NATIVE Exclusive: Willie XO Makes A Welcome Comeback

Posted on by The Native

If constant content –  songs, videos, merch, and curated visual accompaniments –  is the language of the 21st-century music industry, Willie XO does not care to be fluent in those theatrics. The London-born, Nigerian-raised singer is more invested in delivering music that works at the highest standard as he operates as a sentry for afropop music in the UK. Born to a family of immigrants in London, XO (real name Jocey Joseph Ekwuazi) returned to Nigeria as a child, getting steeped in the intricacies of his Igbo ancestry and the wider formalities of being Nigerian before returning to London around his 15th birthday.

The experience of growing up in Nigeria had a definitive impact on Willie who remembers it with nostalgia-driven fondness. “I wouldn’t be the person I am today without going to Nigeria,” he says. Inspired to get into music by his familial connections and the 60s/70s Nigerian highlife music regularly spun by his father, XO’s sonic palette was further broadened by an appreciation for hip-hop as he grew older. From 2011 to 2017, he performed at a series of shindigs while he worked on his music and stayed hopeful for a break that never seemed like coming. Frustrated by a lack of progress, the singer turned to professional fighting and almost kicked off a professional career in the cages before he signed his first music contract. 

“Kraze,” his debut single was produced by Krizbeatz and marked his first steps within the Afropop orbit, but it’s the sound that has always come naturally to Willie XO after years of experimenting with rap music. “That’s who I am,” he says. “Afropop is where I’m most comfortable.” Songs like “Comfort You” and “Early In the Morning” have seen the singer link up Popcaan and Ashanti over the years as his profile has gotten bigger. Last month, a deal with Atlantic Records was inked, clearly hinting at a new phase in the singer’s career. He has followed up that announcement with the release of “Good Times,” his first single in 2020 featuring fellow British act, Dappy. 

Our conversation with Willie XO has been lightly edited and it follows below.

NATIVE: Where were you born?

Willie: I was born in London and I went back to Nigeria when I was a little bit older. 

NATIVE: What was the experience of coming back to Nigeria like?

Willie: I came back when I was four years old. My parents wanted me to come back to school in Nigeria and learn the culture as well as speak the language. At the time, it was hard for me but I’m glad for the experience because I picked up so many things that have helped me.  It was 100% a great decision because I got an appreciation of my culture. Sometimes we can get lost here and having that experience helps a lot. Also, being able to speak Igbo is really great too. 

NATIVE: When did you go back to London and what was it like having to re-adjust to living there?

Willie: I went back just before I turned 15 and it was like starting my life all over again but it wasn’t as hard as going to Nigeria. 

NATIVE: How did you get into music?

Willie: Two of my uncles from my mum’s side used to be into showbiz. One was a drummer and the other was a singer. They just influenced me. My dad too used to play music around the house and, as a boy growing up, I always wanted to get into music. 

NATIVE: What music did you grow up liking?

Willie: It was mostly what my dad was playing: Osadebe, Oliver De Coque, and the Oriental Brothers. As I grew up, I started listening to American music, a lot of rap. At the time, I wanted to be a rapper. 

 

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NATIVE: Was there a scene that helped you nurture your music interests?

Willie: I’d say this happened in London. In Nigeria, it used to be me just aspiring to be a musician. But in London, I discovered myself as Willie XO. My brother’s friend used to come around and used to talk about going to the studio near my house. One time I went with him and it was the first time I recorded. Once I heard my voice, I liked it. People used to say I had a deep voice but you don’t really know what you sound like till you hear it and I liked it. From there, I joined a group. There were two girls singing and I was the rapper. I’d rap and they’d do the hook. One time they told me to try singing the hook and I tried it out. So, I went from rapping to singing. Before transitioning, I used to go to Camden to perform and do little shows and get paid. It wasn’t a lot but I wasn’t really thinking about the money and that’s how I wanted to sing. 

NATIVE: How did you transition to making music professionally?

Willie: The guy that put the group I used to be in together used to organize gigs for me and I’d get paid but the music industry was hard and after a while we went our separate ways. Since then, I’ve been trying to make my way in the industry. 

NATIVE: What was the first song you put out?

Willie: My first single was “Kraze.” It was released in 2017. 

NATIVE: What was the process to being signed as an artist?

Willie: At one point, nothing was happening with music, it was really hard. I started going to the gym and started training. I remember that every time I went to the gym, one guy would come up to me and tell me I looked like John Jones. One time I googled him and discovered that he was a UFC fighter. So, I started watching him and liking the sport. From there, I started doing cage-fighting. I wasn’t really thinking about music anymore, it was mostly on the side. I was thinking of going into the fighting game so I’d become a UFC fighter and once people know me, I could introduce my music.

I saw myself coming into the cage singing and dancing but my parents didn’t like it. They didn’t support it and they were telling my brothers to get me to stop. One time my brother told me he had a business partner who liked my music and would like to see me. I remember that the meeting was on a Sunday because I usually played football on Sunday. After the football game, I went to the meeting but I didn’t really take it seriously but my brother called me to remind me about the meeting and I went. After the meeting, the rest is history, to be honest. From the meeting, I was in L.A. shooting the video for “Kraze.” Actually, after the meeting, I came back to Nigeria to work with Krizbeatz and we worked on “Kraze” and a couple of songs. After that, we shot the video. 

NATIVE: Just like that, your trajectory changed?

Willie: Just like that! When we landed in L.A., I saw all the camera and crew waiting for me and I was like this is “it.”

NATIVE: Why did you choose to work with Krizbeatz?

Willie: It was one of my cousins in Nigeria that put me on to him. He knew Krizbeatz so he put us in touch. 

NATIVE: Was working with Krizbeatz what put you in the Afropop orbit?

Willie: I’d say so. Before then, I wasn’t making music that was Afrobeats or Afropop. I was just trying to be a rapper. I have loved the sound since the Mo’Hits era even if I wasn’t doing it but my coming to Krizbeatz was me trying to understand how the music works. Before you had to come to Nigeria to do Afrobeats but now you can do it from here and that’s just a blessing. Me going back to work with Krizbeatz was just to get a proper understanding of the sound. 

NATIVE: What was that learning process like for you?

Willie: It was a good vibe, just even being in Nigeria too. It was a great experience because working with Krizbeatz was incredible. 

 

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NATIVE: That means you have had to put your UFC ambition on the side…

Willie: Yes! I was supposed to have my first fight a week after I got signed in fact. My parents were so happy and my mum said I didn’t have to fight anymore. I had to stop. I still train though. 

NATIVE: Your catalogue is very curated, why do you take that approach to music drops?

Willie: People used to say that I need to drop music all the time to be relevant but I don’t believe that. My dad always says that if you have to do something, do it properly. I know that looking at all the songs I’ve dropped, all my videos are lit and the songs are great. Also, as an artist, you should always work on your music and try to give the best that you can. I have taken time to grow as an artist and my new single sounds a bit different from anything I’ve ever done because I’ve been working a lot. 

NATIVE: Last year you did a song with Zlatan, it didn’t sound like your typical sound, how did it come about?

Willie: That’s the process of growing. If you listen to the song closely, it sounds more like a Zlatan type of song but it was done by me to get out of my comfort zone. When we recorded the song, we were thinking of Zlatan or Slimcase and we ended up having two versions. We spoke to both artists and they did their things on the song. 

NATIVE: You have a new song with Dappy, “Good Times,” that’s also a comeback single. What is the message behind this single?

Willie: It’s basically saying this is a different stage of my career. Like I was saying, I’ve been busy. I’ve been working, and when people hear it, they’ll get it. Working with Dappy was like working with a UK artist so it’s only fair to expect great things from our collaboration. 

NATIVE: Speaking of working, are you thinking of a project or anything weightier than a single?

Willie: I’m working on my EP, but before that, I plan to drop a couple of singles. We plan to make it a global thing with American, African, and UK features.

Stream “Good Times” below.

Featured image credits/Courtesy of the artist

ICYMI: Welcome to Cruel Santino’s Subaru World

Best New Music: Masego’s “Mystery Lady” gets the Scorpion Kings treatment

Posted on by Dennis Ade Peter

Masego loves Afropop. In the last few years, the singer, producer and multi-instrumentalist has engaged with the current landscape of urban Africa in several capacities, an extension of his rose-tinted love for Africa—South Africa, to be more specific. He’s performed in the rainbow nation a few times; he told GQ that Johannesburg is his favourite city in the world and his stage name is an improvised Tswana translation of the nickname he earned in church.

