Staying True To Our Mission To Reshape The Face Of African Popular Culture, The NATIVE Team Curates A Monthly List To Spotlight The Best And Most Exciting New Artists On The Continent. Some Of These Artists Have Dropped Songs To Some Regional Acclaim, While Others Are Brand New On The Block, Working Towards Their First Big Break. Tune In To What’s Next. Click Here For March’s edition.
Last month, after two years of discovering some of the Best New Artists on the continent and in the diaspora, we launched uNder, our new column dedicated to furthering our mission of spotlighting the sounds of tomorrow: today. With the start of a new year and quarter, we deemed it best to re-evaluate our commitment to music discovery and where it fits into the grand scheme of things in today’s hyper-viral climate.
While our goal of putting you unto the most exciting sounds remains unchanged, we realise that music is in a constant state of motion. uNder, therefore is a celebration of the ever-spinning wheels of music which vastly covers artists at different stages of their careers–from brand new discoveries to artists who are reaching a tipping point and on their way to mainstream success and even to more familiar names, with a few accolades under their belt.
This month’s edition is an indication of how wide that talent pool currently is. From Nigeria’s Boy Spyce who was just activated by the Mavin powerhouse with a debut eponymous EP to South Africa’s Pabi Cooper who blends kwaito with the rich sounds of house music. So stay tuned for all the exciting features to come—we’ll still be doing this round-up every month, but if you want engaging submissions, deep cuts, or just want to suggest who else we should be listening to, subscribe to uNder newsletter. We hope you find something new that you like.
Boy Spyce
The Mavin Dynasty has done one thing since it was established in 2012: produce stars. Last year, the record label unveiled Ayra Starr and Magixx, two instantly prominent voices of the new generation. In such little time, we’ve seen these artists grow rapidly, positioning themselves as key parts of the new wave of stars, emphasising that Mavin isn’t stopping anytime soon.
Earlier in the month, Mavin records activated new signee Boy Spyce, a promising new already making his mark and primed to reinforce the label’s dominance. Spyce was first discovered through a viral video on Instagram where he did a cover for Wizkid and Tems’ “Essence”. The cover garnered the attention of many, including industry heavyweights such as Don Jazzy, who reached out to the artist at the time and signed him to the Mavin academy.
Now, the artist is ready to take on what the world of music has for him. His unveiling arrived with the release of his self-titled debut EP, a 5-tracker which cuts across matters on love, self-awareness as well as self-growth, showcasing his euphonic vocals and splendid songwriting skills one track at a time. Tracks such as “Wayo” and “Dreams” are clear statements by the artist, proving why he’s here in the first place. On “Dreams”, he sings lyrics such as “And I dey look you through my window; boy you have to chase your dreams, you have a plane to catch by six”, reminiscing on the past and wishing for a better future.
Boy Spyce is a fresh voice of the new generation and we’re rooting for him.
Wonu Osikoya
Simi Liadi
Silky vocals have featured in the resumes of many great R&B musicians, and Simi Liadi is no different. Born in Germany to Nigerian parents, her childhood was characterised by a lot of moving around. Her family eventually settled in Maryland, USA. At 12, she joined the church choir which was where she got her earliest training on the technicalities of sound. In 2020, Liadi made her debut with “Clear”, a glossy record built on stuttering drums and swooning keys.
Liadi’s songwriting underplays complexity, rather honing in on the nuances of her voice to pass across an ultimately deep message. “Clear” was indicative of this, beginning with the couplet “I don’t need nobody but you/ But I need you to tell me if you’re down for me too.” She proved to be a consistent act over that year, releasing “Dream” and “The Hills”, both further underscoring her flair for pulling diverse strands of young love together.
