Teni, Peruzzi & the dynamic of second chances in afropop
Could it just be that they're better with the pen, than they are with the mic?
Resurgence is a common motif in afropop’s most significant and storied careers – in fact, a ‘return to form’ might as well be considered a necessity, since it adds a certain amount of complexity to their trajectory. For example, 2Baba nearly removed himself from an industry he helped create, after a string of ill-fated and tepidly received releases: (‘Plan B’, ‘The Unstoppable’) in the late ‘00s. After doing a complete 180 with a slew of classic hit singles off 2010’s ‘The Unstoppable: International Edition’, the singer won back public approval, and began to own and solidify his towering legacy.
Similarly, the younger generation of superstars have had their own reboot moments. After the floundering performance of his 2016 EP, ‘Son of Mercy’, which he admitted was shit himself in our Issue 002 cover, Davido returned smoking hot with one of afropop’s greatest runs in 2017.
In addition, the lukewarm reception of Wizkid’s ‘Sounds from the Other Side’ at home was followed by instant smash hits “Manya” and “Soco”; Tiwa Savage’s acclaimed EP, ‘Sugarcane’, was preceded by her marital issues which pit the public against her; and Burna Boy’s ongoing domination is the result of a rebirth brought about by controversies and a bloated sophomore album.
As important as second chances are to the fabric of afropop superstardom, it’s still a relatively unforgiving landscape to navigate. With consistency being the most important part of the game, it means artists need to have proven themselves over long stretches to have a proper shot at resurgence—and even that doesn’t guarantee much. In 2018, Duncan Mighty recaptured everyone’s attention with “Fake Love”, alongside Wizkid, as well as subsequent collaborations with Davido and Tiwa Savage, which turned out to be more of a fad and than a triumphant return to mainstream longevity.
Of course the dynamic of second chances in afropop vary according to each artist’s standing, however, it can sometimes indicts artists who have proven themselves but are still finding their feet. For example, Teni released a new EP last Friday, ‘The Quarantine Playlist’, and given her status on the scene, a new project from her should have generated massive fanfare. ‘TQP’ has yet to catch on significantly, which is odd, considering the artist who dropped. Obviously, we should consider its informal release strategy and the fact that it’s only been out for a few days, but in the era of instant interaction and gratification, Teni’s EP is running a snail’s race in a cheetah terrain. We all love Teni, so it’s possible that ‘TQP‘ might pay huge dividends in the long run, but “might” is the problem here.
Uncertainties are not a thing for superstars; even after hitting a snag, they tend to pick right up from their previous peak. Teni’s snag, was last October’s ‘Billionaire’, a debut EP that mainly relied on its titular track as its saving grace. The EP was in stark contrast to her phenomenal run from the year before, which gained everyone’s attention and made her afrop’s sweetheart that year.
For every solid feature appearance like BOJ’s “Obe” and Skibii’s “Daz How Star Do”, there were less impressive singles like “Party Next Door” and “Sugar Mummy”. Even her big single, “Billionaire”, which is somewhat relatable at best, is a much more gimmicky remake of her sublime, heartfelt hit song, “Uyo Meyo”.
‘TQP’ is not explicitly billed as corrective or blockbuster project, which is exactly why it works. It’s a collection of gentle, playful and catchy songs that flips the current grimness of being perpetually indoors into ear candy. It’s deliberately low stakes, which is clearly where Teni works best—even when she comes across as serious, the catch is that her music always has a trademark charm. With all the positives going for it, ‘TQP’ still faces an uphill battle for total acceptance; Teni is still big enough for the EP to gain significant attention and spread with time, but for superstars, instant impact is the usually the M.O.
It’s not as though Teni can’t manage to recapture and even surpass the attention and hype her biggest releases got —I’m not betting against her—however, it’s a bit worrying that she’s in a buffer space where she can either vault back into the stars or be pegged down to earth. A ready example of the latter is Lil Kesh, an artist who’s still very much around and bankable, but has found it difficult to hit the heights of his breakout run. Artists like these don’t always go into obscurity, but there’s always a feeling of unfulfilled potential when reflecting on their career trajectory — a situation nobody wants for an artist like Teni.
As much as a grip of hit singles will endear audiences to a new artist, the tricky part is consistently putting the right foot forward for a long while. Once there’s a release that’s regarded as mid or below par, not everyone who tuned in will be around when the artist is trying to redeem themselves. In a similar position as Teni’s, Peruzzi is another artist trying to trudge forward amidst the ups and downs of the reception to his music.
