Over the past few years, the soundtrack for EA Sports FIFA games has become as popular as playing the video game itself. Thanks to the refreshingly modern take on genres and music that the soundtrack features, it’s not uncommon for the tracks to reflect real-world music trends and evolve accordingly with our ever-changing culture. The popularity of these soundtracks date back to the early ’00s during a time when streaming services were not readily available.
Steve Shnur, EA’s worldwide executive and president of music shared: “Everybody’s a music fan, and within soccer, there are no geographical boundaries. It’s been successful because soccer has never erased the culture of their players and younger fans.” As the years have gone on, landing a spot on a FIFA soundtrack has become a feat worthy of recognition as it only served to bolster certain artists to different audiences around the world. Though these soundtracks were initially heavily indie-focused, they have since expanded into other sounds and genres including Afropop in recent years.
The 2022 FIFA soundtrack is perhaps it’s most experimental and immersive yet. Announced earlier this week, the soundtrack has been celebrated for featuring the largest tracklist in the series history. Packing in 122 songs from over 27 countries and six hours of music play, the 2022 soundtrack represents the modern sonic landscape today. It comes as no surprise then that Mavin’s golden boy, Rema lands another spot on the soundtrack for the second year in a row.
The impact and reach of the young Nigerian musician is undeniable given that Rema has a plethora of hit singles and EP’s under his belt. From his outstanding performance on his breakout single “Dumebi” to experimental numbers such as “American Love”, and body-quaking hits such as “Lady” and“Woman”, Mavins golden boy has continuously shown why he deserves to be heard in a sea full of his equally talented peers. Recently added to this array of songs earlier in the year was “Dimension”, a catchy number produced by the British-Ghanaian producer, Jae5 which also features UK-based Nigerian rapper, Skepta.
On the mid-tempo record, we are immediately drawn in from its opening moment as a catchy beat carries listeners through the song’s run time. Rema’s hook and closing solo are perhaps the main attractions on the single as the singer quips: “Me ah go dey give them di vibe ’til the kingdom come/The place where I come from be another dimension, Nobody been look my face when I dey on my own,” with lyrics soundtracking his rise from newcomer to global superstar.
The song also earns the singer his second feature on the FIFA soundtrack. This comes after “Beamer” featured on the FIFA 21 soundtrack with other Nigerian acts like Burna Boy for “Location” and Fireboy DML for “Scatter”. Other African artists featured on the 2022 list include “Fear No Man” by Little Simz, “Gliding” by Pa Salieu and Slowthai, “I Want” by ENNY, “Hickory Dickory” by CHIKA, and “Princess Cut” by Headie One, Young T and Bugsey.
FIFA 22 is officially out for sale on October 1st.
The recurrent trend of fast fashion companies including major players such as Boohoo, Pretty Little Thing, Fashion Nova, and more, stealing designs from both small and high-end designers is a tale as old as time. Through fashion immemorial, there have been endless examples of these fast fashion giants copying, lifting and replicating the designs of others, and at this point, it has to be stopped.
It is not new to see brands copying each other in some form. Fashion houses have long operated in this way, borrowing and sourcing inspiration from each other to cater to viral trends and consumer demand. However, continued replication over the years has now forced many fashion enthusiasts to demand better distinctions between borrowing, inspiration and downright copying.
It’s become clear that the playing field isn’t equal for all designers, particularly young Black designers who are typically eschewed in favour of their white counterparts. So when names such as Fendi, Off-White or PLT and Fashion Nova attempt to disguise the designs of younger creatives as their own, they are participating in the disenfranchisement of the youth and reproducing the harmful structures that keep the pockets of a few lined, to the detriment of the world of talent that exists in the fashion world.
One of the biggest culprits in the replication of designs lately is Boohoo. Founded back in 2006 by CEO, Mahmud Kamani, and Carol Kane, the fast-fashion giant has only continued to extend its reach by surviving on offering a cheaper fashion product online. There have been numerous complaints of Boohoo pilfering designs from other lesser-known designers and even designs from more high-end designer brands. Despite this, the fast-fashion giant continues to catch heat for yet another act of thievery.
Over the weekend, Boohoo Man came under fire for doing what Boohoo always does. Nigerian streetwear brand, MOTHERLAN called out the fast-fashion giant for outrightly copying one of its designs. Owned by the trio Onyedl, Leo, and Slawn, the brand has become a staple in the country and grown its own cult following, all through authentic marketing, storytelling and social media. Slawn, one of the founders of MOTHERLAN took to Instagram to point out the injustice in the clear rip-off. From the look of both t-shirts, there is little to no difference – save the interchangeable ‘T’ and ‘A’. It is quite infuriating to think that small brands, barely making 10% of the profits fast fashion brands make, are being robbed by companies that have bucketloads of capital. In his Instagram post caption, Slawn says “we are 3 young boys from Lagos and u didn’t find Gucci to steal from with all your millions.”
It’s worth noting that since their late 2010s inception, MOTHERLAN has grown to be a globally recognised brand, with features in the pages of magazines such as i-D, Vogue and more. The streetwear brand has also produced collaborations with international companies such as AWAKE NY and Converse. Clearly not averse to lending their creativity to larger conglomerates, MOTHERLAN’s collaborative reputation makes the Boohoo move even more laughable. If Boohoo wanted the ‘MTN’ design, they should have asked nicely and they just might have gotten it without the backlash that their ‘MAN’ t-shirt has now invited.
You’d expect big corporations to steal designs only from big fashion houses as they are well equipped monetarily to carry the loss but rather they also pinch from the world of upcoming fashion houses and nascent designers. Capitalism and hunger for money have taken all compassion and integrity out of the hearts and minds of these fast-fashion giants who continue to unethically operate within the fashion world.
For the past year alone there have been different sightings and examples of fast fashion imitating other brands. Fisayo Longe’s Kai Collective has equally suffered the same fate and even pursued legal action against them. However, for smaller brands, taking legal steps is not an easy solution in the face of legal fees and challenges. Not only designers but even celebrities, fashion houses and fashion websites continue to call out fast-fashion giants for their pilfering ways. Platforms, such as Diet Prada have become the voice for the voiceless and taken it upon themselves to reveal the injustice and falsehoods of these companies. They expose the underbelly of the glitzy fashion world, no matter how big or small the scandal may be.
So how then do we pull the tank on an unsinkable ship? Although the answer is uncertain to determine as a whole, the facts of each individual case will always differ and create an avenue for fashion designers and enthusiasts alike to call out this unwanted trend. With small businesses leeching off each other in the same way large companies do, hoping for change seems futile. For a long time, fashion hasn’t been an industry of unique ideas but rather a web of designs sourced from past designers as inspiration. There is nothing wrong with taking inspiration from past work as long as it segues into creating something new. Though no work is fully gotten from a blank canvas these days, we have to draw the line when someone’s fresh designs or idea is simply replicated for a quick and easy buck.
19-year-old Nigerian Afro-fusion singer and rapper, Alpha P has made waves in the music scene since 2019 when he made his debut off a major label backing with Universal Studio Nigeria. The young artist born and bred in Benin city first caught our attention with the release of his debut EP ‘King Of Wolves’, a succinct introduction to his stellar penmanship and rapid-fire flow. It wasn’t long before he found his beat and began delivering a mix of trap-leaning R&B numbers which soundtracked his come-up and the journey to global success.
This year alone, Alpha P has been busy working, releasing a string of singles that have kept fans and listeners satisfied as he whets appetites for what seems like a debut album on the horizon. First featuring on the highly acclaimed Hollywood movie ‘Coming to America 2’ soundtrack and later landing a guest spot on the Masterkraft Remix to Justin Bieber’s mega-hit “Peaches” that also featured Omah Lay, the rapper has continued to mount new heights in his career, which have only served to edge him further to his explosive world-dominating moment.
Now, he returns with his latest single, the romantic number titled “OH NO” which was initially released earlier in the summer. The Killertunez-produced track finds the rapper declaring his affection for a love interest to who he promises more affection and attention and not just materialistic things of the world. To continue to capitalise on this moment, the artist has decided to bring the song to life with the release of a new music video.
The emotion-filled visuals of “Oh No” begins with Alpha p meeting his love interest who is played by brand and lifestyle influencer Queen Nefertiti. The pair rendezvous in a restaurant after she has a heated argument with another guy. He tries to make her feel better by expressing his feelings and serenading her. She’s clearly smitten with his advances and wishes to take him seriously however, Queen soon realises that it was all a dream and does all in her power to make their encounter a reality.
Ahead of the official release of the video for Alpha P’s “Oh No”, for our exclusive premiere of the single, The NATIVE chopped it up with the artist. We learn about the musical inspirations behind the single, his perception on love, and what he wants the fans to know about “Oh No.”
NATIVE: What inspired your new track “Oh No”?
ALPHA P: “Oh No” was inspired by my past experience, being a hopeless romantic who was in love with a girl that didn’t reciprocate those emotions solely because I wasn’t financially stable. I felt like so many other people would relate to the subject matter so I decided to put it in a song.
NATIVE: If you were to remix this song, who would be on it?
ALPHA P: For a remix, I would love to hear Wande Coal on it
NATIVE: When people listen to “Oh No”, what do you wish for them to take away from the song?
ALPHA P: I define my music as liberating, so when people listen to OH NO even if they’ve never been heartbroken of been in a similar position that I was in while listening to the song I want them to feel those emotions through my voice.
NATIVE: Can fans expect a new project from you this year?
“What’s Going On” Tallies Notable News Headlines From Across The Continent — The Good, The Bad, And The Horrible — As A Way Of Ensuring That We All Become A More Sagacious African Generation. With This Column, We’re Hoping To Disseminate The Latest Happenings In Our Socio-Political Climate From Across The Continent, Whilst Starting A Conversation About What’s Important For Us To All Discuss. From Political Affairs To Socio-Economic Issues, ‘What’s Going On’ Will Discuss Just That.
Women March Against Sex and Gender-Based Violence in Zambia #EndSGBVZambia
Barely any day goes by without a case of violence against women being reported. A 2016 report by the Victim Support Unit of the Zambian Police Services showed that 18,540 cases of gender-based violence were reported in that year alone and 18,088 recorded the year before. According to UN Women, 43% of women and girls between the ages of 15 and 49 experience various forms of sexual violence and aggression throughout their lives. These numbers are very disturbing considering the fact that society constantly does not treat cases of sexual assault and gender-based violence as seriously as it ought to, especially when it comes to Black women.
