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

Posted on by The Native

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

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

KiDi & Tyga – “Touch It Remix”

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

Asake – “Omo Ope” ft. Olamide

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

Popcaan & Imeru Tafari – “Elevate”

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

Jahmiel – “Lifetime”

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

Ria Sean- “Satisfy My Soul Aazar Remix”

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

Tomi Owó – “Through The Never”

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

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

Posted on by Moore Wright

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

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

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

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

 Love Potion

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

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

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

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

Yam

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

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

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

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

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

Suffer the Witch

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

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

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

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

ICYMI: THE IRREFUTABLE LEGACY OF OSUOFIA IN LONDON

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

Posted on by Adeola Naomi

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

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

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

 

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

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

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

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

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

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

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

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

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

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

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

 

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

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

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

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

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

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

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

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

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

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

 

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

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

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

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

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

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

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

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

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

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

Featured image credits/NATIVE

For Us By Us: How I Discovered Self Love

Posted on by Wonu Osikoya

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

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

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

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

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

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

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

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

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

Featured image credits/NATIVE

ICYMI: Platonic Love Matters Too

In Conversation With Coodie & Chike, The Directors of ‘Jeen Yuhs: A Kanye Trilogy’

Posted on by The Native

By now, we’re all familiar with the popular Ye lyrics that go “I miss the old Kanye/See I invented Kanye, it wasn’t any Kanyes
And now I look and look around and there’s so many Kanyes.” As one of the most enigmatic figures in music and fashion, Ye, the artist formerly known as Kanye West, occupies an interesting position in pop culture today and one that there’s still plenty of story left to be told.

In this three-part documentary titled ‘Jeen-Yuhs: A Kanye Trilogy’, we get to see the 21-year journey of Kanye’s formative years as a music producer in Chicago to becoming one of the biggest names there ever was in the music, fashion and entertainment industry. Premiering today exclusively on Netflix with the first act, ‘Jeen-Yuhs: A Kanye Trilogy’ is the brainchild of directors and producers, Clarence “Coodie” Simmons and Chike Ozah. The documentary plays out as a trilogy with Act I: Vision, Act II: Purpose and Act III: Awakening.

 

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Every story about an icon always has a captivating beginning. The first act in the trilogy is called ‘Vision’, and that is because it takes us behind-the-scenes to the first moments that made Ye who he is to the culture today. Coodie met Kanye first, back when he was on the street of Chicago, trying to make it big in the world. “I saw how charismatic he was and how energetic and talented he was, so I’m like that’s the vision,” says Coodie in an interview with the NATIVE.

At the time, Coodie was hosting a Hip-Hop show on Channel Zero and doing stand up to support his career. He interviewed Kanye for Channel Zero, and from there, he began interviewing more prominent artists. Channel Zero started getting a lot of positive responses after they aired on channel 19, so at times, when his videographer didn’t want to go shoot at certain places, Coodie would take the camera and film, from there he learnt how to use the camera. But it was not until Coodie watched a documentary called “Hoop Dreams,” that he found the inspiration to document everything around, particularly the cultural figures at the nascent stages of their career, who had the potential to be really big. 

“And the genius of this movie is not Kanye, me or anybody that’s in the movie – the genius is unlocking the genius within you. Everybody got a purpose; when you figure that out your genius will shine.”

For Chike, he got to meet Ye later on while he was working at MTV. He was amazed to see another Black man who appreciated the beauty of art and design and who he could converse with. During his time at MTV, Chike noticed that there was never room to tell the stories of people who looked like him and being one of the only Black people on the design team, he would go out to pursue personal projects that championed his identity as a Black man. This is how he and Ye would become friends.

Coodie and Chike only had one goal when working on the documentary; and that was to capture the fervour of Kanye West’s expansive career and personhood. As someone who has lived most of his life in the media, and has come under heat for various controversies (see MAGA hat & Skete online vitriol), it was a gargantuan task to capture the man and the legend without touching on some of these moments. But more than hold a mirror to his darkness, Coodie and Chike were intent to encapsulate what made Ye tick.

One of the most memorable and significant parts of the film is getting to see and understand the intimate and beautiful loving relationship Kanye had with his late mother, Donda West. Although we see this from a surface-level view, as you pay close attention, you get to feel the closeness, love and support a mother has for her child. Kanye has never shied away from expressing his love for her and how much she means to him. He has referenced her many times in songs, interviews and even named two of his albums after her. Donda always knew Kanye had other sides to him that weren’t so pleasant, but she understood that that was how he was, and she never wanted him to change, all flaws and all.

According to Coodie, Kanye is still the same Kanye, and as a society, we lack sympathy. One thing that rang true from speaking with them is that we don’t understand what many people, especially these celebrities we put on a pedestal, go through. “These are all just different versions of people that become expressed as they evolve over the years,” Coodie expresses. It’s never an excuse to act out, but this film is mainly a tool to show a reflection of ourselves and how we evolve and change as human beings. 

In this documentary, you get to see Ye’s persistence and drive. Kanye had to make sure his dream came true. Often, just coming from where you come from, you have so many reasons not to trust your instincts and follow your dreams, but this trilogy serves as an inspiration to go for it. “Somebody has to make a sacrifice. Somebody had to break the cycle and sacrifice themselves for the next generation to be able to afford the time to sit and think,” says Chike. Just like Coodie and Kanye, we all have to follow our instincts sometimes and have faith to guide us through.

To this end, we spoke with directors, Coodie and Chike about meeting and working with Ye, the journey to completing ‘Jeen-Yuhs: A Kanye Trilogy’ and

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

NATIVE: How did you two meet ?

CHIKE: Coodie and I met when I was working at MTV and the producer Yasmine Richards who is also my friend, was producing ‘You Hear It First’ on Kanye and Coodie was  also helping them produce the segment. Ironically, using all the footage from documentary up until the time they were filming. She decided to introduce Coodie to everyone on MTV and she brought him to my floor and that’s how we met in 2002. 

NATIVE: How long has this idea been in motion and how does it feel finally seeing it come to fruition?

COODIE: It’s amazing seeing what you’ve thought about years ago come into fruition. It just shows that if you can conceive and believe you can achieve and that’s what it’s all about. It’s about everyone unlocking their inner genius and understanding this joinery is gonna have its ups and downs but if you keep moving you gonna have a destination. It’s not about me or Kanye but about how you can unlock your inner genius 

NATIVE: How were you able to condense Kanye’s decades-long life and career into a documentary?

CHIKE: The process is about us being a student of film, if we edited this doc a few year ago to would have been edited a lot differently but as we have been honing our skills and learning and studying the story, we were able decided that we wanted to tell a non traditional archetypal hero’s journey. And Once we decided to make that move it’s just rules that come with it, we decided our protagonist goals and desires the story starts to write itself and it makes it easy to make decisions of what’s not gonna be in the film 

NATIVE: In your own words, what does Kanye West mean to Black popular culture?

COODIE: Kanye means the only one – his name. 

CHIKE: Kanye is a very influential person to the culture and that’s why it’s important to contextualise him in person and pull the things out from what we feel that he represents and so to us  this film does that.  Kanye and coodie are two people that believed in themselves and God. They had a certain type of faith that allowed them to overcome any type of fear and try to follow their goals and dreams in life and their passions. The power of his influence can be utilised as a tool for people unlock their genius and passion 

NATIVE: Over the past few years, Kanye has been the subject of many headlines and backlash. Did that in any way shape or inform the story you wanted to tell?

COODIE: You have to realise that God writes our stories. He’s the art director, he’s everything and what we say just throughout the process of making the film is that Jesus directs. You couldn’t write that me and Kanye could reconnect during that TMZ moment and that’s something you couldn’t have thought or imagine. You couldn’t imagine that this kid from 95th street could be running for president at the time. So it’s just the journey and the footage tells the story. 

NATIVE: Were there any difficulties throughout the whole process and what would you say was the hardest part ?

CHIKE: There’s been adversities if you take in context of a 21 year journey, there’s definitely been moments where the role hasn’t always been smooth and that’s the testament to the film we are trying to make and we had to know that this film was gonna get made no matter what. We never let our imagination get in the way of God’s manifestation as far as how and when the film was gonna happen but we just always had a concept that it was gonna happen and I believe Coodie had that feeling once he put that camera on Kanye, it’s just how Coodie moves as a person. There’s always gonna be adversities and we welcome adversities. Adversities to us, they’re a blessing. 

NATIVE: Were you able to pick up on any similarities or parallels between the life Kanye lived and your life?

COODIE: There are a lot of parallels but we both had a mission and destination and we both had to get there no matter what. We are the same person, we both have the drive and we believe in Jesus Christ, so there are a lot of similarities. 