For the most part, though, his direct engagements with Afropop have mainly leaned into the current Nigerian pop musical climate. The year after his warmly received debut LP, ‘Lady Lady’, he shared a pack that included remixes of three songs off the album, with revamped production from Nigerian experimental beatsmiths TMXO, DOZ and Higo. Not too long after, he tapped Cruel Santino for a remix of fan favourite “Queen Tings,” with additional production from Higo and Le Mav. While he’s taken his time, the expansion to filter his music through the South African-led side of Afropop was always inevitable, and it’s manifested in the form of the Amapiano remix of last year’s hit song, “Mystery Lady.”

Released as part of the late 2020 EP, ‘Studying Abroad’, “Mystery Lady” stood out for its stunning, if unprecedented, pairing with Houston-bred singer/rapper Don Toliver. The Amapiano remix was created in collaboration with Kabza De Small and DJ Maphorisa, the ubiquitous producer/DJ duo who work together under the Scorpion Kings pseudonym, and have remained integral to the House subgenre’s unyielding rise. Where the OG version combined elements of R&B, psychedelic Funk and Hip-Hop for a part-giddy, part-buttery jam, the new remix pulls the song towards a different sonic direction, one that’s lush, spacey and a different flavour of groovy.

Operating on the sweeter side of the Amapiano spectrum, the Scorpion Kings’ production is carried along by the sort of bulbous percussion groove that’s a trademark of the genre and has undergirded a lot of their biggest and best work. As delightful as the rhythmic knock is, what makes the song entrancing is its melodic components: airy piano chords, improvised jazzy keys, swimmy pads, and a few other details that pop in and out to enrich the listening experience. In this atmosphere, Masego’s voice is slightly more woozy, giving a cooler shade to his anxiousness about meeting a lady whose silhouette he can make out but can’t quite fully visualize. On his part, Don Toliver’s warbling feels even more haunted, almost like his memory is playing tricks on him.

A little more than just reimagining, “Mystery Lady (Scorpion Kings Remix)” carries a deeper consequence for the headlining trio. Masego has described his sound as Trap House Jazz, an invariable and consistently exciting merger of those three distinct sounds. Amapiano itself is honed by influences from Deep House and Jazz, both of which turn out to be this song’s defining elements. Considering his reverence for South African culture, it’s something of a full-circle moment for Masego, and he clearly relishes it, brandishing his saxophone for a riff improvisation that dovetails with the beat.

It’s trite to say Amapiano is on an upward global incline, but in that hype, it’s always urgent to reiterate the continued role of its originators, popularisers, and the creators in closest proximity to what the sound really, truly means. For the initiated, Kabza De Small and DJ Maphorisa remixing a hugely popular song are on par with their standing as two of the foremost creatives in Amapiano, a genre where unlikely remixes are quite the norm. For the uninitiated, Masego giving “Mystery Lady” the Scorpion Kings treatment is a gesture for those looking to respectfully and wholesomely co-opt South Africa’s increasingly global sound.

Listen to “Mystery Lady (Scorpion Kings Remix)” here.

@dennisadepeter is a staff writer at the NATIVE.

ICYMI: READ THE AMAPIANO STORY FROM OUR RECENT ‘SOUNDS FROM THIS SIDE’ DIGITAL COVER

TurnTable Top 50: Ayra Starr Earns Her First Number One with “Bloody Samaritan”

Posted on by Tami Makinde

This week, after a phenomenal rise on the TurnTable charts since its release, Ayra Starr’s “Bloody Samaritan” rises to No.1 and becomes the first song solo entry by a female artist to reach the summit of the chart. The single from the Mavin act tallied 55.5 million in radio reach (up 15.2%), 9.14 million in TV reach (up 24.3%) and 1.91 million equivalent streams (up 1.1%). It also occupies No. 1 on the radio in Nigeria, No. 2 on streaming and No. 5 on TV.

While Ayra Starr’s “Bloody Samaritan” also lands a spot on the biggest debut weeks by a song in chart history, it’s closely followed in the chart by former chart-topper, “Lie” by Kizz Daniel which moves down a place to No.2. It tallied 48 million in radio reach (down 1.6%), 1.94 million equivalent streams (down 16.4%) and 12.5 million in TV reach (up 41.6%). It’s closely followed by Fireboy DML’s “Peru” which remains in the No.3 spot this week.

Omah Lay’s “Understand” is still in the top 5 despite being released in July. This week it slides down to No. 4 on the charts after topping the charts for three weeks. It’s followed by Adekunle Gold’s “High” featuring Davido which rounds up the top 5 this week. Tiwa Savage’s “Somebody’s Son” with Brandy rises to a new peak of No. 6 on the Top 50; it posted 51.4 million in radio reach (up 16%) and 368,000 equivalent streams (up 3.6%).

Burna Boy’s “Question” with Don Jazzy slips to No. 7 after peaking at No. 4 on the chart. Lojay & Sarz’s “Monalisa” moves to a new high of No. 8 after tallying 34.1 million in radio reach (up 3%), 492,000 equivalent streams (up 19.4%) and debuts with 7.7 million in TV reach. Rounding out this week’s top ten of the Top 50; Adekunle Gold’s “Sinner” with Lucky Daye falls 7-9 while Mohbad’s “Feel Good” at No. 10 returns into the top ten. “Feel Good” has peaked at No. 7 so far on the chart.

Read a full rundown of the charts here.

Featured image credits/Instagram

Laud Reyes, Preacher Kingz and more on this year’s Hennessy cypher lineup

Posted on by Nwanneamaka Igwe

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.

 

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The premiere episode of the 2021 cyphers kicked off last week with Psycho YP, Legendary Styles, Barry Lane and Alpha Ojini to an incredible reception. This week, the second set of artists kick off the next leg of the cyphers featuring freestyles from Laud Reyes, Matosan, Preacher Kingz, and Escore Gatti.

LAUD REYES

Since her debut in 2017, Bayelsa-born rapper, singer and songwriter Zoey, famously known as Laud Reyes, has proven to constantly push the boundaries of her craft, delivering hot bars every time she steps to the mic. Like other female Nigerian artists, her career started off in the church where she began at a very young age, participating in musical and drama activities. However, her career only started taking shape while she was in university and began recording her own original music. 

The notable projects from her short discography include her famous single, “Fake” and her 6-track EP produced by Adobi Eddieroll, titled ‘Applaud The Queen’, released in the same year. Other tracks she’s released in more recent times include “Jamba Juice” and “Legendary” which were released last year as well as “Bad Love Lies” with Denle and “No Stress” featuring Nigerian Hip-Hop artist, PapiGunzo. Besides winning the Hennessy Vs Class Championship of 2019, Laud Reyes’ works is evidence of her recognisable talent which gives meaning to her self proclaimed title of “New Generation Queen of Rap”. For this year’s Hennessy Artistry Cyphers, she stands out as one of the few women on the list, hungry for more after winning in 2019. 

 

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MATOSAN

Beginning from the young age of 14, Matosan has always explored his creative side allowing him to explore his talent and passion for not only making music but painting as well. He explains that his two crafts often intersect as painting has taught him patience, a virtue essential to his music-making process. The rapper also shared that he appreciates both crafts because they connect to various people by creating pictures in one’s mind, a primary reason for his love for both. 

No stranger to the Hennessy Cypher class, the rapper-songwriter-painter drew our attention with his unbeatable flow with his freestyle which stole the show amongst other talented peers including Abdulkhalid, Escore Gatti, Erenna Blaq, Spydermanne and Psypro. Down to the final performance, Matosan battled it out in an intense episode with Escore Gatti where the two rapped and performed an acapella but Matosan stole the show and emerged the winner for the Hennessy VS Class Season VII, 2020. Matosan promises to bring back his intoxicating energy in this year’s Hennessy Artistry Cypher. 

