How Styl-Plus upheld the art of storytelling in Afropop

Posted on by 'Tofe Ayeni

Styl-Plus’ album ‘Expressions’ is one of the most popular Nigerian albums of the 2000s. Growing up in love with the noughties boy band, journalist ‘Tofe Ayeni narrates how the group stood out by telling detailed stories in all their songs, an art that seems to not be as important in modern music.

The Beginning

If you had the pleasure of growing up in Nigeria in the early 2000s, Styl-Plus, namely their debut album ‘Expressions’, was likely one of your most-played albums. Before Apple Music and Spotify – when we used to play CDs, the radio, or cassettes if you’re that retro – the songs from this album helped a lot of us through long trips to school in traffic, only to end up singing the catchy lyrics with your classmates upon arrival. 

Styl-Plus were the group who made people of all tribes belt out Yoruba words through tracks like “Imagine That”; Styl-Plus convinced you that it might actually be interesting to get spellbound by food from a local restaurant; Styl-Plus made everyone from the ages of four to forty simultaneously desire and fear the concept of love. Nigeria’s premier R&B boy band at the time, Styl-Plus has a special place in all our hearts. 

Styl-Plus were not the only Pop stars at the time, but they were arguably the only R&B group to maintain the level of popularity they did consistently, commanding a nationwide audience through their compelling, unmatched and unmistakable storytelling. The group, originally called STYL, began in 1997 with founding members Shifi Emoefe, Tunde Akinsanmi, Yemi Akinwonmi and Lanre Faneyi – STYL being the first letters of their names. Sadly, as is described in their song “Four Years”, Lanre passed away in 1998, following which Zeal joined the group, making them Styl-Plus. In 2002, Yemi left, and the quartet became the sensational trio of Shifi, Tunde and Zeal. 

The group, which began as a purely gospel quartet, moved into the love ballads and Pop music we know them for today in 2001, and it was at this point that they gained nationwide recognition. In Styl-Plus’ era of secular music, each song they delivered were tales of passion, of hurt, of love, of life in general, all the while ensuring they gave us beats catchy enough to allow us to dance to their songs at parties. Interestingly, and perhaps due to their gospel background, the group managed to keep their music ‘family friendly’, concentrating on love rather than sex, with theatrical, melodramatic lyrics very far from the more melancholy tone we (or I) tend to relate to today. 

Although I am unashamedly biased, it is safe to say that no other Nigerian artiste or group has managed to consistently show their songwriting prowess like Styl-Plus. We all know good songwriters still exist, but the popular ones, say Teni, have a mix of songs that tell a clear story (“Case”), and those with not as strong storylines. On “Obe” (ft. Boj), for example, there is no real tale – no beginning, middle or end to tell us of how the artist arrived at the subject she is singing about. 

This is not to bash the song, or Teni, or other artists who don’t feel that storytelling must be at the core of every song. There is no rulebook that says singers must be authors with a melody, and we all know that on this side of the world the beat is usually the most important part (see: “KPK”, with its three lyrics being the song of last Christmas).  But when it comes to the album ‘Expressions’, storytelling is at its finest. There is not one song on it that does not present a compelling narrative. 

The Middle

From crooning about the girl who is Tunde’s world in “Always on my mind”, to the girls that broke their heart on “Imagine That”, to the bukka owner who stole their destinies on “Iya Basira”, on each ‘Expressions’ record, listeners are introduced to a topic, explained the situation, and everything is concluded with a nice bow tie. In particular, three songs remain especially memorable and narratively skilful. Three of the most  popular, indelible songs from the album, these are “Olufunmi”, “Imagine That” and my personal favourite, “Iya Basira”. 

Olufunmi

Let’s start with “Olufunmi”, a song that has hardly decreased in popularity since its 2003 release. Over the melancholic keys, the crooners sing to a girl named Olufunmi, with whom each one is 100% besotted. Despite all the promises, and Tunde building his world around her, Olufunmi wants to leave. Begging her, in Yoruba, to not leave them, the catchy chorus lives in the minds of all Nigerians, whether one grew up here or not. Re-listening to the lyrics today, I am (not) ashamed to say that… tears in my eyes? I am also begging Olufunmi to stay,  because clearly, neither Tunde, Shifi, nor Zeal could possibly survive without her. Sliding in a Rap cut after the second chorus, “Olufunmi ” lends to the fact that Styl-Plus also provided some of our first experiences of popular-rap verses in Nigeria.

Imagine That

Imagine That: A classic, indisputably. What did Styl-Plus not do on this song? As they start by telling everybody to “move your body now, forget about a blue day; everybody move your body now, tomorrow is a good day,” when listening to the lyrics you are somewhat taken aback by a chorus that focuses on heartbreak. Then, it makes sense. The group have endured so much in love – but instead of wallowing, they dance; tomorrow is a good day. If that’s not the Nigerian way of dealing with just about every issue, I don’t know what is. 

In the Yoruba chorus, in which each line is topped up with the words “imagine that,” we hear about how each lady left, even after all they have done for them. Suggesting that their lives would be over if their respective muses did follow through with leaving them, a pattern begins to form. The conclusion? Styl-Plus needs to stick to women that like them.

My favourite part of the song is the Yoruba verse at the end, where Zeal sings so beautifully about a woman treating him like trash. It’s poetic but like… only in Yoruba. This song will make you dance, works great with karaoke, and with the detailed English verses explaining what different girls have done, a handle on Yoruba is really not required. “Imagine That” is perfect in every way.

Iya Basira

My personal favourite. Honestly this was probably the first (non-nursery rhyme) song I knew word for word, and I’ve never forgotten a single lyric. Through their detailed sung descriptions you can literally see the events of the song unfold. Iya Basira is more than a story; it’s like a movie, or, at the very least, a skit. There are different characters: the main character who falls for the jazz in Iya Basira’s food; the person that tells him that his “long-throat” is too much; the policeman that he recruits to go with him to the Oshodi Bukka, and Iya Basira herself. The song gives all we didn’t know we needed and more. 

Although they admit they “never see this juju tele tele” and literally warn us against it, I can’t be the only one that, to this day, has a craving for this food that prevents Styl Plus from eating their mother or girlfriend’s food.

The dialogue in Iya Basira is where the song gets its belly-aching humour. The most comical part of the skit comes from the officer going to the bukka, asking Iya Basira what she is giving people to eat that is causing this wahala. Of course,  when he proceeds “to chop small – fufu N90 plus that soup wey dey draw,” upon tasting, he asks for more, and then dismisses the case – Iya Basira’s food is just that good. Though the main character is calling us, the people, to save him from this mystic bukka, it is clearly a lost cause, because even the law enforcer is unable to resist. Sprinkling dexterous vocals over the song’s conclusion, “Iya Basira” is comedy, but with a whole world of talent, don’t forget that.

The End

Back in the day, storytelling was an imperative component of good music. When you think about the greats from the different decades – from Fela, to Lagbaja, to (dare I say) Styl-Plus – their songs told a story. They had to. Whether it was a political story with Fela, or love stories with Lagbaja and Styl-Plus, the artists gave us a tale to follow, because that was what listeners were looking for, what we expected and what got us hooked. 

Nowadays, the storytelling aspect of Nigerian music is not as important. Narrative lyrics have lost their crucialness. This could be attributed to a heavier focus on beats and producers, and also because it is more important to have music one can dance to rather than learning lyrics to sing. But regardless of these compound causes, these days we see many modern artists who don’t tell stories through their music. This is not to say that they don’t say anything at all. Davido has a fair share of love songs, but his tales don’t have a beginning, middle and end like those of Styl-Plus. Burna Boy often sings political tunes, but he also has a firm foot in lighter, free-spirited pools of music. 

If an album that tells stories in quite the same way as ‘Expressions’ does exist, we don’t know it. Sure, Nigerian music has improved in many ways since the early 2000s, but times and tastes have changed, and the artists seem to be able to feel this. Or perhaps the artists changed first, and we began to accept this new style of music. It’s hard to tell but either way the fact remains, no one compares to Styl-Plus – not when it comes to the art of storytelling.

Featured Image Credits: The NATIVE

‘Tofe Ayeni, political journalist, feminist. And I listen to a lot of music.

Meet ShaSimone, The British-Ghanaian rapper On Dave’s “Both Sides Of A Smile”

Posted on by Tami Makinde

Last Friday, British-Nigerian rapper Dave released his sophomore album ‘We’re All Alone In This Together’, the follow-up to his Mercury Award-winning debut album, ‘Psychodrama’. Once again, the Streatham rapper waxed poetic about the trials of fame and success, while offering deft social observations about the Windrush scandal, the victims of Grenfell, and war crimes in the Middle East.

The centrepiece of the album lay in the cross-continental features which tied together different parts of Dave’s backgrounds — from his doorsteps on Streatham to the rowdy streets of Lagos and beyond. Wizkid, Boj, James Blake, and Stormzy were some of the big-ticket names that caught fans’ attention. However, one uncredited collaborator has been generating quite the buzz since the album’s release: Shasimone.

 

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‘We’re All Alone In This Together’ cradles many sweet spots. Adopting a multi-genre approach, Dave takes listeners through different soundscapes, at some moments offering up Afrobeats and R&B and another moment, delving within the confines of Drill and Electronica. The album encompasses many different voices, representative of its name, togetherness in solitude.

On “Both Sides Of A Smile”, one of the standouts on Dave’s album, the rapper gives way for two distinctively antithetical artists to take centre stage and allow listeners to ponder their own romantic shortcomings. As James Blake’s melodious voice introduces listeners to the world within, Dave begins to spit his thoughts on love and romantic unions. “Love’s a film and I’m just flicking through the parts I’m in,” a line that will certainly resonate with anyone who’s loved and lost.

As the song builds, a new voice comes into focus. Cue in Shasimone, the British-Ghanaian newcomer slowly making a name for herself. With lyrics like “Ask me if I’m taken, I say taken for granted/Cause I’ll be damned if I give a fuckin loser my best years,” the East London emcee stirred up quite the conversation as fans began clamouring for more material from her.

According to her Spotify page, she’s currently got 5K monthly listeners which will continue to rise as more listeners discover her short but sweet discography. The rapper’s first release dates back to September 2020 where she made her official debut with “Belly”. Although the singer currently has only four releases on her streaming platforms, she’s consistently shown her fierce lyrical chops each time she’s stepped up to the mic.

On “Back To Sender”, her most recent release, the rapper returned back to her Ghanaian roots, spitting her hard-hitting bars over an Afropop-tinged production. Here, she talks at length about the opps and not letting bad energy into her tightly knit circle. In the song’s 3 minute run time, she’s able to pack an onslaught of wordplay as she calls out the fake bravado of masculinity. Armed with kiss-offs and spilled tea from past lovers, Shasimone shows that she’s got a magnetic energy to her words and delivery. It’s this energy she brings to “Both Sides Of A Smile”, a potent introduction for those who are unfamiliar with her past work.

It’s always inspiring when we see Black women unabashedly show off their enviable skills, especially on a song with men who are far more established in their careers. Still, Shasimone was more than able to hold her own ground, winning over hearts and ears with her rapid-fire verses that draw us into her youthful world. From one self-determined showcase to another, it’s clear that Shasimone is one to keep tabs on. She’s a woman of action talking her shit on her tracks, and we need more of this.

Watch “Back To Sender” below.

[Featured image credits/Instagram:Shasimone]

ICYMI: Dave Drops Sophomore Album ‘We’re All Alone In This Together

Turntable Top 50: Ladipoe’s “Feeling” Returns To Number One

Posted on by The Native

Summer is here, and Ladipoe’s “Feeling” is still the number one song on the TurnTable Top 50. It replaces Omah Lay’s “Understand” and becomes the first song to reach the summit on three different occasions.

