Over the back half of the 2010s, Killertunes established himself as an excellent hit-maker, helming huge slaps like Mut4y and Wizkid’s “Manya,” Spinall and Kizz Daniel’s “Baba,” Olamide’s “Motigbana,” and much more.
While he’s remained trusty with producing great music for a long line of artists, including Mr. Eazi, Joeboy and Phyno, Killertunes has been inching towards a more wholesome and autonomous curation of his effort.
In late 2019, he dropped his debut EP, Gbedu & Things, a beat tape that zeroed in on his effortless ability to create club-ready bangers, and hinted at more headlined output in the near future.
Over a year later, Killertunes returned with the summery bop, “Light Up,” with assists from Walshy Fire, Like Mike, and Zimbabwean star Sha Sha. It marked the first time he would release a song with prominent vocal contributions, and he followed up shortly after with “Bite Me,” a solo track that served as a bolder statement of his intent to pair his behind-the-boards prowess with his chops in front of the mic. On “Bite Me,” Killertunes basks in the familiar feeling of triumph, pettily dismissing the unbelievers from his past and revelling in a heightened sense of confidence.
This conviction is what powers his newly released debut album, KillaXtra, a 13-set track where he takes the vocal lead all through. With vivid influences from Wizkid, Afropop’s most indelible vocal performer in the last decade, Killertunes’ showing leans into bright melodies and hook-driven songwriting. Add in a sonic direction that alternately melds and varies between mid-tempo Afropop bounce, slinky Dembow-inspired rhythms, Caribbean Pop bops, and even a Trap-fusion cut, the project is a collection of breezy and catchy songs.
Comprising the two previously released singles, the new project casts Killertunes as a veritable triple threat, as he also takes charge of engineering and production duties on all but one track. He’s joined by a handful of guests, including Odunsi (the Engine), Nissi, Midas the Jagaban, Kida Kudz, and more, all of whom serve complimentary purposes. KillaXtra unfolds a new era for Killertunes, one where the full range of his talents have to be acknowledged.
Signed to DJing sensation, Tiffany Calver’s No Request label earlier this year, Curtis J is a UK-bred self-defined “Afro artist,” whose Yoruba heritage and South London upbringing meld together in a familiarly tantalising way. Beginning his music career during sixth form, between the ages of 16 and 18, the 23-year-old, born Curtis Oyemade, released his debut EP ‘The Ride’ in 2018 and has since got acknowledging looks from Tion Wayne, a collaboration with Darkoo and studio time with the likes of King Promise.
Whilst his previous releases this year – “Check Your Balance” and “The Man” – have been confident, boastful and fit to spark up the party, Curtis J’s newest single, “Sweeter Love” is a mellow notch in the singer’s belt. Though “Sweeter Love” is the latest addition to Curtis J’s catalogue, it’s a fresh showing for the UK-based Afropop newbie. He trades out witty jabs and self-aggrandisement for heartfelt professions of love, and, in doing so, proves his versatility and willingness to tap into different pockets.
The “love” bag is one every Pop artist gets into at one point, and Curtis J is making sure he’s doing it sweeter, with the expert help of MRMTMMG, who directs the song’s indispensable music video. Opening with a wedding banquet, set to the sound of a delectable sax, “The Man”’s follow-up is a celebration of Black love in all its glory; particularly resonant with Black British couples and individuals. From flirtatious beginnings on the red benches of a London bus shelter to grand ceremonies in picturesque castles, “Sweeter Love” portrays a coveted romance that provides security, fun and genuine companionship.
With an Afro-swing inclination, as ever, Curtis J makes known his Yoruba identity throughout the record, shuttling between Yoruba and English with the same chic with which he dons traditional attire from Yorubaland. Short but indeed sweet, Curtis J’s newest record is a promising offering for the UK Afrobeats newcomer, who is doing his bit to ensure the long-lasting future of the sound.
Ahead of the official release of Curtis J’s “Sweeter Love”, for our exclusive premiere of the single, The NATIVE chopped it up with the artist. We learn about the budding act’s musical inspirations, how his cultural background defines him, his ideal wedding and what he wants the fans to know about “Sweeter Love”.
What inspired you to tap into the love song pocket for this track?
I made this song a couple of months back in the studio with OluwaJBeats, it was a pretty late night, and I was, more or less, in the mood to make a love song. He made the beat and automatically I knew that this was a song that was going to be about love. So, I went in, started recording and haven’t looked back since. Big shoutout to OluwaJBeats for making that beat, honestly.
What role has your Yoruba heritage played in your music-making?
I’ve always looked up to the likes of Wizkid, Davido, and many more; seeing how they use their language in the music has led me to use it in my own sound. It’s always something I feel I’ve been talented at, but I just needed some inspiration to kick start it.
If you were to remix this song, who would you want to be on it?
Oooooo interesting question! If I was to remix ‘Sweeter Love’, I believe Wizkid and Tems would be the perfect fit! I can just imagine them dropping the sweetest verses on the song, that would be so perfect, so those are my two options because choosing one person is so hard!
UK Afrobeats is now a mainstay genre in the mainstream, how has the growth of Afropop worldwide inspired you as an artist in the diaspora?
Being an Afrobeats artist in the diaspora is great, I imagine that’s the same for artists worldwide – it’s become a loved genre, and I’m very appreciative to be a part of this. I get to embrace my African heritage daily in my art. It’s who I am, and what influences me to continue making the music I am making.
Where would your dream wedding be?
My dream wedding would be somewhere in New York City, or Hollywood where the sun shines bright, and weather is hot. Maybe in front of a few thousand people for the party, but I would keep the ceremony intimate with just family. That would be the vision one day, if granted.
When people listen to “Sweeter Love”, what do you want them to take away from the song most?
I would love for people to watch the visuals alongside the sound so that they can feel the emotions that are flowing through the project as a whole. But what I really would like them to take away from this is that love is sweet, when you find yourlove it is very sweet #SweeterLove.
What is your definition of “Sweeter Love”?
My definition of ‘Sweeter Love’ is a love that never fails. Love should never fail, and if it fails then it was never love – that’s how I see it, but again, that’s my personal definition. I would like to hear other people’s definition of that and see what they think about it. Tag me in your answers on Twitter, @officialcurtisj and on IG too, @officialcurtisj!
Get an exclusive first listen of “Sweeter Love” below:
Currently, there has never been a time quite like the present for Nigerian cinema. While we continue to celebrate groundbreaking blockbuster ratings for films such as ‘Omo Ghetto’ and ‘Living In Bondage’ which have soared in the past year, our attention is also being drawn to streaming giant, Netflix which has in the past year stoked up on Nollywood content that rivals its competitors.
Recently, Netflix just released the first-ever Nigerian original series, Kemi Adetiba’s ‘King of Boys: The Return of the King’, a 7-part series that portrayed the dark behind-the-scenes machinations of politics in Nigeria. The new series now joins other titles including South Africa’s ‘Blood & Water’ and ‘Queen Sono’ as the only Netflix original series in these parts.
While many of us continue to binge ‘King of Boys: The Returns of the King’ in the coming weeks, a new month is upon us, and as such, new titles are currently on their way to the streaming platform. From Funke Akindele’s high-grossing film‘Omo Ghetto’to the second season of ‘Castle & Castle’, here are the new titles we’re expecting from Netflix Naija this month. Enjoy.
OMO GHETTO: THE SAGA
10/09/21
This Nigerian gangster comedy is a sequel to the 2010 trilogy ‘Omo Ghetto’, about Shalewa aka Lefty (Funke Akindele) who struggles with the choice of living a life of wealth or returning to her former ghetto lifestyle. The movie features other popular Nollywood faces including Eniola Badmus, Chioma Akpotha, and more.
Our favourite legal drama is back with a new and exciting season. Set against the backdrop of a top law firm in Lagos, Nigeria, the series follows the life of a legal team headed by a married duo Remi (Dakore Egbuson-Akande) and Tega (Richard Mofe-Damijo). The second season will pick up where the first left off, starting off six months after the legal battle between Remi and Tega. In the wake of the victory, Castle & Castle’s prestige has surged and the company has moved to a new office and is flush with new clients. But it’s a hollow victory for Remi, who finds herself alone at the helm. Tega has been suspended for some months from practicing law. He is back at university and teaching.
Sex Education
17/09/21
This might not be an African series but it’s definitely become a fan favourite in these parts. Renewing for season 3 this year, ‘Sex Education’ picks off where it left off with word of the nickname “sex school” reaching the new headteacher who tries to control a rambunctious student body.
Shadow Parties
TBC
Starring Omotola Jalade-Ekeinde and Sola Sobowale amongst other profound actors, ‘Shadow Parties’ is a story about an army officer whose unfortunate upbringing has resulted in many deaths and war between two communities, making room for more destruction within a family.
The Cape Town-set series makes its return for the second season this month. According to the Netflix Media Center, “In the second season, we will see Puleng and Fikile deal with the consequences of their explosive confrontation as more mystery and drama unfolds.”
As “Essence” clocks yet another milestone, Adaobi Ajegbo offers a critical analysis of the record. Examining the songs paced success, she discusses the discourses that came with the release of the song’s Justin Bieber remix, including the possibilities of sought western validation.
This year, no song has exuded the omnipresent certitude that Wizkid’s “Essence” has. Released close to one year ago as part of his long-awaited fourth studio album, ‘Made in Lagos’, the Tems-featuring song has slowly but surely worked itself to a place of prominence. First warming the mouths of speculative party-goers in the early months of 2021 as hopeful ravers returned to clubs, “Essence” has now taken its position as the song to soundtrack our trudge to the simple delights of pre-COVID-19 life. As former RCA executive Tunji Balogun clearly elucidated of the song’s appeal in a statement to Billboard last month, the “song has become emblematic of being back outside.”
Buried deep into the song’s sweltering core is a message of longing and, ultimately, free-spirited desire that many had not been able to feel for a while. “You don’t need no other body, only you fi hold my body,” confesses Tems in a distinct vocal tone that is almost impossible to accurately emulate. As I hark back to the song’s release last October, trailing its steady climb afore its summer peak, I am faced with the realisation that this was hardly anyone’s first pick for song of the summer.
In its entirety, the album was regarded as the singer’s magnum opus with many key standouts including a feature from Burna Boy, the self-acclaimed African Giant who has spent the last few years enjoying global success. In the words of Audiomack’s Olive Uche, who ranks “Ginger” as the best song on the album, “the back and forth bit between Wiz and Burna, the ad-libs to the intro and outro, it’s the catchiness of the chorus, the play on words, it’s perfect!” “Ginger”, like many other songs on the album could have stolen our attention, yet it was “Essence” that opened up a playground of possibilities for both singers.
In their album review, British-based publication NME suggests the impracticality of “Essence” on the project with the statement, “Yet this latest project meanders for a few tracks too many; ‘Mighty Wine’ and ‘Essence’, for example, are expendable.” As weeks have turned into months, and the summer days have rolled on, it’s become increasingly clear that the P2J-produced “Essence” is anything but expendable. It has not only attained good standing as the song of the summer but consistently broken records previously unfeasible for Afropop artists. Recently earning its Gold RIAA certification “Essence” has hit a peak position at #13 on the Billboard Hot 100 and is currently the most Shazamed song in the US. Of course, these victories didn’t ‘just happen’ in a vacuum, after emerging as a fan favourite, the song received a worthy jolt in promotion, alongside an alluring music video shot in Ghana.
“It blew in Nigeria and then the UK and by the time we both got over it, the US was just catching up and here we are today,” Nigerian music reporter Makua Adimora tells me as we discuss “Essence”’s travel through different borders. This inquisition of “Essence” necessitated a different but pertinent conversation:America’s late consumption and co-opting of Afropop. A closeup shot followed the 2017 release of Davido’s “Fall”, which only started getting US radio play – the precursor and rationale behind the song’s success in January of 2019 – over 20 weeks after its release. This gives the impression that African music – distinctly Afropop – is still a conditional product to Western media. While the music is undeniably good, Afropop records must still face trial on how their sounds suit the narrative of what the US-dominated global entertainment system has prescribed for the catch-all ‘African’ genre of Afrobeats.
In a piece written by Ivie Ani, titled ‘The New Exportation of African Music’, the Nigerian-American culture critic tackles this theme of international visibility, explaining, “What is clear is the type of sounds and artists that are granted visibility on global stages. But when Western audiences and gatekeepers hyperfocus on a singular sound and conflate much of everything else with it, they run the risk of rendering African music a monolith and dismissing the diversity and dominance of other artists and sounds on their own turfs.” This monolithic view of Afropop has continued to exist as we constantly revisit the need to progress beyond boxing music into stringent categories.
As “Essence” rose on the Billboard charts, less than a year after its release – comparatively rapid for an album cut with no international features – a hopeful question emerged on the minds of those on the ground, who’d been hip to the single since its 2020 release. Will this potential hit fall into the trappings of the Western gaze? Will we see “Essence” employ marketing strategies in favor of Western audiences? Ultimately, will our song of the year spread its wings across shores, only to land in search of validation and unnecessary pandering?
The incessant discussion surrounding the compulsive desire for Afropop to thrive in international spaces through Western cosigning and features is one that we always seem to return to. An important concept to Africa’s most conscious musical ambassadors, Burna Boy – from his vocal discomfort with Coachella’s font use, to his self-acclaimed album title – has championed the challenging of our position in Western perception. Similar was the Beyoncé saga that graced social media after ‘Lion King: The Gift’album; a self-explanatory case eliciting from its content, feature list, roll out, and more. These, as well as many other instances, order a raging discourse between Africans on the continent and Black people around the world. Yet again, the debate has found a place in our conversations following the announcement of “Essence”’s remix featuring America’s Justin Bieber.
