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

Posted on by Great Opara

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Posted on by Tami Makinde

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

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

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

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

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

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

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

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

Speaking about the new single, the singer shared that:

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

Stream “Money Bag” below.

Featured image credits/Instagram

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Review: Sarkodie’s ‘No Pressure’

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

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

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

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

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

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

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

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

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

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

 

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

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

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

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

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

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

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

REVIEW: OLAMIDE’S ‘UY SCUTI’

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

Posted on by Adewojumi Aderemi

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

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

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

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

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

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

Check out this week’s full charts here.

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

Posted on by Joewackle J. Kusi

Our Latest Column, “What’s Going On”, Will Tally Notable News Headlines From Across The Continent — The Good, The Bad, And The Horrible — As A Way Of Ensuring That We All Become A More Sagacious African Generation. With This Column, We’re Hoping To Disseminate The Latest Happenings In Our Socio-Political Climate All Over The Continent, Whilst Starting A Conversation About What’s Important For Us To All Discuss. From Political Affairs To Socio-Economic Issues, ‘What’s Going On’, Will Discuss Just That.

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

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

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

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

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

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

 

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

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

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

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

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

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

 

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

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

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

Featured image credits/PremiumTimesNg

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

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

Posted on by Wonu Osikoya

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

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

Naira Marley – “Drug Test”

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

Zlatan – “Alubarika”

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

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

Gyakie – “Need Me”

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

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

Kizz Daniel – “Lie”

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

Benzo – “All Hail iKumanikazi”

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

Ria Sean – “Money Bag”

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

Zinoleesky – “Naira Marley”

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

Blxckie – “Joy” ft. Oxlade

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

[Featured image credits/Instagram]

ICYMI: Deto Black’s ‘Yung Everything’

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

Posted on by The Native

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

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

 

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

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

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

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

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

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

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

 

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

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

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

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

 

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

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

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

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

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

Stream ‘Kpos Lifestyle, Vol. 1’ below.

Featured image credits/DeedsArt

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

ICYMI: It’s Ayra Starr’s Moment Now

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

Posted on by Dennis Ade Peter

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

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

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

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

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

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

 

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

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

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

@dennisadepeter is a staff writer at the NATIVE.

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

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

Posted on by The Native

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

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

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

Best Song

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

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

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

Best Verse

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

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

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

Best Lyrics

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

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

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

Overall First Impression

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

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

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

Stream ’19 & Dangerous’ below.

[Featured image credits: Instagram]

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

ICYMI: It’s Ayra Starr’s Moment Now

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

Posted on by Dennis Ade Peter

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

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

 

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

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

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

Listen to ‘Mnyama’ here.

@dennisadepeter is a staff writer at the NATIVE.

BEST NEW MUSIC: ONA DEMA EVOKES PAIN AND DISGUST ON BREAK-UP SONG, “KRAZY”

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

Posted on by Damilola Animashaun

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

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

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

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

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

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

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

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

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

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

 

 

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

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

Posted on by Dennis Ade Peter

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

 

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

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

Watch the video for “Let Dem Know” here.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Stream ’19 & Dangerous’ below.

[Featured image credits: NATIVE]

Songs Of The Day: New Music From Teni, Ruger, Maison2500 & More

Posted on by Nwanneamaka Igwe

More than most people, the team at The NATIVE knows that the sheer scope of music available to us at this exact moment in human history is mind-numbing but our goal is still the same as always: we don’t want exciting music to be slept on. 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.

Last weekend, we brought you new music videos from Yaw Tog and Omah Lay, the lead single from Ayra Starr’s anticipated debut album, Dlala Thukzin’s potential Gqom smash hit, and more. For our mid-week curation, we’re bringing you new releases from Teni, Maison2500, Ruger, Joeboy, Mowalola and more. Tap in.

Maison2500 – “x2 Much Dope”

The blunt and edgy youthfulness of Maison2500’s songs has earmarked the young rapper as one of the most experimental sounds out of the continent. Earlier in the year, the rapper came out as non-binary, a watershed moment that would open the doors for more queer and non-binary Africans to take centre stage. “x2 Much Dope” is their second release in 2021, following March’s upbeat “Methamphetamine.” In typically stellar fashion, Maison’s prioritises exuberant lyricism and experimental cadences, sliding over a woozy punk-trap beat with unflappable poise.

Mowalola, Lancey Foux, Bby$lut & Mechatok – “WAWA”

A couple of months ago, Mowalola dropped her debut single “Truck,” a notice that her creative abilities and interests go beyond the bounds of fashion designing. She is back with her latest single, this time featuring British singer-songwriter Lancey Foux, producer Mechatok and Bby$lut, popularly known as Igbospice, on “WAWA.” Featuring her hazy yelps and Lancey’s raucous raps, the song revolves around their evident ability to “ride over the beat,” with both approaches matching the thump of the psychedelic Trap production. The single is accompanied by a visually hectic music video, packed with flashing lights and animated performances.

