosexuality law should be a parliamentary debate and decision. Thankfully, today, the Court of Appeal has upheld the ruling decriminalising gay sex and relationships, reinforcing the judicial system’s stance against homophobia in Botswana.
In a unanimous decision by the court’s five judges, the ruling stated that the criminalisation of consensual homosexual relations infringed on the constitutional rights of queer persons to live freely. “Those sections have outlived their usefulness, and serve only to incentivise law enforcement agents to become key-hole peepers and intruders into the private space of citizens,” Court of Appeal Judge President Ian Kirby said. The ruling was again received enthusiastically by the queer community in Botswana, with many queer folks and activist attending the ruling session in rainbow-coloured masks.
“This will forever change the landscape of democracy, human rights and equality in Botswana. Finally the state will have no business in what two consenting adults do in their privacy,” LEGABIBO coordinator Sethunya Mosime stated outside the court. Botswana joins a short list of African countries progressing beyond ultra-conservative sexual values, ridding its system of a colonial relic that continues to plague the majority of the continent.
PRESS STATEMENT : DECRIMINALIZATION JUDGEMENT Today, the Botswana Court of Appeal, through Judge President Ian Kirby, issued a monumental judgement to decriminalize consensual sex between same-sex partners. #DecrimBotswana#BeyondTheRainbow#ReBatswanapic.twitter.com/wOOqFrGepD
— Lesbians, Gays and Bisexuals of Botswana -LEGABIBO (@legabiboadvo) November 29, 2021
As the year winds down, the sheer number of music we receive at The NATIVE keeps growing at an exponential rate. With live shows back in full swing and Afropop hits such as Wizkid’s “Essence” and CKay’s “Love Nwantiti” climbing the charts both home and abroad, there has never been a more exciting time than the present for the ever-evolving sonic landscape. Through it all, we remain committed to the ideal of music discovery and sharing that is a big part of what we stand for.
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 time out, we had exciting music from DJ Neptune, Ruger, Blaqbonez, and more. Today, we bring to you new music from Zinoolesky, Alpha P, Bryan The Mensah and more.
Niphkeys – “Blessing” ft. Zinoleesky
Zinoleesky is a street-pop artist who wears his city on his back. On his latest release “Blessing”, he teams up with fellow Nigerian producer Niphkeys for a catchy upbeat song celebrating his journey so far. The track finds the artist showing gratitude for life and counting his blessings one at a time. On the hook of the track, he sings “Sit down count my blessings, make I enjoy this flexing/Me I no look person oo, no stressing,” painting a picture that visualises his experiences from street-pop crooner to mainstream success.
DJames – “Whine” ft. Alpha P
After collaborating on the Masterkraft-remix to Justin Bieber’s “Peaches” with Omah Lay and releasing his first single of the year “Oh No”, Alpha P has just teamed up with DJames for a new catchy single titled “Whine”. The romantic track finds Alpha P gassing his muse about her physical appearance and her physique over mid-tempo production which fits the song’s amorous lyrics. Over the hook, he quips “Your body is so proportional, Me I wan shoot my shot when I open you four corner,“ serenading his love interest with all the right words.
BRYAN THE MENSAH – “Until I See You” ft. Titi Owusu
On Bryan’s latest album ‘Road To Hastafari’, he features a talented spate of artists from around West Africa such as Black Sherif, PsychoYP, A-Q, Titi Owusu and more. On the standout track “Until I See You”, Bryan sings from a place of hurt, as he expresses to his muse the emptiness he feels and requests that she stays by his side through it all. “Cause when I’m at the show, I make mistakes/With you my mind the whole time,” he sings optimistically, letting his lover know of her importance.
DJ Neptune – “Abeg” ft. Omah Lay & Joeboy
Following the success of his debut album ‘Greatness’ which he released 3 years ago, the DJ and producer is back and operating on his best form. The full-length LP is a 16-tracker, which features a good number of Afropop stars. On the standout track “Abeg”, DJ Neptune links up with Omah Lay and Joeboy for a mid-tempo number which finds both artists speaking on the sudden hold their love interests have on each of them. With lyrics such as “Somebody call me the popo, I think that I am in love,” both artists are armed to the teeth with flirtatious one-liners.
