Best New Music: Victony & Rexxie become musical kin on 2-song pack, ‘Nataraja’

Posted on by Dennis Ade Peter

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.”

 

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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.

Listen to ‘Nataraja’ here.

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NATIVE PREMIERE: VICT0NY WANTS TO “PRAY”

Bruk It Down: Grammy nominated producer, London on the making of “Bloody Samaritan” by Ayra Starr

Posted on by Dennis Ade Peter

“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.

BRUK IT DOWN: THE MAKING OF P.PRIIME, OLAMIDE & BAD BOY TIMZ’S HIT, ‘LOADING’

NATIVE Premiere: Joya Mooi honours the fight against injustice with “Most Frail”

Posted on by The Native

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.

 

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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. 

 

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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.

Featured image credits/Courtesy of the artist

TurnTable Top 50: Davido and Focalistic’s “Champion Sound” Makes Its Top Ten Debut

Posted on by Tami Makinde

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.

You can read a full breakdown of the charts here.

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Court of Appeal upholds landmark ruling that decriminalises homosexuality in Botswana

Posted on by Dennis Ade Peter

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”

 

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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.

[Feature Image Credits: CNN, Getty Images]

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Songs Of The Day: New Music From Zinoleesky, Alpha P, Bryan The Mensah & More

Posted on by Wonu Osikoya

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.

Bankulli & TÖME pay tribute to Sound Sultan with “Journey Back Home”

Posted on by Dennis Ade Peter

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.

Listen to ‘Journey Back Home’ here.

ICYMI: IN CELEBRATION OF SOUND SULTAN, NIGERIAN POP MUSIC’S EVERYMAN

Essentials: Kizz Daniel remains as reliable as ever on new EP, ‘Barnabas’

Posted on by Dennis Ade Peter

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.

Listen to ‘Barnabas’ here.

TRACK BY TRACK: WANI BREAKS DOWN ‘LAGOS CITY VICE 2’

Watch Lisa Folawiyo and Daniel Obasi’s fashion film, ‘Kéére O!’

Posted on by The Native

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.

 

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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.

Watch ‘Kèéré O!’ below.

Featured image credits/DanielObasi

Rema Calls Out DJ Neptune For Releasing Their Song Without Permission

Posted on by Wonu Osikoya

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.

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. 

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. 

This is a developing story.

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Songs Of The Day: New Music From Ruger, Kwesi Arthur, Ictooicy & More

Posted on by The Native

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 & Ictooicy join 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. 

Watch Lisa Folawiyo and Daniel Obasi’s fashion film, ‘Kéére O!’

Posted on by The Native

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.

 

 

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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.

 

Watch ‘Kèéré O!’ below.

Featured image credits/DanielObasi

Blaqbonez updates ‘Sex > Love’ with a deluxe editon

Posted on by Dennis Ade Peter

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’.

 

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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.

Listen to Sex > Love (Deluxe) here.

ICYMI: WURLD TALKS US THROUGH ‘AFROSOUL (DELUXE)’

For The Girls: Ria Sean Is Forging Her Own Path

Posted on by The Native

Earlier in the summer, rising singer and songwriter, Ria Sean signed with Aristokrat Records, one of Nigeria’s premier labels. While the moment was widely celebrated, Ria Sean’s inclusion on the roster stood out for one reason: she’d become one of the few female artists to get the Aristokrat seal of approval, joining earlier acts such as Cameroon’s T’neeya and Lagos’ Saszy Afroshiii.

 

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It’s no secret that the music world is heavily male-dominated. Although women have been integral to Afropop’s culture, they’re often shifted to the background as decoration for their male counterparts, or they are pitted against one another and maligned by critics and fans alike. However, we’re now coming into times where several female artists are making music on their own terms, honing their sound and increasing their reach, and side-stepping industry gatekeepers. That’s why career moments such as the one Ria now enjoys are a reminder of the strides women have made, and continue to make in the industry.

However, there’s a slight chance we might have missed out on all of this, as while she was growing up in Nigeria, the singer found her first love in dancing. She tells me via a Zoom call that dancing is a form of expression that she’s nurtured right from when she was a young girl. Despite not earning any professional qualifications as a dancer, the singer shares that she’s always loved the free flow of movement it offered her, and she’s consistently trying to imbue it in her music videos (or from the comfort of her room). When she wasn’t dancing, Ria would spend her time visiting a friend’s studio where she would eventually write and record her first song.

Ria Sean fell in love with music when she was 6 years old. However, she wouldn’t take it seriously till she was 13-years-old and singing in the church. Raised by a hardworking single mum who made sure Ria grew up with everything she and her siblings desired, Ria, admits that she faced challenges while trying to find her footing as a young girl on the streets of Lagos. “When I wouldn’t have money for transport to the studio she would help out. She has believed in the dream for so long now. She knew I was so dedicated to making music and nothing else had my attention,” she tells me a few days after her debut EP’s release. Emboldened by a dynamic mother who believed in her dreams, Ria Sean would take matters into her own hands, and forge a way out of adversity, using her experiences as an anchor to propel her to greatness.

It was only a matter of time before Ria’s tenacious spirit would land her the tools she needed to propel her artistry–which she now enjoys with her Aristokrat deal. However, as much as what we’re seeing from the singer today appears well-thought-out, defined and relatable strategy, this moment in her career has actually been years in the making. “I try to be versatile and explore new sounds and new vibes but still keep the same Ria Sean,” she admits to me, as she impresses on the importance of staying true to herself while expanding the scope of her artistry.

“I make music for everyone and for the soul. Music that touches your soul and makes you feel like you want to listen to it again. I make music that inspires and spreads good energy.”

The sweet spot in Ria’s music seems to be that the Nigerian singer and songwriter is constantly trying to speak directly to her soul. Her recently released debut EP, ‘FLUID’ is a mesmerising collection of heart-wrenchingly confessional numbers which sound like a friend on the other end of the phone. Ria Sean has a knack for singing about things we don’t say outright, at one moment pining for her love to please her on “Satisfy My Soul” and at another moment, demanding that she’s paid what she’s owed on numbers such as the promotional single “Money Bag.”

With this, Ria occupies a refreshing position in today’s musical landscape. She’s among the leading female singers who are making their voices heard and disrupting the status quo, eschewing the times where only one female singer could be on top at a time. As part of a new generation of female artists putting lyrics to our infinite moods, it’s clear that Ria Sean is here to redefine what it means to break barriers as a female artist today.

Now, off the back of the incredible fanfare she’s received from her debut EP, the singer is now offering listeners and her loyal fans more insight into her world by premiering the official music video for “Satisfy My Soul” today. To celebrate its release, we caught up with the singer about the song’s inspiration, her background, and what it means to be a woman in the industry today.

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

NATIVE: Hey Ria, what inspires the music you make?

RIA: When writing music I get inspired by anything I find interesting at the moment. Maybe a personal experience or a particular tree that I really like. I just write about anything I want to write about. I’m really versatile and free with my vibe.

NATIVE: What was the concept behind the “Satisfy My Soul” video? How involved are you in your creative output?

RIA: The concept was to have a lot of skin in the video but there’s also a deeper meaning behind “Satisfy My Soul”, representing family and my sisters. The visual is me around my sister and there is a part in the video where you see me around money, so those little details are things that drive me and make me satisfied. I contributed to the visual by showing Clarence a few ideas and references of what I wanted the video to look like and he went with it, showed me what he had in mind, I agreed to it and we shot the video. I had about 50% say of what the video will look like.

NATIVE: “Satisfy My Soul” holds such a strong message, what would that be in your words?

