Turntable Top 50: Kizz Daniel, Adekunle Gold & Davido top the charts

Kizz Daniel strikes again, spending yet another week at no.1 with “Lie”. Tallying 46 million in radio reach, 2.57 million equivalent streams and 5.37 million in TV reach, following the September 3 release of “Lie”‘s music video, Kizz Daniel’s new single has just earned its biggest chart point totale this week. This is the fourth best week following earlier released chart toppers such as Omah Lay’s “Understand”, Olamide “Rock” and “Feeling” by Ladipoe.

Spending five consecutive weeks at number 1, “Lie” is only the second song in TTC history to spend its first five weeks at number 1, with Teni’s Davido-assisted “For You” being the only song to attain such heights. It is poetic that this is the week in which another Davido assist – which marks his eleventh top ten entry since the charts began – tails “Lie”. Debuting at No.2 on this week’s Turntable Top 50, is Adekunle Gold’s “High” featuring his peerless peer, Davido.

Adekunle Gold is no stranger to chart topping singles – No.2 was the peak position of his earlier single this summer, “Sinner” – but “High” does mark Gold’s highest debut position. With 34.5 million in radio reach, 288,000 in TV and 2.58 million equivalent streams, AG x OBO’s “High” is the only new entry into the top 10 this week. Beyond this entry, the charts remains unchanged for the past week with the usual susiects claiming residency atop.

Where “Understand” is relegated to number 3 this week, Ayra Starr’s “Bloody Samaritan” becomes the only song in the chart this week to rise, gaining within the top 5 from position 5 to 4. After “Bloody Samaritan” comes Fireboy’s “Peru” which slides to number 5 this week. It’s followed by Burna Boy’s “Question” featuring  Don Jazzy which drops this week, landing the song outside the top five this week as number 6.

Rounding out the Top 10 is “Sinner” at No. 7, “Feeling” at No. 8, the Justin Bieber-featuring “Essence” remix at No. 9 and “Big Thug Boys” by AV at No. 10 which all slide down one position this week. As summer comes to a close, it seems the contest for the top 10 is dwindling too. Hopefully, with Tems’ EP this week and last weekend’s released coming into play, next week’s charts will have a lot more excitement about them.

Take a look at the full Top 50 charts here.

Featured Image Credits/Instagram


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

Arese Ugwu’s ‘The Smart Money Woman’ is coming to Netflix this week

Netflix Naija has been the gift that keeps on giving as it continues to roll out a slew of African-focused entertainment to keep us coming back for more. Recently, we’ve enjoyed series such as Kemi Adetiba’s 7-part series ‘King Of Boys: The Return of the King’ and a new season of legal drama, ‘Castle & Castle’ starring Nollywood favourites Dakore Akande and Richard Mofe-Damijo. 

Now, coming to the platform of binge-worthy series this week is Arese Ugwu’s 2016 novel titled ‘Smart Money Woman’, which has been adapted into a drama-filled television series about Lagos’ most stylish millennials on a budget. According to Arese, the Bunmi Ajakaiye-directed show which previously aired on DSTV will be available to stream from this Thursday, the 16th of September.

 

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‘Smart Money Woman’ tells a story of love, friendships, and relationships from the perspective of African women and how they tackle issues with money and other socio-cultural pressures they face in their lives. The all-star female cast also includes Toni Tones, Osas Ighodaro Ajibade, Ini Dima-Okojie, Lala Akindoju and Ebenezer Eno with the support of Karibi Fubara, Temisan Emmanuel and more. 

‘Smart Money Woman’ also boasts of a stellar cast and crew behind-the-scenes including scriptwriter and associate producer Pearl Osibu, series director Bunmi Ajakaiye and scriptwriter, Jola Ayeye. Ayeye recently explained the importance of a show like ‘Smart Money Woman’ for Nigerian women, sharing that “All the characters are very different women, at different parts in their lives financially and emotionally but what remains binding is their friendship… I think women watching will see elements of themselves in each character or at least someone they know.”

Watch the trailer for ‘Smart Money Woman’ below.

Featured image credits/SmartMoneyArese


ICYMI: Bolu Babalola, Cuppy, Kiddwaya and other Black entertainers take over Channel 4

For The Girls: Meet Bunmi Agusto, the Artist Behind The Surrealist Wonderland ‘Escape to Within’

If you ask multidisciplinary artist, Bunmi Agusto about the exact moment that she discovered her passion for the arts, she’ll simply tell you that the answer changes each time she’s posed with the question. According to how she tells it, art has always been an important part of her life. It’s embedded into her personal and professional life, so much so that there are numerous key moments that have reinforced her passion for art. 

Whether it was sketching images during her lunch breaks in secondary school or frequent visits to art galleries in Lagos and London or even the unexplainable rapt attention she adopted during her fine art classes, Bunmi was certain that she’d found her thing. She shares with the NATIVE “Art and I are like one of those stories where it wasn’t love at first sight; it was on and off at first so it took a lot of learning, growing and dedication.

 

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Since then, she’s only nurtured and developed her talents further, allowing her passion for art to take on a shape and life of its own. In conversation with Bunmi, the twenty-two year old artist tells me that she’s spent the majority of the past two years building her own imaginary world which she sagely refers to as the Within. She  describes her practice as an expansive process called “World-building”

As a means of staying true to herself, Bunmi doesn’t go out of her way to create art to please anyone as that would mean her forcing herself to create within the confines of realms which already exist, a concept to which Bunmi is strongly opposed.  However, she’s not without her role models. Her artistic inspirations, however, fall anywhere between Nigerian Igbo and Tamil writer, Akwaeke Emezi to Amos Tutola’s ‘Palm Wine Drinkard’ and even the Marvel Cinematic Universe and the Alice in Wonderland series which she has raptly enjoyed since her childhood. 

She says of these inspirations: “The fantasy worlds that are built in these stories are so special to me; some are super weird, some are super intricate, they’re all very magical to me. Although Freshwater is based in our known reality, the story is mostly written from the perspective of a spirit residing in the main character’s psyche which completely alters our lens as readers.” It’s immediately clear that the artist is interested in the relationship between this realm and the spirit realm, between being and not being, and the sharp and inherent corners in between the two.

All this has culminated in Agusto’s first-ever solo exhibition with DADA Gallery titled ‘Escape to Within’ which features nineteen new figurative works drawn from the surrealist world of the artist’s own design. The exhibition charts the migration of a group of figures across a labyrinthine landscape of braided forests and dark waters and is Agusto’s most well-rounded effort. Off the back of this recently concluded exhibition in London, we sat down with the multidisciplinary artist to talk about her journey with her art, her meticulous working practices and what it means to make art for oneself.

 

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

NATIVE: Hi Bunmi, how are you doing? When would you say you first discovered your passion for visual arts?

Bunmi: Hey, I’m doing well. Thanks for asking. I don’t really know. I get asked this a lot and I just pick a random memory each time, but I’ve been interested in visual art for as long as I can remember. I remember being fifteen years old and sketching every day during prep in boarding school. I remember being twelve and walking into Nike Art Gallery in Lagos and having the visual literacy to identify which artists made which works immediately I walked through the door. I remember being ten and being very emotionally invested in art class. I also remember being four and being equally invested in colouring within the lines in my colouring book. So I wouldn’t say I had a single moment of realisation. Art and I are like one of those stories where it wasn’t love at first sight; it was on and off at first so it took a lot of learning, growing and dedication.

NATIVE: Your predominant mediums seem to be pastel pencils and mixed media. How did you arrive at these choices? Did you always start off this way?

Bunmi: When you do IGCSE Art & Design, you’re encouraged to try as many mediums as possible so I guess that’s when the mixed media habit stuck. My brain rarely allows me to use a single medium for an entire piece now, but that keeps it fun because I’m constantly experimenting. I also started using pastel pencils while in secondary school and once I used it for the first time, that was it. It was a match made in heaven. Now, my works largely involve drawing, which has a history of being used to capture thoughts quickly in sketches and for preparatory drawings, so it feels important to me as a practice. It ‘s like I’m documenting this large world in mind that would have simply been a fleeting thought without the hundreds of drawings I have across notebooks. I like making small-scale drawings because it feels like I’m writing a journal entry at my desk. It’s very personal and intimate.

NATIVE: Do you think you have a distinct style and how has it evolved over time? 

Bunmi: People always say my use of pastel for my figures is so realistic but I’m usually hesitant to accept that because although I work from photographs and they are realistic to an extent, but I change and exaggerate some details. I’d actually consider myself a student of El Greco’s works so my figures usually look like some very well-done VFX that isn’t perfectly done but tease and distort reality.

NATIVE: Who are your biggest influences and what about them inspires you? 

Bunmi: My biggest influences are more so what’s than who’s. By that, I mean certain bodies of work often have a greater impact on me than individuals. Literary and cinematic works that were very influential for me were Amos Tutuola’s Palm Wine Drinkard’, Akwaeke Emezi’s Freshwater’, the Marvel Cinematic Universe, and all the iterations of Alice In Wonderland’. The fantasy worlds that are built in these stories are so special to me; some are super weird, some are super intricate, they’re all very magical to me. Although Freshwater is based in our known reality, the story is mostly written from the perspective of a spirit residing in the main character’s psyche which completely alters our lens as readers.  There is this quote in it that I bring up all the time: “The world in my head has been far more real than the one outside—maybe that’s the exact definition of madness […]” so I’d say the people whose works inspire me the most are the people who get a bit lost in their own worlds.

 

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NATIVE: What themes are you currently drawn to when creating?

Bunmi: A little bit of everything I love and find interesting; that’s what makes the work so authentic for me. I move from cultural theory to psychology to the subconscious to surrealism to the Fantasy genre to modern cinema to video games to world-building to narrative to language to history, which then often brings me right back to culture. That tends to be my general cycle of interest.


NATIVE: Explain this “surrealist wonderland” embedded in your head and how it translates into your works. 

Bunmi: So, as I’ve expressed, I have built a world from my imagination and evolved it through thought for almost two years now and I call it ‘Within’. I visualise Within as a dwarf planet floating in a void in the crevices of my mind. It is populated by eight clans of hybrids who each have mutations based on objects that activate a sense of Lagosian childhood nostalgia for me such as agama lizards and palm trees. The terrains of Within are filled with braids as funny, a linguistic nod to the idiomatic expression’ “the world in your head”. So if the world is in my head, why not have my hair embedded in the landscape? Also, although the hybrids are the indigenous peoples of the world, humans can emigrate there and that journey made by the humans is what is covered in Escape to Within’.

NATIVE: Describe the creative process for “Escape To Within”? 

Bunmi: Well, the first decision I made is that I definitely wanted the exhibition to follow humans migrating into Within so that it acted as an introduction to the world for both the humans in the works and the people viewing the works. I had already established that braids were in the landscape of Within so after that it was about letting my brain run wild with what this fictional migration would look like. I generally don’t swat away ideas that my imagination offers up to me. If I have an idea that doesn’t necessarily fit into the world, I don’t simply dismiss it. Instead, I consciously expand the world and create a narrative that makes room for that idea to exist seamlessly in Within. What that then does is give me this constantly expanding, complex world where I can do whatever I want.  

 

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NATIVE: What predominant message were you trying to communicate in the exhibition? 

Bunmi: It was not my intention to communicate a message. The way my practice is set up positions me as more of a griot —a living archive of the fictional stories of Within— simply sharing those stories with my viewers. Will there eventually be morals embedded in this large body of work? Maybe, maybe not. Sometimes, things happen in life and they are complex and they have conflicting morals to take away. I don’t believe it is my role to tell people which moral or message they should believe in, I’m simply the one telling the story. Plus, Escape To Within is barely even a full chapter of the overall story I’m telling. It’s like one page.

NATIVE: If you make art for anyone, who for? Essentially who is your target audience and how do they affect the work you create?

Bunmi: I certainly do not make work with a target audience in mind. If I did, that would mean I’d be creating from a realm that already exists and forcing myself to stay in that lane, which sounds incredibly boring to me. I actually struggled with that for a while in art school —making the work people wanted versus making the work that I wanted— and I eventually decided that I don’t care if people find my work “too weird to put in a home”. Honestly, I think being weird is a compliment. One could argue I have found an intersection of making the work I want to make and works people want and that’s nice but at the same time, I’m not going to go out of my way to try to continue to please those people either. I’m going to continue to do what I want, grow in the ways I want, experiment in the ways I want, and create my own lane.

