Rema and Selena Gomez's "Calm Down" continues to shatter worldwide records as it advances its claim for 2023's Song Of The Summer, and indeed for every other season—it has in fact completed a year on the Billboard Top 100 chart, and even now continues to chart in the Top 20. And as its impact has been far reaching, so also have the accolades. The most recent of these came only a few days ago, when the song officially crossed 1 billion streams on Spotify, crowning it the first African song to reach this feat, and also one of the 500 most streamed music tracks of all time. Before this was the MTV Video Music Award ceremony, where a charismatic Rema received an award for the maiden 'Best Afrobeats Song' category. Before calling on his co-creator to say a few words of thanks, he paid homage to Nigerian music icons that paved his way to the world's biggest stages—names like Fela, pioneer of Afrobeat (no 's'); D'banj and 2Baba, prominent figures who ruled through the 00s; Don Jazzy and D'Prince, his mentors at Mavin and Jonzing, his record labels; and of course Nigerian music royalty Wizkid, Burna Boy and Davido.
It is fitting that he makes such acknowledgements at a time when he too is progressing towards a career of this status. Nigerian music's growth, like he succinctly put, has come slowly but surely off the back of these creators, so that now, "Calm Down"'s worldwide acceptance does not draw the surprise it deserves from the Nigerian audience; exploits of the last two years appear to have numbed its citizens to what is possible. Two years ago, Essence, the Wizkid-Tems sultry collaboration that got a Justin Beiber touch for its remix, was having its moment in the sun with each new step applauded by the country, and it is important for context that Rema’s song has already amassed five times as many Spotify streams as its predecessor.
For many, this moment was always going to arrive for Nigerian music, the day when we would no longer need tags like "For an African artist" to qualify a new win; we would compete with parity against music from anywhere in the world. And for a tiny subset of these believers, it was always going to be Rema at the forefront of the vanguard effecting this cultural revolution for Nigeria. For the artist, born Divine Ikubor, has always borne a mark of divinity.
After catching the eye of D’prince, CEO of Jonzing record label, via a cover of his song, "Gucci Gang" that he posted on Instagram, the Benin-based singer got an invite to come to Lagos for a proper audition, after which he was signed to Jonzing, a Mavin record affiliate. At the age of 19 he made his entry via a self-named EP, a Mavin tradition, that highlighted in only four songs what Rema was set to bring to the industry. His euphonious vocals were for many the biggest and most prognostic highlight, but they masked other crucial aspects of his artistry—the depth of emotion he channels on "Why", and his dexterity in balancing this beside the fast-spinning Afropop bangers, "Dumebi" and "Iron Man".
A few months later, he made his reprisal, but in a new apparel—Trap music. His Rema Freestyle EP projected speedy delivery, snappy trap beats and rhymes about money, as Rema displayed another aspect of his artistry. Most noticeable was his sparsity of romantic themes on the new project, the substance with which he propped up his earlier effort. His third project, Bad Commando, found the balance between these two extremes, placing confident statements of self-aggrandisation (Dem know say I be bad commando”, he sings on Bad Commando) side by side with affecting professions of infatuation (The moment I see you na up NEPA, he begins on “Lady”), while he switches between Trap and Pop on the production side of things.
Releasing this project meant it was a very busy debut year for the singer, and at the 13th edition of the Headies he was awarded the Next Rated award—earmarking him as the next big star. In January he picked up a similar plaque at the Soundcity MVP Awards, and together with his City People Award for Revelation Of The Year, these plaques underscored how outstanding his debut year was. In 2020, though, it was time for the next stage of music release strategy, and this time he worked by releasing singles, as he tried to establish his sound as a balance of his Afropop, Trap and Arabian music origins. His first effort of the year was the two single pack of "Rainbow" and "Beamer", and the latter was the significantly more successful song, featuring Jamaican producer Rvssian who incorporated traces of the Dancehall genre.
These songs, along with his June release, "Alien", were drawn chiefly from the Trap corner of his artistry, but to properly dominate a country like Nigerian, he would need to create for a dance-loving audience, and with his next two singles, the melodious, groovy "Ginger Me" and the explosive "Woman", he sought to do exactly that. With the latter, Rema’s material also took on a sultry turn—“I too like woman, me I no dey gboran”—that he reprised with his next single, the Don Jazzy–produced "Bounce". Already Rema’s profile was growing exponentially on a national level as he sought inroads into the global market.
2022, for Rema, was the time to crystallise this three-year dominance in Nigeria's industry into a recognisable global profile. He released "Calm Down" in February, melding Afropop, Arabian and Dancehall influences for a track that was still authentically Nigerian—"Girl you sweet like Fanta", he says, reworking a popular Nigerian children's rhyme into a missive of playful adulation—and yet lent itself to foreign acceptance. To advance its entry into foreign markets, a stroke of collaborative genius brought a Selena Gomez remix, pouring fuel into the fire of the song's momentum so that it sauntered into the next gear of its worldwide ascent. With this remix has come multiple broken records, a couple of awards (including one for Rema as Headies Best Male Artist), and certifications that continue to roll in by the day.
As Rema continues to break new grounds both historically and geographically,—as in his recently-completed Indian tour—the next sets of doubts will centre around whether he can extend this fame beyond "Calm Down", and insert himself properly in world stardom. But that should be no problem. A combination of his astute singing talent, evocative writing and undeniable star power should ensure Rema fulfils his promise as prince of Nigerian music.
This article was written by Afrobeats City Contributor Ezema Patrick - @ezemapatrick (Twitter)
Afrobeats City doesn’t own the right to the images - image source: Instagram - @Scrdofme
Can anyone tell at what exact point Bnxn became a household name in Nigerian music? Formerly known as Buju To Your Ears, or Buju, the silk-tongued serenader has made such a natural progression in the industry in the last four years that we haven't had time to track his progression. It seems now so long ago since he was the young twitter artist repeatedly begging for a verse from rapper Zlatan for an upcoming song. When that feature eventually came through, on 2019's "Spiritual", it became the catapult that pushed a niche artist into local popularity.
But it wasn't until he partnered with Burna Boy, the self-styled African Giant, that he could be described as a mainstream Nigerian artiste. The two teamed up on the remix of BNXN's 2019 single, "L'enu", where Bnxn was assured and daring, swimming in the confidence of his own ability, even though he was still in the lower rungs of Nigerian music ladder—"Tell me what I cannot do" he boasts on the chorus over Steph's spunky beat. The African Giant's verse came later, and by the end, the song's message was passed across, its theme unmissable: these men are gutsy in their own abilities and they intend to approach the next stages of their careers with an unwavering confidence. It was therefore no surprise that Burna Boy immediately signed Bnxn to his own label, spaceship records.
