TurnTable Top 50: Skiibii’s “Baddest Boy Remix” Debuts At No.1

Posted on by Chibuzo Emmanuel

This week, Skiibii earns his first top 10 entry with the Davido-assisted “Baddest Boy (Remix).” Tallying a record 8.21 million equivalent streams (No. 1 on streaming), 32.9 million in radio reach (No. 11 on radio) and 827,000 in TV reach (outside the Top 100), this is Skiibii’s first No. 1 entry on the Top 50 as well as being the first entry on the chart.

Skiibii joins Gyakie, Ladipoe and Nicki Minaj as artists would have reached No. 1 with their first chart entry. “Baddest Boy (Remix)” is Davido’s record extending fifth No. 1 entry on the TurnTable Top 50 – having previously reached the top with “FEM,” “Holy Ground,” “The Best,” and “FOR YOU.”

Fireboy DML & Ed Sheeran’s “Peru” slides to No. 2 after topping the chart for four consecutive weeks – it continues to lead the radio chart with 52.6 million radio impressions (7th week at No. 1). It is followed by Kizz Daniel’s “Pour Me Water,” which slips to No.3 on the charts and Adekunle Gold’s recent single “Mercy,” which debuts at No.4 this week. The song tallied 45.8 million in radio reach and 1.94 million equivalent streams and becomes the fourth song off the artist’s highly anticipated ‘Catch Me If You Can’ album to enter the top ten.

Rounding up the top 5 is Lil Kesh’s latest single “Don’t Call Me” featuring Zinoleesky which drops from its previously held 4th position last week. It’s followed by Burna Boy and Wizkid’s awe-inspiring single “B.DoR,” at No.6 this week and CKay’s “Emiliana,” which ascends to No.7 this week. TI Blaze’s Olamide-asssisted “Sometimes,” follows at No.8, with Kizz Daniel’s “Eh God (Barnabas)” at No.9 and Ruger’s “Dior,” holding its No.10 peak.

Featured image credits/

Elsa Majimbo Launches The Alphabet NFT Collection

Posted on by The Native

After conquering the comedy, entertainment and now the fashion world, Kenyan superstar Elsa Majimbo is now inching into a new market: non-fungible tokens (NFTs). Following the release of her exclusive Maison Valentino x The Alphabet for kids & ADULTS book last year, the comedy star along with her money-making team (Mohamed Kheir and Pepijn Temming) have now announced their debut NFT collection.

 

View this post on Instagram

 

A post shared by Elsa Majimbo (@majimb.o)

Titled ‘The Alphabet NFT Collection,’ and now live on Crypto.com, Elsa’s latest effort is her first official gateway into the metaverse. The collection brings to life the foundational building blocks of our stories: letters. The first collection will consist of 26 unique letter animations, and the first three drops will have eight letters, which are O, H, D, L, S, A, E, Y. Whoever ends up with the NFT letters – E L S A will be entered into a raffle draw for the chance of winning the exclusive Maison Valentino x The Alphabet for kids & ADULTS book.

The Alphabet NFT Collection will be the first collection to bring word games into the NFT space, allowing collectors to create words, play word games and claim rewards. The second stage launch of the collection will include an $LPHA token as a framework for future The Alphabet Universe utilities while stage three will see the launch of AlphaBattle, the first NFT word game.

The book’s illustrator, Teeming shares that “I’m so excited to finally be releasing this project which we have worked so hard on. Like so many people in this space, I grew up on the internet — and now, as an artist, I’m extremely excited to see the evolution of digital ownership and the impact this has on our internet culture. I hope you all love ‘The Alphabet Universe.’ It’s been a true passion project.” Speaking about the new collection, former NATIVE cover star, Majimbo says:

“I’m so excited to bring our letters to life with this NFT release; when we wrote the original book, I knew that amazing things would come from it,”

 

View this post on Instagram

 

A post shared by Elsa Majimbo (@majimb.o)

Featured image credits/AlphabetNFT

Afropop revolves around Nigeria, for better or worse

Posted on by Dennis Ade Peter

Of the ten artists nominated for Best African Act at the 2021 MOBO Awards, eight were Nigerian. The other two nominations were for Ghanaian singer, King Promise and UK-based Afro-swing boy band NSG. Essentially, in its thorough survey of urban African music over the previous year, the MOBO’s pretty much determined Nigerian Pop music as the only consequential scene on a continent with 54 countries.

It’s quite the common theme: At the upcoming NAACP Image awards, Ghanaian singer Kidi is the only non-Nigerian artist out of five nominees in the Outstanding International song category; and two out of the three nominees up for Best Global Music Album at the coming Grammys are Nigerian artists. There’s the useful argument that awards aren’t the best gauge for what’s happening in the music zeitgeist, but they are a useful reflection of the music receiving a lot of attention. Especially in the context of the increasing global reach of music out of Africa, there’s an obvious attention landslide in favour of Nigeria.

It would be ingenious if anyone claims the attention is entirely undeserved. Over the last two-plus decades, modern Nigerian Pop music has evolved at breakneck pace, growing out from its initial form as a kitschy and inventive parody of Hip-Hop and R&B, into a boundless organism with wide sonic range and a groovy identity. Just at the dawn of the middle of the 2010s, that constant evolution coincided with the advance of globalisation, through the increased permanence of social media, as well as an auspicious mammoth collaboration between the country’s premier superstar, Wizkid and Drake, arguably one of Pop’s global stars.

To simplify the spike in attention through this particular period, though, would be underselling the fact that Nigerian music has been crossing borders years before. In the mid-2000s, P-Square, 2Face Idibia, the Don Jazzy-led Mo’ Hits, and a handful other acts prominently exported Nigerian music on a continental level, pulling off arena-size live shows across Africa, and dominating awards held on a pan-African level. By the late ‘00s and early ‘10s, artists like Naeto C, 9ice, Chidinma, Wizkid and a slightly wider cast furthered that incursion, helping to service and expand the incremental demand for Nigerian pop music within and beyond Africa.

In terms of pure impact, Afropop has revolved around Nigeria for the lion’s share of this millennium, and that dominance continues to expand with each calendar flip forward. Last year, three Afropop songs made it to the U.S. Billboard Hot 100 singles chart, two of them—Wizkid and Tems’ “Essence”, and CKay’s “Love Nwantiti”—by Nigerian artists, and the third, Amaarae’s “Sad Gurlz Luv Money (Remix)” with Kali Uchis, is by a Ghanaian artist often referred to as a honorary Nigerian due to her popularity and early bond with Nigerian listeners. Nigeria’s ranking at the top of the popularity chain, and by such a significant margin, has become a source of discomfort for several non-Nigerian artists on the continent.

As a glorious 2021 for Nigerian pop music was winding down, Ghanaian Dancehall superstar Shatta Wale went on a tirade via Twitter, condemning the Nigerian music industry for its lack of support towards non-Nigerian artists, specifically Ghanaians. The singer’s accompanying point is the prominence of Nigerian artists in Ghana, claiming a disparity in standing across the border. Not too long after, fellow superstar and frenemy Stonebwoy released a wordy statement, proselytising African unity as a way of agreeing with his colleague rhetoric.

If Shatta Wale, through the combative tone of his tweets and incessant clapbacks, was being didactic, Stonebwoy was being diplomatic. Neither of them was met with kind comments by Nigerian Twitter users. The replies were vitriolic, ranging from sarcastic retorts to straight-up insults, another example of just how loud, tenacious and deleteriously funny Nigerians are on social media when collectively expressing displeasure. It was also the perfect setting for an ever-combustive Burna Boy to enter into a war of words and threats with Shatta Wale, which somehow devolved into sexual assault accusations from each camp.

Within all the noise, the obvious takeaway is not just the dominance of Nigeria on Afropop, but also Nigeria’s awareness on their influence on what gets and stays hot. It’s been said many times, but it’s difficult to overstate the importance of Nigeria being the most populous nation in Africa, as well as the teeming number of first-generation immigrants all over the global diaspora. That alone is an integral part of the unassailable advantage, but it’s worth noting that Nigerian music itself had some work to do to get those numbers in its support.

 

Even with the forward steps, the ‘00s and part of the ‘10s was marked by the common rhetoric that Nigerian music was inferior to the music from outside, more specifically from the U.S. and the UK. Having a listening diet that was light on Nigerian music was the cool thing to do, until it wasn’t, and the situation reversed. The music has always been great, but it became much cooler to loudly love Nigerian music as a lifestyle. These days, there’s an obvious pride Nigerians everywhere have in the music being made by its artists, and it’s had a profound effect on the external interest from the last couple of years.

For Nigerian music to have to prove itself to its own parochial audience, shows how difficult it can be to coral the collective acceptance of Nigerians. Also, now that the music is a rallying point, controversial statements like Shatta Wale’s and Stonebwoy’s are sure to meet the ire of Nigerians, because of the work it’s taken for Nigerian music to reach local reverence, pan-African supremacy and global popularity.

Around this time last year, Cameroonian entertainment figures Pancho C.Y International and Stanley Enow made claims similar to Shatta Wale, comparing the popularity of Nigerian music and artists in Cameroon with the lack of reciprocal representation in Nigeria. Of course, the reactions from Nigerians was anything but favourable, quickly dismissing those comments as an exercise in entitlement. Conversely, both these situations highlight Nigerians’ understanding of what crossover into Nigeria means for non-Nigerian artists, and it’s an exercise in flexing that power without interrogating some of the responsibilities that come with it.

Nigeria is the most recognisable hotspot of pop music in Sub-Saharan Africa, and that cultural value could be more significant than it currently is to its continental neighbours. With priorities set on music from home-grown artists, Nigerians often approach pan-African music conversations with an aura of supremacy. In early 2017, when Mr Eazi noted the storied influence of Ghanaian-originated styles of music on Nigerian music, the ensuing reactions made it seem like he had committed a cancellable offence. As Amapiano began impacting Nigerian pop in 2020, there were misguided takes on eventually owning the South African-originated sound, a constant attempt with every musical trend that starts off elsewhere.