NATIVE: In light of your earlier projects and exhibitions, did you ever anticipate a solo exhibition so early in your career? What were the moments leading up to the exhibition like for you? 

Bunmi: Left to some people in my life I would have had it even earlier. Ever since I started my degree, family and friends around me have been like, “So when are you going to have a solo?” I definitely felt pressure for years but I only decided to do it when the time was right and the work was at the standard it needed to be at conceptually. I wasn’t even expecting that my first solo would be with a gallery; I’d always imagined it would be a very DIY thing so thanks to Oyinkan Dada [owner of DADA Gallery] for giving me the opportunity to it on the scale we did. The moments leading up to the exhibition were hectic and nerve-wracking because I am a perfectionist.


NATIVE: Now that you have had your first solo exhibition, where do you see your career going in the future? 

Bunmi: ‘Within’, as a body of work, is a very vast, ambitious project which can come in many forms so that is just a long, unpredictable, experimental journey.  I do have other ambitions beyond making art so I just hope to be able to tailor a career that plays to all my strengths and interests, but making art will remain central.

NATIVE: What’s the best advice you can give to other African female visual artists in Africa or in the diaspora? 

Bunmi: Do what you want and do it to the best of your ability.

Featured Image Credits/Instagram.


ICYMI: For The Girls: Deela Is Unafraid to Speak Her Mind


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

NATIVE Exclusive: Aurora Anthony is proud of his Nigerian heritage

As an epicentre of deep culture and heritage, New York City is also heralded as one of the fashion and music capitals of the world as a notable amount of successful musicians and designers were birthed and raised from the larger than life city. American-Nigerian singer, Aurora Anthony is among this talented spate of stars putting his city on the map, one release at a time. Originally from the city’s Lower East Side, the rapper and style enthusiast is pushing to make a change and raise a voice for the music and fashion scene in his community.

While he’s more than happy to champion the city that raised him, Anthony is also immensely proud of his Nigerian heritage which he constantly attempts to inculcate in all his music and fashion endeavours. Already, the New York-based artist has caught the attention of big brands such as Diesel, Jordans and more to represent and put on his city and roots in a unique way.

Over the past few years, his lifestyle company 100 WOLVES has made it on Beyoncé’s 2020 list of Top Black-Owned Brands to follow. He has also been part of catwalks in fashion week and Billboards for brands such as GUESS. The rapper has also tapped into his modelling side with spreads in magazines such as Vanity Fair, Financial Times and Elle magazine. It’s clear that Aurora Anthony is steadily delivering a masterclass in the intersections between fashion and music.

 

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Anthony continues to craddle this intersection, putting his own unique spin on each endeavour he pursues while staying true to his Nigerian and African roots. It’s no surprise that the rapper is already creating a loyal following, who all cling to his every move as he makes his way up the upper echelons of music and fashion. Over the years, he’s become known as a trusty tastemaker in both industries, even going as far as taking on his own graffiti work across New York’s busiest boroughs which he has been nurturing since he was a young boy. 

Anthony also makes plush toys and 3D- printed chrome sculptures, which inevitably caught the eyes of sports behemoth, Nike who recently tapped him to collaborate on an exclusive Air Force One Family and Friends shoe, inspired by his recently released debut album titled ‘TUNDE’. The white shoe not only reflects his Nigerian heritage and personal style but also, his identity as one who has become a trusty voice in fashion.  The limited-edition shoes also come with a black sole, green suede “swoosh” and the album title, TUNDE’ stitched on its heels. 

Ahead of the release of ‘TUNDE’ and the imminent Nike drop, we get to chop it up with Anthony on what’s to come, the music scene in the Lower East Side, his passion for fashion and more. Here, he talks candidly about his aim to introduce himself to the music scene in both New York and Nigeria and to become a beacon of hope from the places he is from. He loves his city and believes that there should be a need to not copy or rely on other areas like Bronx or Harlem but rather bring their own native voices to the community and worldwide.

 “I wanted to make it a part of my heritage and introduce myself to the music community.” 

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

NATIVE: Hey Anthony! Nice to meet you, tell us a little bit about yourself and how your musical journey began?

ANTHONY: I’m from the Lower East Side but I’m a music and a graffiti artist first. I basically make music and art. I started when I was 12 or 13 years old. I was inspired by the fact that no one from my neighbourhood had a voice and all these other neighbourhoods had a distinct voice such as the Bronx and Harlem. I felt like no one was speaking on behalf of my area. My area was treated like a town, a place that people would cross through but there weren’t native people to it. That inspired me to go ahead and make music so people from my area would have a voice and would feel championed and not have to go chase other peoples trends and lingos. 

NATIVE: What’s the music scene like on the lower east side?

ANTHONY: The music scene is almost non-existent. No natives from the lower east side are really doing anything. There aren’t too many. So it would be cool to make a scene as the scene is getting created.  

NATIVE: Where did the name ‘Aurora’ come from?

ANTHONY: It’s actually inspired by a nickname I had since I was young. Just me being dramatic as a youngster and it just stuck ever since. 

NATIVE: What inspired the album name TUNDE

ANTHONY: My name is Anthony and my middle name is Babatunde. I wanted to make it a part of my heritage and introduce myself to the music community. I wanted to introduce myself and the first thing you do when you introduce yourself is tell them your name. I just wanted to give that but not only that. I could have named it Aurora but Wanted to show the side of me people really don’t know. 

NATIVE: Has growing up from a traditional Nigerian household held you back in any way?

ANTHONY: No! My parents are pretty progressive. They were cool but always tried to pivot it to school. There were times where it would be like school or this but I was like I’m gonna Make my parents upset and do this but they’re happy now. 

NATIVE: How did you go about selecting the features on this album?

ANTHONY: I have 2 features and that goes back to introducing people to my world. That’s why I didn’t really work with any other artists. I wanted it to be more about me and things I like to do and people I know. I wanted to put those things in the forefront and not worry about what others are doing or have. That’s why I wanted to leave the album with minimal features and if there is, it’s someone I know personally. 

 

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NATIVE: The “WOLF” visuals are only in black and white, why is that?

ANTHONY: I just wanted to introduce people to my world and the absence of colour in a visual way sets the tone of the music and I didn’t wanna add colour. Adding colour would sway people away from actually listening to the music and that’s why I did like a film noir.  

NATIVE: Your album is great but which songs meant the most to you?

ANTHONY: “Lil Wolfy” or “Tulips”. Lil Wolfy” is a reflection and reminder of my past, who I was, what I was doing and where I came from. It’s me venting and letting that piece of me finally go and get over it. “Tulips” is an ode to my father. He is getting old and I want to be able to retire him. It’s just a song for and to let him know where my heart is.

NATIVE: Is there any other way in the album you resonated with Nigeria or the culture aside from the title?

ANTHONY: No! that was the first way and I did that strategically. I didn’t wanna give it all away cause when you introduce yourself, you don’t do that all at once. It’s like speed dating, you gotta wait a little bit. I don’t want people to treat my music like speed dating. I actually wanted people to see the person first and see the vibe then now I wanna go in-depth. So I’ll leave that stuff for the other projects.

NATIVE: Has music impacted your fashion or vice versa?

ANTHONY: Yes! fashion does play a part. One hand watches the other. Maybe an outfit that inspired a verse or I could be in a certain type of garment that makes me feel a certain way. They go hand in hand. Do you ever wake up and feel amazing because of the way you’re dressed? It’s the same thing for music, it can inspire me to make a song that I wasn’t thinking of, for example, “Cartier”, I was thinking about Cartier and how it has been an important part of fashion as of recent. It made me wanna make a song about that. 

NATIVE: Who were your fashion and music inspirations while growing up?

ANTHONY: Pharrell really. I was a skateboarder and a graffiti artist as a kid so he was like “this type of clothing that you’re wearing, it’s cool. Look at me in doing it.” He was the first artist to make it feel cool to be into streetwear fashion. He could be in a video with HOV in a regular BBC ice cream T-shirt and he’ll look cooler than his contemporaries. I’m always gonna champion him as one of those dudes that helped me get into fashion and style and have the confidence to put on some clothes and I don’t feel like I have to go get some True Religions

NATIVE: What’s the thought process behind the design of the Nike Air Force drop?

ANTHONY: I love white shoes and I feel like everyone loves white shoes but with shoes they get dirty, so how do we preserve them? That’s how I arrived at including a black sole. You can wear it anyway without scuffing it and you still have white shoes. I didn’t wanna be corny and make just green and white and say “this represents Nigeria”. I inverted it and made the inner tack in the shoes and the lock-up green with suede to show the luxury of where I’m coming from. I want everyone to have an all-white shoe and feel comfortable owning an all-white shoe without having the problems of wearing an all-white shoe. 

NATIVE: You’ve worked with a couple of well-known brands over the years. What’s been the most notable brand and which are you looking forward to working with in the future?

ANTHONY: I’ve worked with almost every brand I’ve wanted to work with as a kid – Nike, Jordan etc. Definitely, Puma, Adidas, New Balance, I’d definitely work with them. I wanna create a world so anywhere that lets me create a world, that’s where I wanna be. 

Stream ‘TUNDE’ below.

Featured image credits/NATIVE


ICYMI: Would “Essence” have come this far without its remix?

Songs Of The Day: New Music From Tems, L.A.X, Bryann & More

More than most people, the team at The NATIVE knows that the sheer scope of music available to us at this exact moment in human history is mind-numbing but our goal is still the same as always: we don’t want exciting music to be slept on. We simply cannot have that happen. That’s where our Songs of the Day column comes in. We try to keep our fingers on the pulse of music from across the continent and beyond, bringing you exciting songs from talented musicians who are continuously trying to bounds of artistry with their music.

Song of the day is perfect for everyone who is a pioneer in developing their sound and taste. A tweak here and there in your library is always needed and encouraged from time to time. While expanding your music horizons, be that friend that puts others, so they can possess the soundtrack to your mind whilst elevating theirs. Earlier this week, we had songs from Drake and Tems, Styl Plus, Cheque, Wani, Buju, Ria Sean & more. Today’s column brings you more music from Tems (again!), Naira Marley, PsychoYP, Olamide, Bryann, Tomi Owo, and many more. Enjoy.

Tems – “Crazy Tings”

As we continue to witness Tems’ astronomical success post the release of her stunning feature on Wizkis’s “Essence” and the remix with Justin Bieber, it’s clear that the girl is on fire. Just a week ago, the Lagos-born artist came through with a stellar feature on Drake’s highly anticipated album ‘Certified Lover Boy’ on 16th track “Fountains,” a feat that has continued to earn her new levels of recognition as she garners new fans.

After teasing a new EP earlier this week, the singer has now shared the project’s promotional single, the GuiltyBeatz-produced track titled “Crazy Tings.” Over the song’s intoxicating production, Tems delivers her usual melodies couched in her distinct Nigerian accent as she sings that “crazy things are happening”. Here, she elucidates on the current levels of recognition that she is currently enjoying over calm, spacey guitar riffs. 

L.A.X – “Faster”

To end the summer in grand style, Nigerian rapper and Afrosoul musician, L.A.X is out with his fourth single of the year titled “Faster”. On the high energy number, the singer delivers highly infectious vocals over a Smeez Beat-produced beat that provides a feel-good atmosphere. This groovy number serves as the perfect follow-up for the singer’s earlier released single “Pepe” which could surely get the club raging. In a similar light, “Faster” is driven heavily by a drum-led production that further highlights the singer’s penchant for club-ready hits.

Olamide & Eskeez – “Loose It”

Empire artist, Eskeez, has just dropped his first single this year since his debut track “10AM”. On “Loose It”, the singer features the Nigerian street pop hit maker Olamide who is the perfect indication for what is to come with his harmonious vocals on the track’s intro. Here, both artists directly address a romantic interest who they constantly wish to shower with their affections as she’s perfectly capable of making them lose their sense. While their love is clearly a motivation to serenade their respective lovers, both artists don’t fail to also mention how they are entranced by their muses’ body which has them ready to risk it all for moments of pleasure.