Ojahbee – “Yawa” ft Asake
Following the success of the Oxlade-assisted single “Dutty Wine”, talent manager and producer, Ojahbee is here with the Amapiano infused track titled “Yawa”. The catchy new single finds him teaming up with fellow Nigerian singer, Asake as the pair trade lyrics about the predicament they have found themselves in. “Yawa Dey, Sawa Sawa le/Fire Fire,” sings Asake over the song’s intoxicating hook while accompanied by a rich array of melodies and vivid percussion patterns.
Ruger – “Dior”
Earlier this year, Jonzing world signee, Ruger came in hot and ready for the competition with the release of his debut EP ‘Pandemic EP’. Months after he’s here with its follow-up by the way of his sophomore EP titled ‘The Second Wave’. The 4-track project finds the singer blending vibrant sounds and melodies to his will as he fires off his romantic and lustful intentions. Standout single “Dior” is a more braggadocious track that sees the artist feeling himself and his sense of style. He quips on the hook of the track “Badman looking good in Dior, badman drip to the core”, admiring his good looks and his designer sartorial choices.
Singah – “Bumshort”
Fast-rising singer and songwriter Singah is here with his sophomore tape ‘The Moon And Back’, a 10-tracker that finds the artist speaking on matters such as self-elevation, love, romance, leveling up and more. On standout single “Bumshort”, he sings “my girl she murder, she murder when she step in the place everybody dem know/Balance it o, nonstop with your bumshort” over the bouncy production of the track, singing in detail about his muse and appreciating her physical appearance.
KIBRA- “Live Your Life”
Following the release of her sophomore EP And It Was Good last summer, Eritrean-born, Toronto-based singer, songwriter and musician KIBRA is gearing up to unveil her debut full-length album in 2022. Ahead of this, she’s shared a new single “All That” back in August and its follow-up “Live Your Life” last weekend. “Live Your Life” is an exquisite R&B-pop offering fused infused with Kibra’s East African heritage sounds. Driven by her soulful jazz-esque vocals, lush harmonies and resounding strings and drums-led soundscapes, the track sees Kibra paying homage to our ancestors that have paved the way for us to be where we are today, and calling on us all to live our lives to the fullest in response to all the work and prayers that have been put in for us.
Sound Sultan left an indelible mark on Nigerian music and Afropop as a whole. The multi-disciplinary artist passed away in July, from throat cancer complications at the age of 44. His heart-breaking death emboldened his legacy as one of the best singer-songwriters in Nigerian music, with a catalogue filled with socially observant anthems, resonant and introspective hymns, and the occasional party-ready anthem. Sound Sultan made his mark by creating music in tune with the realities of everyday Nigerians, and he will be remembered fondly.
The latest act in the memorial of Sound Sultan is “Journey Back Home,” a new song dedicated to his memory by Nigerian singers Bankulli and TÖME. Helmed by the super-producer duo, Legendury Beatz, the Afrobeat-inspired song finds both singers ruminating on the transience of life. Taking on chorus duties, Bankulli invokes the infamous line and melody from Sound Sultan’s seminal folk song, “Motherland,” setting up the song’s premise with his folksy baritone. Delivering two emotionally charged verses, TÖME sings of finding her path through life, searching for clarity and reaching a higher calling to maximise her time on earth.
In its own way, “Journey Back Home” embodies the resonant ethos of what made Sound Sultan endearing. The song is also embedded in a titular pack comprising varying versions of the song with different instrumental embellishments. There’s also an intro that features Sound Sultan summarising his upbringing and initial forays into music. All proceeds from ‘Journey Back Home’ will be passed down to Sound Sultan’s family, a noble gesture from Bankulli, TÖME, Legendury Beatz, and all the other musicians involved in the making of “Journey Back Home” and its other versions.
