The Rise & Rise Of Wizkid and Tems’ Crossover Hit “Essence”

Posted on by The Native

All these months on, it is hard to identify the exact moment when “Essence” became an ubiquitous presence among listeners. Maybe it was somewhere in the heady giddiness of socially distanced raves at the tail-end of last year, as bodies pressed against one another after a year of isolation and social reckoning. Or more accurately, the guileless belief in the early days of this year that 2021 was going to put a pause on the awkwardness of the pandemic as we tried to get back on with regularly scheduled programming.

But heading away from the first quarter of 2021, it was clear that the Tems-featuring standout from Wizkid’s Made In Lagos had become the album’s lodestar, receiving regular airplay across the world and angling itself for the much-vaunted “Song of the Summer” crown. The groundbreaking success of “Essence” was canonically recognised in the United States late last month, when it charted on the Billboard Hot 100 chart, receiving due recognition as one of the most popular songs in the world’s largest music market. (Currently at No. 54 on that chart, its highest position yet.)

Where all of that has led is another cultural moment engineered by Wizkid, with a remix of “Essence” featuring American Pop superstar Justin Bieber coming out earlier today. While the Internet has gone into overdrive, The NATIVE newsroom has also been milling with thoughts and opinions about the remix of what Bieber described as the song of the summer. Questions have been raised about if a Bieber stimulus package was even needed, to whether anyone expected “Essence” to take off as it did. What started as casual conversation eventually evolved into a roundtable conversation that we hope you enjoy below!

Did you expect “Essence” to become the international hit song off Made in Lagos, and why did you think it grew to that stature?

Woju: Absolutely not. I love Tems and I was very excited for this collaboration, but I also did not think it was a high flyer on the album until I started noticing all the buzz around it. I would have thought “Ginger” would become the international hit, given both Wizkid and Burna Boy’s standing — but clearly Tems is moving into that space fast. The success of this song is and this remix are the first signs of an international breakout on the horizon for Tems.

Tami: I actually didn’t expect “Essence” to be the song that would catch on the most from ‘Made In Lagos’. Not because it didn’t have the potential for the leaps its currently making – and will make over the next couple of months – but because as an album ‘Made In Lagos’ was so solid, it could easily have been “True Love” or “Sweet One” or even “Blessed” that could be enjoying this exact same moment. Despite this, I’m really glad it happened to be the Tems-assisted single that has currently grown to this stature because she’s one of three female features on the album and it’s pleasing to see her enjoy this long-awaited moment. The oil is overflowing.

Dennis: Nah. I thought it’d be “True Love,” not because I thought it was the best song on the album, more for the immediate hype. Also, it had that evident Caribbean Pop feel to it, which I felt would carry over to foreign audiences. Still, “Essence” makes for a great ‘global hit’, and anything with Tems on it has my unbridled enthusiasm.

Wonu: I say this all the time; “Essence” was not ‘that’ song. ‘Made In Lagos’ is too good of an album to even know what song would have been that hit song but even at that, I still did not see Essence actually being that hit song. I mean look how long it took before it actually stuck? I thought it would have been “True Love” or maybe “Blessed”.

Shina: Honestly didn’t think “Essence” will be the song that’ll go off internationally. Was thinking “Blessed” and maybe “True Love” but you never know with these things. On why it blew up, I’ll say it was a matter of “Essence” being out as a single at the right time. Summer was fast approaching when the song dropped and it was easier for people to gravitate towards the song during this period and yes Tems delivered almost sounding like a beacon to new listeners. And lastly, there’s just something about screaming, ‘you don’t need no other body’ on your fourth cup of mojito at a function

Damilola: I definitely didn’t, I always expected the ‘party’ song to blow, and “Ginger” was kind of taking that on when it was released, especially when the video came out. It’s always those fast-paced songs that are super popular over here, and then that momentum builds outside of the continent to the rest of the world. But “Essence” took on its own life in America and it was so interesting to see it unfold in real-time. If anything, I thought “Blessed” or “True Love” would crossover, but “Essence” works; Tems did the damn thing.

Nwanneamaka: “Essence” is definitely an amazing song but of all the songs on Made In Lagos, I didn’t expect this to be the international hit. Maybe it’s because I gravitate more towards songs like “True Love”, “Blessed” and “Sweet One”. If anything, I expected “Ginger,” featuring Burna Boy to become an international hit because not only was it topping Nigerian and African charts, it had two of Africa’s biggest artists. I’m having a very proud Tems fan moment.

 

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From a purely musical standpoint, did the song really need a remix?

Woju: The original song is good—clearly because the world and JB are loving it. Justin Bieber’s verse is also good but too foreign next to Tems and Wizkid’s vocals. I did enjoy him speaking pidgin, though.

Tami: I don’t think the song needed a remix because it’s completely sound all on its own. However, I do understand why it’s been given an international remix treatment – albeit not a befitting one by cultural standards. It’s clearly a smart move. A play to expand and stretch the boundaries of the song’s already fever-pitch hype into one as ubiquitous as “Despacito,” one of the most replayed and eventually worn-out songs of the decade. Here’s to hoping “Essence” doesn’t suffer a similar fate.

Dennis: Nah. Like every song on MIL, “Essence” feels very complete. At that, remixes are meant to add a refreshing coat, and sometimes entirely new dimension(s), so I’m open to them when they’re well-executed.

Wonu: If we’re being very honest, It wasn’t needed at all. I would have loved to see how far the song could go with just two Nigerians on it. I mean it was already on the Billboard Hot 100 so there was definitely more to come, but it was not bad all in all.

Shina: Not at all, the song was fine as it was. Wouldn’t have minded a remix with Rihanna though, I can hear her doing wonders on “Essence.” But I’m not totally mad at the song getting a remix, I can understand why we have one right now.

Damilola: To be very honest, the song was fine as is. I understand the impetus behind the remix and I still think it’s great. The 16-year-old girl in me is leaping for joy knowing that my two GOATS are on a song together, but like I said, the song was fine as is.

Nwanneamaka: I personally don’t think the song needed a remix. The song sounded perfect as it was and that was evident considering the number of streams it got and the charts it was topping. This remix reminds me of Grown-ish because it was a spinoff to Black-ish which was so interesting, and Grown-ish just did not meet the standard. Like Grown-ish, we did not need the “Essence (Remix),” at least not with Justin Bieber.

How well did Justin Bieber perform on this remix?

Woju: The highlight of this song is Justin Bieber singing, “only you fit hold my body!” I think because I’d heard that part sung by Tems, it’s just incredibly hilarious to hear him try to match that. I actually really wish they had layered their vocals and made it a duet performance. Maybe on tour, they can give us that. Wow, that would be incredible. This remix is only going to be worth it if they do that, that’s my final verdict.

Dennis: Respectable. To be honest, I didn’t expect much and it didn’t do much for me, which is good because it doesn’t tarnish the OG’s sneakily addictive feel. I know there’s going to be the talk of Bieber’s impact on “Despacito,” which is understandable because he gave himself over to that song, but here he doesn’t really do that here. It’s not his fault, there’s very little you can do to elevate an already soulful and catchy Pop song when your voice exudes gentrified soul.

Tami: Just as Dennis mentioned above, I didn’t really expect much from JB. I mean, the guy constantly gets flogged on Afropop-leaning records like this (see: “Peaches [Masterkraft Remix]”). I’m typically a fan of R&B Justin because he really be in his singing bag when he amps up the vocals however, this was a little bit lacklustre and didn’t really seem to elevate the song that much. I can already foresee that the deluxe is going to have insane streams based on this single alone when it comes around. Still, I’d need to give it a few more spins before I can conclude on this but at this juncture, I’d much rather have Tems’ full verse back.

Wonu: Justin Bieber did great, please. What a guyy. I love Justin Bieber so, well, I’m going to be a bit biased. He can’t really do wrong in my eyes. Sweet verse! I love it and I love the song even more now

Shina: Lol all I’m going to say on this matter is Tems still washed JB even with a shortened verse, Easy.

Damilola: I loved it. I love everything Justin Bieber does though, so this is probably biased and I’m not ashamed. I liked his verse, liked when he came in to the chorus, I thought the synergy between them was good. I enjoyed the song to be honest, I won’t add it to my playlist, but I won’t skip it if it comes on.

Nwanneamaka: His verse in the song sounded out of place and I think threw off the vibes the song was originally giving. I will continue listen to the OG song in hopes that I forget a remix exists.

What do you guys think about Tems’ abridged first verse on the remix?

Woju: This is probably my favourite part of the song, so being cut off as I was about to belt out, “I feel it coming,” was not fun. I’m also pretty sure this is the only part of the song that actually says “Essence” so I’m surprised they didn’t think it as integral as I do. For me, it felt like a bit of a risk to fuck with such beloved vocals so early on in the remix; it made me very sceptical as I listened for the rest to see if taking this part out was actually worth it.

Dennis: It annoyed me, deeply. I think the original balance between Wizkid and Tems was swagger and soul, respectively. You can tell Bieber was trying to play in between both poles and he ate into Tems’ contribution, which I didn’t like. If you ask me, also, all that yodelling of “you don’t need no other body” was unnecessary from him.

Wonu: To be completely honest, I didn’t mind the fact that it was taken out. I mean on listening to it at first, it felt extremely weird but, I mean, it wasn’t an issue to be as long as it wasn’t the last verse that was taken out, I’m good.

Shina: LOL. It shocked me ’cause I was already singing along as I hit play. I’m definitely not a big fan of that verse cut, like I wouldn’t be able to scream out “time is of the essence” again?? It ain’t right.

Damilola: Yeah like Woju mentioned, it’s a bit strange that the only part where the title of the song was mentioned was then removed from the remix. ‘You don’t need no other body’ comes up in other parts of the song so might have been a better shout to take that out. Tems’ intro was all magic and should have stayed in my opinion.

Nwanneamaka: The Tems’ verse that was removed was one of my fave parts. “I feel it coming/time is of the essence”. I always appreciate hearing the title of the song in a song especially in a subtle way not in a way that’s repetitive and annoying. Tems delivered in that verse and I wish it stayed in the remix.

If you were to select an artist to be on an “Essence” remix, who would it be?

Woju: Young Thug. *drops mic*

Tami: Lol, as much as I want to also hear what a Wizkid and Thugger song would sound like, right now, I’ll have some Koffee on it.

Dennis: Rihanna. She hasn’t done a lot of features lately, but the Bajan goddess is really hot sauce; she just makes everything better. Also a video of the remix with Rih would break the internet, and I mean that literally. I also think Bad Bunny would’ve been a phenomenal addition, the man has range, he’d have fit in perfectly and his addition would have been unorthodox enough to make it more intriguing than what we got. But obviously, this remix is for the white people who are always late to everything, so I get the Bieber decision.

Shina: Haha, Rihanna easy. She’ll body this record. Like Dennis says she makes everything better and it’s the summer, people are dying to hear anything from Rihanna and her gracing this record will be perfect for the times.

Damilola: Probably a rapper, someone that will change the pace. One who can still sing ‘you don’t need no other body’ but would give a fire verse. Maybe Young Thug or Future. Or Ladipoe.

Nwanneamaka: This is a tough one because so many artists would have done a remix to this song justice, preferably an African artist—here or in the diaspora—that has experience with Afropop. Anyone that wouldn’t gentrify it the way Justin did. As of right now, I can’t conclude on a name because I really love the song as it is with just Tems and Wizkid, but maybe Drake? He and Wizkid sound good together so that would’ve been nice to hear.

Stream ‘Made In Lagos’ below.

Featured image credits/Billboard

Words by Adewojumi Aderemi, Damilola Animashaun, Dennis Ade Peter, Nwanneamaka Igwe, Shina Ladipo, Tami Makinde, Wale Oloworekende and Wonu Osikoya

ICYMI: How Much Of A Game Changer Is Scorpion Kings & Tresor’s ‘Rumble In The Jungle’

Songs Of The Day: New Music From Wizkid, Oxlade, Ms Banks & More

Posted on by Wonu Osikoya

As we draw nearer to the end of summer, the number of songs we consume continues to increase by the minute. With hits being dropped back to back at an unrelenting pace, it is hard to keep up with the influx of new music. 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 intoxicating new 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.

Earlier in the week, we brought you new music from Zlatan, Kizz Daniel, Gyakie, Naira Marley and even Zinoleesky’s first track of the year titled “Naira Marley”. Now, to round off a great week, we’re back with new releases from Wizkid, Tems and Justin Bieber, Oxlade, NSG and Jae5, Ms Banks, Laime, Psycho YP, and many more. Enjoy.

Wizkid – Essence ft Justin Bieber And Tems

The success of Wizkid’s 4th studio album ‘Made In Lagos’ is undeniable and the reception all over the world is only further proof of its globe-throttling capabilities. The song has already debuted on the Billboard Top 100 charts and continues to clinch further to the top 50 each passing day.  To further capitalise on its present success, Wizkid has now released the song’s official remix featuring Justin Bieber, a move that will undeniably boost the song to further acclaim.

Arriving today, the new remix brings an unexpected flair to the crossover hit. Featuring an abridged version to Tems’ stellar verse on the song’s original version and a new verse from the Canadian Pop/R&B powerhouse, the remix certainly amps up the notch on the song’s already fever-pitch hype. It’s also the first sign of Wizkid’s imminent deluxe version to his magnum opus ‘Made In Lagos’, which is slated to arrive later this month.

