In the world of arts, music, or any field generally, to be an outlier means to dare to be different and uniquely original. Like Naviyah, such people are able to effortlessly carve a lane amidst a sea of counterparts who play it safe, sticking to an invisible template or regurgitating materials that feel all too familiar. Naviyah stands out as one of those who dare, wielding music as a means to express original experiences, including her faith, before anything else.
Naviyah is a non-explicit British Jamaican Nigerian rapper, singer, and songwriter with a uniquely nurtured sound of hip-hop, rap, and pop, slowly expanding to reggae, dancehall, and Afrobeats. Embracing her Caribbean and African cultural roots, Naviyah’s work comes from a passion to spread positivity through her flows, from a state where she strongly expresses her faith and past life experiences.
As a UK rap artist with a deep urban rap sound, Naviyah released her first EP, Change, in July 2018. The project, characterised by its brevity, featured three songs which more or less heralded her music journey. Even in its short runtime, there were early signs of an artist interested in more than just fitting into the moment—there was intention, and more importantly, direction.
Naviyah’s rap delivery leaves the aftertaste of an artist who grew up on reggae and modern UK rap music—a delivery that permeates her growing catalogue. There is a certain ease in how she navigates rhythm and tone, in a way that is rooted in familiarity and lived influence.
Her newest single, ‘Sippin on Dat’, explores personal struggles and moments of reflection, ultimately capturing a sense of growth and emotional clarity. On “Sipping on Dat“, Naviyah flips the coin, inversely celebrating new morals as opposed to the typical hip-hop record where the culture is largely shaped by violence and vices.
The song, produced by 1995, opens with a foreboding production reminiscent of Y2K cypher sets, setting the stage for Naviyah’s somewhat drawly delivery. She reflects on a past phase in her life and the clarity she’s gained since, as heard in the lyrics: “Bun all the spliffs yeah and the weed / you don’t need that turn into theen / I deaded dat once yeah now I’m free / it took all my money just to get lean”. There is a rawness in how she revisits that phase—not overly dramatic, but clear enough to register its weight.
Naviyah ultimately testifies that her days of getting drunk and high are over, and now she sips on still water which is her favourite drink. The hook, coined around this transformation, is as energetic as any club-ready hip-hop song. While much of the lyrics are saturated with the filler word “yeah”, Naviyah keeps the best for a third and last verse, where her pen game shines most. It is in that final stretch that the message lands with more conviction, less repetition, and a clearer sense of purpose.
In a space where excess often defines the narrative, “Sippin on Dat” feels like a quiet resistance. Naviyah doesn’t attempt to moralize as much as she documents a shift, one that feels personal before it becomes instructive. And in doing so, she continues to position herself as another voice in the mix and an artist willing to stand slightly apart, guided by something deeper than the moment.