After a single song released under the label, "So Lovely" in late 2020, Buju parted with spaceship records after a year, choosing not to renew his contract. But his upward trajectory remained unhalted. In mid 2021 he was called up by Ladipoe for "Feeling", where Buju was charged with providing a sunny, falsetto-infused backdrop to the rapper's faster-paced hip-hop verses. It is a tried and true formula, and Bnxn's execution is near-flawless. His chorus, a depiction of a guy unbothered by stress and basking in a worry-free reality, rang from the lips of Nigerian youth as the unofficial song of the summer of 2021.
On "Outside", released in mid-2021, the crooner chose this time to delve into his work ethic and commitment to his craft as he sang about how he prioritises the work of creating new music over fun-seeking outings. He also took a moment to dwell briefly on his journey here, on the first verse, "Omo in the first stage, I made mistakes I swear". The slower pace and gentler tone of the song were evidently well appreciated, as "Outside" was a fixture on the top 10 of the different Nigerian streaming charts for weeks to come.
In late 2021, it was time for a debut EP, which Bnxn named Sorry I'm Late, with its title acknowledging his delay in releasing a debut project, which was indeed strange for a time when rising acts capitalise on their growing popularity by releasing an EP. What came as no shock, however, was the high level of confidence and talent on display. By naming the opener after himself, BNXN made a statement of self-assuredness and revealed an intent to make his mark on the music world. Lines like "You know my sound is on fire/ You know my melody on fire" may read as unnecessary braggadocio to a new listener, but day 1 fans are well acquainted with the dexterity of his songwriting and quality of his delivery—his melody really is on fire. The EP was altogether a resounding success and represented another milestone passed in the young singer's career.
While Sorry I'm Late cemented his place in Nigeria's mainstream, it was two features that arrived on both sides of it that brought the most momentum to his international career. First was "Mood", on Wizkid’s Grammy-nominated Made In Lagos, where the two produced a flawless collaboration, taking turns to glide on P2J's mellow percussion. Its mellow groove and slinky vocal duet drew parallels with "Essence", the Tems-featuring smash from the standard version of Made In Lagos, and while it didn't quit achieve those chart-topping heights, it became Bnxn's biggest international effort. That was until "Finesse", where Bnxn starred beside music producer turned music star, Pheelz, for the track that proved transcendental to their individual careers, establishing Pheelz's new status as an artist and providing thrust to Bnxn's international flight.
The song initially made waves as a viral tiktok snippet was eventually released in mid-March following a massive clamour from fans, and it wasted no time climbing up the charts, peaking at no 1 on the UK's official Afrobeats charts, with appearances on UK official charts proper and the novel Billboard Afrobeats chart. It was released barely two weeks after Buju officially became Bnxn, so it was an exquisite way of stamping his new identity. Another collaboration later in the year, this time with UK based producer JAE5 and rapper Dave for "Propeller", helped strengthen inroads to the UK scene.
As these songs pushed Bnxn's international profile, his position at home was similarly growing. In May 2022, the Headies, Nigeria's premier music award, announced its nominees for the year's honours and Bnxn got a nomination for the Next Rated category, awarded to the emerging artist who shows the biggest potential to place amongst Nigeria's biggest acts in the near future. Bnxn received a nod after the amazing year he had, but he was placed alongside Ayra Starr, Ruger, Lojay and Zinoleesky, all of whom had made excellent use of the year under review. With the Headies announcing that the winner would emerge with a brand new Bentley Bentayga, it added fuel to what was already a heated competition.
Bnxn would eventually emerge the winner of this tight contest, and a week before the ceremony, he provided even more proof of why no one was more deserving. This came in his second studio EP, Bad Since '97. Here Bnxn built on the themes of his debut—his unwavering belief in himself and his music talent—with his writing and exquisite vocal delivery once more providing both the vehicle and for this substantiation of his self-confidence.
On his latest album, Sincerely, Benson, released earlier this month, Bnxn reiterated all of this self-belief, fulfilling the promise he has displayed all of his career. On the 15-track LP, Bnxn chronicles love and heartbreak, but approaches this subject from a mature, not often seen perspective: as the man making a sincere apology to the woman he loved and hurt. Songs like "Pidgin And English", "Regret", "Sweet Tea" and "Realize" tie into this narrative, yet Bnxn finds room for his characteristic cockiness: his very first words on the album are "Leave am for me/ Emi lokan", warding off the competition and propping himself up as a maestro in the music space.
As Bnxn continues to soar, old promises of potential become fulfilled even as he forebodes more to come. His next goal would be to establish his name indelibly in international markets, but If his four years in the industry thus far have shown us anything, it is that the next step always comes just as surely as the last for Bnxn.
This article was written by Afrobeats City Contributor Ezema Patrick - @ezemapatrick (Twitter)
Afrobeats City doesn’t own the right to the images
“But una know I no dey waste time” is Asake's pre-written answer to questions bordering around why his sophomore album is out barely 9 months after his scintillating debut. Not that anyone is less than thrilled to see him back so soon, mind, but we are all too familiar with the compromises to the production process that may aid an artist to achieve these hurried release schedules. Asake, however, does not sacrifice quality on the altar of speed, so that what is traditionally a sticky point for establishing artists—the second album slump—is turned into a flamboyant, braggadocious display of his extent of pliability of his Fuji-Amapiano creation, and then some.
Doubts have persisted for nearly as long as he has been mainstream of his ability and/or willingness (or lack thereof) to explore music styles outside his patented scope, but Asake does not intend Work Of Art to be a definitive end to this conversation. So while he does push even further from the conventional in a bid to conquer sonic territory, he plants his base firmly in the music that has brought him thus far—the rhythmic familiarity of log drums and shakers, the ethereal resonance of crowd backup vocals and his own euphonic, Fuji-recalling delivery.
For “Yoga”, his 2023 opener which now closes the album, he sets himself sonically somewhere between Indigenous Egun music of Badagry, Lagos and the Sega genre of Mauritius, weaving together diverse cultures. His message here is clear; he is in his own lane and it would be pointless to try and catch him—but this time he goes for sombre self-identity over overarching superiority. Not to say he does not have some of the latter in his toolbox. On “Lonely At The Top”, the track from which this article’s opening quote was carved, he may appear to get ahead of himself—this is, afterall, only the second year since his proper breakout single, and there are others who have secured and maintained a top-flight status for much longer—but Asake’s time has always run a little faster.