Oxlade – “Ojuju”

For his first official single of the year, Oxlade is here with a groovy number titled “Ojuju”, the lead single off his forthcoming sophomore solo EP. The Coublon-produced single finds the artist expressing his recent fear of commitment to an undeserving lover. “I’m afraid of falling in love again/Me no wan fight, me no wan shed tears, me I dey try cause you’re making me senseless” Oxlade quips over the song’s melodious production, barring his heart out for all to see on the new track. 

NSG – “Petite”

Following the success of their sophomore album ‘Roots’ released last year, Afrobeats group, NSG continue to establish their cross-continental appeal. For their first official release this year, the London-based duo have now released a mid-tempo Jae5-produced track titled “Petite”. The track has the UK group delivering love tunes as they sing to their respective muses on this special number. With lyrics such as “Shake it baby don’t break it, you know I love my girls petite” and mood-setting production, it’s clear that the group have another summer hit on their hands.

Ms Banks – Dip ft Stefflon Don

Women seem to be taking over the rap scene slowly and surely over the past few years. Collaborations have been rife especially in the US where female mcees are now dominating regardless of the barriers set in front of them. For her latest single, Ms Banks teams up with fellow London mcee and artist, Stefflon Don to deliver a hard-hitting rap song about getting their shit popping. Over the Rhymez-produced beat, both rappers trade bars about their prowess both in bed and on the mic. They both slide smoothly on the beat, delivering a stellar performance.

Laime – Purple Rain ft PsychoYP

Singer, rapper and songwriter Laime is back and better than ever. On his latest offering “Purple Rain”, the rapper links up with Psycho YP for a bass-dropping rap tune that certainly deserves a spin this weekend. The track has both rappers gliding over the Jabani-produced number with ease as they boastful speak on their accomplishments and putting their opps in check. “It’s a game, I pull my drip it’s hurricane/These niggas thinking it’s a game, got em dripping purple rain” Laime raps on the track’s infectious hook. 

DJ Voyst – “Felicitation” ft Joeboy

Since the release of his album earlier this year, Joeboy has in no way taken a step back as we continue to receive features and collaborations from him. On the Tempoe-produced track, Dj Voyst collaborates with Joeboy to deliver a celebratory tune. This track has Joeboy at his happiest singing lyrics such as “Omoge bo se n redi o wu mi lori o/Felicitation be the motive today”, he sings over the melodious production of the track.

Skillz 8Figure – “MKD”

Following the success of his Sophomore EP ‘After Dark’ which debuted at #10 on NATIVE’s best projects of 2020 (so far), Ghanaian singer Skillz 8Figure is back with a new single “MKD”. He uses this track to tell a heart-rendering story as he serenades his muse and convinces her of his undying affection. “Sometimes I don’t know what’s going on, you make me lose my sense especially when we sipping on some Dom Pérignon” he sings on the track.

Featured image credits/Instagram

ICYMI: ‘Made In Lagos’ Is The Gift That Won’t Stop Giving

‘Made in Lagos’ is the gift that won’t stop giving

Posted on by Adewojumi Aderemi

Last October, Wizkid finally released his long-awaited ‘Made in Lagos’, a 14-track album that showcased the artists’ evolved tastes and attitudes. Bringing light to our lives following the #EndSARS protests of last year, ‘Made in Lagos’ was a captivating project that continues to pique our interests – in the music, the visuals and all the accompanying assets Wizkid has rolled out.

After a YouTube exclusive, ‘Day in the Live of Wizkid’ and a special edition NATIVE print magazine, rounding out the year, Wizkid has maintained audience interest in his magnum opus ‘Made In Lagos’ throughout this year. Kicking off 2021 with a suave – but forgettable – “Ginger” music video, at the top of Q2, Wizkid fitted the album’s commercial standout track, “Essence” with a tropical and intimate music video.

Featuring Tems, who leads the track with her formidable, native unmistakable vocals, “Essence” has become this year’s hottest crossover success. Sitting comfortably within the top 20 of TurnTable’s Top 50 charts, as the year races on, so too has the success of “Essence”, rising through the Billboard Hot 100 charts. Debuting at 82, “Essence” – Tems’ first appearance and Wizkid’s first song of his own (“One Dance” and “Brown Skin Girl” are his other entries) – has risen to a peak position of 54 in this week’s chart. Inspiring national pride and multiple Twitter threads throughout these months, “Essence” is a song that has captured the hearts of many, including Justin Bieber.

Calling it the “song of the summer,” as he thanked Wizkid and Tems for giving him room in the remix, JB’s inclusion on Essence 2.0 is indicative of both the reach and merit of the track. With a high-profile feature from one of the highest grossing artists right now, “Essence” is about to move into even bigger waters. Some have predicted its entry into the Hot 100 top ten, others are vying for a number one single, hoping the Bieber effect takes “Essence” the way of “Despacito”.

As Wizkid prepares to release the deluxe edition to ‘Made In Lagos’, the increased exposure to wider markets that this Bieber feature will bring, is an invaluable asset.

When he promised us new music soon, at the top of this year, we all laughed. The journey to made in Lagos was long and full of false starts. It’s all been worth it though; ‘Made in Lagos’ has been a fruitful project. Wizkid has given us a deluge of content, and he doesn’t seem to be slowing down with it any time soon. Hopefully ‘Made in Lagos (Deluxe)” will include other exciting features, and also previously unreleased tracks. Thankfully, the drop is scheduled for August 27, and Wizkid seems to be past his trolling releases stage, so we’re confident won’t have to wait long for the album if the year’s part two.

Featured image credits/Instagram

ICYMI: Review of Wizkid’s ‘Made In Lagos’

WurlD makes a remarkable return with new 2-song pack, ‘MWWU’

Posted on by Dennis Ade Peter

With two stellar projects in 2019 – debut EP’Love is Contagious’ and the Sarz collab‘I Love Girls With Trobul’ – WurlD effectively took up space as one of the better skilled troubadours in Afropop.  As if those tapes weren’t resounding enough, the Nigerian singer returned in May 2020 with his third project in just over a year,’AFROSOUL’, a purposeful expansion of his abilities to include personal introspection and eclectic musical choices that better reflected his “African-ness.” Six months later, he shared a deluxe edition of the EP, adding two new songs to fit into the exhibition.

When The NATIVE last caught up with WurlD, he confirmed that the deluxe edition of AFROSOUL was one of the releases paving the way ahead of his debut full-length, which he assured was in its latter stages of creation. In the nine months since, he’s been relatively quiet, with his only drop being the remix of “Bossy” with Amaarae and American rapper Erica Banks. It’s not the debut album he promised but the singer and songwriter is back with ’MWWU’, a two-song pack that highlights WurlD’s commitment to constantly creating without sonic borders.

 

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“You guys are going to be hearing a lot of WurlD, from Afrobeat to Trap, just fusing the vibes and I’m always going to be experimenting,” he declared last year, and his latest makes good on the latter ethos. “SPUNK,” the first of two tracks, continues in the lineage of his ability to bottle steamy moments into intoxicating songs. One of his smoothest songs till date, WurlD’s velvety voice glides gently thudding tribal percussion, exuding the sort of sensuality apt for two lovers in each other’s arms on satin sheets. Assuring his partner that she’s “got that spunk,” his breathy singing underlines the infatuation and total devotion in the lyrics, while the money counter synth riff emphasises the lengths he will go to in order to satisfy her material needs.

For the second track “STAMINA,” he collaborates with South African DJ/producer twin duo Major League Djz for an Amapiano cut that leans closer to the soulful side of the wide-ranging subgenre. Given his willingness to experiment and having delved into Electro-inflected styles on ‘ILGWT’, trying out Amapiano was a matter of when—not if—for WurlD, and it is very refreshing that he’s worked with artists from the sound’s originating country. He floats over the production, addressing a love interest of his lustful desires and a commitment to satisfying her physical wants. Also featuring contributions from SA DJ/producer, LuuDadeejay, the lush groove of “STAMINA” is adorned by glittery keys and log drum embellishments to match WurlD’s impassioned vocals on the hook.

Both tracks on ‘MWWU’ are stylistically different, and they serve as excellently displays of WurlD’s ability to transform whatever instrumental he sings over into compelling  expressions of his singular  artistry. It’s a welcome return from one of Afropop’s most unique voices—hopefully we don’t have to wait for too long for that album.

Listen to ‘MWWU’ here.

@dennisadepeter is a staff writer at the NATIVE.

ICYMI: READ OUR BEST NEW MUSIC SPECIAL FOR WURLD’S ‘AFROSOUL’

NATIVE Premiere: Watch Blaqbonez and Joeboy In The Glitzy Video for “Fendi”

Posted on by The Native

There can be no doubt that 2021 has been the year where all of Blaqbonez’s forward-leaning momentum has culminated in a secure spot at the crescent of Nigerian pop. As a young, rabble-rousing rapper working his way up in the early dawn of the 2010s, Blaq plowed in the underground, releasing a succession of tapes that showed his penchant for fluid lyricism and mischievous name-calling.

That, ultimately, translated into a deal with legacy record label, Chocolate City, which then morphed into a major label debut album that piqued mainstream interest with songs like “Mamiwota” and “Denied.” Much of the time since then has been spent establishing himself as the Nigerian Internet’s chief rascal. 

 

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The insouciant streak of Blaq’s Internet persona gave way to a thematic focus on carnal satisfaction on his 2021 album, ‘Sex Over Love’, a full-on pop effort that saw him lean into themes of luxury, lust, and ego-fuelled hedonism. Led by the Buju and Amaarae-featuring “Bling,” the album has carved a niche for Blaq within Afrobeats ever-evolving landscape. Another of the album’s standout tracks, “Fendi,” is an ostentatious tribute to the fast living that inspired much of ‘Sex Over Love’, seeing Joeboy work the boyish charm that has made him a much-loved figure from Lagos to Nairobi while Blaqbonez’s suave whispers of the “Fendi” tagline speak to his new station in life. 

Today, the glitzy TG Omori-directed video for “Fendi” arrives finding both collaborators decked out in full Fendi attire as they sashay between lush shots while translating the song’s lustrous energy in sync with a phalanx of video vixens. With both singers’ verses segueing into each other, they maintain a dynamic control on the narrative of the visuals, employing hypnotic effects to bring more watchers into their world while advancing the sex over love gospel that Blaqbonez has flaunted for much of this summer.

Watch the video for “Fendi” below. 

Featured image credits/Courtesy of the artist

ICYMI: Ria Sean’s “Money Bag” Is Full Of Bold Proclamations

‘Quams Money’, ‘Ije’ & More On Netflix Naija This August

Posted on by Nwanneamaka Igwe

As we draw closer to the end of summer, the sheer amount of new music, film, and entertainment we’re receiving keeps growing at exponential rates. All year long, streaming platforms have competed for our collective attention by keeping us constantly entertained as they try to sway global viewership in their favour.

Netflix has been at the forefront of this movement. Over the past few years, the media behemoth has made large leaps into different continents around the world including Africa where it now boasts of a sprawling film and series catalogue. Although the steep prices of Internet data currently limit the average African from accessing this catalogue easily, Netflix has continued to meet the local demand by adapting to the current infrastructure with the release of their latest mobile data plan.

 

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This month, Netflix Naija is jam-packed with amazing new titles that will be arriving on our screens any moment now. So if you’re overwhelmed by the variety of choices, or just need a bit of a guide this weekend, we’ve collated a list of some of the new titles that will be on Netflix Naija this month.

Quam’s Money

08/08/2021

‘Quam’s Money’ follows the adventures of security guard turned millionaire Quam (played by Folarin ‘Falz’ Falana) as he navigates the world with his newfound wealth. He meets a woman (played by Nse Ikpe Etim) during a night out in town who ends up extorting him of all his cryptocurrency.

Ije: The Journey

03/08/2021

Chioma left Nigeria for the USA to help her sister that was accused of killing three people including her husband. She is determined to keep her from jail but requires the truth.

Brother Jekwu

11/08/2021

In a bid to chase his dreams, a village hustler follows his cousin from Nigeria to Kenya on an adventure for money and success. During their journey, he is lucky to make it to Kenya on the bill of his corrupt cousin. However, while there, he must make his own way and come to terms with himself.

 

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Unroyal

TBD

‘Unroyal’ follows the story of an Okirika King’s daughter, Princess Boma who is rich and stuck-up because of her father’s wealthy status. However, things take a turn when she’s involved in an accident and sustains debilitating injuries that land her in a coma. During this time, the princess must rely on the help of her gatekeeper who she has previously mistreated.

Featured image credits/Inkblot

ICYMI: Here’s What We Know About Abeg App, The Current BB Naija Headline Sponsors

Meet chuXchu, the New York-based Nigerian singer making tender and catchy Afropop songs

Posted on by Wonu Osikoya

Until around two years ago, Nigerian singer and songwriter, chuXchu didn’t seriously consider being an artist. “It was just one of those things where I loved music and…I decided to give it a shot,” the singer explains with an air of fulfillment over a scheduled Zoom call. “I decided to give it a shot…I’m still here and I haven’t looked back.”

This origin story deviates from the common narrative in these parts. Here, the norm typically is that you can trace the beginnings of many artist’s music careers to their adolescent ages where they sang in church or school choirs, but in no way does his uniqueness constitute a bigger hurdle for chuXchu.

 

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With a deep love for music, even as a mere listener who sang love songs in front of the mirror, chuXchu’s ability as a singer and songwriter is clearly written in the stars. Earlier this year, he shared his debut EP, ‘Luvstruck’, an impressive set of tender songs which dug into romantic infatuation through salacious scene-setting, breezy melodies, and summery production that largely plays on the R&B-inflected side of the Afropop spectrum. With a solitary guest feature from Ayo Jay on “Numbers Don’t Lie,” chuXchu established his identity as a capable troubadour, with his subtly elastic tenor that radiates the sort of warmth befitting for his preferred subject matter.

