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IWD: The Sparking Women Of Afrobeats

It's March again, which means International Women’s Month and another opportunity to celebrate women pushing the boundaries for productivity and creativity in all fields in every corner of the world. In Nigerian music, the last few years have seen a bold contingent of creative women advance the borders of what is possible for women in music, even in Nigeria’s patriarchal society. The music scene is still far from having an ideal balance of male and female stars, but considering the male-orientedness of the industry’s artists and background players, this group deserves even more praise for their ability to rise above all obstacles and occupy the section they do now. In doing so, they become a shining light to women in every field, an encouragement that women can rise to the top and pull down age-long barriers. Here are ten women, cut across generations and genres, who are lighting up the Afrobeats scene in 2024.

Tems

Tems rocketed to global fame with “Essence” and remained there via collaborations with Drake, Future and Rihanna, and brought her entire discography with her in this terrific journey, as a result of which even her most obscure releases from the past have been showered with millions of streams. But fans rightly want more, and as they await a debut album from the singer that will no doubt release this year, she’s kept them satisfied: “Me & U” and “Not An Angel” released last year, spinning her AfroRnB, Pop and Dancehall influences into spicy mixes, and allowing her balance gracefully on the ledge where she can appeal to both her Nigerian and western audiences. Tems is one of Nigeria's brightest revelations of the 2020s, and her album should confirm her status as a force in world music.

Tiwa Savage

The No. 1 African Bad Girl ruled African music through the 2010s, and was front and centre of the high-powered, dance-ready movement that we now know as Afropop. Now, she continues to advance Nigerian pop through its Amapiano era, entertaining a new generation with as much vim and vigour as she did with her Pop duo of “Kele Kele Love” and “Love Me, Love Me” over a decade years ago. Her royalty status in African music is beyond doubt, but she continues to prove it anyway, and with last year’s singles “Pick Up” and “Stamina” she kept pace with the rest of the industry, proving that the golden years of her career may actually be in front of her.

Asa

Asa is by now a household name in Nigerian music, being a practising artist for longer than some of her newest fans have been alive. The honeyed songstress made her breakout in 2007 with her self-titled debut album, the Cobhams-produced ethereal piece that introduced the key parts of her artistry: her melodious voice, guitar-strung melodies and her soulful writing. Seventeen years and 5 albums later, the Paris-born vocalist continues to captivate minds while adapting to changing times in Nigerian music, and her last album, V, highlighted her growth and reiterated her effusive songcraft, tapping into more modern Afropop while holding firm to her sonic identity. With the release of her latest, “Odo”, this year, Asa proves that she still has a lot to give the industry she helped build.

Yemi Alade

Yemi Alade, the self-styled Mama Africa, has lived up to that moniker in the ten years since “Johnny”, her explosive Afropop banger, announced her to the country and continent in 2014 as an instant star. Apart from her emotive music and its magnetic appeal to the dance floor, she has won hearts across the continent for her energetic performances and her very impressive polyglotism. She has come to represent a symbol of strength, excellence and femininity for African women, and with her latest release, the Mamapiano EP, having arrived in December, she shows no signs of stopping anytime soon.

Simi

Simi’s high-pitched, sonorous voice is instantly recognisable for any keen follower of Nigerian music. She made her debut in 2014 via a series of catchy, playful singles—“E No Go Funny”, “Open And Close”, and “Jamb Question” and its Falz-featuring remix, before diving into the romantic depths, a field her vocals were always made to excel at. Her eponymous debut album arrived in 2017, bringing the arc of her introduction to a fitting close, and since its release, it has been an unstoppable upward journey for the songstress. Her most recent offering, To Be Honest, consolidated on her growth even further, as she scripted tales of life, love and friendship into one coherent package, and its reception proves her place in the music scene remains secure.

Niniola

Nigeria’s queen of Afro-House gets a lot less credit than she deserves, but Nigeria’s Amapiano-directed era, borrowing heavily from South Africa, was foreshadowed by her genre-bending “Maradona” way back in 2017. Two albums, 2017’s This Is Me and 2020’s Colors And Sounds established her position, as she tried her hands on a number of sonic experiments between Afropop, South African House and Dancehall, and brilliantly pulled off most of them. Years later, she remains at the forefront of innovation and genre-morphing in Nigerian music. Amapiano’s saturation in Nigerian music means it is no longer an effective means of standing out, but Niniola’s capacity to execute it with exceptionally high levels of quality means she will never have to be worried about her legacy.

Teni

Teni, the other half of the Apata singing sisters, is cut from a different sonic cloth. She delights in the tonic flavour of conventional Afropop and its ability to soundtrack the most heartfelt songs. She released a number of tracks between 2016 and 2018 to moderate impact, but it was her breakout single, “Case”, blending tender emotion into fast-spinning beats, that gave Teni her grand introduction as a purveyor of the romantic. Other singles, like the reflective “Uyo Meyo” and “Askamaya” displayed yet another side to her. Her recent album, Tears Of The Sun, was a comeback of sorts after a period of downtime, and with it she immediately thrust herself back into the limelight.

Fave

2021’s “Baby Riddim” was a game-changer for Fave. It was the means with which she made her mainstream journey, and even now it is easy to see why the audience found it so irresistible. 3 months later, she capitalised on the newfound fame to release Riddim 5, her debut EP, weaving heart-strung writing into an AfroRnB sonic template to excellent results.

Her releases in the period since then have been somewhat sparse—only two songs of her own in two years—but she has made up for it with a number of well-delivered features. Her latest, “Belong To You” is a marker of her undying talent and promise.

Qing Madi

It may have gone under the radar, but Qing Madi had an exceptional 2023. She began the year as an underground artist, secured (and brilliantly delivered on) a dream collaboration with BNXN, built on that momentum to release a brilliant debut EP, and is now watching as “American Love”, a track off it, is pushing to become her biggest song yet. The 18 year old singer is making an organic growth fueled by addictive hooks and clever writing, and now looks to be one of the industry’s brightest stars of the future, poised to follow in the examples of the other women on this list.

Bloody Civilian

Bloody Civilian is on her way up. The 26-year-old made giant strides in 2023, logging in her debut EP Anger Management in June and returning in November with Anger Management: At Least We Tried, a special remix version that featured stars like Joeboy, ODUMODUBLVCK and Fave. Her music is a special blend of Nigerian and foreign sounds, allowing her to draw from a wide pool of sonic influences and still create cohesive projects. She is still firmly in the ones to watch category, but her trajectory places her to rank beside Nigeria’s elite in the not-too-distant future.

This article was written by Afrobeats City Contributor Ezema Patrick - @ezemapatrick ( X )

Afrobeats City doesn’t own the right to the images

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2023 Round-Up: The Year In Music

With Wizkid’s EP, Soundman Vol. 2, arriving ten days to the close of the year, 2023 has delivered an experience that confers on it a special place in Nigerian music lore—an album by each member of our putative big 3. Timeless, Davido’s well crafted, much appreciated comeback piece arrived in March, while Burna Boy's seventh studio album, the sonically brilliant but thematically petulant I Told Them… debuted in August. It is the first time since 2020 that these three stars have aligned in a single year, but this convergence is only one in a long list of the truly significant events of Nigerian music in 2023.

The music scene this year has delivered the expected good, with underground artists breaking through barriers to emerge the year's most successful singers; the unexpected bad, in the mysterious death of the young, promising Mohbad; and the numerous ugly, best-forgotten events, like when artist Oladips appeared to fake his own death in promotion of his new album. To navigate through this topsy-turvy sea, here is our round-up of the biggest Nigerian music happenings in 2023.