She was especially busy last year, releasing a number of songs before putting out her debut EP, ‘Essence’, in May. Its six songs were carefully selected to highlight Liadi’s subtle twist on love stories, with “Letter To You” and “Faded” being particular highlights. The former demonstrates her technical writing ability vividly portrayed with melancholy as she thinks of a distant lover. “Faded” is about feeling out of touch in a relationship, with Liadi likening it to a fading fire. Last month Simi Liadi released a 3-pack titled ‘Experience’. Here, her songwriting shows even more maturity, leaning into less dramatic flourishes to tell her stories. Together, it’s a fine offering in the oeuvre of a singer who’s really singing.
Emmanuel Esomnofu
Pabi Cooper
From the deep basslines of Kwaito to slowed-down House beats and the dark atmospheres of Gqom, Dance music has, for decades, been an outlet for young Black South Africans to creatively express themselves. At the moment it cannot be argued that Amapiano is the biggest sound at the moment, serving as the modish outlet for producers, singers and dancers to express and entertain. This ongoing ‘Piano dominance has been the catalyst for new stars to transition from the dancefloor to the singing booth.
Not too dissimilar to 2021 breakout star Kamo Mphela, the exuberant Pabi Cooper came into the spotlight for her smooth dance skills in Amapiano, before getting in front of the mic to hone and showcase her chops as a vocal entertainer. Releasing her first EP dubbed ‘Isphithiphithi’in 2021 she has become a fast-rising star to watch out for. The 2 song-set contained the titular track, featuring Amapiano buzzing artist Reece Madlisa, Busta 929 and Joocy, and “Unyangi’Jabulisa” featuring Yumbs. The EP vaulted her to local notoriety, on the strength of her gleaming vocals and infectious, energetic candour over dusty beats.
Despite being a relatively fresh face to the industry, Pabi has enjoyed many highlights on her path to greatness including stellar collaborations from some of Africa’s biggest stars including DBN Gogo, Focalistic and Diamond Platnumz. Her latest release, “Bayana Ke Bafana,” seals her come-up, as she partners with Focalistic, Ch’cco, LuuDadeejay and Nobantu Vilakazi for an anthemic cut that cements her proficiency for delivering ‘Piano cuts with a wide appeal.
Tela Wangeci
Majeeed
At just 23, Nigerian singer Majeeed has been making music for seven years, and writing for some of the most influential names in Afropop today, from Tiwa Savage to Seyi Shay. The singer and songwriter is slowly becoming an emerging voice of the new vanguard of Afropop stars, using music as a potent tool to tell stories which heal the mind. Interestingly, in a conversation with The NATIVE, he described his music as nature-inspired.
After signing with new record label Dream Empire Music, which was established in 2021, Majeeed recently delivered his debut EP ‘Bitter Sweet’. The 6 track project is a musical experience which is tied together by the artist’s emotions, his personal experiences as well as his environment. The 17-minute long listen features records such as “Yawa No Dey End” and “Tough Love”, both of which are uptempo afro-fusion records, which sees Majeeed speaking to his love interest about what he has been through and why he deserves to be loved correctly, flaunting his songwriting abilities and his satisfying melodies on the tape.
Since Majeeed made the decision to begin making recording music for himself two years ago, his musical journey has become a story in itself. With a knack for blending catchy Afropop rhythms with soothing R&B melodies, Majeeed is one to look out for this year.
Wonu
Mau From Nowhere
Kamau Wainaina came up with his moniker, mau from nowhere, as an ode to feeling out of place within the context of mainstream Kenyan music. Starting off on the Hip-Hop/R&B spectrum, he’s diversified his sound over time, leading him to dive into his pure consciousness and create by listening to more of his inner self. His hotbed is his ability to draw your emotions as seen in “Try,” as his vulnerability creates a serene environment free of judgement. Inspired by his time spent in the diaspora, UK and briefly, in the US, Mau has no facade in his music permeated, by mellow sound beds and cathartic performances.