RIA: The main message is “say you satisfy my soul”, that thing that gives you drive and keeps you going and satisfied even when things aren’t going well. I have a few things that I’m mainly singing about like money, family, friends and that’s what we try to portray in the video.

NATIVE: Tell me about getting signed to Aristokrat Records. How did that come about for you?

RIA: It was from all the studio jobs I was doing. I was doing backup for various artists cause I needed to make money. One day I went to do a backup job and the producer at the time was a guy called Lyriq and he heard what I did and he was interested in working with me. We talked and I worked on some records with him. He was linked to Aristokrat’s and he played my music for them and they were interested in me. They didn’t sign me immediately but they had an eye on me. I was just doing my thing and they signed me a year later.

 

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NATIVE: What’s it like being a young female in the music industry today? 

RIA SEAN: I don’t really know how to answer this question when I’m asked because I’m so focused on just getting what I want to get, the positives and not the disadvantages. I could say that being signed made things a lot easier because things weren’t as easy for me before I got signed as an independent and female artist. Money is an issue, being a woman is an issue because you have to do a lot more and beat people’s expectations and you have to come out of your comfort zone. Because of the passion and love I have for music, I know music and I know what I want for myself, I haven’t paid attention to the negatives.

NATIVE: What would you say are the differences between being independent and signing to a label?

RIA: Being an independent artist, you do whatever you want cause it’s just you and there’s this certain freedom you have but it’s hard when you don’t have a team. When you’re signed you’re working in a team and you want to do better and go the extra mile because there are a lot of people you’re working with. so it’s pretty easy to work in a team than being independent because you have to be creative and there is also a business side to it like planning so many things like interviews and making money. Money is a strong factor when you’re signed. You can make it as an independent artist if you have the connections and money but it’s easier when you’re signed. Both sides work fine but being signed is easier for me because when I was independent it wasn’t easy.

NATIVE: Talk to me about your perspective on women owning their sexuality and reclaiming their bodies. Why do you think it’s important for listeners to associate you with that message?

RIA: At the end of the day it’s my body and I do whatever I want. Sexuality doesn’t have to be showing off ass, skin, boobs and all but me personally that’s how I feel comfortable showing myself off, I’m a sexy being and I like that. Sexy can also mean being smart, your mindset and how you see things. I want to spread the energy to women in the world that you should be comfortable in yourself, wear what you want and just be you. Women go through a lot like being on their period and having cramps and all. You’re the one carrying all that burden so you should feel okay to carry your body how you like as long as it’s not hurting anyone. Whatever decision you want to make with your body then do it as long as it’s something that makes you happy and satisfied.

NATIVE: Would you say your work is contributing to the changing landscape of Afropop music?

RIA: I’d say my work adds to the landscape of Afropop because there are so many other people in the world making similar music. I don’t plan to change it but add to the music I’ve grown up listening to and I’m just gonna come and contribute to it. Imagine it just being me, it would be really boring so the only way it could be beautiful is by adding your own vibe to it.

NATIVE: What should we be expecting from Ria Sean? Any new projects coming soon?

RIA: I have more EPs and albums coming out. But all next year. I am putting together a merch soon but I’m still trying to work everything out.

Watch the video for “Satisfy My Soul” below.

Featured image credits/NATIVE

ICYMI: With Darkoo, You Always Get Twice As Much

Review: Phyno’s ‘Something to Live for’

Phyno grew up in the serene city of Enugu attracted to the booming sound of Hip Hop, a genre birthed from harsh circumstances and black excellence. He admired rappers like 2Pac and The Notorious B.I.G. who rapped every word like they really lived it. Their plush, grand beats were of particular interest and after years of fitting Igbo words into the rhyme schemes of Busta Rhymes, Phyno, whose real name is Chibuzor Nelson Azubike, wanted to test his mettle as a rapper—not immediately, though. Instead, he’d learn production because the Enugu producers he approached for similar beats were more adept in Highlife which was the most recognizable genre in the entire region. 

Phyno stepped into the rap life in 2010, at the turn of a decade in which rap music in Nigeria blossomed. His early songs were delivered primarily in English, perhaps because the biggest rappers then operated on a similar plane. This was the era of Naeto C and M.I Abaga when the latter rap superstar, along with Nigga Raw, would bring Phyno on a Star Fest stage in Enugu. Both rappers also joined Flavour and Timaya on Phyno’s “Multiply.” These moments might have come at the beginning of his career, but a young Phyno would set a vast tone for where he could go sonically.

For many, Phyno’s assembling of this star-studded lineup so early in his career either portended one of two things (or both of them). For one, it was clear that he’d amassed a great network during his producing days and had his fingers on the culture’s pulse. On the other hand, his talent for rapping was so unique anyone could see it. Phyno, however, pined for a Lagos crossover and would come a long way before he became an “East Coast Nigga [who’s] banging in the West” as he would later rap on “Kush Muzik.”

December 2012: the year that “Ghost Mode” was released. Produced by Phyno himself, the rapper and his guest star, Olamide would trade bars over a fiery beat, lifting their indelibly worded lyrics from totems of popular culture such as video games and Nollywood. The jungle-themed video was directed by Clarence Peters at the peak of his powers, featuring close-up shots of the rappers. A new generation of impressionable kids and teenagers would gaze at the TV to see Phyno’s much-discussed lean physique and austere tattoos, spit dizzying rhymes with a cool detachment. By the next time, when he appeared in the smoky video of iLLBliss’ “Anam Achi Kwanu,” delivering its instantly memorable hook, it was clear Phyno played the street associate to iLLBliss’ mafia boss. He knew the queer spots of the city and could get you anything; somehow you also knew not to fuck with him. 

His debut album, ‘No Guts, No Glory’, was built off this idiosyncrasy. On its cover Phyno’s face is set against a dark background, bringing his stoic features into view. Many may not have realised it at the time but Phyno went into that album as one of the country’s most excitable artists. The pressure however proved to be nothing as Phyno made light work of subjects both personal and communal. On the project, he would chart his crazy youngster days on opener “Chibuzo” to a tribute to deceased friends and associates over a soulful sample of Marvin Gaye’s “Abraham, Martin and John” on the Major Bangz-produced “Good Die Young.” At the time, his star power hadn’t fully been established, so features like P Square, Omawunmi, and Ice Prince were necessary fusions of quality and hype. Later that year at The Headies, Phyno would go on to earn five nominations including Artist and Album Of The Year. He won Best Rap Single for “Parcel.” His evolution was underway.

Naturally, Hip-Hop purists contested Phyno’s position, believing his style to be a downgrade on the culture’s established tenets (read: intelligent-sounding English punchlines). He and the Fuji-exploring Olamide had supposedly abandoned their Hip-Hop roots. The rappers’ response came on Reminisce’s “Local Rappers,” a record where they mocked those who saw their pop-rap experiments as lazy and without any lyrical muscle. Punchlines don’t pay: said the trio. Initial outrage slowly transfigured into understanding, especially as the mid-2010s increasingly saw indigenous elements co-opted into the mainstream.

Phyno’s own interpretation of other genres such as Highlife began with “Connect” in the period before ‘The Playmaker’, his 2016 sophomore album. Subsequent albums would follow this template—pairing of rap bangers with guitar-streaked Highlife production. 2019’s ‘Deal With It’ was recognisably rap-directed (with all-time Phyno classics like “Speak Life” and “Get The Info”) but he couldn’t help producing near pop-hits like “Ka Anyi Na Ayo” and “Ride For You.”