Our society normalises victim-blaming and not a lot of victims are given the safe space to speak out and report their offenders. In light of the pandemic and the restrictions which accompanied it across the African continent, the numbers of cases have continued to spike at an alarming rate. In Zimbabwe, last week, after noting a rise in cases, protests erupted against these inhumane occurrences as group of young people, mainly women, organised a march to protest against sexual and gender-based violence, which took place in Kitwe, Zambia.
Several Zambians took to the streets and social media timelines to protest against the violence as they chanted and shared the hashtags #WomensMarchZambia #IDeserveToBeHeard and most popularly #EndSGBVZambia which was trending over the weekend. As they clamour for justice for women who have endured all forms of sexual crimes, they also demand the restructuring of the justice system and the existing victim support groups to ensure the safety of victims and for an end to victim-blaming. Several petitions were also created to re-evaluate the Gender Equality and Equity Bill as well as The Sexual Act in order to ensure that there are proper repercussions for sexual violence. Alongside this, protesters also made a bid to resuscitate the Victim Support Unit and create a sex offenders list and establish more centers for victims across the country.
The world has always been an unsafe space for women with sexually related crimes rampant at almost every corner, but the rates at which these cases are increasing is alarming, to say the least. With different statistics across the world, a significant number of sexually related crimes are inflicted upon women by their male drivers. In an attempt to reduce the high crime rates, several companies have created platforms providing rides for strictly catering to their female passengers. Though it’s not a common practice, the services have been popular in countries such as Brazil, United States and Australia such as DriveHer, SafeHer, SheRides, etc.
A taxi e-service, Little Cab in Kenya started providing similar services in 2016 when joint venture Safaricom and Craft Silicon established ‘Lady bug’ in an attempt to empower female drivers and ensure the safety of female passengers. Recently, Bolt, a popular ride-hailing service launched a similar service for women. However, while this was a feat to commend, it was only met with more annoyance when passengers soon discovered the price discrepancies between the ‘women-only’ ride and the standard ride, days after several women took to Twitter to air their grievances and share their negative experiences with male drivers.
Charged at a difference of over a dollar more, the issue sparked conversations on social media concerning the issue. As usual, women end up bearing the costs of horrendous behaviour inflicted on them by others. Women having to pay a significantly higher price for their own safety only further creates economic segregation amongst them and reminds them that their safety is not a given. Several people tagged this as ‘pink tax’ which is just another way to tax women for services and products necessary for their safety and survival. However, as expected the company and some of its male users were hesitant to label the issues as one of gender. Many attributed the issue to one of supply and demand, saying that male drivers will be more in demand than female drivers because the transportation sector in Kenya predominantly consists of men.
Why has Bolt made the Only women option expensive? Is it because Women’s Safety is a privilege nowadays? Plus how sure am i i will be safe?Is safety all about gender or an individual? Just asking….
As Nigeria’s healthcare bleeds, resident doctors continue to strike
Amidst the steady cases of coronavirus and struggles in administering the vaccine in Nigeria, there is still an increase in the number of COVID-19 cases. Also, as a result of the inadequate supply of clean water, open defecation and poor hygiene practices in general, the Nigerian Centre for Disease Control (NCDC) recorded 816 deaths from 23 states between January and August this year for Cholera. In addition to this, the southwestern floods continue to threaten Lagos homes and nationwide, general hospitals in cities such as Ilorin, Offa and Omuara lack bed space for patients who are in dire of new supplies.
In the face of these structural setbacks, the National Association of Resident Doctors (NARD) have engaged in a 7-week-old strike after its members were denied payment of owed salaries, hazard allowance, life insurance benefits for members who had lost loved ones to COVID-19 and more. The National Industrial Court had also ordered them to resume duties and end the strike preemptively but the doctors vowed to continue till they are provided all their entitlements.
NARD President, Dr. Okhuaihesuyi Uyilawa, stated “We have appealed (against) the judgment of the National Industrial Court that we should go back to work. We don’t have any date yet for the hearing, but we are optimistic that justice will be served. We are insisting that the Federal Government withdraws the ‘no work no play’ policy and the court cases against the association, as well as meet our basic demands.” The Minister of State for Health, Dr. Olorunnimbe Mamora has appealed for the medical professionals engaging in the strike to suspend it as they reevaluate and negotiate their requests, stating that by the ethics of their profession their priority is saving lives.
@nwanneamak4couples her creative interests with her individuality and uses writing as a vessel for her expression.
More than most people, the team at the NATIVE knows that the sheer scope of music available to us at this exact moment in human history is mind-numbing but our goal is still the same as always: we don’t want exciting music to be slept on. We simply cannot allow that happen. That’s where our Songs of the Day column comes in. We try to stay on the pulse of music from across the continent and beyond, bringing you exciting songs from talented musicians who are continuously pushing their artistic boundaries.
Earlier in the week, we brought you new songs from Lojay and Sarz who released the widely anticipated video to their single “Monalisa”, Amaarae and Kali Uchis surprise remix to “SAD GURLZ LUV MONEY”, alongside new music from Kofi Jamar, Olamide, Ninety9 & more. To start the new week, we’re bringing you new music from Wavy The Creator, Buju, Pa Salieu, Davido, Falz, Backroad Gee, Olamide, and more. Enjoy!
TION WAYNE – “WHO’S TRUE” ft DAVIDO & JAE5
Davido features on Tion Wayne’s recently released album ‘Green With Envy’. The romantic track, which samples T-Pain’s 2009 hit “I’m Sprung”, is produced by Jae5 and finds both artists questioning the ingenuity of people in their lives. Davido takes the lead on the chorus singing, “Don’t want to meet no one new/because I don’t know who’s true/show me who’s true”. The accompanying music video finds all three artists performing their verses in grand fashion while surrounded by a pack of their nearest and dearest trusted friends.
Wavy the Creator – “Stella Riddim” ft. Ckay & Efya
Since the release of her genre-defying sounds in the promotional single “Harmonies”, assisted by the soulful vocals of WurlD, it was a no-brainer that Wavy the Creator’s debut EP ‘P.S Thank You for Waiting’ would be a promising project from our favourite self-proclaimed alien. The young Nigerian artist delivers an out-of-this-world performance assisted by Ckay and Efya on standout track “Stella Riddim”, the fourth number off her debut.
The sensational beat draws us into the track from the song’s opening moments, preparing us for her usual soul-stirring vocals. Wavy sings “The way you move is out of this world/I can’t deny your love is fire,” a line so perfect that you’re almost lost in her spell. Ckay further elevates the track as he quips on the memorable hook “Girl if you look into my eyes, you can desire/ and I’m looking at your body, all I see is fire,” directly addressing his lover who he can’t get off his mind.
Pa Salieu – “Style & Fashion” ft. Obonjayar
Gambian-British rapper, Pa Salieu has just realised a new 3-pack EP titled ‘Afrikan Rebel’ with features from Obonjayar, Zlatan, and Tay Iwar. On the standout number “Style & Fashion” with the British-Nigerian singer, Obongjayar, both artists are seen performing on their best form, delivering an electric set that’s guaranteed to get you moving. Over the bouncy beat produced by AOD and Felix Joseph, the duo pair intoxicating vocals with an unmistakable danceable beat that highlights their African roots.
Basketmouth – “Your Body” ft. Buju
Since his debut single “Myself” featuring Oxlade and Show Dem Camp, celebrated Nigerian comedian Basketmouth has steadily created music that audiences are drawn to. In 2020, following the release of the debut single, the multitalented artist released his debut album Yabasi’ which featured popular Nigerian talents including Ladipoe, Boj, The Cavemen and more. Now, Basketmouth is back with another single, this time featuring the man of the moment, Buju. On this mid tempo number produced by Duktor Sett, Buju quips over the memorable hook, “Make I touch your body, na you wey i want to kolobi/Make you no send nobody, for me shey you go soji,” admiring his woman for all her curves and figure.
DJ YANKEE – “1000 YEARS” ft Blaqbonez & Cheque
Two talented Nigerian artists, Cheque and Blaqbonez join Dj Yankee on this slow tempo track to tell their respective love interests to leave their boyfriends. The track is the perfect embodiment of toxic relationships as the trio emphasise that while they can provide for all the women need, their boyfriends cannot. “Somebody like you should not be broke all her life/cheat on your boyfriend because he is a waste of your time”. The number is accompanied by story-telling visuals featuring the three going after their love interests.
Oladapo – “Fine”
Nigerian Afrofusion singer, Oladapo has just released his debut EP ‘Blind’, a 5-track project which features recurring themes such as love, lust, passion, heartbreak and more. The project plays like a tribute to Oladapo’s former self as the singer comes to terms with his younger, less enlightened self and his wiser, more informed self who’s wary of getting hurt again. On the standout track“Fine”, co-produced by Semzi and P.Priime, the singer showcases his smooth vocals and melodies as he addresses his love interest as he serenades her and admires her otherworldly beauty “Fine girl, open your eyes girls.”
Runda – “Bam Bam”
Since collaborating with international disc jockey and songwriter, DJ Neptune on “Bembe”, Runda’s craft and skills have only continued to grow. His star has only continued to shine bright since then as he continually edges himself closer into the limelight with a steady slew of single releases. Now, the singer makes a welcome return after his earlier two releases “Uptown Girl” and “Jowo”, offering up a third single titled “Bam Bam”. On this track produced by Soundz and Jay Pomping, Runda delivers a sultry set as he expresses his desires towards his love interest over a groovy mid-tempo production.
AUX Sessions – “My Cheese” ft. Majesty Lyn
Hailing from Rivers State, Charleslyn Rosebeth Charles, AKA Majesty Lyn is a singer and rapper with an unmistakable voice of gold. She combines her Afropop roots and love of R&B and hip-hop to make songs that are sure to have listeners running back for more. It was through sharing a series of rap battles and freestyles that Majesty was discovered by music heads including Don Jazzy, and other industry tastemakers.
Although very few artists are able to turn social media fame into lasting success, Majesty Lyn is looking to be one of those rare artists with her AUX Sessions and project, ‘My Cheese’. Over the Man Like Maz-produced track, the singer and rapper directly address a certain nigga in her life who is unable to realise her worth and pay her the dues owed to her. With well-crafted melodies and a relatable storyline, Majesty Lyn shows that she’s able to carry herself to greater heights in no time.