 

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PREACHER KINGZ

With his musical influences including Kendrick Lamar, Ladipoe, Drake and JCole to name a few, Preacher Kingz who also refers to himself as Beginning of the Future is an artist who doubles down as both a rapper and a singer. Since grabbing our attention by landing as the first runner up of the 2019 Hennessy VS Class, he has produced a steady stream of content on social media from his covers of Olamide’s “Rock” to his freestyles with artists such as Slimcase and performances of his track “Wahala” featuring Dr Barz. In 2019, the talented artist released his debut EP, ‘Vasilas’ which combines Hip-hip and afro-fusion, alongside notable releases such as his 2020 single “Wobble Up”, and his EP released earlier this year titled ‘Peer Pressure’. With an enviable work rate, we’re excited to see what Preacher Kingz brings for his cypher. 

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ESCORE GATTI

Offiong Asuquo popularly known as Escore Gatti had his first run at the Hennessy Artistry Vs Class audition in 2018 and again in 2020 where he peaked in the competition as the first runner up. Undefeated and determined, Delta state’s artist is back for another fight this year at the 2021 Hennessy Artistry Cypher. Drawing inspiration from Lil Wayne, Phyno Olamide and fellow contestants M.I and Vector, Escore started making music at a young age and he has on a couple of songs including “Sacrifice” with Arosino, “OGB4IG” “Miss That” with Cobany and a most recently, a remix to his song “Whoopty”. Also in the works is the artist’s debut project which will be released soon with at least five new tracks.

 

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ICYMI: Meet The Artists on This Year’s Hennessy Artistry Cypher

Essentials: Azanti finds his footing on his debut self-titled EP

Posted on by Wonu Osikoya

A year ago, with an unmistakable voice and support from one of Abuja’s most formidable rappers, R&B/Afropop singer Azanti burst onto the scene. The 17-year-old kid with a dream signed with the Abuja collective, Apex Village earning him a loyal following straight off the bat. However, the singer has sustained this momentum all on his own by lending his sweet-sounding voice to his collaborative EP with Psycho YP titled ‘YP & Azanti, Vol. 1’.

That undeniable skill has now earned him new levels of recognition within a short time. So far, with a collaborative EP and a handful of features under his belt, he is inching towards making a name for himself in the Afropop scene. From songwriting credits on Mr Eazi’s EP ‘Something Else’, to backup vocals on Joeboy’s standout single “Police”, Azanti has managed to utilise his artistry to the fullest in such a short period of time. 

Now on his debut self-titled solo EP ‘AZANTI’, the singer is ready to make his most defining statement yet. The 8-track tape paints a picture that visaualises the singer’s experiences as a Gen Z Nigerian trying to make sense of the world today. The project is replete with romantic love tunes that find the singer expressing his most intimate desires. While Azanti remains loyal to his working formula, delivering Afropop-tinged R&B numbers, he also delves into other soundscapes, borrowing inspiration from Trapsoul and arriving at a cocktail of different sounds for the listener’s pleasure.

Opening number “Dive” is a slow-tempo record that finds the singer expressing his interest and commitment to a muse. Helmed by stellar production from Malik Bawa, a member of the producer collective 44DB, Azanti expresses deep feelings of guilt and regret but ultimately nostalgia. “I don’t wanna flex no more/I just need you here tonight,” he sings painstakingly over the song’s second verse, setting the scene for his enviable pen game. “Latan”, the following number is a more uptempo song and here, Azanti describes his affection for his muse in more detail. Hammering deeply on his harmonies over the Jaylon and HVRRY-beat, the singer quips “Omo you fine pass Agbani, sweet like cherry baby come close make we gum body o,” expressing deep interest for his muse and reminding her of her beauty.

Each love song is more potent than the next building towards a narrative where he exists to serenade his muses. The next track, “Underwater” finds the singer flexing his lyrical chops as he serenades a lover who’s found another partner. Over the Illythegreat-produced beat, he sings “you’ve been out here wasting time with someone else when I can make your body rotate,” going to lengths to explain the benefits of rocking with him rather than another. Riffing in Yoruba and pidgin over twinkling production, Azanti deftly shows his ability to satisfy a legion of new and familiar audiences. 

Across each track, Azanti’s soul-stirring vocals take on a life of their own, conveying weighty messages with minimal effort. While Azanti never strays too far from tried and tested methods, he’s able to keep the project succinct and refreshing with each replay. It’s not so much that he’s saying anything profound but rather that he’s leaped from the belly of the underground with an unmistakable voice and a penchant for soundtracking our relationships. On the Malik Bawa-produced single “Kimberly”, he sings “Oh Kimberly so in need and desperate for Louis V, Givenchy and she ain’t gonna get it herself ” expressing the materialistic nature of many relationships. The final track “Necessary”, is an Amapiano-inspired number that perfectly encapsulates the singer’s grasp of the current musical landscape. Produced by BigFish, the closing number provides a different beat from what we’re used to, showing the singer’s grasp of a range of genres. 

As a relatively newcomer on the scene, Azanti doesn’t have much music out but his debut solo EP ‘Azanti’ is a clear indicator of an artist with a singular style and an unquestionable voice that commands listeners’ attention. ‘Azanti’ is a firm solo effort from someone who has a lot more to say.

Stream ‘Azanti’ below.

Featured image credits/Instagram

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Our first impressions of Magixx’s self-titled debut EP

Posted on by Damilola Animashaun

Mavin have a knack for unveiling new talents with just as much flair and excitement as a long-anticipated album from our favourite artist. After the sensation that was Rema, Mavin Records have successfully continued their strategy of introductory EPs, bringing Crayon into the fray with ‘Cray Cray’ and Ayra Starr this year with her self-titled. The latest name in the register is Magixx a 23-year-old Pop star vying for national acclaim.

Making his way onto the main stage with a five-track solo course, Magixx has been flexing these vocal cords from his church halls, as early as the age of ten years old. His official debut single, “Mirror” arrived in 2018, and since, Magixx has appeared on a series of skippable collaborations. This debut EP is certainly Magixx’s biggest look so far, and with the heightened visibility his Mavin ink has gotten him, Magixx has hit his mark.

 

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‘Magixx’ is a bright Afropop project, with a melange of moods and matters that displays the artists’ versatility right off the bat. As lyrically smooth on a love song as he is inspirational, encouraging listeners to “Motivate Yourself”, over the EPs fourteen minutes, Magixx delivers a string of potential hits that have already conquered the airwaves.

Released last Friday, ‘Magixx’ took the industry by surprise, and the NATIVE team too. An unexpected drop, that exceeded expectations, here are our First Impressions of Mavin Records’ latest debutant.

Biggest hit potential 

Wonu: The biggest potential hit for me would be “Gratitude” and I say this track because it does sound like a hit. These days you can’t really tell what a hit song is going to be but from what I can hear, this seems to be an actual hit song. Close second to this will be “Love Don’t Cost A Dime”. The song sounds very marketable so it might really just be that hit song.

Shina: Magixx has a very familiar voice so it’ll be easy to market anything from this EP. My first pick for a big hit would be the second track, “Like A Movie” with very catchy bridges and hooks, It has the potential to be a big song. I see people making tiktoks to this. Also, another worthy mention is the first track on the EP, “Love Don’t Cost A Dime”.

Best verse

Nwanneamaka: I enjoyed listening to the project but lyrics-wise, no verses stood out to me. However, on the EP’s intro “Love Don’t Cost A Dime”, the first verse immediately grabbed my attention with notable lyrics like “girl she give me butterflies in my belly.”  

Ada: One of my favorite tracks on the album is “Love Don’t Cost A Dime” and in the chorus, there is a line where he says “She no want the gucci bag or the fendi, girl gimme butterflies in my belly,” that is such a catch verse in the song that the more you listen to it you start singing along.

Biggest skip 

Ada: I’d have to say “Motivate Myself” not because it sounds bad but because it has such a somber and slow rhythm to it that you tend to zone out from the music and the majority of the lyrics are repeated so much. Although the song does send a good message which i think i everyone should hear 

Wale: “Love Don’t Cost A Dime”; I would typically rinse songs like these because it’s just soft and tender and led by a simple instrumental but I don’t vibe to it right now. The cadences he uses don’t appeal to me yet but I see what the attempt was about, it’s just not my thing right now. 

