Mayorkun has been a very distinct part of the Nigerian music scene since stepping into the limelight several years ago. Armed with catchy flows and solid lyricism on his tracks, the singer has earned a growing presence online, so much so that each release is met with visible excitement and engagement from his loyal following.
With a debut album, one EP, and several hit songs under his belt, the singer has continuously carved a lane for himself in the Afropop space, often operating in his own lane much like his label boss, Davido. With this in mind, the singer now makes his welcome return to releasing original music after a brief hiatus from the scene. Off the back of a major label signing with Sony, Mayorkun is now set to release his sophomore LP ‘Back in Office’ later this month.
About a month ago, he released his first official single of the year “Let Me Know”, also announcing that it would be the first song off his sophomore album which he accompanied with visuals shortly after. A week ago today, he released his second single, “Back In Office” and the album’s titular track. Till now, he’s simply been whetting appetites for what’s to come.
Arriving today, Mayorkun has now released the official video to his latest single “Back In Office”, and announced his sophomore album of the same name which is slated for release in October. Along with this announcement comes the new visuals for “Back In Office”, an ebullient number that finds the singer flexing about his current wealthy and successful status. The TG Omori-directed video is a perfect fit for the song capturing the song’s braggadocious theme in its 3-minute runtime. The video finds the artist playing the role of a Mayor who has just returned back to the office to do what needs to be done and put the entire city in check.
A welcome return of sorts, the new single and video further reinforce the singer’s musical capabilities as he positions himself to every current trend and satisfies his legion of fans. The Mayor is truly on his seat.
Juls belongs in the vanguard of producers responsible for revolutionising the sound and overarching feel of Afropop. In the middle of the last decade, his work with Mr Eazi was an integral part of the renaissance that adjusted the general tempo of pop music from Nigeria, which in turn influenced large parts of the continent. His highlife-indebted sound, which initially graced many ears via Show Dem Camp’s “Feel Alright,” catalysed experimentation and helped broaden the mainstream’s musical palette.
While this mid-tempo, sophistic-pop side of Afropop has and continues to, successfully mutate, Juls remains dedicated to his neo-highlife sound. That doesn’t mean he’s been stagnant. If anything, he’s been even more inventive, finding new ways to colour within the boundaries of his unmistakable musical identity. Across his delightful catalogue, the British-Ghanaian sound architect has consistently adjusted the expectations of listeners’ expectations from a Juls song without upending the general feel, furnishing his groove-driven approach with a wide and sometimes unexpected range of musical influences, including but not limited to R&B, Caribbean Pop, Road Rap, Folk and Amapiano.
While he’s produced music for artists like Wizkid, Burna Boy, Goldlink, Ko-Jo Cue and more, it’s on his projects—four of them so far—that listeners get to fully immerse themselves in the experimental but familiar realm of Juls’ musical approach. Today marks the release of Sounds of My World, which he’s dubbed his “debut album.” This billing doesn’t insinuate that full-length listens like Leap of Faith and Colour were inconsequential, as much as it raises the stakes for this new project. I’m highly expectant, so let’s get into the music.
In Usual 1-Listen Review Fashion, All Reactions Are Written In Real-Time While The Music Plays. No Pauses, Rewinds, Fast-Forwards Or Skip.
“Close to Me” (feat. Wizkid, Agent Sasco & JAEL)
Beatboxing is an intriguing way to open an album. Whose voice is this? This is that Mr Steal Yo’ Girl voice. “Girl I can be your soul food.” Haha, this is some wholesome macking. The drums and Wiz’s voice just sent me to a dimension of bliss! Fam, this entire intro is an entire flex in combining three different vocal timbres without any dissonance. It’s wild to me that the guy who was raging on Kendrick’s “The Blacker the Berry” is making lascivious records with Juls. (BTW, “Slow Down” is a top 7 Juls record.) Mr. Ayodeji Balogun has way too much swag on wax for me to type out his government, but I don’t care because I just feel so good right now. The instrumental arrangement on this has morphed like three times and it’s all so smooth and profound. Those horns! Jesus Christ, I’m sweating. This is just the intro?! Ha! Instant keeper! I’m even more hype.
“Summer in the Ends” (w/Jaz Karis & George the Poet)
Natural ambience. Spoken word poetry is usually so extra to me, and this is no different. I don’t mind it, though, it’s setting a mood that’s consistent with the intro. “Let go and release, this is your moment of peace.” I hear you, man. These log drums are hitting, but those dreamy piano keys are lulling me to bliss. Horns and guitars make everything fuller, they’re cheat codes in hands as talented as Juls’. Jaz Karis is one of those artists I promise to get into every once in a while and I never do, which is a shame because she always wows me whenever I hear that semi-wispy voice of hers. This is no different, she’s floating with ease, so much allure in her writing and performance. Juls and Jaz are making vacation in the ends sound as enticing as going to Mykonos. Didn’t hear anybody say “Music is everything,” SMH. Solid record.
“Makossa Riddim” (w/Haile)
Dusty Amapiano drums! Fuck! This guitar riff has a taste, like biting into some delicious wings on a Sunday morning after church. That’s oddly specific but that’s how I feel right now. Haile’s voice was meant to soundtrack the most gorgeous moments in life, it’s so vibrant and full of joy. I know this is the type of song that will fit into a chill DJ set, but it will fit a lot better in intimate spaces, like watching your partner dancing offbeat. Sweet nothings will forever be corny, because love itself is corny. Solid record, another keeper.
“Love Me” (w/Niniola)
Juls was one of the first non-South African producers to tap into Amapiano, and there’s an inventive respect to the way he approaches using elements from the genre. “Love Me” is no different, pretty solid pre-album single, and the Niniola feature is very on-the-nose but it works really well. Those bursts when the horns come in are just delightful, you can hear it coming but it packs a surprising punch. A lot of Juls’ production work, especially on his own shit, is a bag of tricks. That Vigro Deep-type drum breakdown is another trick. At this point, the song has transformed into something that sounds like he’s folded Amapiano in on itself. This has me dreaming of a link-up between Juls and the Cavemen, their experimentation would probably open another dimension to reality.
“My Size” (feat. King Promise, DarkoVibes & Joey B)
This intro skit is funny. I’m tempted to call King Promise’s voice gorgeous, been a minute since I heard his voice sound this ornate. Production here is a little more typical of what you’d expect from Juls, but it still feels very fresh. Joey B’s animated cadence on groovy beats like this is always so great to hear. This somehow feels like a filler song, but it’s weird to say because it does slap. I hope the horn players are getting paid handsomely, the flavour they bring to Juls’ music is nothing short of awe-inspiring. These soundbites are “haha” funny, will be revisiting for them at the very least.
“Intentionally” (w/Fireboy DML)
Fireboy over a Dancehall-inspired beat? Yeah, my ears are perched up. A fine woman told Fireboy he would become rich, and now he’s asking her to love him intentionally? LOL. I’ve always been of the opinion that Fireboy is the most solipsistic singer in his class of Afropop stars, I might be unto something. This beat has a neon glow to it, and the groove is quite catchy. I like Fireboy’s melody but I just can’t get into the writing. I don’t ever want to hear this man say “bussit” again. Don’t hate it, but this might be my first skip on this album. Serviceable song at best, to me.
“Wish You” (w/Bas & Mannywellz)
The diaspora connects. The way Juls samples is a masterclass in both collage and texture. These drums need to drop to match the glistening of these piano chords. Ah, yes. That’s the stuff right there, like getting sprayed with cold water during the heatwave. Mannywellz has such a folksy voice, which sounds trite but it is worth constantly mentioning because of the urbane way he tends to use it these days. This is the closest thing to emotive writing on this album so far, a nice change of pace from all the devotional cooing, even though they’ve sounded mostly great. Bas loosened up his flow since Too High to Riot and he’s consistently sounded like a new rapper ever since. Solid verse. I can hear the transition to the next song already, Juls is pulling off some auteur stuff right now. Mannywellz! Take a bow, chief.
“Wicked” (feat. Knucks, kadiata & Sam Wise)
This song has some crack in it, can’t convince me otherwise. Probably listened to it like twenty times the weekend it dropped, and that video is the perfect complimentary piece. “Why you talking ‘bout ‘men are trash’? Take time off twitter” makes me laugh every single time. Somehow, I wish Zlatan was on this song, or someone with street pop sensibilities. It just sounds like something that would inspire the next variation of the zanku. Juls hugs that line between minimalism and maximalism with finesse, like this song is literally a piano riff and a percussive beat, but it sounds so full. The melodic centre just shifted and it feels like another dimension within the same song. Ah! Those horns again. The tension between the writing and production is just so good. Great song!
“Alarm” (w/Prettyboy D-O & Suspect OTB)
D-O over a Juls beat is not something I ever imagined, but what does Juls look like not pulling surprises? This is somehow so hard and sophisticated at the same time, a trap song executed in Juls’ Highlife-fusion lane. I can tell I will be rinsing this one. D-O raps like the guy who will aggressively poke you in your chest to drive home his point while speaking. This is such a good rap performance, he caught that pocket so well. Guessing this is OTB, he has a nice rap voice. He’s in that same zone as D-O, great pocket and great flow. I’m hype for Love is War. Another D-O verse, Kumasi women love him. This song has no hook, it’s a no-frills rap record that doesn’t necessarily sound like it. Juls has unlocked another angle to his sound.
“Mare” (w/Sauti Sol)
East Africa connect! For someone who’s listened to a few Sauti Sol albums, it’s appalling that I can’t tell the singers in the group apart. Please don’t revoke my music journalist card – if you do, send for all my non-Kenyan peers while you’re at it. This song has a nice Dancehall bounce to it, but as is often the case with Juls songs, the delight is in the melodic components. As gorgeous as this sounds, it’s a little too wry for me, or maybe it’s this second verse. “Your throne is on my face,” on a Sauti Sol song? I’m actually a bit surprised, they always seem so…pure. That’s the word that came to my mind. Yeah, the guy on this hook is eating. The third verse sounds more like Sauti Sol, very cheesy, and not necessarily in a bad way. But this hook is a highlight of this song, and the entire album even.
“Love Language” (w/Mayra Andrade)
Juls went to Cape Verde for this album, too? I’d like to sit with him and just talk about how much music he listens to. This is such a delectable groove, and Mayra Andrade sounds at home. You know what? I’d take a collaborative project from these two, she already veered into contemporary West African sounds on her last album. Didn’t love it too much, partly because I already associate her with a unique sound, but this sounds more fitting. Mayra singing about flowers and plants in her earthy voice is positively invigorating. As sweet as she’s making falling in love sound, I’m just thinking of how tedious it can be to learn and cater to a person’s love language. I guess love requires a lot of effort afterall, the ghetto if you ask me. Beat transitioned and it’s more folksy and more gorgeous.
“Say You Love Me” (feat. A2, Karun & Xenia Manasseh)
Gentle guitar strums and log drums, Juls has so many tricks up his sleeves. Xenia Manasseh’s voice makes intimacy sound sacred, she sings like I imagine Aphrodite would sound as a singer. Somehow, this beat has revealed itself to be salsa-twinged, this whole project is a flex of mastery. This is A2, I’m guessing, and he’s bringing all the feels to compliment. Karun! She has one of my favourite voices in Afropop at the moment, it’s just so enchanting. Did Xenia and Karun just do a call-and-response bridge! This entire song sounds like the safest place in the world where you can just be with someone special, not external pressure, just vibes. This rap verse is a cool tonal change, but the raps are a bit dissonant. All that henny and vigorous sex talk just doesn’t merge. Beat switch. Not in love with the way this one ends.
“Melly Melly” (w/Oxlade)
The reunion of Juls and Oxlade, first time around was a treat and there’s an excitement here that looks like they’ll be two for two. This beat is ridiculously good, it clearly follows the template of Juls’ groovy pop records, a fat bass line, tone-setting guitar, and percussion that will get your body swaying. Oxlade’s voice has gone from Wande Coal parody to inimitable. When he hits that helium-tone plane, it’s a trick that never fails to grab your attention. This is one of his more looser showings on wax, he sounds like he’s having fun while singing, without dampening the pining in his lyrics. This is too short, will definitely revisit.
“M.O.O.D” (w/Kojo Funds)
I like this bounce, sounds like something from the ‘90s but filtered through the Juls Highlife-fusion lens. Kojo Funds is pouring his heart out, is this Emo-Afrobeats too? I’m asking a serious question. Hehhh, the beat is doing all the work, I need Kojo to sound like he’s bleeding his heart out to match. Yeah, I spoke too soon. He wants his muse to “shake that.” I don’t get this song, I thought it was going to be more confessional, which is kind of the most Afropop thing ever. Don’t know about this one.
“Chance” (w/Projexx & Tay Iwar)
This was the lead single, didn’t do much for me at first but I liked it more with subsequent listens. Reuniting the “True Love” crew without Wizkid is not a bad idea, they both showed out. It’s crazy how Tay Iwar can channel romantic tenderness on other people’s, but revel in messiness on his own songs. Get you an R&B singer-songwriter that can do both, LOL. “I’m not from the city, I’m not used to Angels” is the sort of line that won’t work on many Nigerian women, especially Lagos women. It’s not slander, I’m just saying. Projexx is a nasty man, like the bulk of Dancehall singers. Really good way to close this project.
Final Thoughts
Juls is a master at his craft. It’s the sort of description that’s been fitting for years now, but on Sounds of My World, there’s a confidence and showmanship underlining just how singular he is as a producer and project curator. The 15-song set is replete with an influx of voices, however, it’s impossible to misconstrue who’s really running the show. That’s not to say he’s despotic in approach, if anything these songs are true joint efforts that find the middle ground between Juls and his collaborators. He simply sets the tone with his genre-mashing and uniquely alluring sound, creating new wheelhouses in the same space that his guests can thrive comfortably in.
While it is marked by familiar tricks and the urban twang of his neo-highlife sound, there’s a keenness to Juls’ musical alchemy on Sounds of My World. He seeks out even more sounds to add to his sonic mosaic, and his instrumental arrangement is at its most fluid and expansive. In his work, Juls has often opted to work along the lines of groovy minimalism, but he’s indulged his maximalist side a little more on this album, tastefully filling spaces with horns and guitars while keeping his music as uncluttered as ever. The range of his collaborators is also a testament to Juls’ wide-ranging ethos, an album where artists as stylistically disparate as Prettyboy D-O and Mayra Andrade co-exist without any dissonance.
Through its many peaks and few serviceable moments, ‘Sounds of My World’ is more than a sum of its parts, a boldly crafted paean to contemporary music in Africa and the diaspora, as helmed and curated through Juls’ unique hands and ears.
Ever so often, there is a coming-of-age television show that adeptly deals with the pressures that come with adolescence, meticulously paying attention to our quirks and nuances so well that it unite hearts and minds universally. Over the years, we’ve had very far and few between, save for Netflix’s hot-button teen series, ‘Sex Education’ which just released its third season. The teen drama masterfully addresses the ways in which sexuality, sex and becoming intermingle with each other in our daily lives offering nuanced conversations on the matter.
This cultural classic written by Laurie Nunn has been more or less become a handbook to young adults navigating and exploring their sexual lives and sexualities. So far, it has gone further than the typecast teen shows of nowadays and offered a more inclusive, learning and enabling environment for anyone that has struggled with identity, sexuality and relationships. Focused on educating and empowering through comedy, the TV series has opened up conversations about sex and everything in between that society fails to equip us for.
This season, more than exploring the lives of queer Americans or Britons, the series takes an unexpected turn when it takes a closer look at the underground queer scene in Lagos, Nigeria. In episode six, Eric played by Ncuti Gawa takes a trip back to Lagos, Nigeria with his mother and family for a wedding. While he’s excited to venture back home and soak up the culture, Eric is also worried about showing up as his queer self in a country where he is not accepted even by his own grandmother. As a queer, West African child in the diaspora, Eric’s relationship with queerness is fraught with tension, as he constantly attempts to resist the expectations imposed on him by culture and tradition.