On Phyno’s fourth and latest album, ‘Something To Live For’, the 35-year-old veteran continues this encompassing tradition, for better or worse. The album’s opener, “Chizoba,” features The Cavemen, the brother band whose albums ‘ROOTS’ and ‘Love & Highlife’ has updated the daring inventiveness of Highlife, a genre whose cultural reign was stunted by the outbreak of the Nigeria-Biafra War in 1967. Mirroring Phyno’s direction, the duo’s trademark skittering percussions are traded for producer Chillz’s atmospheric keys setting the tone for the euphoric cut.  Arriving hot on the heels of this cinematic backdrop, Phyno unpacks his stories of strife but leans more towards appreciation, flexing his current wins which include sending his mother a “Mac just to put her on fleek.” 

Many artists once tussled with their parent’s expectations of them having regular, well-paying jobs. Indeed, much of their early music documented this familial pressure and the relentless pursuit of their creative talents. “Chibuzo,” the first track off ‘No Guts, No Glory’ features comic voice-overs from a woman who plays Phyno’s mother imploring him to stay off the streets. ‘Something To Live For’ is no different in this regard. On “Chizoba,” he wastes no time in referencing the trajectory of his current journey: “Chukwu e desi go m na frontline\ Now ife n’eyezim nni bu punchline (translated as “God has put me on the frontline; now what feeds me are punchlines”), he raps, acknowledging the grace he now enjoys.

Over the years, Phyno’s commercial successes have tended to overshadow his lyrical depth. Although he got hip to the game by learning the technicalities of American Hip-Hop, he’s also well versed in the Igbo oral tradition, whose rich proverbs, riddles and irony seep into his music. Backed by this wide knowledge, it’s no surprise that every Phyno album has its exalted moments of pure rapping ability. On ‘STLF’, it comes on the fifth track—“I Do This,” which features the American rapper, D Smoke. The album’s centrepiece sees both rappers declare their intent to represent the characters you’d find in their respective hoods of Enugu and Inglewood, traversing cultures with their relatable rhymes about growing up in the hood.

On “Gold Medal,” Phyno unites Ghanaian rapper Pappy Kojo with BEEPEE, a budding act from the East. Together they run laps around the bouncy production, making a case for their superior rap skills while acclaiming the gloss of their celebrity. Phyno’s assertion that “I’m in the room but you can’t metu (touch)” is a boastful piece of information that doesn’t sound any bit fictitious. This account is further strengthened on the affirmative track “Stacks,” where he raps about talking his shit and backing it up. Always one to project a veneer of indestructible belief in his greatness, Phyno sometimes orchestrates a look through his mind, giving listeners insight into the complex emotions he seldom has the will to express.

“All The Smoke,” a deep cut reminiscent of Burna Boy’s “Pree Me,” is built on steady drums and melancholic keys. “Living everyday just because we no dey shout for their face dem talk say we no dey audible/I no fit forget where me I come from,” he sings, referencing the criticism his introversion has generated. The underside of these conflicting thoughts throws the ugly state of Nigeria’s social reality under focus. Phyno makes that connection on “Ghetto,” a riveting account of hood reality. “If no be for music, tell me where I for be?” he asks. Some national newspapers recently reported that the highly addictive crystal meth—known as Mkpuru Mmiri in Igbo states—is rampant in the region. Among other life-threatening effects, the drug causes heightened irritability which might account for the increasing crime rate in the region. When Phyno says “things dey happen for the ghetto,” it’s with the brutal admission that big dreams are being lost in the same streets which made him.

For all of Phyno’s dedication to gritty, street-focused narratives, there are also moments that radiate joy. Masterkraft’s bubbly production sets his heart aflame with gratitude on “Bia,” a record that could seamlessly fit into a playlist meant to soundtrack weekend mornings in Christian homes. Historically, the Igbos had earnestly received Christian missionaries in the 19th Century, and as globalisation brought local churches conventional techniques and modern instruments, influential Igbo musicians like Patty Obasi and Luke Ezeji paired classical choral music with indigenous elements. Born to Christian parents in Enugu, Phyno is familiar with the traditional church sound.

In his professional music, he condenses both Gospel and Highlife to represent both sides of a social coin—the former embodies submission to the divine will while the latter is ostensibly boisterous, depicting the lifestyle that comes with having it. On ‘STLF’, a number of songs fit into this hybrid subgenre. “Winner” finds Phyno exalting his Creator for his wins, joyously singing, “the things I pray to God, I swear e give me double,” before admitting a deep concern: “How I go dey and my people na na-eri aja? (How will I be alive and my family will be eating sand?).” As the album progresses and the percussive-heavy production collapses into a body-shaking gyration, we find Phyno linking up with longtime collaborator Flavour on “Ikepentecost,” a vibrant, high-tempo song that would soundtrack the December festive period, renowned for its widespread show of opulence.

Incorporating non-rap genres like Highlife where even the best singers might struggle, Phyno’s malleable voice texture ensures he comes out tops and most times with a hit song. Because rap is closest to everyday speech than most genres, elite rappers find ways to inflect their delivery to evoke different moods. Phyno’s cadence mirrors his chosen beats. On traditional rap production, as in “Chizoba” and “I Do This,” he adopts a high-wire cadence, bouncing off the beat rather than riding along. When faced with the coastal sounds of Highlife, he strains for tenderness, as seen in the sanctimonious “Bia” where his earnest vocals are joined by a choir to plead for Heaven’s grace.

On the backend of ‘STLF’, he ditches rap’s imposing quality for sing-song love duets, powered by guest artists like J’Dess (“Love Me Right”), Jay Teazer (“No Love”) and Anjulie (“Ain’t Nobody”) who infuse some needed variance. Unlike previous star-filled albums, ‘STLF’ mostly features rising musicians, an indication perhaps of Phyno’s desire to further step into his legacy. His Penthauze Entertainment signee, Superboy Cheque—himself rewriting the rules of pop-rap in Nigeria—might have made a worthy guest but his absence is rather ceremonial than practical. And, with sixteen songs and over an hour-long, the album could have been more cohesively strung together given that it lags in unexpected places.

Phyno’s albums are infamously released without fanfare but ‘Something To Live For’ was a notable deviation. Hours before release, Phyno and buddy Olamide teased themselves on Twitter, with Olamide saying he’d leak their song together because  Phyno “no sort boys.” Fans were gleeful to see the reclusive musicians share their famous bromance in a public space and when Olamide ‘leaked’ the record to Notjustok.com, there were even more reasons to like “Do You Wrong.” Sharing the house party vibe of ‘Carpe Diem’’s “Shilalo,” the musicians plead a love interest’s indulgence with lyrics dripping with humored loyalty. “Say I no be perfect man no mean say I go dey do you wrong. Why I go I dey do you wrong?” asks Phyno on the chorus.

Evident throughout the album is Phyno’s ability to curate good vibes, whether he’s teaming up with Peruzzi on the tropical “Belong To You” or detailing the excesses of his celebrity lifestyle over Amapiano’s signature log drums (“Onye Nwa”). After the cultural dominance of last year’s “Highway,” Phyno takes a step closer towards building his legacy while retaining the hallmarks of an experimental artist colouring the lines beyond Hip-Hop, Highlife, Gospel and more.

In all, ‘Something To Live For’ has a remarkable number of highs and some unavoidable lows. While he expertly delves between subject matters, both personal and communal, it’s also clear that some of Phyno’s recurring themes have become cliché at this point and trimming the album could have powdered the cracks. This album won’t shake up his discography but this takes nothing away from its place in the rapper’s sprawling career.

