Last year, The NATIVE created our ‘Songs of the Day’ column as an avenue to curate some of the best and biggest songs from around the continent. In the time since its creation, the column has served as a means to discover music from niche, rising acts, while also spotlighting releases from the biggest artists on the continent. As artists continue to share their music with us, this year, it’s only right that we return to pointing you towards as much great music as we can.
Though the pandemic has denied us live shows, where the magical bond between artists and fans unfolds in real-time, artists have remained committed to sharing music with fans, so we continue to honour their art and create space and visibility for them. During the week, we brought you a selection including new music from KiDi’s new collaborative single with Kuami Eugene and Patoranking, Medikal’s latest drop, Ogranya’s hopeful song, and more. To start off the Valentine weekend, we’re bringing you a new selection of music from Teni the Entertainer and Davido, Prettyboy D-O, CKay who just released his EP ‘Boyfriend’, Headie one and Burna Boy, Princess Mami and more. Enjoy.
Teni – “For You” featuring Davido
Teni is gearing up for her long-awaited debut album ‘Wondaland‘ which is slated for release in March. Ahead of the upcoming drop, she has shared the project’s lead singles “Jo”, which was released last year, and now “For You”, a romantic number featuring Davido, which came out today. The new single, produced by Pheelz, is a percussive, mid-tempo number that finds the singer providing gooey, vulnerable lyrics to a love interest. “All my ego na for you/all my rabba for you,” she sings over the hook, before being joined by Davido whose presence brings the track to life.
In the Dammy Twitch-directed video, Teni can be seen in a correction facility for women, singing and reminiscing on her lover whose thoughts keep her going while she’s behind bars. We find out that Davido is her love interest as he visits her in jail and shares his romantic intentions for when she’s free from prison. Both Teni and Davido manage to jailbreak but months down the line, we see Teni arraigned a second time, choosing love and loyalty over ratting out her lover. See, love does conquer all.
Headie One – “Siberia” featuring Burna Boy
This is not a drill – Rap Burna is back in full swing and we have Headie One to thank for that. The UK rapper’s latest single “Siberia”, which appears on the deluxe edition of Headie One’s debut album ‘Edna’, features the Afropop giant, and the title certainly matches the hard bars that both emcees trade on the song.
Burna Boy joins on the song’s second verse as he raps, “I’m just a crazy Nigerian/I make you sick like malaria/I do not fuck with no niggas,” sending a message that he doesn’t want the drama from the opps. Burna also ends the song by singing, “Don’t pull up in here acting goofy, you could get shot like a movie,” showing he’s still able to switch up flows effortlessly. “Siberia” arrives with a music video directed by KC Locke.
Prettyboy D-O – “Police n Teef”
Prettyboy D-O takes up an interesting space in the music scene in these parts. His slick-winded rap style and his penchant for vocal trickery has consistently ensured that the rapper operates in a lane of his own making – and he certainly revels in this. His latest single “Police n Teef” is an anti-love anthem that would undoubtedly give Shaggy’s 2000 hit “It Wasn’t Me” a run for its money. Produced by Higo, D-O’s latest single is the perfect fuckboy anthem that offsets all the gooey, vulnerable talk this Valentine’s weekend.
“Say your boyfriend do me like police and thief/when olopa still dey do me like police and thief,” he raps on the song’s hook, addressing the battering he faces at the hands of people holding him accountable for the infidelity of their partners. The rapper sends a lighthearted message that he’s unbothered by all the heat he’s getting, and in fact, he welcomes it: “Pretty fear you, I no be that guy”.
Sekisupervillian – “Faithful”
While we await the imminent release of his sophomore album ‘TECHDRILL’, Seki Supervillain is keeping fans and listeners entertained. His latest single “Faithful” was released this week and in usual Seki fashion, it’s bouncy and upbeat enough to get you on your feet and nodding to the vibrant production, courtesy of Big Sizer, Shwoff and one of 2020’s most exciting rising beatsmith’s in these parts, Tochi Bedford. “My brother down, he was down so bad/but look at us now we living so fuego,” Seki raps on the track, which sets out to highlight how he and his friends have held it down and stayed loyal despite what the opps say. The accompanying music video, put together by Egyptian director, Abanoub Ramsis, shows Seki on his home turf, surrounded by his people. If this doesn’t get you excited for ‘TECHDRILL’ then perhaps you should revisit this post.
