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Ayra Starr turned 21 in 2023. But like stars, her reflection is in retrospect. Hence, her second album, “The Year I Turned 21” (TYIT21), appears a year later, aligning perfectly with her birthday. In notice of this, her age-themed albums draw a specific parallel to the British music icon Adele. One can argue that Ayra Starr’s music and sonic concerns are different, but the universality of the experience of marking youth and independence is intact.
Age 21 was also a year of many firsts for Ayra. She came into 2023 with Sability and ended the year with appearances on two American movie soundtrack albums (Creed 3 and SPIDER-MAN: ACROSS THE SPIDER-VERSE) and a posthumous album of the legendary Bob Marley. She went on her first world tour. She was named Amazon’s Breakthrough Artist of 2023. She climbed the O2 stage for the first time at Rema’s “Ravage Uprising” show. A title doesn’t get more specific. “The Year I Turned 21” is a more profound title than a chronological buildup on her “19 & Dangerous” debut.
Now enjoying some career moments that surpass most of her predecessors’, conversations about Ayra’s music shift her to a trajectory that may transcend her into Afropop’s matriarch. Alongside Tems, she’s the anointed leader of the new uprising of female Afropop singers. These favourable speculations are fever pitches as her quick conferment majorly rests on the merits and success of her sophomore album.
The music is saying…
“I learned to be gangster, way from these dark times,” Ayra shares in Birds Sing of Money, opener of “TYIT21.” She spends the rest of the album owning that fearless identity, finding and defining what it means for her to be 21. How does she separate a fugazi from true love, independent versus dependent? Does she want to express freedom or curb enthusiasm, be a baby or face adulthood, keep her guard up or be a goofy youth, be a people-pleaser or live carefree, workaholism or chill and enjoy the fruits of labour?
Ayra’s music blends styles — afrobeats, hip-hop, pop, R&B, ragga, dancehall, house, amapiano, indie folk — to probe her conflicting feelings. She plasters them all against the backdrop of her career, expanding celebrity and blooming 20s. Her lyrics can be saccharine, but don’t get to a conventional bore.
With numerous global achievements just four years into her music career, Ayra has built her universe so high that the chant on Birds Song of Money ceremoniously likens her to the stars that light up the night. Forty seconds into the song, whose also uneasy but organised violin, heavy hip-hop drums, breezy strings, chiming chords, and reggae undertones thump with a threatening assertiveness, yet it’s also calm and composed, one marvels at the pure sonic mastery. Fantastic production by London and Marvey Again.
Her melodies are flexible, as is the boomeranging flow she spins on the P2J-produced Goodbye (Warm Up), featuring Asake. Ayra shows a toxic partner the door out, while Asake plays the heartbroken, self-righteous partner who lowkey won’t let go. His verse’s almost introspective that it convinces chronic gossip blog readers that it’s likely his response to his recently broken relationship. Ayra and Asake share chemistry, but this song’s strangely a mellow track hatched for the TikTok girlies and intimate parties like aprtment life where she previewed the song in April.
The already-released Commas sports an upbeat composition, interestingly just a tone and pitch away from Tekno’s Peace of Mind. Exchange ataraxis for financial merit, and you have a testament to Ayra’s increasing multiple-stream incomes and quality mindset. Commas has joyful production and melodies, though those overshadow its simplistic message that charges listeners to fight dirty for their dreams if they have to. All there is to know about the commitment to excellence is in her lines: “Dreams come true, if na fight / Fight the fight, make you no go tire / Fire dey go.” Perhaps it’s why it took fifteen versions and three producers (Ragee, London and AOD) to get the officially released Commas, according to her revelation during a recent sit-down with Billboard.
“Commitment to excellence” is a watchword she carries to her interviews these days. An evidence of that is her passage into the global music scene that fully unlocked after her appearance at the 66th Grammy Awards, where she was an inaugural nominee for the Best African Music Performance category. Put that moment into a lyrics generator, and Drake’s “Started from the bottom, now here we here” will pop up. She was excited to be there. So were the Western press and industry players warmed up to the new African music star girl. But frankly, her trajectory to own a seat among existing envelope-pushers like Tiwa Savage, Yemi Alade, and Simi has taken shape since her savvy, critically acclaimed 2022 “19 & Dangerous” debut album. It has a few national hits that pushed her over to international eyesight.