Jomiz – “WHY”

After making his initial mark on the music scene in 2020 with a handful of singles, Nigerian singer Jomiz is back with his first single of this year. Produced by BMH, “Why” is a confessional love song, in the same vein as his previous releases. He questions his love interest’s suspicious actions towards him, repeating “why” on the song’s chorus as a marker of the emotions behind his expressions.

Teni – “Dorime”

Self-acclaimed ‘Sugar Mummy’ of Lagos, Teni is back with a new single that taps into the “Dorime” craze, a hugely popular slang that initially originated from a 1996 single by E.R.A titled “Ameno.” She’d shared the song’s snippet on social media a few weeks back, clearly in-tune with local pop culture trends. The track embodies the artists usual melodious tone as she sings about how she’s the life of the party in the chorus, “when we enter dem go play dorime/when we enter dem go play ameno”

Tim Lyre – “Real”

Afro-fusion singer and songwriter Tim Lyre is known for exploring various topics of general human experience we can all relate to. We’ve also heard him feature countless times with artists such as Prettyboy D-O, Fasina, Chop Life Crew and Loti, creating music we know and love. On his new single “Real,” Tim Lyre is back again giving us lyrics in Yoruba, Pidgin and English with instrumentals heavy on the drums, assisted with the guitar. The four-minute track has Lyre reassuring a partner that their love is real and authentic despite the fact that he gets jealous all the time. 

Ruger & Midas the Jagaban – “Bounce (UK Remix)”

Off Ruger’s Debut EP Pandemic, “Bounce” has emerged as its widely loved, consistently charting behemoth and its popularity doesn’t look like it’s waning anytime soon amongst Nigerian, African, and audiences across the world. The reach of this track is evident in the recent release of a UK remix featuring Midas the Jagaban. “Bounce (Remix)” retains its OG captivating beat and lyrics by Ruger, aided by Midas the Jagaban joining in before and during the chorus with beautiful symphonies. 

Tomi Owo – “Through The Never”

Tomi Owo has been around for quite some time, her well-received debut EP Pieces dating back to 2018. For the most part, though, she’s only released music sparingly, consistently swinging for quality singles that prioritise her sophisticated sound and lived-in writing. Her latest drop is a cover of Metallica’s “Through the Never,” one of the multiple covers on the American band’s 30th-anniversary compilation of their fifth, self-titled album. Drawn in by the song’s exploratory theme, Tomi puts an endearing spin on her cover, singing the words with a soulful candour over a musical arrangement that shifts between Soft Rock and Hard Rock.

Joeboy – “Better Thing”

Earlier this year, Joeboy released his long-awaited debut album, Somewhere Between Beauty & Magic. The LP confirmed Joeboy’s place as one of Afropop’s most personable troubadours, mostly comprising songs dedicated to romantic love. In the months since the album has been warmly received, and the singer is still very much in the middle of his promotional efforts. He recently shared the music video for the celebratory track, “Better Thing,” where he’s palpably elated by his successes. The video is essentially a feel-good set, with Joeboy performing his set in a dimly lit location and shots of dancers working their bodies to the mid-tempo bop.

Kwesta – “Kubo” (feat. K.O, Focalistic & Bassie)

Earlier in the year, South African rap superstar Kwesta released g.o.d Guluva, his first album in five long years. It included the instant, groovy standout track “Kubo,” an infectious fusion of Kwaito, Amapiano and rap with apt features from Shkanda Rap pioneer K.O, Amapiano-meets-rap specialist Focalistic, and vocalist Bassie. In support of the song, Kwesta has just shared a music video that splits the difference between glossy and artsy, featuring all four artists performing at a swanky set to emphasise their boastful and joyous lyrics.

ICYMI: VICT0NY IS BACK AND BETTER WITH NEW SINGLE, ‘DARK TIMES’

Here’s What We Know About Abeg App, the Current Big Brother Headline Sponsor

Posted on by The Native

Late last month, Big Brother Naija returned to our screens once again. The ‘Shine Ya Eye’ Season 6 has already generated a lot of buzz, with its double entrance weekend, surprise wildcard twists and a spate of talented contestants from dancer Liquorose to Blacklist actor Boma, art curator Arinola and more. While a lot of attention has certainly centred around the excitement of a new season and the promise of new stars to stan and celebrate, there’s also an ensuing conversation about this season’s headline sponsor: Abeg App.

Every so often, in these parts, a brand breaks into the market and immediately stands out for its ability to connect with audiences without much push and pull. We witnessed it with the likes of fintech apps such as Piggy Vest, Buy Coins Africa, Paystack, Tix Africa and more, which have banked on their relatability with the country’s millennial market who are looking for ease of doing business and making online transactions.