NATIVE: Aside from Coodie, are we expecting other voices/interviews from other people in his life and who would those be?

COODIE: You will hear voices of Pharrell and so many people in real time, I’m just the guy telling the story through my perspective but you’re gonna hear all kinds of voices through the film. 

What fed into the decision to partner with Netflix to release the documentary?

CHIKE: Netflix is an amazing platform as to how they work with creators. They really believed in what Coodie had in store and they let us run and it was a great partnership. From our initial conversation we knew that we had that autonomy and we knew they’d let us tell the story how we wanted to tell it. 

You can Watch Act I of ‘Jeen-Yuhs: A Kanye Trilogy’ here.

Featured image credits/Netflix

PreGame: NSG Take Us Back To Their African Roots

Posted on by Tami Makinde

PreGame is a NATIVE Original series which grants us an all-access pass to the lives of your favourite artists & icons, on their most important days. In our third episode, NSG take us on a tour of their home city, Lagos, Nigeria before hitting the stage at the Lagos arm of their ROOTS tour.

The blurring of lines between British and African culture that has taken place over the last decade and a half has left a profound effect on the dynamics of music, culture, and arts. No place better typifies that eternal hustle and bustle like London does. The British capital is at present home to a number of music scenes that take their vim and exuberance from the motherland but have uniquely adapted their mode of expression to mirror the realities of life in the western hemisphere. 

Six-man afro-swing group, NSG, is one of the biggest totems of our unique cultural moment, forever straddling the divide between the incandescent groove of west Africa and the organised frenzy of London that they call home. Last year, following the moment-heralding success of their debut mixtape, ‘Grown Up’, the group released an E.P titled ‘Headliner.’ The release of that project was to serve two purposes:  strengthen their bonds with the literal roots of the music that they channel as well as support a larger tour that brings their music to the people of Africa. 

One night last year, the NSG train touched Lagos and they brought the vibes to the Ultima Studios in Lekki where their unique melding of Rap, Afropop, and Soul music brought smiles and a sense of camaraderie to their audience. Following the pattern of our PreGame installations, we had conversations with the group hours before they touched the stage, discussing the concepts that inspire them, having amala, making ‘Roots,’ and their reasons for making the project. 

Watch PreGame with NSG below.

Deep Cuts: Nonso Amadi’s “Tonight” Is An Evergreen Anthem

Posted on by Emmanuel Esomnofu

750 days: that’s the time difference between Nonso Amadi’s previous pair of tweets. It’s an unusually lengthy time for a musician operating in popular spaces not to tweet, but then again Nonso Amadi is not your regular run-of-the-mill artist. Even while he burned hot on the lips of admirers, he maintained an elusive nature, popping up rarely if not only, in the complex stories folded into his R&B-influenced songs. If anything, his recent update hints at forthcoming music, and we’ve been patiently waiting.

 

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Sometime in late 2017, a record built on melancholic keys and almost muted percussions caught the ears of a number of listeners, quickly moving from an underground sensation into larger spaces—on radio most notably, the song became a favourite, repeated at various times over the course of a day.

Most listeners didn’t even know the singer was Nigerian; such was the breadth of Nonso Amadi’s expression. Slowly people caught up and before the year’s end, the Canadian-based singer had become quite popular, particularly among young people.
“Tonight” was everything Nonso Amadi needed in a breakout song. It’s that kind of song that equally packs thoughtfulness and groove, lined with the impeccable songwriting Nonso would regularly demonstrate down the years. In some ways it’s ambiguous, shuttling between scenes without laying specificity, but strikingly visual (“my girl, she’s got a gun in her hand”) and perfectly conveyed by Amadi’s glossy vocals.

Anyone who has loved knows the complexity that comes with the terrain. “Tonight” captured that dilemma so often associated with young love, where the harm caused by toxic habits clashes against the eventual make-up. “Tonight I represent the guy with the money who lives fast, but baby don’t die young,” Nonso Amadi sings on the pre-hook, hinting at the possibility of danger.

About three months later, he followed up with “Long Live The Queen,” further flexing his skill for producing deep tensions within simple structures. Love records are a industry trope, but who else is beginning theirs with such as “She was the queen to my heart but had her kingdom overthrown/Fought off the beasts in the dark, she spent the sleepless nights alone”?

In some ways Nonso Amadi never got his flowers for striking out early in the singer-songwriter path. Though his self-production and other DIY qualities made him considered among the Alté community (and even creating a joint EP with Odunsi The Engine), he was exploring sounds with a fixed tradition. Think Drake, think Bryson Tiller, think emotional conflicts doused in deceptively simple lyrics, and think of the Canadian connection.

The years since 2017 have been kinder to ingenious lyricists. Never has someone like Nonso Amadi been so primed for a takeover, and his more recent outputs have been typically great. 2019’s Free saw him collaborate with mainstream acts like Simi and Mr. Eazi, piquing curiosity towards what direction his forthcoming music could go.

Regardless, we’re all quite aware of Nonso Amadi’s brilliance and, truthfully, few songs released throughout the 2010s matches up to the sheer beauty of “Tonight”.

Revisit Nonso Amadi’s “Tonight” below.

Featured image credits/NATIVE

Netflix’s First-Ever African Reality Show ‘Young, Famous & African’ Is Coming Soon

Posted on by The Native

Mark your calendars as Netflix is set to launch its first-ever African Reality show, ‘Young, Famous & African’ on the streaming platform next month. The series promises to give viewers the full reality TV experience, from rivalries to new friendships and romantic connections, as Africa’s stars give us an intimate insider look into their glamorous lives as in the City of Gold, Johannesburg, South Africa.

 

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‘Young, Famous & African’ is produced by Urban Brew Studios and co-created and executive produced by Martin Asare Amankw, Peace Hyde and Adelaide Joshua(Ghana) Hill(South Africa). The season will consist of 7 episodes with an A list cast that includes Khanyi Mbau, Diamond Platnumz, Annie Macaulay-Idibia, 2Baba, Zari The Boss, Naked DJ, Nadia Nakai, Swanky Jerry, Andile Ncube and Kayleigh Schwark.

The cast which hail from South Africa, Nigeria and East Africa and are the most elite in their industries including fashion, music, entertainment and Instagram. “It’s really exciting to be able to show the world an exclusive look into the lives of Africa’s top celebrities and socialites. Young, Famous & African is a depiction of a world that has never been seen before, highlighting authentic stories and unrivalled access to some of the most celebrated celebrities,” says Martin Asare Amankwa, one of the shows executive producers.

You can watch the official teaser below.

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Best New Music: Rema Brings His Debut Album One Step Closer with “Calm Down”

Posted on by Tami Makinde

In 2019, Rema arrived on the block, hot on his heels and ready to prove his star power. Launched into the music scene off the back of one of the country’s most illustrious record labels Mavins, the singer and rapper was bolstered to new levels of recognition within days of releasing his debut self-titled EP, which housed multiple seminal hits. Since then, he’s more than proved his salt, earning a spot in wider Afropop conversations and transforming into an industry tsunami to be reckoned with, with every drop.

 

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This year, Rema is fanning the flames of polarising conversations more than ever before. On March 25, the singer will finally release his debut album titled ‘Rave & Roses,’  nearly three years after a magnificent 3-project run back in 2019. While most fans are already hypothesising on what a Rema album would sound like in 2022 (us included), it’s evident that whatever Rema serves up will only be another step towards the powerhouse he is capable of becoming.

Since his debut on the scene, Rema has occupied an interesting position in the game. From “Dumebi,” to “Bad Commando,” and “Alien,” Rema has always grappled with different sounds and genres, bending them to his will as he delivers a melody driven sound with unfettered eccentricity. Music is evidently Rema’s playground and it’s clear that he’s able to shape-shift and contort his vocals to blend with any beat he’s given as we’ve seen from his growing catalogue.

As he continues to gain more mileage in the game, Rema has now coined his current sound as ‘Afro rave.’ While he’s left the term open to interpretation from his fans and peers, some of his recent releases have hinted at the direction he’s poised to go. Last year’s “Soundgasm,” is a sensual dancehall-track laced with sticky beats and euphoric sexual innuendos. On it, Rema directly addresses his muse, candidly expressing his intentions to share salacious moments together. It won’t be the first time he would be explicit about this side of himself, a feat that we’ve seen from his debut on “Dumebi” till now, with his recent release, “Calm Down.”

Gearing up to release his debut album, the singer and rapper has released the Andre Vibez and London-produced track titled “Calm Down.” The smooth Afropop number is a romantic track that finds Rema singing about his crush, regardless of his hesitancy to approach her. The song plays out as Rema moves from admiring his love interest in the background, to plucking up the courage to approach her at a party and dance with her under the twinkling of the dancefloor lights.