In Woman Commando, featuring Anitta (Brazil) and Coco Jones (U.S.), Ayra brags about flexing her squad and carrying everyone along, sounding confident and pleased as the production reverberates Ragee’s bass-heavy house instrumental. It’s a straight jam.
The album’s upbeat energy descends as Ayra segues into a lover’s mood. She flirts in Control, which interpolates Shakira’s Hips Don’t Lie, and she’s tipsy and ebullient on a potential one-night stand. She opens herself up to emotional attachment, but it soon gets tiring on the Lagos Love Story that sounds like a love song that’s trying too hard. It’s mechanical and an unnecessary segue into the lively Rhythm & Blues (produced by Sparrq). [ad][/ad]
On 21, the album’s theme song, the weight of emotional distress, adulthood, self-reliance, boundaries and (it goes without saying) enjoying the fruits of her hard work weighs on her. It’s a niggle of new baggage, not a pity cry. When Ayra’s on an R&B production, her command of her emotions grip. It’s no surprise she’s convinced she writes better sad songs. This production by Fwdslxsh, KillSept and Mike Hector is a convincing ambience. Hopefully, an R&B album is in her future.
It gets fragile on Last Heartbreak Song. Ayra throws away a one-sided love while American brittle-baritone vocalist Giveon chides himself for letting a real love slip away. This song dates back to the “19 & Dangerous” recording session with Loudaa, but is there a heartbreak song that retains the prospect of intimacy? It’s the Last Heartbeat Song.
Still laid-back, Mystro takes on the next production. Bad Vibez featuring Seyi Vibez slides us back to Afropop. It’s bouncing over a plush R&B ballad to ward off negative energy, likely the internet moralists that police her short skirts and experimental fashion. It’s an exciting collaboration that elitist listeners would enjoy if they were open-minded to the magic of street-pop. To close out the song, she rhymes that she’s still eating off her last hit. It makes an arguable case for the boldest line in Afrobeats in recent times since Asake’s “I know I just blow, but I know my set.”
The songs hop from youthful exuberance to love matters and mental well-being. As Ayra presents herself as a success model, she also grounds herself in her reality as a curious adolescent who knows she has time to learn from more mistakes and has her whole life ahead of her.
Orun is a cry to the heavens. It’s as evocative about personal longings and celebrity pressure as it’s declarative about forging ahead, past mistakes, and regrets. It’s a confessional, mezzo-forte track that draws hips into a slow whine.
Jazzy’s Song (cooked by PPriime) comes next, and it’s a turn-up song that unexpectedly samples Wande Coal’s You Bad and alludes to it as Don Jazzy’s likely favourite song rather than a tribute to her jolly label boss and influential music producer. Indeed, it’s a hit but feels out of place between two mid-tempo, emotionally charged tracks. This arrangement hardly lets listeners fully unpack and tie up emotions. It throws the listener in the middle of mood swings.
She trusts Johnny Drill to soundtrack the following 1942. It’s a delicate cut that expresses Ayra’s and her brother Milar’s fear of losing everything they’ve worked hard for. Their duality picks up here: the despair of loss drowns them in a pool of liquor, but they still hold to their faith like an anchor.
The closing track is a letter to her late dad, hoping she’s making him proud. Ayra’s mum’s voice starts the song by encouraging Ayra to live a full life. Her siblings also recount their ages and strides. One can hear the pain and pride in their voices, the kind that desperately hopes that their departed one sees what they’re making out of themselves. The song, produced by Remdolla, echoes out with a proud statement from Ayra’s mum that translates to the track’s title: The Kids Are Alright.
Conclusion
The bonus song, Santa, thematically has no place on this album. It’s just an expansion and numbers strategy that’ll drive up streams and cement Ayra as the first female Nigerian artist to hit 20 million monthly listeners on Spotify. Get your money, girl!
