How Rema has changed the afropop game in only one year
Exploring the importance of his debut self-titled EP
It feels like a lot longer, given his meteoric rise, but today marks one year since Rema was introduced to the Afropop world with his self-titled EP. Less than a week after he dropped this era defining project, I sat with Rema for his first-ever interview, and looking back at that conversation, it has been a monumental year for the afropop star.
After 3 EPs, several coveted awards such as Next Rated at The Headies, and Best New Artist at the SoundCity MVP Awards, his growth in every area is palpable. He came into the scene with hit song, “Dumebi” on his hands, and over the past 12 months, has continued to cement his status as a prolific and versatile artist, thanks to a genre-bending catalogue of hits.
The 4-track EP was short and sweet enough for listeners to take note of every song, which led the entire project to dominate radio playlists and music streaming charts across the country. When I spoke to him for the TRYBE section in our last print issue, he had the poise of a teenager on the brink of success and offered context about how he’s able to appeal to mainstream afropop, while still channelling the familiar angst of next-gen hip-hop artists such as Lil’ Uzi Vert and Juice WRLD.
‘Rema’ arrived as a blend of all the diverse sounds dominating popular culture in Nigeria. The lead single, “Iron Man” pulled influence from Bollywood score melodies while traces of Wizkid’s rhythmic songwriting are unmistakably evident on “Dumebi”. He also demonstrated his global influence with the emo-trap “Why”, which showed that Nigerian music can be just as inventive, weird and expressive as something you’d hear anywhere else in the world. Though these foreign influences already existed in Nigerian rap, ‘Rema’ managed to take what would be categorised as an underground sound into Nigerian mainstream.
Rema also represented everything Nigerians often berate the alté community for, from his strange gimmicks (masks and teddy bears) to his undefinable sound. Beyond bridging this gap, he also stood as a reflection of afropop’s global appeal. This put him in conversations about being one of Nigeria’s biggest exports, allowed collaborations with superstars from all over the world like Becky G; Major Lazer & 6lack. He also earned the seal of approval of The Obamas (more than once), and a spot in Rolling Stone’s list of the best 50 songs in 2019.
On his first project, which is a year old today, Rema tackled love, life, nature and neglect against an eclectic range of beats, these struggles he sang about coincide with joy and youthful exuberance with a bravery that made it even more enjoyable. Thematically, the EP played out as a voyage through a Nigerian teenager’s emotional rollercoaster, and was the first of the sort to do so. Young Nigerian boys could look at him and see themselves like never before, and young Nigerian girls were finally given a teenage heartthrob who they could actually crush on.
His command of the spotlight—whether he was flirting (“Baby come and sing my song/ You dey make me wan dey give you more”), boasting (“It’s a Miracle/ Oya Come taste my money oh”) or talking glorious nonsense (“Kakara/ Make I give her the pon pon pon”)—presented a popstar manifesto with something for everyone, young or not. The Ozedikuz -produced “Dumebi” took off instantly for being a mosh-pit inducing heartbreak anthem, whilst also being the perfect party anthem.
It’s impossible to erase the mark Rema has left on afropop history in the last year, and it comes as no real surprise that his rise to the top has been trailed with comparisons to Wizkid. Both artists attained mainstream success almost immediately, and grew their fanbase with the flashy allure of being teenage heartthrobs. Wizkid throughout the decade has delivered constant hits and is without a doubt one of the biggest artists today, and beyond the hits, we’re seeing him inspiring the next generation of hitmakers, and it’s clear that he’s one of Rema’s sonic influences.
While Wizkid captured the popular zeitgeist and built homegrown support before taking on the bigger responsibility of representing the continent on the Billboard charts, Rema built his buzz on the global stage right from the start. Where Rema’s breakout song has 17 million YouTube views, Wizkid’s racked up 1.9 million over the years, which is a testament to the times both artists came out into.
Over the last year, Rema has become a prominent figure in regional and international scenes, and he performs Afropop songs on prestigious global stages like his half time performance at the NBA All-Star Weekend. While international fans vibe with his lyrics with so many international remixes for “Dumebi”, fans at home appreciate the angst-filled trap songs they can relate to. Rema might take influences from the Afropop sound Wizkid popularised, but he’s using it as a tool to tell his own stories.
Rema embodies the entirety of Afropop’s evolution in one moment, benefitting from the changes the industry has seen over the years and drawing influence from those who walked the same path before him. Gen-Z music stars all over the world from Megan Thee Stallion to Roddy Ricch have also benefitted from this, and seen very similar success to Rema in a short time frame. What they all have in common also, is that they’re using their music and position as a tool to inspire their peers all over the world, which immediately sets them apart.
