On a mission to create a love letter to the inner child within Black people, director and innovator Tobi Onabolu, in collaboration with Rooted by Design, a social design and change studio, centering on the experiences of UK Black communities has released a new short film titled, ‘Dear Black Child.’
Shot in Hackney Wick, London, the film tells a fantasy story of a Black child on a quest for joy, who encounters a mysterious spirit, and a high priestess with her merrymakers in an enchanted forest. ‘Dear Black Child’ captures some of the many ways Black people can develop practices to reconnect with joy, exploring themes including mindfulness, alchemy, and African spirituality.
In the film, we come across the seeker, who is played by the talented Ayo Babatope, a talented dancer, voice actor, and movement artist. The seeker arises from meditation and journeys into the forest using movement and breathwork to reconnect with self, where he eventually manifests this energy to one they call “Wanderlust,” played by the multi-disciplinary artist, Kane Horn. As they both connect, so does their joy within.
The film is also a rendition of the well-known gospel number “Joyful Joyful” which is based on Rooted by Design’s sister organisation known as the “JoyfulProject,” an apt response to COVID-19’s disproportionate impact on Black communities around the world. The film also features an original score which was brilliantly composed by the talented Ejiro “4stringsz” Sowole-James. The South London electric violinist, multi-instrumentalist, and music producer has honed his unique technique for sound and captivating performances when performing all across major stages and that is no different in his work on Dear Black Child.
Speaking about the film, Onabolu shares:
“As Black people, we have so many different ways of expressing and defining “Black joy”, so in ‘Dear Black Child’, I wanted to emphasise the practise of returning to that state of joy. I see joy as somewhat of a frequency, like love. The more we tune into ourselves, nourishing our lives with love, practising self-care, mindfulness, and connecting with God, the more easily we can raise our vibrations and connect to the infinite joy that exists abundantly in the universe.
With this philosophy in mind, telling this story through movement was an intuitive decision, as it allowed us to use dance as a dynamic and expressive language for depicting the journey of returning to joy.”
Following the film’s premiere in London and its scheduled Lagos premiere this week at the Surreal 16 Film Festival, hosted by Abba T. Makama and the directors of the film collective, we sat down with Tobi Onabolu to discuss his influences, the film’s creation process and the importance of Black joy.
His answers which follow below have been lightly edited for clarity.
NATIVE: Hi Tobi, what inspired the film’s title, ‘Dear Black Child’?
TOBI: I was commissioned to tell a story about Black joy, and as individuals, we are all entitled to our own definitions and unique understandings of what this means. I wanted this story to depict what that journey of returning to joy can look like. So the film is designed to be a love letter to the inner child within Black people.
NATIVE: Alongside the lush visuals, the film is also replete with interpretative and contemporary dance. What was the importance of dance and movement to the overall plot of the film?
TOBI: I’m fascinated by the idea that everything is a frequency or vibration. Doubt, fear, guilt, shame, loneliness, and more, are all things that we face within the human experience, and they are frequencies. And on top of these life challenges that we face, as Black people we are confronted by things such as systemic racism, so I’m very intrigued by the accumulative effect this can have on the body. Which then beckons the question – what frequency are we vibrating on?
Whilst doubt, fear, shame etc. might be seen as low frequencies, I see joy, along with love, bliss, and peace, as higher frequencies. Therefore, in depicting the journey of raising our bodily vibrations to joy, it made the most sense to show that journey through dance and movement. Moving the body, through dance, exercise, yoga, etc. is also widely acknowledged as being helpful for reducing anxiety. Essentially, I wanted to show the body journeying from a lower to a higher frequency. Black joy also seems to be incredibly topical right now, so rather than just talking about it, it felt quite appropriate to show joy.
NATIVE: Were there any challenges when filming and bringing the ideas to life?
TOBI: Without a doubt – we had many, but the main one was time. From the date I received the brief from the Rooted team, to the shoot date, was literally one month, so we were sprinting from the get go. We also had to shoot the whole film in one day, and faced some technical difficulties on the day, so that really tested our resolve, as we were grossly delayed on set! Kudos to an incredible cast and crew for so elegantly navigating these challenges.
NATIVE: The music is a big part of the film as it features a score created by 4Stringsz. Explain the process of working together on this. What inspired the music used to pass across messages in the film?
TOBI: When I got the brief for this project, time for R&D was super limited, so I had to dive into the concept pretty quickly. As I took myself into the space of conceptualising the film, I ended up hearing the film before seeing the film, and I heard that it was going to be a reimagination of the gospel hymn “Joyful Joyful”. I called 4Stringsz, who is like my brother, we’ve known each other for about 20 years. We began properly cooking up the score during the post-production process and knowing that the “Joyful Joyful” theme would anchor the score helped massively, allowing for so much experimentation.
4Stringsz pushed us to work with minor chords and atonal ambient sounds and cadences, to create this ongoing tension in the film. Our ears are used to associating “joyful joyful” with being a very happy and uplifting song, yet we wanted to explore what connecting with joy can feel like, especially when there are a lot of obstacles and challenges in our lives. It was the score that helped to bring this idea to life and the tension in the score was central to this. And then back to the inner child – I had initially wanted the hymn to be sung by a child, but at the last minute, we decided to use a violin to play the theme. As the film starts, the violin plays the theme tentatively, but as the piece goes on, the violin grows in confidence. We were playing with the idea of inner child healing.
NATIVE: ‘Dear Black Child’ is also your directorial debut. Why was it important for this to be your first film?
TOBI: Interestingly, Dear Black Child is my third film, but the first one I’m releasing. My first, from 2018, remains unreleased, and my second, ‘ALAAFIA NI’, which I shot in Lagos this year, is due for release at the end of this year/start of 2022. I’m definitely grateful for this as my first release, as I was able to incorporate a lot of the lessons from the first two films into this piece. It was an honour to be commissioned too, and a good opportunity to practice negotiating a creative vision with the Rooted team.
NATIVE: What message do you want viewers to take away when watching it?
TOBI: There are a few, and I hope that we’ve also created enough space within the film for each viewer to take away their own interpretation. That said, I think the fundamental message is that the journey of returning to joy is a practice and that whatever our individual practice may look like, we should be intentional about it.
NATIVE: You’ve screened in both Lagos and London. Are they any other ways you are looking to distribute or screen the film?
TOBI: We’ll be screening at the inaugural edition of the S16 Film Festival in Lagos this December, and we are also submitting to a number of international film festivals, so we are hopeful to have good success on the film festival circuit. In 2022, I’m looking to screen in Accra and Abidjan too, and it would be an honour to screen in the States, as I find conversations around Blackness and Black healing to be incredibly rich in that part of the world. And who knows where else, but there’s definitely more to follow!
In 2021, making an end-of-year list is a complicated act for any newsroom. It can be hard to keep up with the rapid pace of events in today’s system of hype and overexposure, particularly in light of the tumultuous change of the past year. With notable advancements in social media over the past decade, the worth of a song has now come to mean how many likes, views, clicks, and shares it generates.
Nevertheless, good music doesn’t deserve to be slept on. In the past year, we’ve seen the beginning of a monumental shift towards artists on the continent releasing full bodies of work. This year is no different. In the past eleven months, we’ve seen artists such as Mavin’s Ayra Starr and Magixx release debut albums and EPs, Wizkid release the deluxe version to his magnum opus‘Made In Lagos’, and even Phyno release his eight studio album ‘Something To Live For.’
With the sheer amount of projects in circulation, it’s easy to miss out on good music that’s not typically on your radar. That’s why we’ve done the job of sifting through the chaff and sourcing out some of the best projects that may have missed your new music rotation. From Victoria Kimani’s daring effort ‘Spirit Animal’ to Lil5ive’s experimental offering ‘Dreams and Imaginations’, here are 11 projects we believe you may have missed this year. Enjoy.
11. Reggie – ‘Two Times A Guy’
Without Reggie, the gnarling, explosive but hyper vivid interpretation of Drill music that has come to be known as Asakaa would not exist as we know it. According to Life Living Records head honcho, Sean Lifer, hearing Reggies’s trappy flow layered over Drill beats on his 2020 single “Akata Gang Gang” was a turning point for the Kumasi-based label. It inspired a pivot to the Drill-based production styles and cadence that catapulted the scene to global attention. On ‘2 Times A Guy,’ Reggie gives a concise introduction to his fluid style, spitting mellow but urgent bars over the brooding beats. Across the 18-minute runtime of the tape, Reggie keeps his Soul and Trap essence, as he exorcises his insecurities and demons on melody-led drill cuts like “Riches,” as well setting the scene for scuttling posse cut as he does effectively on the maximal remix of “Akata Gang Gang. ”
Wale O.
10. Ibejii – ‘Intermission’
On ‘Intermission,’ all the feelings that have been explored in Ibejii’s prior works– pride, joy, anger, and frustration–bubble to the surface accompanied by narrative-driven folklore and poetic mastery of language. “Gonto” is a candid but soulful rebuke of the casual insensitivity of governments across the world in the wake of the tragedies of 2020 as well as a celebration of a new age of awakening. Still, ‘Intermission’ is a project about finding hope and exhilaration in even the strangest of places, and the beaming lights of “Happy Me” scream radical joy like very few songs have this year.
Wale O.
9. Victoria Kimani – ‘Spirit Animal’
“Addis to Freetown, I shut down every town/Rihanna in the summer,” coos Victoria Kimani in the opening seconds of “Born Stunna,” the first track on her fourth studio album ‘Spirit Animal.’ As boastful as these lyrics may seem on first listen, they lay bare the reality of Kimani’s place in the current musical zeitgeist. Regarded as one of the leading female voices in East Africa’s Afropop scene, Kimani has spent the past few years satisfying a legion of grassroots audiences in her hometown. With the release of ‘Spirit Animal,’ the singer meticulously crafts a body of work that allows her to traverse beyond familiar shores. Here, she employs the help of a strong cast of cross-continental acts including street poet, Bella Shmurda, West African romantic crooner, KiDi, Bella Alubo, Lady Du and more, for a refreshingly unfiltered, multi-genre body of work that deserves to be heard.
Tami
8. Serena Isioma – ‘Crying In The Club’
Fast emerging Chicago-based, Nigeria-born newcomer, Serena Isioma is moving the needle on their creative output yet again. Pairing experimental production with timeless, silky vocals, the non-binary singer rounded off the year with the release of their third EP titled ‘Crying In The Club.’ While their bubbly high-spirited productions may have masked melancholic lyrics, they still navigate the typical markers of nascent adulthood in America as Serena weaves poignant, intimate stories about love, life, becoming, racism, and more. As they continues to examine their own complex wiring and that of their listeners, Serena Isioma is inching towards the Pop powerhouse they are capable of becoming.
