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

Posted on by Tami Makinde

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

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

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

Check out the full rundown of the charts here.

[Featured image credits/Vanguard]

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

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

Posted on by Wonu Osikoya

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

That’s where our ‘Songs of the Day’ column comes in. We try to keep our fingers on the pulse of music from across the continent and beyond, bringing you exciting songs from talented musicians who are continuously trying to bounds of artistry with their music. Last weekend, we brought you new releases from Omah Lay, Shaybo, Straffiti, Bella Shmurda, The Cavemen, Adekunle Gold, Kida Kudz, and much more. To begin the new week, here are some new releases from Dave, 1Da Banton, Deena Ade, Tshego, Spesh OG, SJXY and more. Enjoy.

Dave – “Clash” (ft. Stormzy)

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

1da Banton – “No Wahala”

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

Deena Ade – “4 U”

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

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

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

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

Tshego – “Only If You Like It”

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

Spesh OG – “Different”

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

Featured image credits/Instagram

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

Posted on by Tami Makinde

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

 

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A post shared by Omah Lay (@omah_lay)

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

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

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

 

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

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

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

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

Stream “Understand” below.

Featured image credits/BBC

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

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

Posted on by Tami Makinde

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

That’s where our ‘Songs of the Day’ column comes in. We try to keep our fingers on the pulse of music from across the continent and beyond, bringing you exciting songs from talented musicians who are continuously trying to bounds of artistry with their music. Earlier this week, we brought you new releases from BOJ, Teni, Costa Titch, Kwesi Arthur, Show Dem Camp, and much more. For this weekend curation, our roundup includes recent drops from Omah Lay, Shaybo, Straffiti, Bella Shmurda, The Cavemen, Adekunle Gold, Kida Kudz, and much more. Enjoy. 

Omah Lay – “Understand”

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

Shaybo – “Friendly” (feat. Haile)

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

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

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

Bella Shmurda – “Out There”

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

Sarkodie – “Vibration” ft. Vic Mensa

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

The Cavemen – “Selense”

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

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

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

Straffiti, PartickxxLee & Kashcpt – “Cakes”

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

Kida Kudz, Gemitaiz – Figure 8

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

Big Drip – “Get me lit” (feat. Laime)

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

Featured image credits/Instagram

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

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

Posted on by The Native

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

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

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

 

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Best Song?

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

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

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

Biggest skip?

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

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

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

Biggest surprise?

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

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

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

Best verse?

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

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

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

Overall impressions

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

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

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

Stream ‘High Tension 2.0’ below.

Featured image credits/BellaShmurda

ICYMI: The importance of women sharing their experiences through music

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

Posted on by Dennis Ade Peter

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

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

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

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

“Intro”

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

“Yktv”

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

“Align” (feat. Ladipoe)

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

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

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

“Draw Me Close” (feat. Shalom Dubas)

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

“Focus & Drive”

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

“Big Liko [Skit]”

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

“Tycoon” (feat. Reminisce & MOJO)

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

“Big Dream [Skit]”

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

“New Norm”

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

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

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

“Ghost Rant”

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

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

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

“Human” (feat. Tomi Owo)

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

“Bright Skies”

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

Final Thoughts

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

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

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

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

@dennisadepeter is a staff writer at the NATIVE.

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

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

Posted on by Tami Makinde

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

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

 

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

Speaking about the release, Denola Grey shared that:

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

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

[Featured image credits: Instagram/DenolaGrey]

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

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

Posted on by The Native

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

Nigerian Chart & Global Nigerian Songs of the Summer

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

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

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

Global African Songs of the Summer

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

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

Featured image credits/Instagram

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

Posted on by Dennis Ade Peter

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

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

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

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

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

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

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

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

Listen to Sour Milk here.

[Featured Image Credits: Instagram/jodakgosi]

@dennisadepeter is a staff writer at the NATIVE.

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

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

Posted on by Wonu Osikoya

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

That’s where our ‘Songs of the Day’ column comes in. We try to keep our fingers on the pulse of music from across the continent and beyond, bringing you exciting songs from talented musicians who are continuously trying to bounds of artistry with their music. Last weekend, we brought you new releases from Bella Shmurda, Zamir and Odunsi The Engine, Bianco, Yung D3mz and more. For this mid-week curation, our roundup includes recent drops from BOJ, Teni, Costa Titch, Kwesi Arthur, Show Dem Camp, and much more. Enjoy.

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

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

Kashcpt – “ROCKETS”

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

Teni – “Hustle”

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

Infamousizak – “Public Enemy” (Kwesi Arthur Remix)

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

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

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

Kiiwii – “My Crew” (feat. Lil5ive)

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

Timzil – “Latifah”

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

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

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

Show Dem Camp – “All the Above”

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

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

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

Posted on by Tami Makinde

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

 

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A post shared by Godwin Tom (@godwintom)

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

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

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

Featured image credits/Audiomack

ICYMI: Are we witnessing the age of Audiomack?

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

Posted on by Dennis Ade Peter

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

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

 

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A post shared by MOONGA K. (@moongak_)

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

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

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

Listen to “black, free & beautiful” here.

@dennisadepeter is a staff writer at the NATIVE.