Over the song’s rhythmic production, Rema sings “Baby calm, this your body dey put my heart for lockdown,” on the song’s infectious hook, inviting his love interest to give into his advances with an irresistible boyish charm. In his usual manner, Rema throws in a mix of pidgin English and his now signature garbled-speech to convey his affections and emotions. Melodies are front and centre in everything Rema touches and on “Calm Down,” it’s no different as its catchy beat evokes feelings of nostalgia in listeners. The production seems to embrace both nostalgic and modern elements into its composition, arriving at a mixture that sounds like a comforting friend recounting their romantic trysts.

For most of us, we are able to see ourselves reflected in Rema’s catchy lyrics. More than just a means to offset Rema’s current emotions as a young artist on the scene, the innocence of the young romance that he sings about is instantly relatable and familiar for anyone who has put their heart out there. The song’s accompanying video by Director K echoes the song’s lyrics to a tee. Here, we see clips of a Rema navigating a party which his crush is attending. He goes from watching her on the sidelines to approaching her and winning the girl over–just like he says he will.

Confident and in the best possible position to take his sound to a new level, Rema is one step closer to the release of his debut album and with a midas touch that never weans, we’re confident that ‘Rave & Roses’ will encapsulate everything the star has to offer.

Pre-save ‘Rave & Roses’ below.

Featured image credits/DirectorK

TurnTable Top 50: Asake & Olamide’s “Omo Ope” climbs to No. 3

Posted on by Dennis Ade Peter

Last week, street-hop’s ultimate endorser, Olamide unveiled singer Asake as the latest signee to his YBNL record label. The announcement came not too long after their collaborative single, “Omo Ope,” a vibrant and celebratory cut that’s easily one of the best songs in this early year. Two weeks after making its TurnTable Top 50 entrance at No. 25, and moving up to No. 14 last week, “Omo Ope” has rocketed to the third spot on this week’s edition of the chart. Tallying 3.03 million equivalent streams and 31.8 million in radio reach, the song saw 85% and 52.8% increases across both respective mediums.

Having topped the local Apple Music charts—which is not a part of the TurnTable Top 50 yet—for much of the previous week, and with the impending release of his debut EP, ‘Ololade’, as well as the song’s accompanying video, “Omo Ope” has real momentum to get to the very top of the chart. For now, though, Skiibii continues to set the pace with his Davido-assisted “Baddest Boy (Remix).” Still ahead of the pack streaming-wise, the song is yet to top the radio and TV charts to complete the TurnTable sweep, a feat that would be apt for the song with the most single-week points in TurnTable Top 50 history.

Retaining its No. 2 position for the third straight week, after topping the chart for four straight week, Fireboy DML’s “Peru”—bolstered by the Ed Sheeran-assisted remix—remains in the top ten for the 26th week, extending the record for most weeks in the top ten. Fireboy makes another top five appearance this week, his feature on the remix of Reekado Banks’ “Ozumba Mbadiwe” helps in sending the song to No. 4 after it briefly fell out of the top ten. The top five on this week’s TurnTable Top 50 is rounded out by Lil Kesh and Zinoleesky’s “Don’t Call Me,” which just received a video treatment that should ensure its staying power in the top ten over the next couple of weeks.

Kizz Daniel’s “Pour Me Water” is at No. 6 this week, falling out of the top five for the first time since topping the chart for one week at the end of 2021. Rounding out the top ten of this week’s TurnTable Top, TI Blaze’s Olamide-assisted “Sometimes (Remix)” stays at No. 7, Kizz Daniel’s “Eh God (Barnabas)” moves one spot up from last week to No. 8, Burna Boy and Wizkid’s “B. D’OR” tumbles down four places to No. 8, while CKay’s “Emiliana” descends two positions to No. 10.

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

ICYMI: A 1-LISTEN REVIEW OF BASKETMOUTH’S ‘HOROSCOPES’

Songs Of The Day: New Music From Moliy, Tim Lyre, Juls & More

Posted on by Chibuzo Emmanuel

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

We’re doing the work to stay on pulse with all the music coming out from across the continent and beyond, bringing you exciting songs of tomorrow: today. Last weekend, we brought you new releases from Rema, Preyé, Nasty C, Basketmouth, L.A.X, Barry Jhay, Djaji Prime and more. To begin the new week and celebrate Valentine’s day, get into these new releases from Tim Lyre, Bucky Raw, Juls, dndSection and more. Enjoy.

Moliy – “Love Doc”

After her awe-inspiring performance on Amaarae’s “Sad Girlz Luv Money,” Moliy has stoked fans’ anticipation for new music from her. With the new year in sight, many listeners are already clamouring for an album from the singer, who has recently begun the year with her first offering titled “Love Doc.” Over the romance-inflected tune, Moliy sings about a love interest who she can’t seem to get off her mind during a wild night out in town. “I need the love doctor right now, think I need you by my side,” she quips on the song’s sticky-sweet hook, inviting listeners to conjure their own images of their romantic interests.

Tim Lyre – “Hubris” ft. Lex Amor

Continuing in his sonic brilliance laid down on earlier releases, Tim Lyre delivers yet another gem to the world. “Hubris” is a slow-burning soothing track that pairs Tim Lyre’s brassy vocals with memorable production.  Lex Amor brilliantly delivers a stunningly mature verse with a sensual infectious cadence, in her characteristic laid back manner. Both singer’s stunning vocals intermingle beautifully, making for a wholesome cathartic listen.

Bucky Raw – “Fine Girl”

“Fine Girl” is a head-bopping delectable number. Ace producer Mystro takes a powerful roster of sonic elements—Syncopated swaggering percussion, piquant keys, groovy bass riffs—and threads them together, end-on-end, so that the song seems to have an almost magical effect—drowning you in an ethereal soup of sonic pleasure.The beat is then populated by Bucky Raw and ace Nigerian rapper Vector’s vocals—carefree singing, heartfelt ad-libs and sure-fire raps.

Juls – “Summer In The Ends (Remix)” ft. Jas Karis & Zikoma

“Summer in the Ends” is the second track on Juls’ highly inventive and experimental 2021 album. The song is an upbeat melting pot of diverse sonic elements—Afropop, Caribbean soul music, Jazz—bookended by poetic narrations from George the poet and a host of others. On the remix, Juls swaps George the poet for Zikomo and slows the tempo of the song whilst retaining the essence of the original. Zikomo’s soothing voice brings a new current of fresh breeze to the song to create an even more mellow cathartic listen.

dndSection – “24 Days In Lagos”

If LSD was a sound, ‘24 DAYS IN LAGOS’ would be an accurate depiction of it—a chill lo-fi sound, wavy chords, pulsating waves from the strumming of a guitar. DND SECTION lays smooth quick-fire raps on the beat, talking about spending time on a beach house in Lagos, meditating and rolling ‘Jays’ until he sees clouds.

Featured image credits/NATIVE

ICYMI: 14 Projects The NATIVE Team Are Excited For This Year

For Us By Us: Platonic Love Matters Too

Posted on by Moore Wright

Growing up, there was a recurring feeling of anxiety I felt when I found myself putting too much value on friendships. I loved the idea of having a tight knit group of friends, thanks in no small part to shows such as ‘How I Met Your Mother,’ and longed for one when I got older. A group of friends that did everything together, friends that were closer than family–yet my reality never seemed to quite match up to the on-screen friendships I grew up watching.

Most other media in the early 2000s however, tended to present friendships as something to be used as a placeholder, before one grows up and settles down. In many a romantic comedy, there is the depiction of a friend in usually only exists to give romantic advice, make snappy comments and give the romantic lead the final push to go after the one they love, before losing importance once that objective is reached.

In February, especially, there are many jokes endlessly circulating about how tragic it is to be single on Valentine’s Day, regardless of the people you already have in your life. For older single people especially, this is often a source of anxiety as they are made to look at where they are in their lives in comparison to where they are told they should be.

For many young adults, and particularly Nigerians, there are certain priority shifts that are expected to happen as people mature and grow older. You are supposed to move on from the stereotypical wild party twenty-something years with friends, towards a life that is more focused on your children, your spouse and your career, sometimes even in that order.

So where does that leave people who get married later than their peers, or decide to never get married at all?

The 2014 film ‘Life Partners’ deals with that very question as it chronicles the strain on an extremely close friendship between the characters Paige and Sasha that begins once Paige gets a boyfriend. In a climactic argument, Paige tells Sasha that after you begin dating seriously, “you don’t talk to your friends till two in the morning anymore. You stop needing that.” The issues that the two characters face is unfortunately one that is familiar to many young adults.