Tami
7. Tshego – ‘3 Piece’
Tshego’s ‘3 Piece’ is a humble offering that clocks in at barely under 10 minutes yet, its spot on this list remains irrefutable. As a producer-artist, Tshego’s ear for melodies is always on the beat as he brings the warmth of lush soundscapes and dreamy vocals to South Africa’s Trap scene. Covering topics such as love, sex, becoming, and more, ‘3 Piece’ finds the rapper running a span of moods as fires off lines that fits perfectly within his futuristic production. With help from other hometown heroes such as Shekhinah, Blxckie, and more, the rapper delivers a fine showcase of his versatility and technical writing ability.
Wonu
6. KDDO – ‘Too Late Too Lit’
On the 8-song set ‘TOO LATE TOO LIT’, producer-artist, KDDO – as he goes by these days – delivers a musically varied project, dabbling into Amapiano, Gqom, Nigerian Pop, Hip-Hop, R&B, and Highlife. He’s joined by a diverse cast of guests, including Davido, Jidenna, Mayorkun, and The Cavemen, each fitting into the particular style of these songs. For the musical broadness and all the featured artists, ‘TOO LATE TOO LIT’ is defined by KDDO’s powers as a songwriter and elite Pop music arranger. The songs on the project are supercharged for catchiness, with KDDO leading the way with memorable hooks and earworm melodies. As much as there are recruited guests to compliment him, he’s at the centre of everything, self-producing the entire tape and generally shaping it to mirror his consistent willingness to create hyper pop slappers made for listeners to enjoy and get lit to.
Dennis
5. King Lutendo – ‘Zwi Dziki’
King Lutendo is undoubtedly one of the most prolific rap artists on the continent. In the two-plus years since his debut full-length, MAVU, he’s shared eight projects, including five (!) this year alone. ‘ZWI DZIKI’, his second project this year, fits into his overall impulse for unbridled personal expression. The 11-track tape is the rapper at his most honest. Here, he expels his demons and shores up his confidence with a clearer understanding of how much control he really has over his life. Also exclusively self-produced, like the rest of his projects, ‘ZWI DZIKI’ consolidates on his go-to experimental fusion of Electronic music and Afro-Soul, adding flourishes of Rock and R&B for an inventive, widescreen but ultimately unified sound palette. In his brimming catalogue, ‘ZWI DZIKI’ is arguably the most complete front-to-back representation of King Lutendo as one of the best indie rap auteurs in Africa.
Dennis
4. Jake Doe – ‘Terms and Conditions’
In Jake Doe’s dusky world, pleasure and pain collide into each other with an alarming velocity. His 2021 project, ‘Terms and Conditions II,’ is a return to the thematic pluralism of his earliest music while possessing an invincible aura that comes from maturing as a person and singer. Employing his nasal vocal delivery, and a savant-like knack for story-telling, the singer is both unbothered and attentive across the eight songs that form ‘Terms and Conditions II.’ When guests like Deji Abdul and Dreylo join, Jake Doe opens up space for their unique sounds to propel the listening experience to greater heights while aligning their work within his world. In many ways, Jake Doe continues on the path of alternative music that ‘Terms and Conditions I’ showed he was capable of, only he’s more sure-footed here.
Wale
3. Turunesh – ‘Satin Cassette’
Tanzanian singer, Turunesh’s ‘Satin Cassette’ is one of the year’s best-kept secrets. Released back in September, the project is a well-rounded piece of work that showcases the singer’s ability to meld various genres to her own will. On the 12 track EP, the Fresh Meat alum delivers otherwordly melodies about the beauty of one’s first love, woven and delivered through euphoric sounds that the singer terms as ‘fabric music’, a moniker for music inspired by satin fabric and its similarities to her silky voice. On standout “Rum & Butter,” she sings about the beauty of Black love weaving in other familiar themes such as sex and intimacy into its poignant storytelling while on other tracks like “Tinga Tinga” and “Zanzibar Spice”, she adopts her native tongue Kiswahili into her lyrics. While the music is emotionally layered and beautifully written, each song seems to reaffirm her beliefs and stance on the sexual freedom and expression of African women.
Ada
2. Suté Iwar – ‘199X’
Since the release of ‘Bantu Collective,’ it’s been clear to most that Abuja-based artist, Suté Iwar possesses one of the most remarkable and unique voices of our generation. Earlier in June, he further proved this with the release of his latest album titled ‘199x’. Here, he melds his knack for groovy Alternative Hip-Hop with the enthralling sounds of R&B, Afropop, Soul, and more to weave relatable stories about love and loss. On ‘199x,’ Suté places less emphasis on featured artists and more focus on his solo material, toeing a similar line to his earlier works such as 2019’s ‘Paradise.’ Nonetheless, those who he invites into his world, his talented brother, Tay Iwar and fierce newcomer, SGaWD are given ample space to showcase their enviable flow without detracting from Suté’s brilliance.
Ada
1. Lil5ive – ‘Dreams & Imaginations’
Fresh meat alum, Lil5ive captured the hearts of many with his 2019 hit single “Omo Ologo,” a daring tale about life on the streets of Lagos, Nigeria. Since then, he’s only doubled down on showcasing his artistry with the release of his debut EP, a riveting tape that serves as an amalgam of his eclectic preferences, from moody, piano-rife beats to enthralling Afropop melodies, contemporary R&B ticks and Trap cadences. The 6-track tape finds the rapper running a span of moods and themes, whether it’s detailing his demons (“Drugs”), shrugging off the opps (“Where”), or simply speaking on romantic love as a young man in these romantically complicated times (“Feelings”). Showcasing a mixture of clear-cut delivery, style and fierce rhyming skills, Lil5ive’s ‘Dreams & Imaginations,’ is an unmissable body of work from an artist still defining themselves in certain terms.
Wonu
Featured image credits/NATIVE
Written by Ada Nwakor, Dennis Ade-Peter, Wale Oloworekende, Wonu Osikoya and Tami Makinde
MOONGA K. refuses to put himself in a box. Whether it’s his eclectic music or his vibrant sartorial choices, the singer is constantly redefining himself and pushing the boundaries of his artistry to gain new levels of recognition. Everything listeners see and hear is not by chance. MOONGA K. is assertive and intentional with his art, he knows exactly what he wants to do and is unapologetic in carrying his vision out.
With hits off his new EP like “black, free & beautiful”, listeners are instantly drawn into his world where he is unafraid to directly point fingers at Western colonisers. “I wrote that song from a place of anger and rage. I did not intend for it to be a funky song but it came out that way, beautifully. It’s something I’m excited for people who look like me to connect with,” MOONGA K. reveals over our phone conversation, weeks after the project’s release.
It’s during the midst of a busy day that I speak with the singer who just released his sophomore EP ‘Candid.’ Donning a vintage shirt and beret, and peering at me from the other end of the screen, the first thing I notice is the album art for Frank Ocean’s ‘Blonde’ framed and carefully placed on the wall. He later reveals to me that the singer served as a catalyst for his own journey into songwriting. “I was inspired to write songs the way he wrote music like American Wedding from the mixtape, ‘Nostalgia, Ultra’” says MOONGA K.
MOONGA K. also accords the title of ‘[faux] birth parents’ to Janelle Monae and Moses Sumney, both of who were prime examples of the kind of artist he wanted to be. The inspiration of his stylistic forefathers is palpable in his music which he describes as alternative soul, an amalgamation of jazz, rock, pop, funk and everything in between. His varied tastes in music partly come from his real parents as his father was a part-time reggae musician and his mother fanatically played Gospel music in their home.
Born in Zambia, brought up in Botswana, and now settled in South Africa, this confluence of cultures has contributed significantly to concocting the artist we see today. These different places allowed him to think more critically about the music he shared with the world. While growing up in a small country with very limited and patriarchal views on gender, it was difficult for the young artist to exist in such an environment. “I was a very sensitive and emotional kid, I was also dealing with depression and trying to find my place in society because I knew I wasn’t a very violent or aggressive boy, unlike those around me. I was bullied for not fitting into that realm and so my view on masculinity was very painful,” says MOONGA K.
Moving to South Africa expanded MOONGA K.’s worldview and it was here that he learnt to be more comfortable in his body and how to deal with his feelings in a healthy manner. He did not have access to these spaces while growing up so he took it upon himself to create them wherever he goes. “I identify as a basic cisgender male and that may be attributed to my social conditioning. I am not opposed to exploring gender fluidity and nor am I afraid,” he shares on the phone. MOONGA K. believes that gender is a colonised construct enforced on our ancestors.
With his melodies, he takes us to a place entirely of his own making. On ‘CANDID,’ he pushes that further by delivering raw and honest stories about his evolution as a person and an artist. “The reason I called it CANDID is because I just got to a point in my life where I want to be completely honest and speak the truth,” he admits. It’s clear that this EP was used as a vessel to heal and grow through confession and lyricism.
Admittedly he tells me that “honeybee” was the probably hardest track to develop because it is still very difficult for him to talk about unrequited love due to the shame he felt at the time. “I never really thought I’d write love songs, I always thought that writing love songs was giving power to the person you loved or fooled around with. It is a very explicit song about me saying that I can give them the love that they deserve,” says MOONGA K.
As a third-culture kid, identity is still something the artist is learning to navigate through. “What country can I claim? I can’t say I belong to just one because each place contributes to the person I am.” He and Sampa the Great shared similar experiences and while having conversations around their shared struggle, both artists were able to translate their feelings into a song titled “REBEL TIME.”
“To me, being a third-culture kid immediately screamed out being a rebel because being a part of the status quo or being monolithic never resonated with me. I have always felt like I was more than one thing or everything, all at once.”
MOONGA K. holds a bachelor’s and post-graduate degree in Sociology and he engages in conversations on intersectional issues on a daily basis in his personal life, however, he had never tackled it in his music before ‘CANDID.’ “It felt gimmicky and performative and I have always been against performative allyship and faux activism. A lot of people do the reshares or retweets online and I don’t believe in being a hypocrite or being disingenuous.” During the lockdown things began to change, he spent a lot of time on news threads, and being the empath he is, he felt consumed by the media at the time. The result of this inquest was the standout number, “black, free & beautiful” which was inspired by an episode of Lovecraft Country that detailed the Tulsa Massacre in the US.
With his music, the singer hopes that people feel seen and that their experiences are being mirrored, creating and championing the type of music he did not see while growing up. Undoubtedly, his defying of the norms in both music and fashion has come to mean that MOONGA K. now represents the type of musical figure he once wished to see as a young boy. As he advances towards the powerhouse he is capable of becoming, MOONGA K. continues to typify a wanted evolution in the sonic landscape across Africa, pushing beyond the boundaries of music from these parts and crafting nuanced and poignant stories about universal themes for young people just like him.
