uNder: Best New Artists (April 2023)
Featuring Morravey, Mysie, Karyendasoul & more.
In the past five years, the NATIVE has keenly explored, championed and identified the wealth of rising talent on the African soil extensively. From the underground scenes of Shrap bubbling in Kenya to the dusty log drums of South Africa’s revolutionary Amapiano movement to Nigerian street pop’s message of hope and perseverance, no stone has been left unturned in our mission to put our readers on to the who’s-who of Afropop and her neighbouring sounds.
This month, we haven’t lost sight of that vision. Following our partnership with Femme Africa back in March, we return this May with a pretty solid list (if we do say so ourselves) of dazzling talent who are redefining what it means to be a star today. From Zimbabwe’s Bantu Spaceship who are pioneering a forward-facing sound that combines the past and the present, to Morravey, a new named and face on the scene launched off the back of the illustrious Davido Music Group (DMW) and Kenya’s latest R&B starlet, Zowie Kengocha; there’s something in here for every listener. 2023 is poised to be a great year for music, and while there are plenty of new artists that we’re excited to watch each passing moment, this is who we think you should have on your radar today. Read the full story below and listen to the playlist here.
LWAH NDLUNKULU
Breaking through the South African music scene can be daunting, although being a well-branded talent surely helps. Ndlunkulu has always positioned herself in that light; about eighty percent of her Instagram feed features her striking face and disarming smile, with her music often playing in the background. Her songs draw from her unique experiences coming through the northern Kwazulu-Natal region in Durban, giving Ndlunkulu’s music a distinct identity which has propelled her from regional acclaim to nationwide dominance. In 2020, she was nominated for Best Pop Single at the heralded South African Music Awards (SAMA).
Lwah Ndlunkulu made her bow in 2018 with the locally viral “Mina Nawe,” then following up with a series of live performances. ‘Ilembe’ was released as her debut EP the following year, but didn’t quite make the impact she hoped. The Sjava-assisted “Home” would introduce Lwah to the popular scene, bending isiZulu inflections into urgent percussions. With the song’s biographical direction polished with a mix of earthiness and dreamy ambitions, it was both a longing to leave home and then return. Ndlunkulu’s vocals emerge more powerfully on “Ithuba,” her storytelling exquisitely rendered in emotive notes.
Signed to Nkabi Records, her 2023 has been off to a great start: “Ngiyeza” continued her preference for Dream House production, its guitar-laden plains offering soft landing for her expressive melodies. No surprise there, since Lwah learnt to play the guitar at ten years old; now into her twenties, it’s remarkable how the several facets of her life are coming together to spur a potentially great music career. At this point, all she needs to do is keep singing.
Emmanuel Esomnofu
BANTU SPACESHIP
Out of Zimbabwe emerges the duo Bantu Spaceship, who are pioneering a forward-facing sound that combines the past and the present. Comprised of Ulenni Okandlovu (Vocalist/Emcee/Journalist) and Joshua Madalitso Chiundiza (Producer/DJ/Video Artist), Bantu Spaceship are drawing inspiration from the music of their childhood—Zamrock, Mbaqanga, Sungura, Chimurenga, Mbube and Jit—fusing them with Western influences in the mould of synth-wave, electro and Hip-Hop. Last year, they released their debut single “Don’t Break” via French label Nyami Nyami Records, known for its experimental yet essentially African sounds.
Like every efficient workforce, Okandlovu and Chiundiza complement each other. On their self-titled debut album, Okandlovu’s singing and rapping intertwines English and his native tongue, while invoking cultural and spiritual nuances. As the producer, Chiundiza’s interesting sonic variations burrow into Zimbabwe’s rich musical history, punctuating with tracks with guitar strings here or a bass there. Across the ten-track project, Bantu Spaceship establishes a promise to find newer yet catchy interpretations of Zimbabwe’s sonic treasures.
Uzoma Ihejirika
MORRAVEY
In a world riddled with an endless stream of content, several talented artists struggle to gain the attention of the audience. With dedication and persistence however, you may be—in her own words—as “blessed” as Morravey to debut on one of the most anticipated albums by an Afropop great. At only 21 years old, Morravey caught the attention of Davido with her freestyle of Fireboy DML and Asake’s “Bandana.” “When I came to Lagos, we wrote some songs together and I recorded some, nothing serious,” the singer says of her first IRL meeting with the superstar. “I think he heard it and said ‘I love this. This is going to be on my album’ and I just froze.” As one would expect, that debut appearance on such a huge scale was a momentous occasion for the artist—one she does not plan to waste.
Appearing on a stacked tracklist with memorable showcases, Morravey’s appearance on ‘Timeless’ is stellar. On “IN THE GARDEN,” Morrvaey’s lush vocals warm up the love-themed track as she confidently lays her intentions bare to her love interest: “Far far in the garden, I wanna give you loving/Be the one to hold my hand, I want you to be my man.” However, the track’s catchy hook presents a vibrant feminine energy that pairs perfectly with Davido’s bravado, making the track deservedly one of the highest streamed since the release. Beyond her talent in the recording studio, Morravey’s eminent star qualities shine through her captivating stage presence at the Lagos leg of Davido’s Timeless tour at the Tafawa Balewa Square. As we anticipate a bigger breakthrough in the near future, the latest member of Davido Music Worldwide (DMW 2.0) is an artist we should keep our eyes peeled for.