Many articles have been written about people losing touch with their friends after they enter serious relationships, especially after they enter their marital home. Friends are often seen as the fallback, the temporary placeholders used until you can move on to greener pastures, a mentality that doesn’t serve people without a romantic relationship that they see as the centre of their world. This isn’t to say that the Paige’s of this world are inherently misguided however. There is certainly nothing wrong with treating a significant other as the most important person in your life. Most people choose their partners because they genuinely enjoy spending most of their time around them. Finding a relationship like this would make a change in priorities inevitable. Having a change in lifestyle from single friends also makes it understandable when people simply drift apart, no matter how much they love each other.

It’s the assumption that growing apart from your friends as you get older is to be expected but that doesn’t make the pill any less difficult to swallow. It makes it sad to see so many friends drift when their relationships could otherwise flourish. In recent years however, there have been changes to how people view friendships. More people have been getting married later in their lives, with the number of people getting married in their sixties going up in the past decade, lengthening the ‘free single years’ that is often spent with friends.

Likely because of these sorts of changes, there has been more emphasis on how much value people put on their platonic relationships, with the term ‘platonic life partner’ making the rounds on social media. A good example is shown through the viral Tiktok life partners Renee and April. They live together, consider each other their number one priority and have stated that if they wanted children, they would adopt and raise them together. April, one half of the duo, has also shared: “We wanted to spend the mundane moments together because we made the mundane magical.”

It seemed strange to many that these two people would want to commit so deeply to each other without a romantic or sexual element, questioning what would happen if one of them gets married, but the two women are confident in their dedication to one another. Many commentators on the duos videos have been pleasantly surprised that this was even an option. People like Renee and April are showing a new kind of companionship that many young people could choose.

There has also been emphasis put on friendships that don’t have a financial aspect to hem. Galentine’s Day, a term coined by Leslie Knope on Parks and Rec, has been used as a day for women to celebrate their love for their friends. Palentine’s Day is also used as a more gender neutral term for people who want to celebrate their friendships with the same affection that is often reserved for romantic relationships.

More films and TV shows have also been centering friendships as the great loves. The 2019 film ‘Booksmart’ focuses on two best friends saying a heartfelt goodbye, instead of focusing on their respective love interests. Friendships have been some of the most meaningful parts of my life. It makes me happy, and a little nostalgic, that there is more focus on and celebration of people who are often with you during the messiest, most heart breaking and most joyful life experiences.

Young people now have an alternative version of companionship to dream about, especially for those who don’t want to daydream about marriage. This lessened pressure to marry can even let people choose their spouses more carefully, if they aren’t seen as a necessity to experience great love and commitment.

Your friends can be your epic loves and not just a fallback. Philia, the Greek term for friendship, often translated to mean ‘the highest form of love’. In my own personal experiences, I find that to be completely accurate.

Featured image credits/NATIVE

What’s Going On: ASUU Strike In Nigeria, Xenophobia in South Africa & More

Posted on by Emmanuel Esomnofu

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

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

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

Nigeria’s ASUU embark on one-month warning strike

Earlier today, the Academic Staff Union of Universities (ASUU) declared the immediate start of a month-long strike. Going back to November last year, unconfirmed reports in the media suggested that ASUU were planning on embarking on a strike. Today, the union’s head confirmed a “comprehensive and total strike.”

The announcement was made by the President of ASUU, Prof. Emmanuel Osodeke, following meetings from the union’s National Executive council being held at the University of Lagos since Saturday. “We don’t like to see our students at home,” he said. “We don’t want our academic calendars disrupted but our demands are not met.”

Since 2009, the Nigerian government and the premier university association have been at loggerheads over the support owed to public universities around the country. ASUU’s demands have barely changed over that duration: funding to improve the standards of universities, University Transparency Accountability Solution, academic allowances and inconsistencies in the association’s preferred Integrated Payroll and Personnel Information System Payment (ISPIS).

Almost two years ago, the association embarked on an indefinite strike which eventually ended in December 2020, nine long months after. Led by the Minister of Labour and Employment, Dr. Chris Ngige, the government agreed to meet the association’s demands. This strike A apparently confirms they haven’t done so. A number of undergrads and individuals have criticised both the government and ASUU for their inconsideration towards the plight of the nation’s undergraduates.

The International Court of Justice rules against Uganda

Last week the International Court of Justice (ICJ) ruled against Uganda in a case involving them and the Democratic Republic of Congo (DRC). The ICJ in its ruling specified the sum of $325million as compensation for Uganda’s invasion and forceful occupation of the Ituri province between 1998 and 2003, during the Second Congo War. During this period, Uganda’s activities provoked a swathe of actions which went against international law: the killing of civilians, recruiting child soldiers, rape and all other sorts of harassment.

Reading the verdict, Judge Joan Donoghue of the ICJ said: “This global sum includes 225million U.S. dollars for damage to persons, 40 million U.S. dollars for damage to property, and 60 million U.S. dollars for damage related to natural resources.”
Seven years ago, the DRC asked for $11billion in damages which Uganda refused to pay, arguing it was “disproportionate and economically ruinous”. “It essentially seeks to make Uganda responsible for everything that happened in the conflict,” said Uganda’s Attorney General William Byaruhanga.

Congolese personalities were partly satisfied by the ruling. “It was a reason for pride for us because this condemnation goes in the direction of dissuading any other state that would try to carry out military activities on another independent state without its agreement,” said Christian Uteki, a Congolese jurist. “But there’s dismay, because the amount for which Uganda was condemned, $325 million, is a very small amount. This amount cannot cover the reparation as expected by the Congolese people.” The total sum is to be paid in annual instalments of $65 million, due in September each year from 2022 to 2026.

Ghanaian citizens protest unfavourable bill

The residents of Ghana are protesting against the government-proposed e-levy bill. As announced by the Finance Minister Ken Ofori-Atta during the budget statement for 2022, the bill would place a 1.75% tax on all mobile money transactions exceeding 100 Ghana Cedis.

The majority leader of the Ghanaian parliament, Osei Kyei-Mensah-Bonsu, suggested that the bill was necessary for providing funds for the 2022 budget and would deliver crucial services and improve infrastructure.

However, for Ghanaians who have been acting against the bill since last year, it would surely contribute to the country’s growing inefficiencies, which includes rise in fuel prices, corruption and the skyrocketing cost of living generally. Members of the Coalition of Concerned Ghanaians (CCG) led the “Yentua demo” in the streets of Accra. Joining the protests were civil society organisations, other political parties and the National Democratic Congress (NDC), Ghana’s opposition party which was founded by former president Jerry Rawlings in 1992.

South Africa stokes the flame of Xenophobia, Again

Since 1994 when all-race elections began in South Africa, no other political party has been more successful than the African National Congress (ANC), whose first president was none other than Nelson Mandela.

However, last year’s local elections saw the party perform poorly, especially in Johannesburg and Pretoria where a number of groups carried out anti-foreigner campaigns. Concerns about the 2024 national elections have led analysts to predict that the party will win less than half the votes, the first time that would be happening since 1994.

As a result, the South African cabinet have moved in place to introduce xenophobic policies. One of those is to send almost 200,000 Zimbabweans back home after their residence in South Africa since 2009. Another policy seeks to introduce employment quotas for foreign nationals. According to Home Affairs Minister Aaron Motsoaledi, a law is being finalized that will cap the number of foreigners that businesses owned by locals can hire. “If you are a South African business person who opens a restaurant or a factory, there is no law that tells you what to do, you can bring 100% foreign nationals or 100% South Africans,” Motsoaledi said in an interview. “We are saying there is an issue with unemployment and the absence of those quotas.”

South Africa has had a history of anti-migrant attacks. Although 3million of SA’s 60million population are migrants (according to the national statistics agency), jobs for unskilled persons are remarkably low. That hasn’t stopped the resentment among South African nationals for what they perceive as competition for limited opportunities, housing and other services.
In 2008, attacks on migrants left at least 67 people dead and about 6,000 people fled the country. Another outbreak of xenophobic violence in 2015 left dozens dead and saw hundreds of shops plundered and looted, as goverments tried to repatriate their citizens.

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Here’s A List Of Films To Watch On Netflix Naija This Valentines Day

Posted on by Wonu Osikoya

With the arrival of Netflix Naija, the slew of Nollywood films we are watching these days have been varied in their content and message. In modern films such as Damilola Orimogunje’s ‘For Maria Ebun Pataki’ and Kayode Kasum’s ‘This Lady Called Life’, more societal matters are addressed, giving room for nuanced conversations on mental health and parental abuse in Nigeria. 

