• There’s so much music out there that it’s hard for even the most loyal fans to stay up with their favourite artists or what’s new and hot right now. That’s why we’ve created #BumpThis – a daily series that features the one song you need to listen to, every day. Don’t say we never did anything for you.


    Nigerian folk singer, Mobelieve’s indigenous aesthetic has been described as many things. Some view him as ‘shalte’, the descriptor given to artists who tether the line between the retro alte subculture and more contemporary or ‘shepeteri’ influences. For others, the extremes he combines are farther apart.

    Mo’Believe is a child of two significant eras of Nigerian culture. His music is heavily influenced by the Yoruba folk music of bygone decades. He sings with urgency about poignant topics like fate and societal expectations, much like icons of the era, King Sunny Ade and Ebenezer Obey. He is, however, also a product of the internet era, the 2010’s and the DIY culture that has made musicians’ bedrooms the primary source of viral hits.

    On the remix to “Bi Oba”, a track off his 2018 album of Mo’Believe combines both to create a muted reminder of his aspirations and a tribute to all his influences. Produced by Olumba, the song is sparse yet careful constructed with light synths and traditional instruments like the Konga drums and the gan-gan which Mo’Believe calls for at some point, (“Oni gan gan, ba mi lulu fun bebe di (Drummer man, play something for their waists”).

    Like most of the music from the era that inspired it, “Bi Oba” is something to relax, grab a cup of something strong and sway to. The song’s hook calls for the listener to take his position and move to the beat. Mo’believe is only doing what he was called to do, he sings. In this case, he has come with the groove at just the right time.

    Mo’believe is one of the beneficiaries of Mr Eazi’s Empawa 100 fund for emerging artists. The music video, made with the platform’s support, is where “Bi Oba (Remix)” most comes to life in vivid detail.

    Mo’believe appears first in a denim jacket, trousers made from local ‘adire material and sneakers. It’s a reflection of who he is on the surface – then he switches into traditional Yoruba attire in keeping with the video’s theme, a colourful celebration of Yoruba pride shot through modern lenses.

    One of the more eloquent comments on the video reads, “You show how beautiful our culture is in both your lyrics and the video“. It’s a simple compliment that it is spot-on.


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  • Nigeria’s super-prolific movie industry is very popular, especially in East Africa where it’s more watched than any other piece of content from around the world. Even with the criticisms of Nollywood’s taste for bling Lagosians, so to speak, the industry has come a long way. Such a long way that if you showed it to the average O C Ukeje stan, “Palaver“, the first-ever Nigerian movie would seem to them like a needlessly long skit shot in Nigeria’s Middle Belt.

    “Palaver” is anything but that. The movie was released in 1926 in an era less known for the dearth of British cinemas than for the gradual enforcement of British imperialism. Above all things, at a time when the British were systemically converting Nigeria to commercial use, “Palaver” was a proudly racist movie.

    These are five things you should know about Nigeria’s first-ever movie.

    • IT’S RECOGNISED AS THE FIRST NIGERIAN MOVIE EVER MADE

    Or more accurately, it’s the first-ever feature film to be made entirely in Nigeria. “Palaver” was written and shot entirely by the British filmmaker, George Barkas in 1926 “among the Sura and Angas tribes on the Bauchi Plateau” according to the movie’s opening credits. Years later, Nigeria would become a preferred destination for films like 1935’s “Sanders of the River” by Zoltán Korda, which featured Nigerian actor Orlando Martins. Nigeria’s film industry would find its feet in the 1950s and strengthen in the 1960s and 1970s.

    • IT WAS PART OF A BIGGER PICTURE

    Speaking of opening credits, “Palaver” was not some workplace exercise; there was a big picture. In the 1920s, Britain was losing influence as a global economic and political power. They decided to find ‘soft power’, by taking advantage of the one thing they had going for them – their colonies. According to a 1927 edition of the Royal Society of Arts Journal, Britain’s Prime Minister at the time, Stanley Baldwin had called for action two years earlier, in 1925. He drew attention to the “danger to which we in this country and our Empire subject ourselves if we allow that method of propaganda [film] to be entirely in the hands of foreign countries“.

    George Barkas, the filmmaker who made “Palaver” was honoured for his work during the second world war.

    Not long after, a film studio, New Era Films was founded. E. Gordon Craig, the managing director described it as ‘an epoch in the resuscitation of British production’. In an August 1926 edition of the science and culture publication, Bioscope, Craig announced that three movies – “Nelson“, “Palaver“, and “Mons” would be shown on consecutive days in September that year. The “three British pictures in one week,” he said, “will convey the best of British ideals and sentiments’.

