You might be wrong if you think the tone, wordy, complex sentences and repetitive structure of ChatGPT text flourish only in research papers and formal documents.
Have you heard ambiguous Nigerian song lyrics or the ones that read straight out of an AI generator? Let’s delve into it.
Boy Spyce
Despite getting curved by “Folake”, Boy Spyce still made a song titled after his crush to express his feelings to her. The song takes a turn when he starts to flatter the babe. Instead of calling her his dream babe, Boy Spyce goes “Automatic, aromatic, acrobatic, diplomatic, cinematic” We may have a new son of Afrobeats won our hand, and its name shall be Afro-Grammar.
Anendlessocean
Anendlessocean’s love for words is as endless as the ocean in his name. Every album, the good brother let us know he’s a word freak without saying he’s a word freak. Even when he says seemingly simple things like “Infinity ” and a “ten-side polygon”, he uses a plethora of wonderful words to express them. E.g “Apeirogon” and “Decagon”.
M.I Abaga
Let’s put concept albums aside, nothing screams “I hired ChatGPT for my album, look at my titles now” than M.I’s “A Study On Self Worth: Yxng Dxnzl”. The song titles also read like daily motivational messages. E.g “I Believe In You, You Too, Should Believe In You.”
Vector
I love VEC, but when he starts getting “deep” on songs, the listener can get lost in the sauce. Exhibit A: “If I fail because you fail to see / Then it’s very clear that one of us failed, it’s you or me”?
He said if we don’t understand, that’s our problem.
Wizkid
If Wizkid and ChatGPT have one thing in common, it’s repetition. Wiz has said “She tell me say” on songs multiple times that, I’m wondering when GPTZero — the AI writing detector — will finally have his time and say “song already exists.”
The biggest women-only festival in Lagos is BACK. Get your tickets here for a day of fun, networking and partayyyyy
Questions
This is a question
This is from which song?
This advice is from ____
One of his most popular bar
This one opened his first album
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Oshey, student of Shalli Shalli. Small body, big engine.
You got #{score}/#{total}
If you keep up this energy, you’ll be a Shalli Valedictorian before the year ends.
You got #{score}/#{total}
Dey play. When Shallipopi is taking his faithful to Plutomania, we don’t think he’d remember you in his kingdom o.
To the average Nigerian music listener in Nigeria, shedding an emotional burden on wax is synonymous with making music for those who are losing it. The younger audience, especially, gives the music a distinctive, morose name like Afro-depression quicker than the artist can say what actually inspires their tracks. Before they know it, they’ve become a spokesperson for the listener’s existential crises.
This is the box Lucid, a 22-year-old singer from Abuja born Victor Barnabas Nanribetmun, has found himself in, even though he doesn’t fit into it. Let’s examine Lucid’s inspiration and what it means to be a young artist in 2024, stripping down the stereotypes about his music to decipher the context of his two popular “Afro-depression” songs, Hooligan and Therapy.
Lucid
Since Omah Lay’s 2020 “Get Layd” release that drowned him purple in vulnerability and confessions, there’s been a sudden buzz use of the word “depression” in connection with Nigerian music. No doubt, mental health deserves more awareness, and Omah’s music has a melancholy to it. His soft Afropop, soulful falsetto and emo-focused phrasings have inspired more artists.
Lucid is one of them, but only on a sonic level.
Lucid caught my attention with Hooligan, a track that came out alongside Why in a two-song single package on February 7, 2024. He opened the song with “Righteous boy I am, but this life turn me to sinner man / And each time I do the best I can, something go turn me to hooligan”, a confession about taking unexpected turns when life doesn’t pan out how he wants. Scratching off the surface of the lyrics that painted him a depressed kid with little affinity for inside life, Hooligan expresses that extreme instincts take charge when faith is tested. [ad][/ad]
Although Lucid sings with an understanding of the duality of life, he maintains enough consciousness to stay in the right lane. “I’m lucky to come from a good background. My family are good folks. My dad is a pastor. But I understand that sometimes hands get dirty because it’s the only way to make something work out. That was how I felt when I wrote Hooligan, guided by the things I’ve heard and seen too,” the young singer said when I asked him about this.