That is the reason why, still struggling to find a footing in music and life in general, he announced himself “Mr Money” in his 2020 single of the same name. On Work Of Art, boastful predictions for his future can carry the extra backing of his conquests from last year, and he knows it. On “I believe”, the optimistically upbeat joint which Magicsticks reworks from Amapiano’s log drums, Asake proclaims “Nitty-gritty of ‘22, I’m the one”, casting back to a year ago when he thrilled the country with a conveyor belt of hit singles before his debut album landed the final blow. He rewords and translates this on “Awodi”, stating “2022 mo gbe wan trabaye”, another claim that can be self-promoting without being exaggerative. On this chiefly Yoruba song, his honours Pasuma both in words and in the Fuji-ogling framework the track is crafted on.
Whether Asake’s outsized self-image is primarily a function of belief in himself or trust in a higher power is debatable, but it certainly is some combination of both. He definitely has the spiritual strength to justify the latter, as he embraces, in the popular Yoruba polytheist ideology, both Christianity and Islam, and delves into African Traditional Religion when the situation requires it, when there is need to tie ese ile bo. But where Mr. Money With The Vibe regarded these religions, like most people do, as a means of covering all bases in the search for material upliftment, Work Of Art has Asake transcend beyond this and ponder on the afterlife.
He weighs in turn a Christian (“Mr. Money with the vibe ‘til the devil say my name”) and then a Muslim (“Koni wa le lai lai till we reach Al Jannah”) aftermath, but reaches a consensus in either case that he will live to the full until that moment arrives. And while these musings might seem somewhat premature for a 28 year old man in apparent robust health, Asake has never faltered in his preference of an impactful existence over a lengthy one. So today he will drown in a variety of substances from alcohol to colorado, before burying his head in the thighs of the woman he loves. “Let’s stay all night looking as the star shines/ Make love till the sunrise” he sings on the now-decadent, now-affecting “Mogbe”.
Romance flickers brightly in other corners, even if it is a rare sight on the album and is often easily contorted into lust. “Remember” has a chorus that wants to negotiate affection with money, not an uncommon love language in a country with so little of it. “I wanna love you forever, baby o/ I just want to spend all my chеddar on you”, he says at first, but what comes next unmasks his carnal intentions. “Sunshine” shares all of this blissful radiance, but, without its romantic overtones, Asake intends it to be a pat on the back to the weary soul, equal parts motivating and reassuring. “Sun’s gon’ shine on everything you do”, he says, and if those words appear familiar it is because they were borrowed from Lighthouse Family’s “Ocean Drive” of 1995, and Asake transports this iconic line across time and genre without losing any bit of its eupeptic essence.
Asake uses himself and his incredible journey, as successful people often do, as a guiding light to those still stuck on the lowest rungs of the ladder, but material success is only a small contributor to his euphoria. For Asake, the process is just as important as the result, and like every true artist he prides himself even more in the art that has brought him thus far.
“Basquiat” throws down the gauntlet with the arrogance of a man that knows it won’t be taken up, and while he is aware of similarly sounding artists that the media will try to force into comparisons with him,— “Studying me is an honour jeun lor/ I get many pages like songs of Solomon”—he will superciliously point out the futility in reading a master’s textbook to try and be better than him. “What's the chances, what's the probability/ To see a bеtter version of me with agility”, he asks on the spunky Blaisebeatz-produced “2:30”, but it is only rhetorical. He has his answer.
If he is any worried about deposition, he hardly shows it, and more importantly, he will not let it bog down his brilliant new creation. “Basquiat” is also the closest thing to a titular track on the album, whose cover art is depiction of Jean-Michel Basquiat by Nigerian artist, Ayanfe Olarinde. While Asake sees similarities between himself and the talented, troubled, visual artist, he has long established to have no greater weapon in his arsenal than his individuality and sense of self. A few fans may clamour to see him try on new trends and sounds, but Asake insists that he is the template, the “work of art” that should be studied. And he probably is right. Supreme ability and a unshaking confidence in it are always a devastating match, and his blend of indigenous cultures from fifty years ago and trendsetting house music of the future makes him one of the easiest bets for the next great Nigerian star.
This article was written by Afrobeats City Contributor Ezema Patrick - @ezemapatrick (Twitter)
Afrobeats City doesn’t own the right to the images - image source: Instagram - @Asakemusic
Adekunle Gold, the Lagos-born prolific singer, is one of the handful of Nigerian artists who can boast of a lasting presence in the highly competitive space that is the country's music industry. His was a journey of talent, consistency, invention and reinvention.
He was born Adekunle Kosoko, a member of the royal Kosoko family of Lagos Island, so when he chose to follow his passion in music, the name Gold readily appealed to him. Days spent riding to school with his father while they played Ebenezer Obey and King Sunny Ade, as well as lullabies sung by his aunt at bedtime, planted a love for music in the young Adekunle. With time, his love for listening to music spurred him to create his own. Like many other budding artists, he cultivated his talents first by joining the junior choir in his church and later, by forming a band with a close friend, Michael Bakare, before deciding to pursue a career as a solo artist. Michael remains a major musical pillar of Adekunle Gold’s career, his songwriting and production credits can be found as recently as Adekunle's latest album.
Nigeria's first introduction to the artist, however, was through his creative work as a photo editor. Prior to the release of “Sade” in December 2015, Gold had been given the title of 'King of Photoshop' for his creative editing of his images on pictures of actress Tonto Dike, OAP, Toolz and especially afrobeats queen, Tiwa Savage. A young Adekunle Gold had finished school with a diploma in Arts and Industrial Design and was putting his degree to good use, doing graphic design work for a number of YBNL artists, including Viktoh, Lil Kesh and even street-pop legend Olamide.
In 2014, Adekunle Gold released “Sade”, a cover of One direction's “Story of my Life”, and based upon a real life Sade who had turned his affections down. As the song gained ground, Pheelz, YBNL's in-house producer, saw there was more To Adekunle Gold's creativity than visual arts, and after conversations with label huncho, Olamide, Adekunle Gold was unveiled as a YBNL artist in March 2015. Then, he got a chance at a proper debut single, and "Orente" was born; a folksy Yoruba-supported love ballad, featuring distinct Yoruba instrumentation, which would grow to become his signature style. He followed this up with “Pick up”, which amped up production for a Juju-influenced song that would be an excellent fit for a live band.