Our 2022 edition of this round-up was expectedly dominated, much like the year was, by tales of the exploits of Asake, who was a mainstay in the year's music scene, successfully arresting the attention of an entire country with a series of hits, each a little more fiery than the last, until his debut album arrived to cement his place in Nigerian music. 2023 has seen him continue his run with no break in stride, as he released his sophomore album, Work Of Art in June, which spawned tracks like "Lonely At The Top" and "Amapiano" that ensured his name continued to ring out in the new year. At the same time, it was also a gathering of the harvest of last year's sedulous work. He received Headies Awards for Album Of The Year and Next Rated, a Trace Award for Best Anglophone artist, and a nomination for the inaugural Best Afrobeats song at the MTV VMAs. And with his song, "Amapiano" already receiving a nomination for the 2024 Grammy's new Best African Music Performance category, it remains to be seen if Asake can bring his dominance to a third consecutive year.

Elsewhere, other rising stars continued to follow the paths that were first charted years ago. Rema, long earmarked to be Afropop's future prince, took several large steps towards his throne in 2023. The most visible of these was securing a global hit, "Calm Down", which, with its Selena Gomez–assisted remix, was a fixture on UK and US charts, eventually peaking at number 3 on Billboard Hot 100 in September. For these exploits, accolades came in droves, from national platforms like The Headies and Soundcity, to African award organisations like AFRIMMA and Trace Awards, with his crowning moment coming at the MTV Video Music Awards, where he clinched the prize for Best Afrobeats song alongside Selena Gomez. Seyi Vibez, another artist who had made a standout showing of consistency last year, sustained his momentum in 2023 with two albums and two EPs released over the course of the year.

As these stars ascended the next stages of their respective careers, 2023 provided a new set of upcoming acts writing the first chapters of their mainstream stories. Two of them, Odumodublvck and Shallipopi, spent the year dividing opinions for the sounds and themes of their music, but what is surely beyond argument is how much progress they made in 2023, propelling themselves to clinch the headlines this year, for good and bad. Odumodublvck released Eziokwu and its deluxe, that held fan favourites like Dog Eat Dog and Declan Rice side by side with new entries like "Blood On The Dance Floor" and "Kubolor", ensuring he remained in circulation on radio channels for most of the year. Shallipopi's debut EP, Planet Pluto and album, Presido La Pluto also debuted to strong reactions.

And 2023 was a year that would bring the spotlight to emerging female acts as well, which merits acknowledgement in Nigeria’s male-dominated music industry. Qing Madi's "Ole" featured Bnxn, and was propelled by its combination of brilliant storytelling, exquisite delivery and smart collaboration to a spot in the top 20 of the Turntable top 100. She quickly built on this with her eponymous debut EP, which included other tracks like "Vision" and "American Love" that are providing her with.

Bloody Civilian is another female act whose career has been driven thus far by a combination of talent and an eye for ingenious collaboration. It was how she made her entry on the most auspicious of stages, singing opposite Rema on "Wake Up", a track off the Black Panther: Wakanda Forever album. If that debut flew under the radar for most Nigerians, then her feature on "Blood On The Dance Floor", providing a piquant variation to Odumodublvck and Wale's rugged sensibilities, did not. In 2023, she released first her debut EP, Anger Management in June, before its sequel arrived in November, this time sporting remixes from the original that featured stars like Joeboy, Odumodublvck, Fave and more. For female acts higher placed in the ladder of Nigerian music—Tems, Ayra Starr and Tiwa Savage, and Fave—it was a relatively quiet year, so we can expect a lot more in 2024, especially from Tems, who has already released two singles in anticipation of her debut album.

A dark cloud was cast over the musically prolific year with the passing of Ilerioluwa Oladimeji Aloba, AKA Mohbad, best known for tracks like "Feel Good" and "Ask About Me", under circumstances that are yet to be fully understood. Whilst the initial outrage over his maltreatment at the hands of Marlian Music, his record label, has now waned, Nigerian music lovers still carry in their hearts the memory of an artist whose music brought peace to millions, even as it seemingly eluded the singer himself.

As Nigerians struggled, and still do, to accept his untimely death, a few other singers took to the studio to pay him proper homage. Bella Shmurda released "My Brother" in his late friend's honour. Chiké and Zoro released their cross-country collaborations with the artist, titled "M.A.D." and "Egwu" respectively. The latter took his tribute a step further, pledging the proceeds from the song to Mohbad's family, a wholesome gesture similar to that made by fast-rising singer Khaid when he released his own tribute to Mohbad, "Forever".

2023 was also a year for big albums by big artists. Already counting the projects by Davido (Timeless), Burna Boy (I Told Them…) and Wizkid (Soundman Vol. 2), other Nigerian music veterans glided the year with full length projects, including Wande Coal (Legend Or No Legend), Olamide (Unruly), Adekunle Gold (Tequila Ever After) and Kizz Daniel (Maverick). Also sustaining Nigeria's relatively new album culture were the younger stars, who logged in albums like Ru The World (Ruger), Boy Alone Deluxe (Omah Lay), Emeka Must Shine (Blaqbonez) and Tears Of The Sun (Teni, making a long awaited return)

In all, a lot of indicators from 2023 suggest Nigerian music's global flight will not be ending anytime soon—with global music platforms like The Grammys and MTV carving out categories for Afrobeats, and Wizkid and Burna Boy bolstering their UK profiles with performances in Tottenham Hotspur and London stadiums respectively. In sound, Nigerian music gained more depth and diversity, with artists like Odumodublvck, Zlatan, Blaqbonez Jeriq and Kcee helping to incorporate Igbo culture, and especially its iconic Oja flute, into mainstream music. With so many young talents making their entrances, and a host of seasoned veterans showing no signs of slowing down, 2024 promises to be an even more enjoyable experience for lovers of Nigerian music.

This article was written by Afrobeats City Contributor Ezema Patrick - @ezemapatrick (Twitter)

Afrobeats City doesn’t own the right to the images

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EP REVIEW: REMA -RAVAGE

Rema’s Ravage EP appears in such stark contrast to the chart-topping “Calm Down” that a more cynical observer might tackle it as being backwards in direction—like leaving one field half ploughed to begin anew in a new one. His rumbling energy and combative demeanour do not gel well with the pure, heartstrung affection with which “Calm Down” introduced him to most of the world. And yet, this breakaway from the conventional, the maverick mentality it connotes and the wealth of self-confidence it stems from are the fulfilment of every self proclamation he makes on Ravage.

Also very emblematic of the fearless spirit that Rema channels here is the choice of a release date. Even before Rema’s announcement, Friday the 26th of October was already set to be a battle ground to be contested by a number of major Nigerian acts, with Blaqbonez, Mr. Eazi, Basketmouth and Reminisce all set to release full-length albums, and likely a couple of them already regretting the choice of such a packed date. Rema, even with the foresight of watching this date get crowded before committing to it, was still unwavering in picking it for the release of his fourth career EP.

On Ravage, Rema embodies some of the hardboiled confidence and unconventional experimentation from his previous EPs—Rema, Rema Freestyle and Bad Commando—where he played with a number of less popular genres, mostly trap, to excellent artistic results. His Ravage EP is somewhat similar, except this time, Rema already has the real-life backing to many of his braggadocious statements. He sings on “DND” that he is “Oga nla, prince of Afrobeats”, a statement that should not raise many eyebrows.

He marches through Ravage alone, the sole singer on all five songs like he was for the EPs that came before, but he does not require any help: the stories he tells require a knowledge of himself that only he can provide. He ponders on “Trouble Maker”, the opener, about his role in the industry. First the outlandish disruptor mocked for his playful, often juvenile lyrics and his high-toned, Indian-sounding delivery, now positioned at the the fore-front of Afropop’s new school—and all these accolades attained without losing those core elements.

On Ravage Rema takes aim at many targets, and the detractors that queried his credentials at the onset are firmly in his crosshairs. “How many dues wey the boy don pay?/ How many insult I go take?” are his first words on the EP, before reminding that he has “been like this straight from the get-go”. On the chorus he advocates for even fewer words of advice to be directed his way in the future, acknowledging that he has prospered thus far without them: “Leave me, leave me, leave me, make I do my own, omo no judge me/ I go still pass everybody even though say una use extra sheet”. A fuming confidence drives Ravage at its core. If Rema has any self-doubt, it is not about his talent or artistry. He says on DND that “Make humility no go turn me malu", insisting that his keenness to remain humble about his wins should not be mistaken for weakness.