BEST NEW MUSIC: BURNA BOY BREATHES NEW LIFE INTO DJ TARICO’S “YABA BULUKU REMIX”

12 Brands You Need On Your Summer Wishlist

Posted on by Ada Nwakor

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

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

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

Blndstudio

 

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A post shared by BLNDE (@blndestudio)

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

Shakara World

 

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

Rendoll

 

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

Shakkar Shades

 

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

Kilentar

 

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

SXGWMN

 

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

Meji Meji

 

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

Second Skin Label

 

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

Lulla Studio

 

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

Milfland

 

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

AAKS

 

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

SS label

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

Featured image credits/NATIVE

Words by Tami Makinde and Ada Nwakor

ICYMI: How NBDA successfully integrated into streetwear culture in Nigeria

TurnTable Top 50: Ladipoe’s “Feeling” returns to its No.1 spot this week

Posted on by Wonu Osikoya

After moving down one spot last week, Ladipoe and Buju’s “Feeling” has now regained its position atop the Turntable charts for its third non-consecutive week at No. 1. The song tallied up to 39.4 million in radio, up to 12.9 million in TV reach, and 2.05 million equivalent streams. It leads this week’s streaming and TV chart to become the fourth song ever to have reached No. 1 on all four major charts published by TurnTable Charts; Top 50, radio, TV, and streaming.

Following closely at No. 2 is Olamide’s hit single “Rock” which featured on his recently released album ‘UY Scuti’. After spending three non-consecutive weeks at the top of the chart, it drew 1.97 million equivalent streams, 32.4 million in radio reach, and 10.7 million in TV reach this week. Rema’s “Soundgasm” holds at its No. 3 peak for a second straight week as the song continues to grow rapidly on radio and TV across the country in the lead up to the rapper’s debut album.

Justin Bieber’s “Peaches (Masterkraft Remix)” rockets to No. 4 this week, a new peak for the song following the recently released African remix featuring Alpha P & Omah Lay. The song tallied 42 million in radio airplay reach, 3.53 million in TV airplay reach and 182,000 equivalent streams. “Peaches (Masterkraft Remix)” is Omah Lay’s fifth top-five entry on the chart, but the first top ten (and chart entry) for both Alpha P and Masterkraft.

Burna Boy’s “Kilometre” moves down one spot from to No.5 this week while Ruger’s “Bounce” slides down one place to No. 6 on the charts. Rounding up this week’s top ten of the 50; Joeboy’s “Show Me” ascends to No. 7 this week, Cheque’s “History” with Fireboy DML rises to No.8, Buju’s “Outside” is at No. 9, while Adekunle Gold’s “It Is What It Is” closes out the top 10 this week.

You can view the full breakdown of the charts here.

Featured image credits/Instagram

Skepta Havana Club return with a second Havana Club 7 bottle

Posted on by Adewojumi Aderemi

In partnership with Havana Club*

As a global artist with a fanbase consisting of multiple nationalities, tour dates that travel the world, and lyrics that touch the hearts of fans and strangers alike, it’s almost inevitable that you’d grow a multicultural mindset. Inspired by the many societies and customs to which he has been exposed, Skepta, who was born and raised a British Nigerian in the melting pot metropolis of London, has spent the past few years championing multiculturalism and a message of unity across cultures. Drawing out our similarities whilst celebrating our differences, since his Nigerian Homecoming, Skepta has made it his mission to connect audiences around the world, and with every new exploit, his successes in this feat multiply.

His latest conquest has been a foray into the world of spirits, guided by renowned Cuba Rum, Havana Club. Dedicated to community and built upon his understanding and experiences of Aché – an energy force believed, in the Santeria religion of Cuba, to be a sacred creative bond that fashions divine-human connections – last summer, Skepta debuted an exclusive Havana Club 7 limited edition bottle and label with Havana Club, based around the premise of togetherness. Fortifying the partnership, Skepta and Havana Club return this summer, with Skepta x Havana Club Vol.2: the second edition Havana Club 7 bottle design that doubles down on the message of unity – across time as well as space – of Afro-Caribbean cultures globally.

“This Havana Club 7 bottle honours my roots. It traces the migration of Yoruba culture from Africa to Cuba and back again. Inspired by the region of my chieftainship in Ogun State Nigeria, it celebrates inner strength and the journeys that make us great.”

Building upon the insight into the cross-generational and cross-continental connections between Cuba and Nigeria that last year’s campaign fed us, this second edition bottle features cultural artefacts that embody Cuban and Nigerian customs and identities. For example, Adire patterns representative of Nigerian fashion – which is, interestingly, circling back toward traditional prints and fabrics – are contrasted by Cuban native Cowrie shells which border the label, joining its red and black colour scheme in a subtle tribute to the Yoruba deity Elegua, who is still worshiped today in Cuba.

Where Skepta particularly mentions his roots, he doesn’t simply speak of his childhood or ethnic backgrounds, but also of the seeds he has sewn in later chapters of his life. As such, the Skepta x Havana Club Vol.2 label takes care to recognise Skepta’s music background, with textures and patterns referencing güiro and conga instruments played across Afro-Caribbean cultures worldwide, and further showcases Skepta’s cultural affiliations through the iconography of the famous Olumo Rock of Ogun State – the state in which Skepta was ordained as Amuludun, in the region of Odo Aje – including a foiled depiction of the native hawks that are most often pictured circling the famous landmark.