“I just wanted to see what people gravitate towards; see what people enjoy more, see what I enjoy more because that’s equally as important and so far, it’s been great,” he tells The NATIVE, earmarking the EP as a gauge for where he’s at presently as an artist. Based in New York, the Nigerian singer is currently juggling his mic passions with a full-time job. At that, chuXchu’s music, which is by equal parts simmering, buttery and catchy, doesn’t sag from the weight of corporate responsibilities, neither does it come across as flimsy due to having a well-cushioned safety net.

While he’s ambivalent about not being based in Lagos, a major hotspot for Afropop, there’s a willingness to push his music to the widest audience range possible, even to locations as unlikely as Russia. “I’m just trying to figure out how to cater to everyone while spreading my art,” he says with optimism.

Our conversation with chuXchu has been lightly edited for clarity and it follows below.

NATIVE: When did you start music professionally and how has it been since you started?

chuXchu: I started around this time in 2019. Initially I never wanted to be the artist, I never thought I’d be putting my voice out there, it was just one of those things where I love music and there were certain artists I’d listen to all the time, and one day I decided to give it a shot. That’s really how it all came together and two years later, I’m still here and I haven’t looked back.

NATIVE: Congratulations on your Debut EP, Luvstruck. How was it like putting it together?

chuXchu: It was tough and I say this because I wanted to give it my all. You know how time consuming and how strenuous it is to put together a body of work especially coupled with the fact that I actually balance my passion for music with a full time job, so that kind of made it difficult and I wanted to create something that sort of embodies my vision for the project but infusing different sounds. From track 1-5, every track is different but still has the same theme and I just wanted to see what people gravitate towards; see what people enjoy more, see what i enjoy more because that’s equally as important and so far, it’s been great, The other day some people in Russia were dancing to my song; one of the songs I had the least expectation for. I’m just trying to figure out how to cater to everyone while spreading my art.

NATIVE: How has the general reception of the EP been since it’s release?

chuXchu: It’s been really great and I feel like I’ve achieved what I wanted to achieve with this project. Before I put out this project, I put down a few bullet points I’d like to achieve with the project, I wanted people to know who ChuXChu is, know my range and versatility, accept my sound and I also wanted to set the stage for what’s yet to come and I feel like I achieved that within the first month of putting that out.

NATIVE: I noticed there was just one feature on the EP. Was that intentional and why?

chuXchu: Yes, it was very much intentional. Initially, I had started recording from Mid December until Mid February and I had had some songs I’d recorded with people, because I actually planned to have features, but I realized I never really gave people an opportunity to experience who ChuXChu is. When I feature people, it’s basically like me tailoring my sound to fit the featured artist. So I just wanted to prove a point, show my versatility, show my range and, yeah, I just decided to do a mostly solo project. Ayo Jay is the only guest artist on the project and that’s honestly because he was the first person to give me a shot when I first started. My first time in the studio was with him, My first time recording a song was the song I put out with him—“Killing Me”—and I was just like, let me just put him on this tape to make everything full circle. It was so important to me to have him witness what I would call my first actual body of work, because he’s just always been supportive and it’s interesting how I went from like a groupie to a fan to a collaborator and now to a really good friend.

 

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NATIVE: I’m hooked on “I Need You”, that’s definitely a personal favourite of mine. Do you have any standout tracks off the tape for whatever reason?

chuXchu: Yeah, “Tornado” and that’s because when I recorded it, I had no expectations and I finished that song in how many minutes?  And initially, it was one of my least favourite but I sent it to a few people who I run stuff by and they were just like this is a hit! And just seeing the support from Apple Music and some of the other digital streaming platforms giving me support on that one record just sort of put everything into perspective for me. So “Tornado” and I feel like my favourite changes a lot but right now, that’s the one.

NATIVE: Being in the diaspora, how has appealing to the Nigerian market been for you since you started? 

chuXchu: Honestly, it has been a blessing and a curse and I say this because if I was based in Lagos, I could easily connect with my peers, meet more people, push my music more, and a lot of other things. For instance, I have a record with Buju and Wani but I actually haven’t met them in person, we only talk on social media but being out here definitely gives me a different perspective. If you listen to my music, from the recording to the engineering you can hear the quality. So I’d say being here gives me that edge and even just the mindset is completely different. Sometimes, I wish I could be back in Nigeria but that being said, I’m still thankful and blessed.

NATIVE: So what’s next for you, music-wise?

chuXchu: So music-wise, what’s next is definitely growing as an artist and as a creative, but most importantly just keep on spreading music without boxing myself into a genre. Also, I’ve definitely found a few artists that I collaborate well with, musically and sonically, so I’ve been working on records with them. I’m hoping to drop a single right before December so we can rock Detty December together and, early next year, hopefully, I can put out a project again.

Featured image credits/KofMotivation

ICYMI: LOJAY’S COMMITMENT TO ARTISTIC GROWTH IS PAYING OFF

We Asked A Few Young Nigerians About Their BBNaija Predictions This Season

Posted on by The Native

Late last month, the popular television show, Big Brother Naija returned to screens nationwide. Once again, battle lines were drawn as it was time to form rivalries, bet against the odds and boost viewers’ favourite contestants closer to the show’s whopping cash prize and brand endorsements. In real-time, we’ve continued to witness the power of the reality show and its ability to start and end careers across a range of industries.

While the Shine Ya Eye season may have kicked off to incredible fanfare, dig deep enough and you’ll find that there’s an ongoing conversation that this season isn’t quite racking in as many views as its previous seasons. Blame it on the Twitter ban or the opening of major cities around the world, including Lagos, or even the clear dearth of sponsored arena games for the housemates, there’s no denying that the way in which many of us consume Big Brother Naija is changing.

 

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For those devoted viewers who tune in 24/7, there have been glimmers of hope this season. This year, the producers have cracked it up several notches by adding a few twists and surprises to this year’s edition. It began right from the onset with the announcement of a double entrance weekend for the male and female contestants and followed through to the introduction of wildcards this season. Since then, it’s been one twist after another with last weekend’s eviction show resulting in the introduction of new housemates to the mix after two weeks of shooting this season. If that doesn’t belong on the BB Naija hall of fame then I don’t know what is. I am definitely looking forward to what else Biggie has under his sleeve.

As the season continues to unfold and we continue to see and learn more about each of the housemates, it’s hard to not play favourites. Already, stan rivalries are developing at an exponential rate, and the competition is getting tougher as we inch towards the season finale and the Big Brother Season 6 winner. To that end, we spoke to a few young BB Naija superfans about their predictions for the new season. From deliberating on the most likely to have the biggest fanbase to the most likely to get in a situationship, here are the predictions for the Shine Ya Eye season. Enjoy.

Most likely to have the biggest fanbase

N, Female, 29

Prior to making her way into the Big brother house, Liquorose has already made a name for herself in the entertainment platform as a talented and well-recognised dancer. Currently, her following has gone up as high as 1 million + followers on Instagram. The most out of all the housemates.

 

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Most likely to get into some drama

I, Female, 33 

Angel is another strong character in the Big Brother house. Her sultry and free-spirited demeanor seems to have put her into conflict with other housemates and the viewers have regarded her to be too loose with her dressing and interaction with other housemates. Angel is one of the few authentic housemates in the house and sometimes being yourself may not always get the best reaction.

 

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Most likely to star in a blockbuster

A, Female, 23 

Pere is the ladies man with his alluring and jazzy smooth voice and manipulative traits, all the attributes needed to become make it big and be a globe-throttling movie star. Although he won’t be new to the movie scene as he has been featured in various Nollywood movies and shoes before making his way into Biggie’s house

 

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Most likely to get into a situationship

N, Female, 29 

Maria + Pere – these two wild cards have coincidentally found themselves in some form of attraction towards each other although Maria tends to push back, Pere still charges to ensure his feelings and affections are known. Keep an eye on these two in and outside the house as the game progresses.

 

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Most likely to vote out their close friend

I, Male, 20

I think Sammie is definitely the housemate that will smile in your face and vote you out in private. After watching this season for the past few weeks, it’s clear that he definitely has values that I don’t align with and he completely loses his head when he doesn’t get his way. I know it’s a game and I know that you’ll undeniably have to cote out someone that you are close but someone’s got to be the villain.

 

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Most likely to become the BB Naija Season 6 Winner

I, Female, 33 

Whitemoney has found the key to our hearts with his mix of Igbo and English vocabulary, his funny jokes, and overall interactions with everyone. He is known mainly for his domesticated and hard-working attributes shown off in the house as he does most if not all the cooking in the house and cleans also. He’s definitely one to watch out for.

 

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ICYMI: Here’s How Social Media Is Changing The Way We Consume Big Brother

Canna-Bills: Marijuana Legalisation and the Future of Cannabis Culture

Posted on by Great Opara

The cannabis industry is booming globally, with projections for the industry to grow to $90.4 billion by 2026. Nigerian writer and filmmaker Great Opara, explains why Nigeria must position herself to be at the forefront of this harvest.

Despite Nigeria’s recent opposition to the United Nations’ move to declassify cannabis as a dangerous drug, our dear country’s lawmakers seem ready to consider cannabis legalisation for economic and medicinal benefit. On May 17th, 2021, Benjamin Okezie, chairman of Nigerian House of Representatives committee on Media and Public Affairs, stated at a press conference that he had presented the Dangerous Drugs Act (Amendment) Bill before the House; a bill which might see the country finally end its historical bias and stigma surrounding all things marijuana.

The Spanish word marijuana has been used to mean the devil’s weed, this euphemism is a testament to the racist origins of cannabis prohibition in the United States of America. This prejudice culminated in the Marijuana tax act of 1937, an Act which disproportionately targeted the Black and Mexican communities. With the passage of the Dangerous Drugs Act of 1935, Nigeria inherited the British colonial prejudice against the green plant, criminalising the cultivation and consumption of Indian hemp. This prejudice continues to persist almost a century later.

“Stoners and marijuana users generally have a bad reputation, they’re likened to thieves, hooligans and ruffians,” says Mojisola, a mixologist who runs the quirky online brand called Ouidtails, specialiSing in THC infused cocktails in Lagos.

This negative perception is the result of popular culture and Nigerian legislations, such as the aforementioned Indian Hemp Act (1965), including  NDLEA Act (1989), both of which stipulate jail terms of between twenty-one years to life imprisonment for cannabis importation and/or cultivation. However, fast-changing attitudes abroad are helping to stir up cannabis legalisation conversations in Nigeria and all around the African continent.

With a global cannabis industry projected to be worth around $90.4 billion by 2026 and Prohibition Partners – a leading source of intelligence on the cannabis industry worldwide – estimating that the African cannabis market could reach $7.1 billion by 2023, the Dangerous Drugs Act (Amendment) Bill could not be coming at a better time for Nigeria.

“We grow some of the best CBD strains in the world,” Mojisola continues, “The industry just needs proper structure. Our loud strains grow faster than others; they’re ready in four weeks. Scientists can crossbreed this with other strains and make even more beautiful products, which they are already doing.  There’s a shit ton of money here!”

In view of the devastation caused by the Covid-19 pandemic, the Bill is being promoted as a means to diversify Nigeria’s economy via agriculture, as well as usher in a new era on medicinal cannabis from production, processing and distribution; all these showing clearly that no provisions have been made for recreational cannabis usage. However, this is unlikely to deter ardent enthusiasts.

 “Weed is illegal in Nigeria but at the same time, it’s not really illegal,” explains Mr Plug*, one of the country’s top online cannabis vendors. “Everyone knows this, including the authorities who tell you it’s illegal. They’re the ones bringing it into the country. If the police catch you with it they tell you you’re going to prison but at the end of the day, they’ll probably just collect money from you.”

Mr Plug advertises himself as a middleman – a literal plug connecting thousands of black market buyers and sellers nationwide and even internationally. He is enthusiastic about the legalisation conversation but not without misgivings.

“It’s a good idea but it is being implemented by the wrong people. Our government should not be trusted with that kind of power, they will fuck it up. It’s not something they’re familiar with; they’re just trying to jump on the bandwagon. Personally, I feel that people who don’t use marijuana should not be allowed to be part of the (regulation) process.”

Both Mr Plug and Mojisola agree that legalisation will also come with government monopolisation of the industry in a bid to hoard all the profits. This view is shared by Stoney NG*, a cannabis content creator and advocate who runs one of the top Nigerian Twitter platforms dedicated to the green plant. In his own words: “I feel legalisation will only become a reality when the old heads find a way to extort or make the most profits for themselves.”

A 2019 report by New Frontier Data published in Business Day puts Nigeria as having the highest rate of cannabis consumption in the world, with approximately 20.8 million yearly users in an estimated $15.3 billion market, beating both Canada and the United States in second and third place respectively. Despite its documented illegality, cannabis is widely cultivated and consumed in the country.

“A lot of people consume weed,” Mojisola remarks, adding that Ouidtails raked in weekly profits of around fifty-thousand naira during the business’ prime period. Mr Plug is in agreement, claiming to have once made 700,000 to 1 million naira ($1500 – $2000), before expenses, in one week.

Kwality Brownies is another online marijuana based business, launched during the early stages of the pandemic by Kussman, a Nigerian Twitter influencer. “People were stuck at home during the lockdown and couldn’t get high because of their families so they had to switch to brownies, which have always been the alternative for non-smokers,” he says. “People don’t give brownies a second chance. If it doesn’t hit the first time they won’t try it again. To retain customers, you have to be consistent with the product.”