Knowing very well that music with vested Nigerian interest is amplified in reach, that bullishness casts a negative shadow on Nigeria’s dominant stature in Afropop. It’s near impossible to demand Nigerians pay attention to many artists from every country, or be entirely reverent of every musical style that graces our ears, but that acceptance bandwidth could be widened. That solution looks simple on paper, but it’s far more complex because music is a subjective experience and it’s near impossible to tell everyone what to pay attention to and like.

Nigerian music’s popularity all over the world is often couched within Africa’s increasing cultural impact, however, that context isn’t fully realised when there’s just one country hugging the overwhelming share of visibility. In the last year, Ghanaian singer Gyakie, South African ‘Piano rapper Focalistic, and Mozambican trio Yaba Buluku Boyz gained some level of popularity in Nigeria, through collaborations with Nigerian superstars. Those looks undoubtedly elevated the pan-African and international visibility of these artists. That’s the type of impact-sharing Nigerian music should be looking to heighten, a true flex befitting of their dominance in African music.

ICYMI: APPRECIATING BURNA BOY’S PEERLESS CREATIVE RUN SINCE HIS REBIRTH

Songs Of The Day: New Music From BenjiFlow, Chike, Kranium & More

Posted on by The Native

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

We’re doing the work to stay on pulse with all the music coming out from across the continent and beyond, bringing you exciting songs of tomorrow: today. Earlier this week, we brought you new releases from Wurld, Portable, Kofi Mole, Reminisce& more. This New Music Friday, enjoy these new releases from BenjiFlow Chike, Kranium and more.

BenjiFlow – “Ready” ft. Juls

After several single releases last year including “Go” and the Oxlade-assisted “My Bella,” Benji Flow has now shared his latest project ‘The Thrill.’ The 8-tracker that finds him making an ambitious change from his last EP as he experiments more and shifts the boundaries on his creative output once again. On standout Amapiano-inspired track “Ready,” the singer teams up with Ghanaian-British producer, Juls who delivers the perfect groovy backdrop for Benji to express his romantic intentions to a muse. “Baby I feel the same way/I told you I’m ready/Don’t let this feeling go,” he sings over the song’s propulsive beat, addressing a muse who he’s ready to deeply commit to.

Chike – “Nwoke Oma”

Singer and songwriter Chike gets inspirational in this solo Afropop single entitled “Nwoke Oma”. “Nwoke Oma” is an Igbo word meaning a good man/handsome man/great man and in true fashion, Chike works his boyish charms on the track. Singing “When you dey hustle, you go dey all alone; when you succeed, they go call you their own,” he speaks on distinguishing between those in your corner and those against you. He advises listeners to be careful and mindful of people who care for you during the good and bad times.

Kranium – “Wi Dey Yah”

Kranium returns with a reggae induced tune titled “Wi Dey Yah” as his first single of 2022. “Wi Dey Yah” is Jamaican slang for “We’re here, or We’ve Arrived, “ showing his new-year mindset. In a boisterous and self-assured tone, he sings about his accomplishments and toasts to the successes yet to come.

Kida Kudz ft Prettyboy DO – “Plus 2”

After the release of his sophomore album ‘Top Memba’ in 2021, packed with hit songs like “Makaveli” and “Animalistic”, Nigerian born London based Afro-pop artist is back to debut his three-track single pack titled ‘Jiggy Pack Vol 2’. The third song on the project is dubbed “Plus 2”, assisted by fellow Nigerian rapper Prettyboy DO. The song is a slow-paced, low-tempo track that flows smoothly with Kida’s unique vocals and DO’s signature eccentric rap style. Both make a great team and lovely vibe.

Save Milli ft Ria Sean & Shank – “Studio”

After releasing his debut EP, ‘Childish II’, last year, Afrosoul singer, Save Milli is back with a dual-single project. The first is a solo track titled “Like This” and the second is “Studio” featuring fast rising singer Ria Sean and Shank, which is an immediate standout of the two.

“Studio” explores an intimate moment shared between two lovers in a cosy studio space. “I’m about to set the mood, you know to make everything beautiful, bout to make love in the studio” sings Save Milli, addressing his love interest and reassuring her of his commitment to her safety and enjoyment. Ria Sean was such a perfect addition to this track as she mimics the reactions and responses of his lover, forming an angelic union of both their voices.

Powpeezy, Barry Jhay & Psycho YP – “Lagos Party Remix”

With success from the first song, Nigerian singer-songwriter Powpeezy taps Barry Jhay and Abuja rapper Psycho YP to hop on the remix for his single, “Lagos Party”. The Afro-trap number finds all three rappers trading bars about Lagos nightlife, getting their shit popping and maintaining the bag.

Khaid – “With You”

Khaid is a fresh face emerging in the Afro-trap scene with his debut single “With You”, released today. The romantic number finds Khaid singing about his unrequited love with a girl who can’t help but give him a hard time. With all the hurt and pain he’s been through, he still falls deep into love with her and hopes she returns the feelings. The energy in “With You” is brilliantly portrayed in the music visual skilfully directed by OceanBoy.

Nu Fvnk – “Fair Game”

East African musician Nu Fvnk has been making music since he was young. After years of sharpening his skills, the singer is ready to kick off the year on a high note with the release of his new single, “Fair Game” which he produced and mastered by himself. The catchy new single is a genre-mashing affair which finds the singer chanting in defiance about the underdog rising to propserity. “Fair Game” is set to feature on the singer’s debut album ‘Color Man’, set to be out soon.

 

Featured image credits/

AV Club: How “For Maria Ebun Pataki” Deftly Explores PostPartum Depression

Posted on by Damilola Animashaun

These days, Netflix is ensuring that we don’t miss new Nollywood releases after they go out of cinema, and the latest addition to their catalogue is Damilola Orimogunje’s 2020 ‘For Maria Ebun Pataki’ which arrived on Netflix Naija earlier this month. Taking a firm departure from Nollywood’s round-of-the-mill slapstick commentary, the 2020 release is a deep thought-provoking drama which explores a paramount topic in society — postpartum depression.

Starring Meg Otanwa and Gabriel Afolayan, the film deftly address the issue of postpartum depression in new mothers. Given the typical clandestine nature of approaching topics of mental health in Nigeria, Orimogunje’s film is a daring inclusion in the film industry, as it allows viewers witness the realities of mental health and motherhood. 

In the film, new mum, Derin is battling with mental struggles following the birth of her child. While she’s emotionally supported by her husband (played by Afolayan) and joyous at their new born, the new mother finds herself detaching and dissociating from everyone around her as she grapples with her own complex wiring. In these parts, we are typically raised to see mothers as the bedrock of the nuclear family as they are there to provide, support and nourish the household. However, ‘For Maria Ebun Pataki,’ takes a step further to depict the realities of motherhood through the lens of one of its most common side-effects.

According to current statistics from the NHS, 1 in 8 mothers will experience postpartum psychosis following the birth of their child and can start anywhere between 1 week to 1 year. Given these facts, one would expect that this form of depression is spoken about in great detail to expecting mothers or adolescents of legal-age, however, it is rarely given the level of seriousness it deserves as women and mothers are expected to be maternal.

‘For Maria Ebun Pataki’ does a great job at addressing the fact that women don’t seem to have opinions right after childbirth which as a matter of fact is extremely wrong. Fola’s mum (played by Tina Mba) displays her affection in the most supercilious way possible as she doesn’t seem to understand what her daughter-in-law is going through. Being from a different generation, she believes that mothers should be emotionally and mentally in-check for their children, failing to take into account that motherhood is not monolithic.

Derin’s situation is unique. Originally, she and her husband wished to have four children in their marriage but after several complications, Derin was only able to birth one child which eventually led to her losing her uterus due to further difficulties with her delivery. Meg Otanwa played the role expertly, bringing the character to life with her spot-on body language, dialogue and facial expressions. Her ability to express every single emotion without fuss or agitation but with clarity is exactly what the movie needed to pass its message across.

From her feelings of isolation, to the way she’s able to masterfully zone out during ongoing conversations, Otanwa brings her character to life, allowing viewers the room to see first-hand the effects of depression on the human psyche. The downside about sugarcoating depression is that it leads to loss of life. In ‘For Maria Ebun Pataki,’ Derin suffers the same fate, resulting to end her own life when the pressure got too much for her. 

Rather than delivering a happy ending for both mother and family, Orimogunje’s film aims to show viewers the real-side of postpartum depression by showing what happens when it is not treated with utmost importance. Speaking on the film, Orinmogunje himself explains that he wanted the film to be more than just another watch, he wanted it to go a step further a showcase the realities of depression in Nigerian society. 

“Mental health is real, postpartum is real. There’s no shame speaking up and seeking help. There’s no shame talking to medical experts or therapists. We are in 2022, there’s no sole standard on how to live, societal pressure must be addressed and this is why we’ve been advising the film to be watched with parents and family groups,” he shares with the NATIVE.

At the heart of it, ‘For Ebun Maria Pataki’ is a didactic film about the realities of mental health. It doesn’t always end with smiles and laughter all the time, for most people, grappling with mental struggles has real-life consequences such as suicide but it does not need to get to this level before it is taken seriously. ‘For Maria Ebun Pataki’ calls for us to question how seriously we take the struggles of those around us, particularly for mothers who are expected to be tough matriarchs in our lives. 

Featured image credits/IMDB

ICYMI: Nnamdi Okeke embodies the broken Nigerian dream

Words by Wonu Osikoya and Tami Makinde

NATIVE Premiere: Mukhy Wants To Live A “Posh Life”

Posted on by Wonu Osikoya

Just last year, British-Nigerian artist, Mukhy released his debut EP ‘Posh Nation’ to incredible fanfare. The EP was a smooth introduction to an artist who banked on himself and his rapid-fire abilities, released in the middle of the pandemic where the singer was only just coming into his own as an artist. Now to begin the new year, Mukhy is expanding his sonic world with the video release to his latest single “Posh Life,” which features his close friends and Afrofusion artists, Babbz and Sasuk3. 

 

View this post on Instagram

 

A post shared by Mukhy (@mukhy_npb)

“Posh Life” is an uptempo Afropop number which sees all the artists speaking on the benefits of living a good, stressfree life. For them, as young artists at the brink of their careers, a good life entails partying with beautiful women, getting wasted with friends, and stacking their paper. 