Beyond the jams, and whether he intends to or not, his position on the global stage serves as a beacon of light for other young Nigerians, whose dreams are limited by just being a product of this society. Rema presented himself to the world as he is, and continues to tow his path on his own terms. We’re looking forward to seeing what the next year with him looks like.
Featured Image Credits: TSE
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ICYMI: Meet Rema, the kid from Benin with the world at his feet
What OdumoduBlvck’s Greatest School Tour Could Mean For Touring In Nigeria
The rapper’s decision to embark on a local university tour of this nature could go on to become a...
There’s no denying that OdumoduBlvck’s 2023 mixtape ‘Eziokwu’ established his musical genius. While the half dozen projects that preceded ‘Eziokwu’ almost served as target practice, largely showcasing the early iterations of Okporoko music – his unique melodious rap fusion – it was his major label debut that truly grounded the rapper in Nigeria’s rich Hip-Hop lineage. The album’s far-reaching success culminated in a historic joint tour with fellow 2023 breakout star Shallipopi, which saw the two share the stage across 9 cities in the United States. Similarly, riding the high of his latest mixtape, ‘The Machine Is Coming,’ the Anti-World Gangstar head huncho recently announced a new tour. This time, however, instead of taking his new collection of infectious bangers to stages abroad, the rapper decided to visit different universities across the country for what he calls the ‘Greatest School Tour Ever.’
Touring in Nigeria is a subject that has become somewhat controversial over the last few years, splitting opinions amongst many fans, industry experts, and artists themselves. Back in the mid-2000s to early 2010s, local touring was very much the norm. Platforms like Star Music’s ‘The Trek,’ as well as a few prominent local promoters, enabled some of the biggest names like 2face, Olamide, and M.I to hold annual nationwide tours. These tours included stops in cities like Warri, Makurdi, Owerri and many other places that artists are less likely to visit today. University tours were also popular as they presented an avenue for these artists to connect with their younger audience, who mostly served as the bedrock of their fan base.
The rise of digital streaming platforms, which has partly informed the industry’s rapid evolution over the past decade, coupled with other economic and infrastructural issues, has, however, forced a sharp decline in local touring, making it an almost altruistic endeavour in today’s Nigeria. Afropop gaining global exposure meant that the international market immediately became more viable and lucrative to our biggest stars, and this reshaped their priorities. The extensive, multi-city shows became reserved for diaspora fans, while the local audience, in most cases, are treated to a solitary annual show.
OdumoduBlvck looks to buck this trend with the ‘Greatest School Tour Ever,’ prioritizing his primary audience before tending to those abroad. In truth, the Lagos-born rapper is not the only one who has embarked on this type of tour in recent times. A couple of years ago, UK-based rapper Kida Kudz and Ckay also went on similar campus tours, with the latter making stops at 10 different universities across the country. Llona, one of the breakout stars from last year, is also currently on a nationwide tour coming off the success of his impressive debut album ‘Homeless.’ The ‘Greatest School Tour Ever,’ is however, peculiar and momentous because of its timing and OdumoduBlvck’s standing as one of the biggest names around.
At the recent 17th Headies Awards, the rapper became the latest recipient of the Next Rated award, a highly coveted plaque that’s historically reserved for standout acts whose music defines the zeitgeist at a given period. He received the award just two days after he gave an electrifying performance at Afe Babalola University. His latest mixtape, ‘The Machine Is Coming,’ a precursor to his highly anticipated forthcoming debut, currently sits at the No. 2 spot on the Turntable Top 50 Album charts. It is unheard of in recent times: that the Headies Next Rated act, who has one of the top projects in the country, is on a local university tour. The Abuja-native has, however, shown on numerous occasions that he has never really been one to abide by existing standards. The famous opening lines from his breakout single “Declan Rice” (I can do without their Policy I Know), did not only serve as a message to gatekeepers and naysayers but also as a manifesto that declared his mode of operation going forward.
At the time of this writing, the rapper has only made two stops on his ongoing tour, but his decision to embark on a local tour of this nature already looks to be paying dividends. The first two shows have produced viral clips that capture his star power, the hysteria of his headline shows and his rapidly growing influence, especially amongst younger listeners. The viral clips have already created an increased demand for shows, with many young fans harassing the rapper to add more dates to the tour. With the release of ‘The Machine Is Coming’ and his recent crowning moment at the Headies, it’s safe to assume there’s more attention on him now than ever. While it is, of course, still early days, the rapper’s decision to embark on a local university tour, especially given that he’s currently experiencing a career high, could go on to become a significant moment, one that potentially inspires a shift in the touring landscape in Nigeria.