Kay Slice – “Breeze”
Dutch-Ghanaian Afrofusion artist, Kay Slice is back with his first official single of the year titled “Breeze”, an homage to his motherland. Produced by Slice and his long-time collaborator Bora, who also provides live guitar and bass arrangements, “Breeze” is a soulful and infectious rap fusion tribute to this mother and the people in our lives that have nurtured us and helped us grow, such as our parents and family. The accompanying music video directed by Edward Pappoe speaks directly to this inspiration and captures the relationship and connection between a mother and her young son.
OG Emmy – “Remy N Chill”
Ghanaian-Nigerian Afrobeats artist, OG Emmy has just released a brand new EP titled ‘Sipping Remy’, a succinct collection of 5 tracks that finds the singer collaborating with a host of West African talent. On the summer-ready track “Remy N Chill’, the singer directly addresses a love interest with who he wishes to spend more intimate time. “One time, oya take a pose/She say you want me so, you want my kitty,” he quips on the song’s infectious hook, imploring his love interest to take a chance on him in the twinkling of the hazy summer days.
Featured image credits/Instagram & Isabel Okoro
@nwanneamak4couples her creative interests with her individuality and uses writing as a vessel for her expression.
Debuting at number 1, and resting comfortably there since its release, Kizz Daniel’s “Lie” continues to smash records, going into its biggest week yet this week. Recording 48.8 million in radio reach, 8.83 in TV and 2.32 million equivalent streams, “Lie” becomes the first record to spend its first six weeks at No.1. Though the single hasn’t hit the numbers “Feeling”, “Rock” and “Understand” reached earlier this year, “Lie” has had the 4th, 5th, 6th, 7th and 8th biggest weeks on the Turntable Charts.
At position 2 is another history-making record, “Bloody Samaritan”, which puts Ayra Starr at her highest ranking yet. Rising from position 4 last week to the number 2 record in the country, “Bloody Samaritan” now becomes the highest charting solo song by a woman, a record that was previously held by the artist herself, “Away” at no.4.
In at number 3 and 4 are familiar top 5 records, Omah Lay’s “Understand” and Fireboy DML’s “Peru” respectively. The top 5 is rounded off by Adekunle God’s Davido-assisted “High”, which debuted at number 2 last week. Up in radio and TV reach, the streams for “High” have gone down a significant 42.2 per cent.
Steady at number 6 and 7 is Burna Boy’s “Question”, featuring Don Jazzy, and a second top ten entry for Adekunle Gold, “Sinner”. After “Sinner” comes Tiwa Savage’s “Somebody’s Son”. Taking a giant leap from position 19 last week into 8 this week, “Somebody’s Son” becomes the first exclusively female collaboration to enter into the top ten. With 44.3 million in radio reach and 324,000 equivalent streams, “Somebody’s Son” also shockingly marks Tiwa Savage’s highest entry on the Turntable Top 50 charts.
As we round off the top ten, we see Ladipoe’s “Feeling” at number 9. Spending 19 good weeks in the top ten, “Feeling” equals to “Godly” as the song with the longest period in the top ten. “Monalisa” by Sarz & Lojay makes a top 10 re-entry, with streams and plays going up last charting week in anticipation of the song’s video. Now the visuals are out, it is expected that “Monalisa” will climb even higher in the charts next week. Other artists set to make a splash next week include Tems, off the back of her sophomore EP, ‘If Orange Were A Place’.
Catch up with the rest of Turntable’s Top 50 charts here.
Hennessy Artistry Cypher is back for another year running with a diverse spate of talented rappers including Psycho YP, Laud Reyes, Legendary Styles, Alpha Ojini and more. There’s no denying that, over the past few years, the focus of African music has shifted and focused solely on its more commercial sister, Afropop, leaving other genres such as Hip-Hop/Rap in the shadows. However, we’re coming into times where Hip-Hop/Rap is getting its long due flowers as a new generation of Rap stars take over the sound emerging on the continent from Durban to Lagos.
Over the years, brands such as Hennessy have only established themselves further as one of the leading names in Hip-Hop/Rap with the ability to constantly spotlight some of the hottest talents in these parts including artists such as M.I, Vader, Jesse Jagz, Falz, SDC and many more. This year’s lineup is even fiercer, combining new names in music such as Legendary Styles and Laud Reyes with more established names such as M.I and Vector.
Ahead of the release of the first episode tomorrow, Hennessy Nigeria is now introducing the 2021 class of rappers that will be gracing their stage every Tuesday for the next three weeks. The premiere episode will feature Abuja’s Psycho YP, Legendary Styles, Barry Lane, and Alpha Ojini.
Nicholas Ihua-Maduenyi, popularly known as PsychoYP is a Nigerian Trap/Hip-Hop artist who has garnered a large underground Hip-Hop fan base of new age music lovers in Nigeria. Born and raised in Abuja, his rap career started in 2016 with the release of his debut EP titled ‘Lost in The Sauce’. With a diverse sound that cuts across a range of genres including Trap, Rap, Grime, R&B, Hip-Hop and more, the Trybe alumni has carved a lane for himself in the Nigerian industry, all with no major label backings and with the state of Abuja and his Apex Village gang on his back. In 2020 alone, he featured on over 34 released songs, making him the most featured artist in Nigeria that year.
Since then, Psycho YP has only doubled down on his creative output, ceaselessly working to make a name for himself and making sure that Rap music is recognised in these parts. His sophomore mixtape ‘YPSZN2’, which he released in 2019 was nominated for “Best Rap Album” at the 14th Headies Awards. His music catalogue has also achieved over 15 million streams across all digital platforms independently and his biggest singles include “OGA (remix)” featuring YCEE, Dremo & Blaqbonez, and “National Anthem”. This year already, he’s already released a new tape titled ‘Euphoria’, an ebullient cut of Rap songs that continue to show his hunger for voicing the wins and trials he faces as a young rapper. Aptly crowned the Fresh Prince of Nigerian Rap, PsychoYP is charting his way to the top in the new wave of urban music, breaking barriers in Nigeria and beyond.
Ebuka Alex Ojini-Ntamere who goes by the stage name Alpha Ojini is a Nigerian musical artist who wears many hats including that of a rapper, producer and sound engineer. First bursting unto the scene back in 2017 with the release of the braggadocious number “Vendetta”, a clear-cut response to M.I Abaga’s “You Rappers Should Fix Your Lives,” the fierce emcee has only continued to edge himself and his artistry further towards mainstream success.
In 2010, he released his first studio project ‘No Silence’, a self-produced 10-track project that introduced listeners to his rapid-fire rapping abilities. This was followed in 2011 by another 10-track project titled ‘The Road to R.U.S.H’, a gritty tape that consisted only of covers of popular songs. He notably recorded this entire project in a 4-hour session, a mind-blowing feature that has trailed his career. In 2014, Alpha had already released his third body of work, a 6-track self-produced EP titled ‘My Own Horns: The JazzRap Project’. In 2019, he released his highly anticipated rap album, ‘Chvmeleon’, which has gone on to garner over 2 million streams on major music platforms across the world. He has worked with major acts such as M.I, Blaqbonez, Hotyce, Oxlade, Ycee, and PsychoYP. His mentor in the industry is M.I and he has close affiliations with rapper, Hotyce and singer, Oxlade. Alpha promises to be cold on this year’s Hennessy Artistry Cypher!
Onwusonye Samuel Ikokwu, also known as Legendary Styles, is a rapper & singer, born and raised in Imo state. Up until a few months ago, the talented rapper was relatively unknown, only serving up freestyles and singles to the loyal following he had grown on social media. Then, his breakout moment came this year when his single “Loose Guard (I See, I Saw)” took over social media timelines including those on TikTok and Thriller, a medium that has quickly become the hotbed for hottest tracks in rotation.
While Styles has definitely stepped into this moment of his career with ease, it’s worth noting that the rapper actually began making music at a very tender young age. Back then, a young Styles would make use of various instruments which he heard on his SEGA game consoles to sing and rap and create his own music. He had recorded several songs over the years but didn’t release any till 2021 when he decided to make music a priority in his life. 2021 saw the release of his highest-charting single to date and gave Styles the courage to step out from his past life and step into his defining moment as an “Afro-drill” rapper. He demonstrates these talents and diversity in his lead single “Loose Guard (I See, I Saw)”, which is further complemented by his catchy dance to go with the song. Legendary Styles stays true to his style in every song by rapping in both English and Igbo.
We certainly can’t wait to see how he brings Afro Drill to the Hennessy Artistry Cypher 2021!
Ogunlana Oluwasegun Obaro, popularly known by stage name Barrylane, began his rap career at age 12. A hardcore lover of Hip-Hop/Rap, the artist grew up on a musical diet of Notorious BIG, DMX, and Snoop Dogg, who inspired his love for rap music, and gave him the courage to explore this vibrant art form. At the time, he took part in street rap battles with his friends, where he subsequently grew his rap skills and sharpened his comeback abilities in no time.
In 2018, Barrylane triumphantly burst onto the scene after winning the Hennessy Artistry VS Class cypher that year and he’s been forthcoming about the benefits of this moment in time on his music career. Now, he gets his inspiration from listening to Kendrick Lamar, Eminem and Kanye West, and their different styles have helped him in discovering his. We already know that Barrylane brings the fire, and we can’t wait to see him on the 2021 Hennessy Artistry Cypher!
On her sophomore EP, ‘If Orange Was A Place’, Tems isn’t here to make any grand statements. The 5-track project is an effective re-immersion into her emotionally acute take on the melding of Afropop and R&B, bolstered by bulletproof production from GuiltyBeatz.
When billboards announcing the tracklist for Drake’s latest album, ‘Certified Lover Boy’, began appearing in cities across the world, it didn’t seem out of place to expect one of them to pop up right on our doorstep in Lagos, a cultural hotspot that the rapper had previously visited and drawn inspiration from. The coastal city’s cultural cachet has been exponentially high in recent years, producing crossover stars such as Wizkid, Davido, Burna Boy, and Tiwa Savage, as well as serving as ground zero for the amorphous, free-wheeling endeavours of West Africa’s alté community who have attracted global attention for their unconventional approach to music, fashion, and filmmaking.
