Last week, the Museum of African Art launched its global presence in Lagos, Nigeria with an immersive art exhibition titled ‘Taste! 24 Hours of Smithsonian in Lagos.’ The collaborative interactive art experience in partnership with Art X Lagos, the African International Film Festival (AFRIFF), the African Artists’ Foundation (AAF) and David Adjaye designed venue Alára brought together the international, Nigeria and African diaspora through the worlds of film, art, photography, and fashion.
Taste! was curated by former Smithsonian Artist Research Fellow Temitayo Ogunbiyi, who created a multisensory, participative art experience that involves the use of sound, photography, and food by sound artist Emeka Ogboh, New York-based photographer Iké Udé and Temitayo Ogunbiyi in collaboration with chef Renèe Chuks. The three-day event kicked off in Lagos last Friday with Taste! Mystique, a masterclass for a group of Lagos-based photographers in collaboration with the African Artists’ Foundation.
“Taste!” seeks to question assumptions concerning culture, geography and identity. By appealing to the senses, Temitayo Ogunbiyi, Emeka Ogboh, Iké Udé, and Chef Renèe Chuks urge the audience to remember, recognize and interact with the project based on personal experiences.
Speaking about the event, Ogunbiyi shares that:
“There are a lot of ways to interpret the term. This is why we thought it was so fitting to be the umbrella term for this wide range of experiences.”
Intrigued by the prospect of an all-immersive multi-sensory experience, I attended all three days of the event and uncovered the magic of the intersection between our senses and the art, music, fashion and photography we consume.
TASTE! MEMORY
On this day, guests are wowed by the culinary prowess of Chef Renèe Chuks who curates a menu of fresh Cuban mint and broccoli leaves – grown in Ogunbiyi’s home garden – mixed with her locally sourced squid ink, pineapple, hibiscus, turmeric, and Bambara, honours their connection to Yoruba cooking techniques. Many of these ingredients connect to Yoruba healing, traditions, sustainability, biodiversity, and the memories we hold in our senses.
Ogunbiyi’s delicate and nuanced offerings of “botanical hairstyles” are unusually presented alongside the tasting experience. Her works fuse botanical forms with the shapes of hairstyles she has observed in the Caribbean, West Africa, and wherever she draws inspiration. Selections from Ogunbiyi’s renderings are printed on the server’s and usher’s custom aprons – as well as take-home gift items.
Ogunbiyi also shares: “The experience that I’ve worked to shape –’Taste! Memory’, we’re really looking at food traditions that connect to Lagos from our personal experiences. It was exciting to work with Chef Renèe Chuks, to think about our connection to the city. Whether it’s eating chin-chin or cooking and innovating from Efo, we tried to think through in curating this experience with food and drinks.”
On November 5, Iké Udé partnered with the African Artists’ Foundation to lead a master class for a group of emerging Lagos-based photographers. Udé is Best known for his conceptual photographic portraits that explore issues of representation – across sexual, gender, cultural, and stylistic identity.
The young artists tutored by Udé in his signature style – creating mystique at the intersection of harmony and the unexpected – took portraits of Nollywood Star, Enyinna Nwigwe. ‘Taste! Mystique’, the three-day art experience involved a masterclass, an exhibition with interactive studio sets, and a ‘Tableau Vivant’ living installation.
Alongside photographs from the master class, Udé presents two bespoke studio sets that reflect and disrupt distinct, cultural references from Lagos and beyond. The opulent Nollywood-inspired sets offer attendees an opportunity to take photographs, perform, and commune. Within Udé’s compositions, participants can choose how to participate in personal negotiations of space and proximity.
The ‘Taste! Mystique’ experience culminates in a living installation on the opening night of the Africa International Film Festival. Guests of the opening celebrations can become works of art by posing for photographs against another of Udé’s exuberant sets.
“The African image has been controlled by the west since the advent of colonialism. The way we are depicted has been bastardized. It’s part of my job to make African representation beautiful, one project at a time – It’s my duty.”
On this day, the audience is invited to listen closely to music and soundscapes that Nigerian-born Berlin-based Emeka Ogboh, made in Lagos. The artist recontextualises sounds from Lagos and other cities to highlight contemporary microeconomics, reflect on the social dynamics of immigrant populations, and respond to pertinent planetary issues.
During this session, he revisits the early years of his career – sharing sound art from the formative years of his career. Live-streaming from Berlin, he discusses his crossover into the music industry, his practice, and how he has evolved – with relation to Lagos and other cosmopolitan cities. In addition, he speaks about how sound can reframe perceptions of the world. Guests also enjoy a debut track from his forthcoming music album and a sneak preview of his major forthcoming project, ‘Lagos Underwater.’
Recently named Director of the NMAFA, Ngaire Blankenberg, whose utmost vision is to see the museum be “more international” and reach “global Africa”, believes this was the right time and place for such an event to take place in one of Africa’s busiest art capitals.
To round off the event, she shares:
“My purpose is not the same as the original founder and collector. Every director, I believe, has a different vision as to where the museum goes. Creating art experiences as opposed to art exhibitions, is really where I would like to take NMAFA. Art isn’t just something to own. Art is something to experience, art is something to be in dialogue with. We aren’t just passive vessels of art, we bring something to the experience and the experience you bring affects how you see the art itself.
It’s understanding – not just reading text on a panel – but understanding them through your taste, through your body, through sound. Being able to bring your own perceptions, your own memories to the experience, to make it that much meaningful, that’s what the new NMAFA is moving towards. For me, there is this interesting conversation between the museum, the artist and the audience. It’s a circle of engagement and the audience is as important as the artist.”
A year on from the release of her glittering debut, Amaarae ‘s music is topping charts globally. In the past week alone, her genre-defying debut album ‘The Angel You Don’t Know’ has gained her new levels of recognition days from celebrating its one-year anniversary. While it’s a warming moment for the genre-bending singer and rapper, for many who have been paying close attention since ‘Passionfruit Summers’, this current moment has been imminently approaching for while now.
This week, Amaarae’s expansive catalogue of music have been all the rave. Off the back of her globe-throttling appearances, which found her live at the Pitchfork fest and gracing stages from the United States to London and Europe for her CRAZY WURLD tour, the Ghanaian-American singer and rapper is now reaping the rewards of years of hard work, which have only been made more feasible due to her gargantuan ambitions.
The remix to her standout single “SAD GURLZ LUV MONEY” ft. Moliy and Kali Uchis is steadily gaining traction on charts around the world, months from its initial release. Over the past few days alone, Amaarae has moved up from a few thousand videos using her song on TikTok to racking in over a million videos. Alongside this, she’s shot to the summit of the Shazam US charts this week after making her debut on the chart only a few weeks ago. To sweeten this moment even further, the record has gone to top other global charts including No.1 on the global Spotify Viral 50 chart, No. 12 on the Billboard World Albums chart and No.5 on the Billboard Bubbling Under Hot 100.
In one single day, the Kali Uchis-assisted number did a clean sweep across streaming platforms, garnering over 2 million streams on Spotify alone, a sizeable amount of streams for an African artist, particularly one who is operating independently and without any major label backing. This feat is certainly one worth celebrating, particularly as a female African artist operating outside the tenets and boundaries of a male-centred music industry. Already, listeners and loyal fans are already calling for Amaarae’s blueprint to be followed to a tee as she embarks on this new stage of her career, but what these comments fail to take into account is the fact that success rarely happens overnight.
Three years ago, the alternative scene was buzzing with some of the newest and brightest stars in the current Afropop vanguard. From Lagos to Accra and Johannesburg, an emerging class of new acts were bypassing industry gatekeepers and making music that met the demand for something new and different. Amaarae was one of such names making headlines, alongside the boys of La Même Gang from Ghana. At the time, her melody-driven sound and fettered authenticity were both ammunition used to fuel polarising conversations against the validity of her music, but these debates have only quelled as she’s risen to the top, off the back of her own distinct sound.
Amaarae has always been an adventurous artist and a risk-taker. Right from ‘Passionfruit Summers’, the singer and rapper has set a vast tone for where she is able to go sonically and lyrically. She carried this on throughout the years, first delivering a string of unmissable singles and collaborations such as the Cruel Santino-assisted “Rapid Fire”, “LIKE IT” and “Spend Some Time” featuring Wande Coal to the release of her genre-defying debut ‘The Angel You Don’t Know,’ her most cohesive and coherent effort to date.
Similar to Omah Lay who has established himself as one of Nigeria’s most promising contemporary artists all within the space of a year to Tems who continues to break boundaries unknown to many women in Afropop to even CKay whose smash hit “Love Nwantiti” is making head waves across the world, it is ostensibly clear that Afropop is witnessing its defining moment, all bolstered by its new vanguard of hitmakers. Amaarae is definitely in great company as she now joins the ranks of African artists who have topped global charts this year and introduced a new template of authenticity and self-confidence to the current soundscape.
Perhaps Amaarae’s crowning moment was destined all along–it was only a matter of time. Anyone who knows their salt on the music industry is aware of the reach and impact that Latin artists have on music with their English-speaking counterparts. The Latin-English collaboration pipeline is one that has been tried and tested to produce colossal results as we’ve seen from artists such as Bad Bunny, Luis Fonsi, Rosalia and more, however, Amaarae’s use of this formula now points to the future of transcultural collaborations that favour African artists on a global scale. Whatever the case, it’s hard to imagine any of Amaa’s contemporaries more destined for a moment like this than her, she’s been teetering the lines of an international crossover for a while now.
With the Yinka Bernie-produced single “SAD GURLZ LUV MONEY,” Amaarae’s music is finally collecting real estate and reverence as it rightly should. Currently, she’s one of the few African artists operating in a lane entirely of their own making. With the visibility that this traction will offer Amaaraee, it’s clear that the singer is being ushered into the next phase of her career, one where she sheds her rookie status for veteran tendencies.
Rap music in Nigeria is dominated by men, but it would be disingenuous not to pay attention to the increasing number of women forging their own path where it can be several times harder for female rappers to thrive. Rapping in a mix of Igbo and pidgin English, Daisy is a Nigerian mcee operating within this flawed framework. “…that it didn’t work for them does not mean it’s not going to work for me,” she confidently tells me when we talk about the sparse lineage of successful female indigenous rap artists.
Her words, which could be easily mistaken for arrogance, become powerful when they are traced back to her life before fame. Born in Anambra State, Daisy, whose real name is Anurika Happiness Mgbodim has always had an independent spirit. After high school, she left home and went to find work in Onitsha, the big, popular city known for its commercial activities.
Egged on by what she calls a “hustler’s mindset,” she soon moved to Guinea-Bissau for work. Somewhere between all these, she took a passionate shine to Rap music and held onto her dreams of being a rapper, stealing time between her shifts to write freestyles, lyrics and record songs even when the path to her rap dreams weren’t clear cut.
That doggedness and never-say-never attitude is what permeates her music currently. She discharges her lines in gung-ho fashion, shooting one fiery bar after the other. Recently signed to Dreamspace Entertainment, she caught her first bouts of wider attention with her official debut single “Straight Ahead,” then her feature on DJ Jimmy Jatt’s Jimmy’s Jump Off and viral, two-time showcase on Slimcase’s Instagram Live freestyle sessions. It became abundantly clear that she’s a walking rhyme slayer. But you’d be wrong to think raw lyricism is all she has to offer; Daisy is actually a budding rap artist sharpening her edges and polishing her song-making skill-set, one release at a time.
Daisy’s debut EP, ‘Fire Cracker’ was recently released and it is defined by both her well-honed abilities as a rapper and an artist willing to experiment. Across the nine-track project, she doesn’t confine herself to one style; instead, she flows from Hip-Hop to R&B and Pop, while maintaining the originality of her streetwise Igbo lines. It’s the work of an artist confident in her current abilities, but also focused on increasing her appeal as part of the long game. With her confidence and self-assuredness, it’s really hard not to buy into her confidence.
Following the release of her EP, we caught up with Daisy to talk about her influences, the new project and the future of Rap music in Nigeria.
Our conversation with Daisy has been slightly edited for clarity, and it follows below.
NATIVE: What was your upbringing like?
Daisy: Growing up was fun. I grew up in my hometown Okija [in Anambra State]. I come from a family of four – three girls and one boy, who is the last child. I’m the third child of my parents.
One interesting thing about that time was that I was born with dreads. I can’t remember when my mom cut the dreads but then growing up with dreads made people stay far from me. I didn’t have many friends while growing up, mostly male friends, because people had this mindset that anybody born with dreads had [or was possessed with] water spirits. In a way, [people’s behavior] affected me; I was mostly on my own because of the energy I was getting from people. But over time, I started mixing with people. I later moved to Onitsha where I started working. And that was also where I started music professionally.
NATIVE: At Onitsha, what job were you doing there?
Daisy: I was working in a pure water company. That was my first job. I stayed in Onitsha for two to three years. I grew up with a hustler’s mindset and didn’t come from a rich family. Later, I worked in a lotto company before I left for Guinea-Bissau.
NATIVE: How was your experience of Guinea-Bissau?
Daisy: I spent three years there. I went there in search of a better life. Over there, the people are welcoming. They love to have a good time and vibe to Nigerian music. They enjoy life to the fullest. I was recording and collaborating with the artists there and sending my songs over to Nigerian sound engineers for mixing and mastering. I still have people over there that I chat with who are still my good friends. I’m also making plans to have one or two shows there.
NATIVE: At what point did you realise you could rap?