“Feeling” first reached No. 1 on the chart dated June 7, 2021, and spent two consecutive weeks at No. 1 before dropping to No. 2. It then returned to top the chart again almost one month after on the chart dated July 5, 202, pending another two consecutive weeks before dropping to number two last week.

After an impressive debut week, Omah Lay’s “Understand” drops to No. 2. The Tempoe-produced song drew 49.8 million in radio reach (up 6.2%) and 1.72 million equivalent streams (down 43.4%). “Rock” the lead single of Olamide’s UY Scuti album, remains at number three after topping the chart for three weeks while Ruger’s “Bounce” returns to its number four peak on the TurnTable Top 50.

Rema’s “Soundgasm” slides one position from number four to five after peaking at number three on the chart while newcomer AV’s “Big Thug Boys” drops one rung to number six after peaking at number five last week. Elsewhere, MohBad makes a return to the TurnTable Top 10 with “Feel Good” bowing at number seven after drawing 2.08 million equivalent streams and 4.9 million in radio reach. It is Mohbad’s second top ten on the chart after the No.3-peaking “KPK (Ko Por Ke).”

Rounding out this week’s top ten of the Top 50: Patoranking’s “Celebrate Me” maintains its number eight peak position while Adekunle Gold’s “Sinner” featuring Lucky Daye falls from number seven to nine. Wizkid’s Tems-featuring summer scorcher, “Essence,” holds at number 10.

Featured image credits/Ladipoe

ICYMI: TRACK BY TRACK: AJEBO HUSTLERS BREAK DOWN THEIR DEBUT TAPE ‘KPOS LIFESTYLE VOL.1’

Best New Music Special: Sarz & Obongjayar bring Funk back on ‘Sweetness’

Posted on by Adewojumi Aderemi

In 1976, the great Afro-Soul singer, Orlando Julius recorded his four-track extended play that invited listeners into the fad of the decade. Singing, “Come on let’s do the new dance,” Orlando Julius introduced his album with the title track, “Disco Hi-Life” encouraging audiences to join him in marrying sounds from his Nigerian home and the influential West. Recorded between the iconic Ginger Baker Studio in Lagos and West Virginia’s The American Star Studio, Orlando Julius’ instructions way back then are still being heeded now. Julius said “let’s do the disco hi-life,” and Sarz and Obongjayar, 40 years on, listened.

During the 1970s and ’80s, Disco and its more jazz-inclined sibling, Funk were globally consumed and produced. As Pop icon Michael Jackson was making his most memorable disco tunes, Nigerian legends such as Tony Allen, Eno Louis, Odion Iruoje, and including Orlando Julius, were putting a local inflection on this global sound. As the years went on and Funk and Disco retreated into the archives in the US, to be replaced by the historic rise of Hip-Hop and Rap, West African genres also went through a similar phase. Afro-Disco or Afro-Funk became the tastes of the elderly generation, played in nostalgia for the good old days – which, in these parts, were actually better than now.

Nowadays, artists who continue to make Funk music exist outside the mainstream; and, unlike Fela’s Afrobeat, or the High-Life sound that united West Africa back then, Disco and Funk are not popular choices for mainstream artists to experiment upon. In 2018, when Odunsi (The Engine) reintroduced Afro-Funk to the Nigerian mainstream, with his game-changing debut album, ‘rare.’, even as an alternative artist this feat was considered so counter-grain that many challenged its merit and doubted the potential of its success.

Naysayers be damned, three years later, leading Nigerian producer, Sarz has now joined forces with experimental British-Nigerian artist, Obongjayar for an evolution of the Afro-Funk campaign, that audiences are clearly hoping will catch on, judging by the instant commercial buzz and sonic highs of their joint EP ‘Sweetness‘.

 

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Short and definitely saccharine, ‘Sweetness‘ is four unexpected tracks that prove the unequivocal production prowess and versatility of Sarz as a global tastemaker. An underground British-Nigerian artist, Obongjayar is best known for his poetic, raspy delivery on overdramatic beats. On his album released last year, Obongjayar flexed his Afrobeat interests alongside spiritual gospel on a record like “God’s Own Children”, clearly showing that travelling to the past to source inspiration for his present music tastes is a common practice of his. Still, as the Funk guitar ushers in the main rhythm of the title and opening track, ‘Sweetness‘  all our expectations of both acts are subverted in the most mesmerising way possible.

As the keyboards on “Sweetness” amplify the Disco tenets of the song, Obongjayar opts for a falsetto delivery, a difference from the booming vocals he typically adopts. Looking for a girl’s attention, Obongjayar weaves in characteristic Disco language, pleading with her not to reject him with the lyrics, “don’t turn your lights out.” After announcing his imminent arrival at her place, the chorus is followed by an instrumental break, a key component of Disco music. In true Sarz fashion, the end of the song also features a lyric-less few seconds, accentuated by a bass solo, that reminds us of the empirical role Sarz plays on this EP.

Each record on the project has its own identity. Where “Sweetness” is fruity and fun, “Nobody” is more contemporary in its sound. “If You Say” is a dance-floor classic, whilst “Gone Girl” is a darker tune with the most melancholy plot-line. On the brooding second track, Obongjayar sings of growing apart from his lover, noticing a change in her attitude that he can’t explain. Obongjayar cleverly references Fela’s immortal title track, “Zombie” to describe his lover’s aloofness, while Sarz works his magic with the beat, incorporating echoes to illustrate the emptiness growing around Obongjayar.

On “Gone Girl”, like in “Sweetness”, Obongjayar’s Nigerian intonations come out stronger on the song’s second verse. Heavily reminiscent of The Weeknd’s ‘Starboy‘ – right from the gritty opening of the title track to the album’s closer “I Feel It Coming” – it is Obongjayar’s unique vocals that truly set this song apart. With “If You Say”, however, the album harkens back to the previously mentioned, Odunsi’s ‘rare.’ With similarities to “dancefloor” in particular, on “If You Say”, what captivates listeners is Obongjayar’s syncopated rhythm. On this song begging for honest communication and follow-through on commitments, throughout ‘Sweetness‘, Obongjayar displays an enviable vulnerability, for those of us who have been jaded in love.

After just ten delightful minutes, we reach the project’s final track, “Nobody”. In 1976, Orlando Julius recorded his own four-track extended play of Afro-Disco songs; this lasted over half an hour. In 2021, ‘Sweetness’ is representative of current interests, coming in at less than 15 minutes. The final track, its most familiar, most mainstream, most contemporary opens with Obongjayar telling his muse, “can’t nobody do what you did.” Just as he mentioned how irresistible she was on “Sweetness”, Obongjayar’s words to his lover somehow mirror achievements of the duo on this EP.

Of course, contemporary Funk/Disco has been done before, but on projects like ‘Starboy‘, ‘Future Nostalgia‘, or ‘rare.‘ or singles such as Doja Cat’s “Say So”, the ’70s are a mere reference. On ‘Sweetness’, however, the Disco-decade is reincarnated in full. Can anybody do what they did? We hope some at least try.

Stream ‘Sweetness’ below.

Featured Image Credits: NATIVE

ICYMI: TRACK BY TRACK: AJEBO HUSTLERS BREAK DOWN THEIR DEBUT TAPE ‘KPOS LIFESTYLE VOL.1’

Kemi Adetiba’s ‘King Of Boys’ Is Now A 7-Part Netflix Original Series

Posted on by Tami Makinde

After much anticipation, the sequel to Kemi Adetiba’s award-winning film ‘King of Boys’ is coming to Netflix. The release which has been status imminent for quite some time is finally being shared on the streaming behemoth next month. However, this time with a welcome twist.

Announced officially today, ‘King of Boys’ is now being marketed as a 7-part Netflix Original series. The new 7-part drama series will be the first of its kind to grace the streaming platform since its entry into African markets two years ago.

 

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According to Netflix’s official press release, ‘King Of Boys: The Return of The King’ will see Sola Sobowale and Toni Tones return as Eniola Salami and picks up with Eniola’s triumphant return after a five-year exile. However, this time around, her shocking, unannounced return rattles the cages of her enemies – both old and new. And once-trusted allies desert her at her most vulnerable moment – all while she faces an even greater battle within herself for the redemption of her tortured soul.

New additions to the cast include First Lady Jumoke Randle (Nse Ikpe Etim) , Reverend Ifeanyi (RMD)  ( Reverend Ifeanyi) , (Dapo Banjo( Efa Iwara), Adetola Fashina (Deyemi Okanlawon, Odudubariba (Charly Boy ) and Governor Tunde Randle (Lord Frank). The 7-part series is slated for an August 27 release date, although it is not yet known whether all the seven episodes will be released at once or over a course of time.

Speaking about the new series, Kemi Adetiba shares:

“When I decided to tell the King of Boys story, I never imagined it would take on a life of its own in the way it has. It’s been such an exciting ride from its introduction in 2018 to the Nigerian audience, and their reception was so incredible that the fans have been clamoring for more.

I’m so honored that today, I get to share the world of Eniola Salami and King of Boys 2: The Return of the King to a global audience, but this time with the massive backing of Netflix. Continuing the King of Boys journey with Netflix is a big deal for me, especially as this time, it will be served to the world as a limited 7-part series.”

Rewatch the ‘King of Boys’ teaser below.

Featured image credits/Netflix

ICYMI: The Irrefutable Legacy of Osuofia in London

Songs Of The Day: New Music From Dave, Fireboy DML, DND Section & More

Posted on by Wonu Osikoya

We’re halfway through the summer and 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 ENNY who just released her debut EP ‘Under Twenty Five’, Buju, Tomi Thomas, Hermez, April Maey, Fresh Meat alums Benzo and Skolleywood & more. This weekend, there’s tons of new music to get through from Dave, Fireboy DML, Juls, DND Section, Azanti, Jaylon, Cheque, Kida Kudz, Ajebutter, Oxlade, Ictooicy, adé and more. Enjoy.

Fireboy DML – “Peru”

Following the success of his sophomore album ‘Apollo’ released last year, Fireboy continues to show his undoubted star power. After a brief hiatus from releasing any new solo material, the singer is back for his first release of the year following his appearance on Cheque’s single “History” earlier this year.

On “Peru”, the new Shizzi-produced romantic, the singer is at his most relaxed, reassuring a lover of his dedication to them. With lyrics such as “Omoge no be so, girl you wan capture soul/I’m loo- even Peru don dey tire” on the romantic number, it’s clear that Fireboy DML has spent the past year sharpening his writing skills. With an enviable flow and clever wordplay, Fireboy DML reaffirms his place in the new vanguard of Afropop hitmakers.

Dave – “System” ft. Wizkid

Dave’s highly anticipated sophomore album ‘We’re All Alone In This Together’ is finally here. On the newly released project, the British-Nigerian emcee is turning up the dial on his Nigerian roots by featuring both Wizkid and BOJ on two separate tracks.

The Wizkid-assisted “System” is a groovy summer number that will certainly soundtrack parties from the ends to Agege. “Whine baby show me that you whine am well, I never knew about you so well/My enemies only pray for war so I give them/Henny for system, one more and she giving me,” quips Wizkid over the song’s memorable hook with sounds that transport listeners from the nightclub to an intimate romantic setting and back.

Juls – “WICKED” ft. Sam Wise, Kadiata & Knucks

British-Ghanaian artist, producer and DJ Juls is preparing for the release of his debut album which is slated for release later this year. Ahead of this, he’s been giving listeners a taste of what to come with the Tay Iwar-assisted “Chance” and now second promotional single “WICKED” featuring Sam Wise, Kadiata, and Knucks.

On the new release, the artist teams up with some of the finest British talents from the UK to helm a song that will certainly soundtrack nighttime activities. The accompanying Ray Fiasco-directed video finds all artists delivering their verses as blazing neon lights ooze in the background taking them from the streets of London to intimate house parties and dancefloors.