Reeling off the commercial success that came with the song’s original version, Wizkid and Tems joined forces with the “Peaches” singer on a surprise “Essence” remix shared a week to the eventual ‘Made in Lagos: Deluxe’release. Introducing JB’s vocals with “I prayed for this moment, I would be by your side,” the addition, which received mixed feelings from fans and listeners, was speculated to be an attempt at a “Despacito” rehap, aiming for a top 5 or even a number 1 on US charts (though new projects from chart juggernaughts, Drake and Kanye seem to have crushed that dream). While contemplating the added value of the remix, the Audiomack Lagos team explains, “Necessary musically, no. For reach, yes. It’s a strategic play that will guarantee chart positioning easily and get listeners. To be quite honest this can encourage someone to listen to the original and be so amazed they probably won’t revisit the remix again, listen to the whole album, or better yet explore the Afrobeats genre.”
The Scramble for Africa has recently taken a different form. Particularly aiming for the entertainment industry, musicians are now the favoured apostles that have been granted increased global visibility and are now exposed to a divergent take on the music business and commercialisation. A sign of heightened acclaim, crossover collaborations remain heavily contested grounds. Some argue that they are a good thing for the evolution of Afrobeats, as they score good numbers, simultaneously generating opportunities and creating a space for Afrobeats in a global market. Others deride the local artists for pushing out content that will invariably sound less “organic”, as is much of the criticism for “Essence”. Meeting in the middle is where Burna Boy found support, as he told Fader in a 2019 piece, “I care about crossing over, but in the opposite way, I want to come here and cross you over to where I am. You understand? Because where I am is the actual home of the beginning.”
A more comforting system, perhaps would be for decision-makers and music heads to employ less profit-oriented approaches and instead, make the art form the focal point of the scheme. As Burna implies, the goal is not to crossover, modifying original art forms into some Europeanised versions, but to rather bridge gaps between cultures, whilst prevailing organically. For “Essence”, the newly established benchmark for Afropop success fails in prioritising the organic art form that came with the original song but instead utilised schemes to commercialise the song in form of the JB remix. When we think about Wizkid’s multiple sold-out shows – within minutes – or Tems earning a place on the long-awaited, meticulously crafted ‘Certified Lover Boy’ and how these moves all occurred without the extra push of a Justin Beiber remix, it is clear that success for African artists, and songs, is attainable without a commercialised Wester co-sign. However, that isn’t to deny the JB remix of any impact at all.
Ultimately, profit-making as this move might be, “Essence” continues to clinch further to the top 10, opening a world of success and global growth for Wizkid, but most especially for Tems – and this remix has been an unequivocal catalyst. With this personal gain, the genre as a whole inevitably also bags a win, creating an avenue for artists like Tems, who are springing up with new, riveting music styles that diversify the world of Nigerian music and inspire the world with Nigerian music.
Featured image credits/NATIVE
Adaobi Ajegbo is a multidisciplinary freelance writer specialising in Music, culture, the arts, social issues surrounding sex and gender, and African creative development.
Summer is over. With September around once again, reality began to dawn as schools resume and workers return to the office. Even the weather has given up on being cheerful as we’ve been met with continuous showers and gloomy weather. Asides from this, we’re still in the middle of a deadly pandemic that continues to take change life as we know it.
On the bright side, vaccines are being made available worldwide, with over 1.5 million people vaccinated in Lagos state alone. As a result, in the city and all around the world, concerts and live experiences are beginning to pop up again the latest of which is the Made In America festival which saw Justin Bieber bring Wizkid on stage.
Through it all, the wheels of pop culture have continuously spun, and over the past couple of months, the cultural moments that have collectively got us through the tough times have only become wackier and more bizarre with each passing day. Some things fade away quickly while others linger for weeks or months, taking space on our social media timelines and populating every conversation with friends, with the ability to change the shape of mainstream popular culture.
For this week’s Hot Takes, I’ll be taking the reins to work you through some of the most important cultural conversations happening at the moment. We’ll be talking about the aftermath of the release of ‘Certified Lover Boy’ album cover art and the surprise Tems feature on the album. I’ll also be looking into the reactions to the Tega and Boma eviction from BBNaija and more.
What I’m currently listening to
As always, there’s so much music in circulation right now. From the deluxe edition of Wizkid’s Made In Lagos’ to Kanye’s ‘Donda’, there’s quite a lot to keep an eye out for right now and it’s really so easy to miss out on the good stuff if you’re not ears to the ground. I’m currently hooked on Wizkid’s “Mood,” featuring Buju, who’s on a hook killing spree. This song is a jam and a half in my books. It’s got solid production from P2J and a really enjoyable listening experience from both artists despite the song’s quite explicit lyrics. Everyone actually brought their A-game and it fits right into the groove of the other tracks on the album.
What I’m currently watching
I’m currently watching the long-awaited Netflix original ‘King Of Boys: The Return of the King’. The 7-part sequel, which we finally got after waiting almost 2 years since its acclaimed first feature film. It was absolutely worth the wait. I’m not done watching all 7 episodes but the episodes I’ve seen have certainly been worth the watch. There’s something about the storytelling that just makes you want to keep watching, It’s very engaging and you just don’t want to stop. Costuming was also another very interesting aspect of the movie. It’s kind of like there’s a certain outfit for every mood and they just seem to get it right. Looking forward to finishing this by the weekend.
Summer style trends I’m loving
As NATIVE’s first-ever in-house Creative Assistant, it’s my job to stay on pulse with the latest fashion trends around Africa and the world at large. This summer, so many trends are making their way into the mainstream and many others are going out of style. This week, I’m hooked on the fisherman hat which is sometimes referred to as a bucket hat. I don’t exactly subscribe to the trend but I’m willing to accept some of the cuter styles. The particular style that comes with string dangling from opposite sides has become a regular accessory mostly for a sunny and/or beach day. There are various styles and colours and colours, all you need to do is choose your poison. I’d recommend getting your hands on the Jacquemus Le Bob Artichaut, an amazing find.
Tega and Boma eviction creates Social media uproar
Sunday was the king-size eviction night in the Big Brother House. Four housemates were evicted from the house including Peace, Michael, Tega and Boma. Although 4 housemates left the house, social media was awash with comments about two housemates, in particular: Tega and Boma. Over the past few weeks, both housemates seemed to have gotten conspicuously closer to each other as they engaged in intimate activities that had everyone talking and dissecting each minute detail of their interactions. The controversy stemmed from the fact that Tega was actually married with children outside of the show and was disrespecting her husband by frolicking with a fellow housemate. While I don’t condone infidelity on any scale, I’ve learnt not to take these matters too close to the chest because it’s never really as it seems. Since her eviction, the matter has only worsened as we’ve been given front view seats of her issues with her husband. I wish people would keep their matters off the TL.
Ebuka: “You and Boma were more than just friends”
Tega: “It’s the script we decided to act, hope you guys enjoyed it”
Boma has also been stapled as being offensive and harsh to women before his exit. He had been involved in several altercations with fellow female housemates in the house which had him using derogatory and extremely insulting words—he referred to fan favourite Angel as a “mental patient.” With all these, Big Brother fans seemed to be happy that every housemate who had come to verbal blows with Angel had been evicted.
Big Tems on ‘Certified Lover Boy’
Last week, the Internet was in awe when news broke that Nigerian singer Tems would be gracing Drake’s long-awaited LP, ‘Certified Lover Boy.’This year has really been amazing and rewarding for Tems, mainly on the back of her stunning appearance on “Essence,” helping to power the Wizkid-collaboration into a Billboard-charting song of the summer. Now appearing on arguably the artist of the decade, alongside world-renowned big names such as Jay-Z, Lil Wayne, Kid Cudi, is another undeniable W for the Lagos-based superstar.
Guesting on the 16th track, “Fountains,” Tems received praise for her contribution, however, the song elicited mixed reactions, especially with mentions of similarities to another well-known song by Drake, the Wizkid-featuring “One Dance”. Many people, myself included, couldn’t think of the old hit when listening to “Fountains.” The Tresor co-produced beat and the song’s chill but buoyant vibe brought back a form of nostalgia to the ears. It was like 2014 all over again.
Personally, it wasn’t the sort of collaboration I’d expect from either of these two artists. I found the track to be subpar and a little boring. I was expecting a track that would transcend all odds and be as bigger or even slightly bigger than “Essence,” which is still taking the Billboard charts by storm. Underwhelming in my books but let’s hope that her EP which is slated for release next week capitalises on the current hype she’s enjoying.
The plague of the CLB album cover
Never doubt Drake’s influence, no matter how tacky it may seem. Since the Canadian rapper released his unique and unusual album art last week, the Internet has taken it upon itself to do the most and turn it into a meme worthy of emulating. At every corner of the Internet, you’ll now find the odd brand or two creating their own spin on the album cover and fashioning it into a marketing technique.
So far, I’ve seen brands such as Neutrogena, FanYogo, Call of Duty and many more join the trend. And it’s not hard to see why. Earlier this year, Drake was named the artist of the decade, an honourary title that’s befitting of an artist who’s continuously broken the ether and upped the stakes with each new release. CLB is no different. Within hours of its release, the album was already the most streamed project on Spotify in a single day and all 21 songs featured in the Top 21 on the Apple Music US charts. If that’s not groundbreaking then I’m not sure what is. While I’m certainly tired of seeing the cover replicated on my TL, I can’t exactly fault any brand that chooses to adopt a similar technique, anything in tandem with Drake will succeed so let the people do as they please. We’re going to be witnessing the plague of the CLB cover for months to come.
Orange culture x Sophie Vermeulen create ‘FLOWER BOY’
To celebrate the coming together of fashion and art, Lagos-based designer Adeboye Oke Lawal of Orange Culture and Arnhem-based artist Sophie Vermeulen present to you ‘Flower Boy’. ‘Flower Boy’ which is slated to exhibit from now till October is a celebration of androgynous identities. It questions the traditional forms of masculinity that are forced on men in society, making them conform to a certain standard.
‘Flower Boy’ also links back to the latest SS21 collection by Orange Culture titled ‘Honest’ which represents the relationship between a father and son and the stereotypical ideology of what a traditional man is expected to be like or act like. It speaks on Freedom to express one’s masculinity in the way they feel and not to always conform to what society says is the norm.
“I want people to feel connected, I want people to feel a sense of belonging, I want people to see a sense of beauty in letting people be themselves. I want people to celebrate Flower Boy. Flower Boy is me and you and all of us who have been outliers for so long,” Oke Lawal says. Vermeulen also adds that “As humans, we are all the same and yet so different. The beauty is in both being the same and different. I hope to show people that if they take some time to look at each other, they will find similarities that they might not have seen in the first place. There’s a place for everyone. No one needs to be, or to feel excluded.”
This powerful duo aims to change the same old ideology on how we all expect the typical man to express their masculinity. All the emotive images from the collaboration will be exhibited at the African Artist Foundation (AAF) from now till October 2nd 2021.
Lukhanyo Mdingi, a young South African fashion designer, is the creative director of the Lukhanyo Mdingi, a South African fashion brand that launched in 2015. The brand’s aesthetics is an interpretation of a minimalistic approach with a hint of contemporary elegance and sophistication through the clothing. His talent has garnered a lot of recognition, recently being made as one of the 9 finalists of the 8th edition of the Louis Vuitton Moet Hennessy (LVMH) prize for young designers. The finalists will have the opportunity to present their final collection to the jury today, the 7th of September at the Louis Vuitton foundation where the winners of the LVMH prize and Karl Lagerfeld jury prize will be announced. The winner will be awarded a €300,000 cash prize and year-long coaching from experts of the LVMH.
This year, however, three designers have emerged victorious from the competition for the first time ever. Lukhanyo Mdingi is one of the three winners, alongside Kidsuper and Rui Zhou. This will be the second time that a young South African designer will win the award, with womenswear designer, Thebe Magugu winning the same award back in 2019. Speaking on the win, Mdingi shared that “I’m just super-stoked to be sharing this with two amazing designers. I think if you look at Africa as a whole, there are different corners and pockets where there’s such a rich community of textile development and craft makers. We’re fortunate enough to have been able to work with people who have such finesse with what they do, who are based in Burkina Faso, as well as Kenya and South Africa. Being part of that brings a sense of honesty to our label, and I’m incredibly grateful to be in the presence of them.”
With her powerfully vulnerable lyrics and a soft but commanding voice, UK-based singer Malika Hamzaa has carved a lane for herself in the music industry. Crafting worlds that are equal parts soul and funk, the singer has been behind some of the most confessional, open wound R&B coming out from the UK in the past few years.
Raised on a musical diet featuring the iconic Sade and Seal to the more recent names such as Dolapo, Jorja Smith and Mahalia, the singer adds her own unique twist with her unmistakable voice which she’s been fine-tuning since she was only 9 years old. It’s this breathtaking voice that has become her superpower and her musical identifier, bolstering the 22-year old Kenyan-Zambian singer from homegrown talent to one worthy of global acclaim.
Hamzaa has spent the last couple of years making a name for herself through the self-determined showcase she effortlessly brings to her soulful tracks. From her debut single, “Stranded Love” to her debut EP ‘First Signs of Me’, she always manages to turn her negative feelings into beautiful uplifting records. Whether it’s the powerful “Write It Down” which Hamzaa admits is a big middle finger to anyone who tries to invalidate her or her craft or a warm gospel track about her hometown titled “London”, Hamzaa pays laser focus to her craft, making sure to stay true to herself and message whilst giving herself room to explore new sounds and grow. As Nigerian show host and lead DJ of Beats1 Show, Julie Adenuga articulately described, Hamzaa “knows how to sing emotions that you didn’t even realise you were feeling.”
Last Friday, the singer invited listeners further into her expanding world with the release of her third EP ‘Full Circle‘, a 7-track tape that marks new territory for the singer as she delivers her most well-rounded, fully-formed, genre-defying work to date. Here, she delves into themes of mental health, growth, becoming, self-acceptance and more, as she boldly bares out her art and inches further towards the powerhouse she is capable of becoming.