The Nosachhi-directed cut seamlessly matches the track’s vibrant nature of living life to the fullest and living a posh life. The video captures all three artists having the best time at a house party and on a yacht with women and drinks around as the atmosphere remains vibrant and exciting throughout the duration of the video.

Speaking about the inspiration for ‘Posh Life’, Mukhy shares:

“I recorded ‘Posh Life’ after ex attempted to make me feel jealous. I don’t really emit that type of energy, so instead I walked up to the guy next to her and said the opening line, ‘See the gyal on your shoulder, that’s my old spice’. Safe to say he did not take it well. The braggadocios feeling stuck with me when I got to the studio and ‘Posh Life’ was the result of that session. Essentially though, ‘Posh Life’ is all about having a good time and living a good life, staying away from envy, bad vibes and negative energy, and exuding positivity”.

Ahead of the video’s official release later today, we caught up with the man of the moment, Mukhy to talk about his idea of a posh lifestyle, his ideal vacation and his plans for the future.

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

NATIVE: Hi Mukhy, what inspired your latest single “Posh Life” and its vibrant new video?

Mukhy: I recorded ‘Posh Life’ after my ex attempted to make me feel jealous. I don’t really emit that type of energy, so instead I walked up to the guy next to her and said the opening line, ‘See the gyal on your shoulder, that’s my old spice’. Safe to say he did not take it well. The braggadocious feeling stuck with me when I got to the studio and ‘Posh Life’ was the result of that session. Essentially though, ‘Posh Life’ is all about having a good time and living a good life, staying away from envy, bad vibes and negative energy, and exuding positivity 

NATIVE: How did this collaboration between you, Babbz and Sasuk3 come about ? 

Mukhy: Babbz is my brother. Some people support you when they see you’re growing, others support you in order to start your growth. He’s definitely the latter. So by the time I finished my first verse, there was only one place to go for the hook and what he did was simply genius. He made it in his bathroom – one day I’ll share that video.

Next was the bridge, I knew I needed an R&B voice on it, I actually first sent it to BOJ’s camp but I was left to marinate in their messages …Eventually, it occurred to me that I should just stay with the guys who have been recording with me since day 1…and Sasuk3 got that r&b voice that’s incredible and he killed it

NATIVE: What is your definition of a posh lifestyle?

Mukhy: Man, I’m a shallow, simple guy, good sex and alcohol. If you were expecting something wholesome like “internal success”, sorry. Look elsewhere. I actually think monogamy sucks. Woman, woman and more woman. Then when you’re done with all that, have a strawberry daiquiri with more of the same. The weather doesn’t even have to be good as long as woman is in the vicinity it’s always sunny to me.

NATIVE: Where is your dream vacation location?

Mukhy: Brazil. I can’t think of a better place to be than Copacabana beach with a latino shawty on my lap, another feeding me fresh sushi. Oh my yeah, that’s life. Every penny from Posh life is going towards a holiday in Brazil. If I don’t return, NATIVE needs to let em know I really was here for a good time.

NATIVE: When people listen to “Posh Life”, what do you want them to take away the most from the song?

Mukhy: Hmm, two things “Everybody wanna see if I break….bitch I only break even”, That feeling of “yeh I’m having my best time, and I’m so sorry if you were betting on me to fail, but I will just keep coming better and better with a wider smile” Secondly, along with food and water, a good time is a necessity. Not a single soul underneath the sun can take that away from you. So as you sing the hook, sing it looking straight at your haters “me no get no time for no hay hay hay, me no get no time for no haters!”

NATIVE: So what’s next for Mukhy?

Mukhy: KID REBORN. Easter this year. It’s an EP with all sorts of surprises. I can’t wait to share it with Posh Nation (which by the way is the best fanbase ever). I’m taking this sound all the way and Posh Life is just a warning shot, cause the real is yet to come.

Get an exclusive first look at the video for “Posh Life” below.

Featured image credits/Provided by the artist

Songs Of The Day: New Music From Wurld, Reminisce, Kofi Mole & More

Posted on by The Native

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

We’re doing the work to stay on pulse with all the music coming out from across the continent and beyond, bringing you exciting songs of tomorrow: today. Earlier this week, we brought you new releases from Skiibii, Davido, 2Baba, Sean Lifer & more. Now to kickstart the weekend, we’re bringing you new releases from Wurld, Portable, Kofi Mole, Reminisce & More. Enjoy.

WurlD – “Let You Down”

WurlD is infamous for letting his emotions speak through his music. This is not any different on his latest single, “Let You Down”. The electronic Afro-soul track is a solemn number that finds WurlD speaking on his unintentional actions that hurt his love interest. He goes on to wish he didn’t meet her, and maybe he wouldn’t have let her down. “Let You Down” is the headliner to WurlD’s forthcoming 19 track album ‘My World With U’, set to debut in March. Alongside “Let You Down” are his other singles “Spunk” and “Stamina” set also be featured on this project.

Reminisce – “Alaye Toh Se Go Go”

Veteran Nigeria rapper, Reminisce gifts his fans a brand new single titled “Alaye Toh Se Gogo”. Serving as his first official single of the year, the new track is a slow tempo track filled with Piano sounds which are accentuated by delectable drum patterns. He raps his heart out in his signature pace and a clear yet strong voice that carries weighty messages. Gearing up for the release of his upcoming album and other singles yet to drop, he raps about focusing on himself, having no fear, and thanking God for his blessing and hopes he grants him many more years.

Portable (ft. Small Doctor) – “Neighbour”

Since gripping our attention with 2020’s viral track “Zazoo Zeh,” alongside dancer Poco lee and Olamide, and kicking off 2022 with the Barry Jhay-assisted “All Eyes On Me”, Portable has now tapped street-hop pioneer, Small Doctor on another single entitled “Neighbour”. Over a catchy traditional beat, Portable does what he does best and captures our attention with his dizzying rhymes and rapid-fire alliteration. Small Doctor jumps in with the perfect sound that compliments the song and makes for an enjoyable listening experience that will soon hit the streets.

Bella Shmurda – “Friends”

Dangbana Republik’s hitmaker Bella Shmurda delivers a new single dubbed “Friends” to celebrate his birthday. The Niphkeys produced track will be Bella’s first project of the year 2022. On this Afropop single, Bella with all his success and travels has to say goodbye to his friends but reassure them he has them in mind no matter where his venture leads him. A must listen

Mayorkun & Victony – “Holy Father”

The chart-topping single “Holy Father” featured on Mayorkun’s ‘Back to Office’ is back on the scene with a cinematic and eccentric visual. Assisted by fast-rising sensation Victony with such catchy lyrics, vocals and feet stomping beats produced by Semzi, it’s no surprise that this track has garnered impressive numbers on turntables charts and streaming platforms all over. The visual is set on Mayorkun embarking on a secret mission to seek out a high entity, directed by the amazing TG Omori. The biggest surprise is witnessing Victony standing on his feet to perform the song as he was prone to a wheelchair due to a horrific car accident last year. A video worth watching.

Ayra Starr & Ckay -“Beggie Beggie”

Afro pops fastest rising star Ayra Starr and global hitmaker CKay teamed up to give us the hit single entitled “Beggie Beggie” which was featured in the Ayra Starr’s highly received debut album, ‘19 & Dangerous’. Produced by Louddaaa, “Beggie Beggie” is a contemporary and minimalist homage to the warm grooves of traditional African music.

Thematically a change in pace from Ayra’s anthems of defiance and independence, “Beggie Beggie” sees Ayra demonstrate vulnerability and a longing to be loved. With the songs success, it is fair that it is accompanied by a fire music video.  The Director K-released video is a representation of Nigeria’s cultural Renaissance set against a Nollywood-inspired backdrop. The style featured in the visuals is reminiscent of the Y2K and old Nollywood era from the hairstyles to the outfits, emphasising the vision and spirit of the video.

 

Teeben – “Wayo”

Love is in the air. Leading up to Valentine’s season, “Wayo” by Teeben is a perfect song for those lovebirds and singles wishing to serenade that special someone with a song. An Afro-pop track headed by a heartfelt theme about coming into love with a clean heart and honest intentions. Teeben also admires his love interest and what it feels like to be in love with her. Must be nice for some.

Kofi Mole – “Abuakwa”

The Ghanaian rapper Kofi Mole recently released his eight-track EP ‘Knackaveki’, which features a few of his fellow Ghanaian artists like Joey B, Eden, and Pappy Kojo. One of the fan favourites in the project is the opening track, “Abuakwa”. “Abuakwa” is a catchy single that pays homage to his hometown in Ghana that also goes by the name Abuukwa – Kumasi. “Got love for my city and my city love for the ni***a I dey fuck with just enjoy the hospitality” he raps, determined to put his hometown on the map.

ICYMI: A YEAR LATER, AYRA STARR HAS EMERGED AS A GENERATIONAL VOICE

Daily Paper x Free The Youth Honour Childs Play In Their Sophomore Collection

Posted on by The Native

After the release of their first ever collaborative venture in 2020, Amsterdam-based Daily Paper and Ghana-based Free The Youth have reunited for a new collection based on the pair’s longstanding friendship. First unveiled in Accra at Daily Paper’s pop-up, the collaborative collection will now be made available worldwide on January 27.

 

View this post on Instagram

 

A post shared by Daily Paper (@dailypaper)

For their second collaboration, both streetwear brands were inspired by a nostalgic trip down their childhood memories and the games they loved to play as kids. The collection is meant to tap into the child-like youth in all of us where we exude the freedom and ability to create while having fun. Since the collection was made available at the Daily Paper pop up in Ghana, it will also be available in stores worldwide and online starting from January 27th 2022. 

The collection itself features 6 limited edition pieces in classic green, blue, black and white colourways, taking on a playful aesthetic. Adorned with custom Daily Paper x FREE THE YOUTH graphics, the collection represents a true ode to a DIY childhood. Speaking about the new collaboration, set to hit their Daily Paper website tomorrow, co-founders of FreeTheYouth, Maposh, Joey and Kelly share:

“This collaboration with the Daily Paper family was a special one. It reminded us all of when we were young in the hood, where we group up. This was us, making things by hand out of whatever we could find – cans, scraps etc. – transforming it into something, cars mostly. It all started from an idea and through creativity, youth and joy, we were able to make something out of it. This creativity, this hope – this is what we are bringing to the people through this collection.”