Eventually, a CLB billboard did appear in Lagos, delivering the simple, but momentous message that a certain hometown hero was, indeed, going to be strutting their stuff on the much-anticipated album. “Hey Nigeria Tems Is On CLB,” two strategically positioned billboards announced in the West African country a day to the album’s release. In usual Nigerian fashion, the font for Tems’ name was noticeably thickened in comparison to the other announcement billboards. Bantering in the comment section of her Instagram acknowledgment post, Drake chalked the mix-up to hometown pride and it’s safe to say he wasn’t too far off.
There are many things to be proud of in the life of Temilade Openiyi at the moment, the least of which being that we’ve had front row seats to the unfolding of her magnetic star power. In the three years since quitting her digital marketing job to make music professionally, she has moved from being a key figure in the alté community to being one of the most exciting voices currently operating within the Afropop space. The breakout success of “Try Me” in 2019 cast her as a specific avatar for the brooding search for freedom that many in her generation can relate to.
By the time Tems’ debut project, the forlornly-titled ‘For Broken Ears‘ arrived in the final quarter of last year, she was already widely viewed as a star in the making, a deceptively dynamic vocalist blessed with a pen as sharp as her mind. Her showing on Wizkid’s “Essence,” the standout track off the Afropop icon’s ‘Made In Lagos’ has planted her at the heart of the genre; in that song, she is the heart, the fire-starter, and its reverbing soul. Her role on Drake’s “Fountains” is a subversion of the “Essence” template, seeing her introduce an introspective plain to the song while remaining anchored to the song’s airy Amapiano-influenced feel.
Taking advantage of the buzz – and attention – that a Drake cosign inevitably brings, Tems has shared her second EP ‘If Orange Was A Place’, a five-track project that arrived less than two weeks after CLB’s release. It is admittedly a strategic marketing tactic but rather than riding the coattail of stars like Wizkid and Drake to lean into their world of radio-monopolising and undisputed bangers, Tems has fashioned her own way.
The rising star has used the opportunity to introduce her audience to her hazy sonic universe, doubling down on the melancholy and angst that inspired – and powered – her earlier releases such as “Mr. Rebel” and “Looku Looku”. Concurrently, it’s obvious that she is at the most self-aware she has been at any point in her career, engaging with ideas and dissensions sourced from wider cultural pipelines that she has often overlooked. “Oh, my voice is a mystery/ But they always tryna diss me,” she points out in the opening moments of “Replay.” Of all the songs on this project, it is the song that most clearly portends what the future of Tems’ trajectory might be: one which places forthright lyricism over instrumentals with light polyrhythmic tinctures.
Without coming off as unduly calculated, Tems has always managed to control the narrative of her expertly curated releases. Last year’s ‘For Broken Ears’ was almost exclusively driven by Tems’ soulful reflections on the heartbreak and stress that shaped her, and this year’s offering is no different in its subject matter. Here, Tems is similarly inundated with her cathartic responses to emotional turmoil. Project opener, “Crazy Tings,” is a case in point as Tems points out the dishonesty and toxicity of a love interest (“So you need someone to deceive/ And you’re trying to think that I’m the one for you.”) Where this same set of variables provided the unmistakable perspective of 2020’s “Damages,” it falters on “Crazy Tings,” leaving Tems whining and sounding monotonic.
It is a rare misstep that Tems course corrects on “Found,” getting into the swing of things with a delicate meditation on the complexities of life and the endless expectations that come with existing. “I feel I might just be coming undone,” she laments over a minimalist percussive backdrop in the opening stretch. Songs like this catch a glimpse of Tems’ place in the zeitgeist: when she confides her fears in these songs, she gives form to the innermost insecurities and anxieties of many who tune in to her music. Her comforting drawl always sounds like a friend reminding you that sorrow never lasts for a lifetime. Tems expertly exmploys the skills of jaded hearbreak crooner, Brent Faiyaz on the number who offers an optimistic counterpoint to Tems’ despair. It is telling that when Tems finally re-emerges, she is more buoyant, closing out the collaboration with more hopeful affirmations (“Basically, I might not be weak/ Basically, I might not be falling.”)
There are no obvious radio singles on ‘If Orange Was A Colour’ but “Replay” is perhaps the most dynamic exploration of Tems’ genre-meshing strengths, seeing her adopt a sprawling flow that harkens shades of “Ice T.”Here, she is at her most jovial and insouciant, vocalising the secret–and mischievous–fantasies of any 26-year-old (“I make them weep till they run insane/ So get me lit on a weekday.”) As with all things Tems, the gloom is never far away, even the rare sliver of cutting loose serves a larger function of expunging past distress and the latter half of “Replay” is riddled with references to her life before the fame and the jabs she had to deal with (“Back then when I ain’t have no friends/ And yah condescend”).
Then there’s the mentions of the much-publicised arrest incident in Uganda last year (“Pissed ‘em off, they locked me up in a celli/ Then they shock dem when they see me on the telli.”) Tems shows that through all of the turmoil of her past life and the retelling of old war stories, Ms. Openiyi breathlessly maintains that her spirit cannot be shaken because her power is not of this world. To anyone else, it might sound like she’s bragging but for many of us who have witnessed her tireless dedication to her craft and her fierce spirit, it’s not out of place that each project release feels like Tems stepping out of a cocoon-phased evolution of her career.
Production-wise, Tems mostly leans on Italian-born Ghanaian producer GuiltyBeatz. The beatsmith produced four of the project’s five songs, a casual departure from Tems’ usual self-produced nature, to provide sonic interpretations for her ruminative introspection. However, even at that, he does not stray too far from the patented cocktail of ethereal R&B, neo-soul, and immersive alt-pop that Tems has often gravitated towards.
The last songs few songs on the new EP are anchored in more bulletproof production from GuiltyBeatz and Tems’ dedication to outrunning her emotional turbulence. “Avoid Things” is about trying, and very often failing, to turn a blind eye to the problems of a relationship: “I try to avoid things/ Avoid things/ ‘Cause there’s no one, dis is madness/ Avoid things/ I try to resolve things/ Involve you/ But you don’t want to be sorry.” On “Vibe Out,” Tems just wants to enjoy a good day, sinking into familiar comforts far away from the triggering reminders that are capable of reopening old emotional wounds. Here, she’s seemingly more interested in love, passion, and desire than ever before, seeking out meaningful relationships in a sea of people seeking to eclipse her power.
In the close to one year since putting out ‘For Broken Ears’, Tems has vaunted to a more prominent place in Afropop, visibly expanding her sonic palette on the sweltering vibe of “Essence” and creating fans of mega-superstars such as Adele and Drake. However, her greatest strength has always been her ability to steep her listeners in the thick of the emotions that they’d rather run from. ‘If Orange Was A Colour’ functions effectively as a re-immersion into Tems’ emotionally-acute take on the melding of Afrobeats and R&B. “Struggle breeds character, you can’t learn if you’re comfortable,” Tems said in the video for her Apple Music Up Next feature last week. On ‘If Orange Was A Place‘, she certainly reminds us that the struggle, emotional ones mostly, might never end, but we can always seek a reprieve through music.
Since her 2015 self-titled debut EP ‘Bella The Ep’, singer and songwriter Bella Alubo has remained a relevant and consistent face in the music industry. In the five years since then, she’s released a number of projects including ‘Late Night Vibrations’., the joint EP with rapper YCee, and three solo EPs. Needless to say, her work rate is incredible and that’s only served to edge her closer to this moment.
It goes without saying that there couldn’t be a more perfect time for her debut studio album ‘Bella Buffet’. Released today, the album showcases the singer in new light as she reveals all her complexities in songs that are equal parts reflective and enjoyable. She presents a reinvented version of herself as she pushes the boundaries of her craft, exploring her newly found confidence through her style, vocals and penmanship to say the least.
Not only are we privy to a more self-assured rapper who knows exactly what she is about, but we’ve been gifted with an album that encapsulates the years of hard work in the making. It also features a spate of favourite artists including OG Nigerian hip-hop star Ice Prince on “Ybwm”, Afrohouse queen Ninola on “Location” Blaqbonez on “Offend Me” and more. Unquestionably, this debut album is bound to make lasting impressions on its listeners. Here are a few takeaways from the album on the first few listens.
Bella was not playing around when she called this project a buffet. Metaphorically and thematically, the album takes listeners through a four-course meal of her personalities and desires. and We can already see from the album art done by Onazi Ogaba and Unravel Studio that we are getting many versions of the artist on this project. Meticulously put together to soundtrack her personal experiences with romance and life, the project sounds sonically like a late-night conversation with your homegirls. While promotional single and album intro “Table for Two” is a slow-tempo anti-love number whetting our appetite for what follows on the project, “Offend Me” is a more upbeat track featuring Bella querying her love interest for wanting things but not giving her back in return.
Top-notch collaborations.
‘Bella Buffet’ enlisted the collaboration of a spate of talented artists welding various genres of music to their benefit. From Nigerian rap star, M.I, Afrohouse queen Niniola, UK-based singer/songwriter Keziah Mallam and much more, all merging perfectly with Bella’s sweet-sounding voice. From an intoxicating Amapiano-infused “Location” to a Reggae number, “Plantain Song” featuring Dapo Tuburna which ironically traces her appreciation for the plantain’s versatility. Never taking herself too seriously and keeping the theme light, the singer delivers a solid body of work.
She’s not afraid to speak her mind
Bella Alubo knows who she is and what she wants and she’s not afraid to tell it as it is. Her inspiringly firm sense of confidence is perceivable from the onset of this album, particularly through her lyrics. She goes from blatantly calling out a lover she feels is not reciprocating her love in “Offend Me” saying “Baby why you offend me, you ain’t buying me Fendi/You ain’t buying me teddy, you ain’t buying me Fenty.” to asserting herself and her unique abilities on “Nothing to Say”, the audacious opening track.
Girls need love too
While the majority of the tracks on the album are fierce and confident numbers, Bella is still open to being vulnerable as she bares herself on songs like “Options”, making it known that she craves love and attention from her love interest. With lyrics such as “I saw him at the club/he won’t even look at me”, she shows that she can still be vulnerable with her heart even after heartbreak. With lessons learnt from past flames, the singer admits that she won’t settle for love from just anyone as she quips “Last one got baby mama drama, I don’t need that/Best believe that I’d do anything to free that”
Stream ‘Bella Buffet’ below.