Eric’s fear is not unfounded as decades of repressive rule against LGBTQIA+ persons continues to exist in the country. As of today, the country remains deeply homophobic with regressive anti-gay laws still in effect, forcing many to retreat to fraught underground communities across the busy metropolis. It’s marred by several legislations that currently criminalise marriage between people of the same gender and forbid sexual relations between people of the same gender. These laws are so insidious that Eric’s mother warns him against his androgynous dressing which may attract unwanted attention while in the country. Eric obliges, tucking away the most important parts of himself to fit in with his Black African family.
While in Nigeria, however, Eric soon discovers an entire community of queer people who look and dress just like him, giving him the confidence to show up as himself. Introduced to the young underground scene by his new photographer friend, Oba, Eric is deeply moved by existing in this space, so much so that he’s swept up by the whole experience and gets carried away. Underground, he met and partied with individuals just like who out of fear of hurt, evicted, or even worse, killed, had to hide expressing their true selves and loving whom they wanted. They danced, had a moment, and shared a kiss. Alas, Eric had an epiphany.
“There are a lot of us here; we just have to speak quietly,” Oba says to Eric while sharing a moment under the twinkling lights of the nightclub. Ordinary as this statement may be on the surface, it carried a lot of weight within it as Oba hints at the ways in which queer people are stripped of their voices and their human rights without care. However, as has always been the case for queer Africans, it is the solid bedrock of their family and community that propels them forward in life as they face unwanted oppression from every corner of society.
Similar to the ways in which queer Africans rise up in numbers to protect and fend for themselves in times of need, so also does Oba’s community stand up and rise for him in their own youthful, hedonistic way. Eric, on the other hand, comes from a small town where he is one of the only few Black heterosexual students standing at the intersection of so many levels in society including queer, Black, and African. As such, he doesn’t have his own community despite the fact that queerness is not criminalised in his town. It is this realisation of perseverance and loyalty through adversity that strengthens Eric and arms him with the tools required to live life on his own terms.
These thorough scenes of growth and chosen family for Eric are all thanks to the mastermind of Temi Wilkey, a British-Nigerian actor and writer who was given the reins on scriptwriting Eric’s trip to Lagos, Nigeria. Her inclusion in the ‘Sex Education’ writers’ room gives a certain level of research and nuance to the scenes, breathing new and authentic life into them and making viewers feel seen and heard. Haven studied English at Cambridge before training with the National Youth Theatre REP company in 2014, and also earned theatre credits around the world including at the National, the RSC and the Manchester Royal Exchange, the queer writer is more than capable of exploring Nigeria’s queer scene with expertise and that is exactly what she brings to this season.
“Your queerness doesn’t make you alien from your heritage. It’s not a betrayal of your heritage. It is as much a part of you and your heritage as anything else.”
Speaking about the importance of the Lagos queer scenes in ‘Sex Education’, Gatwa shares in an interview with Variety that: He’s been the only one of him for so long — he’s a gay, Black, Christian growing up in a small English town. There’s so many places where he feels othered, and to go back to Nigeria and see someone who completely sees and mirrors him, I think was a really powerful part of his journey of understanding, “I need to take up space for myself, and I don’t know if Adam and I can carry each other.” To think that Eric would receive such a revelation in one of the most oppressive countries for queer people in the world today is a testament to the country’s strong underground scene which has long carried and supported each other in the face of discriminatory systems.
In May 2015, a telephone poll of about 1,000 Nigerians found that 87% of respondents supported the repressive SSMPA legislation and only 11% would be willing to accept a family member if they were lesbian, gay, or bisexual. These numbers when revisited today will barely reflect any significant change given that queer people are still harassed, assaulted, doxxed and worse, killed for daring to exist as themselves. As a result, many still live in silence and away from the public view, however, Nigeria’s young generation have constantly resisted the shame and guilt that is taught to them by their parents and society at large.
Instead, they choose to live loudly on the Internet, taking up spaces in places and scenes that have long rejected them and carving their own lane across a range of industries including fashion, music, entertainment and more. It is this strength in their unity that the LGBTQIA+ community consistently brings to the forefront when fighting for their freedoms and that same strength which ‘Sex Education’ now chooses to reflect and honour the vigour of the marginalised community.
In Nigeria, it’s not easy to stand out from the crowd. Queer individuals have learnt to out-smart the institutions and systemic structures set in place to oppress them, however, they have still found ways to be expressive and vivid, graphic even through themselves and their community. “I just feel like I’m ready to fly and you’re just learning to walk,” Eric admits to Adam during their breakup, a short and sobering reminder that he’s priviledged to live as a queer Black man in a world where his Black peers are unable to. In the end, it’s the fortitude of the oppressed underground queer scene that bolsters Eric’s conviction in living on his own terms, serving as yet another reminder of why ‘Sex Education’ just gets it right.
Featured image credits/DazedDigital
Elvis Osifo uses his platform as an editor, writer, and contributor to a number of publications as a voice of love, acceptance and inclusivity in Africa, and to Africans.
Afropop has a unique characteristic of making something where there was previously seemingly nothing. From the streets of Johannesburg to the fringe communities of Lagos and the suburbs of Kumasi, tangible gold continues to spring up from the leanest resources. Last year was no different. The most enduringly positive thing to emerge from Africa in 2020—with all its disruptions, chaos, deaths, protests, and confusion—was music. As we clung to our phones for daily updates on the rising poll of COVID-19 infections during the thick of various national lockdown, musicians across the continent, big and small, were constantly at work to ensure that the most communal aspect of our way of life was not lost to the exigencies of pandemic living.
The entire cultural plain that stitches together to form the sonic fabric of Afropop was working overtime: from Burna Boy’s emotionally-cathartic sonic tour de force, Twice As Tall, to Tiwa Savage’s expertly-arranged major label debut, Celia; Stonebwoy’s genre-meshing Anloga Junction; the spirit-turning, afro-futurist slant of the Nyege Nyege collective’s L’Esprit de Nyege; and Kabza De Small’s peerless I Am The King Of Amapiano: Sweet and Dust, Afropop powered quarantine culture in ways that will be dissected for years to come. And in our biggest moments of need, on October 20, 2020, when bullets rained down on innocent citizens in locations across Nigeria while the world watched, Afropop was a salve for the rebuilding process. Wizkid’s mellow, Black diaspora crisscrossing, re-interpretation of Afropop, 10 years after his classic debut, found broader expression on Made In Lagos; Davido’s A Better Time was a solid throwback to the before times when we were unscarred by the loss of the COVID era; and Amaarae’s debut album, The Angel You Don’t Know, was a lilting, shape-shifting boon to see out the year.
All this amazing music and highlights have coalesced into a giant unending showreel for Afropop that has continuously been reflected in the music and culture-pushing gains of this year. Very early into 2021, many projections were already being cast around about when the world would start to get back to its pre-pandemic grind, and in many ways, Afropop—with all its border-crossing urgency—has already reflected that propulsive energy. Teni Makanaki, the most prominent connective point between Afropop’s current young core and their immediate elders—Wizkid, Burna Boy, Tiwa Savage, and Davido—released her debut album, WONDALAND, a body of work coursing with the songbird’s eccentricity and knack for rhythmicity. Joeboy also put out his debut, the sappy but melodious Somewhere Between Beauty and Magic that confirmed him as probably the genre’s biggest enigma. In many ways, after playing a major role in the events of the #EndSARS protest, Nigeria’s Afropop stars were often conscious of stirring the nest but Yaadman Kingsize, Yung L’s powerfully incisive sophomore, directly confronted the ghost of the protest while delivering the most exciting music of his career.
Just one month later, the tremendous effect of releasing three consecutive thrilling albums in three years paid dividends for Burna Boy when he became the first popstar in the contemporary Afropop wave to land a Grammy for an original body of work, winning in the Best Global Music Album category forTwice As Tall. Completing a remarkable night for Afropop, Wizkid also won his first Grammy for “Brown Skin Girl,” his collaboration with Beyoncé off The Lion King: The Gift. Aspirations for a Grammy that seemed fanciful or a huge ask one decade ago now seem like the next logical destination for Afropop.
West of Nigeria, in Kumasi, historically Ghana’s second city, a social revolution driven by a distinct local interpretation of drill music had garnered international attention and was being called Asaaka, an inversion of Saka, a street vernacular spoken in Kumasi suburbs like Santasi and Bantama. The avatar of the Asakaa movement, Yaw Tog, saw his profile blow up and had his anthemic breakout single, “Sore,” house an enthusiastic Stormzy verse on its remix, in tandem with a biting verse from local sing-rap hybrid, Kwesi Arthur. Since then, the movement has evolved from the gritty singles of its earliest month to fleshed-out projects that capture the irrepressible energy of Kumasi. Between Jay Bahd’s self-mythologizing The Return of Okomfo Anokye, Reggie’s 2 Times A Guy, Kwaku DMC’s spiraling RoadToTrapHouse3, and Tog’s euphonious Time, we got a perspective into the rowdy energy that is making the Kumasi scene one of the hottest drill hubs in the world right now.
In further proof of Afropop’s increasing global visibility, knee-deep into the “E Choke” era, Davido linked with Drake, and the two shared a comical moment where the Canadian pop giant tried to repeat “E Choke” after Davido. In a career that is into its 11th year, Davido has shown a remarkable ability to contort slangs in his image, and getting Drake on the wave was the ultimate flex. Similarly, from the rabbit-hole of the Internet, Wizkid’s “Essence,” featuring a dynamic Tems showing, started to re-emerge, becoming a silent soundtrack to the renewal of bonds that had been put on hold during the pandemic and soirees that never panned out. By the end of August, “Essence” was the unofficial song of the summer, peaking at number 13 on the Billboard Hot 100 chart after a Justin Bieber-featuring remix that inspired a broader discourse about maintaining some ownership of the culture, amid claims about the gentrification of Afropop when it steps into western spaces. Focus on “Essence” also increased the spotlight on Made In Lagos, leading to a re-discovery of the album among American audiences who had slept on it in 2020.
After teasing the public with the prospect of an album for the better part of the last 12 months, Drake belatedly confirmed the release date of his sixth album in September, renting out billboards across the world to announce the name of his collaborators in their hometown. In Lagos, Tems’ name flashed from billboards across town, continuing her hot streak after the success of her debut EP, For Broken Ears, and her star turn on “Essence.” The Drake collab, “Fountains,” is an Amapiano-influenced heat rock with co-production and writing credits from Congolese-South African artist TRESOR. Despite not quite capturing the languid exuberance of the best Amapiano tracks, Drake operating within the orbit of the Gauteng-pioneered kwaito offshoot was irrefutable proof that the sound had meandered its way out of the townships of South Africa to become an international phenom.
All year long, South Africans have been constantly locked in their own conversations about cultural appropriation of Amapiano that reached feverish levels when Jorja Smith teamed up with Italian-Ghanaian producer, GuiltyBeatz to make her own Amapiano tribute, “All of This.” The attempt was at best a cheap imitation, compounded by allegations that the beat had been unimaginatively cribbed from Heavy K’s “Easy to Love,” leading one-half of the Scorpion Kings, DJ Maphorisa, to make a retort about consulting local experts before such undertakings. He’s not wrong: the trajectory of Amapiano continues to be shaped by inventive on-the-ground acts like Tyler ICU, Kamo Mphela, Sha Sha, Mas Musiq and Vigro Deep. Their work best captures the enduring grace that made Amapiano 2020’s breakout sound. Mr. JazziQ displayed an ingenious capability for spectacular arrangement on his Party With The English project; the British-based radio station, NTS, tapped some of the hottest Amapiano talents for an expansive journey into the heart of the genre on Amapiano Now, while many South African rappers, including Focalistic, Kwesta and Cassper Nyovest, have shown a willingness to tincture their hip-hop preferences with lush keys and log drums to commercially successful ends.
In the midst of all the global recognition and festival spots for artists, producers have made some of the most forward-thinking projects of the year. The Scorpion Kings returned with a pan-Africanist interpretation of Amapiano on their latest body of work, Rumble In Jungle, inviting TRESOR along for the full expanse of the ride while looping in sonic tidbits from Afrobeat, kwasa kwasa, and rumba. On his debut album, A True Champion, Rexxie exploded all conceptions of what street music can sound like while teasing out stellar performances from his cast of collaborators. Emerging from the cult success of I Love Girls With Trobul, his joint EP with WurlD, Sarz has taken 2021 by storm, introducing the rising artist Lojay across the slick 15-minute runtime of their joint project, LV + ATTN. Sarz’s savant-like approach to music reached new levels with the crate-digging, disco-leaning infusions of Sweetness, another joint project with the genre-bending UK-based Nigerian artist, Obongjayar.
As the disillusion with governance on the continent has spiked, more people have turned their attention to the various iterations of hyperpop anthems that are springing forth across Africa, hoping to lose themselves in simple delights for a few moments. Backed by a local audience and nostalgic emigrants in the diaspora, Afropop is entering a new moment—a specifically digital one—where it is legitimately among the biggest forces in global pop. It will most likely translate to sustained success in the most profitable markets.
If you need proof, here goes: CKay’s 2019 song “Love Nwantiti” is the latest global Afropop smash hit, recently joining“Essence” on the U.S Billboard Hot 100; Tems and Omah Lay are in the thick of solo American tours off the back of two individual extended plays, as is Amaarae; at the end of the year, Wizkid would have performed at a packed O2 Arena three times, Burna turned out the same venue earlier this year; led by Focalistic, whose Davido-assisted “Ke Star (Remix)” became an early year global hit, ‘Piano acts—including Kamo Mphela, Mr JazziQ, and Vigro Deep—are tearing up festival stage across Europe off the back of his; and the Asakaa boys have inspired a continent-wide renaissance amongst young African rappers while going toe-to-toe with their international colleagues and making their way to stages across the Atlantic.
@walenchi0 Is A Lagos-based Writer Interested In The Intersection Of Popular Culture, Music, And Youth Lifestyle.
The Tamil-Nigerian writer, Akwaeke Emezi, who brought us unforgettable coming-of-age novels such as Pet, Freshwater and most recently, TheDeath of Vivek Oji is one of the most respected new names in the literary world. A masterful weaver of worlds and words, the writer has carved out a name for themselves by showing up to tell the difficult stories about deities, ogbanje’s, and even queer Africans with an unshakeable confidence that cannot be replicated by a number of their peers.
After a consistent string of releases this year including their debut memoir, Dear Senthuran and a new novel titled Bitter already in the pipeline, the prolific writer has now just announced the forthcoming release of their debut poetry collection titled Content Warning: Everything along with a new poem titled ‘i think my father is dying.’
The collection is set to be published by Copper Canyon Press on April 5th, 2022. According to Copper Canyon, the publisher explains that the collection is “crafted of both divine and earthly materials as these poems travel from home to homesickness, tracing desire to surrender and abuse to survival, while mapping out a chosen family that includes the Son of God, Mary Auntie, and Magdalene with the chestnut eyes. Written from a spirit first perspective and celebrating the essence of self that is impossible to drown, kill, or reduce, Content Warning: Everything distills the radiant power and epic grief of a mischievous and wanting young deity, embodied”.
The cover of the poetry collection is crafted by the artist, Chioma Ebinama who Emezi has long admired their work. Emezi also shared when announcing the poetry collection that “I like to think of our work as being in conversation—two Igbo artists interested in ritual, performance, and indigenous knowledge.” While the poetry collection won’t be available in print and online in April 2022, you can read one of the poems in the collection on the Literary Hub website until then.
I’m delighted to share the cover of my debut poetry collection CONTENT WARNING: EVERYTHING (@CopperCanyonPrs, Spring 2022) with cover art by the brilliant Chioma Ebinama 🙌🏾❤️🔥 #ContentWarningEverything
When $pacely declares himself a young OG on the introductory title track of his latest project, ‘Keanu’, it’s with a deadpan candour, more as a statement of self than an aggrandising claim. It makes sense that he has this sort of chip on his shoulder; the Ghanaian rap artist has done his fair share in expanding the idea of what rap music made in Ghana sounds like. During its mid-2010s tear, $pacely was an integral part of La Meme Gang, the collective significantly responsible for translating Trap’s exuberant expressiveness and boisterous bounce into a local and regional cult following.