Daisy: It was when I was in high school. SSS2, if I’m not making a mistake. I used to freestyle with my friends. But our beat during that time was just the school desks. [Other students] would just be hitting the desks for me and then I’d be vibing. But before then, I was just writing down thoughts. I liked writing stories. I listened to gospel, hip-hop and ogene music. After [freestyling with friends in school], I moved to Onitsha and then I had some friends who were then into music. A friend of mine took me into the studio; he was like, “You can actually do better with all these things you are doing as freestyles.” So that was where I started.
NATIVE: You are signed to Dreamspace Entertainment. What was the process that led to you being signed?
Daisy: Last year, I joined Obyno Daddy Muna’sIgbo Rap Challenge. He just searched for rappers and he gave us a hint of what we were going to talk about. And I did my freestyle; it was just raw. That was during the #EndSARS protests. He reposted the freestyle and I came third. That was where my label boss saw the video and he contacted Obyno. They were actually friends, already. They started talking about me and Obyno recommended that if he would like to work with me, it is a good idea. So my boss chatted me up. That was how I got signed.
NATIVE: Between the period of freestyling and being signed, how did your family take your decision of pursuing music as a career?
Daisy: It wasn’t easy, especially with my mom. My mom doesn’t like secular music. She is a hardcore Christian. Her mindset was that she just wanted a cool, calm girl but I’m not really like that. She was my problem then. It got to a point that I had to stop. But I can’t quit so I kept on trying to convince her, especially with the help of my elder sister who has always supported me.
Also, I used to play football, too. But I stopped because my mom didn’t like that and also because of the [negative] way people saw female footballers. But I continued with the music. I thank God my mom later started supporting me. She is one of my biggest fans at the moment. She prays for me and her words motivate me. So I don’t have any issues with my family, they are supporting me.
NATIVE: What will you say is the biggest difference between being unsigned and being a signed artist?
Daisy: [At first,] I was seeing music as fun. I was just having fun before. I wasn’t looking at the business part of it. I knew there was something like that but to get into it or to build up a team to work with. I didn’t have any connection. I was just doing my thing, dropping freestyles. [At a point,] I got tired of freestyles because although people were supporting me, I wanted more. And I knew that I wasn’t financially buoyant to support myself. In terms of promotions, building my team, rebranding, getting connected to the right people in the industry and then knowing the business part of it too, [getting signed] has helped me a lot. It changed my mindset.
NATIVE: Major Bangz, who’s a renowned producer in Nigerian hip-hop, produced your first single “Straight Ahead,” and he produced some songs on ‘Fire Cracker’. How did this working relationship start, and what has been your experience working with him so far?
Daisy: Working with Major Bangz so far is a dream come true. I have been listening to songs produced by Major Bangz right from when I was a kid, especially Phyno’s songs. I am a big fan of Phyno. I was dreaming of seeing Major Bangz one day but it happened so fast because the person I had in mind working with at first was Benjamz. But while trying to contact Benjamz, I don’t even know how it went with my team, I changed my mind. I said, “Let’s go for Major Bangz.”
And Major Bangz did one beat and sent it to them [my team] before I even met him. [On that beat], I recorded “Firecracker” before “Straight Ahead.” We were trying to drop “Firecracker” and then I recorded “Straight Ahead,” so we just decided to drop “Straight Ahead.” I met Major Bangz for the first time when I recorded “Firecracker.” The vibe was just there, [it was] like we have been working for a long time. And he is one of the biggest inspirations behind the Fire Cracker EP. I [co-wrote] some songs on the project with him. Working with him so far, I have learnt a lot of lessons that have helped me build myself in areas I was lacking.
NATIVE: Your freestyles on Slimcase’s Instagram show went viral. You have appeared in DJ Jimmy Jatt’s Jimmy’s Jump Off. What do these co-signs and acceptances from these names mean to you?
Daisy: [Appearing on] both Jimmy Jatt and Slimcase’s shows were my starting point professionally this year. And it helped me a lot because I remember when my followers on Instagram was about 2500 before appearing on their shows. I went for Jimmy’s Jump Off and that was where Slimcase saw the video. He contacted Jimmy Jatt and asked about me and Jimmy recommended that I should be on his show too because I am good. Slimcase contacted me on Instagram. That was where we started before I appeared on his show twice. Both Jimmy Jatt and Slimcase have been good [to me] and working with them was the biggest thing that happened to me since I started music.
NATIVE: On your debut EP, you displayed your talent and versatility: you balanced your characteristic rapid-fire bars with mellow love songs. How long did it take you to work on the project and what was the process like?
Daisy: We started working on Fire Cracker EP last year after the #EndSARS protests. I recorded “Firecracker” first, on a beat I bought online but I didn’t put a chorus. My boss suggested that I should get a good chorus for the song. So I left that one and we went for Major Bangz’s beat. The second song I recorded was “Never Quit.” The rest was recorded in Nigeria with Major Bangz because I wasn’t in the country at the time. Recording the project took about eight months. And the process was fun, but also not that fun because, at the end of the day, you have to deliver well. We recorded up to 20 songs before we started selecting the ones that made it into the EP.
NATIVE: You say it was fun but wasn’t fun, what was the challenge you faced?
Daisy: If I go with my vibe, I’d be doing hardcore songs only. I know that is good [because] it is not easy seeing a female rapper vibing hard these days. But at some point, I started thinking about another thing apart from hardcore songs. I was thinking, Maybe people might get tired of one vibe all the time. And Major said, “Yeah, you are right.” So that was when we started creating “Lemon and Juice,”“No See Road” and the rest of them. The hardcore tracks on the EP are just two. I didn’t want to focus my energy there.
[Also], most of the freestyles I have been dropping online are all hardcore rap. And people know me with these hardcore songs. People don’t believe I’d come out with a good love song. I have written love songs for some people but I don’t focus on recording love songs. So “Lemon and Juice” is the first love song I have recorded.
NATIVE: What inspires your music?
Daisy: It depends on what I want to talk about. Inspiration can come from anywhere. Maybe, now we are talking, you might say something and I’d pick it up from there [and] then find the ingredients and make up a good song. The environment I have been in, the people I grew up with, even my life also inspires me. And I love staying around old people. I love proverbs. All those good lines inspire me a lot.
NATIVE: Are there artists that inspire you?
Daisy: A lot of them. The likes of M.I Abaga, Vector, DAX, Phyno, Flavour, Cynthia Morgan. A lot of them.
NATIVE: You are a female rapper in a space that is usually male-dominated. How has your experience been so far in the industry, any challenges?
Daisy: Everybody has their own story and what works for them. I do listen to Hip-Hop a lot, right from when I was a kid. And those [rappers] that have been there, that it didn’t work for them does not mean it’s not going to work for me. When you do something and you remain consistent and keep the image one hundred, just pray that people receive your sound and then appreciate it. And keep it steady, not just [that] you release today and tomorrow nobody will hear from you. And I don’t like doing something that people are used to already. I have been dropping hardcore songs and then this EP came with a love song. Nobody knows; maybe tomorrow I’ll put out another one that will shock people. So that’s the music thing for you. It’s not like I’m perfect, but the important thing is being consistent with everything you are doing.
NATIVE: What has the reception been for your EP?
Daisy: The feedback has been great so far. I do go to the comments section on Audiomack, Boomplay and other streaming platforms. I think we are doing well for now.
NATIVE: What should fans expect next from you — an album, another EP or more singles?
Daisy: First, I want to go to the east and do a tour. I [plan to] release at least three videos from the EP and I’m preparing to drop another single, maybe in December or January.
NATIVE: In the nearest future, where do you see yourself in the Nigerian music landscape?
Daisy: In the next one or two years, I should be balling. I just pray for more power, the right team, and the right people to connect me to the right people. That’s it. And also to keep the image one hundred and be consistent.
In an interview with YNaija back in April, Tochi Bedford made a heartening remark: “Honestly, I think the rap scene in Nigeria is at the healthiest it’s been in a while.” There’s something of an unspoken caveat added to that statement – “at least, amongst the people I’ve worked with so far” – that is meant to emphasise his personal viewpoint, but broadly reflect the creatively fertile and increasingly diversified terrain unearthed when you fully survey rap music in Nigeria.
Last week is an easy example of this: On Wednesday, rap superstar Ladipoe dropped his latest EP, ‘Providence’; a day later, rising hybrid rap artist and Fresh Meat alum SGaWD delivered her debut EP, ‘Savage Bitch Juice’. Merely a day later, indigenous rap firebrand Zlatan released his sophomore LP, ‘Resan’, and Tochi Bedford himself put out his second project, ‘After Eternity’. Moments like this don’t come around often, but when they do, they’re typically emblematic of the creatively fertile soundscape in Nigeria’s Hip-Hop/Rap scene.
All of these projects may not fully capture the scope of the rap music being made in the mainstream and in the underground, but they’re stylistically varied to highlight the vibrant playing field in Nigerian rap, even if most (online) conversations tend to equate the scene’s health to that of its more traditional side.
For this week’s Best New Music selections, we’ve picked a standout song each from the new projects by Tochi Bedford and SGaWD, because they were both too good to pass up and, coincidentally, both tapes are on the same tonal spectrum of experimental and exuberant Trap music. Dig in.
In comparison to his new project ‘After Eternity’, last summer’s ‘Eternal Mob’ sounds pretty conventional. While the main elements – delightfully haunting melodies, speaker-rattling bass and hyper-specific lyricism – are identifiable threads across both tapes, there are subtle but profound differences in what Tochi Bedford wants to achieve with his newest drop. Where the musical edginess of his debut was underpinned by an invariable confident and aspirational person, ‘After Eternity’ is thematically brasher and the music is slightly more melodically complex.
The intro song, “Benjis,” sets a heady tone for ‘After Eternity’, epitomising the cumulative traces of growth in Tochi’s powers as both a producer and writer. Co-produced with Sverre Timmermans (Svt), the song’s beat is as hazy as it is maximalist, a melange of about several psychedelic melodic motifs, undergirded by rapidly ticking hi-hats, constantly matching snares and blown-out 808 bass. Referencing the hundred dollar bill, as a gateway to expressing a lavish lifestyle, their lyrics on “Benjis” sound less excited and more factual, and the arrogance is especially leaking from Tochi’s solitary verse sandwiched between Odunsi’s instantly memorable hook.
That’s another hallmark of ‘After Eternity’: Tochi Bedford is more irreverent than he ever was on his debut tape. “When I leave it’s a scene/This all started with a dream/Why you wanna cause a scene/Why you wanna fight,” he raps both enthusiastically and dismissively, the lines piling up into an emphatic show of self-assurance. It’s a far cry from, say, the vexed energy of ‘Eternal Mob’ opener, “Bros,” where he reckons with fake friends. By the time “Benjis” hits a key change on one of its melodic riffs, and the beat switches to something slightly more solemn, Tochi’s overconfidence in himself is well beyond believable. He’s everything he says he is, and we are witness to this.
SGaWD – “Rude”
There are a few reasons SGaWD is one of the prominent voices in the growing tide of Nigerian women rappers forcing their way into being acknowledged in Nigerian rap. Perhaps, the most important one is that she’s a walking double-edged sword. Across her brief but clearly tenable catalogue, she’s proven equally adept at running through bars and stacking harmonies, a dually-tuned switch ready to flip between scathing bars and romantic lyrics. On her debut tape, ‘Savage Bitch Juice’, however, it’s her rap side that gets a lot of the shine, and for good reason.
‘SBJ’ is a project of self-declaration, with SGaWD rapping her way to prove just how imperial she believes she is. For sure, there’s a lot of brawn, but what makes the project downright enjoyable is the blasé authority palpable in her smooth flow. From a songwriting standpoint, “Rude” might be the project’s centrepiece, a song that rolls varying dimensions of shit-talking into a catchy banger. Produced by Brum3h and Mayhem Oshunda, the bounce on “Rude” recalls Odunsi’s “Wicked, Sexy,” but its sunny piano riff and percussive embellishments create a colourful fusion between Trap and Bashment.
Matching the candour of the production, SGaWD sinks into a semi-feathery cadence, perfect for her lyrical mix of contempt and sensuousness. Written with intentions of vividness, the first verse is framed as a romantic shot-shooting exercise, with SGawD clearly annoyed that her target is playing coy. By the second, it’s obvious her sex appeal has done the job, and she dedicates some of that 16 to rapping literal quips about its hypnotic power. Everything about “Rude” is effortlessly inviting, and it’s wonderfully boiled down to its hook, a repetitive part that will instantly stay in your head as soon as you hear it. For over a year, the newcomer has been edging towards her moment and it seems, with ‘SBJ’, that moment is within reach than ever before.
The music that we consume are aural repositories of history as much as they are enjoyable tunes that soundtrack our experiences. Whether regaling you with the exploits of a person, the circumstance of a place or basking in the glow of an event – fictional or otherwise – music continuously offers a first-hand account of the places and people it springs forth from. In Nigeria, no form of music offers that palpable connection to its circumstance and origin like street-bred music does. Whether just by the sheer boisterousness of its adherents or the unique cadence adopted by these artists, these experiences demand to be felt.
Stitching together the old works of masters like DaGrin, Lord of Ajasa, Olamide, and Reminisce, you can piece a tapestry of the fears, doubts, hopes, joys, and perspectives that powered them, and, inadvertently, from their own stories tap into the state of mind of the people from their birthplaces. When DaGrin, on “Ghetto Dream”, off his iconic album, ‘C.E.O.‘, rapped, “Aimoye many times ta wan eyan ti ni pe kin lo give up, pe mo local, pe ona mi on se hip-hop,” listeners can be instantly translated to the othering of indigenous Hip-Hop for most of the 2000s. Or when Olamide vociferously declared himself the voice of the streets, definitively stepping into the leadership void bestowed on him by DaGrin’s tragic passing, music enthusiasts can acknowledge a changing of the guard for indigenous music.