Ravage presents many sides of Rema, but weakness is about as far from its theme as you can get. The promotional videos he posted on social media in anticipation of Ravage’s release, with which he successfully hijacked internet conversation, depicted him in various forms of ferocious energy. His black attire contrasted the red silhouette of the background behind him, and this choice of colours, as well as the use of other clandestine imagery—bats, skulls, fire—attracted some controversy about the religious connotation of some of these symbols, enough for Rema to have to put out a disclaimer. Asides the promotional use of these videos, which was actually enhanced by the online buzz it generated, they show Rema as not just a singer but an artist, a man who wants to please more senses than just the auditory.

His commitment to crafting a complete artistic experience also means that the five songs here are not only up to his usual standards but bear a high amount of finesse and polish, no doubt the final selection from several tracks created for the EP. It is therefore very canonical that, even in the EP’s rage, Rema finds space for expressions of the romantic nature. If Ravage was to translate Rema as faithfully as possible, it would be an incomplete product without his love, and more commonly, lust for women. These fill out the latter two tracks of the EP, “Don’t Leave” and “Red Potion”, where Rema dabbles in characteristic cleverly carnal writing—“Pisces, gimme piece of your pie, baby, yeah”, he sings on the former.

Rema is without featured artists on Ravage, but it would be wrong to make the assumption that he is the sole creative voice. Collaboration here appears behind the boards, and a trio of producers—London and P.Prime mostly, with Blaisebeatz making a sole appearance on the opener—craft Rema’s sonic soundscape in the corridor where he can glide all the way from Punk Rock to music from his Benin roots, taking in a bit of everything else—like Afropop and Palmwine music—along the way.

Rema’s new direction is, in actuality, only an evolution of the old, and another facet to his artistry is always welcome, especially when it is executed as masterfully as it is on Ravage. Sure, the section of his audience that came on board at the “Calm Down” stop, knowing not of his earlier rage-fueled inclinations, may require an acclimation period, but Rema refuses to be placed in any box, not even one that contains a song with over a billion streams on Spotify. Ravage is a gateway into his primal core, and the only thoroughfare he requires is an open, non-judgemental mind.

This article was written by Afrobeats City Contributor Ezema Patrick - @ezemapatrick (Twitter)

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DAVIDO - FEEL (ORCHESTRAL VERSION)

Davido has dropped an orchestral version to his latest single "Feel", taken from his Timeless Album.

The orchestral version was filmed in collaboration with Amazon Music.

Watch, Share and Enjoy “Feel (Orchestral Version)”

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NEW EP: MAYORKUN - LOVE.. FOR FREE

Mayorkun, the acclaimed Nigerian superstar, has released his highly anticipated EP titled Love.. For Free, a musical journey steeped in raw emotions of love, heartbreak, and self-discovery. This compelling EP, comprising five tracks, explores the complexities of relationships, showcasing Mayorkun's vulnerability and confidence as he navigates the intricacies of love gone sour.   With Love.. For Free, Mayorkun takes listeners on a poignant exploration of the highs and lows of love. Each track in this EP tells a unique story, capturing the essence of heartbreak and the subsequent journey towards healing and self-renewal. The EP encapsulates the universal themes of love, pain, and resilience, offering listeners a deeply personal and relatable experience.

  Mayorkun's Love.. For Free, is not just a collection of songs; it's an emotional rollercoaster that resonates with listeners on a profound level. From the melancholic tones of heartbreak to the liberating spirit of embracing new beginnings, Mayorkun's music captures the essence of the human experience.   Speaking about the EP, Mayorkun said, "Love.. For Free is my reflective journey through heartbreak and healing. Each track represents a different phase of my emotions, and I hope that everyone who listens to it, is motivated to go through and come out of whatever situation. Above all, I hope they’re able to learn a lesson from these experiences and be willing to love again."

Stream / Download Link: Love.. For Free

Play, Share and Enjoy “Love.. For Free”

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BNXN IS REACHING FOR THE STARS

Can anyone tell at what exact point Bnxn became a household name in Nigerian music? Formerly known as Buju To Your Ears, or Buju, the silk-tongued serenader has made such a natural progression in the industry in the last four years that we haven't had time to track his progression. It seems now so long ago since he was the young twitter artist repeatedly begging for a verse from rapper Zlatan for an upcoming song. When that feature eventually came through, on 2019's "Spiritual", it became the catapult that pushed a niche artist into local popularity.

But it wasn't until he partnered with Burna Boy, the self-styled African Giant, that he could be described as a mainstream Nigerian artiste. The two teamed up on the remix of BNXN's 2019 single, "L'enu", where Bnxn was assured and daring, swimming in the confidence of his own ability, even though he was still in the lower rungs of Nigerian music ladder—"Tell me what I cannot do" he boasts on the chorus over Steph's spunky beat. The African Giant's verse came later, and by the end, the song's message was passed across, its theme unmissable: these men are gutsy in their own abilities and they intend to approach the next stages of their careers with an unwavering confidence. It was therefore no surprise that Burna Boy immediately signed Bnxn to his own label, spaceship records.

After a single song released under the label, "So Lovely" in late 2020, Buju parted with spaceship records after a year, choosing not to renew his contract. But his upward trajectory remained unhalted. In mid 2021 he was called up by Ladipoe for "Feeling", where Buju was charged with providing a sunny, falsetto-infused backdrop to the rapper's faster-paced hip-hop verses. It is a tried and true formula, and Bnxn's execution is near-flawless. His chorus, a depiction of a guy unbothered by stress and basking in a worry-free reality, rang from the lips of Nigerian youth as the unofficial song of the summer of 2021.

On "Outside", released in mid-2021, the crooner chose this time to delve into his work ethic and commitment to his craft as he sang about how he prioritises the work of creating new music over fun-seeking outings. He also took a moment to dwell briefly on his journey here, on the first verse, "Omo in the first stage, I made mistakes I swear". The slower pace and gentler tone of the song were evidently well appreciated, as "Outside" was a fixture on the top 10 of the different Nigerian streaming charts for weeks to come.

In late 2021, it was time for a debut EP, which Bnxn named Sorry I'm Late, with its title acknowledging his delay in releasing a debut project, which was indeed strange for a time when rising acts capitalise on their growing popularity by releasing an EP. What came as no shock, however, was the high level of confidence and talent on display. By naming the opener after himself, BNXN made a statement of self-assuredness and revealed an intent to make his mark on the music world. Lines like "You know my sound is on fire/ You know my melody on fire" may read as unnecessary braggadocio to a new listener, but day 1 fans are well acquainted with the dexterity of his songwriting and quality of his delivery—his melody really is on fire. The EP was altogether a resounding success and represented another milestone passed in the young singer's career.

While Sorry I'm Late cemented his place in Nigeria's mainstream, it was two features that arrived on both sides of it that brought the most momentum to his international career. First was "Mood", on Wizkid’s Grammy-nominated Made In Lagos, where the two produced a flawless collaboration, taking turns to glide on P2J's mellow percussion. Its mellow groove and slinky vocal duet drew parallels with "Essence", the Tems-featuring smash from the standard version of Made In Lagos, and while it didn't quit achieve those chart-topping heights, it became Bnxn's biggest international effort. That was until "Finesse", where Bnxn starred beside music producer turned music star, Pheelz, for the track that proved transcendental to their individual careers, establishing Pheelz's new status as an artist and providing thrust to Bnxn's international flight.

The song initially made waves as a viral tiktok snippet was eventually released in mid-March following a massive clamour from fans, and it wasted no time climbing up the charts, peaking at no 1 on the UK's official Afrobeats charts, with appearances on UK official charts proper and the novel Billboard Afrobeats chart. It was released barely two weeks after Buju officially became Bnxn, so it was an exquisite way of stamping his new identity. Another collaboration later in the year, this time with UK based producer JAE5 and rapper Dave for "Propeller", helped strengthen inroads to the UK scene.