Looking outside in, being young and successful is one of the coolest things one can be, but it can also be an overwhelming position. Aside from squaring with life and the natural struggle to maintain success, being a female recording and performing artist means working multiple times harder and smarter than the other gender. If this is the evolution of the girl superstar who was once 19 and dangerous, it’s partially true. Most of her story thrives in gaiety, youthful innocence, vulnerability and self-affirmation.
With 15 songs, “TYIT21” arrives as a lengthy, nuanced moment Ayra’s having with herself. Rather than a conceptual and narrative album, it’s a string of songs linked by recurring themes: heartbreak and love, happiness and melancholy, openness and boundaries, self-promise and tributes. This is the music you get when endeavouring to memento vivere because personal moments are fleeting, fond memories become distant, and emotions get unhealthily managed. This is the music that makes Ayra feel 21. It’s tough to say the same for the listeners, though.
Compared with her coming-of-age “19 and Dangerous”, “The Year I Turned 21” is her most poignant and impressive work — an album of the year contender. Throughout the album, Ayra stays the dominant voice, in control. Its writing is sustainable, production is high-value, and there’s no Americanisation of the features. It’s just real and bad Afrobeats music. Although the arrangement could have been smoother, not moving tempo to tempo without consistently keeping the listener grounded.
“TYIT21” would garner facile praise and embrace, considering its Zeitgeist hype, convincing rollout, major anticipation, and the currently uninspiring music year. But it’d need time to find its place as that crowning sophomore. This is subjectively a premature evaluation anyway.
According to Polish poet Stanislaw Jerzy Lec, youth is the gift of nature; age is a work of art. Hopefully, Ayra Starr continues to stay alive to her feelings, with more virtuosos to craft them into songs at every juncture of her life.
It’s been three years since the veteran Nigerian Highlife musician Flavour put out a full-length project. But the album break is coming to an end with his forthcoming album, African Royalty.
Although Flavour announced the album on Friday, November 17th, he only just shared the album artwork and tracklist on his social media on November 23, 2023; his birthday.
This is everything we know about the upcoming album.
The early hints
In October, Flavour posted a clip of himself and The Cavemen in the studio, which he signaled “Album mode”. On November 2nd, he finally asked us with his chest if we were ready for his new album.
The ginger in my body this month eh! 😆 Are you people ready for album or I should wait small?
This upcoming album is Flavour’s eighth studio album, coming three years after Flavour of Africa. Aside from the gospel-like titles he has released including Uplifted (2010), Blessed (2012), Thankful (2014) and Divine (2018) — Flavour has always tilted towards indigenous themes. See N’abania (his debut in 2005) and Ijele the Traveller (2017). After several years of moderating traditional-inspired Igbo sound and Highlife music, there’s almost no doubt that African Royalty is a level-up on his previous works.
Artwork and tracklist
The African Royalty announcement was accompanied bythe official album artwork and tracklist. This new project has 12 tracks, his shortest album since N’abania (2005) and Divine (2018).
Features
African Royalty features just three acts including Ejyk Nwamba, a popular Ogene musician in South-East Nigeria. The Cavemen is on it too — we can call this the meet of Highlife maestros. The third guest artist on the album is Efya from Ghana . These features seem very intentional. Bring it on, Mr. Flavour.
Release date
African Royalty will be released on December 2, 2023. Just in time for the holidays.
Singles
I’m a bit surprised his latest hit, Ndi Ike didn’t make it to the album, but I think it has built enough anticipation. Flavour noted that the lead single of the album, Big Baller, willdrop on Friday, November 24, 2023. But I’m a little lost because Game Changer, a single he released on December 2, 2022 is also on the album. Anyway, the lead single is what the artist says it is.
After making fans wait eight years for his fifth studio album, releasing and changing his tracklist three times, Reminisce finally released it to the public on October 27, 2023.
Many Nigerian OGs are tiring out, and their new albums barely give the value of their previous work. But not Reminisce, who’s been in the game since 2003. He returns with Alaye Toh Se Gogo, his first body of work since El-Hadj in 2016, and it’s worth the wait.
On first listen, there’s no ascertaining what direction he’ll attack in, even though a general idea of his brand pops in one’s head — clever one-liners and lamba, charging quotables and daring subliminals at foes, sexcapade and high-libido anthems, with some romantic cuts, of course.
