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Nigerians Are Mad at Buhari For Arriving On a Red Carpet When Visiting the Families of the Missing Dapchi Girls

The president visited the site where 110 schoolgirls were abducted on Wednesday, but his visit provided little reassurance.

It has been nearly a month since 110 schoolgirls, were abducted by Boko Haram at a boarding school in Dapchi, Nigeria—located in the northeastern state of Yobe.

President Buhari made a long-overdue visit to the state yesterday to meet with the girls' families, promising them that the country "will not rest" until the girls are returned home safely," reports CNN. "We have re-equipped our armed forces, security and intelligence services," said the president during his speech, before assuring families that "any agency, person or group found to have been negligent or culpable" would face punishment.

"The government, under my watch, will continue to maintain normalcy and ensure that incidents of this nature are stopped," he continued.

Nigerians are not convinced.


Buhari—who is often criticized for his failure to act speedily in times of crisis—arrived at the Government Girls Science Technical College in Dapchi, about 24 days after the incident took place, with 6 helicopters, a government entourage and a full military crew—even rolling out a red carpet to walk on upon his arrival.

His appearance did more to anger families than to comfort them. Several parents told BBC Africa, that they were not reassured by the president's words, and remain disappointed by his lack of action in dealing with the matter. According to the publication, one mother called him out directly, asking where the soldiers he had traveled with were when her daughter was kidnapped.

Nigerians on social media have also expressed anger at the president's actions, many comments focusing particularly on his decision to arrive on a red carpet.

Photo by Burak Cingi/Redferns.

Three Takeaways From Burna Boy’s 'Love, Damini' Tour Wardrobe So Far

Wearing back-to-back Robert Wun from Paris La Dèfense to the London Stadium, the Afrofusion superstar has never looked this stylish.

The new leg of Burna Boy’s Love, Damini stadium tour is in full throttle. Done with arena spaces — he’s conquered New York’s Madison Square Garden, London’s O2 Arena, and Atlanta’s State Farm Arena with sold-out shows — the Nigerian heavyweight act is now scaling up tour venues to fit his image. Not surprising, then, to see some thoughtfulness in his outfit choices. Weeks after making his Met Gala debut wearing the new Burberry tartan, he thrilled fans in Paris in the first stop of his Love, Damini tour.

He sold out the 40-000 capacity Paris La Défense venue. Strikingly, he wore custom Robert Wun for a better part of his performance, a black, pleated matching set plucked from Wun’s SS23 “birding” collection. Over the weekend headlining at the London Stadium, home ground of Premier League club, West Ham United, Burna Boy turned to Robert Wun once more.

If he looked like a raven in Paris, he looked like a kingfisher in London. In crisp, autumnal orange, the bursting flare of pants and sleeves, and the glide of the top overlay as he moved about on stage, isn’t only hitting a sartorial tone with high fashion but might suggest a new metaphorical shift in how Burna Boy sees himself.

He’s become the first African to sell out London’s 80,000-capacity stadium, and with more stops in the Netherlands (June 17), Portugal (June 28), Denmark (June 29) and the US (July 8), here are three takeaways from his tour looks so far.

The Robert Wun-Afrobeats star relationship

Before Burna Boy donned his first Robert Wun ensemble in Paris, the London-based Hong Kong designer had Tems as a celebrity client, whom he had put in two custom creations. The first time at her 2022 London show at Koko, wearing a teal, halter neck set with billowing pleats. The second time was at the 2023 Met Gala, her showstopping feather couture in monochrome.

Both Burna Boy and Tems owe their stylists — Romani Ogulu and Dunsin Wright respectively — for tapping their celebrity into the world of designers like Wun. With the crossover of Afrobeats into global markets, its stars are now thrust into new worlds of fans, media, and public engagements. Wun is filling an opportunity gap where Afrobeats A-listers are making fashion statements on bigger stages. And we have a feeling this is a symbiotic relationship that will spring more surprises.

