Concert Review: “JulyFest” Lived Up To Expectation

There are increasing avenues for artists to connect with their fans in recent times. One new addition to the growing list is ”JulyFest”; an assemblage of some notable and alternative music acts making waves within the music scene in Ghana at present.

After weeks of promoting the event, which was staged to commemorate Ghana’s Republic Day, “JulyFest” lived to the billing as hundreds of people trooped to Crystal Park, East Legon to witness the unfolding event.

I arrived at the grounds when the energy god, AYAT was on stage. Performing songs from his well recieved “Zamani EP”, a bare chested, face painted with Adinkra symbols AYAT exuded the kind of energy that has become a trademark. After a set of performances, he brought out Raph Enzee and KiddBlack and together performed their collaborative tune ‘Pioto’ and “Barisujey” respectively. AYAT capped his performance with ‘IDKY’ to the approval of gathered crowd. It was revealing to see AYAT perform to a live band; a move which I reckon is the new direction he’s going.

AYAT by @flynimaboy

The eclectic Wanlov and his sister, Deborah took the stage to render their anti- plastic campaign song in which they entreat all to ‘refuse, reuse and recycle’ plastics in Ghana. The two have been prominent advocates for a ban on plastic. With only a guitar, Wanlov also performed his sexually expressive tune ‘Toto’ which elicited an unsurprising response from fans.

Wanlov shot by Yoyotinz

Sister Deborah

By the time the MC for the night, Official Kwame introduced Akan to the stage, the hype was reaching a crescendo. Beginning with ‘Me Sika Aduro’, and ‘Akoma No Abuagumu’, Akan oozing with the confidence of a kung-fu master, was a delight to watch. He brought out Worlasi and together performed ‘Helebaba’ before veering into his ‘Konnichiwa Freestyle’. He capped his set with the palmwine highlife tune ‘3huru A 3b3dwo’.

Akan and Worlasi. photo by Yoyotinz

The DJs of the evening, Eff The DJ, DJ Mitchy and Moorsounds took turns to shift the needle of excitement upwards; turning the grounds from a concert session to a club scene with songs from every top acts in the country.

The cheers was loud when M.anifest took over the stage and began dishing out verses of songs from his ‘Nowhere Cool’ album. With his DJ and producer, R^dical shifting through his extensive catalogue, he performed his King Promise assisted ‘Me Ne Woa’ to loud applauds. M.anifest hasn’t been an ebullient figure on stage. His performances have always been calm and it showed on the stage. On the night, many will remember him mounting the stage but not selling an experience which an artist of his calibre was expected, in my estimation, to deliver in abundance.

M.anifest

M.anifest

Looking all spruce up and bubbling with energy from the start, Amaarae was ready to thrill. And that, she did. With songs from her ‘Passionfruit Summers’ EP filling her set, she converted a couple of people who didn’t know her into fans. At a turn in her set, she invited a young boy on stage to sing. (The boy left the stage teary eyed from emotions or was it stage fright?).

Backed by a three male back up singers and live band, she switched the tempo up, traded call and response with the crowd and requested a volunteer on stage to do the asorkpor dance with her. As a first timer witnessing her performance, I guess the columns of my expectations were boldly ticked. She was vibrant, engaging, sometimes wild and full of positive energy that you couldn’t afford not to tag along.

Amaarae photo by Yoyotinz

B4bonah and Medikal were the last acts of the night; continuing with the good energy Amaarae had left prior. Performing all his hit singles like ‘Devil Is A Liar’ with M.anifest and ‘My Girl’, the MimLife Records act, despite winning the crowd over with the songs, pulled an average score for performance. His act wasn’t coordinated – he had too many people on stage, crowding him out at point.

Like Medikal who followed next, they each fed off the energy of the crowd. Medikal at one point had the crowd rapping line by line to his verses on ‘Grind Day Remix’ and ‘Otedola Remix’ respectively. (I was there for those specific performances). As the performances progressed, tiredness did set in. Both B4bonah and Medikal were gasping for breath, considering they were on stage for less than an hour.

Medikal

Platforms like “JulyFest” should be the ‘rehearsal’ stage for artists to experiment with stagecraft as well as test their breathing, confidence and energy levels as they look forward to the big gigs.

