Osita Iheme’s memes are now available as NFTs

Posted on by Wonu Osikoya

This year, we’ve heard more and more about NFTs than anything else. Over the last few months, these hot-button tokens have presented new channels for digital creators to monetise and immortalise their work.

Non Fungible Tokens have set the entertainment industry abuzz, bringing in a total of $2.1 billion in the first quarter of this year. Their value is in their exclusivity and scarcity, meaning the lower the number of an NFT available, the higher its value.

Osita Iheme, popularly known as PawPaw, has taken the Internet by storm over the past few years. There has been a gradual resurgence of his hilarious facial expressions as memes throughout the Internet. A meme of Osita Iheme is able to express regret, confusion, joy and so, they are increasingly versatile. Consequently, the actor is now stepping into a new realm, by minting these memes as Non-Fungible Tokens.

After laying a solid career foundation by impacting the cultural zeitgeist for many years, he’s now cashing in on his talents and inching Nigeria and Africa into a profitable revenue stream. The mobility of NFTs has no limit and stands as a benefit in these parts. It sidesteps the existing issues that make it difficult for young Nigerians to exist. It can be sold and traded by people all over the world, and its sales are recorded on the blockchain.

Speaking to The NATIVE about this recent drop, Osita Iheme said:

“It’s wonderful to know that your work is still there and it shows that for life its going to be there, so I’m delighted to see that my work is out there giving people joy and people using it to express their mind and relax”

Over the past few years, Osita Iheme has channelled his many talents with the aim to share with others who will need a platform as he did. Moreover, with a hotel, football club, and record label, he has his fingers in many pies, and it’s clearly time to eat. Shop his entire collection here:

Featured image credits/NATIVE

TurnTable and Boomplay announce landmark partnership

Posted on by Dennis Ade Peter

In the year since being founded, TurnTable has made active moves in its goal to contextualise the state of music consumption in Nigeria. Currently, the platform publishes the TurnTable Top 50, the weekly chart that aggregates the most popular songs in the country across freemium streaming, radio airplay, and TV airplay.

These data points largely cover the most popular means of access to music amongst Nigerians, but the publication is looking towards adding numbers from paid streaming platforms to tell the fuller story of local music listening.

To this end, TurnTable has just announced a partnership with Boomplay, a streaming platofrm in Nigeria. It’s the first direct partnership between a streamer and music chart publication in Africa. Boomplay will distribute data on the most streamed songs in Nigeria to the publication.

With a heavy emphasis on its African presence, and regional offices across Western and Eastern Africa, Boomplay has become a prominent music streamer on the developing continent, with over 59 million monthly active users as of May 2021. The collaboration with TurnTable will advance the noble aim of giving Nigerians insight into the top songs and artists across the country.

In the press statement, Tosin Sorinola, Director of Artist and Media Relations at Boomplay stated:

“With this new partnership, we are bringing Boomplay’s leadership in digital music across Africa together with TurnTable’s definitive music chart to give creators, artists and fans access to even more credible statistics they can rely on.”

Ayomide Oriowo, co-Editor-in-Chief of TurnTable charts agreed, noting that this is the publication’s first direct agreement with a streamer operating in Nigeria, a collaboration that will only bolster how music listening is represented by the numbers. The partnership will also provide better platform-specific analytics and reports, with listeners seeing how their listening habits affect the music terrain in real-time.

“Finally, with Boomplay as the largest music streaming service in Nigeria,” Ayomide says, “this is the first step to creating genre charts that puts the spotlight on other genres of music beyond popular music in Nigeria, as well as an albums chart that gives the performance of albums across all platforms.” TurnTable’s latest partnership is important, one step forward to helping Nigeria’s music ecosystem better understand itself as it evolves.

@dennisadepeter is a staff writer at the NATIVE.

ICYMI: Everything you need to know about the Recording Certification of Nigeria

What’s Going On: Civil unrest in South Africa & the pro-democracy protests in eSwatini

Posted on by Dennis Ade Peter

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. 

Jacob Zuma’s imprisonment leads to civil unrest

On June 29, Jacob Zuma became the first South African president, post-Apartheid, to receive a prison sentence. The country’s constitutional court handed Zuma a 15-month sentence for contempt of court, after repeatedly flouting orders to appear and testify before the Commission of Inquiry into Allegations of State Capture—popularly referred to as the Zondo Commission. Headed by Deputy Chief Justice Raymond Zondo, the commission was set up in January 2018 by the former president, on recommendations from the Public Protector’s Advocate Thuli Madonsela, to investigate allegations of gross corruption and fraud.

Ironically, Zuma has found himself and his 9-year presidential term as the focal point of the commission’s investigations. A month after the commission was launched, he resigned following years of corruption allegations, especially due to suspicious ties with the affluent Gupta family. Even though he initially claimed to be interested in a single 5-year term, he stood for re-election and despite loud grumblings of misappropriation of state funds and mishandling of state structures, with financial reports estimating that Jacob Zuma’s presidency cost South Africa around one trillion rand. After being recalled by his political party (ANC) and facing a motion of no confidence from the Parliament, Zuma resigned.

In the time since exiting office, the state has brought up dozens of charges for corruption, fraud, money laundering, and more, dating back all the way to similar charges that led to him being ousted as Vice President in 2005. In addition to multiple court dates to answer for these charges, he’s been summoned to testify before the Zondo Commission, where he started his testimony on July 15, 2019. In this testimony, he claimed innocence and accused the commission of being a ploy to push him out of office and tarnish his name. After refusing to voluntarily re-appear in front of the commission, Zuma’s testimony was court-ordered and his constant refusal to submit to the ruling led to his prison sentence.

On July 7, Zuma turned himself in to the police, three days after the court’s deadline to do so. At his rural homestead in Nkandla, hundreds of his supporters gathered and were armed to prevent his arrest, showing how much goodwill he still garnered amongst many South Africans. A freedom fighter during the anti-Apartheid movement, Zuma was sentenced to ten years in prison, serving his term on the infamous Robben Island alongside Nelson Mandela and several ANC leaders. This, alongside his rise from humble beginnings, has continuously endeared him to many who deem these charges and court trials as needless persecution fostered by current president Cyril Ramphosa and former allies turned foes.

Jacob Zuma’s arrest immediately led to protests in his home province of KwaZulu-Natal and parts of the country’s capital, Johannesburg. In KZN especially, the protests morphed into violent civil unrest, leading to vandalism, looting, arson, and the death of at least 45 persons. The chaos has affected shops and shopping centres, with many videos involving vandalism being shared on social media. To combat the unrest, the South African government sent in military forces to KZN earlier this week and there are videos of the police shooting at protesters and rioters with rubber bullets.

President Ramphosa has appealed to South Africans to stop the chaos, as it’s already spreading to the parts of Jo’burg, stating that “the path of violence, of looting and anarchy leads only to more violence and devastation. The next few days and months are crucial to bringing calm to KZN and all of South Africa, with the tussle being between Jacob Zuma’s popularity and the country’s ability to enforce the rule of law. It’s also indicative of a country with a rupture that needs wholesome healing.

Pro-Democracy protests in eSwatini met by state-sanctioned violence

King Mswati III of eSwatini is the last of an extinct class, he’s the only absolute monarch in Africa. In practice, though, he’s at home on a continent of dictators and autocratic rulers. Since succeeding his father in 1986, Mswati III has continued to uphold a system that keeps it foot firmly on the necks of its citizen. The landlocked kingdom of eSwatini, formerly known as Swaziland, is subject to the decision and whims of the king, giving him ultimate political power to appoint prime minister and cabinet members, helping him, his family and those in inner circles to benefit lavishly at the expense of the larger impoverished population.

For decades, the people of eSwatini have been agitating for a right to determine their leaders, but these calls to dilute the power of the monarchy have been done under repressive laws, including the banning of political parties since 1973. In late June, the latest bout of pro-Democracy protests took place, spurred by the death of law student Thabani Nkomonye allegedly at the hands of police. As is routine of oppressive regimes, brutality by state security agencies have been reportedly prevalent under King Mswati III, keeping citizens in a constant fear of state-sanctioned violence.

In addition to that fatal incident, the government announced a stop to the delivery of petitions calling for democratic reforms shortly after. Unsurprisingly, the government has issued contradictory replies for why it stopped the petition process. This catalysed people to take to the streets in protests, and flout the government orders to stop submitting petitions. Almost immediately, the regime implemented draconian measures, with security forces taking to the streets to use forceful and fatal measures to quell the protests. Several protesters, and even bystanders, were shot at, some gravely injured and others dead. Many other protesters were physically assaulted, including two journalists with South Africa-based publication, New Frame.

The government generally barred foreign journalists from entering the country’s borders, and an internet shutdown was instituted to restrict information. During the protests, it was reported that Mswati had fled to Johannesburg to wait out the protests, to which the eSwatini government denied, same way it’s continued denying that security agents are responsible for mass brutality towards unarmed protesters. Currently, the country is in an uneasy calm, a tense stalemate between the king’s men and the citizenry brought about by the excessive, lethal use of force by the former.

The (re-)arrest and intimidation of secessionist leaders in Nigeria

On June 29, Nigeria’s Attorney General Abubakar Malami announced the re-arrest of Nnamdi Kanu, the leader of the Indigenous People of Biafra (IPOB). After being initially arrested, jailed and granted bail, Kanu fled Nigeria in September 2017 after soldiers invaded his home during a military operation. His location since has been unknown, which made his re-arrest a shock to many Nigerians. Malami stated that the arrest came about from “recent steps taken by the federal government [that] saw to the interception of the fugitive Kanu on Sunday, June 27, 2021.”

Following his re-arrest, Nnamdi Kanu’s trial on an eleven-count charge, including treason, illegal possession of firearms and terrorism, will resume at a federal high court in Abuja on July 27. Currently, there are questions on whether Kanu’s trial will be free and fair, especially with the murky details surrounding his re-arrest. The Nigerian government is still mum on how they managed to bring Kanu into custody, with reports alleging that he was abducted in Kenya with help from the East African government—the Kenyan government denies any involvement. According The Guardian, there’s evidence that Kanu entered Kenya earlier this year with his British passport on a visa expiring in June, and Sahara Reporters claim the passport is still in Kenya which would be damning evidence on both governments allegedly involved.

According to Kanu’s lawyer, Barrister Ifeanyi Ejiofor, he was tortured for up to eight days by the Kenyan government at a clandestine location after being abducted, before being handed over to the Nigerian government. If true, the circumstances of Kanu’s re-arrest are gross violations under international law. Considering the President Buhari’s track record with due process and the rule of law, these allegations don’t seem far-fetched. On a few occasions, including during Kanu’s first arrest, his administration has disregarded court-ordered releases and bail grants.

Even going all the way back to his regime as a military dictator, he oversaw the attempted abduction of Umaru Dikko, the Transport minister in the Shagari administration that overthrew via a coup on the last day of 1983. Dikko fled the country shortly after General Buhari took power and found asylum in the UK, however, the dictator was adamant on bringing him back into the country to face corruption charges. The kidnap attempt was botched, and it soured diplomatic relations with the British government for a few years. Nnamdi Kanu is a British citizen, and the alleged circumstances of his arrest might be another Buhari déjà vu moment.

Days after Kanu’s re-arrest, Nigerian’s again woke up to news of the government going after another secessionist leader, this time it was Sunday Igboho. An advocate for the self-determination of the Yoruba people, mainly concentrated in the country’s south-west region, Igboho has emerged as a prominent figure in parochial politics, especially with regards to his role in commandeering Amotekun, the para-military outfit created in the region to stem attacks from armed herdsmen. In the early hours of July 1st, armed men of the State Security Service (SSS) raided Igboho’s Ibadan residence, destroying valuable assets, allegedly killed two and took their bodies aways.