While ‘Full Circle’ is her third EP in the past three years, the singer promises that it’s her most honest effort. She admits that after the seismic change of the past year, she found herself with more things to say and more lessons to share and express with her growing audience. As a result of this, her debut album, which she shares is already in the works will reveal to listeners even further about her inner workings and anxieties. However, for now, Hamzaa is more than happy to focus solely on making music that sees women like her at their most base emotions. In a conversation with the NATIVE, the singer discusses the growth of her career thus far, as well as her creative process behind earlier projects and her most recent release.
The chat, which follows below, has been lightly edited for clarity.
NATIVE: Tell us a bit more about your journey starting music?
HAMZAA: It was quite natural I’d say. I spent time making music as a hobby. It was very much me, myself, and I, just figuring things out what I liked and what I didn’t like, and then it turned into a thing of “wow, people actually like the music I make”. Music is usually a career, hobby or you and your friends messing around and going to the studio. The team I had at the time started pushing me to get a record deal and after a while, it felt natural. It was almost like a no-brainer at that point.
NATIVE: Did you ever feel any sort of push back to start? I know you mentioned it not being the tradition or path.
HAMZAA: I mean, at the time I had left to go to boarding school. I went to a private school here in England and I dropped out a year early. At the time I wasn’t doing much, I was just working. It was almost like “oh! Finally something productive, something I could dedicate myself to, my time, my energy”
NATIVE: Do you remember the first song you recorded?
HAMZAA: The first song I recorded ever or when I started taking music seriously?
NATIVE: We can do both.
HAMZAA: So, I think I was around 7 years, and I was singing on this gospel album. It’s a 7-day Adventis church my uncle is part of and they were recording a CD of gospel songs and I had a little solo there.
NATIVE: So you came from a musical family then?
HAMZAA: I mean, somewhat. I wouldn’t even call it a musical family. I feel like I just got some bits and parts of people that were around me or people that were involved with music, drama, or some kind of performing arts. My mum used to be a dancer as well. For the first time, I did music properly, it was during my first proper studio session for “Breathing”.
NATIVE: Ok, tell me about that. How was that?
HAMZAA: Because I’ve never been in the studio, I’m in front of the producer and he was playing me the instrumental he thought I might like. I was like “ugh I don’t know about this one”, and I said “okay, but I’m not sure” then he said “just try it, I feel like you can do something crazy on it” and then I started writing “Breathing”. I remember after I finished writing, it was an emotional moment in the studio. It was beautiful. So, that kinda came about and from that point on was when I started paying more industry attention. When people heard that song, they were like “OKAY!!”
NATIVE: Who are some of your musical inspirations?
HAMZAA: It’s funny because at the moment and in general, I find myself listening to music that isn’t even English. Right now, I love Amapiano and it’s somehow influencing my music even.
NATIVE: How would you say you’ve grown as an artist since your debut EP?
HAMZAA: So as an artist, this is gonna be the third EP that I’m releasing and I think we’ve just been able to evolve, change and recreate ourselves as much as we want. My mind runs a million seconds per hour on different things and I just think it’s only right to reflect that in my music in terms of the era, genre, style and branding. I just think artists like myself that are up and coming should be afforded that opportunity to grow and explore and not box ourselves in a cage.
NATIVE: I totally agree. I also read that you write your own lyrics. What inspires you to be that vulnerable in your music?
HAMZAA: I just think that’s how it should be. I wouldn’t want to write about stuff that isn’t true to me. You’d have to be singing that every day on stage, you have to promote it and you have to do live sessions. Imagine singing lyrics that mean nothing to you, that will be so draining. It’s almost like I get to use my lyrics as an opportunity to let go of certain things sometimes.
NATIVE: It sounds like you have a lot of self-belief. What would you say is the secret ingredient to just betting on yourself and your abilities?
HAMZAA: I feel like it comes with the element of delusion. I’m saying that because you have to believe you’re the best before anyone else can. Even if you don’t, you’ve got to have an element of delusion. Even if you aren’t and you want to get better, you start from yourself. I listen back to my demos and I’m like “wow this is the hardest sh*t I have heard in my life, I’m actually cold. I’m good at what I do.” Anything that we do has to exceed and go beyond that every time and that is how you get to the place of self-belief. There are days that I feel like people aren’t listening, people aren’t paying attention and then I get in a hole about it. Then I have to remember that I’m hard and that I’m the hardest.
NATIVE: Why did you name your EP ‘Full Circle’? Is it symbolic in any way?
HAMZAA: I’d be honest, I’ve been wanting to change the name about three times but we had already put everything in place so ‘Full Circle’ stuck. The meaning of ‘Full Circle’ is you know when you are in the moment something happens and it comes around full circle like a new dawn or a new beginning of something. But then again a full circle is complete. There was a time I wasn’t releasing music for a year and a half and now we’ve completed the circle. I’m back again. I’m putting out music again. There are so many different types of meanings. It’s ambiguous so it’s open up to interpretation I would say.
NATIVE: How was the process of putting the EP together?
HAMZAA: It was actually quite easy because I was working with Kofi, he is a writer and another producer. It was a very tight-knit work experience. For me, putting the EP together was easy because I’ve had a lot to say already, it was just about how I was gonna say it and what part of what I’m feeling do I want to talk about right now. Do I wanna save stuff for later or are we doing this? Sometimes, making music isn’t comfortable. You have to put out a lot of stuff that you might not even want to be pulling out but I felt very comfortable in the space I was in when I made the EP.
NATIVE: What does the rest of the year hold for you? I mean with the world slowly starting to open back up, are you going to do live shows for ‘Full Circle’?
HAMZAA: Hopefully, that’s the plan. That’s the goal for us, to get to places where I can do so many live shows. So I’m praying and I’m hoping we can get there.
“What’s Going On” Tallies Notable News Headlines From Across The Continent — The Good, The Bad, And The Horrible — As A Way Of Ensuring That We All Become A More Sagacious African Generation. With This Column, We’re Hoping To Disseminate The Latest Happenings In Our Socio-Political Climate From Across The Continent, Whilst Starting A Conversation About What’s Important For Us To All Discuss. From Political Affairs To Socio-Economic Issues, ‘What’s Going On’ Will Discuss Just That.
Military arrests presidents and seizes power in Guinea
On Sunday evening, a group of Guinean soldiers appeared on the country’s national broadcast station to announce that they had successfully ousted president Alpha Conde and had assumed government duties in the West African nation. Earlier that day, there was sustained gunfire at the presidential palace in the capital city of Conakry, ostensibly a fight between the coup plotters and forces loyal to the former president. Countering the TV appearances of the mutineers, the national defence ministry put out a statement claiming that the coup attempt had been quelled, but subsequent development shows that the military junta has now seized power.
The United Nations, African Union, and several countries including Nigeria have condemned the coup, with ECOWAS even threatening to impose sanctions on the country if Conde’s presidency isn’t restored. These reactions are a stark opposite to the reported mood of Guinean citizens, who took to the streets in celebration of the successful coup which removed an increasingly unpopular leader. Last October, Conde won a third term in office after a controversial change to the constitution earlier in the year. In 2010, he entered office through the first democratic election in Guinea since its independence from France in 1958, however, he grew authoritarian in his decade as president.
Prior to Conde’s entry into office, Guinea endured four decades of political instability, marked by brutal military rule which greatly oppressed its citizens—as exemplified by the infamous massacre of September 2009. In his time in office, Conde made positive economic strides, bolstered by the country’s bauxite (used in manufacture of aluminium) and iron ore deposits, but it was negated by rampant accusations of human rights violations aimed at dissenters, as well as corruption and gross mismanagement of public funds that has left over half of its near 13 million citizens in poverty. His re-entry into office for the third term, under dubious means, sparked several violent protests last year and has seemingly culminated in the coup that has disgracefully ousted him.
“If the people are crushed by their elites, it is up to the army to give the people their freedom,” Lt. Col. Mamadi Doumbouya, special forces commander and former French Legionnaire, said in his Sunday night address. The junta announced that, in addition to taking over the presidency, it had taken over regional governments and dissolved the country’s constitution. It also announced its commitment to a new constitution that would be more inclusive, and a return to civilian leadership in the near future. Ministers were invited to a mandatory meeting on Monday morning, all of whom were stripped of their posts and told not to leave the country. The new military government has said that it wouldn’t persecute any former officer holders, stating that Conde was in a safe location and had access to his doctors, while claiming that its priority was setting Guinea on the right path.
So far, the Doumbouya-led regime has said all the right things to the people of Guinea, but juntas are infamously deceitful, many times providing false hopes and revealing a brutal face as things go on. Speaking to the BBC, Mamoudou Nagnalen Barry, a founding member of the opposition party, National Front for the Defence of the Constitution (FNDC), expressed mixed emotions on the coup but mostly welcomed it. He hoped that the military would return power to Guinean civilians, citing Conde’s seeming thirst to remain in office forever as a catalyst for the coup.
UN predicts Ethiopia’s Tigray crisis to worsen
In the last ten months and counting, the Ethiopian government, under the leadership of Prime Minister Ahmed Abiy, has been persecuting people living in Tigray, the country’s northernmost region bordering Eritrea. The conflict is culmination of Abiy’s federal government and the former ruling (turned opposition) party, Tigray People’s Liberation Front, a political faceoff that has now devolved into a bloody affair.
After a few months of media blackout, gory and heart-breaking details began to filter through, revealing the extent of the situation. Reading through several reports points towards an ongoing genocide and ethnic cleansing, and it’s been pretty much confirmed by Abiy himself. “The situation in Tigray, Ethiopia, is, if I use one word, horrific. Very horrific,” World Health Organization Director-General Tedros Adhanom Ghebreyesus said back in May. Today, it isn’t less horrific and there’s still uncertainty as to when it will end. Just last Thursday, the United Nations warned that the humanitarian crisis is set to “worsen dramatically,” a sinister prediction based on debilitating aid situation in the region.
“Stocks of relief aid, cash and fuel are running very low or are completely depleted. Food stocks already ran out on 20 August,” UN acting humanitarian coordinator for Ethiopia, Grant Leaity, said in a statement. His statement also alleges that Abiy’s government has consistently restricted the entrance of relief aid into Tigray, claiming that the access route via the Afar region has been blocked since August 22nd. Both Ethiopian troops and Tigrayan counter troops have also been accused of stealing aid items by the USAID mission in Addis Ababa, further reducing the already inadequate amount of relief material.
With thousands reportedly dead, gruesome sexual assault reports, displacements of Tigrayans from their homes, some seeking asylum and others living in concentration camps amidst the coronavirus pandemic, it appears the Abiy-led government is pulling out all the typical genocidal stops. Blocking the entrance of aid is common and appalling tactic used to induce starvation in order to ensure the opposition surrenders. All of this is made even more heart-wrenching and disgusting by the fact that Abiy won a Nobel Peace prize not too long ago, but here he is, leading the charge in a ghastly humanitarian crisis.
His administration has since refuted any claims that there’s been any blocking of aid, stating that the number of checkpoints have been reduced from seven to three. It’s difficult to believe, with all of the heinous crimes being committed, which, sadly but expectedly, involves the killing of aid workers—23 of those deaths have been recorded since the conflict began.
Nigerian government shuts down mobile network services in Zamfara state
Last Friday, the Executive Vice Chairman of the Nigerian Communications Commision (NCC), Professor Umar Danbatta, signed a memo addressed to local telecom operators, directing them to shut down mobile network services across Zamfara state. Acting under instructions from the Federal Government, the NCC directive is apparently a combative measure against the incessant kidnapping and banditry that is increasingly plaguing the North-western state.
“The pervading security situation in Zamfara State has necessitated an immediate shut down of all telecom services in the state from today, September 3, 2021,” the memo partly reads. “This is to enable relevant security agencies to carry out required activities towards addressing the security challenges in the state. In line with this requirement, you are hereby directed to shut down all sites in Zamfara State and any site(s) in neighbouring states that could provide telecommunications service in Zamfara State. The site shutdown is for two weeks (September 03-17, 2021) in the first instance. Your urgent action in this regard is required.”
Local telecom operators have since adhered to the directive, shutting down operations across 248 base stations that give subscribers access to mobile network services. According to data from the National Bureau of Statistics (NBS), Zamfara state has well over 2.17 million active network users, with 1.59 million being internet users. The directive means that none of these lines have been cut off from any form of digital connections for the next two weeks at the very least. Six months after declaring the state as a no-fly zone, the Buhari-led FG has defended its latest move by alleging that mobile networks are being used to aid bandit-related activities, with claims that they are tools for consistently informing perpetrators of security measures and real time counter-attacks by security operatives.
It is expected that this directive will affect mobile network users in the neighbouring states of Kebbi, Sokoto, Kaduna, Niger and Katsina, in order to facilitate total blackout of all the cell towers in Zamfara state. Toting its ever trusty reason of national security, the FG has given a plausible cause, but in an advanced world where digital means are of great use to cracking down on crime, it’s not exactly the sort of move that inspires confidence from citizens hoping for an end to the consistently escalating insecurity issues across the countries.
In addition to restricting residents of Zamfara state from connecting with friends and family both within and beyond the state boundaries, the temporary shutdown will render emergency lines useless and make it difficult for media reporting on developments within this 2-week period. There are already sentiments that this directive plays into this administration’s seeming assault on connectivity and (social) media freedom, with some seeing it as a test-run that will fit into the obsession with regulating internet use, and might even serve as precedent for a nationwide digital blackout one day.
In immediate terms, though, what matters most is the FG putting a permanent stop to insecurity. Individuals and groups like the Northern Elders’ Forum have urged the government to go beyond bans to deal with these issues. Meanwhile, controversial Islamic cleric Sheikh Gumi has stated that armed bandits will remain until the Nigerian government provides them with blanket amnesty. So far, the statement has proven incensing, especially since there have been reports of bandits and former member of terrorist groups being “forgiven” without any prosecution—a recent investigative report by The New Humanitarian alleges that the FG is already taking care of Boko Haram defectors.
More of the same under Tanzania’s new president (?)