Yet for every didactic message shared in these recent films, Netflix Naija has now followed this up with easy, feel-good releases that entertain us without necessarily teaching us any moral code. This Valentine’s Day, especially there are a number of romance films to endlessly dig into as we celebrate the day of love. Everyone knows how a typical Nollywood love story used to end up back in the days, it was either there was the was a feud between the families of the couples or something goes wrong on the day of the wedding.

Whether you’re celebrating with a partner or just looking to binge movies on your own, here are some Netflix films you can get into this Valentines Day. 

Wedding Party

As the highly anticipated wedding arrives, Dunni Coker and Nonso Onwuka’s lavish wedding plans turn into a nightmare of exes, fighting parents, and uninvited guests. The Kemi Adetiba-directed film features Banky and Adesua Wellington as the lead actors of the film and Zainab Balogun, Sola Sobowale Ireti Doyle and more as supporting cast.

Tango With Me 

The newly married couple Lola and Uzo merge self-discovery and healing while they deal with the aftermath of a traumatic event on their wedding night. The 2010 nollywood film directed by Mahmood Ali-Balogun features Genevieve Nnaji & Joseph Benjamin as lead characters. 

Dear Affy

An engaged couple hit a number of speed bumps and obstacles on their road to matrimony including major career complications and questions of fidelity This film stars Toyin Abraham, Odunlade Adekola, Kehinde Bankole, Enyinna Nwigwe and more and is directed by Samuel Olatunji. 

2 Weeks In Lagos 

A businessman returns back to his Nigerian home and falls in love with his friend’s sister irrespective of his family’s plans for him to marry a politician’s daughter. The cast includes Mawuli Gavor, Beverly Naya, Shaffy Bello, Efe Irene & more. 

The Bridge 

A Yoruba prince and a young lady from a well-to-do Igbo family face tribal prejudice and parental pressure when they secretly get married. The 2017 film is directed by award-winning actor and film producer Kunle Afolayan. 

Hire A Woman

An uptight man attempts to make his ex-girlfriend jealous when he pays his co-worker to act as his lover at a university reunion, starring Nancy Isime, Erica Nlewedim, Uche Nwaefuna, Alex Ekubo. 

Lara and The Beat

When their glamorous lifestyle comes to a screeching halt, two sisters try to rebuild their fortunes through music and enterprise. The 2020 film which stars Seyi Shay, Vector, Sharon Ooja, Shaffy Bello and more, is directed by Tosin Coker.

The Eve

At an epic beach party thrown by his buddies, a groom-to-be meets a lovely stranger who makes him rethink the meaning of life and true love. The 2018 Tosin Igho-film features Adeolu Adefarasin, Beverly Naya, Kunle Remi, Mr Ibu, Meg Otanwa and more.

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 A 1-Listen Review of Basketmouth’s ‘Horoscopes’

Posted on by The Native

When news started to filter out of Nigerian comedian, Basketmouth’s camp that he was going to drop his debut album in 2020, many people underestimated the much-loved figure who was more popular for his comedy than he was for any form of musicality. That album, ‘Yabasi,’ a deft fusion of Highlife and Hip-Hop produced in conjunction with Duktor Sett, arrived like a tempest, upending conventions about what Nigerian Pop can and should sound like while canonising the much-heralded renaissance of Eastern Nigerian Highlife music. 

The arrival of album two is now being treated as a legitimate occasion by many who are curious to see what direction Basketmouth takes on his new venture. Originally titled ‘The Scorpio Effect,’ this new undertaking, now titled ‘Horoscopes,’ has arrived on the back of months of tweaking and fine-tuning between Basketmouth and his collaborators.

In a chat with Apple Music, Basketmouth admitted as much, confessed that the music he has been making with Duktor Sett is an exercise in bravery, but what stands undoubted is Basketmouth’s inspired curatorial instincts and knack for seamless melodic immersion. It is the sweet ecstasy of discovering Nigerian music re-imagined in tantalising fashion that makes ‘Horoscopes’ such a tantalising proposition, and with the album dropping today, we are about to bear witness to the new arc of Basketmouth unfolding story.  

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

“Love and Life” (ft. Johnny Drille, Simi, and MI Abaga)

I like how this one starts off and the first thing I remember is Dennis’ piece from last year about Johnny Drille and how he’s become such a rounded performer. He’s the soul of the song here if I’m being honest because the way he translates anguish is so exquisite. Simi is in her bag as well and, for all his personal drama, MI Abaga’s pen remains elite, there’s true synergy between all the artists here. I think that’s the magic of Basketmouth, he’s a true A&R, he knows what records need and he just arranges these unions that make the music truly remarkable. We’ve heard that this is a soundtrack album for a movie later in the year and this is truly big screen music. Definitely adding to a couple of playlists. 

“Your Body” (ft. Buju)

Within the context of this album, I think this song comes a little too early. A very rare misstep from Basketmouth but please can we talk about how Buju’s voice is such a delight, a breath of fresh air; this is a virtuoso at work. The percussions barely ascend and according to Basketmouth, this beat had to be remade because Buju’s delivery forced Duktor’s hands. I know we’re not supposed to rewind but I am sorely tempted to, will be revisiting this many times this year. A definite keeper. 

“Listen” (ft. Wande Coal)

These songs are running a little too late and it’s pissing my homegirls. The opening stretch of this song is also why we all know and acknowledge as one of the most influential contemporary Nigerian musicians of the last 15 years. His voice is so evocative, there’s pain, there’s elation and luster in it all. It’s just some twinkling synths and percussion here because I would imagine that they know Wande Coal’s voice is an instrument in a way. Would have loved to see what WC would do with a highlife instrumental but sightings of the legend are so rare that we can’t even be angry. “Love and Life,” however makes it hard for me to truly appreciate this song in this arrangement because the energy is slightly off, but this is a solid jam. 

“Celowi” (ft. Peruzzi)

Okay, ‘Yabasi’ alum in the building, and this is what I expected to follow up “Love and Life.” There’s a refreshing fervour to how Peruzzi is layering his vocals on this track. He was made to make music like this if we’re keeping it a buck. There’s a lounging jazz energy to this track and it’s the perfect centerpiece for an album like this. Again, barely over 2 minutes long but what a song, what a pivot into highlife. Let’s go!

“Money” (ft. Oxlade and Efya)

I think Oxlade fits perfectly within Basketmouth’s musical landscape hence why he was recruited here again, he has such an intoxicating voice that makes it easy to listen to him on loop. Efya’s music is also the perfect response to Oxlade’s opening section, she’s really going into it, getting into the essence of that “If I do mistake get money” line. I’ve noticed that Duktor Sett has really kept things dialled down and generally avoided any complicated flourishes which is a credit to how good he is because his presence is still noticeable on these tracks; he’s basically a metronome here, just keeping things ticking nicely. Great deep cut here. 

“Trouble” (ft.2Baba and Blaqbonez)

I think the first thing that I should say about this record is that this is musical heritage right here. Blaqbonez is joining 2Baba on a record, that’s like the G.OA.T of Nigerian pop music. Just wow, head blown and he doesn’t let himself down. What can I say about 2Baba man, that’s a timeless musicbox, he toys with pockets that he has no business being able to handle and just leaves a sonic pattern for Blaqbonez to basically devour. I also love how Duktor Sett blunts out Blaq’s voice at certain points, it’s exciting having to strain to hear what profanities he’s uttering. This is a tentpole record, I want to hear it at the Crusade on Sunday. 

“The Traveller” (ft. The Cavemen and Kwabena Kwabena)

If there’s any track that shows the scope of Basketmouth ambition, I think it has to be this one. For him to fuse Igbo Highlife and Ghanaian Highlife requires him to be attuned to the pulse of music on both sides and he just about pulls it off even if there is a slight drop somewhere in the interchange. It’s more fluid on the latter end of the track but to even attempt it shows how much of a serious musician he is. Not entirely sure about this, but I’ll revisit.

“Leave Me” (ft. Reekado Banks and Falz)

Reeky’s voice is so sultry and he carries this track so elegantly. I want to play this record for all the people that are stressing me, to be honest, but I’m too mild-mannered so I’ll just be content with jamming it up and laughing along to Falz’s verse. Weirdly, I think this is a song that might not get the attention it deserves for some reason. 

“Assembly of Gods” (ft. Magnito, Illbliss, Dremo, The Cavemen, Falz, and Flavour)

I don’t think I can tell you how pissed I am that this song is just 3 minutes, 15 seconds long. This is the posse cuts of all posse cuts and it’s just such a proficient record in terms of arrangement and structure. Everyone brought their A-games to this record and I like how all the rappers bring a unique signature to the record while The Cavemen and Flavour provide the bridges needed. A lovely, poignant record that only gets better when Basketmouth rounds things up. 