For his releases, he occasionally takes to Soundcloud and YouTube, releasing covers and singles as he builds his Kenyan fanbase. From the release of his 2020 EP ‘MFN’, which is an acronym for his name Mau From Nowhere, his growth and maturity can be heard and felt as he expands his sonic palettes in “Pink Matter,” originally by Frank Ocean. ‘MFN’ was a stellar tape where Mau exhibited himself as a multidisciplinary artist, exhibiting his prowess as a singer, songwriter and producer. The EP served as a re-introduction into the scene allowing him to re-centre as he plans his next move. Thematically, the project delved into the complex turmoil of the human experience, touching on burnout and self-sabotage, while the results of miscommunication in relationships are also explored.
Sonically mau from nowhere is an experimental artist often toying with unconventional sounds. His creative restless nature enables him to explore and grow his sound as he delivers his emotionally layered numbers with tangible emotions.
Tela
Raebel
It’s increasingly becoming common for young Nigerian women to steal our hearts with names such as Fave and Ayra Starr immediately coming to mind. Another name that should be on your radar is Raebel, an 18-year-old singer with a voice of gold. She grew up listening to the greats Onyeka Onwenu and Fela Kuti, but also had lots of contemporary music around her, put on by her mother. “My mom tried to make me join a choir but it was not my thing when I was younger,” she tells The NATIVE.
Raebel’s voice is undeniably her standout feature, a sun-tinted blossoming made even more evocative through her unique takes on songwriting. Writing from her own perspective, her songs however come across as universal, imbibed with all the emotional heft that has made international youngsters like Arlo Parks and Olivia Rodrigo so heralded in recent years.
Last December, Raebel released “Miniskirt”, a record about her autonomy in a relationship. She recounts the conflicts between her and a lover who wants her to freak out for him. The Timbun-produced song sparkles with bubbly drum patterns and an assortment of live-sounding effects. Made breezy with elements of Dancehall, Raebel sets a distinct mood, weaning lyrics such as “Why you try to compare me with all of them girls?/ Say me no fit wear miniskirt for you/ Me no fit be like others for you”. Speaking about the song, she says, “‘Miniskirt’ is not just a song about a [piece of clothing]. It’s a song about life, about society and how people expect you to be. Everybody expects you to look like this, the society wants this from you, what about what you want?”
Emmanuel
Avalanche Kaito
Experimental doesn’t even begin to describe the music Avalanche Kaito make. The trio, comprising Burkinabe griot and multi-instrumentalist Kaito Winse, alongside Belgian musicians Benjamin Chaval (drums) and Nico Gitto (guitar), is primal and cerebral, folksy and post-modern, beholden to ancestral traditions and driven by a future-facing, inventive verve. It’s a head-spinning meld of punk, electronic music, beatless noise, hints of free jazz, and Kaito’s deeply-ingrained folk music and reverence to tradition.
Born and raised in the village of Lankoué, in the Sourou region of northern Burkina Faso, Kaito Winse learnt the griot customs and musical heritage of his origins, taking them with him on his European travels, where he met Chaval in 2018. Then, Chaval was part of the post-punk duo Le jour du Seigneur, and as the two new friends and collaborators continued bonding, they invited Gitto to join in the formation of Avalanche Kaito. All three artists push past the boundaries of their work in previous bands and as solo act—notably, Kaito’s 2020 album ‘Kaladounia’ is a masterful introduction to the folk music knowledge he gained while growing up.
Earlier this year, the trio dropped their debut EP, ‘Dabalomuni,’ a brief and searing collection that includes musically spare tracks that centre Kaito’s voice, sometimes manipulated but never lacking organic intensity, and entirely wordless songs that still stun with their shifty compositions. It’s just an entrée for Avalanche Kaito’s self-titled debut LP, set to drop in June. With their released material so far, the band has set a precedent of unlimited possibilities guided by their zany perception of music’s relation to the earth, and whatever imaginations follow after that.
In a reversal of events at the turn of the 2000s, Afropop is profoundly reshaping the texture of music...