Ever since 2010, through associations with producers as varied as Major Bangz and Masterkraft, he’s ascended to the zenith of African rap music, standing among Olamide, Sarkodie and Cassper Nyovest as rappers who’ve transcended scenic validation and are now pop stars. Homewards, his influence can be heard in the stories of young Igbo rappers like Daisy and Jeriq crossing over into Lagos—the journey Phyno began over a decade ago. “The legacy I’m leaving behind has a whole lot to do with realness,” he said in an interview. It’s obvious he’s going nowhere just yet and ‘Something To Live For’ is his pledge. 

Emmanuel Esomnofu is a Nigerian writer and culture journalist. His work investigates youth culture and histories. Tweet him @esomnofu_e  

ICYMI: READ THE NATIVE’S REVIEW OF MAYORKUN’S ‘BACK IN OFFICE’

Our Reactions To The Nominations for the 64th Grammy Awards

Posted on by Damilola Animashaun

After an almost year-long wait for the 64th Grammy Awards nominations, they are finally in. Widely seen as the most prominent and coveted music awards system, the award show has, for better or worse, come to be regarded as the most-respected arbiter of music in America and, in recent years, exciting, emergent sounds from across the world.

In a way, the Grammys has helped project a sense of normalcy to a world still dealing with the changes imposed by the COVID-19 pandemic. Earlier this year, when the 63rd edition of the awards ceremony returned, it did so partly in person, eschewing the largely virtual format that other major award ceremonies had fallen back on. It also served as a semi-final return to live music events which were put on hold for much of the past year, ushering in a summer of festivals and artist tours. Once again, music could be enjoyed in person and despite the fleeting feeling of everything else, the communities it nurtured were able to thrive.

This year, the 64th Grammy Awards arrived with more controversy than would typically underscore the hot-ticket event. Undoubtedly, the controversial call to not nominate The Weeknd, despite the record-breaking achievements of his album, ‘After Hours,’ robbed the Grammys of some credibility, leading to a long-overdue reckoning with its archaic structure. That reckoning came earlier this year when a change was announced to the Recording Academy’s nominating committees. Among those invited to join the organisation this year were a recorded 48 percent are female, 32 percent Black, 13 percent Hispanic or Latino, and 4 percent Asian or Pacific Islander. Already, we’re seeing the effects of this change with a record number of five Black artists including Kanye West, Jon Batiste, and more, in the race for an Album of the Year win.

Sensing an opportunity to finally receive some love from the Recording Academy with the installment of the popular votes, Drake and Kanye West, who have complicated relationships with the Academy, submitted their respective albums, ‘Certified Lover Boy’ and ‘Donda’ for consideration in the Album of the Year category, with ‘Donda’ getting the nod for AOTY alongside bigwigs like Taylor Swift, Olivia Rodrigo, Justin Bieber, Doja Cat, Billie Eilish, and Lil Nas X. In a snub that is sure to sting, Drake missed out on all the top categories, only getting nominated in Rap categories. The Toronto native was recognised for Best Rap Album and Best Rap Performance for “Way 2 Sexy” with Future and Young Thug. Also, J. Cole received nominations in all the Rap categories, following his debut Grammy award earlier this year. With the use of the popular votes, the Rap album category is led by stellar names such as Nas (‘King’s Disease II’) and Tyler, the Creator (‘Call Me If You Get Lost’). Other big categories like the Best New Music category offered little surprises with hitmakers like The Kid Laroi, Baby Keem, Saweetie, Finneas, Japanese Breakfast, and favorite Olivia Rodrigo rounding up a solid list while Pakistani vocalist and music composer Arooj Aftab got a surprise nod.

Last year, the Recording Academy renamed its contested ‘Best World Music’ category, announcing that it would now be known as Best Global Music Album category. The refurbishing of the controversial title was celebrated as a move in the right direction to combat the harmful idea that all music outside the Western gaze belonged in one category. Further progress in defeating these colonial and racist connotations of these narrow categories is being proposed by the Grammy Award who also recently introduced the ‘Best Global Music Performance’ category to “honor artistic achievement, technical proficiency and overall excellence in the recording industry, without regard to album sales or chart position. The album is reserved for performers exhibiting “non-European, indigenous traditions.”

With contemporary music from Africa in the thick of a global expansion, Afropop’s moment in the sun is being supported by the Grammy. Over the last two years, music from Africa has featured more prominently on the nominees’ roll call, Burna Boy has received two consecutive nominations in the Best Global Music Album category, snagging the 2020 gramophone for ‘Twice As Tall,’ following Angelique Kidjos’ win for ‘Celia’ in 2019.

This year, the Best Global Music categories spot more representatives from the African continent, featuring a delicate balance of contemporary music and traditional music, led by Wizkid’s globally-resonant ‘Made In Lagos.’ Thanks to the far-reaching success of “Essence,” his late-summer soundtrack with Tems, Wizkid is also nominated in the ‘Best Global Music Performance’ category, meaning that the boy from Ojuelegba could potentially walk away with two gramophones come January 22, 2021. Outside of this, West Africa is well represented in the two categories, with Femi and Made Kuti also earning their first-time nominations for their joint project, ‘Legacy +’

With all these points taken into consideration, the NATIVE team has decided to share our real-time reactions to the nominations for the 64th Grammy Awards which is set to take place next January.

Best Global Music Performance

Arooj Aftab – “Mohabbat”

Angelique Kidjo & Burna Boy – “Do Yourself”

Femi Kuti – “Pà Pá Pà”

Yo-Yo Ma & Angelique Kidjo – “Blewu”

WizKid Featuring Tems – “Essence”

This is the first time that this category is being awarded so it’s hard to get a picture of what might happen. The central idea is to reward music that doesn’t conform to the typical formats of “American or European” music but there are generally red flags if the goal is to be inclusive because how do you deservingly honor the glut of music that’s coming out of Africa, South America, North America, and Asia with one category? For me, it feels a little impossible and I can’t escape the feeling that this is one of those categories that would come down to lobbying and eventually descend into a popularity contest.

I expected to see some curveballs from the Recording Academy in terms of the music that made it to the shortlist but it feels pretty nailed-on that Wizkid and Tems’ “Essence” would win this category. With the cultural cachet that Afropop has right now, I wasn’t surprised to see more songs from Africans on the list. It’s heartwarming to see Femi Kuti get a nomination for “Pà Pá Pà” and this field is pretty tightly-contested for the sort of “technical proficiency” that the Grammy prides itself on. Arooj Aftab’s “Mohabbat” has that languid, folkloric core that could make it a shoo-in for the award.

Angélique Kidjo is a Grammy favourite and she has two songs on the shortlist, and I expect that her familiarity with the Recording Academy might help her curry some favour but it’s hard to look past Wizkid and Tems for this one. Good luck to all nominees and I’m looking forward to what the timeline would look like on the morning of February 1.

– Wale

Record of the Year

Billie Eilish – “Happier Than Ever”

Olivia Rodrigo – “drivers License”

ABBA – “I Still Have Faith in You”

Lil Nas X – “Montero (Call Me By Your Name)”

Silk Sonic – “Leave the Door Open”

Jon Batiste – “Freedom”

Doja Cat – “Kiss Me More” (feat. SZA)

Tony Bennett & Lady Gaga – “I Get a Kick Out of You”

Justin Bieber – “Peaches” (feat. Daniel Caesar & Giveon)

Brandi Carlile – “Right on Time”

At the last two editions of the Grammys, Billie Eilish picked up the gramophone for Record of the year, becoming just the third artist to accomplish that feat. Ahead of next year’s ceremony, there’s every possibility of a 3-peat for the inventive pop singer. Her sophomore LP, ‘Happier Than Ever’, dropped in the summer to warm critical reception, and its title track is nominated in this category. I don’t think it’s the best song on the album, but “Happier Than Ever” looks like one of the better bets to win this category. Honestly, the competition isn’t that fierce, if you ask me.