DJ Java, Remy Baggins & Pscyho YP – “JAZZ UP”

It is impossible now for anyone listening to an Amapiano beat, not to recognise it within seconds of listening to it. “Jazz Up” is no different in this regard as the Amapiano-inflected beat grabs listener’s attention within the song’s opening moments.  Remy Baggins eases us into the track with his soft melodious vocals, which pairs perfectly with the song’s propulsive rhythm. The thrilling hook loops us in further as the track repetitively warns us to “Jazz up, no dey lose guard”. PsyhcoYP elevates the track even more as he rides the beat with his effortless flow.

Tomi Owo – “Through The Never” (ft. Metallica)

The recently released compilation project ‘The Metallica Blacklist’ celebrates the enduring influence of the Rock/Metal band over 3 decades. With 53 covers from different artists covering the group’s 1991 ‘The Black Album’, ‘The Metaliica Blacklist’ is a sprawling celebration of the group’s continued dominance, spanning different countries, people, genres, generations and cultures.

On Disc 3, Track 9, Nigeria’s Tomi Owo delivers her own reiteration of the group’s original song, placing her own unique spin on the number after all these years. Here, she turns Metallica’s thunderous Rock anthem into a mid-tempo R&B cut that is by far one of the most magical transformations on the compilation. Joined by singer, Oma Mahmud on the infectious beat, she delivers a soft-sounding reiteration that already being heralded as one of the best tracks on the project, according to Louder Sound.

Skales – “I Dey Miss You” ft. Imanse

Nigerian rapper and singer, Skales is out with another single titled “I Dey Miss You”. If anything, he has shown consistency in his craft and audience engagement with the steady release of singles each less than two months apart. From “Get Down” featuring Jhodie, to “Kayefi” and “This Your Body” featuring Davido, Skales is working harder than your fave. While there’s no mention of a new project in the works, it seems like that’s where all the effort will surely lead to. On the new number,  both artists go back and forth on the track, making promises to their respective love interests as they quip “I go kiss you all over your body when I see you/when I see you I go rock your body,” over the song’s hook.

Q2 – “Come Online Remix” ft. Zlatan & Naira Marley

With Zlatan and Naira Marley on a track, you already know you can expect a banger. From our longtime favorite “Sweet In The Middle” and “Am I A Yahoo Boy to “Owo Osu” featuring female street pop artist Candy Bleakz, the duo always deliver a madness on any track they collaborate on and Q2’s latest single is no different. “Come Online (Remix)” is a Drumphase-produced high-tempo track that has the artists switching seamlessly between Yoruba and English displaying great synergy as they plead with their love interests to come online.

Bryann- “Andale”

Following the release of his debut single “Longé” earlier this year, the sweet voiced singer, Bryann is back with a new single titled “Andale”. “Andale”, an expression in Spanish means “go ahead” or “let’s go”, and Bryann perfectly embodies the song’s free message in his lyrics. Over the Spax-produced beat, the talented newcomer delivers euphonious vocals over a low drumming beat that makes you want to dance. The track is the first promotional single off his upcoming debut EP ‘Iléké’ slated to release later this year. 

Juliet Ariel – “Wish You Were Here (Reiann x Burssbrain Remix)”

Juliet Ariel, the Congolese artist made an impactful introduction into the music scene with her self-produced single “Take Me With You” in 2017, showcasing her unique sound and love-induced lyrics. Since the release of her March 2021 single, “Wish You Were Here” featuring Laylizzy, Juliet Ariel has been the gift that keeps on giving.

After the success of the preceding track, she released another version with the House music producer, Soa Mattrix giving the track the intoxicating Amapiano beat we didn’t know it needed. Now, the singer is back in this slow-tempo track, this time delivering a new version produced by Burssbrain featuring Reiann. The pair blend effortlessly on the track as they address a love interest singing “Still I wish you were here/every time I cry don’t you think that I don’t want you near”. 

Featured Image Credit/Instagram.


ICYMI: HOT TAKES: Tems on ‘CLB’, Orange Culture, Lukhanyo Mdingi & More.

Essentials: Laime’s ‘If Summer Happened’ Is A Reminder Of Lost Times

There has never been a time quite like the present. The new vanguard of Afropop hitmakers have eschewed the old guard and constantly seem to be reinventing themselves and their sounds at every given opportunity, a repeated reminder that the future of music is in great hands with Gen Z. It’s among this genre-defying landscape that burgeoning artist, Laime finds himself operating in good company amongst a refreshingly unfiltered spate of talent. 

Back in 2018, Laime made his official entrance on the scene with the release of his debut EP titled ’21’, a collection of Afropop cuts that first introduced us to his undeniable star power. Since then, he’s continued to serve up a handful of singles and features that have only served to further make a case for his growing artistry. While he’s certainly managed to keep the attention on him and his rapid-fire flow, even serving up the 2019 follow-up EP ‘From Laime With Love’, the multi-genre artist hasn’t been able to step into his big break and distinguish himself extensively, that is until now. 

Spitting a mix of menacing bars and romantic lyrics with unmistakable technical skill and enviable wordplay, the artist has just released his third EP in four years. Aptly titled ‘If Summer Happened’ to represent the irreplaceable loss of a summer affected by seismic change, Laime has just served up a worthy reintroduction to his superstar abilities.

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On ‘If Summer Happened’, the artist addresses matters such as love, stacking paper, self-confidence and self-growth. Clearly inspired by the summer we missed last year due to the COVID-19 pandemic and ensuing lockdowns, the artist delivers a collection of mid-tempo cuts that will have you running them back to catch all the intricacies. He teams up with a bunch of old friends and some new ones, employing some of the most talented beatsmiths and artists in these parts including Grammy award-winning record producer Telz, Mike Misan, Dami Rore, Zlatan, Psycho YP, L.A.X and more.

Over 6 beautifully produced tracks, Laime digs deep into the most frustrating parts of his life and spins tracks that will certainly soundtrack the lost summer of our lives. Already, the project is clinching closer to the top 5 on the Apple Music Worldwide charts in Nigeria as it currently holds the 6th position in good company of artists such as Bella Shmurda, Killertunes, Blaqbonez and more. 

‘If Summer Happened’ runs a span of different moods, at one moment delving deep into matters of the heart and at another movement, meticulously working in the intricacies of his life as an artist. The music veers from the EP opener and lead single,  Money Medicine”, a dancehall-inspired track that finds the artist trying to prove himself to his love interest while still focusing on what really matters, the money. This track already sets the mood for what to expect on the tape and sure enough, on the preceding track, the Zlatan Ibile-assisted “Wellsfargo”, the singer bares his heart out to a muse who he likens to the American multinational bank of the same name. “Wellsfargo” also finds both artists making love confessions to their respective muses over the bouncy production of the Mike Misan-produced track. On the chorus, he sings “I know you know I need you baby, make you give me your Wellsfargo”.

Psycho YP-assisted “Big Up Yourself” quickens the EP’s pace, ostensibly showing Laime’s ability to score mainstream hits while retaining all the hallmarks of an experimental artist. Here, he showcases a unique mixture of versatility, dexterity and style as he braggadociously talks up himself and his abilities alongside one of Apex Village’s fiercest lyricists. With quippy lines and sticky beats, both artists deliver a number that naturally lends itself to streaming and radio platforms. As the project builds up, it’s clear that Laime’s husky cadence and sharp rebuttals radiate the mischievous energy that is needed in today’s saturated industry. Laime uses the trusty formula of aspirational lifestyle lyrics and the dreaminess of romance to garner all the attention, which as we’re clearly witnessing have earned him new levels of recognition.

Stream ‘If Summer Happened’ below.

Featured image credits/Instagram

 

Bolu Babalola, Cuppy, Kiddwaya and other Black entertainers take over Channel 4

“Black to Front” is the catchy, applicable name British broadcaster’s Channel 4 have given to their ongoing project to spotlight Black people in television. From writers, to actors, entertainment personalities to to presenters, today Channel 4 are committing their programming to Black people, doing their part to improve the representation of Black people in British media.

This morning, news circulated of Ant & Dec’s 20th consecutive win as Presenters of the Year at the National TV Awards, a record that is unfortunately symbolic of British media’s insular mechanics. As model and business entrepreneur, Leomie Anderson expressed, statistics such as these are discouraging to Black entertainment personalities and proof of the hostility of the climate – which Channel 4 are stepping up to tackle. Not too far away on the Twittersphere were tweets celebrating the return of one of the UK’s most loved shows of the past, The Big Breakfast, with an all Black cast.

A weekday morning news program, coming back to TV screens after nearly two decades in the can, The Big Breakfast makes a come back with Mo Gilligan and AJ Odudu. In this all-star debut of its Black to Front return, The Big Breakfast invited Krept & Konan, Eve, Idris Elba, Love Island’s Toby, Tokyo 2020 weightlifting medalist Emily Campbell and more. The Receipts Podcasts’ very own, Tolly T, Audrey Indome and Milena Sanchez were also present for this iconic new direction, about which revered author and one of the Black to Front contributors, Bolu Babalola gagged!

Airing tonight, Bolu Babalola’s premiere comedy series is one of the big draws to Channel 4’s Black and Proud programming today. Titled Big Age, Babalola’s show follows the life of Sadé, a budding writer, and her three other friends, Dela, Zeke and Tayo. The title being a play on the Nigerian saying “at your big age,” the show centres around these friends navigating the trials of early twenties life, and the value of friendship during this period of our lives.

 

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Other new shows that aired today include Yinka Bokinni and Zeze Millz’s pop culture discussion show, Unapologetic, and Highlife, the reality TV show that follows the lives of Cuppy, Kiddwaya, and other British-Nigerian and British-Ghanaian personalities. In partnership with Google Pixel, Highlife is a “docu-ality” about “the lives and loves of a group of West Africans all chasing their own idea of success.” Revealing the high family expectations that often influence our choices and the friendship groups that form the backbone of our support system, Highlife is set to resonate with West African young adults who relocated to the UK with their parents in search of the increased opportunities Western countries afford. Well… relatable in some ways.

Elsewhere on Channel 4, Tayo Oguntonade joins The Great House Giveaway presenting team today, whilst Gogglebox exclusively watches black families watching TV, including celebrity figures Maya Jama and rapper Ghetts. Behind the scenes too Channel 4 are supporting black owned production companies, seeking out a wider pool of black talent and funding progression placements, “to enable Black talent to make a paid and credited step-up in seniority.”

 

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Channel 4 is doing the long-overdue work of opening the media space up to Black talent and creators, and they’re doing so on all levels. It feels even more authentic, meaningful and promising that such a commitment comes outside of Black History Month and that many of today’s changes are long-term adjustments, that will not only empower the individuals but inspire the Black British community. Promising to feedback their learnings to the media as a whole, Channel 4’s Black to Front Project is likely to make a lasting change in British media and we are thrilled to see it.

If you’re in the UK, tune in to Channel 4 throughout your evening, or get into their Black and Proud programming over the web here.

Features Image Credits/Instagram


ICYMI: With Darkoo, You Always Get Twice As Much

Listen to Killertunes’ debut album, ‘KillaXtra’

Over the back half of the 2010s, Killertunes established himself as an excellent hit-maker, helming huge slaps like Mut4y and Wizkid’s “Manya,” Spinall and Kizz Daniel’s “Baba,” Olamide’s “Motigbana,” and much more.

While he’s remained trusty with producing great music for a long line of artists, including Mr. Eazi, Joeboy and Phyno, Killertunes has been inching towards a more wholesome and autonomous curation of his effort.

In late 2019, he dropped his debut EP, Gbedu & Things, a beat tape that zeroed in on his effortless ability to create club-ready bangers, and hinted at more headlined output in the near future.

Over a year later, Killertunes returned with the summery bop, “Light Up,” with assists from Walshy Fire, Like Mike, and Zimbabwean star Sha Sha. It marked the first time he would release a song with prominent vocal contributions, and he followed up shortly after with “Bite Me,” a solo track that served as a bolder statement of his intent to pair his behind-the-boards prowess with his chops in front of the mic. On “Bite Me,” Killertunes basks in the familiar feeling of triumph, pettily dismissing the unbelievers from his past and revelling in a heightened sense of confidence.

