Lady Donli Is Ready To Enjoy Her Life
A timeline showing the evolution leading up to Donli's debut album
For the better part of this year, singer-songwriter Lady Donli has been stoking the hype for her upcoming debut album, ‘Enjoy Your Life’, due this Friday, August 9th. While official debut LP releases often come with some rookie jitters, the Abuja-raised artist has been strutting around with a palpable sense of confidence. And why wouldn’t she; she’s padded her résumé, releasing several singles and projects leading up to this momentous point in her career.
In the grand context of Lady Donli’s career, ‘Enjoy Your Life’ is the singer’s fifth project. The projected retro-inspired lean of the coming album highlights her commitment to fine-tuning her abilities over the course of her four previous projects through intriguing reinventions with each subsequent release. This evolution-based path showcases how widely varied her music is/can be, while also reemphasizing the core elements of her arsenal: a freakishly distinct vocal texture and a penchant for expressive songwriting.
Donli released her first two projects before she had even discovered the full potential for distributing content online as only her last two tapes are available on digital streaming platforms. Though this leaves little context to go by for speculating on the quality of both mixtapes, they are foundational releases with impressionable features.
In 2014, the singer dropped her first project, ‘Love or War’, a 12-song mixtape that traversed a wide array of music choices, plenty of which hasn’t aged too well but ultimately shows promise. “You A Learner” recall’s Brick & Lace’s uber-smash, “Love is Wicked”, with its electro-reggae beat and vindictive jeering at an ex; “Queen of Hearts” channels ‘90s shiny suit era R&B; while final track “Nothing On Me” is a sassy kiss-off set to a New Jack Swing groove, given extra pomp provided by its EDM fervour.
As a singer, Donli was clearly still working out the kinks of her vocal delivery on the tape, with her melodies tumbling and flowing in equal measure. In comparison to her latter work, she sounded like she was trying a bit too hard. On a far more positive note, though, her writing was steeped in realism, giving the songs their soulful core. Bouncing between odes to self-discovery and love songs fixed on the frayed end of messy relationships, ‘Love or War’ relied heavily on its being relatable.
Most representative of that period is “Mr Creeper”, the third song on the tape, and her first song to gather substantial attention and radio spins in her Abuja locale. Produced by Tay and featuring an outstanding rap verse by Suté, the song is a glassy-eyed diatribe against trifling lovers, over a warm combination of lightly threaded piano riffs and groovy, mid-tempo Afropop drums. “Mr Creeper” highlighted Lady Donli’s burgeoning pop sensibilities decently.
Her second time around, though, the music was sonically focused. By contrast to the paint by numbers output of ‘Love or War’, 2015’s ‘What is Perfect?’ is far more stripped down and showcases Lady Donli’s improved vocal control. Relying on an earthy mix of contemporary R&B and Soul-inflected Afropop, the 10-song mixtape is an intimately crafted set brimming with smouldering, subdued grooves. Kyrian Asher’s blinding spoken word performance on opener “Ne Plus Ultra” is scored by chipmunk samples and hip-hop drum breaks; the Odunsi-produced “Dead Roses” pairs a lead acoustic guitar with clattering percussions; while the Tim Lyre-assisted “Love on the Moon” is set to sombre piano strings and booming 808 bass.
In the same vein as her debut mixtape, her writing remains grounded in a lived-in ideal on ‘What is Perfect’, this time around with an emphasis on the inquisition. Spliced in between personal musings and love songs closer to the blue centre, voice notes from friends attempting to reply the album’s titular question is scattered around for coherent, cinematic effect. Adding up to a wholesome experience, the tape signifies the curatorial nous Lady Donli has continued to brandish and sharpen with every project since.
By her third project, Lady Donli was becoming a bigger deal. The emergence of SoundCloud as the main digital space for music discovery, at the time, was organically helping artists build a community of supporters. Being a notable face of the rebellious Alté generation that was using SoundCloud as its breeding ground, the singer began to amass wider interest. In late 2016, she’d release her ‘Wallflower’ EP, a breakout project that effectively sealed her status as a supremely talented prospect.