Catering to production, instrumental arrangement and sound quality, the Record of the Year category is often tilted towards “sophisticated” choices, with truly experimental recordings rarely getting any shine. It’s why Hip-Hop and contemporary R&B are almost always shut out in this category, despite the experimentation in those genres ultimately leaking into, and driving, Pop music. Track record considered, don’t be surprised if Tony Bennett and Lady Gaga’s reunion gets them the gramophone—they did win a few last time.

For my money, I’m going with Silk Sonic’s “Leave the Door Open.” The Soul revivalist sound is easy bait for academy voters, and the song is actually pretty good. Also, Olivia Rodrigo’s “drivers license” is a solid contender, not because I love the song, but because the Grammys love nothing but a new darling and she seems like a good candidate—especially so Gen Z can help boost ratings. I’m slightly disappointed Wizkid and Tems’ “Essence” didn’t get a look, as well as BTS’ summer smash “Butter,” but it’s on pace for an award that obviously didn’t give a damn about globalised pop hits like Drake’s “One Dance,” “Despacito” and Cardi B’s “I Like It.” On a final note here, I’d revolt if Justin Bieber’s “Peaches” wins, that’s as beige and as bland a song I’ve heard in my entire life.

– Dennis

Rap Album of the Year

Tyler the Creator – ‘Call Me If You Get Lost’

Drake – ‘Certified Lover Boy’

Kanye West – ‘Donda’

J. Cole – ‘The Off Season’

Nas – ‘King’s Disease II’

Last year’s nominees for Rap Album of the Year was arguably the funniest and second most frustrating part—after the whole Abel Tesfaye snub—of the nomination announcements. The Academy decided to go #RealHipHop, selecting projects by traditional lyricists and totally overlooking the experimental, younger and more popular side of Rap music. Yeah, Nas finally won a Grammy, but for ‘King’s Disease’? And over Freddie Gibbs and the Alchemist’s ‘Alfredo’?! Oh, please.

In an obvious bid to avoid the murmurs of last year’s contenders, the academy simply reverted to type this time, nominating the most popular rap albums around. Yeah, J. Cole sounded looser and more engaged on ‘The Off Season’ but this category is meant to be chess and not checkers. Drake’s ‘CLB’ and Kanye’s ‘Donda’ are data dumps, and you can’t even call them competent, talk more of being wholesomely compelling. Nas’ ‘King Disease II’ is even more boring than its predecessor, all that rose-tinted nostalgia and black capitalist talk only works in bursts. That leaves Tyler the Creator’s part-personal, part-conceptual, part-triumphant tour de force ‘Call Me If You Get Lost’ as the only true representation of the best rap albums for the year in review.

What would my nominations look like? Glad you asked. In addition to Tyler, I’d add the following: Megan Thee Stallion’s Good News, which is easily better than the rest of the nominees, and gets better with every revisit, even though many people wanted that woman to catch an L so bad; Young Nudy’s ‘Dr. EV4L’, because it’s punishing and consistently exhilarating Trap music; Navy Blue’s ‘Songs of Sage: Post Panic’, because it’s one of the best confessional, Soul/Jazz sampling rap albums I’ve ever heard; and Vince Staples’ self-titled album, a concise, mood-setting album that unpacks itself with repeat listens. Anyways, congrats to Tyler on his win. Any other nominee here wins, and it’ll just be another day at the office for the Grammys.

– Dennis

Best Global Music Album

Rocky Dawuni – ‘Voice Of Bunbon, Vol. 1’

Daniel Ho & Friends – ‘East West Players Presents: Daniel Ho & Friends Live In Concert’

Angelique Kidjo – ‘Mother Nature’

Femi Kuti And Made Kuti – ‘Legacy +’

WizKid – ‘Made In Lagos: Deluxe Edition ‘

After completely reshaping the Best Global Music Album category from its previous title ‘Best World Music Album,’ it seems that this year the Recording Academy finally made good on its promise to reflect the diverse sonic landscape emerging across the globe and reform its rewards system, following criticism over the years that they remain stuck in their ways.

Previously held by past winners such as Angelique Kidjo who is nominated once again for her recently released album ‘Mother Nature,’ Fatoumata Diawara, Seun Kuti and Burna Boy whose album ‘Twice As Tall’ won the newly minted music award category last year, taking the title from other contenders such as legendary Afrobeat artist Antibalas, Brazilian music icon, Bebel Gilberto and Tuareg musicians, Tinariwen. This time around, the competition is tighter despite some of our favourite Afropop albums making the cut. Hawaiian-American singer, composer and songwriter, Daniel Ho returns this year with a nomination in the category after winning the title twice in the past, including the category for Best Hawaiian Music a record four times as well. His run for the win is contested by Kidjo who has similarly held this title four times in the past.

Nonetheless, there are leaps made in this category, bolstered by the inclusion and representation of West African music through Wizkid, the Kuti’s and Rocky Dawuni. Perhaps unsurprising is Wizkid’s nomination for his magnum opus ‘Made In Lagos,’ solidified in its standing after a vibrant summer of warming its way up the Billboard charts and festival circuits. It’s in great company alongside Dawuni’s afro-reggae offering ‘Voice of Bunbon, Vol.1’ and Femi and Made Kuti’s ‘Legacy+,’ a joint project which builds on the father-son duo’s unyielding ethos as socio-political activists with impressive technical writing abilities. I’m not too certain how this category will play out next January but I can bet that Ho and Kidjo are the two most likely to snag the title, going by their track records. However, the Grammys do love to reward a first-time nomination win so Wizkid is potentially vying for the win this time around.

– Tami

Album of the Year

Jon Batiste – ‘We Are’

Tony Bennet & Lady Gaga – ‘Love For Sale’

Justin Bieber – ‘Justice’

Doja Cat – ‘Planet Her’

Billie Eilish – ‘Happier Than Ever’

H.E.R. – ‘Back Of My Mind’

Lil Nas X – ‘Montero’

Olivia Rodrigo – ‘Sour’

Taylor Swift – ‘Evermore’

Kanye West – ‘Donda’

A tag as prestigious as ‘Album of the Year’ is one worthy of acclaim for any artist, especially one with a Gramophone-sized record attached to it. Last year, Taylor Swift’s ‘Folklore’ landed the coveted title, becoming the first woman to win the award three times since the Academy’s existence. The singer beat off competition from strong contenders such as Haim, Jhene Aiko, Coldplay and Dua Lipa. Many contested Swift’s win, especially as the singer’s pandemic-inspired project didn’t follow the patterns of previous AOTY winners and lost in its genre category to another AOTY nominee, Dua Lipa. This year, however, there’s more room to manouvere as the Academy has now extended the number of nominees for the Big 4 categories, including AOTY, to 10 in total.

Kanye’s ‘Donda’ features at the token Rap album to make the AOTY cut but we’re not too miffed as it’s been a comparatively boring year for Rap. Epically, however, Taylor Swift and Kanye West’s recent albums both snag nominations this year. While the pair have since buried their differences, their nomination within the same category has already spurred memes and gif reactions on Twitter, as listeners battle out who’ll be crowned the winner. With a record number of 21 Grammys to his name, West is tied with fellow rapper, JAY-Z for the most nominations and we won’t be too surprised if he smoothly sails to victory this year off the back of the inimitable ‘Donda,’ though undeservingly. Also nominated within the category is newcomer, Olivia Rodrigo who received seven Grammy nods including all the Big 4 categories including AOTY and becomes the second-youngest after Eilish to be nominated.