Abeg App is the latest of the fintech companies to garner similar attention in Nigeria’s busy tech ecosystem. Founded by Muheez Akanni and Dare Adekoya in 2019, the social payment app provides a peer-to-peer platform where users can easily transfer money to other users, partake in giveaways and request funds from their contact list of friends.

How exactly does it work?

Abeg App provides an alternative to bank transfers in Nigeria, which are marred by several network issues and also eliminates the need for account numbers or any other account details. The only information required to sign up is the mobile number linked to the user’s preregistered Bank Verification Number (BVN). Its user-friendly interface taps into the young population in the country through its title: Abeg, a colloquial phrase used to beg or request for favours. In this same light, Abeg allows users to gift their friend’s money, conduct giveaways for their followers and earn badges and points for making other people happy through gifting money. The app has adopted emojis and sticker features to gain more traction from a younger audience.

However, Abeg is not the first wallet type of its kind in the Nigerian market. There is already existing competition in the country including some competitors in the African tech market: Paga App (15.8M users as of June 2020), Cowrywise (220,000 users as of January 2021), and Paystack (60k users as of October 2020). However, Abeg App now has now tapped into a market that none of these existing companies have done: Big Brother. The media value of sponsoring a show such as Big Brother Naija is undoubtedly high. According to reports from Brand Spur, category sponsorship on the reality show runs to about 750 million Naira per season with a fully-formed sponsorship package including 30-second ad slots, product integration, online activation, and other offerings. As such, many brands use sponsorship opportunities on Big Brother to get the word out about their products out.

Online retailer, Payporte was the headline sponsor in 2017 and 2018, while brands such as Bet9JA have previously sponsored in 2019 and Betway in the 2020 Lockdown season. Other recurrent sponsors include Minnie Mie Chin Chin, Nokia, Heritage Bank, Pepsi, Legend Extra Stout among others. As such, Abeg App stands a lot to gain by positioning itself as the headline sponsor on the 2021 season of Big Brother Naija, leading many to wonder about the brand’s products and its co-founders.

To that end, we spoke to co-founder and designer, Dare Adekoya about the app’s peer-to-peer features and its future in the fintech ecosystem following Big Brother. Our conversation, which follows below, has been lightly edited for clarity.

NATIVE: Hi Dare, could you tell us more Abeg app and its place in the Nigerian fintech ecosystem?

DARE: Abeg is a social payment app, it’s the easiest and fastest way to receive or send cash to anybody using their usernames (known on the app as their ‘abegtag’). Abeg was created to make spending stress-free and simple but very fun and exciting at the same time. The goal is for Abeg to become everyone’s go-to method of sending, receiving or paying for anything. It is meant to make customers’ lives easier when it comes down to these types of transactions. For example, no incessant waits for credit or debit alert between people or delay in purchasing items, or even in situations as petty as the stores’ POS being unresponsive. You won’t have any of those traditional banking issues in an ecosystem where Abeg is the preferred mode of payment.

NATIVE: What was the inspiration behind the brand name?

DARE: Abeg is a pidgin term that a lot of Africans can relate to. The name isn’t entirely original either. I’ve always wanted to use something like Cash App, PayPal, etc since I was younger because I could already imagine how easy our lives would be with such innovations. So on Dec 30, 2018, my friend sent a tweet by Asemota (shoutout to you Early Attoh) which read “I think one should build an app in Nigeria similar to $Cash and call it $Abeg. Bambiala culture is international.” I wanted to quickly flex my design skills and do something badass with Abeg. The plan was to post it hoping it could trend. So, I started working on the mini task, and immediately I fell in love with the logo and the rest is history.

 

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NATIVE: The focus of the app is on millennials and even the digital outlook is made to feel like a profile homepage with a distinct character. I know you’re the designer, what inspired the interface?

DARE: Our plan initially was to disrupt the fintech ecosystem, because new apps kept springing up left and right and they were all doing the same thing the same way and most of them didn’t look or feel great. So I had one job as the designer, to show how it should be done. Trust me if you’re not using Abeg you’re missing out.

NATIVE: Tell us about being the headline sponsor for Big Brother Naija? Why was this the right time to tap into this market?

DARE: Big Brother is the biggest show in Africa, and has a lot of brand equity. I think anyone would agree that it’s the best place to market your product, and in this case, Abeg happens to be something a lot of Africans need. Big brother is the perfect place to educate them, while they enjoy the drama from the show.

NATIVE: Abeg also consists of a small, close-knit team. How are you able to handle the demands that now come from such a prominent involvement in a reality show as huge as Big Brother?

DARE: Yes, we’re still a close-knit team product-wise, but our support team is growing fast, so we can resolve more issues faster. But that aside we’re a rockstar team.