Yung Bleu ft. Davido – “Unforgiving”

One of the best parts about music in this decade is the multitude of cross-border collaborations that we’re receiving on a near-daily basis. After spending some time in Lagos earlier this year, Yung Bleu linked up and made magic with some of the cities finest musicians.

On his newly released album ‘Moon Boy’, Davido makes a legendary appearance on “Unforgiving”, a midtempo romantic number. Singing “Back then I thought I found love, but now you’re someone I used to know/Now you’re asking for one more chance but yawa don gas,” Davido delivers a memorable verse that allows him to flex his singing chops in a new light.

dndSECTION – “Red Eyes” ft. Maradonna

For his first release of the year, dndSection is here with “Red Eyes”. With a Maradona-verse assist, both artists deliver a stellar performance against the backdrop of a groovy GMK production. The track has the artists at their most boastful as they speak on stacking bands, their exotic lifestyle, and putting the opps in check. “My dawg gon pull up if you test my, rolling with the worst guys/All my niggas outside, shoot a nigga ten times/Throw hundreds in the roof in a club no dead vibe” DND raps on the hook. The accompanying video is also equally captivating with a glimpse of dollar bills, exotic cars, and Maradona in a party scene.

KIDA KUDZ – PROBLEM

There’s no denying that British-Nigerian rapper Kida Kudz is the jiggiest rapper alive. To capitalise on this moment, the rapper has just released his sophomore album, aptly titled ‘TOP MEMBA’ to signify his jiggy status. The 10-track album features a spate of talented collaborators from Bella Shmurda, Made Kuti, Tanika and more.

On standout number “Problem”, Kida Kudz is at his most boastful, flexing the newfound success and wealth he now enjoys in this phase of his career. “More money zee problem, Fine girls me I love them/Everything I’ve done, I don surrender and it’s me and you forever” he sings-raps on the hook before rounding the song up with Osita Iheme‘s famous ‘Bigi Bigi’ soundbite. This is certainly one problem we’d also like to have in this life of sin.

CHEQUE – “Call Me Baby”

Following his earlier release, the Fireboy-assisted “History”, singer Cheque is back with his second official single for the year. On Call Me Baby”, the singer delivers a love tune over a distinct bouncy trap beat. Over the heavy kicks on the Andyr and Lay Z-produced track, Cheque sings “Can I call you baby, I’m in the mood come on my cruise/Let me call you baby, I call the shots you call the shots now you a boss, you’re the one” on the hook, assuring his muse of his affection for her.

Ajebutter, Oxlade – “Unconditionally”

The year is 2021 and Ajebutter is gearing up for the release of a new album. Ahead of this, he’s been sharing a number of singles including “King of Parole” and now the Oxlade-assisted “Unconditionally”. Singing “I wanna love you unconditionally but I gotta take it slow and take it gradually” sings Oxlade over the song’s catchy hook as he directly addresses a lover and reassures her of his affection. Ajebutter sings-raps on the song’s verses, also full of admirable words and reassurance for his muse. It’s a loved-up summer. Get to know.

DAGIZAH – PRESIDENTIAL

Dagizah releases his debut EP ‘Zero Your Mind’, a 6-track project which has the artist talking about his hustle stories and how he connects his struggles to the music. The track “Presidential”, has the artist hyping himself up and basically saying he’s in charge over the trap beat as well as infusing Yoruba lyrics on the track; “No case, me i be the coolest and i get craze, No face twinkle monster that is 2face/Steady grinding no laziness, Don’t you listen don’t believe in them”.

Jaylon – “Firedncr.” Ft. Azanti

Record producer and audio engineer Jaylon is back with another hit tune titled “Firedncr”. This time, he collaborates with Apex Village’s newest signee Azanti who glides smoothly over the futuristic production on the HVRRY-assisted produced track. The romantic track has Azanti serenading his muse with lyrics such as “And if na woman go kill a man, na you be one wey go kill a man/I go die for you, Chale i go die for you”. If you’re looking to serenade your lover this weekend, this is the track for you.

Ictooicy & adé – “Luv+War”

Ictooicy is gearing up for the release of a new project. Ahead of this, she’s just released a new single titled “Luv+War” featuring close collaborator, adé. The Winzycool-produced track finds both artists reflecting on two contrasting responses to a lover who gaslights them instead of engaging in healthy conversations.

“You don’t wanna talk to me/I’m a lover not a fighter/You steady always blaming me/Take me for granted when you know I can’t stand it” quips Icy over the song’s catchy hook, addressing a love interest directly and making them see all the ways they’re hurting her. If you’ve ever championed love over dramatic fights in your relationships, this is definitely the perfect song to add to your playlist this weekend.

Featured image credits/Instagram

ICYMI: Ajebo Hustlers break down their debut tape ‘Kpos Lifestyle, Vol.1’

Lagos Fashion Week Opens Its Doors Once Again This October

Posted on by The Native

It’s that time of the year again. Lagos fashion week is back this October. The most anticipated event in the social calendar is about to open its doors once again to stylish people in one of the world’s fashion capitals. Slated to run from the 27th to the 30th of October, this year’s event promises to be bigger, better, and more daring than previous editions.

Over the past decade, Lagos has marked itself out as one of the most stylish cities to watch in the world. During this time, key players have emerged from Kenneth Ize who has recently emerged with Italian fashion house, Karl Lagerfeld to the Adebayo Oke-Lawal who has now launched a mentorship programme for Africa’s emerging fashion entrepreneurs.

During this time, Heineken Lagos Fashion Week has remained one of the leading fashion events on the continent which have embraced and celebrated African heritage on its runways. For 10 years, Lagos fashion week has broadened its horizon and used its large audience and platform to elevate the African style to the world and this year is no different. The platform has evolved to more than just focusing on design but co-creation and collaborations with internationally recognised brands all over the fashion world.

This year, LFW will be focusing on the future of fashion for the next decade and will be looking to adopt a functional fashion system that delivers environmental, societal, and economic solutions that’s beneficial for all. Currently, there are no further details about the upcoming hot-button social event but you can stay tuned in with updates on the official Instagram page.

[Featured image credits: Instagram/MikeyOshai]

ICYMI: Daily Paper Debuts Unite Sessions

Dave drops his sophomore album ‘We’re All Alone In This Together’

Posted on by Adewojumi Aderemi

Over the past four years, Dave has become an incomparable force amongst UK rappers. Growing into mainstream prominence in 2017 following an OVO Sound Radio appearance and a collaboration with renowned hitmaker J Hus on “Samantha”, the rapper is known for his deep societal commentary shared through powerful poetry. His debut album, ‘Pyschodrama‘ is a decorated piece winning Brit, Mercury and AIM prizes, as well as earning platinum certification. Off the back of this success, Dave’s sophomore album has been hotly anticipated, within the industry and amongst fans.

Finally arriving today, ‘We’re All Alone In This Together‘ looks to be living up to the hype. Equal parts profound, equal parts party-pumping, with different moods and sounds co-mingling across the album, Dave’s sophomore is just the thought-provoking, attention-grabbing hour you’d expect from the mid-20s rapper.

Heavy on the lyrics, ‘We’re All Alone In This Together‘ is stacked with lengthy numbers that divulge the hardships, Dave, his family, and his community have had to endure, given their socioeconomic background. Like “Lesley” on ‘Pyschodrama‘, this album’s preeminent piece is “Heart Attack”, which includes a heartfelt teary note from Dave’s mother at the end. The opening audio on this penultimate track also features news clips detailing the uptick of knife crime in London, ahead of Dave spitting about the cycle of suffering that pushes inner-city residents into crime.

Besides, “Heart Attack”, the rest of the project is rife with sound-bites that reiterate the weightiness of the song’s subjects and also convokes a plethora of featured artists. Featuring Boj, who dishes out some sing-along Yoruba bars, right after the Wizkid-assisted “System”, on ‘We’re All Alone In This Together‘ Dave comes together with exciting acts from a wide variety of musical nodes and tastes.

From Snoh Allegra to James Blake and Stormzy on the promotional single, “Clash”, Dave’s collaborators take us through the album’s twists and turns as expertly and meticulously as the artist himself. “Both Sides of A Smile” and “In The Fire” in particular are collaborative masterpieces. The former track taps into Dave’s storytelling prowess, whilst on the second track ShaSimone leverages Dave’s ability to bewitch audiences over stripped and simple beats, espousing lyrics in a dynamic, captivating way.

A record that has emerged controversial on the timeline is “Twenty To One”. With its sing-song hook, the accurately titled number is cleverly timed for audiences who listened to the album at its midnight drop. As grating as the nursery rhyme chorus might seem at first, it is incredibly catchy, and as you subconsciously begin to sing along, you have no choice but to appreciate the melody’s merit.

Featured Image Credits: Dave/Instagram

ICYMI: 1-LISTEN REVIEW: SARZ & OBONGJAYAR’S ‘SWEETNESS’

Track By Track: Ajebo Hustlers Break Down Their Debut Tape ‘Kpos Lifestyle Vol.1’

Posted on by The Native

At the peak of last year’s momentous #EndSARS protests, organisers in Rivers State began distributing fliers online about a protest scheduled to take place at Pleasure Park in the state’s capital city. However, just before the slated date, the state governor, Nyesom Wike, called off any public demonstrations in the state, but the Internet disagreed–and so did the city’s young people. In audio and video clips shared on Twitter, citizens of the state affirmed their decision to meet up at Pleasure Park in defiance of the governor’s orders.

While united under a common goal to root out a rogue police unit, one song rang out more than any other: Ajebo Hustlers’ “Barawo.”

In a year that tested the limits of civil and personal ties, “Barawo” was the rare pop song that encapsulated the people’s discontent thematically and sonically. Spun from a real-life story of jungle justice witnessed in their home state – the gruesome lynching of the Aluu 4 in 2012 – Piego and Knowledge birthed a song that united their city and the country at large.

When things became unbearable, the song’s defining chant “this country na wa” united hearts and minds in those singular moments, insulating them from the pain felt in real-time. That song and the momentum around it have anchored the Port Harcourt duo to greater heights. This culminated in the February release of the Omah Lay-featuring “Pronto,” a smooth summer track that has taken over the radio and the clubs.

Piego and Knowledge have spent the best part of the last decade working up to this moment. After linking up as fresh-faced young men back in 2011, they have navigated the treacherous, sometimes lonely, road to music relevance in Nigeria and they have done so together. Now, the duo wish to pay homage to the fans who have been riding with them all this while. The arena to do so is ‘Kpos Lifestyle, Vol. 1’, their debut album that collapses their youthful impulses into blunt reflections on the state of life in Nigeria and the joy of relishing in the present moment.

Here, the pair offer a window into what each song on ‘Kpos Lifestyle, Vol. 1’ is about.

 

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“Bus Stop”

Piego: This song is essentially a love story. We just wanted to expand on the idea of a guy meeting the girl of his dreams, someone he’s ready to settle down with, and going all out for her. So, it’s that idea of going, “I don reach my bus stop.” That’s basically the idea for this one.

“Yafun Yafun”

Piego: “Yafun Yafun” talks about a promiscuous woman who’s supposedly in a relationship and her partner is tired of that but still wants to get married to her because he still likes her. So, he’s going to resort to magun. Magun is a ritual rite in Yoruba culture to catch promiscuous people. We were just playing around with that scenario in the studio and decided to make it into a song.

“Solace”

Knowledge: This one was produced by Fresh and it’s also about a relationship. It’s about a lady in a toxic relationship: her boyfriend keeps yelling at her and getting her worked up. But, fortunately, she finds comfort and solace in my hands.