Musicians sometimes distance themselves from distinct regionality in favor of appealing to everyone however, the marker of a good (read: great) Street-pop artist has proven to be one who meticulously crafts worlds we want to be a part of, or at the very least intently observe.
Of all of today’s Street-Pop stars, no one presents a more factual representation of the incidents that have marked –and continue to shape – them as Bella Shmurda does. The Olamide-assisted remix of “Vision 2020” that brought him to fame was a thought spiral on feeling abandoned by the government in the ghetto, and seemingly resorting to illicit means to live a good life. Many have, and will continue to, call it fraud-glorifying music at its most addictive, but it is also an unfiltered perspective that can help us understand the mindset and perspective of the average joe effectively trapped in a vicious cycle of lack.
One could argue that is not necessarily glorifying the fraud culture as it is speaking to the nuance that inspires its proliferation. Fictional or not, the stretch in the remix when Shmurda raps, “Mama call me say Chinedu is balling, what are you doing, son?/You are dulling/Four years in LASU is really nothing/Bella get that money, son we are starving,” is instructive of inter-generational struggles and the subtle pressure to blow up that many young people in 21st century Nigeria are confronting. There really is no hyperbole in Bella Shmurda’s music and that is why he’s been able to build such a dedicated fan base built around people of a similar ilk who see their struggles in his struggles and take encouragement from his wins. From front to back, his debut project ‘High Tension‘ has a distinctively autobiographical feel: whether it’s the growling search for motivation on “Ginger Me” or the hood love tales of “Amope”, there’s a feeling of authenticity that pervades Shmurda’s music and by the time he arrives at “Upgrade”, it is clear that he is on an upward trajectory.
The Bella Shmurda that made ‘High Tension‘ no longer exists, at least not in an artistic sense. In the over 18 months since he dropped that project, his life has changed in more ways than imaginable. A relative sense of comfort has been achieved, and direct proximity to the street bends that raised him has been greatly reduced by his soaring success. Starting with a feature on Runtown’s “Body Riddim”, Bella has been summoned to the high table of Nigerian Pop, where women, weed, and hedonism are supreme drivers of what moves the nightclubs and the raucous culture that Afropop thrives on.
“Fade”, the penultimate track on Davido’s ‘A Better Time‘ is set up to be a spiritual experience but, despite Bella’s best efforts to stay conscious within the elder popstar’s orbit, Bella’s delivery defaults to Davido’s direction – that is, powered by lust. Through this all, there are moments of recollection, when muscles memory of his struggles and life story sets in, as it did on “Triumphant” off Olamide’s ‘Carpe Diem‘, and his own the monster hit “Cash App”. Yet, both these songs, especially the latter, lack the lived-in intimacy of those seven songs from ‘High Tension‘, forgoing some of the nuanced standpoint and empathetic pull for greater commercial appeal.
For one to attain Pop superstardom, the rules are pretty simple: make music with ideas and motifs that appeal to the most paying consumers. In Nigeria, that crowd is definitely not in Bella’s home community of Okokomaiko. So, as Bella Shmurda becomes a progressively bigger musician, his music is gravitating towards generalism, singing about random topics that he carries through in that glorious almost-drawl of his.
His latest project, ‘High Tension 2.0‘, bears evidence of this approach, songs like “Party Next Door” and “Champion” are brilliantly crafted, would-be Pop anthems that sound brilliantly crafted but lack the withering swagger of his previous efforts. For all of the polished sheen that this project presents, the best songs are those when Bella is tenderly looking up at things to come, singing about his hopes and joining his tensions to the wider history of the people that he is amongst. He does so palpably on “World”, where her belts that “prophecies coming to pass/mami revelation is coming to pass,” with the “pass” sounding very much like “past.” Those instinctive slurring of words are part of the charm of Bella Shmurda, they are why kids chant his name, and why he is the radiant child of Street Pop music.
All of this isn’t to say that Bella is a worse musician while he attains greater heights. Far from it, he’s becoming a more capable one. What this project really signifies is that he’s a changed man. Life is changing and the proximity to lack and devastation that inspired his earlier art has given way to a more evolved existence, underpinned by comfort and luxury. No one can begrudge Bella Shmurda the chance to bring his music to a wider audience, only that in stretching himself he does not overstretch the authenticity that makes him a brilliant street poet. The roads to Pop superstardom in Nigeria are better paved now, so I can imagine that the cache of verses we are getting from Bella Shmurda now are the last of an era before he evolves from the street into a full-blown Pop fixture that thrives in the middle of philistine excesses of love, hedonism, and narcotics.
But maybe it doesn’t have to be like that. Olamide kept touch with the biggest Nigerian popstars of the 2010s by making Pop songs that clung to the ideals and ethos of his Bariga origins, however, supersized or, these days euphonious, his offerings became. Pop’s pivot to hyperrealism from the middle point of the 2010s has paved the way for the emergence of artists who climb to the top of their crafts, however murky and unsavoury the details of their ascent might be. Bella Shmurda’s rise to popularity sits at the nexus of these two factors: A third-wave descendant of indigenous Pop’s rise to ubiquity at the dawn of the 2010s and a beneficiary of the Internet’s connectivity, which means more and more ears had to listen to music from those parts of town after the relentless mainstream successes of his elders.
‘High Tension’ captured the anxieties of a ghetto kid with a golden drawl who wanted to make a success of himself via music after allegedly trying out a bunch of options – legal and illegal– that didn’t quite come off. ‘2.0‘ meets an ascendant superstar in a vortex of sorts, trying to balance commercial expectations with artistic candour. It is a delicate balancing act to carry out, but if anyone can do it, Bella can.
@walenchi Is A Lagos-Based Writer Interested In The Intersection Of Popular Culture, Music, And Youth Lifestyle.
Joeboy ’s hit single “Sip (Alcohol)” holds on to theNo. 1 spot on the Turntable Top 50 for the fifth week which makes it one of the longest leaders in chart’s history just a day before the one year anniversary of the Top 50. The song amassed an equivalent 3.33 million equivalent streams to remain at No. 1 on the streaming chart, 48.6 million in radio reach to move to the summit of the radio chart and 3.97 million in TV reach as it tops the TV chart for the first time.
Joeboy ‘s “Sip (Alcohol)” joins the ranks of singles such as “FEM,” “Godly,” “Kilometre,” “Feeling,” and “Lie”, making it the 6th song to reach the summit of the charts and three-component charts; radio, TV, streaming. It is closely followed by Adekunle Gold’s “High” which is steady at its No. 2. Next up is Ayra Starr’s former No.1 hit song “Bloody Samaritan” which remains at No.3 for another week.
Timaya’s single “Cold Outside” with Buju rises to hit a new peak at the No. 4 on the Top 50 after tallying 855,000 equivalent streams, 39 million in radio reach and 1.8 million in TV reach. Fireboy DML’s “Peru ” slides to No. 5 as it spends its 15th week in the top ten region of the chart while Ladipoe’s “Running” with Fireboy DML falls from the 5th spot to No. 6 this week and Kizz Daniel’s “Lie” also retreats to No. 7 this week from No. 6.
Rounding up the charts this week is Burna Boy’s “Want It All” with Polo G which returns to its No. 8 peak spot on the chart while Lojay & Sarz’s “Monalisa” holds at No.9 this week for the 18th week in the charts. Tiwa Savage’s “Somebody’s Son” with Brandy at No. 10 closes this week’s top ten after peaking at No. 5.
Just outside the top ten; Flavour’s “Levels” ascends to a new peak at No. 15, Reekado Banks’ “Ozumba Mbadiwe” leapfrogs to No. 17, Wande Coal’s “Come My Way” debuts at No. 19 and Mayorkun’s “Holy Father” launches at No. 20. Buju also has three new debuts from his Sorry I’m Late EP; “Kilometre” at No. 22, “Never Stopped” at No. 26 and “Daniel Benson” at No. 33.
“What’s Going On” Tallies Notable News Headlines From Across The Continent — The Good, The Bad, And The Horrible — As A Way Of Ensuring That We All Become A More Sagacious African Generation. With This Column, We’re Hoping To Disseminate The Latest Happenings In Our Socio-Political Climate From Across The Continent, Whilst Starting A Conversation About What’s Important For Us To All Discuss. From Political Affairs To Socio-Economic Issues, ‘What’s Going On’ Will Discuss Just That.
Ever so often, we have to remind developed parts of the world that Africa is not a country. It’s not just because a significant portion of people in those parts are unenlightened, but also because of the continent-wide similarities when it comes to social, political, and economic issues. For one, Africa is teeming with corrupt and inept leaders—many of them dictators— who have failed to invest in meaningful infrastructure, all while derailing and rejecting systemic change through violent means if necessary. In addition to this, they are fully aided by deeply patriarchal, religion deferring, and ultra-conservative social constructs.
At the same time across the continent, the current generation of African youth are pushing against these systemic boundaries, in order to continue the arduous work of rewriting the narrative. Even with all of the endeavours, talent and records being witnessed from music to tech, the limitations put in place by the continent’s political landscape still looms large. Every week, disparaging headlines from around Africa make their way to the news, reminding us of the bumps affecting these perceived stripes, and the roadblocks which delay our growth towards more wholesome and enabling societies for all Africans. Below are few news bits of what’s been going in on in the past few days.
Pro-democracy demonstrations in Sudan
Since 2019, Sudan’s political seat has been under heavy contestation. In August of that year, military and civilian leaders began sharing power after Sudan’s long-term authoritarian President Omar al-Bashir was overthrown. Although Bashir’s tyrannical rule was put to an end by the military, protests from civilians at the time resulted in a plan to negotiate a democratic government for the country through the Sovereign Council. However, as the years have gone by, the tension between both sides has only worsened with each proponent believing that the other is in a tussle for power.
Military leaders in the transitional government have demanded reforms from their civilian counterparts and called for the cabinet to be replaced. This was dismissed as a power grab by civilian leaders. Since then, pro-democracy protesters and pro-military protesters have swarmed the countries busiest streets demanding for their voices to be heard. Recently, the head of the Sovereign Council, Gen Abdel Fattah al-Burhan has given a speech announcing a state of emergency and dissolving both the cabinet and the council. The civilian Prime Minister, Abdalla Hamdok, remains under house arrest and is facing pressure from the military to co-operate with them.
In a response to last month’s coup, pro-democracy protesters swarmed Khartoum, the country’s capital and its twin city of Omdurman, Wad Madani to the south, and the northern city of Atbara, where they were tear-gassed by Sudanese security forces. The teachers’ rally came after the military replaced heads of departments at the education ministry, as part of sweeping changes it made in multiple sectors. Since the coup, led by Sudan’s top general, Abdel Fattah al-Burhan, mediation efforts involving the UN have sought the release of detainees and a return to power-sharing, but sources from the ousted government say those efforts have stalled. Western governments have also stalled economic assistance to Sudan and will continue to hold relief until there is a return to democratic power.
Sudan: Thousands gather in Khartoum to protest against coup.
Security forces on Monday detained the interim prime minister, Abdalla Hamdok, and arrested at least five other senior government officials, according to local news reports.
In the last eleven months and counting, the Ethiopian government, under the leadership of Prime Minister Ahmed Abiy, has been persecuting people living in Tigray, the country’s northernmost region bordering Eritrea. The yearlong conflict between federal government troops and Tigrayan forces has killed thousands of people and displaced more than 2.5 million people. The UN has said up to 7 million people in the regions of Tigray, Amhara, and afar need help, including 5 million in Tigray where some 400,000 people are estimated to be living in famine-like conditions.
The government declared a six-month state of emergency on Tuesday, days after Prime Minister Abiy Ahmed and authorities in Addis Ababa told Ethiopians to take up arms to defend their neighborhoods against the Tigray Defence Forces, an amalgamation of forces from the region’s former ruling Tigray People’s Liberation Front and other rebel groups. To counter this, on Friday, nine anti-government groups in the country announced the formation of an alliance called the United Front of Ethiopian Federalist and Confederalist Forces, with a view to overthrowing the government. The new bloc said in a signing event in Washington, DC, that it no longer recognized Abiy’s government as legitimate and would seek to establish transitional arrangements, striving toward a democratic future.
Now, diplomats and regional leaders are now scrambling to bring the warring parties to the table as fears grow over the possible collapse of Africa’s second-most populous nation.
Deadly attack in Niger
Last Thursday, gunmen killed 69 people including a mayor in an attack in a remote area of southwest Niger, the interior minister said on Thursday, part of a wave of violence against civilians that has swept the country this year. A delegation led by the mayor of Banibangou was ambushed on Tuesday about 50 km (30 miles) from the town, near the border with Mali. The area is overrun by militants associated with a local affiliate of Islamic State that has killed hundreds of civilians in rural communities this year.
Fifteen people survived and a search operation was underway, Interior Minister Alkache Alhada said on state television. As of today, no group claimed responsibility for the attack.
Not including Tuesday’s violence, Islamist groups have killed more than 530 people in attacks on civilians in the frontier regions of southwest Niger this year, over five times more than in all of 2020, according to data provided by the Armed Conflict Location & Event Data Project (ACLED), a consultancy which tracks political violence. The country’s government declared two days of mourning in response to the attacks.