Launched today, with another campaign film highlighting the role history has played in uplifting Skepta and the various communities to which he belongs, once again convenience stores are the focal point and priority of Skepta’s Havana Club collaborative bottle. To be seeded first to cornershops in major cities in the UK before nationwide availability, this new bottle will also be purchasable via eCommerce platforms in select European countries, including Germany, Belgium&Netherlands, Czech Republic and Spain. Retaining his community-led approach, Skepta and Havana Club have created a unique life force for community building across cultures. Get in on the action here.

 

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Image Credits: Ibrahim Adewole for Havana Club

The Shuffle: Tiwa Savage’s “Olorun Mi” is the prayer we all need

Posted on by Adewojumi Aderemi

With a career dating all the way back to 1996, when a 16 year-old Tiwa Savage would lend background vocals for prolific artists such as George Michael, Kelly Clarkson, Chaka Khan, Mary J. Blige and more, music has always been one of her epic loves. The medium by which she candidly and catchily reveals her desires, music is also where Tiwa shares the other aspects of her life that stand at the pinnacle of importance: her mother, her son and her faith in God.

Earning a soaring reputation as one of Africa’s most revered Pop singers, one thing that has remained unshakeable throughout Tiwa Savage’s career is her faith, and its expression in her music. She opened her critically acclaimed sophomore album, ‘R.E.D‘ with a call to prayer, “Adura” (which means “prayer” in Yoruba), Tiwa Savage’s discography is littered with songs dedicated to God. From the uptempo Reggae-inspired “Stand As One”, which appears on her debut album ‘Once Upon A Time‘, to the eponymous album closer, “Celia’s Song”, another prayerful number this time in honour of her mum, no Tiwa Savage album is complete without godly intercession. Even in her singles, such as the Yoruba worship song “One” that marked the beginning of a new phase, Tiwa Savage’s music doesn’t shy away from religious intentions.

A force within the secular music sphere, Tiwa’s discography is ripe with worship songs and faith-led music, for almost every occasion and emotion. Where the Dance-anthem “Glory”, the penultimate track on ‘Celia‘, prophesies higher glory and people appreciating her achievements whilst she’s still alive, “Olorun Mi” found ‘Once Upon A Time‘ seeks God’s light during dark, mournful days.

 

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Last week, news broke of the tragic, premature passing of Habeeb Uthman, a DMW crew member fondly referred to as Obama DMW. A close friend of Tiwa Savage’s, she joined the number of Obama’s loved ones leaving eulogies to their friend, brother, and colleague over social media. In the following days, Tiwa Savage also re-shared her 2013 grieving song, “Olorun Mi”, once released as a comfort to others, as a comfort to herself. On Instagram she wrote:

“2013 I released this song to minister to people who have lost loved ones. Today it’s for me”

“Olorun Mi” is a tear-jerking number, set to mellow piano keys and kept apace by hushed finger-clicks during the song’s melancholy verses. Singing in both English and Yoruba, the climactic chorus introduces guitar elements and snare patterns reminiscent of praise and worship bands in church.

Opening the record with the poetic greeting, “meet me tomorrow,” Tiwa Savage, throughout the song, comforts listeners with the knowledge and faith that we will meet our loved ones again, in the life beyond. “Tomorrow” reflects the reality that in the present we are not able to be with the dearly departed, but in the future faith dictates that we will be reunited. With the word “tomorrow”, Tiwa Savage is also reminding us that we don’t know what the next day holds. There is a possibility we might meet our family and friends on the other side as early as tomorrow. Singing “we’ll carry on, and it won’t be long,” in the conclusion of the song’s hook, Tiwa Savage further appreciates the uncertainty of life by promising to tell her loved ones how much she cares for and cherishes them in the now. Life is indeed fleeting, we never know when our time with someone or on Earth will be up.

Though a sorrowful subject, “Olorun Mi” is a rousing and encouraging song. Heavily attached to her own faith – the music video set in a church – Savage’s lyrics are relatable to anyone who has experienced loss, religion aside. For me, a line that particularly resonates is, “I’m trying to remember the last thing you said.” Memories are self-curated, and when we are unprepared for someone to go, what seems like a conversation or interaction not worth holding on to – as we assume there will be many more and more significant experiences together – become the very happenings we scour for in our memories, hoping to cling onto every aspect of life and love we shared with that person.

In a time in which many people have suffered loss, whether from the global pandemic, depression, prejudiced violence or any other cause, “Olorun Mi” is ever relevant in today’s world, unfortunately. The music video, directed by George Guise depicts people who have endured loss, also canvassing the suffering of the world that ultimately ends in loss of human life. These images from 2013 could be from today, they could be from tomorrow. With death as the only certainty of life, “Olorun Mi” emerges as the prayer we all need; to find the strength to carry on until we meet our angels tomorrow.

