For The Girls: Ria Sean Is Forging Her Own Path
On the cusp of an explosion
Earlier in the summer, rising singer and songwriter, Ria Sean signed with Aristokrat Records, one of Nigeria’s premier labels. While the moment was widely celebrated, Ria Sean’s inclusion on the roster stood out for one reason: she’d become one of the few female artists to get the Aristokrat seal of approval, joining earlier acts such as Cameroon’s T’neeya and Lagos’ Saszy Afroshiii.
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(@theriasean)It’s no secret that the music world is heavily male-dominated. Although women have been integral to Afropop’s culture, they’re often shifted to the background as decoration for their male counterparts, or they are pitted against one another and maligned by critics and fans alike. However, we’re now coming into times where several female artists are making music on their own terms, honing their sound and increasing their reach, and side-stepping industry gatekeepers. That’s why career moments such as the one Ria now enjoys are a reminder of the strides women have made, and continue to make in the industry.
However, there’s a slight chance we might have missed out on all of this, as while she was growing up in Nigeria, the singer found her first love in dancing. She tells me via a Zoom call that dancing is a form of expression that she’s nurtured right from when she was a young girl. Despite not earning any professional qualifications as a dancer, the singer shares that she’s always loved the free flow of movement it offered her, and she’s consistently trying to imbue it in her music videos (or from the comfort of her room). When she wasn’t dancing, Ria would spend her time visiting a friend’s studio where she would eventually write and record her first song.
Ria Sean fell in love with music when she was 6 years old. However, she wouldn’t take it seriously till she was 13-years-old and singing in the church. Raised by a hardworking single mum who made sure Ria grew up with everything she and her siblings desired, Ria, admits that she faced challenges while trying to find her footing as a young girl on the streets of Lagos. “When I wouldn’t have money for transport to the studio she would help out. She has believed in the dream for so long now. She knew I was so dedicated to making music and nothing else had my attention,” she tells me a few days after her debut EP’s release. Emboldened by a dynamic mother who believed in her dreams, Ria Sean would take matters into her own hands, and forge a way out of adversity, using her experiences as an anchor to propel her to greatness.
It was only a matter of time before Ria’s tenacious spirit would land her the tools she needed to propel her artistry–which she now enjoys with her Aristokrat deal. However, as much as what we’re seeing from the singer today appears well-thought-out, defined and relatable strategy, this moment in her career has actually been years in the making. “I try to be versatile and explore new sounds and new vibes but still keep the same Ria Sean,” she admits to me, as she impresses on the importance of staying true to herself while expanding the scope of her artistry.
“I make music for everyone and for the soul. Music that touches your soul and makes you feel like you want to listen to it again. I make music that inspires and spreads good energy.”
The sweet spot in Ria’s music seems to be that the Nigerian singer and songwriter is constantly trying to speak directly to her soul. Her recently released debut EP, ‘FLUID’ is a mesmerising collection of heart-wrenchingly confessional numbers which sound like a friend on the other end of the phone. Ria Sean has a knack for singing about things we don’t say outright, at one moment pining for her love to please her on “Satisfy My Soul” and at another moment, demanding that she’s paid what she’s owed on numbers such as the promotional single “Money Bag.”
With this, Ria occupies a refreshing position in today’s musical landscape. She’s among the leading female singers who are making their voices heard and disrupting the status quo, eschewing the times where only one female singer could be on top at a time. As part of a new generation of female artists putting lyrics to our infinite moods, it’s clear that Ria Sean is here to redefine what it means to break barriers as a female artist today.
Now, off the back of the incredible fanfare she’s received from her debut EP, the singer is now offering listeners and her loyal fans more insight into her world by premiering the official music video for “Satisfy My Soul” today. To celebrate its release, we caught up with the singer about the song’s inspiration, her background, and what it means to be a woman in the industry today.
Our conversation which follows below has been lightly edited for clarity.
NATIVE: Hey Ria, what inspires the music you make?
RIA: When writing music I get inspired by anything I find interesting at the moment. Maybe a personal experience or a particular tree that I really like. I just write about anything I want to write about. I’m really versatile and free with my vibe.
NATIVE: What was the concept behind the “Satisfy My Soul” video? How involved are you in your creative output?
RIA: The concept was to have a lot of skin in the video but there’s also a deeper meaning behind “Satisfy My Soul”, representing family and my sisters. The visual is me around my sister and there is a part in the video where you see me around money, so those little details are things that drive me and make me satisfied. I contributed to the visual by showing Clarence a few ideas and references of what I wanted the video to look like and he went with it, showed me what he had in mind, I agreed to it and we shot the video. I had about 50% say of what the video will look like.