After initial denial, the SSS declared Sunday Igboho wanted—even though he was in the house during the raid. In a statement by the president, he commended the SSS for the raid, claiming Igboho had “been conducting acts of terror and disturbing the peace under the guise of protecting fellow ‘kinsmen’.” The raid was roundly condemned, especially for its timing, with human rights activist Femi Falana noting that no Nigerian law allows for an arrest in the dead of night, unless a crime is being committed. At the moment, Igboho’s whereabouts are unknown, but we can be sure Buhari and his administration will continue their attempts to clamp down on him—rather than direct some of that energy towards raging national insecurity—through legal and alleged illegal means.

[Featured Image Credits: Reuters]

@dennisadepeter is a staff writer at the NATIVE.

WHAT IS GOING ON: A ROUND UP OF PRIDE MONTH IN AFRICA

Songs Of The Summer: Ladipoe, Buju & More Lead The Charge This Week

Posted on by Tami Makinde

The summer days are rolling in. With two weeks into July, the competition is fiercer than ever before. Last week’s highlights saw Wizkid and Tems’ “Essence” blazing across two charts, Olamide leading the pack, and Omah Lay winning over hearts and ears.

The third-week results are in and Ladipoe, Buju, Master KG, Burna Boy and more are topping the charts. This week, we’re doing things a little different bringing you only the highlights from all three charts. Dig in.

 

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Songs of the Summer Nigeria Chart

Ladipoe and Buju are dominating

This week, the TurnTable Top 50 and the Songs of the Summer Nigeria chart are both declaring Ladipoe and Buju’s “Feeling” as the No.1 song in the country. This is a monumental feat that is bolstered by the fact that Ladipoe is a rapper topping mainstream charts.

Lojay and Sarz is a divine pairing

Following the release of their joint EP ‘LV N ATTN’, Lojay and Sarz join the rankings of formidable artist-producer pairings. This week, they’re in the charts once again with “Tonongo” which has moved up one spot this week from No.15 last week to No.14. The song generated 76300 total streams and 20320305 impressions in airplay.

AV makes his debut on the charts

After making his entry on the TurnTable Top 50 this month, rising Nigerian singer AV has now made his official debut on the Songs of the Summer Nigeria chart. This week, he debuts at No.15 after the song garnered 1108666 total streams.

African Songs of the Summer Chart

Master KG is undefeated

It’s been over a year since South African DJ and producer, Master KG released his smash hit “Jerusalema” featuring Nomcebo Zikode. Yet, the song is still making strides across the continent. This week, continuing from his earlier winning streak, Master KG’s “Jerusalema” is in the top spot on the African Songs of the Summer chart. It drew over 10 million streams and over 340 million radio airplay impressions worldwide during the tracking week.

MasterKG also has the No. 2 songs in the chart as he links up with world-famous DJ, David Guetta and singer, Akon for his new release titled “Shine Your Light”. The single is also currently enjoying wide success globally.

Burna Boy is in first place

This week, the Grammy award-winning artist has four entries on the chart. “Kilometre” remains at its No.4 spot from last week with 2,7659,249 total airplay impressions and a total cumulative of 421,522 streams. Elsewhere on the charts, his other releases such as “On The Low” rises from No.8 to No.7 this week and “Ye” from No.10 to No.8. It’s a great week for Burna Boy.

Global Nigerian Songs of the Summer Chart

Essence is on a winning streak

Over the past month, “Essence” has been on a winning streak. All across social media timelines, the magic that Wizkid and Tems created is picking up steam despite being released last year. This week, it’s attained new heights by making its debut entry on the Billboard Top 100 charts at No.82. Similarly, it remains a mainstay on the charts this week retaining its No.1 spot.

Gyakie is still making waves

Fresh Meat alum, Gyakie has taken off in a big way this year. Since releasing her debut EP ‘Seed’ earlier last year, her single “Forever” instantly became a fan favourite. This year, she followed it up with the song’s official remix featuring Omah Lay which has been a mainstay on the TurnTable Top 50. This week, on the charts, the song moves up one spot from No.15 to No.14.

Mavin lead the pack

Since the beginning of the summer, Mavin artists have dominated the charts. This week, Ruger and Rema are mainstays on the chart packing 4 entries in total between them. Rema’s “Soundgasm”, the first promotional single from his forthcoming debut album is in the Top 3 this week after moving up one spot from last week. Elsewhere on the chart, Ruger’s “Bounce” makes its way from No.15 to No.14 this week.

You can see a full breakdown of the charts here.

Featured image credits/NATIVE

ICYMI: In celebration of Sound Sultan, Nigerian pop music’s everyman

In celebration of Sound Sultan, Nigerian pop music’s everyman

Posted on by Dennis Ade Peter

On Sunday morning, the family of Olanrewaju Fasasi—popularly known as Sound Sultan—announced the passing of the Nigerian singer and songwriter, due to complications from throat cancer. Without an iota of hyperbole, Sound Sultan died an Afropop legend. Breaking out in the early 2000s, after years of toiling in the underground, he was prolific and prominent for well over a decade, turning out a sizable line-up of hit singles, classic songs, and an album catalogue that is generally stellar.

In terms of longevity, consistency in quality and impact on modern Nigerian pop music, with respect to his breakout period, Sound Sultan belongs in a unicorn class. Where many of his popular colleagues from the time faded out creatively within a few years, the singer wasn’t just reliable, he was inventive for the majority of his career. Perhaps inarguably, he belongs in the same bracket as 2Baba—fka 2Face Idibia—the current epitome of staying relevant and aging gracefully in Nigerian pop music. Unlike 2Baba, though, Sultan wasn’t always met with the same amount of loud and omnipresent reverence, which is somewhat understandable all things considered. This meant, however, that he didn’t get to receive his flowers the way he ought to have, before passing.

I hate that it sometimes takes death to put the importance of people in perspective. The most recent post on Sound Sultan’s Instagram page is a clip from the music video for Patoranking’s latest single, “Celebrate Me.” While he was simply showing support for a colleague’s release, his passing added a haunting undertone to the post, with relation to the message of Patoranking’s song: “Appreciate me now wey I dey alive.” By industry chatter, though, and even in the way he generally conducted himself, Sound Sultan was never one to be embittered by not being constantly fawned over for his long-term excellence.

In January 2019, I was in the presence of Sound Sultan—I’m using the word presence because we barely exchanged sentences. It was backstage at a live show where he was a special guest. Instead of being swarmed by the dozens of people who witnessed his arrival, there was a quiet awe that acknowledged his presence, and he didn’t take long to cut the relative silence by declaring, “Hey, everyone, my name is Sultan.” Immediately, people began walking up to him for selfies, to which he happily obliged. Embarrassed to take out my terrible android phone at the time, amongst the sea of better phones with better cameras, I simply walked up and told him I was a fan, to which he responded with warm and playful appreciation.

That wasn’t the last time I met Sound Sultan—we exchanged a few sentences nearly a year later—but it frames how I’ve decided to handle his passing, away from the initial shock, away from the idea that we should have revered him much more, and focusing on celebrating his excellence even if it’s still deeply saddening. For me, Sound Sultan is a hero. Like many, the starting point was “Mathematics,” the ubiquitous single that made him popular. The song is a humorous and incisive piece of socio-political commentary that, like all similarly-minded songs, is resonant and remains relevant to Nigeria’s socio-political conditions. In my adolescent mind, it was a catchy tune with a playful video featuring kids younger than me.

In his prolonged prime, Sound Sultan was, amongst many things, a social observer and a compulsive truth-teller. Some of the most popular songs in his discography are honest renderings of the Nigerian experience, and while approaches varied by song they were always potent. “Motherland,” the Folk-Pop hit released upon signing to Kennis Music, is simultaneously an admonishment to Nigerian emigrants to keep home in their hearts and a prayer that Nigeria stops actively feeding the emigration dreams with its terrible conditions. A few years later, he’d team up with 2Face and W4 for “Ole (Bushmeat),” a satirical take on the ever-pervasive corruption amongst Nigeria’s political class.

Around the time “Ole” was released, I was in my teens and my music taste was at its most impressionable. Luckily, it coincided with what I still regard as Sound Sultan’s apex period as an artist. Upon completion of his contractual obligations with Kennis Music, Sultan began releasing music under Naija Ninjas, the indie label he co-founded with his elder brother and rapper Baba Dee. The first two albums on this arrangement were 2008’s SS4 and 2010’s Back to the Future, both the strongest pillars within the structure of his musical legacy.

On most days, I consider Back to the Future to be Sultan’s opus, a front-to-back representation of the attributes that made the singer a special and singular talent. Traversing varying musical choices, the album found Sultan in the greatest control of his voice, a uniquely ringing tool which he used like a Swiss Army knife. On the retro-Soul intro, “Omo,” he coos alongside then R&B star Lami; for “Hello Baale,” his masterful storytelling is heightened by an aptly dramatic vocal cadence; and he trades raps with eLDee on the boisterous “Born on a Saturday.” It also had its fair share of culturally impactful hits, including “Orobo,” a celebration of plus-sized women that significantly predates Davido’s “Risky,” the M.I Abaga-assisted “2010” which decried Nigeria’s epileptic power supply, and “Very Good Bad Guy” with Banky W, one of the most popular quips in the time where Blackberry Messenger statuses were the in-thing.

I lived with Sound Sultan’s fifth studio LP during a time where my biggest concern was getting into Uni. For a while, I struggled to fully articulate my reverence for the album beyond my positive impressions of the singer’s craft. Years later—not too long before I first met the man, in fact—I realised my gravitation to Back to the Future and Sound Sultan in those years is because he was Nigerian pop music’s everyman. Sound Sultan’s music revelled in the quotidian reality of Nigeria, taking palpable inspiration from his life and the lives of those in his surroundings. His music was always grounded in a way that reflected proximity to Nigerian life and Nigerian lives. Think about it, he was a huge star with a steady stream of hit singles without a larger-than-life persona.

Sound Sultan used his artistic specialness in service of making music that deeply resonated with its intended primary listeners: Nigerians making their way and finding little joys in an unideal system. He personified the musical omnivorousness well before genre-mashing was a sonic description, he prioritised lived-in writing, and his song-craft hinged on accessibility. In the last decade, he wasn’t as prolific as usual, especially after 2012’s Me, Myself & Eye. On his last two albums, 2016’s Out of the Box and last year’s 8th Wondah, Sound Sultan wasn’t operating at the peak of his powers but they presented an artist whose passion for making music for “ordinary” Nigerians was intact. Even as his output slowed and his mainstream presence waned, Sound Sultan remained committed to the music.

Passing away at the young age of 44 is entirely heart-breaking, but as it stands, Sound Sultan’s legacy as one of the finest and most endearing artists in Afropop history is indisputable. Rest in peace, Lanre Fasasi. May your legend be greater in death than it was during your wonderful artistic life.

 

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@dennisadepeter is a staff writer at the NATIVE.

ICYMI: Remembering Tony Allen, a bonafide African music hero

‘Day of Destiny’, ‘2 Weeks in Lagos’ & More On Netflix This July

Posted on by Wonu Osikoya

In an ever-changing world, people are constantly looking for engaging entertainment. Thus, streaming platforms have to compete for user satisfaction. Netflix, one of the largest streaming platforms continues to meet this demand by pivoting into new territories.

Its recent expansion into pan-African-focused content only enlarges its global reach. All year, titles such as ‘Sugar Rush’, ‘Citation’ and ‘Oloture’ have become fan favourites in these parts. This month, Netflix Naija is acquiring more Nigerian titles including ‘Rattlesnake’, Akay Mason and Abosi Ogba’s ‘Day of Destiny’, and more.

 

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As we’re already halfway into the month, some of these titles are already showing. However, we’ve got you covered on a complete list of movies and series to expect this July alongside their expected arrival dates. Enjoy.