Featured Image: Tiwa Savage/YouTube

ICYMI: THE ART OF USING MUSIC AS A FORM OF PRAYER

What we know about Rema’s upcoming debut album

Posted on by Dennis Ade Peter

In 2019, Rema emerged as Afropop’s latest superstar. The awe-inspiring breakout was characterised with the release of three EPs within the span of eight months, positioning the Benin-raised artist as a maverick pop star. Including his self-titled EP, a pack of “freestyles,” and Bad Commando, Rema rendered his splendid powers are crafting inventive, insanely catchy hits, and experimental Trap cuts with a confessional essence. With a handful of smash hits, including “Dumebi” and “Lady,” it was clear that Mavin had unearthed another potentially iconic talent.

The following year, he continued where left off, initially with a scene-stealing feature on the star-studded “4AM,” and then a magnificent 3-single run that included the lush, mid-tempo “Ginger Me,” JAY-Z-sampling “Alien,” and a then-novel fusion of Amapiano and Nigerian pop on “Woman.” The run culminated in the release of Rema Compilation, a collection of those singles and some of his best and biggest songs at the time. However, many were expectant for Rema’s debut album instead of a compilation, which seemed like the next logical step in his high-flying career. 2020 came and went without the singer/rapper’s full-length debut, and he’s now marked out the summer of reopening as debut album season.

In a tweet from last week, Rema announced the title of his album as Rave & Roses. The title, especially its first part, is perhaps symbolic for two reasons. The first is, he calls his fans “ravers,” an ostensible dedication to the legions of listeners devoted to his music. The second reason follows a recent declaration, where he christened the style of his music as “Afrorave.” Initially stamping his arrival as an artist effortlessly capable of crossing genre lines, Rema’s self-proclaimed description for this phase of his musical career seems like a tunnel focus vision on delivering catchy bangers, as evidenced by the Don Jazzy-produced “Bounce,” a fast-paced smash hit with Rema in his lascivious element.

Few weeks back, the Mavin artist opened his account for the summer with “Soundgasm,” a sensual, dancefloor-ready song with a mid-tempo Afro-Caribbean beat and vividly raunchy writing. According to the press release, “Soundgasm” is the lead single for Rema’s long-awaited debut album. With the recent title reveal, it shouldn’t be too long till Rave & Roses graces our ears, but details for the album are still scarce. In a follow-up tweet, Rema did announce that the album will include a second collaboration with 6lack, deeming it “a masterpiece” on the level of their previous collab.

Considering how quickly he established himself as a superstar, with both sustained fanfare on the continent and an increasing presence on the global stage, the anticipation for Rema’s debut LP are understandably high. Speculations are in the multitude, expectations are through the roof, but Rema is nothing if not constantly confident in himself and his ability, a trait that should carry into what could be the biggest release of his career yet.

@dennisadepeter is a staff writer at the NATIVE.

ICYMI: MEET REMA, THE KID FROM BENIN WITH THE WORLD AT HIS FEET

Why Our Expectations For Love Island Nigeria Aren’t Sky High

Posted on by Tami Makinde

Last month, the wait for Love Island Nigeria finally seemed to be drawing to a close. Shortly after Love Island UK kicked off its seventh season, the official Instagram account for the latest African spinoff teased the first tell-all sign that the reality tv show would soon be landing firmly on our (murky) shores with a media event. Now, officially set to arrive towards the end of the year in October on MTV Base, the reality dating show will run for seven weeks within which 20 contestants will battle for the cash prize and a chance at finding their Harmattan-time romance.

Naturally, viewers of the reality show, many of whom are Black and within the African continent or the diaspora at large, have already expressed their interest in tuning in to the new Nigerian iteration. For many of them, this motivation is fuelled by the constant churning of reality dating show content that streaming platforms have subjected viewers to in the past few years. While our generation is undoubtedly nursing more commitment issues than ever before, it seems that we can’t get enough of it on our TV screens.

The anticipation for the new show is offset, however, by the underlying fear that the latest iteration of the reality dating series would once again fail to meet up to viewers’ expectations after years of television networks getting it painfully wrong. There’s no denying that reality TV shows, particularly dating shows, have long been critiqued for being overwhelmingly racist, misogynistic, homophobic, fatphobic, and ableist. When narrowed down to Love Island specifically, these issues are even more fraught when you take into account the fact that ITV has received criticism for their lack of diversity every season since the show first aired over six years ago. In response, the UK-based television network has always reiterated that they are “committed to diversity” and anti-bullying.

However, year after year, viewers see Black contestants go into the villa and leave with no love and a boatload of trauma from dealing with racial microaggressions. There’s a lot to be said about a reality dating show that constantly refuses to honour the diverse multitude of contestants that apply for their shows and the multifaceted viewership that tune in weekly, disappointed yet again that their experiences aren’t shown on mainstream television. Despite this, Love Island remains one of the biggest reality dating show franchises globally with over 21 spinoffs in different locations around the world and over 3.3 million viewers. So what is it about the show that has people willing to look past the gross ways in which Black contestants are treated?

Earlier this year, the first African iteration of the show began in South Africa, one of the most populous Black nations in the world and fans were eagerly awaiting a diverse Black cast given that the show was set on our own turf. Yet ITV and their local partners, M-Net failed to leave any lasting impressions as they dropped the ball yet again on what could have been a landmark moment for reality television. In the first few weeks of airing, viewers on the continent and in the diaspora, wasted no time in calling out the show’s producers for failing to begin the season with any visibly dark-skinned Black contestants in a Black nation. Although producers reassured viewers that more Black contestants would be making their way into the villa within the subsequent episodes, that erroneous move was enough to drastically reduce their viewership and be written off by many potential viewers.