Credits:

Photography: @trendsafeez

Producer: @ekowbarnes_

Hair & MUA: @wild_moon

Stylist: @wizkojo

Talents: @prince__b07, @gilbert.q_ & @adom.gee.

You can view shop the collection here tomorrow.

Best New Music: Fave Has Everyone “Obsessed”

Posted on by The Native

At the first peak of the COVID-19 pandemic, Fave cut through the fog of uncertainty with a whirlwind of a voice. Hopping on a beat from a free pack shared by Lagos-based producer and singer Jinmi Abduls, she shared a stunning freestyle video for “N.B.U,” quickly endearing her to many who encountered that video. In the two years since, she’s been methodical with her growth, taking her time with occasional singles and features. All of that paid off at the end of 2021, as she scored her mainstream breakout hit, “Baby Riddim.”

Rolling into the 2022 with purpose, Fave recently released her debut EP, ‘Riddim 5’, to widespread positive reception. The love-themed EP consists of five tracks, including “Baby Riddim,” and it’s the perfect vehicle for her undeniable talent as a head-turning singer and songwriter with a knack for relatable lyricism. While its lead single will still be getting a lot of love, one of the EP’s standouts is “Obsessed.”

 

View this post on Instagram

 

A post shared by Fave (@faveszn)

Opening up ‘Riddim 5’ on a remarkable note, “Obsessed” is a gently intoxicating track centred on Fave’s ability to elevate the mundane into something special with heartfelt expression. Her melodious vocals are accompanied by catchy adlibs, and a drum and guitar-filled beat. The KNZ-produced track slowly kicks in with a male voice singing in traditional language, this voice is heard numerous times throughout the track, adding a unique flavour and authentic vibe that matches the fusion of Afropop and R&B on the production. It’s also a solid sonic convoy for Fave to effortlessly sing her heart out about being head over heels for a love interest.

Fave, being a GenZ, explores the nuances of young love with a very modern, casual twist, as she details the strong and sometimes overwhelming feelings we have towards our significant other. “I’m obsessed, I confess, these in my head go spinning round,” she repeatedly sings on the chorus, expressing how romantic love can fogs our minds and fill up every facet of our being. Obsession is a very strong word but, in this context, I believe it was chosen to understand the very extent of the infatuation. She even sings:

 “You leave, I want to follow you there, 

you miss a call, my heart e go tear, 

you say a thing, I hear it different” 

All the signs of an obsessive relationship are barely ever healthy, but young love is barely ever rational. Romance is a beautiful thing but it can turn ugly when it becomes obsessive and has you morphing into someone you don’t recognise. Fave explores that to an extent, conveying the fear and anxiety that comes with this heady sort of affection. Falling for someone is far more complicated than the concept of gravity in our adolescene, and “Obsessed” captures all that perfectly.

Also, on the cusp of Valentine’s Day and the so-called season of love, being with someone that makes us feel special and keeps our heart beating fast is a struggle, especially in the age of frayed connections and situationships. Perhaps, that’s part of what makes “Obsessed” an early fan favourite going into the coming weeks. Currently, the song has been making headway on various streaming and radio platforms, setting up another big single for the singer.

Fave is living in her moment and enjoying every piece of it and that’s what you expect from someone with so much talent. We can’t wait for what more she has in store for us. 

NATIVE EXCLUSIVE: FAVE IS READY FOR THE WORLD

Lady Donli debuts “Thunderstorm in Surulere” on A COLORS Show

Posted on by Dennis Ade Peter

After taking a much-needed break from public view, including a months-long social media hiatus, Lady Donli reappeared last summer with new music in hand. The singer delivered the third EP in her catalogue, ‘W I L D’—shorthand for ‘Where is Lady Donli?’—to positive reception. The 6-track set added a fresh layer to her retro-fusionist Pop agenda, with a vibrant palette and Donli being as vocally compelling as ever.

In addition to strengthening Donli’s craft as a pan-African rockstar, ‘W I L D’ is also meant as a precursor to the singer’s sophomore album, which should see release sometime this year. Opening 2022 and kicking off the album rollout in remarkable form, Lady Donli has just debuted “Thunderstorm in Surulere,” the lead single from the upcoming LP, on COLORSXSTUDIOS’ A COLORS Show. Lady Donli joins an increasing list of Nigerian artists who’ve graced the renowned music performance platform, making her appearance memorable with a wondrous set befitting of the occasion and song’s significance.

Produced by UK-based artist and EYL collaborator, BenjiFlow, “Thunderstorm in Surulere” is a tantalising, romantic jam. Musically, it’s an amorphous combination of R&B, Afro-Soul, and Folk-indented Afropop, with three warm riffs—piano, guitar and bass guitar—melding to form a bewitching melodic motif over groovy, languid drums with a jazzy swing. On it, Lady Donli basks in the glow of being romantically entranced, true to her self-professed nature as a lova gal. “Rain is falling, in a way it has bever felt before/It’s the thunder in my soul that’s pouring/‘Cause I think I found the one, I’m Soaring,” she sings at the top of the second verse.

In front of a purple background, Lady Donli performs with the same vibrant energy her live sets have become renowned for, singing, dancing, radiating the joy apt to the song’s theme, and adding adlibs in spots that call for them. Donli’s performance on A COLORS Show is a great way to experience “Thunderstorm in Surulere,” setting a tone of anticipation for her coming sophomore LP.

ICYMI: A RECAP OF LADY DONLI’S EARLY CAREER BEFORE HER 2019 DEBUT ALBUM

Hot Takes: André Leon Tally, Kanye & His Muses, Madea Returns & More

Posted on by Damilola Animashaun

And just like that, it’s the new year again. After weeks of partying and catching up with family and friends during the festive season, we’re back to business as normal as the hazy January days roll in. Although I’m firmly in work mode these days, I’ve been reminiscing on the December period and all the fun that I had to get me through the long quarter ahead. 

I ended my detty December in Ghana which was offered a more serene and slower pace than Lagos. It was really peaceful and calm and exactly the remedy I needed to begin the new year and recharge my spirits. While it’s been a quiet month already, there’s already been enough buzz-worthy pop culture moments happening all across the world to kickstart the first edition of our Hot Takes column this week. From witnessing the entire world Pushin’ P with Gunna, Future and Young Thug to Kanye’s many muses, the sad passing of André Leon Tally and the return of ‘Euphoria,’ this week I’ll be taking the reins with our production assistant, Moore to dish on all the hottest takes from around the world. Enjoy!

What I’m Currently Listening To

The year just started and there are a few releases out already. My favourite at the moment happens to be from Fave, the 21-year-old newcomer and Fresh Meat alum who recently shared the world around her debut EP ‘Riddim 5’ with loyal fans. The succinct 5-tracker runs under the 20-minute mark but still packs in a punch with honest storytelling and catchy beats. I’m extremely impressed at the outcome of the tape but of course, I have some favourites. The standout track for me will be “Mr Man”. I simply love everything about this track, from the lyrical content to the delivery, the track really does it for me. Close second is “Baby Riddim”, as the song simply cannot get old to me. In fact, it sounds like a completely new track on the tape.

What I’m Currently Watching

written by Moore Wright

The second season of HBO’s ‘Euphoria’ recently premiered after an almost three-year break. The long wait seems to have only increased audience’s enthusiasm for the show, as it’s already been all the rave on social media. The season had an explosive start, with Rue and Fezco having an encounter with drug dealers that quickly turns violent. This made the show seem less like the colourful, if very intense, teen drama that we know and more like the hectic thriller ‘Uncut Gems,’ also produced by A24.

The cinematography also marks a change in tone. Shot on film, it is a far more muted with a hazy colour palette than the purple hued previous season. The showrunner Sam Levinson stated that the intention was to make this feel like a house party “at 5 am, way past the point in which everyone should have gone home.” The characters are dressing differently and behaving even more messy than before. With lighter makeup that lets the texture of their skin show clearly on film, it feels like we are truly
seeing the cracks beneath the masks that the characters wore in the previous season. The first season may have felt more like the peak of a high on a night out, this season feels more like the start of the comedown.

Some Of My Favourite TikTok Trends Right Now

The “Gorgeous gorgeous girls” trend has been gaining traction on TikTok. It was first posted by the account @fishdress, in a video in which it was said that “Gorgeous, gorgeous girls love soup. Soup girls are the most popular girls in the chicken coup.” People have begun using the first three words and following up with various things that they think is gorgeous girl behaviour.
Videos ranging from serious PSAs on people encouraging more social awareness, to people proclaiming what they think is hot girl behaviour.

André Leon Talley Has Passed Away

André Leon Talley, Vogue’s first African-American male creative director has passed on at age 73. Talley was a prestigious fashion journalist, creative director, stylist and editor-at-large at Vogue Magazine. It was reported that he died right after suffering a heart attack according to Graydon Carter.  He was a lifelong advocate of fashion as his career in fashion began with an internship for former Vogue editor, Diana Vreeland. He began writing for publications including W and the New York Times, but his rise to fame began when he began writing for US Vogue. He shortly rose to become the magazine’s news director and afterwards became the creative director until he left in 1995. He returned to Vogue a few years later where he felt at home and remained the editor-at-large until 2013.

Interestingly, Tally also served as a judge on America’s Next Top Model from cycle 14 – cycle 17. Tally was not just popular but an important figure in the fashion world, as he was known for his elegant and flamboyant style. He’d dress in kaftans, hats and robes which he wore quite frequently. Alongside writing for publications, he authored three books of which one landed on New York Times bestseller list. From styling The Obama’s during their time in the white house to styling Melania Trump on her wedding, Tally has lived a good life with a career spread over 6 decades. The entire fashion and journalism industry mourns his life and legacy which will never be forgotten. 

 

View this post on Instagram

 

A post shared by Andre Leon Talley (@andreltalley)

Kanye And His Many Muses

written by Moore Wright

Kanye West has long been respected as a visionary artist, both when it comes to his music and within the fashion industry One of the ways in which his eye for style is expressed is through the way that he seems to strip down and build up his romantic partners. Kanye’s Pygmalion-like tendency to sculpt women in his preferred image can be seen through his whirlwind romance with Julia Fox.