Over the last two and a half years, some of Afropop’s biggest stars have denounced the genre to advance...
Over the last two and a half years, some of Afropop’s biggest stars have denounced the genre to advance their personal agendas. In a wide-ranging interview from 2023 with Apple Music’s Zane Lowe just ahead of the release of his last album, ‘I Told Them…,’ Burna Boy derided Afrobeats for a perceived lack of contextual subject matter. “Afrobeats, as people call it, it’s mostly about nothing, literally nothing,” he said. “There’s no substance to it. Nobody’s talking about anything. It’s just a great time, it’s an amazing time. But at the end of the day, life is not an amazing time.”
Just a few months later, Nigerian music superstar, Wizkid, also disavowed the genre, claiming that he was not an Afrobeats act and that his then-forthcoming album, ‘Morayo,’ would not be an Afrobeats album as he considered the genre – and the classification it infers – too limiting for the type of music he made. Predictably, fans were incensed by both artists’ stances and the casual dismissal of the genre that their statements invited. What was almost lost in the whirlwind of that discourse is that for all the attempts to capture the totality of African music under the loaded ‘Afrobeats’ label, African music has never been just one thing; and, in that spirit, Afrobeats itself has always been all-welcoming of a multiplicity of influences and styles.
From its earliest iteration, Afropop has always been a potpourri of sounds that took influences from various parts of the Black diaspora and distilled them with an African sensibility. The work of early Afrobeats pioneers like Junior and Pretty is a direct descendant of the burgeoning Hip-Hop blueprint of the ‘80s; while the early 2000s popularity of Ajegunle-based rabble-rousers like Daddy Showkey, Danfo Drivers, and African China occurred tangentially to the rising profile of Reggae on a global scale. The mid-2000s to early 2010s saw the arrival of several dulcet-toned singers like Banky W and Tiwa Savage rooted in the R&B and Soul traditions, introducing a slicker dimension to Nigerian popular music. As always, homegrown stars adapted these foreign styles for their own market while continuing to work on a distinctive style that centered genuine indigenous expression and ingenuity.
Over the years, the fruit of those experiments has ripened to produce a scene that’s bustling with life and talent. As the genre has attained global attention, many sub-genres have come to the fore, showcasing the depth of African music on a global scale. If Wizkid’s sonorous melodies and unbeatable charisma made him the sun of Afrobeats in the 2010s, Olamide’s militaristic bars and Pop anthems rooted in their street sensibilities mark him out as the genre’s moon. It was on Oamide’s back that a nascent indigenous rap circuit rested. Taking the mantle of DaGrin, the Bariga-raised rapper who helped institutionalize rapping in Nigerian languages with cult classics like “Eni Duro” and “Voice Of The Street.” Along with the effort of other stars like Reminisce, Phyno, Lil Kesh, and CDQ, the indigenous rap movement gained steam and, recognizing the Nigerian market’s zest for melodies, soon morphed into Street-Pop, a distinct hybridization of local genres like Fuji, Apala, and Highlife.
Inspired by the work of their forebearers, a new crop of artists have taken Street-Pop to new heights. Zlatan and Naira Marley served as a transitory generation; together with Rexxie, they patented a more melodic take on Street-Pop while infusing a devil-may-care disposition that launched them to the top of Nigerian music. It is fitting that Olamide was the one to hand the baton to Asake, the biggest Street-Pop star of the moment. Similar to the YBNL head’s legendary album run, Asake has released three albums and one extended play in three years, each coming out to a world paying more and more attention to his work. Impressively, Asake has also established himself as a global touring star, regularly playing sold out arena concerts across the world with a music style that is rooted in Yoruba oral tradition.