As we stated earlier, it’s one thing to experience this gross lack of representation in a place on the main UK or US franchise, but on your own turf, in your own continent, country, and city, where most people look like you, that feeling hits different. The issue is when you only have the token Black character on any given show, there is a possibility to place weighty unfair expectations on them to become the patron saint and poster child for all Black people or on how Black love should be represented on screen. Indeed, recently, we did see ex-Love Island contestant Mike Boateng explain that he felt pressured to perform ‘Black love’ on screen and after the show. However, in a country where the majority of its citizens are Black, this expectation to act as the token Black couple would be eliminated simply because most people are dark-skinned. However, Love Island South Africa couldn’t have been farther from this.

It is in this climate that the latest Nigerian spinoff finds itself about to operate within. Given how much we know about the colourism within the country, and the way that lighter skin is treated better or superior to darker skin, it’s not hard to see why the expectations for the show aren’t sky high. Nigeria is the most populous Black nation on earth and the producers will need to go a long way to show that they are ready to immerse themselves fully within millennial and Gen Z culture in the country and that includes championing contestants that look, dress and talk like the average young Nigerian.

Luckily, in Nigeria, there is a reference point for any reality shows looking to penetrate the mainstream entertainment market: Big Brother Naija. The locally produced reality television show has become a huge spectacle within the country, spurring loyal stans dedicating to fighting for their stars’ honour, pseudo-celebrities and memorable reunion shows. Over the years and with six seasons in, the show has become the blueprint for any reality television shows coming into the country after managing to sustain continued nationwide viewership. With a reported audience of 309 million viewers from around the continent, according to DSTV media sales figures, it has become one of the most viewed entertainment shows in the country. And it’s as representative of Nigerian culture as they come. All tribes, all people, all skin colours—albeit not all genders or sexuality types.

 

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The premiere season of Love Island Nigeria might also coincide with the seventh season of Big Brother Naija which is rumoured to be out later this year following the close of the reunion show this past week. As such, Love Island Nigeria may find itself struggling to gain the views of audiences within the country and the diaspora when there’s concurrently a show running that accurately represents Nigerian people and their culture. To this end, the producers of Love Island will need to find newer ways to break into this market and remain innovative. That would include, but not be restricted to, at least getting the casting right.

Love Island Nigeria is already being described as the first all-Black Love Island show ever and that detail is not lost on any of us. As more teasers, clips and first-looks are released in the run-up to the season premiere in October, the whole of Nigeria (and her diaspora) will be waiting with bated breath to see how M-Net and Multichoice conduct things this time around. All roads lead to October.

Featured image credits/NATIVE

ICYMI: Big Brother is reaching into the music industry

1-Listen Review: DAP the Contract’s ‘Powers, Vol. 2’

Posted on by Dennis Ade Peter

DAP the Contract has several positive descriptions to define his artistry, one of them is prolific. In the era of music streaming, being a high-volume artist is often an indicator of placing quantity ahead of quality, however this is far from the case with DAP. Over his creatively stellar and productive career, the independent rapper, songwriter and producer has stacked up a catalogue brimming with brilliant projects, both as a solo act and as part of groups.

Heavily steeped in lived-in experiences, with a preference for part-introspective and part-exuberant lyricism, DAP’s music is always a potent snapshot of where he is as a young person, at every given time. Each project is a status update, with every new release leaving an impression and adding new details to the mosaic representation of DAP as a person and musical polymath with a clear vision.

In March, he followed up the February-released EP, I’m Glad You Made it this Far, with an accompanying live performance piece, reinforcing his engagement with every facet of his artistry. Today, he’s back with the sequel to last year’s Powers, Vol. 1, putting out his third project within the span of about 16 months. That’s a short turnaround period between projects, however, DAP’s project never lacked purpose and it’s why I’m excited to hit play on Powers, Vol 2.

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

“Sacrifices” (feat. Tim Lyre)

I love this cover art. These synths have a heaving groove to them, sounds something like the beginning of summer. There go the bass, a really nice knock. DAP just entered a nice falsetto and this song already has a few movements in this song, very dynamic intro. Tim Lyre has one of my favourite voices, it’s deceptively rangey and it’s quite spry here. This delivery has a Santi-esque bounce to it, love the feature. Not too many can really know what people sacrifice to achieve their dreams, but I guess you’ve to keep pushing regardless. Solid intro.

“It’s Not a Gun”

This guitar has some character to it, and this boom bap drum pattern is just vibey. DAP is really good at conversational love songs from a speaking standpoint. “Good girls love bad guys” might be cliché but I’m not going to argue it. A tighter rap flow but the charm is still there, his intent is unmistakeably. This is the anthem good guys need and deserve, but then again, who’s a good guy when we’re all villains in at least one person’s story? I really like this, keeper.