Ajebo Hustlers featuring Omah Lay – “Pronto”
After rounding the previous year with the remix to their hit single “Barawo” which featured Davido, the music duo Ajebo Hustlers are back with a new single titled “Pronto”, featuring Omah Lay. The new single is a romantic number that sees the pair expressing their desires. Over the song’s upbeat production, Piego sings “She give me pronto/what I really want is your love,” on the song’s hook, before being joined by Omah Lay on the second verse. Omah Lay certainly makes the song memorable, equally expressing his sexual desires to a love interest. “Panel beat am/when she need am,” he sings, using euphemisms to make his intentions known to his woman.
Stefflon Don – “Can’t Let You Go Remix” featuring Tiwa Savage and Rema
Stefflon Don is tapping into her Afropop bag. For her latest single, she enlists Nigerian singers Tiwa Savage and Rema for the remix of her single, “Can’t Let You Go” to hone the song’s reach and drive its message further. The romantic number sees all three artists expressing their romantic intentions to remain in a committed relationship. Rema begins the song with a pop culture reference that many listeners will remember, singing, “You so icy girl I’m a glacier boy/Girl you know say me I no fit play heart like a toy,” utilising Quavo and Saweetie’s DMs to show how devoted he is to his love interest. This is definitely a song you want to play as the Valentine weekend begins.
Niniola – “Promise”
When we last caught up with Niniola, after the release of her sophomore EP ‘Colours & Sounds’ last year, the singer revealed that she’s constantly finding the balance between the different sonic ranges that she has become known for, Afro-house and R&B. For her first official single of the year, the singer is giving her R&B audience much-needed material just in time for the season of love.
On “Promise”, Niniola confronts a lover who has just betrayed her trust. “You taste sour in my mouth, in my veins/Knew you were lying to my face,” she sings on the song’s first verse, trying to make sense of how her partner has broken promises made to her. She sings with a resigned tone, as she mulls over her disappointment while showing off her amazing vocals and her knack for singing over any beat.
Psycho YP, Tomi Agape, DJT1Z – “Maria” featuring Jaylon
Psycho YP, Tomi Agape and DJTiz have teamed up for a new romantic single titled “Maria” which deserves a place on your Valentine’s weekend playlist. Over the groovy, bouncy production with delicate strings and hi-hats, Pscyho YP begins the number, taking the song’s first verse. “I could be your Bruce Lee, fucking up your night,” raps Psycho YP expressing his love for a romantic partner. He’s joined by Tomi Agape on the song’s second verse who adds a layer of intrigue to the song, singing, “Baby some people say I’m crazy/I don’t even know where this is going to go but I’m down to roll,” as she wholly embraces her feelings for her love interest. Here we go again, another situationship…
For his first official offering of the year, Fresh Meat alum Loti is back with a new EP titled ‘Violent Times’ which is an anti-love project featuring only women including Yinka Oshodi, Kasheefah, and Rey Blaque. The project’s standout “90’s Hopeless Romantic” is an affectionate number that explores both artist’s definition of love as millennials and Gen Z. “We were a couple of kids who were babies in the ’90s/Our parents were a couple but it never felt like a family,” he sings, explaining how he plans to do better with his own relationships, despite not having a good example of loving in his formative years. Yinka Oshodi’s buttery-smooth vocals make the song a moment, encapsulating everything modern romance has to offer.
Cruise Gang & Marv OTM – “Alexis Texas” ft. SGaWD
Songs about flexing and getting your shit popping are integral to the Hip-Hop/Rap fabric. For his latest offering, Apec Village rapper and sound engineer Marv OTM delivers a two-pack single titled ‘Cruise Control’ which features the standout SGaWD-assisted single “Alexis Texas”. Both rappers trade bars, with Marv OTM starting off the song with a memorable verse resulting in a hook that ends, “Call that bitch Alexis, ass like she from Texas,” proudly boasting of a woman’s assets. Strutting in with palpable confidence, SGaWD joins the rapper on the song’s second verse, rapping, “Seddy famous now so my famous keep my guns/Disrespect me you should leave a will out for your son.” Her bars are disrespectful and sensual, striking a fine balance between Marv OTM’s speedy delivery.
