#Afrobeats uk

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Rema, The Prince Of Nigerian music

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

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

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

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

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

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

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

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

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

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

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

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Tracklist:

Yesman • Elevator • Weedkiller • Straylight • More Of You • Sticks • Easy • No Other • Face Up • Frustratin

Bandcamp

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London Afrobeat Collective - Esengo

Taking inspiration from afrobeat father Fela Kuti as well as artists including Ebo Taylor, Parliament, Funkadelic and Havana d’Primera, London Afrobeat Collective’s music and multi-lingual performances in English, Spanish, Lingala, and French have won them admirers across the UK and Europe. On the 14th February, they are set to release their new album ‘Esengo’ via Canopy Records. This eight-strong multi-cultural collective from England, Italy, France, Congo, Argentina, and New Zealand, combine traditional afrobeat and hi life with funk, jazz, Latin, and dub to deliver party music born of their truly global DNA. With recent knock out performances stretching from opening the Edinburgh Jazz and Blues Festival (Scotland) to Bardentreffen (Germany), Tempo Latino (France), Couleur Café (Brussels), Cully Jazz (Switzerland), Earth Garden (Malta), Kala (Albania), Jazz in the Park (Romania) and many more venues across Europe, the band have also been busy in the studio, working on their fourth studio album. The resulting ‘Esengo’, produced by Sonny Johns (Tony Allen and Hugh Masekela, Oumou Sangare, Ali Farke Toure, Polar Bear), showcases London Afrobeat Collective’s love and respect for the traditions of afrobeat. With acclaimed Congolese singer Juanita Euka on vocals once more, ‘Esengo’ channels the spirit of Fela Kuti but with a willingness to create original music that crosses genres. The players: Juanita Euka (vocals), Alex Farrell (rhythm guitar), Alex Szyjanowicz (lead guitar), John Mathews (bass), Luigi Casanova (bass), Giuliano Osella (drums), Richie Sweet (percussion), Klibens Michelet (Baritone Saxophone) and Andy Watts (Trumpet). 

[my-chaos-radio]

Release: August 25, 2003

Lyrics:

My milkshake brings all the boys to the yard

And they're like, it's better than yours

Damn right it's better than yours

I can teach you, but I have to charge

My milkshake brings all the boys to the yard

And they're like, it's better than yours

Damn right it's better than yours

I can teach you, but I have to charge

I know you want it

The thing that makes me

What the guys go crazy for

They lose their minds

The way I wind

I think it's time

La la, la la, la

Warm it up

La la, la la, la

The boys are waiting

La la, la la, la

Warm it up

La la, la la, la

The boys are waiting

My milkshake brings all the boys to the yard

And they're like, it's better than yours

Damn right it's better than yours

I can teach you, but I have to charge

My milkshake brings all the boys to the yard

And they're like, it's better than yours

Damn right it's better than yours

I can teach you, but I have to charge

I can see you're on it

You want me to teach the

Techniques that freaks these boys

It can't be bought

Just know, thieves get caught

Watch if you're smart

La la, la la, la

Warm it up

La la, la la, la

The boys are waiting

La la, la la, la

Warm it up

La la, la la, la

The boys are waiting

My milkshake brings all the boys to the yard

And they're like, it's better than yours

Damn right it's better than yours

I can teach you, but I have to charge

My milkshake brings all the boys to the yard

And they're like, it's better than yours

Damn right it's better than yours

I can teach you, but I have to charge

Oh, once you get involved

Everyone will look this way, so

You must maintain your charm

Same time maintain your halo

Just get the perfect blend

Plus what you have within

Then next his eyes'll squint

Then he's picked up your scent

La la, la la, la

Warm it up

La la, la la, la

The boys are waiting

La la, la la, la

Warm it up

La la, la la, la

The boys are waiting

Songwriter:

My milkshake brings all the boys to the yard

And they're like, it's better than yours

Damn right it's better than yours

I can teach you, but I have to charge

My milkshake brings all the boys to the yard

And they're like, it's better than yours

Damn right it's better than yours

I can teach you, but I have to charge

Chad Hugo / Pharrell L. Williams

SongFacts:

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Homepage:

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Vybz & That 2: 2024 Afroswing Mix out now🇬🇧🔥

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My weekly chart (10 Jun 2024 - 23 Jun 2024)

That's what I like. That's what surrounds me. That's what creates my mood.

*Created by my preferences only*

Аll 10 chart positions in 4 minutes here -> https://youtu.be/QYdykdm-ULQ

10. Britton - TIPTOES

9. Stela Cole - Now Or Nevermind

8. VERONIKA - Зупинись

7. Ha Vay - Nature's Bride

6. Sylo - Babyboo ft. Nonso Amadi

5. АЗІЗА & гліб співає - Раз

4. Ashley Singh - Soul Tied

3. Lola Young - You Noticed

2. Mahmood - RA TA TA

1. Gorim! & Yuzvik - Fire show

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#SONGOFTHEWEEK: celebrating love in all forms, @official_megzz shares her latest single, LOVE TONIGHT - a delightful blend of Pop, R&B and Afrobeats ❤️

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Wondergirl in Paris

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BNXN IS REACHING FOR THE STARS

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

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

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

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

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

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

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

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

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

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

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

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

Afrobeats City doesn’t own the right to the images

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REMA | Backstage At UK Rave

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Kokoroko - Get the Message

Kokoroko, the London-based contemporary jazz collective, has released their new single ‘Three Piece Suit’ featuring Azekel. Warm, rich and sumptuous in sound, ‘Three Piece Suit’ is a heartwarming tribute to the Nigerian immigrant experience. An initial draft of the track first began life at Kokoroko’s studio under the working title ‘Get The Message’. Crackling through the track’s snug and patiently-arranged grooves are subtle touches of funk, adding new dimensions to the band's signature afrobeat and jazz sound in a way that recalls the work of Cymande. Further caressing the instrumentation is the incorporation of the Brazilian nose flute and woozy-sounding synth lines, effortlessly transporting the listeners back in time.

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Tracklist:

O bosso • Kwele • Mawakanda • New Breed • Kusema • Stay Humble • High Level • No Unga Bunga • Jungle go dumb • Pana Njia

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