While his music takes over DJ sets and playlists from Johannesburg to Brooklyn City, MOONGA K. still belives he is still a while off from the artist and person he wishes to be. As we round up our call, the singer shares “I’m still very far from achieving my goals. I wanna tour, travel and write songs for other artists and myself and perform in every country in the world and still do that in my 70s and 80s. I don’t want to stop music, I remember how painful the two years that I did felt like self-inflicting misery.”
As the year winds down, the sheer number of music we receive at The NATIVE keeps growing at an exponential rate. With live shows back in full swing and Afropop hits such as Wizkid’s “Essence” and CKay’s “Love Nwantiti” climbing the charts both home and abroad, there has never been a more exciting time than the present for the ever-evolving sonic landscape. Through it all, we remain committed to the ideal of music discovery and sharing that is a big part of what we stand for. Our goal is still the same as always: we don’t want exciting music to be slept on.
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 Friday, we had exciting music from Zinoolesky, Joeboy, Simi, Lil Kesh, and more. Today, we bring to you new music from Zlatan, Spinal, Adekunle Gold, Ckay, and many more to begin the new week.
NSG – “Only God Can Judge Me” ft. MIST
Ahead of their first-ever African tour, British Afroswing group NSG have just released a new single titled “Only God Can Judge Me.” The new track finds the boys singing about their career trajectories which have found them defying all odds as a 7-man group from Nigeria and Ghana. Produced by 4Play, the uptempo track serves as the perfect reintroduction to the UK-based group as they bring their catchy music to the motherland this December.
Guchi – “Scatter My Head” ft. Zlatan
Fast-rising Nigerian singer and songwriter, GUCHI taps hitmaker Zlatan Ibile on her latest hit track “Scatter My Head” which was released alongside a music video. The Afropop record is an up-tempo track that highlights the sensual feelings women experience when touched by their love interest. Singing “Bobo don scatter my head, don finish me pata pata,” Guchi sings about her most intimate desires using euphemisms to pass across her message. On Zlatan ‘s verse, he speaks on the beautiful ladies all around the world and what it takes to capture their attention.
DJ Spinall – “Cloud 9” ft. Adekunle Gold
On his latest single “Cloud 9”, DJ Spinall employs the help of talented singer, Adekunle Gold for a colourful Afropop number the euphoric feeling they receive from intimate moments shared with their partners.“Love me, love me well/if you’re gonna love me,” comes a woman’s voice on the song’s catchy hook, as the romantic track speaks on the outer-worldly feeling of being infatuated with your significant other, which feels like you’re on “Cloud 9”.
CKay – “Emiliana”
After witnessing an incredible year due to the huge success of “Love Nwantinti”, Nigerian singer CKay has just released a new single titled “Emiliana”. This song comes after his feature on the Amapiano-inspired track “By Your Side” by South African rapper Blxckie. Over the romantic new single, a love-struck CKay confesses his feelings and asks her to “kiss him through the cellular” as a way for them to connect even though they’re far apart. Romance in COVID-19 times.
Willy Paul – “I Love You”
Kenyan singer and composer, Willy Paul has just released a new 17 track album titled ‘The African Experience’ which includes the standout track, “I Love You” featuring fellow East African artist, Daphne. Singing “Seniorita, I love the way you kiss and caress me,” over the song’s hook, Willy Paul and his collaborator lay down their romantic intentions over a Highlife-inspired beat.
Kwadwo – “Sweet Melanin”
Celebrating Black women and all their beauty is this track titled “Sweet Melanin” by Ghanaian singer Kwadwo.Produced by the Grammy award-winning producer, Kill Beatz, the new track comes with a beautiful and inspiring message for Black women in a world that prioritises Eurocentric ideas of beauty. Kwadwo shows why Black women are the crown jewels of the earth and encourages Black women to continue to show up and take up space in the world.
For years, singer and songwriter, SOLIS has occupied an interesting space in the current musical landscape in West Africa. As one of bedroom pop’s head honchos and an enthralling voice in the underground alternative music scene, she continues to carve a lane for herself with her genre-defying music despite its hard entry into the mainstream Afropop market.
Over the weekend, the young star finally released her long-awaited debut EP titled ‘Stairway to Heaven,’ the follow-up to ‘Ruled By Venus, Unfortunately,’her first mixtape which was released exclusively on Audiomack. On her latest, the singer employs the help of a talented spate of singers, rappers and producers including 44DB producer, KD, newcomer rapper Champs, Jamaican singer, Amindi and DAP the Contract to weave poignant stories about love and loss.
In usual SOLIS fashion, the singer airs her romantic and personal frustrations all out on this breathtaking project. Sharing with her Instagram followers, on its release day, SOLIS says: I can’t believe it. It’s finally here. My debut EP. my tears are as real as the cover, the only difference is these tears are one of undiluted joy and pride. I’m so proud of me, so proud of SOLIS.” The post continues: “I hope this EP makes you feel something. I hope it makes you float and cry, dance and sing, scream. I pray you find yourself in it the way I found my way back to myself. I hope it brings you to your guides, brings out your light.”
With a beautiful voice that evokes the opulence of silk sheets, her latest ‘Stairway to Heaven,’ rings true on her mission to provide listeners with aural healing. The vibe is undeniably hypnotic, although it’s not obviously commercial. However, since its release, the singer has already celebrated some milestones including hitting over 3,000 plays on the Amindi-assisted “Abeg,” alone. To this end, we’re giving the EP a much-deserved spin and putting it through the NATIVE one-listen review test.
In Usual 1-Listen Review Fashion, All Reactions Are In Real-Time While The Music Plays. No Pauses, Rewinds, Fast-Forwards, Or Skip.
“The Lonely Star (Intro)”
The first track builds the vibe for the rest of the project. This piano solo is a solid intro for a project that claims to lead listeners to heaven’s gates. SOLIS’ high-pitched vocals kick in after a moment and I am amazed by how good she songs each time. Then the rain sounds come in taking your mind into a place of inner thought and peace. So angelic and beautifully performed. Just like the title, the song gives off a feeling of loneliness. A perfect start to the project, in my opinion.
“Angel”
“Angel,” is an aptly titled track from a singer like SOLIS and one of the project’s pre-released singles. Within the context of the project, it definitely comes to life a bit more, painting a clearer picture that visualises SOLIS’ personal experiences. “Like maybe I’m angel,” she coos on the hook, a detail that seems more certain which each lyric she sings. I will definitely be revisiting this number.
“Love Games” ft. Champs
This is another one of the EP’s promotional tracks and possibly one of my favourites. Going with the theme of the album so far, “Love Games” is equally a mellow soulful track but here, SOLIS explores more of her vocal range as she delves into matters of the heart. This number features the talented artist Champs who makes the song more memorable with a stellar rap verse. There’s something beautiful but equally sad and solemn about SOLIS’ music.
“Without You”
I get a nostalgic feeling with this beat but can’t seem to place my finger on it. SOLIS’ vocals on this number is quite impressive, her ranges just keep getting better and more engaging. You just can’t help but listen to her and whatever she may be saying with close attention so you don’t miss anything out. “Take me back to when I had no idea what love was,” is an apt lyric that exemplifies how many of us may be feeling at the moment. I would say that the track is quite short, I wish It was longer and her ending is abrupt but nonetheless, I’ll be giving this another spin later.
“Abeg” ft. Amindi
This is definitely one of my favourites as SOLIS’ voice and harmonies fill the whole song in her usual fashion. I mean who else can make a pidgin slang sound smooth and enthralling other than SOLIS. It’s exactly the type of song I’d expect from her. Amindi’s feature on this number is divinely ordained (God bless the A&R’s). Her melody-driven sound just takes you to a realm of pensive thinking. Such a beautiful track.
“No Feelz”
If sensuality and affection was a song, this track embodies all that and more. “I feel it everywhere, I feel it in your touch,” simply explains the song’s entire premise as many would easily recall the feeling of longing for attention and love from someone whose heart can’t be trusted.
“Gloria” ft. DAP The Contract
As we get to the end of the project, we get to experience the brilliance of Daps the Contract on this mid-tempo jazz-inspired track and might I say that he was perfect. His fast and clear rap reminds me of the traditional rappers from the noughties as Daps’ hard-hitting verse compliments the dreary tenor of SOLIS . The pair are just a magical blend so this is already one of my favourite tracks on this project.
Final thoughts
For a debut project, ‘Stairway to Heaven,’ expands our worldview of SOLIS’ universe. Here, she takes on more risks, contorting and shaping her voice in unimaginable ways as she sings about our deepest romantic desires that we don’t say outright. She bounces effortlessly around the futuristic production helmed by SirBastine, Fresh Meat alum Konde Oko, Trill Xoe, Le Mav and more, with catchy verses that will have you running them back to catch all the intricacies.
However, despite all these, ‘Stairway to Heaven’ doesn’t make any further grand statements. The subject matter and themes are wholly familiar to anyone who has been following her career trajectory up till now. Relying on her tried and tested method is no issue, as SOLIS has clearly found new ways to expand her vocal range, however, there were still moments were this thematic formula seemed to fall short. Regardless, SOLIS excels most when she’s in her love bag and this was proven many times on her debut effort. SOLIS represents a wanted evolution in today’s sonic landscape and her persistent visibility in today’s accelerating system of hype and overexposure continuously undeniably proves her superstar abilities which will only earn her new levels of recognition as emo-Afrobeats takes over the world.
Asa has always been known to move to the beat of her own drums and that isn’t any different when it comes to her music, fashion, and sound. “Mayana,” her latest single, was brilliantly produced by the award-winning Nigerian producer P.Priime known to be the genius behind multiple radio hits.
The track is a merge of Afropop and soul music with a rhythmic vibe that will leave you moving effortlessly to the sound, all while aided by the sensual mellow tone of Asa’s voice which elevates the whole number. A song that will definitely be on shuffle on most playlists and airwaves all across the world.
“Usually, when I write a song, I would make melodies with bits of words here and there. ‘Mayana’ stuck. I didn’t know what it meant. The usual thing I’d do is look for another word. I knew I wanted it to mean something good to this person I am singing to, like his forever. So, I Googled the word and voila! It means ‘Healer, tomorrow,” Asa shares explaining the idea behind “Mayana.”
The single is plucked from her much anticipated fifth studio album and was birthed after her return to Nigeria from the Incomplete European tour due to the covid pandemic. ASA began making new music with a sense of ease and a carefree nature as she allows herself to be vulnerable and tap into all her creative juices while working with other brilliant artists from all over Africa.