As these songs pushed Bnxn's international profile, his position at home was similarly growing. In May 2022, the Headies, Nigeria's premier music award, announced its nominees for the year's honours and Bnxn got a nomination for the Next Rated category, awarded to the emerging artist who shows the biggest potential to place amongst Nigeria's biggest acts in the near future. Bnxn received a nod after the amazing year he had, but he was placed alongside Ayra Starr, Ruger, Lojay and Zinoleesky, all of whom had made excellent use of the year under review. With the Headies announcing that the winner would emerge with a brand new Bentley Bentayga, it added fuel to what was already a heated competition.

Bnxn would eventually emerge the winner of this tight contest, and a week before the ceremony, he provided even more proof of why no one was more deserving. This came in his second studio EP, Bad Since '97. Here Bnxn built on the themes of his debut—his unwavering belief in himself and his music talent—with his writing and exquisite vocal delivery once more providing both the vehicle and for this substantiation of his self-confidence.

On his latest album, Sincerely, Benson, released earlier this month, Bnxn reiterated all of this self-belief, fulfilling the promise he has displayed all of his career. On the 15-track LP, Bnxn chronicles love and heartbreak, but approaches this subject from a mature, not often seen perspective: as the man making a sincere apology to the woman he loved and hurt. Songs like "Pidgin And English", "Regret", "Sweet Tea" and "Realize" tie into this narrative, yet Bnxn finds room for his characteristic cockiness: his very first words on the album are "Leave am for me/ Emi lokan", warding off the competition and propping himself up as a maestro in the music space.

As Bnxn continues to soar, old promises of potential become fulfilled even as he forebodes more to come. His next goal would be to establish his name indelibly in international markets, but If his four years in the industry thus far have shown us anything, it is that the next step always comes just as surely as the last for Bnxn.

This article was written by Afrobeats City Contributor Ezema Patrick - @ezemapatrick (Twitter)

Afrobeats City doesn’t own the right to the images

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NEW MUSIC: A3O - GIGGLE

A3O, the dynamic Afrobeats sensation known for his unique blend of British and African musical influences, has dropped a scintillating new single titled "Giggle". As the MOBO UnSung's UK Afrobeat artist of 2022, A3O continues to make waves in the music industry with his infectious rhythms and uplifting lyrics.

A3O's latest single, "Giggle" is a testament to his ability to fuse infectious rhythms with a positive message. The song encourages listeners to embrace the present moment, find joy in life, and celebrate their journey. With lyrics that seamlessly blend English and Yoruba, "Giggle" showcases A3O's commitment to bridging cultural divides through music.

The track's vibrant melodies and danceable rhythms are a testament to A3O's prowess as a performer, while the song's bridge introduces a change in tempo and instrumentation that adds depth and variation.

A3O's "Giggle" promises to be a standout addition to the Afrobeats/Afro-Fusion genre, capturing the spirit of celebration and unity through music. The single is available on major streaming platforms, including Spotify, Apple Music, and YouTube.

Stream or Download "Giggle" now - https://song.link/s/0m0bXuP4zEfLdpMeq52W4J

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NEW ALBUM: BNXN - SINCERELY, BENSON

Elite Lagos vocalist and one of the new gen’s most exciting breakthrough artists BNXN (fka BUJU) drops his highly anticipated 15-track debut album, ‘Sincerely, Benson.’. The formidable Afrofusion singer penned every single lyric on the project, whilst working with a collection of A-List producers, including Jae5, Sarz, ATG, Guiltybeatz, Leriq, Davinchiii, Denzl, Blaisebeatz, Tempoe, Magicsticks and Dro amongst others.

Sincerely, Benson is a masterclass in vocals and musicality as the singer opens up and lets us explore his world. BNXN set the tone early on with

‘Gwagwalada’ featuring Kizz Daniel and Seyi Vibez, which dropped in February and has been on a winning streak ever since. True to his reputation as a hitmaker, Sincerely, Benson is bursting with singles that will make it a debut that stands the test of time.

Sincerely, Benson includes a handpicked selection of features, including UK rapper Headie One, Taves, Nigerian superstar 2Baba and Jamaican singer Popcaan. Speaking on Sincerely, Benson BNXN said, “This is as sincere as it gets”.

Over the last few years, the Lagos singer has released a growing body of work that pushes back against conventional modes of African music and in doing so, he has created an instantly recognisable sound. He has completely switched up the game, becoming one of the biggest and most internationally known names in the new wave of stars. Following his recent acclaimed singles, ‘Pray’ and 'GWAGWALADA' which both feature on the album, last month BNXN collaborated with UK artist Stefflon Don on ‘Whats Poppin’ which has created an undeniable buzz in the UK and received 6M streams to date. He is showing no signs of slowing down, and to celebrate the release of his album, BNXN has announced a headline show at London's iconic venue, The Roundhouse on the 18th of November.

Download and Stream: Sincerely, Benson now.

Play, Share and Enjoy “Sincerely, Benson”

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London's King of Vibes, A3O, Set to Release Uplifting Afrobeats Single "Giggle" on October 6th

A3O, the dynamic Afrobeats sensation known for his unique blend of British and African musical influences, is gearing up to drop a scintillating new single titled "Giggle" on October 6th, 2023.

As the MOBO UnSung's UK Afrobeat artist of 2022, A3O continues to make waves in the music industry with his infectious rhythms and uplifting lyrics.

A3O's latest single, "Giggle" is a testament to his ability to fuse infectious rhythms with a positive message. The song encourages listeners to embrace the present moment, find joy in life, and celebrate their journey. With lyrics that seamlessly blend English and Yoruba, "Giggle" showcases A3O's commitment to bridging cultural divides through music.

The track's vibrant melodies and danceable rhythms are a testament to A3O's prowess as a performer, while the song's bridge introduces a change in tempo and instrumentation that adds depth and variation.

"Giggle" promises to be a standout addition to the Afrobeats/Afro-Fusion genre, capturing the spirit of celebration and unity through music. The single will be available on major streaming platforms, including Spotify, Apple Music, and YouTube, on October 6th, 2023.

Pre-save Link: https://show.co/socialunlock/0Pi87m8jTe2BTJwDEEIzkQ

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MUSIC VIDEO: BURNA BOY - CITY BOYS

#Afrobeats #Afrobeatscity #Burna Boy #City boys #I told them #Africa #African music #Nigeria #Nigerian music #Youtube

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Rema, The Prince Of Nigerian music

Rema and Selena Gomez's "Calm Down" continues to shatter worldwide records as it advances its claim for 2023's Song Of The Summer, and indeed for every other season—it has in fact completed a year on the Billboard Top 100 chart, and even now continues to chart in the Top 20. And as its impact has been far reaching, so also have the accolades. The most recent of these came only a few days ago, when the song officially crossed 1 billion streams on Spotify, crowning it the first African song to reach this feat, and also one of the 500 most streamed music tracks of all time. Before this was the MTV Video Music Award ceremony, where a charismatic Rema received an award for the maiden 'Best Afrobeats Song' category. Before calling on his co-creator to say a few words of thanks, he paid homage to Nigerian music icons that paved his way to the world's biggest stages—names like Fela, pioneer of Afrobeat (no 's'); D'banj and 2Baba, prominent figures who ruled through the 00s; Don Jazzy and D'Prince, his mentors at Mavin and Jonzing, his record labels; and of course Nigerian music royalty Wizkid, Burna Boy and Davido.

It is fitting that he makes such acknowledgements at a time when he too is progressing towards a career of this status. Nigerian music's growth, like he succinctly put, has come slowly but surely off the back of these creators, so that now, "Calm Down"'s worldwide acceptance does not draw the surprise it deserves from the Nigerian audience; exploits of the last two years appear to have numbed its citizens to what is possible. Two years ago, Essence, the Wizkid-Tems sultry collaboration that got a Justin Beiber touch for its remix, was having its moment in the sun with each new step applauded by the country, and it is important for context that Rema’s song has already amassed five times as many Spotify streams as its predecessor.