Final thoughts

With ‘Horoscope,’ Basketmouth has created an entirely new soundscape, coming less than 24 months after his last effort. It doesn’t have the frenzied Highlife-adjacent energy of ‘Yabasi,’ but it’s a body of work with its own convictions and messaging. It’s also infinitely more complex than the former record and deals with a myriad of issues without a startling level of clarity that has left me impressed. 

My biggest issue, however, is in its arrangement. Sometimes, it feels like Basketmouth was hyperaware that this is a different type of record and the arrangement reflects that because the clarity that mapped out the journey of ‘Yabasi’ is sorely lacking here. Still, many parts of the project capture the flair of cinema and shows that the Basketmouth train is only just creaking into motion. 

Listen to ‘Horoscopes’ here. 

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Songs Of The Day: New Music From Rema, Preyé, Nasty C & More

Posted on by Emmanuel Esomnofu

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

We’re doing the work to stay on pulse with all the music coming out from across the continent and beyond, bringing you exciting songs of tomorrow: today. Earlier this week, we brought you new releases from CKay, AYLØ, Kawabanga, Somadina & more. To ease you into the weekend, enjoy these new releases from Rema, Preyé, Nasty C, Basketmouth, L.A.X, Barry Jhay, Djaji Prime and more. Enjoy.

Rema – “Calm Down”

It’s a no-brainer why Rema’s ‘Rave and Roses’ made our list of most anticipated projects this year. Since breaking out about three years ago, the Benin-born superstar has smashed commercial expectations and birthed a singular vibe, unfound in the music of any other contemporary. With some, he might share musical inspirations but the product has always been markedly Rema, helmed by Mavin’s endless supply of genius producers. Andre Vibez and London join forces to explore a groovy lo-fi sound on Rema’s latest, “Calm Down.” The song blends youthful zest and romantic angst, with lines such as “baby girl if you leave me, I no go love again”. It is also set to feature on the singer’s debut album which is now slated for a March 25 release date.

Preyé – “Red Wine”

The talented vocalist Preyé kicks off the year with an inspired song about intoxication and its storied relationship with steamy moments. In her own words, “Red Wine” is sexy with a “purpose!” and her vocals are pure streams of emotions clashing into each other, settling in the song’s Neo-soul groove. “Red Wine” is also the first glimpse of the singer’s upcoming debut EP ‘DON’T LOOK DOWN!’ which is set for release later this year.

Basketmouth – “Leave Me” ft. Reekado Banks & Falz

In 2020, Basketmouth’s ‘Yabasi’ crept from seemingly nothing to become one of the year’s most acclaimed tapes. For that he was rewarded with a celebrated EMPIRE deal. Today the world woke up to Basketmouth’s sophomore album, ‘Horoscopes’. A standout is this jam featuring Reekado Banks and Falz whose voices are in perfect sync as they sing of a love interest. “Girl I always wanna impress,” sings Reekado in a tone that drips with desire and intent. Falz’s verse is laced with sexual innuendos and cheeky wordplay (“tell me if I go down I go drown for water”), underlined by Dukktor Sett’s warm, minimalist percussions.

Dai Verse – “Sweet Daddy” ft. Buju

Dai Verse’s song “Sweet Daddy” originally dropped last year in May, capturing the ears and hearts of listeners around the country. The earworm track now earns a befitting feature from BUJU. For its 2022 spin, Buju infuses his sweet saccharine vocals on the already enjoyable song. The Semzi-produced beat is as sweltering as a Lagos afternoon, packing a groovy bounce. Dai Verse and Buju’s chemistry permeates off the song, as listeners coast through some of the most affectionate lyrics on unrequited love you’ll hear this year.

Nasty C – “Stalling”

There are few rappers on the continent touching Nasty C when it comes to creating songs about love. We’ve heard the strength of such bars on “Mrs Me” and “SMA,” and just some days before Valentines, the South African rapper has painted another remarkable picture on the archetypical modern relationship. “You can leave if you wanna leave, if you don’t wanna go the whole way,” he raps on the first line, before detailing the hurt of loving someone who doesn’t love back with the same vigour. The smooth production (as well as Nasty’s cadence) is Trap-influenced and any rapper from Lil Baby to Young Thug would do a madness on it if a verse was ever recorded.

Angelique Kidjo – “Do Yourself” ft. Burna Boy

What does one expect when two giants of African music collaborate? If anything, some heavyweights have flopped on songs together, but certainly not Angelique Kidjo and Burna Boy, whose relationship hints at Burna’s early days adapting styles from the Beninese icon and even sampling her on “Wombolombo.” On their second official collaboration–off Kidjo’s 2021 album ‘Mother Nature’–the stars unite for a groovy record about being confident in one’s skin, especially as an African. The just-released Meji Alabi visual colourfully captures the energy and intent of the song, casting warm hues across scenes brimming with musical activity and African aesthetic.

L.A.X – “Options” ft. Ayra Starr

L.A.X is never far away from a good record, rewarded by his consistency down the years. With Zaza Vibes coming two years ago, the artist took the time out to rest—and perhaps come up with fresh vibes—in anticipation of 2022. “Options” is a stirring duet with Ayra Starr, taking up both sides of a toxic relationship. “I want you but I have to choose me,” sings Ayra on the emotive hook, underlining the tension which makes the record so enjoyable.

Peruzzi – “Ready” ft. Aceberg

This breezy record features the best of both artists, starting with a scintillating verse and chorus from Peruzzi, before taken up by Acebergtm’s verse. The Yung Willis production bounces with the style of Afropop, but there’s an undeniable Caribbean flavour which enunciates the song’s sensual direction even better.

Djaji Prime – “Kolo (Oh No)” ft. JVSH

Djaji Prime famously pushes his music to sonic extremes, emerging with something new each time. His new song is an emo-trippy affair, blending rock-esque psychedelia with Nigerian swag. Imagine a zombie fell in love and was walking through the shattered street, singing the name of his departed human. Well, this song doesn’t sound that grim but it’s close enough, and possesses a mystifying bent that will make you return again and again.

4Rain, KLY & Niniola – “Disturb the Phone”

On this cross-continental collaboration, the French DJ and electronic music producer links up with Nigerian vocalist Niniola and Kly, the South African musician. Over a House tempo beat lined with guitar notes and jumpy percussions, the musicians get the party started. Though Niniola’s verse hints at a heartbreak, the beat is too cherry for contemplation. It just sweeps you along, deep in the vibe.

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Fireboy DML taps 21 Savage & Blxst for another Peru Remix

Posted on by Tami Makinde

Fireboy DML’s “Peru” is the gift that keeps on giving. After taking over the Nigerian charts and warming its way into our hearts and ears last year, Fireboy DML has now followed up with the song’s second official remix, this time featuring American rappers, 21 Savage and Blxst. The illustrious singer released the song’s original version in July last year and treated fans to an early Christmas gift—releasing the second re-up featuring UK music icon Ed Sheeran—on Christmas Eve.

 

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Since its release, the remix with Ed Sheeran enjoyed astounding success in the UK. Peaking at number one on Apple Music’s UK songs chart and making its way to several charts in the country, the remix also earned him a coveted debut on the Billboard Hot 100 earlier this week.

The “Peru” singer is certainly not losing any steam as he teams up with two American artists to widen the reach of the song and bolster its current standing on the Billboard Hot 100. Without departing from the catchiness of the song’s original version, the new remix features stellar additions from Blxst and 21 Savage who make the song a more enjoyable listening experience. “Say she love me but I’m deaf/Lace front but she like her beats Afro,” raps 21 Savage on the song’s third verse, interspersing his gruffy hard-hitting flows with the song’s rhythmic production.

Interestingly, he’s currently on his debut US headlining tour—which started on February 3 in Providence Rhode Island and will come to a close on February 28 in Seattle, Washington.

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Essentials: BenjiFlow brings retro-futuristic & groovy vibes on ‘The Thrill’

Posted on by Wonu Osikoya

The emergent years of North London-based artist BenjiFlow aren’t storied or exactly clear, but he caught the attention of listeners within and beyond his immediate locale. Armed with a voice that oozes ease without dampening the emotional weight of his expressions, the singer pairs clear, relatable writing with a rhythmic musical blend that includes the bounce of Afro-swing, R&B melodies, Bossa Nova lilt and the feel-good rhythms of Brazilian Samba.