@nwanneamak4couples her creative interests with her individuality and uses writing as a vessel for her expression.
Tanzanian singer and songwriter, Turunesh makes otherwordly melodies whose subject matter teeter between sentimental longing and brazen lust. Her recently released sophomore album ‘Satin Casette’ which features Efya and Tim Lyre features a collection of earworm tracks centred on the rush of new romance. Its lyrics segue somewhere between sentimental longing and brazen lust tracing Turunesh’s journey to sexual liberation.
Recorded in 2020 during the peak of the COVID-19 pandemic, ‘Satin Cassette’ was recorded from a place of grief as the singer tried to grapple with a new reality. Now, Turunesh is expanding the world around her project with the release of a new music video for “Rum & Butter”, a standout that received our Best New Music treatment earlier this week.
Singing about sex and desires is never easy in face of the purity culture imbued on African women all their lives. However, the alternative singer is subverting these norms and making music that speaks to the reality of women who look like her on her own terms. The lush video, which was directed by the singer and Jenn Xu takes viewers through a breathtaking sequence centred on colour, sound and touch. Her soothing voice and the song’s accompanying video elevate the song’s listening experience, defining this period in the singer’s life as one defined by sexual power and newfound self-assurance.
After a brief hiatus this year, Lady Donli’s reappearing act has shown that she’s not skipped a beat. The self-proclaimed pan-African rockstar returned with a new EP, ‘W I L D’, a bubbly tape that played along a wide thematic spectrum that includes introspection, lascivious fun and emotional honesty. The EP also added a fresh gloss on Donli’s already eclectic sound choices, adding a more modern—but no less experimental—sheen to the retro-inspired aesthetics of her beloved 2019 debut album, ‘Enjoy Your Life’.
Since resurfacing, she’s also gotten back into the swing of things as a performer. She has built credibility as an electrifying live act, after years of working on that side of her craft. Donli’s live shows since the EYL era are always viscerally exciting and she’s already doubling down on that track record. Shortly after the release of ‘W I L D’, she performed a headlining set at Beeriga in mainland Lagos, while supporting Afrobeat heir apparent Made Kuti at his debut headlining concert. About a week ago, she announced that she would be embarking on a series of live events in support of the new EP, with the first instalment scheduled for this Saturday, September 18.
Presented by digital microfinance bank, Kuda Bank, this edition of the WILD Sessions is set to take place at The Free Me Space, Lekki, Lagos. Yesterday, Donli unveiled the supporting cast for the live show, an all-women cast that includes Ayra Starr, Liya and Wavy the Creator. In the announcement boots, Donli calls up the three ladies to playfully brainstorm nominal ideas for a supposed super-group comprising all four artists. It’s quite the heart-warming announcement, one which sets a tone of camaraderie that’s increasingly popular amongst the women in Nigerian pop music today.
Pitting women against each other was the norm in years past, however, the current set of female artists are side-stepping that toxic tradition, and WILD Sessions (Vol. 1) is symbolic of women championing women. The line-up features two independent artists and two artists signed to powerhouse label, each making uniquely varying strands of music. This Lady Donli-led show will, amongst other things, serve to reiterate the diversity and wide array of women currently making great music; and with Donli setting the tone, expect a great live show. If you’re not there, you’re square; if you snooze, you lose. Insert any other corny quip about missing out on a great event—just be at WILD Sessions (Vol. 1).
Over the past few years, Hennessy has established itself as a vital force in the Nigerian Hip-Hop/Rap scene. The brand has provided a unique global platform for emerging and established rappers to showcase their talents through a range of cypher performances that have stoked excitement from Rap fans across the continent with each passing year.
Last year, their lineup included a stellar selection of rappers including rap duo, Show Dem Camp, Falz, Teeto Ceemos, Jesse Jagz and even CDQ whose verse was a seamless flow of Yoruba and English. This year, they’ve only doubled down on their mission to spotlight the best talent from the country, introducing megastars like Ladipoe, who’s consistently dominated charts this year and Legendary Styles whose single took over platforms such as TikTok and Thriller at the start of the summer.
Also included in the lineup this year is PsychoYP, Ycee, Preacher Kingz, Alpha Ojini, Matosan, Escore Gotti, Laud Reyes, and Barrylanez alongside M.I Abaga and Vector, two established talent that make a reappearance from last year’s edition. Oluwole Awoleke, the Marketing Manager for Moét Hennessy Nigeria, spoke about the brands continued recognition of the breadth of musical opportunities right at our fingertips in Nigeria. He shared that:
“Over the years, Hennessy has been heavily invested in celebrating Nigeria’s Hip-Hop Culture and we have watched the dreams of budding artists blossom into reality. Despite the COVID-19 pandemic, musical opportunities still abound in Nigeria, and this year, we are back again with another edition of Hennessy Artistry – The Cyphers.
We will continue to support the creative industry in Nigeria by providing a platform for Nigeria’s wealth of creative talent to showcase themselves to the world”.
Ahead of the 2021 Hennessy Cyphers, which air on Youtube every Tuesday for three weeks starting 21st September, watch the class of 2020 below.
Pa Salieu has always shown himself to be a rebel with a cause. The UK—by way of Gambia—rapper crashed through the doors in early 2020 with “Frontline,” a supercharged and hybridised slice of street rap where his infectious brand of heady aggression grabbed and shook listeners on first listen. Released about three months after shotgun pellets were picked out of his head, the aftermath of a horrendous drive-by shooting, the urgency of his threats were aptly carried through in the manic but clear-eyed delivery of his patois-inflected cadence.
In subsequent months, as his star rose, Pa only doubled down by releasing a handful of attention-retaining singles, but it’s his debut album that truly captured the full scope of his artistic powers and potentials. With descriptive lyricism as a potent tool, ‘Send Them to Coventry’ is a blunt and consistently heaving release from an artist yet to be far removed from the dangerous life he’s led, so much so that the adrenaline is tangible. Weaving threads from a range of genres including Road Rap, Dancehall, UK Drill, Afropop, and subtle influences from Gambian Folk music, the genre-mashing soundscape matches the rapper’s malleable and subtly inventive delivery forms, lending a dynamic edge to his method.
At its most invigorating, ‘Send Them to Coventry’ is driven by Pa’s readiness to take full pride in his identity as a black man—a first-generation immigrant at that. In the last few months, Pa has only dug deeper into his roots, sharing a series of episodes from a mini-doc series titled ‘Afrikan Rebel Diaries’, which surveys his artistic drive and continued growth, with an apparent emphasis on family and his Senegambia ancestry. Today he’s now released a new 3-song pack, ‘Afrikan Rebel’, and his motives seem bare already. That doesn’t make the prospect of the drop any less intriguing, nevertheless, there are more statements to be made and more artistic tricks to pull.
In our usual 1-listen review fashion, all reactions are in real time while the music plays. No pauses, rewinds, fast-forwards or skips.
“Shining” (feat. Tay Iwar & Zlatan)
The Afropop shakers are so recognisable. Tay’s voice exudes the warmth of a fireplace, there’s a strain to his voice here that makes the song feel tense rather than buttery smooth, which is where he usually operates. Pa raps with a searing interest, like he’s trying to brand every word into your skull. “I’m a real life hustler/heart strong and I get mulla” caught my ear, it’s the type of descriptive bar I’d expect from him. That was a strong opening verse. Zlatan! Energy and ad-libs. Hehh, this verse isn’t hitting, and that Godzilla line should’ve been thrown away. Okay, we’re getting some introspective brags, I like it a bit. Who would’ve thought Pa, Zlatan and Tay would share space on a song, and it sounds really good overall. P2J put that expected dose of crack on this one, should go off in the clubs if it’s pushed. Pa is doing a serviceable Afropop act impression. Good song.
“Style & Fashion” (feat. Obongjayar)
Are those log drums? Yeah, they’re hitting. ‘Piano to the world, even this has a Gqom inflection to it. Pa is having a lot of sex, I think. This bounce is actually ridiculous! This feels like a club-dominating banger already. That brief patois flow switch was fire. This song already has like 17 moving parts and Pa’s voice is like half of them. Obongjayar came into 2021 to loosen up his voice, he sounds playful and so full of vigour. “Baby, just off your pant” is a line I never thought this man would sing until a few weeks ago. There’s something that sounds like a glockenspiel here, fucking love it. Two songs in and it seems Pa just wanted to experiment with whatever sound he felt connected with his urban African core, and it sounds damn good. Slapper! Keeper! Oh, we not done! This groove is delicious. Swimmy keys, love it.
“Lit”
That “African Gambino” ad-lib made me chuckle. This bass wants to cave my chest in through my ears, which is partly my fault because my headphones are so loud but I don’t want it any other way. This is the most animated and militant I’ve heard Pa since “My Family.” Haha, heartbreaks build character. This is a raver’s attempt, Pa’s voice will be gone if he performs this consistently on tour. “I’m calling you a pussy, basically/you can’t be my opp if you have no machine.” Fam! That’s hard! People are going to be thrashing and banging heads to this at shows. If this beat was any more dysfunctional, I can hear either Playboi Carti or JPEGMAFIA hopping on it. The tribal drums are cliché but they work, high-energy stuff. Why does an outro song have me so hype?
Final Thoughts
Pa Salieu’s ‘Afrikan Rebel’ is a viscerally thrilling, 10-minute run of thumpers. Similar to a significant portion of his debut, Pa raps over imposing beats, except this time they are groovier, denser and more experimental. Each song is different in composition, giving the project a freewheeling energy that’s perfect for a project where Pa is having fun and relishing the spoils of his blossoming career. There’s very little space for contemplation, just quips of triumph, joy, excess and the usual formidable doses of threats.
There’s slightly more colour to Pa’s lyricism—effects of fame perhaps—but he can still be as blunt as ever, proof that he’s evolving without abandoning what brought him widespread attention in the first place. As a vocalist, he’s as compelling and inventive as ever, a rapper with a guttural voice who operates on the fly to exhilarating results. ‘Afrikan Rebel’ boldly expands the bounds of Pa Salieu’s skillset and musical concerns, a profound impact for a relatively low-stakes release.
Tems’ superstar potential is unfolding at an awe-inspiring pace. In three years, the singer, songwriter and producer has shot from newcomer to globally recognised talent. Hinged on honest emoting and self-assuredness, her music has connected with many listeners on an intimate level, while her rich and uniquely textured voice consistently leaves an indelible impression on her trail of superb guest feature appearances.