He’s been in the limelight for eleven consecutive years since 2012, remaining highly rated and critically acclaimed through it all — “do am if e easy,” Reminisce dares naysayers on the opening of this new album.
Alaye Toh Se Gogo is a street laurel that loosely translates to “certified boss” or simply “top boy,” but the type that Dushane in the grimy British TV show Top Boy would aspire to become. It’s a different beast when a veteran steps out, especially after hibernating for almost a decade.
The first track, Eyes, is a look-back at the uneasy come-ups he achieved against odds. He shares how if music hadn’t paid off for him, an unclean route would’ve likely made a way. This is a story that finds resonance with many individuals around the world.
Mayorkun’s support in chorus duty makes it the perfect album opener — a good combo of rap and singing — as Reminisce fires two shells of boastful yet introspective verses. He had to remind listeners and the competition that he gets sharper with age. He already proved he’s among the meanest rappers in the country.
Awon Aye follows. In Reminisce’s singing bag, another ammo spawned, shot at animosity and jealousy. He cleverly interpolates Pasuma’s Ligali into the hook, giving a local tongue-lashing vibe to it. This song is potent enough to give supposed detractors a wobbly walk when they pass by.
Since Omo X 100 dropped in 2021, Olamide only sings the chorus on their music collaborations, the heavy rap-lifting left to Reminisce. However, on their latest, Orin, the third track on ATSG Vol. 1, they relayed their silent battles and unexpressed emotions, which they compensate with a rewarding bank account and baller lifestyle. They talk about how hard it is for men to bottle up their feelings and keep rising to the occasion. Though soul-lifting, this track is a classic case of men drowning in hustle as a suppressant or escape from vulnerability and life’s drama.
If you’re familiar with Reminisce’s catalogue, all the man wants is his money and more money. This is the theme of Hustle featuring Bnxn and D Smoke. Alaga recounts his struggles to succeed and the vim to push his hustle and never stop.
Well, what’s a Nigerian to do?
The next track plays, and with it comes a realisation that Reminisce’s rap cuts are getting shorter with each song. In just a minute and approximately thirty seconds, Reminisce went full rapper mode on Recycle, just flexing his lyricism. It’s unsatisfying, but there’s more rap on the next track, E.N.K.R. The album version of the previously released song includes Ycee and artist-producer, Rhookcastle, who had the most outstanding performance on it.
Reminisce gets on his “sex symbol” assignment with innuendos at the core of his music on this album. On Shina Peters with Mohbad, he paints a picture of his sexual affairs — straight to the “ta-ta-ta” playlist.
Although Rotate brings out your waistline and legwork, it ends before four steps are made. Another display of Reminisce’s versatility, he effortlessly sings fuji with a new-age delivery that maintains its tempo and modulation, making street-pop his domain. Olu Maintain, the next track, showed him in his fresh pocket; a drill jam alongside youngins Dremo Drizzy, OdumoduBlvck and Powpezzy.
Oxlade’s falsetto cued in Why?, a romantic song in which Reminisce remained uncouth. The longing expressed on the song segued into Mora, a folklore performance — one of the best songs on the album — quite similar to his 2017 hit, Ponmile.
Although a filler Reminisce insisted on keeping on the album despite his team’s stance, Tight featuring Kayode, is a chilled braggadocious song about making money and having fun. It also speaks to Reminisce’s dedication to propelling young talents to a wider audience. Kayode, Powpeezy and even OdumoduBlvck, who recorded his verse for Reminisce before his breakout song, Declan Rice, dropped earlier in the year. On the Zero Conditions podcast, Reminisce mentioned how he’d rather do this than tweet about his support for the “young cats”.
The album ended with an acoustic rendition of Mora, the perfect street song to express love that doesn’t want to end.
Alaye Toh Se Gogo is a solid body of work away from his previous works and successful formula. It offers cohesive production and stellar performance at the age of 42. Age is just a figure in hip-hop. Legends in their 40s and 50s, like Show Dem Camp, M.I Abaga, Nas, Wu-Tang, still make music, cancelling the old “too old to rap” narrative. Fact is, if you got it, you got it.