In late July, Tanzanian police arrested Freeman Mbowe, chairman of the opposition Chadema party, along with several other senior Chadema officials. The arrests were made during a night-time raid, hours before they were scheduled to hold a public forum in the port city of Mwanxa to demand constitutional reforms. Over a month later, Mbowe appeared at a high court in Dar-es-Salaam to face charges on terrorism financing and conspiracy. These charges have since been denounced by Chadema and Mbowe supporters as a politically-motivated move, mirroring the tactics employed by former president John Mafuguli who passed away earlier this year.
Samia Suluhu Hassan took over the remainder of Mafuguli’s second term 5-year tenure, making history as Tanzania’s first female president. It was hoped that her entrance in to office would usher in a change to Mafuguli’s bulldozer approach to opposition voices, and perhaps even bring in significant constitutional changes, but it appears to be more of the same under the new president. Mbowe’s arrest and charging to court is being criticised as a move that undermines the country’s democracy, and it doesn’t look like the Hassan-led administration is letting up any time soon.
Last week, Chadema stated that nine party members were arrested and its offices in northern lakeside town of Musoma were raided by the police, in order to block a planned symposium on constitutional reform by the party’s youth wing. Speaking to local media about the arrests, police chief in the region said the force could not allow such events to take place. “The president has instructed that the people should now focus on economic development… so such conferences will have to wait,” he said. Chadema has said this recent crackdown reflects a deepening slide into dictatorship, accusing the government of meddling in Mbowe’s case and asking the court to throw the case out.
From reports, Samia Hassan hasn’t done much to separate herself from her predecessor, and press freedom is even under threat during her leadership. Just last week, a second newspaper publication was suspended for the second month running, for “repeatedly publishing false information and deliberate incitement,” a blanket reason that hardens her administration’s stance on public dissent.
More than most people, the team at The NATIVE knows that the sheer scope of music available to us at this exact moment in human history is mind-numbing but our goal is still the same as always: we don’t want exciting music to be slept on. That’s where our Songs of the Day column comes in. We try to keep our fingers on the pulse of music from across the continent and beyond, bringing you exciting songs from talented musicians who are continuously trying to bounds of artistry with their music.
Song of the day is perfect for everyone who is a pioneer in developing their sound and taste. A tweak here and there in your library is always needed and encouraged. While expanding your music horizons, be that friend that puts others, so they can possess the soundtrack to your mind whilst elevating theirs. Last week, we had songs from Bella Shmurda, Bella Alubo, Wizkid, Blaqbonez & more. Today’s column brings you music from Johnny Drille, Styl Plus, Tems, Adekunle Gold, Cheque, Ria Sean and more. Enjoy.
Wani – Times Two ft. Buju
About a month ago, Wani released his first official single of the year, “Times Two” featuring Buju. This track which happens to be the lead single off his forthcoming EP ‘Lagos City Vice II’, mainly finds both artists speaking on their different perspectives of love and money on the Higo-produced mid-tempo track, having them both displaying great synergy. To further promote the track, Wani and Buju have teamed up to release visuals to the track. The Onari-directed video which properly amplifies the song finds the pair at different scenes including a party scene, with women all over. Dancing and having a good time.
Johnny Drille – “Odo” ft. Styl Plus
Over the weekend, Johnny Drille released his debut album ‘Before We Fell Asleep’, a 14 track LP with features from Ayra Starr, Styl Plus, Ladipoe, and record label boss, Don Jazzy. On standout track “Odo”, the singer features 1/3 of the former leading pop group, Styl Plus. The track finds the artists confessing love to their respective muses. Both artists deliver a stellar performance over the euphonious production of the self-produced track with memorable romantic lyrics such as “For the rest of my life girl I need you, I go fit die for your love”
Show Dem Camp – “Tycoon” ft. MOJO
Nigerian rap duo, Tec and Ghost of Show Dem Camp have spent the past decade establishing themselves as some of the fiercest lyricists on this side of the shore. Off the back of the fifth installment of the ‘Clone Wars’series, the pair are now expanding the world around their new tape with video treatments. Their latest release is the vibrant new video for “Tycoon”, the gritty boastful number featuring Trybe alum, MOJO and Rap OG, Remininsce. The befitting video finds the pair cruising down the streets of Lagos while performing their verses, the pair seem to be high on life till they dip into the underworld run by Remininsce and his goons.
Moonchild Sanelly – “Undumpable”
South African Queen of Vibes, Moonchild Sanelly might be many things but she’s definitely not one to messed about and played with. Her new single “Undumpable” is a catchy anthemic number that finds the singer declaring her ‘undumpable’ status and expressing her confidence at always holding the upper hand. In the accompanying music video, the singer can be seen performing unabashedly in a range of daring scenes including a live dirt wheeling scene.
Adekunle Gold – “High” ft. Davido
Since the release of ‘Afropop Vol.1’, Adekunle Gold has continuously showcased his growing versatility as an artist. Over the past few months, the singer has begun rolling out promotional singles for his new EP including the Lucky Daye-assisted “Sinner” and “It Is What It Is.“
Each new release has been oozing with confidence for what’s to come which is why his new tracks are met with similar levels of excitement. For his latest release, he teams up with Davido to deliver the Amapiano infused track, “High.” On the Pheelz-produced track, both artists are found singing over the fast-paced beat, expressing their desire to be high and happy as “Me I just want to be high, be high” Adekunle Gold quips on the chorus.
Cheque – “LOML” ft. Olamide
For his second official release of the year, Cheque collaborates with Olamide to deliver a groovy mid-tempo track titled “LOML.” The romantic number finds both artists serenading their respective with clear-cut delivery and conviction as they declare their affections over the bouncy production of the track. On the track’s chorus, Cheque sings “You be light for my life, no be lie at all/You give me love wey me never feel before”. Who better than Olamide to bare out his soul for a romantic partner. We’re loving this new beat.
Ria Sean – Satisfy My Soul
Today, Afropop boasts of several female stars holding their own and making music that makes listeners feel seen. Earlier this year, Aristokrat’s new secret weapon made her official debut on the scene with a major label backing. There were a string of promotional releases including “Lemonade” and “Money Bag.”
Sustaining this momentum, for her debut EP, Ria Sean delivers ‘Fluid’, a 6-tracker that finds the artist speaking on is making money, self-worth, and more. On this track, she delivers a stellar performance and showcases her sweet-sounding voice with rapid enthusiasm. Over the hook, she sings “give me love, give me everything I need/boy, satisfy my soul,” pleading with a lover to meet her needs.
4Runna – “Say” ft LT
For his second official release of the year, rap artist 4runna is here with his new LT-assisted single “Say”. This song basically finds the artist expressing tiredness and lack of interest in what people may be saying or what they have to say. LT takes charge of the song as he delivers the chorus of the track, “I’m sick and tired of hearing them say say wetin, dem say dem no say” he sings on the hook. 4runna comes in shortly and takes charge of his comeback.
Zealot – “Jeje” ft. 9ice
Singer, songwriter and performer Zealot releases his new debut EP ‘Never Left’, a 6-tracker that finds the artist resonating on matters such as love, romance, relations and more. On the 9ice-assisted track, both artists talk about struggles they face in life with each passing day in their country. While they may be under increased strain, they resolve to taking it easy and staying head of the BS: “Shey jeje ma lo, to n ba ni ko sun jo, sun fun won.”
Nigerian singer/songwriter John Ighodaro, popularly known as Johnny Drille like a lot of his peers in the industry began their career off in a church, playing instruments and singing for the choir. After appearing on a popular talent show, Project Fame West Africa in 2013, his career began its build-up, despite the singer not emerging as his season’s winner. It was clear that a star was born.
Shortly after, in 2015, he performed a cover of Di’Ja’s “Awww” and caught the attention of Mavins head honcho, Don Jazzy who later penned a record deal with the talented sweet-voiced singer. In the same year, Johnny Drille also snagged a Best Alternative Song nomination at the Headies for his debut single “Wait For Me”. His accolades have only continued to grow over the years, recognising his hard work and determination to carve a lane for himself in the music industry. This year, he has maintained a steady pace of single releases from “Start All Over” featuring fellow Project Fame contestant and Queen of AfroHouse, Niniola to the Simi-assisted “Halleluya.”
For his debut album, ‘Before We Fall Asleep’, Johnny has revealed yet another layer to his budding artistry. Here. he delivers his distinctively sonorous vocals over 14-tracks with stellar production to deliver an ace R&B showcase with an Afropop twist. He features a spate of talented collaborators including fellow Mavins starlet Ayra Starr to our song of the summer favourite, Ladipoe and the nostalgia-inducing boy group, Styl-Plus. It is evident that Johnny put his all into the project. The singer also shared a heartfelt message via Instagram stating: “I’ve waited forever to be able to share this piece of me with you and I’m ready. A part of me is hoping that you are but the other knows that you’re not ready for what’s coming. This is going to be THE album, OUR album. I promise you that”. Unquestionably for a debut album, this project is bound to make lasting impressions on its listeners.
Below are my four takeaways while listening to this project:
Johnny is all about love!
If we’re being honest, any long-time listeners of Johnny Drille know that the man never shies away from the topics pertaining to love and affection. It’s been that way since his debut single “Wait For Me” where he expresses his love and commitment to a love interest, beckoning on her to wait patiently for his return. In ‘Before We Fall Asleep’, Johnny carries on this same trope, delivering more love numbers from the melodious slow tempo album intro “MY KIND OF BROWN” where he reminds his muse that she is all that and she shouldn’t let anyone tell her others, to the pre-released promotional track “Loving is Harder” produced by Wilson Muzic.
However, he doesn’t shy away from political issues
The album is evidently laced with romantic cuts but it is also nice to see the singer discuss issues of political and socio-cultural relevance to the Nigerian community. On the EP, he widens the depth of his lyrics, talking about the unfulfilled promises of our political leaders and the state of our economy on the number titled “LIES (To Whom It May Concern)”. To assist his stellar performance, baritone voice monologues were included in the beginning and towards the end of the track, as well as surprising rock/heavy metal vocal and instrumentals. This tailored perfectly to the message of rage and frustration all Nigerians feel towards the state of the country at the moment.
A true beatsmith
To no surprise at all, Johnny is not only a master at vocals but also at production. The majority of producer credits on the project are attributed to him. As we hear in the stellar tracks on the project, each song was meticulously crafted from the lyrics down to its beat and vibe of the song. Each track provided a new listening experience with instrumentals that were weaved seamlessly alongside the lyrics and message. From “Ludo”, “Ova” and “Driving In the rain” to “Sell My Soul”, “BEFORE I LET GO” and “Clocks”, all were single-handedly produced by Johnny. When he does get help from some talented beatmsiths, he pulls from a wide selection of hitmakers including Burssbrain on the infectious “Lost In The Rhythm” and London for “In The Light”.
It’s all about Mavins!
Being signed to one of Africa’s biggest musical conglomerates has to come with its perks. ‘Before We Fall Asleep’ also featured not only our favourite celestial being, Ayra Starr but also the talent hunter and CEO for Mavins Records, Don Jazzy. “Ova” is a mid-tempo number with Johnny singing over a rhythmic beat to a love interesting as he begs her for a second chance. Don Jazzy comes in towards the end of the track delivering sagely words fitting for someone with years of his experience. It’s clear that when one artist at Mavins succeeds, they all seem to get carried along.
Featured Image Credits/ Instagram.
Nwanneamaka couples her creative interests with her individuality and uses writing as a vessel for her expression.
It’s been long since we last received a BOJ album and anticipation has been rife for its follow-up. The singer finally satisfied his loyal following when he officially announced the release of his third LP which is slated for release next month. Over the past few months, he’s unveiled the world around the project with the release of singles including “Emotions” and the Amaarae and Zamir-assisted “Money and Laughter.”
Now, BOJ is bringing the album one step closer by hosting his first-ever headline show in London. Scheduled to take place in the Waiting Room, the alté singer returns to the stage after a past year lost to the COVID-19 pandemic. The show will be taking place on the 8th of September and will also feature specially curated sets from a spate of talented artists including Chloe Knows, JRMY, Tomi Agape and NATIVE Sound System.
The event promises to be a special one full of special surprises from the singer and his opening acts. A welcome return after months of consuming music indoors due to the socially distancing requirements, we certainly hope this will be the singer’s first of many live events as the music calendar gets busier.
Nigerian singer and rapper, Tim Lyre has been an invaluable force in the music industry. Over the past few years, the Lagos-based artist has continuously delivered a subtle blend of Afro-influenced music that spans other genres such as R&B, Afropop, Hip-Hop/Rap and more.
Following the release of his EP ‘Senpai’ last year, the artist has now released the first promotional track from his upcoming debut album ‘Worry <.’ The new track titled “Real”is a mid-tempo romantic number that finds the artist reassuring his muse of the seriousness of their romantic relationship despite her growing feelings of jealousy.
Today, the singer further updates “Real” with a befitting music video directed by Mr Shua. The newly released video captures the song’s amorous lyrics which are accentuated with delectable wind instrumentals, heavy drum patterns and a guitar assist.
The video captures the artist at familiar locations around Lagos including the National Stadium. As Tim Lyre takes us through different parts of the city with his muse, he’s simultaneously performing the lyrics for his woman who he tries to reassure of his affection. With “Real”, Tim Lyre continues to prove his ability to tap into a startingly modern take on the R&B coming out of Nigeria.
Get an exclusive first look at Tim Lyre’s “Real” below.
Over the past decade, the soundscapes from Africa have continued to enjoy increasing momentum. Africa to the world has become a popular rallying cry by the continent’s best talents whose works have been amplified on the global stage in almost every mother tongue imaginable.
Right on our very doorsteps, we continue to witness the birth, adoption and evolution of the continent’s hottest emerging sounds. From Johannesburg in the South to West Africa’s most exciting cities of Kumasi and Agege, here are the sounds permeating global tastes.
