The Shuffle: Asa’s “Bibanke” represents an era of romantic Nigerian music at it’s best
off her self-titled debut
Ask anyone who’s recently stumbled on a playlist from the 90’s or noughties, and they’re likely of the opinion that our generation’s musicians are just not speaking of love in the same way. Whether or not you think the music stars of R&B had no business dancing fully clothed under the rain, the truth remains that no one’s desperately begging for the others’ affection like they used to.
In fact, we’ve grown accustomed to exactly the opposite. We have CKay who after shedding the scales of “Love Nwantiti” and all its accompanying remixes, proudly wore the armour of toxicity on “you cheated, i cheated too” and “WATAWI” for his debut LP, ‘Sad Romance.’ For the latter, a monster hit and admittedly catchy tune in its own right, enlists top crooners to reiterate his non-committal approach to relationships. The track’s intoxicating Amapiano-infused melodies almost distract from its message where the trio of CKay, Focalistic and Davido repeatedly tease a woman for asking the forbidden question, ‘what are we?’ CKay’s buttery chords set the pace for the track where he sings, “She wants to have my kids but I don’t want to have kids.” “She tell me watawi, she tell me watawi/I tell her we are what we are, I tell her baby, no reason am too fast,” he adds. And that’s fair enough: no one wants to be rushed into a relationship they aren’t ready for.
On the extreme end, we have Ruger’s “Girlfriend,” garnering millions of streams and undoubtedly one of the artist’s biggest songs yet. For a song with such a title, you’d at least expect a declaration of love here and there but Ruger takes the Kukbeats-produced, drum-led instrumentals to do just the opposite. He starts off strong as he admits to his love interest, “Can’t seem to take my eyes off you,” but before we can fully bask in the journey we’re about to embark on, Ruger aptly changes course “Oh, lord. I want all the girls in the whole world/I know what I’m doing is so wrong.” While the situation is now far from ideal, we atleast have an acknowledgement of wrongdoing with possibly even guilt. That doesn’t last long though because Ruger follows up saying, “Since no man can focus, we definitely don’t give a fuck.” With all that behind, the most comical part and evidently the inspiration for the track’s title is revealed on the tuneful hook, “She know me got a girlfriend and so what?/What if I do?”
And these aren’t the only examples of the relationship and allegedly romance themed catalogue Nigerian musicians are putting out. To a great extent, they aren’t solely to blame. The new era of teenagers and young adults have adopted a largely nonchalant attitude to love, with terms like situationship or talking stage ruling the decisions on how we share affection. That isn’t to say that cheating or external lovers aren’t an age old phenomenon, Brick and Lace were right to soundtrack the early 2000s with “Love is Wicked,” but at least people were less keen on finding a thousand loopholes to justify their issues with commitment. Many believe that in order to move forward and grow, some reflection and digging into the past is necessary. That’s where we have songs like “Tungba,” off Boj and Ajebutter22’s joint debut, ‘Make E No Cause Fight’ or Davido’s classic “Aye,” the love song of this decade and likely decades to come. Of this sparse but rich collection, we have standout acts like Asa’s “Bibanke,” taking home gold as arguably one of the best love songs from Nigeria’s vast discography.
Asa’s lush chords and slow guitar strums set the tone for dreamy violin notes to take over and warm up for the vocal’s arrival, a seamless blend delivered in Yoruba and English. She is heartbroken and this is instantly clear from the weighty tone the intro lines hold, “I wake up, I see you as you leave/I feel it, I see it as you leave.” The mood is further established shortly after with the all too familiar pre-hook “Bim ba n ke, bomi ban shan, fi mi si le, Bim ba n ke, bo’jo ba n ro, fi mi si le,” which loosely translates to “if i’m in tears in the rain, leave me alone.” It instantly feels like an elegy is imminent, as she recaps the lover she used to know and the natural death their love has now undergone. Asa’s take is raw as she pedals back and forth between questioning the things she once believed and just how much she regrettably invested into the relationship.
As many do while basking in the ruins of a former relationship, Asa reminisces on ecstatic feelings shared with a new found love, and how looking back, it might’ve been too good to be true, “He used to be my everything, treated me like I was a queen/What spell did you cast on me?, Or is it the make believe?” She blames herself for believing the words, “Oh God, I was a fool” and she reprimands herself for sticking beside him, despite having an inkling that things could go south. The bridge’s arrival showcases an undeniably distraught Asa, who’s vocals peak octaves higher as she cries “Bi ba n ke o ko kun basia fi mi sile, Bim ba n ke o, ko kun ba si a, ko kun ba si a” which explains that even if her tears are enough to fill a basin, she wants to be left alone.
She eventually resigns her faith to God with a deflated spirit characterised by solemn vocals and distant keys, “K’o so, k’o so wa” – “May He guard us,” but not before taking time to repeatedly express her desire, “Iwo, Iwo ni ko shosho” – “It’s you and only you.” Granted, this love story is not a happy one but “Bibanke” undoubtedly encapsulates the familiar feeling of a love, shared or lost, and the uncertainty of what the future could hold. As the track’s keys fade away, the most refreshing aspect of Asa’s song is how honest and non-performative it felt. Over a decade down the line and Asa isn’t letting up from expanding her love-themed catalogue, housing potential classics in each new release.
Listen to “Bibanke” here.
[Featured Image Credits/The NATIVE]
REVIEW: ASA’S ‘V’
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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