Over 1,000 Gunmen Attack Niger Town, Kidnap Scores Of People | Sahara Reporters
The attack comes just days after Niger State Governor, Abubakar Bello confirmed the activity of Boko Haram militants in the state.
READ MORE: https://t.co/IJ939o4MNSpic.twitter.com/INu11zId4k
The state-run central morgue in Sierra Leone’s capital, Freetown has received 91 bodies as a result of a fuel tanker explosion that occurred in the early hours of Saturday. The explosion was caused when a fuel tanker collided with a lorry, which caused a fuel spillage that ignited and led to a huge explosion at one of the capital’s busiest junctions. The country’s Vice President has referred to the explosion as a national disaster.
Reports also state that the large death toll was caused by passersby in the area who began pillaging the spilt oil once the accident occurred in Freetown. Rather than call for help or assist those caught in the damage, many on ground at the scene began collecting the leaking oil, leading to built up traffic at the junction. By the time the explosion was underway, it was difficult to evacuate the premises and many were caught in the deadly explosion.
For the past few years, Art X Live has become one of the leading art festivals in West Africa. The showcase is designed to exhibit the innovative works of African artists from all around the continent and the diaspora. Now entering its sixth edition, Art X Live made its return to Lagos this weekend, featuring works from over 100 artists across 25 countries both in Africa and her diaspora.
While COVID-19 and social distancing guidelines kept many art enthusiasts away from the annual event the previous year, this year’s event reintroduced the Art X Live brand with a resounding bang. Building on past editions that have featured a range of talented newcomers and established acts from Lady Donli to Ladipoe and TMXO, this year’s event tapped into the magic of Afropop’s new vanguard of hitmakers including Lojay, Dami Oniru, AYLO, Pheelz, BigFoot, and visual artist FEZ.
This year’s theme, known as “Forward Ever” is curated by Lanre Masha, Faridah Folawiyo and Ayo Lawson who seek to celebrate Nigeria’s past, present and future. The theme also encapsulates the fervour of the performing acts who individually and collectively champion a new template of authenticity in today’s emerging soundscape. Therefore, it came as no surprise that Art X Live was a night to remember.
As someone who had never attended previous editions of Art X Live, I had little to no expectations of the event, however, I was pleasantly thrilled with the commingling of Lagos’ love for partying and music with the city’s appreciation for art. As a first-time attendee, the palpable energy from the crowd and the stunning performances from the artists was enough to convince me of the night’s great success. With December, our official party season just around the corner, it would be really nice for us to see even more of these.
To round off the event, I had the pleasure of speaking with some of the performing acts about their place in Africa’s emerging soundscape, their music, and the importance of immersive experiences such as Art X Live.
Our conversation which follows below has been lightly edited for clarity.
NATIVE: How does this moment feel for you?
AYLØ: It’s obviously an amazing moment, a very amazing feeling and I’m certainly very happy to be here. It’s a very new experience for me and the type of person I am. It’s also a reminder that maybe I’m on the right track and there’s a platform for a sound such as mine. I’m pretty excited. It’s been long and tough, the past few weeks have been crazy but it’s also been very fun.
Lojay: It’s been good, it’s been exciting. It’s been a vibe and I certainly can’t complain, I feel blessed.
Dami Oniru: It’s been quite an interesting moment. For me, it’s hearing my songs I already put out in a different way than what I created. It’s so amazing and just shows how deep art can be and the power of collaboration.
Pheelz: It’s certainly been an experience, I’ve met a lot of interesting people and I’ve gotten to work with them so yeah, It’s been fun.
NATIVE: Art X is an important part of the culture here in Lagos. What does performing or showcasing at this year’s event mean to you?
AYLØ: It’s the most work I’ve done for a performance and it’s also the most creative I’ve been in such a short period and It’s the biggest performance for me right now. Like I said, I’m very excited to be here and I’m happy to be a part of this.
Lojay: There are a lot of major parts of Art x Lagos to be honest but I’m excited to come on and do my part and make the crowd pop.
Pheelz: It means a lot to me, this is my first ArtX ever and just playing a role like this means a lot to me and also I had a lot of creative freedom so that made me very interested in this. I’m very excited to see how it all plays out tonight.
NATIVE: How do you embody this year’s theme of ‘Forward Ever’ in your craft?
AYLØ: Well for my performance, I worked with Pheelz and usually when I perform, I just perform the song as it is but this time, We actually re-engineered a couple of songs so there’s a couple of songs I’ve never performed like this before because this is the first time a version like this even exists.
Lojay: To be honest, it was just a matter of pushing the envelope for myself in terms of changing or switching up the vibe of my performance and giving people a different experience from what they’ve had before basically, that was key for me.
Dami Oniru: 2020 happened so fast for me, It’s like putting everything behind me and just wanting to do more and be more intentional. I felt like I needed the pause and now that it’s over, it feels like the first time again and there’s no reason to stop now. It’s literally facing the front and putting everything in despite everything that has happened in the past.
Pheelz: First off, you simply can’t move forward without paying homage to what has happened so I drew inspiration from that. A lot of what I put together is very futuristic, so basically creating futuristic sounds but still paying homage to the past.
NATIVE: Has art ever been an inspiration behind any of the music you’ve created?
AYLØ: I guess yes, just the ambiance has been an inspiration but music, music has definitely inspired the music I’ve made and I’m still making, then film and just introspective media and of course, art is one of those things, It’s what you feel that makes it what it is and also what the artist may have done.
Lojay: Not behind my creation per se, but I enjoy making art. I draw so I just see all of this and I feel inspired to create.
Dami Oniru: I won’t say visual art exactly but audios, songwriting and just even listening to other people’s songs, that’s something I’ve definitely put into my music especially tapping into different genres and writing styles.
Pheelz: Art, yes it definitely has played a role in my creation. I’m an artist as well, a visual artist and that’s what I do when I don’t make music, I paint and make 3D art.
NATIVE: You produced this year’s theme ‘Forward Ever’ alongside Big Foot. Can you talk us through the production process?
Pheelz: BigFoot is someone I’ve respected over time and It’s a thing where we both respect each other from afar and subconsciously just wait for an opportunity to work together so this was a perfect opportunity to just work and create together. The process was new at first, there was anxiety here and there but after a while, I got used to the team and everyone involved and just the vibe here so working became a lot easier. I’m happy everything worked out fine and everyone was really happy with the outcome.
Zlatan elbowed his way into visibility. On Chinko Ekun’s seminal 2018 smash hit, “Able God,” the rapper, then going by the moniker Zlatan Ibile, absolutely detonated, turning out a rhythmically engrossing verse that instantly endeared him to the Nigerian pop/rap mainstream. Along with viral single “Leg Work” and a similar scene-stealing performance on “Killin’ Dem” with Burna Boy, Zlatan was anointed one of the leading figures in the latest renaissance of street-bred music in Nigerian pop music.
While the novelty of his dominance has worn off, Zlatan remains as surefooted as ever, thanks to a consistent run of hits as a headlining artist (“Quilox”“Lagos Anthem”) and keen collaborator (“WTOD”“Cash App”). As a reliable as he is when it comes to turning out big singles, Zlatan is something of the cliché Afropop hit-maker who has a difficult time turning in beloved projects. His debut album, ‘Zanku’, is uneven and hasn’t aged too well, while last year’s ‘RoadToCDK’ EP was only impressive in small bits. At that, I’m hopeful for Zlatan’s newly released sophomore LP, ‘Resan’, albeit cautiously. Let’s hear what the man has curated.
In Usual 1-Listen Review Fashion, All Reactions Are In Real-Time While The Music Plays. No Pauses, Rewinds, Fast-Forwards, Or Skip.
“That Guy”
This sounds triumphant already, like a typical track two from a rap album. “Many people don try, many people don fail/I no want be that guy” as the crux of a Zlatan song is very on-brand. I like the gospel flourishes on this production, but I don’t like it as a choice for the first song. That second verse is captivating to an extent, this bridge and hook could take some time to grow on me. Zlatan referencing the law of gravity is a bit interesting to me, LOL. He’s a learned man, and the moves he’s continued to make prove that he’s smart. He’s also a prayerful man, it seems. I don’t know about this one, especially as an intro.
“Alubarika” (feat. Buju)
The single I heard only once, partly because it didn’t do much for me. Steph has something of a consistent sound, very folk-pop but also dynamic in feel. This is one of the least memorable hooks I’ve from Buju, his voice is still intoxicating but the melody and words are somewhat stock. Zlatan raps with something of blitzkrieg edge, but thankfully he’s found ways to retool his flow as each song’s vibe fits. Ehh, this hook really isn’t hitting. “Sapa o le te e l’orun,” you don’t say, fam. There’s a story between that line on this song, Adekunle’s Gold’s “High” and Olamide’s “Rock.” Anyway, this will be a definite skip for me.
“Level”
I need this album to give me some excitement really soon, abeg. This is very groovy, has that owambe vibe. “All the money wey dey the bank, I give am to you.” Yoruba men lie a lot, LOL. I can understand the sentiment sha, but this song is just not giving what it’s supposed to give. This sounds like the sort of love song Olamide would squeeze into his rugged and sprawling albums in the mid-2010s. You know what? I might be wrong, this is growing on me. I can’t remember the tag from the beginning, but whoever produced this brought a really good beat. The Olamide influence is leaking out of this song. I don’t know, man. Might revisit.
“Shakur” (feat. Ms Banks)
I like this, sounds sinister and darkly alluring. Ehhh! That drop didn’t do it. Fuck, it could’ve been harder. I get that it’s a love song, but still. It’s picking up steam, but these lyrics are anything but grabbing. Even this flow is rigid, very little about this song is enjoyable, I’m sorry. When he revs into the double-time flow, it gets a bit better. A bit. Ms. Banks showing out! Yes, turn this shit out. That’s the most excited I’ve been while listening to this album.
“Polongo” (feat. Bella Shmurda)
Konto will never die! Let’s go, street-pop 1.0! Rexxie’s range >>>>. “I don dey ball like Roger Miller/lyricially, I’m a killer” is the best lyric line from Zlatan on this album, so far. Well, maybe it’s because he sounds engaged and enlivened by this beat. I knew this beat would fit Bella without any hassle, he sounds really good. FAM, the nostalgia is rushing out of this song like a broken faucet. Daddy Showkey and Danfo Drivers would be impressed. Is Zlatan a hopeless romantic? I need to investigate. I need this to be a hit song for December, we have enough mid-tempo pop smashes and Amapiano-infused hits, this would diversify the playing field. I really like this. Rexxie came with that heatrock!
“Egun”
These are some dramatic strings. Zlatan is always so excited, like a toddler with a perpetual supply of candy. Storytelling Zlatan, I wish he’d do this more, even if his perspective can be sometimes jarring for me. This a Nollywood storyline, a former stripper turned church-going lady for the sake of finding a husband. I can swear there are dozens of Nollywood films with this as the plot. I’m actually laughing, LMFAO. I can appreciate the detailed approach, but it’s all so funny to me. She stopped doing chores after y’all married? Wow, my condolences. This is just funny to me. Definitely not interested in coming back, partly because songs proselytising about marriage aren’t for me.
“One Life”
I can tell this beat won’t impress me. There are only like three producers that can really do the Amapiano-infused Nigerian pop thing, I personally don’t think Willis is one of them. Anyway, Zlatan is running this beat for all the juice it has, but what he’s saying isn’t appealing to me. I get it, you want me to have fun, but it doesn’t seem like you’re having fun while rapping all of this. Man, I miss Rahman Jago being a visible fixture in pop culture, that man always gave us great memes. With enough push, this might do well as a single. It seems anthemic enough.
“Money” (feat. Davido)
Five more songs? Yikes. Spellz tag, I’m up. This is actually invigorating, Zlatan is talking that hustle talk with the level of vim I like from him. This song is going to go, the beat has banger qualities. Davido! His vocals could’ve been mixed better, but he’s eating. I like that melody switch, solid feature. My head is swinging from side to side, Zlatan is in his bag. This flow on the second verse is actually infectious. “Ever since I don come, lamba in my mouth,” talk your shit, sir. This is Zlatan at his best, just careening through a groovy beat. Keeper.
“Ale Yi”
This is Niphkeys. Yeah, called it. The log drums have the same character as Zinoleesky’s “Kilofeshe.” I like that Zlatan is an advocate for hustling and enjoying life at the same time, it makes him a compelling character in stretches. Oh shit, I’ve heard this song involuntarily at a few places. This was a single? I know why it’s gotten popular, that hook is raunchy and the streets love raunchy. I like the melodic touches. This song is a targeted hit, it’s just not hitting me.
“Fada” (feat. Phyno & Flavour)
This should be a god-tier link-up. P.Priime is doing Igbo Highlife-inspired beats, too? Is that anything that young man can’t do? Zlatan is a romantic at heart, it’s clear to me. Yoruba men and Igbo women combination is a much fawned-over match-up on social media, even though it’s a quite trickier in real life. That guitar is fire. Phyno De Coke! I want a “Fada Fada”-level banger from Phyno soon. There’s so many good things happening on this beat. Flavour will not be performing at my wedding if I ever get married, the man has a woman-stealing voice and aura. BTW, “Levels” is one of the greatest songs I’ve heard in my life. This is a solid collaboration. Might be an outright keeper on a few revisits.