Following La Meme’s hiatus, which has been coloured by controversy, its comprising artists have turned to solo endeavours, and $pacely has been moving in stride to that regard. Around this time in 2019, he dropped Fine$$e or be Fine$$ed, a remarkable debut project where he commingled his preference for trap with his own take on Afropop and R&B. “I’ve always just tried to stay true to myself at all times, especially as a solo artist,” he tells me one Thursday afternoon in September over a WhatsApp call, drawing a connection between the musical diversity he’s shown as a standalone act and the range of music that inspires him.
For his latest project, though, there’s an emphasis on rap, a back-to-basics exercise of sorts with an of-the-moment musical approach and complementary framing device. Named for one of $pacely’s alter egos, ‘Keanu’ is a nebulous concept project with a definitive mood, one where the rapper roots his lyricism in the invincibility of its title character. Rooted in trap and drill, the tape is undergirded by the constant presence of low-end knocks and percussive rattles, but it’s the melodic loops and piano samples—which sound like they’ve been pulled from scores of slasher flicks—that gives Keanu its palpable cinematic flair.
“The project is for you to feel how the main character feels, just going through the tracks for a full experience, from the beat selection to just the things I’m saying,” he explains. Often operating in that excitable but controlled space between sturdy flows and melodic phrasing, $pacely sounds youthful and invigorated as ever on Keanu. He’s already plotting his way to what he calls a proper album, but that doesn’t undermine the thrill of his latest drop.
Our conversation with $pacely follows below and has been lightly edited for clarity.
NATIVE: How did you get into the space of making Keanu?
$pacely: I think “Paradise” was the song that kick-started this project. I dropped that song last year and then I followed with “Roll Call,” that was like my first drill song and people went crazy for it. I was like since I have a mixture of Afropop stuff on the album I’m working on, I decided to just create a project around this reception. I mean, some people are calling it an album when it’s really not.
NATIVE: You’re not comfortable calling it an album?
Nah. I kinda made it as something to give the people while I work on the album because the sound on that is quite different and I’m taking my time with it.
NATIVE: Fair enough, since the project is named after one of your alter egos.
Yeah. I’m a fan of anime and just dope cinematic stuff. So this project is like taking you into one of my worlds, basically Keanu’s world. That’s just the motivation. My music takes account of everything I do, what I’m inspired by, and this project just shows that. I grew up in Switzerland and Anime was big part of it, we’d go to school and everyone would gather around to discuss what they were watching. That was a big part of growing up, so it consciously and subconsciously plays a role in my music.
NATIVE: Yeah, I can imagine. It even makes this project’s musical choices make even more sense to me.
Yeah, exactly. It’s in the mood, just the entire experience. The project is for you to feel how the main character feels, just going through the tracks for a full experience, from the beat selection to just the things I’m saying.
NATIVE: There’s that laser focus on trap and drill, as opposed to your debut tape that had a more diverse sonic approach.
I mean, yeah, but I’ve always just tried to stay true to myself at all times, especially as a solo artist. What you do is what inspires you, and that finds its way into the music, you feel me. I listen to a lot of music in general, well beyond just rap, so that will be in my music. I’m heavy on R&B, Afropop, and even some Jazz, I just like to keep myself inspired and that comes with being open to a lot of music. That means I don’t limit myself to one style of music, and besides, people might get tired of it.
NATIVE: For Fine$$e or be Fine$$ed, how were you able to get into that space of working with varying sounds?
I feel like it’s the production, ‘cause I was with a couple of producers that were making so many different things at the time and I just gravitated to all of that. For example, that was the time Odunsi was in Accra, and he had the experimental Afro vibes and we got to work together with that. And that’s what I’m saying with the album I’m working on, it’s a different sound, it’s not what you’ll probably not expect.
NATIVE: That line on the intro where you declared yourself a young OG struck me on first listen. How long have you felt that way?
For a minute. I feel like I’m a part of the genesis of this sound, we played a big role in introducing this type of style into Ghanaian music, and we inspired a lot of people by staying true to the sound. In Ghana, generally, the narrative is that you won’t get anything if you don’t do Afro, but there’s actually no one Ghanaian styles and there’s so much talent out here. Us coming, bringing in that type of wave, a lot of people saw that and followed. For me, being a young OG means continually working on my sound and also help in putting on creatives who believe in what they do.
NATIVE: You’ve been independent for the most part, which isn’t a cakewalk. What’s that experience been like, so far?
It’s been amazing because moving like that in Ghana isn’t the easiest thing to do. Doing promos, putting on your own shows, and other stuff is quite challenging but we’re doing it and learning along the way. I have my own record label, Labadi Music, also doing some stuff with distribution, and generally just doing as much as I can to maximise the reach of the music. It’s been quite the journey, I won’t lie to you.
NATIVE: Collaborations have been important to you, even as a solo artist. How do you source them out?
Most of the time it’s natural. I try to make it as organic as possible, get with the right people on the right songs and just make sure the timing is right. Like, I met BOJ through Kuvie, and it was just an easy fit because I met him through family. That extended to meeting Teezee—I think I was recording when they pulled up and we just worked together naturally from there. Sometimes, though, I also reach out to artists I wanna with. I reached out to the Kumericans, we went to Kumasi it was just good vibes and we were able to work together. They’re on their own journey and it’s good to see them doing their thing.
Prettyboy D-O personifies a particular brand of anarchy: unflappable self-assuredness. His 2018 debut album, Everything Pretty, anointed him the patron saint of overconfidence, especially in the face of detractive energy. Without a doubt, D-O matches to the bangs of his own drums, evident in the several times he’s rescheduled his sophomore full-length. Initially announced as far back as 2019, this second album was to be titled Pretty World, and timeframe for release continued to vary as he saw fit.
In the meantime, though, last summer saw the release of Wildfire, a thrilling EP that was supercharged at points and breezy at other points. The project marked the next logical step in D-O’s path as a genre-mashing rap artist with a distinct approach to flow and melody; it was also meant to set the tone ahead of his next album. Two years since its initial announcement, D-O’s second LP will be in our ears shortly, albeit under a different title: Love is War. Taking to social media, he shared October 15 as the album release date, also unveiling its tracklist in the process.
Love is War will comprise fourteen songs, including pre-released singles, “Police n Teef” (as a bonus track), “Living in Bondage” and the fairly recent “Falling” with IAMDDB. From these singles, it’s expected that D-O continues to express himself unapologetically, providing blunt lyricism, memorable song-craft, an expansive musical palette, and guests ready to match his energy. He’ll be joined by Nissi, Sugarbana, Pa Salieu, Davido, and MOJO. Prettyboy D-O has been carving out space for what he’s called “my best work,” and having already played the album at listening events and on live stages across the world, he’s ready to fully unlock the next world in his overconfident universe.
As the year winds down, the sheer number of music we’re receiving is growing at an exponential rate. With live shows back in full swing and Afropop hits such as Wizkid’s “Essence” and CKay’s “Love Nwantiti” climbing the charts both home and abroad, there has never been a more exciting time than the present for the burgeoning sonic landscape. As such, it’s hard to sift through the chaff and find get to all the good music that hears us at pour base emotions.
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 Dua Saleh, Ycee, Kabaz De Small & DJ Maphorisa, Cina Soul, and more. Taking stock of the new music that graced our ears over the last weekend, this early week’s curation includes drops from Burna Boy, M.anifest, Blxckie, Nobuhle, Yinka Bernie, and much more.
Burna Boy – “Want It All” (feat. Polo G)
Burna Boy’s range is an astounding part of his inimitable arsenal. He’s constantly shown an ability to morph his vocal delivery and writing from song to song, running through a wide span of musical styles while remaining compelling. Following “Question,” the groovy, Afropop cut produced by Don Jazzy, Burna recently returned with “Want It All,” this time around delving into the exuberance of trap. Joined by Chicago melodic rap star Polo G, Burna is clearly still in triumphant mood, as he toasts to his success in this calendar. As visualised in the accompanying video, he remains elated for his Grammy win, proud of the reception it afforded him back home, and grateful to perform shows at arena-size venues and festival stages. Burna is clearly having a ball.
Asakaa Drill, spearheaded by the motley clique of Life Living Records, is big on posse cuts. From Sean Lifer’s “Ma Drip” to Reggie’s “Geng Geng” and Jay Bahd’s “Y3 Y3 Dom,” some of the best and biggest songs to come out of the acclaimed scene leans into an on-wax comradeship between members of the crew. Its latest in the lineage of this sort of releases is Kwaku DMC’s “AYE HU,” which features Jay Bahd on its hook and complimentary verses from Reggie and O’Kenneth. A spiritual successor to “Y3 Y3 Dom,” the new song is a guttural ode to LLR’s strength in numbers, with all rappers touting the street cred and strength of their clique over a skulking and intimidating drill beat.
Nobuhle & Black Motion – “Eloyi”
Late last month, South African singer Nobuhle released her debut album, Imvula. It expanded on the radiant premise of her voice, as she sang of life and love in uplifting terms. To accompany the album, the NATIVE fresh meat alum shared the video for one of its pre-released singles, “Eloyi,” a booming and soulful afro-house cut created in collaboration with legendary producer duo Black Motion. Its music video continues Nobuhle and El World’s aesthetic preference for rustic locations filtered through an artsy lens. Flanked by her collaborators, she performs her set with an infectious joy, dancing while styled in royal garbs that convey her contined, deep appreciation for her culture.
Kwesi Arthur – “John Wick (Freestyle)”
At this point, it seems like we’ll have to beg for Kwesi Arthur to release his long-awaited sophomore album. Around this time last year, the Ghanaian sing-rap hybrid was teasing the impending arrival of the project with a 3-pack drop, but it’s yet to surface. In the meantime, though, he’s kept the streets fed with a string of singles and low-stakes freestyle drops. His latest is “John Wick (Freestyle),” on which he delivers an energetic performance that captures the freewheeling stakes of the song. Splitting the difference between cocksure raps and introspective lyricism, Kwesi reiterates his willingness to reach the pinnacle of his potential, a declaration he’s made more than a few times—but it doesn’t sound remotely stale at this point.
Yinka Bernie – “Jaded”
Some of Yinka Bernie’s best music are dispatches from an artist in tune with the emotional side of himself. “Jaded” comes from that part of his artistry, a poignant heartbreak written from the precipice of a relationship bound to hit the rocks. Influenced by ‘80s R&B, the self-produced track listens like a letter being written to a partner. Relying on mood over scenic details, Yinka Bernie’s languid baritone packs the required amount of emotional punch, culminating in a song so in intimate you can almost hear the tears hitting the notepad.
Moozlie – “Asibasabi” (feat. 25K)
South African rapper Moozlie places an emphasis on the bars. Her last album, December’s Spirit of an OG, was dedicated to this ethos, a thrilling exercise in slinging ice cold raps over even colder beats. Over nine months later, she’s still in the throes of promoting the album, and she’s just shared the music video for “Asibasabi,” a taunting collab with fellow South African lyricist 25k. On the song, both rappers challenge their opps to step to them, with disrespect spilling from their voices and raps unabated. In the music video, Moozlie performs on the road amidst moving cars, as well as in the company of mean-mugging posse and 25K, who also raps in front of a huge billboard of his recent album.
M.anifest – “Scorpio Flow”
Ghanaian rap veteran M.anifest is gearing up to release his fifth studio album, Madina to the Universe (MTTU). Weeks back, the album’s announcement was supported by the release of “La Vida,” a smooth cut which is expected to make the project when it eventually drops. Continuing with pre-album drop rollout, he’s shared a new single, “Scorpio Flow,” a far more raucous affair than its predecessor, where M.anifest confidently waxes lyrical of the plaudits he’s earned, over groovy, percussion heavy production co-helmed by Drvmroll and Rvdical the Kid. Its video is similarly high-octane, a collage of shots featuring M.anifest rapping with an unruffled verve in a series of vibrant settings.
Solana & Killertunes – “Badder”
More and more women are occupying space in Nigerian pop music, a trend that’s widening the perspective beyond its male-dominated pathos. If you dig hard enough, every new music Friday comes with new releases from female artists, some of them on the cusp of breaking out. Solana is a singer who fits this description; she got her first mainstream look via a collaborative single with Joeboy back in August, and she’s followed it with a new 2-pack single, comprising “Badder” with Killertunes and “On My Way” featuring Victony. While the latter is a sappy love song where trades devotional lines with her guest, it’s the former that establishes her as a forceful voice to pay attention to. Over glassy guitar riffs and a thumping bass, she rebukes all distractions to her paper chase, channelling her angst from a recently ended relationship into a strong statement of self.
Blxckie – “Gas”
Blxckie is having himself quite the year. Consolidating on breakout moments from late last year, he’s been all over the heat map of South African rap, dropping his dazzling debut album and popping up on features in a manner reminiscent of peak Lil Wayne. Last month, he scored his latest hit with “Kwenzekile,” a Kwaito-indebted cut featuring DJ Maphorisa increasingly popular alter ego, Madumane. For his latest drop, however, he’s reached back to B4NOW, sharing the music video for the raging trap banger, “Gas.” Shot in a junkyard, the video captures Blxckie in his usual ebullient form, rapping his lyrics with an infectious energy.
Viral singer, Fave hit the limelight during the socially distanced pandemic. At the time, the singer had tapped into the beats produced by Lagos-based singer and producer, Jinmi Abduls, birthing a freestyle that quickly became a sensation on Twitter. Over the upbeat groovy production, Fave addressed her love interest as she questions his loyalty and the strength of their union, a relatable theme for many young listeners.
The singer stayed connected to her growing loyal fanbase with a steady stream of music releases and intriguing video content laying a foundation for her career as an artist to blossom. Her freestyle soon landed her the attention of some industry heavyweights including Mr. Eazi’s EmPawa Africa. Needless to say, she’s one artist to tune into right away.
For her most recent release “Baby Riddim”, the singer is back with another love-induced track a follow-up to “Beautifully” released a couple of months ago. A promotional single off her debut EP ‘Riddim 5’ slated for release this month, the new song shows off Fave’s ability to consistently switch up her style while delivering melodies that are front and centre of everything she touches. Speaking on the new track, Fave shared “I’m never slacking on a chance to unlock a phase. A chance to birth a sound, a chance to love upon a beat. If it’s calling, I’m answering.” Fave delivers a stellar performance on this track produced by Damie as she beautifully explores Caribbean influences.
While Fave is undoubtedly in love, heavy skepticism shines through her earlier release “Beautifully” as she expresses the lengths she would go for love regardless of her possibility of being played by her love interest. However, in “Baby Riddim”, Fave openly addresses her feelings for him, doubts aside, as she adopts a more confident and self-assured approach to telling her lover how she feels regardless of who might be watching “Oppositions they come left and right, but I don’t care/Pop fit dey your front, say I leave you but I die here”.
Fave’s vulnerability doesn’t hide in her words and voice as her sultry melodious vocals express her intentions to make permanent memories with her love interest “Steady your face jor for me/ I wanna take a picture, So this could last longer for me”. We witness a new, affirmative Fave that, speaking passionately about what she wants. It’s not often that women are given the space to speak boldly about their desires but Fave encapsulates everything the modern generation has to offer. Whether she intends to or not, she has a knack for singing about things we don’t want to say outright when we fear our heart’s on the line.
Currently, the song is catching on like wildfire. On Apple Music, the song sits at No. 2 of the Top 100: Nigeria charts and No. 5 of the Top 25: Lagos charts while over on TikTok, it’s currently trending with a recorded 171.9K videos and counting. This is Fave’s moment and she’s effortlessly ridding its soundwaves to mainstream ubiquity.
Chisom is a culture writer and editor with works in The Washington Post, Digital Spy, Bon Appetit, and other spaces.
When it comes to reality television in this side of the world, Big Brother Naija racks in the most viewership and sponsorship to propel careers than many other shows. Making it into the famed house is sometimes viewed as luck by many Nigerian, and this luck is one not many run into in a lifetime. Simply being a part of the show pushes one’s career forward in innumerable ways and despite the show’s largely clandestine annual revenue, sources speculate the 4-season Nigerian iteration now generates millions from sponsorships and is one of the top-rated reality tv shows in Nigeria and Africa, at large.