Doja Cat also monumentally snags a nomination for AOTY alongside fellow Black artists like H.E.R, Lil Nas X, and Jon Batiste. The last Black artist to take home AOTY was Herbie Hancock in 2008, for a tribute to Joni Mitchell and the stakes are even lower for Black women who haven’t held the title since Lauryn Hill in 1999. What would my nominations look like? I’d definitely throw in Jazmine Sullivan whose recently released album ‘Heaux Tales,’ was nominated for Best R&B album but missed out on an AOTY nomination. I’d also have liked to see a female rapper earn her spot for AOTY and although I’m not completely convinced Megan thee Stallion’s ‘Good News’ is AOTY-material, it wouldn’t have mattered because who really gets to define these value systems? The Grammys wants us to believe that sales aren’t the metric for Grammy success but we’ve seen the Academy play into a popularity contest time and time again. This has proven to fall short of fully representing today’s diverse sonic landscape. Despite this, this year’s nominations are definitely a step up from last year and I, for one, am just happy to see more women deservingly earn their flowers.

– Tami

Featured image credits/NATIVE

Essentials: De Mthuda reaffirms why he’s ‘The Landlord’ of Amapiano

Posted on by Madzadza Miya

As the listening session for ‘The Landlord’, the highly-anticipated full-length by pioneering Amapiano DJ/prodcer De Mthuda is about to commence, the prolific artist walks in with a calm, shy-like demeanour. He’s introduced by the current Head of Urban at Universal Music (South Africa), before hitting the stage to showcase his latest work. When asked what he has in store for the attendees, which mostly consisted of media and industry-personnel, he answers with a confident smile, “iLandlord album bafethu, asimameleni (guys, let’s listen).”

 

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When not in the comfort of close friends and family or the studio, Mthuthuzeli Gift Khoza is a reticent character, who expresses himself best through music. Since the mid-2010s, De Mthuda has been consistently upholding his position as a trailblazing Amapiano DJ and producer. When the now-globally renowned genre was on the cusp of national recognition in 2019, Mthuda emerged with the Njelic-assisted “Shesha.” His mainstream breakout which helped popularise refined-melodic singing within the genre was in high rotation on radio and was one of the first Amapiano songs to reach gold-selling status; ultimately sparking the upward trajectory of the genre.

From that culturally shifting moment, seeing and admiring the song’s success, other pioneers like Kabza De Small and DJ Maphorisa featured melodic tracks on their genre-elevating, eponymous album ‘Scorpion Kings’, enlisting the talents of Bontle Smith, Sha Sha, and Samthing Soweto. The Scorpion Kings even went on to collaborate with Njelic on the cult classic “Nana Thula,” that same year.

While De Mthuda followed up with other bonafide hits in “Bade” and “Ebumnandini,” he reached his innovative and creative zenith in 2020, in line with the genre’s continental takeover. Mthuda spearheaded the synth bass-laden, Techno-tinged iteration of Amapiano, which forms the bedrock of his current sound. Staying true to the genre’s communal and collaborative nature, he teamed up with fellow Vosloorus native and then-burgeoning producer, Ntokzin. The pair had previously worked together on “Blissful Day,” which was initially included on Mthuda’s 2018 debut ‘Forever’, as well as in the House Afrika/Born in Soweto-curated 2019 compilation ‘Amapiano Volume 4’—which also hosted Kabza De Small’s “Bamba La” and Kwiish SA’s “Iskhathi (Gong Gong).”

During the midst of the coronavirus-induced national lockdown in South Africa, Ntokzin and De Mthuda rented a house solely for the purpose of creating music in a secluded area in Brakpan. The fruits of that creative habitation started with the release of “Forbes.” A string of singles—“Dakwa Yini,” “Igama Lam,” and “Ghost”—followed, and ended up in the joint project ‘Ace of Spades’, which recently won Album Of The Year at the first annual South African Amapiano Awards. Before that album’s November release, De Mthuda had dropped a solo EP, ‘Story To Tell Vol.1,’ in June. Though the EP failed to yield a hit record, it laid the foundation for the phenomenal run Mthuda has been on.

With Mthuda’s star power at an all-time high, and several leaks allowing fans to peek through his upcoming works, ‘The Landlord’, couldn’t have come at a better time. The album builds on the signature sound the producer has carved over the past year-plus, adding layers of soul by bringing along a number of equally-talented individuals who assist in bringing some of his visions into life.

Producer Da Muziqal Chef, who appeared in all three smashes in his last EP ‘Ace of Spades (Reshuffle)’, is responsible for a lot of the musical flourishes. “Sometimes I have ideas that I cannot execute well, so he’s always there to assist,” De Mthuda confesses on the Apple Music album liner notes. The synergy between the two super-producers shines through yet again on the project. He also employs the skills of Sipho Magudulela, who adds guitar riffs, and saxophone licks to the album’s already beamy productions. The guitarist and musician is credited as a feature of four of the project’s twelve songs.

The album’s rollout started with the overdue official release of romantic ballad “Emlanjeni.” The track also serves as the opener, as the dream team that brought us the two-times Platinum-selling “John Wick” team up for yet another undeniable smash record. On the fan-favorite single, which has already been certified Gold, Sir Trill muses about missing a lover that he hasn’t seen in a while AND vowing to travel a thousand miles to meet his love interest by the river (“emlanjeni”), no matter the hurdle. Driven by the featured vocalists, romance quickly becomes a constant theme on the album. On “Jola,” the latest song to be given the single treatment, Sino Msolo expresses his disbelief in finding himself in a romantic involvement, while on “Mhlaba Wonke,” he admires the alluring beauty of his partner and argues that no one else in the world is as attractive.

On “Khanda Liyazula,” Sino is joined by fellow El World Music affiliate Mthunzi, as they dovetail about how isgubhu (the sound/drum) is driving them insane. Similarly, on the dancefloor-inviting “Jaiva,” frequent collaborator Njelic warns of Mthuda’s sgubhu and hit making abilities. “Let me tell you about this man, a big big man/he’s a warrior, he can come and come/he can make you dance, he can make you jive,” he sings in the refrain, before being joined by Focalistic who delivers slick raps.

On ‘The Landlord’, De Mthuda widens his sonic collage to include influences from genres such as Afropop, bubblegum-Disco, Kwaito, and even gospel. “Double Double” interpolates lyrics from Uche’s “My God Is God,” which became popular in South Africa when the Nigerian gospel artist performed it with the Joyous Celebration choir in 2009. The singer-songwriters on the album compliment its lush and dynamic productions. The singer of the ascending duo Murumba Pitch renders career-elevating, standout vocal performances on “Phithizela,” “Double Double,” and “Gijima”—the latter is Mthuda’s personal favourite on the album.

“Inkomo Zam” focuses less on the customary percussions, luminous basslines, jazzy chords and airy pads of ‘Piano instead highlighting Nomfundo Moh’s soaring voice and the song’s Kwela-inspired, Afro-jazz guitar. The song, which appears towards the end of the album, also offers a slight preview into Mthuda’s next compositional path, which he refers to as ‘Skandi Yano,’ a fusion of Maskandi elements with Amapiano. While most of the albums remains progressive in its approach, the aptly titled “Roots” pays homage to the genre’s instrumental early days, without sounding dated or compromising on De Mthuda’s current style and the album’s overall tonality.