Princess Mami – “I Got It” featuring Psycho YP
Fresh Meat Alum, Princess Mami is starting the year off with a bang as she shares a new single titled “I Got It”, featuring fellow Abuja rapper, Psycho YP. The braggadocious single sees the rapper trading off boasts and kiss-offs with ease. “Call me a 10, I got it/Baguettes on my neck, I got it,” she raps over the song’s infectious beat, as she proudly boasts about her enviable flow. Packing an onslaught of wordplay in the song’s three minute run-time alongside Psycho YP, Princess Mami more than proves all she’s brings to the table this year.
Samo Ones x Thnkn Aloud – “Show Colour”
As Afropop continues as a mainstay in global music consumption, the sounds of old, that laid the foundations for this globally appealing genre, are now being revisited with nostalgic reverence, honoured for their influence. The Cavemen. are reviving Highlife music here at home, and on their latest single, British-Nigerian duo, Samo Ones x Thnkn Aloud pay homage to the legendary K1, sampling his 1995 “Show Colour”.
“Show Colour Re” opens with the familiar Fuji record, before producer Ransom beats leads us into the more current soundscape of mid-tempo Afroswing, as it has been dubbed in the UK. Over the smooth beat, Samo Ones x Thnkn Aloud fuse their rapping and Afropop-inspired crooning into charming encouragement to their muses to bear all and show their true colours. Reassuring the ladies that they are the ones to b vulnerable with, “Show Colour Re” is a smooth record that will help to reassure your fronting partners that you are the one for them, this Valentine’s Day.
Rigo Kamp’s Marathon video is an intimate Afro-juju revival that pays homage to Sir Shina Peters and stamps...
Last Friday, Rigo Kamp, a NATIVE uNder alum and one of the architects of an equal parts nostalgic and...
Last Friday, Rigo Kamp, a NATIVE uNder alum and one of the architects of an equal parts nostalgic and refreshing sound released his self-titled debut EP, delivering a propulsive fusion of Alte, R&B, Funk, and Soul-infused rhythms.
Featuring previously released singles “Morning Sun”and “Summer”, the six-track eponymous EP executively produced by Odunsi The Engine sees Rigo lean heavily into his element as a sonic alchemist, jumping from silky falsettos to gritty grooves without losing an ounce of cohesion, and ultimately stamping the Abuja-born, Lagos-based singer-songwriter as a mad scientist of sound.
Just last November, Apple Music named Rigo Kamp as its Up Next artist, an acknowledgment that underscored his potential and confirmed what the tastemakers and underground scene already knew. Weeks later, he delivered an exhilarating live set for Spotify Fresh Finds in Lagos, proving he’s just as compelling live as he is in the studio.
On “Marathon”,the refreshing opener to the Rigo Kamp EP, Rigo borrows the bounce and swagger of Afro-Juju legend, Sir Shina Peters’ golden-era, fusing nostalgia with re-imagination to birth a vintage performance that feels like a private party for two, where it’s just Rigo, and you.
Get an exclusive first look at the video for Marathon here:
The SA house music pioneers are back with a deeply moving and rhythmic new release.
South African house music pioneers, Black Motion, are back with a deeply moving and rhythmic new release...
South African house music pioneers, Black Motion, are back with a deeply moving and rhythmic new release titled “Khululeka.” True to its meaning in isiZulu— “be free” or “find peace”—this track is an anthem of liberation, urging listeners to let go, embrace love, and heal through the power of music.
With their signature percussion-driven melodies and the soul-stirring vocal chants of King Monopoly, “Khululeka” transcends the dancefloor. It is a spiritual and emotional journey, carrying an energy that is both uplifting and transformative. Whether in personal reflection or in the collective movement of a crowd, the song invites listeners to surrender to its message and rediscover love—both within and around them.
Since their formation in 2010 in Soshanguve, Black Motion—made up of Murdah Bongz (born Robert Mahosana), and Thabo (born Roy Thabo Mabogwane)—has become a dominant force in global house music. Their debut single, “Banane Mavoko,” put them on the map, and their albums, including the gold-certified Fortune Teller and the platinum-selling Ya Badimo, have cemented their status as pioneers of the genre. Their collaborations with artists like Oskido and Black Coffee, along with accolades such as multiple South African Music Awards (SAMAs), have solidified their place at the forefront of African electronic music.