For many, this moment was always going to arrive for Nigerian music, the day when we would no longer need tags like "For an African artist" to qualify a new win; we would compete with parity against music from anywhere in the world. And for a tiny subset of these believers, it was always going to be Rema at the forefront of the vanguard effecting this cultural revolution for Nigeria. For the artist, born Divine Ikubor, has always borne a mark of divinity.

After catching the eye of D’prince, CEO of Jonzing record label, via a cover of his song, "Gucci Gang" that he posted on Instagram, the Benin-based singer got an invite to come to Lagos for a proper audition, after which he was signed to Jonzing, a Mavin record affiliate. At the age of 19 he made his entry via a self-named EP, a Mavin tradition, that highlighted in only four songs what Rema was set to bring to the industry. His euphonious vocals were for many the biggest and most prognostic highlight, but they masked other crucial aspects of his artistry—the depth of emotion he channels on "Why", and his dexterity in balancing this beside the fast-spinning Afropop bangers, "Dumebi" and "Iron Man".

A few months later, he made his reprisal, but in a new apparel—Trap music. His Rema Freestyle EP projected speedy delivery, snappy trap beats and rhymes about money, as Rema displayed another aspect of his artistry. Most noticeable was his sparsity of romantic themes on the new project, the substance with which he propped up his earlier effort. His third project, Bad Commando, found the balance between these two extremes, placing confident statements of self-aggrandisation (Dem know say I be bad commando”, he sings on Bad Commando) side by side with affecting professions of infatuation (The moment I see you na up NEPA, he begins on “Lady”), while he switches between Trap and Pop on the production side of things.

Releasing this project meant it was a very busy debut year for the singer, and at the 13th edition of the Headies he was awarded the Next Rated award—earmarking him as the next big star. In January he picked up a similar plaque at the Soundcity MVP Awards, and together with his City People Award for Revelation Of The Year, these plaques underscored how outstanding his debut year was. In 2020, though, it was time for the next stage of music release strategy, and this time he worked by releasing singles, as he tried to establish his sound as a balance of his Afropop, Trap and Arabian music origins. His first effort of the year was the two single pack of "Rainbow" and "Beamer", and the latter was the significantly more successful song, featuring Jamaican producer Rvssian who incorporated traces of the Dancehall genre.

These songs, along with his June release, "Alien", were drawn chiefly from the Trap corner of his artistry, but to properly dominate a country like Nigerian, he would need to create for a dance-loving audience, and with his next two singles, the melodious, groovy "Ginger Me" and the explosive "Woman", he sought to do exactly that. With the latter, Rema’s material also took on a sultry turn—“I too like woman, me I no dey gboran”—that he reprised with his next single, the Don Jazzy–produced "Bounce". Already Rema’s profile was growing exponentially on a national level as he sought inroads into the global market.

2022, for Rema, was the time to crystallise this three-year dominance in Nigeria's industry into a recognisable global profile. He released "Calm Down" in February, melding Afropop, Arabian and Dancehall influences for a track that was still authentically Nigerian—"Girl you sweet like Fanta", he says, reworking a popular Nigerian children's rhyme into a missive of playful adulation—and yet lent itself to foreign acceptance. To advance its entry into foreign markets, a stroke of collaborative genius brought a Selena Gomez remix, pouring fuel into the fire of the song's momentum so that it sauntered into the next gear of its worldwide ascent. With this remix has come multiple broken records, a couple of awards (including one for Rema as Headies Best Male Artist), and certifications that continue to roll in by the day.

As Rema continues to break new grounds both historically and geographically,—as in his recently-completed Indian tour—the next sets of doubts will centre around whether he can extend this fame beyond "Calm Down", and insert himself properly in world stardom. But that should be no problem. A combination of his astute singing talent, evocative writing and undeniable star power should ensure Rema fulfils his promise as prince of Nigerian music.

This article was written by Afrobeats City Contributor Ezema Patrick - @ezemapatrick (Twitter)

Afrobeats City doesn’t own the right to the images - image source: Instagram - @Scrdofme

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BURNA BOY REAFFIRMS HIS GREATNESS ONCE MORE WITH "I TOLD THEM..."

Ever since the stroke of luck or carefully planned commercial move that was the release of "Ye" in January of 2018, Burna Boy has not stopped rising. The song that led to his meteoric rise was a part of his album, Outside which marked his major label debut. With the success of the album shooting him into universal acclaim, he wasted no time in declaring himself the African Giant with a new album released in 2019. He kept with the pace by releasing his fifth studio album which he named, in true smug Burna fashion, Twice as Tall. Five years and a few weeks after that first alignment of stars, Burna is still steady on his grind and as confident as ever with his new body of work, I Told Them…, his fifth album in six years. The title is no doubt drawn from the same self-assured state of mind that the previous ones were. 

Burna's greatness shines through from the very beginning of the album as his unique artistry is put fully on display here. He begins with a palm wine music–inspired, slow tempo song with traditional percussion. "I told them", he says and he repeats it, and his delivery is very much "I told you so". It is a clear payback to all those who didn't believe in him. He sings his own praises, calling himself amongst other things; a genius, a giant, the master. GZA, of the legendary Wu Tang Clan, comes in at the end with a spoken word rendition. Burna's self proclaimed genius is evident not only in this song but in the entirety of the album which is a unique blend of different elements and influences, featuring snippets, excerpts and samples from other musical works, banter with friends and phone conversations all carefully curated to create an inimitable work of art. 

"On form" for instance, is both Afrobeat and Afrobeats and he mixes English with pidgin and Yoruba. "E no go tire me, nothing we never see", Burna sings, assuring us that he does not plan on quitting anytime soon. Burna travels through time in the earlier released "Sittin' on top of the world" which features a sample of Brandy's 1998 single, "Top of the world". It is a funky delight and a perfect throwback to the vibes of the late '90s and early 2000s.

Is it really a Burna Boy album if it doesn't feature a bit of political activism in some form?. On "Cheat on me", Burna takes a break from the focus on girls and money which occupied most of the earlier tracks, to pass a message about the prejudiced treatment of Africans by foreign governments; "Make embassy no deny my people visa/ No be Taliban, no be Al-Qaeda". Dave makes an appearance here but the potential of his verse is hindered by what could bluntly be described as lazy writing. He borrows multiple rhymes from Burna; "Believer", "Kilometer" and "Visa", using the last to end three different lines. Dave, also Nigerian, missed an opportunity to deliver a resonant, patriotic verse that could perhaps rival that of Skepta in "Dimension". On this song as well, Burna reworks a sample, this time from English singer Kwabs' "Cheating On Me", though this snippet bears only sonic but not thematic connection to Burna's new album. "Big 7" bears a similarity in rhythm to "Sittin' On Top Of The World", calling to mind early hip hop culture while Burna Boy grittily brags that he's been "Wavy since London, wavy since Berlin", referencing European cities from his tours on his journey to world domination. 

But despite all of this, Burna is not forgetting his home and people. He takes a quick trip back home with "Giza", an Amapiano track with Seyi Vibes that is simply perfection, beginning with the ethereal sound of the Ney, the Arabian flute, and followed by rapidly mounting, light percussion. Seyi begins the track with characteristic spoken-word rap, and Burna's deep bass glides so smoothly into the second verse that it might take you a second to notice when the baton was passed. On "If I'm lying" Burna returns to foreign soil, this time somber and sincere. His delivery is assisted only by a few guitar strings and toned down Middle Eastern vocalization that gives a naked poignant beauty to the RnB song. Burna puts on no airs here, baring himself to the world. "Everyday I just dey give thanks for life/ Know how to move 'cause I know sacrifice", he begins. Not long after he promises; "If you need a shoulder to cry, then I'll give you mine".

