Pgm Live Make Music Day 2

make music lagos

The PGM Club presents World Music Day. Join us as we celebrate music.

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PODCAST

LIVE INTERVIEWS

Join us as we feature guests on our Weekly show. 

Crayon, Wavy The Creator & Tomi Thomas Feature On The Push Good Music (PGM) Radio Show

This is another must-listen episode of the PGM Radio Show!  On this episode, new Mavin Afropop wonder kid Crayon is inducted into the PGM Family, Wavy The Creator comes back to exclusively premiere the remix to her smash hit single Body Deep, featuring the Queen of Afropop herself, Tiwa Savage, and Tomi Thomas discusses Illusion and his yet to be released, Healer Project.

PGM Radio Hosts Barely Big Enough, Chillz, Mich Straaw & Shody Tha Turn Up King!

Last night we premiered new music from Kida Kudz – Moonwalk and pushed a lot of new projects such as Barely Big Enough from ace producer Big Foot & BarelyAnyHook, Good Vibes Vol.1 from Chillz, Untitled from Mich Straaw and finally we introduced Shody The Turn Up King to The Push Good Music Club and talked about a variety of subjects such as – The Age of consent in NigeriaAQ Vs AltéAQ Vs Fresh L and so much more….

Listen in …on iTunes / Spotify/ SoundCloud.

DWATCHLIST

NEW ACTS

New acts are popping up every week and it’s our mission to unveil them as it happens. 

Garey Takes Us On A Journey Around The City In ‘Private Trips’

Fasten your seatbelt! Burgeoning German-based act, Garey Godson is taking us on a journey around the city of Lagos in his latest single titled ‘Private Trips‘. This is a self-produced record, engineered by his friend and longtime collaborator, HKMK.

Merging colourful Afro high-life guitar riffs to bouncy 808s and mellow marimbas, Garey gives us slick blend of Afro and Western sounds on this tune. This, therefore, gives ‘Private Trips‘ an overwhelming feel-good vibe reminiscent of palm-wine music. Over the dazzling production, Garey implores his love interest to join him on his adventurous private trip around the city.

This song is premiering later tonight on the PGM Radio Show, where Garey will discuss the creative process this record, his career journey and more with Douglas and the club.

Enjoy.

Garey Is Full Of Confidence In New Single ‘Chosen One’

Multi-talented German-based Nigerian singer and producer, Garey Godson has released a new single titled ‘Chosen One‘. The song was co-produced by Garey himself and HKMK, another German-based producer and sound engineer.

This record is a bouncy mid-tempo fusion that fuses Afropop and dancehall with some U.K influences. It finds a confident Garey openly declaring himself as the chosen one. Over the nifty beat, he takes the listener through a journey of self-love, independence and motivation, steady reminding himself to keep pushing himself even beyond the limits.

Garey Godson has an album on the way “Still I Rise“, heavily influenced by the popular Maya Angelou whose seminal work is a poem of the same titled.

MUSIC

NEWS

What’s new in Music this week? That’s the question we aim to answer. 

Is Ladipoe the most lyrical rapper in Africa?

As Nigerians held their breath for the release of the Beyonce-curated album, “The Gift“, Mavin Records act, Ladipoe flipped Nigerian Twitter on its head yesterday with a new sizzling freestyle video. Since the release of his debut tape last year “Talk About Poe“, the rapper has been exploring new radio-friendly sounds with ‘Jaiye‘ and ‘Based On Kpa‘, but now, the wordsmith is re-establishing himself as one of Nigerian hip-hop’s best promises.

Over a slick Ikon production, Ladipoe came through with snarky punchlines and playful boasts all delivered with overbearing confidence. He opens the freestyle with a chest-thumping affirmation, referring to himself as “Nigeria’s best chance of a rapper winning a Grammy.”

Toward the end, he confers on himself a new title, “Leader of the Revolution“, styled as #LOTR which many suspect to be the title of his next project.

Since it dropped, the reaction to this freestyle has been wild, with some fans even going as far as regarding him as the most lyrical rapper in Africa. Peep the freestyle above and tell us if you agree.

Fun Fact: The beat was originally used in Show Dem Camp and Preye‘s joint, ‘Taking Over‘, that closed off the Collectiv3‘s 2018 sophomore album, “Live. Create.Repeat.”

BarelyAnyHook And Bigfoot Release Joint EP “Barley Big Enough”

Bigfootinyourface has had a very busy year. Despite juggling his music with his day job, the multi-talented producer has been steady with his releases all year long. Earlier this year, he teamed up with KEL on her first project in 10 years, “Vita.Amare.Libidine“, and executive produced Pasha‘s sophomore EP, “Love Sex Loud.” He also took upon a ten-week long series tagged the “Downtempo Friday” series in which he teamed up with several gifted acts across a string of weekly releases.