Despite not having an exact number, Kussman claims to have made sales every day during the lockdowns. Legalisation is a conversation he will definitely engage in, albeit from the comforts of his home given the moral dilemmas which surround topics like cannabis in Nigeria.

“I’m in Akure right now and it’s the only place really taking legalisation seriously, so I feel at home. The governor has been pushing for them to legalise it because we have massive farms of it here in Akure.”

Following his trip to Thailand for a medicinal marijuana program in May 2019, Governor Rotimi Akeredolu of Ondo State in Western Nigeria tweeted that Nigeria would be shortchanging itself if it failed to tap into the legal marijuana market. According to him, with Ondo State being the hot bed of cannabis cultivation in Nigeria, the time had come for supervised cultivation by the federal government for the purpose of spurring economic diversification and job creation. Other prominent figures that have also come out in favor of legalisation include human rights activist and former presidential candidate Omoyele Sowore, as well as two-time Nigerian head of state, Olusegun Obasanjo. With growing political and legislative support, it is clear that this is an idea whose time has finally come.

Regarding concerns that any move toward legalisation would end with the government monopolising the market, Godwin*, a street dealer in Amuwo-Odofin local government area of Lagos, says: “I don’t have to die selling cannabis, if government enters the market then I’ll give it up, and go do something else. God can bless me from there.” Evidently not everyone with skin in the game is as invested in the legalisation fight, and it is indicative of the kind of pushback to expect from regular Nigerians.

For Stoney NG however, who has dedicated the last seven years to building a platform for celebrating cannabis culture, connecting with fellow users and educating new users, resistance will not be a problem. “I’ve met so many people across different walks of life who actively take weed. From business men, to musicians to military men, everyone is doing it but they’re all on the low because, according to the law, it is a crime. Legalisation won’t be too difficult because these ordinary people we expect pushback from are also the ones in the best position to support us.”

Whether or not the Bill gets passed into law, it is evident that despite a history of bad press, discrimination and criminalisation cannabis culture in Nigeria continues to thrive. This recurring rise of cannabis in Nigeria speaks to the resilience of users and enthusiasts alike, who persist in the fight against stereotypes and stigma.

Great Opara is a Nigerian writer and filmmaker whose love for telling stories is second only to his desire to get paid in dollars. Tweet at him @lifeofOG_

WE SPOKE TO A FEW PEOPLE ABOUT LIVING WITH THEIR PARENTS DURING THE LOCKDOWN

Best New Music: Ria Sean’s “Money Bag” Is Full Of Bold Proclamations

Posted on by Tami Makinde

Success stories rarely play out how we would imagine. In Nigeria, home to Africa’s busiest and most rambunctious music industry, many rarely make it from the underground to mainstream success. However, ever so often, there are stars that break the ether and penetrate a difficult market, relying either on the power of social media and connecting directly to their audiences while bypassing industry gatekeepers.

However, there are also the success stories that make it out of the woodworks off the back of major industry backing. In these parts, the relationship between the record labels and the artists can sometimes be fraught. However, names such as Burna Boy, Fireboy, Rema, and more, are often associated with this class of stars bolstered to fame and making their break once a record label got involved.

Ria Sean, Aristokrat Records’ latest signee is one of such artists now enjoying her moment. Although she’s been making music long before finding her feet in the industry, the Nigerian singer/songwriter recently signed a deal with Aristokrat Records’ and  Island Def Jam (Universal Music France), which has only served to catapult her into greater career heights.

Earlier this year, following the official announcement of her deal with Aristokrat, Ria Sean reintroduced herself with the glittering Afropop single titled “Lemonade”, a groovy number that found her exploring love and heartbreak while toeing similar lines as the Queen of Pop, Beyoncé did back in 2016 with her sixth solo studio album of the same name. Since then, audiences in these parts have been eagerly awaiting new material from the sweet-voiced singer who actually began her music career in her church choir.

In the time since its release, Ria Sean has gone on to feature in a number of collaborations with a talented spate of stars including Leriq, Adekunle Gold, Moelogo, and more. Continuing to build on this existing hype, the singer has just released a new single titled “Money Bag”, a mid-tempo Afrofusion track that finds the singer spinning empowering messages about her singular focus on the bag.

Over the smooth Dehveen-produced single, the talented singer employes a medley of airy keys, twinkling production and soul-stirring vocals as she reaffirms her focus in her life: squarely focused on her growth, goals and success. Singing “Control freaks don’t run me race/Only the cheese” over the song’s first verse, Ria conveys weighty messages about focusing on herself and her development by weaving stories about obstacles set to deter her from performing on top of her game.

As the song builds, Ria Sean’s message becomes more unapologetic. She unabashedly sings about what she expects out of life and from everyone around her: peace of mind. There’s a renowned saying that money stops nonsense and Ria knows this all too well as she exerts a similar urgency to accumulate wealth that insulates one from life’s toughest storms. Over the song’s hook she sings “I no send no motherfucker/only about the money bag,” armed to the teeth with bold proclamations about the current lifestyle she enjoys.

It’s not so much that Ria is boasting. She’s singing about a common theme in music and one that’s been tried and tested by every artist and rapper since the age of time. However, the singer puts her own unique spin on it by never straying from delivering fierce relatable lyrics and her sultry voice. With her debut EP ‘Fluid’ set for release later this year, Ria Sean continues to show that she’s able to hold her on and whets appetites for what’s to come on her first body of work.

Speaking about the new single, the singer shared that:

“Money Bag is about chasing the bag! It’s about the go-getter part of me, and my creativity as an artist. I always want to do something new, my mind is deeply focused on my dreams, and every other thing seems secondary”.

Stream “Money Bag” below.

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ICYMI: With Darkoo, You Always Get Twice As Much

Review: Sarkodie’s ‘No Pressure’

What do you expect from an individual with over a decade worth of experience under his belt, in an occupational field where staying on top for years is considered a phenomenal run? Then to do it for thirteen years in a growing industry, while performing consistently on top of your game, and with numerous accolades to show is a feat even the ancient Greek gods would applaud. So, when Ghanaian rapper Sarkodie declared, “I’m not a human/I’m a god,” on “Angels and Demons” off his 2019 EP ‘Alpha’, it was clearly not a declaration informed by hubris.

For anyone familiar with Sarkodie’s run, there is a method to his releases especially when he is in album mode. Some tell-all signs include his regular sighting on features, increased social media interactions, and eventually culminating in the release of promotional singles. For over a year, fans have been anticipating the release of an album by the Ghanaian rapper following a string of teasers. The anticipation increased when he started giving exclusives to his upcoming releases out during the 2020 pandemic.

Before the year ran out, Sarkodie had already released a number of singles including the Joey B-assisted “COLD” when his core fans – SarkNatives – repeatedly asked that he hop on the local Drill music wave, popularly known as Asakaa. A string of single releases would follow, including “Happy Day,” “Hasta La Vista,” and “No Fuzagy.” By the time the Kwesi Arthur-assisted “Coachella” and “Vibration” with American rapper Vic Mensa recently dropped this year, it was beyond evident that an album was set for imminent release.

‘No Pressure’ is his seventh studio album and perhaps his most-well rounded effort to date. The 16-song album presented in two parts is replete with enough genre-mashing songs to satisfy the music palettes of his diverse fans. It is a hybrid of his two previous projects from 2019 namely ‘Alpha’ and ‘Black Love’. The former was a blistering barfest hinged on self-apotheosis while the latter followed conventional pop-rap songwriting tropes with bright hooks sung by an array of guest vocalists. In its amalgam execution, ‘No Pressure’ comprises tauntingly good, all-caps RAP slappers, as well as several bops in conversation with contemporary Afropop.

This dichotomous approach is not by any means novel, ambitious rappers on the continent have always been tasked with finding a balance between lyrical pyrotechnics and modish Pop trends. However, what separates Sarkodie from many of his colleagues, and has become the axis on which his music spins, is his otherworldly drive, a constantly burning hunger to be and stay the best, even as the conviction in his skill-set remains supreme.

These attributes are reflected on ‘No Pressure’, offering an insight into his current state of being. In this new elevated level he now enjoys, Sarkodie does not feel the pressure that comes with staying at the top nor does he feel crushed under the weight of regular criticisms thrown at him by a section of the industry concerning repetitive subject matters. For Sark, success and love remain central themes, and he continues to work through them with an alluring confidence. It’s almost synonymous to the position Canada’s Drake now enjoys in his career, after almost a decade of delivering back-to-back hits, both artists still seem to be barely scratching the surface, staring down a further ten years of their lyrical dominance.

Produced by KaysoFromTema, swaggering standout “Rollies and Cigars” finds Sarkodie irrefutably reminding everyone of his place on the Ghanaian (and African) rap chain: “I’m still at the top/got y’all niggas vexing/Don’t call me the best/Point of correction,” before inevitably doubling back with, “‘Cos I’m the best”. All muscular bass, skittering hi-hats and unflinching boasts, it’s not far-fetched that “Rollies and Cigars” was the initial album opener before it was replaced with the similarly toned “Intro.” In fact, it won’t be surprising if it goes ahead to replace “Original” as the curtain-raiser for his annual Rapperholic Concert, which has served as a consistent avenue to flaunt his imperial status and his unyielding commitment to the very act of rapping.

On “Married to the Game,” Sarkodie claims that he’ll be “rapping till I’m 80.” Featured guest, South African rap superstar Cassper Nyovest retorts: “Imma rap till my baby got a baby.” Over the excellently spaced beat nestled with a familiar concert room vibe, Cassper Nyovest, evidently aware of Sarkodie’s potency, came out swinging with one of his best guest verses ever.  Of more consequence, though, the Altra Nova-produced song is an exercise in lyrical bromance between these two crowned kings of rap music in Africa, witnessed through the kinetic synergy between their flows and the will to best each other’s lines. It’s also an indirect rejoinder to critics who have pointed out his lack of collaborations with fellow rappers on the continent; within the context of the album, it’s less of a course correction and more of a reiteration of his outward efforts.

Another worthy collaboration is from veteran grime artist, Giggs. For a while now, Sarkodie has been trying to build a boardwalk into the United Kingdom market. It started with his 2017 album ‘The Highest’, considered by some as one of his best works. The album not only featured UK-based artists like Big Narstie, Bobii Lewis and Moelogo, but it was also heavily promoted in the UK. Subsequent moves would include trips to the UK for business and holidays, all in his effort at building and solidifying existing relationships, so it isn’t surprising to hear Giggs lending his gruff voice and laid back flow on “Round 2,” a combination that fits right into the boastful, rap-centric section of the album.

Near the centre of ‘No Pressure’ is “Anything,” a stunning soul-sampler Sarkodie has described as his favourite off the LP. Drawing parallels to Drake’s “Emotionless,” he indicts the expectations engendered by social media culture, especially the popularity of clout chasing antics. ”Do you do it for the fans or you do it for the likes?” he questions with chagrin in his voice, admonishing listeners to live within their means and eschew external validation. Following a slew of self-aggrandising thumpers, Sarkodie’s authoritative candour makes the diatribe more captivating than preachy.

 

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On the second part of ‘No Pressure’, the sound changes from the initial hardcore rap entrapments to a warmer musical palette, inflecting Afropop and tropes from R&B-infused rap songs. The boastful talk fades into themes of love and romantic affection, beginning with the Beatfreaks-produced “Fireworks,” featuring American rapper Wale and British-Nigerian singer Moelogo on the uncredited hook. An endearing attempt to reach a love interest who harbours trust issues, Wale’s inclusion is on-brand for the Nigerian-American rapper, whose biggest hits – “On Chill,” “Lotus Flower Bomb” are mostly smouldering cuts within the same realm as this song.

The collaborative fit is symbolic of the compatibility Sarkodie engineers with his guests, especially on this side of the project. “Whipped” features Darkovibes’ gravelly yodel overproduction which blends Afropop and contemporary R&B elements into a catchy bop; the affectionate “Don’t Cry” is an excellent wedding song thanks to its Folk-Pop groove and assuring love lyrics, as well as being the perfect introduction vehicle for previously obscure Ghanaian singer Benerl. While Tanzania’s Harmonize graces “I Wanna Love You” with his typically ebullient presence, crooning about his ride and die lover over a beat partly inspired by a French-Canadian children’s song.

The arguable standout song in this section, and perhaps all of ‘No Pressure’ is “Non Living Thing” featuring the infectious voice of Nigerian singer, Oxlade. A perfect definition of unforgettable music, the Coublon-produced song is a potential runaway smash hit, down to the warm, inviting beat, Oxlade’s expertly delivered hook and the relatable lyrics revolving around unrequited love, heartbreak and the influence of money in relationships. “I don’t know what I am again/I’m a non-living thing without you,” Oxlade sings with pain and vulnerability in his voice, heightening the emotive essence in Sarkodie’s verses.

As a curative effort, ‘No Pressure’ is the best album Sarkodie has released in the last five years. As a rapper reasserting his superiority, many may have expected him to put out an album that would appeal more to his rap fans, but he clearly has grander ambitions on his mind than simply championing a facet of his artistry. As it is continent-wide, Ghana’s mainstream music market is not wholly accepting of strictly Rap albums, and those identified as Sark’s colleagues on a broader level – Wizkid, Burna Boy, Davido – make Afropop and Afro-Fusion songs with wide appeal beyond their home countries and in the diaspora. 