“Symbiosis”

Knowledge: Another love song. We wanted to present love as a two-way thing because it often feels like we are in a generation where relationships are one-sided with males providing and giving. We thought we could give a fresh perspective to it and just let people know that it doesn’t always have to be that way. When we finished the song, we sent it to Nissi – she was in London at the time – because we wanted a female artist on it for balance and she was the one we had in mind for the song. She worked on it for a couple of days and it was just perfect.

“Pronto”

Piego: This one was produced by Semzi and we had Omah Lay on. It’s just a feel-good song because we wanted to show a different side to ourselves. We talked about being on time, being available when people we love need us. People loved it and that just justified our decision to go with it.

“Sophisticated Iyawo”

Piego: As much as relationships can be tough, it’s also important to compliment your partners and we wanted to do that with this song. Orlando Magic produced this one and it’s just about appreciating the woman you are in a relationship with and highlighting all the great stuff about her as much as you can.

“Oh My Home”

Knowledge: We made this song about Nigeria because as citizens of the country we expect the country to get better. We want certain things to be put in place because since I was a kid we’ve been talking about having a better Nigeria and it’s not worked out. At the same time, this is the only home for us and we decided to pass a message about what we want and that’s how “Oh My Home” came about. We want to stop having to pray for basic things like light, water, and those kinds of things.

“Zamo”

Knowledge: We had a whirlwind year in 2020 and this was a song to show gratitude to God and just extend gratitude for everything being in sync. It was a simple vibe and we just thought it had to make the album.

“Barawo”

Piego: The song that literally changed it all. It was produced by 1da Banton. It’s a song about our day-to-day life in Nigeria, you know. It’s about jungle justice, societal ills, and bad governance too. I think it’s our most expressive song because we just straight up said how we felt about certain issues as citizens of the country. Everyone is just tired of things. It was also important to shed light on the ills of jungle justice and tell people to speak up if they found themselves in a situation like that. No one should have to have their lives taken like that because there are other ways to handle issues like that without killing people arbitrarily.

“Kpos”

Piego: This song is very personal to us because it’s for our oldest fans, they’ve been with us through thick and thin. It’s also interesting because new lovers of Ajebo Hustlers can connect. It’s basically an anthem to just celebrate that connection with our fans and thank them for their support. It’s also a really chill song that you can put on on the weekend when you’re settling in with a drink or something.

Stream ‘Kpos Lifestyle, Vol.1’ below.

Featured Image Credits/Instagram

ICYMI: Wani teams up with Buju for new single “Times Two (x2)”

1-Listen Review: Sarz & Obongjayar’s ‘Sweetness’

Posted on by Dennis Ade Peter

Many times, collaborative projects are borne out of clamour from fans who believe two artists have the capacity to share airspace and merge across a cohesive body of work. Some other times, they are borne from intrigue between both artists, a sense of kinship largely untouched by the external pressure of expectations, and forged through the speculative and creative process of making music. In the last few years, Sarz has gone the latter route, putting out collaborative projects with artists he finds intriguing rather than the usual suspects he’s worked with over his sprawling music production career.

Less than two months since his last, the Nigerian producer has returned with ‘Sweetness’, a new joint project with Nigerian-born, London-based singer/producer Obongjayar. Born and raised in Calabar, Steven Umoh migrated to London at 17, and he’s spent the majority of the years since transforming his musical identity from U.S. rap aficionado to avant-garde Soul singer. Across his wondrous discography, Obongjayar’s music is rooted in a profound awareness of himself and the world around him. Combined with a sonic palette that liberally pulls from Electro-Soul, Jazz, and Afrobeat, his gravelly voice is constantly arresting.

The arrival of ‘Sweetness’ comes with new possibilities, a chance for both artists to push each other in new directions. Let’s get into the music.

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

“Sweetness”

Wistful opening, very gentle build-up but it’s bursting with life. Obongjayar’s singing is as tender as the moment you lean in for your first kiss with your crush. This Disco-influenced bounce is bulbous enough to fit into a house party playlist, but it’s very sensual at its core—basically, it’s for two lovers on the dancefloor. Acknowledging you’re not the only one in an interest’s life is a hallmark of romance in the 2020s, everything’s gotten complicated and we wouldn’t have it any other way. Sarz knows how to work his synths which is a trite thing to say because he wouldn’t be so revered if he didn’t. I really like this opener, sounds like a keeper.

“Gone Girl”

Electronic sounds, glittering keys, and a delectable Afropop knock. Obongjayar’s singing has far less heft than I associate him with and it fits perfectly, he sounds aptly wounded by this woman who jilted him. I wish these lyrics had stronger evocative details, I can see the scene and I can feel the emotion but he’s usually better at showing rather than telling. The melody is fire, though, and that’s probably the most important component to match Sarz’s neon-coloured beat. Sarz went to the ‘80s and it’s unlike anything in Pop music, which is remarkable considering how much that era has been mined in recent times. This chorus is deceptively anthemic. Another strong one.

“If You Say”

The build-ups on these songs will have you itching to hear what’s about to happen next. These drum patterns, next to these keys, are simply wonderful. You can tell where the inspiration is from but they have a novel feel to them. “Don’t tell me the things I want to hear/it’s the things that you do when I’m not there” is an interesting way to frame romantic reciprocity. The heaves in Obongjayar’s voice is a trademark from the ‘80s, I can hear “Smooth Criminal” and a bunch of other classic Disco melodies somewhere in there. Disco and current Afropop don’t have the deepest relationship. Off the top of my head, I can only think of Odunsi’s rare. and Kidi’s “Next Time I See You,” so all of this is very refreshing.

“Nobody”

Last song on the project and I’m a bit mad that this is ending in a few minutes. This has that club-ready bounce, my upper body is threatening to jump out of my waist. I think that image should show how terrible of a dancer I am, but more importantly how bewitchingly groovy this is. Obongjayar sounds preppy, something like a typical Afropop singer but with his own gravelly twist. Ooooh! This breakdown! I can see people in swanky nightclubs doing gentrified versions of the Focus dance to this. Sarz is a genius, fam. I’ve never really associated “fun” with Obongjayar’s music, this EP is making me rethink all that.

Final Thoughts

On paper, Sarz and Obongjayar operate on two different musical planes, but that’s the thrill of these types of collaborative projects where distinct styles collide with purpose and yield great dividends for both artists and listeners. At only four songs, ‘Sweetness’ makes a definitive statement in its brief and compact run-time. Sarz and Obongjayar have turned out an EP with experimentation at its heart, with both artists finding common ground by venturing into exciting territory.

With ‘80s Disco and Electropop as the main musical references, ‘Sweetness’ uses these distinct sounds as the framework for its innovative verve. This retro-futuristic music that’s firmly rooted in the present; buzzing synths, glittery keys, and thudding drum patterns merging with expressions of modern-day romance. The rub-off effect is evident: Sarz is arguably in the most cerebral element of his career, while Obongjayar delivers some of the catchiest melodies he’s ever sung. To an extent, both artists adjust to each other’s sensibilities, but they do so in a way that pushes them forward and leads to individual gains.

Sweetness is a short project—perhaps too short—and the payoff will be in its replay value. Daringly crafted and airtight in its execution, it’s the sort of EP that will compel you to hit the repeat all button.

Listen to Sweetness here.

@dennisadepeter is a staff writer at the NATIVE.

Best new music: Sarz & Lojay fuse Afropop and R&B for deceptively addictive “Tonongo”

WANI teams up with Buju for new single, ‘Times Two’

Posted on by Wonu Osikoya

In May 2018, Wani introduced the world to his sound with his nearly perfect debut EP ‘Lagos City Vice’. Since the success of this debut EP in 2018, Wani has released only a handful of singles and sparse features, to remind us that he’s still got it and he’s not going anywhere. Now, he’s officially bringing us into the world of the Platoon-powered ‘Lagos City Vice II’, and he’s kicked off with the first single, ‘Times Two’.

 

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The Higo-produced track with a Buju-assist, sees both artists serenading their love interests, as they make romantic confessions to their respective muses. On the track, Buju takes stage first as he delivers the chorus of the mid-tempo love tune; “You know I got zero women in my life/gum body times one or times two/Girl you know i’m crushing on you” Buju quips on the hook. Wani comes in shortly after and spins the track in a completely different direction taking charge of his come back. Both artists display great synergy, and complement the beat nicely. 

Ahead of the song’s release, we caught up briefly with the singer about what to expect from ‘LCV II’ and his partnership with Platoon for the EP’s release. Read here:

NATIVE: It’s been a while since LCV dropped. How do you feel about it looking back?

WANI: I’m excited. It’s been such a long time since I dropped my first tape and I feel like I’ve gone through so much growth and it’s just like a growth in subject matter. Lagos City Vice I was me coming back to Lagos, and now this project is me in Lagos. All in all, I’m excited and I know my fans have been waiting for a while and with the mind space I’m in right now, I’m ready to put it out. As far as the sequel, I feel like I owe it to the people who have just been following from the beginning because I said it and I feel like I owe it to myself to just deliver.

NATIVE: How did this track come about and the collaboration with Buju?

WANI: Buju and I record a lot of music together and this particular track was actually recorded on Christmas day – a day when everyone’s meant to be with their families. Buju, Higo and I were just chilling in the studio and I was telling him about how I had no female interest in my life at the time, and I was focusing on my brand and just getting work done. This was in no way supposed to turn into a musical piece but you know how Buju is; he’s like a wizard in the studio and out of nowhere, he burst out the hook and we went back and forth for a bit and here we are?

NATIVE: So What’s the subject matter of “Times Two”? 

WANI: Buju’s definitely talking about what’s on his mind; women, time, money. I’m doing the same thing from my perspective and we just put it on a party beat so people can vibe to it, but this is definitely not one of the records on the project that you need to think way too deep about.

NATIVE: What can we then expect from the rest of the EP?

There ARE only two party records on this tape, and I put those on because I didn’t want to deviate completely from where we were last time. I know it’s been years and a lot has changed but there’s records on there that cuts really deep from the subject matter stone point. I go into different things discussing Family, Anxiety, Fear of success, Fear of failure, how i feel about leveling up and a lot more.

Listen to Times Two here:

Featured image credits/WANI

ICYMI: LADY DONLI IS “SEARCHING” FOR SOME FREEDOM

AV Club: The Irrefutable Legacy of Osuofia In London

Posted on by The Native

If you grew up with any sort of tangentiality to lack at the turn of the 2000s like me, I can only imagine that your knowledge of pop culture is sketchy, to say the least. When I say sketchy, what I really mean is that there were gaping holes that left you unable to relate to many of the shows that your classmates talked about with gushing excitement during the short breaks between classes. With excessive power cuts, no access to cable TV, and the Internet still a long way off from penetrating Nigeria, it could often feel like you existed on a different plane to your peers.

But that is not to say that there were not pop culture moments that bonded us as Nigerians navigating the world. There are several Nollywood veterans that filled up the long hours before Saturday home tutoring and kept us awake long into school nights. Nkem Owoh was one of such veterans.

The man was a bridge that made things less awkward; with his mischievous glint and hypnotic comedic refrains that transfixed his audiences. The Enugu-born actor seemingly only had joy to give on-screen, often in the company of the late great Sam Loco Efe.

 

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By saying Nkem Owoh was the bridge, I do not claim to have watched all his movies over his decades-long career, just that we intently tried our best at mimicking him because, at his peak, he was a mesmerising force to behold on screen. The film that many immediately recall from the copper-skinned actor is the redoubtable ‘Osuofia In London’, the slapstick Kingsley Ogoro-directed comedy flick released in 2003 to critical acclaim. In the years since then, Owoh has moved on to more serious roles, winning an African Movie Academy Award in the leading actor category for his performance in 2008’s ‘Stronger Than Pain’.