This conviction is what powers his newly released debut album, KillaXtra, a 13-set track where he takes the vocal lead all through. With vivid influences from Wizkid, Afropop’s most indelible vocal performer in the last decade, Killertunes’ showing leans into bright melodies and hook-driven songwriting. Add in a sonic direction that alternately melds and varies between mid-tempo Afropop bounce, slinky Dembow-inspired rhythms, Caribbean Pop bops, and even a Trap-fusion cut, the project is a collection of breezy and catchy songs.

Comprising the two previously released singles, the new project casts Killertunes as a veritable triple threat, as he also takes charge of engineering and production duties on all but one track. He’s joined by a handful of guests, including Odunsi (the Engine), Nissi, Midas the Jagaban, Kida Kudz, and more, all of whom serve complimentary purposes. KillaXtra unfolds a new era for Killertunes, one where the full range of his talents have to be acknowledged.

Listen to KillaXtra here.


@dennisadepeter is a staff writer at the NATIVE.


ICYMI: THE INNOVATIVE SIGNIFICANCE OF NIGERIAN PRODUCER TAGS

NATIVE Premiere: Curtis J preaches on a “Sweeter Love”

Signed to DJing sensation, Tiffany Calver’s No Request label earlier this year, Curtis J is a UK-bred self-defined “Afro artist,” whose Yoruba heritage and South London upbringing meld together in a familiarly tantalising way. Beginning his music career during sixth form, between the ages of 16 and 18, the 23-year-old, born Curtis Oyemade, released his debut EP ‘The Ride’ in 2018 and has since got acknowledging looks from Tion Wayne, a collaboration with Darkoo and studio time with the likes of King Promise.

Whilst his previous releases this year – “Check Your Balance” and “The Man” – have been confident, boastful and fit to spark up the party, Curtis J’s newest single, “Sweeter Love” is a mellow notch in the singer’s belt. Though “Sweeter Love” is the latest addition to Curtis J’s catalogue, it’s a fresh showing for the UK-based Afropop newbie. He trades out witty jabs and self-aggrandisement for heartfelt professions of love, and, in doing so, proves his versatility and willingness to tap into different pockets.

The “love” bag is one every Pop artist gets into at one point, and Curtis J is making sure he’s doing it sweeter, with the expert help of MRMTMMG, who directs the song’s indispensable music video. Opening with a wedding banquet, set to the sound of a delectable sax, “The Man”’s follow-up is a celebration of Black love in all its glory; particularly resonant with Black British couples and individuals. From flirtatious beginnings on the red benches of a London bus shelter to grand ceremonies in picturesque castles, “Sweeter Love” portrays a coveted romance that provides security, fun and genuine companionship.

With an Afro-swing inclination, as ever, Curtis J makes known his Yoruba identity throughout the record, shuttling between Yoruba and English with the same chic with which he dons traditional attire from Yorubaland. Short but indeed sweet, Curtis J’s newest record is a promising offering for the UK Afrobeats newcomer, who is doing his bit to ensure the long-lasting future of the sound.

Ahead of the official release of Curtis J’s “Sweeter Love”, for our exclusive premiere of the single, The NATIVE chopped it up with the artist. We learn about the budding act’s musical inspirations, how his cultural background defines him, his ideal wedding and what he wants the fans to know about “Sweeter Love”.

What inspired you to tap into the love song pocket for this track

I made this song a couple of months back in the studio with OluwaJBeats, it was a pretty late night, and I was, more or less, in the mood to make a love song. He made the beat and automatically I knew that this was a song that was going to be about love. So, I went in, started recording and haven’t looked back since. Big shoutout to OluwaJBeats for making that beat, honestly.

What role has your Yoruba heritage played in your music-making? 

I’ve always looked up to the likes of Wizkid, Davido, and many more; seeing how they use their language in the music has led me to use it in my own sound. It’s always something I feel I’ve been talented at, but I just needed some inspiration to kick start it.

If you were to remix this song, who would you want to be on it?

Oooooo interesting question! If I was to remix ‘Sweeter Love’, I believe Wizkid and Tems would be the perfect fit! I can just imagine them dropping the sweetest verses on the song, that would be so perfect, so those are my two options because choosing one person is so hard!

UK Afrobeats is now a mainstay genre in the mainstream, how has the growth of Afropop worldwide inspired you as an artist in the diaspora?

Being an Afrobeats artist in the diaspora is great, I imagine that’s the same for artists worldwide – it’s become a loved genre, and I’m very appreciative to be a part of this. I get to embrace my African heritage daily in my art. It’s who I am, and what influences me to continue making the music I am making.

Where would your dream wedding be? 

My dream wedding would be somewhere in New York City, or Hollywood where the sun shines bright, and weather is hot. Maybe in front of a few thousand people for the party, but I would keep the ceremony intimate with just family. That would be the vision one day, if granted.

When people listen to “Sweeter Love”, what do you want them to take away from the song most? 

I would love for people to watch the visuals alongside the sound so that they can feel the emotions that are flowing through the project as a whole. But what I really would like them to take away from this is that love is sweet, when you find your love it is very sweet #SweeterLove.

What is your definition of “Sweeter Love”?

My definition of Sweeter Love is a love that never fails. Love should never fail, and if it fails then it was never love – that’s how I see it, but again, that’s my personal definition. I would like to hear other people’s definition of that and see what they think about it. Tag me in your answers on Twitter, @officialcurtisj and on IG too, @officialcurtisj!

Get an exclusive first listen of “Sweeter Love” below:

Image Credits/DFR

Funke Akindele’s Omo Ghetto, Castle & Castle & More On Netflix Naija This September

Currently, there has never been a time quite like the present for Nigerian cinema. While we continue to celebrate groundbreaking blockbuster ratings for films such as ‘Omo Ghetto’ and ‘Living In Bondage’ which have soared in the past year, our attention is also being drawn to streaming giant, Netflix which has in the past year stoked up on Nollywood content that rivals its competitors.

Recently, Netflix just released the first-ever Nigerian original series, Kemi Adetiba’s ‘King of Boys: The Return of the King’, a 7-part series that portrayed the dark behind-the-scenes machinations of politics in Nigeria. The new series now joins other titles including South Africa’s ‘Blood & Water’ and ‘Queen Sono’ as the only Netflix original series in these parts.

While many of us continue to binge ‘King of Boys: The Returns of the King’ in the coming weeks, a new month is upon us, and as such, new titles are currently on their way to the streaming platform. From Funke Akindele’s high-grossing film ‘Omo Ghetto’ to the second season of ‘Castle & Castle’, here are the new titles we’re expecting from Netflix Naija this month. Enjoy.

OMO GHETTO: THE SAGA

10/09/21

This Nigerian gangster comedy is a sequel to the 2010 trilogy ‘Omo Ghetto’, about Shalewa aka Lefty (Funke Akindele) who struggles with the choice of living a life of wealth or returning to her former ghetto lifestyle. The movie features other popular Nollywood faces including Eniola Badmus, Chioma Akpotha, and more.

Castle & Castle

15/09/21

Our favourite legal drama is back with a new and exciting season. Set against the backdrop of a top law firm in Lagos, Nigeria, the series follows the life of a legal team headed by a married duo Remi (Dakore Egbuson-Akande) and Tega (Richard Mofe-Damijo). The second season will pick up where the first left off, starting off six months after the legal battle between Remi and Tega. In the wake of the victory, Castle & Castle’s prestige has surged and the company has moved to a new office and is flush with new clients. But it’s a hollow victory for Remi, who finds herself alone at the helm. Tega has been suspended for some months from practicing law. He is back at university and teaching.

Sex Education

17/09/21

This might not be an African series but it’s definitely become a fan favourite in these parts. Renewing for season 3 this year, ‘Sex Education’ picks off where it left off with word of the nickname “sex school” reaching the new headteacher who tries to control a rambunctious student body.

Shadow Parties

TBC

Starring Omotola Jalade-Ekeinde and Sola Sobowale amongst other profound actors, ‘Shadow Parties’ is a story about an army officer whose unfortunate upbringing has resulted in many deaths and war between two communities, making room for more destruction within a family.

Blood & Water

24/09/21

The Cape Town-set series makes its return for the second season this month. According to the Netflix Media Center, “In the second season, we will see Puleng and Fikile deal with the consequences of their explosive confrontation as more mystery and drama unfolds.”

Featured image credits/PremiumTimes


ICYMI: Blood & Water Is Returning to Netflix This September

Would “Essence” have come this far without its remix?

As “Essence” clocks yet another milestone, Adaobi Ajegbo offers a critical analysis of the record. Examining the songs paced success, she discusses the discourses that came with the release of the song’s Justin Bieber remix, including the possibilities of sought western validation.


This year, no song has exuded the omnipresent certitude that Wizkid’s “Essence” has. Released close to one year ago as part of his long-awaited fourth studio album, ‘Made in Lagos’, the Tems-featuring song has slowly but surely worked itself to a place of prominence. First warming the mouths of speculative party-goers in the early months of 2021 as hopeful ravers returned to clubs, “Essence” has now taken its position as the song to soundtrack our trudge to the simple delights of pre-COVID-19 life. As former RCA executive Tunji Balogun clearly elucidated of the song’s appeal in a statement to Billboard last month, the song has become emblematic of being back outside.” 

Buried deep into the song’s sweltering core is a message of longing and, ultimately, free-spirited desire that many had not been able to feel for a while. “You don’t need no other body, only you fi hold my body,” confesses Tems in a distinct vocal tone that is almost impossible to accurately emulate. As I hark back to the song’s release last October, trailing its steady climb afore its summer peak, I am faced with the realisation that this was hardly anyone’s first pick for song of the summer.

In its entirety, the album was regarded as the singer’s magnum opus with many key standouts including a feature from Burna Boy, the self-acclaimed African Giant who has spent the last few years enjoying global success. In the words of Audiomack’s Olive Uche, who ranks “Ginger” as the best song on the album, “the back and forth bit between Wiz and Burna, the ad-libs to the intro and outro, it’s the catchiness of the chorus, the play on words, it’s perfect!“Ginger”, like many other songs on the album could have stolen our attention, yet it was “Essence” that opened up a playground of possibilities for both singers. 

In their album review, British-based publication NME suggests the impracticality of “Essence” on the project with the statement, Yet this latest project meanders for a few tracks too many; ‘Mighty Wine’ and ‘Essence’, for example, are expendable. As weeks have turned into months, and the summer days have rolled on, it’s become increasingly clear that the P2J-produced “Essence” is anything but expendable. It has not only attained good standing as the song of the summer but consistently broken records previously unfeasible for Afropop artists. Recently earning its Gold RIAA certification “Essence” has hit a peak position at #13 on the Billboard Hot 100 and is currently the most Shazamed song in the US. Of course, these victories didn’t ‘just happen’ in a vacuum, after emerging as a fan favourite, the song received a worthy jolt in promotion, alongside an alluring music video shot in Ghana. 

It blew in Nigeria and then the UK and by the time we both got over it, the US was just catching up and here we are today,Nigerian music reporter Makua Adimora tells me as we discuss “Essence”’s travel through different borders. This inquisition of “Essence” necessitated a different but pertinent conversation: America’s late consumption and co-opting of Afropop. A closeup shot followed the 2017 release of Davido’s “Fall”, which only started getting US radio play – the precursor and rationale behind the song’s success in January of 2019 – over 20 weeks after its release. This gives the impression that African music – distinctly Afropop – is still a conditional product to Western media. While the music is undeniably good, Afropop records must still face trial on how their sounds suit the narrative of what the US-dominated global entertainment system has prescribed for the catch-all ‘African’ genre of Afrobeats.

In a piece written by Ivie Ani, titled ‘The New Exportation of African Music’, the Nigerian-American culture critic tackles this theme of international visibility, explaining, What is clear is the type of sounds and artists that are granted visibility on global stages. But when Western audiences and gatekeepers hyperfocus on a singular sound and conflate much of everything else with it, they run the risk of rendering African music a monolith and dismissing the diversity and dominance of other artists and sounds on their own turfs.” This monolithic view of Afropop has continued to exist as we constantly revisit the need to progress beyond boxing music into stringent categories.

 

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As “Essence” rose on the Billboard charts, less than a year after its release – comparatively rapid for an album cut with no international features – a hopeful question emerged on the minds of those on the ground, who’d been hip to the single since its 2020 release. Will this potential hit fall into the trappings of the Western gaze? Will we see “Essence” employ marketing strategies in favor of Western audiences? Ultimately, will our song of the year spread its wings across shores, only to land in search of validation and unnecessary pandering? 