Reminisce got it.
Alaye Toh Se Gogo is the new honour the street has bestowed on him. This title encapsulates his evolution as an artist, solidifying his superstardom and street legend.
It’s three days to our meat festival in Lagos. Get your Burning Ram ticket ASAP.
After dropping Hello Lady and My Ability earlier in the year, Abuja-born singer-songwriter, Lady Donli, has taken to her socials to announce a studio album release date. As always, we’ve broken down the gist of it.
Her first album in four years
Lady Donli made the very first announcement on June 14, 2023, after a four-year break since releasing her debut album, Enjoy Your Life (2019).
The album title, Pan-African Rockstar, seems worlds apart from Enjoy Your Life, but they’re actually quite similar. She’s been pushing the narrative since 2019 when she dropped EYL.
In 2014, she debuted with a 12-track EP Love or War on SoundCloud. We witnessed her bedroom pop, neo-soul and R&B era as she strummed her guitar with a mixture of singing, rap and spoken word. She continued with What Is Perfect? EP (2015) and Wallflower EP (2016).
Letters to Her EP (2018) was her departure from the sound, and in 2019, Enjoy Your Life ushered us into an experimental and African side of Donli. EYL was such an era, from the retro aesthetics to her outfits to the album marketing. And two years after the iconic EYL, she put out a six-track response to those asking Where Is Lady Donli? (WILD), on which she took us back to her smooth vulnerable music days mixed with more afropop and dancehall than before.
She’s back now with her Pan-African Rockstar and we look forward to what the era will bring.
September release date
Just like her first album came out in the second-half of 2019, Pan-African Rockstar will be out on September 22, 2023.
“Pan African Rockstar” my sophomore album out on the 22nd of September ! See you soon ❤️ pic.twitter.com/VS1HOTc4Nj
Donli put out a link for those willing to become members of her Pan-African Rockstar club. Reminds us of the Enjoy Your Life era when we all became ministers of enjoyment.
The rollout is rolling
She started with short teasers before putting out a video with her Pan-African Rockstar album release date announcement. Using comments about her fall-off since her debut work, the promo has been gripping enough to guilt-trip even an uninterested listener to look out for her new project.
Merch!
You’ll have to join the fanclub for access to tote bags, cassettes, CDs and one of 100 limited vinyls with special edition tracks.
After putting out a slew of singles and features, Nigerian reggae-dancehall artist, Patoranking, is set to release a new studio album. On August 15, 2023, he announced the forthcoming album via a video he posted on his IG page. This is everything we know about it.
The album is titled “World Best”
Patoranking is coming for global acclaim. With such an album name, it’s safe to assume he’ll use this project to prove he’s a world class act. Balloon D’afrobeats >>>
He hinted it in 2021
On June 1, 2021, Patoranking first declared himself “EL World Best”. Is this to say he’s been working on the album for over two years?
The last time we got a full-length project from Patoranking was during the pandemic lockdown in 2020. Fast-forward to 2023, Pato is ready for his world domination.
The Higher single
The same day he announced the new album, Patoranking put out Higher, his third 2023 single, on which he gives gratitude to God. This gospel-esque record could be a taste of what to expect on World Best.
No Dancehall?
From Abobi to Tonight (featuring Popcaan) to his latest single, Higher, we’re yet to get the signature reggae-dancehall Patoranking. This could mean that World Best will be his first afrobeats body of work.
It’s about to be a movie
We can expect cinematic visuals after seeing the Nollywood-esque announcement video, in which Osas Ighodaro updates her driver about Pato’s new album. Not every time big bumbum and bottles; give us Nollywood music videos too.
About nine months ago, Asake solidified his fresh and unique sound with his debut album Mr. Money With the Vibes — an album that went on to influence the current soundscape of the industry with log drums and choral backups. Back with a taste for paintings, Asake is set to take us on artistic vibrations with his new album, Work of Art.