Curiously, however, what remains ingrained in the psyche of the nation is that landmark role as a deer hunter in ‘Osuofia In London’ that has defined Owoh’s career. So much so, that many half-expected him to provide some comic relief in any role he took on, however high the emotional stakes. Part of this pining may be traced to the nostalgia for what the film – and the times it existed in – represented, and with limited avenues to watch the movie legally, it has mostly lived on in short clips shared on social media platforms and YouTube. So, when streaming giant, Netflix, announced in June that they would be bringing the movie on their platform, many were excited to re-discover the movie and all it represented.

Whatever might be said about Nigerians, no one can accuse us of not knowing how to have a good laugh and ‘Osuofia In London’ undoubtedly delivers on that, presenting a humorous picture of a clueless hunter who more often than not fails to succeed at his endeavours. However, he keeps at it, interjecting his tales of woes with banter aimed at his wife and daughters in the film set in a village in Eastern Nigeria. Besides worrying about providing for his family and taking care of his children’s school fees, Osuofia’s worries were also out-facing with one scene near the beginning of the movie revealing that he owed over 4,000 Naira – quite sizable in 2003 – in community dues. Osuofia chases the men sent to retrieve the money out of his compound with a Dane gun, a limp move that seems bizarrely out of character, but is quixotically amusing.

Osuofia’s luck changes when a messenger from Lagos arrives to inform him that his brother, Donatus, who had been in London for over a decade had passed away and he needed to go to Europe to claim an inheritance. In a remarkable case of foresight, the messenger had already organised a functional passport for Osuofia despite having never met him or known what he looked like. It’s one of the moments in the film where plot choices don’t follow any specific direction, seeming like it’s being made up as we go along.

 

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If comedy is the immediate intention of ‘Osuofia In London’, its largely unheralded achievement is how much it transforms into an examination of how people handle change. After initial skepticism at the prospect of an inheritance left by Donatus in London, Osuofia’s mood immediately lifts when he’s convinced the wealth does in fact exist. He also goes to great lengths to warn the teacher not to disclose any of the details to anyone else. In London, he’s confronted by a modern society underpinned by irreverence and at odds with his conception of morality of patented living. Osuofia’s patriarchal and rural instincts are challenged – almost insulted, going on his reaction – by London kids who chain-smoke and dress in a peculiar fashion. The unchecked modus of hunting that Osuofia is used to is also significantly alien to the London society, leading to his arrest when he tries to hunt pigeons at Trafalgar Square.

As Osuofia meanders through London, a sinister plot to defraud him of his inheritance is thickening and his brother’s fiance, Samantha, played by Mara Derwent is in on it alongside the Nigerian-British lawyer, Ben Okafor. Unintentionally, the film lifts a lid on the self-repulsion that many immigrants felt at their Nigerian heritage in that time capsule through Okafor’s anxieties at being perceived as less British because of his subtle Nigerian accent. It is often said that art mirrors reality, and while ‘Osuofia In London’ is still a highly fantasised take on the village-to-city troupe, it still reflects the dynamics of racial relations fairly accurately: Osuofia slightly blames racial intolerance for his arrest at Trafalgar Square and when Okafor is arrested in the follow-up to the movie, he infers that the police are unnecessarily harsh to him because of his origin.

If anyone has complaints about the excessive comedic theatrics that litter many Nigerian blockbuster productions from the last decade, they can point to this film as a sort of historical precedent for that type of grandstanding. The scenes of Osuofia rejecting a water closet system and taking off with a loaf of bread without paying, seem like a page out of the over flogged Broda Shaggi as a gatemen playbook. By fate or chance, Osuofia refuses to sign a document giving away his wealth, instead of hoping for physical cash – it is unclear how he hopes to get the money back to Africa – but when Samantha prevails on him, he relents and gives in to her charms; soon after, the union between Samantha and Ben falls apart, forcing her to flee with Osuofia to Nigeria where she hopes to pry cash away from him.

 

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‘Osuofia In London 2’, the less-heralded part of the iconic film, opens with its titular character overjoyed at the prospect of taking a white wife back to his village. That joy soon turns to strife as his wife and teenage daughters plot to send Samantha out of their home. On the other hand, the white woman is also plotting to spirit away Osuofia’s money – a move he counteracts by keeping his chequebook on him at all times. Overall, the plot holes grow larger in this follow-up and it degrades on a bigger scale when Samantha concocts a plan to poison Osuofia only for her plan to be foiled by his daughter who is conveniently placed to catch her in the act. The sense of jeopardy that enlivened the first part of the film is visibly absent by now, instead what is left is a film desperately trying to resolve its mess without removing its humorous elements. At this stage, not many of the actors are equipped to accurately represent the gravity of the situation, especially not Nkem Owoh, who had spent the better part of the film bordering on parody. In the end: Osuofia doesn’t die and, upon a heartfelt confession by Samantha, he returns the £500,000 she lent Donatus to start up his business.

Some say that imitation is the ultimate compliment, and by that measure, ‘Osuofia In London’ was a peerless piece of cinema when it dropped, setting a new standard for filmmaking in Nigeria as proved by spinoffs like John Okafor’s ‘Mr. Ibu In London’ and many more similarly-themed titles. Watching with today’s eyes, it is difficult to avoid rolling your eyes at the casual hints of patriarchal tendencies, even if Owoh’s character never seemed like the type to act out some of his proclamations. Similarly, there are technical aspects of the film we have outgrown, but overall it is an instructive look at a movie in the foundational stage of the behemoth that Nollywood has become, especially one that shaped the comedy circus that the modern Nigerian cinema-going experience was caught in for many years.

Stream ‘Osuofia in London’ on Netflix here.

Featured image credits/Netflix

ICYMI: Osita Iheme’s memes are now available as NFTs

Songs Of The Summer: Ladipoe, Buju, Master KG & More Hold Atop The Charts

Posted on by Tami Makinde

We’re at the middle belt of summer where things are moving at an exponentially faster rate. The hot summer days are rolling in, or cold days, if you’re on this side of the world, and festivals are kicking off around the globe. Nearly everyone seems to be reconnecting with music and communities that we missed out on in the past year.

Music is also nearing an apex of sorts. Songs that soundtrack drunken summer nights aren’t made in a vacuum. In fact, they’re typically minted months in advance, slowly building their way into our hearts and ears, just as many of the songs on the current summer charts signify. What makes a song worthy of the title ‘Song of the Summer’? Well, that’s where we come in. Partnering with the TurnTable charts for this summer, we’re sourcing out the songs that are topping the airwaves and streaming platforms from now till the end of August.

This week, the usual suspects lead the charge with Ladipoe, Buju, Master KG, Wizkid, Tems, Burna Boy and more topping the charts across Nigeria and Africa.

Songs of the Summer Nigeria Chart

The summer of Poe and Buju

Ladipoe and Buju are leading an unparalleled run. This week, their single “Feeling” remains at No.1 on the Songs of the Summer Nigeria chart for the second week in a row. This week, they racked up over 1,929,198 total streams across DSPs and 47,364,109 total radio impressions. Buju also lands another Top 10 entry with his single “Outside” which jumped two spots from last week’s charts with total streams of 847,870. It’s clear that Ladipoe and Buju are dominating the summer on their own terms.

Who is AV?

That is the question certainly on everyone’s lips as the singer’s hit single “Big Thug Boys” makes its way to the top of the charts this week. Moving up 3 spots from its position last week, the Nigerian singer born Adindu Victor rises to No.12 this week on the charts. According to his profile, the singer began making music 3 years ago, and recorded his first demo track last year titled “Temperature”. Since then, the Benin-native has been bidding his time, waiting for his moment. It appears that the breakout moment is now as he consistently works his way up the charts.

Rema’s debut is almost here

With his debut album ‘Rave and Roses’ almost upon us, it’s clear that Rema’s moment is now. Although he’s enjoyed global acclaim since his breakout on the music scene with his self-titled debut EP, it’s clear that anticipation for his debut album is even rifer. His single “Soundgasm” has been a mainstay in the Songs of the Summer Nigeria chart since its inception four weeks ago, and this week, it holds its No.3 spot in the country with 37,235,590 airplay impressions and 342,035 total streams.

African Songs of the Summer Chart

Master KG remains on top

Since the inception of the Africans Songs of the Summer chart, Master KG has shown that his music remains evergreen through the seasons. For the past four weeks, he’s remained in the No.1 and No.2 spots respectively for “Jerusalema” and “Shine Your Light” featuring David Guetta and Akon. This week, he continues to hold the forth in these positions proving that Amapiano truly is one of this year’s most defining sounds.

Tems, the IT girl

The name on everyone’s lips this summer is our very own Afropop IT girl, Tems. This week, she continues to feature on the African Songs of the Summer chart for “Essence”, her collaboration with Wizkid which has catapulted her into superstardom. Alongside this, listeners also want to hear Tems alone and in her element. Her single “Damages” is also making heatwaves on the charts this week at No. 24.

Burna Boy is a fan favourite

With a Grammy title currently attached to his name, it’s clear that Burna Boy brags different. This week, the African Giant seems to be the reigning MVP as he’s got over 4 entries on the chart this week. Holding the 4th position with “Kilometre”, the 6th position with “On The Low“, the 7th position with his appearance on Wizkid’s “Ginger” and the 8th position for his 2019 single “Ye”, it is clear that Burna is in high demand this summer.

Global Nigerian Songs of the Summer

Olamide’s golden touch

Since the release of his ninth studio album ‘UY Scuti’, Olamide’s songs have maintained residency in the weekly charts. This week, he’s a mainstay across the board as the singer and rapper records 3 songs in the Global Nigerian Songs of the Summer chart. It’s also worth noting that two of those three songs featured on his previous album ‘Carpe Diem’ which was released last year. His latest standout single “Rock” also maintains its appearance in the charts moving from No.20 last week to No.24 this time around.

Omah Lay’s unrivaled position

Omah Lay is the moment. Over the past year, the singer has attained new heights with each new release he shares with his growing fans and listeners. This week, the singer has 3 entries on the charts with Olamide’s “Infinity” at No.9, his single “Godly” at No.11, and “Forever (Remix)” with Ghanaian singer, Gyakie at No.16.

A Good Time is still making waves

Despite being released over two years ago, Davido’s ‘A Good Time’ is still making waves across the country and beyond. This week, one of the singer’s highest-charting singles “Fall” debuts on the charts at No.21. This move shows that listeners are still enjoying the music of that period in Davido’s career despite the fact that he’s since released its follow-up ‘A Better Time’.

You can view the rest of the chart numbers here.

Featured image credits/NATIVE

ICYMI: A 1-Listen Review of Sarz and Obongjayar’s ‘Sweetness’

TurnTable Top 50: Omah Lay’s “Understand” debuts at No. 1

Posted on by Dennis Ade Peter

Considering his utter dominance of the TurnTable Top 50 since its launch, it was only a matter of when Omah Lay would return to the pinnacle of the chart. The Port Harcourt-raised singer’s latest single, “Understand,” debuts at No. 1 on this week’s edition of the TurnTable Top 50, recording 46.9 million in radio airplay impressions and 3.04 million equivalent streams.

This chart points makes “Understand” the most popular song ever in a week. Combining with Tempoe, the producer behind “Godly”—which spent eleven weeks at No. 1—the lilting heartbreak song leans into Omah Lay’s knack for creating music with a lived-in essence.

After topping the charts for four non-consecutive weeks, Ladipoe and Buju’s “Feeling” is at No. 2, and it remains the most popular song on the radio for the eighth week. Olamide’s “Rock” and Rema’s “Soundgasm” are at Nos. 3 and 4, respectively, slipping one position from their previous positions. Rounding out this week’s top 5 is “Big Thug Boys” by nascent singer AV, which gained its initial round of attention on Tiktok. Globally, creative short-form video platforms have become important in the determination of hit songs, a trend that’s primed to properly catch up in Nigeria. “Big Thug Boys” made its top ten debut last week, and its chart points have improved since then, scoring 23% and 16% increases in radio reach and equivalent streams, respectively.