To bring the energy of “Mayana ” to life, Asa reconnects with Meji Alabi, a Nigerian creative genius, director and photographer renowned for his unique way of bringing visions to the screen. The cinematic film was simply meant to be about the beauty and vibrancy of colours and fashionable black people and what we are all about. Without a doubt, Meji Alabi never fell short of successfully portraying that and more in the “Mayana” visuals. You can’t help but be proud to be black and African
As the year winds down, the sheer number of music we receive at The NATIVE keeps growing at an exponential rate. With live shows back in full swing and Afropop hits such as Wizkid’s “Essence” and CKay’s “Love Nwantiti” climbing the charts both home and abroad, there has never been a more exciting time than the present for the ever-evolving sonic landscape. Through it all, we remain committed to the ideal of music discovery and sharing that is a big part of what we stand for.
That’s where our Songs of the Day column comes in. We’re doing the work to stay on pulse with all the music coming out from across the continent and beyond, bringing you exciting songs of tomorrow: today. Last time out, we had exciting music from Zinoolesky, Alpha P, Bryan The Mensah and more. Today, we bring to you new music from Simi, Lil Kesh, Joeboy, CKay, Blxckie and more
Simi – “So Bad” ft Joeboy
Following the reception of her latest hit, “Woman”, Simi is back to end the year right with the Joeboy-assisted “So Bad”. On the new track, both singers sing their hearts out about how their respective lovers are giving them mixed signals, expressing worry that their boo might be leading them on. Simi and Joeboy show great synergy on the party-ready track, bringing their different strengths together for a potential hit song.
CKay – “By Your Side” ft Blxckie
CKay seems to be the musical equivalent to Midas in these parts, as everything he has touched has turned into some manner of gold. He’s had an amazing past few months atop several charts, thanks to “Love Nwantiti“, released two years ago. Now, to bring us up to speed, and flex his star muscles a bit, he’s released “By Your Side”‘, where he teams with SA’s Blxckie. In his usual fashion, Ckay’s infectious and melodies make the song what it is, coupled with his thoughtful lyrics about wanting to be by his lover’s side.
Lil Kesh & Zinoleesky – Don’t Call Me
Lil Kesh and Zinoleesky, two of Afropop’s most prolific hitmakers have teamed up for “Don’t Call Me”. On the uptempo party track, both artists reminisce on how far they’ve come and the greater heights they still want to attain. On the pre hook of the track, Lil Kesh sings “I no go stop I no go settle, My light is never gonna die/Thunder go fire any devil, my light is forever going to shine”,
Chrystel – “Temptation”
Ivorian Fresh meat alum and singer, Chrystel is back with an uptempo track “Temptation”. On this track which has her speaking to her muse about being attracted to him but not wanting to give into temptation, she quips on the chorus of the track “We really shouldn’t give into temptation, see what we make of the situation/Do it right make it right gyration”.
Blackmagic – “Sorry”
Blackmagic is here with his latest project “Magic Republic (The Invitation)”, a 12-tracker which sees the artist speaking on self growth, self elevation, leveling up and more. On the standout “Sorry”, he lets his love interest know that he is sorry and is working on being a better version of himself; “I’m sorry that i made you cry, fking up all over again/Hoping and wishing that I could start all over again”
Afro B – “Shisha” ft Niniola & Busiswa
Someone on Twitter trolled Afro B about performing Joanna for the past three years, so he’s responded to the troll with a new song featuring two of Afropop’s most important women, Niniola and Busiswa. The amapiano-infused track with heavy kicks on the beat, each artist brings their a-game, delivering a great party-ready track.
Crayon – “Excuse Me (Rock You)” ft Toby Shang
Mavin signee, singer and songwriter Crayon, is here with the single “Excuse Me”. For this track, he teamed up with popular Nigerian hype man Toby Shang to deliver the overly catchy single set to take over the clubs this Christmas. H
Ronehi – “Galactic” ft MOJO AF
For this track, record producer Ronehi has collaborated with rapper, MOJO AF to deliver the uptempo rap tune. Over the bouncy production of the beat, MOJO sings lyrics such as “Never surrender, I dey grind like pepper for blender, I dey pray like MFM member”
Azana – “Higher”
South African singer and Fresh Meat alum, Azana makes beautiful music that sees people at the base of their emotions. On her latest single “Higher,” the singer melds beautiful melodies with thought-provoking lyrics creating a nostalgic, feel-good love song that deserves to be on your playlists. Over the percussive-led beat, she invokes nostalgic memories about peace and happiness, allowing listeners to disconnect from their present sorrows and lose themselves in the song’s propulsive rhythm.
Ladé – “Hustle”
Fast rising newcomer, Ladé is insistent upon making her mark in the industry. Recently sharing her debut EP ‘Olamade The EP,’ the singer introduced listeners to her didactic-style of music making which finds her spinning her personal tales into poignant relatable lyrics. On “Hustle,” one of the standout numbers on her debut, the singer paints a picture that visualises her experiences before she found her footing in the music industry.
‘Now Playing’ is an illuminating playlist series that gives listeners a glimpse into the music that has been of particular importance to our favourite artists during their release campaigns. Populating NATIVE’S streaming platforms, Now Playing is powered in partnership with Platoon – the initials of the series symbolic of both NATIVE and Platoon’s dedication to identifying and championing good, meaningful music.
Last month, after three years of teasing the follow-up to his 2018 debut album, WANI finally released his highly anticipated sophomore album ‘Lagos City Vice 2.’ His debut, which arrived at a pivotal time of change for the Nigerian music industry introduced us to his mixed bag of sounds where he had ample space to interpolate many of our favourites ’90s and ’00s R&B hits with his Afropop-tinged sound. Now, WANI was shifting the needle on his creative output yet again.
In the years since its release, WANI has come to sit firmly in the upper class of Afropop, backed by a string of steady hits including the Buju-assisted “Times Two” and a notorious online persona (he’s a bit of a ladies man). With ‘LCV2’, he’s disarming whatever perception listeners may have previously held of him and stepping into a more mature, developed stage of his career which is fashioned from the growing pains he faced while living in Lagos.
“I am learning more about myself obviously, I’m getting older too, I want the subject matter to reflect my growth and right now I am getting more comfortable.”
For many, witnessing WANI embark on the ‘Road to LCV2’ was a bittersweet moment, made more special by his proximity to his fans and loyal listeners who have been rocking with him from “China Designer” to “Grown Girl.” However, while the music we’re now hearing from the singer has definitely undergone some formative change necessary for its evolution, it never strays too far from WANI’s singular vision as an artist with a keen ear for melodies and crisp lyricism.
Now, as fans and listeners now enjoy the album, they can also listen to WANI’s dedicated new playlist packed with the songs that inspired his sonic world during album mode. Speaking about his latest playlist, released in partnership with Platoon, WANI shares: “It’s everything I’ve been listening to, my faves over time and all my influences leading up to the Lagos City Vice 2 EP.”
Hailing from Botswana, Titose is an incredible singer and songwriter melding R&B and Trapsoul sensibilities into poignant and relatable stories for young African women. After years of releasing loose singles on her Soundcloud page, in 2019, the singer officially released her debut single, an open confessional titled “Drowning,” which set a vast tone for where she could go sonically and lyrically.
Since then, she’s continued to earn her new levels of recognition as she blends the warm melodies of R&B with the gritty production of Trap-Soul and Hip-Hop. From crafting love songs such as “Drowning” to “Put You In Line”, it’s clear that improving her skills is a source of pride for the artist and this effort is most apparent on her debut EP, ‘Was It Something I Said,’ which was released earlier this month.
Titose crafts worlds and lyrics based on her personal experiences and those of her friends, spinning coming-of-age tales that centre around love, friendship, romance, becoming, personhood, self actualisation, and more. Right from the project’s title, Titose invites listeners to question everything they hear and experience through the project’s 20-minute runtime. ‘Was It Something I Said?’ already presupposes that Titose will be doing some soul-searching on the project, questioning her actions and those of people around her.
“I Do” is the perfect project opener. The melodic instrumental which opens the track sets the soothing tone for the project. However, from the onset, while we’re aware that we’re stepping into Titose’s world, it’s clear that there are no set characters and only scenarios where listeners can see themselves. The song tracks the onset of a conversation between two partners from the confrontation on “I Do” where she sings “I was losing focus, got me whipped up with potion/Tell me how did it turn to poison, let me out here in the open,” expressing her lack of understanding towards the change in behaviour by her muse.
Following the two-minute tape opener is the standout lead single off the debut project “Put You In Line”, a slow tempo track with melodious production. The track sees the artist speaking about the hold her lover has on her, singing lyrics such as “I’m a fool for guys like you/”. Titose is clearly in a tough position romantically and can no longer deny this. The Jitotwe Tshombela-produced track also sees the producer laying backup vocals as his deep-pitched voice contrasts with Titose’s, delivering a star performance.
As the project builds, the conversation between the partners evolves moving from her blunt accusations on earlier tracks to the struggle to find a compromise towards the project’s mid-point. On the track “Forest”, Titose explains that while she may not be the best option for her love interest, she still finds herself clinging to their relationship. On the hook, she sings “But I didn’t want you to leave, the truth is I want you to stay but I can’t give you half of what you need so I keep on pulling away”, over the euphonious production. There seems to be an acceptance, a sort of reconcilliation that she can’t be everything to one lover.
Of all the songs on this project, “Summertime With You” stands out the most to me. Titose begins singing immediately as the beat of the track kicks in, following its urgent delivery to sing about her romantic tryst. The track finds her expressing how she wants to be with her lover through all times, especially in the summertime. “I wanna be with you, Summertime with you/I just want you, summertime with you”, she sings morosely, armed with the pained realisation in her voice that their summers together are over.
Titose keeps the guests in her world short and simple. Excluding rapper, The Big Hash who features on the catchy “Best Friends,” the only other obvious collaborator in Titose’s world is Zambian-born producer, AmoBeatz who helms most of the EP’s futuristic production. The EP builds towards the penultimate track “Strangers” where Titose and her partner make the decision to part ways, accepting that the relationship is beyond saving. The final track “Lights Off” represents the final sequence of their relationship. Its apt title gives a little insight to what to expect from the song, making it the perfect closing track for a tape of this nature.
As the project fades out, Titose sings “Had enough of love/Cold as icy,” offering her final remarks on the relationship that she once nurtured. While it’s clear she’s mourning the death of their love, she also finds peace in moving on, singing “please don’t turn the lights off/cause we just tryna vibe out.” Here, Titose admits that she’s going to find love again, but till then, she’ll be partying with her friends. Like many of us who’ve recoiled from the deep pain of a past relationship and headed out into the streets, ready to reclaim our worth and ease the pain, this ones for you.