Rattlesnake – The Ahana Story

02/07/21

After Ahanna Okolo’s life as he knows it ends, he decided to steal the life he always wanted. He has one rule – No bloodshed. He sets up a team to pull off an incredible heist but his crimes make too many enemies.

Last Request

07/07/21

Danny must marry a wife and have a child after being diagnosed with a terminal illness in order to appease his father. This request has his family spiraling out of control.

Day of Destiny (D.O.D)

13/07/21

D.O.D is the thrilling adventure of two teenage boys, Chidi and Rotimi, who seize an opportunity to travel back in time and change their peniless parents’ past, directed by Akay Mason and Abosi Ogba.

2 Weeks In Lagos

16/07/21

2 weeks in Lagos is an exciting journey into the lives of Ejikeme and Lola. Their lives cross paths when Ejikeme, an investment banker returns to Lagos from the US with Charlie, who is also Lola’s brother. They fall in love and get married despite his family’s plans for him to marry a politician’s daughter.

Santitation Day

21/07/21

When a man is brutally murdered, 4 suspects emerge. Two cops contend with the uncooperative tenants of an apartment to try and solve this case. However, the police have till 10 AM to deal with the case before the crime scene is wiped clean.

 

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ICYMI: The importance of women sharing their experiences through music

We spoke to some Wizkid fans about Superstar

Posted on by The Native

Wizkid’s star power is undeniable, and each career arc in his decade at the top has been more refined and potent than the last.  His most recent effort, ‘Made in Lagos’, which was released in a year of great personal and political change for many Nigerians, is a full-circle moment of sorts. Today, it’s still topping charts today despite being released 9 months ago.

Wizkid has spent years priming himself for this global moment, ever since he was dominating the streets of Lagos as Lil Prinz all through to 2011 when he signed with Banky W under Empire Mates Entertainment (EME). This culminated in the release of his debut album ‘Superstar’, the place where it all began.

At the turn of the decade, Nigerian music was undergoing a silent revolution with the likes of P-Square, 2Face, Mo’Hits, and more, pushing the sound globally while conquering ground at home and within Africa. At the time, while their music was quickly gaining steam in the clubs and weddings that characterised much of our social lives as Nigerians, a new star was emerging–one who would accurately represent and champion the new generation of young listeners clamouring for representation.

It’s hard to explain the importance of Wizkid’s ‘Superstar’ to anyone who didn’t grow up in 2010’s Nigeria. At the start of the decade, Wizkid released “Holla At Your Boy”, the charming earworm track that served as his official introduction as a solo artist. In the music video, Wizkid showed off his boyish charms and effortless swag in plaid t-shirts, snapbacks and skinny jeans, all staple sartorial choices at the time. Wizkid fast became a cult figure, inspiring similar fashion styles, gimmicks and sounds in many young people who were quick to crown him as the poster boy for the Nigerian Gen Z at the time.

At the time, piracy was rife within the country and it wouldn’t have been uncommon to see a cracked mp3 audio file with the title “Wizkid_dont_dull_NotJustOK.mp3” on many of our phones. CDs were also the main source of distribution and music consumption at the time, with Alaba market and its many iterations becoming the hotspot for staying on the pulse with all the best tunes of the time.

Revisiting the album after 10 years, it’s clear that it immortalised a time in Afropop’s history. Even this much longer after release, there still seem to be no skips, and the songs always there to lift the mood and spur everyone’s best dance moves. ‘Superstar’ is forever young and to look back on it now is to realise how fast it has all changed for Wizkid and for Afropop.

To this end, The NATIVE spoke with some die-hard Wizkid FC members about the album turning 10 years and what feels like the most defining moment of Starboy’s career. Here’s how they feel.

Oge (32)

Top 3: “Holla At Your Boy”, “Don’t Dull”, “Tease Me”

What was your first impression of ‘Superstar’ and where did you first hear the album?

For me, I’ll say my first impression was that it was a great album with fresh sounds, fresh looks and a modern taste. I was in my final year when that came out at the time.

Looking back at 10 years of ‘Superstar’, how would you measure Wizkid’s career impact over time?

Wizkid is ever-evolving. He has made a huge impact on Afrobeats globally and will forever be remembered for it.

Chubby (27)

Top 3: “Pakurumo”, “For Me”, “Don’t Dull”/“Holla At Your Boy”

What was your first impression of ‘Superstar’ and where did you first hear the album?

I bought the album oh! That year. I had the hard copy even back when I was in uni. On my way to school, I would listen to the album on my computer.

Looking back at 10 years of ‘Superstar’, how would you measure Wizkid’s career impact over time?  

‘Superstar’ is a complete album. The replay value is 100%. It doesn’t sound old and has aged very well over the years. The versatility of Wizkid on that album sort of shaped his sound now.

Ebube (30)

Top 3: “Pakurumo”, “For Me”, “Don’t Dull”

What was your first impression of ‘Superstar’ and where did you first hear the album?

I had a great album experience listening to Superstar at the time and I was amazed at how a very young boy came out of nowhere to clearly define the trajectory of the Afropop genre. I think I was in school at the time.

Looking back at 10 years of ‘Superstar’, how would you measure Wizkid’s career impact over time?

I can categorically say that album paved the way for a lot of young artists in the industry. It helped a lot of other artists build confidence in their storytelling, and also in infusing their life experiences into songs.

Damilola (32)

Top 3: “For Me”, “Scatter the Floor”, “Love My Baby”

What was your first impression of ‘Superstar’ and where did you first hear the album?  

I was in London, depressed because I failed one of my modules and had to resit the exam that summer (this meant I couldn’t graduate with my friends). This album got me through that dark time.

Looking back at 10 years of ‘Superstar’, how would you measure Wizkid’s career impact over time?

It’s still Wizkid’s best album in my opinion so please argue in your compounds.

Misola (33)

Top 3: “For Me”, “Tease Me”, “Scatter the Floor”

What was your first impression of ‘Superstar’ and where did you first hear the album?

I knew our boy was going to be a ‘soup or star’. From featuring on M.I’s “Fast Money, Fast Cars” to Jesse Jagz’s “Intoxicated” and D’Prince’s “Jonzing World”.

Looking back at 10 years of ‘Superstar’, how would you measure Wizkid’s career impact over time?  

I go back for original Wizzy. ‘Ayo’ is my favourite album from him though.

Dayo (28)

Top 3: “No Lele”, “Oluwa Lo Ni”, “Pakurumo”

What was your first impression of ‘Superstar’ and where did you first hear the album?

I thought it was a fun album. Nothing mature or deep about it.

Looking back at 10 years of ‘Superstar’, how would you measure Wizkid’s career impact over time?  

I think it set the stage for Nigeria’s biggest superstar but to me, the album itself is not as significant as the artist.

Afoma (25)

Top 3: “Love My Baby”, “No Lele”, “Pakurumo”

What was your first impression of ‘Superstar’ and where did you first hear the album?

I think I heard this back in Law School. It was new and fresh and I had never heard of Wizkid before.

Looking back at 10 years of ‘Superstar’, how would you measure Wizkid’s career impact over time?  

Honestly, 10 years later, it’s probably still my favourite Wizkid album.

Jane (29)

Top 3: “No Lele”, “Pakurumo”, “Wiz Party” (Honourable mention: Gidi Girl)

What was your first impression of ‘Superstar’ and where did you first hear the album?

I loved it instantly. I don’t remember where I was for the album since I used to buy most albums as soon as they came out but I do remember the first time I heard “Holla At Your Boy”, a year before 2010. I was in the car about to be dropped off at my internship on McCarthy Street one morning and I was late to work but lingered in the car just so I could hear the OAP say the name of the song on the radio. They didn’t and there was so no Shazam at the time so I had to hunt for it weeks after.

Looking back at 10 years of ‘Superstar’, how would you measure Wizkid’s career impact over time?

I think Wizkid was the first proper superstar of our time (younger, Nigerian millenials that is). Now, people fawn over Machala and he has his own stan club but back then, I remember Twitter people clowned him and the album initially for being razz. I will neevr forget a tweet from someone shortly after the album release saying that it was so bad that he threw the CD away. 10 years later, there can be no argument that ‘Superstar’ is a great listen, back to back. I think Wizkid knew exactly who he was on ‘Superstar’ and has stayed on the course influencing the Afropop sound heavily. Wizkid has grown and played with his sound over the years but to me, he’s still true to ‘Superstar’.

Revisit ‘Superstar’ below.

Featured image credits/Superstar

ICYMI: Made in Lagos, Set for glory

Bruk It Down: The Making Of P.Priime, Olamide & Bad Boy Timz’s hit, ‘Loading’

Posted on by Damilola Animashaun

Bruk It Down, a video series shining a light on the producers and beat-makers behind the scenes, as they break down the intricacies of the songs we listen to every day. In the fourth edition of our NATIVE Original, P.Priime walks us through the making of the song of 2020, “Loading”. 

In October last year, Olamide released his eighth solo studio album, ‘Carpe Diem’. On the same day, online agitations against police brutality in the country had begun to escalate into full-blown protests. Music was one of the brightest spots to lift our spirits during this desolate time, and in the following months, Olamide’s “Loading” was undoubtedly one of the brightest.

After linking up by chance and hearing what Priime had to offer, Olamide changed the entire flow of the album we hear today which gave Priime 7 producer credits on the 15 track album. Speaking to The NATIVE when ‘Carpe Diem‘ dropped, Olamide said

“His sound is heavy, man. It’s bonkers. That guy is mad! Like, really mad. I feel like, while coming up, no one gave me that opportunity. I just took it upon myself that, if I blow lasan, I must share my blessings. What’s the purpose of the blessing if you cannot share it around? It’s useless when you just want to be greedy, you don’t want to help in elevating as much people as you can. “

And elevate he did. Thanks to “Loading”, Priime has gone from relatively unknown to one of the generation’s most important musicians. For our fourth Bruk It Down, the producer walks us through how he made the song; drew influence from Amapiano, South Africa’s most popping genre at the moment, and melded it with Nigerian afropop sounds. From the vocal samples he lay down himself, to Bad Boy Timz’ infectious ad libs, here’s how “Loading” was made.

Featured Image Credits: NATIVE

Videography: Omowunmi Ogundipe, Producer: Damilola Animashaun

BRUK IT DOWN: TELZ TALKS US THROUGH THE MAKING OF “WONDERFUL”

TurnTable Top 50: AV Makes His Official Debut On This Week’s Top 10

Posted on by Tami Makinde

This week, Ladipoe and Buju are still on top with their single “Feeling”, the unofficial song of the summer which now spends its fourth non-consecutive week atop the charts. The song tallied 47 million radio airplay impressions (up 19.3%), 8.28 million TV airplay impressions (down 35.8%), and 1.83 million equivalent streams (down 10.7%). “Feeling” now becomes the third-longest No. 1 on the TurnTable Top 50, joining the ranks of Omah Lay’s “Godly” which spent 11 weeks, and Teni’s “For You” which spent 11 and 7 weeks respectively on the charts.

Olamide’s “Rock” holds at No. 2 after spending three weeks atop the chart while Rema’s “Soundgasm” is also steady at its No. 3 peak this week after drawing 9.48 million in TV reach (up 36.6%), 38.3 million in radio reach (up 8.2%), and 367,000 equivalent streams (down 17.2%). Ruger’s “Bounce” hits a new peak as it lands the No. 4 spot this week on the TurnTable Top 50. The song drew 7.34 million in TV reach (down 9.7%), 38.3 million (up 20%) and 426,000 equivalent streams (up 9.5%). While Burna Boy’s “Kilometre” closes out the Top 5 after topping the chart for three consecutive weeks.