Asake is not spreading the Street-Pop gospel alone, though. Ikorodu star, Seyi Vibez, has also grabbed mainstream attention for his gritty take on the genre. Initially a divisive figure, his 2023 song, “Different Pattern,” saw him reach a new level of cultural relevance in 2024 and his new extended play, ‘Children Of Africa,’ arrived in February 2025, marking a new era in his career. The yearning for a reclamation of cultural heritage that has created a Street-Pop golden era has not evaded other parts of Nigeria. Shallipopi’s drawling, sprawled-out sound mimics the playful pulse of South-South pidgin while Jeriq, hailing from Nigeria’s South-East, has emerged as one of Nigeria’s most acclaimed rappers. Outside Nigeria, there’s a yearning in Ghana to preserve the purity and history of its Highlife genre, an elemental component of Afrobeats. British-Ghanaian producer, Juls’, ‘PALMWINE DIARIES’ and ‘High Life Sessions,’ both pulsate with the beguiling riffs of the storied genre while the work of Nigerian brother-duo, The Cavemen, is reintroducing Eastern Nigerian highlife to a new generation of listeners.
A youth-led zest for exploration outside the framework of Afropop has also produced a sub-culture that rejects the tenets of mainstream conservatism. Beginning as a band of friends and collaborators who prioritized freewheeling experimentation, Alte music has emerged as one of the most important sonic evolutions of the last two decades. First championed by OG pioneers like DRB Lasgidi, LOS, and Show Dem Camp, the Alte community drew in left-field thinkers and madcap auteurs setting the stage for a new generation of stars to emerge from the depths of SoundCloud circa 2016. In the hands of stars like Odunsi (The Engine), Cruel Santino, and Lady Donli, the Alte experiment reached an unprecedented level of critical and commercial success.
Odunsi’s ‘rare.,’ throbbing with influences from ‘70s Disco and Funk, sits in the canon of great Nigerian debuts and Lady Donli’s ‘Enjoy Your Life’ artfully melded Folk music with Afrobeat and Soul across its 15 tracks. Taken along with the work of producers like GMK and Genio Bambino, these acts built a community that successfully created the blueprint for a sound that reflected the tensions and joys of younger Nigerians who saw life in a specific fashion. It even took flight beyond the borders of Nigeria with a young Amaarae cutting her teeth working alongside some of the most prominent names in the Alte community. The inventiveness and clarity of vision that the community prioritises is evident across both of the Ghanaian-American artist’s albums, ‘The Angel You Don’t Know’ and ‘Fountain Baby.’
In a reversal of events at the turn of the 2000s when Afropop was heavily influenced by outside sounds and genres, music from the continent is profoundly reshaping the texture of music outside its borders. Much like how the Windrush Generation and other immigrants from the West Indies helped to introduce Britain to Reggae, Dancehall and Soca, generations of African immigrants are making music that signals their African heritage, with Afropop as a base influence. The rise in popularity of African sounds has helped UK artists mesh the lingo and sonics from the continent into their work, creating a new genre referred to as Afroswing. Taking influences from Afrobeat, Dancehall, and Grime, Afroswing is distinctive for its use of lyrics from Africa with British rapper, J Hus, credited as one of its pioneers. Songs like J Hus’ “Did You See,” Ramz’s “Barking,” and Not3s’s “Aladdin” signal to the sound of the homeland and speak to Afrobeats’ incredible stride to global popularity as a base reference point for global Black music.
Nearly a decade out from “One Dance,” the Drake, Wizkid, and Kyla collab that pushed Afropop into a different stratosphere, the genre is in safe hands with several stars emerging across different sub-genres that speak to our past, present and future. It is perhaps more than the pioneers imagined when they were making music all those years ago, but all the roads have led here to Afropop being a global sensation that offers various forms of expression to a watching world. There are no limitations on what can be done within the genre, that sense of open-endedness and possibility was always our strength, and it’s why Afropop will stand the test of time.
Ahead of the release of ‘The Breeze Grew A Fire,’ we sat down with Mereba to discuss putting together her...
Mereba exudes a palpable warmth. When she speaks, as she did with me via Zoom one evening in late January,...