Opting for an astral Neo-Soul vibe, ‘Wallflower’ cast Lady Donli as a more evocative singer, beyond the Erykah Badu influences. Over its six tracks, Donli possessed a stronger perception of self, expressing a mood board of emotive subjects grounded in honest introspection, and heightened by scented production. The AYÜÜ-assisted “ALICE” is a self-reassuring cut that emphasizes the superpower in being different, over Tay’s shimmering guitar chords and slow rolling percussions; Odunsi features on “Lie to Me”, a song on which both singers evaluate and expel bad energy from their surroundings, buoyed by Mvgicsoul’s soulfully robust beat; and on “BOBBY BOBBY”, Donli gets superficial, detailing her imperial need to stack her chips.
‘Wallflower’ instantly became Donli’s magnum opus. But to avoid being pigeonholed by the EP’s widespread acclaim, she decidedly made a pivot on her next trickle of singles. Towards the middle of 2017, she’d release “Ice Cream”, a colourful, sun-soaked song about the addictive sweetness and ephemerality of new love, with vocal assistance from Tomi Thomas. As “Ice Cream” quickly became her first low-key hit single, she put out the infectious, ebullient “Poison” in November of the same year, further stressing the efficacy of her pop abilities.
In December 2017, she’d throw another curveball, releasing ‘Letters to Her’, a 6-song set with a narrative centred around a romantic heartbreak. Linearly sequenced, the EP follows Moonchild, the story’s protagonist, as she comes to terms with the reality of losing her partner. Impressively crafted, each song lands on subsequent points of the Kubler-Ross grief cycle, supported by the immersive, alternative soul soundscape Garvie entirely produces. On “Spell”, her devotional lyrics over aqueous guitar harmonies and hip-hop drums elicits denial; the astringent groove and Lady Donli’s vindictive quips on “Roses For K” lands on the anger stage; and acceptance comes on “Candy”, a gorgeous, bittersweet acoustic ballad with Tay.
In the twenty months since ‘Letters to Her’, Lady Donli has been taking dedicated measures to nurture her career into full bloom. Creating her own performance spaces, the singer embarked on ‘The Living Room Tour’ in the first of half of 2018, literally performing in people’s homes to small groups of fans. During that same period, she’d perform at her very first headlining concert at Lagos’ Freedom Park, subsequently going on tour at several intimate venues across Canada and USA.
With her busy schedule, the singer was only able to release two loose singles for the entirety of the year. First came “Games” featuring GJTheCaesar, a cut that straddles the line between heartfelt soul and premium dance music, then “Classic” with Kida Kudz, a spat between two lovers, delivered over sleekly produced acoustic Afropop. In between both singles, though, was an important feat: her collaboration with Mr Eazi on “Lagos Gyration”, the intro song to the superstar’s ‘Lagos to London’ project.
Clocking in at less than a minute, “Lagos Gyration” is painfully short. But with its vintage Afro-Funk groove and quaint vocal filters, it was a clue as to where Lady Donli was headed for her debut album. Influenced by storied styles of Afropop, her singles so far this year, have showcased a clear sense of direction. Lead single and hustle anthem, “Cash” sits on a delightful Highlife-fusion bed; loose single “Comforter” taps inspiration from the kitschy, early ‘00s-era of Nigerian pop; and poverty rebuking jam, “Suffer Suffer” features nostalgic Afro-Folk instrumentation, and is accompanied by early ‘00s Nollywood-inspired lyric video.
In the last six months, Lady Donli has been effectively marking out territory with each rollout hint, laying a charming precedent for a potentially peculiar opus. With her propensity for context-inspired project titles, it seems valid to infer that ‘Enjoy Your Life’ will be Lady Donli at her most jovial. While a heavy dose of tension is present on a lot of her best work so far, her proven ability to follow through and evolve while experimenting, points to a reinforcement of the features that make her an increasingly compelling artist.
Over the last five years, Lady Donli has passed around HulkShare links, made the customary transition from rapper to singer, and become one of the most inventive artists around. It’s time for her to enjoy her life.
See the tracklist for ‘Enjoy Your Life’ below.