According to Fox, the pair met on New Years, moving very quickly afterwards. On their second date Kanye filled an entire suite with new clothes for Fox, a process documented in Interview Magazine. Since then, Julia’s street style has already made a marked change, with many of her outfits paralleling those of Kim Kardashian, Kanye’s estranged wife. This is something he’s done with his past partners. 

This pattern can be seen with his exes such as Amber Rose, who he urged to wear a minimalistic white gown to the Metropolitan Opera’s 125th-anniversary gala at Lincoln Center, going against her personal style. Amber still seemed to keep some of her own character in her clothes however. As documented on ‘Keeping up with the Kardashians,’ Kanye took his styling to new lengths with Kim Kardashian, almost completely clearing out and replacing her closet. “[Kanye] sent me a whole email, like, ‘You cannot wear big glasses anymore. It’s all about tiny little glasses,’” Kardashian said about Kanye’s fashion instructions. They ran into some trouble at the 2019 Met Gala where he changed his mind about revealing clothes, encouraging Kim to wear a more conservative outfit, to which Kim argued that he was the one who encouraged her to lean into her sex appeal. His method of transforming his partners is not something that appears to be sustainable. People are unlikely to allow themselves to be shaped by the whims of an artist for long, especially when it comes to their own self expression.

 

View this post on Instagram

 

A post shared by COMPLEX (@complex)

Madea returns

Written by Moore Wright

Tyler Perry returns to his iconic character Madea with his recent announcement of ‘A Madea Homecoming.’ This comes three years after his announced decision to permanently lay his character to rest. Many have had mixed feelings about this return, along with growing criticisms of Tyler Perry as a filmmaker in general. A common criticism is that his films tend to be overly moralistic.

In ‘Madea’s Family Reunion,’ there was a speech in which the character Myrtle said “young black women, you are more than your thighs and your hips” after a character in short shorts was ogled. It was framed to more of a call to change their behaviour, instead of addressing the men who did the ogling. In another of Perry’s film’s ‘Temptation: Confessions of a Marriage Counsellor’ the main character engages in an affair (which does not start consensually) and winds up contracting AIDS as punishment for her infidelity, which sends the wrong message to viewers.

However, in the years that have past since his last Madea film was made, Perry may have begun to make some changes to his universe. He is trying to be more inclusive this time around, stating that this film will include an LGBTQ+ storyline.
Perry does appear to be a filmmaker that cares deeply about his audience, and the movies are no worse than many broad comedies of the 2000s, both in terms of quality and problematic moments. It’s not exactly his fault that he was seen as the defining voice of black comedy for so long, but as a result he is being held to a higher standard. Hopefully, the increasing criticisms cause many people have towards his films causes an increase in quality.

Being Child Free Should Not Be Controversial

Pope Francis made waves by announcing that those who choose not to have children are selfish. It is strange that a man who has dedicated his life to a cause, spreading the word of God would question why many people abstain from having children themselves. Young people are growing more aware of the difficulties of being an adult, in part due to people documenting their lives on social media. Many find themselves in mountains of debt, unable to find well-paying jobs in the increasingly competitive job market, making them unsure of how they’d care for a child financially. Increasing worries about climate change also makes young people wary of brining children into the world. Considering how much of a negative environmental impact having a child may cause, many are choosing not to have children as a way to reduce their own carbon footprints.

Regardless of all these very valid reasons, there are many who also choose to not have children simply because they don’t want to. It would arguably be far more selfish of them to bring a child into the world knowing they lack the capability or resources to care for them. We are in the 21st century, far past the point of doing things simply because it is expected. Unfortunately, with the increasing restrictions on abortion access in places like the US, along with Pope Francis’s statement, can make it appear that we are regressing to a more archaic form of thinking, where people have less of a say with what they do with their lives and bodies. The outspokenness of people rallying to improve abortion access, and being honest about their decisions not to have children gives some hope however.

There are more honest discussions about the difficulties of parenthood also. The Nigerian film, ‘For Maria Ebun Pataki’ is a rare film that doesn’t present parenthood and motherhood in particular as an inherently joyful experience. It acknowledges the difficulties that come with it, as it chronicles a woman who deals with postpartum depression. For this to come out of a very Christian country like Nigeria, where parenthood is simply seen as a right of passage into adulthood is very promising.

Featured image credits/NATIVE

Words by Wonu Osiokoya and Moore Wright

ICYMI: A year later, Ayra Starr has emerged as a generational voice

What we know so far about the military coup in Burkina Faso

Posted on by Dennis Ade Peter

On Sunday, news reports from Ouagadougou, the capital city of Burkina Faso, confirmed a then-ongoing mutiny, after gunfire was heard around a military base and within the area of President Roch Marc Christian Kabore’s home. Residents and witnesses say the gunfire began as early as 5am local time, in a standoff between mutinous soldiers and forces loyal to the civilian government. By Tuesday, the mutiny had escalated into a full-blown coup, with the army making a statement on national television that it had deposed the President Kabore.

The coup is believed to be centred on the inadequate support the Kabore-led administration gave to the Burkina Faso military in its fight against insurgent groups. Shortly after the ousting of long-term president Blaise Compaore in 2014, Burkina Faso has been plagued by armed attacks from groups linked to al-Quaeda and ISIS. The northern and eastern parts of the country have been the most affected region, as well as the capital city, with the situation growing exponentially worse in the ensuing years, including constant attacks all through 2021.

In June last year, over 100 people were killed in a violent attack on the north-eastern village of Solhan, the worst of the attacks in terms of death toll. In November, an attack in the northern town of Inata resulted in the death of 49 military officers and four civilians, which sparked even more outrage after reports emerged that the troops had gone without food rations for two weeks. It immediately led to anti-government protests and calls for Kabore to step down, which resulted in confrontation between protesters and the police. In another such protest on Saturday, police opened teargas on protesters, despite genuine concerns on the Kabore-led government’s handling of the crisis.

Dissatisfied by the government’s response and support, the Burkina Faso army staged a mutiny, taking control of several barracks across the country, including Sangoule Lamizana camp, which houses the army’s generals and a prison whose inmates include soldiers from the failed coup attempt in 2015. The mutiny was meant to force negotiations with the government for stronger commitment to end the insurgency, however, with talks deadlocked, the mutineers detained Kabore, before announcing full military takeover and a dissolution of the constitution on Radiodiffusion Television Du Burkina (RTB) on Tuesday.

The group, referring to itself as Patriotic Movement for Safeguard and Restoration (MPSR), is being led by Paul-Henri Dimba, a long-term soldier and lieutenant colonel appointed in December by Kabore to commander of Burkina Faso’s third military region. Alongside Chad, Guinea and Mali, Burkina Faso is the fourth West African state to come under military rule in the past eighteen months. The removal of Kabore has been a cause for celebration amongst many locals who have protested the former president’s incompetence, while external bodies and countries, such as United Nations, African Union, ECOWAS and the U.S. government have strongly condemned the coup.

[Featured Image from AFP]

ICYMI: HOW THE LATEST PRESIDENTIAL ELECTIONS PROJECT A BETTER FUTURE FOR ZAMBIA

TurnTable Top 50: CKay scores debut top five entry with “Emiliana”

Posted on by Dennis Ade Peter

Last year, CKay emerged as an international sensation. On the back of TikTok-powered virality, the singer and producer’s two-year old single, “Love Nwantiti,” climbed multiple charts across the world, including a stint on the U.S. Billboard Hot 100 and rumours that the single might soon be certified platinum over there very soon. With these accomplishments, CKay had yet to crack the top five of Nigeria’s TurnTable Top 50, until now.

CKay’s latest popular single, “Emiliana,” has just made its way to the No. 5 on this week’s edition of the TurnTable Top 50, on the back of 1.31 million equivalent streams and 42.4 million in radio reach. It’s the only new entry into the top five, coming in behind Lil Kesh and Zinoleesky’s “Don’t Call Me” [No. 3] and “B. D’OR” by Burna Boy and Wizkid [No.4], with both songs exchanging chart positions from the previous week. Kizz Daniel’s “Pour Me Water” remains at the second spot for fourth straight week, after a one-week stay at the top the TurnTable Top 50 to close out 2021.

Retaining its momentum, Fireboy DML’s “Peru (Remix)” with UK pop superstar Ed Sheeran stays at No. 1 for the fourth consecutive week. The song tallied 1.74 million equivalent streams, 13 million in TV reach and 58 million in radio reach. With an ongoing campaign to make “Peru (Remix)” the first Nigerian pop song to top the UK singles chart, there will undoubtedly be a trickledown effect, which might help keep the song atop the TurnTable Top 50 for a while longer.

Further down, rising street-hop artist TI Blaze makes his top ten debut on the TurnTable Top 50 with the Olamide-assisted “Sometimes (Remix).” Given the heft of the YBNL boss’ co-sign, this week’s No. 9 position might not be the song’s peak. It completes the lower half of the top ten, which is replete with familiar entries from past weeks, including Reekado Banks’ “Ozumba Mbadiwe” [6], Fave’s “Baby Riddim” [7], Kizz Daniel’s “Eh God (Barnabas)” [8], and Ruger’s “Dior” [10].

You can checkout this week’s TurnTable Top 50 rundown here.

ICYMI: OUR FIRST IMPRESSIONS OF FAVE’S DEBUT EP ‘RIDDIM 5’

Nigerians react to AFCON knockout with self-deprecating banter

Posted on by Dennis Ade Peter

After a blistering start to the 2021 African Cup of Nations (AFCON), Nigeria crashed out in unspectacular fashion on Sunday night, losing to a lone goal against Tunisia in the competition’s round of 16. Being the only country to win all three of its group stage games, the Super Eagles emerged as early contenders as the knockout phase began during the weekend, and Nigerians were very much invested in the team’s seeming, impending dominance.

Now, short of fulfilling that potential, the team departed AFCON after putting on a generally lacklustre display against the Carthage Eagles, who qualified as best losers from the group stage after winning just a single game. Early in the second half, Super Eagles goalkeeper Maduka Okoye conceded via a long distance attempt by Youssef Msakni, in what really should have been a routine save.