Fulfilling our mission of championing the sounds of tomorrow: today, the NATIVE’s August Digital cover story surveys the burgeoning sound on the streets tracing from its rise from Lagos city’s grittiest neighborhoods from Agege to Okokomaiko to Akoka.
For Afropop to survive, the streets had to take over. Thanks to the new generation front runners yet another reiteration of the genre, Bella Shmurda, Zinoleesky and the architect of the sound, Rexxie, Street Pop not only remains relevant, the sound, once undermined, is now dominant.
Full Credits:
Editor-In-Chief: Seni Saraki
Managing Editor: Tami Makinde
Writers: Dennis Ade-Peter and Wale Oloworekende
Creative Assistant: Ada Nwakor
Editorial Assistant: Wonu Osikoya
Editorial Interns: Mooreoluwa Wright, Judith Icha, Nwanneamaka Igwe and Bolakale Ogboye
Photography: Demola Mako and Ifebusola Oluwafunmilayo
Cover design: Adeshina Ladipo and AbdulRahman Dawodu
Collage design: Chukwuka Nwobi
Lighting: Victor Gideon
Production Manager: Adedamola Adetunji
Set Assistant: Nwanneamaka Igwe and Judith Icha
Styling: Demola Mako
Designers: WafflesNCream, Poserboy, Rë Lagos, David Blackmoore, and Gëto World
BTS Video: Dante Karibi-Whyte and Ayo Odunsi
Location: Fluid Locations
Explore the world map and read the full interview here.
Over the past couple of years, a new sound has emerged from South Africa’s busiest townships. The genre-mashing sound which borrows from other homegrown sounds has evolved from the depths of the underground to become a mainstream disruptor in today’s global world.
Initially surfacing back in 2012, the genre was a commingling of different sounds, borrowing heavy influences from deep house, jazz and lounge music and characterised by charming synths, airy pads and wide percussive basslines. Despite rising from the townships, Amapiano continues to influence global tastes thanks to the likes of the genre’s frontrunners including Kazba de Small & DJ Maphorisa, De Mthuda, MFR Souls, Vigro Deep and more.
Fulfilling our mission of championing the sounds of tomorrow: today, the NATIVE’s August Digital cover story surveys the heavy and substantial sound of Amapiano, its growth over the years and the adoption of the sound all over the world. South Africa’s Amapiano has fiercely snagged the title of Africa’s most influential sound and the growth of the sound continues to remain relevant all over the continent.
Over the past decade, the soundscapes from Africa have continued to enjoy increasing momentum. Africa to the world has become a popular rallying cry by the continent’s best talents whose works have been amplified on the global stage in almost every mother tongue imaginable.
Right on our very doorsteps, we continue to witness the birth, adoption and evolution of the continent’s hottest emerging sounds which continue to penetrate our global tastes in a post-digital world. From Johannesburg in the South to West Africa’s most exciting cities of Kumasi and Agege.
Fulfilling our mission of championing the sounds of tomorrow: today, the NATIVE’s August Digital cover story outlines the rise and rise of Drill music being made in Ghana, specifically out of Kumasi. Across the continent, more and more ambitious young rappers have been adopting the sonic ticks of the Rap subgenre, none more visible than the formidable sect from the capital city of the Ashanti region. Spearheaded by teen breakout star Yaw Tog and the expansive Life Living crew, Kumasi Drill has captured the hearts of its immediate listeners while traveling beyond local borders. The present is bright, but the future is much, much brighter for Kumasi Drill. Here’s the story of one of the most thrilling sounds in Urban African music.
Ever so often, a new sound springs out from the global south with an unassailable trajectory, lasering itself unto the attention of the wider world with an intense velocity. For the last 18 months, the world’s attention has been squarely focused on Amapiano, the South African-born lush melding of wavy basslines, airy synths, and lush pianos that has broken out of Johannesburg townships to become the defining sound of the post-COVID world.
As the influence of sound has spread across the world, hubs have been formed in other countries to produce local interpretations of the sound. In Nigeria, that has led to recent hits such as Zinoleesky’s “Kilofeshe” and Rexxie’s “KPK.” The inverse of these attempts is gleanable in cross-continental efforts like “Ke Star (Remix)” where Focalistic and Davido deliver a balmy collaboration rooted in Amapiano but enlivened by Davido’s taunting ad-libs and verse.
On the recently released “Ewele,” rising Nigerian singer, Dunnie, joins Focalistic and super-producer, Gemini Major, for another Amapiano-inspired number that bridges the sonic divide between Nigeria and South Africa. While the Davido-featuring “Ke Star (Remix)” was crafted to get bodies moving from Jozi to Lagos during the song’s succint runtime, “Ewele” is a subtler affair, opening up with more reflective lyrics before taking off as it approaches its mid-point.
While producers like Vigro Deep, Maphorisa, and Kabza Da Small have led the way in Amapiano’s global vaunt this year, Gemini Major, a stellar producer signed to Cassper Nyovest’s Family Tree Records, has had a more insular eight months so far, with “Ewele” marking his first official release of the year. It is a song worth waiting for as Dunnie monopolises the opening moment of the track, wrapping her voice dexterously around the minimalist instrumentals as she switches cadences in quick succession. “This year na para I dey, I no dey take chance,” she pointedly warns at one point, giving an update on her energy as we approach the last four months of the year.
Taking off from where Dunnie stops, Focalistic appears on the song’s second verse. Here, he toes the introspective, yet optimistic, route in his sprightly sung-rap voice, reflecting on the loss and devastation of 2020 with a passing glance while looking forward to what the future might offer. Although the singer admits that he’s unsure about people’s intentions towards him, he resolves to regard 2021 as the year that established him as one of Africa’s most popular musicians. Together with Gemini Major and Dunnie, Focalistic elevates an otherwise mundane number into an addictive earworm track that is both about reflection as it is about cutting loose when the pressure gets too much.
At the end of it, the lessons from “Ewele” are gleanable from the song’s pithy chorus ably delivered by Dunnie: 2020 was a lot, pour some liquor in a cup, we’ve all been dealing with a lot, and, by all we hold sacred, we need to live life a little in spite of all that would rather we didn’t.
This week, Mavins new starlet, Ayra Starr surges to a top 10 spot. In this week’s Turntable charts, “Bloody Samaritan”, the badass anthem has moved up from its No.12 peak to No.8 this week. Although this is the artist’s second Top 10 entry on the charts, it is the first entry from her debut album ‘19 and Dangerous’ which was released less than a month ago. She becomes the first female artist to record more than one entry as a lead artist in the Top 10.
Still maintaining the No.1 spot this week, “Lie” by Kizz Daniel spends its third consecutive week atop the charts. The hit track continues to gather steam across radio and streaming platforms recording the fifth-highest week in the history of TurnTable Top 50. Omah Lay’s “Understand” comes in at No. 2 after it topped the charts for three non-consecutive weeks prior. Rounding off the top 3 is Adekunle Gold’s “Sinner” which moves from its No.4 spot last week.
It’s closely followed by Fireboy DML’s “Peru” which continues to ascend in the charts. This week, the track snags the 4th position and is followed by Wizkid’s “Essence” which has now spent 36 weeks on the charts. AV’s “Big Thug Boys” falls back to the 6th position while Ladipoe and Buji’s “Feeling” retreats to the 7th position after topping the charts for five non-consecutive weeks. Rounding up the top 10 is Buju’s “Outside” which recently skyrocketed from its 17th position last week to No.9and Ruger’s “Bounce” which slips down from No.7 to No. 10 this week.
Outside the top 50, Tiwa Savage’s “Somebody’s Son” off her new EP ‘Water and Garri’ debuts at No. 13 with 38 million in radio reach and 357,000 equivalent streams while Burna Boy’s “Question” with Don Jazzy debuts at No. 16 off three days of tracking with 940,000 equivalent streams, 8.05 million in radio reach and 3.86 million in TV reach.
More than most people, the team at The NATIVE knows that the sheer scope of music available to us at this exact moment in human history is mind-numbing but our goal is still the same as always: we don’t want exciting music to be slept on. That’s where our Songs of the Day column comes in. We try to keep our fingers on the pulse of music from across the continent and beyond, bringing you exciting songs from talented musicians who are continuously trying to bounds of artistry with their music.
Song of the day is perfect for everyone who is a pioneer in developing their sound and taste. A tweak here and there in your library is always needed and encouraged. While expanding your music horizons, be that friend that puts others, so they can possess the soundtrack to your mind whilst elevating theirs. Last week, we had songs from Don Jazzy, Burna Boy, Zamir, Niniola, and Show Dem Camp. Today’s column brings you a variety of sounds from Wizkid, Buju, Johnny Drille, Bella Shmurda and more. Enjoy.
Johnny Drille – “Loving Is Harder”
For his first official release of the year, Johnny Drille is back with “Loving Is Harder”. The single is reportedly the first track off his forthcoming album titled ‘Before We Fall Asleep’ and is slated for release on September 3rd. The slow-tempo number finds the singer barring his heart to a lover over the clear and unique production of Wilson Mizuk. Singing “oh my god, this my baby make me go manya/oh my lord, oh my baby set me on fire,” he harmoniously expresses his deep affections towards his love interest in usual Johnny Drill fashion.
Bella Shmurda – “So Cold” ft. Popcaan
Following the success of his sophomore EP ‘High Tension 2.0’, Bella Shmurda collaborates with Jamaican singer and songwriter Popcaan to deliver the subtle mid-tempo track titled “So Cold”. Here, the artist talks about his career and personal progress so far, detailing his life as an artist and the struggle as a young Nigerian over a head-bopping beat. He sings “It’s not easy for me to be me, so many criticism man still dey gbes/Government funny and the people corny, anywhere belle face na him people face”, over a soft but distinct percussive-led beat.
Bella Alubo & Blaqbonez – “Offend Me”
Bella continues her streak of releases with another track, after a plethora of 2021 releases including “Want It”, “Don’t You Go”, her EP ‘Chrystical’ and her Psycho P assisted track “Gba Gbe” amongst others. The alternative R&B/Hiphop artist is back with her stunning vocals in “Offend Me” assisted by Nigerian rapper, Blaqbonez. She opens up the track with sultry melodious adlibs, progressing, later on, to query her love interest for not meeting her needs “Baby why you offend me, you ain’t buying me Fendi/You ain’t buying me teddy, you ain’t buying me Fenty.”
Jinmi Abduls – “Bena”
Jinmi Abduls is here with a new 3-track EP ‘Little Lagos’, his first official release of the year. On this track “Bena”, the artist delivers a stellar performance over the mid-tempo yet tuneful production. This track has the artist making love confessions to his muse as well as describing his love for her in all ways he can; “In the moment I see you girl ori mi wu/so lets fly away so far away, Bena” he sings amorously over the song’s hook.
Ayanfe – “Migrate” ft. Davido
For his first release of the year, Afropop artist Ayanfe is here with a new love tune. On the Davido-assisted track, the artist serenades his muse with his charming lyrics as he sings over the melodious production of the track. On the track’s chorus performed by Davido, he sings “I fit to migrate for your love/ Jagun jagun turn thief for your love/baby I go be dundi for your love” expressing his deepest interest in his muse. Through the track, Davido’s presence is undeniably present with his unique adlibs scattered around the number.
Wstrn – “Be My Guest” ft. Fireboy DML
Cross-continental releases seem to be increasing by the second. This time around, Wstrn and Fireboy DML link up for a new catchy single titled “Be My Guest”. On the Prgrshn-produced track, the artists sing to their respective muses about their affections with lyrics such as “Be my guest, try give me more life/You sure you wanna take this ride”. As usual, the trio brought fun and excitement to the track as they uniquely delivered their verses over a sunny beat.
Maryyx2 – JUMP!! (Remix)
After years of invaluable contribution to the burgeoning alternative scene in Nigeria, producer and videographer, Chukwuka Nwobi is diverting his creative talent into music. Over the weekend, he unveiled the world surrounding his debut single titled “Jump” featuring bad bitches and hi-hat heavy beats. Under the stage name Maryyx2, he releases an ebullient two-pack single featuring the song’s original version and its remix. With a delightful playground of speaker-rattling instrumentation and cheeky bars, the bouncy new track is so infectiously saccharine that it’s already become a standout track for IG’s best baddies.
YKB – “Practice Patience”
After his notable track “Dey Your Dey” featuring award-winning Nigerian singer, Zlatan, YKB has proven to be a force to be reckoned with in the industry, delivering tracks we can all groove to. He is out again with another track that introduces the artist as a talented musician with lyrics “Everybody know, they all know YKB go massacre your show”. He delivers his lines in a mix of Yoruba and English passing a message of endurance as he repetitively choruses “practice, practice, practice patience”. The song almost seems like a message not just for listeners, but for the young artist, as we witness his come up in the industry.
Following the widespread dissemination of the COVID vaccine, exacerbated by our restless desire for freedom, this summer has indulged us in a return to a few of our favourite things. Going on holidays, hitting the club, raging at concerts is no longer a taboo, it’s a luxury that most of us can now enjoy again – albeit at a much higher cost than before. Regardless, this summer has been a refreshing taste of the new world, characterised by a dichotomy of the familiar and radical. The music that has emerged, particularly over its ending months, has been a favourable and accurate reflection of this summer’s wholesome tone.
In the mainstream, experimental sounds and traditional grooves have been delivered through an array of musical vessels. We’ve had debut albums, conscious albums, deluxe albums, record-breaking singles, crossover singles, not to mention joint projects and double releases. Our faves – from Dave to Drame, Wizkid to Ayra Starr – have given us an abundance of good music to soundtrack our summers outside. And underground too, emerging artists have provided us with a heavy dose of nourishing music to discover and devour. Prepping for takeoff throughout their nascent careers, the stamps our August Fresh Meat cohort are earning now have been years in the making; but, in our eyes, as the year winds down, these artists can only expect a higher course.