Since releasing the airy and melodic number, “The Sun (Icarus)” back in the summer of 2020, London-based Nigerian-German singer and songwriter 234jaydaa has not released any solo material—till now. Arriving yesterday, 234jaydaa’s latest single “234” finds the singer exploring the hustle and bustle of Lagos and its nightlife scene.
Using the country’s dialling code (+234) as the song’s title, the new single finds the singer painting a visual picture for listeners who have never travelled to the West African city. “December in Lagos, you know the vibes/It’s up every night, demons of a different kind,” she sings on the song’s mesmerising hook, ushering in the festive December period in a melodious way. “234” also highlights her mental state and thoughts she garnered during her stay at home from the effects of the pandemic. During her time away she experimented with new sounds and vocals thus contributing to the song being different from her usual take.
Speaking about the single, Jaydaa shares: “I had a lot of time in lockdown to create and learn new things, much like everyone else I know, so I decided not to shy away from what I was growing into and indulge in whatever I was diving into,” she says. “Most of it is about me accepting myself and learning how to be better for the people around me but it’s also about the part of me I don’t like and people don’t like as well – I embrace all of it,” says Jayda on “234” and her path to growth.
After many years of championing African women in the music industry, Femme Africa, a women-led organisation run by Ayomide Dokunmu is taking on its most ambitious project yet: its first-ever Femme Fest. Promised to be a day of music, entertainment, fashion, food and more, Femme Africa’s first-ever festival is set to make its debut on the Detty December lineup this year–and we couldn’t be more ecstatic.
Femme Africa has filled a much-needed space in the music and entertainment industry, seeking to bridge the disparate gaps between female artists and their male counterparts in Nigeria’s androcentric society. This has culminated in a dedicated series of workshops, panels, live showcases, of which Femme Africa has previously held four hot-ticket editions since its inception in 2018.
Now, with a new year just days away and women in Afropop making boundless leaps across the music industry, both here in Nigeria and the diaspora, Femme Fest will celebrate the best of the crop inviting artists such as Teni the Entertainer, Liya, Lady Donli, Somadina, SOLIS, SGaWD, Deto Black, Merry-Lynn, Ria Sean, and more, to its inaugural event. Femme Fest will also have an all-female Dj lineup featuring Dj Honeeay, Dj Dayzee, and DJ Sensei Lo.
Currently, the event is scheduled to be held on Sunday 12th, December at Amore Gardens, Lekki, and tickets are on sale at Tix Africa. Let’s support the girls!
With only thirty calendar days left till the end of the year, it’s impossible not to take stock of the leaps that Afropop has made this year. In the last eleven months, Africa to the world has become a popular rallying cry used to champion the continent’s artists, whose diverse work speaks in every mother tongue to the breadth and universality of Africa’s musical gifts. This year alone, Afropop has garnered new levels of recognition, taking the world by storm, thanks in no small part to streaming and direct-to-consumer apps such as TikTok and Thriller.
While many of its frontrunners currently enjoy mainstream success and ubiquity, this watershed moment for African music hasn’t skipped the continent’s newcomers who have spent most of the past year, edging out the competition and making a name for themselves rooted firmly in their genre-defying boundless music. Keeping up with our mission to champion those who are breaking boundaries and adding some value to the music ecosystem, our penultimate installment for the year is no different.
As usual, our selection of artists do not cater to any stringent sonic rules, emboldening the diversity of the music being made by young Africans on the continent and in the diaspora. From British-Nigerian classical act, Klein who is inverting genre norms to South Africa’s gospel-leaning SIPHO., here are the new artists you need to be paying attention to.
SIPHO.
Born and raised in Birmingham, music played a big role in SIPHO.’s life. While growing up with his family, he was introduced to a range of talented musicians as well as organised religions. But while seeking out his own understanding of God, SIPHO.’s view of religion grew darker due to the misplaced focus of modern religion that placed materialism on a pedestal. “Being in this church, you see how headstrong people could be about their beliefs,” SIPHO. told the Guardian earlier this year. “However, a part of a lot of religions is this idea that you should not be prideful or stubborn about things. I came to the conclusion that there might not be one single explanation to it. We all just know that we feel a presence, whatever it is, and we call it God.”
As he retreated from church, SIPHO. found comfort in music, making songs that blended elements of Soul and Electro-pop into a distorted, post-2010 conception of R&B. On 2016’s ‘C R U X,’the singer accescorised his music with parts rooted in Hip-Hop tradition, transforming songs like “Monument” and “The Sinner’s Interlude,” interpolating Kendrick Lamar’s “Bitch Don’t Kill My Vibe,” into earnest conversations on self and its intersection with the wider community. While studying songwriting at Birmingham’s BIMM Institute, SIPHO.’s music caught the attention of Dirty Hit – home to stars like Beabadoobee, Rina Sawayama and the 1975 – where he released 2017’s ‘I DON’T DESERVE HER.’
The most polished version of SIPHO.’s candid music can be found in 2021’s ‘AND GOD SAID’where the singer imbibes gospel influences on songs like “BODIES” and “WE AIN’T.” Right at the centre of the project is the powerful double track, ‘MOONLIGHT PT. 1+2’, where the singer displays his command of Rap and Soul with astute dexterity; but the real showcase comes later on “ALMOST LOST.” On the self-produced song, Sipho examines his relationship with religion and the divine over fleeting flourishes of piano keys that provide a base for his syrupy voice and display his promising future as a soul-pop star in the making.
Emo Grae
Making a splash in today’s hyper viral music industry is difficult for any artist. However, when you’ve got the backing of one of the biggest names in Afropop, namely one as ubiquitous as Naira Marley, success is pretty much foreseeable in one’s trajectory–all things considered. Officially activated last summer, the singer and songwriter Emo Grae, born Opeyemi Michael Edebie has been inching towards his breakthrough, following in the steady footsteps of labelmates Zinoleeksy and Mohbad who have enjoyed mainstream success.
Born and raised in the streets of Ojodu, Lagos State, Emo Grae nurtured his passion and love for music at a young age. Despite his lack of access to the resources he needed to kick start his career, the young singer would spend many years patiently fine-tuning his craft, awaiting his moment to step into the limelight and showcase his star power. He caught this big break in July, during the thick of the COVID-19 pandemic when he signed to Marlian Music, a pivotal moment in his career which consolidated his pop star potential.
So far, Emo Grae has released six official singles including his 2019 debut “Need You,” a romantic track that finds him pining for a lover, the Buju-assisted breakout track “0903”and recent releases such as “Mine,”“Gone”and the balmy new number “Suddenly.” The common denominator in all these tracks lies in Emo Grae’s ability to convey his deepest and most sincere emotions with bleeding sincerity, tracking how we fall in, out of, and back into love. Flaunting a unique tone of voice and positively catchy hooks, Emo Grae sings about romantic dalliances and savouring the genuine rush of a new crush, toeing a similar line to the sea of past heartthrobs, such as Korede Bello and CKay, that have come to permeate Afropop. With only a handful of singles and a debut project on the horizon, we can’t wait to hear what comes next.
Groovy Jo
About half of Groovy Jo’s Instagram feed is dedicated to the low-stakes act of freestyle covers. Beyond her appreciation for the songs, there’s no obvious method to what music she chooses to give this treatment, and that freedom allows her to meld the mellow Afropop of Omah Lay, the energetic Trap of Kahu$h, an Erykah Badu cut here, a Major League DJz cut there, throwback jams by Nicki Minaj and JAY-Z, and much more. While she often finds her way to stay on topic, these freestyle covers have proved to be conveyor belts for her entertaining lyricism and rap versatility.
Beginning her music career in 2018, the rapper’s earliest offerings were rough-hewn tracks that highlighted a talented rap artist finding her voice. By the end of 2019, she’d amassed enough goodwill on the back of her potential to be nominated for Best Female rapper at the Unkut Awards, and in 2020, she consolidated with multiple single releases, several of which made it to her debut mixtape from earlier this year. Even though it’s only her first project, ‘The Groovy Way’is a culmination of Groovy Jo’s early development as a rap artist, powered by an unflappable self-conviction and a widescreen musical approach.
“They say Groovy conceited, I agree sir/Me, myself and I is what I breathe for,” she raps on Shrap—the Kenyan new school variation of Trap—standout “Wykat,” one of the many infectious, aggrandising lyric lines that litter the entire tape. The boasts are complemented by a range of beats that include Reggaeton-infused turns and UK Drill-inspired thumpers. Wholly, ‘The Groovy Way’ is incredibly fun, defined by Groovy Jo’s ability to find a pocket and deliver the hardest, most self-reverential raps she can muster. In the near future, though, we might get more thematic range from Groovy Jo. Her latest single, “Clear Picture,” is a ruminative turn on what it means to be Black and ambitious in a world dominated by whiteness, and on a continent lorded over by inept leaders. Obviously, on her first attempt on wax to offer social commentary, Groovy Jo’s voice isn’t as sharp as when she’s issuing brags and caustic takedowns, but it shows a commitment to artistic growth, which will pay off in terms of longevity and a higher ceiling as she approaches rap stardom.
Klein
You might be wondering why a talented act such as British-Nigerian artist Klein features on our Fresh Meat roundup this month. With accomplishments that include sharing global stages with Björk, Wu Tsang, Mark Leckey and more, the genre-defying classical artist is one that’s far more advanced in her music career than many other Fresh Meat alums. However, as an artist we believe is sorely underestimated on the continent, and one that deserves all the attention for her unique brand of music, her appearance this month is well justified.
Although she grew up in London, Klein spent most of her formative years moving between her home city Lagos, Nigeria, and Los Angeles exposing her to an eclectic mix of sounds from these parts. Klein’s music veers from piano-laden solos to punk-pop guitars and bass drops, to persistent rhythmic displacement, as she seamlessly melds a range of genres from R&B to Hip-Hop to Grime, Reggae, Pop and more, to her will. Her fusion of sounds is due in large part to her unconventional upbringing with a passion for musical theater. Growing up in a Christian Nigerian home, Klein has previously shared in interviews that she wasn’t exposed to circular music until her final year of high school and such, her religious upbringing serves as the cornerstone of the music she makes. “I grew up with music that was essentially the opposite of the music I make,” she once shared with gal-dem.
In 2016, she released her debut EP ‘Langata,’ a collection of songs that put her on the map as one of London’s DIY artists at the time. Klein followed this up across the years with music and hyper-colour visuals that allowed listeners to get a sneak peek into her creative, and oftentimes confusing mind. Recently, she released a new project titled ‘Harmattan,’ a collection of 11-songs named after the West African season and primed to cause epic revolt to beginnings and ends. As one of the disruptors bringing the much-needed change and refinement to classical music genres, Klein is crafting genreless music with a finely-tuned ear while basking in the emotions and situations that make her human, often arriving at a conclusion that offers more clarity than catharsis.