For many viewers, being on the show is enough, providing them the platform to launch their careers but what always seems to be left out of consideration is the mental well-being that goes into being a contestant on a highly publicised show such as Big Brother Naija. Up until this year, the mental health of Big Brother Naija’s housemates has never been a factor put into great consideration by many viewers. But with Kayvee withdrawing from the reality tv show after isolation began to take a toll on him and Angel requesting to speak with a medical professional, the initial glitz and glamour of the show has worn off, exposing the mental toll it really takes to become a reality television show contestant in Nigeria.
One of the effects of isolation on a person can be reduced immune function. In the reality television world, contestants and housemates sign up to be away from their family, friends and the people and hobbies closest to them as they undertake a range of tasks and activities put in place to determine the winner of the cash prize. While this seems like an easy task, staying away from the people closest to you, which the Big Brother housemates have to undergo before getting into the house, can lead to anxiety, depression, and also impact one’s physical health, and cause cardiovascular diseases.
Coupled with the fact that the premise of Big Brother lets housemates be locked in with people they aren’t wholly familiar with, I think we can all agree that isn’t pretty. At the start of the COVID-19 lockdown in 2020, many of us were locked in with family and loved ones while the world around us began to change. For many of us, this was the first time that we had to stay away from things and places we loved, and many people shared how being in lockdown took a toll on their mental health. The same can be likened to reality tv shows like Big Brother Naija which offers viewers an escape from their present reality while dishing the flip side of the coin for those who actually grace our screens. For these contestants, it is their real lives that are plastered online and dissected under the guise of adoration or annoyance. There is also the constant rejection that follows, either from losing a game or not winning a task, and these can take a toll on people who are not mentally prepared.
While there isn’t any study on how reality shows like the Big Brother franchise affect the mental health of contestants, there have been reports over the years on the ways in which reality tv has taken a toll on contestants and sometimes, led to their death. A 2019 report by the Sun newspaper shows that there have been 38 deaths worldwide linked to reality television shows including the most popular ones like Love Island, the Bachelor, American Idol and more. While these shows constantly go through several psychological and mental screening and even offer mental health support for its contestants, this is not the case when you take a look at this side of the world.
The mental health of contestants is hardly considered during and after the show as we see fans who think they have the right to have opinions over the lives of reality tv stars cyberbullying them. In Nigeria, for example, reality tv contestants are thought of as fair game. Comments such as “why then did they join if they can’t stand it?” are typically thrown around when discussing mental health and fame, forgetting that the two are inextricably linked and that these contestants are really humans with emotions. There is also the fact that while in the house, housemates are left under the mercy of producers, who are always after the ratings and starting conversations on social media which can be unhealthy and at the expense of the housemates.
People only see what they are shown. And when a narrative is being pushed, which paints housemates in a bad light, we often forget that reality tv is what it is, reality tv, and most of the time, the majority of what we see on our screens is largely scripted and orchestrated by those pulling the money strings. We forget that these contestants are there to play a game and win a prize, which means that we sometimes only see what they want us to see. And this leads so many of us to hide behind a screen, cyberbully them, and create a toxic space for them.
Where Does The Line End?
Women bear the brunt of harassment when it comes to reality television fame. In Nigeria, it’s not unknown that women find it hard all over social media just to be and exist, and for female reality tv contestants, the fate is even worse. It can be hard to escape harassment and chastisement from fans as they are often subjected to talks about their bodies, appearance, and lives. The way we perceive sexuality implies that women do not have sexual agency, and we expect them to behave a certain way because we believe that is the only way they can exist.
Past contestants such as Mercy Eke were slut-shamed while in the Big Brother Naija Pepper Dem edition. Likewise, Nengi got the short end of the stick from fellow housemate Lucy in the Lockdown edition during a quarrel, as she told her she had been flirting with the men in the house and allowing them to touch her. Erica was slut-shamed by many viewers during and after her time in the Lockdown edition. Angel has been slut-shamed by viewers for her appearance and by fellow housemates. These women all have a shared experience of getting slut-shamed, and it only gets worse as they come out of the house and carry on with their daily lives. Housemates exit the Big Brother show with Instagram and Twitter followings to rival that of any celebrity. The difference is, not all of them necessarily have the support staff to aid them in moments of extreme need.
We create an environment where girls can not fully express themselves from a young age because they are trying to avoid the ‘S’ word. As adults, we try to control their appearance and still encroach on their autonomy. We turn to psychologists as we diagnose them with different conditions and sit comfortably because we just have opinions, after all. We forget that free speech doesn’t equal harassment and abuse solely because the other person is more insulated by fame and wealth.
According to columnist, Jessica Valenti, women being called sluts has little to do with the number of their sexual partners, how they dress or flirt, or if they take birth control or not. In her own words: “It’s a warning more than a word – a reminder to women that we must adhere to the narrow standards of femininity and sexuality set out for us, or be punished accordingly.” This also makes one wonder, what then is going to happen when newer reality shows such as Love Island come to Nigeria? The dating show, which originated from the U.K, is set to air in the country soon, and with the way, Nigerians find any opportunity to slut-shame, how are the future contestants going to cope, seeing as the premise of Love Island isn’t one that adheres to the conservative nature of Nigeria and Africans at large. It is yet to be seen how this new show will integrate within the current climate here in Nigeria and offer psychological and mental care to its contestants.
Be Kind
Almost one in four people (24%) aged 18-24 say reality TV makes them worry about their body image, according to the YouGov survey of 4,505 UK adults released by the foundation. In Nigeria, where these statistics are not readily available, one can only wonder how many young people worry about their body image or themselves and which percentage of these young people then go on to inflict physical harm on themselves to redress these flaws. For young women such as Angel, one of the youngest contestants on the recently concluded Shine Ya Eye edition, the price of opening up about mental health and its struggles is harassment and chastisement online.
We’ve watched Angel open up about her mental health struggles then later, receive praises for being brave enough to talk about it and then the trivialisation that followed soon after these. Attitudes like this continue to create a hostile environment for people with mental health issues, making it hard for them to speak up and seek help because no matter how hard we try to pretend, the stigma surrounding mental health, especially in a country like Nigeria, continues to exist and transcends generation.
According to an article published in the Lancet Global Health, figures suggest that approximately 80% of people with mental health issues in Nigeria can not access care. In the instances where care is given, they are reduced to living as less than an average human being. A similar 2019 report also shows that people with mental health conditions are chained and abused in Nigeria. And there’s backing from the constitution as the 1958 Lunacy Act gives mental health institutions the right to detain people with mental health conditions. This leads back to the fact that the stigma surrounding mental health in Nigeria doesn’t allow people living with mental health conditions to get the help they deserve.
Whatever the mental toll contestants face while on the Big Brother series, the real issues begin once the cameras have been shut off and they prepare to re-enter their former lives — all while nursing the pressures of social media, public critique, and their newfound fame. While it would be a gross oversimplification to proffer that just being on a reality show can lead someone to suicide, it is necessary to take into account the pressures of fame on the lives of ordinary people just like you and me. Putting oneself out there is hard. And in shows like Big Brother Naija, contestants are always at the mercy of public judgment. All eyes are on them, with the public choosing who their favourites are.
When we continue to gloss over the mental health of reality tv contestants in Nigeria, when we cherry-pick which reality tv star deserves our support and who doesn’t, we not only add to the stigma surrounding mental health in Nigeria, but we make it more difficult for people to seek help and be open about their conditions and how it affects them. We create a hostile environment for people and tell them their issues are better off kept inside because, to them, they will only be met with dismissal, or worse, get cyberbullied with the same thing they spoke up about. If we are to truly learn anything from reality shows such as Love Island and the Bachelor, it’s that an industry-wide overhaul is needed urgently here on our turf and it’s our individual responsibility to ensure that people are treated as humans.
To this end, below we spoke to former BBNaija Season 6 contestant, Kayvee about his experiences in the house, the effects it had on his mental health and his tips for how other contestants can care for their mental health outside the show.
NATIVE: How did the Big Brother Nigeria show have an impact on your mental health?
KAYVEE: The Big Brother show was a great platform, and I had an opportunity to connect with the world to share my talent and skills as a photographer and cinematographer. I had a fantastic time on the show, albeit short. As with anything, every new experience always has its challenges, and this was no different. It was slightly stressful, especially with the lockdown and being by myself before the show. I got into the show and was excited to get on, but things didn’t go as planned. I started suffering from an anxiety attack, which was to the full glare of the world, and I had to do what was best, which was to acknowledge the challenge and seek help. Upon the Doctor’s advice of being unable to continue with the show, I exited.
NATIVE: There is a stigma surrounding mental health in Nigeria, especially regarding the lack of support for people with mental health issues. So, in your experience, how has this affected you? That is, from the people who haven’t shown any support or tiptoed around the discussion?
KAYVEE: In Nigeria and Africa, mental health is highly stigmatised. People living with some mental health conditions are regarded as mad, crazy, or, in my case, rumoured to be dealing with a drug withdrawal syndrome. It shows how people undermine the health and wellbeing of others with their words, actions and inactions. In my case, I have dealt with this by turning off negativity and focusing on the positive comments and love I have and continue to receive. I can be honest to say it was initially tough to have exited the show and lose out on an opportunity to compete for the grand prize, but I am comforted by the love and support of my family, friends and fans.
I always try to keep my energy up and remind myself that I come first. Thankfully, the team of Doctors helped me through that tough stage and prepared me for the occasional relapse. Of course, mental health support is sometimes unaffordable for every person, and that’s why I love that organisations, especially NGOs, are breaking the stigma and helping people quickly access holistic mental health care. For instance, some elderly people are tagged as “mad”, whereas they are dealing with a mental health condition that could be treated or managed through therapy and/or psychiatric support. We need to intensify the conversation to help more people living with mental health conditions across Africa.
NATIVE: In your experience, what is the best way to take care of one’s mental health as an ex-housemate? That is, with many big brother fans being toxic, ex-housemates are always targeted; so what do you think is the best way forward, and how have you been taking care of yours?
KAYVEE: In my experience, the best way to take care of one’s mental health is for ex-housemates to speak with a professional whenever they feel a type of way. This isn’t just related to mental health, all illnesses. Please don’t keep it to yourself and let the opinions of others define your life and or ability to seek help. The stigmatisation shrouding mental health is why more people suffer. This is why we need to prioritise mental health discussions and mental wellness in Nigeria to help people understand that because a person lives with a mental health condition makes you a lesser human being. This will help change people’s orientation on mental health and its importance to the body because the brain is one of the essential organs in the body.
Regarding trolls, I believe it’s left for you to take in what you deem necessary. Sometimes, I read some comments and take my mind off them because that’s not who I am. So I ignore what does not help me grow or improve me—no time for negativity on this end. I have been taking care of myself, focusing on the Doctor’s advice and focusing on my work. Some fans may try to compare ex-housemates to make them feel they aren’t matching up to the standards, but I believe everyone should understand that life is a journey and our paths are different, so are our successes. I’d say the ex-housemates should try to disengage their minds from such toxic comments or comparisons because they will come and paying no attention to it while living your life, silences the trolls. I believe these fans who troll others are not orientated, and that’s why we need more awareness campaigns to help foster social and behavioural change.
After recording three weeks at the summit of the Top 50, Kizz Daniel’s hit single “Lie” returns to No.1 spot this week, gaining its place back from Ayra Starr’s “Bloody Samaritan.” of last week “Lie” tallied 46.6 million in radio reach (down 3%), 2.1 million equivalent streams (up 8.2%) and 13.5 million in TV reach (up 8%). The song has also become the second-longest single to spend consecutive weeks at No.1 recording 7 weeks so far this year, after Omah Lay’s “Godly” and ties with Teni’s “FOR YOU.”
“Lie” has now reached No. 1 on Audiomack, Boomplay, YouTube NG, Apple Music, Triller, Shazam, iTunes, Radio and TV – completing a clean sweep that has previously only been achieved by Davido’s “FEM” and Omah Lay’s “Godly.” Ayra Starr’s “Bloody Samaritan” slips to No. 2 on the Top 50 after reaching the summit last week. The song tallied 10.9 million in TV reach (up 9.3%), 49.8 million in radio reach (down 10.2%) and 2.02 million equivalent streams (up 5.8%).
It is followed by Fireboy DML’s “Peru” at No.4 which is closely followed by Joeboy’s new single “Alcohol” which debuts on the chart this week at No.5. The song garnered 3.26 million equivalent streams and 21.5 million in radio reach (No. 17 on radio and also becomes the artist’s highest debut and highest-charting entry on the chart – surpassing the No. 6 peak of “Focus.” It is also the artiste’s first No. 1 entry on the streaming chart.
The rest of the top 10 remains unchanged with Omah Lay’s “Godly” slipping down from 4th position to No.6 this week. It is followed by Tiwa Savage’s “Somebody’s Son” with Brandy at No. 7, Burna Boy’s “Question” with Don Jazzy at No. 8, and Lojay & Sarz’s “Monalisa” at No. 9. Mohbad’s “Feel Good” rounds up the top 10 this week. Outside the top ten entries, Oxlade’s “Ojuju” rises to a new peak of No. 11 while Ckay’s “Love Nwantiti (ah ah ah) [Remix]” with Joeboy & Kuami Eugene makes its Top 50 debut at No. 30.
Warming us up for the release of his debut EP ‘True Self’ in 2018, Chimzaram Omeni-Nzewuihe, more popularly known as Chimzy released a slew of tracks that would serve as the introduction to his star potential. From love tracks “Too Bad”, “Addicted” and “Impress You” to “Wavy” and “Bad Guy”, the singer consistently showed his musical capabilities, causing a stir in America’s nascent Afropop where he was based.
Fast forward to 2021 and Chimzy has a couple of stellar projects under his belt and he’s more than proved that he’s worth the salt. With a discography including his sophomore effort ‘Chimzy Vol.1’, and a couple of stellar singles including Tobby Drillz-assisted “Shekpe”, and “Ijoya” with PsychoYP, a nostalgic remake to Weird MC’s “Ijoya”, the singer has leaped from the belly of the underground and earned himself a loyal following.
As he continues to make his way to the top, the singer now shares his third EP ‘Insomnia’, marking this new leaf in his career with help from new friends positioned to break him further into the Afropop landscape back at home including Teni and Minz. The steady piano riff at the beginning of the EP intro “Normally” is the perfect introduction to the project and presumably what Chimzy has to offer in this new self-assured phase of his career.
Accompanied with this smooth introduction are Chimzy’s vocals as he talks about his dedication to his craft as he croons “Yeah we doing this for life/I can’t do nothing but be grateful” as well as his successes thus far. The beat, heavy on the drums, compliments the artist’s sonorous vocals as he quips later on the chorus “Normally, normally, me I go dey give them constantly/ Me I go give them all my all, make nobody come dey suffer me.” The track is a true testament to the artist’s growth and his commitment to the modification of his craft to suit his current self and its accompanying tastes. While “Normally” serves as a reminder of the artist’s progress, it also builds anticipation for what’s to come as the EP advances and Chimzy’s career takes new heights.
On the following track, “Bati Bati” produced by Paul Jabani Lassa draws us further into the project with a more rhythmic beat similarly heavy on the drums like the intro. Undeniably a strong heart-thumping beat, his vocals still take center stage on the track and he melodiously sings of his intentions and experiences with his love interest. It is almost reminiscent of his older love tracks like “Impress You” but there is a clear development in his sound which is much more confident. He expresses his interest in simply enjoying life as well as the company of his love interest on the song’s pulsating hook “So fine girl I’m feeling you/last night girl so real with ya”. Assisted by a subtle trumpet riff are his infectious vocals as he sings “I dey do like bati bati ba ba, Aunty roll that thing back/When you do it like that, it’s so magical”.