Over the remaining 45-minutes, Nigeria created multiple chances to equalise but failed to convert any, with the comeback attempt made even harder when Alex Iwobi was handed a red card shortly after being substituted into the game. The loss dashed the optimism of many Nigerians who were quite certain the national team would make a deep run into this year’s AFCON.

In typical Nigerian fashion, the reaction to the loss was heavily coloured by sarcasm, a coping mechanism Nigerians have adopted to any and every situation. Having served proper banter and caustic comments at several teams who came into AFCON flat, especially neighbouring Ghana who gloriously exited after three straight losses, Nigerians quickly turned that savvy inward.

Twitter was littered with a litany of hilarious comments, with the riffs ranging across two major talking points. While some of the jest was aimed at Maduka Okoye, whose failure to save a relatively direct shot drew the ire of many football fans—mostly male—who were already critical of his goalkeeping abilities, in whimsical relation to his good looks. The other involved President Buhari, who addressed the team hours before the match and was caught in the cross-fire of many tweets, many of which alluded to his incompetence rubbing off on a team that was brutally effective before his call.

Usually, this sort of banter is doled out by fans of opposing teams, but Nigerians have never shied away from self-deprecating jokes. It was expected that Ghanaians would contribute heavily to the barbs, but Nigerians even cut that channel off, with several briefly posing as Ghanaian Twitter users to let their banter off. Nigerians are already infamous on Football Twitter for dishing extremely funny, extremely clever banter and last night was another wonderful example. Sure, the loss stings, but what are you going to do but just laugh? It’s not like we can run the match back.

Here are few of the best reactions in the aftermath of the loss.

[P.S, I’m waiting to see the subsequent fallout from rapper and comic Vader the Wildcard’s ongoing short video series, If an agbero had a diary.]

ICYMI: A MUCH-NEEDED ANALYSIS OF NIGERIA’S SHAMBOLIC TOKYO 2020 OUTING

Songs Of The Day: New Music From Skiibii, 2Baba, O’Kenneth & More

Posted on by Wonu Osikoya

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

We’re doing the work to stay on pulse with all the music coming out from across the continent and beyond, bringing you exciting songs of tomorrow: today. Last week, we brought you new releases from Kofi Mole, PsychoYP, Tim Lyre, Fiokee & more. This week, enjoy these new releases from Skiibii, Davido, O’Kenneth, 2Baba, Sean Lifer and more.

Skiibii – “Baddest Boy” Remix ft Davido

In November last year, Nigerian singer, Skiibii released “Baddest Boy,” a catchy and boastful track about his journey and come up. To further promote the track, he’s employed the help of none other than Afropop superstar Davido to bolster the song to newer heights.

Released over the weekend, “Baddest Boy (Remix)” finds both artists hyping themselves up and trading braggadocious bars about their current status in the game. Singing “Bad belle lo po la ye, Kehinde le jo jun Taiye/OBO tun gbe won sare”, Davido sets the nonchalant tone for the rest of the song, telling listeners to always strive to be their best selves despite the opps. 

O’Kenneth – “All Eyes” ft. Reggie

The Asaaka boys are back at it this new year. This time around, O’Kenneth teams up with Reggie to deliver new single titled “All Eyes”. Over the bouncy production of the song, both rappers trade bars about handling their opps, maintaining the spotlight while still remaining their true selves. 

DJ Boat – “Old School Love” ft. Victony 

On his new single “Old School Love”, Ghananian DJ and record producer, DJ Boat melds Afropop with contemporary R&B and Pop for a catchy romantic tune about his muse. Teaming up with rising star, Vict0ny, whose buttery smooth vocals make the song an enjoyable listen, “Old School Love” is a nostalgic track about pursuing true love. “I need some time with you, whatchu saying girl?/I need a life with you, whatchu saying girl, that’s why I need that Old school love”, sings Vict0ny over the song’s pop-tinged production, with lyrics that segue between sentimental longing and brazing. 

2Baba – “Smile”

For his first release of the year, veteran singer and songwriter 2Baba has returned with a heartwarming new track titled “Smile”. Over the romantic track, he sings directly to his love interest, thanking her for her devotion and promising to keep her smiling all her days. With lyrics such as “See the way this girl is smiling, e dey burst my brain/No matter what they say, I know I will love her eternally”, the singer declares his deepest feelings in no uncertain terms. 

Sean Lifer – “Goals”

Sean Lifer is heralded as the Godfather of Ghanaian Drill. After years of spreading the gospel of Asakaa Drill back at home and in the diaspora, the rapper has now begun the year with a new EP titled ‘Lost In Space.’ The 5-tracker finds the artist combining a myriad of sounds and themes together to create a world entirely of his own making. On the standout track “Goals”, the rapper speaks about his goals for the future while taking into account his present status in the industry.

Jaywon – “Sugar” ft. Jaywillz

Nigerian singer Jaywon teams up with fellow collaborator, Jaywillz for a romantic new single titled “Sugar.” The track finds both artists serenading their love interests, and attempting to win them over with undulating admiration. 

All Eyes On Me – Portable ft. Barry Jhay

After gripping our attention with the viral track “Zazoo Zehh” featuring dancer Poco Lee and Olamide, the Zazuu master himself, Portable has returned with an another single titled “All Eyes On Me” featuring Barry Jhay. Over the catchy new number, Portable sings “Brother pray for me, sister pray for me, thank you to those showing me love,” thanking those who have stood by him and support his journey.

Featured Image Credits/NATIVE

A year later, Ayra Starr has emerged as a generational voice

Posted on by Dennis Ade Peter

A year ago, Ayra Starr arrived in spectacular fashion, with a fully formed voice, a bewitching demeanour, and the backing of the most effective label machine on the continent.

As has become the norm for new Mavin signees, Ayra Starr entered the public eye with her debut EP, an eponymously titled 5-track set with the opening number, “Away,” as its lead single.“Away” opens on a rather solemn tone, even if its lyrics are biting, until it hits a crescendo with a magnificent hook that instantly carves out space in your memory. On “Sare,” another delightful standout, the euphoria leaking out of her vocal performance is mesmerising and instantly identifiable, because the dizzying feel of devoting yourself to a romantic partner, especially when you’re young, is a universal experience.

Within a heartbeat, the singer’s name was already in ubiquitous circulation; and it was near impossible to scroll across the Twitter timeline on that day without seeing takes about Ayra and her new EP. As much as the buzz revolved around a new face in the game, Ayra Starr’s activation was also a testament to the Mavin machine, which, over the years, has become an incubator for nurturing sure-fire talent. Starr was no different.

Without any ounce of exaggeration, ‘Ayra Starr’ and the glossy video for “Away” showed that Ayra Starr had IT. She possessed that special combination of talent and self-assured charm that melds into star power. Part of which came from working with the greatest music Svengali in Nigerian music, many months before her eventual mainstream arrival. The other part, and perhaps more important, is the preternatural poise she already possessed from years of fiddling around with her voice.

As an adolescent, Ayra Starr was already attempting to remix and cover her favourite songs, and by her early teens, aided by a mother who supported her dreams, Ayra and her brother were already writing original songs. If you scroll through her Instagram, there are covers of Andra Day’s “Rise Up” and 2Face Idibia’s “Ole,” both wildly different in style and substance, while serving as accurate depictions of Ayra’s pull which lays in her melodious vocals and its resounding tone.

A lot has been said and written on Ayra Starr being relatable to Gen Zers and younger millennials. As true as it is, it’s not a distinction that seems to limit her appeal. The trends of Pop music are usually dictated by the young demographic, but the true mettle of a pop star is the ability to reach a broad, diverse range of people. In craft, the melding of clear-eyed writing, deftly handled melodies, and a multiplicity of musical choices from soulful folk to IDM is impossible to fault, regardless of proximity to the singer’s immediate audience. While Ayra’s largest crop of loyal fans are those she’s much closer to in age, the music is refreshingly light and the subject matter is universal enough to transcend generational divides, as proven from the singer’s near 1.5 million followers on Instagram.

In a larger context, this sort of breakout is another indicator that the current vanguard of Nigerian Pop music is widening for its younger voices to shine right off the bat. Just two years before Ayra’s unveiling, fellow Mavin wunderkind Rema, stormed into mainstream popularity with his dazzling eponymous EP, becoming the toast of Nigerian music almost overnight. A year later, Port Harcourt-raised singer/producer Omah Lay crashed the doors with ‘Get LayD’, a delectable debut that fused Afropop and contemporary R&B into a breezy whole. Both artists followed up with new project(s)—two for Rema, one for Omah Lay—within the same calendar year, effectively setting a new bar for breakout year criteria.

With immediate examples in front of her, Ayra Starr didn’t just follow suit, she upped the ante. About seven months away from her debut EP, she dropped her debut LP, ‘19 & Dangerous’, to instant critical acclaim and rapturous public acceptance. If ‘Ayra Starr’ was an assertive coming out party, her debut album was a commanding statement, magnifying every positive attribute from her first project into a wondrous 11-song set. Her writing, with major assists from brother and major collaborator Milar, remains clear, albeit even more inviting with the avalanche of quotes across multiple standouts. The music is as colourful as ever, spanning a range of genres such as emo pop, acoustic R&B, Trap-inflected Afropop, and more, without dampening cohesion.

“I always knew I was going to name my album ’19 & Dangerous’,” she told The NATIVE before the album release. “I said that by 19, I would release my first project and now, I am doing exactly that.” It’s awe-inspiring that in her first full year as a professional recording artist, Ayra Starr was basically ticking off items from her checklist. Beyond the self-manifestation hubris, though, it’s a culmination of her life’s work till that point. To fully appreciate that, go through Ayra’s Instagram page and you’ll find the alleged video that pretty much convinced Don Jazzy to sign the singer. That song, then titled “Damage” per the video caption, shows up on her debut album as emotive highlight, “Toxic.”