And now, he has joined forces with one of the most talented acts rising through the ranks, BarelyAnyHook, to release a new EP titled “Barely Big Enough.” This project is a brief affair containing just four tracks all performed by BarelyAnyHook while Bigfoot handles the entire production and engineering of the project. Across the project, the pair explore several genres including High-life/hip-hop, salsa noir, blues bounce and what they describe as Fela n’ B.

Barely Big Enough Tracklist

Bigfoot x BarelyAnyHook

Last week, the PGM Radio Show hosted a listening session for the EP, where the pair took us through the creative process behind the production of the project. Interestingly, they revealed that the four songs were all produced in just one night.

They also disclosed that the tracklisting of the EP isn’t set in stone, suggesting that listeners should try to shuffle up the project as every variant listening order brings along a distinct feeling.

The PGM Club highly recommends this project. Enjoy.

NEW VIDEO

FRESH VIDS

Let’s plug in and review freshly released music videos. 

Patoranking Celebrates Daughter In Video For ‘Wilmer’

Just a few hours after celebrating his daughter taking her first steps on Instagram, Patoranking has released the video for ‘Wilmer’, a song dedicated to her. This record is the opener and one of the highlights off his recently-released album “Wilmer“, titled after his daughter.

On this Bera-assisted number, Patoranking professes his unflinching love for his daughter and captures the beauty of his bond with Wilmer.

The GDS Productions filmed video finds Patoranking and friends celebrating his daughter at a gorgeous house party. With lights, coloured balloons, a well-decorated scene, and an all-smiling Patoranking carrying and playing with Wilmer, the video showcases the beauty of fatherhood. No doubt, this is an absolute beauty to watch.

Enjoy the adorable video above.

Stiques Unveils Visuals To His Controversial Ode To ‘Sani Abacha’

Eccentric Nigerian-Bohemian rapper, Stiques has finally unveiled the visuals for his latest controversial single, ‘Sani Abacha‘. This accompanying visual is directed by Mr.Silva, with Stiqler Monsterke leading its art direction.

The video opens a blindfolded Stiques sitting and bopping his head to the beat in a room littered with old newspaper clips. It then quickly switches to him delivering his verses over a red backdrop, symbolic of the bloodshed and tyranny associated with the late General’s rule in the 90s.

Sonically, the record fuses African and Western elements, melding trap music with EDM elements, laced with African percussions. Rapping with a mix of Hausa and English, Stiques gives an ode to one of Nigeria’s most memorable and notorious Head of State General Sani Abacha after whom the track is titled. The song ends with a soundbite of the late General’s maiden nationwide broadcast of November 17th, 1993, when he took over the government.

EDITORS

PICK

Our editors are hard at work everyday to bring your the best releases of the week. 

Deena Ade Came Through With The Spice At Her “May Love Find You” EP Listening

As the world gathered to watch as Arsenal and Chelsea battle it out for the Europa League title, friends, family, fans, supporters and lovers of good music were gathered at Bar Bar in Lekki to celebrate with Deena Ade and watch her perform her new EP live. A few days earlier, Deena Ade had released her new “May Love Find You” EP, and on Wednesday, May 29, she was holding an open live listening session for the nascent project. This would be the first time any of the songs off the EP would be performed live.

Other creators and industry colleagues like BarelyAnyHook, Aye, Tey, A-Q, Bigfoot, Tosan Mac and others came through to show support to Madam Suya.

Rising act, Ovye who opened the night, delivered a captivating and memorable performance that left an impression on many. Right after his performance, the star of the night, Deena Ade is introduced to thrilling entrance music from the band and deafening cheers from the excited audience.

Good evening everyone” she finally says as she thanked us for coming, and promised us a night of amazing music. Backed by the five-piece Gingerbread band, Deena Ade opens her set with ‘Shere’ – standout off her 2018 EP “The Cries Of My Subconscious”, which she describes as a post-breakup analysis.

Her performance climaxed with a run of the songs off the 5-track EP, as she walked the audience through the creative process of each track. Sadly, Dami Oniru doesn’t turn up to guest on fan-favourite ‘Ma Ti Lo’. A song Deena describes as an attempt to get attention from a potential lost-love.

Deena Ade is no stranger to live performances and it showed. She was of course, radiant, confident, fascinating to watch on stage.

With her amiable vocals, her warmth shines through as she breathes new life into the records. “May You Find Love” would never sound the same after this live and intimate experience. Throughout the night, Deena is dazzling, composed and overly thankful for the love and support she receives.

Speaking about ‘Midnight Drive’,the third track off the tape, Deena says, “The day I wrote this, I wanted to emphasise on travelling far to see someone…and I have a lover in Magodo, so I would leave my house several times at night when my mother would probably kill me. So that’s what this song is about“.