Lucid
“This life turn me to sinner man” from his Hooligan chorus brings to mind the “I’m a born sinner” line on J. Cole’s Born Sinner. In Christianity, every human is born a sinner, but we can get better through repentance. Although J. Cole swore he’d die better than a born sinner, Lucid is yet to find that clarity. Speaking of his hooliganism in the context of the song, he’s a young adult who finds himself drowning in liquor or in bed with a partner faster than he could finish his vow to abstain from both.
Lucid
Therapy is a song off his seven-track “Hi I’m Lulu” EP that came out in May 2023 — the only song in his discography that actually hits on mental health. The lyrics express the feeling of speaking to no one, being alone, an undiagnosed mental health issue and his need for therapy. This song calls for concern for his health and not a satirical categorisation that sets artists up for uninformed comparisons and stan wars.
When I asked Lucid about the story behind Therapy, he said, “People around me might perceive me to be quiet and anti-social. This song tells them what I might not be able to tell them in actual conversations. It’s titled Therapy because I try to distract myself with anything I find therapeutic, which is mostly music. I know there are many people out there who can relate perfectly to this song, and my advice is to always try to be more positive, and whatever it is that takes you out of that dark space, use it as therapy.”
Lucid
“Afro-depression” is considered a playful tag as a subgenre for Nigerian dysphoric contemporary music. This is the wave Lucid has decided to latch on to as long as the listener keeps his name and music in conversation. This became clear after I asked him why he hasn’t shut down the “Afro-depression” label. “Most Nigerians consider a jam that isn’t upbeat an Afro-depression song.” Naive, but he knows where his art belongs. “I get sad like every human, but I’m not a sad artist,” he stated.
Lucid is as poignant in some of his songs as he is fun and explores light topics in others. He’s a versatile artist who engages his Afropop heritage and sometimes channels his inner Travis Scott.
“I understand being a young artist in 2024 means being different and outstanding every day. Many young cats are working as hard as I am. We’re at a time when one needs to maximise whatever he has. I can’t relent.” Lucid sees the saturated industry’s competition as motivation and charges it to continue to improve.
His music isn’t Afro-depression, neither is it a musical offspring of Omah Lay’s. If anyone is carefully listening, Lucid’s music mirrors his experiences with matters of the heart, like love, intimacy and heartbreak. He wants to make evergreen music like his top influences, Fela Kuti and Asa.
The biggest women-only festival in Lagos is BACK. Get your tickets here for a day of fun, networking and partayyyyy.
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WeTalkSound and Inside Nollywood are thrilled to announce the upcoming launch of “Sounds of Nollywood,” a groundbreaking documentary series that shines a spotlight on the unsung heroes of the Nigerian film industry – the sound designers and composers who bring cinematic experiences to life.
Set to premiere on March 13, this series takes audiences behind the scenes of the sound compositions for some of Nollywood’s biggest projects including Anikulapo, The Black Book, Jagun Jagun, Collision Course and Battle on Buka’s Street.
The documentary is an immersive journey through the artistry and innovation of leading professionals in the field. The documentary is presented by WeTalkSound in collaboration with In Nollywood. Kindly find links to preview and all other needed information about the project here.
The series features:
Ava Momoh – Composer for Collision Course, Over the Bridge, Cake.
Anu Afolayan – Composer for Aníkúlápó, Swallow, Citation.
Kulanen Ikyo – Composer for The Black Book, Blood Sisters, Lionheart, Okafor’s Law, October 1.
Tolu Obanro – Composer for Jagun Jagun, Gangs of Lagos, Battle on Buka Street, Brotherhood, King of Thieves.
Clement ‘DJ Klem’ Kponu – Composer for Aníkúlápó: Rise of the Spectre, Halima’s Choice, Lady Buckit & The Motley Mopsters, Fishbone.
According to Dolapo Amusat, the CEO of WeTalkSound, “Sounds of Nollywood” is more than just a documentary series; it’s a celebration of creativity, passion, and innovation. Through intimate interviews and captivating behind-the-scenes footage, viewers will gain a deeper understanding of the vital role that sound design plays in shaping the emotional impact of films. “From pulse-pounding action sequences to poignant dramatic moments, our series highlights the incredible talent and dedication of the individuals who make it all possible.”