Buju’s “Outside” rises to a new peak of No. 6 on this week’s TurnTable Top 50. Joeboy’s “Show Me” is steady at its No. 7 high for another week while Wizkid’s “Essence” featuring Tems moves to No.8 making its re-entry into the top 10. Rounding out this week’s top ten is Justin Bieber’s “Masterkraft (Remix)” with Alpha P & Omah Lay at No.9 while AV’s “Big Thug Boys” make its top 10 entry moving from its previously held spot at No. 15 last week. The Nigerian singer, born Adindu Victor has recently witnessed a surge in streams when his song took off on TikTok. The song has now tallied 19.8 million in radio reach and 1.1 million equivalent streams.

Check out the full rundown of the charts here.

[Featured image credits/Vanguard]

ICYMI: Omah Lay’s “Understand” is a lesson on requited love

Songs Of The Day: New Music From Dave, 1DA Banton, Deena Ade & More

Posted on by Wonu Osikoya

As we cross into the second half of the year, the amount of music we consume continues to grow exponentially by the second. With amazing songs dropping at an unrelenting pace, it’s not always easy to cut through the noise and the sheer volume of it all to find the music that will accompany our melancholy, inspire our next creative breakthrough, allow us our loved ones more securely, or take us to a place of unencumbered elation.

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 releases from Omah Lay, Shaybo, Straffiti, Bella Shmurda, The Cavemen, Adekunle Gold, Kida Kudz, and much more. To begin the new week, here are some new releases from Dave, 1Da Banton, Deena Ade, Tshego, Spesh OG, SJXY and more. Enjoy.

Dave – “Clash” (ft. Stormzy)

Dave is gearing up for the release of his sophomore album ‘We’re All Alone In This Together’. Ahead of its release, he’s shared a new promotional single “Clash”, the follow-up to his recently released two-pack single “Titanium & Mercury”. This time around, he links up with fellow UK emcee, Stormzy for a riveting track that finds both rappers trading boastful bars. Over the track’s catchy production, they both rap about their extravagant lifestyles; “Jordan 4s or Jordan 1s, Rolexes, got more than one/My AP cost thirty-one, millimeters, forty one” Dave quips on the song’s hook. The accompanying music video finds both rappers delivering their verses while surrounded by a host of flashy sports cars.

1da Banton – “No Wahala”

For his first official release this year, 1da Banton shares a new single titled “No Wahala”. The Blaise Beatz-produced track finds the artist unbothered with his current worries and singing on the good aspects of life. “Problem no dey finish, make you try dey enjoy/Dance like no wahala eh no wahala” he chirps happily over the song’s chorus reminding listeners to cast their focus on things within their control.

Deena Ade – “4 U”

For her first official single this year, Deena Ade is back with seamless melodies on “4U”. The new release finds the artist singing directly to her love interest about what she would do for them as a result of their shared love together. “Baby you know I want to bend it 4u” she sings over the soothing production of the track, ready to show her affection for her love interest.

Speaking about the new release, the singer shares “The song was written during the lockdown. It is about my obsession with being alone, but desiring or craving the attention of a prospective lover when I feel like it. Then I go on to tell him not to act up, because me sef I’m really not well, but I want to bend my rules & also bend the back for him. Overall the song is about pushing him away & pulling him in.”

Sjxy – “So Long” (ft. Larry Gaaga & Tomi Thomas)

For his first official release this year, Sjxy collaborates with former LOS member, Tomi Thomas, Larry Gaga and producer Marvio for a new melodious single titled “So Long”. The soothing and sexual track finds all artists talking to their respective muses about how they make them feel. Over the song’s mid-tempo production, he sings, “so long yeah so long yeah, I love it when you put it on me/Touching on her body make her body feel better”, delivering a euphoric cut that will definitely resonate with the lovers out there.

Tshego – “Only If You Like It”

South African rapper Tshego is preparing for the release of his new project titled ‘3 Piece’, ahead of this he’s shared the promotional single “Only If You Like That”. Over the melodious production on this track, the rapper delivers sensual bars about how he wishes to please his lover. “Go ahead baby get naked, go ahead baby I’ll be patient/You’ll be so close I can taste it, Only if you like that” he quips over the song’s catchy production, as he directly addresses a lover who he wants to please.

Spesh OG – “Different”

Following the release of his 6-track EP ‘Energy’ earlier this year, artist Spesh OG is back with a new romantic numver titled “Different”. On this track, he sings to his muse about his need to focus on their relationship and reassure her of his commitment. “Girl I feel differently about you and if even if you fall I go catch you” he sings on the hook, reminding his muse that he’s willing to go the long mile for their relationship.

Featured image credits/Instagram

Best New Music: Omah Lay’s “Understand” is a lesson on unrequited love

Posted on by Tami Makinde

Omah Lay has been on quite the incredible run. Since breaking out with his debut EP ‘Get Layd’ last year, he’s become a dominant force in the industry. As he ascends, the Port Harcourt native continues to prove the allure for introspective songwriting in Afropop.

 

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A post shared by Omah Lay (@omah_lay)

The singer spent most of this year making guest appearances on a number of songs from Gyakie, Ajebo Hustlers, and more recently, his cross-continental collaboration with Masterkraft, Alpha P, and Justin Bieber. While he’s managed to hold our attention most of the year with these loosies, he’s finally satisfied eager fans with the release of his latest single, “Understand”.

On the Tempoe-produced number, he directly addresses a love interest who has taken his affections for granted. The song’s electrifying production sets the perfect bedding for Omah Lay’s melodious vocals to take centre stage. In his usual fashion, he fuses R&B and Afropop perfectly, creating otherworldly melodies that linger on lips for days after.

Omah Lay begins the first verse with a biblical allusion as he sings “You don cut my weave on and dread ah/You make a boy sick,”. Here, he likens the betrayal he currently feels from his lover to the betrayal Samson faced at the hands of Delilah in the Old Testament after losing his hair.

 

However, he continues to show love for this person: protecting her, spending his last dime on her and gifting his lucky charm. We’ve all been there, choosing to see the best in those closest to us until the betrayal is staring us right in the face. The cracks are breaking through and Omah Lay can clearly see the unrequited feelings.

As the song builds, the singer realises that he deserves better from those closest to him and implores listeners to do the same. With lyrics such as “Oluwa fix the problem/Thunder fire that your reason, Wey dey give you ginger make you leave”, the singer unleashes the pantheon of his loverboy anguish.

While he’s clearly offloading his feelings about loyalty and love, Omah Lay leaves listeners with catchy lyrics that reflects one of music’s most important markers. It perfectly straddles the intersection between introspective songwriting and bonafide club-hit.

It’s clear that Omah Lay just gets it right. “Understand” is yet another string in his perfectly defined musical bow.

Stream “Understand” below.

Featured image credits/BBC

ICYMI: A 1-Listen Review of Show Dem Camp’s ‘Clone Wars V: The Algorhythm’

Songs Of The Day: New Music From Omah Lay, Bella Shmurda, Shaybo & More

Posted on by Tami Makinde

As we cross into the second half of the year, the amount of music we consume continues to grow exponentially by the second. With amazing songs dropping at an unrelenting pace, it’s not always easy to cut through the noise and the sheer volume of it all to find the music that will accompany our melancholy, inspire our next creative breakthrough, allow us our loved ones more securely, or take us to a place of unencumbered elation.

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 this week, we brought you new releases from BOJ, Teni, Costa Titch, Kwesi Arthur, Show Dem Camp, and much more. For this weekend curation, our roundup includes recent drops from Omah Lay, Shaybo, Straffiti, Bella Shmurda, The Cavemen, Adekunle Gold, Kida Kudz, and much more. Enjoy. 

Omah Lay – “Understand”

Since delivering his sophomore EP ‘What Have We Done’ late last year, Port Harcourt’s brightest star Omah Lay has been relatively quiet only appearing on a string of collaborations this year including Ajebo Hustler’s “Pronto” and Gyakie’s “Forever Remix”, a mainstay on the TurnTable charts at the time of its release. For his first solo release this year, the singer is baring his heart on his sleeves on the Tempoe-produced “Understand”. Over twinkling keys and Afropop drums, he sings “I thought we in this together/Give you my last card, you spend am/I show you my best friend, you friend am” he sings, addressing a past lover that has depleted his love rather than nurtured it.

Shaybo – “Friendly” (feat. Haile)

This year, Shaybo has been on quite the run. Earlier in the year, the rapper released the gritty number “Streets”, the Dream Doll-assisted “Broke Boyz” and the charming number “Mud”. Now, the self-proclaimed Queen of the South is back with a new single, this time titled “Friendly” and featuring WSTRN’s Haile. Over the breezy, summery production, Shaybo and Haile deliver a Patois-inflected hook and verse made for the summertime. “Nah nigga I ain’t friendly/What the point in putting the time in when you’re temporary/I know I need a baller but I hope he ain’t messy” Shaybo raps over the song’s first verse, unafraid to mince her words and going in full-force on these niggas and opps.

Adekunle Gold – “Sinner” (feat. Lucky Daye)

After releasing the honest number “It Is What It Is” earlier this year, Afropop singer, Adekunle Gold is back with a new single titled “Sinner” which features Lucky Daye. The Marcel Akunwata-produced single is inspired by the story of King David and Bathsheba and their sexual and romantic relationship in the Bible. “Loving you be my greatest sin/Said I was done but see I’m here” he sings over the song’s mellow production, addressing a love interest who can’t seem to run away from. “Sinner” is said to be the second promotional single from the singer’s forthcoming album slated for later this year.

Bella Shmurda – “Out There”

On “Out There”, the opening track for his sophomore EP ‘High Tension 2.0’, Bella Shmurda directly addresses his fans with encouraging words. “Don’t you stop Mr soldier man, life is a battleground/You have to win the war, I know it’s crazy out there” he quips over the song’s glittering production, arming them with the affirmations and tools they would need to weather life’s tempestuous storms. The singer admits that life is hard but reminds listeners to never forget who they are and stay grounded in this certainty to get them through life.

Sarkodie – “Vibration” ft. Vic Mensa

During his stay in his home country, Ghana, rapper Vic Mensa has spent his time linking up with the host of incredible talent out in the West African country. His latest appearance is on “Vibration”, the latest single from Ghanaian rapper, Sarkodie. The bass-thumping new number finds both rappers trading bars about getting their shit popping and moving on a different vibration than the rest of the pack. The accompanying music video directed by Babs Directions finds both rappers performing their verses while flashing an enviable collection of sports cars.

The Cavemen – “Selense”

After delivering their debut album ‘Roots’ which won the Headies Alternative album of the year, The Cavemen are back with their first official single of the year titled “Selense”. Over a highlife-infused production, they sing “Give me, give me love, make we jolly/Kulu kulu baby/You make me go high”, addressing a love interest who seems to be fronting for their love. The pair manage to serenade this woman with their groovy sounds and glittering guitar-led keys, a feature that seems to dominate most of their recent releases.

Martinses  & Lady Donli – “Jaiye Omo” (feat. Idris Lawal & Aunty Jerry)

For the most part of the year, Lady Donli has been on the down-low but it seems that is finally coming to an end as she teases new music on her Instagram. However, before we receive any solo releases from the Abuja-based singer, she’s released a new collaboration titled “Jaiye Omo” with Martinses, Idris Lawal and Aunty Jerry. The new single is a house-music-inspired number that perfectly infuses Yoruba folk elements within it. “Jaiye omo, o kin wole omo/Oh baby baby, come and get it down with me” quips Lady Donli on the song’s intro inviting and enticing a love interest to come and have a good time with her.

Straffiti, PartickxxLee & Kashcpt – “Cakes”

For his second official single of the year, rapper Straffiti links up with peers PatrickxxLee and Kashcpt for a braggadocious new single titled “Cakes”. The new single finds all three artists rapping about getting their shit popping and the type of partner they need in their lives. Over the song’s catchy production, Straffiti quips “I need a bad bitch that could hold a tec/And I want to hit a savage that could count my cakes” on the song’s hook, as he lays down what it takes to roll with a rapper like him.