The organizers of “JulyFest” did well with security. The use of both live band music and DJs ensured we got a right mix of sound and entertainment. The crowd at the event were also responsive, according each performer great reception. There are a lot of positives and negatives to be picked and hopefully next year’s event would be much grander and exciting. On the whole, the event lived to its expectations.

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Throwback: 2Face Idibia’s ‘4 Instance’ Was An Introduction To His Political Consciousness

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Sophomore albums are very tricky to make especially when you have garnered a massive following and critical reviews after you first album. The artist is caught up in proving his/her first project wasn’t a fluke and the talents is worth banking on. There’s also pressure to make a record that would be at same par with their first or surpass it. An album that scores low on the charts could be worse than Napoleon losing out at Waterloo. Thumbs up and high fives from fans and critics has the potential of raising that artist to the next level.

For one of Africa’s great musicians, Nigeria’s 2Face Idibia, his second album, ‘’Grace To Grass’’ was the gasoline he needed to light his glow beyond the reach of the continent. Released in 2006 under Kennis Music label, the album spurned over five hit records. Songs like ‘True Love’, ‘If Love Is A Crime’, ‘My Love’ featuring VIP (from Ghana), ‘See Me So’ and ‘No Shaking’ became cross-over hits, receiving massive airplay on Ghanaian radio around the year 2007. So huge were the songs that, 2Face ended up in Ghana and shot two videos for his songs ‘If Love Is A Crime’ and ‘My Love’.

One of the exciting qualities about 2Face as an artist is that, he isn’t too much fixated with making pop records. His albums have songs that carry socio-economic and political messages about the state of his country. He is able to project the circumstances that plagues the everyday Nigerian faces. 2Face bears the consciousness of Fela Kuti without the aggressiveness.

‘’From Grass To Grace’’ had a track with a political undertone in ‘4 Instance’. Within the lush, attention grabbing kick and bass dominating hip hop beat, and the seductive whistle (or it was a flute) that zipped through the song, ‘4 Instance’ instantly became a jam fit for the clubs as well. 2Face was on his elegant best in his description of how the political system treat citizens. He lashed out at politicians who through corruption, abuse of power cripple the economy. He also turned the gun on his people for allowing the political class to get away with this exploitative culture. He blamed it on the docility and aloofness of citizens.

A few lines into the first verse, he hit the nail on the head; singing: ‘’To do us and turn us to victim of circumstance/ Them just dey ignore our existence/ Them get us use do excuse to buy chance’, probing further on the method the political class employ: ‘’Them no wan know say we dey/ Them dey use us dey play/ All we get is a pursing glance/ Anytime we stand for resistance/ When them in the act of exploitance/ Abi we just be living in a trance’. 2Face plays the role of an observer, noting how the attitude of those at the top had turned his people into a disillusioned mass.

Read: Bridging the Gap between Art and Politics: How Tuface Idibia and Tekno Are Leading The Way

 

The negative impact such bad leadership birth include the looting state coffers (packing ‘all the money go France’) leaving many with the thought of emigrating out of the country to seek the much talked about greener pastures; to a place where his ‘skills’ would be respected :’Dey make suffer to full in abundance/ Dey make me to wan run away/ To a place wey e be say /I go dey feel like to break dance/ Where dem go respect my skills for instance/ Where dem go no go just dey/ Dey play pranks On top the people’.

2Face, as an observer of Nigerian society was quick to identify the crumbs these leaders leave for those who vote them into power (‘Wey give them the key
to the door to the substance’). That is, the promises they made to voters prior are totally reneged upon. They replace them with self-seeking ambitions. He continued: ‘Wey dem just dey use with freelance/ Their looting no dey give us assurance/ Repentance no dey their plans…’

The socio-political commentary that 2Face rendered on his first two albums had continued in his latter works. He has evolved into a political activist who is reportedly planning on running for political office in 2019. In 2017, he tried organizing a demonstration against the policies of the federal government of Nigeria. However, the protest was cancelled due to intense pressure from higher powers.

Listen to song below

How Sarkodie Is Staying Relevant In This Changing Music Scene Using His Bag of ‘Tricks’

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Having success for a year or two; that’s being hot. We call it hot: that’s being in demand for a short period of tme. Excellence is being able to perform at high level for a long period of time. In a genre of music where it’s almost microwaved and where your career is almost like in dock years right; you last three years in hiphop, it’s fantastic. You last five years, it’s like, wow. It’s amazing. If you last for a decade and beyond, it’s almost unheard of.