Featured image credits/Courtesy of Dare Adekoya

ICYMI: Copa Femme Is On A Mission To Bridge The Gap In Nigeria

Best New Music: Ona Dema evokes pain and disgust on break-up song, “Krazy”

Posted on by Dennis Ade Peter

When you’re on the receiving end, betrayal can be very infuriating. In romantic relationships especially, a partner stepping out or continually taking egregious actions to seriously weaken the trust is justifiable grounds for lashing out. On her excellent new single, “Krazy,” Ona Dema sings about her experiences with betrayal from friends and lovers. It’s a song that embodies the moment when the dam finally breaks, and a relationship on its last legs crumbles beneath the weight of lies.

“Krazy” is Ona Dema’s first song in the twelve months since the announcement of her Sony Music West Africa signing, complete with a star-featuring major label debut single. In that time, she’s been working on her chops behind the scenes, and the developments are evident on her new single. Delving into the messier spectrum of romance, the leaps in her craft shine through as she sings with a haunting edge, aptly evoking pain and disgust in her vocal performance.

 

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“You’re calling me wife, the love of your life/you’re telling me lies,” she sings over Marvey’s skulking Afropop percussion and R&B-style piano and guitar chords. Wasting no time to set her plans in motion, the opening bears the hallmark of a serially mistreated lover with receipts, keen to reclaim their time. “Krazy” is not exactly brimming with specific, picturesque details, but the scenario Ona presents with her writing is rich enough to conjure the image of a partner who’d prefer to explain their way out of indiscretions—“and when I talk, you say you dey test me”—instead of being accountable and committing to being better.

This approach gives the song’s perspective even more urgency, an acknowledgment of the events that ultimately serves as further validation for the resolve to exit a toxic relationship. These sort of offending partners will often resort to gaslighting as the tool to keep the cycle going, which is where Ona’s disgust is at its most potent. When she makes her threat on the hook, there’s a slightly hysterical feel to the melody to suggest she can—and, if the new ex doesn’t aid a peaceful exit, will—key your car, mix up your white and coloured clothes in the washing machine, or go whatever diabolical length she deems fit.

Ona’s songwriting also has a relevant pop culture dimension, recalling a popular meme that goes “do you wanna see crazy?” from a sketch featuring popular hood comedian Black Kamaru. Whether “Krazy” takes inspiration from that quip or not isn’t exactly the focus, rather it’s just the sort of random but relevant insight resonant songs inspire. It might also be an indicator of Ona Dema’s readiness to take on a wider market, by making substance-filled music that relates to universal experiences, while being singularly compelling.

Listen to “Krazy” here.

ICYMI: READ OUR 1-LISTEN REVIEW OF LADY DONLI’S NEW EP, ‘W I L D’

TurnTable Top 50: Adekunle Gold earns his first top five single with “Sinner”

Posted on by Dennis Ade Peter

Two weeks ago, Omah Lay returned to the top of the TurnTable Top 50, his recent single “Understand” debuting at No. 1. This feat wasn’t the least bit shocking, the song continues both his flair for making emotionally resonant music that instantly captivates ears and his reputation for dominating this weekly charts.

Last week, Ladipoe and Buju’s post-lockdown banger “Feeling” denied Omah Lay’s latest from a consecutive run at the top, by earning its fifth non-consecutive week at pole position. In this week’s edition of the charts, both songs have swapped positions, “Understand” inevitably climbing back to the top with a 4% increase in radio reach (51.8 million impressions) and 1.6 million equivalent streams. Omah Lay might remain at the top for yet another, following the release of its cinematic music video last Thursday.

Olamide’s “Rock” continues to hold at the third spot, becoming only the second song to have spent its first eleven weeks on the chart within the top three—the first was, you probably guessed it, Omah Lay’s “Godly.” The biggest leap of the week in the top ten belongs Adekunle Gold’s “Sinner,” which moved five places into No. 4. The charming video for the Lucky Daye-assisted single was recently released, and it features playfully intimate frames of AG with singer and wife Simi, keeping the song’s momentum going with the warm reception.

Breakout artist AV continues his debut run in the top ten, with ultra-catchy “Big Thug Boys” moving one step up to No. 5, matching its peak position. Jonzing World’s latest star Ruger also continues his remarkable breakout summer, “Bounce” is at No. 6 on this week’s edition of the chart. MohBad’s “Feel Good” remains at its debut No. 7 position from last week, further proof that the Naira Marley-headed Marlian Music is a consistent hub for hit songs. Rounding out the top ten, Rema’s “Soundgasm” is moves three spots from its previous position to No. 8 this week, Patoranking’s “Celebrate” is at No. 9, and Fireboy DML’s new single “Peru” debuts on the chart at No. 10.

Just outside the top ten, Lojay and Sarz’s “MONALISA” rises to a new peak of No. 15 while 2Baba and Falz’s “Rise Up” debuts at No. 20. You can check out this week’s full edition of the charts here.

@dennisadepeter is a staff writer at the NATIVE.