    • NIGERIANS WERE PORTRAYED AS CANNIBALS

    The makers of “Palaver” framed their narrative from the very first few seconds. After the location of the movie is introduced, the on-screen text says “Less than ten years ago, these tribes were cannibals“. The entire plot goes on to push this unfortunate perception of Africans, particularly by depicting a local king who trusts only in his witch doctor, as he is described. Both characters are caricatures at best, but that’s not where it ends. George Barkas actually described his work making the movie as ‘running the show, selecting my native cast from cannibal pagan tribes, and finally producing the film’.

    • THE MOVIE REINFORCED POPULAR STEREOTYPES

    If there’s one thing that “Palaver” did well, it was to capture all the common stereotypes that the average European in the 1930s would have. The plot is as simplistic as they come; a jealous British tin miner and conman arouses the alcoholic king of the local tribe to go to war with the more refined local district officer, Allison. The prize; wait for it… a white nurse, your typical damsel-in-distress. It depicts Nigerians of the era as anarchic, fetish and reckless. A particular sharp jab is thrown when the local chief has to drink copious amounts of alcohol and gather liquid courage to summon his troops. It’s an allusion that’s still made of our indigenous leaders till this day. It’s worth adding that most Nigerians among the cast were locals, not professional actors.

    • IT WAS FRAMED AS A FAVOUR TO AFRICANS

    Do you know what a favour is? A grant of 200 million dollars to support young creatives involved in the arts. Want another example? A simple offer to introduce a secluded culture to the global market. But in the 1930s, a time when narratives were framed by the West, the movie “Palaver” was presented as a gift to the Nigerians who were placed front and centre. It is consistent with how colonialism was viewed as an altruistic service.

    The Palaver Pressbook, the movie’s supplement, described this perfectly –  ”Here, as elsewhere“, the document stated, “men of our race have plunged into the Unknown, and set themselves to transform chaos into order and security. Battling against slavery, human sacrifice and cannibalism, against torture and devil worship, against famine and disease, they have worked steadily on, winning the land for the natives under the Imperial Crown”.

    It doesn’t really end there. Nigeria wouldn’t have its own cinemas until the 1950s. Palaver was thus shown mostly in British cinemas. As it was essentially a government project, the premiere was promoted as a look into the life of colonial officers in Africa.

    Look how far we’ve come. If anything, it’s proof that Nigerian storytellers have a duty to portray our culture and history in all its glory and many layers.


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  • There’s so much music out there that it’s hard for even the most loyal fans to stay up with their favourite artists or what’s new and hot right now. That’s why we’ve created #BumpThis – a daily series that features the one song you need to listen to, every day. Don’t say we never did anything for you.


    Songs basically become hits when musicians craft a great message that sounds good. When Beyonce makes a song extolling dark-skinned women, and taps Wizkid, Saint Jhn and her very own brown skin girl, Blue Ivy Carter, you’re talking about an anthem.

    Packaged as Beyonce’s love letter to African Music, “The Lion King: The Gift” has hit fans and listeners like a tidal wave, supported and inspired by the live-action reboot of the mega-hit franchise, Lion King. The bevvy of Nigerians on the song – from Tiwa Savage to Burna Boy – has inspired a new wave of Nigerian Pride, as anyone can see from the thousands of excited takes on social media.

    The song that unites Nigerians most is the album’s potential classic. “Brown Skin Girl” is a sunny celebration of African beauty that features Beyonce alongside Afropop’s most famous voice, Wizkid, emerging trap sensation, SAINtt JH and Beyonce’s daughter Blue Ivy.

    The tracklist for Beyoncè’s “The Lion King: The Gift”

    Wizkid’s forays into foreign albums have offered him up as an African taste on Latino pop, and that trend continues here, only this time, it’s for the better. An artist oft-maligned for his watery lyrics, Wizkid perfectly complements Beyonce as they both worship “every single inch” of the African woman. It’s remarkable enough that it’s kicked off yet another conversation about his place on the group portrait of Nigerian music legends.

    “Brown Skin Girl” is already the most-listened song on the album, and deservedly so. Wizkid praises his urban African queens before Beyonce takes it into award ceremony range. Many Nigerian fans flipped at how Wizkid does a great job of refining the queen’s fresh attempt at Afropop.

    The song’s place on the album is reinforced by the last voice. Blue Ivy has appeared on music before, most notably on her father, Jay-Z’s 2017 album, “4:44”. Her appearance here caused a Twitter meltdown. In retrospect, it may well come to feel like a stamp of approval from the next generation of brown skin girls.