100,000 streams in the first week! Grateful isn’t the word. Bigger things coming!! Thanks to everyone listening ❤️🔥 pic.twitter.com/qkTCg0iL5v
Considering Teni was on this track, it is no surprise that the two Afropop artists created magic. Coupled with that their stellar complimentary vocals grace the infectious amapiano beat. The EP’s mood has transitioned from slow-tempo tracks and the mood has picked with a more upbeat sound on “LEVEL”, fit for Teni’s energetic vocals. As Chimzy flows on the beat, Teni delivers sultry vocals in the background preparing us for her solo entry into the track. She steadily rides the wave of the beat as she sings “This thing you dey do go cause yawa/This thing you dey do go cause gobe”. The beat momentarily tunes down and picks up again, allowing for a hypnotic exit from this number as we enter “RUDE BOY” taking us to the slow-tempo pace of the first two tracks on the project. However, Minz’ vocals contrast Chimzy’s deep-pitched one, aiding in providing a different sound than what we heard earlier.
“ALL MY LOVE” has Chimzy telling his intentions to his love interest as his vocals range from high to low in the track’s intro and first verse. The drums assist Chimzy as he sings “I just wanna give you all my love/I just want to give you what you want”. Of all the productions on the project, “ALL MY LOVE” has the most distinct sound with a uniquely engaging beat that was further elevated by Chimzy’s sound. “I’m doing things that i never imagined doing before/I’m living life like a movie, spectacular it’s a galore” served as the opening line in the outro, “BETTER DAYS” as he recognizes that his life thus far has surpassed his expectations. He harmonises on the chorus as he cheers and toasts to even better days. By the end of ‘INSOMNIA’, it is evident that expert finesse went into the creation of the project and Chimzy has marked his new arrival.
Stream ‘Insomnia’ below.
Featured Image credits/AccelerateTV
Nwanneamaka couples her creative interests with her individuality and uses writing as a vessel for her expression.
Since the release of her debut project ’93MChild’, Ghanaian-German singer/songwriter Jean Feier has consistently met the demand for music that is refreshing and new in today’s saturated climate. The Fresh Meat alum is a genre-bending artist capable of soundtracking one’s intimate desires and their journey to freedom.
Speaking about her expansive catalogue of music, Jean Feier once shared with the NATIVE that she wants listeners to go to therapy with her when they hear her voice. Providing aural healing for an entire generation is not an easy feat but Feier has remained consistent through it all, earning her a growing presence online and a nod from the Ghana Music Awards for Best Alternative Song.
This year, Feier hasn’t slowed down as she’s now unveiled a new single for her loyal fans titled “When I Need You”. Over a mellow beat produced by fellow Ghanaian producer, Kwelit, the singer delivers her warm silky vocals and some of the most relatable songwriting in her recent work. She declares her utmost dedication to her love interest, laying bare how they make her feel while promising to stay by their side.
Instead, vulnerability becomes her strong suit as she shares with her listeners that letting someone in is often very scary however, she reassures them that it’s okay to take the next step when they are truly convinced of their love. She sings “I don’t want no one else, better off by myself/You’re the one on my mind,” addressing a love interest who she can’t simply do without. A true lover at heart, she speaks the truth about her reality on top of harmonies and melodies that sound like a niche R&B cut worthy of listening to.
Ahead of the release of Jean’s “When I Need You”, for our exclusive premiere of the single, The NATIVE caught up with Jean regarding her influences, the creative process behind the song and more.
Her answers which follow below have been lightly edited for clarity.
NATIVE:Hi Jean, you have roots in both Germany and Ghana and we hear you speaking German on “When I Need You”. How much of an impact would you say your roots have on the music you produce?
JEAN: Everything I am is everything that makes me me and therefore my art. More than anything else though I am my mother’s child and she is a half Ashanti & Ga superhero. She feels like the ultimate elder to me. I’m proud to belong with her. Growing up felt like adventure time. I loved having multiple sets. By the time I moved to Ghana for 3 years with 11, I already had a community from coming every big holiday.
My favorite birthday party happened in Dansoman and my oldest friend and I sang in the church choir in Ghananian church in Germany. These are both very important things that happened that shaped my gift. I booked my first professional recording session in London while I was living there. That city made me in ways I still can’t explain. If I had to pick a home, it would be hard. I’m inspired and in awe of black women because no matter where and no matter how they still shine. That’s inspiring too. Being in multiple worlds is a trip for stability but the perks are not too shabby.
NATIVE: Listening to “When I Need You”, felt like an affectionate, intimate declaration of love. What inspired you to be so open to vulnerability on the track?
JEAN: I stopped writing in my diary and started writing music at 9, it’s always intimate with me. Hopefully, my writing will always be so honest. Being like this in real life too is exhausting though. I dislike having to hide my heart and pretend. It’s not that I could not play chess, I’m just not interested, you know? I want peace and love, that’s that.
NATIVE: The song’s producer Kwelit shared that he had just listened to ‘Blonde’ by Frank Ocean and wanted to create a beat Frank Ocean could record on. Can you draw any similarities between your sound and Frank’s?
JEAN: Frank Ocean is a Legend. His sonic journey is important to me. As one of the few artists I actually listen to, I’m sure his impact can be felt and will continue to exist for a long time. Personally, I think Frank Ocean is an Alte artist so it makes sense to think of him and me in the same universe, but I think I’m definitely on my own vibes.
NATIVE:Who would you say informs or inspires the music you make?
JEAN: I’m a young black girl raised between borders with wanderlust and a large appetite for love and life. I document my state of being as a form of self-expression but when it connects with the right person it feels like finding your soulmate. The high I feel when I randomly get messages from SLMTS that just found me makes my life sweeter and more inspiring though.
NATIVE:Can we expect any visuals for the track soon?
JEAN: You will hear me before you see but you will see me nonetheless. I want to connect sonically above all in a visual world. I’m a little obsessed with that. I always felt like I needed to be complete to really put myself out there. Properly know who I am. Being very particular with what I want makes creating something as immortal as visuals, tricky. I’m always curating a list of amazing directors I would love to work with in the future however so creating will be an honor and an absolute delight. I’m looking forward to it.
Music discovery is a phenomenon as old as the commercialisation of music itself. In 2021, a period where music crossed physical boundaries and traversed continents with relative ease, finding new music and new artists is a hugely prominent part of pop culture. Take CKay’s “Love Nwantiti (Ah Ah)” for example, a song that was released in the summer of 2019 to moderate continental fanfare and has just debuted in the U.S Billboard Hot 100, making it the second Afropop song to debut on that chart in the last few months. Without the amplification provided by the short video sharing platform, TikTok, Ckay’s feat likely wouldn’t have happened.
Afropop is global, an incursion being led by stars of varying tiers and generations. To fully appreciate the presence of African music, though, is to look inward and be awed by the unending torrent of artists, many of them yet to be heard by a wide audience. In this terrain, music discovery is a delightful undertaking and, since the channels are increasingly democratised, it’s even more integral to ensure that nascent artists grow while holding on to their initial creative inclinations and convictions.
Across eighteen installments, The NATIVE’s “Fresh Meat” column has situated itself as a trusted channel for discovery, a place to exhort artists we believe are nearing mainstream breakouts, as well as those playing the long game with unique styles of music. This month’s edition is no different including Nigerian pop singer Oladapo, British-Ghanaian rap upstart Shasimone, Tanzanian Future Soul auteur Turunesh, and more. As always, we believe all eight featured artists deserve your attention.
Shasimone
Since her feature on Dave’s recently released sophomore album ‘We’re All Alone In This Together’, British-Ghanaian singer has continued to stoke new levels of excitement for her burgeoning music career. Her hard-hitting verse on the standout track titled “Both Sides Of A Smile”, lays bare the rapper’s natural lyrical abilities and her ease in delivery. With an unmistakable voice and a poignant message, Shasimone takes center stage on this stellar production as she draws listeners deeper into the track about various romantic shortcomings. Her bars were marked with evocative details with lyrics such as “Got my own car, own money and my own body/If I show body, this for me, this ain’t for nobody”, which immediately prompted many rap fans to question exactly who she was. If there’s anyone still unclear on the facts, the truth is Shasimone is here to stay and her appearance at Wireless Festival this year was confirmation enough.
A deep delve into her discography shows that Shasimone was only making music a year before she found herself swept up in the current moment that she now enjoys. A year ago, she had only a few singles to her name including her debut single “Belly” which was released last September. On this high-tempo track, she similarly exhibits her unique prowess as she spits rapid-fire lines about relationships, her career and everything that she worries about in between. Shasimone was not the only artist that got the courage to step out from the background and actively take their music career seriously in 2020 when the COVID-19 pandemic was at its peak. In fact, she joins a long line of talented artists who got hip to the game and met the demand for something new and current.
Earlier in 2021 just before the memorable Dave feature, Shasimone had released two singles titled “No Chaser” and “Supersize”, two buoyant tracks that display the rapper’s voracious appetite for braggadocious bars. While these songs were already satisfying grassroot audiences that she had connected with both in the UK and Ghana where she frequently visits. In this hyperspeed viral climate, garnering organic attention in this way is not an easy feat but the rapper certainly managed to do the unimaginable. By the time Shasimone stepped to the mic again, with the release of her latest single “Back To Sender”, she already had a legion of loyal fans singing her praises and they’re not without cause. Her latest offering feels like a step up for the burgeoning star. Here, she revisits her Ghanian roots for the track, travelling back to the place that raised her and embedding herself in the local community. The single, an Afropop-tinged affair finds the singer waxing poetic about the haters and opps. In the song’s 3 minute run time, she’s able to pack an onslaught of wordplay, calling out the fake bravado of masculinity and dispelling the naysayers. The artist’s skills are undeniable and it’s no surprise that she’s already inching closer to her defining moment.
Already, she’s accumulated close to 5k monthly listeners on Spotify, all awaiting the release of new material from the newcomer with the world at her feet.
Oladapo
Oladapo’s music is a practice in intimacy. The words are heartfelt, the soundscape is stripped to the most elemental it can be, inviting listeners into his world where alchemical fusions of Afropop, R&B, and Alt-pop collide with a dreaming fluidity. Born Tonade Oladapo Adetunji, Oladapo has often been identified as a prodigy, receiving acclaim for his thematic songwriting and discernible vision from song to song. 2019’s “Gbe Bodi,” a slick, urgent song about attraction and affection is the first place where the singer served notice of his zestful sound, interspersing his delivery with shades of the prosaic delivery of his personal icon, Lagbaja.
Oladapo’s musical journey began with a series of freestyles regularly uploaded on Instagram and, in 2019, he made it to the shortlist for the inaugural class of Mr Eazi’s music incubator program, emPawa Africa. But the singer’s most resonant moments have manifested with him in his own unique space, fine-tuning his heartfelt lyrics into digestible sonic bits that can capture the specifics of attraction as well as the depths of its allure. 2020’s “Proud,” a two-song pack caught the singer in the thick of evolution as his partnership with P.Priime blossomed.
His new release, ‘BLIND’, a five-track extended play delivers on the promise of his earlier releases, while updating its themes of companionship with an urgent drive that can be heard on “Alone” where the singer promises to spend his money on a love interest. The rest of BLIND expands on that merger of artistic elegance and a burning emergency from the singer. “Fine” leans into the sonic palette of neo-R&B, opening with a scintillating mesh of twinkling piano keys and steady percussions that leads to some of the most confessional singing on the project while project closer, “Isakaba,” takes influences from Amapiano to create an engaging blend of the genre with his signature ambient take on Afropop. Overall, the singer is on track to deliver on the potential he promised all that while ago on “Gbe Bodi.”
Turunesh
Tanzanian singer/songwriter, Turunesh has the voice of an angel. She instantly captured our attention with the release of her recently released EP ‘Satin Cassette’but the singer has since been making head waves in her community for a few years. Now regarded as one of the pioneers of the East African Alternative, R&B and Soul scene, the singer would never have imagined this current moment she now enjoys. At the age of 16, she released her first song on Soundcloud entitled “Feel”, a romantic cut that showcased her powerful vocals and enviable wordplay. “Tell me your love for me without that ache in your chest” she sings, displaying a level of maturity in her lyrics that was far above her years. At a young age, it’s impossible for her to have this much knowledge on the intricacies and complications of romantic love but the young star spun gold with this number, earmarking herself as one to watch at the time.
Turunesh fell deeper in love with making music while growing up as she’d always be in a mini-concert in every ride in her dad’s car while listening to songs of all sorts; Ali Fakra Toure, Salif Keita, Erykah Badu, Remy Ongala, James Brown, and so many legends. One could say she fell in love with music because her dad loved music. What inspires her to make music are the powers at play when she performs live. She is not alone when she is on stage. She believes that it is her duty to write, to sing, to share, and to heal. As an African, she understands that there is no such thing as spirituality without music and the significant role musicians play in our society as historians, storytellers, and bearers of divine truths. As she is among those chosen, so she must rise to the occasion.
‘Coastal Cider’ is a stunning body of work that set a precedent for excellence as that paved the way for both tastemakers to embark on ‘Satin Cassette’. Her recently released project, ‘Satin Cassette’, arrived on her 24th birthday which was the official commencement date of her label Neshå Empire Inc. Turunesh was forced to start her own company because she wanted ownership over her creative and business output. As a young African woman, she wasn’t satisfied with the deals she was being offered and felt misunderstood by the labels she let into her musical world. Taking the initiative to fill a gap in the Tanzanian market for women like her, Turunesh took on this dream project and saw it to successful completion this year. Ever the cheerleader and mouthpiece for Black women who look, sound and act like her, the singer is now ready to take her place among the class of this generations’ brightest and most enterprising young stars.
Bryann
A constant mill of activity that is as diverse in content as it is constantly hybridizing, no tool has quite revolutionsed the tenets of modern engagements and living like the Internet. For music professionals and musicians, the congregation of people on social media has provided an opportunity to expand their marketing tactics to reach new audiences. The explosion in popularity of social media networks in the late 2000s formalized that connectivity, helping musicians reach their audiences directly, instead of going through mouthpieces. In some instances, many have pivoted to social media as an alternative that is by and large outside the purview of godfathers.
In 2020, no platform played a role in entrenching new sounds within Nigeria’s music industry as TikTok did. A mix of cheesy short videos and well-curated memes, the social media platform has continued to elevate Nigerian music into 2021. While most of the Nigerian songs that caught flame on the platform in 2020 were songs by visible artists, in 2021, songs like Bryann’s “Longe” have enjoyed the spotlight. The single, released in February, became a viral sound on TikTok in April and pushed the focus on the Festac-based singer’s music.
Despite the success that “Longe” has recently gotten, it was initially conceptualised in 2019 during a studio session with Spax. It came two years after the singer had decided to get serious with music after always being in the spotlight for his songwriting as a student. His first traceable single is the minimalist “Funk You Up,” an apt introduction to Bryann’s nimble flow designed to linger over ebbing instrumentals. On the song, he delicately staggers his verse, suggestively drawing out the intended meanings behind his lines. Post-”Longe,” Bryann has released one more song, September’s “Andale,” a balmy pop offering that shows more of the melodic singing and precise songwriting that made him a viral phenom.
Internet Girl
If you’re not hip to the new South African indie band Internet girl then now’s your chance to get on the current wave. The band, consisting of three members named Nsika Bungane, Matty ‘Neese’ Burgess and James ‘Griggs’ Smith have quickly become names to watch out for in the genre-defying African soundscapes and have already garnered more than 100 000 listeners a month. Each member plays a deep and important role in the overall running of the group, fashioning it into the well-oiled machine it has now become today.
Although now a trio, the group initially consisted of only Ntsika and Neese who have known each other since they were in grade school when they began making music together from a young age. They initially produced Trap and Hip-Hop music as they tried to emulate the likes of XXtentacion, Lil Peep and more but soon found their beat as they created more music together. As time went on, the pair decided it was best to try something fresh and new, this is how they began delivering genre-mashing, alternative numbers that have earned them new levels of fame. In 2019, the band of two officially became three as they recognised a gap to fill in their group. After putting out a search for a lead guitarist, they soon found the third member of their group in Griggs, a Hip-Hip/Hop producer that fit the group’s penchant for something new and refined.