Mere days after Kizz Daniel released his new EP, ‘Barnabas’, there was some chatter online as to why the singer’s recent project releases were not greeted by the loud bells and whistles that often accompany similar drops by Nigerian pop stars. There’s probably some merit to this claim; you’d be forgiven for not remembering—or maybe even knowing—that Kizz Daniel dropped his third LP, ‘King of Love’ amidst last year’s lockdown, and now, with the release of his new EP, history seemed destined to repeat itself.
The whole truth to this puzzling reaction rests on the premise that many may not consider Kizz Daniel to be the most magnetic superstar around but he’s certainly as bankable as top tier Nigerian pop stars come. You’d struggle to find any Stan hives dedicated to the singer, but that doesn’t mean his music is struggling for attention, in fact, it’s quite the opposite. His latest smash hit “Lie,” has racked up its fair share of accolades on the TurnTable Top 50.
Produced by frequent collaborator Philkeyz, “Lie” builds on familiar Kizz Daniel traits, including a lustrous but overly unshowy beat that compliments the breezy tenor of his voice, alluring ad-lib harmonies, and the song’s cheesy lyrics (“Girl, I don’t really care about your body type/what really matter na your vibe/I be the one for you”). Best of all, it sounds effortless, like he composed and rehearsed the song in his head while doing some mundane activity, before laying the main track and backing parts down in one take each. It also embellishes the idea that if there’s an avatar for standard Nigerian pop music, an artist such as Kizz Daniel fits the bill.
Over the last few years, Nigerian pop music has widened in scope and is arguably at its most diversified. In the same timeframe, though, the mid-tempo stylings popularised in the mid-2010s has sat firmly at the centre of Nigerian pop. Earning mainstream visibility at the top of that period, with a slew of hit songs and a widely beloved debut album, Kizz Daniel represents a bridge between the high octane sound of Nigerian pop in the late 2000s/early ‘10s and its mid-tempo succession. It’s a role he’s committed to playing, as he meticulously colours around familiar musical boundaries without sounding stale.
In Afropop, familiarity is not the most enticing gambit, but it can be refreshing to hear an artist confidently operate in their comfort zone to solid results. Nearly everything Kizz Daniel offers on ‘Barnabas’ has a predecessor or precursor in his catalogue. The lovelorn opener, “Pour Me Water,” is thankfully not as crass as the viral “Fvck You,” choosing instead to offer a vulnerable perspective into dealing with an unfaithful romantic partner. “Addict,” while not as empathetic a song as 2018’s “Tobi,” offers truth-telling without proselytising. The project’s pseudo-title track is slightly less blatant than 2019’s “Jaho,” but the verve in Kizz Daniel’s prayers for prosperity remains intact.
The Kizz Daniel formula hinges a lot on relatability, finding new and inventive ways to broach the same universal topics. He seems content with putting mundane realities into song, a detail that informs many of his biggest hits making them relatable to the wider Nigerian audience. It should sound familiar and monotonous, but it’s not. On “Oshe,” which features backing vocals from revivalist Highlife-fusion duo the Cavemen, Kizz Daniel shows why he’s an excellent troubadour, pulling off a blue-eyed romantic standout over a Folk-pop beat.
Alongside a host of talented producers including Philkeyz, Blaise Beats and Reward Beatz, the project is kept afloat with a supply colourful and consistent production, brimming with groovy percussion patterns, gleaming piano chords, some plucky guitar riffs, and the occasional horns. This EP is probably the only project from a Nigerian pop act with zero log drums or Amapiano flirtations, perhaps a perfect encapsulation of Kizz Daniel’s peculiar place in Nigerian pop music, where he’s right at the centre but not too bothered about adapting fairly new, dominating trends.
Also interesting is the fact that Kizz Daniel has already announced the release of a fourth album tentatively titled ‘Afro Classic’. With its imminent arrival underway and his new EP’s recent release, it’s clear that he’s one of the most prolific workers around and one with a foolproof formula that is yet to fail him. His desire to stay under the radar is offset by his list of hit singles and his sizeable ambitions which continue to earn him the admiration and support of his loyal audience. Kizz Daniel knows the groove he prefers, and he remains as reliable as ever.