In the year since her delightful and affecting debut EP, For Broken Ears, Tems’ profile has received significant boosts from her contributions to Wizkid’s global smash, “Essence,” and most recently Drake’s “Fountains.” Keeping the momentum going, she’s just released her sophomore EP, If Orange Was A Place. Announced about a week ago, she shared its lead single, “Crazy Tings,” a Neo-Highlife-fusion track helmed by ace Ghanaian producer Guiltybeatz, who serves as the primary collaborator on the newly-released EP. As she’s done on her solo releases, Tems is the predominant voice on the 5-song project, with the only feature being a brief cameo from American R&B singer Brent Faiyaz.
Having released all her prior music independently, If Orange Was A Place’ marks Tems’ debut major label release, under a recording deal with RCA Records, the U.S-based label owned by Sony Music, and Since ’93, UK-based imprint under the Sony Music UK umbrella. The benefits of this global partnership is already in full view, with Tems being named Apple Music’s Global Up Next Act. On the streaming platform, the EP is accompanied by a mini-doc where Tems recounts her career and the hurdles she’s faced, with appearances from her mom and manager Muyiwa Awoniyi.
This Apple Music Up Next selection places her in the company of artists like Mr Eazi and Burna Boy, Afropop acts selected since the program started a few years back. It highlights her considerable leap forward, having been named Apple Music’s Africa Rising artist around a year ago. Also, she’s gearing up for a brief U.S tour in support of her new project and to maximise her new level of visibility. With all of this deserved hype and goodwill, If Orange Was A Place is set to elevate the multi-talented artist’s place within Afropop’s latest dominant vanguard.
Listen to ‘If Orange Was A Place’ here and watch Tems’ Apple Music’s Up Next mini-doc below.
Queer identities continue to be heavily policied in Nigeria. When the video of Nigerian LGBTQ+ activist, Matthew Blaise strutting the streets of Lagos and boldly chanting Queer Lives Matter hit Twitter, it garnered a sizzling 3 Million views, 17K retweets and 59K likes in reactions. While most of the engagement was in support of a Nigeria where queer people didn’t have to worry for their safety, a much larger group were vehemently against the idea of such a time, pushing derogatory comments that only clamped down on their bigotry.
Ridiculing people and experiences that deviate from the norm has always been the status quo in these parts and many of the queer community bear the brunt of this ridicule as they are typically othered by larger society for their differences. However, these differences have oftentimes been the glue that has held the queer community together in the face of opposition. Integral to the LGBTQIA+ community around the world is alternative style and fashion which has become its own kind of social reform, with new concepts breaking the conventional gender-based norms in fashion. Clothes have gone beyond simply what we wear for protection and morphed into ways for us to show what we believe in and stand up for.
Queer fashion is historically rooted in gender non-conformity and intrinsically tied to our identities as people. One of the obviously blind arguments conservatives use as a counter-intuitive remark towards queerness is the idea of its Western descent. However, those who know their onions and understand how history unfolded, piece by piece, have already acknowledged the fine balance of fashion, queerness, and being Black. Before now, there has been a myriad of Black queer figures who have showcased exclusive appearances of androgyny. Area-Scatter for example, a trans-Nigerian woman at the time, wore wrappers and blouses to perform before royalties in the eastern parts of Nigeria. They embraced her ambiance and anticipated her entertaining performances. She was a sheer show of grace, lustre, lovable character, comfort, and charisma.
Similarly, Obesere, a fuji musician from Western Nigeria is typically adorned in what would be considered as androgynous dressing when performing. He’s not alone, other notable figures in entertainment such as Charly Boy and Denrele whose styles revolve around provocative distal personifications matched with excessive jewelry, exaggerated hairstyles, platform shoes and over-the-top poses. Their outlandish looks are typically met with raised eyebrows from many fans and followers, however, their very existence is affirming for a multitude of African kids looking to explore and broaden the boundaries of their fashion closet. This affirming spirit is the main inspiration for Orange Culture’s latest collection ‘Faces In The Cloud’, the brainchild of renowned fashion entrepreneur Adebayo Oke-Lawal. The collection is ostensibly inspired by the non-conformers with Oke-Lawal stating that the rich fabric is informed: “by people who have come before us, breaking the narratives, and pushing for progressive creativity, when it came to fashion.”
For Bola Taofeek Yahaya, a genderqueer person and founder of eponymous fashion label, fashion has always been a mode of expression, however, for queer-identifying persons, that expressive statement has now become a political one. Speaking to the NATIVE, Yahaya shares that: “Stereotypically, fashion would always be a queer thing, and so would its expression through certain fashionable channels like clothes, style, hair, and so on.” Yahaya goes on to state that the social conservatism towards queer fashion needs to be revisited because of the stifling nature of such reductive thinking.
“What really is the essence of fashion if it is going to continue locking in people’s creative spirits and need for exploration/expression. For us visibly queer people, fashion is what makes us seen. It’s what makes us vulnerable, and it’s what allows for self-expression.”
Yahaya’s newest collection, Agenda, can mostly only be described with three words – bold, inclusive and non-conforming. It draws and combines the strengths of those who have been regarded as both unorthodox and otherworldly by their peers. They use this collection to seek, ask and find answers to questions from people who are typically blackballed and misunderstood by society, reclaiming terms that are typically associated with something evil and perverse. “Agè is a Yoruba word that means witch, and the collection considers the general ignorance people have of them. There’s the general reception of hate and violence towards witches and queers,” the designer tells me. “Agenda also came from the fact that people kept saying we needed to stop pushing the queer agenda, so, it was like a play on the word,” they add.
Thompson Adeju, a non-binary Nigerian and founder of sustainable genderless fashion brand, Lagos Space Programme, told CNN about the gender conformity engrained in the Nigerian fashion space and how toxic masculinity shaped the designer they are currently. “I’m just so aware on a historical and personal level, the damage toxic masculinity can cause. It’s just not a space I connect with. It’s so important for me to express myself and share my story through my works. It’s my contribution to the political and cultural conversation,” they say. “There’s been a great deal of trauma for me around my masculinity, and I like that as an adult, I can fashion the life I want, and can easily mediate between both genders and create a safe space that works for me.”
The African fashion industry has always been deeply rooted in stereotypical heteronormativity and non-inclusivity, making it incredibly difficult for a certain group of people to relate to. Plus-sized persons, gender-questioning people, non-binaries, and trans people, are usually always at the receiving end of this lack. According to a 2019 report by The Initiative for Equal Rights (TIERs), a nonprofit organisation in Nigeria, working to create an equal society against the backdrop of Nigeria’s discriminatory laws, 60% of Nigerians will not accept family members who are LGBTQ+. These numbers have been on a steady incline since 2014 when the anti-LGBTQIA+ legislation was passed into law. Although receptions are tilting towards a more positive light in recent times, it is still a rather slow embrace of a large sect of our society.
“People most importantly need to be kind with their words,” Yahaya shares. “They need to understand that saying things from places of ignorance affects real people.” However, Yahaya and many other members of the LGBTQIA+ community, aren’t waiting around for such a time where their looks or their queerness will be widely accepted. They are championing themselves and carving out lanes for themselves that would not have existed a decade ago. The climate is still very steep in terms of acceptance, but till such a time, the queer community will continue to utilise their fashion as a form of silent activism in their day-to-day lives.
More than most people, the team at The NATIVE knows that the sheer scope of music available to us at this exact moment in human history is mind-numbing but our goal is still the same as always: we don’t want exciting music to be slept on. We simply cannot have that happen. That’s where our Songs of the Day column comes in. We try to keep our fingers on the pulse of music from across the continent and beyond, bringing you exciting songs from talented musicians who are continuously trying to bounds of artistry with their music.
Song of the day is perfect for everyone who is a pioneer in developing their sound and taste. A tweak here and there in your library is always needed and encouraged from time to time. While expanding your music horizons, be that friend that puts others, so they can possess the soundtrack to your mind whilst elevating theirs. Last week, we had songs from Naira Marley, Tems, PsychoYP, Olamide, Tomi Owo & more. Today’s column brings you more music from Lojay x Sarx, Amaarae, Kofi Jamar and more. Enjoy.
Amaarae & Moliy – “Sad Gurlz Luv Money” Ft. Kali Uchis
Last year, Amaarae released her debut album ‘THE ANGEL YOU DON’T KNOW’, a stunning collection of songs that found the singer and rapper at her most experimental and genre-defying. This year, she’s been ticking off more things on her bucket list, gracing the main stage at the recently concluded Pitchfork Festival. As she continues to promote her debut and expand the world around the project, the singer has just released the remix to fan favourite Moliy-assisted single “SAD GURLZ LUV MONEY” featuring the one and only, Kali Uchis. A befitting remix for a euphoric song, Kali Uchis is definitely a move that will expand the song’s reach beyond its current standing.
Lojay & Sarz – “Monalisa”
We’re still basking in the feeling of Lojay’s breakout moment. Since the release of his 5-track EP ‘LV N ATTN’, featuring legendary producer Sarz, the singer has only continued to show his star power culminating in his first headline show in his home city. To whet fans appetite further and showcase more of his daring charm, the singer has now followed up with the accompanying video for the stellar Amapiano-infused number titled “Monalisa.” The AUX-direct visuals is simply intoxicating as it features Lojay singing and dancing with his muse, Monalisa. We also see clips of Sarz having a fun time with the rapid shakers we hear on the track.
Olamide – “Jailer” ft. JayWillz
Olamide is expanding the world around his recently released studio album ‘UY Scuti’, a succinct collection of love songs that crystallise this defining moment in the singer’s near-decade run. The newly released video for “Jailer” featuring JayWillz finds the Afropop superstar at his calmest and most romantic. The Clarence Peters-directed video finds both artists delivering their verses while in the company of their muse, played by the dynamic model pair, Tara Gold and Sharon Smithy.
NIINETY9 – “Kini Issue”
The second track on Niinety9’s debut EP ‘Bodied Soul’, “Kini Issue” is a brief slow tempo track that almost passes by before you even notice it’s gone. However, the song’s airy synths and futuristic ambience are sure enough to have you dialling it back for several replays. The number begins to pick up around the hook when Niinety9 questions his love interest asking “Why you acting like you don’t know me, Kini issue/Girl I want you,” and imploring her to open up to him about their relationship.