ICYMI: VICT0NY IS BACK AND BETTER WITH NEW SINGLE, ‘DARK TIMES’

Essentials: NTS captures the vibrancy & experimentation of ‘Amapiano Now’

Posted on by Dennis Ade Peter

Over the past year, Amapiano has been in unstoppable motion, connecting with ears, feet and minds way beyond its initial origins, despite a global pandemic. This is nothing short of exceptional and speaks to the genre’s growing commercial viability. Originating in the Gauteng province in the early to mid-2010s, the Dance subgenre captured the hearts and feet of young South Africans across local townships in the ensuing years, eventually spilling into the mainstream in 2019.

Dancefloors shuttered early last year, but what could’ve been a negatively disruptive factor has become the awe-inspiring context for a sound that is now the toast of the entire African continent. Late last month, a UK-based online radio station and music exposé hub NTS released ‘Amapiano Now’, a compilation project dedicated to capturing the essence of the increasingly chic sound. It’s one of the latest events that play into the budding global attention Amapiano is now receiving, with particular attention to what’s made—and is making—the style of music captivating.

At the moment, many Nigerians are still coming to terms with the fact that Nigeria can’t own Amapiano, and non-African publications are covering it as an exotic, about-to-trend sound when it is actually a culturally significant phenomenon indelibly tied with the originating country’s history. All factors considered, though, NTS’ ‘Amapiano Now’ is applaudably assiduous, as it offers a finely executed crash course into South Africa’s township sound. Comprising well over two dozen contributors, the project is curated to give listeners a glare into Amapiano’s multiple sonic dimensions, stuffing as many stylistic quirks as possible into a sprawling run-time.

 

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Whether you’re already deeply enamoured or barely familiar—or even entirely clueless—with the sound, there’s a long list of thrills and surprises to justify the near two hours ‘Amapiano Now’ demands. Known for its mash-up of Kwaito’s wide basslines, diBacardi percussion, jazzy keys and airy pads, the foundational elements of Amapiano are recognisable and constantly dance-ready, but what’s made it riveting is the wild creative energy coursing through its arteries. That’s what NTS’ compilation champions, the myriad of ways Amapiano artists are taking those aforementioned elements and moulding them into inventive, yet familiar, output that keeps listeners grooving—and can keep them musically engaged on a more intellectual, soulful level.

At times, the project listens like a purist’s collection of the scene’s experimental essence, as it does on the glitchy and disruptive verve of Teno Afrika’s “Power Station.” At other points, the focus is on its irresistible suitability for the club, like the sleek thump of MachiinaSA’s “James Bond.” It’s very fitting, especially for a genre that consistently spawns really huge songs without a particular musical formula or audience preference for what becomes big. There can be skulking instrumentals like MDU aka TRP’s “16 Inch” or hulking organs like those on Vigro Deep’s “Untold Stories”; and if you want vocals, there can be sublime and soulful cuts like Scorpion Kings’ “Nana Thula” or riotous ones like Major League Djz and Abidoza’s “Le Plane E’Landile.”

Perhaps the clearest pop moment is its second pre-release single, “Possible,” an instant shoulder-twister that splits the difference between lush and groovy, with infectious vocal melodies to match. Helmed alongside Musa Keys, and with four other contributors, the song clearly builds on the previously established chemistry of DBN Gogo—one of the few female Amapiano DJ/producers—alongside Dinho. A significant portion of the project finds already familiar artists working together: “Sip Sip,” Alfa Kat and TidoSoul continue along the lines of the brassy style found in their recent joint project, Moya; Gaba Cannal, one of the very first producers to make Amapiano, combine with frequent collaborator E_Clips Mzansi on the anthemic lead single, “Shona Le.”

With the artists making the music how they usually would, it’s clear NTS simply focused on selecting songs and making them fit within their broader vision, which is quite refreshing because the case is often that most curators of urban Afropop compilations want to put together what’s hot. Freed from the mission of trying to curate a “bangers only” project, ‘Amapiano Now’ is successful in its roaming ethos. The transitions are rarely clean, from a strict album or loose DJ set-list standpoint, but that’s a minor gripe when the results are impressive from an explorative perspective.

In fact, there’s a pretty neat juxtaposition motif in the middle of the compilation that benefits from this freewheeling arrangement. On “Mswapheni,” MaWhoo chants in a trippy cadence over a clanging beat, meanwhile the immediate “Thula Thula” sees Kamo Mphela in typically vibrant mode, effortlessly exerting herself over rumbling log drums. They serve as fractional examples of the infinite amount of ways vocalists interact with Amapiano beats, much in the same way its producers employ instruments. Vigro Deep’s “Groove” and Unlimited Soul “Utlwa” both cradle the intersection between jazzy, techy and folksy, but next to each other the difference in approach is proclaimed, with seamless production that is incredibly layered and deeply profound.