Here’s my declaration to you all as I drop our album tomorrow. Also heres the tracklist
#EnjoyYourLife pic.twitter.com/b5GmGpN17q
— Z. (@LadyDonli) August 8, 2019
Featured Image Credits: Instagram/ladydonli
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ICYMI: LADY DONLI TALKS COUCH SURFING IN LAGOS, TOURING AMERICA AND FEELING HOMESICK
Luwa.Mp4 Releases Riotous Debut Album, ‘punKstA*’
Across the album’s 12 tracks, Luwa.Mp4 continues his fiery exploration and fusion of genres like Punk Rock,...
Rising singer and rapper Luwa.Mp4 has released his debut album titled ‘punKstA*.’ The underground star who has been on a release spree all year long, announced the imminent arrival of his debut only a couple of days ago with a cryptic trailer video and an Instagram caption that simply read ‘PUNKSTA* MONDAY.’
Before the arrival of ‘punKstA*,’ the rising fusion star had been showcasing his diligence and talent with a consistent output that has seen him put out over a dozen songs since the start of the year. A string of singles led to a 6-pack titled ‘lore skooL,’ while a deluxe version that housed 5 new songs came just a month later.
His debut album’s lead single, “pUNK FANTASY,” arrived in late July, setting the stage for what could prove to be a pivotal moment in the underground star’s burgeoning career.
Across the album’s 12 tracks, the eclectic singer continues his fiery exploration and fusion of genres like Punk Rock, Afropop, Hyperpop, and Rap into something uniquely different. Tracks like “Pure Water,” which was previously teased on Cruel Santino’s Subaru Live Stream, the abrasive, Tecno-influenced “pROMISED NEVERLAND,” and the more laidback “pEEp MY RIDE” put on display the sort of varied, autotune-soaked approach that has set him apart and helped carve a growing niche.
While Luwa decided to go solo on his debut, credited as the only recording artist, the album was brought to life by a cast of talented producers like frequent collaborator TOPSY, Emyboi, JTRN, 3CB, FVKK.ANDI and Jeremy Cartier.
Listen to ‘punKstA*,’ here.
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Shekhinah Returns With Surprise Album, ‘Less Trouble’
The South African R&B star is at her most assertive on her first album in four years.
South African R&B and Pop singer Shekhinah has released a new surprise album titled ‘Less Trouble.’ The Durban star, who had been quiet for most of the year, took to social media shortly before midnight to share the new album’s cover, synopsis, and tracklist, simply stating, ‘If you’re seeing this my album LESS TROUBLE is out now at Midnight,’ in an Instagram caption.
The soulful singer first began teasing ‘Less Trouble,’ her first album in over four years, about a year ago when she released its lead single “Risk,” a bouncy Afropop-inspired collab with Ghanaian star MOLIY. A few months after the release of “Risk,” she put out “Steady,” a dreamy pop number that suggested that something bigger was on the horizon. But then it was largely radio silence about a project until its surprise arrival at midnight.
If 2021’s ‘Trouble In Paradise’ represented a coming-of-age for Shekhinah, subsisting some of the dreamy, youthful exuberance of her debut album for more measured musings on themes like heartbreak and grief, ‘Less Trouble’ finds her at her most assertive, writing and singing with the acuity of someone who is grown, decisive and discerning. The delicate opener “Break Up Season” sets the tone for the rest of the album as she shows little tolerance for shady behaviour and toxic patterns.
Other standout cuts on the album like “Bare Minimum,” a sombre collab with fellow South African award-winning singer lordkez, the ethereal, in-your-face interlude “New Casanova,” and the percussive “What Are We,” where Shekhinah contemplates the nature of a relationship but ultimately demands all or nothing, all drive home a part of the album’s synopsis, which reads ‘A BOOK ON MORE HEARTBREAK BUT LESS HEARTACHE.’
Shekhinah invites a couple of new collaborators on ‘Less Trouble,’ featuring the aforementioned MOLIY and lordkez as well as multi-instrumentalist Mars Baby and Young Stunna across the album’s 11 tracks. Mpilo Shabangu handled the majority of the album’s production, while other producers like Michael Morare, her longtime collaborator, Mthintheki Mzizi, and Vuyo also contributed to the album.