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  • The first few lines of Beyoncé’s hook on “Bigger“, the opener for her just-released “The Lion King: The Gift” tells you all you need to know about the album. “If you feel insignificant, you better think again,” she sings, “better wake up because you’re part of something way bigger, You’re part of something way bigger.” 

    The album, which she says is a love letter to Africa was inspired by the Lion King franchise.

    And as promised, the album is a celebration of African music. Beyoncé tapped the who’s who of Africa’s biggest musical movement, Afrobeats.

    The list of collaborators — Shatta Wale, Burna Boy, Wizkid, Yemi Alade, Mr Eazi, Tekno, Tiwa Savage, Busiswa, Moonchild Sanelly, Bankulli, P2J, NorthBoi, GuiltyBeatz and many more — would make any African proud. From the tidal wave of pride sweeping through social media, the album’s Nigerian pop and Ghanaian Highlife influences have struck a chord, especially among West Africans.

    It’s only fitting that we celebrate the Nigerian essence on Beyoncé’s “The Lion King: The Gift”. These are the 5 best Nigerian moments on a body of work that may be Afrobeats’ first true global moment.

    • WIZKID ON “BROWN SKIN GIRL” with Beyoncé, Saint Jhn & Blue Ivy Carter.

    When fans first saw Wizkid on the tracklist for this album, familiar fears were raised. Wizkid has always been known for his melodies than any form of poignant songwriting, especially on an album packaged as a slice of African Pride. However, our fears were allayed on listening to the track. The ease with which Wizkid slotted his vocals into the beat is the level of comfort Nigerians should aspire to in these Buhari times.

    The song is a celebration of Melanin and darker skin tones. Wizkid is not credited as one of the songwriters, unsurprisingly. But this matters only a little; Starboy focuses on his strengths and ends up nearly bodying everyone on the song, before rounding it off by harmonising with Queen B. Did you read that right? Wizkid, Baba Bolu, the patron saint of Nigerian gbedu flexed voices with Beyoncé on the best song off her new album. Wake me up. This has to be a dream. Hate him or love him, but Wizkid may have just crafted, with help, of course, an evergreen anthem for African women. What a time to be alive.

    • BANKULLI’s VOCALS

    You may remember Bankulli as the chubby man screaming “Burna Boy, Call Me” in that viral video of Kanye West convulsing to “Ye”. Older fans may remember him as one of the first members of the Mo’ Hits team and the man who introduced D’banj to Kanye West thus kicking off the G.O.O.D Music/Mo’ Hits relationship. Long story short: Bankulli is an OG’s OG. On “The Lion King: The Gift“, Bankulli contributed writing and vocals to three songs. He’s the man responsible for the subtle ode to fuji music on “Find Your Way Back“. His best contribution to the album is arguably the spiritual outro on “OTHERSIDE“.

    https://www.instagram.com/p/B0F7Y63gmPJ/?igshid=zdkdfgyslr7s

    Sung in Yoruba, “Sokale o Oluwa, wa wonu okan mi lo” (“Descend from the heavens, Lord and take over my soul”) is a staple of Nigerian pentecostal church music that elevates just another Lion King song to a call to God. It’s safe to say that while the lineup is heavily Nigerian, Bankulli represented the culture in ways that no-one else did.

    • A NIGERIAN BEYONCÉ

    It takes a lot to curate a culture you’re not actively invested in. Sure, Beyoncé’s romance with Nigerian culture, especially the goddesses Osun and Yemoja is well documented. But what she achieves on “The Lion King: The Gift” is immense. She fits seamlessly into traditional Afropop & Ghana Highlife production on most songs and morphs into a soulful westernized Tope Alabi on “OTHERSIDE”, so well that when Bankulli’s vocals come in, she’s family.

    Beyoncé’s romance with Nigerian culture, especially the goddesses Osun and Yemoja is well documented.

    The most Nigerian version of Beyoncé comes on “ALREADY” featuring Shatta Wale. From her enunciation to how she interpolates melodies, you can almost swear she’s been listening to Yemi Alade. Queen B has delivered her love letter to Nigeria, maybe it’s time to come show that love in person.

    • EVERY TIME WE HEARD AFROPOP BEATS AND MELODIES

    For decades now, producers have been the unsung heroes of Afropop’s evolution and subsequent journey to global recognition. In the last few years, producers like Sarz and DJ Maphorisa have gotten global recognition, but these were more of sporadic cosigns than full recognition of their abilities. Beyoncé’s “The Gift” may as well be that moment. It may have taken longer than expected for Nigerian/UK producer, P2J to get his coins and roses, but with credits on multiple songs off the album, it’s fair to say the man has etched his name in history.