With “Sounds of Nollywood,” we invite audiences to explore the intricate art of sound design and music composition in Nigerian cinema. From traditional rhythms to contemporary beats, our series delves into the diverse sonic landscape of Nollywood, showcasing the unique blend of cultural influences and artistic expressions that define the sounds in the industry’s most pivotal projects.
Anita Eboigbe, co-founder of In Nollywood notes that “by showcasing the work of talented sound designers and composers from across Nigeria, we aim to spotlight an underexplored part of Nollywood’s character – the music of its films – and hope that this inspires others. Through our series, we hope to foster a greater appreciation for the art of sound and its transformative power in cinema, especially in Nollywood.”
“Sounds of Nollywood” will be available on the WeTalkSound YouTube page. All five episodes of the documentary will be available to view on March 13, 2024.
Source: Pheelz
When Pheelz worked as an in-house producer at Hit Factory, a studio in Ajao Estate, Lagos, all he had was the self-belief that he’d one day have big hits. About 10 years later, his 2022 single Finesse became the most Shazamed song of the year, he’s sinceperformed at venues like the O2 and met legends like Dr. Dre.
His most recent stride is his collaboration with US music royalty Usher — a process that birthed “Coming Home” and “Ruin”;two songs on Usher’s latest album. “Coming Home”, produced and co-written by Pheelz, is the album opener and a fresher take on the pop-R&B sound that has kept Usher relevant for three decades. “Ruin” leans on amapiano and Pheelz delivers a moving second verse.
In this conversation, Pheelz recounts his electrifying synergy with Usher and the magic of making music together in the same space.
How did the linkup with Usher happen?
In 2023, my A&R, Marc Byers took me to a studio owned by L.A Reid — Usher’s longtime friend, producer and business partner — to work on “Coming Home”, the title track of Usher’s new album. L.A Reid heard it when he walked into the studio. He lost his mind and thought it’d be great for Usher’s album, so he set the meeting up. Everything happened quickly from there. Next thing, I was in the studio with Usher.
Can you describe what it was like being in the studio with Usher?
An out-of-body experience. When Usher and I recorded the songs, they sounded just as incredible as we wanted them. It was wild to imagine I went from creating music in Gbagada to recording Usher and directing his vocals.
After L.A Reid heard “Coming Home”, how did you also get “Ruin” in the mix?
On the day we recorded “Coming Home”, I also played him and his team “Ruin”, which was a song I made with my South African artist-friend Manana while I was in South Africa in 2022. It was one of those moments in the studio where the energy in the air was just crazy. And then yeah, they said it needed to be on the album.
I’m asking for a friend. How did Warner Music become home?
Finesse blowing up attracted many record labels including Warner Music. They all brought their numbers and highlighted their achievements. But only Warner Music resonates with me.
Aside from Warner’s reputation as a giant music company, I chose to work with them because it’s a joint effort with them. We both want to figure things out and reach a goal. They’re not a label trying to boss over an artist. I have my artistic freedom and that gives me comfort.
When you think of your trajectory, what are key moments you recognise and can say led you to where you are now?
Watching the choir’s performances in my dad’s church laid the foundation for my musical interests when I was around four years old. At 12, I taught myself how to play the keyboard and use production software like FruityLoops to make beats. Then, I gave my 20-track demo CD to Mayo Hunta, a veteran artist and producer and an acquaintance of my dad, to play for ID Cabasa. Cabasa liked it and asked if I’d be open to an internship at his label, Coded Tunes in Bariga.
I met Olamide at Coded Tunes — we were the studio rats. When we first worked together, it was for a song titled Owó (money). I had stolen Cabasa’s computer password and told Olamide we could work on our own when no one was around. We contributed money, bought fuel, worked overnight and deleted the files before Cabasa came in the morning. Subsequently, we made lots of songs and applied our knowledge and got better in the process. We had seen Banky W, 9ice and many big artists at that time record at Coded Tunes. We had tasted and felt greatness. We poured all we learned into ourselves.
After Coded Tunes, I worked as an in-house producer for 2204, a studio in Ajao Estate. I left Bariga, and Olamide and I only texted each other. By then, I had gotten my first official placement on his I’m Going In song, off the Rapsodi album.