Breaking the Afrobeats male wardrobe ceiling

Due to gendered notions ingrained in music artistry, there are often low expectations for male artists regarding wardrobe and style choices when performing live. In Nigeria, where Afrobeats is situated as a nerve center, male artists arrive at their shows or concerts wearing streetwear or wardrobe basics. In some cases, they take off their tops in the throes of excitement or passion. This isn’t the case with female Afrobeat acts.

Asake has been of the male artists who have pushed the envelope, causing a stir online when he wore a black denim skirt repurposed as a top to one of his shows. While Burna Boy has performed topless (one time he stripped to his underwear in Nigeria), his Love, Damini tour outfits show male artists can straddle the line between stage performance and stylish wardrobe.

A new Burna Boy iconography

Robert Wun’s avian-inspired garments honor his late grandmother, who liked the swallow bird. But seen on Burna Boy, they take a different meaning. His crossover stardom was accompanied by a nonstop supply of confidence on his part. Some might argue that it’s cockiness, so much so that he earned his name as the “African Giant” after the 2019 Coachella fiasco.

As time went on, he likened himself to the fearlessness of a gorilla, meshing with his persona in a way that has produced an emoji, merchandise, and more. His ongoing tour staged in stadiums demonstrates that he’s in a gigantic world of his own. Robert Wun’s avian motif in his designs seemingly codes for Burna Boy’s appetite for more space to dominate, more records to be broken. Even if it means launching himself into the sky like a bird.

Image courtesy of the artist.

Meet Andre Vibez, the Producer Behind Rema's 'Calm Down'

We caught up with the Nigerian producer who’s been cranking out record-breaking hits on the story behind Rema’s "Calm Down" and more.

Before "Calm Down" was gifted to the world, producer Andre Vibez and Remahad already forged a connection. This was during Rema’s early years in Benin City as a teenager and a budding artist, part of the musical duo RNA. Andre Vibez was well-known in the city for his grasp with unproven talents and his enviable heritage as the son of Sir Victor Uwaifo, a Nigerian music legend.

But Andre, who journeyed into the music world first as a rapper before being nudged by his Dad to master music production, sought for more outside Benin. Thus, a move to Lagos, the nation’s creative hotspot, surfaced. While that phase came with a state of lull, news of Rema being unveiled in 2019 ignited a sense of hunger in Andre Vibez to go harder at music production than ever before.

A meeting with Don Jazzy happened through his cousin in 2020. The partnership with Rema would be struck again and a year later, Andre Vibez would supply the sonic rudiments that morphed to become the most streamed Nigerian song in 2021, “Feeling” by LADIPOE. He and Rema would create “Calm Down” —the monstrous hit that has continued to shatter existing records—that same year, creating new landmarks and pumping in new opportunities both for the producer and the artist, who’s just finished touring India.

We spoke to Andre Vibez below.

You often add elements from other genres to your Afropop beats. What’s your creation process like?

It differs for everybody. But the thing I do is, when I make my beats, I have an artist or similar artists in mind. So if I’m making a certain beat, I can make it thinking Rema will be great on this, Ayra Starr will be great on this. I try to make it in a way that it’s so good that when I play it for that particular artist, they can instantly connect to it.

Another secret is leaving a lot of room on my beats when I start making them so when any of the artists jump on it, I can go back and add other elements or melodies to it. So it all complements what the artist did on that record. There were some beat elements on Mavins' "Won Da Mo" and Crayon’s "Too Correct" that were added after the artist had recorded so it gave me room to experiment and be creative.

Andre VibezAndre VibezPhoto courtesy of the artist.

Your dad Sir Victor Uwaifo was a legend, did he influence your choice to become a music producer?

Yes. Getting into production was quite easy for me. Considering the fact that I grew up in music, my father, the late Sir Victor Uwaifo was like one of the biggest musicians out of Nigeria and Africa in his prime. I just grew up listening to his music, watching him perform, watching him record, rehearse, cut records. I took all of that in but I didn’t realize I was going to do music until I became a teenager.

