Track-By-Track: Wande Coal Breaks Down His New Album, ‘Legend Or No Legend’
an entry into Wande Coal's world
The impact Wande Coal has made in the Nigerian music industry is undeniable. His vocal dexterity and skillfulness have influenced many Nigerian artists, who have tapped into his style to form the bedrock of their music. It is a gift that Wande Coal doesn’t take for granted. “It’s a very, very good thing,” he tells the NATIVE. Since laying a blueprint with his 2009 debut album ‘Mushin 2 Mo’ Hits,’ Wande Coal has churned out hit records synonymous with different eras in the Nigerian music scene and has solidified his place as a leader and master.
With 2015’s ‘Wanted,’ 2020’s ‘Realms,’ and a healthy catalogue of singles, Wande Coal has proved that while he’s an old head, he’s adept in the ways of the new. He has constantly pushed beyond the boundaries of sound, finding new depths to reach and new highs to reach. Nowhere does he clearly show his leanings than on his latest album ‘Legend Or No Legend,’ as he draws inspiration from love and his daily concerns as a human and a renowned artist.
In this track-by-track breakdown, Wande Coal dives into the creative process for the album and tells full, jubilant stories about the making of the songs and the relationships between himself and his co-creators. This is a door into ‘Legend Or No Legend’ through Wande Coal’s eyes and words.
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“NOBODY HOLY”
“Nobody Holy” was produced by Dunnie. Dunnie is a female producer [and] an extraordinary producer. I met her at a studio. I was working at Aristokrat Studios at the time and she just came in; with me, when I hear the vibes it just comes. So we recorded it and then that was it. Ideas just come from my head and the beat felt right, to be honest.
“COME MY WAY”
For “Come My Way,” I had a session with Kel-P and then Bruno used to be his boy that works for him. And then every time Kel-P goes to bed at night, I used to call Bruno and I think that’s how we got the song because he came in the night one time and around nine and he just played the beat for me and I was like, “Wow, this sounds like Amapiano,” and “Come My Way” was very intentional because at the time Amapiano was outside, you know. So I wanted to sound South African and Nigerian at the same time on the song and that’s why you heard me doing that “Helalo!” I was just chanting, trying to create a vibe, you feel me, and then it worked. That’s how “Come My Way” came about.
“3 SQUARE MEAL”
“3 Square Meal” is based on mindset. You know how you want to be able to afford things for your family, you want to grow old, be successful, that’s pretty much what I was trying to put in one, how we want to be successful and make it and be able to afford three square miles. “3 Square Meal” doesn’t mean I’m saying, “Oh, morning, afternoon and night.” I’m talking about big things, to be able to afford houses [and] luxury at your time, when you want it. That’s the idea behind “3 Square Meal” and it was produced by K-Dream. It was a session that I had in two weeks and we just bagged the album up and that’s how we created “3 Square Meal.”
“DUES”
With “Dues,” as I said, a lot of people don’t know that when I entered the industry [through Mo’Hits Records], I was like 21, 22. I left UNILAG and I had the opportunity to go to America with them in 2007 at that age. So as soon as I got to America, I was listening to different sounds like, “Wow, these guys are bad. I want to show these guys that a guy from Africa can do all these kinds of things.” That was my idea. So I always listen to Trap and all these different songs and I just wanted to create my own type of Trap.
“Dues” was produced by Dunnie again. First of all, before I write music, I have to mumble the sounds that make it look like I’m not the guy that’s doing the song and then I’ll write [the words]. With “Dues,” it was a way of me saying, “I’m not giving up in the industry” because if you listen to the lyrics it says “I done told them that I wasn’t gonna give up/Had to do it so they wouldn’t know” so that was personal for me. All the things I was saying were the right things to say on the beat. You have to be aggressive with [that] type of beat, you know; sounds make you go into a different dimension and I’m happy that I did because it’s one of those songs that makes me feel like I actually crossed my boundary. And then people would be like “Why did he say that? Why did he do that?” That’s what I wanted. It was intentional for me and I was like “Why sound this American and not put a little bit of Yoruba so that they know that this guy is actually an African?” I wanted to show that I’m very much African and I’m from Mushin Olosha, Lagos, Nigeria.
“E CHOKE”
“E Choke” was produced by the King of Beats – Kel-P. With “E Choke,” I think we travelled to Ghana with Kel-P and we had a session. We were all in the crib for like two weeks and then Kel-P just started playing different beats and then “E Choke” just came out. The beat sounded gangster, it sounded dark. It sounded like Pop from the UK so I was just like, “You know what? Let me try something on this,” and that’s how that came.
“LET THEM KNOW”
I mean with me and Kel-P, it’s fire and smoke. He’s my brother, he understands me, he understands the new sound. Over the years, I’ve messed with different sounds, if you check my track record. All my songs don’t necessarily sound the same, starting from “Ololufe.” One thing about me is that I always try not to do the same thing. Some people feel like the same system can work but I also feel like pushing myself can work, so that’s why I always jump on different sounds, sometimes I sound different and that’s the approach that has come from heaven.