“It has more of my feel, I did it to express my feelings through the music. It’s kind of different from the sound of ‘Piano,” De Mthuda told LootLove about the album during an episode of Apple Music’s Africa Now Radio. The album’s title can be considered a nod to the self-reverential acclaim, and self-affirmation of his status as one of the genre’s mainstays and frontrunners. Crafting bangers for artists such as Samthing Soweto, Njelic, MalumNator and Kammu Dee, it’s clear that Mthuda sees himself as umastandi (the landlord) of the genre which started out as an offshoot of South African House. But when asked by the MC during the listening session, he responds “awume (leave it/don’t start)” while confidently smirking, as if he would rather let the people decide if he is worthy of the title or like most ‘Piano enthusiasts like to say, “let the music do the talking.”

Listen to De Mthuda’s ‘The Landlord’ here.

@madzadza is a South African freelance writer. He has contributed to reputable online publications, writing extensive pieces on popular African music and emerging scenes. As someone who has a wide musical taste and a keen interest in most genres, he keeps his ear to the ground and his writing and commentary is not limited to one specific sound.

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‘The Harder They Fall’ & the link between JAY-Z and Fela Kuti

Posted on by Dennis Ade Peter

Every epic combat sequence in film deserves an equally epic song or score. For ‘The Harder They Fall’, Netflix’s recent historic western feature, its visceral crescendo is sounded off by “Let’s Start,” a brassy tune from Fela Kuti & Africa 70’s collaborative live album with the iconic British drummer Ginger Baker in 1971.

Originally, the song itself is an ode to unbridled infatuation; Fela urges his partner to get ready for sex since they both know what is about to happen. “O l’oun t’awa se ni iy’ara, je ka bere (there’s something we have come into the room to do, let us start),” he bellows. In ‘The Harder They Fall’, that context is retooled for its anticipation, tension and enthusiasm. You’ve probably seen it by now: As Trudy Smith (Regina King) and Stagecoach Mary (Zazie Beetz) square off, “Let’s Start” rings off solemnly with Fela’s opening monologue. As the scene builds, more punches are exchanged and the long-awaited face-off between the Nat Love and Rufus Buck gangs ratchets up to a 100.

Undoubtedly, that fight sequence wouldn’t be as hair-raising as it is without the chosen Fela song. Shortly after ‘The Harder They Fall’ premiered on Netflix, much was deservedly made of “Let’s Start” featuring in a pivotal part of the film, not only because everything Fela draws in hype, but also because it’s a lesser-known composition in the Afrobeat pioneer’s sprawling discography. However, beyond the initial stun, there’s a speculative and simple reason for the song’s inclusion in a film about Black cowboys: JAY-Z.

There’s very little hidden about JAY-Z’s admiration for Fela Anikulapo-Kuti. Over the last decade-plus, the all-time Rap great and business mogul born Shawn Carter has found several ways to embolden his reverence for Fela, and ‘The Harder They Fall’—which he produced and helped curate its soundtrack—is his latest sign of reverence. The first bold gesture was his role in “FELA!”, the Broadway musical dramatising and detailing the life and times of Fela. Alongside Will Smith and Jada Pinkett-Smith, JAY produced the musical, which premiered for the first time in November 2009.

“It’s an inspiration, about the power of music,” he told MTV News on the opening night of “FELA!” “Here’s a guy that’s on the other side of the world who was influenced by James Brown, who takes this thing and makes his own sort of genre of music. I just think it’s fascinating,” he continued. JAY’s involvement with the play happened after seeing the musical during its Off-Broadway run, at the behest of renowned drummer and producer, Ahmir Thompson—better known under the moniker ?uestlove.

After seeing an early show, Thompson became an ardent evangelist for “FELA!” and helped get JAY-Z on board as a producer for its Broadway premiere and run. As much as it may have been a business venture, putting up money for the production of the musical is a worthwhile sign of respect, and it appears that the respect and understanding of Fela’s socio-political legacy has only continued to deepen on JAY’s path, especially in recent years.

In 2016, he curated a playlist for Tidal, JAY-Z: Songs for Survival, featuring 21 protest songs and socially conscious anthems, and it included “Zombie,” Fela’s iconic satire against post-colonial juntas. Curated around one of the heights of the Black Lives Matter protests in the mid-2010s, majority of the playlist featured classic songs from America, with Bob Marley being the only non-American artist on there. Fela’s inclusion on Jay’s playlist plays directly into the pan-African ethos that drove the Afrobeat musician’s work, linking the Black American struggle with the global Black experience.

Deferring to less hectic circumstances, JAY-Z has also name-dropped Fela in his raps on two fairly recent occasions. On “Blue’s Freestyle/We Family,” a deluxe cut from his classic 2017 album ‘4:44′, he brags about bumping Fela in a foreign car. He makes a similar retort on “MOOD 4 EVA,” a highlight off Beyoncé’s ‘The Lion King: The Gift’, except this time he’s bumping Fela on a private Jet owned by sportswear brand Puma.

Even though Fela’s music has made its way into the work of artists close to him—like his famous wife Beyoncé, who worked “Zombie” into her iconic Coachella set and was rumoured to have created but later scrapped an entire Fela-inspired album, as well as superstar protégé J. Cole, who famously sampled “Gentleman”—JAY-Z hasn’t substantially used Afrobeat as an inspiration on wax, but it doesn’t mean you won’t find examples if you dig deep enough

One of my favourite links between JAY-Z and Fela is an unofficial mixtape titled ‘Nigerian Gangster’. Helmed and hosted by Chicago based DJ/producer Mike Love, the tape is a creative mashup of JAY’s cinematic 2007 album, ‘American Gangster’, and select samples of songs from Fela’s catalogue. Swapping out the vintage Soul-inspired production on AG, Mike Love places JAY’s suave raps over experimental production with Fela samples as their foundation.

For “Pray,” the beat is built around a crawling sample of “Upside Down,” the 1976 track that Sandra Iszadore, one of Fela’s formative influences, features as the lead vocalist. For the triumphant “Roc Boys (And the Winner Is),” JAY’s supreme boasts is merged with the radiant horns of “Water No Get Enemy.” It’s obvious ‘Nigerian Gangster’ wasn’t sanctioned by JAY-Z, and there’s no evidence online that he supported it in any way. However, it’s an intriguing—if not as definitive as Danger Mouse’s ‘The Grey Album’, which merged JAY’s raps and the Beatles music—look into what a Fela-inspired album would sound like from the rapper.

The possibility of JAY-Z leaning more into his adulation for Fela on-wax is a possibility that’s up in the air, but it seems clear that he’s become a proper student of the Afrobeat maestro—at least, that’s what I gleaned from ‘The Harder They Fall’. “Let’s Start” was composed at the very beginning of Fela’s Afrobeat experimentations, when his dense approach had yet to fully unify and the music still hewed towards Big Band Jazz stylings. Five decades later, it’s responsible for an instantly memorable cinematic moment, partly because of JAY-Z, who has clearly been doing his Afrobeat assignment.

@dennisadepeter is a staff writer at the NATIVE.

ICYMI: “FINDING FELA” & WHOLESOMELY DOCUMENTING AFRICAN MUSIC’S HEROES

NATIVE Premiere: Vict0ny wants to “Pray”

Posted on by Wonu Osikoya

Earlier this year, rising star Vict0ny was on the cusp of a breakthrough. Following the release of 2020’s ‘Saturn,’ a collection of radio-ready hits, the singer was primed to soar into greater heights off the back of his melody-driven sound. Then the worst happened–Vict0ny survived a near-fatal accident which changed the course of his life and his faith forever.