My dad’s influence is so great on me that if you listen to the beats I make, you’ll hear that there are elements of different genres. That's what my dad created. Also, he was very experimental. My dad wasn’t exactly highlife, he made a highlife hit and people tagged him highlife. And when you hear the instrumentation in his beats—the percussion, the orchestral sounds, horns and the jazz melodies... imagine growing up, listening to that kind of music every day, it’d definitely have a big impact on you.

You produced "Dirty" and "Calm Down" off Rema's Rave and Roses album. How did that connection with Rema begin?

Rema and I go way back to 2014, when I first met him. I mean Rema is Rema. But Rema is like my younger brother. Because when I met him, obviously he was really young, he was 13 or 14 when I first met him, I was the one who made his first record when he was in a group (RNA).

I made about three other records for them. Fast forward to when he was unveiled by Mavin. To be honest, Rema is one of the people who motivated me to get back to doing music production. Because I remember I was in SoundCity at the time. When I saw that, it just sparked something inside of me. It felt like, I came here, to Lagos for something and I’m seeing someone that I know, we have some history together. And he’s here at this level, I can do this as well. So that was what sparked that idea of me just quitting my job and getting back to this.

Once I got into Mavin, Rema and I started working. When he had the time, we would record and the synergy started to come back. I started to understand him and he understood my stuff. Rema is someone who knows exactly what he wants. And once you understand him, then it makes it easy for a relationship to be formed.

So how was "Calm Down" made?

After we recorded "Calm Down," we knew it was a special song. I just didn’t know how big it was going to be. I think it was during the day we recorded the song. So Rema came to the studio, this was sometime in 2021, and I played him a couple of beats. The "Calm Down" beat must have been the third beat I played him that day. As soon as he heard it, he was like I should keep that. I played him another one and he was like let’s go back to the previous one, which is the beat for "Calm Down."

He just told me to keep playing it and he started coming up with the lyrics, the melodies. He came up with the vocal melodies first. And then we started putting in the words and recorded it. After we were done, we listened to it and we knew this song was special.

"Won Da Mo" became a popular hit in December and although produced by you, it spelled out your versatility. How do you infuse elements from other genres into the Afropop records you make?

I mean we can make rock music or metal music in Nigeria. So if you’re going to infuse any of that you have to balance it out with other things.Every Afrobeats song that you hear today regardless of the melody or the rhythm, it's the drums that drive Afrobeats. Because for African music, before we started making contemporary African songs or like what we make today, if you go back in time before we got civilized, you’ll notice that literally every culture in Africa plays drums. They play heavy drums, the percussions, congas and shakers. So African music first of all is drums. And what Afrobeats is using to dominate is firstly the drums and the addition of nice melodies which you can borrow from anywhere else and add to the drums.

How did that happen for "Won Da Mo"?

For "Won Da Mo" we were going for something really fast because it is supposed to feel like it’s an action movie. That was the idea. The idea wasn’t coming from me though. Rema was definitely a heavy part of that process. In fact, the main melody was Rema. That “Tan Dan Tan Dan Tan Dan” you hear at the beginning, Rema is the one who wanted that. Then I started playing the drums, adding like all the other elements, getting a guitarist to come to the studio to play some melodies too, directing him on what to play.

Once I realized that it was a song every artist in Mavin was going to be on, I had to find pockets for each artist to come in which was very difficult because you have eight artists. How do you want to fit eight artists into a song that’s not so long? The most difficult part was the transition from one artist to the next artist. I had to make it work in a seamless format. If you notice, for every time the next person comes in, there’s something that leads into that person’s part.

So those sounds that I added, those things I added to make the record what it is, the whole rock sounds, R&B feel, is just an approach I like. For me, it’s something that makes me stand out. And for you to be recognized, for you to stand out, you need to be able to do something that’s different from what other people are doing.

You also produced Ayra Starr’s "Rush," her biggest record yet which has amassed over 100 million Spotify streams and just went Gold in France. How did that happen?