Fully aware of the semantics, his decision to make ‘No Pressure’ a musically diverse effort lands quite well. It’s aided by top-notch production work, an intentional move from the artist, as he’s credited as one of two co-executive producers. Working with longtime collaborator MOG Beatz, as well as contributions from Certified Bangerz, KaysoFromTema, AltraNova, and Beatfreaks, Sarkodie’s vision for a 2-in-1 project is achieved by piecing together choices that fit specific moods. 

For the most part, this album reveals that there’s fairly anything new in Sarkodie’s world beyond slightly elevated ambitions. The criticisms of recycled themes become a moot point, however, when you take into consideration that life is a repetitive cycle – especially when you’re living out your dreams, the bog picture becomes clearer. In Rap, it isn’t entirely about what you’re saying, but how you say it. The latter is what Sarkodie has mastered all these years, and ‘No Pressure’ is further searing proof of that undeniable superpower.

Rahim Munir is a writer, music critic and media strategist. He has written on the Ghanaian music scene including album reviews, articles and opinions for a variety of publications.

REVIEW: OLAMIDE’S ‘UY SCUTI’

Turntable Top 50: Omah Lay continues to dominate the Nigerian charts

Posted on by Adewojumi Aderemi

Currently holding the record for most consecutive weeks at number 1 – where his hit single, “Godly” spent 11 weeks – Omah Lay continues to dominate the Turntable Top 50. The artist’s latest chart-topping single, “Understand” has now spent a third week at No.1.

This week, “Understand” tallied 48.7 million in radio reach, a 6% drop, going up 27% online with 2.03 million equivalent streams during this charting week. Launching with 529,000 in television reach, as “Understand” maintains its spot at number, Omah Lay can proudly say that all his number one appearances have spent at least 3 weeks at the top. A remarkable feat for the Popstar who makes number 1 hits look like child’s play.

Last week earning his first top-five entry, Adekunle Gold’s “Sinner” moves even higher on the charts, sliding from positions 4 to 2. This follows an 8% uptick in radio reach (36.3 million) and a whopping 121% increase in TV reach, counting 9.43 million in TV airplay this week. Adekunle Gold’s highest charting single, “Sinner” is tailed by Ladipoe’s “Feeling” and Olamide’s “Rock” in positions 3 and 4 respectively.

Closing out the top five for this week is Ruger’s “Bounce”, which re-enters the top five after a week-long stint position six last week. As AV‘s “Big Thug Boys” slides down one place to position 6, “Celebrate Me” by Patoranking earns a new peak at number 7. Similarly, Fireboy’s “Peru” reaches new heights at 8, rising two spots from its position at 10 last week.

It looks like Rema’s “Soundgasm” is slowly inching out of the top ten. “Soundgasm” sinks from 8 to 9 this week, ahead of “Monalisa” – off Sarz and Lojay’s joint project, ‘LV N ATTN’ – which rounds off this week’s top ten. “Monalisa”‘s debut entry into the top ten of Turntable’s Top 50 charts marks the fifth song Sony Music West Africa and UK have made entries into the top ten without any Audiomack streams.

Considering how influential Audiomack is in the streaming space in Nigeria, it is very impressive that Ruger’s “Bounce”, JAE5’s “Dimensions”, “Rotate” by Burna Boy and Becky G, and “Monalisa” all made entries into the top ten. Most especially formidable is Gyakie’s “Forever (Remix)” spending three weeks at number one, without any Audiomack streams.

Check out this week’s full charts here.

ICYMI: PRE-RELEASE REVIEW: DETO BLACK’S ‘YUNG EVERYTHING’

What’s Going On Special: Ghana’s LGBTQIA+ Community Is Under Attack

Posted on by Joewackle J. Kusi

Our Latest Column, “What’s Going On”, Will Tally 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 All Over 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.

In June, Ghana’s parliament submitted a proposed bill that if passed into law would worsen an already volatile situation with the country’s already marginalised LGBTQIA+ community. The 36-page bill titled ‘The Promotion of Proper Human Sexual Rights and Ghanaian Family Values’ went a step further to clamp down on already existing legislation in the West African state which previously criminalised “unnatural carnal knowledge”.

At the time of its publication, the draft bill caused furor across the country and the diaspora at large as its enactment into law proposed draconian-style punishments reserved for people on account of their sexual preferences. One particular punishment in the bill prescribes up to 10 years imprisonment for LGBTQ+ people as well as groups and individuals who advocate for their rights, express sympathy, or offer social or medical support.

For several months, there has been increased violence meted out against the LGBTIA+ community. Back in May, the Ghanaian police authorities arrested 21 LGBTQ activists for attending a conference in Ghana’s southeastern city of Ho, on grounds of an alleged unlawful assembly. On social media, the hashtag #FreeThe21 flooded our timelines, as many activists and allies pleaded against the harsh and unjust treatment of these people who were really imprisoned for their sexuality.

Regardless of the current state, concerns about the rights of LGBTQ+ people in Ghana are not new. According to Human Rights Watch, in 2018, it was reported that queer Ghanaians “suffer widespread discrimination and abuse both in public and in family settings”. In the country, LGBTQIA+ people are frequently victims of physical violence and psychological abuse, extortion and discrimination in many different aspects of daily life, because of their sexual orientation and gender identity.

Following the arrest in Ho, a statement from the Ghana Police Service stated that “the command is cautioning the public, particularly parents, to be wary of activities of persons involved in this misbehavior and report them to the police.” The language used in the statement holds a mirror to the realities of living as a queer person in Ghana and Africa at large. Presently, only 7% of Ghanaians surveyed in a 2019 Afrobarometer poll said they’re tolerant of same-sex unions.

With this new legislation, the country is only worsening the current political climate. According to Ghana’s Minister of Information, this is a position that the Ghanaian government is not willing to renege on. “The position of Ghanaian law on sexual orientations, preferences and practices has been quite clear for some time now,” Oppong Nkrumah said, “and the executive branch led by the president has also been clear that it does not intend to amend or alter the current position of Ghanaian law on these matters.” The passing of the bill means any persons who support and advocate for the rights of the queer community will be punished. It also goes on to forbid specialists from providing medical assistance to queer people. Families, friends or anyone who refuses to report suspected activities of LGBTQ+ person to the police could also serve a jail term of not less than 5 years, and not more than 10 years.

 

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It is clear that queer identities in Ghana are under attack. The current attitude is fraught and despair and many members of the community have had to go into safe houses and hiding on social media platforms to protect their identity. Dela*, a 28-year-old queer software engineer tells me that he was subject to harassment and teasing by his co-workers following the announcement of the bill. “Some of their jokes were funny because they were true,” he tells me disappointingly a few weeks after the draft legislation was made public.

For DJ Yogo*, when she first came across the bill on Twitter, she shared it with a friend who has a better understanding of the law and legal language. When her friend texted back, her response confirmed DJ Yogo’s initial thought. “The bill is not just stupid, but also very wicked,” the 28-year-old Accra-based DJ tells me. The idea of conversion therapy on the bill sends her back to her second year in university – where she spent a lot of time going to church for prayers because she going through self-conversion therapy. “People made me believe being lesbian was something I brought to myself, and I was ready to pray it away,” she tells me.

For the most part of this year, Ghana’s queer community has been fighting the government, state security, and religious institutions alike. With their collective power and support from local and national newspapers and media houses, anti-LGBTQIA+ rhetoric has continued to spread in the country and spread mass information. The harmful rhetoric has only stoked the flames of the current conversation and allowed the bill to garner widespread public support. However, the issue is that the legislation has been voted one of the worst in the world to date as its tenets could possibly affect non-queer persons who could pass as queer.  “When that happens, everyone can be arrested on suspicion. It doesn’t matter whether you are gay or not. You know the police,” Dela says.

LGBT Rights Ghana – a movement championing the freedom for all LGBTIA+ persons in Ghana has been strategising and actively engaging with appropriate agencies and individuals to put together a document to counter what the group describes as a hate bill. “The document is violent and horrifying,” Alex Kofi Donkor, Director of LGBT Rights Ghana tells the NATIVE. Alex also compared the bill to Nigeria’s 2014 Same-Sex Marriage Prohibition Act (SSMPA)which unleashes similar violence against the queer community and anyone perceived as queer. “I believe they have profiled people they’d want arrested immediately after the bill is passed. They just want the bill to legitimize the violence they’ve been perpetuating,” Alex tells me.

As days turn into months, many of Ghana’s queer community are bracing for further impact in the coming months as the bill is debated in its parliament. For many, the next few months are critical towards ensuring the protection of queer identities within the country through countering any proposed legislation, advocacy and starting conversations among the international. But what does life now look like for queer people in Ghana?

For Suweiba, a transwoman living in Accra, the next option is escaping from the violence. Currently, she is saving up to relocate out of the country. “There is no future for me in a country where I was born a criminal,” she tells me. Until a month ago, DJ Yoga didn’t work on Wednesdays. We were sipping her favorite cocktail in one of the lounges she plays at minutes before the show. “Every Ghanaian could be jailed for 10yrs for just being Ghanaian under this proposed bill. I should be resting by now, but this government doesn’t. And I need the money because I for left Ghana.”

 

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She’s not alone. Indeed, many queer Africans around the continent are also seeking safety and protection outside their home country. African queer identities continue to face increased harm and we cannot collectively renege on speaking out against the unfair and cruel treatment faced by a marginalised group.

Whether the bill will get passed or not, there is no denying that people’s lives will be endangered, and Ghana’s constitution guarantees fundamental human rights to everyone including its queer citizens. Amidst the already existing violence towards queer people, and the tension in the atmosphere as Ghanaians wait for a decision, there is an active online community hoping to repel the bill with hashtag #KillTheBill.

“We hope the bill is rejected not because no political party wants to go down as the ones who signed such a bill. We live in this country and know how big every government is on PR – especially when the rest of the world is watching,” – Dela.

Featured image credits/PremiumTimesNg

Joewackle J. Kusi is a Ghanaian writer, filmmaker and podcaster. Most of his work is centered on uncomfortable yet relevant social conversations, spanning arts and entertainment, gender, sexuality, lifestyle and culture.

ICYMI: The Evolution of Protest Culture in Nigeria

Songs Of The Day: New Music From Naira Marley, Gyakie, Ria Sean & More

Posted on by Wonu Osikoya

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.

Earlier in the week, we brought you new music from Teni, Maison2500, Mowalola, BByslut, Jomiz, Teni, Tim Lyre, and a UK remix of Ruger’s “Bounce” featuring Midas The Jagaban. It’s Friday and that means new music. Today, we’re bringing you music from Naira Marley, Gyakie, Zlatan, and more. Tap in.

Naira Marley – “Drug Test”

Naira Marley is back with his second official single for the year. Following the success of his hit single, the Busisiwa-assisted “Coming” earlier this year, the Marlian King is back with its equally catchy follow-up titled “Drug Test”. The Rexxie-produced track finds the artist singing about a drug test he may have failed. Naira always finds a way to interact with his fans and his audience through his music. On the memorable hook, he sings “I just failed a drug test doctor so fun mi pe drug test positive/Cocaine negative, Heroine negative, Cannabis positive” expressing his deep love for cannabis.

Zlatan – “Alubarika”

In 2019, Buju broke into the limelight with his Zlatan-assisted single “Spiritual”. All year long, he’s doubled down on the hits with his feature on Ladipoe’s “Feeling” and his latest single “Outside”. It’s clear that Buju has the winning formula which he brings to his latest release, collaborating once again with Zlatan on the catchy new number “Alubarika”.

The mid-tempo track finds both artists appreciating life and their achievements in the game so far. Buju once again delivers a stunning hook and validates his reigning title as one of the country’s hook killers. He’s joined by Zlatan who delivers the verses singing “You know say music na my hustle, and i no dey fumble,” while painting a picture that visualises his experiences on the come up.

Gyakie – “Need Me”

Fresh Meat Alum Gyakie has enjoyed a phenomenal year. After receiving a stellar verse from Port Harcourt singer, Omah Lay on the remix to her breakout single “Forever”, the talented singer has only continued to prove her lyrical chops and enviable flow.

For her latest release, she teams up with record producer Sosa to deliver a soothing romantic track titled “Need Me”. On this number, she serenades her lover with pleasing lyrics and reassures them of her affection. “Come close to me baby, no don’t stop/ I want this daily, I’ve fallen in love I cannot deny” Gyakie quips on the track. While it’s different from her earlier releases, Gyakie shows she’s able to hold her own across a range of sounds and genres.

Kizz Daniel – “Lie”

Kizz Daniel has been on a roll for most of the year. Every song he delivers seems to be a subtle hit and his recent single “Necessari” has been a mainstay on the summer charts for weeks. This time, Kizz Daniel is here with “Lie”. A mid-tempo tune that has the artist making confessions to a certain muse. On the hook of this track, He sings “Everybody know say omo me I no dey lie/I feel like i need you in my life, nobody fit tell me otherwise”.

Benzo – “All Hail iKumanikazi”

South African rapper Benzo is here with her second official single of the year. On this track, the artist talks with a braggadocious tone as she hypes herself up as well as speaking on her achievements so far, complete with smoke for the haters and foes as well. “Running this game I’m not sorry, sipping bacardi/I’m dropping hits like it’s candy galour, I did it in under a year” she quips over a menacing beat. The Fresh Meat alum continues to show her fierce lyricism and we’re all here for it.

