Contrary to what your Twitter timeline says, there’s a shit ton of rappers in Nigeria, talented ones making good music at that. During the course of the year, Nigerian hip-hop got its fair share of public malign, with casuals and curmudgeons using events related to South African and American hip-hop as catalysts to push agendas where Nigerian rappers are always at fault and the audience is absolved of all blame. (Again, relatability? Really?) Anyone who’s been looking past the white noise and paying even the slightest attention to the actual workings of the scene can attest that 2018 was a splendid year for Nigerian hip-hop. As a (semi-)writer who tried to cover as much Nigerian music as I could, I can say the hip-hop scene gave me a lot of content to run with, most of it centring around a steady stream of new, solid releases.
Obviously, Nigerian hip-hop can do better; it needs to do better on all fronts. But in the same breadth, props need to be handed to rappers who put out great music and made major moves during the calendar year. Based on a combination of critical acclaim, the number of releases, the impact of these projects on their respective career trajectories, and overall contributions to -the genre, below are the best rappers/(pseudo-)rap groups of 2018.
Honourable Mention #1: My not-so-humble self, for compiling this incredibly difficult list.
Honourable Mention #2: Falz
Even without a full-length project during the year, Falz was one of the most talked about rappers in 2018, for better or worse. On the positive side, several videos for songs off 27, Falz’ third studio album from last year, were released, then followed by a live album later in the year, with comprising tracks culled from dubs of his headlining performance at late last year’s The Falz Experience. On the controversial tip, the video for 27’s “Child of the World” and his viral video “This is Nigeria,” both well-intentioned attempts at message-centric music but quite unwholesome in execution, landed the “Soft Work” rapper in hot water—the incorrigible video for “Child of the World” emboldens the heavy-handed, contrived nature of his plot; his approach to “This is Nigeria” bordered on hodgepodge, complemented by a shoddy video. Further driving the socially charged side of his persona (and his all-around ability as well), On The Couch, a talk show aimed at having candid conversations with 2019 presidential aspirants, co-anchored with Laila Salami-Johnson, was a notable foray for Falz, one that inspired moments of heated conversations on social media after each instalment hit the internet. Music is still of primary concern for Folarin Falana, and while he may not usually get the reverence afforded top-tier MCs because of the often innocuous brand of his music—the shortened hype of “Sweet Boy,” and the tepid response to the recent, Olu Maintain-assisted single “Bon Soir” suggest there’s probably a need for a switch up—he deserves every ounce of respect and prominence he currently has.
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10. Boogey
Cut from the cloth of rappers that aim to drop jaws and inspire screwed faces with every uttered line, you’d be hard pressed to find a lyricist around these parts playing on the same otherworldly stratosphere as Boogey. Also aptly referred to as The Brain, Boogey’s beyond impressive pen has very often defined his artistry, so much so that other important parts of his music visibly suffered, but improved over time. Nouveau Niveau, promoted as Boogey’s official solo debut album, following four free projects and a joint album with Paybac as “The Lost and Found,” was one of the year’s earliest releases. A remarkable body of work, Nouveau balanced Boogey’s aspirations as a lyricist and human dealing with issues weighing on his psyche to impressive results, and as with former projects, exhibited improvements on his part as a song maker. While the buzz surrounding him was at an all-time high with Nouveau, there wasn’t much done by way of leveraging the high, much of the blame would be apportioned to his status as an independent artist. Doubling on his ethic of putting out more music to sate his core fan base, Boogey teamed with frequent collaborator Charlie X for Never Enough, a short tape that displayed his trusty proficiency as a rapper but showcased very little thematic growth, making for far less compelling material than is customary for a Boogey project. One standout album and another middling but still enjoyable project is very notable by any standards.
9. Alpha
Surgical. That’s the word to use in describing Alpha’s approach to making music. There’s a vivid, sometimes staggering, but always welcome amount of care in whatever Alpha lays his hands on— he’s as function-driven as any artist in these parts. While technique tends to rank higher in the scale of importance in his music, pervading at every nook and cranny, it is definitely not without feeling, and this ongoing balancing act is one of the reasons why Alpha was one of the year’s best debutants. Breaking out last year with “Vendetta,” one of the best replies to M.I’s “You Rappers Should Fix Up Your Lives,” not only did Alpha become one of the most interesting hip-hop artists to watch, overnight, running through his back catalogue provided proof he had the skill set to deliver. On Half Price, his official debut album which he produces and engineers entirely, Alpha defines himself as an artist in resounding terms, putting out a project that’s well-rounded, displaying the dynamic rapper he is growing into—“Ludo” is a bar fest that makes a serious case for Lyricist On The Roll, while the mushy “Love Clouds” sounds like being tickled by 100 butterflies. Lending out his polymathic services, Alpha produced a handful of songs on Blaqbonez’s Bad Boy Blaq (that stupid (!) Fela flip on “Mamiwota” is a candidate for beat of the year), contributed a captivating verse on “Lowkey,” and engineering the album as well. That’s a stacked portfolio if you ask me. May 2019 be better.