All these built up to the release of his first studio album in July 2016, Gold that featured successes such as "Work", "Ariwo Ko", and another all time classic, "No forget", a duet with Simi, a friend and fellow artist who had previously mixed and mastered songs for him. His debut album was a critically acclaimed success, peaking at no. 7 on the Billboard World Album Chart.
His next studio album, About 30, was released in 2018 after exchanging amicable farewells with YBNL. He assembled a team of instrumentalists into a live band, named the 79th Element (Gold), and headed by Michael Bakare. As a result the album drew chiefly from his unique upbeat trad-style music which he christened Urban Highlife, and it housed a number of memorable songs like the energetic "Money", the evocative "Ire" and the sombre "Fame".
Until 2019 Adekunle Gold had operated firmly within the boundaries of his self-styled Afro Urban genre, where live instruments could meet with intoned delivery to channel some of the essence of Yoruba Juju music in a more modern setting. For the next step, though, it was time for an artistic refresh, and to achieve it, he will have to sacrifice some of his folksy essence for better mainstream appeal. And so he braided his boyish afro into a macho cornrow, while he discarded the Adire shirts for brightly coloured jackets and flowing kimonos, left unbuttoned to show his new buff physique, completing his look with tinted glasses and loose fitting pants. His switch in music was a lot less acute. For "Before You Wake Up", his first solo single of 2019, he maintained a similar delivery but production was different, employing more studio-made Afrobeats rather than the live drums and keys he was more popular with. Also subtle was his use of English and Pidgin for the entirety of the single, in the past Adekunle Gold had relied chiefly on Yoruba.
It was in 2020 that he properly donned the artistic personality he would take for his next era. First came "Jore", a duet with Kizz Daniel that leaned into Kizz's brand of casual afropop that was backed by catchy lyrics and a flowing beat. Then he released "Something Different", which was as it was named, a continual of the sonic detour he was making towards the mainstream. In mid 2020, “AG Baby" was released, the manifesto for his artistic vision; on the track he alludes to being the "street boy popping on the mainstream shit". “AG Baby’ was homonymous with his new persona, and on his next album, “Afro-Pop Vol. 1”, he delved properly into who he was now and what to expect of him. A song like “Okay” handled this orientation nicely, as he spun the mid-tempo pop groove into a song deriding his haters.
While AG Baby was morphing into the popstar, Adekunle Gold was settling into family life. His marriage to Simi was for many a bolt from the blue, but insiders into the couple’s lives knew they had been an item even before either of them made their debuts in the industry. Simi had produced, as well as mixed and mastered a chunk of Adekunle Gold’s Gold album, and Adekunle has gone on record to credit her with helping him find his music style. The pair had collaborated across a number of tracks over the years, each time bringing amazing chemistry that most fans did not know was the product of real life love they shared. On January 17th they released “Promise”, a tribute to their new union and the first official announcement of it. A little over a year later, in May 2021, “Happy Birthday”was released; a love letter to their daughter, Adejare on her first birthday.
2021 also saw him release three successful singles that would appear on his next album, “Catch me if You Can”, “Sinner” and “It Is What It Is” followed the laid back, less-is-more delivery of his newly perfected style. But “High”, featuring industry heavyweight Davido, was a different dish altogether; an Amapiano heavy hit, foreshadowing another shedding, or perhaps more accurately, an extra layering of personality that would lead AG Baby to give way to Tio Tequila. The lover boy Adekunle who had withstood the transition from Adekunle Gold to AG Baby evolved to another man for whom “Love is not enough”.
His latest project, Tequila Ever After, is named after this new persona, and here he slows down his Afropop cadences to take in parts of Dancehall and RnB. By far his biggest project, Adekunle Gold assembled RnB megastars like Pharrell Williams and Khalid as well as budding Nigerian street stars like Zinoleesky and Odumodublvck. He has already hit the charts with two singles, “Ogaranya” and “Party No Dey Stop”, so he will be hopeful others can quickly follow suit. More importantly, though, he will hope his new project, and the persona he introduces with it, can significantly advance his global intentions. Adekunle Gold has described his latest project as a celebration of his wins so far.
With a solid discography encompassing five successful projects, a recently bagged contract with an international label in Def Jam Records and a career about to reach the 10 year mark, a celebration is much needed and well deserved. As the artist readies himself to consolidate his position in the Nigerian market and expand his wings even further beyond the shores of the country, he can take a shot of Tequila and toast to his wins so far, because it only gets better from here.
This article was written by Afrobeats City Contributor Ezema Patrick - @ezemapatrick (Twitter)
Afrobeats City doesn’t own the right to the images - image source: Instagram - @Adekunlegold
BURNA BOY REAFFIRMS HIS GREATNESS ONCE MORE WITH "I TOLD THEM..."
Ever since the stroke of luck or carefully planned commercial move that was the release of "Ye" in January of 2018, Burna Boy has not stopped rising. The song that led to his meteoric rise was a part of his album, Outside which marked his major label debut. With the success of the album shooting him into universal acclaim, he wasted no time in declaring himself the African Giant with a new album released in 2019. He kept with the pace by releasing his fifth studio album which he named, in true smug Burna fashion, Twice as Tall. Five years and a few weeks after that first alignment of stars, Burna is still steady on his grind and as confident as ever with his new body of work, I Told Them…, his fifth album in six years. The title is no doubt drawn from the same self-assured state of mind that the previous ones were.
Burna's greatness shines through from the very beginning of the album as his unique artistry is put fully on display here. He begins with a palm wine music–inspired, slow tempo song with traditional percussion. "I told them", he says and he repeats it, and his delivery is very much "I told you so". It is a clear payback to all those who didn't believe in him. He sings his own praises, calling himself amongst other things; a genius, a giant, the master. GZA, of the legendary Wu Tang Clan, comes in at the end with a spoken word rendition. Burna's self proclaimed genius is evident not only in this song but in the entirety of the album which is a unique blend of different elements and influences, featuring snippets, excerpts and samples from other musical works, banter with friends and phone conversations all carefully curated to create an inimitable work of art.
"On form" for instance, is both Afrobeat and Afrobeats and he mixes English with pidgin and Yoruba. "E no go tire me, nothing we never see", Burna sings, assuring us that he does not plan on quitting anytime soon. Burna travels through time in the earlier released "Sittin' on top of the world" which features a sample of Brandy's 1998 single, "Top of the world". It is a funky delight and a perfect throwback to the vibes of the late '90s and early 2000s.