NATIVE: “Satisfy My Soul” holds such a strong message, what would that be in your words?
RIA: The main message is “say you satisfy my soul”, that thing that gives you drive and keeps you going and satisfied even when things aren’t going well. I have a few things that I’m mainly singing about like money, family, friends and that’s what we try to portray in the video.
NATIVE: Tell me about getting signed to Aristokrat Records. How did that come about for you?
RIA: It was from all the studio jobs I was doing. I was doing backup for various artists cause I needed to make money. One day I went to do a backup job and the producer at the time was a guy called Lyriq and he heard what I did and he was interested in working with me. We talked and I worked on some records with him. He was linked to Aristokrat’s and he played my music for them and they were interested in me. They didn’t sign me immediately but they had an eye on me. I was just doing my thing and they signed me a year later.
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NATIVE: What’s it like being a young female in the music industry today?
RIA SEAN: I don’t really know how to answer this question when I’m asked because I’m so focused on just getting what I want to get, the positives and not the disadvantages. I could say that being signed made things a lot easier because things weren’t as easy for me before I got signed as an independent and female artist. Money is an issue, being a woman is an issue because you have to do a lot more and beat people’s expectations and you have to come out of your comfort zone. Because of the passion and love I have for music, I know music and I know what I want for myself, I haven’t paid attention to the negatives.
NATIVE: What would you say are the differences between being independent and signing to a label?
RIA: Being an independent artist, you do whatever you want cause it’s just you and there’s this certain freedom you have but it’s hard when you don’t have a team. When you’re signed you’re working in a team and you want to do better and go the extra mile because there are a lot of people you’re working with. so it’s pretty easy to work in a team than being independent because you have to be creative and there is also a business side to it like planning so many things like interviews and making money. Money is a strong factor when you’re signed. You can make it as an independent artist if you have the connections and money but it’s easier when you’re signed. Both sides work fine but being signed is easier for me because when I was independent it wasn’t easy.
NATIVE: Talk to me about your perspective on women owning their sexuality and reclaiming their bodies. Why do you think it’s important for listeners to associate you with that message?
RIA: At the end of the day it’s my body and I do whatever I want. Sexuality doesn’t have to be showing off ass, skin, boobs and all but me personally that’s how I feel comfortable showing myself off, I’m a sexy being and I like that. Sexy can also mean being smart, your mindset and how you see things. I want to spread the energy to women in the world that you should be comfortable in yourself, wear what you want and just be you. Women go through a lot like being on their period and having cramps and all. You’re the one carrying all that burden so you should feel okay to carry your body how you like as long as it’s not hurting anyone. Whatever decision you want to make with your body then do it as long as it’s something that makes you happy and satisfied.
NATIVE: Would you say your work is contributing to the changing landscape of Afropop music?
RIA: I’d say my work adds to the landscape of Afropop because there are so many other people in the world making similar music. I don’t plan to change it but add to the music I’ve grown up listening to and I’m just gonna come and contribute to it. Imagine it just being me, it would be really boring so the only way it could be beautiful is by adding your own vibe to it.
NATIVE: What should we be expecting from Ria Sean? Any new projects coming soon?
RIA: I have more EPs and albums coming out. But all next year. I am putting together a merch soon but I’m still trying to work everything out.
Watch the video for “Satisfy My Soul” below.
Featured image credits/NATIVE
ICYMI: With Darkoo, You Always Get Twice As Much
Rema Has Another Banger With Explosive “Kelebu”
The Rave Lorde has kept to his word to deliver a summer hit.
Rema has released his highly anticipated new single “Kelebu.” Early last month, the Benin-born star took to social media to promise an incoming summer release. ‘Still owe y’all that summer Banger,’ he tweeted. Weeks later, he gave more insight about the direction of his forthcoming release, tweeting, ‘Ok.. I want y’all to DANCE this summer!’
After much anticipation, the singer posted a snippet of “Kelebu” in usual fashion, promising $10k for whoever comes up with an easy dance challenge and raising excitement for what is probably about to become a dancefloor staple quickly.
The self-proclaimed Rave Lorde seemed to have favoured a more tempered approach in the last few months, opting for the sheen and soulfulness of R&B on his first two releases of the year. “Baby (Is it a Crime),” which had already taken on a life of its own even before its official release, gives Sade’s 1985 classic “Is It A Crime” an Afropop and R&B facelift, while “Bout U” sounds like it was picked out of a 2004 Marion Winans release.
