Track By Track: Ajebo Hustlers Break Down Their Debut Tape ‘Kpos Lifestyle Vol.1’
The PH duo serve up their debut project
At the peak of last year’s momentous #EndSARS protests, organisers in Rivers State began distributing fliers online about a protest scheduled to take place at Pleasure Park in the state’s capital city. However, just before the slated date, the state governor, Nyesom Wike, called off any public demonstrations in the state, but the Internet disagreed–and so did the city’s young people. In audio and video clips shared on Twitter, citizens of the state affirmed their decision to meet up at Pleasure Park in defiance of the governor’s orders.
While united under a common goal to root out a rogue police unit, one song rang out more than any other: Ajebo Hustlers’ “Barawo.”
In a year that tested the limits of civil and personal ties, “Barawo” was the rare pop song that encapsulated the people’s discontent thematically and sonically. Spun from a real-life story of jungle justice witnessed in their home state – the gruesome lynching of the Aluu 4 in 2012 – Piego and Knowledge birthed a song that united their city and the country at large.
When things became unbearable, the song’s defining chant “this country na wa” united hearts and minds in those singular moments, insulating them from the pain felt in real-time. That song and the momentum around it have anchored the Port Harcourt duo to greater heights. This culminated in the February release of the Omah Lay-featuring “Pronto,” a smooth summer track that has taken over the radio and the clubs.
Piego and Knowledge have spent the best part of the last decade working up to this moment. After linking up as fresh-faced young men back in 2011, they have navigated the treacherous, sometimes lonely, road to music relevance in Nigeria and they have done so together. Now, the duo wish to pay homage to the fans who have been riding with them all this while. The arena to do so is ‘Kpos Lifestyle, Vol. 1’, their debut album that collapses their youthful impulses into blunt reflections on the state of life in Nigeria and the joy of relishing in the present moment.
Here, the pair offer a window into what each song on ‘Kpos Lifestyle, Vol. 1’ is about.
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“Bus Stop”
Piego: This song is essentially a love story. We just wanted to expand on the idea of a guy meeting the girl of his dreams, someone he’s ready to settle down with, and going all out for her. So, it’s that idea of going, “I don reach my bus stop.” That’s basically the idea for this one.
“Yafun Yafun”
Piego: “Yafun Yafun” talks about a promiscuous woman who’s supposedly in a relationship and her partner is tired of that but still wants to get married to her because he still likes her. So, he’s going to resort to magun. Magun is a ritual rite in Yoruba culture to catch promiscuous people. We were just playing around with that scenario in the studio and decided to make it into a song.
“Solace”
Knowledge: This one was produced by Fresh and it’s also about a relationship. It’s about a lady in a toxic relationship: her boyfriend keeps yelling at her and getting her worked up. But, fortunately, she finds comfort and solace in my hands.
“Symbiosis”
Knowledge: Another love song. We wanted to present love as a two-way thing because it often feels like we are in a generation where relationships are one-sided with males providing and giving. We thought we could give a fresh perspective to it and just let people know that it doesn’t always have to be that way. When we finished the song, we sent it to Nissi – she was in London at the time – because we wanted a female artist on it for balance and she was the one we had in mind for the song. She worked on it for a couple of days and it was just perfect.
“Pronto”
Piego: This one was produced by Semzi and we had Omah Lay on. It’s just a feel-good song because we wanted to show a different side to ourselves. We talked about being on time, being available when people we love need us. People loved it and that just justified our decision to go with it.
“Sophisticated Iyawo”
Piego: As much as relationships can be tough, it’s also important to compliment your partners and we wanted to do that with this song. Orlando Magic produced this one and it’s just about appreciating the woman you are in a relationship with and highlighting all the great stuff about her as much as you can.
“Oh My Home”
Knowledge: We made this song about Nigeria because as citizens of the country we expect the country to get better. We want certain things to be put in place because since I was a kid we’ve been talking about having a better Nigeria and it’s not worked out. At the same time, this is the only home for us and we decided to pass a message about what we want and that’s how “Oh My Home” came about. We want to stop having to pray for basic things like light, water, and those kinds of things.
“Zamo”
Knowledge: We had a whirlwind year in 2020 and this was a song to show gratitude to God and just extend gratitude for everything being in sync. It was a simple vibe and we just thought it had to make the album.
“Barawo”
Piego: The song that literally changed it all. It was produced by 1da Banton. It’s a song about our day-to-day life in Nigeria, you know. It’s about jungle justice, societal ills, and bad governance too. I think it’s our most expressive song because we just straight up said how we felt about certain issues as citizens of the country. Everyone is just tired of things. It was also important to shed light on the ills of jungle justice and tell people to speak up if they found themselves in a situation like that. No one should have to have their lives taken like that because there are other ways to handle issues like that without killing people arbitrarily.
“Kpos”
Piego: This song is very personal to us because it’s for our oldest fans, they’ve been with us through thick and thin. It’s also interesting because new lovers of Ajebo Hustlers can connect. It’s basically an anthem to just celebrate that connection with our fans and thank them for their support. It’s also a really chill song that you can put on on the weekend when you’re settling in with a drink or something.
Stream ‘Kpos Lifestyle, Vol.1’ below.
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ICYMI: Wani teams up with Buju for new single “Times Two (x2)”
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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