Jay Z speaking on Oprah Winfrey’s Masterclass


For the many that keenly followed the legendary radio programme ‘Kasahari Levels’ hosted by Dr. Duncan on Adom FM circa 2006, Sarkodie was one of the few rappers many tipped for success. He had it all: his style was unique (he rapped in a unique accent considered ‘too local’); his lyrics were filled had depth seasoned with humor. He could tongue-twist. He had presence, composure and a strain of palpable hunger for success echoed loudly in his weekly performances.

Fast forward to now; a decade after breaking out with his first freestyle ‘Push’ and his real single ‘Baby’ featuring Mugeez (of R2Bees), Sarkodie has become the king of rap in Ghana, and one of the foremost artists on the African continent. His pile of awards, albums (currently at 5), singles and features and a strong, respected brand bear testimony to this fact. Sarkodie is unarguably the most successful Ghanaian artists ever.

Like vintage wine, Sark keeps evolving and improving. He knows rap, like any other sport requires the participant to continuously work and be in better shape to compete. This evolution and mindset is clearly apparent in how he has survived the game when many of his compatriots, some whom he battled on ‘Kasahare Levels’ have paled in comparison. Most have nosedived into the valley of obscurity. Others couldn’t follow up after their initial success and those who did survive the times barely have a foothold like Sarkodie does due to inconsistency.

Like Thanos in Avengers: Infinity War , Sarkodie keeps making a killing, figuratively speaking. He is like the Prince described by Machiavelli in his classic work As As Niccolo Machiavelli wrote: ‘’One must therefore be a fox to recognize traps, and a lion to frighten wolves’’, Sarkodie possesses the cunning of a fox and the bravery of lion. These qualities have combined effectively to serve him well.

Whenever he has felt his throne threatened, he comes after his ‘enemies’-imaginary or real- with grave force. We all are aware of the ‘godMC – Kanta’ entertaining debacle. If he favours an artist(s), he doesn’t hesitate to show them love, either by endorsing them or jumping on their song. (I know there are many who have issues with this kind of ‘endorsement’ arguing these ‘favours’ benefit Sarkodie than the young artist(s) in the short to long term).

Sarkodie Celebrates Love, Solidifies His Spot As The Best On Highest

 

In similar ways as products and companies entrench their brand or attempt to win a larger market share in their area of business operations, Sark continues to stay innovative by finding ways to keep his visibility afloat. And he is doing so in two major ways. The first ‘trick’ of Sarkodie is remixing songs by the new generation of artists such as B4bonah, Kwesi Arthur. He does this by adding a verse to the original and shooting a video as well.

A self-confessed ‘private guy’, Sark has been offering fans a snapshot into his life through his social media pages. He doesn’t only post about his music, videos or concerts like some of his compatriots, Sarkodie makes time to interact with his fans. This invariably has added a layer of visibility to his brand and in the process cultivating new fanbase as well.

Lately, Sarkodie has found another avenue of keeping his name and voice in our ears. This trick comes in the form of freestyle videos. Over the weekend, he released a short video of him freestyle over ‘Jaden Smith’s ‘Icon’ beat.  The response from social media was phenomenal, which come to think of it isn’t much of a surprise from an artist who for almost a decade been at the top of his game. In March this year, he released his first freestyle video, where the content was a blend of braggadocios and ever present rags to riches epistles. The reaction was met with great reception. But, before these intermittent releases, Sark had ‘tested’ the waters with clips of him rapping along to songs from artists he describes as ‘his favourite legends’. One of such videos was of him in a hotel room during an European tour rapping to a song from Komfo Kwadei’s album.

Piecing all these developments together, I have come to the conclusion that, Sarkodie’s latest ‘trick’ is influenced by the success that GroundUpChale is chalking with its short videos, some which go viral of some of their artists on the come-up. This strategy has successfully launched or given some of these young acts the opportunity to leverage on this exposure, Mention can be mad of artists like Kofi Mole, Twitch and of course, BET nominee Kwesi Arthur.

Sarkodie, even after scoring such huge success in his long career still entertains the hunger of a young artist desperately looking for a break by exploring all available avenues that could aid their success. In simple terms, he is a superstar who doesn’t consider himself as such. He steps to the mic with the same hunger, composure and dedication he was oozing during his days as a freestyle rapper on ‘Kasahare Levels’ a decade ago.