Prior to his debut album, Asake first made a colourful splash on the scene with his EP Ololade Asake, which took Nigerians straight to the dance floors. Carefully fusing Afropop with styles that slowly creep into Fuji and Apala, Asake sang about having money, a good time and being streetwise. With MMWTV, Asake became the biggest breakout star Nigeria has ever seen with the biggest album of the year and the most streams for an artist, culminating in a recent BET award nomination. It’s Asake’s world and the rest of us are just paying rent and agency fees.
In the buildup to his latest, Work of Art, Asake released three songs, Yoga, 2:30 and Amapiano, and they were all number one singles on Official Nigeria Top 100. In all this, Asake hasn’t strayed from the fast life narrative. But while we enjoy the omo jaiye jaiye persona, the important question is: will it keep fans to their feet like it did nearly ten months ago?
The Breakdown
Asake opens the album with a mouth full of gratitude to God who translates to Olorun (the opening track title) in Yoruba. On this record, he recalls his life’s journey, the hard times and his meteoric rise. The introspective track is followed by the indulgent Awodi in which he continues the story of his successes and turns Pasuma’s name into wordplay. Early single, 2:30 comes after and it fits in seamlessly, picking up the pace of his Amapiano-inspired direction. Asake asks what the probability of anyone catching up to him is, or if they have the agility to even move.
On Sunshine, Ololade Asake becomes more flexible. The song is a shift from his usual pattern (stripped down beat, minimal horns, whistle and choral backups), but still manages to deliver a light-hearted message of motivation.
Maintaining a similar direction to Sunshine production-wise, Asake shifts gears to Mogbe which finds Olamide’s protégé in top form, with infectious lyrics about having a good time. Basquiat, the sixth track named after the famous American painter, Jean Micheal-Basquiat finds Asake in his artistic bag, comparing himself to a priceless work of art. After the year that was 2022, Asake’s worth on the music scene fully reflects his position on this track. The Olamide-assisted Amapiano enters next to subtly remind us of their exotic lifestyles and the overall sound the album sets to achieve.
The party continues with What’s Up My G and I Believe, songs complete with log drums, drawn out storytelling and braggadocious lyrics meant to assert his dominance. At this point, it’s clear the plan is to keep us dancing— he reminded us again on Introduction that he’s Mr. Money with a sprinkle of no food for a lazy man.
Asake admonishes his lover to “give it to him” while flexing his big vocabulary muscles on Remember. Lonely At the Top follows and switches up the ambience, now in a more solemn but groovy mood; Asake shows some vulnerability and preaches self-love. We’re with him on this.
Mr. Money’s fun isn’t stopping anytime. He flexes on Great Guy about catching flights, wearing the finest satin, and being in his woman’s bosom. The song ends with a popular Michel Legris’ Mo Capitane sample, ushering us into the trance-like closing track, Yoga, where he accepts the burdens of success, warns detractors and vibe killers.
Final thoughts
Asake has never shied away from being heavy on vibes and melodies. He heavily taps in feel-good grooves and since Amapiano is still a darling out here, it works in his favour.
Though the hooks and choruses are infectious, the album sounds like he’s using the same beat for the 100th time sometimes. Asake paces himself on Work of Art and triumphantly soaks in the momentum.
Coming back from a much-needed break, Davido recently broke the internet when he announced his new album, Timeless. Because we’ve not had a Davido album since 2020, everyone naturally started freaking out. What will the album sound like? Who else is going to be on it?
Well, as someone who’s listened to all of Davido’s albums (more than twice), here’s a list of artistes we might see on the new one.
Wizkid
Source: Channels Television
Sorry to Burna, but this is the Wizkid collab everyone actually wants. No, but let’s take a second to imagine the impact a Davido and Wizkid collab would have on the industry.
I’d like to see this happen now that they’ve squashed their beef for the 100th time. And we wouldn’t even be able to diss the song if it was bad because who wants to risk fighting 30BG and Wizkid FC at the same time?
Zinoleesky
Source: instagram/zinoleesky
Davido is always on the pulse of who people are currently listening to, and if there’s one artiste that’s taken over the streets and playlists in Nigeria, it’s Zinoleesky. Borrowing from Davido’s strategic collabs with Naira Marley on A Good Time and CKay and Bella Shmurda on A Better Time, there’s a high chance Zinoleesky might make an appearance on Timeless. But no one should take it personally if he’s not on the album.