So with Kel-P, it’s magic. With “Let Them Know,” I think he was in Eko Hotel [& Suites] and he called me, he said, “Yo, you know what, I just made this beat. Come and listen to it. And then I just drove there. The beat drives you, the beat is kind of reggaeton, it feels like a Sean Paul vibe going on on it and then I wanted to sound different too. It’s one of those different songs that I really love because the approach to the song is crazy.
“STREETS” FT. T-PAIN
With “Streets” with T-Pain, I think I got a call from EMPIRE. They created a session for two weeks and then they called me and it was like, “Oh, what’s up? How would you feel if you had T-Pain on a record?” I’m like, “What?” because when I started in the industry, T-Pain was the go-to guy for music. Back in the day, it was between the times of R-Kelly, Usher, Akon, T-Pain and then Chris Brown, but T-Pain was really, really relevant and he was one of my mentors in the industry to be honest because I used to listen to him a lot. I remember in Mo’Hits, it was T-Pain that I used to listen to, so it was a dream come true for me.
So I told them [EMPIRE], “What song would you like to put a T-Pain on? I don’t have all these Yankee songs to put T-Pain on,” and they were like, “Don’t worry, we’ll put him on this new one and he jumped on it and I didn’t even know. I didn’t even know until Kel-P called me and said, “Yo, T-Pain did a video and he leaked it and played it online.” I was like, “He played it online?” And then Kel-P sent it to me and I was just like, “Wow, he killed the song with the melodies and everything,” and I was just like, “You know what? I don’t want to do anything crazy. T-Pain has already killed this song. Let me now show that I’m really, really African on my own song.” And that’s why you see me showing my Yoruba side. That’s how that song came.
“KPE PASO” FT. OLAMIDE
That’s fire. “Kpe Paso” happened at a time when I was with Wiz[kid] and then Olamide came to the session with Wiz and we were just vibing on different levels. And at the time, Olamide already called me for “Hate Me,” which was his record and it just felt right that I needed to do my own record with Olamide. With “Kpe Paso,” Kel-P was in Eko Hotel; all of us came for a session and Olamide came in, and then as soon as he [Kel-P] dropped that gem, I was just like, “You know what? Let’s do this record.” It took me time to write my verses because I was doing a lot of projects but as soon as I wrote the record, I knew in my head that that was the next single. As soon as I heard the beat and Olamide’s hook, I planned for it. I took my time with the record and that’s how we made it.
“EBELEBE” FT. WIZKID
I think I flew to Ghana and Wiz was already in Ghana at the time, and then he was recording the song. This song was already made; he [Wiz] had the chorus, the beat and everything. So I met him in the studio with P.Priime. And I was like, “You know what? I want this record,” and he said, “All right, you want this record? Let’s go,” and I started recording it right there with the energy and everything. It was recorded in Ghana and then we finished it up in Lagos. Everybody knows Wiz is my brother. Everybody knows he’s my blood, and when we’re on a record, it feels like magic.
“GENESIS”
I love “Genesis,” too. “Genesis” was me and Kel-P in a session. The idea of “Genesis” was a way of just saying, “I could do all these things, showing my potential and also showing my Yoruba side.”
“JABO” FT. FIREBOY DML
To be honest, I love Fireboy because he inspires me; he’s young [and] talented. When I was having this session that I told you EMPIRE organised for two weeks, Fireboy was in the building that I was and he was doing his session with another producer and then I think he heard that I was in the building and he walked into [my] session and as soon as he walked into the session, K-Dream already had the beat going on and he played the beat, and instantly Fireboy just ignited.
We did like four songs immediately. As soon as we finished “Jabo,” we did another one and he killed that one too. With Fireboy, he loves to finish his verses. I love that kid. He loves himself. He loves to just want to do it and that’s the energy I got from him. Shoutout to Fireboy.
“SHO MA GBA”
“Sho Ma Gba” is kind of retro. You know how the old Afrobeats was back in the day, like how you have fast songs [with] tempos of 120, 130, 125. It was just a way of reminding myself that “Ah, don’t forget your people that are on the mainland” because my mainland people like to dance. So I didn’t want to let go even though I was doing Trap, even though I was doing “E Choke,” and even though I was doing the contemporary type of music, I still wanted it to be local. I feel like local content is the new wave now so that’s why I did that.
“DON’T FEEL LOVE”
First of all, the beat has this Reggaeton wave but it was a way of me not actually making it so sad. I still wanted it to be like, you could listen to this music and still pump your head in a way, but it’s sad but not necessarily [too] sad, you feel me? You can vibe and it can push you to just move on from any bad experience.
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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