Kofi Jamar – “Surrender” ft. Teni
This intoxicating number is the perfect blend of the Ghanaian-Nigeria flavour that we needed. The track immediately draws us in with its brief saxophone intro before Kofi Jamar sweet-sounding vocals serenade us with sweet nothings. As the Afropop drums and percussive instruments are blaring the background, Kofi quips “The little things you do dey scatter my head/so baby I surrender, surrender to your loving,” admitting his affection for a love interest. He’s joined by Teni who also delivers an equally memorable verse accompanied by unmissable adlibs.
Sholz Nova – “Ride”
In his first single in 2021, Sholz Nova is ready to wear his heart on his sleeves. On the Konamee-produced track “Ride”, the singer addresses a love interest directly and makes it clear to her about the feeling he gets when he’s around her beauty. The slow tempo beat assisted with subtle yet noticeable shakers provides the perfect backdrop for Sholz Nova to fire off his romantic lines. A clear blend of R&B and Afrobeats, this track has the singer voicing his intentions to his lover while urging her to quit playing games and get straight to it.
Marllie – “Kickback” ft. YKB & Prezzie J
LA-based Nigerian singer has put out his third single this year titled “Kickback”, featuring fellow upcoming Nigerian talents Preezie J and YKB. The three artists deliver a beautiful listening experience as they sing to their respective love interests about their intentions, over a catchy beat produced by Wavskinny.
@nwanneamak4couples her creative interests with her individuality and uses writing as a vessel for her expression.
Earlier this year, the semi-finals of the prestigious fashion award, LVMH Prize took place calling on designers from all over the world. Twenty young designers were selected from a large crop of designers from countries including Nigeria, South Africa, China, and more. After much deliberation including a new public selection process, nine final designers were shortlisted for the award including South Africa’s Lukhanyo Mdingi. A young designer with an effervescent unisex brand at the heart of Cape Town, Mdingi has now emerged a winner, honoured with the 2021 Karl Lagerfeld Prize alongside Kidsuper and Rui Zhou.
Mdingi has more than earned his stripes within the global fashion industry, given that he debuted at the New York Fashion Week (NYFW) back in 2019 and is among the Council of Fashion Designers of America (CFDA) men’s fashion week. However, winning this first-time award from the prestigious LVMH group adds a new spring to his step as his small Black African-owned brand makes a play for the world stage. Mdingi doesn’t take this moment for granted, in fact, he’s been slowly edging towards recognition like this for quite some time and admits that winning LVMH would afford him “time to think and not operate on survival mode”.
“We applied [for the LVMH prize] in January and we only heard in March so, in my head, I was thinking, damn okay so maybe we didn’t make it.”
Lukhanyo’s eponymous brand has been around since 2015. After graduating from the Cape Peninsula University of Technology for fashion design that year, a young Mdingi made his entry into high fashion with a standout thesis collection and a revered nod from ELLE’s Rising Star Design Award. His outstanding menswear designs shed a new perspective on contemporary African menswear fashion and quickly distinguished the rising designer as one to watch. “It’s been a steady and gradual rise since then and it’s has been really good because we’ve had the opportunity to solidify certain aspects of our foundation to make them a lot stronger to prepare us for opportunities such as those we enjoy now,” Mdingi shared with me back in May.
Over the years, he’s been able to sustain this momentum by focusing on the importance of community and strengthening the bonds with our local community. Mdingi admits that, as a small Black African brand, many of their design and production processes are outsourced to various members of the fashion scene, both at home and in the diaspora. As a result of this, the East London-native shares that he’s unable to qualify the brand through a singular lens. Due to the many hands involved in the process, the Lukhanyo Mdingi brand champions true inclusion, taking on the styles, thoughts, ideas and brainpower of a multi-faceted community all nurtured by him.
“Whether it’s through development or manufacturers or art maker, each person’s contribution has been invaluable to the brand. I think that’s a huge part of the brand: nurturing the human relationships that we eventually need to persevere and reach our potential.”
Back in 2019, one of his peers in the fashion industry, Thebe Magugu bagged the LVMH Prize, a moment in the history books for the fashion landscape in South Africa and indeed the rest of Africa at large. Mdingi details that key moments such as this have birthed the present glory that he and many of his peers challenging the old guard now enjoy within the continent. “Seeing those that look like us within certain key roles or roles that haven’t been represented in the past, it really is quite unexplainable. It’s very important and it brings about a different kind of thinking within these platforms and teaches so many others that you can make it with your talent,” he tells me, agreeing that watching on of our own achieve the heights we were taught weren’t attainable to us is a marker of what we can achieve when we’re all united on a singular goal.
With this in mind, Mdingi is ready for the next step. He’s been working on a new collection, one that he’s taken his time (a record eight months) to fine-tune and build from the ground up and now. With the increased visibility he now enjoys from the LVMH nod and now win, Lukhanyo Mdingi is looking to up the ante and set a new bar for the fashion industry in South Africa.
For a small Black-owned brand, this moment is nothing short of inspiring. These wins for African designers are made even more special by the collective efforts of consumers in the past year, as we rally behind and support the talents from these parts, including brands such as Kai Collective and Hanifa. Mdingi’s guiding ethos is that “the power of the collective is far stronger and better than the singular,” and it’s this that drives his spirit and that of his brand.
This time three years ago, Tems had only recently emerged as the latest shining star of Nigeria’s then tightly-knitted alternative community. Barely a year later, her mainstream breakout hit, “Try Me” was just making the rounds ahead of its eventual mammoth impact. Last year, she was still furtive about her debut EP which would eventually drop to critical acclaim in a few weeks, unknown to the singer and many of her loyal Rebel gang at the time.
Today, Tems’ voice is being heard all around the world, through delightful contributions to Wizkid’s song of the summer contender, “Essence,” and on Drake’s “Fountains,” a mellow cut off the Canadian rapper’s recent album which has just debuted in the top 30 of the U.S. Billboard Hot 100. Not too many careers progress at such an exponential rate; not too many artists can claim to have had their lyrics screamed back at them by Adele (!)—a different level of public stanning she shares only with Beyoncé. The events in Tems’ career, especially in the past year, may read as flexes being ticked off a wish-list, but it’s almost impossible to overstate the fact that the multi-talented artist presented herself to listeners only fairly recently.
In music, broadly speaking, three years is a long time. An entire era of music can be folded into that timeframe, sonic fads and entire movements can either dissipate back into obscurity or fight their way into mainstay prominence. For context, the summer of 2018 was locally dominated by the Shaku Shaku window and internationally ruled by Drake’s “In My Feelings”—which both feel like a lifetime ago. Within this hyperactive framework, artistic growth has been relatively fast-tracked, but it mostly depends on the purpose exuded from the artist’s style of music and their output pace.
Within the first two years of her debut single, “Mr Rebel,” Tems only followed this up with three singles, ostensibly playing the longer game. While it would be disingenuous to discount the impact of hype and mass marketing—she was all the rave in the alté scene when she debuted, and the searing video for “Try Me” was funded by Jameson—her initial breaks were hinged on the emotional openness of her music. “Music is the way I relieve my feelings,”she told The NATIVE shortly after “Mr Rebel” came out.
From the narrative excellence of “Looku Looku” to the defiant triumph of “Try Me” and reflective candour of “These Days,” this ethos rang louder. Filling the space between these far-flung singles were phenomenal feature appearances, each one confirming the uniquely riveting appeal of her warm, vigorous and soul-reaching voice. It all coalesced on her debut ‘For Broken Ears’, packed with emotionally resonant songs and centred on a heart-warming sense of self-affirmation. Largely self-produced and solely written and sung by her, the project placed an even sharper focus on the singularity of Tems’ artistic powers.
Personally, I have a theory that, at her core and arguably most compelling, Tems is a Hip-Hop Soul artist. Popularised in the ‘90s by the artists like Mary J. Blige, Faith Evans and more, this subgenre combined the raw honesty of R&B with copious influence from Hip-Hop’s sonic ticks, a musical style that Tems leans into with her own tact. Co-produced with Remy Baggins, “Try Me” pairs a whistling, evocative piano chord with rhythmic elements from contemporary Hip-Hop—explosive bass, rapidly ticking hi-hats and loud snares. Her voice rumbles along with the beat, heightening the catharsis in her writing and performance.
Even the first half of ‘For Broken Ears’ artfully coins in on this musical approach. Taking listeners through the making of “Ice T” on NATIVE’s Bruk-It Down series, Tems details layering several vocal samples—a prominent practice in rap music—she recorded herself, with the sunny chords and thudding drums. Standout track, “Free Mind,” also involves a prominent, pitched-up vocal sample and imposing drums, forming a buoyant backdrop for Tems’ admonishing lyricism and buttery melodic flow. Later on, the EP does hone in on the artist’s eclectic palette; the lightly euphoric “Damages” leaning into Afro-Dancehall and “The Key” combines Afropop and R&B.
Tems is an adventurous artist and a risk-taker. In her Issue 004 cover story, the singer categorically rejected the idea of making another “Try Me,” confident that she will continuously draw in eager ears by expressing herself authentically. Even with her global exploits as a song-transforming collaborator, her willingness to create how she wants at every point in time is the consistent context for the music she will release going forward, especially as she’s set to release a new EP tomorrow. Recently announcing its title, ‘If Orange Was A Place’, Tems dropped the lead single, “Crazy Tings,” last Friday to mixed reactions.
Produced by Ghanaian producer Guiltybeatz, the new song breaks from the expected norm of Tems producing her own songs. It also shows in the highlife-inspired guitars and bouncy drums that she’s willing to push the boundaries of her artistry as she comes closer to Afropop’s centre than she’s ever been. Even though “Crazy Tings” has not garnered the sort of instant, rapt acclaim her previous singles are typically greeted with, it signifies a subtle reset, one that reiterates Tems’ willingness to experiment. A break-up song written from a hysteric perspective, “Crazy Tings” continues Tems’ preference for affecting themes, staying true to her core while (maybe) working her way outward.
According to the tracklist, Guiltybeatz has produced three of the four yet-to-be-heard songs on the new EP, with one of them featuring American R&B singer Brent Faiyaz. This lead single adjusts and shakes up expectations for ‘If Orange Was A Place’, affirming the fact that we’ve watched Tems grow and shouldn’t expect her to make the exact same style of music she was delivering three years ago.