Listen to ‘Less Trouble’ here.
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The NATIVE’s First Impressions Of Amaarae’s ‘Black Star’
‘Black Star’ marks another evolutionary arc for Amaarae, and The NATIVE team offer our thoughts after a...
Change has always been a constant theme in any discussion about the career of Ghanaian-American star, Amaarae. Since she emerged as a singular voice in the late 2010s, she has evolved from a sirenic Afropop-adjacent singer into a Punk-Pop firestarter with minimal fuss. ‘Fountain Baby,’ her 2023 sophomore album, was a sweeping departure from the lilting melodies and shapeshifing cadences of the hypnotic ‘The Angel You Don’t Know,’ emphasizing her commitment to charting new courses with her music.
In the lead-up to her new album, ‘Black Star,’ she has wholly embraced a Pop aesthetic and sheen that was reflected on the album’s promotional singles, “S.M.O.” and “Girlie-Pop!.” Now that the album has arrived, the singer has advised listeners not to go in expecting a continuation of the soundscape on ‘Fountain Baby.’ As keen followers of Amaarae’s career from its start, we are sure that ‘Black Star’ marks another evolutionary arc for her, and we offer our thoughts after a few listens.
WHAT WERE YOUR EXPECTATIONS OF AMAARAE GOING INTO THIS ALBUM?
Kemnachi: I had zero doubts that she would impress me again. Amaarae always comes correct. She is audacious with her choices, taking creative risks most artists would not dare to imagine, and somehow rendering them seamless, deliberate, and effortless. Her music has a way of enveloping me: it’s fluid, slightly dangerous, and yet irresistibly sensual. Every project feels like an immersive world she has curated down to the finest detail. With ‘Black Star,’ I knew it was not going to be a mere collection of songs but another meticulously constructed realm.
Bamise: I expected something fun, genre-bending, and sonically diverse in the fashion that Amaarae’s music typically is. I may have taken the album title a bit too literally, though, because listening made me realise I had an eye out for some Pan-African statements or something to spark discourse on African identity, but I didn’t quite catch any of that.
Boluwatife: Amaarae has largely delivered throughout her career, so I knew she was going to come correct again. She’s one of those forward-thinking artists who take the kind of risks most others wouldn’t, but she always manages to make it work. She’s proven to be a musical omnivore who constantly meshes her wide-ranging influences into something new, fluid, icy, and more often than not, sensual. I knew ‘Black Star’ wasn’t going to be any different.
WHAT SONGS STOOD OUT ON THE FIRST LISTEN?
Wale: I liked “Girlie-Pop!.” I feel like it captures Amaarae’s vision of pushing Afropop into the future. She’s also really grown comfortable with music and lyricism and will not dumb down her message for anybody. The instrumental for “Girlie-Pop!” is also a wonder; it’s so dense, but there are pockets for Amaarae to be emotive about her feelings. Top song!
Daniel Akins: I need to hear “B2B” at the next rave I’m at. Amaarae is in her Dance era, and I’m here for it. Kiss Me Thru The Phone pt 2” with PinkPantheress is the collaboration I knew I needed, and I’m glad they finally linked up. It’s a clear standout on the project; their ethereal style complements each other.
Shina: “B2B” was the one that did it for me. That is my favourite track on the project. The number of times I ran it back was unhealthy for a first listen. It was also really fun to catch the Don Toliver “Best You Had” sample. I need to hear this outside!
HOW WELL YOU THINK THE GUEST APPEARANCES ENHANCED THE LISTENING EXPERIENCE?
Israel: The guest features on Black Star aren’t mere flexes. They’re strategic, theatrical, and sometimes emotionally resonant. They enhance, yes, but they do so on Amaarae’s terms. A standout for me was PinkPantheress on “Kiss Me Thru The Phone pt 2.” The tradeoff is that a few songs feel like dazzling cameos rather than an integrated conversation, yet overall they enhance the album’s drama, texture, and bravado with precision.