Kida Kudz, Gemitaiz – Figure 8

Uk-based Nigerian rapper Kida Kudz is gearing up for the release of his new project titled ‘TOP MEMBA’. Ahead of its release, he’s been sharing the song’s promotional singles including the Bella Shmurda-assisted “Ball Till We Fall” and “Makavelli”. His latest single “Figure 8” sees the rapper in a new light as he lays down a stellar verse over a distinct guitar-led beat infused with Spanish elements. He features Italian rapper Gemitaiz who makes the song more memorable by delivering a verse that fits perfectly into the song’s sensual mood.

Big Drip – “Get me lit” (feat. Laime)

There’s nothing more infuriating than losing a bag and rappers, Big Drip and Laime know this all too well. On their latest single “Get Me Lit”, the pair voice their frustrations on spending far too much, all too soon on the baddest women (I can’t say I feel their pain LOL). “All she know is get me lit, now she wanna chop my finish cause she wanna get me lit” quips Laime over the song’s hook, speaking directly to his muse as both rappers explain their insatiable need to level up.

Featured image credits/Instagram

ICYMI: Our First Impressions of Bella Shmurda’s EP ‘High Tension 2.0’

Our First Impressions of Bella Shmurda’s sophomore EP ‘High Tension 2.0’

Posted on by The Native

Following a successful 2019 which culminated in the release of his breakout single “Vision 2020”, Bella Shmurda began the following year with a mission: to soundtrack the hardship on the streets as one who had lived it and grew from it. In February of that year, he released his debut EP ‘High Tension’, a 7-tracker with a nostalgic air of lived-in familiarity brought about by his gritty ghetto raps, clear metaphors, and a bundle of Yoruba folk traditions and references. It was infinitely clear that the street poet was on the cusp of a major explosion.

That time came at the tail end of 2020 when Bella Shmurda released “Cash App”, the smash hit single that featured Zlatan & Lincoln and further chronicled the realities of emanating from the streets of Lagos. While controversy trailed this particular release, it garnered over 11 million views on Youtube and rose to the top of Apple Music charts at the time of its release. The celebratory hitmaker now continues his penchant for making catchy music with a conscious message on his sophomore EP ‘High Tension 2.0’, the follow-up to his 2020 EP. Speaking to Apple Music about the release, the singer shares that “High Tension 2.0 is another dimension of Bella Shmurda. A new style, a new vibe, a new thing for my people. It’s like lightning. You can’t stop lightning from striking, and that’s the way I’m coming.”

So, what’s the project’s best song? Biggest skip? Most surprising moment? The NATIVE team have got you sorted as we deliver what we think are the standouts from ‘High Tension 2.0’. Here are our first impressions of Bella Shmurda’s sophomore EP.

 

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Best Song?

Ada: It’s really hard to pick a top song for me. My top 3 songs include “Rush” and “World” which are already in my opinion bangers and quite mainstream but my fave aside from these two will be “Lako”. It’s super catchy and you can dance to it. I see it becoming quite popular for sure. Also, keep an eye out for “Champion”, it seems like a sleeper hit that could definitely grow on many of us.

Dennis: Not to be captain obvious here, but I’m going with “Rush” as the best song here. Yeah, it was the lead single and an apparent smash hit immediately after its early year release, but on a slightly deeper level, it’s a phenomenal testament to Bella Shmurda’s musical veracity even as he’s making music for mainstream reception. If you asked me this same question about High Tension, I’d struggle because that EP represents the work of an artist figuring out his own version of what it means to be well-rounded. For 2.0, “Rush” is clear for me because it represents the Apex Bella Shmurda song till date, a distillation of his “live fast, live young” ethos into substantial lyricism and downright catchy songwriting over stunning production.

Woju: Bella Shmurda is a very detailed lyricist. A genre led by percussive elements predominantly, variations of Afropop tend towards linguistic simplicity, but Bella Shmurda’s output is vastly different, and that, to me, is where he soars. On this project, my favourite tracks are the ones with a prevalence of motivational bars, delivered in the relatable and digestible way, Bella Shmurda is accustomed to. The album close, “Champion” is a front runner of mine, with its self-affirming lyrics that appear earlier on in the project on “Rush”, a dynamic track that also emerges as a favourite of mine. Released ahead of the entire project, “Rush” is still a highlight, retaining its status as a jam and giving listeners a healthy dose of pompous self-congratulation and a humble acceptance for the fleeting reality of life. Encouraging his listeners to keep going, dishing out solid advice throughout the record, Bella Shmurda’s performance of “Out There” earns the number one spot for me. Especially knowing the actually crazy streets where Bella Shmurda is coming from, it’s particularly inspiring hearing the stories of perseverance and success through that, that Bella Shmurda shares on this song. It is such a poignant way to open a project and sets the bar almost unattainably high.

Biggest skip?

Wonu: The biggest skip for me would have to be “World”. This is not because it’s a bad song but because it’s been out for a while and I’m just tired of listening to it.

Shina: On first listen through the album, “Soldier Go” is the one song that didn’t pique my interest. Bella doesn’t sound his best like he does on every other song. Maybe it’s because he doesn’t sound as convincing and is un-relatable. Definitely hitting the skip button on this one.

Ada: Ugh this a hard one cause it really is a good project. I guess my least favourite would be “Soldier Go” and that is me just nit-picking.

Biggest surprise?

Wonu: The biggest surprise for me has to be the fact that there are no features on the project. I would have expected an Olamide or Zlatan verse assist on one of the tracks.

Rahman: What I find interesting about Bella Shmurda’s body of work is the fact that the album could be so good without features. I’m not going to lie, I expected at least 2 features but hearing and seeing no features means he has more in store for us and he is going to be deep in his bag soon.

Tami: The biggest surprise for me would be the fifth track “Lako” which is a very raunchy, dirty song about receiving head. It’s the biggest surprise for me because Bella Shmurda basically diverts from delivering conscious sounds and thought-provoking singles about his lover to requesting that he gets blown off by his lover. It’s the versatility for me, haha. Gotta love it, man.

Best verse?

Damilola: It’s not a verse, but my immediate favourite song is “World” and its’ because of the profound chorus. There were some sus parts in the second verse that I’ll wait to discuss in great detail when I’ve sat with my thoughts about it, but yeah the chorus really caught my attention. ‘If I ever lose to the world, I can never lose to myself’, feels like a mantra of sorts and the thumping bass in the background shows that he meant for it to catch one’s attention. It feels almost like he’s talking to himself but also everyone else who’s listening and two songs in, he’s maintained that deeply reflective energy he kept with the first High Tension EP.

Tami: The best verse for me came on the intro song “Out There”. Here, Bella Shmurda is talking directly to his fans and followers preparing them with the tools that they’ll need to survive the crazy war that is life. “I know it’s crazy out there.

Shina: Honestly expected Bella to start the album with the single “World”, a conscious song about the world we live in now but I understand why he opted for “Out There”. On all verses, Bella is basically speaking his truth and also sharing some tips on how to get by this crazy world because he’s lived it and understands how hard living in it is for everyone. Bella sees himself, you, and me as soldiers that have to win the battle of life and urges us to keep pushing no matter what. Definitely sign me up for any Bella Shmurda ‘how to’ masterclass.

Overall impressions

Wonu: My overall first impression: This has not exactly been one of my favorite first listens this year but all in all, it’s a good body of work with quality track arrangement. This is something I’d definitely playback once in a while.

Dennis: The one thing that kept popping into my head while listening to High Tension 2.0 is that, Bella Shmurda is a star and he knows it. It’s not vocally pronounced, but there’s a conviction on the surface and in every crevice of the project, that he’s doing exactly what he’s meant to be doing on this level. From the motivational intro song, “Out There,” you can tell he knows he’s eclipsed the overtly aspirational ethos that drove his breakout song, “Vision 2020,” and debut EP. Even when you compare last year’s hit “Sho Mo Mi” with the fourth track “Far Away,” both romance-themed songs, he’s left the posturing of the former for a more assured, plain-stated lyrical approach. 2.0 is a reflection of his deserved upgrade in status and, the best part is, you can tell he still has a few more levels to unlock. [Footnote: Watch “Lako” become his next street hit in 3, 2…]

Woju: ‘High Tension’ is a highly inspirational project, with songs such as “World” and “Champion” affirming the self. As such, one of the primary draws for me is the lyrical endowment of the project. The concise song lengths and Bella Shmurda’s unique delivery are also strong selling points for this project, but a slight drawback is the generic, almost basic sound that he peddles.
The Dance beat that opens “Lako” is arresting and immediately attracts, but as the song continues it quickly moves into generic territory. I appreciate the island vibe on “Soldier Go” as well as the horns on “World”, though the ubiquity of the particular production style Bella Shmurder is working with detracts from his unique talents as a recording artist. With that said, the ever-changing flow and melodic variations on “Far Away” makes for a delectable aspect of the sound. On “Rush” too, the trap influences, meticulously woven into the Afro-pop song that plays with an electronic led hook prove that with the right accompaniment, Bella Shmurda is more than capable of winning alternative-trained ears over.

Stream ‘High Tension 2.0’ below.

Featured image credits/BellaShmurda

ICYMI: The importance of women sharing their experiences through music

1-Listen Review: Show Dem Camp’s ‘Clone Wars V: The Algorhythm’

Posted on by Dennis Ade Peter

On the very first day of 2019, Show Dem Camp reported for duty with the fourth instalment of their ‘Clone Wars’ project series. Armed with the same lyrical showboating that animated their first two entries, and the urgent self-awareness of its third, ‘Clone Wars 4: These Buhari Times’ was a return to their proverbial roots as skilled lyricists, but this time around, with higher stakes attached. The duo, consisting of Tec and Ghost displayed an even more pronounced and acute awareness of their immediate surroundings in their home country.

Ahead of Nigeria’s general elections, SDC relayed timely, insightful opinions on a range of issues affecting the country, using their own worldview and personal experiences to ground topics bigger than them. The genuineness of their approach and CW4’s splendid execution resulted in critical acclaim. A lot has happened, and continues to happen, in the two-and-a-half years since that project, and a lot of fans have been clamouring for a similarly-minded follow-up. It’s a selfish ask, but one that the duo have obliged after months of speculation and anticipation.

Eighteen months since their last project, Tec and Ghost finally seem to have a few things to rap about. Let’s get into Clone Wars V: The Algorhythm.

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

“Intro”

This is that classic hip-hop shit, majestic horns and boom-bap drums. I’d like to know where this vocal clip is from. “They deserve to be heard” but I don’t think a certain minister—or even the entire administration—believes this.

“Yktv”

Oooooohhhh! My real hip-hop fan antennae just stood up and started waving. This patois-inflected cadence Ghost is using isn’t doing it for me, but I’m rocking with the raps. Referring to weed as Elon Musk is wild to me. This beat is like a slightly avant-garde take of what you’d hear on Big L’s ‘Lifestylez ov Da Poor & Dangerous’, absolute classic by the way. Tec just said something about bombing on records and a 2Pac hologram flashed in front of my eye. Those eerie vocal samples are a nice touch. Bro, this reminds me of those freestyle videos they used to post on YouTube years ago, high-quality bars shot in grainy film. This person is a character from Clone Wars 2, or wait, is that a parody of the richest Black man.

“Align” (feat. Ladipoe)

Man, I’m so hyped. Been a minute since I expected Nigerian rappers to just go, and Tec is delivering. I liked that as an opening verse, but it feels like an alley-oop for Ladipoe to dunk. Yeah, he’s going, lifelines, not punchlines. This verse gives me flashes of “More to Life,” one of the best songs from this trio. We hail Ghost a lot for technical prowess, but we don’t talk about how much more potent he is when he’s in lived-in mode. I really like this, those horns are a cheat code. Three rap talents that are always aligned delivering once again, that’s consistency at its purest.