Is it really a Burna Boy album if it doesn't feature a bit of political activism in some form?. On "Cheat on me", Burna takes a break from the focus on girls and money which occupied most of the earlier tracks, to pass a message about the prejudiced treatment of Africans by foreign governments; "Make embassy no deny my people visa/ No be Taliban, no be Al-Qaeda". Dave makes an appearance here but the potential of his verse is hindered by what could bluntly be described as lazy writing. He borrows multiple rhymes from Burna; "Believer", "Kilometer" and "Visa", using the last to end three different lines. Dave, also Nigerian, missed an opportunity to deliver a resonant, patriotic verse that could perhaps rival that of Skepta in "Dimension". On this song as well, Burna reworks a sample, this time from English singer Kwabs' "Cheating On Me", though this snippet bears only sonic but not thematic connection to Burna's new album. "Big 7" bears a similarity in rhythm to "Sittin' On Top Of The World", calling to mind early hip hop culture while Burna Boy grittily brags that he's been "Wavy since London, wavy since Berlin", referencing European cities from his tours on his journey to world domination.
But despite all of this, Burna is not forgetting his home and people. He takes a quick trip back home with "Giza", an Amapiano track with Seyi Vibes that is simply perfection, beginning with the ethereal sound of the Ney, the Arabian flute, and followed by rapidly mounting, light percussion. Seyi begins the track with characteristic spoken-word rap, and Burna's deep bass glides so smoothly into the second verse that it might take you a second to notice when the baton was passed. On "If I'm lying" Burna returns to foreign soil, this time somber and sincere. His delivery is assisted only by a few guitar strings and toned down Middle Eastern vocalization that gives a naked poignant beauty to the RnB song. Burna puts on no airs here, baring himself to the world. "Everyday I just dey give thanks for life/ Know how to move 'cause I know sacrifice", he begins. Not long after he promises; "If you need a shoulder to cry, then I'll give you mine".
On the next song however, Burna draws from a completely opposite emotion—anger. "Is this the motherfucking thanks I get/ For making my people proud every chance I get", he begins furiously. Like the Dave assisted "Cheat on me", this song too is about his people, but where he had pled on their behalf for respect from the outside world on the previous song, on this one, he berates them for what he believes to be a gross ingratitude for his many gifts, including his founding of Afro Fusion and being the blueprint for other African acts seeking global fame. He confronts them with their accusations and claps back at their threats, sacrificing melody for message, so that the song is not as appealing as most others. "Thanks" features hip hop heavyweight, J. Cole, whose verse would have served better on one of the grander rap-leaning tracks rather than an Afrobeats track that fixes on a domestic squabble between a man and his people.
I Told Them… had been much anticipated since its announcement, but even more so in light of Burna's recent interview with Apple music where he made some controversial statements about Nigerian music's lack of substance. Ironically, many of the songs on his album centre on hedonistic pursuits - Afropop staples. There was talk of "Azul and champagne" in "City Boys", "Rocking your body" in "On Form" and in "Normal", he makes us know that none of this is excessive in his book. But this is Burna Boy, and flippant and dismissive comments are not a new thing coming from him. And perhaps he could be exonerated on the grounds that he is one of the few artists in the business who regularly ventures out of that banal box to create timeless pieces of art.
With I Told Them… Burna Boy manages to pull off what many African artists have failed and are still failing at; creating a sound that will tie two worlds together. He not only does this effortlessly but even manages to bring in slices of different subcultures - African-American hip hop, Afrobeat, Afrobeats, Reggae fusion, Amapiano and RnB. The album is a patchwork of cultures, it is Burna's journey through space and time collecting bits and pieces here and there for an enduring album. I Told Them… is Burna taking another giant step across continental waters to claim new territory whilst still managing to carry along his already conquered turfs, putting his versatility and ingenuity on full display for the world to see. The African Giant need not try to tell us of his greatness anymore as he has proven it to us time and time again. But knowing Burna, there is no doubt that he will continue to.
This article was written by Afrobeats City Contributor Prisca
Afrobeats City doesn’t own the right to the images
In many ways, Damini Ebunoluwa Ogulu was always made for greatness, but for the longest time he was one of only a few who believed it. As it happens with those with the strongest wills, this inner conviction of who he was meant to be would prove sufficient to propel him to his destination. With his journey to the top of Nigerian (and African) music now complete, and as he soars to achieve a similar dominance at the global level, it is important to remember that, though he has slid into his star status with all the ease of a natural, his pathway to the summit was not always a straightforward one.
After a spell spent studying in the United Kingdom, which infamously ended in an arrest, Burna Boy returned to Nigeria to pursue his dream endeavour—music. The year was 2011, and Afrobeats—the dance-ready, percussion-focused medley of indigenous sounds with foreign influences—had taken flight. It was a pivotal time in Nigerian music, as the stars who had ruled the last decade—like D’Banj and 2baba—began to wane in influence, while the acts who would take the baton for the next decade, like Wizkid, Davido and Olamide, were taking the first steps of their careers.
In this mix, too, was Burna, and with neither the support of a major label nor an external source of financing in its place, he would have to make things work by himself. As a result of this, his earliest musical efforts, however excellent they were sonically, could not make a commensurate commercial and cultural impact. But he was not entirely alone. He was aided by his manager and mother, Bose Ogulu, who had some ties to the music industry; her father, Benson Idonije, was a music journalist who had managed Fela Kuti. Together with Aristokrat Records and its in-house producer, LeriQ, Burna Boy and his small band of creatives and executives sought to make a dent in Nigeria’s music market.
His earliest forays came via mixtapes. Burn notice: The Mixtape was the first of them, released in April 2011 on the strength of a few singles like “Remember The Titans” and “Wombolombo Something” that were making local ripples at the time in the Port Harcourt scene. He followed up in November with “Burn Identity,” and for this sequel he recruited national stars like Davido and Sauce Kid. These mixtapes were part of an elaborate build up to his debut album—in place of the EP format that is the more common route today. But before its arrival, he needed a spark, a breakout single that would establish him beyond the confines of his Port Harcourt base.
That would come in 2012’s “Like To Party,” which was as true a reflection of Burna’s carefree spirit as could be accurately transcribed in music. Set to dancehall and raggae production that favoured a more tranquil side of afropop, Burna created the perfect beachside song, turning the rejection of his affections—”I been begging but you no wan gree/ Say you you know want me” into a genuine excuse to craft the memorable, wild party. Ingredients like these are never wasted in the hands of the right chef, and Burna was able to draw from his uniquely guttural-yet-soulful vocal range and create what many regard to be his proper breakout single.