With the release of “Kelebu,” Rema returns to the familiar chaos of 2024’s ‘HEIS,’ borrowing from an array of genres to create what is, without a doubt, one of his most exhilarating releases to date. Teaming up with close collaborator London and the German-born Ambezza, “Kelebu” takes inspiration from a host of regional genres like Dominica’s Bouyon and Mara, the new Street-Pop subgenre that’s recently come into prominence. There’s also strong Makossa and Coupé-Décalé influences across the track as Rema tears through the riotous beat with breakneck pace.
Whether “Kelebu” fits into a bigger picture or is the start of something new remains to be seen. You can never be too sure with Rema. He could be teasing several Trap-inspired songs one minute, and then go ahead to release a sensual R&B record the next. The Mavin star is somewhat unpredictable, and that’s part of his huge appeal. You’re not certain what comes next, but you’re seated for the ride regardless.
Listen to “Kelebu” here.
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The Locales That Shaped Our Favourite Afropop Stars
Markers of those places inevitably show up in the music of our favorite stars, enriching our soundscape and...
The concept of origin and heritage has never been more important in Afropop than right now. As the edges of the sound broaden and influences spring forth from all over, artists are increasingly taking on ambassadorial roles that see them represent the people, attitude, and ideals of where they hail from. Whether by birth or upbringing, artists are intrinsically tied to and influenced by these places where they have spent significant time socialising and soaking up influences. The markers of those places inevitably show up in their music, enriching our soundscape and furthering our collective cultural memory.
Whether it is Olamide putting on for Bariga on “Oga Nla 1” in tandem with Alhaji Wasiu Alabi Pasuma and Lil Kesh or Burna Boy beautifying Port Harcourt on “City Vibration,” we get a glimpse into these places beyond run-of-the-mill news that doesn’t offer a rounded perspective on the inner workings of the community. We are at once witnesses to communal struggles and pain via these artists’ perspectives, as well as willful participants in their ascension to musical superstardom while doing their best to hold on to their communities.
We compiled a list of some artists whose rise and continued success pay homage to the communities that raised them.
Wizkid, Ojuelegba, Surulere
It’s pretty befitting that the quintessential Wizkid song is “Ojuelegba,” a cut from his 2014 sophomore studio album, ‘Ayo’. While the singer has paid homage to his birthplace on a few previous occasions, no song venerates the Lagos suburb quite like “Ojuelegba.” Even as he made the smooth transition from national hero to global superstar shortly after the release of ‘Ayo,’ the album’s standout track continued to serve as a melodious autobiography that helps establish his roots for those unfamiliar. The song’s accompanying music video also captures the suburb’s bustling energy, as well as the unforgiving conditions that produced him. – B.A
Burna Boy, Port Harcourt
One of the many things that Burna Boy speaks with pride about is his native Port Harcourt. He constantly ensures that his city is at the forefront of his craft, dedicating songs that either narrate his experiences in the Garden City or highlight some of the social and political issues plaguing his home city. Songs like “Where I’m From” and “Ph City Vibration,” highlights from his third studio album ‘Outside,’ double as sturdy deep cuts and brief history lessons about Port Harcourt. In late 2022, the pop star also released a short documentary for “Whiskey,” detailing the environmental crisis in his birthplace. – B.A
Olamide, Bariga
No Nigerian artist is as representative of mainland Lagos as Olamide Baddo. Still, even the mainland is not a monolith, as different areas have their quirks and unique colorations. Bariga, Olamide’s neck of the woods, has been an ever-present in his music from the very beginning of his career, providing inspiration and grounding for the street-pop juggernaut who references the lessons learned and tales handed down in his hood. “Money,” the opening track from his sophomore album, ‘YBNL,’ features a bus conductor calling out for passengers to Ladilak, Bariga, forever immortalising the Lagos hood on wax. On “Rep Adugbo” from his incendiary ‘Baddest Guy Ever Liveth,’ he’s similarly unabashed about his dedication to Bariga, its inhabitants, and authority figures. Even superstardom hasn’t dulled those representative instincts: on “Supplier,” from his 2023 album, ‘Unruly,’ he’s keen to remind anyone listening that he carries Bariga with him everywhere he goes. – W.O
Asake, Lagos Island