The talented young artist first started out as a grime artist in London before intentionally defining his path as a singer, songwriter and producer. Surrounded by so much music and coming from a musical family, finding a path in the game was not far fetched for BenjiFlow. The multifaceted rising star initially leaned towards being a record producer rather than a performing artist but shortly after spending some time in the studio recording, the instrumentalist realised he was more about singing and performing than producing the music. 

 

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BenjiFlow makes music based on personal experiences, things he has been through and real life scenarios. He crafts his creation in a particular form in which listeners can resonate with. Last year he released the Oxlade–assisted “My Bella,” a track which found the artist singing genuine and sweet lyrics to his love interest. The track came as the lead single off his newly released EP, ‘The Thrill’, a 25-minute run of smooth and sensual vibes, with honest lyricism, catchy production and stellar vocal delivery. The self-produced 9-tracker blends old school sounds and themes with modern day melodies, showing off Benji’s skills as a creator and his interpretation of music.

BenjiFlow opens the EP with ‘The Thrill’, a quick 1-minute prelude—a perfect album opener for a project such as this. The prelude gives an insight on what to expect on the tape, from the percussion to the drums and strings, it is easy to tell that the tape is about to take you on a nostalgia-influenced ride. Following the prelude is “She’s Not In Love,” a mid tempo track with bouncy production which sees the artist delivering a melodious and rhythmic performance. The beat of the track simply captures you on first listen and along the way, listeners also get hooked to his melodious vocals. He sings lyrics such as, “Even though I’m losing in this game we play/Love should never fail so I take this L/she’s not in love,” detailing how the woman he wants seems to be rejecting him.

As the project builds up, he delivers the next single “Go,” a track which he brought to the ears of listeners and fans a few months ago. The track is more of a promise and confession from the artist, stating all he can do for his lover. BenjiFlow opens the track with standout lyrics, “Take you where money can’t go, I wanna see if you know/Take all you want on the low, baby where ya go?”. “One Of One,” a slow tempo tune is a soft and sensual track which is equally nostalgic. The romantic number finds the artist serenading his muse with mesmerising lyrics such as, “But you’re one of one, you shine brighter/brighter than the sun, take your time, you’re priceless,”  over its retro-futuristic production. Each step of the way BenjiFlow is adopting old sounds and techniques, and reworking them for a modern audience. 

On the Juls-assisted “Ready,” BenjiFlow delivers a more upbeat track infused with heavy drums which gives a slightly different vibe from the rest of the project. The track sees the artist expressing his deepest feelings for his muse with lyrics like “I told you I told you I’m ready, don’t let this feeling go, don’t let it go/Baby when the rain comes, shine comes, moon comes, I want you all the same” . It’s only right that the project closes just as it opened. The final track “The Chill” is a postlude, a 3-minute outro with a number of elements and instruments on the production, from drums, to guitars, to strings and percussion, the project wraps up nicely. For anyone who is looking for a unique and distinct musical experience, this one’s for you.

At each moment in ‘The Thrill,’ BenjiFlow reinforces one thing only one thing: the power of his glitchy saccharine-sweet melodies against retro-futuristic beats. With a charisma that permeates off our screen, the singer takes another bold step towards being a powerhouse with polished production and emotion-baring writing.

Listen to ‘The Thrill’ here.

ICYMI: LADY DONLI DEBUTS “THUNDERSTORM IN SURULERE” ON A COLORS SHOW

NATIVE Premiere: DAP The Contract Pens ‘Open Letter III’

Posted on by Damilola Animashaun

DAP The Contract has been playing the long game and it seems to be paying off. In the past five years, he has maintained an incredible work rate releasing a slew of singles and projects, including 2018’s ‘Everybody Falls In The Summer,’ and ‘Powers, Vol. 1 & 2.’

All this while, his rap skills and writing abilities have only become clearer as he tackles success and pain with sharp, clear raps. He’s endlessly digging into the beautiful and most frustrating moments of life and flipping them into relatable and poignant stories told over memorable production.

 

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First starting off his ‘Open Letter’ series over four years ago, DAP’s straight-to-the-matter verses were an honest snapshot of his life. So far, with two editions deep, DAP has shown a 360-view of his life, offering insightful glimpses into his academic career, the state of mental health, his strive for success and his musings on the complexities of his own wiring.

With a masterful grasp of Hip-Hop, he offers a spit-along confessions that are jam packed with critical observations and charismatic production. This year, to get the ball rolling, DAP The Contract is serving up ‘Open Letter III,’ a track that serves as a reflection of what he’s been up to since his last letter four years ago.

From his expansive academic career which includes piano recitals, Latin & Greek and a pandemic graduation from law school, DAP The Contract peels back the layers to ‘Open Letter III’ in his NATIVE exclusive premiere.

NATIVE: Hi DAP, what was the inspiration behind your Open Letter series? Did you ever envision it would grow to have three parts?

DAP: ‘Open Letter I’ was inspired by everything I was going through in 2016. I got some big opportunities that year, probably the biggest in my career at that point, and then ended up parting ways with management at the time that was instrumental in getting me some of those opportunities for reasons that had little to do with me and were out of my control. I had a lot to get off my chest and, since my music was already very autobiographical, I wanted to really tell the story of this rollercoaster year almost verbatim and in a much more conversational way. In releasing the first one, it felt so good to get so much off my chest in one song that I knew periodically I would want to have these timestamps that sum up my life since the last open letter.

NATIVE: Is there any link between the three letters?

DAP: The first 2 mirror each other visually. They both had text breaking up the song so you can read parts of the story, but 1 was all white and 2 was all black. Ultimately, they all capture a specific time frame and describe true events in my life. Open Letter III is different visually but is very appropriate because it follows my academic journey and references Ye’s Good Morning video on his graduation album.

NATIVE: Each open letter chronicles snapshots of different moments in your life. The latest, ‘Open Series III’ looks into your entire academic career, including the change brought about to learning by the COVID-19 pandemic and a summer of racial reckoning. Why were these experiences important for you to document–and in a way immortalise?

DAP: I was looking forward to this graduation so much because I was sure it would be my last. I had no plans of going to any other grad school program or anything so this one was going to be extra sweet, entire family there, the whole nine. I actually ran late to my graduation as an undergrad and almost slept through it, and I planned to make this video before the pandemic hit with me barely making it to graduation being the conclusion.

When quarantine started and we knew our graduation would be on zoom, and then protesting the murders of George Floyd and Breonna Taylor right after that, studying for the New York bar, I wanted to make sure that I stuck to my truth in this series and actually timestamped what was really going on at the time. What was even more of a trip was attending protests in New York against police brutality in Nigeria. It was just a really crazy time, people losing family, just crazy for so many reasons. I know some people will hate that those things were immortalised, and I understand why, but it was important to not allow what happened that year to just fade away in our memory like most things do in our shrinking news cycle these days.

 

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NATIVE: Nearly every line on there references loss of some kind. What are some of the ways you have grown as an artist since ‘Open Letter I’?

DAP: I’ve become a lot more open-minded. I’ve become more confident in trusting my instincts and exploring and experimenting as I felt as opposed to what I thought people wanted to hear. ‘Powers Vol. 2’ was a true experiment that I knew I believed in and was happy whether people liked it or not, and I think that’s why it became one of my best performing projects. I’ve also learned to let go a lot more and that has let me be more collaborative and trust other people with my art.

NATIVE: This installment also seems to be the shorter of the three. Was this intentional in any way?

DAP: The change in format was the main reason. I wanted it to be a quick moving timeline of my life and highlighting certain aspects only, so it could only be so long. I do want to make it a full animation series one day though and unpack each stage of my life almost as its own season of an animation series.

NATIVE: The visualiser for ‘Open Letter III,’ is an animation that offers visual snapshots of your lyrics. What inspired you to use animation to convey your message?

DAP: Definitely Ye inspired, but you’ll notice that almost all the visuals for the songs on ‘Powers Vol. 2’ are animated visualisers. Creating this right at the beginning of quarantine forced me to create around the restrictions and find ways to be productive from my apartment. Animation made sense as opposed to real, full-blown music videos, and then because of the timing with graduation and the story of the song, it just all fell together and made sense.

NATIVE: ‘Open Letter III’ also features on your last project ‘Power Vol.2?’ How have things changed since you wrote and released the song and now, during its video release?

DAP: A lot has changed since I wrote this in May 2020! I passed the bar, I’ve now been a full-time attorney for a full year (“everybody did their bid and now they working, and that shit working”, “I think they boxing me in, my cubicle full of paper” etc.), I got engaged, I’ve also been away from home for longer than I ever have in my life. In terms of music, I think I’m making some of my best music right now, and that feels amazing.

NATIVE: Now that school’s out, what’s next for DAP The Contract this year?