Burna Boy would bring all of this to his next release, “Tonight,” this time soaking in some sultriness to set this song in sensual waters. “Said tonight will be your night/ Gotta be doing something right,” he sings, as his chorus loops a single nonsensical word until it becomes the soothing balm for a Friday night’s groove after a work-filled week. For his efforts in 2012, Burna tied for first at the Headies rookie competition, which rewarded underground stars with a chance to perform on the stage of Nigeria’s premier music awards.
His introductions now out of the way, it was time to unveil a much-awaited debut album. Succinctly titled Leaving an Impact For Eternity, it was supported by a quartet of pre-released singles, (“Like To Party”, “Run My Race”, “Tonight” and “Yawa Dey”) whose quality foreshadowed good tidings for the album—a bar that Burna and LeriQ had no problems crossing with its release. They were in complementary form, working in dancehall, hip hop, reggae and elements from Fuji into the 19 track LP (for its deluxe). LeriQ shone especially in his ability to craft pop songs without dipping into the explosive Ghanaian-tinged production that was all the rave back then, the cloth from which Wizkid fashioned the bulk of his Superstar album—ensuring Burna Boy could light up a party with every bit of his distinctiveness intact.
L.I.F.E. was a scripting of Burna Boy’s status as he simultaneously affirmed his new position as an uprising star whilst arguing that he should be so much greater. You see, this drive, nearly bordering on discontent, has been the force behind his career, and the reason why his newfound material comforts—the fame and money—in no way slowed his momentum. Worsening economic conditions in Nigeria have made a few prospective endeavours choice paths for those seeking an escape from a harsh upbringing into a much better future. Music is one of these, but Burna Boy’s hunger has always been for greater things.
This drive, like the flip side of a coin, is also his weakness. In 2014, a year after his debut album had established a place for him in the industry, cracks began to appear in his lean, mean team. The first of these would come in July, when he appeared to relieve his mother of her managerial duties via a now-deleted twitter post, in which he infamously announced it was time to "let my mother be my mother and let my manager be my manager". Bose Ogulu would come out a few days later and attempt to throw some clarity to this statement, but while that episode was still playing out, word came out that he had left Aristokrat Records, the imprint under which he had released all previous music. That turned out to have been a mutual separation following contract expiration and non-renewal, but it effectively meant he would have to record his album without his mother-manager, Aristokrat Records or LeriQ, its in-house producer.
The result was about as bad as could be expected. Burna Boy had a rough 2015, most of it self-inflicted, so that at the time of the release of On A Spaceship, he had managed to threaten the media, exchange words with fellow artists, and berate award shows, and for anyone who had missed any of his shenanigans, he made the baffling decision of taping an interview of a journalist outlining his flaws and making it his album intro. That, save for the brooding, Fela-inspired album closer, "Soke", was the most exciting point of the album, the rest of which placed somewhere between forgettable and unoriginal. In the end it was clear that On A Spaceship, and the decisions that led to it, was a big misstep for Burna.
He would then spend 2016 reversing the wrong decisions that had brought him here. He mended fences with Aristokrat Records and was once more back with LeriQ, and though he would still release future music under the self-owned Spaceship Records, he could receive A&R guidance from his former label. Less than a year after On A Spaceship, he released Redemption, an EP celebrating not just these healed rifts but his re-entry to the UK, 5 years after he had received a ban for illegal activity. Redemption was also the earliest attempt to ‘westernise’ his sound, as he and LeriQ slid even deeper into his low-tempo grooves, emerging with a grinding dancehall joint like album opener, "Pree Me".
Redemption was not the instant return to top form that he might have envisaged, as it struggled to both reaffirm his national position and establish a foreign one in only 7 songs, but he was clearly making steps in the right direction. It would take two more years of work and creativity, and a return to Bose Ogulu as manager, for them to pay off, and this happened with his next album, Outside. It was named for Burna’s desire to stretch his influence beyond Nigerian and African borders, but it excels for his abilities to tie these diasporan visions to an African identity, a hurdle that Wizkid’s Sounds From The Other Side, also sharing this world-conquering vision, could not clear. In many ways, Outside was the birth of the Burna Boy’s superstardom: it was the perfection of the self-styled Afrofusion, where samples of Fela Kuti’s “Sorrow Tears And Blood” on “Ye” sit beside EDM on the titular track which sits beside the patois-dripping, ragga-influenced “Sekkle Down” which sits beside the ethereal, chest-thumping “Heaven’s Gate.” Burna Boy, the conductor of this mix, not only makes it work, but achieves cohesion in a way only he can.
The album also housed the sleeper hit “Ye”, which, with a tinge of luck supplied by publicity brought by the homonymous Kanye West album, took off for what was his first global hit. Outside was also the first lap of a three-year, three-album spell in which he asserted himself incontrovertibly in global conversations. African Giant, which came next in 2019, was fueled by the same Afrofusion cocktail, and with the album (and the circumstances surrounding its name) he introduced the world to his grandiloquence and the talent that inspired it, before 2020’s Twice As Tall clinched for him a much-coveted Grammy and brought to a fine conclusion his intercontinental dominance arc.
With last year’s Love, Damini released in his new status as a bonafide global superstar, and then becoming his most-streamed project, Burna Boy has now all but completed what ambitions must have spurred his entry into music in the first place: A host of major awards in the bag, unforgettable performances at some of the most iconic locations in the world, a teeming fanbase more than ready to draw arms in defence of his (many) gaffes. Knowing Burna, you would still not expect him to be satisfied.
With great talent sometimes comes an outsized desire to make it known to as many people as possible, and an ever-throbbing impulse that tells you you can do even more. Burna crams all of this triumphant euphoria into his latest single, “Sittin’ On Top Of The World," and while it marks some deviation from his patented Afrofusion, we can rest assured that Burna’s plans for his next album and era will embody every bit of the excellence he has exuded at every stage of his storied career thus far.
This article was written by Afrobeats City Contributor Ezema Patrick - @ezemapatrick (Twitter)
Afrobeats City doesn’t own the right to the images - image source: Instagram - @Burnaboygram
The Yoruba people of South Western Nigeria attach a culture and celebration to name-giving. A naming ceremony in Lagos, where Tems was raised, is a robust event, drinks flow, relatives flock, and it's not uncommon for one to last into the night, or perhaps trickle to the next day. To them, a name is not merely a word to which one responds, it is a mark of identity and at once a prayer, a means by which loving parents and relatives may confer good wishes to a child. Her name, Temilade, translates from Yoruba to mean "the crown is mine" and if her dizzying journey in recent past is anything to go by, then the names given to her 27 years ago - little parcels of love and prayer wrapped in words - are guiding her. She is owning her crown.