Nwanneamaka Igwe
ZOWIE KENGOCHA
Ever since African music became a global phenomenon, its sound has been impacted by artists in the diaspora. These musicians born to Africans but growing up in diverse places across the world pine for home, and connecting diverse strands of sound, get to create something that keeps their fire aflame. Zowie Kengocha is one such artist; born to Kenyan parents, she’s been residing in New Jersey for a while now, going through the regular school programmes and the not-so-regular programme as a musician.
As a young person, Zowie listened to her dad’s collection of R&B: Faith Evans, Usher, Stevie Wonder. The 21-year-old also belonged in the choir and has a backlog of song covers on her YouTube page, a foundation that has helped her build her own style. In the last months of 2021, Kengocha released “red flag” and “space.” The former was muted, with languid strings underlying the narrative sequence of her writing. As the title suggests, it was a reckoning with toxic loves, and the latter song seemed to expand that storyline, although its shimmering atmosphere was more pronounced. The 2-pack release,‘Nightshot’, is an immersion in a neo-soul soundscape, further teasing out the drums in “chokehold” and “faq.” Both harped on themes of love and self-worth, a thematic signature of Zowie’s.
Early this year, she turned up the pace, with NGE-THE-PRODUCER’s ominous loops segueing into a disco-esque progression on “Touch.” Her first project ‘You Never Learn’ was released this April, a spellbinding collection of six songs produced by Mark Gerson. Atmospheric without sacrificing narrative depth, it’s a fine entry point for Zowie Kengocha, who introduces herself among the generation of East African women changing perceptions of the region’s sound.
Emmanuel Esomnofu
KARYENDASOUL
Afro-house in South Africa continues to make outstanding strides in recent years for a number of reasons. While a plethora comes to mind, a distinct cause would be the sheer ability to evoke strong emotions with a series of perfectly arranged keys and rhythms. Producer and DJ Karyendasoul is building a catalogue of inventive deep house, helming songs with an affecting pull and sumptuous, visceral feel. In 2018, he caught his first bouts of attention with a co-production credit on the Zhao-assisted “Any Other Way,” a synth-packed highlight on Black Coffee’s ‘Music is King’ project.
Receiving a co-sign from a luminary like Black Coffee undoubtedly played an amplifying role in his already blossoming career, subsequent releases have justified his growing prominence and unique touch in SA’s abundant dance music scene. Earlier this year, Karyendasoul released ‘We Live 4 Our Music’, a 10-track project studded with features from Ami Faku, Msaki, Zakes Bantwini and more. Named after the record label he recently co-founded, the album is a tacit celebration of his cult appeal and consistent focus on turning out music that converses with the SA House mainstream on his own terms. Pulling in afro-tech and electronic elements, the producer crafts a booming yet soulful canvas for his guests to offer balmy performances.
Undeniably one of Afro-House’s best kept secrets, Karyendasoul’s seamlessly strung eccentric keys and lush chords set him apart from his peers as he experiences a steady rise and dominance. With every release, he reiterates the unifying forces of music and its power to eclipse any language barriers.
Nwanneamaka Igwe
MYSIE
It took Mysie a second coming to revitalise her sound and place as an artist. She first released music under her birth name—Lizbet Sempa—but dropped it when she felt stifled by the lazy comparisons touted within the industry. There were parts of herself, sonic-wise, that she wanted to explore, and so in 2019, she released her breakthrough single “Rocking Chair” with a new stage name: Mysie. She followed it up with her debut EP ‘Chapter 11’. In 2020, she won the Ivor Novello Rising Star Award and was assigned Grammy-winning music producer Fraser T. Smith as a mentor.
Mysie and Smith had an instant connection and his guidance helped her dig deep into her emotions as well as emboldened her to create music from a blend of Western and African influences. In her EPs ‘Undertones’ (2021) and ‘joyride’ (2022), which Smith executive-produced, Mysie, born in south London with Ugandan descent, sifts through personal collections of love, heartbreak and inner strength over sound beds of indie-pop, R&B and Afropop. For her music videos, Mysie lets her thespian skills shine through, embodying the emotions of the song, whether it be fun-filled like on “gin + juice” or solemn and ponderous on “Keep Up With Your Heart”
In her recent single “Ctrl,” an empowering song about “receiving a phone call from an unfaithful ex who aired me for 6 months after saying BRB,” Mysie finds a sweet spot between fun and assertive. In the accompanying visual, she utilises a captivating collage of familial joy to strike home the point of the song. (Side note: Mysie’s grandfather Israel Magembe Wamala was a member of the jazz band Kampala City Six in the 1950s.) With her career on an upward trajectory, Mysie’s music is food for both the body and soul.
Uzoma Ihejirika
ICYMI: WINNY, BRAZY & MORE BEST NEW ARTISTS FROM MARCH 2023
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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