“TDK” (feat. SirBastien)

For an artist who tries out new things every time, it might seem trite to say DAP is experimenting quite well here, but it’s true. This has a very summery vibe to, mellow Afropop meets Tropical House vibe, and his singing is the apt amount of playful. Hold up, is that a Zanku-type drum pattern? On a DAP song? I’m positively shocked. But the song is still mellow and his triplet flow is hitting the right pocket. SirBastien has a dreamy voice and it fits in perfectly here. A drumless transition, these keys have a cosmic warmth to them and SirBastien is pulling off a charming serenade. Nice.

“Chaos”

We’re going back to the ‘80s, an era that will never die in music. This reminds me of something from Roisin Murphy’s Roisin Machine, which I firmly believe was the best album from last year to channel and retool Disco’s golden years. This is such a nice tactic, couching serious socio-political observation in a bewitching groove. Ear-grabbing lines here and there but I can’t hear any quotables, which isn’t really a bad thing. Beat switch. Well, that was short-lived.

“Mo Fe Jaiye [Live]” (feat. Bryan Bliska)

Immediately I saw this on the tracklist, I knew it had already been featured on the “You Made it this Far” live performance piece. The singing is so heartfelt, and it’s aided by the vocoder. I just remember Usher telling T-Pain he ruined music for using auto-tune and I’m mad all over again. Technology, when used right, won’t obscure emotion or replace actual singing. This is the umpteenth example. Not sure if I’ll be running this back as a standalone, but I definitely won’t skip when revisiting the full project.

“UFO”

This project has featured a fair bit of experimentation, proof that DAP is anything but stagnant with his approach to music. This is a dance beat but it has a chill warmth to it, and his voice is muffled. Can’t make out much of what he’s singing, and the melody isn’t really holding me. Another mid-song switch, atmospheric piano and vocal chants. This is quite chilly but he’s expressing warm, love-struck sentiments. Another short transition.

“Go Slow”

The mood is still chill. I spoke too soon, this bass has some knock to it, groovy but not disruptive. Asking a partner to part ways slowly doesn’t resonate with me, just rip the thing real quick so the injury can be swift, I’ll play with the scab later. Another beat switch, it’s keeping things interesting. It’s not rapid fire, but this is nice pacey flow. “She wanna know everywhere I’ve been/I’ve been in the friendzone.” Interesting line. DAP raps about love from a realist standpoint, even though he infuses tropes from the nice guy gospel and I’ve already stated how I feel about that. Beat switch and breakdown to close things out.

“Open Letter III”

Horns and beautiful keys, that’s always a killer opening combo for me. “I don’t know where it go for me but God involved,” that’s a bar right there. Those drums tumbled in gracefully, so much soul on this song. DAP getting personal is my favourite DAP, every line touches the heart. The nostalgia of simpler times is a touchstone in DAP’s music, but those are simply gazes at the past. Nearly every line here is laced with the heaviness of loss, but that mention of his mother has an undeniable, alleviating warmth to it. “I just want to be great, why is there something that’s greater?” I’m sure a lot of creatives ruminate over this same question. Living a life with a constant purpose can be daunting when the goalpost seems to move further back as you get closer. This is immediately in my all-time favourite DAP songs. Keeper.

“Mo Fe Jaiye” (feat. wavythecreator & KALINE)

Final song. Spacey post-dub instrumentation is not really my thing, but I can understand that this is an optimistic follow-up to the previous, contemplative song. Heh, this won’t be my cup of tea, I can already tell. I’m guessing this is wavy, haven’t listened to her in a while, she sounds alright, I guess. This is discordant enough to keep me interested, but it’s still not for me. I love these high-pitched vocals, just not enough to like this as a closer.

Final Thoughts

On last year’s Powers, Vol. 1, DAP largely rapped with a tunnel vision focus on projecting security in his artistic skill-set. For its new sequel, DAP is far less unflustered but no less compelling. This time around, he varies his approach to reflect an artist capable of constantly questioning himself, his purpose, his relationship, and everything around him. On first listen, it seems like a spiritual kin to the third instalment of the Contract Thursday series, released over a couple of weeks in 2019.

Perhaps the most intriguing part of Powers, Vol. 2 is the musical selection, which pulls from multiple, disparate sources. Primarily self-produced, the project darts between soulful Hip-Hop (“Open Letter III”), Folktronica (“Mo Fe jaiye [Live]”), contemporary R&B (“Go Slow”), summery Pop (“TDK”), and more. It’s a pointer to the fact that DAP isn’t just prodding himself to find new ways to portray his experience, he’s also on the constant hunt to make his music feel novel to familiar listeners.

As typically open as he is, DAP weaves in enough surprises to ensure it will take more than one listen to fully appreciate the project’s musical scope and thematic concerns. At that, Powers, Vol. 2, in addition to being the latest status update from the polymath, is a statement that DAP will continue to give listeners access to his perspective as he continues to figure life out, for as long as he possibly can.

Listen to Powers, Vol. 2 here.

@dennisadepeter is a staff writer at the NATIVE.