“Rise of the Underdogs 2” (feat. Tomi Thomas)

In my opinion, this was a great choice for a lead single. It’s not as dark as the nominal predecessor from CW3, but you can see why it makes sense as a good sequel from a progression standpoint. It’s also groovy enough for Palmwine fans but real ones know it’s a Clone Wars mindset. Tec’s verse just flew by, real-life shit. If I was half as good at anything as Tomi Thomas is at singing, y’all wouldn’t be at rest. Semi-aggressive Ghost always raps like he’s doing target practice, and he barely ever misses with the bars. This Tomi Thomas hook is really good, and TUC laced this one proper.

“Draw Me Close” (feat. Shalom Dubas)

I need to know who produced this now—if I was streaming via Tidal I won’t have this problem. This semi-staggered, semi-snappy bounce is a vibe, Tec has found a nice pocket and he’s gone straight to his introspective bag. “Always knew the system won’t fight fair” is a trademark Tec bar, he’s more of a realist these days than the dreamer he was a decade ago. Shalom entered with so much swag, even Soulja Boy would ask for a crumb. “Real life like the world wrecking crew/I’ve been wrecking records since I was youth/and I ain’t ever going back.” SO. MANY. BARS. This is a verse! She’s singing with so much soul now. Ghost! Those intro bars are phenomenal. Haha, this man heard Shalom’s verse and he’s going Super Saiyan. The honesty bleeding out of these lines makes the verse easy to fall into. LMFAO! Yeah, that Dangote bar on “All the Above” makes even more sense now. This is an absolute keeper.

“Focus & Drive”

This is such a cleansing musical intro. Ghost has a phenomenal ability to enter a song with a loud presence without disrupting it, this is a nice introductory flow. Yeah, there goes the 808 bass, and Ghost is playing tag with the beat. “This life no balance, this shit don’t be adding up,” or as the young people will say, “The math isn’t mathing.” Tec just said Nigerian government is on demon time, tell me why IK Ogbonna popped into my head. When Tec raps about Nigeria, he does it with a sense of calm annoyance, you can sense the disgust but he can’t be too bothered to be animated by it.

“Big Liko [Skit]”

Bring back skits on Rap album! This is so funny! Man, I miss Ablamovich from CW2. “Just lie, anything that they ask you, lie!” I’m actually dying.

“Tycoon” (feat. Reminisce & MOJO)

This is giving me “Don’t Dull” vibes. Ooooh, those lustrous guitars changed up the texture of this song and it absolutely slaps. If you diss Tec, you’d most likely not get a response, the man is supremely confident and secure in what he’s accomplished. Dieziani gets a bar, what a villain that woman is. SDC not being part of the fuckery in Nigerian rap is one of my favourite narratives in Nigerian music. Reminisce’s opening bar is hilarious and disrespectful, LOL. Being on “King of Boys” is a flex that will never fade, this entire verse is filled with eternal flexes, word to Veen. MOJO is eating! Jesus Christ! It’s ironic I’m blaspheming with Christianity when this man calls himself an Orisa. This is a god-level verse ffs. Man, I wish there was a hook. Ghost referencing Revelations is very on-brand, and this flow is bonkers. “Magas don’t morph into moguls.” Hahaha, over to you Kelly Handsome. Slapper. Keeper.

“Big Dream [Skit]”

This is the guy that was chatting with Big Liko earlier. Ha! Apt representation of Nigerian leaders. Such dream killers.

“New Norm”

These keys are so shiny, better hide them from a magpie. “As long as we dey this Naija, they say every die na die” cut through me. I’d like to count the number of references on this verse, they all seem so disparate but they tie together perfectly. Ghost makes really good rap hooks, they won’t always be as anthemic as “TDV” but they’ll always make perfect sense in terms of song structure. Tec is bragging unabashedly, which is apt for all the moves he made in lockdown. Yeah, this is an absolute monster of a verse. This beat has an infectious languid knock that’s perfect to accompany these raps. Keeper.

“Vipers” (feat. Jesse Jagz & Tomi Thomas)

My ears are trying to adjust to the bounce of this beat, it’s slightly unorthodox but that piano chord progression is keeping me on track. I like Tomi Thomas’ last EP, but I wouldn’t have minded a few fiery performances like this on there. Tec raps like that guy in an argument who won’t raise his voice to embellish his point, which can be aggravating if you’re on the other end because the confidence can be annoyingly smug. That guillotine line caught my ear. Tomi always gives SDC that A-level hook pack, this isn’t anthemic but it’s really good. Jesse Jagz’s lyrical gimmicks haven’t translated for me in years, and I can’t hear anything really profound. Hehh, I shrugged just now. Ghost referenced ‘The Truman Show’ and it’s a reminder of what separates SDC from so many lyrical miracle apostles. Rest in peace, Majek Fashek. I will revisit this, I like it generally.

“Ghost Rant”

This seems like the customary ‘Clone Wars’ track with just Ghost on it, and they’re usually standouts for me. I just heard hieroglyphics and larynx in a scheme, and I can hear the ghost of Big L clapping. “Feeding off negative energy makes you a parasite” is an interesting thought, even though I don’t really agree with it. Yeah, this is a rant, the only filtering here is in the rhyme schemes. It still baffles me that the Nigerian government is denying what the thousands saw live and direct. Rest in peace and fuck the general.

“Streets” (feat. Ogranya, Moss & Alpha Ojini)

Sombre introductory music and a socially conscious vocal clip. Ogranya has the type of voice that can either be gorgeous or devastating, and right now he’s channelling the latter emotion. “Praises due to the politicians and the priests” is one of my favourite lines on this album so far. You can tell Ghost, like so many of us, is maddened about the way the October protests ended. Get you PVCs, guys, 2023 isn’t that far. SDC offers solidarity, not radical instructions, it’s why their message will resonate with their listeners. Moss! Been a minute, I wish his verse was mixed better. His cadence is still clear, though. That was a short verse. Ojini raps with natural clarity, and it helps that he’s loosened up his flow in the last few years. This is an intricately crafted verse, every line makes perfect sense, and fuck those cowardly soldiers. Great album cut, will revisit.

“Human” (feat. Tomi Owo)

I wish this was just Tomi Owo singing, but maybe this represents a dance between heavy clouds and lights. I’m always thinking about deep angles to Rap songs, sorry. That’s a bounce, first time hearing Spax’s tag, which is quite odd. This picture Ghost just painted is extremely heart-breaking. Yeah, hold men—well, rapists and abusers, to be more specific—accountable for sexual assault and gender-based violence. Tomi’s voice is familiarly sonorous but there’s also defiance in there as well. Been two songs since a Tec verse, he’s bringing the thoughtfulness. “I feel with all the evil on display, the world is trying to turn another page.” That’s some cautious optimism I can buy into. Really good verse, but that last line has some dissonance to it for me. By the way, I’d like to hear more music from Tomi soon.

“Bright Skies”

Final song. That sounds like Tomi Thomas, his voice is too distinct to miss even when technologically muffled. Spax is a genius at crafting Afrobeat-influenced beats that don’t sound tired, this is groovy but solemn enough to absorb Tec’s honest bars. That ‘Last Dance’ reference is a dub, the whole verse is in fact. Ghost said he’s a vessel, and with that voice, I fully accept the sentiment. That flow switch was subtle but it changed the intensity significantly. I can tell I’m about to rinse this song, Spax just has that synergy with these guys. Ghost is giving guys outro monologue, this man has clearly missed performing live.

Final Thoughts

This project perfectly encapsulates the saying: If it ain’t broke, don’t fix it–simply update it. ‘Clone Wars V: The Algorhythm’ is the latest wonderful entry into one of the best project series in all of Hip-Hop—feel free to quote (or @) me on that. Very often, long-running series in Rap can veer towards painfully rote territory over time, and even though Show Dem Camp have established a pattern of prioritising high-skilled, traditional lyricism over the course of this series, this fifth installment is far from a tired, water-treading exercise.

The topics may have not changed much, but Tec and Ghost still have a whole lot to say, and they still bring out each other’s best while doing so. As a timestamp of interior perspectives and exterior happenings, they exchange bars on their maturation and wins over the years, broach the effect of the pandemic, and stand in solidarity with a generation of young Nigerians fighting at fatal costs to live their best lives. Within the context of its series, Clone Wars V is a culmination of traits from previous instalments: the dead-eyed lyricism established on the first entry, skits that made CW2 a fuller listen, CW3’s self-dissecting and reassuring focus, and the broader social purpose of CW4.

Musically, CW5 is a little glossier than its predecessors, with shiny piano chords, guitar riffs, and gleaming strings rooted in a clear Hip-Hop bounce. Helmed by several producers, and featuring A-grade features, the album is simultaneously cohesive and dynamic, tying into the larger picture of SDC as curators of great rap albums.

Listen to ‘Clone Wars V: The Algorhythm’ here.

@dennisadepeter is a staff writer at the NATIVE.

1-LISTEN REVIEW: DAP THE CONTRACT’S ‘POWERS, VOL. 2’

Everything we know about Denola Grey’s children’s book ‘The Moonseeker’

Posted on by Tami Makinde

Denola Grey is a man that needs no introduction, as his Instagram page, home to his 315k followers, will tell you all you need to know: young, stylish, and irresistibly good-looking. It’s a combination of these three qualities that have garnered the 30-year old creative a massive following that trust and cling to his every style choice. With a career spanning his involvement in fashion PR, influencing, acting, consultancy, all-round trendsetting, and now, fashion merchandising, Denola is easily one of the go-to sources for fashion and film.

While he’s been preoccupied for most of the year by starring in your favourite Netflix shows, and the recently released Akay Mason-directed fantasy film ‘DOD’, his latest creative effort is truly one for the history books. Today, the actor and fashion consultant formally announced his foray into writing with the release of his debut children’s book titled ‘The Moonseeker’, which is said to be out sometime ‘real soon’, both in stores and on the Akiddie platform as an audiobook.

 

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A post shared by Dénola Grey (@denolagrey)

Slated to champion freedom, growth, courage, kindness, and the undeniable magic found within acts of bravery in light of adversity, Denola’s new book is said to follow a young Nigerian boy named Ara who finds himself having to be very brave and courageous from an early age. Although Denola didn’t reveal too much about the upcoming children’s book, the latest author did mention that the book was formed in partnership with Akiddie Ng, an audio, text and VR platform created for children.

Speaking about the release, Denola Grey shared that:

“Creating this story with Akiddie is monumental to me as this is something that I would have loved to read as a kid. There’s a lesson in this story for any and everyone of all ages.

It is my wish that this story of a brave boy named Ara means as much to you as it does to me; that we keep our sense of wonder and that we are resilient and stand up against any form of injustice or anything blocking our freedom and most importantly, our joy. Here’s to new ventures and quite literally fresh chapters.”

[Featured image credits: Instagram/DenolaGrey]

ICYMI: Audiomack partners with Music Business Africa & sponsors their Women’s Fund

Songs Of The Summer: Master KG, Wizkid, Tems & more top this week’s charts

Posted on by The Native

Last week, we officially kicked off the summer with the TurnTable and The NATIVE partnership on the first-ever Songs of the Summer chart in Nigeria. With the heavy rains here as a reminder that the summer days are well and truly here, our second-week is over and all our faves including, Master KG, Wizkid, Tems, Rema and more are racking up the numbers.

Nigerian Chart & Global Nigerian Songs of the Summer

There’s no denying that Nigeria is one of the biggest music exporters in Africa. All across the continent, Nigerian music has become a dominant force in the music industry as we’ve seen with the success of many of our faves from Burna Boy, Wizkid and Davido to Santi, Omah Lay and more. To ensure that we’re keeping close tabs on just how much impact we’re currently making we’ve created Songs Of The Summer in partnership with TurnTable Charts. The Nigerian arm of the chart will be broken down into two; namely, Songs of the Summer Nigeria Chart and the Global Nigerian Songs of the Summer Chart which would help decongest the Global African Songs of the Summer chart which last week, was dominated by mainly Nigerian songs.