On the next song however, Burna draws from a completely opposite emotion—anger. "Is this the motherfucking thanks I get/ For making my people proud every chance I get", he begins furiously. Like the Dave assisted "Cheat on me", this song too is about his people, but where he had pled on their behalf for respect from the outside world on the previous song, on this one, he berates them for what he believes to be a gross ingratitude for his many gifts, including his founding of Afro Fusion and being the blueprint for other African acts seeking global fame. He confronts them with their accusations and claps back at their threats, sacrificing melody for message, so that the song is not as appealing as most others. "Thanks" features hip hop heavyweight, J. Cole, whose verse would have served better on one of the grander rap-leaning tracks rather than an Afrobeats track that fixes on a domestic squabble between a man and his people.

I Told Them… had been much anticipated since its announcement, but even more so in light of Burna's recent interview with Apple music where he made some controversial statements about Nigerian music's lack of substance. Ironically, many of the songs on his album centre on hedonistic pursuits - Afropop staples. There was talk of "Azul and champagne" in "City Boys", "Rocking your body" in "On Form" and in "Normal", he makes us know that none of this is excessive in his book. But this is Burna Boy, and flippant and dismissive comments are not a new thing coming from him. And perhaps he could be exonerated on the grounds that he is one of the few artists in the business who regularly ventures out of that banal box to create timeless pieces of art.

With I Told Them… Burna Boy manages to pull off what many African artists have failed and are still failing at; creating a sound that will tie two worlds together. He not only does this effortlessly but even manages to bring in slices of different subcultures - African-American hip hop, Afrobeat, Afrobeats, Reggae fusion, Amapiano and RnB. The album is a patchwork of cultures, it is Burna's journey through space and time collecting bits and pieces here and there for an enduring album. I Told Them… is Burna taking another giant step across continental waters to claim new territory whilst still managing to carry along his already conquered turfs, putting his versatility and ingenuity on full display for the world to see. The African Giant need not try to tell us of his greatness anymore as he has proven it to us time and time again. But knowing Burna, there is no doubt that he will continue to.

This article was written by Afrobeats City Contributor Prisca

Afrobeats City doesn’t own the right to the images

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ADEKUNLE GOLD IS CONSTANTLY EVOLVING

Adekunle Gold, the Lagos-born prolific singer, is one of the handful of Nigerian artists who can boast of a lasting presence in the highly competitive space that is the country's music industry. His was a journey of talent, consistency, invention and reinvention.

He was born Adekunle Kosoko, a member of the royal Kosoko family of Lagos Island, so when he chose to follow his passion in music, the name Gold readily appealed to him. Days spent riding to school with his father while they played Ebenezer Obey and King Sunny Ade, as well as lullabies sung by his aunt at bedtime, planted a love for music in the young Adekunle. With time, his love for listening to music spurred him to create his own. Like many other budding artists, he cultivated his talents first by joining the junior choir in his church and later, by forming a band with a close friend, Michael Bakare, before deciding to pursue a career as a solo artist. Michael remains a major musical pillar of Adekunle Gold’s career, his songwriting and production credits can be found as recently as Adekunle's latest album.

Nigeria's first introduction to the artist, however, was through his creative work as a photo editor. Prior to the release of “Sade” in December 2015, Gold had been given the title of 'King of Photoshop' for his creative editing of his images on pictures of actress Tonto Dike, OAP, Toolz and especially afrobeats queen, Tiwa Savage. A young Adekunle Gold had finished school with a diploma in Arts and Industrial Design and was putting his degree to good use, doing graphic design work for a number of YBNL artists, including Viktoh, Lil Kesh and even street-pop legend Olamide.

In 2014, Adekunle Gold released “Sade”, a cover of One direction's “Story of my Life”, and based upon a real life Sade who had turned his affections down. As the song gained ground, Pheelz, YBNL's in-house producer, saw there was more To Adekunle Gold's creativity than visual arts, and after conversations with label huncho, Olamide, Adekunle Gold was unveiled as a YBNL artist in March 2015. Then, he got a chance at a proper debut single, and "Orente" was born; a folksy Yoruba-supported love ballad, featuring distinct Yoruba instrumentation, which would grow to become his signature style. He followed this up with “Pick up”, which amped up production for a Juju-influenced song that would be an excellent fit for a live band.

All these built up to the release of his first studio album in July 2016, Gold that featured successes such as "Work", "Ariwo Ko", and another all time classic, "No forget", a duet with Simi, a friend and fellow artist who had previously mixed and mastered songs for him. His debut album was a critically acclaimed success, peaking at no. 7 on the Billboard World Album Chart.

His next studio album, About 30, was released in 2018 after exchanging amicable farewells with YBNL. He assembled a team of instrumentalists into a live band, named the 79th Element (Gold), and headed by Michael Bakare. As a result the album drew chiefly from his unique upbeat trad-style music which he christened Urban Highlife, and it housed a number of memorable songs like the energetic "Money", the evocative "Ire" and the sombre "Fame".

Until 2019 Adekunle Gold had operated firmly within the boundaries of his self-styled Afro Urban genre, where live instruments could meet with intoned delivery to channel some of the essence of Yoruba Juju music in a more modern setting. For the next step, though, it was time for an artistic refresh, and to achieve it, he will have to sacrifice some of his folksy essence for better mainstream appeal. And so he braided his boyish afro into a macho cornrow, while he discarded the Adire shirts for brightly coloured jackets and flowing kimonos, left unbuttoned to show his new buff physique, completing his look with tinted glasses and loose fitting pants. His switch in music was a lot less acute. For "Before You Wake Up", his first solo single of 2019, he maintained a similar delivery but production was different, employing more studio-made Afrobeats rather than the live drums and keys he was more popular with. Also subtle was his use of English and Pidgin for the entirety of the single, in the past Adekunle Gold had relied chiefly on Yoruba.

It was in 2020 that he properly donned the artistic personality he would take for his next era. First came "Jore", a duet with Kizz Daniel that leaned into Kizz's brand of casual afropop that was backed by catchy lyrics and a flowing beat. Then he released "Something Different", which was as it was named, a continual of the sonic detour he was making towards the mainstream. In mid 2020, “AG Baby" was released, the manifesto for his artistic vision; on the track he alludes to being the "street boy popping on the mainstream shit". “AG Baby’ was homonymous with his new persona, and on his next album, “Afro-Pop Vol. 1”, he delved properly into who he was now and what to expect of him. A song like “Okay” handled this orientation nicely, as he spun the mid-tempo pop groove into a song deriding his haters.

While AG Baby was morphing into the popstar, Adekunle Gold was settling into family life. His marriage to Simi was for many a bolt from the blue, but insiders into the couple’s lives knew they had been an item even before either of them made their debuts in the industry. Simi had produced, as well as mixed and mastered a chunk of Adekunle Gold’s Gold album, and Adekunle has gone on record to credit her with helping him find his music style. The pair had collaborated across a number of tracks over the years, each time bringing amazing chemistry that most fans did not know was the product of real life love they shared. On January 17th they released “Promise”, a tribute to their new union and the first official announcement of it. A little over a year later, in May 2021, “Happy Birthday”was released; a love letter to their daughter, Adejare on her first birthday.

2021 also saw him release three successful singles that would appear on his next album, “Catch me if You Can”, “Sinner” and “It Is What It Is” followed the laid back, less-is-more delivery of his newly perfected style. But “High”, featuring industry heavyweight Davido, was a different dish altogether; an Amapiano heavy hit, foreshadowing another shedding, or perhaps more accurately, an extra layering of personality that would lead AG Baby to give way to Tio Tequila. The lover boy Adekunle who had withstood the transition from Adekunle Gold to AG Baby evolved to another man for whom “Love is not enough”.

His latest project, Tequila Ever After, is named after this new persona, and here he slows down his Afropop cadences to take in parts of Dancehall and RnB. By far his biggest project, Adekunle Gold assembled RnB megastars like Pharrell Williams and Khalid as well as budding Nigerian street stars like Zinoleesky and Odumodublvck. He has already hit the charts with two singles, “Ogaranya” and “Party No Dey Stop”, so he will be hopeful others can quickly follow suit. More importantly, though, he will hope his new project, and the persona he introduces with it, can significantly advance his global intentions. Adekunle Gold has described his latest project as a celebration of his wins so far.