To close out his breakout 2018—crystallised by his scene stealing verse and songwriting credits for 2Baba’s “Amaka”—the DMW singer dropped his debut EP, ‘Heartwork’, a collection of breezy mid-tempo cuts with features from Davido, Burna Boy and more. While the EP had its bright moments, it wasn’t acclaimed in the way an anticipated project from a potential superstar should have been received. Off the project, “Majesty” began to enjoy radio and TV rotation after its reissue as a single with an accompanying music video in mid-2019.
Looking to build off that momentum, Peruzzi’s debut album, ‘Huncho Vibes’, came out in November, and while it was an upgrade on his previous EP, it didn’t alter the singer’s perception as a burgeoning superstar. In addition, a very public contractual controversy caused the album to be temporarily taken off streaming platforms, reducing chances for one or more breakout hits to push acceptance. In all of this, Peruzzi has projected an overly positive candour, continually putting out new music and videos.
‘3’, the singer’s new EP, hones in on his flair for romantic cuts that straddle the line between heartfelt, raunchy and catchy. Although the 3-song project was a surprise drop, it hasn’t made the type of dent you’d expect from an artist linked with one of the biggest labels/collectives around. Whether he’s settled into his current position as popular but largely serviceable artist, or he harbours loftier ambitions for himself, it would be wrong to deem this less-than-ideal reception as a fall from grace, especially when you consider that Peruzzi is still very enamoured by making music.
It also feels noteworthy to mention that, Peruzzi is one of—if not—the most popular songwriters working in afropop. This might be a factor in the public perception of his abilities and priorities. Regardless, it doesn’t have to be one or the other; capable artists have the licence to pen hit songs while also working their way into, and sustaining, widespread prominence.
Peruzzi and Teni are amongst the few who have openly claimed their credits as songwriters on songs they didn’t feature on, whilst also actively working their careers as artists. In a space that’s still hostile to assisted songwriting, it’s easy to wonder whether there’s a negative effect of their songwriting skills to their attempts at re-establishing themselves as (potential) pop powerhouses. It could also very well be that they might just be better with the pen than they are with the mic.
Amidst the semantics of perception, the quality of the artist’s output should take precedence in cases like these. For artists like Teni and Peruzzi, who, even with their missteps, have shown their ability to make hits many occasions; holding out hope, pressing play on their music (until it becomes consistently bad), and lauding them when they come correct, is something they’ve earned from the afropop audience.
We’re definitely keeping close tabs on them, and are wondering what they’re going to do next. However, let’s see how much more they have in store, before we write them off.
[Featured Image Credits: Web]
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Dennis is not an interesting person. Tweet Your Favourite Playboi Carti Songs at him @dennisadepeter
ICYMI: WE’RE WITNESSING A DOMINANT NEW LINE IN THE AFROPOP VANGUARD
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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Tems Partners With Hennessy For Leading Vibe Initiative
Launching in Lagos, Nigeria, this event pioneered by Tems marks the beginning of a continent-wide movement to...
In July, Tems announced the Leading Vibe Initiative (LVI) to support women in music and the creative space on their journey to make a mark in their fields and create space for other women in those industries. Born from Tems’ journey as a self-taught artist with a focus on driving change, the initiative offers training, mentorship, industry access, and community for women in music in Africa.
After a rigorous selection process for its inaugural cohort, Hennessy will join the two-time Grammy Award-winning star to celebrate the launch of the Leading Vibe (LVI) Initiative in Lagos, Nigeria. Held from August 8 to 9, 2025, the two-day event is the beginning of a bold new chapter in Hennessy’s long-standing commitment to music and culture in Africa.
“I’m excited to partner with Hennessy in bringing this initiative to life, supporting talented young women in music as they find their voices, embrace their power, and shape the future of the industry across Africa and beyond,” Tems said about the partnership.
The Leading Vibe Initiative aims to champion the next generation of female artists, producers, songwriters, and music professionals, increasing representation within all areas of music across the continent and beyond.
With Hennessy as lead partner, this ambitious program kicks off with an immersive event in Lagos featuring curated workshops, networking moments, and panel discussions led by top-tier talent from across the global and African music industries.
“Her vision, talent, and purpose align deeply with Hennessy’s legacy of championing those who push boundaries and redefine the world around them. We’re honored to support the Leading Vibe Initiative and to continue empowering African communities and cultures,” said Vincent Montalescot, Hennessy Global Chief Marketing Officer.
Hennessy’s partnership with Tems builds on the brand’s decades-long history of supporting music and artistic expression globally and on the continent. From Hip-Hop to Afrobeats, Hennessy continues to stand beside the artists and communities that shape culture.
In Africa, the Maison has deepened its commitment through meaningful initiatives like In the Paint and now, with the Leading Vibe Initiative, is taking a focused step toward amplifying women’s voices in music. With the Lagos launch as a powerful first step, the Leading Vibe Initiative will expand across Africa and globally, creating a cross-continental network of empowered women ready to shape the future of African music.
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