Internet Girl, as it is known now, was officially birthed in 2020, a month before the COVID-19 pandemic swept through the world and changed life as we know it. To debut the trio’s new status as a group, they released their debut single “Follow Me Around”. Last year alone, they were able to garner over 2 million streams on Spotify alone and have been featured on several playlists which as new artists does help a lot when trying to grow your fan base. Their hit song “Next Summer” caught the attention of a lot of important industry players including the record label R&R/Warner Records that signed them. If you’re looking for a place to begin getting into the group’s eclectic sounds, it’s best, to begin with, ‘The Word I Love’, their 2021 debut EP released earlier this year. Packing an onslaught of clever wordplay and melding a range of genres including EDM, Indie Rock and Punk, it’s clear that the trio are here to carve out their own space in the new vanguard.
nalu
In 2021, it’s easy to believe that South Africa’s biggest musical export is the sweet-sounding genre of Amapiano. The emerging sound from local townships has in recent years taken over the African soundscapes, rubbing shoulders with other genres and creating something beautiful, eclectic and distinctly African. However, it would be amiss to leave out R&B as one of the country’s musical strong suits given the talented spate of stars emerging from the country’s busiest cities from Johannesburg to Pretoria. From stars such as Shekhinah to Elaine, it’s clear that the country is a rich musical landscape replete with sweet-sounding voices ready to soundtrack out anything between our club nights and our romantic inclinations.
Born and raised in Cape Town to a musical family, nalu started off her music career in the church where her father was a choir conductor. She instantly fell in love with music and equally garnered attention for her melodious voice which commanded attention. This voice has only grown sharper and clearer as she’s grown older and gotten wise to the game, earning her new levels of recognition. Her first official single dates back to April 2018 and it’s littered with efficient needle drops of her potential. On the sleepy hit titled “Bedtime Confessions” featuring South African rapper, the sweet-voiced singer pairs wistful, familiar production with alluring vocals as she addresses a love interest. “Ain’t nothing matters if we got love/When we merge together, we go beyond,” she sings over the ace R&B showcase, delving into matters of the heart that can’t be concealed. A few months from this release, nalu hit back with a new single titled “Kitty”, an atmospheric number that found her interpolating 50 Cent’s “21 Questions”. As she teaches a lover how to show her affection, she sings “Girl would you love me if I was down and out/Everything is easy, feeling breezy shiver in your knees,” representing the ebbs and flows of modern millennial relationships. nalu’s music runs the span of several moods, at one point delivering romantic cuts destined to be on playlists everywhere and another minute sending kiss-offs to a lover who’s double-crossed her. Her music cuts across themes such as love, self-growth, friendship, womanhood, spirituality and becoming, in a nuanced and relatable way.
In 2019, nalu released her debut album ‘Tacenda’, an 11-track project which found the artist delivering poignant intimate stories about different phases of her life. Here, she also features frequent collaborator and Fresh Meat alum, Hanna as well as artist, A Past Lover, going the mile of the other songs entirely on her own. Speaking about her music, the singer shares on that “At the heart of it all, my music tells stories. From my own experiences to experiences as an observer, I tell stories so that I can engage with people authentically.” This inspiringly firm sense of self has only earned her a growing presence online as she now penned collaborations and deals with brands such as Red Bull studios, Coca-Cola, and Nivea International. However, if you’re looking for the right place to get into the 22-year-old’s catalogue, you might want to check out her most recent releases including “Lockdown Blues,” an earworm track released last year in the middle of the COVID-19 lockdowns in South Africa. It’s exactly the type of sweet-sounding, relaxed music that nalu’s discography consists of and sounds something sonically that feels like a conversation with your homegirls. It’s always endearing to see female artists who speak to the hearts and minds of their core audience and nalu is that girl.
OG Emmy
When OG Emmy was 14 years old, he released his debut single, “KitKat”, an exuberant sensual cut that showcased his stellar songwriting abilities and impeccable cadence. For many young kids growing up in these parts, a career in music at such an early age is highly improbable but OG Emmy isn’t your run-of-the-mill artist. He’s an artist looking to spin his rookie status into veteran gold. However, it would take a few more years of perfecting or working on his craft before he was ready to share his talent with the world.
Before the Ghanaian-Nigerian artist had released his debut EP this year, the singer had barely released any official solo musical offerings. So it may come as a surprise that he features on this list but for anyone with their ears to the ground, there’s an unmistakable quality to the budding star. Sitting firmly at the intersection of Afropop and R&B, the Ghanian-Nigerians debut EP ‘Sipping Remy’ exerts the feeling of youthful exuberance as the singer courses through 5 tracks laced with tales of romance, debauchery and becoming. At only 21 years old the Afropop newcomer delivers a project filled with infectious tracks masterfully produced by some of the scene’s most exciting producers including Grammy-award winner TXMO, MikeMillzOnEm and StevJazz.
On the 5-track tape, no track disappoints and that is perhaps OG Emmy’s most redeeming quality as he inches towards his goal. Over the beautifully produced tape, the singer soundtracks our most sensual and intimate desires as he delivers radio-ready jams with clear-cut delivery despite the project’s inebriated theme. He segues from singing about avoiding all forms of drama and negative vibes on tracks such as “Trouble” to directly addressing a muse on “Sipping Remy” and letting his desires explicitly known on “Trouble.” It’s still very much early days for the Ghanaian-Nigerian artist, it’s clear that he has an understated star power that deserves to be heard.
VNTAGEPARADISE
These days, there’s being cryptic on social media and then there are artists such as VNTAGEPARADISE. One quick glance at his Instagram would reveal that the singer’s go-to accessory is his trusty black beanie which features in almost every image, concealing his eyes from view and defining his digital identity as the masked singer. Despite the tendency to be typecast this sort of behaviour as strange or outcast, we are currently in times where the musical landscape is more diverse and welcoming than ever before given that bedroom pop’s frontrunners continue to make music on their own terms. VNTAGEPARADISE exists on this playing field, armed with an eclectic mix of references and inspirations and an unquestionable voice that grabs you and doesn’t let you go.
The singer makes music that could easily be the soundtrack to your night out or your playlist for your night in. There’s no in-between as listeners are either promised trunk-rattling beats interspersed with his melancholic delivery or mellow, fierce reflections of his tumultuous life. The 18-year-old singer began making music as a hobby back in 2017 when he would write, record and release his own freestyles, but it wasn’t long before he fell in love with the craft and began fine-tuning his skills and biding his time to take his music more seriously. That moment later came in the self-distanced lockdowns of 2020 when VNTAGEPARADISE released his first song in July. Titled “If Beverly Could Fly,” the debut single melded a range of genres including rock, rap and pop to create a euphoric commingling of sounds with a DIY feel. The single caught on with a group of loyal fans whose love convinced the singer to re-record the song and release it officially a month later. At this point, the only thing left to do was to continue sharing his gifts with the world and that’s what he continued to do this year.
A year later, he released his sophomore single “Shooter,” a bouncy but melancholic cut that showcased more of his musical abilities and his enviable flow. Reminiscent of something right out of a movie soundtrack, the song finds the artist trying to stablilise his wildly self-destructive emotions, a showcase for the scope of his ability. The palpable influence of his inspirations such as Odunsi The Engine, Greentea Peng & more are found in his music underscoring each lyric he enunciates and each detail he chooses to divulge. Currently, VNTAGEPARADISE does not have much music out but he’s already generating quite the buzz in the underground community. With only four songs to his name currently, now’s a good time more than ever to tap into these genre-defying sounds. The vibe is hypnotic but not heavily commercial and that’s his defining quality.
Featured image credits/NATIVE
Written by Ada Nwakor, Dennis Ade-Peter, Nwanneamaka Igwe, Wale Oloworekende and Wonu Osikoya
Summer is officially over and we are back to our normal busy lives of work, school, NYSC, and more, it’s easy to feel as though life is just passing you by. However, as the days become months, we’re coursing nearer and nearer towards the peak social event time of the yearly calendar: Detty December.
As such, the atmosphere is far from boring given that so many events are popping up all over the world. COVID-19 has still not taken a back seat but in the face of this, after being locked down for most of the past year, many are returning to live shows and in-person events all across the world. This means that the wheels of pop culture have been kept spinning in this time, keeping us entertained and satisfied.
Over the past couple of months, the cultural moments that have collectively got us through the tough times have only become wackier and more bizarre with each passing day. For this week’s Hot Takes, I’ll be taking the reins to work you through some of the most important cultural conversations happening at the moment. I’ll be dishing all my hottest takes on the BBNaija Season 6 finale, AFRIMA 2021 Nominations, the South African designers selected to join the Net-a-Porter vanguard program and the Netflix Korean show squid game and its links to capitalism in Nigeria.
Music on replay
As always, there’s so much music in circulation right now. However, I always stick by my fave playlists which I always have on replay. However, last week, I was fortunate enough to listen to the amazing debut album from our neighbourhood alien. Last week, the genre-bending singer released ‘P.S Thank You For Waiting’ after her well-deserved hiatus from the music scene. Wavy is one of those artists that move to the beats of her own drum when it comes to her artistry and sound. You can’t put her in one certain box because she does what she feels sounds good to her and her fans. My favourite tracks are “Harmonies”, “Stella Riddim” and “Letter to Oxygen”. You should definitely listen to it and put it on your playlist.
What I’m bingeing atm
I’m currently watching the new Netflix original series ‘Smart Money Woman’. The tv series is a homage to a 2016 novel by Arese Ugwu. What sets this show apart from a lot of other series is that it not only entertains and showcases real-life situations, it also educates you on the realities when it comes to handling and spending money. We all strive to make it but don’t know how to maintain and double it. It is a star-studded series with a few of our favourite actors and actresses like Osas Oghadaro, Timini Egbuson, Toni Tones and so many more. Definitely want to add to your Netflix list.
Current fashion trends
As NATIVE’s first-ever in-house Creative Assistant, it’s my job to stay on pulse with the latest fashion trends around Africa and the world at large. This summer, so many trends are making their way into the mainstream and many others are going out of style. For me, this season is all about accesories. No, I am not just talking about VVS, pearls and other expensive gems but rather the low-cost vintage silver or gold pieces that you can find in thrift stores and small online retailers.
From gold chunky hoops and studs to silver chains with all kinds of charms and designs on rings of different sizes and styles, the creativity is endless. The way the current trend goes, many people stack as many pieces as they can on their necks or fingers to give a certain alternative modern avant-garde look to any style. The more the better and more different but cohesive in a sense they look the better. People don’t only thrift clothes but jewelry has been one of those finds that is what having any closet. I have a few online stores you could check out if you wanna join the trend but I’d say the best are the ones you find in person.
Now let’s get into these hot takes.
Squid Game and Capitalism
Written by Moore Wright
‘Squid Game’ is a South Korean television show that premiered on Netflix in September. In the 8-episode series, hundreds of people deep in financial debt are approached by a mysterious company promising a cash prize if they compete in a series of games. They are taken to a secret location where they realise that the childish-seeming games from their childhood actually have deadly twists attached to them.
The show has similarities to the premise of the 1969 film ‘They Shoot Horses Don’t They’ with both pieces of media addressing the desperation that capitalism can lead people to, as well as the greed and callousness it can bring out from those with more resources. According to Netflix’s CEO, it may become the streaming service’s “biggest show ever”.The themes on class and poverty addressed are ones that are relatable to those across the globe, but particularly to Nigerians.
In episode 2, the contestants realise the truth about the game and beg to be let out. Unlike in most other “deadly competition” media, the game masters actually allow them to vote and leave if the majority wishes to do so. The game masters, democratic as they may be, are truly sinister as they watch as the less privileged kill and cheat themselves to win the prize money. It exposes the underbelly of our society today where money and our output at work are valued more than human life itself. However, after they see a large amount of prize money, almost half of the contestants choose to stay despite the possibility of dying an untimely death.
They gave them a choice. But how can it feel like a proper choice when both fates are equally as awful as the other. These debtors either return back to a life of misery where they owe large sums of money and risk potential jail time or stay in the experiment and compete to the end in the likelihood that they win the money and clear their names. Sound familiar? Well, that’s because it replicates almost every African society today where the lives of the poor are not valued or recognised. Unfortunately, a lot of Nigerians may be tempted to enter such a game rather than die of poverty on the outside. And the Nigerian police are even more likely to not notice if hundreds of lower-income people went missing at once.
Tellingly, as of episode 3, the only characters being investigated are a formerly rich man who angered other rich people and a police officer’s brother. A character mentions that the real torture is on the outside world where people are wicked and inconsiderate. The show effectively discusses why so many could be pushed so far past the point of desperation that such a game seems like their only hope. It is always refreshing seeing a non-western show, especially one not in English, receive international acclaim.
South African designers join the 2021 Net-a-Porter Vanguard Program
Two South African designers Lukhanyo Mdingi, the recent LVMH prize winner and Sindiso Khumalo are among the 6 designers chosen to be part of this year’s Net-a-Porter’s Vanguard program. The selection criteria was determined by each designer’s contribution to the sustainability process and the designer’s couture-like sensibilities with each sketch and idea.
The mentorship program aims to nurture up and coming brands who have great potential by providing them with mentors and other supportive resources as the designer’s work alongside these creative minds to expand their global presence and become a powerhouse in the fashion industry and in turn find their collections in the retailers stock on the Net-a-porter website.
Since the 2018 launch of the program, there have been an array of successful alumni including Christopher John Rogers and especially the Netflix ‘Next in Fashion’ winner Minju Kim. “Our goal is to ensure that the next generation of creative talent is given early support to enable their success before they embark on their professional journey, We see this as especially important given the challenges the pandemic has brought to the creative industry and, most notably, at a grass-roots level.,” says The Chief Buying and Merchandising officer in Net-a-Porter.
Big Brother Naija is drawing to a close yet again. The 6th Shine Ya Eye season is a week away from announcing its winner and things are getting hotter than ever. While this season failed to land as other seasons, the housemates have still kept us entertained for the past two months getting up to no good in Big Brother’s house. From wild cards to housemates disappearing during the night and now to the shocking revelation that there will be 6 finalists, it’s safe to say that this season has done what needed to be done.
With only a few days left to crown this season’s winner, many are already calling the shots on their predictions for the win. From Whitemoney to Angel, there’s no dearth of theories on who will snag the title and the hefty cash prize. While in previous seasons, these predictions could be ensured based on the fact that stan bases were stacking up their vote counts in Whatsapp group chats and voting centres, this year the stakes are even higher given that only Show Max and Abeg app users are able to cast their authentic votes.
So it came as a great surprise that those very authentic votes were disregarded during the last eviction show this past Sunday. On Sunday during the Live Eviction show, 5 housemates were told to leave the Big Brother house but only 3 were evicted from the show leaving Pere and Angel in the white room to fight for the last spot by completing a task. This act came with a lot of scrutiny from the fans due to the huge margin in the votes between both housemates. Pere had 25.31% of votes while Angel had 14.63% of votes, which didn’t seem fair to viewers of the show. On Monday, Big Brother then goes ahead to announce that both Pere and Angel will reenter the house as finalists of the show making it 6 housemates all together. There have been speculations that this decision was based on the internet uproar by fans of the show regarding the odd twist in the game but you never really know as this could have always been the plan from the beginning.
Although there is still some form of unrest towards the organisers for their inconsistency and slight unfairness shown towards Pere. I personally don’t understand why Angel was asked to be back to the house neither do I fully understand the whole reasoning behind the twist. I believe that as it’s the last week to the finale, the organisers feared the likelihood of boredom surrounding the show as there are only a handful of housemates left, so they used angel and the twist as a contingency plan to bring more entertainment to the show. Aside from all these opinions and speculations, I believe Biggie made the right decision to bring both housemates back to the show as it was the best way to dig themselves out of the hole they put themselves in already.