One time after his exit from Coded Tunes, we chatted about working together again. By then, I had already moved from 2204 studio to Hit Factory, another studio in the estate. Olamide and I linked up again and made First of All. I remember Olamide’s call the day after he released the song. He said, “I told you we got this shit.”
Did you ever see yourself making music at this global level?
I’ve always believed since I was young that music would take me to high places.
Back in Hit Factory, where I met Young Jonn in 2011, it was the same energy. Jonn and I always told each other at that time that we would sing, not only produce, and hit it big. It’s why our song Jelo means so much to us. We call each other sometimes and just geek about the song and its success. It’s a full-circle moment because that belief has always been there.
Olamide. After Finesse, I constantly travelled and we didn’t catch up for a year and half — Baddo was also busy running YBNL. We finally linked up in 2023 and made music from scratch like we did in the old days at Coded Tunes. Joy is the result of that process. I love working with Young Jonn, too.
Who are your dream collaborators?
At home, I want to work with 2Baba and Burna Boy. I think Burna and I can hack a new level of sound. Internationally, I’m heavy on Beyoncé and Billie Eilish. I’d like to collaborate with Drake and Future as well. But if Jay-Z or Ed Sheeran sef come, no dulling. These collabs would be dreams come true.
Source: Pheelz
What upcoming artist excites you?
There’s a lady called Yimeeka. We’ve worked together on songs and her EP is coming out soon. I’m excited about her future.
What do you do when you aren’t on stage, in the studio or writing songs?
I’m writing or painting. I have six art collections that are currently for my eyes only. I like expressing myself through painting as much as I do with music. I’m into 3D animation and design as well— I produce my lyric videos myself.
I’m also building a creative company called Rii Collective which I have now put Mr. Producer Inc, my event management company under.
You previewed a song for the AFCON final in case Nigeria won. Unfortunately, we lost. What will happen to it now?
Omo, the second verse of that song is bad. I might drop it on Twitter one of these days.
What are you looking forward to?
I’m looking forward to my new single and tours this year. I’m also excited to reach out to the needy back home in Lagos through Pheelz Giving (my charity organisation). It’s my way of giving back to society and putting smiles on people’s faces with the provision of their needs, not just music. You know, Nigerians are going through hardship right now and we have to look out for each other.
Hey! The third episode of our Valentine Special out. We brought back two best friends to share how their relationship has evolved in the last five years. Watch below:
Nina Simone once said, “It’s an artist’s duty to reflect the times,” so Nigeria deserves all the artistic scrutiny it gets. While there are uncountable songs about the many social issues that resonate with Nigerians at the moment, we highlighted the seven that are articulate about our collective sentiments on electricity issues.
NEPA — Tony Allen
In 1985, the late Tony Allen released Never Expect Power Always (NEPA), and he just might’ve jinxed us for good with that title. The song was all about how useful electricity supply is to society and how its inconsistency affects people.
Just Like That — Fela Kuti
Fela trolled the government on “Just Like That”, a track off his 1986 Teacher Don’t Teach Me Nonsense album. “White man rule us for many years, we get electricity constantly. Our people come take over, dem come build Kainji Dam. Dem come build the dam finish. Electricity come stop.”
N.E.P.A. Bring The Light — Neo
N.E.P.A. Bring the Light is a 2007 pop-rock song by a Nigerian band called Neo. Listeners will croak at the part that goes, “I went to NEPA office, they told me they never took the light.”
2010 Light Up — Sound Sultan feat. M.I Abaga
Sound Sultan sang, “When we ask our government o, when Dem go give us light, dem say na 2010,” over a decade ago. It’s 2024 and nothing has changed. We’re still asking when we’ll have stable electricity.
Rara — Tekno
In 2016, Tekno bemoaned how frustrating generator noises are on this danceable hit. He talked about fuel scarcity and encouraged government officials to invest in structural development. That was eight years ago. Nothing till now.
Nepa — A-Q
On “Nepa” off his 2020 God’s Engineering album, A-Q reminds us that Nigerian electricity always disappears anytime rain comes around. He compares NEPA to rappers that splurge on shiny jewellery but have no longevity. Another proof Nigeria’s messy situation is still bad enough to remain a relevant pop culture reference.