Mereba exudes a palpable warmth. When she speaks, as she did with me via Zoom one evening in late January, she’s gentle and perceptive, speaking in soft, meandering passages that paint an intimate portrait of the LA-based singer’s mind. Similarly, her stirring discography, which dates back to 2013, evokes a keen sense of serene intimacy. “I’m inspired by those little moments in life where you’re like “Ah that’s really beautiful,”” she tells me halfway into our conversation, making sense of the ethereal quality that her music possesses. “It could be an interaction between two people, it could be something in nature, it could be a memory I have. Those are the moments that drive me to go get my guitar and write a song.”
The 34-year-old singer, songwriter, producer and instrumentalist has been writing songs for as long as she can remember. Growing up between Alabama, North Carolina and Pennsylvania, as well as an unintended one-year stint in her father’s native Ethiopia, ensured that Mereba picked up a wealth of influences that would go on to inform her richly diverse and understated sound. After years living across multiple cities, she finally settled in Atlanta where she became a staple in the city’s indie music circuit. “There, I met my peers who I made music with and are still my peers to this day. People like J.I.D, 6LACK and my crew. We all were just coming up during a really rich time of music there so that was a big part of my journey,” she reminisces fondly.
In the years that Mereba lived in Atlanta, she released 2013’s ‘Room For Living’ and ‘Kotton House Vol 1,’ two extended plays that neatly outline the foundations of the balmy and eclectic style that she would perfect years later, leaving ample room for her soothing vocals and evocative songwriting to shine. She also joined Spillage Village, a musical collective that comprises others like Earth Gang and JID, contributing to various releases like ‘Bears Like This Too Much’ and the critically acclaimed ‘Spilligion.’ Following her time in Atlanta, Mereba moved again, this time to Los Angeles, where she signed her first major record deal and released her debut album ‘The Jungle Is The Only Way Out.’
Since the release of ‘The Jungle Is The Only Way Out’ in 2019, Mereba has continued to hone her unique sound, continually experimenting and ironing out the rich textures of her temperate style on subsequent releases like 2021’s ‘AZEB.’ Ahead of the release of ‘The Breeze Grew A Fire,’ her first project in four years, we sat down with the LA-based singer to discuss the story behind her well-received debut, her various influences as well as the process of putting together her highly-anticipated new album.
This is your first album in about five years. How are you feeling?
I feel really excited. I’m definitely excited to give my music back to the world again. I’m also ready for connection, performing the songs, and sharing these new stories.
You’ve been making music for a long time now, but do you still feel any nerves before a major release like this?
I don’t know if it’s nerves. I think I feel anxious about the fact that the music is being released and people are going to hear it. But I guess I’m anxious in a good way for them to hear the music, to get to experience what I’ve been toiling away at and what I’ve been excited about for a while. It’s more like a good anxiety.
I think the first time I came across your music was in 2019. I heard “Heatwave” with 6LACK off of your debut album ‘The Jungle Is The Only Way Out.’ I believe that album was sort of a breakthrough moment for you. Can you tell me a bit about how it came together?
That album coming together was quite a journey. I started ‘The Jungle Is The Only Way Out’ years before it came out. I had left Atlanta and moved to L.A at this point. I didn’t know so many people when I just moved and so I was kind of starting over in certain ways. I was writing a lot of songs that felt really powerful to me but they were sonically different from what I used to make before. I was also learning how to produce, I was in Ableton learning how to make beats and just produce my music. Because I didn’t know so many people, I couldn’t outsource some of these things so I was just experimenting on my sound on my own.
Over the years, the community that I was a part of in Atlanta, everyone started finding their way in music but we still stayed closely in touch even though I had moved to L.A. I featured on a song with J.I.D and that kind of got me back into making music properly again because at that point, I was working random jobs, my car got taken and I had to start taking the bus to work. I was living a completely different life. It was my friends that put me back in the zone. They would invite me to sessions and just remind me that I wanted to do this music thing. Then I started putting together songs I had made over the years like “Sandstorm” and “Heatwave” with 6LACK which we made way before the album came out and even my solo songs like “Black Truck.” Most of the songs on that album had come from that period where I was struggling but knowing I was meant for music somehow.