Chance the Rapper
Source: instagram/davido
Davido has a thing for featuring American rappers on his album. A Good Time had Gunna and A Boogie with da Hoodie, while A Better Time had Nicki Minaj, Nas, Lil Baby, Young Thug and Hit-Boy. Since we have this picture of Chance and Davido recording something in Ghana, it’s safe to assume he might be 2023’s token American rapper, and I’m not mad at it.
Amaarae
Source: instagram/amaarae
Remember when Davido looked into Summer Walker’s eyes and saw her snatched waist on D&G? Or the time he wanted to play Tanana with Tiwa Savage? We all love Davido’s sweet romantic duets.
If Mr Adeleke plans to continue his romance streak on Timeless, Amaarae is the right woman for the job. She got Asa to sing about breaking backs, so I’m dying to see what she does with Davido.
Olamide
Source: instagram/olamide
Nigerians are going through it right now. There’s fuel scarcity, BVAs are performing wonders, and POS agents are using our money to build houses in their villages. If there’s one thing I strongly believe can make everything right again, it’s an Olamide and Davido collaboration. Davido could also return the favour by appearing on Olamide’s upcoming and final album, Unruly.
Davido has shown interest in creating music with a wide range of African artistes before, working with Mugeez, Sho Madjozi and Sauti Sol on A Better Time. With Black Sherif’s star on the rise, I can bet he’s on Davido’s radar for another intercontinental banger.
Mayorkun
Source: instagram/iammayorkun
This is one feature I’m willing to bet my salary on. Mayorkun and Davido gave us Bobo and Betty Butter. Let’s not forget Mayorkun had not one, but two features on A Better Time — The Best and I Got A Friend. There’s no way they’re not revisiting this magic for Timeless.
Libianca
Source: instagram/iamlibianca
Before his break, Davido blessed us with Stand Strong, a beautifully written choir-assisted ballad about finding strength and resilience in the face of life’s many ups and downs. Probably one of his best songs yet, Stand Strong showed us a different, more sober Davido.
If there’s one singer who can help OBO reflect and tap into his emotions some more, it’s Libianca. Just like Stand Strong was, Libianca’s 2022 single, People, has become an emotional anthem. A Davido and Libianca collab will surely get us all in our feels.
T.I Blaze
Source: TI Blaze
Sometimes, an Olamide co-sign is all you need to blow as an artiste — take Asake, for example. With a sound currently transitioning from the streets to mainstream attention, T.I Blaze is the kind of artiste Davido would be willing to hop on a track with for a similar way as Zinoleesky and Bella Shmurda.
Just a few days after Asake’s new album was released, and so far, we’re loving it. But now we’d like to know which of the songs matches your personality the most.
Everybody loves Wizkid. Or so they claim. With the release of his new studio album, Made In Lagos, everyone is claiming to be a day one fan. This quiz will separate the real fans from the people trying to ride the wave.
Are you one of those Nigerians who only ever listens to the singles that are popping on the radio? If that’s the case, this quiz will stress you out. If you actually jam Nigerian albums, then you should have no problem identifying them based on just three songs.
Are you a true lover of Nigerian music? Do you actually pay attention to albums or only focus on the songs that hit the radio? Well, this quiz is here to test your knowledge. Identify 10 out of these 15 Nigerian album covers we’ve pixelated to prove yourself.
About 7 years ago, BlackMagic landed his breakout hit with “Repete” — a song that announced him as a star to watch. While he followed up that timeless gem with a slew of other solid songs, none of them ever caught on quite like they deserved to.
With the start of this brand new decade, the versatile star looks to be on a mission to redefine himself, and he accomplishes that with his strongest and most cohesive body of work to date, Blackmagic Version 3.0 (Starving Artist).
On the 13-track project, BlackMagic shows off his impressive range, both as a performer and a writer. He seamlessly alternates genres, sings rather beautifully, raps with gusto and thoughtfully tackles a bunch of complex themes.