After over a year in isolation defined by understated, practical clothing, Lagos-based designer, Lisa Folawiyo reemerges this fashion season with a lush new film directed by the award-winning stylist, photographer and director, Daniel Obasi.
The 3-minute film is centred around Lisa Folawiyo’s latest drop titled ‘Col 1 2022’, a vibrant collection that portrays fashion and creative expression as essential tools for non-verbal communication. The newly released film masterfully combines opposing colour schemes, textures and styles to reinforce Folawiyo’s method of pairing unlikely, complex objects and draping them in gorgeous silhouettes.
According to Folawiyo, this collection represents the unifying chaos we experienced in the past year, as it presents: “polarizing ideas that meet and merge”. The prints from the collection are also inspired by the gong man, (or town-crier) and Igbo and Hausa proverbs, as Lisa Folawiyo pays homage to indigenous forms of communication.
Aside from the fine tailoring and impressive silhouettes, specially chosen to evoke and celebrate different facets of femininity, the film also features varying local beauty and hair techniques, inspired by traditional hairstyles from across Nigeria. Backed by an alluring soundtrack which was produced by Daniel Obasi himself, the noir-inspired film serves as a departure from Folawiyo’s bright, vibrant aesthetic, as the pair instead evoke a darker, more haunting feel using elements such as water, hair, hues and sound.
‘Col 1 2022’ is an emboldened awakened statement for Folawiyo and Obasi after a long search for the raison d’être of fashion. It’s the exact celebration of femininity and imagination that we need as we near the close of 2021.
Three years after the release of his debut album, Nigerian DJ and producer, DJ Neptune has just released his sophomore album titled ‘Greatness 2.0,’ a collection of 16 songs that showcase his sonic growth since emerging back in 2010. However, while 2018’s ‘Greatness’ stood out for its bubbly, high-spirited productions and star-studded collaborations, today’s release is marred by Neptune’s alleged case of intellectual theft by fellow singer, Rema.
With all due respect chief! Dropped my old record without due process?!! I’m not happy at all. @deejayneptune
In the early hours of today, the Afro-rave singer, Rema took to Twitter to air out his frustrations at the DJ and producer who allegedly published and released a song that was not cleared by the singer. “With all due respect chief! Dropped my old record without due process?!! I’m not happy at all. @deejayneptune,” he tweeted. “Don’t violate the codes, can’t drop my song without my notice, can’t even remember the last time we spoke big bro,” the singer had continued in a Twitter thread.
The song in question, “For You” is an up-tempo Afropop number that finds the singer crooning in his now-signature gibberish style. According to Rema’s Twitter thread, the singer had asked his management to address the situation with DJ Neptune behind-the-scenes, requesting that the song never be released. However, these pleas were not honoured as fans and listeners can now listen to the track across all major streaming platforms.
In the Twitter thread, Rema also shared that he was not paid for the track, “For You,” neither did he sign a document consenting for its release or publishing. The singer also revealed that DJ Neptune did not even consent about the release of his stems. Rema now demands for the song’s removal from streaming platforms as it was not acquired through legal means.
Lastly, TAKE MY SHIT DOWN! I’m finna make new enemies after this, but God big pass INDUSTRY. 👎🏾
So what does it mean for a record to be uncleared?
More than the music we hear today, there is a due process that needs to be followed before a song is ready for publishing on streaming platforms or disseminated for physical distribution. On a track that involves two or more parties, there’s always an agreement on royalties, splits and more, which are typically discussed and agreed prior to the recording and release of the song. This may involve record labels, management and of course, the artists themselves who agree on the terms and the splits.