It might seem trite to say Amapiano has unlimited range, but NTS’ latest compilation serves as reinforcement of the genre’s longevity and it’s fertile presence in the current sonic landscape. In today’s industry, there’s a lot to be said about genres and honouring the places where they emanate from, and NTS’ ‘Amapiano Now’ definitely pays homage to the past and present over 17 exciting new tracks.

Listen to ‘Amapiano Now’ here.

@dennisadepeter is a staff writer at the NATIVE.

ESSENTIALS: JEUNE LIO REPRESENTS ABIDJAN WITH DEBUT PROJECT, ‘A NIGHT IN COCODY’

Songs of the Day: New Music from Omah Lay, Ayra Starr, Yaw Tog & more

Posted on by The Native

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.

During the mid-week, we spotlighted new releases from 1da Banton and Vector, a gauzy collaboration from RagZ Orignale and Lady Donli, and much more. For our weekend curation, we have new music videos from Yaw Tog and Omah Lay, the lead single from Ayra Starr’s anticipated debut album, Dlala Thukzin’s potential Gqom smash hit, and more. Tap in.

Yaw Tog – “Fake Ex”

No single singer represents the unbridled potential of asakaa music like Yaw Tog. At 17, the singer is already regarded as a leader in the Ghanaian drill scene and his Time E.P. released earlier in the year showed definitive signs that the youngster might even surpass the strictures of genres to become an important musical voice in his country. The video for “Fake Ex,” off the Time E.P., arrives a week after he performed at the Ghana Party in the Park in London and it sees Tog flexing on a former flame who jilted him, built around the cliche troupe of a man coming into wealth after a relationship, it’s quite trivial but it shows a definitive softening of Tog’s drill sound as he heads into pop territory.

Ayra Starr – “Bloody Samaritan”

Not many saw Ayra Starr coming, but when she arrived, she did so in stunning fashion, showing an appreciation of alchemical fusion of sounds across generations to create new expressions within pop music. Her Ayra Starr E.P. put her on a pedestal and it is a position she is aware of on “Bloody Samaritan,” the lead single of her debut album, 19 & Dangerous, scheduled for release next month. “I see you watching my movement,” she knowingly sings on the fast-paced release. Elsewhere, she insists that enemies cannot drain her of energy, revealing a relentless that stands her in good stead for what should be a long career at the top.  

ZahZah – “Ground Zero”

In the last quarter of last year, Lagos-based musician, Zahzah, created a buzz with “Miss You,” his featherlight summer anthem that established him as a voice to watch out for. A little past the halfway mark of this year, ZahZah has returned with his self-titled debut project, a five-song project that features more of his melodic singing, inventive word-bending, and aptitude for fine songwriting. Across the project’s 12 minute runtime, Zahzah taps into a number of emotions, primarily love and desire, but on “Ground Zero,” atop a quivering instrumental, he sings about pushing on with life despite several obstacles in his way. 

Falz – “Mercy”

Over the last year, without pulling off gimmicks or excessive posturing, Falz has been one of Nigeria’s consistent performers, soundtracking the earlier months of lockdown with “Bop Daddy” and seeing out the year with his Niniola-featuring “Squander.” Those tracks have shown an ability to reach into other music styles and put a spin on them to accommodate his often humorous delivery. His latest song “Mercy” drifts between his comic tendencies and the party-starting streak that makes him one of the most formidable pop stars in Nigeria. His flow is not to be laughed at, he half-drags out words to detail his innermost lustful desires, while encouraging a lady to bring those desires to life.

Dlala Thukzin – “Phuze [Remix]” (feat. Zaba, Sir Trill, Mpura & Rascoe Kaos)

Amapiano’s ascendant has been quite the dictating factor in South Africa’s Dance music scene, dominating the mainstream and squeezing out related subgenres in much the same way Gqom did a few years back. That in no way means Gqom is creatively barren or struggling for attention, but it could use a few more widely anticipated potential hit songs like the newly released remix of Dlala Thukzin’s “Phuze.” Its OG version dropped back in late March to strong reception, but “Phuze (Remix)” is set to be a much bigger deal, partly due to the hype that’s been building since it was partially leaked a few weeks ago. Joining Zaba – the sole vocalist on the OG version – Sir Trill and Mpura, both renowned for their work on Amapiano tracks, add a magnetic energy to the song’s already combustible mix of thumping and dreamy.

Zamir – “A. Iverson” (feat. dndSection)

Even though it’s been nearly four years since he last dropped a tape, Zamir has remained active and present with a sporadic drop of new singles. Just over a week after releasing the woozy, Emo Trap cut “LUV HRTS” with Odunsi (the Engine), he’s back with the new dndSection-assisted “A. Iverson,” this time spinning boastful quips over rumbling bass. With its title referencing the famous Hall of Fame basketball player Allen Iverson, both rappers blow their images out with bold, self-aggrandising lyrics, oozing a larger than life confidence that makes the song every bit of a rap banger.