NATIVE EXCLUSIVE: LOJAY’S COMMITMENT TO ARTISTIC GROWTH IS PAYING OFF

A 1-Listen Review of Masterkraft’s latest EP ‘Masta Groove’

Posted on by Tami Makinde

In the past few years, we have seen a global shift in the music industry. Producers are now stepping out from behind the boards and becoming artists in their own rights–reclaiming a long-held opinion that producers are really the ones responsible for the bulk of different music genres that exist today. Here in Nigeria, this shift has been welcomed by producers in these parts who are eager to give fans their solo offerings. Many of the most notable beatsmiths today including Rexxie, KDDO, Yinoluu, and more, have created their own solo projects, stepping out of the shadows of their contributions for other artists and fashioning their own compelling bodies of work.

Masterkraft is the latest producer to join these ranks with the release of his sophomore project ‘Masta Groove’, a 7-track compilation of jazz-infused Amapiano cuts that make a case for his growing dexterity. The project features a host of West African collaborators from Diamond Platnumz, to Flavour, Sarkodie, Vector, Seun Kuti and more, perfectly indicative of what’s inside. Over the past year, the talented beatsmith has lent his fire production to numbers such as “Hallelu” featuring Bella Shmurda and Zlatan, “Are You Sure?” featuring Zlatan and CDQ and more recently, the “Peaches (Masterkraft Remix)” featuring Omah Lay, Alpha P, and Justin Bieber. It’s clear that improving his skills is a source of pride and Masterkraft makes sure that’s he’s constantly leaving you in awe of his last effort, no matter the genre or the calibre of an artist on wax.

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

Brown Skin

I’m really loving the strings on this intro. It’s so well-plucked and beautifully strung together with Amapiano elements that it’ll have you nodding your head within moments. Masterkraft is doing something that I don’t think I’ve necessarily heard before from a producer–he’s delivering a spoken-word monologue on the beauty of Black women from their brown skin to their full lips. This is a really beautiful introduction (save for some cringey lines) that’s made more beautiful by the willingness to mesh different genres into the song’s short run-time.

Big Man Rhythm (ft. Selebobo)

This begins with a really infectious beat that will definitely have people going crazy on the dancefloor. However, it seems to be a bit of a slow burn and it’s taking a minute for the lyrics to seep into the song even though I’m already one minute into the number. Okay, I think I have to admit that no lyrics will be coming out of this number not even from Selebobo. Nice beat but not enough to get me to relisten.

Abeykehh (ft. Diamond Platnumz & Flavour)

Earlier this week, in a heated newsroom discussion, the team were mulling over the argument that Nigerian producers and artists were trying to own Amapiano to the detriment of South African artists who were really the genre’s pioneers. This number reminds me of that conversation, in the way that it seamlessly infuses Afropop sensibilities with distinct Amapiano elements. It’s not so much that Nigerian artists or producers are trying to own the genre and more so that any genre that makes its way around the world is sure to rub and pick up elements of the culture in the places it has come to settle. Tanzanian singer, Diamond Platnumz and Flavour certainly make this an affair by adding their own distinct flair to their verses.

Shake Body (ft. Sarkodie & Larry Gaaga)

I don’t know many things more memorable things than Larry Gaaga beginning a song with the lyrics, “Call me Odogwu/I no dey do ojoro/This life na YOLO”. The beat for this song is really fire and it gets better as the song builds. These drums are chef’s kiss. This is a really good song, Masterkraft came with the heat on this.

Uluuluu

Masterkraft is really in his Amapiano bag but the project is not moving along as swiftly as I would like. There seems to be a lag by the time I’ve reached this number and dare I say, I’m already feeling all Amapiano-ed out at this point. Very nice beat though, but again with sparse lyrics that keep the attention and focus on the drubbing beat.

Shabadushkabar (ft. Vector & Seun Kuti)

This is already a hilarious title so I’m sure it’ll be a memorable listen. Okay, few seconds in and we’re already receiving adlibs from none other than Wizkid. It’s provocative as they say these days. Okay, we’ve also got some horns and percussion in here from the legendary Seun Kuti, it keeps getting better with each passing moment. Lyrics such as, “Your head is not correct/Shabadushkabar”, almost sounds like a chant. This is definitely one number I’ll be revisiting.

Live My Life (ft. Mr Talkbox)

Much as the title describes, this is a feel-good number to end the project. Here, Masterkraft and Mr Talkbox make a case for enjoying their lives without the watchful eyes of society and detractors. The lyrics are really good and relatable and the production suitable to the song’s upbeat message.

Final Thoughts

As much as the music we hear today is attributed to the hard work of artists and their collaborators, a good number of the work is done by producers and sound engineers who steer the sound and production in different dimensions. While many producers around the world are fighting for their recognition and coming out from behind the boards, now is a good time as ever for beatsmiths around the globe to crystallise their sounds through a solid body of work that gives a clear view into their genre-mashing world.

In recent years, we’ve seen many producers take the reins on their sounds and show their masterful grasp of a range of genres. On ‘Masta Groove’, producer Masterkraft isn’t here to make any bold proclamations of his musical abilities–the work already speaks for itself. With a long list of foundational hits from Wizkid’s “No Lele” to Phyno and Olamide’s “Fada Fada” to Tekno’s “Yawa” and many more, Masterkraft has proven over decades that his talent is worth its salt. It’s the security from these earlier hits that carries him through to his sophomore project ‘Masta Groove’ where he simply tries his hand at one of the hottest genres coming out of Africa at the moment. This is a new chapter in Afropop history.