Overall first impressions 

Nwanneamaka: I didn’t have any expectations going into listening to the project but considering he is a Mavins signee, I had a good feeling about it. I enjoyed listening to the project as a whole, it was an interesting combination of softer tracks like “Love Don’t Cost A Dime” and more upbeat numbers like “Pati”. The artist made good first impressions and I’d definitely give the project another listen. 

Wonu: Well for me, it was a really good project. Listening to this, I didn’t know what exactly I wanted to hear but I knew I wanted to hear something different. It didn’t really meet my expectations but It was a very interesting way to activate another Mavin although we’ve seen this pattern a couple of times. I’m excited to see where he goes from here because he’s a very talented vocalist. 

Future projections for the new signee

Wale: Man, I think he’ll be really big. “Motivate Yourself” sounds really great and it’s hard to come out that advanced sonically, shouts to the Mavin Academy for all they do. Magixx has a grasp of almost everything a modern pop star needs. Voice, style, and just sheer star power. I would really love to see him make more songs like “Like A Movie.” It seems like there’s depth to him too, so it should be nice watching his growth and everything he goes on to do. 

Woju: I thoroughly enjoyed this listen and I wait with bated breath for Magixx’s releases in the future.  In the 5 short songs, Magixx has proven his range in terms of lyrical content — where he uses a range of similes and covers a variety of topics — as well as tempo and mood. As does every Mavin artist, Magixx has come out with a self-titled debut EP, and it yields great promise for the Pop singer’s future.

Stream ‘Magixx’ below.

Featured image credits/Magixx

ICYMI: Track By Track: Psycho YP Walks Us Through His New EP ‘Euphoria’

Wizkid, Fela Kuti & more feature on Sex Education soundtrack

Posted on by The Native

Over the last two weeks, very few things have hogged pop culture conversations on Twitter timelines like Sex Education. After a brief COVID-19 enforced break, the much-loved show returned for its third season and managed to add new layers to our collective relationships with the show’s wacky characters. For many African viewers, one of the most intriguing characters has been Eric Effiong, the gay high-schooler played by Scottish-Rwandan actor, Ncuti Gatwa who brings a familiar slice of home to the superbly written show. One of the season’s most interesting scenes presents itself in the 5th episode when Eric is getting ready for his trip to Nigeria, with Skale’s 2014 hit, “Shake Body” as the soundtrack. 

 

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Since he stepped onto the screen as Otis Milburn’s best friend, Eric has been on a journey that has drawn many in and made one of Sex Education’s most beloved characters. In season three, as part of a subplot, Eric heads to Nigeria with his sisters and mother for a family member’s wedding, and we are confronted with Nigeria’s homophobic legacy and the institutionalised silencing of queer lives. As Eric’s plot takes Lagos on, the episode pays homage to Lagos’ cultural creative scene, using some of the most iconic songs from the country to enliven its storytelling process. From the iconic “Sweet Mother” we heard playing in the background at the wedding to the underground party soundtracked by Odunsi’s “Star Signs”, here’s a list of all the Nigerian songs referenced in Sex Education’s third season. Dig in. 

Fela Kuti and His Koola Lobitos “Oyejo”

Much of the life and exploits of afrobeat pioneer, Fela Kuti, blurs the lines between fantasy and reality but the years after immediately returning from studying music at the Trinity College of Music in London was spent carnivorously practising fusions of highlife, jazz, and soul with his band, Koola Lobitos. Before heading to the United States in 1969 where his conscious awakening is credited to have taken place, the music made by Fela and Koola Lobitos was a light and often humorous look at the dynamics of post-colonial life. “Oyejo” was made in those exploratory days and is a story of a love interest who has rejected Fela’s romantic persuasions. Originally presumed to be lost to time, the song was re-released as part of the Highlife-Jazz and Afro-Soul series in 2008, giving a view of Fela Kuti’s wicked humor just as the building block of afrobeat’s formation was being laid. 

Davido “Fall”

Very few songs are as important to the unrelenting forward march of afropop as Davido’s “Fall” is. Released during a period of his life that came to be known as Back to Basics, the pop star re-focused his attention and energy on the African audience after hitting a snag with his commercially-panned ‘Son Of Mercy’ E.P.  By the time “Fall” dropped in 2017, Davido was already on a high, following the release of the equally successful “If.” Produced by Kiddominant, “Fall” ensured that Davido was going to close the year out as the most dominant music force in the country. In the years since its release, “Fall” has also caught fire in western markets, becoming gold in the United States and Canada. 

Skales – “Shake Body”

When Skales released “Shake Body” in 2014, he was a down-on-his-luck singer who had been dropped by Empire Mates Entertainment despite being an original member of the label’s iconic EME Boyz line-up. Primarily a rapper in the early years, by 2014, Skales’ music had considerably evolved to include other sonic elements. “Shake Body,” a quintessential afropop anthem, proved that he could compete at the highest levels of Nigerian pop and also gave the Kaduna-born musician’s career a new lease of life that he parlayed into albums like ‘Man Of The Year’ and ‘The Never Say Never Guy’. 

Odunsi the Engine – “star signs.”

Much has been written about the alté community and how they fundamentally altered the DNA of modern Nigerian pop but, back in 2018, they were a niche community of artists experimenting with ’80s disco and glittering alt-pop. On ‘rare.’, his debut album, auteur, Odunsi (The Engine), crystallised the DIY aesthetic of the community, merging the early experimental sound of the scene with elements of bouncy Afropop. Featuring Runtown on “star signs,” the pair make a dedication to women invested in astronomy and debauchery for what is now heralded as a classic alté tune.

 

Tiwa Savage – “Attention”

After a near-decade at the very top of Afropop, Tiwa Savage took a plunge into international waters with a global deal sealed with Universal Music in 2019. Her first album under the deal was 2020’s ‘Celia’, a cohesive body of work that explored the multiple sides of an African woman. Among a number of standouts, “Attention,” produced by Blaq Jerzee stands out for its teasing lyrics and fanciful theme. Ms. Savage sings of branching outside a relationship if her partner doesn’t give her quality attention. It’s the sort of dynamic song that made Celia such an entertaining listen and it ironically matches the context of Eric cheating on Adam in Lagos of all places. 

Wizkid –  “Joro”

Back in the pre-Made In Lagos times when fans hung on every Wizkid release as a possible lodestar of a bigger project, “Joro” was an instant fan favourite. Put out in 2019, “Joro” raced to the top of many Afropop charts in Nigeria and landed on many year-end lists. It also portended the stripped-down vocal style of ‘Made In Lagos’, infusing elements of Fela’s afrobeat but rejigging it with a subtle bounce that makes it a favourite for dance clubs. Predictably, it is the song playing in the club when Eric visits Lagos’ underground queer scene and shares a kiss with Oba. 

Prince Nico Mbarga – “Sweet Mother”

There are few songs as instantly identifiable as Prince Nico Mbarga’s “Sweet Mother,” a timeless single that is among the most iconic song of all time from Nigeria. Less is known about the song’s creator, Prince Nico Mbarga, in contemporary times but the highlife musician was born to a Nigerian mother and Cameroonian father in Abakaliki in 1950. His spry voice and signature acoustic guitar made him a fixture on the highlife circuit and his iconic song, “Sweet Mother,” was recorded with his band, Rocafil Jazz and has become a notable soundtrack in Nigeria for anything that celebrates maternal figures. The single is regarded as one of the best-selling times in African history with a reported 13 million copies sold. Culturally, it is a staple in Nigerian households and has endured across generations. 

Featured image credits/NATIVE

ICYMI: Welcome to Cruel Santino’s Subaru World

Songs Of The Day: New Music From Darkoo, Tyla, Joeboy & More

Posted on by Wonu Osikoya

As the year winds down, the sheer number of music we’re receiving is growing at an exponential rate. With live shows back in full swing and Afropop hits such as Wizkid’s “Essence” and CKay’s “Love Nwantiti” climbing the charts both home and abroad, there has never been a more exciting time than the present for the burgeoning sonic landscape. As such, it’s hard to sift through the chaff and find get to all the good music that hears us at pour base emotions.

That’s where our Songs of the Day column comes in. We’re doing the work to stay on pulse with all the music coming out from across the continent and beyond, bringing you exciting songs of tomorrow: today. Earlier in the week, we brought you new songs from Wavy The Creator, Buju, Pa Salieu, Davido, Backroad Gee, Olamide, and more. Today we’re bringing you a collection of new songs from Joeboy, Darkoo, The Cavemen, Buju, Davido, Darkovibes and more. Enjoy!