Ona Dema – “Krazy”

About a year ago, Nigerian singer Ona Dema signed a recording deal with Sony Music West Africa, debuting with the Dremo-assisted “No Time.” In the time since, she’s been in the throes of artist development, working on her craft and the results are evident on her emotive new single, “Krazy.” Over production that combines the mid-tempo bounce of Afropop and the sultry melodies of R&B chords, Ona fires off at an ex-lover, ruing the time they shared together and generally being mad at her partner’s empty promises. On the repetitive hook, she issues a threat that recalls a recent comic moment in pop culture, giving the already relatable theme an even more resonant edge.

Vader the Wildcard – “Seke” (feat. TiwaDara)

Vader the Wildcard is a man of many talents, with rapping and comedy being two of the more popular ones. On the former tip, he’s known for being a dead-eyed lyricist with a mean streak for incinerating beats, but in a meaningful bid to increase his wider appeal, he’s leaned into his comic side on several occasions. His new single, “Seke,” continues that vivacious approach, as he assumes the gait of a sugar daddy wooing a love interest he’s been after for a while. In storytelling fashion, he details their initial encounter and the lengths he’s gone to in search of her, name-dropping former Big Brother Naija contestant Nengi and pointing at affluence as a factor to tip the scales in his favour. TiwaDara sings the hook, his gentle rasp embodying the playful passion of the chase.

Omah Lay – “Understand”

During a lockdown-wracked 2020, Omah Lay emerged as a breakout superstar, with rhythmic hymns on love that resonated with many young Nigerians and Africans. The world is gradually opening up, but the singer’s flair for relatable, lived-in songs will continue to capture the hearts of listeners, as evidenced by the instant success of new single “Understand,” a caustic break-up song that immediately skyrocketed up local charts. In promotion efforts, he’s shared a cinematic music video, tracking down the timeline of the relationship he sings about, adding a potentially vengeful twist at the end that shows that the song doesn’t solely revolve around anguish.

ICYMI: READ OUR 1-LISTEN REVIEW OF SKEPTA’S NEW EP, ‘ALL IN’

1-listen Review: Lady Donli’s new EP. ‘W I L D’

Posted on by The Native

Following the release of her 2019 debut album ‘Enjoy Your Life’, Nigerian singer-songwriter Lady Donli found herself catapulted into a new level of success. Critically acclaimed and largely regarded by many as her magnum opus, ‘EYL’ was a glittering collection of sunny, retro-inspired African sounds accentuated by Donli’s rich array of melodies and stunning musicianship from her collaborators. It earmarked the singer as one with a tightly honed craft and a deft conceptual eye, placing her amongst the artists championing excellence amongst the new Afropop vanguard. 

However, when the world fell into lockdowns a year later, Donli found herself standing at a crossroad. Like many of us, 2020 was a whirlwind and the singer found herself holed up in Toronto for the greater part of the year. Somewhere between all the chaos, she found time to record her sophomore album and fashioned a new alter ego to suit the imminent release: Space Whore. While fans have eagerly waited to beckon in this post-EYL era from the rising star, it seems that Donli isn’t quite ready to open the floodgates quite yet.

The result is what we are witnessing today: the release of her third EP ‘W I L D’, his first in this format since 2017’s ‘Letters to Her’. The title of the new EP is aptly abbreviated to signify the question that occasionally popped up on our timelines this year: ‘Where is Lady Donli?’. She recently returned with the instantly compelling “Searching”, proving her time away has been focused on giving us the best music possible.

In usual 1-listen fashion, all reactions are in real-time while the music plays. No pauses, rewinds, fast forwards or skips. 

“WILD”

This number opens up with a slow, smooth piano-led introduction bolstered by a groovy, memorable beat. She says “Donli where have you been?”, a question I’ve had to ask myself since her social media hiatus this year. So far I’m loving the sound of this comeback. This reference to fighting demons in quarantine is really hitting close to home because 2020 was one hell of a ride for everyone. Donli is talking about being at this crossroad as I mentioned earlier. It’s clear she doesn’t know where to go next but she is willing to take her fans along for the ride. I really like this intro. It’s short and  leaves me super enthusiastic to hear the rest.

“Searching”

“Searching” is probably one of my favourite tracks on this EP. I’ve been listening to it on a loop since its release. It’s Afropop but with a bit more pizazz and that’s mostly thanks to GMK’s stellar production. At this point on the project, the pace seems to have picked up now but it’s still a bit slow. I love the faux adlibs, they carry the songs and its catchy melodies. The lyrics don’t disappoint either. As the title suggests, Donli is searching of searching: whether it’s herself or love or answers to life’s most difficult puzzles, it’s clear that she can’t quite grasp the results she would like. However, her words are very sincere. She lets the beat take centre stage at the end as her voice slowly fades out. This isn’t where you come to find answers, we’re here for a good time.