8. Blaqbonez
With years in the game already, enough to call him a veteran even, it’s a little nuts that Blaqbonez is just at the point of his career where he’s gathering steam beyond his niche fan base. Also, it comes at the time when the rapper is embracing an artistic pivot. Prominently known in his earlier days for his battle-ready gait, complete with a penchant to lunge headfirst into whatever or whoever provoked him even in the slightest, his switch up to becoming an acolyte of the wavy style of hip-hop, popular amongst younger audiences around the world is as unexpected as it is interesting. Bad Boy Blaq, the follow up to last year’s shift signifying project Last Time Under, and his debut release on the 100 Crowns imprint, is a trip down Blaq’s route to becoming a more wholesome, self-assured version of himself as an artist. In his lofty ambitions to deliver “trap like the Migos, bars like Kendrick,” the album comes with its bumps, but it’s an effort that’s nonetheless enjoyable, displaying his burgeoning ability to be dually evocative and colourful as a rapper. Beyond the music, the innovative means with which Blaq promoted Bad Boy Blaq to fans and more popular artists, via impressionable videos on social media is very commendable. Blaq’s continued rise is one of, if not the most gratifying come-ups in Nigerian music for 2018, and with the mix of this hustler’s spirit and his reported 300 song per year work ethic, he’ll most likely be way higher on lists like this in coming years.
7. LadiPoe
Since debuting with an electrifying verse on Show Dem Camp’s “Victoria Island of Broken Dreams” in 2010, LadiPoe has been a perennial hot prospect in the eyes of Nigerian rap fans, his stock only rising with each intermittent single and guest 16. 2018 is the year Poe finally made the jump to the front lines, and he did so very remarkably. Released in the early days of October, Talk About Poe, the rapper’s debut album graced public ears to unanimous positive reception. While the applause wasn’t deafening, it was loud enough to signify that: 1) the project satisfied ears that craved a full length from the “Adore You” rapper, 2) many were thankful that his arrangement with pop powerhouse Mavin didn’t corrode what makes him a distinct rapper, and 3) the tacit promise of even more and far better music to come in the near future. Coasting on this new peak, Poe recently performed at his first headlining concert, pulling in assists from Show Dem Camp and fellow Mavin Tiwa Savage, thrilling the hundreds of fans who came out for the show. At the beginning of the year, great things were expected of Poe, closing out the year he’s been able to prove, to a large extent, why he’s highly rated. While there are higher levels Poe can reach and will be aiming for in subsequent years, it’s without a doubt that 2018 has been a banner year for him. Poe’s triumphant 2018 is a reminder that good things take time, but hopefully, we won’t have to wait too long for another album and a bigger headlining show.
6. Psycho YP
Trap music might be struggling to gain a solid foothold in Nigeria, but Abuja-based rapper Psycho YP is coasting irrespective of this limitation. A few months back, I came across a tweet claiming all Abuja rich kids do is smoke weed and listen to trap music, an indicator, if true, of where Psycho YP’s core fan base lies—his streaming numbers on Spotify alone, louder than BOJ’s stolen weed, is proof that he has an enviable demographic on lock. Based on the merits of his music, YP definitely deserves his accolades. YPSZN, his debut album released midway through the year, is a project that revels, unapologetically, in the youthful excesses of the 19-year old rapper. Featuring keys that are as wide-grinned and sinister as the Joker’s smile, rumbling synths that knock with the destructive thump of Juggernaut running through a wall of reinforced concrete, and an avalanche of quotables, each one more commanding than the former, “Andale” makes for the most electrifying intro to any rap related release in Nigeria. In the same vein, following tracks are just as striking on their own terms, showcasing vast improvements in YP’s abilities as a vibrant wordsmith, and displaying a wider artistic range in his handling of infectious melodies. To cap it all, YP headlined his own show on the last day of August in his home city of Abuja, trailed by positive remarks from fans who were in attendance. Similar to his brand of viscerally thrilling music, YP seems to be headed in an exciting direction, and 2018 was the year he really got revving.