Joeboy – ”Alcohol”

Following the success of his debut album ‘Somewhere Between Beauty & Magic’ released earlier this year, Joeboy continues to show star power. After a short break from releasing any solo material, he is back with his first post-album release, “Alcohol”. Over the Tempoe-beat, Joeboy talks about living a stressless life and elevating and growing daily. Rather, he prefers to spend his time enjoying life and sipping on liquid luck to forget his worries. “That’s why I sip my alcohol, I don’t wanna reason bad things no more, I don’t wanna go back to where I was before” he quips on the chorus of the track, imploring listeners to enjoy life as well.

Darkoo – “Bad From Early” ft. Buju & TSB

Following the release of her debut EP ‘2 in 1’, Darkoo is back with her usual uptempo and groovy tracks. This time, she has collaborated with Buju to deliver the hit track “Bad From Early”. Over the groovy number, Darkoo talks about her being her authentic self and how she’s been bad from time. The track also finds both artists bringing their A-game as they both deliver a stellar performance. Accompanied by the Andy Madjitey-directed video, Darkoo is seen sporting a new vibe and sound. It captures both artists at different locations having a great time while vibing, matching the exact vibe of the song seamlessly.

The Cavemen – “Udo”

Our favourite Igbo duo came into the limelight after the release of their highlife album ‘Roots’, a fusion of their unique sounds, traditional percussions that earned them a Headies Award this year. Nearly three months ago, the duo released a mid-tempo with intoxicating instrumentals in a single titled “Selense”. Now, the pair have returned with another single titled “Udo”, a slow-tempo track that translates to English as ‘peace’. The pair seamlessly segue from one to the other, harmonising over the drum-laden beat, assisted by the tuneful sound of the sékéré.

Tyla – “Overdue” ft DJ Lag & Kooldrink

South African Netflix Original series ‘Blood & Water’ is back for its second season. Tyla’s “Overdue”, debuts on the official soundtrack of the drama series. On the Amapiano record, Tyla delivers a stellar performance over the DJ Lag produced beat drawing listeners further into her youthful world. While the main focus isn’t on the lyrical content, Tyla is still able to show off her sweet-sounding voice. The song serves as her second official release following last year’s “Getting Late” featuring Kooldrink.

Darkovibes – “Je M’apelle” ft Davido

Ghanaian singer and songwriter Darkovibes is here with the new release titled “Je M’appelle”, an uptempo feel-good track that features Nigerian singer, Davido. Over the Killbeatz-produced track, both artists directly address their love interests and serenade them. The accompanying music video which was shot in Ghana finds both artists delivering their verses while donning traditional kente cloth. This is the link-up we didn’t know we needed. 

Savage – “Rosemary” ft Victony

For his second release of the year, singer-songwriter Savage teams up with Victony to deliver love tunes. On the track, Victony takes the stage first as he delivers the first verse and chorus of the mid-tempo love tune; “Baby you go finish me, baby i go finish you too/baby you dey click my button, whenever you talk to my something” Victony quips on the hook. Savage comes in shortly after and makes the listening experience more enjoyable as they display great synergy among themselves.

Yinka Bernie – “Jaded”

After a hiatus from releasing any new music, Yinka Bernie is here with a new single “Jaded”.  The two-minute track finds the artist delivering his romantic intentions over mid-tempo production of the beat. On the track, he sings to his muse about needing her, filling up the emptiness and wanting her. “I’m faded, your love keeps me jaded, I need you my darling to fill up the void” he quips on the chorus of the track, convincing her of her importance to him.

Tolani – “Fire On The Mountain”

For her 2021 debut single, Tolani is back with an anti-love song. On the Big Fish-produced track “Fire On The Mountain”, she directly addresses an unfaithful partner. Not new to delving into matters of the heart in her music, Tolani explores the flip side of love when things go wrong. She queries her muse Bolaji’s infidelity and spares no words as she questions his actions over a catchy slow tempo rhythm.

Falz – “Body Language” ft. Ajebo Hustlers

Falz has been on a phenomenal singles run. Over the past couple of months, he has released the Kamo Mphela and Sayfar-remix to his single “Squander” as well as the 2Baba-assisted “Rise Up”, “Mercy” and “My Touch.” Now, the rapper has just released an infectious new number “Body Language” featuring Ajebo Hustlers. The song finds all three artists declaring their sensual intentions under the twinkling of the dim club lights. “I’m not a holy man, no I’m a hooligan/She loves me she dey feel my package,” they quip over the hook inviting listeners to dance along to the song’s catchy mid-tempo beat.

Chimzy – “Level” ft. Teni

US-based Abuja-born artist Chimzy is an Afropop artist with a voice of gold. Since releasing his debut EP ‘True Self’ back in 2018, he’s been tirelessly working on his craft and improving upon his skills. Now, the singer has released his most well-rounded body of work to date, a 6-track collection of his rhythmically daring abilities. Standout track “Level” featuring Teni is a groovy Amapiano-inspired number that finds both artists up talking themselves in a world full of fake friends. “Awon temi, dem no dey my level/Dem no dey my circle,” he sings over the song’s chorus reminding everyone of his stance on the issue. Teni expertly delivers a sonically uplifting verse adding to the excitement of the song.

Hbee – “Only One” ft. Ice Prince

Afropop is at its core a love language used to express deep emotions to one’s lover. That’s why many artists always sonically uplift their partners through the genre. Nigerian artist Hbee has just linked up with Ice Prince for a new romantic single titled “Only One.” Here, both artists confess their love for their partners and going beyond to show their commitment to them. “If I dey lie, make water carry me and go/Girl I know you the only one for me,” he sings on the first verse before Ice Prince joins him by rapping about his love on the second verse.

Featured image credits/Instagram

Prettyboy D-O taps IAMDDB for new single “Falling”

Posted on by Nwanneamaka Igwe

Prettyboy D-O is admittedly one of the most intriguing characters in the Nigerian Hip-hop scene. His brand of braggadocious and bruising raps has garnered him a loyal following all around the world. After announcing the forthcoming release of his sophomore album ‘Love Is War’, the rapper has spent most of the year giving listeners a glimpse of his world with the release of “Police N Teef” and “Living In Bondage.”

Now, D-O is back and better than ever in a new track titled “Falling.” The IAMDBB-assisted single serves as his third promotional release for his forthcoming album. The pair unite on this earworm track delivering a combination of smooth lyricism and unfiltered confidence. The record is swathed in groovy melodies that invite you to dance along and burst your favourite whines.

Their skilled penmanship also shines through this menacing production as D-O goes from his rapid-fire raps “She say you know i got a man but he aint real enough/That was the last thing she said before she take it off” to more melodious harmonies as he sings “Me no want trouble/but me need love o”. Judging by the music we’re already getting from the rapper, it’s clear that his forthcoming album will be a genre-defying affair defined by a newfound self-assurance.

Listen to “Falling” here.

 

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ICYMI: Best New Music: Amaarae Taps Kali Uchis For An Update of “Sad Girlz Luv Money”

Essentials: YKB is on the cusp of a breakthrough with ‘Before I Blow’

Posted on by The Native

Around this time one year ago, YKB, still going by the swishy stage name YusufKanbai, dropped his two-song pack titled ‘Hear Me Out’.  Boasting soluble production from the innovative duo of Higo and Godomarr, the tape, peppered with Caribbean, Indian, and Afropop influences was crafted to capitalise on the organic success the singer had achieved over the last three years–including a spot on Mr. Eazi’s emPawa 2020 class–while setting him up for future success. YusufKanbai was asking to be heard as he got better and proof of his evolving artistic capabilities could be heard in his sweltering delivery cadence.

 

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Earlier this year, he announced a rebrand: sharing that he would no longer be going by YusufKanbai; instead, he would now be known under the moniker, YKB. That announcement was soon followed by “Oshofree,” the S3namii-featuring freestyle that soundtracked a denunciation against requests for free work that many creatives can relate to.  More success was on the way with “Dey Your Dey,” his Zlatan-featuring single where both artists merged their distinctive strengths–YKB’s melodious, word-bending delivery and Zlatan’s high-octane ad-libs and vociferous verses–for a strong rap-sung collaboration. By the third quarter of the year, Olamide was singing the praises of YKB, citing “Alabama,” another freestyle that had elevated the standing of the singer. 