The incessant discussion surrounding the compulsive desire for Afropop to thrive in international spaces through Western cosigning and features is one that we always seem to return to. An important concept to Africa’s most conscious musical ambassadors, Burna Boy – from his vocal discomfort with Coachella’s font use, to his self-acclaimed album title – has championed the challenging of our position in Western perception. Similar was the Beyoncé saga that graced social media after ‘Lion King: The Gift’ album; a self-explanatory case eliciting from its content, feature list, roll out, and more. These, as well as many other instances, order a raging discourse between Africans on the continent and Black people around the world. Yet again, the debate has found a place in our conversations following the announcement of “Essence”’s remix featuring America’s Justin Bieber. 

Reeling off the commercial success that came with the song’s original version, Wizkid and Tems joined forces with the “Peaches” singer on a surprise “Essence” remix shared a week to the eventual ‘Made in Lagos: Deluxe’ release. Introducing JB’s vocals with “I prayed for this moment, I would be by your side,” the addition, which received mixed feelings from fans and listeners, was speculated to be an attempt at a “Despacito” rehap, aiming for a top 5 or even a number 1 on US charts (though new projects from chart juggernaughts, Drake and Kanye seem to have crushed that dream). While contemplating the added value of the remix, the Audiomack Lagos team explains, “Necessary musically, no. For reach, yes. It’s a strategic play that will guarantee chart positioning easily and get listeners. To be quite honest this can encourage someone to listen to the original and be so amazed they probably won’t revisit the remix again, listen to the whole album, or better yet explore the Afrobeats genre.” 

The Scramble for Africa has recently taken a different form. Particularly aiming for the entertainment industry, musicians are now the favoured apostles that have been granted increased global visibility and are now exposed to a divergent take on the music business and commercialisation. A sign of heightened acclaim, crossover collaborations remain heavily contested grounds. Some argue that they are a good thing for the evolution of Afrobeats, as they score good numbers, simultaneously generating opportunities and creating a space for Afrobeats in a global market. Others deride the local artists for pushing out content that will invariably sound less “organic”, as is much of the criticism for “Essence”. Meeting in the middle is where Burna Boy found support, as he told Fader in a 2019 piece, “I care about crossing over, but in the opposite way, I want to come here and cross you over to where I am. You understand? Because where I am is the actual home of the beginning.” 

A more comforting system, perhaps would be for decision-makers and music heads to employ less profit-oriented approaches and instead, make the art form the focal point of the scheme. As Burna implies, the goal is not to crossover, modifying original art forms into some Europeanised versions, but to rather bridge gaps between cultures, whilst prevailing organically. For “Essence”, the newly established benchmark for Afropop success fails in prioritising the organic art form that came with the original song but instead utilised schemes to commercialise the song in form of the JB remix. When we think about Wizkid’s multiple sold-out shows – within minutes – or Tems earning a place on the long-awaited, meticulously crafted ‘Certified Lover Boy’ and how these moves all occurred without the extra push of a Justin Beiber remix, it is clear that success for African artists, and songs, is attainable without a commercialised Wester co-sign. However, that isn’t to deny the JB remix of any impact at all.

Ultimately, profit-making as this move might be, “Essence” continues to clinch further to the top 10, opening a world of success and global growth for Wizkid, but most especially for Tems – and this remix has been an unequivocal catalyst. With this personal gain, the genre as a whole inevitably also bags a win, creating an avenue for artists like Tems, who are springing up with new, riveting music styles that diversify the world of Nigerian music and inspire the world with Nigerian music. 

Featured image credits/NATIVE


Adaobi Ajegbo is a multidisciplinary freelance writer specialising in Music, culture, the arts, social issues surrounding sex and gender, and African creative development.

Hot Takes: Tems on ‘CLB’, Orange Culture, Lukhanyo Mdingi & more

Summer is over. With September around once again, reality began to dawn as schools resume and workers return to the office. Even the weather has given up on being cheerful as we’ve been met with continuous showers and gloomy weather. Asides from this, we’re still in the middle of a deadly pandemic that continues to take change life as we know it. 

On the bright side, vaccines are being made available worldwide, with over 1.5 million people vaccinated in Lagos state alone. As a result, in the city and all around the world, concerts and live experiences are beginning to pop up again the latest of which is the Made In America festival which saw Justin Bieber bring Wizkid on stage. 

Through it all, the wheels of pop culture have continuously spun, and over the past couple of months, the cultural moments that have collectively got us through the tough times have only become wackier and more bizarre with each passing day. Some things fade away quickly while others linger for weeks or months, taking space on our social media timelines and populating every conversation with friends, with the ability to change the shape of mainstream popular culture.

For this week’s Hot Takes, I’ll be taking the reins to work you through some of the most important cultural conversations happening at the moment. We’ll be talking about the aftermath of the release of ‘Certified Lover Boy’ album cover art and the surprise Tems feature on the album. I’ll also be looking into the reactions to the Tega and Boma eviction from BBNaija and more.

What I’m currently listening to

As always, there’s so much music in circulation right now. From the deluxe edition of Wizkid’s Made In Lagos’ to Kanye’s Donda’, there’s quite a lot to keep an eye out for right now and it’s really so easy to miss out on the good stuff if you’re not ears to the ground.  I’m currently hooked on Wizkid’s “Mood,” featuring Buju, who’s on a hook killing spree. This song is a jam and a half in my books. It’s got solid production from P2J and a really enjoyable listening experience from both artists despite the song’s quite explicit lyrics. Everyone actually brought their A-game and it fits right into the groove of the other tracks on the album.

What I’m currently watching

I’m currently watching the long-awaited Netflix original ‘King Of Boys: The Return of the King’. The 7-part sequel, which we finally got after waiting almost 2 years since its acclaimed first feature film. It was absolutely worth the wait. I’m not done watching all 7 episodes but the episodes I’ve seen have certainly been worth the watch. There’s something about the storytelling that just makes you want to keep watching, It’s very engaging and you just don’t want to stop. Costuming was also another very interesting aspect of the movie. It’s kind of like there’s a certain outfit for every mood and they just seem to get it right. Looking forward to finishing this by the weekend.

Summer style trends I’m loving

As NATIVE’s first-ever in-house Creative Assistant, it’s my job to stay on pulse with the latest fashion trends around Africa and the world at large. This summer, so many trends are making their way into the mainstream and many others are going out of style. This week, I’m hooked on the fisherman hat which is sometimes referred to as a bucket hat. I don’t exactly subscribe to the trend but I’m willing to accept some of the cuter styles. The particular style that comes with string dangling from opposite sides has become a regular accessory mostly for a sunny and/or beach day. There are various styles and colours and colours, all you need to do is choose your poison. I’d recommend getting your hands on the Jacquemus Le Bob Artichaut, an amazing find.

Tega and Boma eviction creates Social media uproar

Sunday was the king-size eviction night in the Big Brother House. Four housemates were evicted from the house including Peace, Michael, Tega and Boma. Although 4 housemates left the house, social media was awash with comments about two housemates, in particular: Tega and Boma. Over the past few weeks, both housemates seemed to have gotten conspicuously closer to each other as they engaged in intimate activities that had everyone talking and dissecting each minute detail of their interactions. The controversy stemmed from the fact that Tega was actually married with children outside of the show and was disrespecting her husband by frolicking with a fellow housemate. While I don’t condone infidelity on any scale, I’ve learnt not to take these matters too close to the chest because it’s never really as it seems. Since her eviction, the matter has only worsened as we’ve been given front view seats of her issues with her husband. I wish people would keep their matters off the TL.

Boma has also been stapled as being offensive and harsh to women before his exit. He had been involved in several altercations with fellow female housemates in the house which had him using derogatory and extremely insulting words—he referred to fan favourite Angel as a “mental patient.” With all these, Big Brother fans seemed to be happy that every housemate who had come to verbal blows with Angel had been evicted. 

Big Tems on ‘Certified Lover Boy’ 

Last week, the Internet was in awe when news broke that Nigerian singer Tems would be gracing Drake’s long-awaited LP, ‘Certified Lover Boy.’ This year has really been amazing and rewarding for Tems, mainly on the back of her stunning appearance on “Essence,” helping to power the Wizkid-collaboration into a Billboard-charting song of the summer. Now appearing on arguably the artist of the decade, alongside world-renowned big names such as Jay-Z, Lil Wayne, Kid Cudi, is another undeniable W for the Lagos-based superstar.

Guesting on the 16th track, “Fountains,” Tems received praise for her contribution, however, the song elicited mixed reactions, especially with mentions of similarities to another well-known song by Drake, the Wizkid-featuring “One Dance”. Many people, myself included, couldn’t think of the old hit when listening to “Fountains.” The Tresor co-produced beat and the song’s chill but buoyant vibe brought back a form of nostalgia to the ears. It was like 2014 all over again.

Personally, it wasn’t the sort of collaboration I’d expect from either of these two artists. I found the track to be subpar and a little boring. I was expecting a track that would transcend all odds and be as bigger or even slightly bigger than “Essence,” which is still taking the Billboard charts by storm. Underwhelming in my books but let’s hope that her EP which is slated for release next week capitalises on the current hype she’s enjoying.

The plague of the CLB album cover

Never doubt Drake’s influence, no matter how tacky it may seem. Since the Canadian rapper released his unique and unusual album art last week, the Internet has taken it upon itself to do the most and turn it into a meme worthy of emulating. At every corner of the Internet, you’ll now find the odd brand or two creating their own spin on the album cover and fashioning it into a marketing technique.

So far, I’ve seen brands such as Neutrogena, FanYogo, Call of Duty and many more join the trend. And it’s not hard to see why. Earlier this year, Drake was named the artist of the decade, an honourary title that’s befitting of an artist who’s continuously broken the ether and upped the stakes with each new release. CLB is no different. Within hours of its release, the album was already the most streamed project on Spotify in a single day and all 21 songs featured in the Top 21 on the Apple Music US charts. If that’s not groundbreaking then I’m not sure what is. While I’m certainly tired of seeing the cover replicated on my TL, I can’t exactly fault any brand that chooses to adopt a similar technique, anything in tandem with Drake will succeed so let the people do as they please. We’re going to be witnessing the plague of the CLB cover for months to come.

Orange culture x Sophie Vermeulen create ‘FLOWER BOY’ 

To celebrate the coming together of fashion and art, Lagos-based designer Adeboye Oke Lawal of Orange Culture and Arnhem-based artist Sophie Vermeulen present to you ‘Flower Boy’. ‘Flower Boy’ which is slated to exhibit from now till October is a celebration of androgynous identities. It questions the traditional forms of masculinity that are forced on men in society, making them conform to a certain standard. 

‘Flower Boy’ also links back to the latest SS21 collection by Orange Culture titled ‘Honest’ which represents the relationship between a father and son and the stereotypical ideology of what a traditional man is expected to be like or act like.  It speaks on Freedom to express one’s masculinity in the way they feel and not to always conform to what society says is the norm. 

“I want people to feel connected, I want people to feel a sense of belonging, I want people to see a sense of beauty in letting people be themselves. I want people to celebrate Flower Boy. Flower Boy is me and you and all of us who have been outliers for so long,” Oke Lawal says. Vermeulen also adds that As humans, we are all the same and yet so different. The beauty is in both being the same and different. I hope to show people that if they take some time to look at each other, they will find similarities that they might not have seen in the first place. There’s a place for everyone. No one needs to be, or to feel excluded.”

This powerful duo aims to change the same old ideology on how we all expect the typical man to express their masculinity. All the emotive images from the collaboration will be exhibited at the African Artist Foundation (AAF) from now till October 2nd 2021.

Lukhanyo Mdingi, LVMH prize winner

Lukhanyo Mdingi, a young South African fashion designer, is the creative director of the Lukhanyo Mdingi, a South African fashion brand that launched in 2015. The brand’s aesthetics is an interpretation of a minimalistic approach with a hint of contemporary elegance and sophistication through the clothing. His talent has garnered a lot of recognition, recently being made as one of the 9 finalists of the 8th edition of the Louis Vuitton Moet Hennessy (LVMH) prize for young designers. The finalists will have the opportunity to present their final collection to the jury today, the 7th of September at the Louis Vuitton foundation where the winners of the LVMH prize and Karl Lagerfeld jury prize will be announced. The winner will be awarded a €300,000 cash prize and year-long coaching from experts of the LVMH.