How many years did it take to put your first album together?
I’ll say about four to five years. They say you write your first album for your whole life. “Highway 10” is the first song I made on that album. I made that song in 2014 and the album came out in 2019. In the years before the album came out I was signed to a bad record deal and I couldn’t get out, I couldn’t release music. All I could do was just create and that ended up forcing me to just hone in on my sound.
After your debut, you released an EP titled ‘AZEB’ two years later. Listening to that project, it felt lighter than your debut which was a lot darker and more melancholic. Do you remember what headspace you were in when you made this EP?
I was definitely feeling a lot lighter when I was making ‘AZEB.’ I felt like I had shed a lot of the weight that I carried during all those years of uncertainty. I was in a much more hopeful place when I was making one-half of the project. The other half was made during the early days of the pandemic so it was like a mix. Songs like “Rider,”“Beretta,” and “My Moon,” those songs represent beautiful, light type feelings to me while some of the other songs like “News Come,” and “Another Kin” are more intense lyrically and sonically.
Let’s talk about ‘The Breeze Grew A Fire.’ How did you land on that as the title for your second album?
The making of that title was different from how I titled my other projects. It didn’t come to me right away and I decided to not force it, I believed it was going to come eventually. So the making of this album has always felt very gentle. In contrast to what I had been through for so many years, I felt like I was in a much softer space creating this album and this feeling of a breeze just kept coming to me. It was also kind of like springtime going into the summer and the idea of a breeze became so prominent that I was going to title the album breeze. But as I continued on the journey of finishing it, it felt like the album was saying something a bit more. I realized that the album wasn’t just about all these gentle feelings and relationships I’m singing about like friendship, family, and my son but these things also inspire me to live with purpose, conviction and to have a spark in me. Things that make people “strong” are inspired by these little moments and experiences that we have and less by the force of trying to make a fire forcefully.
You co-produced “Phone Me” and “Counterfeit,” the lead singles for this project and you’ve also produced a lot of your older stuff as well. I’m curious to know how taking the reins on the production side affects your music-making process in general.
I got really into producing during that period when I felt lost in life. I got into Ableton, playing the guitar on my computer, sampling my voice and just experimenting. So songs that I produced from ‘The Jungle Is The Only Way Out’ like “Sandstorm” and “Kinfolk,” were me experimenting a lot with learning how to produce. With this new album, the first two singles were heavily produced by my co-producer Sam Hoffman. When he sends me things that I like, I’ll add things to them and it could be the opposite as well where I produce a song and I’ll have him or another friend add something to it. That process is personal because I could completely be in my world and get the feelings that I want to convey out through production as well as writing the song out lyrically. When I unlocked that part of myself, it felt like my whole life that’s what I’ve been wanting to do. To be able to make the music arrangements and compositions come to life.
A lot of the time I would start with a simple beat or drum loop and I’ll build chords over it with my guitar. I experiment with writing when it’s bare and then fill in the production as I write the song. They’re a very interwoven process.
I’ve read that you’re heavily influenced by legendary acts like Stevie Wonder and Lauryn Hill. Are there other acts that inspire you when it comes to the production side of music specifically?
That’s a great question. In certain ways, I’ll say it’s the same people that I look up to because most of them produce. Interestingly enough, what I love most about these musicians is that they are very involved in the sonics of the music they’re making. So the people that you mentioned, like Stevie Wonder who mentored me and encouraged me to continue on the path of producing my music versus being a singer who works with a producer. I feel like it’s important to the language of an artist to at least know how to contribute in some way to the sonics of their music.