DAP: I have more power, more passion, more access, more experience, and I have a lot of music in the stash, bunch of singles and a full length album. I have a couple more very important pieces to complete the world of Powers Vol. 2, including this timestamp, but then… flood!

Watch the video for “Open Letter III” below.

Featured image credits/Courtesy of the artist

Ghanaian creative Ekow Barnes Makes His Film Producer Debut In ‘Life Happened’

Posted on by Wonu Osikoya

Ghanaian multi-disciplinary creative Ekow Barnes has spent many years building a formidable career in Ghana’s fashion and culture scene, recently directing and producing the global campaign for New Balance’s ‘Lion’s Roar’. Barnes’ catalogue also includes creative direction on The NATIVE’s digital cover, ‘Sounds From 𝓣𝓱𝓲𝓼 Side: Asaaka Drill’, another undeniably fine showcase of his abilities and importance to Ghana’s creative scene. 

 

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Now, the new film ‘Life Happened’ executively produced by Ekow Barnes is set to take over our screens soon. The film, which is based on a true life experience, is centred on how a devastating situation heavily reshapes the life of a young man. The Twin-plug production film, in association with Indie Visuals, is led by actors such as Anele Matoni, Erg Geneel, Thaamir Morerat and Vunisexa Skeyi. Alongside Barnes, more producers such as Steve Crags, Lovis Filane, Abdullai Mohammed, Evans Appiah & Anele Geqiwe also play a pivotal role in creation and production of the film. Although there is no set release date yet, the film was announced recently on instagram with the trailer and is expected to grace our eyes really soon. 

 

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Hot Takes: Spotify Shitshow, the return of WWTBAM & More

Posted on by Chibuzo Emmanuel

It feels like just yesterday that we chanted “happy new year” in unison. At the start of 2022, expectations were high for the new year which brought new hope as the world slowly reopened, even in the face of a global pandemic. January burned through like a birthday candle and we’re already knee-deep in the season of love, as it’s a few days until Valentine’s day.

It’s that time of the season when almost everyone seems to be booed-up, ready to enter the day of love with caption-worthy moments while those left out busy themselves by posting anti-love memes on Twitter. Twitter is already teeming with these kinds of dark-yet-extremely-funny memes. Blaqbonez has assumed leadership of the anti-love crusade, joining forces with industry colleagues to craft brilliantly hilarious promotional antics for his soon-coming concert that have been rocking the internet. We’re just a few days into the month so it’s safe to say the party only got started.

On this episode of hot takes, in our usual fashion I take you on a voyage through the most sizzling topics rocking the internet and what I’m currently watching and listening to. This episode features an interesting selection of topics, ranging from the Spotify/ Joe Rogan debacle to the announcement of the comeback of ‘Who Wants To Be A Millionaire’. Enjoy.

What I am watching: The Daily Show with Trevor Noah

In my freshman year in college, Trevor used to be my favourite person. I read his autobiography in that period. Almost every evening after my gruelling engineering classes, I’d whip my laptop open and type “Trevor Noah stand up” into the YouTube search bar. I kind of fell off along the way, leaning towards people like Hassan Minhaj and Russell Peters for comic relief. But in the last week, I fell in love over again and I’m addicted to his show “THE DAILY SHOW WITH TREVOR NOAH”. He has this uncanny ability to create rib-cracking comic material from super serious news.

What I am listening to: “Whole Lotta Red” by Playboi Carti

It’s 2022 and Playboi Carti still reigns supreme. Carti’s sound is one of the most jagged in the world of Hip Hop but oddly, these days I’ve found his album ‘WHOLE LOTTA RED’ oddly comforting. Distorted guitars, sombre chords, boisterous syncopated drums, Playboi crooning in a tone that sounds like a chisel scraping titanium—pure chaos—but I put my headphones on and I find pure peace in this hubbub. Weird but yeah!

The Joe Rogan Spotify Shitshow

The whole drama started when iconic Canadian-American folk singer/songwriter Neil Young threatened that he’d take down all his content from Spotify if they allowed Joe Rogan to keep spreading misinformation on COVID-19. Of course, Spotify didn’t budge—they bought Joe’s podcast for a whopping one hundred million dollars, Neil on the other hand is just one artist on a platform with hundreds of thousands of artists. Well, more  artistes and creators have gone on to line up behind Neil, threatening to also boycott the platform. Soon after the increasing dissent, Joe Rogan made a video apologising for his inappropriate action, even though you could easily allege that Spotify made him. Whilst still stuck in that sticky web, he received an even stronger blow: A video compilation of various snippets where he used the N-Word and one where he referred to an all-black neighbourhood as ‘Planet of the Apes’ surfaced on the internet. Rogan immediately issued an apology to that effect, claiming that he’s not racist and that he was only trying to be entertaining.

Here’s what I think, regardless of his apology and whatever his army of supporters say (side note, he has many black supporters who think he wasn’t racist), Joe was obviously racist in that video. Saying you’re not racist and pulling out the “I have black friends” card does not make you not racist, and you don’t have to take my word for it. In a longer version of the clip, he chuckled and admitted that his statement was racist. He made a racist joke to get laughs from his white friends present in the room. This is a classic case of a person committing deliberate racist acts but being absolutely petrified of being branded as a racist.

It’s unequivocal that Joe was racist but the big question is ‘What makes someone a racist?’ Does committing a racist act make someone a racist? It’s tempting to say yes, but just like doing a bad act doesn’t necessarily make someone a bad person, perhaps committing a racist doesn’t make someone a racist. The follow-up question is ‘Does Joe deserve to be booted off Spotify and how should the streaming platform react?’

No more Boondocks?

On the 7th of February, word got out to the streets that media giant HBO Max had canceled its order of 24 new episodes of The Boondocks. This news probably dealt a huge blow to fans of the show, who have been keenly expecting new episodes of the animated series since HBO Max announced its deal with the creator Aaron McGrudger and Sony Pictures Animation back in 2019. On the sunnier side, this announcement doesn’t mean that the series is going to the gallows, some other company may pick up the mantle and deliver the reboot.

‘Who Wants To Be A Millionaire’ returns this year

For 13 years, Who Wants to be a Millionaire was a staple in millions of Nigerian homes, until its cancellation in 2017. There’d been hushes of a reboot in the last few years, but it’s pretty much certain now. The announcement of the reboot of the show was met with overwhelmingly positive reviews from fans of the show, and by ‘fans of the show’ I mean the entirety of Nigeria—Everyone loved the show, young, old, Igbo, Yoruba, Hausa…everyone! The announcement stokes nostalgic memories—Sunday nights where the whole family is gathered in a dimly lit sitting room, an eerie silence presses down on the room, save for the sound of the TV, the anticipation in the room is palpable, the whole room is still frozen, all eyes are on the TV, magic happens: The theme song of WWTBAM comes on and everyone breaks into a smile. The show captured the dream of the average Nigerian family—The hope of escaping the rat race.

Frank Edoho coming back as the show’s host is mildly concerning. He was accused of domestic violence by his estranged wife. Although he repeatedly refuted the claims and no formal complaint was made to the police by his ex-wife, it does feel like the situation was hastily swept under the carpet. It is particularly important to address this issue given the prevalence of domestic violence in Nigeria and the message it sends. Look, I’m not calling for Frank to be canceled, cancel-culture is another huge problem in Nigeria, the organisers just have to ensure that he properly exonerates himself from these claims before he carries on as the host of the show.

Cheaper By The Dozen Is Getting A Remake

Yesterday Disney put out the official poster for their ‘CHEAPER BY THE DOZEN’ remake starring Zach Braff and Gabrielle Union. It’s interesting to note that this is the third remake of the movie. Most people only know the 2005 version which enjoyed commercial success—Ranking at #2 on the box office, grossing about $27 million in its opening weekend, and going on to rake in over $190 million globally. The 2005 version is a remake of the 1950 version. I don’t understand why Disney is pumping money into the remake of a remake when they could put it into bringing new ideas to life but ironically the answer is obvious—It’s an easy way to make even more money. Fingers crossed, let’s see how they pull this off.

‘Turning Red’ Is Pixar’s First Feature Film With An All Female-Leadership Team

It’s 2022 and it’s saddening that in this day and age, an all-female leadership team is an object of spectacle. Even with all the advancements in the struggle for gender equality and Inclusivity, women being in leadership in certain industries is still a rarity. On the sunny side, it’s a step in the right direction and it’s exciting anticipating what they’ll deliver.

ICYMI: 5 INTRIGUING ACTS SUPPORTING BLAQBONEZ AT HIS ANTI-LOVE “REVIVAL”