This year, however, three designers have emerged victorious from the competition for the first time ever. Lukhanyo Mdingi is one of the three winners, alongside Kidsuper and Rui Zhou. This will be the second time that a young South African designer will win the award, with womenswear designer, Thebe Magugu winning the same award back in 2019. Speaking on the win, Mdingi shared that “I’m just super-stoked to be sharing this with two amazing designers. I think if you look at Africa as a whole, there are different corners and pockets where there’s such a rich community of textile development and craft makers. We’re fortunate enough to have been able to work with people who have such finesse with what they do, who are based in Burkina Faso, as well as Kenya and South Africa. Being part of that brings a sense of honesty to our label, and I’m incredibly grateful to be in the presence of them.”

 

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SOUNDS FROM THIS SIDE: ASAKAA DRILL

NATIVE Exclusive: Hamzaa Has Come Full Circle

With her powerfully vulnerable lyrics and a soft but commanding voice, UK-based singer Malika Hamzaa has carved a lane for herself in the music industry. Crafting worlds that are equal parts soul and funk, the singer has been behind some of the most confessional, open wound R&B coming out from the UK in the past few years.

Raised on a musical diet featuring the iconic Sade and Seal to the more recent names such as Dolapo, Jorja Smith and Mahalia, the singer adds her own unique twist with her unmistakable voice which she’s been fine-tuning since she was only 9 years old. It’s this breathtaking voice that has become her superpower and her musical identifier, bolstering the 22-year old Kenyan-Zambian singer from homegrown talent to one worthy of global acclaim.

Hamzaa has spent the last couple of years making a name for herself through the self-determined showcase she effortlessly brings to her soulful tracks. From her debut single, “Stranded Love” to her debut EP ‘First Signs of Me’, she always manages to turn her negative feelings into beautiful uplifting records. Whether it’s the powerful “Write It Down” which Hamzaa admits is a big middle finger to anyone who tries to invalidate her or her craft or a warm gospel track about her hometown titled “London”, Hamzaa pays laser focus to her craft, making sure to stay true to herself and message whilst giving herself room to explore new sounds and grow. As Nigerian show host and lead DJ of Beats1 Show, Julie Adenuga articulately described, Hamzaa “knows how to sing emotions that you didn’t even realise you were feeling.”

 

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A post shared by HAMZAA (@realhamzaa)

Last Friday, the singer invited listeners further into her expanding world with the release of her third EP ‘Full Circle‘, a 7-track tape that marks new territory for the singer as she delivers her most well-rounded, fully-formed, genre-defying work to date. Here, she delves into themes of mental health, growth, becoming, self-acceptance and more, as she boldly bares out her art and inches further towards the powerhouse she is capable of becoming.

While ‘Full Circle’ is her third EP in the past three years, the singer promises that it’s her most honest effort. She admits that after the seismic change of the past year, she found herself with more things to say and more lessons to share and express with her growing audience. As a result of this, her debut album, which she shares is already in the works will reveal to listeners even further about her inner workings and anxieties. However, for now, Hamzaa is more than happy to focus solely on making music that sees women like her at their most base emotions. In a conversation with the NATIVE, the singer discusses the growth of her career thus far, as well as her creative process behind earlier projects and her most recent release.

The chat, which follows below, has been lightly edited for clarity.

NATIVE: Tell us a bit more about your journey starting music? 

HAMZAA: It was quite natural I’d say. I spent time making music as a hobby. It was very much me, myself, and I, just figuring things out what I liked and what I didn’t like, and then it turned into a thing of wow, people actually like the music I make”. Music is usually a career, hobby or you and your friends messing around and going to the studio. The team I had at the time started pushing me to get a record deal and after a while, it felt natural. It was almost like a no-brainer at that point. 

NATIVE: Did you ever feel any sort of push back to start? I know you mentioned it not being the tradition or path. 

HAMZAA: I mean, at the time I had left to go to boarding school. I went to a private school here in England and I dropped out a year early. At the time I wasn’t doing much, I was just working. It was almost like “oh! Finally something productive, something I could dedicate myself to, my time, my energy”

NATIVE: Do you remember the first song you recorded? 

HAMZAA: The first song I recorded ever or when I started taking music seriously? 

NATIVE: We can do both. 

HAMZAA: So, I think I was around 7 years, and I was singing on this gospel album. It’s a 7-day Adventis church my uncle is part of and they were recording a CD of gospel songs and I had a little solo there.

NATIVE: So you came from a musical family then? 

HAMZAA: I mean, somewhat. I wouldn’t even call it a musical family. I feel like I just got some bits and parts of people that were around me or people that were involved with music, drama, or some kind of performing arts. My mum used to be a dancer as well. For the first time, I did music properly, it was during my first proper studio session for “Breathing”

NATIVE: Ok, tell me about that. How was that?

HAMZAA: Because I’ve never been in the studio, I’m in front of the producer and he was playing me the instrumental he thought I might like. I was like “ugh I don’t know about this one”, and I said “okay, but I’m not sure” then he said “just try it, I feel like you can do something crazy on it” and then I started writing “Breathing”. I remember after I finished writing, it was an emotional moment in the studio. It was beautiful. So, that kinda came about and from that point on was when I started paying more industry attention. When people heard that song, they were like “OKAY!!”

NATIVE: Who are some of your musical inspirations? 

HAMZAA: It’s funny because at the moment and in general, I find myself listening to music that isn’t even English. Right now, I love Amapiano and it’s somehow influencing my music even.  

 

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NATIVE: How would you say you’ve grown as an artist since your debut EP?

HAMZAA: So as an artist, this is gonna be the third EP that I’m releasing and I think we’ve just been able to evolve, change and recreate ourselves as much as we want. My mind runs a million seconds per hour on different things and I just think it’s only right to reflect that in my music in terms of the era, genre, style and branding. I just think artists like myself that are up and coming should be afforded that opportunity to grow and explore and not box ourselves in a cage.

NATIVE: I totally agree. I also read that you write your own lyrics. What inspires you to be that vulnerable in your music?

HAMZAA: I just think that’s how it should be. I wouldn’t want to write about stuff that isn’t true to me. You’d have to be singing that every day on stage, you have to promote it and you have to do live sessions. Imagine singing lyrics that mean nothing to you, that will be so draining. It’s almost like I get to use my lyrics as an opportunity to let go of certain things sometimes. 

NATIVE: It sounds like you have a lot of self-belief. What would you say is the secret ingredient to just betting on yourself and your abilities?

HAMZAA: I feel like it comes with the element of delusion. I’m saying that because you have to believe you’re the best before anyone else can. Even if you don’t, you’ve got to have an element of delusion. Even if you aren’t and you want to get better, you start from yourself. I listen back to my demos and I’m like “wow this is the hardest sh*t I have heard in my life, I’m actually cold. I’m good at what I do.” Anything that we do has to exceed and go beyond that every time and that is how you get to the place of self-belief. There are days that I feel like people aren’t listening, people aren’t paying attention and then I get in a hole about it. Then I have to remember that I’m hard and that I’m the hardest. 

NATIVE: Why did you name your EP ‘Full Circle’? Is it symbolic in any way? 

HAMZAA: I’d be honest, I’ve been wanting to change the name about three times but we had already put everything in place so ‘Full Circle’ stuck. The meaning of ‘Full Circle’ is you know when you are in the moment something happens and it comes around full circle like a new dawn or a new beginning of something. But then again a full circle is complete. There was a time I wasn’t releasing music for a year and a half and now we’ve completed the circle. I’m back again. I’m putting out music again. There are so many different types of meanings. It’s ambiguous so it’s open up to interpretation I would say.

NATIVE: How was the process of putting the EP together?

HAMZAA: It was actually quite easy because I was working with Kofi, he is a writer and another producer. It was a very tight-knit work experience. For me, putting the EP together was easy because I’ve had a lot to say already, it was just about how I was gonna say it and what part of what I’m feeling do I want to talk about right now. Do I wanna save stuff for later or are we doing this? Sometimes, making music isn’t comfortable. You have to put out a lot of stuff that you might not even want to be pulling out but I felt very comfortable in the space I was in when I made the EP.

NATIVE: What does the rest of the year hold for you? I mean with the world slowly starting to open back up, are you going to do live shows for ‘Full Circle’?

HAMZAA: Hopefully, that’s the plan. That’s the goal for us, to get to places where I can do so many live shows. So I’m praying and I’m hoping we can get there. 

Stream ‘Full Circle’ below. 

[Featured Image Credits/Hamzaa]


ICYMI: Fresh Meat: Best New Artists(August, 2021)


Written by Nwanneamaka Igwe and Tami Makinde

What’s Going On: Military Coup in Guinea, worsening crisis in Ethiopia’s Tigray & more

“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. 


Military arrests presidents and seizes power in Guinea

On Sunday evening, a group of Guinean soldiers appeared on the country’s national broadcast station to announce that they had successfully ousted president Alpha Conde and had assumed government duties in the West African nation. Earlier that day, there was sustained gunfire at the presidential palace in the capital city of Conakry, ostensibly a fight between the coup plotters and forces loyal to the former president. Countering the TV appearances of the mutineers, the national defence ministry put out a statement claiming that the coup attempt had been quelled, but subsequent development shows that the military junta has now seized power.

The United Nations, African Union, and several countries including Nigeria have condemned the coup, with ECOWAS even threatening to impose sanctions on the country if Conde’s presidency isn’t restored. These reactions are a stark opposite to the reported mood of Guinean citizens, who took to the streets in celebration of the successful coup which removed an increasingly unpopular leader. Last October, Conde won a third term in office after a controversial change to the constitution earlier in the year. In 2010, he entered office through the first democratic election in Guinea since its independence from France in 1958, however, he grew authoritarian in his decade as president.

Prior to Conde’s entry into office, Guinea endured four decades of political instability, marked by brutal military rule which greatly oppressed its citizens—as exemplified by the infamous massacre of September 2009. In his time in office, Conde made positive economic strides, bolstered by the country’s bauxite (used in manufacture of aluminium) and iron ore deposits, but it was negated by rampant accusations of human rights violations aimed at dissenters, as well as corruption and gross mismanagement of public funds that has left over half of its near 13 million citizens in poverty. His re-entry into office for the third term, under dubious means, sparked several violent protests last year and has seemingly culminated in the coup that has disgracefully ousted him.

“If the people are crushed by their elites, it is up to the army to give the people their freedom,” Lt. Col. Mamadi Doumbouya, special forces commander and former French Legionnaire, said in his Sunday night address. The junta announced that, in addition to taking over the presidency, it had taken over regional governments and dissolved the country’s constitution. It also announced its commitment to a new constitution that would be more inclusive, and a return to civilian leadership in the near future. Ministers were invited to a mandatory meeting on Monday morning, all of whom were stripped of their posts and told not to leave the country. The new military government has said that it wouldn’t persecute any former officer holders, stating that Conde was in a safe location and had access to his doctors, while claiming that its priority was setting Guinea on the right path.

So far, the Doumbouya-led regime has said all the right things to the people of Guinea, but juntas are infamously deceitful, many times providing false hopes and revealing a brutal face as things go on. Speaking to the BBC, Mamoudou Nagnalen Barry, a founding member of the opposition party, National Front for the Defence of the Constitution (FNDC), expressed mixed emotions on the coup but mostly welcomed it. He hoped that the military would return power to Guinean civilians, citing Conde’s seeming thirst to remain in office forever as a catalyst for the coup.

UN predicts Ethiopia’s Tigray crisis to worsen

In the last ten months and counting, the Ethiopian government, under the leadership of Prime Minister Ahmed Abiy, has been persecuting people living in Tigray, the country’s northernmost region bordering Eritrea. The conflict is culmination of Abiy’s federal government and the former ruling (turned opposition) party, Tigray People’s Liberation Front, a political faceoff that has now devolved into a bloody affair.