This week, on the new Global Nigerian Songs of the Summer chart, Wizkid and Tems are in first place with their P2J-produced hit, “Essence”, which has taken the entire world by storm. Despite being released last year in October, it made an appearance on global Apple Music charts, even attracting the title of the official song of the summer, despite its late October release last year. Following closely, is Burna Boy’s “Kilometre” and Kizz Daniel’s catchy new single, “Necessari” at No. 2 and 3. Rema’s “Soundgasm”, the first single from his upcoming album ‘Rave and Roses’ is in No.4, and Wizkid and Burna Boy’s “Ginger” closes out the top 5 this week.

On the Songs of the Summer Nigeria chart, Olamide’s “Rock” remains at No.1 after accumulating 1,973,901 total streams across TV impressions and airplay. It is closely followed by Ladipoe and Buju’s “Feeling”, which also dominated the TurnTable Top 50 charts this week. Rema’s “Soundgasm” which was at No.4 on the Global Nigerian songs chart is up to one spot and at No.3 on the local songs of the summer chart. “Kilometre” by Burna Boy is at No.4 and Ruger’s “Bounce” is at No.5 closing out the top 5 this week.

Global African Songs of the Summer

On the Global African Songs chart, there is a visible progression from the first week’s data, as many of the Nigerian songs which topped the chart last week have found their spots challenged. At No.1 and 2 this week, is Master KG with two songs, “Jerusalema” and “Shine Your Light” featuring David Guetta and Akon. Coming in at No.3 is Wizkid and Tems’ “Essence” which has garnered 439,967 total streams this year. It is closely followed by Burna Boy’s “Kilometre” and Kizz Daniel’s “Necessari” at No.4 and 5 respectively.

You can view a full breakdown of all three charts here.

Featured image credits/Instagram

Essentials: Joda Kgosi’s ‘Sour Milk’ digs into an expired love

Posted on by Dennis Ade Peter

The R&B soil in South Africa is fertile. Every so often, undeniably talented singers begin to garner attention with their own relatable iterations of contemporary R&B trends—and it’s even more refreshing that this mini-renaissance is being led by women. Last year, Johannesburg-based singer, Joda Kgosi caught many ears and struck many hearts with her official sophomore single, “Truth Is,” goodbye and good riddance missive to a former love interest sung in balmy low tones over airy production with rhythmic Afro-Cuban elements.

Combined with “Lunatic,” her similar-minded—even more caustic—debut single, Joda established her nascent singing abilities and preference for writing along emotive lines. Sour Milk, her newly released debut EP, expands further on the characteristics that made the singer’s initial output so captivating. It’s a concept project going through some of the emotions that comes with introspecting at the end of a romantic entanglement. Taking advantage of the broader nuance afforded by bodies of work, she traces the fissures from this sort of situation with a more expansive approach, going beyond the snappiness her previous two singles prioritised.

Romance, as an omnipresent part of the human condition, has never really been simple. In music, Eros love and its attendant emotions is the most sung about topic, and as art always does it reflects our attitude towards these feelings. Romantic relationships have only gotten more complicated over time, which means break-ups have gotten more complicated over time. Sour Milk is an acknowledgement of this trend, and even if it’s far from being topically novel, it’s a project made by an artist who’s coming of age as part of a generation conversant with complicatedness.

Where millennials and even Gen Zers born in the ‘90s remember and have an affinity for the love-struck outlook that dominated R&B music from that time, Joda—who’ 18-years old—and her peers are much more attuned with R&B mulling over the complexities of romance in a world where connections are digitally influenced. She wasn’t even in her teens when Drake aptly proclaimed that we were in a noncommittal era. While these temporal circumstances provide context and allow for a stronger appreciation, Sour Milk is a captivating front-to-back listen even solely based on its execution.

Very often, projects centred on break-ups tend to mirror the Kubler-Ross model of the five stages of grief, starting off in denial and ending with an optimistic acceptance. On her debut, Joda leans into this trope as much as she subverts it, a tacit statement that situations like this might be linear but they are from simple. “Welcome to my pity party, where I cry about a boy who don’t care about me,” she sings on opening song “Pity Party,” where she’s dazed, annoyed and slightly confused, instead of being in denial. It reveals a sense of self-awareness that pervades the entire EP, giving her full agency even while she’s going through the motions.

On its title track, she tracks the deterioration of the relationship, from rosy times where they shared bathroom products and spent intimate moments with opposing families, to its sober ending. “In a room full of art, I’d still stare at the art/’cos I know for a fact, the art won’t break my heart,” she sings at the top of the second verse, using a popular reference many young people will get immediately. Joda’s writing is expressive enough to make listeners comfortably identify her as the protagonist in this story, but she doesn’t just go at the other party, she also puts herself in-between the crosshairs. On “How Dare You,” the singer kinda takes responsibility for catching feelings even though her interest was visibly lukewarm and always left room for emotional ambiguity.

For the most part, Sour Milk prioritises the sort of vocal control common in today’s vibe-centric, post-Trapsoul R&B terrain. Over slow-thumping basslines that complement moody keys, Joda often locks into a wispy and conversational melody, which is automatically fitting for her earthy voice and evokes the image of journaling yourself to sleep at night through tears. She expands that form a few times on the EP, especially on songs not expressly directed at her (sort of) ex. For “How Dare You,” which takes sonic cues from the ‘90s-pioneered Hip-Hop Soul, she reaches down for a guttural bellow that listens more like self-berating while staring back at yourself in a mirror.

By the groovy snap of the penultimate song, “Empty Sinner,” her melodies are much looser, catchy even, expressive of her readiness to welcome those feelings back if there’s an assurance of reciprocity. In addition to diversifying her delivery in real-time, Sour Milk represents Joda’s preternatural ability at synthesising real-life events into relatable, well-crafted music.

Listen to Sour Milk here.

[Featured Image Credits: Instagram/jodakgosi]

@dennisadepeter is a staff writer at the NATIVE.

BEST NEW MUSIC: MOONGA K.’S “BLACK, FREE & BEAUTIFUL” IS RADIANT & RESONANT

Songs of the Day: New Music from BOJ, Teni, Show Dem Camp & more

Posted on by Wonu Osikoya

As we cross into the second half of the year, the amount of music we consume continues to grow exponentially by the second. With amazing songs dropping at an unrelenting pace, it’s not always easy to cut through the noise and the sheer volume of it all to find the music that will accompany our melancholy, inspire our next creative breakthrough, allow us our loved ones more securely, or take us to a place of unencumbered elation.

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 releases from Bella Shmurda, Zamir and Odunsi The Engine, Bianco, Yung D3mz and more. For this mid-week curation, our roundup includes recent drops from BOJ, Teni, Costa Titch, Kwesi Arthur, Show Dem Camp, and much more. Enjoy.

BOJ – “Money & Laughter” (feat. Zamir & Amaarae)

Following the release of his last single “Emotions,” and in preparation for his forthcoming project out later this summer, DRB top member, BOJ is back. This time around, he’s linked up with former LOS member Zamir and Ghananian rapper Amaarae for a smooth and seamless song. Produced and Engineered by a member of the 44DB producer collective Trill Xoe, BOJ on the hook would like to know what the muse in question truly wants from him, “What are you after? Is it money or laughter?” he asks. A very strong selection of features, as everyone seems to have brought their A-Game. The accompanying video is also equally captivating, with glimpses of money counters, dollar bills, Amaarae as art, and Zamir in a plush lounge.

Kashcpt – “ROCKETS”

For his second single of the year, South African rapper Kashcpt is back with a heavy new tune titled “Rockets.” The braggadocious new hit finds the rapper talking about all the finer things of life that he now enjoys with his newfound fame; from stacks of cash to glittering diamonds. “All my diamonds glit shit” he raps over the song’s futuristic production, seemingly unbothered by the state of the world and laser-focused on making the bag.

Teni – “Hustle”

Earlier in the year, Teni released her long-awaited debut album, WONDALAND, a well-received project that has spawned widely loves songs including “FOR YOU” and “MOSLADO.” Keeping the promotional focus on the LP, she’s released the video for “HUSTLE,” an introspective song where she bares her mind on the pressures of fame and public expectations. Helmed by the director, TG Omori, the video is a cinematic effort with a fatal plot, and it features shots of Teni singing her lyrics with an impassioned, visibly emotional verve.

Infamousizak – “Public Enemy” (Kwesi Arthur Remix)

After the release of the original track in 2019, Infamousizak has released a remix to his single, “Public enemy,” with a new Kwesi Arthur verse. Kwesi Arthur’s ability to deliver on every song is a little mind-blowing and this number is no different. The catchy beat of this song already tells you what to expect as Infamousizak talks about his accomplishments and getting to where he seems to be now. “They don’t wanna see me shining/They wanna see me down low,” he quips, self-assured in his abilities despite pushback from the opps. “Public Enemy” was already a distinct song at the time of its release and now with a Kwesi Arthur guest verse, it’s an even more enjoyable listening experience.

Zodivc – “Kwabrane” (feat. Nii M & Yaa Pono)

Record producer Zodivc teams up with Nii M and Yaa Pono to deliver the single “Kwabrane”. This record speaks about the struggles of the artists and how much they’ve fought for success. With lyrics such as “These niggas must be kidding when they thought a nigga from the street would never make it”, the rapper paints a clear picture that visualises his experiences on the come up. With heavy kicks on the beat, all three rappers deliver a stellar performance on this track.

Kiiwii – “My Crew” (feat. Lil5ive)

Drill music is becoming increasingly prominent in Africa. While it’s not as pronounced in countries like Ghana and Kenya, Nigeria has a few proponents of the rap subgenre, the latest entrant being rapper, Kiiwii. “My Crew,” his second single of the year, is an experimental Drill banger with a groovy, thumping low end and ticking hi-hats. Joined by Fresh Meat alum Lil5ive, the pair brag about the exuberant and hedonistic antics they get up to alongside their crews. The song comes with a glossy, TG Omori-directed video, capturing the lifestyle they brag about in their lyrics.

Timzil – “Latifah”

On last year’s sophomore EP, Songs About Exes Past, Lagos-based singer TImzil immortalises past loves and infatuation with joy and nostalgia-tinted fondness. Off the project, he’s released the video for “Latifah,” a ginger, acoustic song remembering a past crush. Directed by Maussi, the video places the timing of this crush around junior secondary school, taking Timzil and his supporting cast back to school to dramatize a blue-eyed recall of events.

Costa Titch – “UTHINI” (feat. Blxckie & Phantom Steeze)

Following a phenomenal 2020 run that saw him emerge as one of the more exciting rap artists on the continent, Costa Titch is back to delivering the bops. Shortly after dropping the Amapiano-infused “NOMAKANJANI,” he’s returned with “UTHINI,” a catchy Trap thumper that finds him in his usual ebullient and boastful form. “Can’t get hits, so they hating on Titch,” he spits on his second verse, taking a swipe at detractors faulting his run. On either side of his verses are guest appearances from Fresh Meat alum Blxckie and Phantom Steeze, both following his arrogant lead. “UTHINI” also comes with a video entirely shot at an outdoor location in black and white, showing all three artists with a posse rapping their lyrics and performing energetic dance moves.

Show Dem Camp – “All the Above”

This Friday, July 9, Nigerian rap duo Show Dem Camp will be releasing the fifth installment of its Clone Wars project series. Ahead of the album, subtitled The Algorhythm, they’ve shared a new single, “All the Above,” an outtake that couldn’t make the album last minute due to sample clearance issues. Considering how solid the song is, it’s obvious why SDC chose to release the song exclusively on freemium platform Audiomack, as they concisely juxtapose the mass chase for money, power, and the ultimate dream to “japa,” in a country where poverty and social oppression is prevalent.