UP NEPA — XYZ
When hip-hop music producer and rapper, XYZ, lamented about the light issues on UP NEPA in 2023, he told us ceiling fans don’t roll when there’s no light. But the call-and-response chorus is where all the fun is at — “When I say Up, you say NEPA / Up! Nepa!” NEPA, please, answer our desperate cries.
Psst! Have you seen our Valentine Special yet? We brought back three couples – one now with kids, one now married and the last, still best friends – to share how their relationships have evolved in the last five years. Watch the second episode below:
Knowing only songs isn’t enough. Can you glance at these album arts and guess the year they were released?
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Do you have a store in Alaba Market yet? Consider becoming a music marketer. You have the knacks.
You got #{score}/#{total}
We think you picked your faves and you’re biased to other albums.
You got #{score}/#{total}
You are definitely the type to ask people to send songs to you on WhatsApp.
Psst! Have you seen our Valentine Special yet? We brought back three couples – one now with kids, one now married and the last, still best friends – to share how their relationships have evolved in the last five years. Watch the second episode below:
For those who favour full projects over singles, for “hot off the studio” music with moods that range from party time and romance to relationship woes and melancholy, these are the best EPs that dropped during the week.
LOVRBOY — Praiz
Just in time for the Valentine season, Nigerian singer-songwriter, Praiz, rolled out an EP titled LOVRBOY. A collection of four songs that dig into love, longing, intimacy and the romantic notions he holds about his lover, LOVRBOY is a short and fresh project to play on repeat with your own lover.
OLORI (The EP) — Logos Olori
Logos Olori introduces his music in an expansive way: a seven-track project. Pop-ready and prepared for the mainstream, Logos sings about love and enjoyment with guest appearances from his label boss, Davido, on Easy On Me, and Hmm Hmm with South Africa’s Musa Keys. It may be a regurgitation of generic Afropop topics, but the production holds the music together. Logos’ melodies and tranquil delivery make his music worthy to listen to.
PRISMATIC BLVCK — Blvck Topia
Blvck Topia is a digital artist and creative director with a music career spanning over three years. His latest EP, PRISMATIC BLVCK, paints visuals of sonder, love and the beauty within. He shares a peek into his escapism habits on Beautiful mind and Ah Ah, his romantic life on Bad and compares himself to Ota Benga on Blvck Boy. The production offers a potent psychedelic mood, and Topia’s vocals offer some shade from the depth of emotions. PRISMATIC BLVCK is calmness in stormy weather.
MUIS EP — Muis
This titular five-song EP leads with SAATI RAMONI, a sleeper Afropop bop that Muis released as a single in 2023. The song may be Afro-Adura — one of the many new sons of Afrobeats — but the EP offers more. It showcases Muis’ vocal and songwriting skills, revealing that he can hold the ears of the streets and the ladies. OMALICHA and OH MY GYAL (KUMBAYA) with producer, Ozedikus, introduced his bad-boy-next-door side in Afropop touched with dancehall. He found love he wants to keep on WAYO, and the amapiano-powered closing track, MY BABY, pulls him and this new love to the dance floor.
H.A.R.D — YDEE YDEE
H.A.R.D is an acronym for Hip-Hop Across Rhythmic Dimensions. From the feel-good songs like GOOD TIME, afro-swing jam, I LIKE IT, and Afropop-edgy JEJE to the rap cuts that close out the project, H.A.R.D shows us Hip-Hop from an experimental perspective. It’s applaudable how the music producer, artist and collaborators all poured Afropop-edge into making something so thematically cohesive and representative of its title.
It’s About A Girl — Kinj K.A.D.E
Dramatic and toxic relationships take centre stage on Kinj K.A.D.E’s EP It’s About A Girl. The singer displays a calm but firm grip on R&B smoothly blended with Trap Soul and Afro elements to express his versatility and aid connection with the local environment. If you’re still sentimental about an ex, or tired of relationships and thinking of entering the streets, firstly, get lost in Kinj K.A.D.E’s story about a girl and imagine it as yours.
Our Valentine Special is here. We brought back three couples – one now with kids, one now married and the last, still best friends – to share how their relationships have evolved in the last five years. Watch the first episode below:
Ritmo Mafiaso — Idowest
Nigerian rapper, Idowest, just stacked his discography with a new EP, Ritmo Mafioso, meaning “mafia rhythm”. It’s a skein of street catchphrases, religious innuendos, and party and money yarnings across seven songs weaved on majorly Amapiano production. Idowest wants you on your feet, grooving.