Sarkodie hands meaning expression ‘you don’t stop running when those chasing you haven’t stopped’. The hip hop game is like a pendulum where fortunes of artist swings from one end to the other. Considering his career thus far, Sarkodie seems to be holding the pendulum from swinging any farther. He controls its swing.

Kojey Radical Reflect On Being Black on “Water” (If Only They Knew) Video.

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Kojey Radical celebrates his blackness and black excellence despite the odds stacked against black folks on ”WATER”


Water is a powerful and important resource. It quenches thirst. It causes havoc in the same way it brings refreshment. It could bring about peace or provoke war. As the UN estimates, the world would face a striking water crisis by 2030 if steps aren’t taken to save the world from the debilitating effects of global warming and climate change.

But, if there’s one quality of water that is both striking and fearful, it is its power of malleability. It is said that water takes the shape of its holding material. It also find its way around any obstacle on its path, either through occupation or circumvention. The occupation is done through force of destruction.

For his new work, UK rapper and poet, Kojey Radical employs water as a metaphor to tackle a variety of themes. His 8 minute video, aptly titled ‘Water (If Only I Knew) explores the subjects of race, blackness, excellence and humanity through the medium of dance and music. These themes aren’t new fields of exploration for the experimentalist rapper. His three previous EPs- :”Dear Daisy” (2014), “23 Winters” (2016), “In God’s Body” (2017) – have all explored social unrest, racial divisions and identity within his own environment.

The United Kingdom, like many other European countries have laws that discriminate against people of colour-no matter how much they tend to deny these facts by believing their country as the cauldron of multiculturalism. The recent unfortunate fire disaster at Grenfell Tower where hundreds of residents, mostly immigrants and people of colour died in the flame, and the Windrush immigration have further exposed the inherent racial imbalance apparent and backed by British laws and existing within the society.

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In an era where alt-right movements in Europe and US are pushing their governments to tighten rules on immigration, overlook police brutality and killing black kids for no justifiable reasons rather than being black and immigrants fleeing wars, hardships and havocs in their native countries getting discriminated against and their rights to live as human beings are being curtailed, Kojey Radical’s “Water” is of great significance.

The firsts part of the video – “If Only”- begins with the image of a black person in handcuff. An image of a young black girl sitting pensively on a swing outside follows. A preacher man is seen gesturing to the young girl to rise up. Two young black girls are seen enjoying the beauty of the universe. The raspy voice of British actress and Black Mirror actress, Michaela Coel accompanies the visuals. She points out how the system isn’t built to accommodate black folks and how black folks become victims of cultural appropriation and exploitation.

With colour pigmentation, you must accept that your historically pivotal leaders were likely to be killed. With darker pigmentation, you become an example of exoticism under the Western microscope’. Michaela delivers this hard truth in a soft, deliberate tone reminiscent of a mother sharing some hard truths with her kids yet cautious enough to not scare them. This was after her lucid presentation on how, as a young child, had to conceive and live within a certain realm: ‘I built my ideals on standards I learnt as an infant and I had imagined my own”. This statement by Michaela is informed by the unfavourable system existing and how to navigate through it.

The two girls from the begining of the video breakup and begin to dance. Kojey Radical finally appears, joining them to dance. Pegging the commentary of Kojey and the dance movements, one can draw parallels with the heralded “This Is America” video by Childish Gambino minus the chaotic background happenings in the Gambino video. Over hard hitting trap beats, Kojey Radical, in a gravel-like voice opens his verse with this striking lyrics: “If only you knew/ I got fresh wounds bigger than you/ funny how they all wanna watch my steps/ but they can’t run a mile in my shoes’. Though it sounds like a personal statement, the lyrics capture sentiments of people of colour who get battered by a system not built for them.

And for all of it, you must smile and dance. Yeah, keep dancing knowing revenge would taste so much sweeter once you’ve made it – Michaela Coel

The 24 year old rapper and visual artist has built a reputation as a vocal and opinionated rapper. A social commentator who has been compared to American superstar Kendrick Lamar. He is a firm believer of free expression. In a 2017 interview with the Guardian newspaper in the UK, Kojey spoke on what it means to be describes as the voice of his generation: “I’m waiting for a day when the idea of speaking out and being opinionated is the norm. That’s when being a voice of a generation means something, otherwise I’m just a voice in a generation.”