Dani Draco, an engineer turned lead artist is prepping Ghana for his mainstream ascent with his recently released debut EP, Higher Life. Whilst in Nigeria, Deela’s debut ‘Done Deel’ adds to the canon of the fondly nicknamed Rap Girlies, giving the movement an even greater footing within the alternative music scene. As Amapiano’s front runners continue to penetrate global sound, Boohle is already ushering the next generation of the genre’s hitmakers, solidifying her position with an EP titled ‘Sfikile’, released just a couple of weeks ago. Joined by Nobuhle, AV, Candy Bleakz, BadTheSoundBoy and Ria Sean, as the year runs out, these Fresh Meat are artists you’re going to want to look out for!
AV
It’s no surprise that TikTok has become one of the world’s most engaging marketing platforms since it peaked during the lockdowns in 2020. The socially distanced periods created ample room for digital content creators all over the world to curate expressive and engaging content with their craft which has invariably spun a new class of comedy stars from Elsa Majimbo to Khaby Lame. While TikTok has been a beehive for new content creators, the social networking app has also spun new music stars when songs have gone viral on the platform. Over time, recording artists have used this platform as a marketing tool to garner support from their audience and important industry players alike, fashioning a new way to source out the hottest names in music at the moment.
In these parts, the rise of apps such as TikTok and Thriller has been slow and steady in the rise of emerging new acts. Earlier this year, Styles’ “Loose Guard (I See I Saw)” blew up on the platform, not only introducing listeners to drill’s first foray into Eastern Nigerian but also the sprawling reach that TikTok could possess over the music and entertainment industry. Since then, TikTok’s popularity has only grown in reach, assisting other newcomer artists to boost their platforms. The latest act to enjoy this feat is Nigerian singer AV who’s single “Big Thug Boys,” has enjoyed a newfound virality since its release this year. Born Adindu Victor, the singer, songwriter and performer garnered his rise to fame when his single “Big Thug Boys” took over the African charts including the official TurnTable Top 50 Charts. It peaked on TikTok just three weeks after its official release and has only risen in the charts since then leading everyone to question “Who exactly is AV?”.
AV’s career began long before his TikTok fame. The singer was actually born into a musical family as his father was a guitarist. This only served to bolster AV’s musical abilities and nurture his love for music at a very tender age. In 2018, he moved to Lagos and officially began his music career while in the budding creative scene. However, it wasn’t an easy feat as he struggled to make a name for himself and garner loyal fans. Two years later, in April 2020, he released his debut single “Temperature”, a mid-tempo Afrobeat track that finds the artist talking audaciously about the trials we face as Nigerians seeking to make ends meet in a corrupt system. He followed this up with his sophomore single, “My Song” in December 2020, and shortly after, he released a freestyle that only continued to stoke the flames of his star power. “All these songs led up to the success of his hit single “Big Thug Boys”. The idea was to find the best ways to spread the song and TikTok was definitely an option. I knew it was a good song but I didn’t think it would blow up this much or go this far,” he shares with the NATIVE. His sound is a mix of trippy Afrobeat, Hip-hop, and a dash of trap, a new sound for the world to accept and for the new generation to relate to on an infinite scale. The standout artist AV is one to definitely look out for as he seems to have a very promising future.
Nobhule
South African singer-songwriter Nobuhle owns a voice that will stop you in your tracks. This sort of description is often reserved for belters that can bring the house down, but while her voice may hint at a similar capacity, Nobuhle’s superpower is in her ability to radiate warmth. Placed in the middle of the first part of Sun-El Musician’s double-sided sophomore album, ‘To the World & Beyond’, her performance on the standout track “Never Never” was nothing short of phenomenal. Slithering over Sun-El’s rolling percussion and dreamy keys, the South African star sings with a zen-inducing breeziness that will capture even those who don’t understand her isiZulu lyrics.
Prior to this stunning feature, Nobuhle’s catalogue only consisted of her official debut single, “Always With Me,” alongside a feature on Black Motion’s “Hosanna.” Her stint with Sun El Musician, however, is not uncommon. The producer/DJ is known for being a catalysing factor in the careers of several proteges and collaborators, including Simmy, Mthunzi, Fresh Meat alum Azana, and more. Nobuhle is his latest co-sign, and for good reason, she fits into the mold of soulful singers he has a knack for working with. Boasting a working relationship with one of the most singular producers in SA’s dynamic House scene, along with access to other El World affiliates, Nobuhle is in a premium position to maximise her potentials – and she’s well on her way. In March, she released “Phezulu,” genuinely one of the most gorgeous songs to come out of the continent this year. Produced by Kenza, one-half of El World-affiliated production duo Claudio X Kenza, Nobuhle’s voice evokes a sense of bliss that feels paranormal. With a scenic video that doubles its awe-inspiring effect, “Phezulu” epitomises the singer’s ability to meld catchiness and soulfulness into an affecting whole, regardless of listeners’ ability to understand the content in her lyricism. Where her debut single, “Always With Me,” laid out a significant portion of its lifelong romance sentiments in English, Nobuhle’s recent singles have leaned far more into her native tongue, indicating her dedication to expressing herself as authentically as possible. Besides, great music crosses lingual barriers.
On September 24, she’ll be releasing her debut album, ‘Imvula’, a 15-track project set to include “Phezulu” and other recent singles, including “Kuvaliwe” with Yallunder, the Black Motion-assisted “Eloyi,” and “Sawubona” with Sun-El. All three tracks bristle with soul, indicating a fluid mix of House and Afro-Soul. Considering the successes of her immediate colleagues – Simmy and Azana – there’s enough precedent to suggest Nobuhle is a surefire bet to consolidate on her status as a breakout star.
Ria Sean
Born Gloria Asene Enebi but popularly known as Ria Sean, Aristokrat’s latest signee is a force to be reckoned with in the landscape of emerging female pop stars. The Nigerian singer-songwriter has been on her music quest since she was a young teen, however, it was dancing that provided the singer with her first footing in music. Back then, while she enjoyed creating dance steps to her favourite songs, she quickly discovered her passion for music during her time in her church choir. A 16-year-old Ria would go on to write her own original lyrics and make covers to already released numbers, endearing her to a growing audience who tuned in to her every move.
In 2017, Ria released her first EP, an 8-track set that featured songs like “Selfish” and “Spring”, two delectable numbers that showcased her stellar penmanship and her sweet-sounding voice. It was at this point that she began to gain traction and earn herself a following on social media. A few years later, Ria’s star power was eventually recognised. Earlier this year, all the years of Ria’s dedication and hard work paid off when she became one of the first artists to be signed in the recently formed partnership between Aristokrat Records and Universal Music Group, along with her label mate, Jujuboy Star. Shortly after this announcement, Ria Sean struck back with the release of her first project under the new record label deal.
Her latest effort ‘Fluid’ is promised to be a versatile blend of stories, sounds and vibes, which is exactly what Ria delivers over the project’s 6 tracks. Speaking about the EP, Ria Sean explains “I want people to listen to this EP and understand that it’s okay to be multiple versions of yourself because that’s what makes us all special. Having different sides to you isn’t weird, it’s sexy, it’s bold and it’s beautiful. With the different sounds we’ve put together on this EP, I want you to hear my fluidity”. In this light, ‘Fluid’ delivers good on her promise, showcasing the newcomer in different stylistic lights as she melds and crafts genres to her doing. On the promotional single “Money Bag”, Ria is at her most playful, demanding her share of the national cake by audaciously demanding her dues from naysayers and critics alike. It’s closely followed by the romantic single “Satisfy My Soul”, which finds the singer baring her heart out to a love interest, pleading for their love and affection which satisfies more than just her heart but even her soul. “Pin Me Down” shifts the focus on her creative output yet again, this time finding the singer at her most sensual, as she addresses a muse on how she would like her desires met. By the project’s final track, “Stamina,” Ria has shape-shifted yet again, turning her focus to her innermost thoughts. Here, she delivers a clever double entendre where she is able to discuss the stamina needed to stay ahead in the rigorous game of the music industry and that required to keep going for rounds and rounds during sex. It’s clear that Ria Sean isn’t mincing her words for anyone, she’s here to show that women like herself can be as diverse and multifaceted as they wish to be without the constraints placed on them by society, family, work, etc. ‘Fluid’ is an aptly-titled project from an artist who is just leaving behind the nascent stages of her career and stepping into her star-defining moment. We can’t wait to see where Ria continues to take her artistry.
Dani Draco
Without any hints of hyperbole, Dani Draco is a musical polymath. The Ghanaian artist’s range of abilities encompasses production, engineering, songwriting, and singing. Learning the behind-the-board tricks, Dani initially focused his earlier creative energy on producing and engineering, setting a formidable foundation for his increasingly promising career as an all-around Afropop act. After a few years working in proximity of the spotlight, ghostwriting songs for other artists, and performing backup vocal duties, he took a definitive step with the 2019 release of his official debut single, “Trouble.”
A sultry bop that melded an R&B tenor with an Afro-Caribbean sheen, “Trouble” introduced Dani to a widened audience as an artist with a unique take on a recognisable genre-mashing sound. It’d take nearly a year for him to follow up with “Ready,” a Moor Sound-assisted cut where he touted his self-assured mentality over ticking hi-hats and head nod-inducing bass. The resurfacing showed a new dimension to his skill set, and he continued to explore it on “Paradise,” the euphoric collaboration with fellow Ghanaian artist $pacely. To close out 2020, he shared “Sad Boy Flow,” where he showed a previously locked vulnerable side to him, without dulling his established suave persona.
Dani Draco is not exactly prolific, but the thrill of his spread-out releases is in how it unveils layers to his artistry and person. Already an enjoyable artist to listen to, with an ear for captivating melodies and hands primed for crafting slinky, feel-good beats, this pattern of self-improvement on every new drop indicates Dani is comfortable with consistently working his way into becoming the best version of his artistic self. Recently, he shared his debut EP, ‘Higher Life’, a short but effective statement released in collaboration with the classic Highlife record label, Essiebons. On the entirely self-produced four songs – “Trouble” included – Dani strings together Caribbean Pop, neo-Highlife, and R&B into a breezy whole, a fulfilling piecemeal that hints at an even more productive future.
DEELA
DEELA’s journey to a rap newcomer began back in 6th form when she would write raps in between classes and breaks. Armed with a youthful outlook on life and an unfiltered sense of confidence, the budding rapper has continued to carve a space for herself in the current zeitgeist of powerful female emcees unabashedly putting themselves on and inverting the male gaze to their benefit.
Making her arrival on the scene last year during the socially distanced lockdowns with her debut self-titled EP, DEELA has continuously championed an empowering message that can never be misconstrued, all thanks to her snappy raps and her rapid-fire quips. In the earlier stages of her career, the London-based rapper drew a majority of her inspiration from Nigerian artists like MI, Naeto C and international pop stars such as Rihanna, Beyoncé and more, which she watched on MTV while growing up. Her list of inspirations has only grown as she’s ascended in the music industry and rubbed shoulders with her former icons, culminating in her first-ever live performance last month with Homecoming and Manchester International Festival.
For her latest mixtape, ‘DONE DEEL’, DEELA can be seen minimally featuring artists in an attempt to let her voice and message shine through individually. “I thought this is my first proper tape so I wanted my sound to speak for itself before I started to feature people. ‘DONE DEEL’ features 11 tracks that showcase the artist’s clever wordplay and her ability to draw listeners in with her razor-sharp lyrics, leaving them feeling as confident as ever. Track after track DEELA expresses her love/hate relationship with men making sure to let us all know she’s done with all the bs. Not just from men, but also from anyone that tries to take her for granted. As we see on “FIT”, assisted by T6lu, DEELA is self-assured as she asserts herself in memorable lyrics “I’m no regular bitch/so I know these bitched mad” and “He hooked on that DEELA potion/guiding him like a devotion”. She delivers similarly exceptional performance on “GET A GRIP” where she sings with her sultry vocals over a booming trap drum as she explicitly states her physical needs. Her moment comes full circle when she discovers that “CHAINS” was produced by WizzerOnDaBeat who also made Flo Milli’s top hit “Pussycat Doll”, one of the inspirations behind the creation of ‘DONE DEEL’. As the artist continues to grow, we can expect music videos and more features with her fellow Nigerian female rappers.
Boohle
As Amapiano continues to excite audiences the world over, the sound – and tangentiality to it – continues to mint new, must-listen-to voices by the day. Rising singer, Boohle is one of these urgent voices. Close to the midpoint of this year, South African hip-hop giant, Cassper Nyovest, shared “Siyathandana,” a sweltering summer jam that quickly became one of the most popular songs in the rainbow nation. The core of “Siyathandana” is built around the enchanting vocals of Boohle who recorded the song during a visit to Nyovest’s mansion, but it would be remiss to view the success of “Siyathandana” as the only feather in Boohle’s cap, the singer has been building up to this moment for a while.
Born to strict Christian parents in the township of Vosloorus in Gauteng, Boohle formed a group with her siblings growing up before her airy vocals and melodic coos meant that she was conscripted into a number of choir groups. But her route into professional music-making started to be paved in 2017 when one of the founders of the influential music group, Tshwane Gospel Choir, drafted her into the group, helping to direct her voice and put her through the process of melody formation. A little while after, Boohle began experimenting with House, Afropop, and Kwaito instrumentals in a bid to expand her capabilities. The complexities and splendour of such a wide musical note intersected on her debut album, ‘Izibongo’, where she sang about her life, the growing up process, and dealing with the shifts in her life across the project’s runtime with “Wangkolota” serving as a particular highlight.