The All African Music Award (AFRIMA) 2021 show is set to begin very soon. From the 19th to the 21st of November, the music award show will be returning to Lagos for another edition packed with lots of entertainment. The African Union Commission and the International Committee of AFRIMA released the nominations list on Wednesday, September 23rd and the public nomination commenced Monday the 27th of September. The list was decided from 8,880 songs and 400 artists in the 30 continents and 10 regional categories submitted for adjudication. The award show will honour the finest music artist, producers, directors, influences, and more in the African music and entertainment industry. Blaq Diamond, the south African duo leads the pack with 8 nominations for the song “SummerYoMuthi”, we also have another south African artist Focalistic with 7 nominations and then the Nigerian hitmaker Wizkid with 6 nominations for the worldwide hit song “Essence” featuring Tems in categories such as ‘Artiste of the year in Africa’ ‘Best Male Artist in Western Africa’ and more. The Nigerian trailblazers Omah Lay and Davido also have 4 nominations. Other artists including Tems, Lojay, Davido, Tiwa Savage, KiDi, Nelson Freitas, Burna Boy and Stonebwoy, Niniola, Gyakie, Josey, and more have also been nominated. Good luck to all nominees.
News worth mentioning comes from the judicial world of Kenya where a judge, Teresa Matheka has just ruled that a housewife is a recognised profession in the country. Presiding over a matrimonial property dispute proceeding where the wife requested that the property of the family be shared equally between her and her ex-husband, she noted that it was unfair to belittle the acts of a housewife as intangible to the financial fruitfulness of the home. Matheka’s judgement reads: “It is easy for the spouse working away from home and sending money to lay claim to the whole property purchased and developed with that money by the spouse staying at home and taking care of the children and the family. That spouse will be heard to say that the other one was not employed so they contributed nothing. Raising children is a full-time job that families pay a person to do. Cooking and cleaning as well. Hence, for a woman in employment who has to balance childbearing and rearing this contribution must be considered.”
I think this judgement is a huge win for African women considering the fact that there still remains a huge power balance between men and women in Africa. And I’m talking about the poor women who are forced to bear the brunt of our patriarchal society and are dealt the worst hand society has to offer. As a former law student, I remember reading case law upon case law about the brutal legal proceedings that women dealt with at the hands of their husbands. Their only crime: their financial dependence on their husband (who btw made her quit her job). It’s not uncommon for courts to recognise the contributions to the home and family as having a vested interest in property disputes and the allocation of assets.
In this particular case, the judge then ruled that the couple sell the property and divide the fund equally or one spouse buys out the other. While it may cause raised eyebrows and attract inflammatory comments, this judicial precedent could help many women in Africa’s poorest cities who are in physical and financial incapacity. A win for housewives everywhere.
Kenyan High Court declares being a housewife a full-time payable job.
Over the last six years, the Nigerian art fair, ART X Lagos, has established a reputation as one of the most important stops in the art world, serving as a premier destination for displaying some of the most innovative contemporary art and music coming out of the African continent as well as important works from the global diaspora.
Last year, due to the restrictions imposed by COVID-19, the fair pivoted online, eschewing its in-person showcase by inviting its audience to interact virtually and partake in a series of events that also paid homage to the #EndSARS protests. With the world opening back in phases, the fair has announced that it will be returning to its in-person format this year, holding a series of events from 4 to 7 November this year at The Federal Palace in Victoria Island, Lagos.
This year’s exhibition will welcome works from 30 galleries showing over 110 artists from 25 countries in Africa and the diaspora. Following the in-person exhibition, this year’s edition will continue online at artxlagos.com until the 21st of November, making it accessible to galleries and collectors who cannot join in person due to the disruptions caused by the pandemic. 2021’s curatorial theme “the restful ones are not yet born” presents an opportunity to challenge projected images and clichés about the continent with reinvented modalities of our own presence in the world.
Speaking about the motivation for bringing back the fair’s in-person format, Tokini Peterside, the founder and CEO of ART X Collective, which organises the fair, said: “It has never been more important to celebrate creativity, excellence and resilience from across Africa and its diaspora. We are proud to return for our sixth consecutive year, despite ongoing global challenges, to provide a platform for people all over the world to come together – both in person and online – to experience some of the brightest creative talents that exists globally, and to contemplate Africa’s place in the world, drawing from archives of the past, present and future.”
Earlier this week, Chiagozie Obi, a Lagos-based emerged as victorious in the Access Bank ART X Prizie, starting off the sizzling calendar of events set to take place this year. In addition to presenting work by Africa’s leading galleries and artists, ART X Lagos’ 2021 curated program will include ART X Talks, a lively and robust series of conversations exploring themes pertinent to the state and evolution of contemporary art in Africa, curated by Aude Mgba; ART X Live!, a platform for expression and experimentation by Africa’s dynamic young creators that fuses music and visual art, curated by Lanre Masha and Faridah Folawiyo; and special projects which will include an exploration of NFT art on the continent, curated by Papa Omotayo and AWCA.
Before Teni released her debut album ‘WONDALAND,’her songs were already satisfying legions of audiences across the continent. From debut single “Fargin” to her breakout “Askamaya” and later singles such as “Jo,” the Afropop singer has consistently shown her determination and drive to stand out from the crowd. No stranger to positioning herself to be adjacent to the hottest sounds, the singer released her debut to incredible fanfare.
‘WONDALAND’ was replete with imagery and allegory alluding to the singer’s love for amusement parks and enjoyment. The immersive world she created with the album has only earned her a growing presence online. Now, the singer is expanding the world around her debut a step further with the release of the futuristic new video for standout single, “Moslado.”
The Alien-directed video finds the singer performing her verse in true ’90s VHS video style as it zooms in and out of her frame. “Abeggi make I no dey vex o/and if I talk, omo na threat o/and I no go show no mercy o”, she sings over the Ozedikus-produced beat as she up talks herself and drowns out the naysayers. As the song builds and her lyrics become more braggadocious, Teni can be seen donning different looks and hairstyles, all determined to show off her groovy style and her inspiringly firm sense of self.
Ahead of the official release of Teni’s “Moslado” video, for our exclusive premiere of the single, The NATIVE chopped it up with the artist and her team talking about the inspiration behind the video and its impeccable sartorial choices.
Their answers which follow below have been lightly edited for clarity.
NATIVE: Hi, Teni, what would you say inspired your debut album ‘Wondaland’?
TENI: ‘Wondaland’ was inspired by my love for amusement parks and the emotional rollercoaster you experience. To me, Wondaland is a complete body of work that best introduces Teni the Entertainer and who I am to different people and also to me. To some, I am Oba Orin, the girl that can sing her heart out while to others and myself, I am Makanaki, the no-nonsense, brave, personality which I think I derived from my late father, not forgetting the One take God side of me which is very spontaneous.
NATIVE: Moslado” is a song off your album. Why did you decide to broaden the reach of this song and shoot a music video for it?
TENI: As I mentioned earlier, the album represents every part of me and Moslado is a song that depicts Makanaki. I don’t think a lot of people have seen so much of that side of me hence why I felt this song needed a crazy creative visual.
NATIVE: What were some of the highlights when working with Ozedikus on “Moslado”?
TENI: I remember Ozedikus was about to leave the studio when he mistakenly played the beat and I was like Nwanne, play it again, and the rest is history. I really loved making this record because it is basically me hyping myself up and sometimes you just need to whine yourself. That’s self-love.
NATIVE: What was the inspiration behind the video’s concept?
TENI: When we were vibing in the studio, I was just having this feeling like it will be sweet to listen to this song when I’m driving on the freeway in Vegas in a sports car on the way to the club. So I spoke to my team about it and they developed this amazing idea about paying homage to one of my favourite music eras, the early 2000s, and icons, Missy Elliot and Busta Rhymes.
MR.ROLLOUT (Creative Director): To be very honest, initially we were confused on what to do and then I stumbled on one of Missy’s videos and the idea spiraled from there. As a big fan of Hype Williams, I then took inspiration from his videos for Missy, Busta Rhymes and some other artists and in case you didn’t know, Teni’s brand has been likened by some to Missy’s from inception due to their ground-breaking abilities to shift from the norm.
ELLAXSTYLING: When Ore called me and explained the idea of paying homage to a great artist like Missy Elliot through this video, I was so excited because it meant I could experiment and express myself creatively without imitating her. When he said it was 9 looks and 6 hairstyles and a 1-day shoot, I was shocked but I welcomed the challenge and I’m glad it turned out well.
THE ALIEN (Director): So glad to be the one to re-introduce to everyone the Makanaki side of Teni, We channeled a lot of Missy Elliot – Busta Rhymes energy for this one while taking Teni through different worlds and Teni killed it! Easily one of our most ambitious projects of 2021. We put a lot of work into this one including Teni and I’m glad everyone gets to finally see what we’ve been cooking lol.
KOLAWOLE (Manager): We wanted to take the visual experience of the album as a whole to a new level and the Moslado video says it all.
Get a first look at the video for “Moslado” below.
As the year winds down, the sheer number of music we’re receiving is growing at an exponential rate. With live shows back in full swing and Afropop hits such as Wizkid’s “Essence” and CKay’s “Love Nwantiti” climbing the charts both home and abroad, there has never been a more exciting time than the present for the burgeoning sonic landscape. As such, it’s hard to sift through the chaff and find get to all the good music that hears us at pour base emotions.
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 music from Joeboy, Darkoo, The Cavemen, Buju, Davido, Darkovibes and more. Today, we have songs from all over Africa; South Africa, Ghana, Nigeria and more featuring Kojey Radical, Cina Soul, DJ Maphorisa and more
Dua Saleh – “fitt” ft. Amaarae
After falling in love with them in the recently concluded Season 3 of Netflix’s ‘Sex Education’, Fresh Meat alum, Dua Saleh is back with a new single titled “fitt”, the first promotional single from their forthcoming project. Listeners will be pleasantly surprised to find the non-binary artist singing in pidgin, as they address a muse with who they wish to become more intimate. They are joined by Amaarae on the song’s second verse who in usual fashion delivers an unmissable set replete with colourful synths and mind-altering vocals. It’s Dua’s most energetic number yet and a welcome one as the artist steps into this new phase of their career.
Ycee – “Aunty Lovina” ft. Patoranking
For his 5th single this year, Ycee teams up with fellow Nigerian singer and rapper Patoranking on a brand new single showcasing the artist’s ability to deliver witty, memorable punchlines over a rhythmic Amapiano beat. The track which serves as a follow-up to an earlier released single, “Nu Riddim” features the duo delivering a combination of short punchy raps in the chorus and longer lines on their individual verses.
Kojey Radical – “War Outside” ft. Lex Amor
Ghanaian-British artist, Kojey Radical is as prolific as they come. After releasing a string of entertaining singles this year including “Royalty” featuring Shaé Universe, the singer and rapper is back with a new number featuring Lex Amor. On his most recent single “War Outside”, Kojey’s melodious vocals carry listeners from start to finish as he sings: “There’s a war going on outside/Nobody see it but me”. As the song builds up, Kojey swaps his sweet-sounding vocals for a gritty rap verse that’s sure to hit the mark with today’s multi-genre music fans.
Dj Neptune & Patoranking – “Gaza”
Dj Neptune has spent the majority of the past few years lending a hand to the burgeoning Afropop landscape. On his new single “Gaza” with Patoranking, the pair are at their most relaxed, delivering a tuneful number primed for radio. Over a groovy beat produced by Yung Willis, Patoranking, in usual fashion delivers an effortless verse singing over the hook, “Follow me to gaza x 4/Follow me to gaza x 4.” The single is said to be a track off DJ Neptune’s highly anticipated project titled ‘Greatness 2.0’ promised to be filled with African stars.
Kabza De Small, Dj Maphorisa – “Abalele” ft. Ami Faku
There’s a lot to be said about the origins of Amapiano. Yanos–as its collaborators are known have gone to great lengths to ensure that credit is made were due to its original founders on the continent. For their latest single, producer and DJ pair, Kabza De Small and Dj Maphorisa link up with Ami Faku for the melodious “Abalele”. On this track produced by Kabelo Motha and Themba Sekowe, the three shuffle back and forth in the six-minute track as they deliver memorable melodies on the mid-tempo track while effortlessly matching the upbeat rhythm of the Amapiano number. There’s nothing they can’t spin to gold.
Cina Soul – “Falling”
Since the release of her promotional single “Feelings” featuring Ghanaian singer, Kidi, singer and songwriter, Cina Soul has continued to stoke anticipation for her new EP titled ‘For Times We Lost’. On “Falling”, Cina Soul unapologetically expresses the extent of her love for her muse on the short EP intro. “I think I’m falling, falling for you, all over again/Sweetie I’m falling, falling for you, all over again,” she sings over the hook, directly addressing her lover. The vibe is undeniably hypnotic as we get lost in her voice.
Jon Bellion – “I FEEL IT” ft. Burna Boy
After a hiatus from releasing any original music, American singer-songwriter Jon Bellion is back with a new single, and this time around, he’s joining forces with African Giant, Burna Boy for “I FEEL IT”. We’re introduced to Jon’s harmonious vocals layered over an acoustic beat right from the beginning of the number as he sets the scene for what’s to come. In usual Bellion fashion, his resounding vocals fill every inch of the beat reminding us of his soul-stirring voice. Burna Boy joins him on the second verse singing “I feel the change in your energy/I see you got a lot of feelings that you never telling me,” as he addresses a love interest over the electro-tinged production.
D Smoke & Fireboy DML – “Sleepwalking”
American rapper/songwriter Daniel Harris popularly known as D Smoke taps into the sounds of Fireboy DML for his 16-track album ‘War & Wonders’. The rapper shared a short video via YouTube when he visited Lagos earlier in the year in an attempt to connect with Fireboy DML with whom he created a hit single “Champion”. The duo are back now with a new track titled “Sleepwalking” delivering his astounding vocals over a slow rhythmic beat accompanied with D Smoke’s groovy bars and Fireboy’s compelling ad-libs.
Emo Grae – “Suddenly”
Marlian music signee, Emo Grae has just released a new single titled “Suddenly”, a follow-up from his earlier released singles this year including “Gone” and “Mine.” On “Suddenly“, the singer continues in his penchant for romantic tunes as he directly addresses a lover and explains his rapt affection for her. “I don’t know if it’s weed or the alcohol/ one thing that I know for sure, I want you for me,” he sings melodiously, carrying listeners up to his speed on his latest romance.
The Nigerian National Women’s basketball team, D’Tigress have come out on top once again. After a stellar performance at the 2020 Olympic Games and defeating Cote D’ Ivoire and Senegal in the quarter-finals and semifinals of the AfroBasket games respectively, D’Tigress played against Mali on Sunday in Yaounde Cameroon, in a finals match that ended 59-70, winning the team their third consecutive title.
After dominating the first quarter, winning 22 – 11 the team fell down a couple of points in the second quarter as the Malian team won 13 – 9. D’Tigress picked up momentum once again in the third quarter with a landslide win of 28 – 14, giving them an edge over the Malian team after they won the final quarter 21 – 11. Despite Mali dominating D’Tigress with the two-point shots, making 49% of the basket, and Nigeria 39%, the Nigerian team was more successful with the three-point shots, making the basket 41% and Mali 9%.
With 15 points, 3 rebounds, 3 blocks, 1 assist, and 2 steals, Victoria Macaulay emerged as the top performer for the Nigerian team and with the performances of her team members, they have qualified for the 2022 FIBA Women’s Basketball World Cup being held in Australia. While basking in the joy of three consecutive wins, they are also the second team to achieve this after Senegal did so in the ’70s.
In the dying seconds of “SISTER,” the penultimate song off Johnny Drille’s recently released debut album, ‘Before We Fall Asleep’, Lagos-based on-air personality Douglas Jekan makes a sappy appearance, sharing glowing remarks for the singer and producer’s growth. Popularly known for championing artists and music on the alternative side of the Nigerian music spectrum, Jekan’s appraisal carries the sort of industry-related heft that might inspire a smidge of cynicism, but it’s ultimately fitting when weighed alongside the project itself.
To a significant extent, ‘Before We Fall Asleep’ emphasises the subtle but profound ways Johnny Drille has grown. And, why not? Eight years ago, he appeared across regional continental screens as a contestant in the sixth edition of Project Fame West Africa, with a honeyed voice and an easygoing charm. Although his exit came around the season’s midway point, the singer began to garner attention for being a former contestant on a renowned talent show.