Original musical creations are considered intellectual property and can be protected from use by others under intellectual property law. This means that at no point after the song’s creation can one party release the track without the knowledge, agreement and consent of the other parties involved in the creation of the song. However,
This will not be the first case of intellectual theft in Afropop. In a music industry as unstructured as the one in which we currently operate, it is not uncommon for artists, producers, and songwriters to receive poor treatment from their collaborators when there is no due process followed to ensure all parties are treated fairly. For this reason, it is always advisable to have a lawyer and be surrounded by people who have your best interests at heart and can fight for your intellectual rights. Oftentimes, people fail to understand that the music industry is a business and should be treated as such.
Currently, DJ Neptune has not publicly responded or acknowledged these claims from Rema and has instead been spotted reposting and resharing comments from fans and listeners who have the track on replay.
As the year winds down, the sheer number of music we receive at The NATIVE keeps growing at an exponential rate. With live shows back in full swing and Afropop hits such as Wizkid’s “Essence” and CKay’s “Love Nwantiti” climbing the charts both home and abroad, there has never been a more exciting time than the present for the ever-evolving sonic landscape. Through it all, we remain committed to the ideal of music discovery and sharing that is a big part of what we stand for.
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 time out, we had exciting music from Kizz Daniel, Vigro Deep, and Nissi amongst others. Today, we’re bringing you new music from DJ Neptune, Ruger, Blaqbonez, and more.
Dj Neptune – “Cash” ft. Kofi Jamar & Jeriq
Three years ago, DJ Neptune reached into a deep vault of collaborations with a collection of African stars to release a body of work that captured the best and brightest of Afropop on ‘Greatness.’ The follow-up to that album is only better and shinier, seeing the DJ-producer spread his net to include talents from across the continent and the black diaspora. On “Cash,” the DJ links the boundless energy of Kumasi’s drill scene with the street-savviness of Eastern Nigeria by pairing Kofi Jamar and Jeriq who trade bars about the merits of cash.
Blaqbonez – “Okwaraji (Remix)” ft. Bella Shmurda
When Blaqbonez dropped ‘Sex Over Love’ in April, it was the culmination of a wild 18 months when his reach had expanded beyond music to cultural influencer status due to his rabble-rousing ways. Nowhere on that LP did his mischievous instincts come to the fore as they did on “Okwaraji,” a Beats By Jayy-produced trap-meets-ballad attempt that sees him accept the cold nature of the streets. Featuring Bella Shmurda on the remix that is housed on the deluxe of ‘Sex Over Love,’ the “Cash App” singer paints a striking picture of how success can alienate one from love, instead of settling for the comfort of loveless trysts.
Bankulli & Töme – “Journey Back Home”
More than five years months after passing, the death of Sound Sultan still doesn’t feel real. An avatar of contemporary Nigerian Pop, he established his artistry across a stacked catalogue of seven albums and numerous impactful singles. To pay homage to the legend celebrated A&R, songwriter, and singer, Bankulli has teamed up with Canadian-Nigerian afro-fusion singer, Töme, to release a single that pays homage to his personality and far-reaching impact on the growth of Nigeria, and African music. Named “Journey Back Home,” the song is a pithy recognition that Sound Sultan has ascended to be with the elders and is now in a better place, where he is unencumbered by earthly concerns.
Ruger – “Snapchat”
Following his star-studded entrance earlier this year on the D’Prince and Rema-assisted “One Shirt,” Jonzing World’s Ruger has just released his sophomore project, only a few months after his debut ‘Pandemic.’ The singer offers a re-immersion into his world titled ‘The Second Wave,’ which features standout track “Champion,” a braggadocious number. Yet, it is on “Snapchat” that his carefree flirting and bouncy melodies are at the strongest as he recalls shooting his shot to a love interest on the social platform.
Kwesi Arthur – “Celebrate” ft. Teni
Following the release of his previous single “Different” earlier this year, Ghanaian rapper and singer, Kwesi Arthur has linked up with Nigerian singer Teni for a congratulatory number titled “Celebrate.” Over the song’s catchy production, both singers toast and celebrate the good life, choosing to ignore life’s worries and focusing instead on the pleasures it offers. “Cause the money no matter/show dem go celebrate tonight,” he sings over the memorable hook, encouraging listeners to focus on the joy that the festive period brings rather than the poor economic state of their countries.