After a few months of media blackout, gory and heart-breaking details began to filter through, revealing the extent of the situation. Reading through several reports points towards an ongoing genocide and ethnic cleansing, and it’s been pretty much confirmed by Abiy himself. “The situation in Tigray, Ethiopia, is, if I use one word, horrific. Very horrific,” World Health Organization Director-General Tedros Adhanom Ghebreyesus said back in May. Today, it isn’t less horrific and there’s still uncertainty as to when it will end. Just last Thursday, the United Nations warned that the humanitarian crisis is set to “worsen dramatically,” a sinister prediction based on debilitating aid situation in the region.

“Stocks of relief aid, cash and fuel are running very low or are completely depleted. Food stocks already ran out on 20 August,” UN acting humanitarian coordinator for Ethiopia, Grant Leaity, said in a statement. His statement also alleges that Abiy’s government has consistently restricted the entrance of relief aid into Tigray, claiming that the access route via the Afar region has been blocked since August 22nd. Both Ethiopian troops and Tigrayan counter troops have also been accused of stealing aid items by the USAID mission in Addis Ababa, further reducing the already inadequate amount of relief material.

With thousands reportedly dead, gruesome sexual assault reports, displacements of Tigrayans from their homes, some seeking asylum and others living in concentration camps amidst the coronavirus pandemic, it appears the Abiy-led government is pulling out all the typical genocidal stops. Blocking the entrance of aid is common and appalling tactic used to induce starvation in order to ensure the opposition surrenders. All of this is made even more heart-wrenching and disgusting by the fact that Abiy won a Nobel Peace prize not too long ago, but here he is, leading the charge in a ghastly humanitarian crisis.

His administration has since refuted any claims that there’s been any blocking of aid, stating that the number of checkpoints have been reduced from seven to three. It’s difficult to believe, with all of the heinous crimes being committed, which, sadly but expectedly, involves the killing of aid workers—23 of those deaths have been recorded since the conflict began.

Nigerian government shuts down mobile network services in Zamfara state

Last Friday, the Executive Vice Chairman of the Nigerian Communications Commision (NCC), Professor Umar Danbatta, signed a memo addressed to local telecom operators, directing them to shut down mobile network services across Zamfara state. Acting under instructions from the Federal Government, the NCC directive is apparently a combative measure against the incessant kidnapping and banditry that is increasingly plaguing the North-western state.

“The pervading security situation in Zamfara State has necessitated an immediate shut down of all telecom services in the state from today, September 3, 2021,” the memo partly reads. “This is to enable relevant security agencies to carry out required activities towards addressing the security challenges in the state. In line with this requirement, you are hereby directed to shut down all sites in Zamfara State and any site(s) in neighbouring states that could provide telecommunications service in Zamfara State. The site shutdown is for two weeks (September 03-17, 2021) in the first instance. Your urgent action in this regard is required.”

Local telecom operators have since adhered to the directive, shutting down operations across 248 base stations that give subscribers access to mobile network services. According to data from the National Bureau of Statistics (NBS), Zamfara state has well over 2.17 million active network users, with 1.59 million being internet users. The directive means that none of these lines have been cut off from any form of digital connections for the next two weeks at the very least. Six months after declaring the state as a no-fly zone, the Buhari-led FG has defended its latest move by alleging that mobile networks are being used to aid bandit-related activities, with claims that they are tools for consistently informing perpetrators of security measures and real time counter-attacks by security operatives.

It is expected that this directive will affect mobile network users in the neighbouring states of Kebbi, Sokoto, Kaduna, Niger and Katsina, in order to facilitate total blackout of all the cell towers in Zamfara state. Toting its ever trusty reason of national security, the FG has given a plausible cause, but in an advanced world where digital means are of great use to cracking down on crime, it’s not exactly the sort of move that inspires confidence from citizens hoping for an end to the consistently escalating insecurity issues across the countries.

In addition to restricting residents of Zamfara state from connecting with friends and family both within and beyond the state boundaries, the temporary shutdown will render emergency lines useless and make it difficult for media reporting on developments within this 2-week period. There are already sentiments that this directive plays into this administration’s seeming assault on connectivity and (social) media freedom, with some seeing it as a test-run that will fit into the obsession with regulating internet use, and might even serve as precedent for a nationwide digital blackout one day.

In immediate terms, though, what matters most is the FG putting a permanent stop to insecurity. Individuals and groups like the Northern Elders’ Forum have urged the government to go beyond bans to deal with these issues. Meanwhile, controversial Islamic cleric Sheikh Gumi has stated that armed bandits will remain until the Nigerian government provides them with blanket amnesty. So far, the statement has proven incensing, especially since there have been reports of bandits and former member of terrorist groups being “forgiven” without any prosecution—a recent investigative report by The New Humanitarian alleges that the FG is already taking care of Boko Haram defectors.

More of the same under Tanzania’s new president (?)

In late July, Tanzanian police arrested Freeman Mbowe, chairman of the opposition Chadema party, along with several other senior Chadema officials. The arrests were made during a night-time raid, hours before they were scheduled to hold a public forum in the port city of Mwanxa to demand constitutional reforms. Over a month later, Mbowe appeared at a high court in Dar-es-Salaam to face charges on terrorism financing and conspiracy. These charges have since been denounced by Chadema and Mbowe supporters as a politically-motivated move, mirroring the tactics employed by former president John Mafuguli who passed away earlier this year.

Samia Suluhu Hassan took over the remainder of Mafuguli’s second term 5-year tenure, making history as Tanzania’s first female president. It was hoped that her entrance in to office would usher in a change to Mafuguli’s bulldozer approach to opposition voices, and perhaps even bring in significant constitutional changes, but it appears to be more of the same under the new president. Mbowe’s arrest and charging to court is being criticised as a move that undermines the country’s democracy, and it doesn’t look like the Hassan-led administration is letting up any time soon.

Last week, Chadema stated that nine party members were arrested and its offices in northern lakeside town of Musoma were raided by the police, in order to block a planned symposium on constitutional reform by the party’s youth wing. Speaking to local media about the arrests, police chief in the region said the force could not allow such events to take place. “The president has instructed that the people should now focus on economic development… so such conferences will have to wait,” he said. Chadema has said this recent crackdown reflects a deepening slide into dictatorship, accusing the government of meddling in Mbowe’s case and asking the court to throw the case out.

From reports, Samia Hassan hasn’t done much to separate herself from her predecessor, and press freedom is even under threat during her leadership. Just last week, a second newspaper publication was suspended for the second month running, for “repeatedly publishing false information and deliberate incitement,” a blanket reason that hardens her administration’s stance on public dissent.

[Featured Image Credits: Web/BBC]


@dennisadepeter is a staff writer at the NATIVE.


ICYMI: THE SIGNIFICANCE OF HAKAINDE HICHILEMA AS ZAMBIA’S NEW PRESIDENT

Songs Of The Day: New Music From Wani, Buju, Moonchild Sanelly & More

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. That’s where our Songs of the Day column comes in. We try to keep our fingers on the pulse of music from across the continent and beyond, bringing you exciting songs from talented musicians who are continuously trying to bounds of artistry with their music.

Song of the day is perfect for everyone who is a pioneer in developing their sound and taste. A tweak here and there in your library is always needed and encouraged. While expanding your music horizons, be that friend that puts others, so they can possess the soundtrack to your mind whilst elevating theirs. Last week, we had songs from Bella Shmurda, Bella Alubo, Wizkid, Blaqbonez & more. Today’s column brings you music from Johnny Drille, Styl Plus, Tems, Adekunle Gold, Cheque, Ria Sean and more. Enjoy.

Wani – Times Two ft. Buju

About a month ago, Wani released his first official single of the year, “Times Two” featuring Buju. This track which happens to be the lead single off his forthcoming EP ‘Lagos City Vice II’, mainly finds both artists speaking on their different perspectives of love and money on the Higo-produced mid-tempo track, having them both displaying great synergy. To further promote the track, Wani and Buju have teamed up to release visuals to the track. The Onari-directed video which properly amplifies the song finds the pair at different scenes including a party scene, with women all over. Dancing and having a good time.

Johnny Drille – “Odo” ft. Styl Plus

Over the weekend, Johnny Drille released his debut album ‘Before We Fell Asleep’, a 14 track LP with features from Ayra Starr, Styl Plus, Ladipoe, and record label boss, Don Jazzy.  On standout track “Odo”, the singer features 1/3 of the former leading pop group, Styl Plus. The track finds the artists confessing love to their respective muses. Both artists deliver a stellar performance over the euphonious production of the self-produced track with memorable romantic lyrics such as “For the rest of my life girl I need you, I go fit die for your love”

Show Dem Camp – “Tycoon” ft. MOJO

Nigerian rap duo, Tec and Ghost of Show Dem Camp have spent the past decade establishing themselves as some of the fiercest lyricists on this side of the shore. Off the back of the fifth installment of the ‘Clone Wars’ series, the pair are now expanding the world around their new tape with video treatments. Their latest release is the vibrant new video for “Tycoon”, the gritty boastful number featuring Trybe alum, MOJO and Rap OG, Remininsce. The befitting video finds the pair cruising down the streets of Lagos while performing their verses, the pair seem to be high on life till they dip into the underworld run by Remininsce and his goons.

Moonchild Sanelly – “Undumpable”

South African Queen of Vibes, Moonchild Sanelly might be many things but she’s definitely not one to messed about and played with. Her new single “Undumpable” is a catchy anthemic number that finds the singer declaring her ‘undumpable’ status and expressing her confidence at always holding the upper hand. In the accompanying music video, the singer can be seen performing unabashedly in a range of daring scenes including a live dirt wheeling scene.

Adekunle Gold – “High” ft. Davido

Since the release of ‘Afropop Vol.1’, Adekunle Gold has continuously showcased his growing versatility as an artist. Over the past few months, the singer has begun rolling out promotional singles for his new EP including the Lucky Daye-assisted “Sinner” and “It Is What It Is.

Each new release has been oozing with confidence for what’s to come which is why his new tracks are met with similar levels of excitement. For his latest release, he teams up with Davido to deliver the Amapiano infused track, “High.” On the Pheelz-produced track, both artists are found singing over the fast-paced beat, expressing their desire to be high and happy as “Me I just want to be high, be high” Adekunle Gold quips on the chorus.

Cheque – “LOML” ft. Olamide

For his second official release of the year, Cheque collaborates with Olamide to deliver a groovy mid-tempo track titled “LOML.” The romantic number finds both artists serenading their respective with clear-cut delivery and conviction as they declare their affections over the bouncy production of the track. On the track’s chorus, Cheque sings “You be light for my life, no be lie at all/You give me love wey me never feel before”. Who better than Olamide to bare out his soul for a romantic partner. We’re loving this new beat.

Ria Sean – Satisfy My Soul

Today, Afropop boasts of several female stars holding their own and making music that makes listeners feel seen. Earlier this year, Aristokrat’s new secret weapon made her official debut on the scene with a major label backing. There were a string of promotional releases including “Lemonade” and “Money Bag.” 

Sustaining this momentum, for her debut EP, Ria Sean delivers ‘Fluid’, a 6-tracker that finds the artist speaking on is making money, self-worth, and more. On this track, she delivers a stellar performance and showcases her sweet-sounding voice with rapid enthusiasm. Over the hook, she sings “give me love, give me everything I need/boy, satisfy my soul,” pleading with a lover to meet her needs.

4Runna – “Say” ft LT

For his second official release of the year, rap artist 4runna is here with his new LT-assisted single “Say”. This song basically finds the artist expressing tiredness and lack of interest in what people may be saying or what they have to say. LT takes charge of the song as he delivers the chorus of the track, “I’m sick and tired of hearing them say say wetin, dem say dem no say” he sings on the hook. 4runna comes in shortly and takes charge of his comeback.

Zealot – “Jeje” ft. 9ice

Singer, songwriter and performer Zealot releases his new debut EP ‘Never Left’, a 6-tracker that finds the artist resonating on matters such as love, romance, relations and more. On the 9ice-assisted track, both artists talk about struggles they face in life with each passing day in their country. While they may be under increased strain, they resolve to taking it easy and staying head of the BS: “Shey jeje ma lo, to n ba ni ko sun jo, sun fun won.”