Daniel Banjoko: Everyone showed up and delivered, no weak links here. Instead of just guest spots, they felt like vital pieces of a bigger puzzle. Charlie Wilson on “Dream Scenario” nailed his part especially, making the track sound exactly like its name promises.
Moore: The guest appearances on ‘Black Star’ feel very intentional; each one enhances the album’s world without overshadowing Amaarae’s vision. PinkPantheress’s signature airy delivery meshes with Amaarae’s experimental pop sound. Naomi Campbell’s commanding voice on “ms60” is an unexpected but powerful addition, adding drama to the track. Each feature feels carefully chosen.
WHAT SONG IS THE BIGGEST SKIP?
Bamise: Not to be a party pooper, but I don’t get the PinkPantheress collab, “Kiss Me Thru The Phone pt 2.” It feels like a PinkPantheress song with less pop in it, and just borrows the title of the iconic Soulja Boy song but has no other similarities. It’s between that and “ms60.” For me, the chorus of that sounds like something I’ve heard from Amaarae before, and I doubt its absence would have diminished the album.
Shina: I feel like biggest skip is a strong word for a solid project, but if I have to pick a song to skip, it’ll be “ms60.” I think it’s easily forgettable.
Wale: It’s hard to single out a song that stuck out to me, but hearing Naomi Campbell on “ms60” threw me off. It’s just too contrived to bear for me.
WHAT SONG HAS THE BIGGEST HIT POTENTIAL?
Boluwatife: My gut answer would probably be “She Is My Drug,” just because of how she beautifully reworks the melodies from Cher’s “Believe.” DJ remixes of this song could go crazy. But if I were to think a bit more logically, TikTok would probably lap up “Kiss Me Thru The Phone pt 2.”
Daniel Banjoko: “Kiss Me Thru the Phone pt 2” goes crazy. Amaarae and PinkPantheress are the perfect match. This collab feels like it was destined to happen, and it delivers in full. Honestly, I can’t believe it took this long, and now I just need more tracks from these two, ASAP.
Moore: “Kiss Me Thru The Phone pt 2” has the biggest hit potential on the album. The song has a nostalgic, sad party girl vibe that makes it appealing, and it’s also catchy and well-produced. PinkPantheress consistently performs well on platforms like TikTok, and her fanbase overlaps in a really interesting way with Amaarae’s. The collaboration feels organic and exciting, and will likely create a lot of buzz.
OVERALL FIRST IMPRESSIONS
Wale: There is a very visceral quality to how Amaarae expresses desire that I don’t hear very often in a lot of music. It’s abstracted and warped in futuristic textures, but it’s very profoundly human, and it’s always great to hear that even as she advances the sonics of her delivery. I do, however, have an issue with the thematic scope of ‘Black Star.’ I thought there would be overt references to her experiences of navigating her Ghanaian identity, but those references are limited to samples and interpolations. It’s still an incisive listen and a triumph for finding ways to advance music from Africa.
Bamise: It’s Amaarae; she can never go wrong. But for me, this is the album that excites me the least from her catalogue. Other than how bass-heavy some songs on the album are, like “S.M.O.” and “She Is My Drug” among others, it feels similar to other projects I’ve heard from her in a way that’s not exactly refreshing or mind-bending. I may have gotten spoiled by how diverse and eclectic Amaarae’s music tends to be, but I wanted more from her. I expected more gangster, Hip-Hop Amaarae. Thematically, I didn’t get anything that gives the Black Star of Ghana, or black stars are ruling the world. Will I listen again and enjoy every bit of it still, though? Yes, I will.
Shina: So first off, this is a solid body of work. I love the fact that Amaarae stuck with the Dance, Electro-Pop route she was going with throughout the album. The features also played their part, adding their unique touches to each record. I would say, though, a feature I would’ve loved to hear on this project is 070Shake. I think she would have been perfect on “100DRUM,” but we don’t always get what we want, do we? Thematically, I think Amaarae could’ve leaned heavily on her Ghanaian heritage, seeing as the title and cover of the album are a nod to that. Maybe Amaarae just wants us to dance, and that’s what I’m just gonna do, and you should too.
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