Descending two spots from its peak position, Ruger’s smash hit “Bounce” continues its top ten run at No. 6 this week. Adekunle Gold’s “Sinner,” featuring American R&B singer Lucky Daye, debuts at No. 7, matching the position of his highest-charting song yet. Patoranking’s “Celebrate Me” moves three places to No. 8 for this week, while Joeboy’s “Show Me” descends two places to No. 7. Continuing its astounding run in the top ten, Wizkid and Tems’ “Essence” is at No. 10, making it the first song to spend 30 weeks in the top fifth of the charts.

You can check out the full breakdown of this week’s edition of the TurnTable Top 50 here.

@dennisadepeter is a staff writer at the NATIVE.

BEST NEW MUSIC: LADY DONLI’S “SEARCHING” IS A YEARNING FOR FREEDOM

Songs Of The Day: New Music From Buju, Tomi Thomas, ENNY & More

Posted on by The Native

We’re halfway through the summer and 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 Alpha P, Bella Alubo, Darkoo, Moelogo, Mohbad, Tshego, DEELA, Tblu and more. This bank holiday weekend, we’ve got you covered with all the best tunes from around the continent including British-Nigerian rapper, ENNY who just released her debut EP ‘Under Twenty Five’, Buju, Tomi Thomas, Hermez, April Maey, Fresh Meat alums Benzo and Skolleywood & more. Enjoy.

Buju – “Testimony”

2021 will be remembered as the year of Buju. Over the past few months, the Nigerian singer/rapper has been on a hot streak, releasing star-studded collaborations, topping the charts and making appearances on summer classics such as Ladipoe’s “Feeling”. On his latest single “Testimony”, the singer goes at it alone and continues to show his star power. On the new number, Buju talks about the love he has for a love interest named “Diana”.

This woman has such an effect on him that she represents a testimony and Buju wants to shout this out to the world. “Help me tell Diana something, Diana says she no longer wants me, if you leave me man felony” he sings over the song’s mid-tempo beat, declaring his affection for this woman. As love is in the air this summer, this is certainly one of those songs you want on rotation through the hot (or rainy) summer days.

Tomi Thomas – “Hurricane” ft. Buju Banton

Earlier this year, Tomi Thomas made his return to the scene with ‘Hopeless Romantic’, a succinct collection of love songs that showcased his refined artistry. Standout track “Hurricane” which earned itself a coveted spot on our Best New Music list at the time of its release has just received a befitting video treatment.

As the song uses the tropical cyclone ‘hurricane’ as a metaphor for a woman’s movement, the song’s video also embodies this tumultuous state of affairs. The Dalia Dias-directed video brings to life the song’s message as a beautiful woman turns heads (and the weather) in her wake while both artists deliver their verses. Of course, the video wouldn’t have been complete without the lovers dancing outside the courtyard in the stormy weather.

Inga Hina – Fela Emazweni

Inga is a South African singer and songwriter. Ahead of the release of her new project ‘Promises to Makhulu’, she’s shared a new promotional single titled “Fela Emazweni”, a soft-sounding number that finds her ruminating on the source of her scars.

On the number, Inga’s melodious voice is detached and sombre yet full of hope as she mulls over a bold step she has to take. Singing “To the little girl uMakhulu raised, as much as I love it here/The city will make you feel small for being okay with the little things”, she delivers a rich soliloquy armed to the teeth with affirmations for anyone looking to make a bold step. This is definitely a heartfelt number to add to your playlist.

ENNY – “Under 25”

Since breaking out in the industry last year with Amia Brave-assisted single “Peng Black Girls”, London-based rapper ENNY has been one to watch. Over the weekend, she’s released her debut EP ‘Under Twenty Five’, a 7-track collection of songs that trace the singer’s rise from the streets of London to the shores of Lagos. Standout track “Under 25” finds her mulling over her young adult years, as she tries to break free from the idea that we must be self-made by the time we’re in our late twenties.

“I feel like eff this 9-5/See that’s an understatement/Cause I’ve been chasing pavements/You win and then you lose some” she quips over the song’s melodic production arming listeners with the tools they also need to break free from societal standards. The raconteur continues to show her ability to build worlds in her music and represent the feelings of many millenials and Gen Z’s just like her.

Yemi Alade – “Enjoyment”

Yemi Alade has been serving up hits consistently for the past few years. Each new song finds her stretching the boundaries of her artistry and trying out new styles to suit the times. Her latest single “Enjoyment” finds her celebrating life’s many pleasures over an Amapiano-inspired beat. This funky and dancy hit sounds like one for the good times and party scenes. The song speaks about having fun and enjoying the moment and making connections with people when having those good times together. With lyrics such as “In the mood to jaiye oh/I no go kill myself/Wahala no dey finish”, Yemi Alade delivers a catchy number that’ll get you through the Sallah rocks this holiday.

Ajebo Hustlers – “Yafun Yafun”

Port Harcourt duo, Ajebo Hustlers are preparing for the release of their debut album ‘Kpos Lifestyle, Vol.1’. Ahead of its release this weekend, they’ve now shared a new single titled “Yafun Yafun” officially kicking off the official countdown for their debut. Over the song’s mid-tempo production, both singers talk about their past lovers who caused them a lot of worries and problems during the duration of their relationship. “All I gave you was love so why you hate me/Your problem yafun yafun/Wan make man kpuff wetin happen” they sing, painting a clear picture on how Tolani and Tinuke left lasting effects on their lives.

April Maey – “Sweatshirt”

Last year, singer/songwriter April Maey released her debut project ‘Ticket to Anywhere’, a collection of songs that caught the attention of many ears during the socially distanced lockdowns that saw us grooving to introspective Afropop. On her new single “Sweatshirt”, the singer paints a picture that visualises her experiences as a Gen Z woman.

Singing “I’ll be in the corner singing//Losing time I’m out here overthinking/Cause when I need my friends they all go missing” over the song’s first verse, April talks about her over buzzing mind, her flaky friends, her down-to-earth fashion sense and her drinking habits. Sounds familiar? It’s cause everything she sings about is something we’ve either coursed through or witnessed a close friend go through. You can tell she is an advocate of being you and being comfortable always and don’t be bothered about what the next man is doing.

Hermez – “Bean 24” ft. DOZ & Le Mav

For his second official single of the year titled “Bean 24”, Hermez links up with ’80s sound producers, DOZ and Le Mav for a sensual new number. Over the song’s bouncy production, he sings “I gotta lot on my hands, I got a bitch on the scene/She make a trip for the team/Running it straight to the bean”, the singer runs through the things clouding his mind (except for the obvious drugs) from women to money to success.

Benzo & Skolleywood – “Blow The Roof”

There’s nothing more thrilling than the sound of two rap girls trading hard-hitting bars. Fresh Meat alums and South African rappers, Benzo and Skolleywood heard our call and came together for a thumping new single titled “Blow The Roof”. The song is what you call bad bitch music as it brings out their ruthless and daring alter egos who instantly go hard on the beat and rap circles around their male contemporaries. This song speaks on being a strong woman in the game and not having time for hate and backtalk. As they chant on the hook, “Do you, blow the roof down and then kill the noise.”

T’Neeya – “La La”

Cameroonian-born, Ghanaian-based singer T’Neeya has just released a new three-pack single titled ‘In Her Feelings’. Over the song’s melodic production, she addresses a love interest who has her heart singing his or her praises. Throughout the song, she infuses the French language and West African pidgin into her lyrics, staying true to herself and her background. “Tu reste dans mon coeur, and forever we bound/So don’t you be fooled, baby na you” she sings, reassuring her lover of her commitment to only them.

Featured image credits/Instagram

ICYMI: Lady Donli’s “Searching” is a yearning for freedom

Best New Music: Lady Donli’s “Searching” Is A Yearning For Freedom

Posted on by The Native

Lady Donli broke new ground creatively with ‘Enjoy Your Life’ nearly two years ago. The engaging 15-track album transformed the sombre angst of her earlier SoundCloud releases such as ‘Wallflower’ and ‘Letters To Her’ into vivid hyper-pop cuts.  The project served as a declaration of the then 22-year-old’s ambition to seek life’s finest pleasures against all odds while urging her audience to do the same.

In the near 24 months since then, the world has decisively turned on its head with a global health outbreak and a worldwide reckoning on the over-policing of Black bodies. In the middle of all that craziness, Lady Donli stepped out of the limelight to regroup away from the public’s eyes after a series of tour dates were upended by the COVID-19 restrictions. Then she came back and went off again.

All the while, the only bits of music from her were the two-song pack, “Rockstar Parole,” a caesura on the ‘Enjoy Your Life’ era that melded her newfound knack for crafting bouncy melodies with precise, almost microscopic, song-writing.

 

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A post shared by space whore (@ladydonli)

A little past the halfway point of the year, Lady Donli has made a long-awaited return to social media and expanding the world around her sophomore album. Ahead of this, she’s announced the forthcoming release of a new EP titled ‘WILD’ and shared a new single “Searching” last week.

Here, Donli returns to the intense existential investigations of her earliest works. She broods over the ruins of a romantic relationship that didn’t quite take off. In her lyrics, she makes mention of second chances and being selfish, but her key focus remains on her desire to discover the depths of her potential unencumbered.

“But why complicate things?/ We’re friends at the moment and it’s feeling kinda nice,” she points out before the song’s catchy chorus. Powered by a spry instrumental by GMK, Donli’s emoting on ”Searching” is not grounded in despair or hurt despite the subject matter. Instead, the almost acoustic feel of the song hints at the promise of renewed friendship when the ache of the moment passes while remaining light and kind-hearted.

Falling 11 seconds short of the three minutes mark, Lady Donli lays down precepts on how to navigate the landmines of a combustible romantic situation without alienating a lover or resorting to toxic tactics – all while keeping her graceful voice nimble. What does all this mean for the projected release of her extended play?

Well, the last time we heard Lady Donli in full flow, she introduced us to an escapist world of delight as our early 20-something-year-old minds adapted to the rigours and demands of adulting. Two years, and numerous lifetime of memories later, she is telling us about her story and quest for development as the lead single of a project to be titled ‘WILD’. Maybe this is all part of a process to ensure we become world-wise, well-adjusted Gen-Z adults; maybe not.

Till then, only Donli has the answers. “Searching” is a song about moving on even when moving on is not the tastiest option available.

Stream “Searching” below.

Featured image credits/BamiPhotography

ICYMI: Osita Iheme’s memes are now available as NFTs

Our First Impressions Of Darkoo’s Debut EP ‘2 In 1’

Posted on by The Native

It’s hard not to root for Nigerian-born, London-raised artist, Darkoo. Since breaking out two years ago with the One-Acen assisted “Gangsta”, the singer has continued to hone every part of her artistry, fashioning herself into a pop star worthy of international acclaim.

Her eclectic takes on Afropop and Afro-Swing have positioned her as one of the most exciting acts to watch out for. Nearly every subsequent release since 2019 has only served to further endear her to her growing fanbase–and she’s done it all while staying true to herself.

 

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A post shared by Bigdrippo (@darkoo)

Over the weekend, the London-based singer released her debut EP ‘2 in 1’, her most vocal representation of her gender non-conforming ways. Since bursting on the scene, she’s always slipped between both personas in an industry where female pop stars are expected to look, dress and present themselves in a certain way.

In Darkoo’s world, she’s free to live on her own terms. Here, she’s continued to live as she pleases, raising a middle finger to archaic rules and nurturing an unmistakable identity as a “woman who can do both”. When we last spoke to the singer, she shared that she has always played both personas. In her NATIVE Exclusive earlier this year, she admitted, “I’m not even trying to push anything I would say, but just to show that I’m comfortable with both sides of me and I can be what I wanna be when I wanna be it.”