“Energy” (feat. Rayvanny & Sho Madjozi)
A Zlatan song titled “Energy” with Sho Madjozi on it? Yeah, inject it. Of course, he’s mentioning Ghanaian and South African women when it comes to massive derrieres. I won’t take the Nigerian women slander, though. Vanny boy! I like the tone of his voice. Thinking about it now, he has shared Zlatan’s issue with making tepid projects even though he’s a serial hit-maker. This beat is an adequate slapper. Sho Madjozi can do very little wrong on this type of beat, she’s running this one with that infectious charisma. This is a banger, actually. P.Priime might be a generational talent.
“See Me So”
Final song. Thank you, God. LOL. If there’s one thing Zlatan never slacks on, it’s ad-libs. I really like this beat. We’re getting romantic Zlatan again, further confirming my theory. Wait, this might be the best love-themed song on this album. The uncertainty of falling for someone can be grinding, Zlatan is somehow making it sound exciting. This is a really good song, ending the album on a relative high. In fact, this entire second half has been pretty good.
Final Thoughts
‘Resan’ might be Zlatan’s best project yet, which is saying both a lot and not much. As much as it is an improvement from his previous solo projects, there are still familiar pitfalls. On his sophomore LP, Zlatan leans into the tricks we’ve come to expect from him—agile flows with a melodic slant, captionable bars, pop-oriented songwriting, and groovy beats. The result is an album that isn’t evenly rewarding to listen to, partly because the manic energy he often channels on his biggest and best songs doesn’t carry over into focused body of work.
The improvements here are incremental—’Resan’ is a lot shorter than ’Zanku’, which helps, and the collaborations work better than on his previous projects. It also consolidates on the hustle-mentality and party-starting ethos we’ve come to know Zlatan for, while emboldening the softer side of his persona through several romance-themed cuts. ’Resan’ is not exactly a unified statement of all those things, neither is it wholly engrossing. What it is, is an album with its split of peaks, valleys, and in-between; an apt representation for a hit-maker who’s always in a groove, but also an artist still figuring out the best ways to consistently employ the weapons in his arsenal.
Kabza De Small creates high-quality work at a high-volume rate. As a solo artist and one-half of the Scorpion Kings, his discography, especially in the last three calendar years, is a marvel to sort through. It includes albums like’Scorpion Kings’ and’I Am The King of Amapiano: Sweet & Dust’, projects that helped define Amapiano and expand its commercial viability. There’s also a sprawling line of classic, smash singles, with the most recent including “Abalele,” Young Stunna’s “Adiwele,” and “Asibe Happy”—yes, let’s count the leaks.
Even though he’s not be outwardly prolific in recent times, Kabza has clearly been working as obsessively as ever, evidenced by the staggered release of his new 50-track LP, ‘Pretty Girls Love Amapiano 3’. The new project is collaborative release with fellow pioneering Amapiano producer, MDU aka TRP. In a recent conversation with legendary producer Oskido, Kabza revealed that MDU was responsible for figuring out the log drum, which is not only a staple of Amapiano but also a defining element of the Dance subgenre.
While MDU is not necessarily on the same plane of reverence as Kabza, his influence clearly looms large, with a lengthy collaboration list that includes Focalistic and Mr Jazziq, as well as a collaborative project with Semi Tee earlier this year, which spawned the Sir Trill-assisted hit, “Isingisi.” Having worked with Kabza on several occasions, MDU sharing the bill on ‘PGLA3’ is an expansive extension of their musical kinship, even though the title continues the lineage of a series by his colleague. In between the Scorpion Kings run in 2019, Kabza dropped the first instalments of the ‘Pretty Girls Love Amapiano’ series, setting the tone for its instrumental-centred and vocal-scant approach.
Over the next five weeks, ten songs from ‘PGLA3’ will be released every Friday, until the set is complete on December 2nd. It’s a smart move, considering how much of data dump 50 songs is, and the overwhelming task of getting through it all at once—10 songs each week seems bite-sized by comparison. The first ten songs have already been shared, and they set the tone for the album, which is MDU and Kabza De Small expressing themselves through drum patterns, piano chords, and whatever instrumental embellishments they see fit. The only song of the first ten with any sort of vocals is “Dlala,” which features illegible murmurs by DJ Maphorisa.
The first set of songs also include heavy contributions from Piano Hub affiliates and “Sgija” producer-duo, Nkulee 501 and Skroef 28, with co-production credits on four tracks. In the next few weeks, more collaborations will be unveiled and perhaps more vocal tracks, but the first set of songs on ‘PGLA3’ shows that MDU and Kabza De Small indulged in whatever creative whims they felt like while making the album.
You can listen to ‘Pretty Girls Love Amapiano 3’here.
This week, Marvel’s Cinematic Universe was poised to release its latest film ‘Eternals’ in cinemas around the world. However, its release week was not without its complications as the film stoked polarising conversations for its eventual ban in the Gulf region countries, according to The Hollywood Reporter.
As the latest inclusion to the world of Marvel makes its way around local markets and industries, it seems that the Gulf region which has now pulled the film from its cinemas is not the only area with issues surrounding the film. Reports are now reaching that ‘Eternals’ has also been pulled from cinemas in Nigeria where homosexuality is still a crime.
The reason for the ban? According to Cinema Pointer, Nigeria’s National Film & Video Censors Board, under the leadership of Alhaji Adedayo Thomas, the country has now joined other countries around the world to ban or suspend Marvel’ Eternals’ due to its portrayal of homosexual couples. According to reports, the film will be banned because it depicts a ‘gruesomely irresponsible inclusion of a homosexual mouth-to-mouth kiss scene,’ states Cinema Reporter.
Director Chloe Zhao, who won the Oscar for best director earlier this year for Nomadland, spoke recently about her desire to not tweak any scenes to appease censors.
“I don’t know all the details, but I do believe discussions were had and there’s a big desire from Marvel and myself – we talked about this – to not change the cut of the movie,” she said to Indiewire. “Fingers crossed.”
While this is the first openly gay superhero in the Marvel Cinematic Universe, and a cause for celebration and progress, the moment has instead been marred by discussions of the film’s suspension and ban across cinemas nationwide due to the homophobia ingrained in these countries.
Currently, homosexuality remains a crime punishable by a prison term of up to 14 years in Nigeria, as provided by the Same-Sex (Prohibition) Act (SSMPA). It is yet to be determined whether the ban will be lifted, however, the film has currently been pulled out from cinema film line-ups nationwide.
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 Mayorkun, Wande Coal, The Cavemen amongst others. Today, we’re bringing you new music from our NATIVE’S August Digital cover, Yaw Tog; sounds from SGAWD, SESS, Tomi Thomas and many more.
Sess – “Cover” ft. Psycho YP
Multi-genre producer, singer and songwriter Sess is here with his sophomore project ‘Spotlight.’ On the 7-tracker, he is joined by Teni, Falz, Simi, PsychoYP and more. On the self-produced PsychoYP-assisted standout track “Cover”, Sess sings over the mid-tempo production of the track“Je kin toju re baby je kin toju re/Cover you baby, cover you”, he quips on the hook of the track. PsychoYP follows in briefly and delivers a stellar rap verse on the track.
SGaWD – “Ain’t No Way” ft. Princess Mami
After a series of freestyles, singles and features, SGaWD is here with her debut EP ‘Savage Bitch Juice’. The 16-minute long 6-track EP shows off the singer, songwriter and rapper’s ability as an artist. The standout track “Ain’t No Way” featuring Princess Mami has both artists talking about being in charge and remaining at the top in an audacious tone over the heavy production of the track, creating a feel-good track.“Bitch ain’t no way, nigga ain’t no way/ Bitch ain’t no way, nigga not today”she quips on the chorus of the track.
Yaw Tog – “Sei Mu”
Ghanaian drill rapper and NATIVE’s August Digital Cover star Yaw Tog is here with his new single “Sei Mu”. Since stepping into the limelight and gaining attention, Yaw Tog has easily gained an audience always looking out for him. On the uptempo track, the artist sings “wo di me kaaa ah/Send me my money, I need it right away” in an audacious tone.
Saint Austiin – “Rather Be”
For his post-Lethal Emotions release, 44DB producer, singer, and songwriter member Saint Austiin collaborates with Manuel Cole & Veen to deliver the single “Rather Be”. The mid-tempo trap track has the artists singing to their respective muses about where they have them placed in their lives. On the chorus of the track, the artist sings “I’m here in dark and I keep searching for you, Counting the stars and I know you feel it too/All of your energy, Don’t take it away from me, there’s no place i rather be, I’m telling the truth”.All artists deliver a stellar performance over the heavy production of the beat.
Tamera – “Good Love” ft. Tay Iwar
Tamera, on this track, teams up with Tay Iwar to deliver the sonorous and influential track “Good Love”. On the Tay Iwar-assisted track, she uses her powerful and audacious voice to sing“I’ll give you something you won’t ever find in no one else/You tell me you know but you don’t even know yourself”, expressing her emotions for her muse and what she has to offer. Tay comes in shortly after and delivers a smooth and melodic verse. Both artists compliment each other perfectly.
Tochi Bedford – “Benjis” ft. Odunsi The Engine
Founder of producer collective 44DB, Tochi Bedford debuts his debut 7-track EP titled ‘After Eternity’. The 17-minute long tape features artists such as Bratzbih, $hadow, TAPZ GALLANTINO and more, as Tochi showcases his artistic ability. On standout track “Benjis”, he teams up with Odunsi The Engine and delivers a stellar performance as he sings over the heavy production of the self-produced track
Tha Boy Myles – “Get Loose”
For his newest release, Myles is here with the single “Get Loose”, an Amapiano infused track that has the artist delivering a romantic number to his muse, explaining how he wants to be with her and do all he can for her. He sings on the hook, “I wan dey with you my baby/Black melanin she dey burst my speakers”
The British-Ghanaian hitmaker Fuse ODG, popularly known for his hit song “Antenna” has linked up with singer and songwriter Kofi Kinaata and Quamina MP to release the new record “Booze Anthem”. The award-winning musician drops this track since his last work with Dr Cryme on the song “WOW” but his last official song before the release of “Booze Anthem” is “One in a million” which was released back in August. “Booze Anthem” is traditionally an Afrobeat song with a dance hall vibe as the artists fill the track with their individual tones and native language. The song speaks on living your best life and enjoying the benefits of your labour.
Ladipoe – “Afro Jigga” ft. Rema
Ladipoe has just dropped his latest EP ‘Providence’, a 6-tracker that sets out to encapsulate this moment in time in his career. On the Rema-assisted standout track “Afro Jigga,” both artists make a worthy showcase of their rapid-fire musical abilities. Ladipoe’s mellow and somewhat soulful rap and Rema’s high-pitched unique vocals blend effortlessly with the euphoric yet catchy production.
Cross & Ajebutter – “Feeling Funky”
Cross d boss, an ex-Big Brother Naija housemate from the 2021 shine ya eye season, has decided to fill his fans with love and entertainment as he Teams up with the musical artist and close friend Ajebutter to release the much anticipated single “Feeling Funky”. Cross D Boss is known for his never-ending energy and constant nightlife routine it’s no surprise that the reality has decided to create music that highlights his vibe and love for Amapiano music. The TMXO and Spinall-produced track is filled with an up-tempo Amapiano beat which was inspired by his funky approach to life and partying when in and out of the Big Brother house. Ajebutter’s deep and smooth voice merges well with cross’ humorous and repetitive lyrics.
DJ AB – “Supa Supa” ft. Mr Eazi
DJ AB has just released a new EP titled ‘Supa’ which hosts the catchy titular track known as “Supa Supa.” In this track DJ AB taps Mr Eazi for an upbeat Afro dance sound which will certainly get listeners on their feet this weekend. Mr Eazi did not disappoint with his raspy deep voice which comes in seamlessly with the beat in such an ear-pleasing way and the hook is extremely catchy. This is definitely a song that deserves to be on your playlists.
Tomi Thomas – “Hopeless Romantic Remix” ft. Wale
Back again with his hit single “Homeless Romantic” but this time the multi-talented Nigerian artist Tomi Thomas links with world-renowned American rapper Wale, who just released his latest project ‘FOLARIN’. This remix gives everything and more you expect with such talent from both artists. The level of chemistry, vocals, sound and melody brings back a nostalgic feeling from the first single with the reggae style beat and sound but in an elevated way with the addition of Wale’s Verse.
Midas the Jagaban – “Harley2Joker”
Closing out the summer and initiating the coveted “cuffing” season, London-based mcee Midas the Jagaban has released her long-awaited single “Harley2Joker.” Aptly released on Halloween, the new romantic number finds the masked singer crooning about a love interest that she is unable to let go of. Serving melodic vocals and harmonies on a fun bouncy Afropop beat produced by PB, the self-proclaimed Joker herself gives us the perspective of both characters on the record with a fun back and forth throughout. With “Harley2Joker,” the rapper is already whetting appetites for what’s to come on her debut mixtape out next year.
Today, with the release of his second single this year, WANI has just brought his anticipated forthcoming EP ‘Lagos City Vice II’ one step closer. On the new romantic number “Jailer”, the singer teams up once again with producer Adey and co-producer, Bizzouch to deliver yet another dynamic collaboration.
Over the funky Afropop production, WANI sings about a love interest who he wishes to give a comfortable life. “Girl I wanna be where you are, but you acting like a prisoner/Oh Ms Jailer, I cannot save here,” he sings over the song’s catchy hook, addressing his woman who he’d like to shower with material possessions and a stable, romantic relationship. However, she’s unwilling to recognise the power of their love and chooses to remain a prisoner to her own mind.