Over the years, Black Motion has partnered with brands like Ballantine’s, Sony Xperia, and Coke Studio, and they are looking to partner with more under their new label Intascore, expanding their influence beyond music. With a combined social media reach of over 2.2 million followers, their music resonates with audiences worldwide, uniting people through rhythm, culture, and movement.
Following the release of '888', Kemena reflects on artistic evolution, self-acceptance, and balancing...
A little over two weeks after the release of his first project of 2025, Kemena and I sat down to discuss the...
A little over two weeks after the release of his first project of 2025, Kemena and I sat down to discuss the joys of creating art, the clarity that powers ‘888,’ and the freedom he found in surrendering to his path. Even though we were speaking virtually, his presence feels steady. He is speaking with the quiet confidence that defines his music–intentional yet fluid, deeply personal yet resonant. Over the years, his artistry has evolved, shaped by a desire for creative independence and the pressures of an industry that often demands compromise.
With ‘888,’ Kemena has reclaimed his space. The project neither chases the mainstream nor rejects it; instead, it exists on its terms, rooted in self-assurance. Across seven tracks, he weaves through stories with a sharp lyrical style and layered production, a testament to an artist fully in tune with his craft. In many ways, ‘888’ feels like an arrival—not to the commercial peak the industry might expect, but to something more valuable: a place of artistic certainty.
Standout tracks like “Rainy Day” and “Bola” remind you that Kemena is a storyteller in more ways than one. On “Rainy Day” he flexes his production prowess but the summery vibe of the song does not blunt the sentimentality of his lyricism. With “Bola,” Kemena taps into his element, deploying witty puns and his brilliant approach of social commentary and “I’m not mad, just hungry” is as relatable as it is envy-worthy—to be so intertwined with a lover that they can complete your lines.
Totaling seven tracks with a runtime of 16 minutes, ‘888’ is brief but expansive, a collection of ruminative thoughts, nimble melodies, and declarations of self-assurance. There is no hesitance in Kemena’s voice when he speaks about the album, no lingering doubt about whether he made the right choices, which is the same confidence he’s communicating in “You don’t need me”. ‘888’ is the product of someone who knows who they are and, more importantly, knows that they do not have to prove it to anyone. From the powerful declaration of “I Will Never” to the easy groove of “Evelyn’s Vibration,” the album takes you on a journey. It is a return to himself, a rekindling of the mindset he had before industry expectations clouded his creative instincts. It is also reminiscent of ‘Bond,’ the project that first put him on the radar of music lovers.
“I made ‘Bond’ as a student,” he reflected during our conversation. “I wasn’t trying to be anything. I just wanted to make music. And then all of a sudden, people started calling me—people I never expected. That was how I got into songwriting for other artists. But somewhere along the line, I forgot what it felt like to make music just because I wanted to.” When I asked him how he found his way back, his answer was certain: “I stopped overthinking. I just made what felt right.”
Our conversation, lightly edited, follows.
‘888’ just dropped. How are you feeling?
I feel cool. It’s been nice. I feel like a celebrity, to be honest. I’ve done a couple of interviews already, and I feel like I’m saying the same thing over and over again. But that’s a good thing, right?
‘888’ feels different from ‘Guitars and Malaria.’ Did you approach this project differently?
‘888’ feels like me making music the way I want to again. With ‘Guitars and Malaria,’ there were a lot of industry conversations and people saying, “Work with this guy, collaborate with that person, do this to make the music more commercial.” I don’t regret making that album, but looking back, I think I was trying to fit into something instead of just being myself. I wouldn’t say I lost myself completely but, I lost the balance between the business and my authenticity. I started to feel like my music wasn’t valid unless it was getting industry attention. And for a while, I was chasing that. I was doing what I thought I should be doing, instead of what I wanted to do. I had to learn that I’m probably a project artist. I needed to stop feeling like my music wasn’t enough just because it wasn’t ‘blowing up.’
I started thinking about why people liked ‘Bond’ and, back then, I wasn’t overthinking it. I was a student just making music because I loved it. I wasn’t trying to force anything. But then, suddenly, things started happening—I started getting calls from people I never expected. That’s actually how I got into songwriting for other artists. People in the industry heard ‘Bond,’ reached out, and asked me to write for them. And before I knew it, I was deep in that world. But in the process, I started to forget what it felt like to just make music for me.