Chrystel
We admit we were a little late to discovering Chrystel–but this doesn’t mean you should be late to the party too. First gaining our attention through her scene-stealing appearance on DND Section’s “Darling”back in 2020, the singer’s alluring and passionate vocals provided a much-needed combination of heartfelt singing and technical songwriting ability unlike most of her peers today.
Digging back into her discography, you’ll discover that Chrystel has been making music since she was nine years old. A first-generation bilingual African who moved to Utah when she was much younger and then later to Atlanta in 2015, Chrystel got her big break in 2019 when she earned songwriting credits on Dreamville’s compilation project ‘Revenge of the Dream III’ and Baby Rose’s debut ‘To Myself.’ However, it’s on her solo work that she seems to thrive the most.
Growing up on a musical diet of genre-bending artists such as Stromae and Rihanna, Chrystel’s music is an amalgam of a range of influences including West African pop, Congolese Rumbas and Country music. She makes beautiful love songs armed with tangible emotion that permeates off our screens. If you’re looking for a place to get into her music, we’d recommend her 3-pack single titled ‘Prey’which was released earlier this year. “Thunder” is an atmospheric number that examines Chrystel’s state of mind with a scalpel-like examination while “Hot Star” is a groovy anthemic number that finds her delivering emotionally layered lyrics and “Good Thang” is an anti-love anthem about realising one’s worth. Her deep understanding of her psyche and those of her peers results in music that is both relatable, universal and pensive, providing listeners with music that sees them at the base of their emotions.
Dai Verse
Making his debut at the start of 2020, newcomer Ifeanyi Chineme Lennon, popularly known as Dai Verse is a singer and songwriter with the right blend of lyrical vulnerability and catchy songwriting. Born and raised in Surulere, Dai Verse’s love for music and performing started at a young age when he began creating freestyling videos on his social media pages. He soon plucked up the courage to share these releases on Soundcloud before releasing his debut single “Love” in 2019. His intriguing vocals earned him our attention but he’s been able to retain this by delivering soothing and sumptuous love songs that sound more bittersweet than outright sad.
Dai Verse first gained traction in 2020 with the release of the Zugo-assisted“Colorado,” an earworm track that weaves relatable stories about young romance, as the singer likens the effect his partner has on him to the effect of a hallucinogenic strain of marijuana known as Colorado. The metaphors have only grown more poignant with each new release. The Soundz-produced “Your Body (Cocaine),” similarly finds the singer drawing parallels between his love interest and the harmful class A drug, cocaine. While he certainly doesn’t hold back from stating his admiration for this woman, Dai Verse also recognises that their relationship is ultimately built on his infatuation with her, a detail that signals their eventual end. Still, he is more concerned with tracking the jovial pursuit of love and loss which characterises many Afropop releases.
Already, “Cocaine” is garnering Dai Verse the attention he needs to enter the next phase of his budding career. Hitting a milestone record of over 20 million streams across all platforms earlier this month, the singer has kept his releases short and sparse over the past few months since he shared “Your Body (Cocaine)” but he’s already gracefully distinguishing himself from the fold with a cryptic online personality (Dai barely reveals his face which is typically clad with a balaclava or trucker hat) that has fans guessing his real identity. Instead, the music does the talking as he recently echoed, “Music is the heartbeat of the universe, and my music is driven by passion and love for the sound.” With a knack for blending catchy Afropop rhythms with soothing R&B melodies, Dai Verse is one to watch before the new year.
Titose
Fast-rising Botswana-born singer and songwriter Titose has a voice that will stop you in your tracks mid-listen. Evoking the warmth of silk sheets and armed with a keen eye for catchy melodies, Titose has been taking several assured steps towards the powerhouse that she is capable of becoming. Her string of releases has provided a protective balm for listeners in search of some aural healing with its polished production and emotion-laden writing.
Titose kicked off her passion for music at a very young age, encouraged by the unwavering support she received from her musical family. While her peers pursued professional careers, there was never a moment of doubt in Titose that she couldn’t forge her own singing career, despite the dearth of success stories in these parts. In a recent interview, the singer shared that this overwhelmingly firm sense of belief comes from years of nurturing at home. “I come from a musical family,” she shared. “I sing, my sister and my brother too. A cousin and an uncle are acclaimed musicians. So I grew with music [being] a part of my life,” she continued during the interview. Ingrained in her DNA from early, Titose would spend most of her formative years forging her own distinct sound, which rests firmly at the intersection of R&B, Afropop, Hip-Hop, Trapsoul and more.
Titose shared her first single on Soundcloud when she was 16. The mid-tempo number titled “Colour Blind” was actually a cover for an original song inspired by a Glee episode she had watched. “Please don’t mind the quality, I was like 16,” she warned listeners at the time, worried that her music would not land the desired impact. However, the song fared better than she expected. Today, “Colour Blind” has over a thousand listens and counting on Soundcloud, a feat worthy of celebration from an artist on the cusp of an explosion. Motivated by these reactions, Titose then officially began releasing music three years ago. Her first official single “Drowning”, a slow R&B fusion track was released in August 2019 and was soon followed this closely with the release of her sophomore single“Lights Off” during the peak of the COVID-19 lockdowns last year. While each new release adds a layer of intrigue to her artistry, a worthy starting point for anyone looking to dig into her discography would be her debut EP ‘Was It Something I Said?’
Over 8 soul-baring tracks, Titose ruminates on relatable topics for young women including tales of love, life, friendship, becoming and more. Each track on the project tells a different story, however, they are mostly driven by personal experiences, creating honest tracks that intimately mimic a late-night conversation with your girlfriends. Across her short but sweet discography, Titose’s personal and artistic growth is crystal clear. This year already, she’s enjoyed notable career highlights such as joining the talented spate of artists on the Platoon roster and reached her first 200,000 streams milestone. With all this and more music planned for 2022, next year may very well bring the big break she desires.
Featured image credits/NATIVE
Words by Ada Nwakor, Dennis Ade-Peter, Wale Oloworekende, Wonu Osikoya and Tami Makinde
In the summer of 2020, Victony eased his way into Afropop with an elegant and vibrant debut EP titled ‘Saturn’. It marked a pivotal point in his transformation from rapper to singer, showcasing a precocious ear for melodies, musical choices as colourful as a pack of Crayola, and a voice brimming with charm and boyish charisma. In his follow-up year, he’s greatly consolidated on his pop star potential, in part due to a sizzling star turn on Mayorkun’s “Holy Father.”
Before then, he shared the reflective and hopeful ‘Dark Times’, a balmy 2-song pack centred on the life-threatening event he survived earlier this year. Refusing to let tragedy solely define his headlining output for the year, Victony has teamed up with producer Rexxie for ‘Nataraja’, a new 2-song pack built on the palpable symbiosis between both artists. The two songs, “Like Dat” and “Ego,” operate on a push-and-pull basis between the pair with the former being a gleaming Alt-Pop bop and the latter being rooted in the booming wheelhouse of Rexxie’s Afro-House experiments.
In theory, a collaboration between Victony and Rexxie is quite the left-field attempt, but the easy denominator is the willingness that both artists have to try out new styles. Over his short but growing catalogue, Victony has chosen to operate with a nebulous sonic palette, ensuring the constant and defining element of his music is his voice—part-buttery, part-holler. For Rexxie, who has built his reputation as the leading purveyor of the modish street pop bounce, there’s enough evidence on his debut LP ‘A True Champion’—along with more outré work like Naira Marley’s “Bad Influence”—to prove there’s more to his musical chops than his most popular music.
All that said, ‘Nataraja’ benefits from the pair playing to their individual strengths, culminating in a union of their kinetic synergy. Writing-wise, “Like Dat” is the more vivid of the two tracks. The music Rexxie helms is quite delicate, comprising twinkling keys and a gently thudding drum patterns, with Victony’s ethereal chants rounding out the atmospheric beat. Within the first lines of the song, Victony describes an intimate scene in first-person perspective, where rolling weed is a love language, sex is meant to be savoured, and shutting out the world keeps the moment pure. The innuendos are scarcely veiled, like when he sings, “You doing stuff you cannot tell your mummy,” and football-related symbolism that’s ingrained in pop culture.
“Ego” is the groovier affair, coining in on the Amapiano-infused bounce Rexxie has mastered since his seminal smash hit “Ko Por Ke (KPK).” A shimmering piano riff is laid under its synth bassline, giving the song an instantly catchy melody that’s emboldened by its bulbous percussion and log-drum combo.
Slipping into lascivious mode of many party-ready Afropop songs, Victony sings with a snappier edge, revelling in his infatuation with an interest’s physical figure, while leaving just enough devotion in his lyrics—“Who do the polishing, oh ya?/’Cos you dey shine like morning sun”—to keep his charm intact.
‘Nataraja’ works because it finds the balance between both artists intermingling already established sensibilities. The two comprising songs are stylistically disparate, but they are unified in spirit because Rexxie and Victony don’t trade-off as much as they figure out a sense of musical kinship.
“Bruk It Down”, a video series shining a light on the producers and beat-makers behind the scenes, as they break down the intricacies of the songs we listen to every day. In the fifth edition of our NATIVE Original, London takes us through the elements of “Bloody Samaritan” by Ayra Starr.
Ayra Starr rampaged her way into mainstream consciousness with a fully-formed voice and a well-oiled label machine behind her. Released in January, the singer’s eponymous EP is a bite-sized and compelling introduction to her boisterous voice and preternatural confidence. By the subsequent summer release of debut LP ’19 & Dangerous’, it was obvious we were watching the real-time rise of a generational talent-in-the-making.
Even though the album is loaded with a boatload of highlights, the lead single “Bloody Samaritan” is its runaway smash hit. Produced by the Grammy-nominated producer and fellow Mavins signee, London, the song finds Ayra Starr issuing defiant and assured proclamations of self, turning in one of her most vibrant performances on wax. To amplify the lyrical clarity and help its resonant, she’s accompanied by—inarguably—one of the best beats of this year, an Amapiano-infused composition with a unique feel.
In the last year-plus, Amapiano has ingrained itself into the fabric of Nigerian pop music, and it’s no surprise that so many artists and producers have tapped into the South African-originated sound. One of the truly ingenious efforts to arise from this co-opting has been Ayra Starr’s “Bloody Samaritan”, helmed by the talented producer, London. In an interview with The NATIVE shortly before the release of 19 & Dangerous, Ayra Starr divulged the challenging process of making this song, mainly because of the peculiarities of London’s beat.