R2Bees – “Fine Wine” ft. King Promise & Joeboy
R2Bees are Afropop royalty. In a career spanning across 15 years and three albums, the duo have created timeless music and moments that have resonated with generations of singers. On their fourth album, ‘Back To Basics,’ they lean into their mastery of a range of genres while collaborating with the new vanguard of Afropop. On “Fine Wine,” led by King Promise and Joeboy, the veterans weave an array of melodies in and out of the strong deliveries by their guests.
PSIV – “So Sexy” ft. E.V.E
A key figure in the Nigerian drill scene, Psiv introduced himself to the world last year with “GANGLAND,” a highlight off his debut EP ‘Welcome to the 234’ which offered a panoramic view of the brutal reality of life in Nigeria. On his latest single, “So Sexy,” the singer’s motivations are more mellow as he affirms a dedication to the hot women he finds sexy. Vocalist, E.VE., contributes a lustrous hook atop Zolo’s dusky beat, perfectly complementing the sensual vibe of the single.
Ocapo – “100% Or More” ft. AYLØ & Ictooicy
One of the biggest benefits of the Internet is how artists who may not have previously known about each other are able to find themselves and collaborate across borders. Released today, ‘Love, Always,’ is a labour of love from artists located in places across the world. Nigerian musicians, AYLØ & Ictooicyjoin Ocapo for a song about keeping the energy in a relationship on a high. Flitting from soul to jazz, and dreamy rap, the song combines all their unique strengths for a gentle single that finds wider expression within the expanse of ‘Love, Always.’
Nissa Seych – “Hazy”
Nissa Seych has a voice that sounds like melted butter. Her music pushes a deft fusion of Reggae, Afropop and Dancehall that is tinctured with the confessional aura of R&B and her latest song, “Hazy,” is an alluring investigation into how a romance can unravel. Dissecting her frustrations with a romance and seeing her on the verge of giving up on that love, “Hazy” has Nissa Seych deftly layering her voice over the mid-tempo instrumental produced by Zeffir, using it to create a hallucinogenic effect that elevates the song. “Hazy” follows up from “Ghost” and “Galagos” where Nissa Seych trialled a classic rap flow, adding another bow to her armoury.
Rexxie & Victony – “Nataraja”
Earlier this year, Victony was in an accident that profoundly changed his life, leading to a cathartic response on “Pray.” He’s been in inspired form ever since then, collaborating with Mayorkun on the chart-topper, “Holy Father.” On “Nataraja,” a two-pack song collaboration with Rexxie, who dropped his stellar debut, ‘A True Champion,’ earlier this year, the singer is effusively expressing affection for a love interest. On “Like Dat,” the singer leans gently layers his vocals about defending his lover over buttery production by Rexxie while “Ego,” featuring a signature Amapiano fusion instrumental from Rexxie, has Victony dreamily asking for the best of romance from his lover.
Since the brand’s inception, Lisa Folawiyo has broken boundaries in the Nigerian fashion industry with their daring and innovative designs and prints. Following the release of their latest collection, ‘Coll 22’, the brand has now followed up with a new fashion film, ‘Keeree O’, directed by Daniel Obasi.
After over a year defined by understated, practical clothing to suit the COVID-imposed lockdown, the fashion industry seems to be coming back in its fullest glory. Back in October, we witnessed the return of Lagos Fashion Week with some of the most memorable runways Lagos has ever seen, and from Andrea Iyamah’s beachfront runway, to Orange Culture’s standalone show, the shift in fashion culture and presentation is clear.
The 3-minute film is centred around Lisa Folawiyo’s vibrant new drop, ‘Col 1 2022’, a collection that portrays fashion and creative expression as essential tools for non-verbal communication. The newly released film masterfully combines opposing colour schemes, textures and styles to reinforce Folawiyo’s method of pairing unlikely, complex objects and draping them in gorgeous silhouettes.