With a solid discography encompassing five successful projects, a recently bagged contract with an international label in Def Jam Records and a career about to reach the 10 year mark, a celebration is much needed and well deserved. As the artist readies himself to consolidate his position in the Nigerian market and expand his wings even further beyond the shores of the country, he can take a shot of Tequila and toast to his wins so far, because it only gets better from here.

This article was written by Afrobeats City Contributor Ezema Patrick - @ezemapatrick (Twitter)

Afrobeats City doesn’t own the right to the images - image source: Instagram - @Adekunlegold

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NEW MUSIC: TENI - LANKE

Afropop sensation Teni is back with a feel-good anthem titled "Lanke".

Produced by BlaiseBeatz and directed by Syx, the empowering video for "Lanke" was shot in Accra, Ghana and is full of colour, cultural richness and diversity. Perfectly capturing the joyful spirit of the song. Speaking on "Lanke", Teni said: “Life has ups and downs. Enjoy the moment either up or down. Feel good, regardless of what life throws at you. Always feel good. Omo Lanke is someone that owns a wheelbarrow. You never see a person that owns a wheel barrow drive straight. Good or bad, we stay pushing, we don’t stop, we keep going. We appreciate the good, we learn from the bad.”

Play, Share and Enjoy “Lanke”

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WIZKID: THE MAKING OF A SUPERSTAR

Nigerian Pop royalty, Wizkid, is prepared to make history yet again as he takes the stage at Tottenham Stadium, London, in what promises to be a performance for the ages. A whirlwind career has taken him through shows at sold out venues (including three back-to-back nights at the 02), record breaking albums and dozens of iconic tracks. For fourteen years, he marched forwards and outwards in claim of territory, so he was first the underground artist begging for studio sessions in the slums of Ojuelegba, before he became Lagos’ prodigious prince of pop, morphed into a Nigerian star, and finally conquered the African markets to become a true pan African star.

Now he sits at the tip of the spear of the 'Afrobeats to the world' movement, penetrating foreign markets and enhancing his profile, and by extension, opening up ways for other upcoming Nigerian stars to have a smoother run to global audiences. Meanwhile he conquers new grounds himself while turning familiar territory into strongholds, and his performance at Tottenham stadium seeks to perfect the latter.

Before Ojuelegba became Wizkid’s most pivotal single and one of the reference points for the growth of Afrobeats in world music, it was Wizkid’s home and the incubator of his talent. There he chased opportunities to perform his music, spending hours every day helping out in the studio in the hope that he may be granted a few minutes of recording time. With sessions like these, he recorded his earliest tracks and eventually caught the attention of MI, who, in 2008, was working on his debut album, Talk About It. The duo collaborated on “Fast Money Fast Cars”, which turned out to be one of the album’s most popular songs.

After this, MI was in a dilemma. Here was an obviously talented youngstar possessing every tool needed to get to the top, save for a record label. MI was signed to Chocolate City, and the opportunity was there to bring Wizkid on board. But at Chocolate City there was a timeline, and MI himself and then Ice Prince were the artists in the pipeline being groomed for stardom. But while MI delayed, the artist Banky W was making his return to Nigeria after time spent in the US, and he was looking to build Empire Mates Entertainment by signing new artists.

After Banky W first met Wizkid at a show where the young singer was opening sets for Kel, talks got underway and the two finalized an agreement in 2009. It was time for a debut single, and “Holla At Your Boy” debuted in January 2010, the first fruit of a year that would transform Wizkid from the greenhorn rookie to household name . In that year he also released “Tease Me” and “Don’t Dull”, each time growing his profile a little bit more so that he began the next year with his eye on a debut album, the natural next step.

And thus he released Superstar with three singles to his name, brimming with confidence that was beyond his present achievements but deep rooted in a vision only he could see. The acceptance of Superstar was the first frame of that vision. Widely credited as one of the best Nigerian albums of all time, Wizkid’s debut was a snapshot of Nigeria’s pop scene at the time of the release but made with such exquisite refinement that it resonates clearly even today. Superstar was the canvas on which he painted his reality—young, in love, and with the world at his feet. With it he made a connection to young people who could relate so much to him and his music, building the organic foundations for one of the most loyal fanbases of any Nigerian entertainer.

By then it was clear that Wizkid’s path to the top was charted and all that was left was for him to travel it. But there were always going to be twists and turns. Cracks began to form between Wizkid and EME Records in 2012, and though they made up the following year, it was clear all was far from rosy. A separation was imminent, but first Wizkid would leave EME with a parting gift—his second studio album, “Ayo”. On it, he pushed further into banging Afropop, featuring the percussion heavy tracks like “Jaiye Jaiye”, "Show You The Money" and "In My Bed", that made up the opening line-up of the album. Amongst all these dance-teasing medleys, he buried his most personal stories. These could be accessed on songs like “Joy”, where he delves into the story behind his name and the bond he shared with his mother.

"Ojuelegba", another of Ayo’s most laid back tracks would garner the most attention, and even those who had no connections with the place of Wizkid’s birth could relate with lines: “Ni Ojuelegba o, my people dey there/ my people suffer, dem dey pray for blessing”. Wizkid has never been the most intricate songwriter; his themes are laid bare as they can, requiring nothing further to access them than keen ears and an open mind. For this reason, Wizkid was able to chart the untold stories of his upbringing, painting a picture in your mind as real as the hurdles he cleared, so that when he says “I am feeling good tonight”, in celebration of the battles won, you nod in agreement.

A combination of piercing, accessible writing and the mildly groovy beat it was set on gave it wings for flight outside the country, where it caught the attention of Drake and Skepta, and a remix was born. Bear in mind that Nigerian music’s connection to the rest of the world was nowhere near what it is now, when every Nigerian song with a massive showing outside the country can effortlessly pull a B lister for its remix. The pathways we tread today were cleared by songs like "Ojuelegba". To properly pursue a cross-continental career, he would make a few unconventional choices. First was leaving EME and floating his self-owned Starboy Records.

The next few years were sparse by way of releases, as Wizkid focused his efforts in securing global collaborations that could advance his entry into the US. He released "Final" (Baba Nla) in 2015, but didn’t follow with another release in the same year. In 2016, he began to make stronger moves. He featured Chris Brown, Trey Songz and French Montana on Shabba in 2016, but back then his crossover efforts focused on creating American-like songs for some share of the market, rather than a proper ‘Afrobeats to the world’ movement where distinctively Nigerian songs are packaged for consumption abroad.

His big break finally arrived via Drake's “One Dance” later that year. Wizkid’s vocal input in the song is restricted to background ad libs, but his writing credits are much more significant. The partnership blossomed into a megahit, breaking records and acquiring certifications wherever it went. The following year, Drake returned the favour, featuring on “Come Closer”, the third single off Wizkid’s Sounds From The Other Side. At about the same time, he signed to RCA Records/ Sony Music Publishing, but his first album under this new imprint, SFTOS struggled to make an impact. It takes a fine balance to create a piece that will tempt the foreign markets without alienating your home based fans, and if done wrong you may end up losing both of them. In addition to Drake, he featured Chris Brown, Ty Dolla $ign, Major Lazer and Trey Songz.

SFTOS was not the market penetrating piece he needed it to be, and as it didn’t have enough Nigerianness to guarantee home support, it tottered somewhere in between. Yet he did not give up his keenness to experiment. In 2019 his desired breakthrough came through an EP, Soundman Volume 1, which has now been credited with laying the sonic framework that Made In Lagos built on. On the EP, (released by Star Boy Records with Wizkid as a featured artist) Wizkid played with Caribbean instrumentation, Dancehall beats and midtempo Afropop as a means of fashioning a common ground for his two target markets.

In October 2020 he was ready, and Made In Lagos was released, first to good acclaim, and then after “Essence” - the Tems-assisted love ballad - blew up, to global success. It was the result of years of fine tuning meeting a stroke of good fortune. Where some other act would have abandoned their transatlantic endeavour halfway to return to the local market, Wizkid found a way to make them both work, melding African Caribbean and American influences into a cohesive, groovy mix. More Love Less Ego is his latest offering, and it was more of the same sonically, though he narrowed his thematic gaze for a focus on the romantic and the sensual.