“When I was listening to this song in the studio, I was just so nervous because I had the beat for six months and didn’t know what to use it for. I found it so challenging but I kept begging London not to play it for anyone else. The lyrics weren’t flowing so London had to leave the studio for me and I recorded myself. By the time London was back, he was in shock. I had pulled it apart and pieced it back together perfectly.”
Mashing together soulful Amapiano, the low-end emphasis of Afropop, and classical samples, “Bloody Samaritan” is a baroque masterpiece. For the fifth installment of Bruk It Down, The NATIVE’s original series digging into some of the most captivating Afropop songs, London gives a step-by-step guide into the making of “Bloody Samaritan,” and he also recounts the process of making the song with Ayra Starr. Watch, marvel, and enjoy.
Featured image credits/NATIVE
Words: Dennis Ade-Peter, Videographer: Omowunmi Ogundipe, Producer: Tami Makinde.
Wrapped in her mesmerising vocals and her desire to explore past memories, pain, and the history of her father’s activism, Dutch singer and songwriter, Joya Mooi bears it all on her latest single “Most Frail”. With the assist of producers SIROJ & Blazehoven, Joya escapes into her element as she sings a heart-wrenching confessional that recalls past memories of her father’s activism and his fight for the liberation of South Africa from the apartheid regime.
Although she was brought up in a small town an hour away from Amsterdam, Joya’s inquisition into her South African roots and heritage have always taken centre stage in her music and “Most Frail” is the most honest expression of this. Speaking about “Most Frail”, Joya explains that: “Freedom fighters are sometimes put on pedestals, but are mostly forgotten. And the ones who’ve survived, that came back, I believe they have never fully returned. “Most Frail” is about all the stories we’ve lost – through them – in the wake of liberation.”
To expand the world around her new release, Joya has now shared the video for “Most Frail” which will be released officially later today. The new video captures moments of contemporary dance and movement by Ibrah Silas Jackson as Joya Mooi and her collaborators use non-verbal expressions to represent the strength and fervour of her father and freedom fighters. “The dance gives a form of clarity and focus to the story that is being portrayed,” Joya says, as she speaks to how she was able to meticulously work in her family’s life experiences and heritage.
Ahead of the video’s official release, we caught up with Joya Mooi on the inspiration behind the video, the process of creating it, and the decision to honour her father and her nation’s freedom fighters.
Her answers which follow below have been lightly edited for clarity.
NATIVE: Hey Joya, so “Most Frail” is inspired by your father, could you give us an understanding as to how he inspires the song?
JOYA: I’ve seen from up close what the consequences are of fighting against injustice. My father was a member of the ANC and so part of the liberation of South Africa. Many people see them as heroes, but there’s little eye for the loss and trauma that they’ve endured, back then and even now. Most Frail is about all the stories we have lost in exile, in post-apartheid – all the stories that have not come to life- in the wake of liberation.
NATIVE: What was it like working with the producers, SIROJ & Blazehoven?
JOYA: Almost a year ago I wrote “Most Frail” in a session with Blazehoven. This beat directly spoke to me and later SIROJ contributed more layers to it, while simultaneously giving more space for this personal tale. I love creating music like this, just fully leaning into what a story needs and taking my time with it.
NATIVE: What was the main idea and feeling that you wished to convey in the video?
JOYA: With the visuals for “Most Frail,” I wanted to touch on freedom and escapism. The relation between principles and reality, how alienating the world can be. With scenes reflecting on people who’ve become their own shadows.
NATIVE: Alongside the incredible scenery, the film captures moments where we also see the male lead free and running. Why was it important to depict moments such as this?
JOYA: I think the path to mental freedom is such an important part of this story. Can you actually become free in this world filled with inequality? How you cope with life – amongst everything- is a battle only you can fight.
Catch a first look at the video for “Most Frail” below.
This week, Davido and Focalistic’s hit record “Champion Sound” makes its top ten debut. Making its entry at No.9 this week, the song garnered 1.02 million equivalent streams and 39 million in radio reach. It is Davido’s fifth top ten entry of 2021 and thirteenth overall in the top ten.
“Champion Sound” also becomes Davido’s record 30th total entry on the Top 50 and record 18th entry as a lead artist. The song is Focalistic’s first in the top ten and second overall, following the No. 15 peak of “Ke Star (Remix)” – also with an assist from Davido.
Elsewhere in the Top 50 charts, “Sip (Alcohol)” logs its eighth week at No. 1 on the TurnTable Top 50 – making it the longest No. 1 song of 2021 on the chart. “Sip (Alcohol)” tallied 2.8 million equivalent streams (up 21.4%), 43.7 million in radio reach (down 18%) and 11.3 million in TV reach. It is now second on the list of longest No. 1 in chart history, behind only the 11-week reign of “Godly.”
Adekunle Gold’s “High” with Davido is steady at its No. 2 peak on the Top 50 while Reekado Banks’ “Ozumba Mbadiwe” holds at its No. 3 high for another week. Timaya’s “Cold Outside” with Buju stays at No. 4 for a fourth consecutive week. Fave’s “Baby Riddim” rises to a new high of No. 5 on the chart; it tallied 2 million equivalent streams (up 41.8%) and 34 million in radio reach (up 20.1%).
At No. 6 this week is Mayorkun and Victony’s “Holy Father” which ascends to a new peak after tallying 50.8 million in radio reach (up 15.5%) and 1.04 million equivalent streams (up 92.6%). Fireboy DML’s “Peru” rises to No. 7 this week and it’s followed by former chart-topper “Lie” by Kizz Daniel at No.8. Kizz Daniel’s latest EP ‘Barnabas’ also floods the chart with six new entries and becomes only the fifth project to send all songs on it to the TurnTable Top 50. Closing out the top 10, Ayra Starr’s “Bloody Samaritan” retreats to No.10 this week. Just outside the top ten, there are a couple of debuts by Kizz Daniel including “Eh God (Barnabas)” at No. 13 and “Pour Me Water” at No. 20.
.@joeboyofficial’s “Sip (Alcohol)” spends a seventh week at #1 on the TurnTable Top 50— making it the No. 1 song in 🇳🇬 this week
It tallied 2.33 million equivalent streams, 53.3 million in radio reach and 2.9 million in TV reach ✨
In 2019, Botswana’s High Court issued a landmark ruling decriminalising homosexuality. This followed the filing of a petition by Letsweletse Motshidiemang, a student of the University of Botswana, questioning the constitutionality of Section 164 of the country’s Penal Code and other provisions of the country’s laws which prohibits all acts “against the order of nature.” The laws against homosexuality were introduced while Botswana was under British colonisation, and Motshidiemang’s petition cited its outdatedness and the global society’s growing acceptance of queer relationships.
In a unanimous decision, three judges ruled in favour of the petition, noting that the law was discriminatory, unconstitutional and against public interest. “Human dignity is harmed when minority groups are marginalized,” Judge Michael Leburu said in the ruling statement. “Sexual orientation is not a fashion statement. It is an important attribute of one’s personality.” The ruling struck down Section 164 of the Penal code, which proffered up to 7 years of imprisonment.
“Before, we were struggling. People have been hiding,” Anna Mmolai-Chalmers, then-Coordinator of Lesbians, Gays and Bisexuals of Botswana (LEGABIBO), told CNN after the ruling. “This judgement can make a massive change for our lives. This is what excites me the most. The judgement means so much… The court has upheld our dignity, our privacy, and our liberty… It means freedom”
However, Botswana’s attorney general Abraham Keetshabe decided to appeal the decision of the High Court shortly after. The rationale behind the appeal wasn’t immediately clear, but as the appeal went on, Mr. Keetshabe’s argument was based on the idea that overturning the anti-homosexuality law should be a parliamentary debate and decision. Thankfully, today, the Court of Appeal has upheld the ruling decriminalising gay sex and relationships, reinforcing the judicial system’s stance against homophobia in Botswana.
In a unanimous decision by the court’s five judges, the ruling stated that the criminalisation of consensual homosexual relations infringed on the constitutional rights of queer persons to live freely. “Those sections have outlived their usefulness, and serve only to incentivise law enforcement agents to become key-hole peepers and intruders into the private space of citizens,” Court of Appeal Judge President Ian Kirby said. The ruling was again received enthusiastically by the queer community in Botswana, with many queer folks and activist attending the ruling session in rainbow-coloured masks.
“This will forever change the landscape of democracy, human rights and equality in Botswana. Finally the state will have no business in what two consenting adults do in their privacy,” LEGABIBO coordinator Sethunya Mosime stated outside the court. Botswana joins a short list of African countries progressing beyond ultra-conservative sexual values, ridding its system of a colonial relic that continues to plague the majority of the continent.
PRESS STATEMENT : DECRIMINALIZATION JUDGEMENT Today, the Botswana Court of Appeal, through Judge President Ian Kirby, issued a monumental judgement to decriminalize consensual sex between same-sex partners. #DecrimBotswana#BeyondTheRainbow#ReBatswanapic.twitter.com/wOOqFrGepD
— Lesbians, Gays and Bisexuals of Botswana -LEGABIBO (@legabiboadvo) November 29, 2021
As the year winds down, the sheer number of music we receive at The NATIVE keeps growing at an exponential rate. With live shows back in full swing and Afropop hits such as Wizkid’s “Essence” and CKay’s “Love Nwantiti” climbing the charts both home and abroad, there has never been a more exciting time than the present for the ever-evolving sonic landscape. Through it all, we remain committed to the ideal of music discovery and sharing that is a big part of what we stand for.
That’s where our Songs of the Day column comes in. We’re doing the work to stay on pulse with all the music coming out from across the continent and beyond, bringing you exciting songs of tomorrow: today. Last time out, we had exciting music from DJ Neptune, Ruger, Blaqbonez, and more. Today, we bring to you new music from Zinoolesky, Alpha P, Bryan The Mensah and more.
Niphkeys – “Blessing” ft. Zinoleesky
Zinoleesky is a street-pop artist who wears his city on his back. On his latest release “Blessing”, he teams up with fellow Nigerian producer Niphkeys for a catchy upbeat song celebrating his journey so far. The track finds the artist showing gratitude for life and counting his blessings one at a time. On the hook of the track, he sings “Sit down count my blessings, make I enjoy this flexing/Me I no look person oo, no stressing,” painting a picture that visualises his experiences from street-pop crooner to mainstream success.