“Put It ON” (feat. Shae Universe & Sugabana)

This is a very sunny intro. The mood is certainly more exciting, and makes me want to dance. Sugabana is always fire so I’m really loving this patois-inflected intro. OK! Donli preaching consent with “Put it on you, only if you want me to”, as she should! I’m getting nostalgic from these lyrics as well as she begins chanting, “tell mummy for you” halfway through her verse. It’s not my beat but this is definitely Donli-esque (don’t ask haha). The rhythm of this beat is really catchy and, I imagine it being stuck in my head for days after. Shae Universe and Sugabana also complement Lady Donli beautifully on this track. I will definitely be revisiting this later.

“M.K.K”

Whenever I see abbreviations, my brain almost instinctively tries to work it out but alas! I wasn’t successful this time around. I could never have guessed Mysterious Kitty Kat but I’m really loving hearing Donli in a new light. This is a sex-positive number and Donli doesn’t hold back from laying out her sensual desires. Of course, classic Donli, that P Square reference isn’t out of place at all. I’m also pleasantly distracted by Donli speaking pidgin. Totally here for it. This sounds very fun! Perfect length as well, short and sweet.

“Dragon Fruit Freestyle”

I always love a good freestyle on a body of work. Okay, I’m living for this tempo, a perfect balance of upbeat at moments and segueing into a slow and steady pace as the song builds up. “Smoking in the hope of your love,” is exactly how I would describe myself when I catch feelings, would certainly not recommend it. While there are definitely great moments, this isn’t doing it for me but I’ll have to re-listen at a later time. The chorus is super catchy though.

“Set Tha Fire/Lova Gyal” (feat. RagZ Originale)

This is the final song on the project and I’m a bit bummed out that it’s over already. Are deluxe versions of EPs a thing because we should totally petition Donli to release one immediately! I will say to this point, each song on the project sounds very different which I absolutely love. Donli and Ragz Originale’s vocals blend so well on this as they delve into sensual matters. Back with the nostalgic lyrics with a smart reference to Asa’s in “Fire on The Mountain”. At this point, I’m ready to crown Donli the reference queen and would love to have a peek into her creative process. More patois from Donli as the song builds and oh I love a good conversational outro. “Abeg you guys should free me jor” is my mood for the rest of the year. Oh wait there’s more? This “Lova Gyal” outro is everythinggg. Wow, now, I’m left wanting more. 

Final Thoughts

Over 6 new tracks, Lady Donli ruminates on the answer to this question, prodding at the source of her scars, questioning herself and her intentions all the while finding time to fall in love and have fun with her friends. Sound familiar? That’s because it’s literally the Gez Z-Millennial story arch these days. Lady Donli has become the poster girl for saying things we don’t want to say outright. With soul-stirring vocals and a mastery of different genres including R&B, Pop and Reggae, the chameleonic singer takes listeners on an immersive listening experience. It’s clear that she’s tipped the scale on her creative output once again. Come here for the answers and stay for the comfort in the lack thereof.

Listen to W I L D here.

ICYMI: MEET SHASIMONE, THE BRITISH-GHANAIAN RAPPER ON DAVE’S “BOTH SIDES OF A SMILE”

Written by Tami Makinde and Nwanneamaka Igwe. 

Vict0ny is back and better with new single, ‘Dark Times’

Posted on by Nwanneamaka Igwe

Vict0ny is fascinating. Since he broke out last year, he’s given us the pleasure of experiencing his multi-faceted skills and just how well he can explore various genres and themes outside what’s considered mainstream afropop. Only a few months ago, however,  the singer faced a tumultuous time following an accident that has left him in a wheelchair. The singer got an outpouring of love all across social media, as we all prayed for his speedy recovery, which he shows gratitude for with the cover art for his latest release, “Dark Times”.

 

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On the 2-pack release’s cover art, we see an animated Vict0ny in a wheelchair, reading an abundance of messages from Twitter fans saying praying for Vict0ny. Now, he’s back, and he’s even better with a new double release titled, “Dark Times”, which express how he’s been feeling since we last heard from him.

The tracks titled “Pray” and “Unfamiliar Realms” take the emotional and melodic route, and still manage to showcase Vict0ny’s dexterous ability. “Pray” starts with a memorable hook layered over a catchy beat, which juxtaposes the pensive lyrics where Victony shares how his mother’s prayers saved his life and protected him from the hands of the wicked.

In the outro, we hear his mother encouraging him to be strong and family and friends sending love and reminding him that he is always in their prayers. On this track, Vict0ny takes us on a journey through his recovery, showing that there’s always victory on the other side.The second track, “Unfamiliar Realms” embodies a more mellow sound, fitting for the message where Vict0ny assisted by Tredax cry for help as they are unsure of themselves. “Dark Times” feels like just what we needed from Vict0ny to ease us in to his next phase.

Listen to Dark Times here.