Ria Sean – “Money Bag”

For her second official release of the year, Aristokrat Record’s latest signee, Ria Sean delivers a catchy new track titled “Money Bag”. The Dehveen-produced number finds the artist singing about her laser-focus on getting the bag and reaching maximum levels of happiness and success. Over the song’s groovy production, she’s armed to the teeth with affirmations for herself and listeners as she gasses herself up as well. “Ice on my thing make me dey, So me I fit smile every day, I’m only about the money chase/Tell me where the money dey” she quips on this track’s hook, reminding herself of the power within.

Zinoleesky – “Naira Marley”

A month ago, street-hop artist Zinoleesky released his first official single of the year titled “Naira Marley” to incredible fanfare. To capitalize more on this release, he has now put out the video. The video which takes place in a party setting captures Zinoleesky alongside some of his label mates and friends having a great time at the party. Marlian Music label president Naira Marley, was also present in this video as the track is named after him.

Blxckie – “Joy” ft. Oxlade

Following the success of his debut album ‘B4NOW’, which emerged as the NATIVE’s best album of 2021, so far, South African rapper Blxckie releases his new single “Joy”. On this track, he collaborates with Oxlade to deliver a mid-tempo romantic love tune that has the artists serenading their muses with lyrics such as “I like you more than you think I do, I’ll never hide all my flaws/I’m here to give you joy”. They both deliver a stellar performance on this track as they complement each other perfectly.

[Featured image credits/Instagram]

ICYMI: Deto Black’s ‘Yung Everything’

NATIVE Exclusive: Ajebo Hustlers want to be more than conscientious voices

Posted on by The Native

Two songs into the Port Harcourt duo, Ajebo Hustlers’ spirited brand new album ‘Kpos Lifestyle Vol. 1′ is “Yafun Yafun,” a succinct bitter musing on the infidelity of a love interest spun over vibrant instrumentals. The subject matter is whimsical but it is delicately told via an achingly-sung chorus and an innuendo-filled verse. There is no doubt that the number is sure to become a radio regular and, perhaps even, a crossover hit.  

This is the vision that Piego and Knowledge, the two friends that make up the musical duo, Ajebo Hustlers wish for themselves. A desire to be seen as dexterous musicians capable of cutting loose when the occasion demands and topping charts from PH to the Six. 

 

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To understand why such a hedonistic outlook is important to the Port Harcourt-bred duo, you might have to cast your mind back to the tense weeks of last year’s October protests when young Nigerians converged at vantage points across the country to demand the disbandment of the Special Anti-Robbery Squad and vent at the state of the country’s failing economy. While Piego and Knowledge were not on all the protest grounds across the country, their music was a regular accompaniment to the fury of the masses.

Their 2020 single “Barawo” was sung with gusto by crowds of young people from state to state who chanted its distinct refrain, “this country na wa. They utilised the familiar lyrics as a bite-sized invective aimed for the hearing of the authorities who were caught unawares by the ferocity and inventiveness of the young protesters. 

“That felt really emotional because that’s not something you can predict,” Piego, one half of the group, says when we get on a Zoom call the day before the release of ‘Kpos Lifestyle Vol. 1′. “We weren’t expecting that. We just wanted to express ourselves and make the kind of music we want regardless of who wants to listen. So, it was significant that that song was there during a significant time in our lives as young people especially because we had never seen Nigerians that united before, it was really fulfilling.”

As fulfilling as that experience was for them, the duo are aware of the overwhelming power of assuming that narrative and wish to avoid being shoehorned as only social justice voices. With their music, they want to make you dance, they want to echo your hurt with pithy songs like “Yafun Yafun,” and, importantly, they want to be on your music rotation this summer with their debut album. “We’re not here only to make music for freedom fighting or conscious reasons,” Knowledge says from a brightly lit apartment in Lagos as our conversation progresses ahead of the album release.  “We can make love songs and when we are ready and we can still make songs that reflect on those societal ills too.”

In conversation, Piego, born Precious Isaiah, and Knowledge, real name George Dandeson, pass the baton to one another effortlessly, offering answers that are as insightful as they are grounded in their immediate reality, a sign of how in-tune they are with one another. The duo first met over nine years ago at a catering service based in Port Harcourt where they were both working. Even then, music had always been a common ground for them. “Music basically brought us together because even though we were actually working at that restaurant we just had a burning passion for music,” Knowledge confesses. “We just became brothers off listening to music together and just connecting. We made our first song together in 2013 (“Tombo Music”) and it just went viral.”

While they gravitated towards each other in the early days, they still valued their independence and worked on music as solo artists before circling back to each other to compare notes and areas for improvement. While they enjoyed their time as solo artists, they soon realised the power in the union of their voices and so did their growing audience. “We just figured out that people like it more when we made songs together,” Knowledge said. “So, we just decided to align and put our efforts together to give the people what they want because the way we see music, it belongs to the people and what they wanted at that time was us together.”

“We’re not here only to make music for freedom fighting or conscious reasons.“

 

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Together, they set about dominating music in their home city of Port Harcourt, pulling from the visceral reality of life in the oil-rich city or, at other times, singing about its cultural artifacts like they did on 2014’s humorous “Bole and Fish.” With each release, their profile was further burnished and by the time they collaborated with Kayswitch on “Buruku” in 2015, they knew their time in the city was coming to an end, according to Knowledge. “The song was really popular in Port Harcourt and other neighboring cities,” he explained. “We also did a show and it just dawned on us that there was nothing left for us to do in the city. It was time to move to something bigger and try out abilities there too.”

That next step, like many before them, was the inevitable move to Lagos, the city that makes dreams come true. However, they didn’t find it easy in the cultural hub as the pair didn’t have any contacts or a label structure to lean on. “At a point, we would stay in Lagos for a while and go back to Port Harcourt because we still had gigs in the city and we needed those funds to push our career and just keep going generally,” Piego admitted halfway into our conversation. 

One day in the last quarter of 2019, the duo were laying down ideas in the studio when they put down a sketch of the song that would earn them their big break, the 1da Banton-produced “Barawo.” The first part of the song to be completed was its chorus that referenced jungle justice and the decadence of government in Nigeria;  history and Port Harcourt were to provide an impetus for the completion of the song. The event shook the entire nation but particularly residents of Port Harcourt who recanted the tragic tale each year. 

To many people across the country, they were simply the Aluu 4, but to Piego and Knowledge, Ugonna and Lloyd were Tispy and Big L, budding rappers from the University of Port Harcourt that they regularly contested against at impromptu rap battles. The verses for “Barawo” were specifically crafted to preserve the memories of Ugonna, Chiadika, Lloyd, and Tekena. “It’s really personal for us,” Piego says solemnly, “and we felt like we needed to remind people about them because the hook already mentioned jungle justice and we wanted to honor their memory. I think one of the best ways we can honor their memory is to keep speaking against jungle justice and ensure it doesn’t happen again. That’s just one case that was popular, there are countless numbers of deaths we don’t get to hear about.” 

 

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Although forged by tragedy, the release of “Barawo” catapulted the duo to nationwide popularity. After the #EndSARS protests, they continued to release timeless music including the Nissi-featuring “Symbiosis” in November 2020 before the duo tapped another Port Harcourt-bred artist, Omah Lay, for “Pronto” in February. Between their distinctively southern Nigerian cadence and the breezy verses and catchy choruses that they have come up with, it is easy to see why many people are tipping them for imminent superstar status. 

‘Kpos Lifestyle Vol. 1’ is full of attempts to ensure that such predictions don’t fall too far off. Between the sappy songwriting of “Bus Stop” and the unencumbered indulgence of “Kpos,” the duo add more strings to their bow by showcasing their stellar penmanship and enviable synergy. It is an album that was being made years before we even got to this point, perhaps years before they even made “Barawo.” 

“This album is about solidifying everything we’ve spent our music career working toward,” Piego says. “We just wanted to give our fans something to make memories to. It doesn’t matter if you’ve only been a fan for three months or six months or longer, we want to show that we can do different things with our music.” Chipping in, Knowledge adds: “Most of the records are images of different times in our lives.”

As our time together draws to a close, I ask the duo how they feel about being mere hours away from their debut album almost 10 years after first crossing paths. After taking a moment to consider his feelings, Knowledge gives a simple answer that rings in my head long after our conversation and right through to my first listen of the album:

“It’s been a long time coming because being where we are takes a lot of work, so I feel great. I feel elated actually.”

Stream ‘Kpos Lifestyle, Vol. 1’ below.

Featured image credits/DeedsArt

@walenchi Is A Lagos-Based Writer Interested In The Intersection Of Popular Culture, Music, And Youth Lifestyle.

ICYMI: It’s Ayra Starr’s Moment Now

Mo Abudu’s EbonyLife Studios acquires rights to make film about Hushpuppi

Posted on by Dennis Ade Peter

In June 2020, Dubai police arrested twelve alleged Nigerian fraudsters, including Ramon Abbas, popularly known as Hushpuppi. In the years leading up to the arrest, Hushpuppi was known for flaunting a ritzy lifestyle across social media, on Instagram especially, with pictures and videos of designer fits, luxury cars, worldly travels on private jets, expensive dinners with celebrities, and inspirational captions to match. For some, he was just another socialite and aspirational symbol living it up and showing the world; for others, the source of his wealth was a topic for negative suspicion, with the common allegation being cybercrime.

To the latter sect, Hushpuppi’s arrest by the Dubai police force was the beginning of a long-awaited reckoning, one that was compounded by information that it was triggered by an investigation by the U.S’ Federal Bureau of Investigation (FBI). Shortly after his arrest, Hushpuppi was extradited to the U.S to answer charges of money laundering. The FBI alleges that Abbas was part of a multinational network that made hundreds of millions of dollars from Business Email Compromise frauds and other types of scams. A month after his arrest, he was denied bail by a judge at a Chicago court and has since been in detention while the details surrounding the case unfolds.

Very recently, news broke that Abbas named top Nigerian police officer Abba Kyari as one of the co-conspirators in one of his scams. It was a shocking revelation, one that inevitably feeds into the widespread perception that the Nigerian police is one of the villains in the fight against crime. At the moment, Kyari has been suspended by the Nigerian police force while an “internal” investigation is being carried out, and the status of the FBI’s request that the policeman be extradited to the U.S for questioning is still uncertain. There will probably be more twists and turns in Hushpuppi’s case, but it’s already eventful as is.

Earlier this week, on Thursday, Ace entertainment entrepreneur announced that her film production company, EbonyLife Studios, has acquired the rights to produce an action thriller based on the life of Ramon Abbas. The currently untitled project, which is set for Universal Pictures and will be executed with U.S-based Will Packer productions, will be using the Bloomberg article, “The fall of the billionaire Gucci master” by Evan Ratliff, as its primary source material.

Published just over a month ago, Ratliff’s article tracks Abbas’ life, from his beginnings in Nigeria up until the alleged multi-million dollar scams he initiated and took part in. While it isn’t a full-length biography, the article is quite exhaustive and detailed enough for one of Nigeria’s most prominent producers to attempt to turn into a feature film.

‘‘When the Hushpuppi story made headlines last year, I pitched the story idea to @willpowerpacker and James Lopez,” Mo Abudu wrote in the Instagram post announcing the project. “They bought the idea and as headlined in this press release, together we won the rights to the Bloomberg article by Evan Ratliff mentioned above.” While the project is still in the phase of sourcing for the script writers, reception to the potential film has been ambivalent, with concerns that it might end up being an endearing representation of an alleged fraudster.

 

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Over the last few decades, cybercrime has become an increasing fixture amongst young Nigerians who see it as a way out of Nigeria’s poverty-enabling environment. It’s an illicit means that is now an international albatross, an agenda Hushpuppi’s arrest has only given further validation. Going by the source article, the film will attempt to chart Abbas’ path, showing us a character deeper than the ostentatious IG posts. It’s a delicate subject to engage without feeding into the worst expectations of the film.

“To ensure that this story is told with authenticity, a Nigerian storyteller with our pedigree needs to be involved,” Mo Abudu said of EbonyLife’s spearheading involvement in the project. “Too often, these types of characters are one-dimensional and feed into the worst stereotypes. Hushpuppi’s story is based on a real person whose story is already partly known to the world but the film gives us a real chance to tell a cautionary tale about a character formed by his environment and life choices.” She went on to cite the films of seminal director Martin Scorcese, noting that they told the story of mafia kingpins without leaving the impression that all Italian-Americans were in the mafia.

Whatever EbonyLife and Mo Abudu eventually come up with, expect Nigerians and many others across the world to be watching through critical lenses.

@dennisadepeter is a staff writer at the NATIVE.

ICYMI: KEMI ADETIBA’S ‘KING OF BOYS’ IS NOW A 7-PART NETFLIX ORIGINAL SERIES

Our First Impressions Of Ayra Starr’s Debut Album ’19 & Dangerous’

Posted on by The Native

Barely six months into her entrance on the scene with her glittering self-titled EP, Mavins Ayra Starr is back with her most well-rounded effort to date. Unveiled today, the fast-rising star has now expanded the world around her music with the release of her debut album ’19 & Dangerous’. Imbued with a youthful spirit and awe-inspiring vocals, the album is teeming with possibility from one of the scene’s brightest stars with crisp lyricism and clear-cut delivery.

Speaking about the album in an exclusive interview with the NATIVE, the Beninese-Nigerian singer shared that ’19 & Dangerous’ was packed with fierce reflections about life, love, and becoming offering therapeutic levels of aural healing for her growing fanbase. That sentiment feels like the driving force of her current output as she tackles life’s experiences and shortcomings in her own unique way across 11 tracks.