    NorthBoi Oracle, who produced Starboy’s “Soco” is also credited as a producer on the album and that’s not counting the back-end creatives — Michael Uzowuru, Bankulli, and more — who built what is a cinematic African experience. Much has been said of Afrobeats’ journey to global acceptance. This album, which may become its biggest moment yet, is evidence of how much collaboration and years of work behind the scenes we’ll need to make it happen.

    https://www.instagram.com/p/B0BpnuelTTE/

    Who’s the only artist with his own full song on an album made, curated and executive produced by the biggest musician in the world? That’s right, our very own Damini Ogulu aka Burna Boy. Rankin’s ascent to the upper echelons of afrobeats and world music since the release of 2018’s “Outside” is one for the storybooks.

    Many have guessed that Burna refused to have anybody else on his song, others claim no-one was a good fit; whatever the case is, you can see why Burna Boy is in a class of his own, literally. “JA ARA E” is another tribute to Fela’s Afrobeat, a very apt allusion in an album about African pride. The title, which means “Enlighten Yourself” is also consistent with Burna Boy’s Pan-African ideals. This song sounds like the soundtrack to the radicalisation of Simba and is already a fan favourite. With what we’ve heard so far, we simply can’t wait for Burna Boy’s “African Giant“. 

    Speaking of evolution, one artiste who is an unsung hero on this album is Zlatan. Artists enjoying a breakout year have the capacity to do anything from changing the popular sound to creating sub genres of their own. In the year since he released “My Body” w/ Olamide and caught the attention of Nigerian singer Davido, Zlatan has done both.

    Zlatan’s friendship with Burna gave him his biggest hit yet, “Killin Dem” and stamped him in the eyes of a mainstream audience. In turn, Zlatan’s edge and energy have found a willing vessel in Burna, who dances the Zanku like he came up with it.

    Fans have hailed Burna’s loyalty to his personal sound on the Beyonce album. And the best evidence of Zlatan’s influence yet is how his ad-libs spice up Burna Boy’s “JA ARA E”. Those shouts of Kuronbe and Eh Eh are dominating Nigerian airwaves for months now. They’ve made their way to a Beyonce album. Agege must be proud.

    It’s a great time to be African.


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  • We want to know how young people become adults. The question we ask is “What’s your coming of age story?” Every Thursday, we’ll bring you the story one young Nigerian’s journey to adulthood and how it shaped them.

    The guy in this story is not your regular guy. He lived all his life in one small town till his early 20s and graduated from university at 32. You may be tempted to assume he waited too long to make things happen, but when you’re building a house big enough for your dreams, it tends to take a lot of time.


    I don’t think people realise how small the average mud house is. I would know, I spent most of my childhood inside one. Our house was boxy — the kind you see in clusters when you’re travelling through the South-west, Nigeria. Those huts are so small, you can’t fit regular furniture in most of them. At some point in my life, just after I finished secondary school, I decided that houses were big enough to contain the ambition of the people who lived inside them. 

    I was born a farmer, not unlike the way Trevor Noah says he was born a crime. My father’s people have always lived in Aisegba, a small town in Ekiti where I was born. They’ve always been yam farmers. They’ve always taken wives from the town, or nearby. They’ve always raised their sons to be like them. I was supposed to follow in their footsteps.

    It takes a lot of patience to farm; I think that’s where I got mine from. From early childhood, my younger sister and I walked from our community grammar school to a fork in the road. She’d go home to my mother and I’d continue to the outskirts of town to meet my father. Sometimes, we had nothing to do. Sometimes, we did basic things like take the husks off new maize. When I was 18 and in the final year of secondary school, I got my own half-plot with my seedlings.

    Walking home from the farm at night, my father talked about his childhood and how he walked the same roads with his own father. He was proud of that legacy. I was too, for a while. 

    When I was in Primary 6, I took an interest in my English teacher, a youth corps member from Port Harcourt. Unlike the tired middle-aged women and men who filled our halls, she seemed to enjoy her job. Somehow, she also took an interest in me, enough to notice that I couldn’t string two sentences together in English. She gave me extra classes in the evenings, mostly for free. Sometimes, my parents gave her foodstuff. 

    She left at the end of the year, with a place in my heart and more words in my vocabulary. The most important thing that she did — and all the other youth corp members who came to our school after that — was to show me that there was another world outside my own.

    One of them, Olamiotan, was my government teacher in SS3. I ran errands for him, lost his books, got him angry and spent his change more than once. When he passed through Ekiti and chose to visit Aisegba four years after, I wasn’t surprised that he came to check on me. By this time, I was frustrated. After secondary school, my friends and I had slotted into this mundane existence, like everyone around us. All of a sudden, I was 22 and I’d never gone out of Ekiti. For most of my life, I’d been satisfied with living within my means and taking the mantle of ‘breadwinner’ from my father, but in 2009, the same year that Ola visited, something switched.