These days, he is more likely to be seen on tracks by his longtime DJ, Tunez, having not released music of his own since MLLE debuted in November last year. But this paucity of releases is understandable. He sits on the other side of his greatest battles, a decade and a half worth of great music lies in his bag, alongside Grammy awards and certifications. There is not much left to do, except focus on taking his performances to iconic locations and forging with them relationships to some of the world’s most popular cities. Tottenham stadium looms on the horizon, and while a lot of fans are about to have an unforgettable experience, the journey it took to get there was even more surreal.

This article was written by Afrobeats City Contributor Ezema Patrick - @ezemapatrick (Twitter)

Afrobeats City doesn’t own the right to the images - image source: Unknown - If you own the image please let us know so that we can credit you.

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ASAKE - WORK OF ART REVIEW

“But una know I no dey waste time” is Asake's pre-written answer to questions bordering around why his sophomore album is out barely 9 months after his scintillating debut. Not that anyone is less than thrilled to see him back so soon, mind, but we are all too familiar with the  compromises to the production process that may aid an artist to achieve these hurried release schedules. Asake, however, does not sacrifice quality on the altar of speed, so that what is traditionally a sticky point for establishing artists—the second album slump—is turned into a flamboyant, braggadocious display of his extent of pliability of his Fuji-Amapiano creation, and then some.

Doubts have persisted for nearly as long as he has been mainstream of his ability and/or willingness (or lack thereof) to explore music styles outside his patented scope, but Asake does not intend Work Of Art to be a definitive end to this conversation. So while he does push even further from the conventional in a bid to conquer sonic territory, he plants his base firmly in the music that has brought him thus far—the rhythmic familiarity of log drums and shakers, the ethereal resonance of crowd backup vocals and his own euphonic, Fuji-recalling delivery.

For “Yoga”, his 2023 opener which now closes the album, he sets himself sonically somewhere between Indigenous Egun music of Badagry, Lagos and the Sega genre of Mauritius, weaving together diverse cultures. His message here is clear; he is in his own lane and it would be pointless to try and catch him—but this time he goes for sombre self-identity over overarching superiority. Not to say he does not have some of the latter in his toolbox. On “Lonely At The Top”, the track from which this article’s opening quote was carved, he may appear to get ahead of himself—this is, afterall, only the second year since his proper breakout single, and there are others who have secured and maintained a top-flight status for much longer—but Asake’s time has always run a little faster. 

That is the reason why, still struggling to find a footing in music and life in general, he announced himself “Mr Money” in his 2020 single of the same name. On Work Of Art, boastful predictions for his future can carry the extra backing of his conquests from last year, and he knows it. On “I believe”, the optimistically upbeat joint which Magicsticks reworks from Amapiano’s log drums, Asake proclaims “Nitty-gritty of ‘22, I’m the one”, casting back to a year ago when he thrilled the country with a conveyor belt of hit singles before his debut album landed the final blow. He rewords and translates this on “Awodi”, stating “2022 mo gbe wan trabaye”, another claim that can be self-promoting without being exaggerative. On this chiefly Yoruba song, his honours Pasuma both in words and in the Fuji-ogling framework the track is crafted on.

Whether Asake’s outsized self-image is primarily a function of belief in himself or trust in a higher power is debatable, but it certainly is some combination of both. He definitely has the spiritual strength to justify the latter, as he embraces, in the popular Yoruba polytheist ideology, both Christianity and Islam, and delves into African Traditional Religion when the situation requires it, when there is need to tie ese ile bo. But where Mr. Money With The Vibe regarded these religions, like most people do, as a means of covering all bases in the search for material upliftment, Work Of Art has Asake transcend beyond this and ponder on the afterlife. 

He weighs in turn a Christian (“Mr. Money with the vibe ‘til the devil say my name”) and then a Muslim (“Koni wa le lai lai till we reach Al Jannah”) aftermath, but reaches a consensus in either case that he will live to the full until that moment arrives. And while these musings might seem somewhat premature for a 28 year old man in apparent robust health, Asake has never faltered in his preference of an impactful existence over a lengthy one. So today he will drown in a variety of substances from alcohol to colorado, before burying his head in the thighs of the woman he loves. “Let’s stay all night looking as the star shines/ Make love till the sunrise” he sings on the now-decadent, now-affecting “Mogbe”. 

Romance flickers brightly in other corners, even if it is a rare sight on the album and is often easily contorted into lust. “Remember” has a chorus that wants to negotiate affection with money, not an uncommon love language in a country with so little of it. “I wanna love you forever, baby o/ I just want to spend all my chеddar on you”, he says at first, but what comes next unmasks his carnal intentions. “Sunshine” shares all of this blissful radiance, but, without its romantic overtones, Asake intends it to be a pat on the back to the weary soul, equal parts motivating and reassuring. “Sun’s gon’ shine on everything you do”, he says, and if those words appear familiar it is because they were borrowed from Lighthouse Family’s “Ocean Drive” of 1995, and Asake transports this iconic line across time and genre without losing any bit of its eupeptic essence.

Asake uses himself and his incredible journey, as successful people often do, as a guiding light to those still stuck on the lowest rungs of the ladder, but material success is only a small contributor to his euphoria. For Asake, the process is just as important as the result, and like every true artist he prides himself even more in the art that has brought him thus far. 

“Basquiat” throws down the gauntlet with the arrogance of a man that knows it won’t be taken up, and while he is aware of similarly sounding artists that the media will try to force into comparisons with him,— “Studying me is an honour jeun lor/ I get many pages like songs of Solomon”—he will superciliously point out the futility in reading a master’s textbook to try and be better than him. “What's the chances, what's the probability/ To see a bеtter version of me with agility”, he asks on the spunky Blaisebeatz-produced “2:30”, but it is only rhetorical. He has his answer.

If he is any worried about deposition, he hardly shows it, and more importantly, he will not let it bog down his brilliant new creation. “Basquiat” is also the closest thing to a titular track on the album, whose cover art is depiction of Jean-Michel Basquiat by Nigerian artist, Ayanfe Olarinde. While Asake sees similarities between himself and the talented, troubled, visual artist, he has long established to have no greater weapon in his arsenal than his individuality and sense of self. A few fans may clamour to see him try on new trends and sounds, but Asake insists that he is the template, the “work of art” that should be studied. And he probably is right. Supreme ability and a unshaking confidence in it are always a devastating match, and his blend of indigenous cultures from fifty years ago and trendsetting house music of the future makes him one of the easiest bets for the next great Nigerian star.    

This article was written by Afrobeats City Contributor Ezema Patrick - @ezemapatrick (Twitter)

Afrobeats City doesn’t own the right to the images - image source: Instagram - @Asakemusic

#Afrobeats #Afrobeats City #Asake #Work of art #Album review #Music article #Africa #African music #Basquiat #Nigeria #Nigerian music #music #Afrobeats article #Afrobeats UK #Mr Money with the vibes

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MUSIC VIDEO: MALEEK BERRY - MY WAY

Currently in album mode and preparing to drop a run of singles before he releases his highly anticipated debut album, If Only Love Was Enough, Maleek Berry has dropped the visuals to his single "My Way" which is set to feature on the album.

Speaking on the video Maleek said: “I’m excited to be back with a brand new visual for my fans. Some of my favourite videos have been shot on film so we wanted to give my fans a taster into the next era of my music with the video “My Way”, the first offering from my forthcoming debut album. “ 

"My Way" was directed by Billy King and features some amazing outfits and joke moments. Enjoy!

#Afrobeats #Afrobeats City #Maleek Berry #My Way #Africa #African music #Afropop #If only love was enough #Nigeria #Nigerian music #Billy King #New Music #Music #Afrobeats UK #UK Afrobeats #Afrobeats London #Youtube