Severally, Tiwa Savage has vocalized her position on Feminism and her travails as a female artiste in the Nigerian music industry; decrying the movement and summarizing her come up as tough and tasking. Disassociating herself from the Female Rights Movement, the Afropop Queen has said countlessly that by herself she has struggled to achieve what she has and taking certain stances have afforded her opportunities and these feats. This particular stance might be the reason why despite her low rate of releases, she has stayed relevant and might even be the most talked about Female musician in Nigeria this year.
Barely a month ago, before which she collaborated with Duncan Mighty on her biggest 2018 hit; Lova Lova, she also set tongues wagging with her appearance in Wizkid’s steamy Fever video. Following that was her receipt of the Best African Act Award at the 2018 MTV European Music Awards, where she displaced Davido and Distruction Boyz among others to snag the prestigious Award which afforded her titles like ‘Record Breaker’ and ‘Pioneer’.
Like every musician whose passion for music stems from story telling, Tiwa Savage turns to her craft to detail a short but impactful narrative tracking the timeline of her success in the industry so far. The Killertunes produced track built on sweet frenetic keys, resonating bass drums and other persistent synths, reminiscent of her 2013 hit; Olorun Mi, in terms of emotiveness finds Tiwa sultrily projecting the low down of her journey in her native dialect; Yoruba. We find her calling and answering “To ba ni ta lo n so ri re? (When they ask who is favoured), I’m one of them”.
In her own words “Emi Na (I’m the one)“, Tiwa is really one of the only female Nigerian musicians who has managed to stay relevant amidst the gripping and belittling dictates of Patriarchy; a system on which our music industry is founded. We hope to see her break more bounds as she progresses and pave durable pathways for those coming behind her.
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