5. Paybac
Paybac wants everyone to pronounce his birth name, Iboro, correctly. That detail, amongst many other, far more harrowing personal issues his music contains is the reason why Paybac’s music in 2018 is far more affecting, intriguing and compelling in comparison to his colleagues. Since his entrance, Paybac’s music has always dealt with the fogginess of his psyche, but where his former music revelled in the messiness, his recent releases come with far more resolution than we’re used to hearing from him, and he sounds all the better for it. The Biggest Tree, Paybac’s official solo debut, is one of the most humane Nigerian albums of the year. Complete with a booklet for more context and to deepen the album’s experience, TBT is a riveting project on which Paybac processes his turmoil-filled childhood, vices, “demons,” and the loss of his sister. Although slightly weighed down by subpar engineering, TBT immensely thrives on Paybac’s nous for breaking his complex thoughts down into resonant and relatable pieces, perfectly matched by the some of the most innovative and melodic music he’s made in his career till date—the themes are heavy, but the music is lightweight. Similar to his “The Lost and Found” compadre, Paybac also teamed with masked producer Charlie X for Autopilot later in the year, a brief collection of boisterous, ear-rattling songs based on the rapper’s current happy-sad combo state of mind. While critical acclaim didn’t necessarily turn Paybac into a bigger star in 2018, his core fan base most likely increased, it will be remembered as a definitive year for the rapper, not just based on two superb projects that reeled more fans in, but also because it’s the year Paybac seemed to actively start moving forward, beyond his fears and asphyxiating issues, and great music happened to be an integral part of it all.
4. A-Q & Loose Kannon
When M.I announced the joint album from A-Q and Loose Kannon as the first instalment of the LAMBaugust series, the combination was unexpected, but the possibilities were enticing. Crown, the ensuing album and one of this year’s best hip-hop projects, is a feather in the hats of both rappers, with A-Q and Loose remaining distinct artists in their middle ground-centric collaboration, resulting in the “bar gauge” for 2018. Of note, the album also houses this year’s best posse cut, “Crown,” a collab effort with Show Dem Camp’s Ghost and Tec, on which each rapper renders a litany of “I’m the shit” raps over Reinhard’s immaculate beat. The incessant chatter surrounding the title track immediately the album dropped led to a watershed moment for Nigerian hip-hop in 2018.
Going into Crown, A-Q, with his relentless catalogue in mind, was the more known quantity, and he delivered up to the standards expected of him, doling out solid verse after solid verse, owning songs like “Gang Gang” and “No Time” with his charismatic delivery and captivating rhymes. On the other side, the more elusive Loose Kannon showed little signs of rust, strutting around with confidence. While he shines bright on the slower cuts of Crown, it is an absolute joy to hear him dismantle the bounce-laden “Off Blaq” with the aggressive fervour of a jackhammer. Minor faults aside, seeing how well both MCs worked together, it would be a delight to get a sequel to Crown sometime in the near future. If not, the ongoing, great work both are doing for the Nigerian hip-hop scene with their Chocolate City housed Imprint, 100 Crowns, would be a worthwhile reminder that A-Q and Loose Kannon are a formidable duo.
3. Olamide
Here’s one way to define impact: getting the president to shaku on the beat to your hit song. For clarity, the president I’m talking about here is Genevieve Nnaji, and I’m referring to the viral video of her hitting the swaggiest shaku of 2018 to Olamide’s “Science Students.” Fresh off the disastrous Lagos Nawa, Olamide delivered the first smash single of the year with “Science Students,” using his ever-reliable connection to the inner streets of Lagos to devastating effect. While the song came under fire for its suggestive lyrics, aided by a video that tried too much to justify itself, most of the noise was simply a case of misinterpretation. While Olamide didn’t hit the peak of “Science Students” for the remainder of the year, he remained an ever-present figure with the success of follow-up singles, “Kana,” “Motigbana” and “Logba Logba,” all showcasing his Afro-pop abilities at its most pristine for a long minute. Off the strengths of these singles, Olamide embarked on a tour of the US during the year, performing to packed audiences. He also contributed strong, popular features all year round, most notably DJ Consequence’s street smash “Assignment,” and Naira Marley’s unofficial world cup anthem “Issa Goal.” YBNL Mafia Family, a delightful compilation album with heavy contributions from Olamide as well as artists signed to his label, continued the pop star’s run of yearly albums since his debut in 2011. Olamide closed out the year recently with the 5th edition of his annual live shows, OLIC, packing his venue on the same night Wizkid had his show mere minutes away from him. Overwhelmingly positive reactions trailed OLIC5, providing further proof that Olamide isn’t just omnipresent, he’s a transcendental artist.