    Even though I don’t believe in such things, maybe Olami’s visit was predestined. My father used religion to defend his lack of ambition so many times that it turns my stomach. Olami advised that I should pursue tertiary education, but I didn’t have the compulsory 5 credits in my O’ levels. I had no idea what UME looked like, but I realised that I also had no choice. It was university or a life spent wondering what could have been.

    My dad wasn’t as ecstatic as I’d hoped. Maybe it was fear of the unknown or just sheer impudence, I’ll never know. Within a week, we went from an innocuous conversation about universities to a family meeting that no-one told me about. I still wonder about how he managed to frame my desire to go to university as some sort of cross-generational rebellion. Maybe it was. I sure didn’t make things easier by walking out on him and the whole family. My mother and sister cried while we exchanged choice words. It hurt, but I couldn’t care. I was done. 

    Later that month, in August 2009, I gathered what money I had — borrowed from friends and Olami — and got on a bike to Ado-Ekiti. The joy of taking that leap overshadowed the fact that I didn’t have anything I needed to get into university. With Olami’s help, I got a job as a sales boy in a cassette shop near the centre of the town. When night fell and other salesboys closed their shops, it was also the place I called home. I did this for nearly a year while I tried to get into school. I wrote WAEC again and UME for the first time. My results were so bad, I considered going back home.

    In 2010, we began to hear that the federal government was setting up a new university in Oye, another town in Ekiti. The gist was that indigenes would get preference and people like me would find it easier than if we’d applied elsewhere. I knew this was my only shot. So I paid a student at the nearby university to write WAEC and UME for me. It’s something I’m ashamed of till this day but I know I wouldn’t have gotten in otherwise.  

    I’d saved up to 50,000 naira from my salary and other sources to get me through my first year in school. I ended up using it to pay the student.  I got my results; and soon enough, there it was. I got admitted to study Political Science Education at Federal University, Oye.

    The next five years were heavy. I earned a living as an indigene while I mixed with people from all classes from around the country in university. It was hard; I started off by running errands for students with cash to burn. When I had enough saved up, I bought a used motorcycle from Ado and became an okada man. Most people had no idea that I paid 1500 naira a month for a room with a dirt floor and no electricity so I could afford my fees.  That was all my life revolved around — books and money. Olami was very helpful; he paid my first and second year fees and visited when he passed through, especially after he got married and moved to Akure. 

    I don’t know what it says of me that my strongest memories of university were the days I spent trying to explain why I went there. Not the time I ran for PRO in my department and got two pity votes. Not the day that one of my lecturers offered to pay my fees. After my first year living in Ado, I figured I’d go home in case my parents thought I was dead or worse, an unemployed junkie. Let’s just say my dad didn’t care. 

    I began to send money home shortly after through drivers. My mother always sent back things too: my dad’s old clothes and later when I got into university, foodstuff. I even got my sister a small internet-enabled Tecno phone so we could stay in touch. It’s how I learned that my dad found out about the money and began collecting it from my mum as household income.

    The next time I returned to Aisegba in June 2012, something about the way he sat — lonely and tired — made me feel hollow inside. Then he noticed me walking close, waited for a while and said he assumed I’d died in Ado. It was the last time I saw him.

    I finished from FUOYE in 2017, at32. Between heavy reading and my endless displays of overzealousness, I got up to speed with the rest of my colleagues so well that I became the resident class analyst. By 400 level, my nickname among friends and my frequent customers was Elder. I’m built like a labourer and I have a weird tendency to sound weighty when I talk about the most mundane things. I know where it comes from so I wore the moniker with pride. 

    Service year was next. You’re probably wondering how a 32-year-old got into NYSC. I was  advised to falsify my age in 2010 to help my chances of admission. By the time I finished, my papers said I was 27 so I got posted to a state parastatal in Kwara. It was the first time in my life I tasted real money. My superiors had their hands deep in the state coffers and sometimes, crumbs would fall at our table. I began to send more money home. When my sister decided to move to Ado and learn a trade, I was able to support her. When service year ended, I applied and got into the state civil service.

    Adulting to me is not being afraid to go beyond the reaches of what you think you know. I’ve heard kids from wealthy homes talk about the pressure of parental expectation. I had to live with the pressure of zero expectations. My entire life has been a case of wanting more and convincing myself that I deserve it. 