Snuck into the middle of Izibongo and her latest four-track extended play Sfikile is Umbuso Wabam’nyama, a collaborative project with Josiah De Disciple that included the hit tracks “Mama” and “Buyisa.” The music on Wabam’nyama is ephemeral and sees Boohle’s long-winded singing finding balance in Josiah’s sturdy delivery. ‘Sfikile’, released two months shy of Wabam’nyama is Boohle’s most outward-facing project, seeing her show her chops over dance-ready production that has depth to it. From project opener, Amawaza, featuring Busta 929 and Mpura, her featherlight voice straddles the beats akin to her delivery on “Siyathandana,” showing a fresh bow to her strings. Love, heartbreak, and romantic redemption power ‘Sfikile’ and nowhere is this more on display than on single “Pillow Talk” where Boohle floats in and out of the margins of a shimmering Amapiano instrumental to express desire without overstressing the melodic essence of the track. Across four tracks, the singer shows that she is ready to take the next step to pop superstardom.
Badthesoundboy
The trope of segueing from record producer to fully formed artist is one that isn’t uncommon in the music industry. Throughout history, producers have continuously stepped out from behind the boards and taken on more active roles in their music career by making their debuts as solo artists capable of holding their own and keeping the fans interested. From DJ Khaled to Pierre Bourne, producers continue to provide a malleable framework that continues to be emulated around the globe, fashioning new ways for listeners to enjoy music and connect with their favourite artists. In these parts, Nigerian newcomer and producer, BadTheSoundBoy is the latest beatsmith to step out from behind the board and step into his burgeoning career as one of Afropop’s most romantic crooners.
Born Ifiok Nkewerem Albert, the rising star captures and tells his life story through poignant and relatable tales that speak to the core of his being. His love for music peaked when he started listening to artists such as Wande Coal, Fela Kuti and 9ice during his formative years, empowering him to get behind the mic and pen his own heart-rendering lyrics. Juggling a university degree and a music career is never an easy task so BadtheSoundBoy would spend most of his years in uni getting hip to the game and learning how to orchestrate his own stellar productions. By the time he decided to delve deeper into the world of creativity and discover more about his artistry, the singer realised his innate capabilities and played to his strengths. Over the past few years, since his graduation from university, the Lagos-born star has delivered eclectic productions for the likes of fellow African artists including Kida Kudz, Skillz 8Figure, Fasina and more.
BadtheSoundboy may not have much music out at the moment, but the songs he has released over the past year are a ferocious and clear indicator of an artist who has a whole lot to say. Earlier in the year, he released his debut solo EP titled ‘Bad For You.’ The succinct 6-tracker finds the singer speaking on topics such as love, affection, intimacy, family and much more. Self-producing all the numbers by himself, the talented beatsmith also introduces listeners to what he’s capable of as a solo artist. The EP is heavily infused with highlife melodies allowing the singer to merge both sides of his artistry seamlessly, and provide ample space for him to take full control of his sound and deliver consumable Afropop tunes. On standout track “Joy”, he’s at his most vulnerable, imploring listeners to find joy even in the midst of trials. The artist himself reveals how he’s lost his father, how his mother struggles to make ends meet for him and his siblings, and how he’s constantly grinding to make a name for himself. Despite all these tear-inducing experiences, Bad is armed to the teeth with affirmations for himself and for listeners, reminding them that even the worst of us can find reasons to be joyful. This endearing message carries on to other tracks on the EP including “O Dun” where the singer shows off his more romantic side, addressing a lover directly about his undying affections for her. With a deft conceptual eye and a knack for melodies, Bad provides an unmissable case for his growing artistry, emulating the confidence of one who has shucked the trappings of one life to begin another.
Candy Bleakz
Drawing inspiration from the fuji music played by her stepfather, Candy started making music as early as 2013 when she was in Olabisi Onobanjo University, but it wasn’t until 2015 that the artist decided to take music seriously and go into it professionally. However, the street pop artist had her career skyrocket to new heights when she uploaded a viral freestyle to Instagram in 2018. Naira Marley, popular for several chart-topping street pop hits such as “Mafo”, “Japa” and “Coming”, recognized Candy’s unique abilities and sent her message after watching one of her freestyle videos. They set a date to record and that conveniently happened to be the day Zlatan was in the studio. Their collaboration gave birth to “Owo Osu” in 2019. As the artist’s works and talent evidently speak for itself, Candy snagged a feature with Teni The Entertainer earlier this year when friends of Candy’s at Dr. Dolor Entertainment told her that Teni couldn’t stop gushing about her. After multiple studio sessions, the pair created a street pop hit, “Baba Nla.”
The artist’s dedication to her craft exceeds beyond her lyrics but also to the persona she has created to match the message she communicates. She shares that she is very unlike the persona she has crafted for herself “In my music, I try to form a bad girl. I’m not really a bad girl. In my music videos specifically, I try to get a gangsta look to match my vibe. I still think I’m a gangsta though haha.” She recognizes her growth over the years attributing her progress to her mature understanding of lyricism and sounds sharing “When I hear a beat I know what I want to do. I’m more straightforward and I always try to make sure all my music has the specific information I’m trying to pass.”
For her upcoming EP, Candy promises versatility, delivering heartbreak anthems and party jams. She also recognizes that her brand has great potential and this EP is an attempt to show people that Bleakz is more than what they’ve seen thus far. “I think this EP is about me telling people that they need to pay more attention to me. They need to see more.”
Featured image credits/NATIVE
Written by Ada Nwakor, Adewojumi Aderemi, Dennis Ade-Peter, Nwanneamaka Igwe, Wonu Osikoya, and Wale Oloworekende Tami Makinde
Amidst an eroding economy and high levels of poverty, earlier last month, the people of Zambia realised the strength in their numbers and the need to constitutionally replace its immediate past president, Edgar Lungu. On Aug 12, 2021, the voting populace officially elected opposition candidate Hakainde Hichilema into the country’s highest office to great acclaim. Inaugurated barely two weeks from the elections, Hichilema’s win represents a renewed sense of hope following tangible dissatisfaction with the ousted administration.
Former President Edgar Lungu entered the presidency through a 2015 bye-election, following the passing of former president Michael Sata. A year later, he won the re-election for a five-year term, running under the banner of his predecessor’s political party, the Patriotic Front (PF). During his over six-and-a-half-year tenure, Lungu’s many social, political and economic policies and measures, outlined while running for office, were arguably never fulfilled. In face of these failed promises, his term was also plagued with unprecedented levels of corruptionand money laundering.
The mission of the PF manifesto reads: “To run a democratic government with opportunities to make every Zambian count, especially the youth, women and persons with disabilities.” It’s a noble approach to the country’s democratic system, but the deleterious implementation could debatably be the reason why the people of Zambia lost faith and lost trust in the then ruling President, leading to the collective decision to vote for change.
Looking back on the years under the rule of former President Edgar Lungu, and exacerbated by the adverse effects of the Covid-19 pandemic, the Zambian economy fell into a deep recession, one which allowed international donors and investors to lose a significant amount of confidence in the copper-producing country. In 2021, the country became the first African nation to default on international loans during the pandemic, increasing the international debt by an egregious amount. Even before the pandemic, macroeconomic challenges were already being felt across the country, with key indicators including high inflation in the market, widening fiscal deficits mostly linked to funding ambitious infrastructure programs, failure to keep government expenditure within manageable limits, and unsustainable debt levels.
This meant that for many years of his tenure over half the population of the country were living below the poverty line while the wealth gap disproportionately widened. It is worth mentioning that the PF’s manifesto also includes, “close monitoring of debt sustainability benchmarks in order to zero default on external debt, as well as, the establishment of a sinking fund to cover external debt maturities.” Neither of these promises were fulfilled to the electorate which voted Lungu in. With a significant decrease in the job opportunities in the market, Edgar Lungu gradually lost the support of a large majority of the registered voters in this years’ election – the youth.
Today, Zambia’s youth population comprises more than 54% of the total voter turnout, and they proved the strength in their numbers after a year of seismic political and social change worldwide. Many of these youth remained highly disgruntled and jobless under Lungu’s regime, especially as economic conditions worsened rapidly. In his inaugural speech, incumbent President Hichilema promised to focus on the underserved and overlooked youth population, stating: “We will aggressively promote the creation of jobs and opportunities that will create wealth, especially for our youth, women and indeed all the citizens.” While it will take time to see some changes, many young Zambians were hopeful for the change in transparency and governance.
A queue of voters on election day (Image provided by Benazir Mirza)
Last month, over 2.8 million people of Zambia found their voices despite widely reported discrepancies at various polling stations around the country. Despite a clear effort to manipulate the final results, polling stations dotted around the country were still overflowing with eager voters, ready to change the face of democracy and choosing to put their trust in a new president, but it was not without resistance from the incumbent. This would make the third time that power has shifted peacefully from a ruling party to the opposition since the southern African country’s independence from Britain in 1964.
However, Lungu’s administration put up a final act of detriment to the free and fair elections by orchestrating an interference with mobile network services. The Internet was shut down across the nation, blocking smartphone users from accessing social media platforms. Poor network signal for calls made it difficult to stay connected to loved ones during one of the most memorable election periods in the nation. If any citizen had a doubt in their mind whilst standing in a line for more than 3 hours about who to mark X for, this act would be the biggest factor in decision making, with many aligned in their thinking to vote out the gross misconduct of power.
As the country waited for 72 hours to witness the history of democracy taking place, the cities around the country were shadowed with anxiety and nerves of the people. At 2:30 am on the morning of the 16th August 2021, jubilation hit the streets of Zambia after news broke that Hichilema had won by a landslide of over a million votes. Flocks of people gathered in streets and homes, congregating outside the then president-elect’s household in the capital city, Lusaka – chanting, singing, cheering and dancing. Banners and posters of the incumbent party were ripped down immediately, campaign shacks were dismantled and in some cases painted from green to red, a conspicuous signal of the entrance of Hakainde Hichilema administration under the banner of the United Party for National Development (UPND).
Celebrations after the announcement of results (Image provided by Benazir Mirza)
One of Hichilema’s campaign strategies was social media. The incumbent President was followed religiously across social media platforms, joining the masses to call for systemic change and captivating the young audiences with the hopeful tagline, #Ballywillfixit–a slang for father. Contesting for the sixth time, Hichilema’s latest run for Presidency was riddled with hurdles put in place by Lungu’s administration, including multiple arrests (he was charged with treason in 2017), multiple alleged assassination attempts, restrictions to conduct campaigns under the guise of coronavirus pandemic restrictions, and much more. In remaining resilient and staying the course, he won the people of Zambia over, resisting the suppressive tactics against dissent that had become a fixture in the previous government.
With his credentials and extensive business background, President Hichilema’s leadership is expected to be pivotal in leading to an upturn in Zambia’s currently dire economic fortunes. So far, his election and entry into office has already yielded positive indicators, with local markets surging, the Kwacha gaining significantly against the dollar, and investors betting in favour of the country’s economic growth. The optimism is also being driven by Hichilema’s commitment to cut the unsustainable chunk of Zambia’s $12 billion external debt, and promises of a zero-tolerance policy on corruption through fiscal discipline. Proper and consistent implementation will drastically bring down inflation rates and stabilise exchange rates, creating an enabling environment for Zambians to thrive.
President Hichilema has also pledged to enable media freedom, fair and equal job opportunities, and foster natural accelerated development through the mobilisation and sustainable use of both natural resources as well as human resources. This resolve also extends to better involve youth and women in its reforms, and by all means, try to minimise any social and economic disparities.
It seems that there is finally hope for Zambia after years under oppressive regimes. Closing out his inauguration speech last Tuesday, the new president made a grand declaration of intent to his subjects stating that he simply pledges: “a better Zambia for all.” Simple as his words may have been, to many young Zambians, including this writer, it’s an acknowledgement of the faith and trust he’s now been entrusted with; and the dawning of a new chapter for the Southern African country. The people of Zambia wanted change and now, with Hichilema, there is hope that this process can begin.
Benazir Mirza is a Zambian-based writer with a passion for putting words down on paper.
For months now, Zamir has teased the release of his latest EP, ‘FLOWERBOI4000’, a welcome return after a four-year gap since his last effort. All year long, he’s been releasing multiple hit tracks leading up to this defining moment from gritty dndSection-assisted “A.Iverson” to the melancholic confessional on “LUV HRTS” featuring Odunsi (The Engine).
He’s clearly spent the years since his 2017 debut album ‘XXIII’ sharpening and refining his skills, all the while remaining consistently relevant in the alternative music scene delivering memorable raps on multiple singles and features with other talented musicians in the alternative African music space including Amaarae, BOJ and more.
‘FLOWERBOI4000’ represents a perfect nexus in the rapper’s expanding soundscape as he showcases his genre-defying abilities, ambitious rap ideas and impeccable sound execution. With his pre-releases and the visuals he accompanies with them, Zamir has kept us all on our toes as we anticipate this project. Interestingly, the project features two prominent faces in the female Nigerian rap industry, hinting at how in tune with the times the young rapper is. Upon my first listen, ‘FLOWERBOI4000’ is a sharp reminder of the rhythmically daring rapper’s abilities pushing the boundaries further and delivering his own interpretation of modern Rap music.
In usual 1-Listen fashion, here are my first thoughts on ‘FLOWERBOI4000’. No pauses, rewinds, fast forwards or skips.
“A.Iverson” featuring DndSection
Listening to this song for the first time on loudspeakers certainly contributed to the love I have for it now. Zamir is assisted on this number by dndSection as the pair deliver these hard-hitting raps about getting their shit popping like 11-time NBA all-star, A.Iverson. Their sounds complement each other seamlessly as they smoothly glaze over this captivating beat. I couldn’t have imagined a better track for the intro to a Zamir tape. This has definitely set the mood and got me excited for what’s coming next. I anticipate this being a fan favourite.
“Amnesia”
Like “A.Iversion” and “LUV HRTS”, this track was also a promotional song for the project. The alternative track didn’t really hit when I first listened but now within the context of the EP, it’s certainly grown on me. I appreciate the contrast in sound between this and the first track and the lyrics are growing on me. A standout lyric for me is “Baby I need you, wanna spend all night with you/Baby I won’t forget you” as Zamir quips about his lasting effect on his love interest, promising to never forget her despite suffering moments of amnesia.