2021 was a dream year for Tems. No matter how optimistic her new year prayers were, she probably didn't envision moving from a collaboration with an Afrobeats heavyweight like Wizkid to co-starring with acts like Drake and Justin Bieber. She's seen herself make friends of those who previously were idols, receive career advise from Rihanna, and, most recently, win a historic two awards at the BET, the most ever by an African act in a single night. Her voice is her greatest asset. Massive, yet immersive it seems to fill the room in which it is played, easily transversing skin and bones to lodge in a spot she created, a place from which she emerges to rouse feelings of escape, of love, of freedom and power. Her sound is unique, and she does not blur genres as much as she simply creates her own space, into which she draws ingredients of R&B and soul, reggae and pop for a cocktail that is new, bold and exciting every time.
'Crazy Tings' are happening for her right now, but her music journey began in the most modest way. "Mr rebel", her first ever single, was a child of resolve and ingenuity. Unable to hire producers good enough to make her sound like she wanted to be heard, yet affordable enough to fit into her tiny budget as an independent act, she took to learning production herself from DIY videos on YouTube. And this, the first fruit of her determination is a breezy, mellow RnB affair In which she affirms confidence in her abilities (I’m the sound on the ground, I'm the winning sound/ I'm the crown, I'm the vibe) while searching for and desiring to take care of a mysterious "Mr Rebel". She quit a promising career in marketing to focus on music, so the wisdom of her decision hinged on the success of this first single. With it she earned a small but dedicated following. If "Mr Rebel" was the laid-back wistful longing for a special person, "Try Me", Temilade's breakout single had her sit up to take charge of her emotions as she outgrew her fears and celebrated freedom in a tune that may sound African, Western and Jamaican without firmly belonging to any category. "You wanna lock me away, I'm winning/ You wanna add to my pain, I'm shining" she asserts on the bridge, with the confidence of a voice that knows just how good it sounds.
Her ascent since this single has been a blur. Seeking to build on the attention her singles had gathered, and to provide a body of work for the satisfaction of her eager, newly-gathered fans, she released For Broken Ears in September 2020. With 7 tracks, it sits at the intersection between album and extended play, and while it's exact identity may be up in the air, there's no doubt as to the themes she intends to highlight on this debut project. "Damages", the single released first to rally support for it, sees her heal from scars and promptly end a relationship that no longer measures to her standards. It's classic Tems, her big voice towered only by her bigger attitude, and these two features remain a constant for most of the album.
On the 23rd of February, 2020, Afrobeats chieftain, Wizkid took to his Twitter account to announce "Tems and I created magic", a tweet that is now recognized in fan circles as the very first chapter in the story of essence, the smash from his Grammy nominated Made In Lagos. The track itself arrived eight months after, and it was a savory affair, Tems is transformed into the luscious sweetheart we rarely ever get to see as she trades lines of love and longing with a pleasant Wizkid, who is right at home in a song like this. Throw in delicate R&B production with traces of Caribbean and Afropop elements, and it's no wonder it was the fuel for so many evening grooves as one of the songs of the summer of 2021, proving irresistible for even Justin Bieber, who simply had to jump on it's remix. His countryman, Drake, responded to the success of this single by immediately tapping up Tems to feature on "Fountains", a track off Certified Lover Boy that was the next milestone passed in Tems' journey. It's slow-burning afropop production, breezy beachside vibes and of course, Tems powerful, sultry delivery are lines that can be drawn between the two songs.
Off the back of intercontinental success, her latest EP, If Orange Was A Place, arrived to a much larger reception than her earlier effort. And while a wider audience must be the desire of every creative, greater publicity brings with it closer scrutiny, a more critical look and mounting pressure to keep fans it took so much effort to gather. But if any of these fears plagued Tems in the production of this extended play, it definitely doesn't reflect on its quality or focus as she's been able to produce a work that is just as good as her debut. She stuck to her guns entirely, choosing to double down on all the features that brought her to limelight in the first place while her happier and more balanced mentality reflects in her songwriting.
Her most recent appearance is on Future's "I NEVER LIKED YOU". She's not given much to do here, her contribution is a sample of Higher, off her first album. But what was the most intimate spot on "For Broken Ears" is made into the foil to Future's slurry delivery and Drake's snappier lines on "Wait For You" and it's a rivetting success. The song's especially warm reception speaks to her rising star power in the stateside market, almost as much it does to the rap duo's massive pull.
The sky is the limit now for Temilade. She's established her talent and then reiterated it with successive, successful EPs, and with a feature from Wizkid and advise from Rihanna already in the bag ahead of the album that's expected to arrive this year, it is safe to assume 2022 will be an even better year for Afrobeats' new darling.
This article was written by Afrobeats City Contributor Ezema Patrick - @ezemapatrick (Twitter)
Tiwa Savage is past a decade into her time in Nigerian music, and while it remains a fast-moving industry where today's success does not guarantee tomorrow's, there are a few who have applied enough consistency to remain in Nigeria's upper echelons for extended periods. Names like Wizkid and Davido are more often referenced under the subject of longevity at the top flight, but Tiwa Savage's quality of talent, her knowledge of the taste palate of the Nigerian audience, and her willingness and ability to adapt to changing music and publicity trends—incredibly important for our ever-evolving industry—should warrant a level of recognition that is at least on par with these stars. Throw in Nigeria's conservative, patriarchal system that tries to tell women what they can or cannot do, and the extent of success they can achieve with it, and her story takes on an added significance.
The first few years at the start of the 2010's were, in retrospect, some of the most critical in Nigerian music's history. While many will point to the last few years as Nigeria's more visible epoch, many of the artists that have brought us so much glory made their introductions between 2010 and 2013. At the turn of the decade, Tiwa Savage was a member of this contingent, returning to Nigeria after a long spell in the UK and USA spent acquiring an education. Having featured as a back-up artist to stars like Mary J. Blige and George Michael, studied Jazz at the Berklee College Of Music in Boston, USA and gotten a Grammy nomination as a co-writer on Fantasia's Back To Me album, her credentials and ability were effectively beyond doubt, so what remained to be seen was her adaptation of a foreign-honed skill set into Nigeria's characteristically turbulent Afropop production.