Was there a specific moment that made you realize you needed to return to that authenticity?
Yeah. At some point, I just stopped overthinking. I realized [that] I didn’t have to prove anything to anyone. I didn’t have to chase industry validation. I could just make what felt right. That’s where ‘888’ came from.
One of the things that stands out about your music is how it feels both deeply personal and universally relatable. Do your lyrics come from lived experiences?
Not exactly. I think the way my music is put together—the energy, the emotions—is influenced by what I’m going through at the time. But the actual content? Almost none of it comes from my personal life. I don’t write songs like, “Oh, this happened to me, let me put it in a song.” Instead, I take a feeling, a perspective, or something I’ve observed and build a fictional story around it. I also like humor. I like to be witty, to play with words in a way that feels natural but unexpected. That’s always been part of my music.
That makes sense. Your lyrics often have a layered meaning like they say one thing on the surface, but there’s a deeper story underneath.
Exactly. I like to phrase things in ways that make people stop and think. I want someone to hear a line and go, “I’ve thought about this before, but I never knew how to put it into words.” Or sometimes, I just want the music to feel good. It doesn’t always have to make sense, it just has to resonate.
Would you say that’s why artists like Omah Lay and Jon Bellion resonate with you? Because they do something similar with their songwriting?
Yes! Jon Bellion especially. His music is almost like sermons sometimes. He says things in a way that makes you pause and reflect. Like in “Conversations with My Wife,” when he sings, “What if all the things I’ve done were just attempts at earning love? Cause the hole inside my heart is stupid deep” That’s the kind of songwriting that gets to me. That’s such a simple way to express love. He could have said it in a hundred different ways, but he chose that one. That’s what I admire. Not just what they’re saying, but how they say it.
That approach is very present in your music, especially in ‘888.’ What’s your favorite lyrical moment on the album?
It’s a conversation. It’s not one person talking. On ‘I will never,’ there’s this part where one voice says, “The things you want for me, I want it too. The things you like for me, I like it too.” And then another voice—almost like a god-like figure—responds: “Hope you know that I would never say something I don’t mean.” That moment feels special to me. It’s basically a prayer, but I don’t like to box my lyrics in, I keep it open-ended.
With the album it feels like you weren’t just making music but you were reclaiming something. Would you say this project is a turning point for you?
Yes, I think so. It’s not my first turning point, though. ‘Bond’ was the first one. ‘Bond’ was the project that put me in rooms I never expected to be in. Before that, I was just a student making music. Then, suddenly, people were calling me—people I respected. That was how I got into songwriting for other artists. But then, in trying to navigate that world, I lost a bit of myself. ‘Guitars and Malaria’ was me trying to find that balance, and ‘888’ is me realizing that I don’t have to balance anything, I just have to be.
You’ve mentioned that you’re at peace with not chasing commercial success. Is there a part of you that wants mainstream recognition?
If it comes, great. But I’m not going to force it. I know how the game works. I’ve written for big artists, so I know the kind of songs that work in that space. And if I wanted to, I could sit down and make those songs. I could make music that fits neatly into what’s trending. But that’s not why I do this.
Does songwriting for other artists help you keep your music pure?
Yes! That’s a big part of it. Since I also write and produce for other artists, I don’t have to rely on my music to pay my bills. That takes a lot of pressure off. It means I can release what I want, when I want, without thinking, “Will this chart? Will this go viral?”
That freedom must be refreshing.
It is and it’s why I don’t overthink my releases anymore. I’m constantly creating. So when something feels ready, I put it out. I don’t have to wait for industry validation or the “perfect” timing.
What does that mean for the future? More projects?
A lot more. I’ve realized that my way forward is to just keep giving. The Lord has put me in a position where I can create without stress, so that’s what I’m going to do. No long breaks. No holding back. I’ll just keep releasing.
What is the biggest takeaway from ‘888’ for you?
That you don’t have to force anything. Whether it’s love, creativity, or success—what’s meant for you will come when you’re aligned with yourself. And if you have to fight too hard to keep something, maybe it was never really yours to begin with.