Generally, it can be very arduous for former talent show stars to translate the refined potential and fanfare they accrued from the show into a financially viable and creatively fulfilling music career. To be show-specific, the stats paint an even grimmer picture: After nine seasons, you can count the number of former Project Fame West Africa acts to impact Nigerian music on one hand: Iyanya, Chidinma, Niniola, Johnny Drille, and Chike. Only the former two won their respective seasons and, including Niniola, they had to adjust to their musical directions beyond the SING-first instincts ex-contestants earned on the show.
This extremely low turnover ratio was partly an effect of the times, a period in Nigerian music where the internet had yet to properly start playing a role in democratising the pop landscape and diversifying music tastes. With everything (perceived as) alternative to whatever was mainstream being received through an exotic lens, most talent show stars struggled to find a footing. In his circumstances, having left the show well before the final weeks, Johnny Drille faced an uphill climb towards meaningful stardom, and he didn’t exactly make it easier on himself. Where artists of his mould found ways to zig towards groovier musical styles for better chances at commercial success, Johnny zagged, leaning towards a folksy sound that set him on the outlier path.
In the immediate aftermath of his talent show experience, he spent evident time working on his craft, sporadically releasing covers of popular songs and experimenting with a variety of genres before choosing a sound heavily influenced by American Folk band, Mumford & Sons. “Wait For Me,” his official sophomore single released in 2015, brightened the gentlemanly and romantic charm he flashed when he graced Project Fame stages on those weekends. The self-produced song is a merger of twee instrumentation and sentimental vows, Johnny singing with an innocent verve over chugging guitar strums, arabesque strings, and an entirely grand atmosphere. “Wait For Me” effectively set the buzz going for Johnny Drille’s career and, alongside debut song “Love Don’t Lie,” it set the precedent for his identity as a folk artist.
Having caught Don Jazzy’s eye back in 2015 with a cover of Di’Ja’s smash hit, “Aww,” Johnny Drille signed with Mavin Records in early 2017, joining a powerhouse label notorious for honing and pushing out popstars. At first glance, the singer didn’t fit the typical billing for a Mavin act, and it was expected by many that his sound might be hugely refurbished to achieve the sort of commercial impact expected by artists on the label. Each subsequent release proved those predictions wrong, however, starting with a cinematic music video for “Wait For Me,” a visual storyline whose arch was extended with the similarly-toned single, “Romeo & Juliet.”
Announced alongside twin pop duo DNA Twins and Ladipoe, the first rap artist to be signed by the enigmatic Svengali, Johnny Drille’s entrance into Mavin Records is a marker of the label’s transitional period. With a reputation for solely incubating pop superstars, Don Jazzy’s acquisition of artists who had already defined their creative identities was an indicator of a willingness to diversify his approach to mentoring, allowing artists to work within the sonic setting they preferred. In the four-and-a-half years he’s been at Mavin, there’s been no signs Johnny Drille has been pressured to adjust his sound.
The signs of a Johnny Drille song are tellingly consistent, especially in the way it can be described: ornate singing, clean production with live instrumentation, and blue-eyed lyricism that romanticises every emotion. In profiles and amongst listeners, there’s always an emphasis on his music being different from mainstream Afropop, a compliment aimed at the perception of his music being high IQ stuff—one that could also be a little underhanded.
Different doesn’t always mean exciting, and very few people would consider Johnny’s music as exciting. He often makes songs heavy on geniality, a capsule for fairy-tale romance and Utopian ideals, leaving little room for complex, lived-in expressions. None of this insinuates that the songs he made in the years before his album were hollow: The Simi-assisted “Halleluya” is a gleaming ode to people who still use the word “courting,” and there’s his warm epic to fathers on “Papa.” However, Before We Fall Asleep fills the critical spaces of his past music.
One of the great triumphs of BWFA is that it significantly adjusts the signs of a Johnny Drille song. The singing is still ornate for the most part, the production is still replete with live instruments, but the writing is far more curious, as is its soundscape. The album doesn’t entirely blow up the tenets of Johnny’s artistry as much as it reupholsters them, a retuning that presents surprises and little thrills which culminate into a whelming portrait and statement of growth.
Like the bulk of his prior catalogue, the singer’s debut LP is substantially skewed towards romantic concerns, but there’s a slight but weighty adjustment in the way he sings about love. Born and raised by two parents he saw dot on each other all his life, Johnny’s upbringing clearly affects his views on finding and being in love—he’s declared that he wants what his parents have. As noble as this outlook is, times have changed and romance has become a lot more fragmented than they were three decades ago. Usually, Johnny’s love songs seem like they’re suspended in a realm untouched by the modern realities of dating, but he punctures that bubble on BWFA to compelling effect.
“Loving is harder than they show you/you’ll never know until you’ve been bruised and burned,” he confesses on lead single, “loving is harder.” It’s a cutting lyric, fitting for a song where the picture he paints is that of a relationship with emotional difficulties. Singing over acoustic guitar strums, aqueous piano chords, gently thudding drums and shrieking horns, Johnny varies his vocal performance to encapsulate the weight of thematic concern, moving from a snappy flow to a falsetto and hoarse melodic runs on the chorus. While he’s skirted around R&B inflections in previous songs, “loving is harder” is Johnny’s first R&B song, and its captivating nature is emblematic of his willingness on BWFA to open his songs up to reality and give into the performance required of these songs.
Largely self-produced, the album rides on a push-and-pull between Johnny’s instincts and a willingness to experiment well enough to shake things up. “At some point last year I started to experiment a lot. I love folk music, that’s the background for me, but I started to dabble more into Afrobeats, which is a big sound in Africa right now,” he recently told MusicRadar. “And it helped open my eyes to what the possibilities were and what I could do with music. I didn’t think I was this versatile to be honest, until I started to use different kinds of sounds.”
This explanation is evident in the range of musical stylings he works with on BWFA. “ludo” is the closest Johnny Drille has ever been to the centre of mainstream Nigerian pop music, a catchy cut that teeters on the edge of anti-love. The Don Jazzy-assisted standout, “Ova,” filters pop-rock through an Afropop sieve, complete with a reference to last year’s ill-fated, social media-led symposium of “sting men.” Nigeria’s premier boy band Styl Plus joins in on “Odo,” a song clearly inspired by the same turn-of-the-millennium, guitar-led pop that his guests translated in Nigerian settings at their very best.
All three songs dig into varying facets of love—being played, desperate heave to save a relationship from hitting the rocks, and an affirmation of devotion—but what they all have in common is an approach that comes across as lived-in, a clear acknowledgement of the twists and pitfalls romantic vulnerability comes with. BWFA was followed shortly by a short film, “LIZA,” which dramatizes a traditionally frowned upon love affair. Featuring a revelatory performance by Onyinye Odokoro in the titular role, as well as cameos of Don Jazzy and Johnny Drille performing the album’s penultimate cut, “SISTER,” the film ends with a shocking twist that the singer’s former starry-eyed tendencies probably wouldn’t have allowed.
Even when he’s settles into his trademark sonic tricks, this outlook still stays: On the acoustic ballad, “BEFORE I LET GO,” Johnny paints the desolate picture of partners who are now “two songs on different keys.” When the utterly gorgeous “SWEET AS A MOTHER’S LOVE,” produced by British multi-genre artist Fink, eases in on the album’s backend, Johnny’s ecstatic representation of thriving in healthy relationship feels earned and is refreshing to hear.
BWFA doesn’t change Johnny Drille’s persona as a romantic at heart, but it highlights how far from quixotic he’s gotten. In the trailer for the album, he shares that he’s gone through his fair share of personal trials and they’ve clearly informed the music. He’s not quick to share the shades of those struggles, but he comes across as someone who’s endured, and is still enduring, the bumps and bruises of love and life. This doesn’t make him an avatar for people to project their feelings, as much as it makes him far more relatable than solely being a preacher of love.
The two-song run of “LIES (To Whom it May Concern)” and “lost in the rhythm” epitomises just that. On the former, inspired by last year’s protests against police brutality, he rails against a system that continues to press against the hopes and dreams of its youth. The latter paints an affecting picture of a young man who continues to brave unfair odds, in the face of a dysfunctional society. These are emotions many young Nigerians, who form the core of Johnny’s supporters, are experiencing, and while no one expects the singer to be a socially conscientious voice, his tilt towards realism brings him closer to listeners.
It’s why comments like Jekan’s are apt and have trailed BWFA so far. Even though it took him six years after his debut single and four-plus years after being signed to a label, the album is worthy of its time in incubation. When he vows to “never sell my soul” on the closing track, both as a rebuke to toxic romance and the notion of tainting his musical purpose, it’s declaration rooted in moving forward while finding ways to retain the essence of what has always made John Ighodaro, Johnny Drille.
If constant content – songs, videos, merch, and curated visual accompaniments – is the language of the 21st-century music industry, Willie XO does not care to be fluent in those theatrics. The London-born, Nigerian-raised singer is more invested in delivering music that works at the highest standard as he operates as a sentry for afropop music in the UK. Born to a family of immigrants in London, XO (real name Jocey Joseph Ekwuazi) returned to Nigeria as a child, getting steeped in the intricacies of his Igbo ancestry and the wider formalities of being Nigerian before returning to London around his 15th birthday.
The experience of growing up in Nigeria had a definitive impact on Willie who remembers it with nostalgia-driven fondness. “I wouldn’t be the person I am today without going to Nigeria,” he says. Inspired to get into music by his familial connections and the 60s/70s Nigerian highlife music regularly spun by his father, XO’s sonic palette was further broadened by an appreciation for hip-hop as he grew older. From 2011 to 2017, he performed at a series of shindigs while he worked on his music and stayed hopeful for a break that never seemed like coming. Frustrated by a lack of progress, the singer turned to professional fighting and almost kicked off a professional career in the cages before he signed his first music contract.
“Kraze,” his debut single was produced by Krizbeatz and marked his first steps within the Afropop orbit, but it’s the sound that has always come naturally to Willie XO after years of experimenting with rap music. “That’s who I am,” he says. “Afropop is where I’m most comfortable.” Songs like “Comfort You” and “Early In the Morning” have seen the singer link up Popcaan and Ashanti over the years as his profile has gotten bigger. Last month, a deal with Atlantic Records was inked, clearly hinting at a new phase in the singer’s career. He has followed up that announcement with the release of “Good Times,” his first single in 2020 featuring fellow British act, Dappy.
Our conversation with Willie XO has been lightly edited and it follows below.
NATIVE: Where were you born?
Willie: I was born in London and I went back to Nigeria when I was a little bit older.
NATIVE: What was the experience of coming back to Nigeria like?
Willie: I came back when I was four years old. My parents wanted me to come back to school in Nigeria and learn the culture as well as speak the language. At the time, it was hard for me but I’m glad for the experience because I picked up so many things that have helped me. It was 100% a great decision because I got an appreciation of my culture. Sometimes we can get lost here and having that experience helps a lot. Also, being able to speak Igbo is really great too.
NATIVE: When did you go back to London and what was it like having to re-adjust to living there?
Willie: I went back just before I turned 15 and it was like starting my life all over again but it wasn’t as hard as going to Nigeria.
NATIVE: How did you get into music?
Willie: Two of my uncles from my mum’s side used to be into showbiz. One was a drummer and the other was a singer. They just influenced me. My dad too used to play music around the house and, as a boy growing up, I always wanted to get into music.
NATIVE: What music did you grow up liking?
Willie: It was mostly what my dad was playing: Osadebe, Oliver De Coque, and the Oriental Brothers. As I grew up, I started listening to American music, a lot of rap. At the time, I wanted to be a rapper.
NATIVE: Was there a scene that helped you nurture your music interests?
Willie: I’d say this happened in London. In Nigeria, it used to be me just aspiring to be a musician. But in London, I discovered myself as Willie XO. My brother’s friend used to come around and used to talk about going to the studio near my house. One time I went with him and it was the first time I recorded. Once I heard my voice, I liked it. People used to say I had a deep voice but you don’t really know what you sound like till you hear it and I liked it. From there, I joined a group. There were two girls singing and I was the rapper. I’d rap and they’d do the hook. One time they told me to try singing the hook and I tried it out. So, I went from rapping to singing. Before transitioning, I used to go to Camden to perform and do little shows and get paid. It wasn’t a lot but I wasn’t really thinking about the money and that’s how I wanted to sing.
NATIVE: How did you transition to making music professionally?
Willie: The guy that put the group I used to be in together used to organize gigs for me and I’d get paid but the music industry was hard and after a while we went our separate ways. Since then, I’ve been trying to make my way in the industry.
NATIVE: What was the first song you put out?
Willie: My first single was “Kraze.” It was released in 2017.
NATIVE: What was the process to being signed as an artist?
Willie: At one point, nothing was happening with music, it was really hard. I started going to the gym and started training. I remember that every time I went to the gym, one guy would come up to me and tell me I looked like John Jones. One time I googled him and discovered that he was a UFC fighter. So, I started watching him and liking the sport. From there, I started doing cage-fighting. I wasn’t really thinking about music anymore, it was mostly on the side. I was thinking of going into the fighting game so I’d become a UFC fighter and once people know me, I could introduce my music.
I saw myself coming into the cage singing and dancing but my parents didn’t like it. They didn’t support it and they were telling my brothers to get me to stop. One time my brother told me he had a business partner who liked my music and would like to see me. I remember that the meeting was on a Sunday because I usually played football on Sunday. After the football game, I went to the meeting but I didn’t really take it seriously but my brother called me to remind me about the meeting and I went. After the meeting, the rest is history, to be honest. From the meeting, I was in L.A. shooting the video for “Kraze.” Actually, after the meeting, I came back to Nigeria to work with Krizbeatz and we worked on “Kraze” and a couple of songs. After that, we shot the video.
NATIVE: Just like that, your trajectory changed?
Willie: Just like that! When we landed in L.A., I saw all the camera and crew waiting for me and I was like this is “it.”
NATIVE: Why did you choose to work with Krizbeatz?
Willie: It was one of my cousins in Nigeria that put me on to him. He knew Krizbeatz so he put us in touch.
NATIVE: Was working with Krizbeatz what put you in the Afropop orbit?
Willie: I’d say so. Before then, I wasn’t making music that was Afrobeats or Afropop. I was just trying to be a rapper. I have loved the sound since the Mo’Hits era even if I wasn’t doing it but my coming to Krizbeatz was me trying to understand how the music works. Before you had to come to Nigeria to do Afrobeats but now you can do it from here and that’s just a blessing. Me going back to work with Krizbeatz was just to get a proper understanding of the sound.
NATIVE: What was that learning process like for you?
Willie: It was a good vibe, just even being in Nigeria too. It was a great experience because working with Krizbeatz was incredible.
NATIVE: That means you have had to put your UFC ambition on the side…
Willie: Yes! I was supposed to have my first fight a week after I got signed in fact. My parents were so happy and my mum said I didn’t have to fight anymore. I had to stop. I still train though.
NATIVE: Your catalogue is very curated, why do you take that approach to music drops?
Willie: People used to say that I need to drop music all the time to be relevant but I don’t believe that. My dad always says that if you have to do something, do it properly. I know that looking at all the songs I’ve dropped, all my videos are lit and the songs are great. Also, as an artist, you should always work on your music and try to give the best that you can. I have taken time to grow as an artist and my new single sounds a bit different from anything I’ve ever done because I’ve been working a lot.
NATIVE: Last year you did a song with Zlatan, it didn’t sound like your typical sound, how did it come about?
Willie: That’s the process of growing. If you listen to the song closely, it sounds more like a Zlatan type of song but it was done by me to get out of my comfort zone. When we recorded the song, we were thinking of Zlatan or Slimcase and we ended up having two versions. We spoke to both artists and they did their things on the song.
NATIVE: You have a new song with Dappy, “Good Times,” that’s also a comeback single. What is the message behind this single? Willie: It’s basically saying this is a different stage of my career. Like I was saying, I’ve been busy. I’ve been working, and when people hear it, they’ll get it. Working with Dappy was like working with a UK artist so it’s only fair to expect great things from our collaboration.
NATIVE: Speaking of working, are you thinking of a project or anything weightier than a single?
Willie: I’m working on my EP, but before that, I plan to drop a couple of singles. We plan to make it a global thing with American, African, and UK features.