Stream ‘Masta Groove’ below.

Featured image credits/Masterkraft

ICYMI: A 1-Listen Review of Rexxie’s ‘A True Champion’

Songs Of The Day: New Music From Bella Shmurda, Zamir, Olayinka Ehi & more

Posted on by Wonu Osikoya

As we cross into the second quarter of the year, the amount of music we consume continues to grow exponentially by the minute. With amazing songs dropping at an unrelenting pace, it’s not always easy to cut through the noise and 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 Nasty C, SGaWD, Headie One, Saint Bond, DAP The Contract and more. To begin the weekend, we’re bringing you new releases from Bella Shmurda, Zamir and Odunsi The Engine, Bianco, Yung D3mz and more. Enjoy. 

Bella Shmurda – “Party Next Door”

Over the past few years, Bella Shmurda has made it a habit to always deliver undeniably catchy music. He can’t seem to miss once and this time, he makes his return with new single “Party Next Door”, an uptempo Afrobeats banger set to take over the clubs this summer. Bella as usual just wants to enjoy life and he expresses that fact throiughout this number with lyrics such as “This is the time of our lives, I hope you’re feeling alive/You’re free to join me to party, from sundown to sunrise”. This is the first official single from his forthcoming project.

Zamir – “Love Hrts” ft. Odunsi The Engine

Former LOS member Zamir is back harder than ever and this time he’s replete with heartbreak quotes. “Love Hrts” produced by 44DB founder, Tochi Bedford features a stellar guest feature from Odunsi The Engine who makes the song a bigger moment with his genre-mashing sound. Both artists seem to complement each other perfectly, as they glide smoothly over the futuristic production. The memorable hook, “she wanna love hard/she wanna love heart” sticks with you from the very first listen and lingers on lips for long after. Very catchy tune, I must say.

Olayinka Ehi – “Someone Else” ft. Mannywellz

Fresh Meat alum, Olayinka Ehi is back again with a new relatable single. This time around, her release “Someone Else” finds her linking up with Mannywellz for a memorable anti-love anthem pefect for anyone going through it at the moment. “You always had love to give, you just had no love for me/You just wanted someone else” she sings over the song’s hook, as she expresses her emotions and her anger at an undeserving lover.

Backroad Gee – “Ready Or Not” ft. Nissi

UK-based Gambian rapper, Backroad Gee has done many important things for the culture. Earlier this year, he hosted a freestyle competition to his single “A Yo” which attracted a number of rappers from around the continent and within the diaspora. Psycho YP emerged victorious and since then, the British mcee has continued to show his love for Afropop artists. His latest single “Ready or Not” is a smooth-sounding piano-led number that finds both artists rapping and singing about their realities in this roughneck industry. “Been through hell and the wire didn’t quench my fire/I’m just an animal in my prime” sings Nissi over the song’s hook, encouraging listeners to stand firm despite the tough journey they may face.

Bianco – “Ole” ft. Laime

Nigerian rapper Bianco has just released his latest project titled ‘Aquarius’. The succinct 7-tracker with features from a host of talented artists including SGaWD, Dremo, LAIME and Bipuntato, makes an excellent showcase for his star power. Standout track “Ole”, produced by KD, a member of the distinct producer collective, 44DB is a resplendent love song directed towards a certain muse, and letting her know he’s ready to risk it all for her. He puts a spin on the popular 2 Face song “Ole” to convey the depth of his feelings.

Yung D3mz – “Dey 4 Me”

Following the release of his collaborative EP ‘Girls Like You’ with Boye The Genius and Uche B, Ghanaian producer, singer and songwriter releases his debut EP, ‘YUNG’; a 5-track project with “Fever” as the lead single off the project. After producing records for some of the hottest artists in Ghana such as Kwesi Arthur and Gyakie, the Afro-Fusion producer now wishes to step out from behind the board and orchestrate his own musical offerings. “Them never dey around when I was down and broke/dem never dey for me, most of you niggas never dey for me” Yung D3mz sings on this track as he takes us through the personal pains and experiences he has been through.

Mizzle – “Angelica” ft. Wande Coal

Artist and Record producer Mizzle releases his sophomore EP ‘In The Dark’, a 7-tracker with lead single “Smile For You” featuring Oxlade that fans have been eagerly waiting on. All the 7 tracks are produced by him as he employs help from a host of talented African acts including Wande Coal, Ninola, and Sarz to pass across his message. Standout number, the Wande Coal-assisted “Angelica” is a delicious love song about the beauty of a woman. Wande Coal and Mizzle complement each other perfectly on this mid-tempo track, where they both mix harmonies so perfectly and melodiously. The chemistry on this particular track is undeniable, performance-wise.

Dani Draco – “Trigger”

Ghanaian Afro-fusion artist and producer, Dani Draco is gearing up for the release of his latest EP titled ‘Higher Life’. Ahead of this, he’s shared promotional singles such as “Trouble” and $paceley-assisted “Paradise”, and now “Trouble”, which he produced himself. The guitar-led number finds the singer delivering a stellar performance showcasing his skilled lyricism and his ability to bend his voice to his will.

Featured image credits/Instagram