I’ll say Quincy Jones is the blueprint for me just because of the span of work that he did. He’s the concept of producer I’d like to work towards in my life.
Do you have a favourite memory from creating ‘The Breeze Grew A Fire’?
There are a few. There was a time when I made this song on the album called “Hawk.” The song is dedicated to a really dear friend of mine who passed away unexpectedly in 2021. It was not easy to write and when I first wrote the song, it was sad, slow and reflective of the whole situation. I listened to it after I made it and I started thinking about my friend and the things that he liked. He was a very expressive and hilarious person who loved dancing and dance music. At that moment a light bulb went up and I felt like the song needed to be more of a dance song because I wanted to make something that he would love and not something he would think is corny. It was a really beautiful moment musically and personally.
If there’s one thing you would like your fans or listeners to take away from ‘A Breeze Grew A Fire,’ what would it be?
I hope it brings a sense of comfort and warmth. I also hope it tells a clear story of what matters to me. I just really hope it makes people feel better, that’s really it. I think it’s one of those albums where it’s a personal album for me and I think it’s meant for personal moments too. I hope it lives in people’s lives in comforting ways.
Asake broke the internet when he unveiled his new tattoos earlier this year, and he’s doubling down while...
Asake broke the internet when he unveiled his new tattoos earlier this year, and he’s doubling down while...
Asake broke the internet when he unveiled his new tattoos earlier this year, and he’s doubling down while ushering in the GIRAN Republic era. On “Military”, Asake ditches the log drums & Amapiano-inspired beats that paved the way to his rapid ascent to stardom. Rapping over stripped back production dominated by a live drum loop, he picks up where he left off sonically on ‘LUNGU BOY’, drawing inspiration from his Hip-Hop influences, as he delivers a defiant, heartfelt battle-cry to his fans and doubters alike.
For the last few months, rumours have swirled around Asake on the gossip blogs, on everything from who he’s dating to his record label situation to his physical appearance, with fans, critics and disgruntled ex team members all throwing in their two cents. Since his emergence in the limelight, Asake has been a man of few words – we should know, we did his first ever magazine interview back in 2022. But on this track, he addresses the chatter head on, opening the song dismissively rapping “ Awon lo lenu won koma so lo/ Tio ba affect bank me, ko ma soro” loosely translated to “let them keep talking, if it doesn’t affect my bank account, there’s nothing to say”. He goes on to flex his financial muscle above everyone in his “set”, despite being “low-key”, while affirming he could drop an album tomorrow with no tracklist, and it would still slap.
He takes a break from the braggadocio between verses to directly shout out his mentor Olamide, the man who gave him his big break. While it does appear their business relationship may have run its course, the mercurial artist is making it clear he remembers how he got here. The Asake & YBNL run will be studied for years to come. In the midst of the continued rise in global consumption of Nigerian music, Asake hilariously raps “Oyinbo koro lenu mi”, a reminder that he will not be diluting his sound for the benefit of our friends in the West.
Quietly dropping the track exclusively on YouTube & Audiomack a couple of days after the 2025 GRAMMY ceremony, in which he was nominated for the second year running, this response may have gone over the heads of those who lurk in the comment sections of the gossip blogs. But it is the most Asake response we could have expected, isn’t it? On his own terms, in his own native tongue, he pulls no punches as he ushers in a new era of independence.
This morning, Asake released another record, the Magicsticks-produced “WHY LOVE”,which notably comes under his new imprint Giran Republic. Reverting to a more familiar sonic cocktail of pulsating log-drums and choral vocals, he sings melodiously,“You know I’m a Soulja boy, but in your case, I’ll calm down.” The duality of man.
The rumours will keep swirling and people will keep talking, as they tend to do when you reach the heights the Lungu Boy has soared to. And for all the aesthetic change and talk of a new era, it appears Asake is going to continue to do what he has done more consistently than nearly every artist in Nigeria since his mainstream emergence in 2022: drown out the noise with new music.