Of course, it would be impossible to take stock of ‘19 & Dangerous’, and Ayra’s entire 2021, without mentioning “Bloody Samaritan,” the London-produced masterpiece that turned into a smash hit and anointed Ayra Starr as a blossoming superstar. It’s a gleaming Afro-fusion gem, a fusion of dusty Amapiano drums and ornate melodic flourishes forms a sonic background for a vocal performance that’s pure gold in technique and downright infectious in attitude. As definitive as her biggest song is to her career trajectory, Ayra Starr’s breakout year was wholly defined by her catalogue, a stunning collection of sixteen songs across two stunning projects.

Ayra Starr entered 2021 relatively anonymous. A year later, she’s just entered 2022 as one of the most exciting artists of her generation. For the singer, her label and her most loyal fans, I’m pretty sure there’s a general consensus that there’s still a lot of work to do, but it doesn’t mean a victory lap isn’t presently warranted.

BRUK IT DOWN: GRAMMY NOMINATED PRODUCER, LONDON ON THE MAKING OF “BLOODY SAMARITAN” BY AYRA STARR

Adekunle Gold Announces New Album ‘Catch Me If You Can’; Shares New Single “Mercy”

Posted on by Damilola Animashaun

Adekunle Gold’s obsession with growth is remarkable. Over the past few years, the singer has constantly metamorphosised with the times, breaking previous moulds of him in an effort to to remould and fine-tune his persona into something rounder, edgier and more captivating for his audience.

While these transformations happen in real-time, they were overtly evident on his third studio LP ‘Afropop Vol.1,’ which has spurred new levels of recognition for the “High” singer. Now, following a string of hit singles last year including “It Is What It Is”, the Lucky Daye-assisted “Sinner” and “High” with Davido, Gold is hot on the heels to begin the year with a new album titled ‘Catch Me If You Can,’ and a new single “Mercy” released today.

 

View this post on Instagram

 

A post shared by AG Baby (@adekunlegold)

The Blaise Beatz-produced track “Mercy” fuses energetic Afropop drums with heavy Dancehall elements and slick electronic production, providing the perfect backdrop for Adekunle Gold to take a shot at his enemies who disguise as friends. He speaks about fake love from friends and foes, directly conversing with His maker on how to navigate the stormy relationships he faces. He sings “Oh lord have Mercy Mercy,This fake love don dey plenty plenty/Who born the person person wey wan try cross me make dem try me, try me,” over the song’s catchy hook, even going as far as to aptly interpolate Awilo Lokomba’s classic song “Denge Pose.”

It’s clear that Adekunle Gold is fully taking control of his journey on this next phase of his career. The new album promises to showcase more of Gold’s signature addictive melodies and honest lyricism while giving room for the singer to grow, evolve and take on new subject matters as a husband and father. Alongside sharing the new single, Gold also share the album’s evocative cover art and its release date which is slated for February 4th.

Listen to “Mercy” here and pre-order ‘Catch Me If You Can’ below.

Featured image credits/CandiceLawler

Our First Impressions of Fave’s Debut EP ‘Riddim 5’

Posted on by Damilola Animashaun

It’s hard not to root for 21-year-old newcomer, Fave. Following a successful run in 2021 which culminated in a double feature on Olamide’s highly anticipated 8th studio LP ‘UY Scuti,’ and the release of her breakout hit “Baby Riddim,” the singer began the  year determined to draw fans and listeners closer into her world with the release of her debut EP ‘Riddim 5.’ However, for those who’ve been paying attention from the jump, Fave’s success feels like a divinely ordained next step in her nascent musical journey.

 

View this post on Instagram

 

A post shared by Fave (@faveszn)

By now, it’s no secret that Fave is no stranger to Internet success. When she was only 18 years old, her first official single “M.O.M.M.S” went viral on social media, attracting the ears and attention of loyal fans who have stuck by her the whole time and bolstered her career to new heights. Since then, Fave has operated in a lane entirely of her own making, teasing covers and new singles on social media, with an audience that’s acutely aware of her rookie status with veteran tendencies.

Over the years, she’s risen from an exciting name on the cusp of a breakthrough to a rising star worth paying close attention to. Showcasing a unique mixture of versatility and style, Fave continues to fashion herself into her own kind of pop powerhouse, choosing to put the music first before anything else. And this seems to have paid off for her as she continues to win over the Internet and many industry heavyweights along the way.

With the release of her debut EP, ‘Riddim 5,’ Fave is ready to prove herself and her abilities even further to the world. Employing stellar production from a range of talented producers such as KrizBeats, Niphkeys, Damie and more, the singer tells deep and poignant tales about love and life from the perspective of a 20-something woman still finding her way. Each song carries a profound sense of emotional depth which Fave uses to conjure therapeutic levels of aural healing for those in need. Her touch is light, and the production so well-matched that when she makes claims such as “I still go do my own, this shit is part of the run,” on “Kilotufe,” nothing seems out of place.

The hard work is evident and ‘Riddim 5’ has already made its way to the top albums on Apple Music Nigeria, barely 24 hours from its release. So, what’s the project’s best song? Biggest skip? Most surprising moment? The NATIVE team have got you sorted as we deliver what we think are the standouts from ‘Riddim 5.’ Here are our first impressions of Fave’s debut EP.

Best Song?

Ada: That’s hard because before I heard the project, I thought it would for sure be the single, “Baby Riddim” but now I’ll have to add two more tracks to my fave list and those are “Obsessed” and “Mr Man”. They’re really so catchy and they just get you in a gentle groove. Don’t sleep on “S.M.K” too.

Wonu: My best song is easily “Mr Man”. I love the progression of the track, it’s so enjoyable and soothing to listen to and I certainly appreciate the bounce on the production of the track. Close second will be “Baby Riddim”, it sounded as if it was a new song I was listening to and it just flowed with the whole tape. Fave really did something with this tape I must say.

Dennis: Split between “Kilotufe” and “Mr Man.” Maybe because they’re night and day, musically and thematically, but they work in their given contexts. The music on “Kilotufe” is sparse and thudding, a foreboding backdrop for Fave’s annoyance at a former love interest trying to double back after she’s become popular. “Mr Man” is lush, somewhat dreamy, and has a sunny bounce, perfect for those re-assuring quips. Maybe it’s the latter, because the opening line of that chorus is one of the top highlights of the EP.

Biggest Potential Hit?

Wonu: Even after giving the project a few spins, I think “Baby Riddim” is still the biggest hit off the tape. I believe the song is going to be a lot bigger than it already is right now. The song has so much potential to be a global smash hit, I mean let’s take a look at what the track is currently doing?

Moore: “Baby Riddim” definitely seems like the most versatile. It has the kind of rhythm that makes it capable of being a club anthem, but is also chill enough to be the type of song someone could listen to relaxing with friends or alone. That’s not even mentioning the fact that it already is the most popular song so far, having Baby over 3 million streams on Spotify.

Biggest Skip?

Moore: My biggest skip has to be “S.M.K”. It doesn’t immediately hook me the way the other songs do. It may work better out of the context of the rest of the EP, but it feels extra repetitive as it seems like a less complex version of some of the other tracks. It is overall a bit too mellow and uncomplicated. It could be good for the right mood however, just not every mood.

Tami: It’s hard to choose your biggest skip on a project that runs under 20-minutes, especially one as thematically drawn together as ‘Riddim 5.’ Every song serves a purpose on this EP and peels back a layer to the viral star that we’ve become accustomed to over the past few years. Still, gun to my head, if I was to choose my biggest skip, it would be “S.M.K,” the Niphkeys-produced number which I had run back a couple of times before it stuck like the other songs. Still, it’s a strong body of work that deserves to be heard.

Overall First Impression

Ada: I can not deny that Fave definitely has so much potential. The whole project definitely doesn’t hit from the first listen, it’s one of those that you start getting into it from the second listen. Surprisingly I enjoyed it more than I thought I would but I do wish she added one or two more songs and had more versatility with the overall vibe of the project.

Moore: ‘Riddim 5’ is certainly an easy listen. No song has too much energy. It works in the project’s favour, the songs aren’t overwhelming but they aren’t boring either. The order of the tracks also gives a nice build up to the most energising song, Baby Riddim. not super experimental, it is the type of EP that you could listen to driving home with the windows rolled down. I definitely see this finding a lot of success.

Dennis: ‘Riddim 5’ is a project of consolidation; there are no wild surprises but it’s a pleasant way to build on the abilities Fave has flashed in the last few years of her come-up. Her writing is consistently evocative, her voice is a marvel in how she uses it, dialing it down for breeziness and cranking it up in bits for intensity and tonal variety. Since “Baby Riddim” is the breakout hit, this EP makes her potential for greatness undeniable.

Featured image credits/Tomm_34

Tiwalola Ogunlesi Scores Two-Book Deal With HarperCollins

Posted on by The Native

British-Nigerian life coach, speaker, and now author, Tiwalola Ogunlesi has been on a mission to empower women to be their most confident self. After years of racking up an impressive portfolio and anchoring her own self-empowerment podcast, Ogunlesi is now ready to make her biggest move yet: the release of her debut book titled ‘Confident And Killing It.’

Announced yesterday via social media, Ogunlesi shared that her latest book will be coming to stores in the summer of 2022 with the backing of Harper Collins, one of the largest publishing houses in the UK. The book which is now available for pre-order online is slated for release on the 7th of July with the promise of a two-book deal.

According to Tiwalola Ogunlesi’s Instagram, ‘Confident and Killing It’ is a practical game plan to help readers unlock their most confident self. The book will serve as an empowering guide for anyone looking to overcome imposter syndrome and tap into their best self. Speaking about her debut book, Ogunlesi also shares:

‘Understanding that confidence is a practice and becoming intentional about my personal growth has helped me win the battle in my mind and become the confident woman I am today. Discovering my truth has brought so much joy, love and abundance into my life, and I want the same for every single one of you.’

Since the inception of her website and the slogan ‘Confident and Killing it’, Tiwalola Ogunlesi has made it her life’s mission to ensure that every woman feels and lives as the best version of themselves. She has encouraged women to love themselves wholly and to show up even when they are marred with doubt. Also speaking about the new book, commissioning editor, Zoe Berville shares: “Tiwalola empowers others to live more confident and fulfilled lives in a way that feels completely fresh, authoritative, and accessible. And in helping women to help themselves, her work speaks directly to the heart of our ethos as a division. We have big plans for Tiwalola’s Publishing and are thrilled to be joining the Confident and Killing It movement.”