More vulnerable and introspective than most Nigerian artists tend to be, BlackMagic raps about navigating depression (“Blue”), fighting for his sanity amidst relentless scrutiny (“Koole”) and our flawed government (“Ponmo”)
Like with any good body of work, BlackMagic isn’t the only reason this project works so well. The impeccable production work from Xela, Bond, Ikon and Spax help elevate his words, ensuring that the album never feels boring or repetitive.
On the album’s Tems-assisted opener. “Soon”, BlackMagic takes out time to apologise for taking so long to release the project, saying he was “chasing inspiration”. Considering the outstanding outcome, it’s safe to say that the wait was more than worth it.
Listen to Blackmagic Version 3.0 (Starving Artist):
Angélique Kidjo is easily one of Africa’s most influential artists, and her acclaimed album, Celia — a moving tribute to iconic Cuban singer, Celia Cruz — was about as stunningly executed as any album that dropped last year.
That being said, even she seemed shocked that her project beat out Burna Boy’s career-defining opus, African Giant for the ‘Best World Music Album’ Grammy. Taking to the stage to accept her fourth Grammy, she thoughtfully dedicated her win to the afro-fusion star.
She said:
“This is for Burna Boy, [he] is among those young artists [who] came from Africa [who] are changing the way our continent is perceived.”
An instant favourite from the moment it dropped, Burna Boy’s African Giant not only ended 2019 as the most-streamed album in Africa, but it was also the most critically acclaimed, earning nearly unanimous praise from music critics around the world.
So, that begs the main question: If a Nigerian album that broke chart records, had tangible cultural impact and was fervently praised by fans and music critics alike couldn’t bag a Grammy, then what kind of Nigerian album can?
A category issue
It definitely doesn’t help that ‘Best World Music Album’, the category Nigerian artists are most likely to be lumped into, is extremely flawed. ’World music’ is a borderline racist term for music that doesn’t fit the European or American mould.
When you take a look at some of the artists that have won in the past — from Ladysmith Black Mambazo to Soweto Gospel Choir — it’s pretty clear that when it comes to this category, voters don’t care for projects with pop-leaning sounds or influences.
Based on the kind of projects that typically get nominated, a Nigerian album by anyone without the last name Kuti would stick out like a sore thumb in any year, making a triumph in this category seem damn near improbable.
That’s why a win for African Giant — a project that fuses afrobeat, dancehall, pop, r&b and hip-hop — would have marked an exciting new direction for the outdated category, but it seems we’ll just have to keep waiting for the Grammys to catch up.
What’s the solution?
It’s about time the Grammys introduced an Afrobeat category — honouring projects that are predominantly influenced by the genre Fela Kuti pioneered. Afrobeat has been immensely influential, and it’s insulting to still have it exist under the flawed umbrella of ‘world music’.
The plan was to listen to this album and write a review but i havent recovered from the shock. I have no words! So I’m going to express myself in gifs. yes! gifs only!
1. Ire.
WISE ONE TEACH US.
2. Down With Me.
Ah ahn? Burss my braiin. Burss ittt!
3. Mr. Foolish ft Seun Kuti.
Baba 70 issa vibe!
4. Surrender.
You have to listen yourself. You have to.
5. Damn, Delilah.
This song is me all year!
6. Yoyo ft. Flavour.
Flavour comes in one flavour. What is it? (10 marks)
7. Money.
Felt this one on a spiritual level.
8. Pablo Alakori.
Kunle gave us nothing but the hard truth.
9. Remember.
Literally unbelievable!
10. Fame.
Yup! this is that song we’d all sing in the shower
11. Somebody.
Currently dancing with my non-existent lover
12. Mama.
Thank you mummy.
13. There is a God (ft LCGC)
Take me to chruchhhh!
14. Back To Start.
Take me back!!!!
15. Ire remix (ft Jacob banks)
I’m crying… again
16. Call on me.
*anything for youuuu*
17. The whole album in fact.
Adekunle Gold is out of this world! End of story.
“Don’t doubt him, e go bring home Grammy.” – Anonymous (Agreed upon)
If you haven’t listened to this album yet, do yourself some good. Now. Find it.