Hooligan / Why — Lucid
Burgeoning Afropop singer, Lucid, starts his 2024 with a two-pack single Hooligan and Why after his introductory Hi I’m Lulu EP of 2023. In deep reflection, the first song expresses his debaucherous vices as symptomatic of his environment. Lucid hangs to the belief that if he doesn’t find time to curb these vices, he might be headed down a lost road. The song smoothly segues into his lover-boy moment on Why. Two vulnerable emotions in one pack, for the lost kids and lovebirds.
Listen here:
South African-born Tyla Laura Seethal became the first-ever winner of the Best African Music Performance Grammys Award on February 4th, 2024. Since her hit song Water took the international stage by storm in 2023, she’s been one of the most promising global stars rising from Africa.
We made a timeline of her journey from Jo’burg to the Grammys.
2019 — Tyla, Garth von Glehn and Getting Late
Tyla had just graduated from high school and started posting singing and dancing covers on social media when a photographer named Garth von Glehn discovered one of her Instagram videos. She mistook him for an online scammer until he met her parents to discuss managing her in 2019.
Throughout that year, she and her bestie and stylist, Thato Nzimande, spent weekends writing and recording songs at von Glehn’s studio until she met South African DJ and music producer, Kooldrink, and recorded her eventual debut single, Getting Late. This was when she picked up her Popiano sound, a fusion of amapiano and afrobeats with R&B and pop music.
2021 — Epic Records deal and Blood & Water series
After a quiet COVID year, writing and recording, Tyla signed to Epic Records — home to Mariah Carey, Travis Scott, DJ Khaled, the late Michael Jackson, among other icons. This happened in a joint venture with the Jo’burg/New York-based music company, Fax Records, in 2021. Soon after, she dropped her next song, Overdue, a collaboration between Tyla and DJ Lag, a South African DJ, producer and pioneer of the gqom genre (a style of electronic dance music). The song was featured in the season two trailer of Netflix’s South African hit series, Blood and Water.
2022 — Nomination at SAMA
Getting Late music video was nominated for “Best Video of the Year” at the 28th edition of the South African Music Awards (SAMA). At this point, it had amassed several million views on YouTube. She didn’t win, but the nod was a big deal for such a new artist on the scene. In November, Tyla released To Last and made a remix with DJ Maphorisa and Young Stunna.
Source: Ubetoo
2023 — Tour with Chris Brown and breakout hit
In January, Tyla released the dancefloor jam, Been Thinking. At Tricky Stewart’s Grammy party later that month, the head of Epic Records, Sylvia Rhone, asked Tyla if she’d like to open Chris Brown’s “Under the Influence” Europe and UK tour. She joined the tour on February 14th, solidifying her audience base, especially in the U.S.
Source: Tenor
For the first episode of our Valentine Special, we brought back three couples – one now with kids, one now married and the last, still best friends – to share how their relationships have evolved in the last five years. Watch below:
During the tour, she attended Dolce & Gabbana’s Fall/Winter 2023 runway show, where she was seen with Kim Kardashian and performed at the after-party. She also featured Ayra Starr on her next promotional single, Girl Next Door, in May, and dropped what would be a life-changing global hit — Water — in August, the same month during which her iconic choreo went viral. Water debuted at number 67 on the US Billboard Hot 100, the only South African song to do this in 56 years, since Hugh Maskela’s Grazing in the Grass (1968).
Source: Jacaranda FM
In October, Tyla made her U.S. TV debut on The Tonight Show with Jimmy Fallon, performing Water. The same month, Water was considered for nomination for the Best African Music Performance at the 2024 Grammys Awards. In December, Tyla released her self-titled introductory EP. The project opened with Water and ended with its remix, but has now been extended to a full album coming on March 22, 2024.
2024 — First platinum, Grammy nomination and win
In January, Water was certified platinum by the Recording Industry Association of America. On February 5, Tyla won the first Grammy Award for Best African Music Performance with Water, among nominees like Nigeria’s Davido, Burna Boy, Asake and Olamide.
Source: Yahoo
The year is still young; who knows what more it’ll bring the aspiring global African popstar.