Asake could only have emerged from the crucible of Lagos Island. There’s something about his carriage that undoubtedly suggests an upbringing in the oldest part of Lagos, and even though he doesn’t always directly reference Lagos Island, the seeds of its influence are in the margin of his work. The back and forth between Islamic and Christian motifs in his work is a legacy of the religiously tolerant culture of Lagos Island, and his slang usage reflects a stint living in the ocean-side community. Perhaps the clearest sign of his connection to Lagos Island came on his third studio album, ‘Lungu Boy,’ a detailing of his come-up story from Lagos Island hopeful to global superstar. On “Uhh Yeahh,” he sings, “Beere mi ni Kakawa,” directly shouting out the popular street in Lagos Island. Visual elements of his tour dates from 2024 also heavily featured and celebrated the streets of Lagos Island as the singer leaned into his heritage. Places like Adeniji Adele, Freedom Park, and Marina were featured, letting the world know that Asake has not forgotten his roots. – W.O
Zlatan, Ikorodu
Zlatan Ibile takes great pride in giving game to ambitious young hustlers looking to move beyond the current situation of their lives. His rise from Ikorodu hoodrat to Nigerian Hip-Hop royalty is the stuff of legend, but the stories of his woes, troubles, and sufferings in Ikorodu keenly display the relentlessness and dogged determination that saw Zlatan make a name for himself. He’s keen to reminisce on those days from time to time. On “Elevated,” off SuperWozzy’s 2021 ‘Light Of The Trenches,’ he sings, “Won fe k’enu mi gbe seh, biti church rat/ Mo moyan pupo n’Ikorodu ton ti te Shoprite,” reflecting on the lack that plagues huge swathes of Ikorodu. It’s a similar impulse that births his verse on Ajebo Hustlers’ “Dreams II,” which features a reference to his mischievous streak growing in Ikorodu. – W.O
Rema, Ekenhuan Road, Benin
If the syrupy trap-adjacent flow Rema employed on his introductory project or his incursions into diverse genres on several occasions since then have fooled you, his 2023 album, ‘HEIS,’ was a defiant reclamation of his identity as a Benin boy. To be fair, ‘HEIS’ didn’t just drop out of the blues; the Mavin singer had been preparing his audience for that home-leaning lurch since he stepped on stage adorned in a replica of the iconic mask of storied Benin royal, Queen Idia, during his first sold-out concert at the O2 Arena in London.
Reminding his audience of the painful history of British incursion in Benin, Rema set the stage for ‘HEIS,’ an album steeped in Benin-specific lore and acts of remembrance. “BENIN BOYS,” his blockbuster collaboration with Shallipopi, could not have passed the message of his origin better. Featuring a shoutout to his old neighbourhood, Ekenhuan Road, and an urge to the Oba to award him a medal, “BENIN BOYS” is a larger-than-life celebration of his city. Taken together with the rage-inducing “OZEBA,” it was a spiritual return home for one of Benin’s most iconic sons that showcased his identity for the world to see. – W.O
Seyi Vibez, Ikorodu
No one puts on for Ikorodu quite like Seyi Vibez. While the singer was originally born in Ketu, it’s in Ikorodu that he honed his craft as a skilled musician. He’s referenced his upbringing and Ikorodu specifically in a lot of his earlier interviews and songs, and it’s in that same administrative division that he put together his first show that pulled a crowd of about 200 people. The singer returned in 2023 for a free homecoming concert as a way to celebrate and give back to the community that helped kickstart and support his musical journey. He’s continued to rep Ikorodu even in recent times, most notably on his hit record “Shaolin.” – B.A
Mohbad, Ikorodu
Mohbad was one of Ikorodu’s crown jewels. In August 2023, just about a month before his passing, the singer posted a video of himself on Instagram visiting his old neighbourhood in Ikorodu. He went around distributing gifts and reconciling with longtime friends without any security, interacting organically with a community that regarded him as one of their own. He put on for his community just as much as they did for him. After his unfortunate passing, the youth rallies that were organised in Ikorodu to commemorate and demand justice for his death highlighted just how important he was to one of Lagos’s most populous hubs. – B.A
Shallipopi, Sapele Road, Benin
Even if his golden drawl and sonorous pidgin didn’t betray his Benin heritage, Shallipopi wouldn’t pretend to be from anywhere else but his hometown. That Benin heritage is in how Shallipopi perceives the world, the way he talks, and, particularly, how he approaches his music. “Obapluto,” the standout on his debut project, ‘Planet Pluto,’ features a prominent sample of Pa Monday Edo’s “Ogbaisi,” an homage to the Oba of Benin. It’s a trick he repeated on “ASAP,” off his sophomore album, ‘Shakespopi,’ sampling Alhaji Waziri Oshomah’s “Ikwekiame Nedumhe.” The chorus of his 2025 hit single is almost entirely sung in Bini, displaying the reverence that Shallipopi has for Benin – W.O.