She closes her performances with a sultry live rendition of one of her most successful records and her personal favourite, the Bella Alubo-assisted ‘Savage’, 

Right after, Deena engages in a Q&A session about the project, her artistic journey and her influences. When asked what she would be doing if not doing music? She replied, “I’d be a revolutionary”. Deena Ade also reaffirmed her unflinching stand against violence against women and abuse of power.

The “May Love Find You” live listening session was indeed a night of good live music, food and drinks. It was as a reminder of Deena’s gifts not only as a singer and songwriter but also as a captivating performer.

Listen to the EP here.

Photo Credit: The Late Night Soirée

The Nigerian Music Landscape: Survival or Immortality?

“Only real music is gonna last, all the other bullshit is here today and gone tomorrow” – Jimmy Smith (Drake’s ‘Pound Cake’ Intro)

 

Today, we have a breed of young creatives in Nigeria and across Africa challenging the status quo and making beautifully crafted sonics. Despite industry pressures, these acts seem focused on making music that resonates. Such that they craft their stories and experiences into melodies that a lot of their peers can relate with.  Not the extravagant wealth splashes and materialist bluster that characterises the majority of our pop records but baring their soul, fears, aspirations, concerns, insecurities on records. Even when they make ‘feel-good’ or dance music, it is creatively packaged and executed that it sounds so lively and fresh.

When they are singing about love, they view the banal theme from varying lenses, viewing and expressing it via various spectrums such that it doesn’t feel bland, bloated, or repetitive.

It’s amazing that most of these guys are unsigned and independent yet they still put out so much music. Labels understandably care more about the financial returns than the purity of the art because these labels are businesses, with aims to record profits. And many have not found viable ways to market and monetize these sounds so they simply focus on the pop cash-cows.

In comparison to their colleagues and counterparts in the pop world, many view this breed of artistes as fools. Why make good or healthy music when you can just give the people what they want. People want to escape their present realities and just have a good time.

Some might even say, “Why spend so much time and energy creating songs that might not even sell in this market, when you can easily hop on the latest dance trend, get a banging beat and just spill out whatever comes to your mind. It’s not like these people listen anyway. They just want to dance and have a good time, that’s all.”

Sadly, a truth about this set of artists is that they might not record mainstream commercial success all through their careers. They might remain opening acts for the bigger pop stars and scramble for the feeds that fall off the table of these stars. They might not even be able to sell out their own medium-sized venues.

The quest for survival has made some dabble into pop music for relevance. Seeking ways to create pop records that people can easily dance to all while still staying through to their art. Another survival tactic for some is to collaborate with the pop stars and meet them halfway when it comes to music so they can tap into each other’s audiences. There are some, however, that want to make pop records but they just can’t. They aren’t wired that way.

Some have also managed to successfully shuffle between day jobs and their music careers. Thereby, making enough to survive and fund their passion while doing what they love on the side.

However, good music never truly dies. They are often re-lived through samples, interpolations, and mixes. Sometimes, young artists turn to the sounds of the past for inspiration. For instance, Odunsi‘s beautiful “rare.” was hugely inspired by 80’s music. Falz‘s critically acclaimed “Moral Instruction” was also heavily influenced by Fela‘s music. Many other Nigerians from Wizkid to Burna Boy have constantly talked about how much Fela helped to shape their music.

Even the African pop sound is named after Fela’s Afrobeat. News and videos have also surfaced of American artists such as Diddy, Beyoncé, Jay Z, Common, Joe Budden vibing to Fela’s music. His music has also been sampled by  Kendrick Lamar and J Cole, two of the biggest rappers in the game at the moment.

But Fela wasn’t always seen as the hero he is today. While he was alive, many brushed his music asides as grating and unmelodious with his lyrics poor in poetry. Others felt he was too preachy and saw him as a noise maker with utopian ideals. Some were also displeased with the length of his songs and their extended solos. Many just couldn’t comprehend what Fela was building.

This was a new sound with radical energy powering it and maybe the people just weren’t ready for such. Regardless, Fela stayed true to his art, continued to experiment and explore new musical complexities. With his music, he fearlessly stood as the voice of the people against the military governments at the time. He also used his art to teach the people of his Afrocentric ideals.

No! Fela was not perfect but his energy, as well as his music, was raw and genuine. And lifetimes after, we are still feeding on Fela’s music. Occasionally going back to it for inspiration and references.

These young guys today are trying to create something different. They are steady pushing the limits and experimenting with new sounds. In fact, and are now redefining what we refer to as Nigerian or African music. These guys have been persecuted and mocked because they are aesthetically different. But we can’t deny their genuine energy and efforts.

These artists need support. And the least we can do as listeners and consumers of the art is to consume their music through appropriate channels, purchase their projects, attend their shows, engage with them, provide positive feedback, and let them do what artists do best – create.

 

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