2. Show Dem Camp
To paraphrase culture commentator Osagie Alonge on the Loose Talk Podcast episode following the early October release of Show Dem Camp’s highly anticipated Palmwine Music 2: “Show Dem Camp went from Mobb Deep to OutKast.” Initially pigeonholed due to their supreme ability to tear down beats with maiming displays of lyricism on their highly rated Clone Wars series, the duo is now looked upon as the most dynamic and consistent rappers in the Nigerian rap game following 2017’s open-ended, groove-heavy Palmwine Music, Vol. 1. As far as sequels go, PM2 is not just a worthy successor, it deserves its own podium. The album, the duo’s official sophomore, pulls in a lengthy roll call of guests who deliver stunning performances, while Tec and Ghost hold down the spotlight with nothing but solid and memorable rapped verses.
Apart from the critically acclaimed PM2, both rappers were heavily involved in The Collectiv3’s Live. Create. Repeat., a phenomenal project featuring a loose but highly functional collection of artists. Asides standalone contributions in the company of other artists on L.C.R, Tec and Ghost teamed up for “Stop Me,” a ridiculously fun record on which both roll out an impressive collection of catchy, hilarious barbs. As far as outside features, they both delivered a light-hearted verse each to DJ Yin’s “Rewind,” and rapped a couple laps around A-Q and Loose Kannon on “Crown.” On an isolated note, Ghost was the busier of the two rappers, notably wrecking guest spots on M.I’s “Popping” and LadiPoe’s “Double Homicide” with a raw instinct and burly execution that continually proves he’s the Nigerian rap version of the Meg.
With plans for the second edition of the Palmwine Music Festival already set, SDC is set to close another year with a loud bang. And if the rumours are true, a new SDC project should be gracing our ears just as the calendar turns. Well, bang bang!
1. M.I Abaga
Since returning from his hiatus (more like since the beginning of his career), reverence and scrutiny walk hand in hand wherever M.I Abaga is concerned. First came a podcast, then came a scathing, misguided take on the dilapidating state of hip-hop in the country during his absence. Everyone had a hot take on both these events—“You Rappers Should Fix Up Your Lives” wasn’t just a song, it was proof that M.I could sneeze and the whole hip-hop community would catch the bug—but not many envisaged two full-length projects within the calendar year would be the culminating outcome of M’s return.
First came Rendezvous, a playlist project that dropped from the sky unexpectedly in the wee hours of the year. Pulling in more guest artists than the number of tracks, with at least one feature per song, M.I surrounded himself with a diverse array of highly talented colleagues, many of them young artists and two of them prominent South African rappers, to create a carnival ride of an album. With each listen, the primary concerns of Rendezvous become clearer: sound cool and sound fun—and he hits the mark on both fronts. While we get some of M.I’s most pristine music yet and a high level of curation, some of his most biting and most quotable raps in a while are housed on those songs, whether he’s whipping out big dick energy alongside AKA on “On Code,” or dissecting the workings of friendships and loyalty while recruiting arguably the best rap verse of the year from SDC’s Ghost on “Popping,” or simply tripping out with the assistance of wavy rap acolytes Blaqbonez and Strafitti on “Slow.”
Six months later, M.I returned with the long-anticipated Yxng Dxnzl, a far more insulated project when placed side by side with Rendezvous, and all the more satisfactory for it. Within its half-hour runtime, we get some of the most candid snapshots into M.I’s life and ongoing personal growth (“The Self Evaluation of Yxng Dxnzl”), as well as some of the most urgent music he’s made since his sophomore album (“I Believe In You.”) As is expected, production on Yxng Dxnzxl is top notch, icy but welcoming, matching the contemplative candor of M.I and complementing the soulful additions of the supporting cast, including Tay Iwar, Niyola, Lady Donli amongst others. In the context of his discography, other M.I albums have higher visceral highs, but none is as precise and concise as Yxng Dxnzl.
Earlier this month, M.I’s classic debut Talk About It marked a decade of liberation. It is remarkable that knee deep into his career, he is still making some of the best music of his career while remaining as prominent and influential as he’s always been—he also executive produced the LAMBaugust series, one of Nigerian hip-hop’s marquee moments this year. In 2018, M.I wasn’t just resurgent, he was dominant. Hate it or love it, the don’s on top.