According to Folawiyo, this collection represents the chaos we collectively experienced in the past year with it’s “polarising ideas that meet and merge”. Through the prints, this collection also pays homage to indigenous forms of communication, inspired by traditional Yoruba, Igbo and Hausa proverbs.
Aside from the fine tailoring and impressive silhouettes which were made to celebrate different facets of femininity, the film also features varying local beauty and hair techniques, inspired by traditional hairstyles from across Nigeria. Backed by an alluring soundtrack which was produced by Daniel Obasi himself, the noir-inspired film serves as a departure from Folawiyo’s bright, vibrant aesthetic, as the pair instead evoke a darker, more haunting feel using elements such as water, hair, hues and sound.
Blaqbonez is one of the most fascinating characters working in Afropop today. Around the time of his 2018 project, ‘Bad Boy Blaq’, he leaned into a promotions strategy that was as aggressive as it was imaginative, merging the wide reach of social media with an identifiable brand of self-aggrandising humour which he has sustained since then.
On the back of one of his many tenacious and whimsical campaigns, Blaqbonez scored his biggest song yet earlier this year with the bubbly pop single, “Bling.” The Amaarae and Buju-assisted cut made a run in the top ten of the TurnTable Top 50 charts and also climbed its way to the top spot of the local Apple Music charts in Nigeria. It also set the tone for Blaq’s official debut album, ‘Sex > Love’, a musically colourful affair where he exalted hedonism over heartfelt romance. Adopting “Emeka The Stallion” as the alter ego, the album continued his knack for creating conceptually amorphous projects while emphasising his commercially-driven fusion of Afropop and Rap.
The rapper/singer is currently working on its follow-up for 2022, tentatively titled ‘Young Preacher’. However, ahead of this, he’s shared the deluxe edition of ‘Sex > Love’, which includes five new songs. The additions are an interesting mix of entirely new songs and remixes. One of the new songs is “4 Door Jeep,” an ebullient display of affluence and desirability over Telz’s welling guitars and speak-rattling bass. The other original addition, “Medicine,” reunites Blaqbonez with Oxlade, his collaborator on breakout hit “Mamiwota.” The DJ Coublon-produced song is an explicitly carnal song over a Dembow-inflected groove, as Blaqbonez vividly details the ins and outs of his sexual prowess. Oxlade follows suit, but in his trademark fashion, adds a romantic touch to his contributions.
The remaining three tracks are remixes, but only one of those is for a track off ‘Sex > Love’. “Okwaraji,” a lustrous highlight produced by the recently late Beats By Jayy, receives an update via a new verse by Bella Shmurda, who plays into the song’s original theme by vaguely detailing his life of excess. For the other two remixes, Blaqbonez reaches back into his catalogue, reviving 2019 hits from his EP, ‘Mr. Boombastic’.
The lead single “Shut Up” gets the pan-African remix treatment with guest features from Ghanaian rap artist Kwesi Arthur, Ghanaian pop star Kuami Eugene, and South African R&B singer Tellaman. The Alpha Ojini-produced track finds Blaqbonez taunting his detractors over a soulful boom-bap beat. The deluxe additions are rounded out by a remix of ‘Mr. Boombastic’ intro, “Run My Race,” with features from Kida Kudz and Prettyboy D-O. The trio tag team across the breezy and thumping beat produced by CKay, creating a full-circle moment, considering both guests were influential to the EP—D-O famously called out Blaqbonez shortly after the EP release.
With its approach of mixing the old and the new, ‘Sex > Love (Deluxe)’ ensures a form of continuity in Blaqbonez’s catalogue, something he’s been keen on since entering the mainstream view with ‘Bad Boy Blaq’ and its ensuing “Re-Up.” As much as it falls firmly into the modish practice of repackaging projects, the attached caveat is that Blaqbonez is unabashedly emphasising his status as one of the most vibrant and acclaimed hybrid Afropop/Rap artists on the continent.