Her first single posed to dispel these doubts, as the exuberant "Kele Kele Love" put silky, heartstrung writing into Afropop's percussion driven soundscape, so while her vocals and writing were evocative of more exotic locations and their influence, her use of pidgin and yoruba pulled the track closer to home. Its reception was rapturous, and love for Tiwa and her debut single poured in from across Nigeria. With "Love Me, Love Me, Love Me", she sought a recreation of this impact, and she achieved it by sticking to many aspects of the original that had made it so accepted. So as a rejection of half-hearted commitment from a partner morphed into a plea for more affection from a lover, form slightly while the substance of passion-laden pop remained unaltered.
Up until this time, while song performances were fast shifting her status from newcomer to Afropop queen, a lot was still left to be done on the management side of things before she could ascend this throne. Her management in 2011 was split between 323 entertainment (co-owned with her husband) and the Cecil Hammond–owned Flytime Promotion, but for the next big step, she would need the backing of a larger label, and we now know Don Jazzy's Mavins would provide this stepping stone. But before that label update came, the pair first linked up on Tiwa's "Without My Heart", her last single of a very packed, wildly successful debut year. For the December release she dived even deeper into her feelings, and returned with what was her most tender side yet. Her partner was an even more important part of the song, and although 'artist' is the least used of Don Jazzy's many titles, he sported enough chemistry with Tiwa to soften the surprise when he eventually picked her up for his newly formed Supreme Mavin Dynasty (or Mavins) the following year.
At Mavins, Tiwa joined forces with Don Jazzy himself, Dr. Sid, D'prince and Wande Coal. All male artists with a lot more years spent in the field, but if she was at all intimidated, she did not show it. She was, after all, two years into her time in a male dominated industry, and even that had not put a stop to her meteoric rise. Her first contribution as a Mavin artist, and indeed the first release from any new member of the label, was the group album, Solar Plexus. The LP debuted to mixed reviews, with many faulting the little time taken to prepare it, and while it couldn't rise beyond its weaknesses, Tiwa Savage was an obvious bright spark on the Solar Plexus, and a sign that she bore a lot of potential ready to be tapped by Mavins.
Her solo album, Once Upon A Time, brought this to fulfilment in 2013; it was an especially strong debut indulgent in the electric, sugary pop she had made her forté. And despite demand and supply having decide this to be the safest and most rewarding soundscape to operate in, she for made room too, for a Rihanna-sequel reggaeton take on crime and murder ("Wanted") and Yoruba RnB musings on loss and grief ("Olorun MI"), and performances like these helped embellish what was already a superb love-laced debut.
But it was not exactly smooth sailing for the singer, especially against the currents of a patriarchal society keen to police womens bodies—where an audience comfortable with male artists using female vixens for their videos throw a fit when women take control of their sexuality in similar scenes. So while religious and cultural discussions were thrown up, discerning eyes always knew these reactions to be of purely misogynistic origins.
While whispers of indecency had hung in the air after the release of "Kele Kele Love" and "Love Me" videos, these did not coalesce to become popular controversy until "Wanted" made its video debut in 2014. Tiwa Savage was the sole star there, turning out in a nude bodysuit that only obscured her most private areas, and as she spent the video's 3-and-a-half minute runtime dancing lasciviously in a performance that was delivered with every intention to seduce, reactions to the video's debut were predictably sexist. Most commenters cycled through the expected tropes—comparing her to a sex worker, branding her Un-african, and, of course, throwing her marriage in her face like it was some slave contract. But Tiwa was unfazed. She might not have had her coming-of-age in the country, but she knew enough of Nigeria's close minded hypocrisy to have anticipated such a response, and she was happy to accentuate an underreported ill many women still suffer.
Her personal life would come to the fore again in an even more prominent way in 2016, when cracks first began to appear in her marriage to Tunji Balogun, her husband of two years and business partner of longer. In a messy episode first started by Tunde on Instagram before Tiwa responded 24 hours later via a Thisday interview, the couple took turns hurling accusations of infidelity, financial impropriety and even witchcraft at each other. They held things together for a further two years, probably out of consideration to the child and record label they shared, but a permanent split was thought to have been effected sometime in 2018.
Back in the studio she continued in spotless form. She released her sophomore album, R. E. D., in 2015, and its title—Romance, Expression, Dance—was a fine summation. The album saw Tiwa Savage glide through a more diverse soundscape, but one that was always kept danceable and sexy. Her improved status in the industry was represented in its features, as she was able to call on names like 2face, Wizkid and P Square (for the deluxe) to great results, allowing Don Jazzy some rest as he only had a single contribution to make this time around.
Her love and adeptness for finding and executing the right collaborations must not go without mention. Her passionate delivery makes her the perfect foil for romantic anthems, and it ensured early in her career that she was kept busy trading lines with male artists like Flavour ("Oyi" remix), Patoranking ("Girlie O" remix), Wizkid ("Bad"), Sean Tizzle (Igi Orombo), Kizz Daniel ("Woju" remix) and more. With these, she leveraged on the popularity of (then) bigger stars, smartly helping to raise her own profile in a male-centric industry, and providing substance to her claim to Nigerian pop's queenship.
After the success of 2020's Celia, the buoyant, socially-aware album named after her mother, her most recent project, 2021's Water And Garri allowed her to collaborate more with female artists as well, a decision that came to pay off heavily when Somebody's Son (ft. Brandy) came to national fame. The EP also carried another female vocalist, Amaarae, the Ghanaian songstress whose effort on "SAD GIRLS LUV MONEY" had placed her in the frontlines of the Afrobeats to the world movement. And even now that her position in Nigerian music is incontestable, Tiwa Savage continues to find tracks on which she can keep up with emerging sounds and artists of the industry. She collaborated with Asake for "Loaded', a single that capped a perfect 2022 for the Street Pop act and allowed Tiwa an entry into the Fuji-Amapiano zone he operated in. In 2023 she has shared credits with Majeed, Spyro, and most recently, Young Jonn and Ayra Starr, and with collaborations like this she can obtain perpetuity, welcoming a new generation of artists and subsequently, audiences, to her discography.
In an industry where Tiwa Savage has already more than doubled the average artist's career span, there may be some who will pose questions about just how much longer she can keep going at this level, but these doubts are no much different in substance from those that stood in her way at her arrival, only that time they took the form of her gender and sexuality. A combination of blistering talent, fierce expressiveness and smart collaborative effort should ensure Nigeria's queen of pop can extend her dominance for much longer.
This article was written by Afrobeats City Contributor Ezema Patrick - @ezemapatrick (Twitter)
Afrobeats City doesn’t own the right to the images - image source: Instagram