As the verse continues, Kojey poses the question: ‘how did you sleep through the violence? You just get used to the sirens, you just got stuck in the cycle’. The descriptive lyrics reflect how people have either become numb to the abnormal due to excessive exposure or those tasked with fixing the system seem unperturbed. At the end, he speaks of coming up tops despite the obstacles surrounding him.

There is no greater agony than bearing an untold story inside you – Maya Angelou

The second part of the video- “Water”- shows the young black girl on the swing once again. This time, she’s in an alley heading home. She finds a morose looking boy sitting on a bench outside his home. The next scene set things in perspective regarding the demeanor of the boy: His parents are having a fight inside. The fight eventually turns into a very beautiful ballet dance that highlights the various shades of love: the good and the turbulent periods. The expression of love continues outside where three ladies sit watching the affection on display.

Kojey Radical is seen in a boxing ring with the preacher man in scene one as his trainer. There’s a switch in song style but not message. The beat assumes a tropical reggae-hiphop ambience, with uplifting horns serenading the edges of the beat. Kojey Radical takes a dig at today’s media. ‘I still don’t watch the news, barely trust the facts now’, he raps. This is a criticism of today’s media where through news tampering and propaganda, what is churned out is mostly suspicious and unworthy of one’s trust. As George Orwell wrote in his book 1984, ‘he who controls the past controls the future. He who controls the present controls the past.” The media is guilty of propagating falsehood and anti-black sentiments for centuries- and still continues in this century as well.

Mahalia Burkman, featured on the song, provides a dose of soulfulness with her singing and biting raps about ‘coming back to this’ after being gone for a long time. (“This” refers to the discriminatory system). She blames it on ‘something in the water’; a phrase that Kojey Radical builds on calling on God to ‘come and take away the pain’:

Something is in the water, bad things in the water. Something is in my brothers; something like no other’, she sings in a calm manner. That ‘something’ is the poison that keeps holding people of colour back like the discriminatory laws designed to keep people of colour at the periphery of society. ‘I can’t put my finger on it/ all I know is we don’t want it/ all I know is if we carry on we’ll fall/ all I know is if we take this honour we’ll lose it all’’, she sings towards the end of the song.

“Water” (If Only I Knew) is a celebration of blackness- excellence, strength, love, beauty- while projecting the challenges that affect people of colour. The water must be purified.

Writers Project of Ghana Host Author Dannabang Kuwabong At June Book Reading

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Writers Project of Ghana and Goethe-Institute Ghana present writer, poet and professor of Carribean Literature and Culture, Dannabang Kuwabong as the author for the month of June, 2018. Dannabang Kuwabong is a Ghanaian-Canadian writer and professor at the University of Puerto Rico, San Juan. He is the author of several collections of poetry.

Dannabang is author of the collections of poetry Visions of Venom (Woeli Publishers, 1995), Echoes from Dusty Rivers (Capricornus Enterprises, 1999), Caribbean Blues & Loves Genealogy (TSAR Publications, 2008), Voices from Kibuli Country (TSAR Publications, 2013), and a collection of folktales, Naa Konga and other Dagaaba Folktales (Woeli Publishing Services, 1992).

He has taught in several institutions of higher learning, including Rivers State College of Education, Port-Harcourt, Nigeria, University of Port-Harcourt, Nigeria, University of Ghana and McMaster University, Canada. He is also widely published in academic journals and has contributed numerous essays in books, and is on the editorial boards of various journals.

Dr. Kuwabong obtained a B.A. (Hons) degree in English from the University of Ghana, Legon, a Magisteriate in Environmental Studies (MES) in Environmental Studies, York University, Toronto, Canada, a Master of Letters (MLITT) in Modern Poetry in English, University of Stirling, Stirling, UK and obtained his doctoral degree in English, McMaster University, Hamilton, Canada.

Join us for an exciting evening of readings. Books will be on sale at the WPG book stand.

Date: Wednesday, 27th June, 2018

Time: 7.00 PM – 8.30 PM

Admittance is Free.

Venue: Goethe-Institut, 30 Kakramadu Close, East Cantonments, Accra.