After a month of build-up and the release of the promotional single “Bloody Samaritan”, Ayra Starr’s debut moment is finally here. So, what were the album’s best songs? Best verse? Best Feature? Below, the NATIVE team answered these pressing questions and more after giving the album a couple of spins. Here are our first impressions of Ayra Starr’s debut album ’19 & Dangerous’.

Best Song

Wonu: My best song on this is definitely “Beggie Beggie”. I love everything about the song from the delivery, to feature selection, to the story being told to the listeners. This was one of the few songs I had to run back on first listen. Hearing Ckay’s tag also made me excited and I was not disappointed after his verse. He put up a stellar performance on this track and of course, Ayra did the same. A close second to this will have to be “Bridgetn”. I must say Andre Vibes went crazy on this beat and the chemistry between these two was undeniable. Also, I really like the lyrics. Ayra gassing herself on the hook is everything!

Ada: As usual, picking a fave song is so tasking as more than 1 always gets to me. However, on this album “Fashion Killa”, “Blood Samaritan”, “Cast (GEN Z anthem)” and “Amin” are top tier. But I’d have to say hats off to “Bloody Samaritan”, She did her damn thing with the song.

Dennis: If there’s any song that best captures the invincible side of Ayra Starr’s persona, it has to be “Fashion Killer.” It’s the sort of self-aggrandising song that’s brimming with outrageous, god-level swagger; Ayra’s voice is commanding, and the writing is so damn good and catchy every line is a potential Instagram caption. My memory might be failing me a bit, but this is possibly the best display of precocious overconfidence I’ve heard since Wizkid’s “Holla at Your Boy.” I mean, she enters the song with a pseudo-rap cadence proclaiming, “My denim faded but I rock it like a baby in a cot,” and that arguably even isn’t the best line on the song. There are several cuts that lean into boastfulness on ’19 & Dangerous’, but this one is easily the best in terms of craft.

Best Verse

Shina: The only song on Ayra’s album with a fast tempo. This isn’t Ayra’s usual lane but she rides the beat effortlessly and delivers one of the best verses on this album. Would love to hear more songs like this from her. Other honorable mentions will be the two guest verses from Foushee and Ckay and the hard-hitting first verse on “Fashion Killa”. With lines like “I light the room in the dark cause my bling is a torch / I watched fashion die today in the mirror that I saw” there’s enough braggadocio on there to confirm Ayra’s dangerous status.

Ada: My fave verse would be from the “Cast(Gen Z Anthem)”. A particular verse that really caught my attention was when Ayra said “Live my life the way I wanna live with no shame/Suck on these nuts if you’re ain’t approve of”. It spoke to me so much, both emotionally and personally and you’d always want a song to not just entertain but speak on some form of reality.

Nwanneamaka: The best verse for me came in the first since out of the album “Bloody Samaritan”. The intro song which doubles up as the chorus just exudes an air of confidence. It resonates with me because via her Native Exclusive interview she shared that she has always been the people-pleasing type but she’s grown out of that and we can definitely hear it on this verse of “Bloody Samaritan.” It’s one of the bad bitch anthems from the project and I’m always here for a song that makes me feel powerful.

Best Lyrics

Nwanneamaka: My favourite lyrics came from the album outro, “Amin.” She started the song off by rejecting poverty and ended it by saying she’s ready to accept all the good things life has to offer. Standouts like “I’m ready for the funds/ready to be happy” speak to me the most because all I really want is money and happiness.

Shina: I have quite a few picks. Lyrics from “Fashion Killa,” an obvious inspiration from A$AP Rocky’s song of the same title take up a majority of my picks. She starts the song with “My jeans faded but I rock it like a baby in a cot” and then goes on to say “I put the water in the ocean in the city that I’m from” meaning she has got the excess amount of drip to don. She ends her second verse with “Think of it, a brown shirt and no ribbon/Diamonds awaken every time I need it/Babushka on everything, my allegiance.” You’re going to have to choose your fighter at this point cause these are all testaments to Ayra Starr’s Dangerous lyrical prowess.

Tami: I’ve really enjoyed listening to Ayra’s debut and I’m pleasantly surprised to see thematic and sonic growth just seven months shy of her debut self-titled EP. On ’19 & Dangerous’, the quality of her lyrics is more elevated. Ayra is still saying the same things but the delivery is different. This time, the stakes are higher and she’s determined to show she’s her generation’s undisputed leader. Standouts from me are scattered across the entire album. From opener “Cast (Gen Z Anthem)” where she’s literally saying “Suck on these nuts if you ain’t approve of” to “Bridgertn” where she sins “Broke all the stereotypes, I make my rules”, it’s clear that Ayra isn’t looking to mince the truth for anyone.

Overall First Impression

Wonu: Honestly, I did not expect the album to be this good. Ayra Starr continues to outdo herself all the time. It’s such an amazing body of work. Her first tape dropped earlier this year and the growth between that and this is quite evident. I’m very much impressed by the tape and I’ll rate it a solid 8 out of 10.

Dennis: Ayra Starr is worth the hype and more, that’s probably my biggest takeaway from ’19 & Dangerous’. It’s not that her eponymous EP from earlier this year wasn’t impressive, but it was a stealthy introduction catalysed by one of the most consistent star-making machines on this side of the world, which made it a tad difficult (for me, at least) to sincerely gauge the extent of her powers and potentials. Whatever the bar was with that well-received EP, the Mavin singer has eclipsed it with an album that was crafted with wicked and profound poise. She’s jubilant and pensive, exuberant and vulnerable, vindictive and empathetic, and more, all in the span of eleven songs. That ’19 & Dangerous’ is out a few months after her EP is testament to Ayra’s readiness to play in the big leagues on her terms, a Gen Z star with a clear sense of self-worth, an already accomplished skill-set, and an infinite ceiling on how her powers evolve going forward.

Woju: Starting an EP titles ‘19 & Dangerous’ with a song subtitled “Gen Z Anthem”, I was definitely expecting a pop, Tik-Tok-friendly offering from Ayra Starr. But as the powerful intro track came roaring through my earphones, it was clear that Ayra Starr is doubling down on her impassioned vocalism. On “Cast (Gen Z Anthem)” the Tems comparisons seem valid, but when she delivers a track, “Lonely” reminiscent of Teni #thatyear, Ayra Starr capitalises on a culmination of our favourite characteristics from female musicians. From rousing crescendos at her hooks to triumphant horns across the project and adept lyricism, ‘19 & Dangerous’ is packed full of strong points and versatility. One of the highlights of the album for me is Ayra’s consistent pop-culture references. On the title of the track, “Bridgertn” — where the strings actually take us back to our Christmas binge; “Beggie Beggie”, where she jokes, “Hundred years, husband material;” or even when she announces “and my ass got thicker” on “Fashion Killer” where she references A$AP Rocky’s indelible record Ayra Starr’s lyrics are definitely 19. As Regina’s mum proudly refused back in 2004, “you girls keep me young, oh I love you so much!”

Stream ’19 & Dangerous’ below.

[Featured image credits: Instagram]

Written by Ada Nwakor, Adewojumi Aderemi, Dennis Ade-Peter, Shina Ladipo, Tami Makinde, Nwanneamaka Igwe and Wonu Osikoya

ICYMI: It’s Ayra Starr’s Moment Now

Listen to Amanda Black’s soulful third LP, ‘Mnyama’

Posted on by Dennis Ade Peter

Amanda Black specialises in making music that’s attention-grabbing and affecting. 2021 makes it five years since her hugely popular debut single, “Amazulu,” and acclaimed debut LP of the same title launched the South African singer into ubiquity.

‘Amazulu’ was an excellently crafted representation of Amanda’s willingness to wear her heart on her sleeves on wax, aided by exquisite sonic choices and her soulfully reverberating voice. On the 2019 sophomore album, ‘Power’, she spun balmy and reassuring songs, with intelligent experimentation adding fresh tones to her finely-crafted Afro-Soul sound.

 

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After months of build-up, the singer’s third studio album, ‘Mnyama’, has just been released. Conceived during the Coronavirus-effected lockdowns of 2020, the new project continues Amanda’s flair for turning personal vulnerabilities into emotionally resonant hymns. She draws inspiration from the existential dread induced by the pandemic and a heart-rending breakup just before. “It was a conscious decision to be like, ‘Listen, dude, it’s fine, it’s OK, you’re not the only person going through this. It’s OK.’ And that’s how the songs manifested,” she explained in the album’s Apple Music liner notes.

‘Mnyama’ was rolled out with two pre-release singles, starting off with “kutheni na,” a stirring song that finds the singer ruminating on the tough times dealt by the deadly virus, and it features a wonderful, reflective verse from rapper Kwesta. “let it go” followed as the second single, resolving the pensiveness of its predecessor with a reassuring outlook. Both singles are symbolic of the album’s teetering between intense introspection and gently uplifting declarations, with Amanda’s phenomenal voice aptly channelling anguish and radiating hope to give the album its overall enveloping feel.

To mirror the sobering period it was conceived in, ‘Mnyama’ is replete with soulful and delicately arranged musical choices, featuring a lot of grey guitar strums, emotive choral harmonies from Amanda herself, and pattering percussion. In addition to Kwesta, the album features J’Something, long-time producer Christer, and Zimbabwean singer Berita.

Listen to ‘Mnyama’ here.

@dennisadepeter is a staff writer at the NATIVE.

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Pre-Release Review: Deto Black’s ‘Yung Everything’

Posted on by Damilola Animashaun

DETO BLACK, the bad bitch from Lagos, has always been a recognisable face amongst the alternative youth forces in the city. She at first captured hearts with her unique style and her ability to make almost anything look good. DETO surpassed the confines of her social media platforms when she bagged notable features from Dazed, Vogue and Crack magazines, and in recent times with a brand ambassador deal for Nike SKAir 5, a Nike x Skepta collaboration. But in May of 2020, during the heat of the pandemic, DETO BLACK arrested our attention in a brand new creative field, making a surprise debut in music with a stellar verse on Odunsi (The Engine)’s “Body Count” (beside other dexterous African female musicians, Amaarae and Gigi Atlantis).

The young multifaceted artist showed us that not only can she put iconic ‘fits together but she can also deliver one of the hottest verses of the year, that dismantles all notions of purity politics African women and women all over the world are expected to conform to. The rapper’s sex-positive lyrics, skilled penmanship and her ability to deliver word-play whilst recognising the experiences many women face was the seamless introduction we needed to the untapped niche of Rap Girlies — as they’re fondly known — in the African Music sphere. “Fuck a body count, I let my body bounce,” not only whetted our appetites for more outstanding projects from DETO BLACK, but also for the influx of talented Nigerian female rappers such as DEELA, SGaWD, YTboutthataction, Brazy, L0LA, T-Wu and many more emerging from the Lagos music scene. 

With the release of her 2021 debut single, “Tesla”, produced by Odunsi (The Engine), DETO BLACK formally established herself as a creative image-maker, who uses her craft as a tool for defying social standards and embodying sexual liberation. DBLACK’s lyrics serve as a medium to voice her rage against society’s patriarchal and anti-feminine standards. She expresses that “Tesla”, was created as a middle ground between her femininity and masculinity whilst creating a “very sexy song” in an attempt “to make the girls feel like their sexuality and sensuality are super powers.”

DETO BLACK drew us further into the release of her debut EP with her Genio Bambino-produced single “Brag”, released last month. In the two minute song, with two choruses and two verses, DETO BLACK reminds us that this “bad bitch from Lagos” is not one to be messed with. The melodious hook tells us that she is too fly and she doesn’t need to put in too much effort. Just like her other works tailoring to uplifting and empowering women, DETO BLACK shares that “People think Lagos girls can be stuck up, but I think we should have the choice of not always having to have a smile on our face, if you get what I mean. This song is for the girls when they need to be reminded that they are that bitch and want to be in their own world.”

This statement is manifest in DBLACK’s online persona and style. Post after post we see the artist rocking various statement and alternative pieces most of us might not be daring enough to even try on, let alone purchase. From her colourful knee-high LOVE CHIDOZIE leather boots and MOWALOLA fur hats that resemble a colour explosion, to her rainbow coloured synthetic wigs and braids, it is evident that DETO BLACK doesn’t want a seat at your table because she has made her own. Her instagram page alone exudes creativity, independence, originality and fierceness and tells us as a matter of fact that DBLACK is THAT bitch and she doesn’t need your affirmation. 

We recognise her successful attempt to translate this feeling of empowerment in her debut EP, ‘Yung Everything’. As we would expect, the project is an embodiment of the rapper’s recurrent themes of women’s independence, sexiness, sexual freedom and strength. This contemporary EP with seven songs, including “Tesla” and “Brag”, entails a refreshing mix of various genres such as rap, trap and pop, layered over a series of brazy beats and sounds encouraging women to feel free in continually expressing themselves and, most importantly, just having fun. 

“three5zero” the EP’s intro sucks us into DETO BLACK’s world. With it’s sunny, upbeat sound we can tell this hyper-pop track was curated for enjoyment – a promising introduction to the artist’s world of fun. “If Mean Girls, the movie, was a song,” DETO BLACK explains, it would be “Betterrr”. On this trap track she brags about her ability to one up that girl who tries to copy everything she does saying, “anything you could do, I could do better/ bitch you ain’t no shit I can stunt on you forever.” There is a recurring air of confidence we get from DETO BLACK creative expression. It is evident that she doesn’t, in the least bit, feel threatened by anyone or anything because she is sure of herself. When she’s the target of Twitter trolls who fail to forget her less favourable moments, when her ex did her wrong for the last time, in times she faces adversary – whether in public or private – DETO BLACK shrugs the dirt off her shoulders and keeps it moving in her Mowalola red bottom boots.

