Hits aren’t new to Rema but the trajectory of “Calm Down” has been special. Listeners would vary in accounts of when the Andre Vibez-produced song first held them spellbound, but for most, its appeal was instant. It was released in anticipation of an heralded debut album, and before progressing on that journey, the dazzling genius from Benin City showed his hand. Exuberant and vocally dynamic, the record’s potential wasn’t overshadowed by other songs on ‘Rave & Roses’, and rather took the album’s great stature beyond 2022 and into the future.
Two days ago, the announcement came that the Selena Gomez-assisted remix of “Calm Down” had climbed into No. 8 on the Billboard Hot 100 chart. A career-first, the song’s achievement of cultural and commercial acclaim was one scarcely recorded in crossover records, proving Rema’s amorphous style as artistically rewarding. “Trying to hold in the tears,” he shared on social media accounts, “I know how hard I worked to get my sound here.”
Traditionally, songs are known to court peculiar audiences depending on its sound but “Calm Down” has a universal appeal–it cuts across generations and countries. From football icon Cristiano Ronaldo sharing a video of his kids dancing to the song, to pulsating raves and filled-out stadiums, there’s no scene where the tracks feels out of place. The song was at the center of a national moment when it was revealed five kids in Iran were detained for sharing a dance video without wearing the mandatory headscarves. In response, Rema had tweeted, “To all the beautiful women who are fighting for a better world, I’m inspired by you, I sing for you, and I dream with you.”
The engineering of such a global hit song usually demands sturdy label backing and in Mavin Records, Rema has the experience to go with talent. In this roundtable discussion, members of The NATIVE’s editorial team explore the record’s success and other relative considerations.
WHAT WAS YOUR INITIAL REACTION TO THE SONG?
Nwanneamaka: Following the release of ‘Raves and Roses,’ I leaned more towards songs like “FYN” and “Oroma Baby” so the release of a remix for “Calm Down” didn’t necessarily spark my attention.While I understand the benefit of a remix in taking the track to new heights, I was not enthusiastic about this because I couldn’t see Rema and Selena blending on a track. While this wasn’t a bad attempt, I can say I still prefer the original.
Wonu: I usually don’t listen to Rema as I personally don’t connect with a lot of his songs but “Calm Down” was that song. It instantly did it for me, I remember having the song on repeat for weeks when it initially came out. The record at the time was a fine addition to his ever evolving discography.
Uzoma: I loved it the first time I heard it. The production from Andre Vibez was instantly catchy, and how Rema was slipping in and out of pockets of melody was masterful. I have been a fan of Rema since “Iron Man” and “Calm Down” made me know that the young star was here to stay. Also, Director K’s colourful visuals for the song heightened its appeal.
Daniel: It was love at first listen for me. Having not dropped a record for a minute before “Calm Down”, I immediately fell in love with the feel of the record and sonic shift from Rema.
DID “CALM DOWN” NEED A REMIX?
Dennis: I stopped believing in remixes a while ago, so I didn’t believe “Calm Down” needed a remix when it came out. In fact, I still haven’t listened to the remix since the first time I watched the video. Hindsight is 2020: Without that remix, that song’s potential wouldn’t have swelled into the undeniable behemoth that it is.
Uzoma: Honestly, I never imagined a remix for “Calm Down” because I believed Rema did a great job on the song. When the news broke about the Selena Gomez feature, I didn’t know what to expect. On first listen, it didn’t feel too different from the original. But after a couple of more listens, I had to admit that Selena Gomez came through with top effort. She and Rema had good chemistry and the success of the song is proof of that synergy.
Emmanuel: In the weeks before ‘Rave & Roses’ dropped, “Calm Down” was the song I listened the most to. For me, it was such a perfect song; the writing, the beat, the adlibs, even the video. So naturally, I’d be sentimental and say it didn’t really need a remix. However, the remix is very well done, and doesn’t rub off the wrong way on the OG version. Business-wise, I can’t fault the young man too.
HOW WELL DOES SELENA GOMEZ DO ON THE REMIX?
Nwanneamaka: Undoubtedly a good attempt especially when comparing some of the international contributions we’ve had on the big Afropop songs from these parts. Selena is a good vocalist, no doubt about that, I just wonder if the song was actually elevated sonically.
Wonu: Selena Gomez did good on the remix. I wouldn’t have been bothered if there was no remix to the record but it was a great move for the record, the track surely needed the elevation.
IF YOU WERE TO SELECT AN ARTIST TO BE ON A “CALM DOWN” REMIX, WHO WOULD YOU CHOOSE?
Daniel: Honestly, I would have been fine without a remix, but if I were to choose, I’d have definitely loved to hear Tems on the track.
Wonu: I would have loved to see Nasty C on the remix actually, that would have been an interesting pair.
Emmanuel: Well, songs by Rema are usually versatile so a lot of names come to mind. I think Rema has shown more than any contemporary that he’s willing to stretch his sound outwards, and for novelty, it would have been exciting to see an Africa-facing remix. Perhaps something with CKay or a South African producer, something that spices up the song in an unexpected way. I’m a sucker for freshness.
HOW BIG COULD REMA BECOME GLOBALLY?
Dennis: If you ask me for a shortlist of Nigerian artists that could perform on the most prestigious stages, with an obsessive fan base and possibly the type of mammoth world tours guys like Bad Bunny and The Weeknd have pulled off, Rema would be one of the first two I would name. (The other is Tems, but I digress.) Rema isn’t just talented, he’s a magnetic character with a sound that’s both pop and edgy, and this remix is another example of the great decisions that he consistently makes.
Emmanuel: Musically, I don’t think we’ve seen the best of Rema and that’s frightening. Not for him, though. He’ll definitely be enjoying the start to the year and if anything, the dual release of “Holiday” and “Reason You” is a great way to embark on another journey. With the right moves, I see Rema tapping more into the sporting and fashion aspects of culture, especially after his appearance at the NBA halftime show. And given the world-dominating status of this “Calm Down” remix, it’s expected that Rema would mark out those spaces where he hasn’t yet penetrated, and make a targeted push for ubiquity there.
Uzoma: It feels like Rema is just getting started. With every new release, he keeps elevating his artistry and breaking new ground. His exploits on his songs and other projects—say the ‘Black Panther’ soundtrack—have proved that he can function effortlessly as both a singer and a rapper. With consistency and fresher sonic iterations, he will cement his legacy as one of Nigeria’s biggest music exports.
Nwanneamaka: The growth he has experienced and the boundaries he has managed to break with only a couple of extended plays and one debut album is insane. A crucial trait he also possesses for an artist on the cusp of a breakthrough is good stage presence. Watching how his electrifying energy translates to audiences and to me on the other side of the screen is incredible. A star in the making, without a doubt.
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...
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.
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...
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.
Dutch textile brand Vlisco recently unveiled its latest campaign ‘The Garden Of Sisterhood,’ as part of...
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 accompanyingmusic 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.