The song, which is performed with palpable maturity and newfound levels of self-confidence, showcases WANI’s refined vocals and the mastery of his craft. Speaking about the new single, the singer shares “I know “JAILER” will instantly resonate with my core fan base. I can’t wait for everyone to hear it. It is the perfect gateway to my upcoming full project. I’m ready!”. With the release of the new single, WANI reminds his loyal following of his abilities and whets appetites for his forthcoming release.
It’s that time of the year again, Patreon and Shesaid.so present the Alternative Power 100 Music List 2021, also known as the #AltList 2021, which was first introduced in 2017 as a response to the lack of diversity in Billboard’s Power 100 List.
Shesaid.so is a globally independent community of strong women and gender minorities in the music industry which began in September of 2014 by Andrea Magdalena in London, UK. Starting out as a passion project, Shesaid.so has turned into one of the largest communities in the music business and is still getting bigger. A community filled with record labels, artist management companies and booking agencies, Shesaid.so also comprises technology and creative agencies, composers, artists and more with offices in London and L.A.
Shesaid.so uses its platform as a mission to connect and empower underrepresented communities towards a more equitable music industry for all, one woman or gender minority at a time.
This year’s #Altlist 2021 theme is ‘The New Creative Economy’ celebrating those at the forefront of the new era shaking up the music industry. Characterised by democratisation and increased financial empowerment, the new creative economy has been made possible due to the impressive and commendable works by independent creators and entrepreneurs who push to break down the barriers that have been known to have restricted access in the past. By engineering new ways to own your work and with community-supported financing – no matter how big or small – the music industry’s new path allows independent creatives to fully excel in this new creative economy. The #Altlist 2021 is not limited to any gender so all genders are welcomed.
As with all industries around the world, the COVID-19 pandemic last year put a strain on the operations of a system where the music industry’s independent creators, thinkers and entrepreneurs can thrive successfully. It was out of this adversity that this fruitful partnership between Patreon and Shesaid.so came to be.
In this year’s list, there will be special awards and 10 new unique categories, covering areas like artistry, community, records labels, and many more.
For four years, the Alternative Power 100 List has since been highly sought after by many artists, and creatives in the music industry who aim at traditionally underrepresented communities.
To ensure your fave or someone you feel deserves to be on this list makes it on, you can now cast your nominations till November 12th. To find out more about how to make your nominations, checkhere.
Nothing about the rise of Ladipoe into a dominant rap star was rushed. Over a decade ago, the Nigerian rap artist born Ladipo Eso emerged as a frontrunner in potential rap messiah debates. It’s understandable, his introduction via Show Dem Camp’s “Victoria Island of Broken Dreams” is still one of the most entrancing rap verses committed to wax by a Nigerian lyricist.
What followed was a far more elongated route filled with more great feature verses, sporadic solo drops, including his long-awaited 2018 debut album, and, in the present, a handful of huge singles helping to fully realise those potentials. The path Ladipoe walked not only tested the patience of day one fans but also tested the wits and resilience of the man himself.
Even when things were not going great, he seemingly took them in stride, using that time as a crucible to intentionally forge the sort of revered, dynamic rap artist he currently is: One that can effortlessly bar it up on one song, and remain engaging while curating charming smash hits. Without a doubt, Ladipoe is in a groove and it’s what makes the possibilities of his newly released EP, ‘Providence’, enticing. It’s his first proper project in over three years and, for a rap artist working on a much higher artistic plane these days, my expectations are up and stuck.
In Usual 1-Listen Review Fashion, All Reactions Are In Real-Time While The Music Plays. No Pauses, Rewinds, Fast-Forwards, Or Skip.
“LOTR II”
This is an exquisite opening, very jazzy. I know some bars are about to be slung! Let’s go! Okay, the scheme on that second line has my senses all heightened. “The secret to longevity is, always you write the narrative.” Lifelines! Fuck, I’m not listening on Tidal. I need to know who produced this, such a premier the ‘90s bounce. That’s a double entendre, go figure. Sometimes, Ladipoe raps like he’s delivering the most interesting Ted Talk ever. “The signature is just an autograph that says pay me first.” Boy! Fam! So. Many. Quotables. I don’t like that trap line, but this entire song is way too good for me to be nit-picking. This is how you start an album, man. This should be an album!
“Afro Jigga” (feat. Rema)
Ozedikus tag, my man never misses. BTW, the OG version of “Moslado” is a classic, could care less for what they did to the song for its video. This is an Afro-Dancehall knock, heads will bob. Rema! Feels like it’s been a long while we heard from him—even though I still saw him the other with the rest of the NATIVE team. Man, I remember when we were making distinctions between Afropop Rema and Trap Rema. Good times. Ladipoe’s delivery is Teflon, he’s skating with ease on this one. Can’t hear any line to make my ears stand, but this is just a feel-good song. I 1000% believe women are throwing themselves at Rema, I’ve seen the difference in his physical frame from “Dumebi” to “Soundgasm” up close. London worked on this as well? Yeah, this is a cheat code record. Poe has mastered how to construct pop-rap songs, this is just another flex to prove that. Will revisit.
“Law of Attraction”
Again, this should be an album! Oh Dear God, I know where this man is going with this bedroom voice cadence. He even mentioned Meghan and Jhene! This is unfair. How can you be a killer lyricist and a rap artist making songs for women? This man has the infinity stones, FFS. Who’s the woman harmonising? (Editor’s Note: She’s UK-based singer Dolapo.) The only way I can describe this beat is seductive Afropop, something you catch a private whine to. “I think I know what girls like,” you don’t say, Fam. This song is going to go, maybe not super-mainstream but women are going to absolutely love it, which is pretty much the same. I remember when people found out that Ladipoe is married, the jokes were funny. The lady singing here is going absolutely crazy, the sensuousness is leaking from her voice effortlessly. This is a keeper.
“Running” ft. Fireboy DML
Eish. Thinking about what this song is about, this is a slightly jarring, thematic transition. Anyways, this is a solid record. Let me confess: This is the second Fireboy feature I like, I’ll keep the first one to myself. Poe is one of the most coherent rappers you’ll ever here, this first verse is him threading multiple things into a contemplative and confident whole. This hook is simple but it resonates, and Fireboy’s self-aggrandising part on this second verse is really good. I don’t know about loverboy Fireboy, but when he shows a persona, he’s riveting. See: “Peru.” From a scientific point, this is a well-constructed pop-rap record. Man, we’re all running on vibes. Well, December is here sha. Keeper, this one.
“Love Essential” (feat. Amaarae)
Ladipoe and Amaarae was bound to happen, and it’s on a song titled “Love Essential.” Rappers saying mushy stuff before a song starts is not my thing, but Poe gets this pass. I have a really raunchy quip on how Amaarae sounds right now, but I’m keeping it to myself—or I might just tweet it. Everything here is tingling, the keys, Amaa’s voice, the choral tracking, the cloudy atmosphere, everything. This shouldn’t be a heart-break song. Okay, this sounds way more remorseful, and I’m not mad at it. This verse is engrossing AF! “Showed me love essential, you’re my only lifeline.” This song is officially the reason I want to get heart-broken soon, I’d like to relate deeply. Maybe that’s taking it too far, will definitely revisit.
“Providence”
Who’s talking? I deeply relate to this annoyance. London and 44DB tag? Oh God! “More life when your circle is pure” is a valid, but social media has ruined yarns like this for me. I like this knock, slightly off-kilter but familiar enough to keep you zoned in on Poe’s buttery flow. I heard that line about a Don Jazzy and Dr Dre beat, don’t know why I’m not too enamoured by the possibility of that if it ever happens. Wait, this is a song from the “Revival Sunday” series. I mean, it’s been slightly reworked but it’s recognisable when you deep it. Wait, wasn’t that song also titled “Providence”? (Editor’s note: Yes, it was) Right, I get the reason for this title even more now. An angelic beat just switched, and this man is rapping with the dead-eyed vim of game 6 Klay Thompson. I can hear the Drake comparisons from listeners already, and it’s not like he’s denied the Canadian superstar’s influence. “It’s why I pray to God even if I’ve never seen him/faith never needs a reason.” I’m going to google providence right now. This is a monster closer. Love it.
Final Thoughts
Ladipoe’s 10,000 hours are complete. If there’s anything ‘Providence’ proves, it’s that Ladipoe has reached a level of mastery through constant effort and consistent experimentation. In 20-plus minutes, there’s no moment he doesn’t sound in complete control of his instincts as a rapper and intuition as a music-maker.
This EP isn’t necessarily meant to be career-defining, neither is it a low-stakes inflection point. It’s somewhere in the middle of those poles, a confident exhibition of where Ladipoe has gotten to in his career, and a competent declaration of his boundless creativity as a rap artist. It’s a set of rap songs ranging from good to really good, with each song optimised for their themes and musical approach. Poe’s ear for beats has only gotten better with time, and his inclination toward a varied soundscape is tied together by his ever-absorbing flow and quip-laden lyricism.
I did google the meaning of Providence, and one of its definitions—“timely preparation for future eventualities”—frames this EP perfectly. Ladipoe has been preparing for the successes he’s currently enjoying, and Providence is his well-earned victory lap. The thing about victory laps, though, is that the marathon continues. Ladipo Eso still has more impact to make on Nigerian rap and pop music, where he goes next will be a function of what he wants to achieve next. For now, the celebrations are deserved, so let’s join Ladipoe to bask in the gratifying glow of ‘Providence’.
As we gradually enter the holiday season and near the end of the year, the vast amount of music and entertainment that we receive is growing at an exponential rate. As such, it’s hard to sift through the sheer amount of good films and programmes that are out there on streaming platforms. Netflix has kept all the attention on it with the release of titles such as the first-ever Nigerian Netflix original series ‘King of boys: The Return Of the King’, ‘Smart Money Woman’ to the Korean hit series ‘Squid Game’.
This month, it’s no different in this regard for the streaming behemoth. As the holiday season looms, Netflix now brings us more amazing titles to keep the viewers spoilt for choice and entertainment. To this end, we’ve put together a list of new exciting titles to add to your personalised list this month.
Amina
04/11/2021
The Historic Nigerian film based on a true-life story is set in the 16th-century Zazzau empire now known as Zaria, Nigeria. In this Izu Ojukwu directed movie the warrior queen Amina must make use of her military skills and tactics to defend her family’s kingdom as she faces betrayal by her adored lovers, having to face her ferocious enemies in battle and being exploited by the so-called nobles in the kingdom
This 2018 Nigerian drama film written and directed by Kayode Kasum, centers around the life of the simple happy-go-lucky musician ‘Gold Ikpomonsa’ who retires in his 40’s. After he meets a 7-year-old girl, his life takes a whole other turn, is it for the better or worse?. The movie highlights the struggle and resilience we as Nigerians have.
Happiness Ever After
10/11/2021
A sequel to the 2016 movie ‘Happiness Is a Four-letter Word’ which is based on a novel by Nozizwe Cynthia Jele. This South African film carries on the theme that surrounds the first film which is friendship and sisterhood as we find Zaza, Princess and Zim living through their family feuds, loss and newfound love.
In My Room
17/11/2021
Nigerian comedian Kenny Blaq tickles our funny bone with his one-man stand-up comedy show where he reflects on the realities of a year spent indoors due to the effects of the COVID 19 pandemic, riffing on airport customs, his love life, and more.
At such a young age and in such a short period of time, Backroad Gee has proven himself to be a formidable grime artist. Beginning his musical journey in 2019, the rapper in slightly over 2 years has continually refined his craft to fit perfectly into the burgeoning musical landscape in the UK.
His rise to stardom began with his hit single “Party Popper”, a bass-heavy track that has the artists spitting dizzying rhymes bars over an intoxicating production. He followed this closely with the release of his debut EP ‘Muktar With Reason’ in 2019. Since the release of his glittering debut, he has released two EP’s this year alone ‘I’m Free’ in 2019 and ‘Mukta vs Mukta’ in 2021. Since then, he’s only doubled down on improving his skills which is a great source of pride to him.
“I really wanted it to cater to everyone with this tape because I love music and I wanted to give that type of energy back to everyone that’s going to listen to this tape,” he tells me over a Zoom call with a calm and self-assured tone. His energy which visibly bounced off the screen keyed me into his personality which also shines through on his gritty bars which radiate an exciting and mischievous energy. He embodies a new template of authenticity which is welcome among today’s modern listeners. Brimming with excitement for the future, the UK mcee is now ready to open his world up further to his growing audience.
Although he is known for making drill and grime music, he speaks to the importance of allowing artists the freedom to operate within a range of genres: “I’m an artist and not just a drill rapper” he makes clear over our call. His debut mixtape ‘Reporting Live From The Back of the Roads’, is a combination of sonics, themes, tastes, and styles all tied together to show off a blend of different strengths and abilities. Now, the 24-year old Congolese-born London-based rap artist is ready to share his full-length debut mixtape with the world. With that being said, this is Backroad Gee’s time.
Our conversation which follows below has been lightly edited for clarity.
NATIVE: What does it feel like to finally put out your second full-length mixtape?
Backroad Gee: I feel like people can understand my artistry more and I can do a lot of things. I’m a journalist from where I’m from so I want people to see other sides of me.
NATIVE: What were you trying to create when you started working on this new mixtape?
Backroad Gee: Initially when I started working on the tape there was a lot of back and forth because originally the tape was supposed to go in a certain direction but I changed the name, changed the dynamics and I really wanted it to cater to everyone because I love music and I love listening to all types of music and I wanted to give that type of energy back to the people.