    This year, I got married to my fiancée, a colleague from work. Sometimes, I joke that if she’d met me 10 years earlier, she’d have given me money out of pity. She often laughs it off but to me, it’s a reminder that while my English may still need work and I’m terrible with technology, I can continue to improve.

    That’s what being an adult is: getting better than all the challenges that will inevitably come your way and building a house big enough for all your dreams.


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  • It should be obvious why collaborations are a big deal, especially on this side of the world. Every collab is a two-for-one deal. How many times have you fiddled with ideas of which of your faves would sound great on a song? (I still have fingers crossed for a Burna Boy and Tomi Thomas song.) When two A-list musicians join forces, the combination of styles can result in some truly evergreen music. Some may come to mind like King Sunny Ade and Onyeka Onwenu’s “Wait For Me” and MI’s “Nobody” with 2baba.

    Sometimes, though, we get assaulted with music that should never have left the studio it was created in. You see two big names on a cover, only for your expectations to be dashed by music that sounds like multiple road accidents.

    As a tribute to the times when Nigerian artistes have let their bad friends (“This one na jam, David”) get the better of them, here are 5 of such collaborations that no-one needed to know about.

    • Olamide & Davido – Summer Body

    Despite emerging with the celebrated class of 2010, Olamide never really reached the international acclaim that his peers, Davido, Burna Boy and Wizkid are currently enjoying. Some would say the language barrier is the reason. “Summer Body”, in retrospect may have been an attempt to rubbish those claims. Unfortunatly, Olamide reinforced them.

    Instead of creating the summer hit he was aiming for, Olamide reverted to his 12-year-old self and adapted a nursery rhyme for his hook. If you thought Davido would help, you thought wrong. Probably encouraged by Olamide’s (lack of) direction, Davido pretty much recorded what sounds like a loud conversation with himself, sent it as a verse and that was it.

    • D’Banj, Slimcase & Mr Real – Issa Banger

    Every time this song comes on, I can’t shake the feeling of someone reluctant to let go of their youth. Just as Slimcase and Mr Real were coming off the crest of the shaku-shaku wave, D’banj tapped both for this 2018 single. Whether he was trying to evoke his youth or he just thought a collab with an artiste who repeats verses over 3 songs was a good idea, we’ll never know. Issa Banger sounds like what happens when you invite your funky landlord over to hang out with your cousins from Agege. 2/10; absolutely do not recommend.

    • Olamide & Skepta – Sheevita Juice
    https://www.youtube.com/watch?v=DHPv0s4LYEs

    What better way to prove that you can hold your own as afrobeats continues its journey across the world than to tap a UK rapper who is evidently proud of his Yoruba roots? Right? Right? So why does Sheevita Juice, an otherwise smooth collab between two rappers who are essentially two sides of the same coin, sound like something they recorded to settle a fight?

    The song starts with the glee and abandon of a typical Olamide single. It continues until Skepta comes in with a verse that sounds bent out of its original shape. On some days, the bounce on “Sheevita Juice” is a strong enough distraction to get you nodding. But most times, you can’t help but notice how out of place Skepta sounds on the canvas Olamide created.

    • Wale, Davido & Olamide – Fine Girl

    Everyone gets what Wale meant to do by putting Davido and Olamide, his Naija brothers, on one of the main singles off his 2017 album, “SHINE”. What we don’t get is the series of bad decisions that made the song what it is. Despite having two of Afropop’s best hitmakers, Wale forces them to make sense of a generic reggae beat. You can’t blame them for giving him what he asked for. Olamide decides it is a good idea to suggest he’d like to apply his tongue to a woman’s rear end for no real reason. Davido’s verse is the song’s only saving grace, but by then the damage has already been done. Oh, and in the music video, Chief Obi makes an ill-advised stereotypical cameo in the first few seconds.

    • Yemi Alade & Rick Ross – “Oh My Gosh”

    Yemi Alade gets a lot of slack and a lot of it unwarranted. In the case of her collaboration with Rick Ross, it isn’t. Sure, she’s developed a massive fanbase in francophone Africa and she has the numbers to show. But festivals of monotony like the one she created on “Oh My Gosh” are weapons for her very active army of haters.

    Oh My Gosh” starts with all the flash and luxury you’d expect when any artist, even P-Square, joins forces with a Miami rapper. But barely 10 seconds in, Yemi lifts the veil and shows you it’s a scam. This is just another typical tungba song from the one-dimensional ministry of Miss Alade. Even Rick Ross’ flossin can wipe the highlife off this song. If you’ve heard any Yemi Alade song since 2014, you’ve heard this one too.

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  • There’s so much music out there that it’s hard for even the most loyal fans to stay up with their favourite artists or what’s new and hot right now. That’s why we’ve created #BumpThis – a daily series that features the one song you need to listen to, every day. Don’t say we never did anything for you.