Featured image credits/Instagram


ICYMI: Vigro Deep Wants To Make Music For The World

4 Takeaways from Johnny Drille’s Debut Album ‘Before We Fall Asleep’

Nigerian singer/songwriter John Ighodaro, popularly known as Johnny Drille like a lot of his peers in the industry began their career off in a church, playing instruments and singing for the choir. After appearing on a popular talent show, Project Fame West Africa in 2013, his career began its build-up, despite the singer not emerging as his season’s winner. It was clear that a star was born.

Shortly after, in 2015, he performed a cover of Di’Ja’s “Awww” and caught the attention of Mavins head honcho, Don Jazzy who later penned a record deal with the talented sweet-voiced singer. In the same year, Johnny Drille also snagged a Best Alternative Song nomination at the Headies for his debut single “Wait For Me”. His accolades have only continued to grow over the years, recognising his hard work and determination to carve a lane for himself in the music industry. This year, he has maintained a steady pace of single releases from “Start All Over” featuring fellow Project Fame contestant and Queen of AfroHouse, Niniola to the Simi-assisted “Halleluya.”

For his debut album, ‘Before We Fall Asleep’, Johnny has revealed yet another layer to his budding artistry. Here. he delivers his distinctively sonorous vocals over 14-tracks with stellar production to deliver an ace R&B showcase with an Afropop twist. He features a spate of talented collaborators including fellow Mavins starlet Ayra Starr to our song of the summer favourite, Ladipoe and the nostalgia-inducing boy group, Styl-Plus. It is evident that Johnny put his all into the project. The singer also shared a heartfelt message via Instagram stating: “I’ve waited forever to be able to share this piece of me with you and I’m ready. A part of me is hoping that you are but the other knows that you’re not ready for what’s coming. This is going to be THE album, OUR album. I promise you that”. Unquestionably for a debut album, this project is bound to make lasting impressions on its listeners.

 

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Below are my four takeaways while listening to this project:

Johnny is all about love!

If we’re being honest, any long-time listeners of Johnny Drille know that the man never shies away from the topics pertaining to love and affection. It’s been that way since his debut single “Wait For Me” where he expresses his love and commitment to a love interest, beckoning on her to wait patiently for his return. In ‘Before We Fall Asleep’, Johnny carries on this same trope, delivering more love numbers from the melodious slow tempo album intro “MY KIND OF BROWN” where he reminds his muse that she is all that and she shouldn’t let anyone tell her others, to the pre-released promotional track “Loving is Harder” produced by Wilson Muzic.

However, he doesn’t shy away from political issues

The album is evidently laced with romantic cuts but it is also nice to see the singer discuss issues of political and socio-cultural relevance to the Nigerian community. On the EP, he widens the depth of his lyrics, talking about the unfulfilled promises of our political leaders and the state of our economy on the number titled “LIES (To Whom It May Concern)”. To assist his stellar performance, baritone voice monologues were included in the beginning and towards the end of the track, as well as surprising rock/heavy metal vocal and instrumentals. This tailored perfectly to the message of rage and frustration all Nigerians feel towards the state of the country at the moment.

A true beatsmith

To no surprise at all, Johnny is not only a master at vocals but also at production. The majority of producer credits on the project are attributed to him. As we hear in the stellar tracks on the project, each song was meticulously crafted from the lyrics down to its beat and vibe of the song. Each track provided a new listening experience with instrumentals that were weaved seamlessly alongside the lyrics and message. From “Ludo”, “Ova” and “Driving In the rain” to “Sell My Soul”, “BEFORE I LET GO” and “Clocks”, all were single-handedly produced by Johnny. When he does get help from some talented beatmsiths, he pulls from a wide selection of hitmakers including Burssbrain on the infectious “Lost In The Rhythm” and London for “In The Light”

It’s all about Mavins!

Being signed to one of Africa’s biggest musical conglomerates has to come with its perks. ‘Before We Fall Asleep’ also featured not only our favourite celestial being, Ayra Starr but also the talent hunter and CEO for Mavins Records, Don Jazzy. “Ova” is a mid-tempo number with Johnny singing over a rhythmic beat to a love interesting as he begs her for a second chance. Don Jazzy comes in towards the end of the track delivering sagely words fitting for someone with years of his experience. It’s clear that when one artist at Mavins succeeds, they all seem to get carried along.

Featured Image Credits/ Instagram.

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


ICYMI: A 1-Listen Review for Zamir’s EP ‘FLOWERBOI4000’

BOJ Brings His Album One Step Closer With His First Headline Show In London

It’s been long since we last received a BOJ album and anticipation has been rife for its follow-up. The singer finally satisfied his loyal following when he officially announced the release of his third LP which is slated for release next month. Over the past few months, he’s unveiled the world around the project with the release of singles including “Emotions” and the Amaarae and Zamir-assisted “Money and Laughter.” 

Now, BOJ is bringing the album one step closer by hosting his first-ever headline show in London. Scheduled to take place in the Waiting Room, the alté singer returns to the stage after a past year lost to the COVID-19 pandemic.  The show will be taking place on the 8th of September and will also feature specially curated sets from a spate of talented artists including Chloe Knows, JRMY, Tomi Agape and NATIVE Sound System.

The event promises to be a special one full of special surprises from the singer and his opening acts. A welcome return after months of consuming music indoors due to the socially distancing requirements, we certainly hope this will be the singer’s first of many live events as the music calendar gets busier.

Featured image credits/TheLinkUp


ICYMI: DEELA is unafraid to speak her mind

NATIVE Premiere: Tim Lyre’s “Real” is a Lagos love story

Nigerian singer and rapper, Tim Lyre has been an invaluable force in the music industry. Over the past few years, the Lagos-based artist has continuously delivered a subtle blend of Afro-influenced music that spans other genres such as R&B, Afropop, Hip-Hop/Rap and more. 

Following the release of his EP ‘Senpai’ last year, the artist has now released the first promotional track from his upcoming debut album ‘Worry <.’ The new track titled “Real” is a mid-tempo romantic number that finds the artist reassuring his muse of the seriousness of their romantic relationship despite her growing feelings of jealousy. 

 

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Today, the singer further updates “Real” with a befitting music video directed by Mr Shua. The newly released video captures the song’s amorous lyrics which are accentuated with delectable wind instrumentals, heavy drum patterns and a guitar assist.

The video captures the artist at familiar locations around Lagos including the National Stadium. As Tim Lyre takes us through different parts of the city with his muse, he’s simultaneously performing the lyrics for his woman who he tries to reassure of his affection. With “Real”, Tim Lyre continues to prove his ability to tap into a startingly modern take on the R&B coming out of Nigeria.

Get an exclusive first look at Tim Lyre’s “Real” below. 

Featured image credits/TimLyre


ICYMI: Vigro Deep Wants to Make Music For The World

Sounds From This Side: Street Pop

Over the past decade, the soundscapes from Africa have continued to enjoy increasing momentum. Africa to the world has become a popular rallying cry by the continent’s best talents whose works have been amplified on the global stage in almost every mother tongue imaginable.

Right on our very doorsteps, we continue to witness the birth, adoption and evolution of the continent’s hottest emerging sounds. From Johannesburg in the South to West Africa’s most exciting cities of Kumasi and Agege, here are the sounds permeating global tastes.

Fulfilling our mission of championing the sounds of tomorrow: today, the NATIVE’s August Digital cover story surveys the burgeoning sound on the streets tracing from its rise from Lagos city’s grittiest neighborhoods from Agege to Okokomaiko to Akoka.

For Afropop to survive, the streets had to take over. Thanks to the new generation front runners yet another reiteration of the genre, Bella Shmurda, Zinoleesky and the architect of the sound, Rexxie, Street Pop not only remains relevant, the sound, once undermined, is now dominant.

Full Credits:

Editor-In-Chief: Seni Saraki
Managing Editor: Tami Makinde
Writers: Dennis Ade-Peter and Wale Oloworekende
Creative Assistant: Ada Nwakor
Editorial Assistant: Wonu Osikoya
Editorial Interns: Mooreoluwa Wright, Judith Icha, Nwanneamaka Igwe and Bolakale Ogboye

Photography: Demola Mako and Ifebusola Oluwafunmilayo
Cover design: Adeshina Ladipo and AbdulRahman Dawodu
Collage design: Chukwuka Nwobi
Lighting: Victor Gideon
Production Manager: Adedamola Adetunji
Set Assistant: Nwanneamaka Igwe and Judith Icha
Styling: Demola Mako
Designers: WafflesNCream, Poserboy, Rë Lagos, David Blackmoore, and Gëto World
BTS Video: Dante Karibi-Whyte and Ayo Odunsi
Location: Fluid Locations

Explore the world map and read the full interview here.

Image credits: Demola Mako

Sounds From This Side: Amapiano

Over the past couple of years, a new sound has emerged from South Africa’s busiest townships. The genre-mashing sound which borrows from other homegrown sounds has evolved from the depths of the underground to become a mainstream disruptor in today’s global world.

Initially surfacing back in 2012, the genre was a commingling of different sounds, borrowing heavy influences from deep house, jazz and lounge music and characterised by charming synths, airy pads and wide percussive basslines. Despite rising from the townships, Amapiano continues to influence global tastes thanks to the likes of the genre’s frontrunners including Kazba de Small & DJ Maphorisa, De Mthuda, MFR Souls, Vigro Deep and more. 

Fulfilling our mission of championing the sounds of tomorrow: today, the NATIVE’s August Digital cover story surveys the heavy and substantial sound of Amapiano, its growth over the years and the adoption of the sound all over the world. South Africa’s Amapiano has fiercely snagged the title of Africa’s most influential sound and the growth of the sound continues to remain relevant all over the continent.

Full Credits:

Editor-In-Chief: Seni Saraki

Managing Editor: Tami Makinde

Senior Editor: Adewojumi Aderemi
Cover design: AbdulRahman Dawodu
Collage design: Chukwuka Nwobi

Photographer/Writer: Setumo-Thebe Mohlomi
Art Director: Thembisa Kotobe
Lighting: Themba Vilakazi
Director: Loyiso Mzamane
Stylist: Sibusiso Yanta
Make-up: Mbalenhle Guma
Producer: Ntombi Mabuza
Set Assistants: Wandili Mniki and Palesa Bogopa

Explore the world map and read the full story here.

Image credits: Setumo-Thebe Mohlomi

Sounds From This Side: Asakaa Drill

Over the past decade, the soundscapes from Africa have continued to enjoy increasing momentum. Africa to the world has become a popular rallying cry by the continent’s best talents whose works have been amplified on the global stage in almost every mother tongue imaginable.

Right on our very doorsteps, we continue to witness the birth, adoption and evolution of the continent’s hottest emerging sounds which continue to penetrate our global tastes in a post-digital world. From Johannesburg in the South to West Africa’s most exciting cities of Kumasi and Agege.

Fulfilling our mission of championing the sounds of tomorrow: today, the NATIVE’s August Digital cover story outlines the rise and rise of Drill music being made in Ghana, specifically out of Kumasi. Across the continent, more and more ambitious young rappers have been adopting the sonic ticks of the Rap subgenre, none more visible than the formidable sect from the capital city of the Ashanti region. Spearheaded by teen breakout star Yaw Tog and the expansive Life Living crew, Kumasi Drill has captured the hearts of its immediate listeners while traveling beyond local borders. The present is bright, but the future is much, much brighter for Kumasi Drill. Here’s the story of one of the most thrilling sounds in Urban African music.

Full Credits:

Editor-In-Chief: Seni Saraki 

Managing Editor: Tami Makinde

Lead Editor: Damilola Animashaun

Writer: Sarah Osei 

Creative Assistant: Ada Nwakor

Editorial Assistant: Wonu Osikoya

Editorial Interns: Mooreoluwa Wright, Nwanneamaka Igwe, Bolakale Ogboye

Photographer: Fiifi Abban 

Creative Producer: Ekow Barnes 

Production Manager: Prince Suasie

Stylist: Shadrach Stone 

Co- Stylist:  Emmanuel Affedzie 

Designers: Studio Kojokusi, GHANA TO THE WORLD

Hair/MUA: Judah Odei 

Director:  Maxwell Adjavon

DOP:  Kwesi Botchway 

Co-DOP: Kofï Sarpong 

Edit: Kwesi Botchway 

Colour: Fiifi Asiamah Kusi 

Check out our world map and read the cover story here.

Image credits: Fifi Abban