Taking stock of his upward trajectory, the words–“I’ve been sleeping for a while now”–slurred at the beginning of “Wake Up,” the opening song of his latest tape, ‘Before I Blow’, is both an acceptance of where he was in life when he recorded that song and recognition in some ways that many people are still sleeping on his talent. From advising himself to wake up, the singer turns the focus to his listeners, urging them to wake up with a rich flurry halfway into the project opener. Thematically, ‘Before I Blow’ is defined by its sheer force of will to establish YKB as a singer to look out for, but throughout its 18-minute length, it also holds a vibrant picture of the singer’s humanity, bringing listeners into the scope of life from his point-of-view. On “Wake Up,” YKB finely threads the margins of being a blues performer as he stretches out his words to pack them with intent. 

In many ways, the project gets more engaging when it crosses its halfway mark, segueing into songs that pointedly reflect YKB’s vibrant sonics. “Okukupay” sees him flaunt his vocal dexterity with certainty for a hypnotic opener. Atop a dense concoction of drum and blithe piano keys, he sings about taking the day off to engage in fun activities with his pals rather than be stressed. When the song unfurls into its jocular verses, he affirms his choices, “I gat no time for no stress/ Government sef no dea send person,” he points out. 

For all the quest to blow up, there are lessons to be taken along the way. “Practice Patience” is that lesson in character development as he urges patience while flipping the song into bacchanal fare with his intuitive use of interludes to stitch disparate parts of the songs together to weave a cohesive musical experience; it’s a cogent reminder of how in-tune he is with the party-starting tonalities of de rigueur of Afropop even as he puts his own unique spin on them. Off all the songs on Before I Blow, “Bolatito” is the singer at his most engaging, teasing his love interest with a tongue-twisting turn of praises while rooting his appreciation of her in playful singing. 

By the time the confessional reflections of “VN 2 Demola” show up, there’s a definitive feel that the singer has expanded on the messages of ‘Hear Me Out’ while becoming a more flexible singer. He mostly moves between polished R&B and sugary Afropop on ‘Before I Blow’, serving notice of his hitmaking credential with a helpful dose of self-awareness, all the while offering knowing one-liners like “My name’s gonna open doors” as he so eloquently does on “One Day.” By the end of ‘Before I Blow’, it feels like it’s only a matter of time before YKB might be singing these songs to teeming audiences of his. 

Stream ‘Before I Guess’ here.

Featured image credits/RadrAfrica

ICYMI: Azanti Finds His Footing on Debut Self-titled EP

Welcome to Cruel Santino’s Subaru World

Posted on by Adewojumi Aderemi

Two years ago, Santi, as he was known then, released his long-anticipated debut album, a project that unwittingly solidified the shift in Nigerian Pop’s previously homogenous soundscape. Off the back of ‘Mandy & The Jungle’, as the acclaimed album was called, Santi inked a deal with Atlanta-based record label, LVRN, dropping into the States for a mini US tour, appearing on multiple festival lineups.

Cruel Santino’s performances alongside the likes of Tyler, The Creator and Doja Cat, culminated in his first ever headline show, a savage rage that took place in London’s gentrifying creative Borough of Islington. Coming back to Lagos to give his day ones a taste of what the world had already witnessed, following the December madness and a bit of January debauchery, Cruel Santino went ghost. He would return four months later, in April 2020, with a promise of an album – ‘St. Helena’ it was to be called if the rumours and the ‘S.H’ initials in his bio at the time were to be believed.

Turns out, the rumours were untrue, though probably not unfounded. Announced during the lockdown, the album campaign spearheaded by “End of the Wicked” seems like a lifetime ago. To expect Santi – or anyone, for that matter – to hold to their pre-COVID plans would be to deny the notorious polymath his adaptive capabilities. In many ways the world has changed, and – even if just by the album’s visual direction and name – it is clear that Santi, now Cruel Santino, has done a great deal of changing too.

Sometime during 2020, Cruel Santino became a Subaru Boy. To some, Subaru is a car manufacturer in Japan, to others, it’s a hair-dye brand. To all those hip, Subaru is Cruel Santino’s latest dalliance with existential architecture through audio-visual expression. After affairs with Suzie and Mandy, individual women with their own enchanting and eccentric personalities, ‘Subaru Boys‘ is a project that puts Santi’s tight network of creative comrades at its front and centre.

“I’m going to make this album a fucking world. I’m going to make this Subaru world a universe that when you hear it, when you enter it, you know you’re in Subaru,” Cruel Santino explains in the game sequence trailer for the forthcoming album. Teasing the new songs that will populate the album, as well as sharing what we can only assume are BTS clips from music videos to come, Cruel Santino introduces new animated characters and also brings back the gem that was the Late Night with Daisy Ola show, starring Cruel’s multiple erratic personalities.

Something of a creative genius in these parts, Cruel Santino knows how to entertain a crowd, in concert, online and through his music, of course. Judging by the epicness with which the ‘Subaru Boys’ rollout has begun, this ‘Final Heaven’ (and I sincerely hope there is nothing too final about it) is set to be another round of Cruel fun, that captures ears, minds and hearts of listeners worldwide. “By the time we’re done with this everyone is gonna wanna be a Subaru Boy or a Subaru Girl.” I know that’s right! Where do we sign up?

Featured Image Credits/Cruel Santino

ICYMI: Rema, Kah-Lo, Little Simz & More feature on the FIFA 22 soundtrack

A 1-Listen Review of Cheque’s Debut Album ‘Bravo’

Posted on by The Native

There are few artists who are as enigmatic as Cheque in the current Afropop landscape. A true mcee with a virtuosic command of cadence and sounds, the Ondo-born artist is capable of constructing alternate worlds with his dreamy emo-leaning flow that has endeared him to his loyal fans. In his previous iteration as Kyle B, the musician was prone to endlessly brooding about his own feelings, but since signing to Phyno’s label imprint, Penthauze Music, Cheque’s music has grown leaps and bounds allowing him to merge his self-aware streak with commercial ambitions. 

Last year’s ‘Razor’, led by breakout single “Zoom,” was a watershed moment for Cheque. Fully introducing his trap-meets-Afropop sound to a wider audience, the EP established him as a rising musician to take note of. In the months since then, the singer has continued to build on his ascent, collaborating with a spate of talented artists including Olamide and Fireboy DML. These pop-tinged collaborations have only served to edge Cheque closer to his defining moment, pacing out the arrival of his debut album. 

Today, that album, simply titled ‘Bravo’, arrives, and it promises to be another exciting chapter in the unfolding story of Cheque. 

 

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In Usual 1-Listen Review Fashion, All Reactions Are Written In Real-Time While The Music Plays. No Pauses, Rewinds, Fast-Forwards Or Skip.

“Rockstar”

Of course, we start with the confessional details. I don’t mind it because there’s a sincerity to Superboy Cheque’s voice that makes his lyrics compelling. I love how much his voice can convey specific feelings like betrayal and hurt. It’s only hinted at ever so slightly here, but I love it so much. There’s not so much that can be done to make this better. Solid opener. 

“Dangerous”

What is it with Ayra Starr and “Dangerous” titles? The drums that started this made me think it was going to be a hyper-pop song but it’s now relaxed into a mid-tempo jam. It feels a little bit flaccid on the first listen, to be honest, the singers are saying all the right things but it’s just not hitting right now. There’s a really inventive stretch from Ayra though, it’s crazy how she has seemingly come out fully formed in such a short time. The chorus by Cheque is also serviceable; probably need to hear this one on a club run. Will revist.

“Call Me Baby”

Those piano riffs. Yes. I, too, would like to call someone baby. This is one of the pre-released songs but it flows remarkably well from the preceding single “Dangerous.” It would seem that Cheque has perfectly mastered trap music. I like how his cadence shifts so well over the lilting piano keys. He’s such a dynamic artist. I will definitely be revisiting.