DJames – “Whine” ft. Alpha P
After collaborating on the Masterkraft-remix to Justin Bieber’s “Peaches” with Omah Lay and releasing his first single of the year “Oh No”, Alpha P has just teamed up with DJames for a new catchy single titled “Whine”. The romantic track finds Alpha P gassing his muse about her physical appearance and her physique over mid-tempo production which fits the song’s amorous lyrics. Over the hook, he quips “Your body is so proportional, Me I wan shoot my shot when I open you four corner,“ serenading his love interest with all the right words.
BRYAN THE MENSAH – “Until I See You” ft. Titi Owusu
On Bryan’s latest album ‘Road To Hastafari’, he features a talented spate of artists from around West Africa such as Black Sherif, PsychoYP, A-Q, Titi Owusu and more. On the standout track “Until I See You”, Bryan sings from a place of hurt, as he expresses to his muse the emptiness he feels and requests that she stays by his side through it all. “Cause when I’m at the show, I make mistakes/With you my mind the whole time,” he sings optimistically, letting his lover know of her importance.
DJ Neptune – “Abeg” ft. Omah Lay & Joeboy
Following the success of his debut album ‘Greatness’ which he released 3 years ago, the DJ and producer is back and operating on his best form. The full-length LP is a 16-tracker, which features a good number of Afropop stars. On the standout track “Abeg”, DJ Neptune links up with Omah Lay and Joeboy for a mid-tempo number which finds both artists speaking on the sudden hold their love interests have on each of them. With lyrics such as “Somebody call me the popo, I think that I am in love,” both artists are armed to the teeth with flirtatious one-liners.
Ojahbee – “Yawa” ft Asake
Following the success of the Oxlade-assisted single “Dutty Wine”, talent manager and producer, Ojahbee is here with the Amapiano infused track titled “Yawa”. The catchy new single finds him teaming up with fellow Nigerian singer, Asake as the pair trade lyrics about the predicament they have found themselves in. “Yawa Dey, Sawa Sawa le/Fire Fire,” sings Asake over the song’s intoxicating hook while accompanied by a rich array of melodies and vivid percussion patterns.
Ruger – “Dior”
Earlier this year, Jonzing world signee, Ruger came in hot and ready for the competition with the release of his debut EP ‘Pandemic EP’. Months after he’s here with its follow-up by the way of his sophomore EP titled ‘The Second Wave’. The 4-track project finds the singer blending vibrant sounds and melodies to his will as he fires off his romantic and lustful intentions. Standout single “Dior” is a more braggadocious track that sees the artist feeling himself and his sense of style. He quips on the hook of the track “Badman looking good in Dior, badman drip to the core”, admiring his good looks and his designer sartorial choices.
Singah – “Bumshort”
Fast-rising singer and songwriter Singah is here with his sophomore tape ‘The Moon And Back’, a 10-tracker that finds the artist speaking on matters such as self-elevation, love, romance, leveling up and more. On standout single “Bumshort”, he sings “my girl she murder, she murder when she step in the place everybody dem know/Balance it o, nonstop with your bumshort” over the bouncy production of the track, singing in detail about his muse and appreciating her physical appearance.
KIBRA- “Live Your Life”
Following the release of her sophomore EP And It Was Good last summer, Eritrean-born, Toronto-based singer, songwriter and musician KIBRA is gearing up to unveil her debut full-length album in 2022. Ahead of this, she’s shared a new single “All That” back in August and its follow-up “Live Your Life” last weekend. “Live Your Life” is an exquisite R&B-pop offering fused infused with Kibra’s East African heritage sounds. Driven by her soulful jazz-esque vocals, lush harmonies and resounding strings and drums-led soundscapes, the track sees Kibra paying homage to our ancestors that have paved the way for us to be where we are today, and calling on us all to live our lives to the fullest in response to all the work and prayers that have been put in for us.
Sound Sultan left an indelible mark on Nigerian music and Afropop as a whole. The multi-disciplinary artist passed away in July, from throat cancer complications at the age of 44. His heart-breaking death emboldened his legacy as one of the best singer-songwriters in Nigerian music, with a catalogue filled with socially observant anthems, resonant and introspective hymns, and the occasional party-ready anthem. Sound Sultan made his mark by creating music in tune with the realities of everyday Nigerians, and he will be remembered fondly.
The latest act in the memorial of Sound Sultan is “Journey Back Home,” a new song dedicated to his memory by Nigerian singers Bankulli and TÖME. Helmed by the super-producer duo, Legendury Beatz, the Afrobeat-inspired song finds both singers ruminating on the transience of life. Taking on chorus duties, Bankulli invokes the infamous line and melody from Sound Sultan’s seminal folk song, “Motherland,” setting up the song’s premise with his folksy baritone. Delivering two emotionally charged verses, TÖME sings of finding her path through life, searching for clarity and reaching a higher calling to maximise her time on earth.
In its own way, “Journey Back Home” embodies the resonant ethos of what made Sound Sultan endearing. The song is also embedded in a titular pack comprising varying versions of the song with different instrumental embellishments. There’s also an intro that features Sound Sultan summarising his upbringing and initial forays into music. All proceeds from ‘Journey Back Home’ will be passed down to Sound Sultan’s family, a noble gesture from Bankulli, TÖME, Legendury Beatz, and all the other musicians involved in the making of “Journey Back Home” and its other versions.
Mere days after Kizz Daniel released his new EP, ‘Barnabas’, there was some chatter online as to why the singer’s recent project releases were not greeted by the loud bells and whistles that often accompany similar drops by Nigerian pop stars. There’s probably some merit to this claim; you’d be forgiven for not remembering—or maybe even knowing—that Kizz Daniel dropped his third LP, ‘King of Love’ amidst last year’s lockdown, and now, with the release of his new EP, history seemed destined to repeat itself.
The whole truth to this puzzling reaction rests on the premise that many may not consider Kizz Daniel to be the most magnetic superstar around but he’s certainly as bankable as top tier Nigerian pop stars come. You’d struggle to find any Stan hives dedicated to the singer, but that doesn’t mean his music is struggling for attention, in fact, it’s quite the opposite. His latest smash hit “Lie,” has racked up its fair share of accolades on the TurnTable Top 50.
Produced by frequent collaborator Philkeyz, “Lie” builds on familiar Kizz Daniel traits, including a lustrous but overly unshowy beat that compliments the breezy tenor of his voice, alluring ad-lib harmonies, and the song’s cheesy lyrics (“Girl, I don’t really care about your body type/what really matter na your vibe/I be the one for you”). Best of all, it sounds effortless, like he composed and rehearsed the song in his head while doing some mundane activity, before laying the main track and backing parts down in one take each. It also embellishes the idea that if there’s an avatar for standard Nigerian pop music, an artist such as Kizz Daniel fits the bill.
Over the last few years, Nigerian pop music has widened in scope and is arguably at its most diversified. In the same timeframe, though, the mid-tempo stylings popularised in the mid-2010s has sat firmly at the centre of Nigerian pop. Earning mainstream visibility at the top of that period, with a slew of hit songs and a widely beloved debut album, Kizz Daniel represents a bridge between the high octane sound of Nigerian pop in the late 2000s/early ‘10s and its mid-tempo succession. It’s a role he’s committed to playing, as he meticulously colours around familiar musical boundaries without sounding stale.
In Afropop, familiarity is not the most enticing gambit, but it can be refreshing to hear an artist confidently operate in their comfort zone to solid results. Nearly everything Kizz Daniel offers on ‘Barnabas’ has a predecessor or precursor in his catalogue. The lovelorn opener, “Pour Me Water,” is thankfully not as crass as the viral “Fvck You,” choosing instead to offer a vulnerable perspective into dealing with an unfaithful romantic partner. “Addict,” while not as empathetic a song as 2018’s “Tobi,” offers truth-telling without proselytising. The project’s pseudo-title track is slightly less blatant than 2019’s “Jaho,” but the verve in Kizz Daniel’s prayers for prosperity remains intact.
The Kizz Daniel formula hinges a lot on relatability, finding new and inventive ways to broach the same universal topics. He seems content with putting mundane realities into song, a detail that informs many of his biggest hits making them relatable to the wider Nigerian audience. It should sound familiar and monotonous, but it’s not. On “Oshe,” which features backing vocals from revivalist Highlife-fusion duo the Cavemen, Kizz Daniel shows why he’s an excellent troubadour, pulling off a blue-eyed romantic standout over a Folk-pop beat.
Alongside a host of talented producers including Philkeyz, Blaise Beats and Reward Beatz, the project is kept afloat with a supply colourful and consistent production, brimming with groovy percussion patterns, gleaming piano chords, some plucky guitar riffs, and the occasional horns. This EP is probably the only project from a Nigerian pop act with zero log drums or Amapiano flirtations, perhaps a perfect encapsulation of Kizz Daniel’s peculiar place in Nigerian pop music, where he’s right at the centre but not too bothered about adapting fairly new, dominating trends.
Also interesting is the fact that Kizz Daniel has already announced the release of a fourth album tentatively titled ‘Afro Classic’. With its imminent arrival underway and his new EP’s recent release, it’s clear that he’s one of the most prolific workers around and one with a foolproof formula that is yet to fail him. His desire to stay under the radar is offset by his list of hit singles and his sizeable ambitions which continue to earn him the admiration and support of his loyal audience. Kizz Daniel knows the groove he prefers, and he remains as reliable as ever.
After over a year in isolation defined by understated, practical clothing, Lagos-based designer, Lisa Folawiyo reemerges this fashion season with a lush new film directed by the award-winning stylist, photographer and director, Daniel Obasi.
The 3-minute film is centred around Lisa Folawiyo’s latest drop titled ‘Col 1 2022’, a vibrant collection that portrays fashion and creative expression as essential tools for non-verbal communication. The newly released film masterfully combines opposing colour schemes, textures and styles to reinforce Folawiyo’s method of pairing unlikely, complex objects and draping them in gorgeous silhouettes.
According to Folawiyo, this collection represents the unifying chaos we experienced in the past year, as it presents: “polarizing ideas that meet and merge”. The prints from the collection are also inspired by the gong man, (or town-crier) and Igbo and Hausa proverbs, as Lisa Folawiyo pays homage to indigenous forms of communication.
Aside from the fine tailoring and impressive silhouettes, specially chosen to evoke and celebrate different facets of femininity, the film also features varying local beauty and hair techniques, inspired by traditional hairstyles from across Nigeria. Backed by an alluring soundtrack which was produced by Daniel Obasi himself, the noir-inspired film serves as a departure from Folawiyo’s bright, vibrant aesthetic, as the pair instead evoke a darker, more haunting feel using elements such as water, hair, hues and sound.
‘Col 1 2022’ is an emboldened awakened statement for Folawiyo and Obasi after a long search for the raison d’être of fashion. It’s the exact celebration of femininity and imagination that we need as we near the close of 2021.