This self-assured confidence glides onto the track following “Betterrr” where DBLACK refuses to stay sad after a breakup. If you thought you were toxic, then you’ve met your match in “F.U.N”. On this track which stands for “F***ING UP N*GGAS”, DETO BLACK raps over a buoyant beat about breaking out of the victim approach after a heartbreak “baby you dey try me/then you wonder why me?” In conclusion, you can’t expect to mess with DBLACK and get away with it. Similarly a bad bitch on Geeked and Gorgeous, “G an G” is a feel-good track evidently made for her trybe. The beat and sounds are reminiscent of the 2000’s era where DETO BLACK mentioned she gets her inspiration, in particular from sexually liberated artists like Kelis. This number, like DBLACK herself, inspires girl power. The round up track, “2 Myself” is the perfect outro serving a slower, mellifluous sound to the zestful and ecstatic EP. 

‘Yung Everything’ was just the body of work DETO BLACK needed to make her debut highly-anticipated full appearance in the Nigerian music scene. This statement project is what this creative polymath uses to tell us that she is a force to be reckoned with. Though we live in instantaneous times, where our attention spans require shorter content, the tracks on ‘Yung Everything’ could definitely have benefited from being longer. Additionally, I would have liked to hear more intentional exploration of her vocal range. Regardless, this is only DETO’s first EP, and a promising one at that. I, for one, would like to hear more of DBLACK delivering bars in pidgin like she did in “F.U.N”. 

This EP summarises, in seven tracks, what DETO BLACK is about and reasonable expectations can be made for the project to skyrocket her career. Like her verse on “Body Count”, I project ‘Yung Everything’ spotlighting the undeniable talent pool in Nigerian female rap, whilst encouraging her fellow rap girlies to release more projects and put Nigerian Female Rap on the world map. 

 

 

ICYMI: ONE YEAR LATER DETO BLACK’S FIRST OFFICIAL SINGLE, “TESLA” IS HERE

NATIVE Premiere: Watch Tiwa Savage & Kwesi Arthur in the club-themed video for Smallgod’s “Let Dem Kno”

Posted on by Dennis Ade Peter

Pan-African collaborations have become a regular, integral fixture in modern Afropop. It’s a trend that has multiplied exponentially over the last few decades, making a drastic shift from the occasional occurrences they once were. On the recent debut album by Ghanaian entertainment power player Smallgod, ‘Building Bridges’, he pulls in a cast of about two dozen artists from a handful of countries on the continent and in the diaspora. Playing the role of a connector and curator, the album is a colourful rendition of Afropop’s groovy, experimental, and eclectic terrain.

 

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A post shared by Smallgod (@small_god)

One of its standout cuts is “Let Dem Kno,” which pairs Nigerian superstar Tiwa Savage and Ghanaian star Kwesi Arthur over a club-ready groove. Produced by perennial hit-maker Young Jonn, the song finds both vocalists in self-assured, especially Tiwa Savage as she takes control with two unapologetic verses and a sassy hook. In the last few years especially, the Nigerian singer has shown a willingness to revel in her successes as one of the most visible artists on the continent, and she continues to exhibit well-earned self-confidence here. Kwesi Arthur follows suit with a melodic verse sandwiched between Tiwa’s verses, name-checking a part of Nigeria’s capital city as an indicator of the reception to his music beyond his immediate surroundings.

Today, Smallgod and his collaborators are sharing the new Six-directed music video for “Let Dem Kno,” a ravers’ delight that matches the song’s catchy tenor and the carefree braggadocio of its singer. Taking place in a cramped nightclub, Tiwa Savage and Kwesi Arthur can be seen performing their set and generally living it up, remaining in full control of their environment as the biggest star attractions amidst all of the waist whining and body grinding going on around them. It ties into the loose concept of ‘Building Bridges’, an album by Smallgod and friends featuring varying sounds but with a central purpose of bringing the pervasive fun of mainstream Afropop to listeners across the continent and beyond.

Watch the video for “Let Dem Know” here.

BEST NEW MUSIC: SMALLGOD UNITES HEADIE ONE, O’KENNETH, KWAKU DMC & LP2LOOSE FOR “SINNER”

NATIVE Exclusive: It’s Ayra Starr’s Moment Now

Much to the delight of the internet, there are moments that we share collectively that cannot be replicated or copied, no matter how much we wish them into existence. In a saturated market where streaming has made music uber-accessible at the click of a finger, these moments often arrive when we least expect it. Whether it’s a female rapper breaking glass ceilings and inverting gender stereotypes or a fresh-faced artist seamlessly breaking into the current sonic landscape, music and moments that demand to be felt globally are once-in-a-generation occurrences.

Yet Africa’s biggest musical conglomerate, Mavins has consistently found ways to hit the nail on the head and orchestrate these world-stopping moments all from their base in West Africa. Once upon a time, that position was reserved for Tiwa Savage and Wande Coal back in the early 2010s and then artists such as Korede Bello, Di’Ja, Dr Sid, and even rapper Ladipoe. Now, with a new generation of listeners in need of steady guidance from a formidable raconteur, Mavin has filled the gap once again with the likes of Rema, Crayon and more recently, its very own celestial being: Ayra Starr.

The 19-year-old singer arrived at the start of the year with a line of bangers and quotable lyrics straight out the door. Much like preceding labelmate Rema, Ayra Starr’s debut on the scene was felt greatly around the continent. Backed by Mavin and armed with a delectable self-titled debut EP, the singer came in hot and ready with an assured persona and a tightly-honed sound. ‘Ayra Starr’ included five glittering songs that touched on matters of love, life, family, becoming in a deeply comforting manner, with “Away” as its lead single. To many, it was immediately clear that Mavin had another star on their hands.

While Mavin found the right singer for the task, there was a slight chance that we would have missed out on this moment if the singer hadn’t found the courage to share song covers on her Instagram. At the tail end of 2019, after uploading an original song titled “Damage” to her Instagram feed, a young Ayra Starr received a DM from none other than superstar producer, Don Jazzy. “I didn’t even believe it was real,” she admits as we settle down for an interview a few weeks before her debut album release. The singer’s revelation is not surprising given that dreams are a luxury in these parts and they rarely ever look like we expect that they would. However, this reality hasn’t stopped Ayra’s shine as she is currently enjoying everything she’s worked so hard for. Ayra tells me that she still has a video of that exact life-changing moment. It’s a reminder of how far she’s come and how far she still has to go to see her dreams come true.

Ayra is now a long way from the girl who received a cold text from one of the continent’s greatest music producers and record executives, but she’s not forgotten the older version of herself that got her to her present reality. Ayra tells me that she’s always had an unwavering sense of self-belief in her musical abilities right from when she was a young girl. Music was peppered into the tapestry of her life right from the start, growing up in a musically-inclined family. The singer actually found her footing in music alongside her budding songwriter brother, who she tells me has been penning lyrics with her for as long as she can remember. It’s this supportive family background that Ayra leans on to propel her sense of self and bank on her superstar abilities.

Born Oyinkansola Sarah Aderibigbe in Benin City, the singer, from a very young age, was armed with the tools she needed to show up in the world. It cultivated a willingness to be the one saying it out loud when everyone in the room was quiet. She speaks fondly of her mother who nurtured her musical abilities from an early age. It was Ayra’s mum who encouraged her to remain consistent in her song covers on social media. Shortly after, a few stars aligned, social media virality came around and in no time, she was making music for audiences stuck inside during a global pandemic and ready to be connected to something deeper.

“I recorded and worked on my EP for the whole year 2020 during the lockdown.”

The result is what we are now witnessing today. On ‘Ayra Starr’, the singer wielded an unquestionable voice that demanded that you stop and listen, a common feature among all of Mavin’s brightest stars in the latter part of the previous decade. The sharp and soulful pulse of her music endeared the singer quite quickly to her new fans who have exponentially increased within the past year. Now, with all eyes on her and millions of views racked up across streaming platforms, Ayra Starr is ready to step into her most defining moment yet: the release of her debut album.

While it’s only been seven months since she released her debut EP and carved a lane for herself on the music scene, the rising star is already unveiling the world around her debut album this weekend. With the release of promotional single “Bloody Samaritan”, a powerfully charged number about guarding your light, and Ayra’s near-daily exclusives about the project on her social media, it’s infinitely clear that she’s very good at creating a world that we want to be a part of, or at the very least observe.

‘19 & Dangerous’ is the most well-rounded glimpse into the singer’s colourful world. The album’s lyrics which delve into topics of love, loss, growth, and more capture something both inspirational and relatable while shining a light on Ayra, the storyteller. The focus, however, remains on the span of moods that Ayra is able to run through within the project’s runtime. “The first three songs are the badass anthems. Then we have the vulnerability side and lastly, there’s the self-acceptance side which acknowledges my journey where I’ve accepted myself and I’ve come into who I was always meant to be,” she tells me. The album is a testament to her growth and provides an aural balm for her listeners in need of healing.

“I’m allowing myself to grow. This album will speak for me in rooms where I am not there because I have put so much into the album so I want my fans to know that if you’re feeling hurt if you’re feeling sad, or powerful, this is the album for you.”

Over our Zoom call, Ayra Starr explained the process behind ‘19 & Dangerous’, her songwriting process, and staying true to oneself. Our chat, which follows below, has been lightly edited for clarity.

NATIVE: Hi Ayra, do you have an audience in mind when you create music?

AYRA: It just depends on the song. Sometimes when I go to the studio, I just want to vent out my feelings into the music. Sometimes it’s like you know I have a mission and I know that okay, I want to write on this exact topic. It really just depends on my mood.

NATIVE: Tell me more about the moment leading up to “Away” and going from that to now releasing music this year?

AYRA: I recorded and worked on my EP for the whole year 2020 during the lockdown. “Away” was one of those songs that I wrote six months before I recorded it because I wasn’t sure. I loved it so much, I didn’t even want to record it. It comforted me when I needed it the most as I’d sing it to myself to remain calm. I put that power into the lyrics and the music video because I wanted it to be as perfect as possible.

NATIVE: What inspired the title of your debut album ’19 & Dangerous’?

AYRA: I always knew I was going to name my album ’19 & Dangerous’. I said that by 19, I would release my first project and now, I am doing exactly that. People told me it was too early and doubted me but I refused to listen. Danger is just me. I was manifesting the danger last year and now I can feel it. The moment I knew that I was not afraid to fail and make mistakes was the moment that I knew I was ready for hard and diligent work.

“Once you are not afraid to fail and make mistakes then you have nothing to lose, then you become dangerous. Yeah, I’m 19 and I’m dangerous.”

NATIVE: What are some of the themes you’re exploring on the album?

AYRA: We have “Bloody Samaritan” which is the lead single for the album. Bloody Samaritan just talks about hypocrites and criticisms I get from people. It’s just me telling people that you know you can’t kill my vibe. I divided the album into three different moods. We have the bad -I don’t want to say bitch- ok badass anthem. The first three songs are badass anthems. Then we have the vulnerability side then we have the self-acceptance side which is like oh I’ve accepted myself and I’ve come into who I was always meant to be. I’m allowing myself to grow. I’m allowing myself to be who I want to be.

NATIVE: What was the most memorable song for you to record during the process?

AYRA: Either “Cast” or “Bloody Samaritan”. I was recording different songs that day and I wasn’t feeling any of them. I told the producer to just play me the piano chords and I would sing over it.  I remember hearing the chords for “Cast” and I freestyled it from the beginning to the end. That’s the energy, I’m dangerous. I’m not trying to be like anybody. Then also “Bloody Samaritan”, when I was listening to this song in the studio, I was just so nervous because I had the beat for six months and didn’t know what to use it for. I found it so challenging but I kept begging London not to play it for anyone else. The lyrics weren’t flowing so London to leave the studio for me and I recorded myself. By the time London was back, he was in shock. I had pulled it apart and pieced it back together perfectly.

NATIVE: How was it like channelling so much of you in this album?

AYRA: I’d say it was kind of challenging. Without the EP I’m not sure this album would have been ready because I felt like the EP taught me so much on how to be myself. I used to criticise myself on everything I did and I wanted to ask for people’s opinions on every single thing I did but when it came to the album I felt like I was ready. I want people to listen to my music and feel like it’s therapy so I put all that emotion into my music. Without judging myself, I allowed myself to feel. For the first time in a long time, I allowed myself to feel. To feel love, to feel joy, to feel heartbreak, to feel all that and just put that into the music.

NATIVE: Now that you’re so close to releasing your debut album, do any of the songs resonate with you any better?

AYRA: Definitely, “Under Water” because when I wrote it last year, I didn’t even understand what I was writing because I wrote it in my sleep. I say that every time that I write it in my sleep but people never believe me. I didn’t even understand what I wrote until this year when I came out. However, when I was going through a rough patch, the song was so relatable and I never knew I’d be writing it for myself.

NATIVE: With your debut album hours away, what’s one thing you now want to share with the world?

AYRA: Just you know, believe in yourself, first of all. With this album I want people to not think of anything before they start to listen to the album. Just go into it with a clear mind and let the music take you away. Let the music take you away. This album i feel like will speak for me in rooms where i am not there because I have put so much into the album so i want my fans to if you’re feeling hurt, if you’re feeling sad, you want to feel like a badass, if you want to feel powerful, this is the album for you. Just go and listen to it and enjoy the therapy session.

Stream ’19 & Dangerous’ below.

[Featured image credits: NATIVE]