Omah Lay, Port Harcourt
On the opener of Omah Lay’s critically acclaimed debut album ‘Boy Alone,’ he’s unequivocal about where he’s from. ‘All of the way from Port Harcourt/Water Side,’ he sings proudly, emphasising the city that shaped his music and creative voice. Throughout the album, he makes multiple other references to his background, whether it’s singing in his native Ikweere language or name-dropping neighbourhoods like the Marine Base area. In a Hypebeast interview from 2022, the singer spoke about his city with similar pride. “Port Harcourt is different from the rest of Nigeria in the way that we talk, eat– everything. It’s really different. All of that definitely influenced my music so much because it was really tough growing up in Port Harcourt, but that experience made me who I am today. I’ll never forget that or stop repping my city.” – B.A
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Best New Music: Ayra Starr Turns Youthful Swagger Into Sensual Elegance On “Hot Body”
On “Hot Body,” Ayra Starr sings with the relaxed certitude of a woman in command of her sexuality and...
All year, Ayra Starr’s music, visual aesthetic, and social media presence have shown us a new version of her. She seems to be outgrowing the teenager we met in 2021, and molding her grown woman identity right in our presence. In the video for “Gimme Dat,” her second single of the year, featuring Wizkid, we see the red convertible that featured on the cover for her 2024 album, ‘TYIT21,’ and extensively across music videos from that era being blown up into a crisp. It seemingly symbolised the end of one era and the birth of “Hot Body” and everything it represents.
When Ayra was introduced, her music explored themes tied to youth and the emotional fragility that comes with navigating that period of your life. The ‘19 and Dangerous’ era showed us a self-confident teenager who was sure of who she wanted to be. However, “Hot Body” signals something entirely different. Produced by Ragee with additional input from The Elements, it’s crystal clear from the first listen that Ayra is owning her allure and agency.
Employing a rhythm that feels retro-made for a cross between GRWM prep with the girls and sweaty dancefloor shifts, her vocal delivery feels almost like an incantation. It’s seductive. She’s fully in control of your gaze and even dictates what you do with it. On “Hot Body,” Ayra Starr sings with the relaxed certitude of a woman in command of her sexuality and space.
Her performance here is rife with context. Having graduated from teenage histrionics on ‘19 & Dangerous’ to the introspective, emotional maturity of her 2024 sophomore album, ‘The Year I Turned 21,’ Ayra Starr has grown not only in voice, but in message and presence. ‘The Year I Turned 21’ charted at No. 1 across DSPs in Nigeria and cracked the US Billboard 200, making her the first Nigerian female artist to enter that chart. This is a clear marker of her ascension into adulthood, and we can hear it in the music and see it in its visual accompaniment.
“Hot Body” feels like the logical next step after ‘The Year I Turned 21.’ Where that record explored vulnerability, grief, ambition, and identity, “Hot Body” distills the confidence born from that journey into a potent, sensual exhale. She’s no longer defining herself against the world; instead, she’s defining how the world should perceive her.
Lyrically, “Hot Body” is playful but bold, with just enough suggestion to feel grown and sexy without losing the thrill of young self‑discovery. Sonically, it’s sleek and minimalist, yet it’s brimming with the palpable charm of some of the best music of the 2000s–think Beyoncé and Sean Paul’s “Baby Boy” or Rihanna’s “Rehab.”
The rollout for the song matched its effortless energy. A snippet on TikTok and Instagram teased an accompanying dance to the song, and fans responded instantly, turning the anticipation into instant engagement. Capped at two minutes, it’s a release primed for our era of bite‑size virality: short, immediate, and boasting insane replay value.
Yet, what distinguishes “Hot Body” from many viral tracks is the assuredness of Ayra’s journey. She stormed charts with “Rush,” became the youngest Nigerian woman to surpass 100 million YouTube views, and earned a Grammy nomination for it–a badge of early achievement and youthful potential.
That youth is now transfigured. On “Hot Body,” Ayra embodies her new identity. What once sounded like a prophecy has become her reality: global collaborations, awards, stadium stages, modeling runways, and a major film role all fit into a broader canvas that her early self prayed for. “Hot Body” sits at the convergence of Ayra’s journey. It’s youthful swagger that has mutated into deliberate elegance; curious vulnerability solidified into mastery; and ambition shaped into ownership.
“Hot Body” is made for the dancefloor, but when you’re alone, it’s the perfect backdrop for the walk of recognition in a well-lit room as you give yourself flowers. Ayra tells us in this song that she knows who she is, what she looks like, and that’s enough.
Listen to “Hot Body” here.
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