You can pre-order ‘Confident and Killing It’ here.

Featured image credits/

NATIVE Exclusive: Nissi Ogulu has a lot to say, and you’re going to listen.

“The best is what you should be aiming for at all times, because that is your capability” 

Nissi is gearing up to the release of her aptly titled project, Ignite, whilst in isolation away from her family in London. Whilst her whole family is together in Lagos, Nissi got stuck in London just before the lockdown, and is missing home and her family immensely. While some of us are stuck with parents at home against our preferred wishes, however if your family consisted of Burna Boy, Mama Burna and the super stylish Ronami, you would be upset if you were alone anf away from them whilst in the middle of a global pandemic. Coming from an immensely talented family, Nissi’s talent both sonically and visually is innate, and as a result has always harnessed her creative abilities. She tells me that since she was a young girl, she’s had a grand vision of what she wants her talents to be used for, and her dreams are slowly becoming a regular reality for her.

There’s a popular saying that the apple doesn’t fall far from the tree, and looking at Nissi’s both nuclear and extended family, the saying can’t be any more true. Her older brother, Burna Boy, the African Giant has taken great strides in the past year, and left big shoes for anyone to fill, however, Nissi isn’t even trying to. Before Buju was signed to On A Spaceship Ent, Nissi was the only artist under the label imprint, which she calls their family’s dynasty. When I ask whether she feels any pressure from her family, she explains matter-of-factly: 

“My family has always been supportive with my creativity. We all have our journeys with our own different creative processes, talents and expressions. My dad supports and helps me with my product design, but my mum and my grandad are key in the music. My grandad showed me the ropes in terms of performing my music and actually expressing what I have to say in a song, rather than just singing it bluntly.”

The talented singer/songwriter is looking forward to introducing herself and her sound to the world, and our brief conversation over the phone told me everything I need to know about her and her music. The 7-track project aims to be the spark that ignites the fire within Nissi, housing tracks which she recorded over the past two years. She has a lot to say, and won’t hold back. No matter who you are or where you’re from intentional lyrics and delivery will command your attention, and ensure that you’re listening. You’ll get the sense of this from some of her pre-released singles from 2016’s “Pay Attention” or the recently released “Judi”, which were all aimed to introduce the talent Nissi houses within her. 

“This is my first body of work and I see it as an appetiser. People are just getting a taste of what Nissi is or what she has to offer. Everything I release is just me peeling back the layers of the onion, and I know if you’re listening to this project it’s definitely for me, not anybody else.” 

The layers of this onion have been forming for a long time. She fondly recalls sneaking around in Corona School, Agbara with her best friend to form a rap group – where she went by Nizzle – to vibing at Sunday Service at Royal High, Bath. 

This brings to mind her 2016 single, “Pay Attention”, which could have very easily been released today. Singing xxx, Nissi confronts society’s ills and speaks about the ways we need all need to be more mindful and pay attention to what’s going on around us if we want to effect any change. This is what her music embodies, and her project serves as her stepping stone to spreading this message. It’s very important that her music adds value, because in her own words, what’s the point of having a voice if you’re not going to use it to effect change? 

Music has long been used as a tool of expression, which benefits both the artist and the listeners. The best kind of music is the sounds you can feel, and Nissi ensures to pour as much of herself into the songs to make anyone similar to her feel what she’s saying. 

I’m very empathetic by nature and I take inspiration from everything around me. I always try to express it in a way that I know other people can relate to. So for me, it goes way beyond just the two or 3 minutes or the gbedu bursting your brain”. It’s very rare to find such a young artist in the game be so sure of themselves and what they want their music to sound like, and when you think about it, it shouldn’t come as such a shock that this is the case with Nissi. She tells me that having her mother’s support is a key player in how much confidence she has in herself. Watching her mother’

“The real skill is being able to say something that people can understand and enjoy easily. It helps when you constantly utilise music as a means to say something, whether it’s to yourself or to someone else.

10 African Music Executives To Keep Tabs On

Posted on by Wonu Osikoya

In the past year, African music has thrived and grown in the most insular moments, embedding itself into global cultural conversations more than ever before. On the continent, Afropop has soared, gaining new heights, reaching new ears, and now earning more reverence and fandom than ever before.

While artists are regularly recognised for the music they make, there are a number of key players operating behind the scenes who have made invaluable contributions to the burgeoning Afropop landscape. All across the continent and the diaspora, these exceptional music execs continue to make landmark moves for Afropop and play their part in fashioning the sounds of today. Over the last 12 months, we’ve particularly seen a number of these key players record great wins, from talent managers to A&R’s, music editors, project managers and more. This by no means is a definitive list but just a starting guide to some of the most exciting African names in the music industry, who are poised for an even bigger 2022.  

Jada Pollock

Talent management – Wizkid

Music Executives

 Jada Pollock kicked off her career about 10 years ago and has since then managed some of the most successful acts from around the world. She started off managing Tinchy Stryder, and has since worked her way up the music industry, contributing to the careers of talents such as Chris Brown and Pia Mia. 5 years ago, Jada began managing Afropop superstar Wizkid and currently still runs the Grammy Award-winning artist’s team alongside his long-time manager, Sunday Are. Seeing the success of Wizkid’s ‘Made In Lagos’, it is no surprise that  Jada was rated Billboard’s ‘Executive Of The Week’ last September.

Lanre Garba

Co-President of Black Music, Atlantic

Music Executives

Gaba started off her career over a decade ago, first holding a post at EMI Music Publishing and Ruffhouse Music Publishing. In 2002, she joined Atlantic Records in the A&R department before working her way up to the position of VP. In 2015, she was appointed head of urban A&R operations, and she became GM/senior VP of urban A&R in 2018, and last year rose to executive VP of Black music A&R. She currently serves on the advisory board of the Clive Davis Institute of Recorded Music at New York University and Gyrl Wonder, a mentoring organisation for young women of colour. Just recently, she was promoted to co-president of Black Music.

Benewaah Boateng

Manger, West Africa (Anglophone)

Music Executives

Benewaah Boateng has served as an invaluable contributor to the Ghanaian music scene. She began one of the leading youth music blogs in Ghana, championing the voice of the underground who are typically maligned in the industry. Since then, Harmattan Rain has gone on to record many wins including becoming an official Apple Music playlist curator and breaking many artists into the industry. Now, she currently holds the role of Manager for Spotify West Africa (Anglophone), a space where she continues to make room for music from back home.

Tunji Balogun

CEO of Def Jam Recordings

With over a decades worth of experience in the music industry, Nigerian-American Tunji Balogun now serves as Def Jam’s current CEO. Starting off his career back in 2004 as a marketing intern at Warner Brothers Record before taking on a full-time role as an assistant for the label after obtaining his bachelors degree. Since then, he’s worked at Interscope and RCA where Balogun served as senior vice president of A&R before his promotion to executive vice president and played an integral role in the careers of Childish Gambino, Bryson Tiller, H.E.R., Khalid, Goldlink and more.

Camille Storm

Music Executives

Camille Storm of Camille&Co, a Nairobi based creative agency representing groundbreaking African talent in music, fashion and art, is a widely recognised name in the African music industry. Since starting off her career, Camille has worn many hats in the music industry serving as a music journalist, an entertainment consultant, PR strategist and an A&R and more. It’s no wonder her IG bio reads “I make people famous.” With no signs of slowing down anytime soon, Storm continues to forge a formidable career off the back of helping others and has grown to be well respected among her peers.

Cindy Ihua

Talent manager 

Music Executives

Women are certainly making a name in the industry right now. Artist manager and creative director, Cindy Ihua is one of such women. Currently serving as the manager for some of the toughest lyricists in the game including PsychoYP to Azanti and Zilla Oaks, Cindy continues to . Alongside working as a talent manager, Cindy also runs Ceeander Entertainment, a filmmaking entertainment company shaping African films. Just this year, the company has worked on videos such as PsychoYP’s “Euphoria”, Azanti’s “Latan” & more. 

Temi Adeniji

MD, Warner Music South Africa

Temi Adeniji is the recently appointed Managing Director of Warner Music South Africa and SVP, Strategy, Sub-Saharan Africa.  She joined Warner Music as Director, International Strategy & Operations in 2016, and was promoted to VP in 2019 and SVP in 2020. In this role, she continues to bridge the gap between Africa and the world, rising the ranks at a pivotal time for the label which continues to expand into the continent.

Charlotte Bwana

Head of Media & Brand Partnerships, Audiomack Africa

As the Head of Media and Brand Partnerships at Audiomack Africa, Charlotte Bwana has been an invaluable contributor to the burgeoning Afropop landscape. Recently, she negotiated a landmark deal with MTN that made Audiomack’s unlimited music and content free to more than 82million users. She continues to grow the platform’s roster of clients, working with names such as Afrochella, Ziki Music, Y fm (South Africa & Ghana) and more.

music executives

Muyiwa Awoniyi

Talent management – Tems

It’s no secret that Tems is hot on the block at the moment and that’s thanks in no small part to her great support system which includes manager, Muyiwa Awoniyi. Before he was artist manager to Adele’s favourite artists, Awoniyi was also manager to some of exciting names including Nonso Amadi. Awoniyi also runs a podcast known as the The Donawon Pod where he discusses important topics ranging from intellectual property of African art to the importance of healthy relationships. With a sharp eye for talent, Awoniyi is definitely poised to make more moves in 2022.

Music Executives

Feyisola (Kulupsy) Ogunbanjo

Talent management and Project Manager, NSS

Before Feyisola Ogunbanjo was manager to exciting acts such as Lady Donli and MARV OTM, and project manager for NATIVE Sound System, she was already hip to the ins-and-out of the music industry. Starting her career off exactly a decade ago, as an assistant to the programming manager at Trace TV, Ogunbanjo has over the years racked up an impressive CV, going on to work across a range of fields in the music and entertainment industry with roles in PGM, Expo Lagos and more. She also facilitated the Lagos arm of NSG’s African tour last December. She continues to gain reverence in the music industry and aims to create her own company made for and by women.

Featured image credits/NATIVE

Editors note: This list originally included Sipho Dlamini from Universal Music South Africa.