 

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Back in July, the singer released a two-pack single titled ‘Dark Times,’ a title that informs the harshness of some of the song’s lyrics. More than an avenue to say what he was feeling at the time, the standout track “Pray” served as a representation of a specific time, where his mother’s prayers became the soundtrack to his life. Backed by her incredible faith and his, the singer offered lyrics such as “This smile I carry for my face oh/E dey hide wetin I dey face,” over soothing ambient production.

To further expand the world around the catchy track, Vict0ny has now shared the song’s official video which builds on its solemn lyrics. The Splash-directed video features varying clips of the artist performing his verse against contrasting backgrounds and sartorial choices. In one scene, we see the artist in a garden clad in all black while surrounded by people who may be described as family and friends seeing him through his hard times. In another scene, Vict0ny and his collaborators are clad in all white, signalling a move from despair to hope.

Armed to the teeth with affirmations, the video for “Pray” is meant to offer both the singer and his loyal fans some solace. Ahead of the video’s official release, we caught up with the singer on the inspiration behind the video, the process of creating it, and his religious faith.

His answers which follow below have been lightly edited for clarity.

NATIVE: What does this song mean to you?

VICT0NY: The song means a lot to me. It’s a timestamp in my life. When I listen sometimes, I’m so connected to it and I forget that it’s my own voice. It speaks to me and it’ll forever remind me about April 2021.

NATIVE: What was the inspiration behind the song’s video concept?

VICT0NY: When I was writing the concept of the video, I had two things in mind. I wanted a very simple video that’ll show how important a mother’s prayer is in her child’s life. I also wanted people to see how my friends and family stuck with me in my dark times.

NATIVE: Does your faith or religion have any bearing on your music?

VICT0NY: Yes it does 

NATIVE: What was the most memorable part of creating the song and video?

VICT0NY: Memorable part of creating the song would be; composing the second verse. The lines came to me instantly and I ran with it. I had just read something on the internet that pissed me off and it just came to my head like “too many talks wey Dey make man vex …”

With the video, it’ll be the journey we embarked on to get to the location. You know being carried by my friends to the boat, and traveling with them was indeed a memorable experience. That’s the longest I have been on water. Traveling that far to find a location that fits the mood board made me realise how hard we were working to bring the idea to life.

NATIVE: If you could remix this song, who would you feature?

VICT0NY: I can’t really think of anyone for now

Watch the full video for “Pray” here.

Featured image credits/Courtesy of the artist

Best New Music: Davido & Focalistic’s “Champion Sound” Lives Up To Its Name

Posted on by Dennis Ade Peter

Just before summer, Davido and Focalistic teased the possibility of a joint EP in the works. To stoke hype for its release, Focalistic premiered “Champion Sound” during an IG live, which inevitably spawned a leak—because that’s just what happens in South African Dance music these days.

 

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Earlier in the year, the pair delivered the intoxicating remix to Focalisitic’s 2020 summer smash, “Ke Star.” Although it wasn’t the Nigerian singer’s novel venture into the South African-rooted sound, “Ke Star (Remix)” represented Davido’s most satisfying foray into ‘Piano. The Afropop superstar’s presence and trademark energy brought in a fresh, magnetic layer to an already captivating banger, tripling the charisma on display without overwhelming the essence of the Vigro Deep-produced jam. It was a masterclass in non-South African stars adopting Amapiano, and because Davido is one of the very best synthesisers of multiple sonic and cultural influences, the pair were bound to collaborate again.

Just as “High,” his collaborative smash hit with Adekunle Gold, was running up the charts and consuming reopened dancefloors, “Champion Sound” leaked and quickly made itself a staple among partygoers. It was obvious that Focalistic and Davido had another huge song on their hands, but one that felt even more organic. Where the pair’s first outing was most likely a crossover play by Focalistic, this new single confirmed that he had reeled Davido into his sonic universe.

Not every song that’s a hit is a great song. For leaks, specifically, it can be difficult to tell if a song is great on its own merit, or if the hype is being driven by its exclusivity. “Champion Sound” existed for downloads in low fidelity format on many blogs, before the high fidelity version made its way to DJs in a prescient promotional move. Thankfully, it still slaps. Davido and Focalistic are a fabulous match and, “Champion Sound” channels that chemistry into a high-octane number primed for dancefloors.

 

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Where the thrill of “Ke Star (Remix)” was in hearing Davido effortlessly work his superstar appeal, the highlight of “Champion Sound” is in his interplay with Focalistic. The two artists swap boasts, Focalistic in SiPitori and Davido in Pidgin English, each picking up the pace after the other’s burst of bars, and playing back-up with their repertoire of distinct ad-libs. Produced by Tee Jay and Caltonic SA, the beat firmly sits in the dust spectrum of Amapiano, but if you listen closely, there’s an allure to buzzing synths and chirping vocal samples that form the melodic basis of the song. While they are significantly less animated than their previous hit song, the vocal pair are as triumphant as ever; Focalistic’s hood lingo and technical writing ability is as effortless as ever, while Davido’s ability to turn out insanely catchy melodies and one-liners remains ever pristine.

“Champion Sound” is a musical game of tag, with genuine admiration flowing both ways. “Shout out to the South/And Focalistic with the Champion Sound,” as Davido proclaims. It’s an on-wax appreciation of Amapiano and, by extension, South African Dance music—the gift that keeps giving to Nigerian pop music, even if Nigerians won’t always fully appreciate it.

Watch the video for “Champion Sound” here.

@dennisadepeter is a staff writer at the NATIVE.

SOUNDS FROM THIS SIDE: AMAPIANO

Turntable Top 50: Fave earns her top 5 debut this week

Posted on by The Native

For the seventh consecutive week, Joeboy’s hit single “Sip (Alcohol)” holds on to the No. 1 spot on the Turntable Top 50. It becomes the joint second-longest No. 1 on the Top 50, joining Teni’s “FOR YOU” with Davido and Kizz Daniel’s “Lie” as the which both previously held this title.

This week, the song garnered 2.33 million equivalent streams (down 22.6%), 53.3 million in radio reach (up 15.9%) and 2.9 million in TV reach. “Sip (Alcohol)” also spends a record-equaling eighth week on the streaming chart, matching the record of Omah Lay’s Godly.

Adekunle Gold’s “High” holds steady at its No. 2 for another week. It’s followed by Reekado Banks’ “Ozumba Mbadiwe” which replaces Ayra Starr’s “Bloody Samaritan” at No.3 with over 50 million in radio reach (up 30.9%), 857,000 equivalent streams (up 60.2%), and starts with 2.2 million in TV reach. 

Timaya’s single “Cold Outside” with Buju stands firmly at the No. 4 spot on the Top 50 for a third week. While Ayra Starr’s former No. 1, “Bloody Samaritan” falls to No. 5. Newcomer Fave’s single “Baby Riddim” rockets from No. 21 to No.6 on the TurnTable Top 50 to become the singer’s first top ten entry. The song drew 28.3 million in radio reach (No. 13 on the radio chart) and 1.41 million equivalent streams (No. 2 on the streaming chart).   

Elsewhere in the top 10, Omah Lay’s “Free My Mind” launches at No. 7 with 32 million in radio reach and 1.21 million equivalent streams. It’s followed by Fireboy DML’s “Peru” at No. 8 on the charts, Ladipoe’s “Running” with Fireboy DML at No. 9 and Mayorkun’s “Holy Father” with Victony at No.10.

You can find a full breakdown of the charts here.

Featured image credits/