    Over the last year or so, Terri has gradually settled into his role as the Robin to Afropop’s Batman. That position has come to mean many things. Like our favourite DC characters, Nigerian musicians who take on the role of mentors for the talent they’ve discovered don’t pass on the baton. The best they can often offer is a platform, or maybe some stylistic influence.

    Since Wizkid found him via a viral remake of one of his popular hits, Terri has gradually refined his act. Yet one can’t help but taste some familiar if undesirable flavours from his mentor’s kitchen. As one culture commentator recently wrote, Terri has repeatedly been the victim of bad timing and inconsistency with his releases. If you’re wondering where it comes from, Wizkid has been postponed the release of his new single “Joro” four times and counting.

    The latest timing mishap is what has caused “Nonstop”, Terri’s latest single to get lost in the tidal wave of Beyonce’s “The Lion King: The Gift”. But the kid is nothing if not a potential Afropop hitmaker and on his newest release, all the familiar signs are reinforced.

    He glides in rhythm with a delightfully consistent beat by producer, KillerTunes who has crafted some of the biggest songs of 2019. Ceeza Milli provides additional vocals as Terri takes on tropes about living life to the fullest and showing his women the good life.

    If Terri will manage to prove anything with “Nonstop”, it is that he’s no flash in the pan. His people just need to get their act together.

  • Boys and girls, we are now in the second decade of Wizkid. The prince of Afropop celebrates his 29th birthday today. In the past decade, he’s built a legacy as one of Nigeria’s most iconic musicians of his generation.

    Wizkid’s 29th comes as he’s gearing up to release his long-teased album, “Made In Lagos”. He’s broken more promises about the album’s details than an ‘industry guy’ trying to impress a reporter. But if all goes as planned, it’s expected to usher Wizkid, already Afropop’s biggest ambassador in the last few years, to legendary status.

    We’re stoked because while his singles are seminal hits, Wizkid’s albums typically hide deep cuts that listen just as well. Before his next stab at greatness comes, here’s a list of songs and reasons to revisit his old work.

    • Wizkid – “Celebrate

    Wizkid’s Celebrate is owambe music for young professionals born in the early 1990s. Celebrate is tucked away in the middle of his second studio album, “Ayo” which is coincidentally dotted with deep cuts. “Ojuelegba” may evoke Wizkid’s Lagos origins, but on “Celebrate”, Wizkid sounds like a modern-day King Wasiu Ayinde Marshall.

    This may well be the song that made me fall in love with producer Spellz. The drums here are like a festival; the title couldn’t be more fitting.

    • Wizkid – “All For Love” w/ Bucie

    Over the years, Wizkid’s found a nice pocket in South African House Music. On his attempt at creating a global manifesto for his sound, “Sounds From The Other Side”, he tapped one of the absolute jewels of that scene in Bucie.

    Wizkid’s third album “Sounds From The Other Side” featured a wide range of collaborations

    “All For Love” is great partly because Wizkid surrenders the reins to Bucie. It sounds more left-field and evergreen than most of Wizkid’s work. Which is fitting for a song that was made four years before it came out.

    • EME – “Body” w/ Wizkid

    In 2012, Wizkid was Nigeria’s most wanted, on the shores of the UK, and enjoying a run that lasted two more years. The label he called home at the time, Empire Mates Entertainment, was also enjoying a great time.

    At its height, EME was home to Banky W, Wizkid, Skales, DJ Xclusive, Shaydee and Niyola.

    A collaboration project was the right way to freeze all that energy in time. Wizkid flexed his chords on most of these songs but on “Body”, he reverts to vintage Wizkid. At some point, he even sings “the boys tell me what they want they want to hear me freestyle,” and the song sounds like that’s exactly what he did.

    • Wizkid – “Mummy Mi

    Wizkid wears his love for his mum on his sleeve. He repeatedly makes heartfelt prayers for her, most notably on the second verse of “Ojuelegba”. Wizkid explains, as best as he can, his love for his mother and promises to be there forever.

    https://www.instagram.com/p/BzfkGjcJKv0/

    While songs of affection tend to take a more sombre note, “Mummy Mi” is traditional Nigerian pop influenced by juju drums courtesy of producer, Spellz and Wizkid’s adlibs. The lyrics are nothing but thanks, over and over again. Wizkid’s mum would be proud.

    • Wizkid – “No Lele

    When an upstart changes everything as Wizkid did, you can’t blame them for getting autobiographical. After weathering the initial heavy expectations, Wizkid chose the second song off his debut album to tell everyone where he was coming from.