With the EP’s release imminent in a few hours, it’s pertinent we give Tems her flowers and usher her into this next phase of her career, one where the music is unperturbed by outside influences and the oil is overflowing.
East African singer/songwriter Turunesh has an unmistakable voice of gold. Over the past few years, the singer has spent time carving a lane for herself in Tanzania’s budding alternative scene which has only served to expand the country’s eclectic sonic landscape. A few years ago, the music coming out of Tanzania was a melting pot of different genres, particularly American Hip-Hop, R&B, Reggae and local genres such as Dansi, Taarab, Unyago and more.
However, with the rise of the country’s new vanguard of alternative hitmakers, the soundscapes have continued to involve spurring music that is both entertaining and self-reflective. Turunesh is at the forefront of this emerging sound, weaving powerful stories about love, life and becoming over tender, acoustic-guitar accentuated beats.
Turunesh’s recently released sophomore album ‘Satin Cassette’is perhaps the most well-rounded case for her genre-melding abilities and her enviable pen game. Here, she delivers otherwordly melodies about the beauty of one’s first love, woven and delivered through euphoric sounds that the singer terms as ‘fabric music’, a moniker for music inspired by the fabric satin and the sound of her voice. She skillfully employs the help from a range of talented collaborators including Nigerian producer, Ronehi and rapper and artist, Tim Lyre, Efya, Eros Taylor and many more, all deliberately included to deliver a playground of airy synths and soul-stirring vocals.
Turunesh delectably chooses mature and empowering themes to explore on ‘Satin Cassette’, melding and crafting the world around the project with expansive imagery that alludes to the innocence of new romance. On standout track “Rum & Butter”, she sings in languid stretches, directly addressing a lover with who she wishes to share an intimate moment. She sings “How you slide inside deeper dimensions/Like that needle in the haystack you find me,” waving poetic about her lover and the euphoric feelings they are able to elicit from her whenever they are passionate together.
The song progresses during its short run-time, progressing from a slow build into a euphoric crescendo to represent the feeling of reaching those levels of sensual euphoria. Her subject matter may be erotic and salacious at best, however, she deftly captures the dreaminess of new passionate romance by adopting a sing-song-like voice that all but tames the intensity of her suggestive desires. Speaking about the single, Turunesh shares that “This song is about the transformation from corporeal bodies to spiritual spectrums of color and flavour. I would call this track a portrait that depicts sensuality as sustenance. Coco, brown, butter and rum are the colors and textures I use to describe the look and feel of sex between two black entities at the eternal hour of midnight, in the heat of the summer season.”
For Black African women, speaking passionately about their most intimate desires is sure to get a number of raised looks and harsh words from society at large who believe that women should be demure and unwanting. However, Tunuresh’s “Rum & Butter” is clear defiance of these standards, as the Canadian-based, Tanzania-born singer makes a powerful case for eschewing traditional narratives and allowing women to boldly and audaciously voice their libidinous desires.
Not many female artists have enjoyed the same continued longevity that Bella Alubo has been able to carve for herself in today’s music industry. Since stepping into the game in 2015 with the release of her self-titled debut EP ‘Bella the EP’, the Jos-born singer and songwriter has only grown from grace to grace as she builds upon her repertoire of R&B-laced pop hits.
With 3 EP’s under her belt including 2020’s dynamic ‘Popstar’, a collaborative EP with KaniBeatz, Bella Alubo has always found ways to reinvent herself and expand the boundaries of her artistry. As she continues to fashion herself into the type of superstar that she envisions, the singer is now about to release her most well-rounded effort to date.
Following the release of new singles including “Table For Two” and the Blaqbonez-assisted “Offend Me”, Bella Alubo has just announced the release of her debut album ‘Bella Buffet’. The 17 track album which is set to be released on the 17th of September will feature a spate of talented artists including Sudxn, Iceprince, Blaqbonez, Dapo Tuburna, Zoro, Niniola and more.
The album promises to be a masterclass in music, showing off Bella’s newly-found confidence and continuing in her penchant for soundtracking our most heartbreaking romance experiences. Sharing in an Instagram post announcing the album, the UK-based singer revealed that ‘Bella Buffet’ was created during a time of immense change and growth for her as she shared that the album’s “interesting journey” to completion would be revealed in a matter of days.
It has been 2 weeks since the release of Kemi Adetiba’s epic 7-part series ‘King Of Boys’and chatter is yet to die down about the season’s many twists and turns. While there are numerous reasons why the limited Netflix original series stands out and further cements the growing film and television franchise as Kemi Adetiba’s magnum opus, what stuck out to me the most were the sartorial choices.
Costume design plays an unassumingly essential role in the grand scheme of storytelling. For an audience to become engrossed in the film, the role of fashion is to successfully transform the actors into believable characters, looking and playing the part in each scene they appear. In order to achieve this, an in-depth understanding of colour theory, fabric design, storytelling, setting, characters as well as the overall mood and colour palette of a film are salient.
In the stellar production that was Kemi Adetiba’s‘King Of Boys’, not only were the costumes used to represent history and culture, they also were perfectly tailored to each character, communicating more to the audience than the iconically delivered lines of the characters. Responsible for this was a spate of talented stylists including Tiannah Styling, John Joseph Angel, Ikechuwkwu Urum and Yummie Ogbebor. Altogether, they contributed to the success of the series and from the buzz we gathered on social media, everyone noticed the outstanding role costumes played in the entertainment of the series.
Each cast member through the course of the series was styled to perfection, with their costumes enabling them to completely embody the characters they portrayed. From all the bodyguards and security personnel in their fitted black uniforms to the traditional Yoruba band that performed a welcome song dressed in ankara prints. Undeniably, the star of the show, whose costumes were a complete embodiment of her character was our protagonist, Alhaja Eniola Salami played by Nollywood favourite, Sola Sobowale.
The first time we see her, she is vulnerable and mourning, punishing herself for the part she might have played in the death of her children from the prequel. We had already established that Eniola is one of Nollywood’s most important female characters, mainly down to the way she craftily flips the damsel in distress stereotype on its head. This is most apparent in the series the next time we see her when she makes her return from exile in a crisp, head-to-toe white and gold ensemble. The outfit reminds me of the king piece from a chess set, signifying the power she still holds despite being away from the country for the last 5 years.
The colour choice of white which is known to represent purity and innocence was a subtle way for Eniola to counteract all the allegations she had faced and further cement her innocence in the mind of her supporters. Despite the softness of the colour, the costume has sharp edges around the neck and shoulders. This creates a clear contrast, passing a message that could be presumed to mean though she is innocent, she is still powerful. Her neck and hands are also adorned with jewellery that’s conspicuous enough to tell you that she still possesses wealth, but subtle enough that it’s not too over-the-top.
As we get coverage of Eniola’s return, the scene segues between her and Odudubariba, her supposed opposition. Besides the clear shift in emotion, a contrast is created between the two characters in their style choices as viewers see that Odudubariba is adorned with a black agbada. His jewellery, specifically his necklace and earrings, are much sharper and dagger-like, communicating an air of violence. All other characters in Odudubariba’s palace are also wearing darker tones, while the characters in the hanger with Alhaja Salami – with the exception of the security guards – are dressed in lighter, colourful attire.
Following this, we are transformed to a more vulnerable scene of Eniola alone in her hotel room. We see the King of Boys down in the dumps, as she holds herself responsible for the death of her children. Visibly in severe pain, she continues to inflict physical harm on herself using a whip doused in a peppery concoction. Here, she is stripped down from her white, angelic attire to a single black camisole, bearing all her scars. Her shame, regrets and sins which were once protected by her white attire are now visible for all to see. The audience now has a better understanding of how Eniola truly feels about the loss of her children. It was all a facade.
On her way to the cemetery, Eniola is dressed in appropriate mourning attire. Clad in black from head to toe, she has on an elaborate headpiece with mesh detailing, sunglasses that hide her vulnerability and a straight silk gown that almost swallows her body. However, she still makes sure to include silver jewellery around her neck and hands as well as a ruby ring to match her red nails. While on the way, she expresses her surprise at how much Lagos has changed while she was away, yet, her head security, Ade Tiger comforts her saying “it has, but it still all belongs to you”.
This scene juxtaposed against the backdrop of her final appearances in the series forebodes the last episode when she emerges victorious as the Governor of Lagos. In preparation for a rally, Eniola is dressed in the brightest colours since the start of the 48-minute episode. There is a noticeable change in Eniola’s mood from the last scene, where she mourned her children and was tortured by her inner demons. She is in higher spirits now as she convinces the crowd that she is a better candidate than Governor Randle. The pinks and purples also play a role in heightening her femininity, distinguishing her from her male counterparts. She is wearing a purple camisole underneath, showing the powerful intensity that lies beneath her sweet presentation, as purple is often associated with royalty. The material of her top resembles organza, and appears somewhat coarse to touch, implying that she is not all soft.
We can’t end without talking about the bright red outfit worn by Jumoke, Governor Randle’s wife and the brown lion robe Odudubariba wears as he strolls into his living room where his offender is being tortured. Mrs Randle, who was introduced in an aggressively red outfit, instantly comes off as evil or dangerous. The colour suits her character’s portrayal as she stares at the people replacing her husband’s campaign fliers with Eniola. She seems more concerned of her husband’s position of power than her husband himself as she questions his indifference to his new running mate. The sharp red exudes power as she comes off as a femme fatale who would coerce her husband into doing morally questionable acts. Similarities in power can be drawn to Odudubariba who wears a black robe with a lion print stretched across his back. This gives him a very intimidating look as he enters the scene and watches his guards manhandle a man at his command.
Overall, there is no aspect of the 7-part series that isn’t important to its overarching theme. As we have seen, costuming and fashion played an important role in delivering messages and signals in ‘King of Boys: The Return of the King’ and it helped cruise Alhaja Eniola Salami to victory. A key part of Kemi Adetiba’s success is that she’s able to keep her finger on the pulse in all aspects and delivers not only entertaining drama that will stir viral commotion but also a fully-formed cinematic experience that upholds costuming and fashion as key aspects of the viewing experience.
Written by Nwanneamaka Igwe, Mooreoluwa Wright and Damilola Animashaun