 

Video: R2Bees And Efya Seek Answer to The ‘Could This Be Love?’ Puzzle On New Song

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Rap duo, R2Bees ponder on the ‘Could this be love’ question on their latest single, featuring label mate and afro soul act Efya.

The Killbeatz produced slow tempo, RnB oozing “Could This Be Love” has Mugeez posing the question on the opening lines of the song: ‘could this be love? Is this forever? Or ebi say i dey waste my time/ you dey waste your time?’

Mugeez proceeds to reveal the back story to his question: he can’t tell who she is again; she brings fire when he walks with her through the rain. Efya, in her notable soulful tone put forth her own burning questions like wishing to know if he ‘could be her king’ and ‘the one that sets me free?’

Omar Sterling (aka PaeDae) charts a path away from the musings of Mugeez and Efya. Rather than harbour negative doubts about the outcome of his love affair, he puts all his cards on the table in a very sobering and confessional delivery. ‘I put my trust in you/I put my hopes in/ I put my heart on my sleeve/I put my soul in it’, before anchoring his feelings on this the lines: ‘I’ve fallen for you, I’m falling deeper’.

The Video

The video opens with Mugeez stretched out on a couch in his hall. The table at the centre has cards, cups spread on it. An hour glass sit on the table. (Guess you know the significance of the Queen card that was singled out from the pack)

Mugeez descends downstairs to a makeshift studio where his engineer is cooking up a beat after waking up from sleep. A closer look at video appears like scenes from a dream Mugeez had.

The Babs directed visual are largely presented in a slow motion format with the scenes shifting from indoors to outdoors- basketball court where Mugeez and Efya exhibit their balling skills. Selasie Amewusika makes an appearance in the video, playing the role of Omar Sterling’s girl.

The video isn’t only a feature on love. It’s also a display of some artworks of significance such as the Beatles crossing Abbey Road painting, the couple caressing, the portrait of an ebony queen, the ‘smoking man’ all alluding overtly or covertly to the message of love.

Off the back of songs like ‘Slow Down’, ‘M’akoma’ and now ‘Could This Be Love?’, R2Bees keeps proving their worth on mellow, soulful beats.

Video: Here’s Edem’s Latest ‘Hurricane’ Video

 

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Edem and Pascal Aka serve a video that incorporates magic realism, colour and good energy that matches theme of song


Rapper, Edem, has released some incredible videos across his almost 10 year rap career. Some of his visuals have been compelling pieces of art as seen in ‘The One’, ‘Over Again Remix’, ‘Egboame’ and ‘Nyedzilo’. These videos have enhanced both his image as an artist with good artistic vision.

‘’Hurricane’’, his latest single and its accompanying video follows the same artistic concepts of Edem. The Coptic produced song is a fusion between hip hop sound-from the chambers of the New York based producer- and rock elements courtesy afro rock band Dark Suburb.

‘’Hurricane’’, like its name, reflects the theme of greatness: how Edem and those featured on the song-and by a stretch many other artists from Ghana and Africa are about to take over the music scene as Jojo Abot, tasked with hook duties and ad-libs, declares on the opening hook: ‘believe it or not, we here to win/Like it or not, we here to stay, look on your blocks, its masquerade/ it’s a hurricane’.

The Pascal Aka directed video features element of magical realism, with fusionist and experimentalist Jojo Abot cast as a speaking orange tree in what appears as a jungle. (The orangey tone adds extra gloss to the video). The video transitions between the jungle scene ‘inhabited’ by fire eating people and a studio set up where Edem and Teephlow take turns to drop some bars about their status within the music industry, knocking out haters and moving ahead with their careers. Teephlow, for instance offers a history lesson on his come up. Dark Suburb also brings along their rock-style energy to bear. The video also sees the likes of Tinny, Gemini, Kula and other artists making cameo appearances.

Although ‘’Hurricane’’ is a video for Edem, Jojo Abot comes out as the star. Her trance-like or horror inspired antics, whether as a talking tree or a black Barbie girl adds a layer of beauty to the video-after all hurricanes are destructive.

The video also receives the ‘Pascal treatment’ especially in the use of light and costuming, specifically the jungle scene and Jojo Abot’s barbie look and outfit, make up and excellent art direction.

‘Hurricane’ released under Coptic’s Brooklyn Bridge Ent. and Edem’s VRMG is the second single from Edem’s forthcoming album, ‘The African Answers’.

Watch video below