    Considering how far he’s come, you can’t say he got ahead of himself

    That “Ojuelegba, Shitta” are the opening words tell you everything you need to know. The man may be turning 29 as an urban pop icon but this is a fresh reminder of where his journey began and just how much self-belief got him here.

    Did you enjoy this? You should sign up for our weekly pop culture newsletter, Poppin’. You’ll get to know what we’re up to before anyone else + insider gist, reviews, freebies and more. If it sounds like your deal, sign up here.

  • There’s so much music out there that it’s hard for even the most loyal fans to stay up with their favourite artists or what’s new and hot right now. That’s why we’ve created #BumpThis – a daily series that features the one song you need to listen to, every day. Don’t say we never did anything for you.


    Before Rema became everyone’s darling, Mavin had a reputation for grand artist unveils. Just months after Rema became the most recent beneficiary of that platform, Don Jazzy’s machine has unveiled a new team member: Crayon.

    As with Rema, the Afropop newbie was introduced with his own EP. Titled “Cray Cray”, the project is described as a colourful slice of Afropop in promotional material. It sounds as described – with a raw tinge to Crayon’s singing.

    On “Bamiloke”, however, the rookie punches in the more technical aspects of Afropop and an upbeat sound that the label he calls home is known for. The song which is another typical hustle/dance anthem is dotted with a few eccentric references to local pseudo-proverbial sayings.

    The production by Mavin’s in-house beatsmith, BabyFresh is so energetic that the song sounds like the soundtrack to a party scene. It’s why Crayon deserves credit for pulling it all together. He effortlessly keeps up with a very tasking tempo, with songwriting that is easy on the ears and made for you to sing along to.

    The Mavins aren’t playing this year and we’re here for all of it.

  • It’s been less than a month since Chillz’ debut project, “Good Vibes Vol. 1” began stirring conversations. Until now, very little was known about Chillz, except that he used to be an A&R maven at Chocolate City before he landed a feature on M.I’s Rendezvous: Playlist Album. The rest, as they say, is history.

    His new project is a neatly-packed 9-track collection of lushly produced mid-tempo Afropop featuring a minimal additional cast and crew of Falz, Mayorkun, Sir Dauda and producer, TMXO. When “Good Vibes Vol 1” works best, it’s a smooth blend of all Afropop nuances that births sleeper-hits married with themes about positivity and living a life of ease.

    Over the weekend, Lagos-based new media collective, ARTISH hosted Chillz, his friends and family, and a few lucky fans to a private Q&A listening on the project. While speaking on the album and his process, Chillz made a few interesting revelations

    • He Used To Be A Teacher

    Music has long been a passion for Chillz, but he didn’t start out behind a microphone or behind the boards. Before moving to Lagos, the man was an ICT tutor for “rich PH kids”, as he puts it. The gig paid well, but there were limits to his fulfilment working this job. He eventually decided to begin crafting his artistry, after years of making music as a hobbyist.

    Toye Sokunbi and Chillz discuss “Good Vibes: Vol 1”
    • “Down” Is A Tribute To A Rape Survivor’s Story

    While speaking on some of the themes that surfaced on the project, Chillz gave an insightful personal backstory to “Down”. “Down” listens like a love song by a man promising to always be there for his partner, but Chillz revealed he actually made the song for a friend. According to the singer and producer, “Down” was recorded as a tribute to his friend who was suffering from the trauma of rape. He went further to speak on to handling cases of rape and abuse with sensitivity while imploring the public to provide safe spaces that encourage victims to speak up and get justice.

    • “Start Again” Is His Least Favourite Song On ‘Good Vibes’

    While discussing “Start Again”, the 7th track off “Good Vibes”, Chillz admitted this dauntingly positive number was his least favourite song on the project, because according to him “it feels a bit corny after some replays”. However, the backstory for “Start Again” also provides more context for Chillz sentiments about the track. “This (‘Good Vibes Vol. 1’) was not the project I was supposed to drop,” Chillz said, “But after I realised what I wanted to do with that unreleased project was not feasible right now, “Start Again” was the song I recorded to push myself”.

    Guests and fans at ‘Good Vibes Vol. 1’ Listening and Q&A with Chillz
    • He Recorded “Smile” Five Years Ago

    With loose drums purposefully tingling like a church praise and worship song, “Smile” is easily the most commercial track on ‘Good Vibes Vol. 1’. In an era where Afropop continues to lean towards the fusion of elements, “Smile” has a jingle feel that makes the track thrive as the most recognisably “Nigerian’ track on the project. And there is no surprise there, after all, Chillz was kind enough to reveal he recorded the track nearly five years ago.