“No One Else”

I can’t get over Trap Cheque. He sounds soo clean on this record. We also got some BeatsByJayy here so that’s some Hip-Hop for us. He’s singing about no one fucking with his energy and I believe him when he says he’ll cut people off if they do. Jackboy is so good too, shoutout the Empire connect. Always good to see well-executed Black diaspora link-ups. 

“LOML” ft. Olamide

Olamide has always shown Cheque love so I was anticipating their eventual link up however, this just doesn’t work for me. For all his improvements, Cheque seems to perform at his weakest when he steps into Afrobeats, it’s just not as instinctive for him. But Olamide comes correct with that verse, I miss the days when an Olamide verse was capable of monopolising headlines. Solid work by Zaki Amujei, the percussive base is simple but effective. Will revisit when drunk. 

“Blind”

Yeisshhhh. I love this one. So far, BeatsByJayy has decided to do a madness. Just skeletal percussion so it feels like Cheque is talking on the bones of the song but it adds to the thrill. What a song, this is definitely his pocket because he’s segueing effectively from singing to rapping without inhibition.  

“Body”

Another Afropop number. It’s serviceable but Cheque lacks the conviction to make it a truly great song in my opinion. I’m enjoying how he’s stretching out his voice here though and the verse about Sasha is classic Afropop fare. The vibe is mid-tempo here but it’s not as sharp as “Odun” from last year so it’s a slight bummer but we move. Don’t think I’ll be revisiting this. 

“History”

Pop smash. Streaming monster. Classic collaboration. What more can I say about this song? Both singers were clearly in their element when they made this and they just compliment each other so well. Cheque does most of the heavy lifting and that leaves Fireboy DML to just float in and out as he wishes. The bit at the end where Fireboy DML does an Afrobeats improviso and Cheque responds with a Hip-Hop one is genuinely beautiful. Great song when released and an even better one within the context of this album. 

“Sweet Love”

This is that post-genre song attempt. This one is stripped of all musical tells and is just something to mouth along to regardless of where in the world you are from. I honestly don’t know what to feel about this one because it left me feeling jaded but it is objectively not a bad song. I’ll have to revisit at another time. 

“Change”

We are falling into that solipsistic space again. It’s just the right amount, though. Cheque is saying he won’t change for anyone and who can fault him, he’s on top of the world right now. Good for him. Production quality up till now has been insanely good and “Change” continues that. Perhaps his delivery could have been a bit more urgent but I will have to revisit this.  

“Anybody”

To be honest, the story of this album has been BeatsByJayy returning at the exact time this project needs a shot in the arm. Love the reset here and a confident Cheque is a delight to hear. He’s swimming delightfully over this sea of twinkling keys. I will play this when anybody is moving mad around me. Don’t try me because Cheque said so and it’s definitely death to the foes. Metaphorically, of course. 

“Pray”

A tender moment in the end. This is so nice. Again, Cheque’s voice transmits emotions poignantly. The song starts to feel a bit overstretched but it’s nice to explore this side of his artistry. I’d have loved it if the verses were weightier though, still a solid 7/10 ballad-type song. 

“Free”

Album closer. Okay, this feels significant. Once you hear that percussion slide across his vocals in the opening 30 seconds you know he has a few things to get off his chest. It feels like a defensive way to end an album, I’d like to hear the story behind this song. It’s definitely not the best Cheque track I’ve heard but the message resonates with me and when he attempts that falsetto at the end, I’m thrilled. 

Final Thoughts

The contradictions that make up Cheque are very evident on his debut album but the resolutions are not as deftly handled in the project’s run time. While there are enough reasons to hit pause, particularly the jarring aural change of moving from rap songs to Afropop numbers, what can’t be disputed is that Cheque is a wavy musician who is in tune with the evolution of global Pop and Trap.  

While ‘Razor’ leaned heavily into his trap-Afrobeats hybrid, ‘Bravo’ is a more expansive showing, allowing him to try out different styles while putting his distinctive identity on wax. It often pays up in a deft pocket where he is totally owning the narrative of the sound with his nimble flow. Off all of Superboy’s guests, Jackboy is perhaps the only guest that’s truly conversing with him on a vibration that he is preternaturally attuned to, and most of the enjoyable songs on the project are crafted by BeatsByJayy who continues to be a leviathan in Nigerian hip-hop.

It’s difficult to predict where Cheque goes from here, but his debut album ‘Bravo’ is certainly a decent attempt at resolving the tensions of holding so much talent within himself. The world’s changing and our tastes continue to acclimatise to the times, it may very well be that we continue to receive genre-mashing projects in this way in the years to come. In either case, Cheque certainly makes a case for staying outside the confines of hard-set boundaries and genres. 

Stream ‘Bravo’ below.

Featured image credits/Instagram

EXCLUSIVE: All You Need To Know About Season Two Of ‘Blood & Water’

Posted on by Wonu Osikoya

Last year, during the peak of the COVID-19 pandemic, the South African Netflix original series ‘Blood & Water’ took over our screens and timelines with its exciting and mysterious plot. It quickly became a talking point for everyone who was sojourning into the streaming giant’s recent move into African-focused content. For many, the attraction lay in the lives of the South African millennial and Gen Z characters who accurately portrayed life as a young adult in the country.

Generally in African television, young adults are usually merely accessories to the story, rather than the focus. In a continent where we don’t quite have any television which adequately depicts Gen Zers and their growing pains, ‘Blood & Water’ is such a breath of fresh air that the novelty instantly attracts anyone who’s watching. That’s why the excitement for a new season has only doubled down as the release date draws nearer and nearer.

Earlier in the week, we attended the official press event for the highly anticipated drama series which will be returning to our screens this Friday. Here, we had a chance to speak with some of the cast from the series including Puleng played by Ama Quatama, Fikile played by Khosi Ngema, Zama played by Cindy Mahlangu, Wade played by Dillon Windvogel and new cast member, Sam played by Leroy Siyafa.

In conversation with the young cast, we were able to get some exclusives about what to expect on the upcoming season as well as the forthcoming twists, turns and drama. From uncovering a deeply-rooted child kidnapping syndicate in South Africa to forging paternity tests, here’s all to expect from the new season.

Our conversation which follows below has been lightly edited for clarity. Enjoy.

NATIVE: Your character plays a major role in the series, what does it feel like embodying this character?

AMA: It took a lot of preparation I must say to really get into it and I understood the character completely. For me, season 1 was a bit intimidating because it was my first time ever playing the main character or shooting for that long even but for season 2 I was used to being in front of a camera more, my confidence has grown and now I know the character a lot more than I did in season 1. 

KHOSI: It was definitely intimidating for me, especially in season 1. Getting into it without having proper prior professional experience but this time I know my character really well and I absolutely adore her and I’m so excited to be here again. 

NATIVE: What was the highlight of the entire filming process this season? 

AMA: For me, I’d have to say working with all of the cast again. We became like a big family. Getting introduced to new characters and just filming the show knowing that people are excited to see it. 

KHOSI: I’m definitely still starstruck from having to work with such an amazing set of people. 

DILLON: Everything for me is a major highlight but I will say filming and reading the script because when I first got the script I read it that same day because I was super excited about it. Being blessed to be able to shoot again and just seeing everybody again. 

LEROY: The whole process for me and just getting to work with so many talented and experienced individuals. Learning from them and just watching them was really fun for me. 

CINDY: For me, every scene was a highlight. It was a roller coaster, it was fun, it was challenging so I can’t really pick out what exactly but every scene was a journey for me. 

 

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NATIVE: Did you feel any progressive growth in the script, casting and overall theme of the first season and the second season? Why or why not?

AMA: Definitely because season 1 was mostly about Puleng’s journey but in season 2 we were able to see more characters and their journey. So there’s a better understanding of the other characters in the show and what they were going through. So just incorporating different parts of African culture in season 2 was definitely something I was happy to be a part of.

KHOSI: As amazing as season 1 was, I think everyone just sort of brought their A-game in season 2. For myself I know I grew a bit and just getting to experience that life all over again and understand the process more.  

NATIVE: How accurately would you say that ‘Blood & Water’ shines a light on the lives of the average South African teenager?

AMA: It’s quite broad and no one’s life is the same as we all have our own personal journeys in life and I only know what’s happening in my own journey. We were able to create a world that we want to imagine young black kids in because we’re used to seeing black people being portrayed in stories as people going through trauma. We were able to create what we want to see black kids in which is a story about love, joy, and not mainly our pain as black people. 