On ‘2 in 1’, she certainly puts that versatility on full display delivery a 7-track course of Afro-fusion numbers that find the singer musing about topics such as life, love, sex, money, success and more. Darkoo herself also shared the EP is a culmination of 7 songs from different times during her journey since 2019 and sure enough, there seems to be a song for every listener to add to their playlists.

So, what’s the project’s best song? Biggest skip? Most surprising moment? The girls on the NATIVE team have got you sorted as we deliver what we think are the standouts from Darkoo’s debut EP ‘2 in 1’. Enjoy.

Best song?

Wonu: “Slow down” featuring Tion Wayne definitely has to be my favourite. On first listen, I figured this was going to be one of my favorites and funny enough it is actually my Top 2. I find it very interesting how both artists blend so perfectly on this particular track. Also, it’s such a catchy tune, it sticks on first listen. Close second to this would be “Interlude” featuring Gabzy. Yes, it’s an interlude but the melodious delivery from both artists did it for me and of course, there’s the Gabzy bias too lol. He can really do no wrong in my eyes.

Ada: After listening to this project I have to say that I have 3 favourite songs which are; OTI BERE, SHE LIKE and DRUNK TEXTING. Since I am to pick the best I’d say DRUNK TEXTING for sure.

Woju: From Drake’s “The Motion” to Santi’s “Settle Down” or Tiwa Savage’s “Celia’s Song” album closers are known to be reflective, deep numbers that meditate on the journeys traversed over the album, both in terms of the music and the road to release. Darkoo’s “Come Up” is no different. Including an arresting sample amplified by a drill slide, the beat for “Come Up” is undoubtedly the hottest on the EP, and elevates the song to the top of the album. In her bag, as she raps about her “Come Up,” Darkoo is joined by Unknown T, so perfect a fit for this beat I wouldn’t be surprised it if was actually made for him. It’s such a sweet album closer, I’m not even mad that Darkoo enters into gibberish-land on the chorus, and I typically can’t stand nonsensical lyrics.

Biggest skip?

Tami: Honestly, I can’t really see myself skipping anything on here. This is solely because it’s a fairly short project with a 20 minute run time. I think that once you start listening to one song, you don’t even realise when you’ve burnt through the other songs in quick succession. Also, it helps that the album is a mixture of Darkoo going at it alone and her bouncing her energy off her collaborators. Maybe, I’m being too nice but it’s not bad at all.

Wonu: The biggest skip for me off tape has to be “Oti Bere”. This didn’t really seem like a great way to start the EP to me. It didn’t necessarily give off what to expect on the tape and I would have expected a different song to go first just so listeners kind of know what exactly the tape is supposed to give off and It’s also my least favourite song. A great song, very catchy and easy to vibe to but still my least favourite because well, it’s a sweet tape.

Best guest feature?

Ada: OH! That’s easy. Definitely Bianco on “She Like”. The voice was quite distinct and you always wanna be remembered when you come on a feature and I believe he definitely did that.

Woju: Teaming up with some of the UK’s most talked-about emerging rappers, Darkoo’s ‘2 in 1’ EP is stiff with competition for the best guest verse. Where Unknown T is at home on “Come Up”, Gabzy is fully given the reigns and handles them nicely on the “Interlude”. The two standout tracks on the project so far are “She Like” and “Slow Down” featuring Blanco and Tion Wayne, respectively. On these songs, the guest’s acts are neck and neck, toe to toe, so tight in the race that I couldn’t pick a favourite.

Biggest surprise?

Wonu: It definitely was “Come Up” ft Unknown T for me. The angle in which both artists took this was insane. The delivery was everything and I was very impressed but then again, I wasn’t expecting anything less. All in all, It was an amazing body of work. Very short and interesting listen, I’d certainly rate this a strong 8.

Damilola: I guess I wasn’t expecting “Oti Bere” as an intro when I pressed play. It was a very strong way to begin the project and it got my attention immediately with that chord solo and drum roll. The refrain is probably the best part for me, when she samples Wizkid & Maleek Berry’s “Back To The Matter” – it feels almost like there are two people on the song the way she controls her delivery and pitch of her voice. I was also really pleasantly surprised by Tion Wayne’s verse, on “Slow Down”, he was rapping rapping and I enjoyed the change of pace.

Overall first impressions?

Ada: I think ‘2 in 1’ is familiar, Afro-pop, and melodious. These words are what I totally felt when first listening to the album. The project had a very familiar sound and relatable lyrics which in a way felt done before. It followed a certain pattern that brought back a lot of deja-vu moments which isn’t entirely bad because I enjoyed it too. I believed the aim was to produce melodious tracks and I can say she definitely nailed it. Even the raps were quite smooth and melodious. I’m also a big fan of the album art. LOVE IT!

Tami: After a few listens, I’ll give ‘2 in 1’ a 4-star overall. I really enjoyed the fact that the project was short and digestible in just 20 minutes. I also really enjoyed hearing Darkoo in different lights and showcasing both her London and Nigerian on each track. It definitely shows Darkoo’s growth as an artist since 2019 and shows why she deserves to remain in your frequent rotation. Her music is light, never takes itself too seriously and is familiar all at the same time. I especially loved the project opener “Oti Bere” which set the pace for the rest of the EP. Also, Wizkid’s influence is incredible.

Woju: Overall, I dig it. Pretty much every song is a good one on ‘2 in 1’; from the seductive sax on “Drunk Texting” (which, I LOVE the name), to the crazy Wizkid sample on “Oti Bere” where she sounds identical to Starboy. The singles, “She Like” and “Pick Up” still remain strong, signifying a clear consistency in Darkoo’s craft. In terms of production, much of the project feels like it lacks originality – the beats are good, but it’s nothing we haven’t heard before. Lyrically though, Darkoo excels. Witty with it, Darkoo comes out with some epic burns in her bars, for example, “so when you fucking him, I hop you say my name/So when he leaves you, I hope you feel my pain,” on the single, “Pick Up.” Darkoo’s is not my kind of music, so I won’t necessarily return to the project, but ‘2 in 1’ was a thoroughly enjoyable listen and I am looking forward to hearing all these records outside.

[Featured image credits: Instagram/Darkoo]

Written by Ada Nwakor, Adewojumi Aderemi, Damilola Animashaun, Tami Makinde, and Wonu Osikoya

ICYMI: With Darkoo, You Always Get Twice As Much

Copa Femme Is On A Mission To Bridge The Gender Play Gap In Nigeria

Posted on by Tami Makinde

Sports has long served as an enjoyable physical activity that brings people together and improves our mental and physical capabilities. However, by the age of just 14, there is already a worrying gap between the number of girls and boys playing sports. According to a recent UK survey, girls are two times more likely to drop out of sports than boys.

These barriers to sports can be for a myriad of reasons including lack of access, sexism, sexual harassment or abuse, and more. When intersections such as Black and African are factored into these barriers, these numbers could potentially become even more staggering. While there is no readily quantifiable data in these parts, you need only look at the way that way our society guides both men and women into various acceptable gender norms. These days, these norms are being questioned more than ever before, and we’re coming into times where female athletes are leading the charge on a global stage.

As a result of this, many organisations and companies catered to improving and sustaining female participation in sports have popped in the past few years. It is in this environment that Copa Femme, a non-profit foundation in Nigeria wants to bridge the gender play gap in Nigeria.

Formed back in March 2019 by co-founders and friends, Demi Filani and Damilola Sofidiya on International Women’s Day, the women-led foundation has been on a mission to increase female participation in sports–just for the fun of it. Focusing on the lighthearted nature of sports and having a good time rather unhealthy competition, the foundation provides a space for women to gather and play games such as football and basketball without the fear of social stigma.

“I formed it by accident,” Demi Filani tells me over the phone, just days to the foundation’s third football competition in Lagos. “I think I sent a tweet asking who wants to play football cause I was in Lagos at the time and I wanted to play football.ed to play football. So I asked if there were any girls that were interested in playing football. The outcome I got was a lot and so many girls responded. After that moment, I thought I might as well start a competition to try and celebrate talented women in sports.” From their first event, right through to now, the team over at Copa Femme have championed the act of having fun and making mistakes in a safe environment.

Each year, Copa Femme raises money through donations and price tickets which are then invested into a female-led organisation in the country. In past years, they have donated to Sanitary Aid Nigeria, a non-profit organisation that provides sanitary products for less privileged women in the country. This year, the foundation will be hosting its third event since its inception in Lekki, Nigeria with all the profits from the event going to Vista Hospital.

Ahead of the games, we spoke to co-founder Demi Filani about Copa Femme’s vision, the need for more recreational facilities in Nigeria and what still needs to be done to bridge the gender play gap.

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

NATIVE: What are the main goals of a foundation such as Copa Femme?

Demi: Our four goals were to break the stereotype of girls in sports, to raise money for charity, to celebrate talented girls in sports and make people have fun. In breaking the stereotype of girls in sports, there are different stereotypes of women and in the sports industry, there are so many. So we felt like if we were making girls come out to play sports, we had to create a space where they felt welcome, comfortable and encouraged to play and make mistakes.

Here, stereotypes don’t hold women back. If we celebrate them, that will encourage them to play more and encourage them to carry on with their dream. And also to make them feel like there are people rooting for them. Also, all the money that we make from gate fee, we give to charity organisations that we reach out to before the events. And to make people have fun in a good setting where they are watching sports, there are different games happening around such as chess.

NATIVE: How are you actively working to bridge the gender play gap in your own way?

Demi: The gender play gap in sports is a lot. When I first started to do research about women in sports, it was quite alarming finding out about why certain stereotypes were upheld and how unfairly women are treated in sports. I’ve always been a sports fan right from high school until now in univeristy and I must say that it’s not gotten any better for female players. There’s a visible difference between when there’s a football match for men and women. Things such as encouragement and attendance are so vastly different for the two groups. However, I feel like if we don’t start from somewhere then there is no way we can get better and if we don’t begin to encourage, support, and advocate for women then things won’t get better.

I am sure there are different organisations that will definitely start-up in the coming years. It doesn’t have to be just me. The more women that come up to do these things, the more encouraging and the more spotlight we will get collectively. I’ve faced opposition for centering just women in these competitions but that would always be my focus when I know how marginalised we are in the industry. For them to be alarmed that people are doing something like this shows that there is a gender play gap.

“You can recognise women and validate them in the sports they do.”

NATIVE: Tell me about your first event. What were some of the highlights from that time?

Demi: During our first tournament, I was very impressed with the participation from all the women involved. I thought they would be shy at first but they were very much interested and they all seemed happy to be there. The atmosphere was also very inviting and encouraging so people wanted to stay and play. We sold out our tickets and had to start using markers on fingernails to be sure people paid to come in. The second highlight was Buju’s performance. At the time, he was just coming up so everyone was excited to see him perform. Also, the girls that won, the way they danced after collecting their awards, I just felt so excited and fulfilled. I had done something special and put a smile on people’s faces.

NATIVE: How do you strike the balance between healthy and unhealthy competition?

Demi: I feel like with women, they just want everyone to win. At the first event, there was no tension between teams because it all seemed that even if you win, I don’t mind as long as we are all having fun. It didn’t seem competitive and I didn’t feel the heat. The contestants felt more comfortable with each other and they felt this is something new and we’re helping other women who need our help.

NATIVE: How is Copa Femme funded?

Demi: We are funded by sponsorships and endorsements mostly. We just reach out to brands and sponsors and hope that they trust our vision and want to bridge the gender play gap. When we first started Copa Femme, it wasn’t about the money or keeping any of the money, we all knew it was going directly to charity. I just wanted to play ball at the time and so whatever money we make, we gave it to any charity organisation we had in mind. However, due to the pandemic this year, we didn’t get as much sponsorship as we would like but we made enough for the event to hold this year. Our core sponsor for this year is Tangerine and they’ve been able to help with things we need help with many aspects of the competition including donating the 140,000 naira prize fund.