I just did my own bit. I had made the beat a while back, maybe April last year. So I worked with another producer, Hopp, from the U.S. who’s on the production credits. After we dropped "Calm Down," I had a lot of international producers reaching out, wanting to send samples. So this guy, Hoops sent me samples and loops. I heard one particular loop, loved it instantly and wanted to create around it and then I just worked it my own way. You know, added other things and gave it that Afropop feel.

I then shared it with Mbryo, who co-wrote the song with Ayra Starr. That’s it. I wasn’t even present when it was recorded. I recorded Mbryo but when Ayra recorded I wasn’t there. I just heard the record when she had done it and sent it to me. I was like cool, I love it. And after, I added some other elements to it. There was this particular bassline I included and some little strings and transition sounds I added here and there.

Photos courtesy Bruce IV.

Photo Series: Inside Nigeria’s Egungun Festival​

Rooted in the Yoruba word for masquerade, the centuries-old festival honors ancestors, with a striking display of costumes and masks.

In Nigeria, one of the several cultural practices that remains today, despite the massive conversion of the Yoruba people to Christianity and Islam, is the Egungun festival. Egungun is the Yoruba word for masquerade, and it’s recognized as the return of an ancestral spirit from heaven, reemerging on earth to bless the people and the community.

The Egungun festival has become a popular communal festival held annually to honor ancestors, as well as keep their memories alive. It’s celebrated in numerous towns and villages across the South-West region of Nigeria–a region predominantly occupied by the Yorubas. One such town is Iragbiji, a hilly area surrounded by enormous rocks, situated 15 kilometers northeast of the state capital, Osogbo, and founded 600 years ago. The Egungun festival in Iragbiji is reportedly as old as the town itself, and is usually held annually around May, spanning seven days filled with countless activities and events.

On the festival eve, the Egungun, a hidden fellowship of people, led by the leader, pay a visit to the forest of the deities to receive the spirits of the Egungun and bring them back home. This officially marks the beginning of the festival.

Nigerian's celebrate Egungun Festival.Photos courtesy Bruce IV.

This year, the energy that came with the festival season could hardly be missed. For someone who’s witnessing the festival for the first time, one cannot help but be taken aback. Even though Iragbiji is rife with old buildings and dilapidated roofs, several of its inhabitants carry a refreshing vitality — many of them young — that keeps the town alive. Unlike Lagos and Abuja, motorcycles are the most common form of transportation in the town, and at the same time, the pace feels unhurried. Narrow roads filled with people trooping all over the place. Crews of young men holding long canes jumped in front of motorcycles to hinder movement, demanding money in the spirit of the season. All while elderly men, seated in front of their fenceless houses, looked on with a sense of longing.

It’s believed that each clan has at least one Egungun, and so each has a specific day allotted to it during the festival, some attracting more people than others.

Nigerian's celebrate Egungun Festival.Photos courtesy Bruce IV.

As is customary, each day, up until the seventh, sees these Egungun come out of their homes to parade the town, which is usually filled with throngs of people seated at different vantage points. Each Egungun comes out with its clan members alongside drummers who continually strike their instruments vigorously and viciously, as the Egungun dance about. They move from house to house, stopping to bless each one. One might be forced to believe that Egungun are diabolical in nature because of the voluminous amount of charms in their regalia, but the moment you come into contact with any Egungun, they immediately rain down torrents of prayers on you. As they do this, one might be expected to give the Egungun and its clan members a little compensation for their prayers.

Encountering an Egungun as a stranger in Iragbiji might at first come off as a terrifying thing, but one quickly realizes that they carry no ill intent, regardless of how scary their costumes might be. Generally, their aim isn’t to harm onlookers but to instead entertain. And sometimes, this entertainment can be predominantly violent in nature as followers of the Egungun wielding canes begin to flog themselves vehemently. The flogging is somewhat ritualistic and can appear frightening but seeing the joy that it evokes amongst the crowd tells an onlooker everything they need to know: It is merely entertainment.

Check out our gallery from this year’s festival:

Nigerian's celebrate Egungun Festival.

Photos courtesy Bruce IV.

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