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NATIVE PREMIERE: Tanika Is Stepping Out On Her Terms With The Kida Kudz-Assisted “FAST FWD”
From working her way out of London’s Myatt’s Field, Tanika is now setting her sights on the bright lights...
Across a career that’s in its second decade, Tanika has proven to be a force in her own right, holding her own on collaborations with Black British stars like Stormzy and Wretch 32, as well as popular record producer Naughty Boy–working with the Grammy-nominated beatmaker on his acclaimed ‘Hotel Cabana’ album.
Following a stint as an actor, she returned to the studio in 2021, releasing a new extended play, ‘333,’ in 2023. The project carried all the hallmarks of Tanika at her tantalising best: lilting cadences, well-paced narratives, a songwriting that reaches for the heart of the matter.
On her latest song, “Fast Fwd,” she’s growing into her own and stepping into a new era. In many ways, “Fast Fwd,” a hypnotic, sultry anthem, is landing just in time for summer revelry. Produced by her longtime collaborator, Naughty Boy, her silky vocals land effortlessly on the mid-tempo instrumental and pulsates with her desire for her love interest.
Joined on the song by her fiancé, Kida Kudz, they make an interesting duo and replicate the synergy they had on “Nobody,” off Kudz’s 2021 ‘Top Memba.’ Distinctively marked by use of neon lights, the video for the song captures the effervescence of romance that Tanika hums about throughout the song.
From working her way out of London’s Myatt’s Field to becoming a star with millions of streams, Tanika is now setting her sights on the bright lights of superstardom. Ahead of the official release of the single, we had a brief chat with Tanika about her career, the influences for “Fast Fwd,” and working with KIda Kudz on it.
Her answers, which follow below, have been lightly edited for clarity.
How would you describe where you are in your career right now?
I’m just enjoying the journey.
What does the release of “Fast Fwd” signify for you?
It signifies love.
Why is Kida Kudz a fit for the song? (
To be honest, we didn’t plan to do another song together. I have worked on two records with him before (“Nobody” and “Tasty Time” ) but we never thought to shoot a video for it.. “Fast Fwd” felt like a real testimony of our present moment in the relationship.
You’ve worked extensively with Naughty Boy and he’s helped with “Fast Fwd,” what’s your relationship like and why does it work?
Naughty Boy knows me very well. We’ve known one another for over 10 years, so he knows what fits me musically. We gel. I think him knowing me and being a fan of Kida’s music made it all work. Naughty Boy does his listening before he makes a beat for you. A lot of producers don’t really understand the importance of knowing the artist musically but he does.
What were you aiming for with the video?
To be honest, I’m aiming for nothing. I’m just enjoying the journey. It’s been a very long road and I know I still have a long way to go.
Catch an exclusive view of “Fast Fwd” below.
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Vlisco’s “The Garden Of Sisterhood” Campaign Comes To Life in New “MAYANGA” Video
A celebration of creativity and cultural
Dutch textile brand Vlisco recently unveiled its latest campaign ‘The Garden Of Sisterhood,’ as part of its women’s month celebration. The campaign, which looks to extend Vlisco’s rich legacy in African fashion and its ongoing celebration of creativity and cultural storytelling, takes inspiration from Congolese musical icon Fally Ipupa’s latest single, “Mayanga.” The song’s accompanying music video was shot in the Ivory Coast, and seamlessly balances Ipupa’s signature soulful Rumba music with intricate floral motifs and soft, elegant colour palettes that celebrate the strength and individuality that blossoms through community.
In addition to Fally Ipupa, Vlisco also tapped up Ivorian fashion designer Loza Maléombho and Nigerian director Daniel Obasi to contribute to ‘The Garden Of Sisterhood’ campaign. Maléombho’s unique designs and Obasi’s striking storytelling helped contribute to actualising Vlisco’s distinct aesthetic and vision of merging heritage, creativity and fashion.
In a statement discussing the collaboration with Vlisco, the Congolese superstar described it as a beautiful experience. “They understood my vision of working with talented artists and honouring the beautiful women who wear Vlisco fabrics. By creating exclusive designs for me and the remarkable women in the cast, Vlisco really brought our artistic vision to life, harmoniously fusing music and fashion,” he said.
Similarly, Marlou van Engelen, the creative director of Vlisco, expressed that it was an honour working with Fally Ipupa. “His song ‘MAYANGA’ perfectly reflects our admiration for the women who shaped us, inspire us, and mean so much to us. For us, it’s not just about fashion; it’s about the stories told through our beautiful prints. And I believe the best stories are always told together,” she said in a statement.
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