NATIVE: What can we expect from the Copa Femme tournament this year?

Demi: Lots of fun. The basketball and the football games, we’re going to have two winners this year. Lots of fun, lots of games. This is the second-ever physical event but last year, during the pandemic, we had an online tournament where we had women freestyle in whatever sports they could do. So for example, we had women jogging the basketball or dribbling and we awarded prize awards to them. It was just based more on likes and comments.

Tennis is something I am interested in but next year, I am interested in a full women’s sports day where there are different races and games but just for women alone. There will be different houses and they’ll compete for challenges. Next year, I am looking at a sports day of this kind.

Featured image credits/Courtesy of Copa Femme

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Songs Of The Day: New Music From Alpha P, Bella Alubo, Darkoo & 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. Earlier this week, we brought you new releases from Dave, 1Da Banton, Deena Ade, Tshego, Spesh OG, SJXY and more. This weekend, we’re bringing you all the best tunes from Alpha P, Bella Alubo, Darkoo, Moelogo, Mohbad, Tshego, DEELA, Tblu and more. Enjoy.

Alpha P – “Oh No”

Alpha P has been on a roll this year. Earlier in the year, he featured on the TMXO-produced “Jiggy Bop”, a delightful cut that featured on the ‘Rhythms of Zamunda: Music Inspired By Coming 2 America’ soundtrack. A few months later, when Justin Bieber’s “Peaches” took a world tour to West Africa, the singer once again featured on the “Peaches (Masterkraft Remix)” alongside Omah Lay.

For his latest solo single “Oh No”, Alpha P is now turning the amp up a notch further. The Killertunes-produced track has the artist singing to a muse; “Baby oh no, where i wan go?/come take my soul/Anything you tell me i go do, full stop” he quips on the track inviting love into his life.

Bella Alubo – “Table for Two”

This year, Bella Alubo has kept listeners consistently well-fed with a slew of new singles. Already, she’s released “Pretty Things”, “Gbolahan” and “Gba Gbe”, which resulted in the singer announcing her debut album ‘Bella Buffet’. Ahead of its release later this year, Bella Alubo has now another single titled “Table For Two”, a catchy new track that’s sure to whet fans appetite.

Over the stellar production by Snn, Bella sings “Na mistake I do wey I set the table for two/You were never there when I needed you” on the song’s hook chastising a past lover for their flaky ways. The anti-love anthem finds her weaving interesting tales into poignant lyrics that will certainly resonate with many listeners. However, while she’s the one being played, she comes ready with a roast dinner for two and he just happens to be on the menu.

Darkoo – “Slow Down” ft. Tion Wayne

Since Darkoo burst onto the scene in 2019 with “Gangsta” featuring One Ace, she’s been an exciting talent to watch grow and develop as an artist. This year, she’s set her sights on her biggest mission yet: the release of her debut EP ‘2 in 1’, a 6-track course that gives listeners a taste of her improved versatility.

Stand out track “Slow Down” featuring Tion Wayne is a mid-tempo romantic number that finds both artists serenading their muse. Over the melodious beat of this track, Darkoo sings “slow down for me baby, jeje o baby/I just wanna be your one and only” professing her affection for her this person.

Davido – “Shopping Spree” ft. Young Thug & Chris Brown

Last year, Nigerian singer Davido released his third studio album ‘A Better Time’, a cross-continental cut that featured a host of artists from Young Thug to Nicki Minaj, Tiwa Savage, Nas, Lil Baby, Mayorkun and more. Since then, he’s been expanding the world around the album with music video releases for songs such as “The Best”, “Tanana” and more.

To capitalise more on the album’s success, he’s now released the video for “Shopping Spree”, the boisterous number featuring Young Thug and frequent collaborator, Chris Brown. The Des Gray-directed video takes place in a school setting with Davido as the cool jock boy in love with the finest girl at the school. He serenades her by performing his verse and dances for her. Young Thug and Chris Brown also make cameos in the video acting out the song’s romantic theme with their muses.

Mohbad – “Feel Good”

Following the success of his hit single “KPK” with hit producer Rexxie, Marlian Music signee, Mohbad is back with another smash hit that certainly has the potential to take over the clubs this summer. Produced by Niphkeys, this track is as its title says is a feel-good song that will certainly get you in the best mood.

The Amapiano-inspired number finds the singer looking past the hardships in life to the specks of good moments that surface from time to time. With lyrics such as “I know there is a day when my pains willl go away/Till then I smoke it away,” he implores listeners to look ahead to the good days.

Savemilli – “Pretty Girls Like To Party” ft. J Molley & Psycho YP

Rapper SaveMilli has just released his debut EP ‘Childish II’, a 6-tracker with features from a host of Nigerian rap talent from Blaqbonez, to J Molley and PsychoYP. Standout number “Pretty Girls Love To Party” featuring J Molley and PsychoYP finds all three rappers boasting about their affluent lifestyles and their roster of pretty women. “Put on my dancing shoes, they don’t get me tired/Pull up with all these women, pretty girls like to party”, raps Savemilli on the song’s catchy hook, clearly having fun trading bars with his peers.

DEELA – “Get A Grip”

British-Nigerian rapper DEELA has consistently shown us the type of treatment she demands from her men. On past releases “CHAINS” and “Bitch Boi”, she’s wasted no time in asserting who she is and how she deserves to be treated by new lovers, past flings, and ex-lovers alike.

On her latest single “Get A Grip”, she delivers a scathing verse about her needs and her sexual demands. ‘Take me out then eat me/I want to eat at the Shard and get lit/Lie to my nigga to get all of this/Get A Grip’ she raps, schooling her suitors on how she would like to be approached.

Tshego – “My Favourite Song” ft. Shekhinah

South African rapper Tsegho, releases a 3-track EP ‘3 Piece’, with lead single “Only If You Like That” and guest verses from Shekhinah, Blxckie and Flvme. The standout track, “My Favourite Song” has both artists complementing each other perfectly on the mid-tempo track as they mix harmonies melodiously with indisputable chemistry.

Moelogo – “One Time” ft. Reekado Banks

As his artist tag says, “When you hear me say Logo, You know it’s banger”. Moelogo collaborates with Reekado Banks to deliver a mid-tempo love banger. “One time” is a pleasing song about a beautiful lady who they wish to show affection to; “All i want to do is just love you, give you the world/One time, girl give me your love for one night”. With a Reekado Banks-verse assist, both artists deliver a stellar performance.

Featured image credits/Instagram

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Detailing the elements of Skepta x Havana Club’s second edition

Posted on by Wonu Osikoya

In partnership with Havana Club*

British-Nigerian rap icon, brand influencer and businessman, Joseph Adenuga Junior, better known as Skepta, has, for a while now, made it a major priority of his to imbibe his Nigerian culture into his music and his everyday life. A year ago, Skepta teamed up with Cuba’s finest rum production company, Havana Club to debut the first Skepta x Havana Club bottle which was launched on the 15th July, 2020.

This year, the Amuludun of Odo Aje, Ogun State is back with a Second Edition Skepta x Havana Club 7 bottle. Similar to the first edition bottle, the label on the Skepta x Havana Club 2.0 depicts noteworthy imagery that divulge the significance of both Cuban and Nigerian cultures to this collaboration. Every detail is an emblematic representation of Yoruba and Santeria – an African diaspora that developed in Cuba during the late 19th century. Santeria, which translates to “worship of the saints,” arose through a process of syncretism between the traditional Yorubas and the Roman Catholic form of Christianity also present in Cuba in the late 19th century. 

With Yoruba and Santeria having similarities in cultures, this second edition bottle honours the migration of our ancestors. As projected in the minute-long promotional video, this bottle is dedicated to “the journeys that we continue to take, the journeys that make us great.” As such, the exclusive label has been designed to mirror the scenery and landscapes of the two countries, bringing them together through Skepta’s eyes. Not quite identical to the first bottle, the elements on this bottle have been carefully selected in a way that is graphically inspiring and aesthetically pleasing. 

Here, we delve into the elements that make up the label of the bottle and how these elements have taken form and shaped this collaboration.

Red and Black Themed Background

The Elegua, a Yoruba deity who is still very much respected in Cuba, mostly appears in red and black, which is the colour theme of this bottle. Paying tribute to the Elegua the colour scheme emphasises the transnational associations between both Yoruba and Cuban cultures.

Cowrie Shells

As represented on the first edition bottle, Cowrie shells are found on the statues of Elegua, an Orisha – a deity of roads in the religions of Santería, Umbanda, Quimbanda and Candomblé. A link of cowrie shells around the perimeter of the label forms the exterior of the bottle which represents Elegua’s broad appearance.

Guiro Texture

The guiro texture in the background of the Skepta Head silhouette was inspired by the parallel notches on the guiro instrument. Guiro is a percussion musical instrument which is commonly used in Cuban, Puerto Rican and other forms of Latin American music. In Cuba, the guiro is used in the genre Danzón. 

Conga Drum

Similar to the first bottle, there’s a layered ring styled into the shape of the top of a conga drum. The conga drum is often referred to as tumbadora in Cuba and bembè in Yorubaland. The drum, in this instance, not only ties the two cultures together, but also represents Skepta’s strength as a rapper and a record producer. 

Igi Oye Adire

The adire patterned background on this bottle was inspired by the leaves of Igi Oye, a chieftaincy tree in Yorubaland. The pattern of the indigenous native attire, which originated in Abeokuta, Ogun State in the mid 1920’s, was produced for the first Chief Mrs, and is a symbol of supremacy and chieftaincy in Yorubaland. On this bottle’s label, the Igi Oye adire pattern is a representation of Skepta’s office and Chieftaincy title Amuludun of Odo-Aje, which was conferred to him in April, 2018.

Olumo Rock

The Olumo Rock mountain – which is located in the heart of Abeokuta, Ogun State, Nigeria – was used as a protection for Egba people during tribal warfare in the 19th century. The mountain which is one of the most popular tourist attractions in Nigeria, on this bottle is a diagrammatic representation of Skepta’s roots and where he comes from.

Foiled Hawks

These native hawks which portray power and strength, are found circling above Olumo Rock. On the label, these hawks are depicted in foil, as a way to add texture to this vibrant and distinct bottle.  

Each element of the label on the bottle draws influence from either Skepta’s Yoruba roots or the Havana club’s commitment to its society and other neighbouring societies. A significant partnership in contemporary culture, this bottle encapsulates the strength in connectivity between the two cultures. 

Image Credits: Ibrahim Adewole/Havana Club

Graphics Credits: Havana Club

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Catch NSG, Lojay, Native Sound System & More At Homecoming 2021

Posted on by The Native

We’re already halfway through the summer holidays and already, there’s no shortage of festivals and concerts to attend. In the UK, COVID-19 restrictions are reducing by the day, and there’s more reason to experience our favourite music outside with our friends.

This summer, Homecoming is making its return. This year, Homecoming is partnering with Manchester International Festival to bring all the best of the African continent direct to you. The yearly festival is set to take place in Manchester over the weekend and boasts a stellar lineup of artists and entertainment.

 

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A host of West African talent is set to take the stage this weekend including NSG, Midas the Jagaban, Lojay, and more. The day also promises to keep guests entertained with live DJ sets from DJ Obi, and Native Sound System who will be playing live at the event.

This year, there will also be an option to watch the show virtually, which recognises a year of change to the music industry and live show experiences. Ahead of tomorrow’s show, there are limited tickets still available and you can use our discount code MIF21NATIVE to purchase one for the show.

However, in case you miss out, you can also now subscribe to the Homecoming mailing list to get the love stream link sent directly to your email during the event.

Find out more about the festival here.

Featured image credits/KashKam/PauseOnline

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