“Fly” featuring Mannywellz
This is one of my favourite tracks on the project. I’m not too familiar with Mannywellz’s sound so I’m excited to hear what that’s like and I hope he doesn’t disappoint. Oh wow! He and Zamir are gliding over this beat so seamlessly, this is exactly what the doctor ordered for this late August weekend. Zamir has really improved upon his skills and I’m pleasantly surprised at the pace of the entire project so far.
“Nowhere” ft. Seki Supervillian and Maison2500
This is one of those tracks that if you don’t listen to it on the loudest volume in your room, you’ll probably miss out on how good it is. This is toxic love at its finest. “You ain’t going nowhere/know you coming right back” is an instantly memorable hook for me. It underscores many modern-day relationships so I’m not surprised that it makes a feature in Zamir’s genre-defying world. Zamir and Seki Supervillian already deliver crisp verses but Maison2500’s verse has to be my favourite bit on the number. In their typical fashion, Maison2500 brought a blunt and edgy youthfulness to the track, standing out on this stellar number from their peers.
“LUV HRTS” featuring Odunsi (The Engine)
This number was the first track pre-released from this project and I thought it was the perfect teaser for what was to come. I instantly fell in love with the track’s memorable hook “she wanna love hard/she wanna love heart”, which has been stuck in a loop on my mind. I’m always down to listen to a heartbreak anthem and that’s exactly what Zamir and Odunsi (The Engine) deliver on this catchy track in their own futuristic way. It’s on my heartbreak playlist as we speak so you know it’s a good one. Run this back a hundred times.
“STAN” featuring DetoBlack
So far, I’m really enjoying this project. I can’t say I’ve previously listened to Zamir music as much but this has definitely converted me into a fan as I’m already adding all my faves to my playlists. Following the release of her debut EP ‘Yung Everything’, I’m definitely excited to hear more Deto Black who’s been one of the brightest specks in female rap in the past year. I like the speedy delivery of Zamir’s raps, this is so intoxicating. I’m bopping my head to the beat at this point and I’m not afraid to say that Zamir makes music for bad bitches. Safe to say Deto Black also understood the assignment. As usual, her lyrics are catchy and key into the vibe of the song.
“RI”
I love the instrumentals of this track as it fits the vibe of the entire EP but I could also do without it. It was interesting to see that RI was a reference to Rihanna though. I mean who more than Rihanna could have her own spot on a project after years of taking a break from any solo music releases. I don’t have much to say as the track was over before I knew it but it was an interesting listen. I’d have to spin it again to really get into it.
“Pretend” featuring Tay Iwar
This might be my favourite intro, scratch that, my favourite song on this EP. This is what they calling making music. Tay Iwar already drew me in with the vocals even before the beat dropped. This man is literally the secret ingredient towards making any track a confirmed hit (shoutout Wizkid). These lyrics are doing it for me: “Ok let’s pretend, this party never gonna end/ it’s ok don’t pretend, maybe we should just stay friends.”The vocals and lyrics mesh perfectly with the beat of the song and contribute to the mood and delivery of their collective messages. I’d say though, I wish Tay Iwar had another verse but at the same time, the length of the song is good as is. I love this song a lot and would definitely have it on replay this weekend.
“Bad Af” featuring SGaWD
SGaWD is bad and about it. Since last year, the emerging rapper has been silently working her way into our musical consciousness with a stream of releases and guest verses that have showcased her growing skill and stellar penmanship. For me, everything changed with “POPSHIT.” I’ve quickly become a fan of SGaWD and after listening to this melodious intro, I’m anticipating her verse and hearing how well she would pair with Zamir on the track. As expected, she didn’t disappoint. I’m speechless and is that Spanish? Nah she is impressive and this is exactly how it’s done. I’m glad Zamir has carved out space for female voices on this tape. This is important.
“Ordre Du Jour”
The last track on the EP and I’m not mad about it. It initially came out last year during the pandemic with a dynamic French verse that proved the rapper’s rapid-fire abilities. The dramatic violin riff and the buzzing piano strings on this track set the tone for the project’s outro and I’m pleasantly surprised when the beat drops because I was not expecting that. The rapper seamlessly goes back and forth between French and English and after a quick google search the title which translates to “Order of the Day” is reiterated in the lyrics “rolling with the same guys since like five/never told no lies”.
Final Thoughts
Zamir’s presence on a track is something like a force of nature. He’s rhythmically daring, willing to take risks and ambitious to experiment with a spate of various soundscapes that set him far outside his comfort zone. It’s been four years since we last heard the rapper on a solo musical effort but ‘FLOWERBOI4000’ reiterates his promising skills as he embodies a new template of authenticity that sets him apart from his peers in the industry.
With help from a talented crop of artists and producers from Higo to Deto Black, Tay Iwar and more, Zamir delivers a gleefully hedonistic set of songs that pack an onslaught of wordplay. His laser-precision flow gives him ample space to fire off hard-hitting bars while giving his collaborators the ability to shine in their moment. Here, harmonies swell and shimmer for listeners delight. This is the effect of all the hard work put in behind the scenes to create a fully-formed planet of his own making where unfiltered confidence oozes with each lyric. Zamir has definitely learnt a lot over the past few years and now, he’s ready to share that self-determined showcase with the world.
Stream ‘FLOWERBOI4000’ below.
Featured image credits/TSE
Nwanneamaka couples her creative interests with her individuality and uses writing as a vessel for her expression.
If you ask South African singer Vigro Deep about his place in emerging sounds from Africa, he’d simply say that his output shouldn’t strictly be described as Amapiano. Quickly establishing himself as one of the more inventive and experimental producers amongst the vanguard of South Africa’s increasingly celebrated House sub-genre, his reluctance is understandable. With an ear for memorable melodic riffs and a propensity to bang on percussion synths with a cavernous ferocity, the majority of Vigro’s instrumentation is a leviathan iteration on multiple influences.
“I’ll say it’s more like electro-house,” Vigro offers as a more apt description, but there’s a palpable hesitance in his voice that suggests Amapiano will do just fine. First starting out his musical dreams as a rapper, he pivoted into the Yanos after coming in contact with it through friends, eventually finding his first dose of sonic inspirations through his father, Victor Ngcomgwama, co-founder of the producer collective, The Godfathers of Deep House. “My dad was doing this nostalgia deep house—I think that’s what they call it,” Vigro recounts of introductory phase into House music production. “There were producers of that genre, which is a sound where it has automation of electro sounds, so I decided to make songs that sounded like those and try to make it unique.”
Through constant practice, imitating the sounds he was deeply fascinated by, and consistent tweaking, he landed on his signature sound. Testing out his early music through DJ friends who infused his songs into their club sets, the enthusiastic reactions they generated gave Vigro the confidence to start sharing his own projects. The instant success of his debut mixtape, ‘Baby Boy’, effectively put a hold on the then 17-year old’s schooling, and he followed with the acclaimed sequel shortly after, which housed seminal hits like “Untold Stories” and “Ghost Producer.”
Approaching his 20th birthday in a few weeks, Vigro Deep is one of Amapiano’s premier producers, boasting an inimitable sound, a repertoire of great projects—including last year’s debut album, Rise of a Baby Boy, and the fourth installment in the ‘Baby Boy’ series released in May. He’s responsible for helming several huge hits, including Focalistic’s career-defining “Ke Star,” which received the pan-African treatment with the stellar addition of Nigerian superstar Davido.
While still obsessed with making the best music he can, Vigro has his sights on playing an integral role in Amapiano’s global incursion. “You know, I’m making music for the world,” he tells me over the phone, a statement of intent he’s already executing one international gig at a time. When we speak, he’s in Dublin, having played a few shows in the Irish capital, and this weekend he’s set to play a set at this year’s Yam Carnival in London. He says of this moment:
“I just want to show people what I do and help them have a good time,” he says. “I want to bring something different to their ears because that’s what I’m about.”
Our conversation with Vigro Deep has been lightly edited and it follows below.
NATIVE: How did you get into Amapiano and music, in general?
Vigro Deep: I was interested in doing music for a while, I even started as a rapper. Then I just found some friends who were into this genre of Amapiano. My dad was already doing deep house, so I think I got the talent from him and I just went with it. When I first started, I was more into the deep house side, just channeling what I was used to then I started growing into Amapiano because it’s a nice sound for the streets. Then, by the time I was making Amapiano, people were saying my sound wasn’t really Amapiano, and I agree. I don’t call my sound Amapiano, but I understand why it would be described like that because it has some of the elements.
What would you describe it as then?
I’ll say it’s more like electro-house music. You know, I’m making music for the world, not just for Africa, not just for South Africa. I’m making music out of the box, that’s why I’m very creative when I make my music. I make motion tracks where there’s a whole lot of things in there.
Yeah. Among your colleagues, your sound is very distinct. How did you come up with it?
My dad was doing this nostalgia deep house—I think that’s what they call it—and there were producers of that genre, which is a sound where it has automation of electro sounds, so I decided to make songs that sounded like those and try to make it unique. You know, whenever I was doing that, I was trying to copy what I heard but it wasn’t possible to do that because what I was doing was the total opposite of what I thought I was doing. So, I just developed from them, experimenting till I found a sound.
Did you feel confident about your sound when you started releasing music?
Well, I’m the type of person that listens to my songs a lot, because I’m all about checking my sound and checking if my things are correct. Releasing that first project was that thing of like, I didn’t want people to hear my music and not receive it well, so I just gave my friends some songs, he was a popular DJ and people kept asking of me whenever he’d play those songs. That’s how I started and the reactions made me think, “Okay, I am going somewhere with this sound.”
Who were the people that reached out to you that made you feel like you were on the right path?
Just from where I’m from, meeting [DJ] Bucks and Scorpion Kings—Kabza De Small and DJ Maphorisa—they’re the ones that showed me how this game works. From then, I was just excited to see more and more people listen to my music and bigger DJs were playing my songs.
How did all of that increasing attention affect the way you made your music?
When I’m doing music, it’s to express myself not to follow whatever’s happening, that’s why it shocked me that people were receiving it very well. These are two different things, mine is different from what others are doing, so when I produce I do whatever comes to me and feels right for my creativity.
A lot of your early tracks and huge hits were mainly instrumentals, but over your last two projects, you’ve infused more featured vocals. What’s the reason behind that decision?
To be honest, it was when I met Bucks and Scorpion Kings. They are the ones who made me realise that for your song to consistently get a lot of popularity, you need to add vocals so that a track can last long. Instrumentals are good but they can be forgotten faster, but you can easily revisit if a song has vocals. I figured that I’m jumping into a higher level of what I’m doing, so let get more vocals even if my instrumentals will always be really good.
So far, you have five projects in 3/4 years. Would you say you’re prolific?
I’m a big producer but I take time to release. If you look at other people’s projects, you’ll see that I’m the slowest when it comes to releasing because I don’t want to be all over everyone’s faces. Yeah, I do produce a lot, I’ll probably do an album in like two weeks or a month, but it’s just that thing of taking my time. Right now, it’s only three of my projects that are out digitally, that’s Baby Boy III, Rise of a Baby Boy, and Baby Boy 4. The earlier ones were up for free downloads, just stuff to spread my name around.
You dropped your debut album last year, what’s the difference between the album and the other mixtapes/EPs?
Rise of a Baby Boy was an album I did during the first lockdowns of 2020, so I was basically trying to catch a different mood of what I do. You know, when you’re always out and stuff like that, we play bangers to cheer up the crowd, but I wanted to be more soulful with the album, to grab people’s attention with sing-along tracks and not only just for groove. Whereas the other projects are for the streets, you know there will be bangers on there and stuff like that. They are two different groups of songs, there’s one you do for the people staying at home and some you do for people who want to go and groove.
That’s the good thing about Amapiano, it has range and every producer finds a way to interpret the elements their own way.
Yeah, it’s a genre on its own and it has a lot of things it can adapt at the same time. If you check it, you can put Amapiano on Afropop, you can mix it with hip-hop, you can combine it with Kwaito—Amapiano can just jam it all.
How did you and Focalistic collaborate for “Ke Star” and were you surprised by the reception?
Being around DJ Bucks is a blessing, we were never expecting it to be a really huge song when we were doing it. Bucks is the one who conceptualised “Ke Star.” Focalistic had started to catch the wave and Bucks gave him the lead of, like, how to do my songs. Focalistic didn’t know how to work with my sound when we first started working together, so it’s that thing of Bucks being the connector and tell him stuff like, “No, bro. If you want to jump on this guy’s beat, you have to sing like this.” That’s how Focalistic caught the wave and “Ke Star” was born.
There were rumours you weren’t fully with the remix—which has done really well, so far.
Yeah, I was not happy with it because of how he [Focalistic] did his thing. You know, it’s that thing of he never told me stuff about doing the remix, he just told me when we were at a show in Kenya that he was shooting the video for “Ke Star (Remix)” very soon. I was asking him when did he do the song, and he just told me he’d already done it and he’ll share it with him. I just expected him to tell me before then, and the other thing, he initially removed my name from the remix—I had to fight for the feature.
But were you, at least, happy that it came out well and they didn’t mess up your beat?
Yeah, I’m grateful for that. I would’ve been happier with the collaboration if they gave me more heads-up, like, “Bro, we doing this with Davido,” and it would have been cool.
Generally speaking, though, how do you feel about Amapiano becoming a bigger deal outside SA?
It’s actually a good thing, especially for the upcoming ones. Back then, Amapiano was only about producers being there and playing their music. I already knew it was going to be bigger, just playing around Africa and being in the UK for the first time, it showed me where Amapiano was really going, you know.
You’re back in the UK now, and you’re performing at this year’s Yam festival. How much are you looking forward to that?
I mean, I just want to show people what I do and help them have a good time. I want to bring something different to their ears, because that’s what I’m about. I want to make music for the world, I want to bring my studio here and showing people what I can do.
Just talking about taking your sound to the world, what’s on your collaborative wishlist?
The biggest goal is to put Travis Scott on ‘piano track. That would be crazy!