NATIVE: The features are very interesting, were they intentional?
Backroad Gee: They are all organic artists, so it wasn’t really planned. It just happened to work because they’re really good artists. There was at least one song with a planned feature because we already had a relationship with each other.
NATIVE: The production on the project is also a highlight. What was the selection process like?
Backroad Gee: When it comes to my productions I’ve been able to fuse grime and drill so it’s not straight drill or straight grime. The sound effects are just a part of me and where I’m from so I just put that in there.
NATIVE: You never shy away from your African roots. Are you open to working with more African artists?
Backroad Gee: Oh yes, I sure will. I’m going to be working with a lot of Nigerians, Congolese, and just a lot of Africans so just watch out for me. Aside from making and loving drill music, I can make anything and everything I set my mind to. I’m an artist and not just a drill rapper.
NATIVE: What’s one achievement that you can say you’re most proud of?
Backroad Gee: I’m very glad I’m doing music because music has really done a lot for me cause honestly, I’d be somewhere else doing what I’m not supposed to be doing if I wasn’t doing music. It’s a blessing really
NATIVE: What would you want people to take away from this album?
Backroad Gee: I want everyone to feel the music, enjoy the music and love the music. It’s all so special to me and I want it to mean more to the people actually listening to music. There’s a lot of work and time that has gone into putting this tape together and seeing people enjoy the sound would mean everything to me.
Stream ‘Reporting Live (From the Back of the Roads).’
Ladipoe lands a spot in the top 5 this week with his recently released Fireboy DML-assisted single “Running.” The single serves as the rapper’s second top-five entry after the five-week No.1 streak of “Feeling” earlier this summer. The single also garnered 37.4 million in radio reach and 1.41 million equivalent streams.
Elsewhere in the charts, Joeboy’s “Sip (Alchohol)” spends its fourth week at No.1 on the TurnTable Top 50. This week, the single tallied 47.2 million in radio reach, 2.77 million in TV reach and 3.86 million equivalent streams. It’s followed by Adekunle Gold’s “High” which stays atop the charts for the fifth week with 47.7 million in radio reach.
Ayra Starr’s “Bloody Samaritan” falls to No.3 this week and is followed by Fireboy DML’s “Peru” at No.5 this week. Kizz Daniel’s “Lie” comes in at No.6 this week and it is closely followed by Timaya’s “Cold Outside” featuring Buju at No. 7. Rounding out this week’s top ten of the TurnTable Top 50; Tiwa Savage’s “Somebody’s Son” with Brandy retreats to No. 8 from its No. 5 peak while Omah Lay’s “Understand” falls to No. 9 after topping the chart for three weeks.
Closing out the charts., Larry Gaaga’s “Egedege” with Flavour, Phyno & Theresa Onuorah launches at No. 10 on the chart after tallying 9.5 million in radio reach, 1.99 million equivalent streams and 762,000 in TV reach.
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 Idahams, Sho Madjozi, Loose Kanyon, and Focalistic amongst others. Today, we’re bringing you new music from our favourite duo, The Cavemen; a standout from Mayorkun’s long-awaited sophomore, ‘Back In Office‘; and a new single from icon, Wande Coal.
The Cavemen – “Biri” ft. Made Kuti
While last year’s ‘ROOTS’ introduced the world to The Cavemen’s wondrous re-interpretation of highlife, their latest effort, ‘Love and Highlife,’ released today already sounds more engaging than the latter, updating the thematic inspirations of ‘ROOTS’ to center love as a motivator for their work here while retooling the production of their debut to follow this slight tweak. On “Biri,” the brothers join forces with another fantastic musician, Made Kuti, for a languid affair where the grooves of their highlife meet the light percussions of Made’s neo-Afrobeat for a joyous intersection of a very 2021 version of two of Nigeria’s most powerful music styles post-independence.
Mayorkun – “No Strings Attached” ft. Joeboy
For huge parts of 2020, Mayorkun was the voice of popular culture in Nigeria, soundtracking the year with songs like “Geng,” “Betty Butter,” and a scene-stealing feature on “The Best,” off Davido’s third album, A Better Time. For the most part of 2021, Mayorkun has been off the grid, completing work on his sophomore album,’Back In Office,’ and singles like the Victony-featuring “Holy Father” and the titular track have hinted at a sonic evolution from the former DMW singer. “No Strings Attached” is not necessarily a sign of those changing tides, instead it’s a brilliant union of the strengths of Mayorkun and Joeboy, seeing them riff off each other while singing about taking care of a love interest’s wants regardless of the situation of their entanglement.
Wande Coal – “Come My Way”
For much of the year, Wande Coal has kept been silent but today he returns with “Come My Way,” his first solo single of 2021. The track, produced by Bruno and Screwface, finds Coal in defiant mode, promising to let nobody get between him and his blessings. The track takes influence from the low-lit sound of contemporary R&B, merging it with the warm vibes of Nigerian Afrobeats and the throbbing digital pulse of South Africa’s Amapiano.
Hanna – “BOI”
Zimbabwean-Ethiopian wordsmith Hanna Kuruneri has been on the ascent for huge parts of the last three years. Since stepping into the limelight during her time at the University of Cape Town, coming to the attention of the likes of Nasty C and DJ Clock after posting a viral video rapping on Instagram, Hanna has impressed with her vociferous bars. “BOI,” Hanna’s latest song featuring DeekayDidIt, draws from her most proud, cocky and powerful self, giving representation to her taking power back, asserting boundaries, and reminding herself of her brilliance.
Niniola – “I Did It” ft. Lady Du
While others like Kabza De Small, Tyler ICU, and Vigro Deep continue to receive acclaim for the innovative directions they are pushing Amapiano into, South African singer, Lady Du, remains at the forefront of the genre, with songs like “uZuma Yi Star” and “Woza” displaying her hypervivid take on Afropop. Uniting with Nigerian singer, Niniola, who is famed as the queen of afro-house, they make a sonic dedication to the art of seduction. Atop a strobing instrumental, the duo sings about the joys of dancing and seeking thrills while deftly passing the baton around without disruption.
Kwesi Arthur ft. Medikal – “Different”
Since establishing himself as one of the standout talents in the youthful core of Afropop’s vanguard with 2019’s ‘Live From Nkrumah Krom,’ Kwesi Arthur has flirted with the rap and pop side of his music on songs like “Baajo” and the remix of Yaw Tog’s “Sore.” Teaming up with Kwesi Arthur on “DIFFERENT,” Arthur raps over a menacing beat from Shadxw about being at the top of Ghanaian music for a long time while assuring listeners that his eagerly-anticipated tape is on its way.
Nimco Happy – “Isii Nafta”
Earlier this month, a video of a singer, Nimco Happy, performing a song usually sung at Somalin weddings went viral on Twitter. The song called “Isii Nafta,” means “give me life,” but it is more widely known by its catchy lyrics “I love you more than my life.” Last week, the song got an official release, and it is sung across four languages–Somali, English, Arabic, and Swahili–over a polyrhythmic instrumental that sees Nimco sing about romantic bliss and happiness.
Somadina – “Super Soma”
Following up on her single “Kno Me”, Somadina is back with a new single titled “Super Soma.” The new single finds the singer departing from her string of earlier releases and launching a new rockstar persona befitting for this phase in her career. Describing the track as more than a single, but a theme, the ebullient new track finds the singer telling us how great she is. Over the GMK-produced track, she delivers one of her best performances, embodying a superhero persona and loudly screeching across the futuristic production.
The fashion calendar is off to a very great start. All across the world, established and emerging fashion houses are unveiling the world around their daring spring and summer collections, whetting appetites for the upcoming fashion season which seems to feature bold and colourful prints and patterns.
Here in Lagos, Nigeria, one of fashion busiest capitals, all eyes have been heavily focused on the fashion runway which has made its welcome return to the city after the break caused by the COVID-19 pandemic last year. While the busy Lagos Fashion Week calendar has breezed by this weekend, there are still a number of African fashion designers unveiling their latest collections, to incredible fanfare. From Thebe Magugu’s ‘Genealogy’ collection to Orange Culture’s ‘Peacock Riot’, here are a few SS22 collections to look forward to by African designers on the continent and in her diaspora.
Thebe Magugu
The South African designer and former LVMH prize winner, Thebe Magugu unveiled his collection titled ‘GENEALOGY’. The new collection is inspired by the history, experience and heritage of the Magugu family. From the colours to the style and fabric, each look has its own unique story and reinterpretation. “Our home in Kimberley was a temp built from Debeers, who provided settlement for their miners(my grandfather). We were one of the first houses on the settlement and seen here my mother with an oversized trench coat on our street, now known as Ipopeng- which translates into “make yourselves pretty,” Thebe explains as the backstory behind one of the collections’ vibrant pieces.
The Nigerian designer debuted his SS22 collection during Paris Fashion week earlier this fashion season. His looks have always been known for his craftsmanship, colourful versatility and asooke technique, which makes it extremely wearable for anyone. In this collection, we see a lot of fringe, stripes, patterns and so much more.
The South African designer, the LVMH joint prize winner, unveiled her collection during the Milan Fashion week. The collection pays homage to the University of Cape Town Jagger African Studies library that was caught in a mountain fire in April of 2021. Some of the pieces are also filled with hand illustrations of maps, political history and stories of African legends lost in the fire by a South African artist known as Snalo Ngcaba.Since the launch of her fashion brand in 2015, her designs and textiles in her collections are handmade with watercolours and collages. Her colourful aesthetic is also inspired by her Zulu and Ndebele heritage.
Lamine Badian Kouyaté, the Malian/Senegalese known for his cool and casual take on his designs took a different approach for his SS22 collection. This features many body-hugging, nylon and sports-like design items, a welcome return to his brand’s essence. “With this Spring-Summer collection, I wanted to be radical, I wanted to come back to the quintessence of Xuly.Bët. A quintessence that has been purified,” says Kouyaté. The looks are all inspired by the 1995 collaboration between Xuly Bët and Puma. He translates the modern nature of the avant-garde looks to that of today through his use of colours, fabrics, stitches and design.
Milan fashion week witnessed the unveiling of the South African designer Rich Minsi’s Spring Summer 2022 collection titled ‘Mafamaba Yexe’. Minsi explains that “Mafambe Yexe finds its inspiration in a microscopic view of Bumba’s purge, made up of cells that, like so many others, cut up aside to multiply. Pain on the skin, aches on the within, discomfort in all places. From that discomfort, cells made echoes of their own likeness, and Bumba birthed the world”. The colours yellow, green and red are at the forefront of the collection. His aim is to push the conventional fashion boundaries not only through his designs but also his personal style rocking mini skirts and other unconventional looks.
Staying true to our mission reshape the face of African popular culture, The NATIVE team curates a monthly list to spotlight the best and most exciting new artists on the continent. Some of these artists have dropped songs to some regional acclaim, while others are brand new on the block, working towards their first big break. Tune in to what’s next. Click here for September’s Fresh Meat.
Afropop is currently witnessing one of its most defining moments. This year alone, the genre has soared unlike ever before, taking on new life as it fully goes global with frontrunners such as Wizkid, Tems and CKay. We are witnessing history in the making as the genre and its youngest proponents shatter glass ceilings that previously set them back from worldwide fame.
The most interesting part of all this lies in the fact that their success is setting a vast tone for where the new vanguard of Afropop hitmakers are able to take their music next. Now, more than ever before, the world is interconnected and looking for its next superstars and Afropop has positioned itself at the apex of this search. What’s difficult, however, is sieving through all the noise, and finding all the diamonds in the rough. That’s where the NATIVE’s Fresh Meat column comes in to make sure that good music isn’t being slept on.
Now entering its 19th edition, this month’s Fresh Meat packs in a punch as it features some of the hottest emerging artists on the continent. From Nigerian Rap newcomer DaisyFirecracker to South Africa’s Young Stunna, here are the artists you need to be listening to right now.
Hunter Rose
In the last few years, some of the most innovative R&B music coming out of Africa has sprung from South Africa. From Shekhinah’s wispy neo-soul to Bonj’s song of angst and melancholy, the sounds from the Rainbow Nation are in sync with the global sound of contemporary R&B. The singer known as Hunter Rose is rooted in that culture of fluid expressionism, calmly detailing her feelings about life, love, and despair over featherlight beats attuned to her diminutive voice. Hailing from Cape Town, the singer first came to attention through a series of The Weeknd covers that translated the distinct mirth of the Toronto singer’s smoky lyrics into her optimistic worldview.
Her first single, 2019’s “Hot,” pushed her art in new directions, casually subsuming the electronic thrum of house music into her soul core. A broader showing of her capabilities was given on Slow Summer, a joint project with Clap Cotton and Loop Schrauber, where the singer’s voice mapped out the stretch of the project. On the project, Hunter plays the role of reassuring her listeners about going through tough times on “Just Fine,” infusing the single with a shoegaze essence, while “Goody” captured her exuberant spirit over a jazzy instrumental.
Hunter’s debut album, Love & Trust, melds the storytelling of Slow Summer with an insistent desire to express her wants in friendships and romance. On “Let Me Go,” with Ile Saadiq and Meek, Hunter sings about potentially being the one causing the obstacles in her romances, asking her partner to let her go. That rare feeling of optimism is dissolved on the titular track where she sings about making it with a partner, crooning about love and trust being all they need. These complex feelings come to a head in the final stretch of the project where the relationships Hunter holds dear teeter on the edge of collapse, leading to anguish-filled tracks like “Lose Control” and “Goodbye (Outro).” On her latest single, “Get It,” the singer reunites with Clap Cotton, displaying the majestic sense of pacing that makes her music a wonder.