ICYMI: AUDIOMACK PARTNERS WITH MUSIC BUSINESS AFRICA TO SPONSOR THEIR WOMEN’S FUND

Audiomack partners with Music Business Africa & sponsors their Women’s Fund

Posted on by Tami Makinde

Last year, Audiomack, one of the leading streaming services in Nigeria, expanded its operations into Africa with the opening of its first-ever Lagos office. Over the years, the streaming platform has seen increased popularity in the country and across the continent amidst Africa’s slow internet and data services. Continuing their plans to fully integrate into the African ecosystem, Audiomack has now established a novel partnership with Music Business Africa. The online platform founded by Godwin Tom is dedicated to training and empowering young people looking to enter Africa’s entertainment industry.

 

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According to the official press release, this new partnership will include a $5000 donation to the Music Business Academy’s Women’s Fund, formed due to the uneven distribution of opportunities for women in the music and entertainment industry in Africa. Audiomack will also sponsor 20 women to join the invaluable program dedicated to educating aspiring industry professionals on effective music/brand marketing strategies, talent management, business structure, and more. Additionally, five artists will be selected to receive a professional rollout plan, including assistance on the business, marketing, and creative end from attendees of the MBA program.

Speaking about the new partnership, Vanessa Wilkins, Audiomack’s VP of Music & Data Partnerships says:

“We are excited to support MBA’s mission to provide resources and education to historically underrepresented groups in entertainment—particularly women, who continue to face obstacles such as a gaping gender pay gap and extremely low representation amongst industry executives.”

Featured image credits/Audiomack

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Best New Music: MOONGA K.’s “black, free & beautiful” is radiant & resonant

Posted on by Dennis Ade Peter

The late great author and civil rights activist, James Baldwin once famously said, “To be a Negro in this country and to be relatively conscious is to be in a rage almost all the time.” Of course, the country he was referring to was America, however, this rage can be broadly applied to being Black in a world where the colour of your skin automatically puts you at a disadvantage. On his new single, “black, free & beautiful,” Fresh Meat alum, Moonga K. isn’t necessarily enraged by this reality, but he’s clearly deeply annoyed by the systemic and societal factors responsible for anti-Blackness.

Born in Zambia and raised in Botswana, Moonga K.’s experiences with racism might not be in the same vein as the Black people who have to navigate life amidst a sea of antagonising whiteness. Regardless, his feelings are valid for the sake of solidarity, especially in the context of a globalised world, and for the fact that sub-Saharan Africa is still reeling from the effects of colonialism. In South Africa, where the singer-songwriter has been based in the last few years, the systemic imbalance put in place by apartheid-era laws and practices is still affecting a country with predominantly Black people. In fact, a recent example of parochial anti-Blackness is the South African variant of Love Island starting off with no Black people in sight.

 

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With its context in mind, “black, free & beautiful” is not a rejoinder, neither is it an appeal. It’s a resolute, uplifting pro-Black statement, a familiar attitude that’s been echoed on a long line of iconic songs such as Nina Simone’s “Young, Gifted and Black,” James Brown’s “Say it Loud (I’m Black and I’m Proud),” and more. On his verses, Moonga K. does the equivalent of loudly kissing his teeth, making his irritation for white colonialism known (“you burned cities in the name of greed, ain’t that appalling?”), dismissing stereotypical expectations of Black people (“go read a book or something, my people are tired”), and expressing disappointment at the consistent appropriation of “melanin cool” while deeming us less than.

While Moonga K’s writing veers into the caustic territory, the song’s riveting edge is in its plain, affirming chorus. “I’m black, free and I’m beautiful,” he screams with an ALL-CAPS level of euphoria, his radiant gusto matching the Neo-Funk meets Orchestral Jazz Soundscape. In a way, it’s a full-circle moment from the title track of his debut EP, Free, where the singer described freedom as a “rough but beautiful” journey. Since then, his catalogue has largely been defined by a focus on interior growth, and this new single is as much a declaration of self-worth as it is socially poignant.

With its brassy horns and rollicking drums, Moonga K.’s instantly captivating writing and invigorating holler, “black, free & beautiful” will resonate with, and inspire singalongs from, Black listeners. As for White listeners, I don’t know what they’ll make of it, but as Ms. Tina Lawson once explained, being pro-Black shouldn’t be conflated with being anti-White. Without any attempts at pacifying anyone beyond the direct audience of this song, Moonga K. takes pride in his Blackness with a defiance that reminds me of yet another James Baldwin quote: “When you try to stand up and look the world in the face like you had a right to be here, without knowing that this is the result of it, you have attacked the entire power structure of the western world.”

Listen to “black, free & beautiful” here.

@dennisadepeter is a staff writer at the NATIVE.

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12 Brands You Need On Your Summer Wishlist

Posted on by Ada Nwakor

It’s time to make way for the hazy summer days. Now that vaccine passports are eagerly waiting to collect flight stamps and relaxed lockdown rules are kicking into effect, there are already clear signs that things are slowly phasing back into normal. All across the world, festival and concert lineups are being announced every other week and fashion runways opening up once again to fashion lovers everywhere.

While we still need to be safe and maintain a healthy distance from people in public spaces, our summer itinerary is piling up by the second and there are already a million hot-button events to hit over the next few weeks. So, it’s time to ditch the sweats and the athleisure wear and opt for more stunning and glittering sartorial choices whatever your plans may be this holiday season. Whether you’re preparing to have a hot girl summer with your best mates or prefer smaller events where you can dress as comfortably as possible, we’ve got you covered on what’s hot this season.

To this end, the NATIVE creative assistant, Ada Nwakor has compiled a foolproof summer shopping list of African-owned fashion and accessories brands to shop till you drop.

Blndstudio

 

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BLNDE was founded by Ariana Udeh in November 2020 and officially launched on May 12, 2021, a national holiday now known as BLNDE day! Offering fun, youthful statement pieces that challenge the status quo, the womenswear brand ultimately promotes self-expression and exploration. BLNDE is also inspired by go-getting Gen Z women that are constantly pushing the boundaries of style in Nigeria and the idea of how women “should” be dressed. Currently, their Ginger Set is the brand’s best-seller. It features an 11-inch micro skirt and a cropped tank top with a corset closure. Looks cute on any stylish lady.

Shakara World

 

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Shakara W0rld was formed in late April 2021 by Shalewa Badiru. Shakara is known for sourcing only vintage designer items but recently, they have also branched into the sale of their own clothes. They also offer renting options for those not committed to making a full purchase. Renting clothes is a novel idea in Nigeria and was inspired by a need to save resources and create sustainable modes of production where viable material doesn’t get discarded. Currently, the brand only sells one of each product, rooted in the idea that each item is personal to its owner. If you’re the type to wear tabi boots in the heat of Lagos or throw on a shaggy hat before diving into a mosh pit, this is the best place to shop.

Rendoll

 

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Rendoll is a Nigerian-owned womenswear brand founded by Reni Kekere-Ekun in June 2019. This is probably one of our favourites on the list. All crafted and designed in Lagos, Nigeria, the brand boasts of superb quality and chic, classy style for all women and all body types from sizes Uk 6-24. This summer, colours seem to be a defining theme and Rendoll is no different as they’ve just released their vibrant SS21 collection, complete with all the resplendent colours imaginable. This summer also, Rendoll launched its first swimwear collection which is absolutely to die for! We recommend the Rendoll NIKKI set, Jordyn set and Larissa dress. For swimwear, the RIVIERA is a yes from us. Love it!

Shakkar Shades

 

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Shakkar Shades is a sunglasses brand for the African millennial and Gen Z founded in 2017 and designed by Idara Akai and Sore Odunsi. For diversity on the list, we had to include an eyewear brand knowing that there is no better time to rock a nice pair of sunglasses like the summertime. The brand also sells tees and totes which are essentials for OOTD’s this summer. Their latest collection, ‘Nostalgia’ is mainly inspired by the ’60s and ’80s as they push the limits on eyewear to deliver timeless, classic frames for all sexes. Your summer wardrobe isn’t complete without Shakkar.

Kilentar

 

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Kilentar is a womenswear brand known for its ultra-feminine, clean, elegant pieces. Formed back in October of 2019 by Michelle Adepoju, the fashion brand is well underway to making a big splash this summer with their latest clothing and beachwear collections.  and it has already made waves. Whether it’s the latest Aye set that’s been donned by your favourite Star Girl or the Ileke bikini set, Kilentar has all the girls sorted out for chic, staple summer pieces. Don’t miss out on this.

SXGWMN

 

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Founded by Rachel Enoh in 2020, SXGWMN is the womenswear brand for stylish young women under the parent brand, Shade of Gray. Since then, the brand has created exclusive pieces for badass females who are or would love to exude their bold and sexy side. The current best-seller at Sxgwmn is the NBC Bloom set which is perfect for a summer day to night outing. However, keep your eyes peeled for the brand’s IG account where Rachel and her host of talented influencers are constantly teasing new collections.

Meji Meji

 

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Tolu Coye and Dotun Abeshinbioke’s clothing brand, Meji Meji is an exercise of the pair’s deep love for their Nigerian heritage. The fashion designer and creative director both met when they were in New York, fashioning a formidable friendship that has spurred several creative outputs including their fashion line. Meji Meji, as the brand name depicts, is the union of two minds and hearts creating timeless pieces for the pan-African woman. Championing “boldness and liberation”, the fashion label boasts a charming collection of graphic tees with pidgin slangs, vibrant bucket hats, and the latest hot seller: the Meji Meji Samurai flip flops which all your favourite Nigerian stars are already sporting.

Second Skin Label

 

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Second Skin label is a womenswear brand founded in 2020 by Onyeka Ambrose. The brand highlights the beautiful Black skin tones in varying shades from nudes, to browns, blacks and more. The brand does a great job of praising the darker-skinned Black women which in the fashion world isn’t always the case. Your summer wardrobe definitely needs both the AZIRA and the AYLA collections which are lovely for every and all occasion.

Lulla Studio

 

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Lulla studio was founded in Lagos Nigeria by Lu Adesola and is known for its amazing unique prints and androgynous styles. Inspired by the designer’s cultural and artistic views, the clothes are internationally and locally sourced here in Nigeria using adire and native prints and patterns. Currently, their best seller is the Genesis collection which has been worn by the likes of Davido already this summer. Additionally, the Aliza Co-ord set and the Gad set are also good options to include in your wardrobe. Stylish yet comfortable.

Milfland

 

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Mifland is an American-based brand founded by Tobi Egberongbe which caters to both females and male consumers. The brand creates both clothes and accessories which showcases the high level of design, photography architecture the designer possesses. Rucksack is a statement piece of raw Leather bags that are handmade and well made and of great quality. My favorite pieces for the summer are bucket hats, Cabana shirts and shorts, perfect for a summer outing or beach day. The colours and styles are so insta ready.

AAKS

 

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Founded by Akosua Afriye-Kumi, a fashion student from Ghana who studied at Kingston University in England, AAKS is a Ghanaian brand that is known for its delicious handcrafted bags. A bag is always needed during the summer because how else would you be able to carry your valuables or essentials when going to the beach or to a party or rave. Why not try out an AAKS bag this summer? All the bags featured on AAKS are all made by women in Ghana with the aim to increase jobs within Africa. The best bags are her Hana pompon bags – you can never go wrong with a cute mini bag with a lovely colour and pompoms all over it. If bigger sizes are your style, then try out the Baba berry bag.

SS label

A beach day is never far away when you live in the tropics. Model and designer, Sharon Smithy knows this all too well as she’s got all the hit girls covered with her eponymous beachwear line, made to perfection. Created at the start of 2020, just before the world fell into lockdown mode, the hot button label has wasted no time breaking into the market with eye-catching bikinis and two-piece sets donned by your favourite models and influencers.

Featured image credits/NATIVE

Words by Tami Makinde and Ada Nwakor

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