CINDY: ‘Blood and Water’ touches a lot about teenagers in general, not just African teenagers as a whole cause there are certain things we go through in high school that we portrayed on the show that I’m sure a lot of people around the world are faced with on a daily basis like relationships, peer pressure, substance abuse, and everything. 

NATIVE: Leroy, your character is just joining the show but already is so important to this season and the cliffhanger at the end. How did you manage to seamlessly integrate with the rest of the cast despite joining later on?

LEROY: The cast is so welcoming and they really accepted me, they didn’t make me feel like a “new kid”. It was a really good bond between myself and the cast. It was really comfortable and that definitely helped me in the long run. 

NATIVE: What was it like working with such a talented team of storytellers and bringing this season to fruition?

KHOSI: For my career, this is a really good starting point for me because I’m learning how to treat people working with me and I’m learning that everyone is so important from the person holding the camera to the person standing in front of it acting

DILLON: It was amazing. Everybody’s vibe and energy is so warm that they welcome you completely and for me personally I get nervous quickly before a scene and I’ve been able to be comforted by anyone I was acting with. It’s a really lovely thing. You are allowed to just fully invest in a scene completely without feeling like oh one person is better than you or anything like that.

LEROY: Personally for me every single part has been amazing and what I love about it is that everyone is just so honest. As someone that is still coming up and who is just starting in the industry, there’s so much to learn and it helps that I’m learning from people that’ll willfully tell me the truth when I’m not getting something right and just redirect me. 

NATIVE: Having a show that brings the entire world into the South African culture, what are you most happy about that people can take away from? 

AMA: Our creativity as Africans for one is something I really want people to see. The fact that we get to tell our stories in a different and authentic way is really something. The beauty of South Africa and how diverse we are is really highlighted. 

KHOSI: I’m happy that the show is bringing new light into young black people’s experiences but as valid as our struggles are i don’t think that’s the only thing that should speak for us as Africans. It shows how we deal with normal things as teenagers and I hope it shows the world a different perspective of Africa. 

NATIVE: What does it feel like knowing a lot of people around the world can relate to a lot of these stories and experiences? 

LEROY: I think it’s absolutely great. I’m very grateful the show is streaming on Netflix, a globally leading streaming platform. People can watch it all over the world. It’s not just South African based and they can also relate with some of the characters and just see themselves in the characters and I’m really grateful we can do that as artists.

NATIVE: What should viewers be expecting from this new season?

KHOSI: This season has a lot of drama, people are going to be at the edge of their seats for sure the entire time. What I would like for them to take away is for them to see themselves in the show in however way they can relate. The characters are messy but beautiful and that’s just what being human is. 

LEROY: This season is going to be very entertaining and thrilling. Beyond that, the show touches on real-world issues and what people experience and there are things the younger audience can learn from. There’s a lot of sensitive topics and decision making and people will be able to see some consequences of making some of these decisions. Overall it’s really just entertaining. 

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Best New Music: Amaarae taps Kali Uchis for an update of “Sad Girlz Luv Money”

Posted on by The Native

In 2017, just as Lagos’ alte wave was taking off, a cache of six immersive, disquieting songs appeared on SoundCloud credited to an Accra-based singer known as Amaarae. Already nominally known for her sensual collaboration with AYLØ titled “Woah”, Amaarae’s ‘Passionfruit Summers’, so she labelled that six-song dispatch, brought Amaarae to wider attention, establishing her at the heart of the alte community. In the years to come, Amaarae would contribute to some of the most seminal songs from that space, while perfecting her eclectic fusion of rapping and singing. 

Late last year, Amaarae shared her debut album, ‘The Angel You Don’t Know’, to critical acclaim. A highly imaginative album, the project borrowed influences from Trap, Neo-Soul, and sirenic R&B to broaden the scope of Afropop while completing Amaarae’s evolution from the reflective ballad-singer of ‘Passionfruit Summers’ to a carefree, no-frills auteur.  A project of autonomy, ‘TADYK’ explored Amaarae’s guilty pleasure and carnal desires in-depth across 14 songs but nowhere across the album does her conception of opulent living, existential anxiety, and vigorous partying click into life as it does on “Sad Girl Luv Money”.

Featuring fellow Accra-based singer Moliy, “Sad Girl Luv Money” is an opportunity to flex the supremacy of cash and the worlds that buttloads of it can allow access into. Last week, Amaarae announced that the instant fan-favourite off the album was going to be getting a remake that featured none other than the American singer, Kali Uchis. “‘Sad Girlz Luv Money’ was already a magical song with myself and Moliy but Kali takes it to a new dimension,” Amaarae said in a press release. “I’m excited to have her on the remix. I’ve loved her music since I was 19 in college so to be able to work on this with her was amazing and she kills her verse! I think the Sad Girlz Worldwide are going to LOVE this!”

On the song, both forward-thinking singers unite to expand on the premise of the OG version without disrupting its alluring feel. Wealth and proximity to it are still a primary motivation here, Kali Uchis opens the song tenderly declaring, “Oh there’s dollars all around/ Dollar Dollar bills, yeah/ Dollar Dollar bills,” while Moliy defiantly reaffirms that she’s going to make the paper. “Get the fuck out of my way, I’m going to get paid,” she dreamily adds.

There’s still the familiar refrain, but Kali Uchis’ hypnotic verse adds a new verve to the song, especially in her delivery of quotable lines, such as “I’m that bitch on and off of the cameras,”  and “I walk like I know my pussy dangerous,” in English before adding a few more lines in Spanish. The overall vibe of the remix merges the aspirational energy of the Moliy-starring original with a more pointed suggestiveness at sexuality that compliments Amaarae’s sex positivist message. 

Less than fifty days to the one-year anniversary of Amaarae’s debut album, the remix of “Sad Girl Luv Money” is an important reminder of how important ‘The Angel You Don’t Know’ is –  and will be as a future touchpoint for genre-bending Afropop. In a world where international remixes between Afropop stars and their western colleagues often come off as forced and artificial contraptions, “Sad Girl Luv Money (Remix)” unites two artists totally in sync and at ease with one another’s music. The proof is in how seamlessly Kali Uchis is welcomed into Ama’s surrealist universe here.

ICYMI: WOULD “ESSENCE” HAVE COME THIS FAR WITHOUT ITS REMIX?

Rema, Kah-Lo, Little Simz & More feature on the FIFA 22 soundtrack

Posted on by Nwanneamaka Igwe

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.

 

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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.

Listen to “Dimension” here.

Featured Image Credits/Instagram

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MOTHERLAN vs Boohoo Man, will it ever end?

Posted on by The Native

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.

 

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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. 

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NATIVE Premiere: Get A First Look At The Romantic Video for Alpha P’s “Oh No”

Posted on by The Native

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.

 

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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?

ALPHA P: Maybe, fingers crossed.

Watch the video for “Oh No” below.

Featured image credits/Youtube

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What’s Going On: SGBV In Zambia, Doctors strike in Nigeria & More

Posted on by Nwanneamaka Igwe

“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.

 

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Kenya’s ‘women-only’ ride-hailing service

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.

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.

@nwanneamak4 couples her creative interests with her individuality and uses writing as a vessel for her expression.

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Songs of the Day: New Music from Wavy The Creator, Pa Salieu, Davido & More

Posted on by Nwanneamaka Igwe

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

@nwanneamak4 couples her creative interests with her individuality and uses writing as a vessel for her expression.

ICYMI: Songs of the Day: New Music from Amaarae, Lojay, Kofi Jamar & more.

Turntable Top 50: Ayra Starr and Kizz Daniel continue to make history

Posted on by Adewojumi Aderemi

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.

ICYMI:TEMS’ SOPHOMORE EP, ‘IF ORANGE WAS A PLACE’ IS FINALLY HERE

Meet The Artists On This Year’s Hennessy Artistry Cypher

Posted on by Damilola Animashaun

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.

 

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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.

Psycho YP

 

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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.

Alpha Ojini

 

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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!

Legendary Styles

 

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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!

Barrylane

 

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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!

Featured image credits/HennessyNigeria

ICYMI: Hennessy Artistry Presents Its 2021 Cypher