Felicia
20-year old FELICIA might be relatively new to the music scene but her voice demands attention. Committing to music in 2019, the self-taught singer, songwriter, producer and audio engineer took it upon herself to improve her craft throughout the lockdown period in 2020, and the results were immediately evident. In August 2020, she released her debut single “So There’s That,” a track that finds the artist flexing her distinctly smoky vocals over the solemn, guitar-led production.
Music always seemed to be the goal for FELICIA When she was only 10 years old, she began writing her own original music and taking piano lessons, giving her the perfect foundation for what she is today and what she’s preparing to grow into. Drawing heavy influences from R&B/Soul, FELICIA has shaped her sound in such a way that it has undeniably become hers. In February 2021, she released her debut EP ‘1:50AM’. The 5-track self-produced solo tape shows off the artist’s vulnerability from the melancholic production to the poignant lyricism, all tied together through her purposeful artistry.
In just slightly over a year, she’s garnered quite the attention as she has been featured on a number of editorial playlists including Apple music “Alte cruise”, “Afro-soul Mix”, “R&B Now” playlist and Spotify’s “New music Naija” playlist. And she’s not slowing down anytime soon. Already, one of her singles “I Won’t” has earned her new levels of recognition as it hits the 100k stream mark.
FELICIA’s infectious voice especially coupled with her preference for an eclectic and altogether soulful soundscape is definitely something to speak on. Although she hasn’t been in the scene for so long, FELICIA has a promising music career right in front of her and we’re rooting for her.
Vee Iye
In the past few years, Big Brother Nigeria has emerged as one of Africa’s most viewed and most discussed reality TV shows. Last year’s lockdown season, in particular, proved to be a very entertaining season, grabbing viewers’ attention with remarkable individuals to root for. It also embellished how the show has become a place for emerging artists to reach and hold the attention of a wider audience, not only for its eventual winner but also for its other contestants. This is particularly so for Veeiye, who’s advancing her career as a singer right before our eyes.
Born Victoria Adeyele, and performing under the moniker Veeiye, Vee is a British-Nigerian singer and songwriter singing about poignant and relatable stories. Her music career dates back to long before her run on the Big Brother 2020 Lockdown season, with a few singles and low-key support appearances, including backup vocals on UK rapper Not3s’ single, “Aladdin”. With a rangy, honeyed and agile voice, Vee’s potentials as a singer were evident before she entered the Big Brother house, and it shined on several occasions in the house, setting her on a potentially fruitful path when she rejoined the outside world.
In that time, her musical growth has been measured and meaningful as she’s improved upon her skill. Earlier this month, a year after gracing screens across the continent, Vee released her debut EP ‘Young & Reckless’, a 5-tracker that features Mavin rapper Ladipoe and close friend Laycon. The 13-minute listen is a short yet dynamic set ruminating on matters of love, sex, affection, intimacy and more. With an undeniably unique sound, she introduces listeners to her sound and gives a well-rounded view of her youthful world.
Fusing Afropop with R&B and her brand of bold writing, Vee’s artistic inclinations are convincingly well-worn. Even with her short catalogue, the singer is on her path to stardom, leaving no room for doubt with her powerful and audacious voice.
Dagizah
It’s not every day you uncover a footballer turned fast-rising artist. Abubakar Abdulahi popularly known as Dagizah is a Nigerian rapper and singer whose music can be described as a fusion of both foreign and local sounds. Starting off his professional career, the rising star made the change to music when he ran into financial difficulties at Samba FC, the football team to which he was signed to and played.
Over time, with the influence of his elder brother who constantly would buy him CDs of his favourite artists such as Usher and Saheed Osupa, he soon uncovered his passion for making music. “I came about Dagizah in a funny way when I was trying to create an email years ago and that was what came to my mind first. Ever since then, I have been going by the name, DAGIZAH,” he explained of his chosen moniker in an interview with Vanguard news. After Dagizah made the conscious effort to pursue his music, he began putting out music and performing in minor school events until he got the chance to perform alongside the likes of Danny S in 2018 and Zinoleesky in 2019. Along the way, he caught the attention of Chippy Muller, the CEO of Chippy Records, to which he’s now signed. As he advanced in his career, he also went on to receive a co-sign from industry powerhouse and Grammy-nominated artist, Bankulli.
As he advances in the game and improves upon his craft, Dagizah aims to show the world what no other can bring to the industry as he releases a slew of singles including “Cashless” and “Oyojo Reloaded” as well as his debut EP titled ‘Zero Your Mind.’ He has found a way to merge genres from all spectrums, mixing Drill music and Fuji music, alongside Amapiano laced with a trappy and textured melody. Dagizah clearly has so much more in store and can’t wait to show the world.
Zamorra
Adekunle Olawashina Abdulateef also known as Zamorra is a 22-year old Nigerian Afropop artist who caught our attention after he engaged in a viral Twitter trend. During the time, his hype reached a fever pitch shortly after he made a song that compared two similar subject matters and determined which was more important. While this was one of the most defining moments of his career, Zamorra has actually been making music since he was young. His love for music began from his days in church before he started writing music professionally in 2015.
With his success in the “importanter” song challenge, Zamorra also scored a befitting remix with Small Doctor followed by a vibrant music video for the song which trended and went viral nationwide, cementing him as a talented newcomer. In 2015, he was signed to Fox Records where he dropped an array of singles such as “Better De Come”, “Deserve Better”, “Run Away” and many more. He recently debuted his first-ever EP entitled ‘Storms and Rainbows’. The 8 track project entails his life experiences from moving to Lagos from Ondo state, those who have shaped his life and everything else in between.
The main message Zamorra wishes to share with listeners comes into full display on the standout track “Timeless” where he speaks on the uniqueness of his journey and his timeless, no limitations approach to making music. He pushes back on those who compare his journey to his counterparts who may have gained more success and popularity in the industry, choosing instead to focus on his singular vision to improve his craft. With the future still ahead of him, it’s clear that Zamorra is barely getting started on his plans for world domination.
Young Stunna
Amapiano is a gift that keeps on giving. This is not only true for the countless hits that keep surfacing but evident through the talents the genre keeps unearthing. 21-year old Young Stunna is the latest breakout star. With his unmissable voice, clever lyrics and catchy melodies, the South African vocalist/rapper first made a splash earlier in the year on Dzo 729’s “Baxolelela” and on Dlala Regal’s “Dlala Captain.”
Hailing from Daveyton, Johannesburg, Stunna started writing music at a young age. His deep love for music was shaped by his family, who played a lot of Hip-Hop, Kwaito and R&B during his upbringing. Drawn towards the former, Stunna was impressed by how impassioned the artists expressed themselves, and by the early-to-mid-2010s, he started recording and performing as part of a rap group in and around his township.
Delving into Amapiano in February, an invite to a studio session with pioneering producer/DJ Kabza De Small would prove to be a necessary catalyst to his burgeoning career. After recording “Camagu” together, the superproducer was so impressed by Stunna’s prowess that he promptly signed him to his Piano Hub label. Within a space of a few months, Stunna’s trajectory significantly shot up, thanks to his show-stealing features on songs like the chart-topping “Bopha” and “Sgija”.
His recently released, star-studded debut album ‘Notumato’ (Beautiful Beginnings), opens with the highly-anticipated smash hit “Adiwele” (which has been subject to leaks and viral moments). In the song, Stunna confesses that a new life filled with fortune is calling upon his name, while also expressing gratitude towards Kabza for his contribution, and for opening doors for him. While on “Shaka Zulu,” Stunna speaks of his explosive arrival, comparing it to that of a warrior. He details how he has fought to be where he is today, being able to take care of loved ones and doesn’t have any desire to go back to his old life. On the 16-track LP, Stunna explores different themes with equal authenticity. His ability to make groove-centric bangers, as well as broadly relatable Amapiano tunes, attests that the vocalist is on a path to superstardom.
Daisyfirecracker
When Daisy raps, she sounds as if she has a point to prove; the words that burst out of her mouth are rapid-fire bars after bars, delivered with a fierceness and confidence that commands attention. The Nigerian rapper, who is an indigene of Okija in Anambra State, didn’t have the smoothest ride into the music scene. Her search for a better living took her away from her family home and into the big city of Onitsha and then more than 3000 kilometres from Nigeria into Guinea-Bissau. But a spot in front of a microphone was always Daisy’s true home.
Now signed to Dreamspace Entertainment, Daisy put out her first single, “Straight Ahead,” early this year. The track, which is produced by respected Nigerian producer Major Bangz, is rife with thumping drums. Daisy matches the vigour of the production with her high-energy delivery and braggadocious lyrics. Her fortunes improved when she appeared twice on Nigerian artist/hypeman Slimcase’s Instagram Live show. On both videos, which went viral, Daisy freestyled in her characteristic rap style of Igbo and Pidgin English, wowing audiences with her peppy lines and infectious composure. She also appeared on Nigerian disc jockey DJ Jimmy Jatt’s Jimmy’s Jump Off.
About a week ago, Daisy released her debut EP ‘Fire Cracker’. On the nine-track project, whose title is another pseudonym Daisy bears, the rapper displays her range and versatility. On songs like the title track and “Who Dey Zuzu,” which has roots from one of her freestyles on Slimcase’s show, Daisy offers the side of her artistry that her fans know: chest-thumping lines backed by a ravenous delivery. She turns on her softer, lover girl side on cuts like “Lemon and Juice” and the R&B-tinged “Fantasize,” which features MaynEvent. On those songs, she combines rapping with laid-back singing that doesn’t feel out of place but complements her romance-filled intentions. She goes a step further and becomes a relationship counsellor on “True Love,” as she advises couples to remember that hard times are part of the fabric of a long-lasting relationship.
There is also the street anthem, “Ima Kosi,” on Fire Cracker. Here, a street smart-Daisy shouts out different regions in the eastern part of Nigeria as she reiterates that hard work and dedication are the foundations to enduring success. She also takes shots at her detractors on “No See Road” and “Rest,” reminding them that she cannot be stopped. She samples Astrapiia’s “Can’t Quit You” on “Never Quit,” which is a reminder to herself to never let go of her dreams of rap stardom. Although Daisy operates in a space that never adequately rewards the talent of female artists, most especially female rappers, “Never Quit” is a promise to herself and her fans: she is here to stay.
K.Keed
There are a few intangibles that you pick up on when you hear a budding rap artist in the first few times. Presence is one of those, an ambiguous function of the artist’s natural cadence and a convincing oomph to their delivery that instantly defines how they will be received by your ears. The same way size can’t be taught to aspiring basketball players, it’s almost impossible to teach presence in rap – at worst, the artist just doesn’t have it; at worst, the artist can grow into it. South African rap upstart K.Keed has IT, in abundance. Presence is a preternatural part of her skill-set, dating all the way back to the very first song you’ll find on her SoundCloud page – released in 2018.
“Murder,” as the title suggests, is a bruising song where Keed tears through the web of naysayers and unbelievers, a pre-emptive gauntlet thrown down ahead of any doubts about her potential as a rap star. On that song, every line is as impactful as the one before it, each couplet landing with the loud thump of a giant’s step and every clever line slicing through with the sharpness of a samurai’s sword. Even though her voice is naturally honeyed, it’s effortlessly contorted into a delightfully stinging weapon, setting the precedent for an artist who easily sounds compelling and whose swagger will consistently be unchecked.
In 2017, K.Keed began rapping at the nudge of a friend; she took a beat from him, went home to write to it in 30-minutes and it unlocked a part of her she scarcely knew. It frames what she currently is in her default mode: a dead-eyed lyricist with an inclination to incinerate any beat she encounters. But you’d be wrong thinking that’s all she is. ‘Concepts’, her brief 2019 collaborative tape with producer Lay Lay, teased out more range from Keed, both as a melodic vessel and versatile songwriter. By last December’s solo debut EP, ‘R E L I G I O N’, a clearer vision of who Keed wanted to be as an artist became clearer. The EP is filled with lyrically intricate bars, breezy melodies, and enveloping trap beats, resulting in a definitive statement of artistic self wrapped into infectious bangers.
Earlier this year, Keed got her biggest mainstream look yet, spitting the instantly memorable hook on “Spazz,” headlined by friend, fellow Cape Town rapper and NATIVE Fresh Meat alum, Dee Koala. However, to truly appreciate where she’s headed, you have to take into account all of her drops this year, which have been mostly freestyles, a format she clearly uses as a showcase. One of those freestyles is “Goblin,” where she combines simple chants with biting raps, over a bubbly trap beat, into one of the most enjoyable rap songs out this year. There’s also a blistering freestyle over the soul-sampling beat for Drake’s “Lemon Pepper Freestyle,” and a rough but enjoyable lyrical exercise over the classic beat of The Notorious B.I.G’s “Mo Money, Mo Problems.”
Last month, she shared ‘Tx3’, a 2-pack drop with a woozy trap banger and a springy, hyphy-inspired song. They are experimental iterations of the supreme confidence K.Keed has in her abilities, and it will make you believe she determines where she goes next on the road to becoming a hybrid rap superstar.
Featured image credits/NATIVE
Written by Ada Nwakor, Dennis Ade-Peter, Uzoma Ihejirika, Madoodiwa Miya, Wale Oloworekende and Wonu Osikoya
